DC Studios co-chief James Gunn shared a new teaser for “Supergirl” on Friday featuring the first proper look at Jason Momoa as the villain Lobo — and it appears the actor is as thrilled as fans are at the long anticipated unveiling.
In a clip shared on Gunn’s Instagram, Momoa is seen exiting his trailer smoking a cigar when he is asked whether he has any comments about playing the character. The actor responds with a grin that shows off his fangs. The video then cuts to footage from “Supergirl” that shows Momoa’s Lobo laughing astride a motorcycle. (Momoa shared the same clip.)
“It’s called making an entrance,” Gunn wrote in his post sharing an extended version of the teaser on social media platform X. The 30-second clip includes footage featured in the first “Supergirl” teaser with “House of the Dragon” alum Milly Alcock as Kara Zor-El facing various space thugs before Lobo makes his grand entrance. Like the previous trailer, the new one is set to Blondie’s “Call Me.”
Directed by Craig Gillespie, “Supergirl” will follow the eponymous Kryptonian celebrating her 23rd birthday before meeting Ruthye Marye Knoll (Eve Ridley). The reluctant superhero then sets off on a quest to face “an unexpected and ruthless adversary,” according to the movie’s logline. The film will also feature Matthias Schoenaerts, David Krumholtz and Emily Beecham. The movie, written by by Ana Nogueira, is based on Tom King and Bilquis Evely’s acclaimed comic book miniseries “Supergirl: Woman of Tomorrow.”
Momoa, of course, is no stranger to the world of DC superheroes. The actor previously portrayed Arthur Curry — a.k.a. Aquaman, the reluctant, half-Atlantean ruler of Atlantis — in films including “Aquaman” (2018) and “Aquaman and the Lost Kingdom” (2023).
Lobo is a dream role for Momoa, who previously described the intergalactic bounty hunter as his “favorite.”
“I always wanted to play Lobo,” the actor told Fandango in 2023. “If they call and ask me to play him, it’s a [definite yes]. … [I]f they ever call me and ask me to play, or ask me to audition, I’m there.” His casting was announced in 2024.
The title of Michael Greene’s coming-of-age music film “Clika” refers to the slang word for “clique” in the terminology of the corridos tumbados musical genre — or trap corridos, a distinctly American evolution of the Mexican storytelling ballads. This blending of musical cultures takes the narrative quality of traditional corridos and incorporates rap and hip-hop stylings, as well as uniquely modern Mexican American stories, as pioneered in large part by groups like Herencia de Patrones, a band out of Yuba City, Calif. Frontman Jay Dee makes his acting debut in “Clika,” a film based in part on his own life story.
The film’s producer is musica Mexicana record exec Jimmy Humilde, CEO of Rancho Humilde, and his intent with the project is to prove Mexican American stories worthy of the big-screen treatment. It’s a noble endeavor, and an important one in this moment, in which Latino Americans are being unfairly targeted by the Trump administration. If Humilde and Greene get anything right with “Clika,” it’s asserting the importance of these stories in film, as Latino representation in cinema is often woefully lacking.
It also introduces Jay Dee and his music to a wider and more mainstream audience. With a unique sound all his own, he will be a true discovery for some viewers, and an exciting screen debut for his already established fans.
That’s the good news about “Clika.” The bad news is that they probably should have made a documentary or a concert film to tell Jay Dee’s story instead. Toward the end of “Clika” we get a few clips of real concert footage, as Jay Dee’s character, Chito, finally finds the musical success he’s dreamed of, and it’s so much more compelling than the hackneyed gangster tale they’ve reverse-engineered into Jay Dee’s life story.
The problems with “Clika” fundamentally come down to script issues. Written by Greene, Humilde and Sean Sullivan McBride (cinematographer and producer Ski-ter Jones also has a “story by” credit), the film is a grab bag of clichés we’ve seen before, with an overreliance on dialogue and voice-over narration that exposes the inexperienced actors. The film tells without showing, its emotional stakes aren’t legible and the characters explain to the audience what to think and how to feel without setting up the foundation or allowing us to get there ourselves. Some plot points make very little sense.
It’s a standard hardscrabble coming-of-age story — kid from a small town with big dreams wants to escape a life of farm work (Jay Dee did pick peaches in Yuba City like Chito does) and pursue his goals. When his Tío Alfredo (Cristian E. Gutierrez) learns Chito’s mom (Nana Ponceleon) has fallen behind on the mortgage, he enlists his nephew for interstate marijuana deliveries to make the money to pay off the bank, and the young man gets too caught up in the fast life, rising to a point that will always be followed by a fall. The message that he ultimately takes away is that there are no shortcuts to success.
The script is filled with tired tropes and doesn’t set up Jay Dee in a way that showcases his natural presence or way with words. Comedian and podcaster DoKnow, who plays his friend and producer, is the only performer whose natural ease and charisma in front of the camera translate, and he’s only given fairly corny and dated material, like ogling a sexy fellow peach-picker (Paola Villalobos) who is presented with her hair blowing in slow-mo like it’s an ‘80s college sex comedy, not a gritty rags-to-riches tale.
There is a way that this could have been done better, utilizing visual storytelling, establishing atmosphere and a sense of place that could have given a sense of the music, its large appeal and the circumstances that shaped it, while also allowing Jay Dee to shine in his own way. As it stands, he seems out of his depth here.
Corridos are about storytelling, and the innovation of trap corridos is incorporating new stories and sounds into traditional music. It’s a shame, then, that “Clika” feels so stale, not matching the skill or style of its subject. Representationally, “Clika” is an important and worthy film. Cinematically, it can’t find the beat.
‘Clika’
In Spanish and English, with subtitles
Rated: R, for drug content, language throughout, and sexual material
Some films linger in our minds because of their sharp plots, quotable one-liners and unforgettable characters. Others stay with us because of the music.
That distinction was unmistakable at a recent screening of Forest Whitaker’s 1995 romantic dramedy “Waiting to Exhale” as part of a Cult Classics Cinema event at Inglewood’s Miracle Theater. As the film played, roughly 80 attendees swayed their bodies and sang along to songs from the Grammy-winning soundtrack, including “Sittin’ Up in my Room” by Brandy, Mary J. Blige’s “Not Gon’ Cry,” and Toni Braxton’s “Let It Flow.”
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When Whitney Houston’s title track, “Exhale (Shoop Shoop),” played during a scene in which her character, Savannah, reconnects with a man with whom she’s been having an on-and-off again affair, the audience crooned the lyrics in unison like a choir: “Everyone falls in love sometime / Sometimes it’s wrong, and sometimes it’s right.”
“It’s really a time capsule of ‘90s R&B,” says attendee Deonna Tillman, 33, of Miracle Mile, who listened to the Babyface-produced album during her drive to the event as a way to prepare herself for the screening. “It also has our greats on there, Patti LaBelle, Aretha Franklin. … It’s iconic.”
Each month Cult Classics Cinema screens a movie event, hosted by Diamora Hunt, then theatergoers can attend a casual listening party, where the film soundtrack is played from start to finish.
Part movie screening, part listening party, Cult Classics Cinema is an event series that celebrates beloved Black films and the music that helps bring them to life. Each month, founder Diamora Hunt, who also goes by DJ Rosegawd, screens a movie — titles have included “The Wiz,” “The Wood,” “Set It Off” and “Love Jones” — and then invites attendees to stick around for a more casual listening party, where the soundtrack is played from start to finish. The recent screening of “Waiting to Exhale,” the film adaptation of Terry McMillian’s 1992 novel starring Houston, Angela Bassett, Lela Rochon and Loretta Devine, celebrated the film’s 30th anniversary.
In Los Angeles, where screenings happen just about every night of the week at venues like Quentin Tarantino’s Vista Theater and the New Beverly, and the TCL Chinese Theatre as well as at special events like Rooftop Cinema and Cinespia, Cult Classics Cinema stands out because of its communal atmosphere that gives people the space to not only geek out on films and their soundtracks, but also commemorate Black stories.
“I want it to feel like when I’m in the living room with my friends,” says Hunt, 36, adding that its become a ritual for her to watch music videos from the soundtrack after finishing a movie. “I feel like they go hand in hand in world building.”
For Hunt, who’s been DJing for nearly a decade, everything always comes back to the music.
As a lover of film soundtracks, Cult Classics Cinema founder Diamora Hunt (a.k.a. DJ Rosegawd) wanted to create an experience where people could enjoy the film and the music.
During the COVID lockdown, she spent her only day off from her insurance and call center jobs doing hourslong live DJ sets on Twitch from her bedroom. Each Saturday, she would pick a different artist, primarily female performers, and run through their entire discography and share interesting facts about them. Among the artists she spotlighted were Missy Elliott, Britney Spears, Ariana Grande, Beyoncé, Mariah Carey and Drake.
In 2022, Hunt began hosting Club Renaissance, a dance party where she’d play Beyoncé’s seminal “Renaissance” album in order from top to bottom at various venues in L.A. The function immediately took off, and she had to upgrade to a larger venue to accommodate a 1,200-person crowd. At one party, Grammy-winning rapper Doechii performed “Heated” with her DJ Miss Milan. Also, Beyoncé’s mother, Tina Knowles, posted about the event on Instagram, saying that Jay Z sent her a recap video.
After hosting the event for several months in L.A. and taking it to New York, Hunt wondered whether she could do the same thing with other beloved albums. To test out that theory, she debuted the Cult Classics party under her event company Ladera Hearts in February 2023. The first album she highlighted was Brandy’s third studio album, “Full Moon,” on the night of a full moon at the Blind Barber in Highland Park.
She kept it up, throwing dedication nights in honor of Usher’s “Confessions,” Janet Jackson’s “The Velvet Rope,” 50 Cent’s “Get Rich or Die Tryin,’ ” “One in a Million” by Aaliyah and Mariah Carey’s “The Emancipation of Mimi.” After seeing a lively fan recap video from the party, Carey commented “invite me next time” with two kissy face emojis.
Hunt says she thinks people were receptive to the party, even if they weren’t familiar with the album, because you are “surrounded by people who love it and they’re going to tell you why they love it.” She adds, “It helps people connect with [the music] in a different way.”
She wondered whether she could create that same feeling with her favorite movies and their soundtracks.
Hunt hosted the first Cult Classics Cinema event in November 2024 and screened the 1992 film “Boomerang” starring Eddie Murphy, Halle Berry, Chris Rock and Robin Givens at a local bar. During the function, she shared trivia about the soundtrack such as the fact that Toni Braxton’s song “Love Shoulda Brought You Home” was her introduction into the music industry.
Singer Tyger Lily and producer Knoqlist debuted a trailer for their “Waiting to Exhale”-inspired music video at the Miracle Theater.
Since January 2025, she’s been hosting her movie nights at the Miracle Theater in Inglewood. Just days before Thanksgiving, Hunt showed “Soul Food” and invited stars Vivica A. Fox, Brandon Hammond and Morgan Méchelle to participate in a panel discussion hosted by Randy C. Bonds. Afterward, attendees were welcomed to attend a family-style dinner with the cast members.
At the recent “Waiting to Exhale” screening, patrons walked down a red carpet to get to the theater entrance. After picking a customized button that depicted popular scenes from the movie, many guests grabbed a themed cocktail (named after the four main characters) and a snack (popcorn, empanadas or box candy) at the bar. As people waited to order, they could read fun facts about the film and soundtrack.
During the film, attendees laughed out loud, shouted at the characters on the screen as if they could hear them (“Don’t do it!”) and recited their lines back to them (“Get yo s— and get out!”).
As someone who attends movie screenings regularly, Tillman says it’s hard to find ones dedicated Black storytellers, which is why she appreciates Cult Classics Cinema.
“I feel like we have a lot of Black cinephiles in L.A., but we don’t have a lot of access to watch our classics,” says Tillman, adding that many of these films aren’t available on streaming platforms — “which is really frustrating.”
Felisha Fowlkes, 34, has attended multiple Cult Classics Cinema events solo. “When you hear these songs, you’re thinking about the scenes in the movie,” she says. “You’re thinking about what happened emotionally and I feel like [the music] allows you to really sit in that place.”
When the two-hour movie ended, one attendee won the big raffle prize, which included “Waiting to Exhale” on DVD — and a DVD player to play it.
“Waiting to Exhale” attendees react during a screening. “I want it to feel like when I’m in the living room with my friends,” says Cult Classics Cinema founder and host Diamora Hunt.
As the music video for Houston’s “Exhale (Shoop Shoop)” played on the big screen with the song lyrics running along the bottom, Hunt moved the mic to the center of the stage in case anyone felt called to sing.
No one took her up on the offer. Who would want to compete with a powerful songstress like Houston? Still, the energy in the room remained high as the crowd sang, bobbed their heads and grooved to the music from the comfort of their plush seats.
It felt, just as Hunt envisioned, like being in a living room with all your friends.
Cult Classics Cinema will screen “Boomerang” on Saturday, “A Thin Line Between Love and Hate” on Feb. 15 and “B.A.P.S.” on March 14 at the Miracle Theater in Inglewood. Tickets start at $15 (not including taxes and fees).
Ethan Hawke has been nominated for an Oscar for lead actor for his role in “Blue Moon,” directed by Richard Linklater from a screenplay by Robert Kaplow. In the film, Hawke plays lyricist Lorenz Hart, who wrote the sharp, witty words to such standards as “My Funny Valentine” and “Blue Moon.”
The drama captures one night with Hart near the end of his life as he waits at Sardi’s for his former songwriting partner Richard Rogers (played by Andrew Scott) to arrive for a party celebrating the premiere of “Oklahoma!” By turns funny and self-pitying, full of regrets, disappointments and thwarted ambitions, Hart is portrayed by Hawke as a man who has often been his own biggest obstacle and is coming to realize his time has passed him by.
Hawke had been previously Oscar-nominated for supporting actor in 2001’s “Training Day” and 2014’s “Boyhood” — and for co-writing “Before Sunset” and “Before Midnight.” He has been acting professionally since he was a teenager, with an extensive list of credits that includes “Dead Poets Society,” “Reality Bites,” “Gattaca,” “Hamlet,” “Before the Devil Knows You‘re Dead,” “First Reformed” and many more.
Speaking on the phone during the morning of the Oscar nominations from his home in Brooklyn, the 55-year-old Hawke showed no signs of slowing down, as he was heading to Park City, Utah, the next day for the Sundance Film Festival. His new project, “The Weight,” starring Hawke and produced by his wife Ryan Hawke, would be premiering there and Hawke would also be speaking at a tribute to Robert Redford.
“It is true that this last year is one of the hardest working years of my life,” said Hawke. “I went from ‘Blue Moon’ straight to ‘The Lowdown’ straight to ‘The Weight.’ Somehow figured ‘Black Phone 2’ in there. I worked my ass off the last year. Ask my kids; they’re not happy about it.”
You recently did an interview where you said you thought you were maybe doing too many interviews. So I guess I apologize in advance.
Ethan Hawke: It’s just funny, the amount of energy it takes to kind of penetrate the zeitgeist today is a lot more than it used to be. I hate to sound like an old man, but it used to be you go on “Letterman” and everybody knew about your movie. And now it’s like, wow. It’s just a lot different.
Congratulations on your nomination today. Were you watching the announcements? How did you find out?
Hawke: I don’t do that to myself. I found out because my wife woke me up and told me. I let myself try to sleep in so that I could try to avoid the stress.
This is your fifth Oscar nomination, but the first for best actor. What does that mean to you?
Hawke: Embarrassingly enough, it means a lot. I’ve dedicated my life to this profession and our culture places a high value on that. And it means a lot to me. Frankly, I don’t think I would’ve thought when I did “Training Day” that it would take me so long to get there. It’s been a long road.
Margaret Qualley and Ethan Hawke in the movie “Blue Moon.”
(Sabrina Lantos / Sony Pictures Classics)
It’s such a great year for movies and you talk with such passion and conviction — almost as an ambassador of movies — about how important they are to you. You seem like you’re like cheerleading for everybody else as much as promoting your own work.
Hawke: I feel that way, sincerely. I appreciate you saying that because I do think that’s kind of the job of these award shows and things. We are ambassadors for our profession. Everybody knows that competition and the arts — it’s a game and a lot of great things go unnoticed in their time. And time is the great curator, of course. But movies need a boost and it’s part of our job to create substantive, meaningful entertainment for people to have serious conversations and interesting things to think about and talk about and push the consciousness forward. And so I feel really proud of all these movies that were nominated and tons of them that weren’t, that are all doing their job.
The fact that this nomination comes from a film you’ve made with Richard Linklater, who you’ve worked so closely with over the years — does that make it even more special?
Hawke: I couldn’t articulate that clear enough. It feels so wonderful to get this for a movie that was made so organically and rose up through not through the prism of business, but through the prism of friendship. Robert Kaplow is a brilliant screenwriter and Rick’s his friend, and we’ve been talking about this for a decade. And that’s the way all of the projects that I’ve done with Rick have happened, is they kind of are born out of friendship. And so to get to ring the bell with a film that really feels so connected to my life is particularly meaningful.
What does that relationship with Richard mean to you?
Hawke: Words fail. I think that friendship is the substance of our life. When friendships or love affairs or collaborations happen the right way, they’re kind of effortless. And your life is richer because of them, not your work. Your life, your character is improved. I always like to tell my kids, you spend your life with your friends, so your friends are your life, so choose them wisely. They really shape you. And I’ve been really lucky to have a great friend who happens to be one of the definitive filmmakers of our era.
And I don’t take that lightly. Think about it, Rick has two — I know he doesn’t care, so it kind of makes it even more funny — but he had two of the best movies made this year [“Blue Moon” and “Nouvelle Vague”]. And he doesn’t win any prizes but it’s kind of a testament to what’s special about his filmmaking is that he disappears and lets the project appear and he doesn’t put his signature all over it. I was fortunate enough to work with Sidney Lumet and they’re reminiscent of each other in a way. They’re just completely dedicated to the work. And it’s wonderful to have a partner like that.
What did you connect to about the character of Lorenz Hart?
Hawke: It’s deeper than just the character. It has to do with what the film’s kind of about. My love of the theater and my love of the people who dedicate their life to creativity and the kind of highs and lows of that life, and the silliness and stupidity of that life, and the moments of elegiac grace. I love what the film is about. It’s kind of a howl into the night of an artist being left behind. And indifference is kind of the feeling most of us in this profession feel most of the time, obviously not today, but most of our lives are met with absolute indifference.
And it also had the good fortune of the way Rick works. He’s so patient — we worked on it and dreamed about it for 10 years. And we knew it was fragile. We knew it was delicate. We knew the bull’s-eye was extremely small. It’d be an easy movie to make badly. So it was entirely execution-dependent. And that’s the fun of Rick is he loves to think about it.
You shaved your head for this. Were you confident it was going to grow back?
Hawke: No. At my age you’re like, “Wait a second, is this just a giant mistake?” But we knew we had to get the look right. So we were all in.
You just seem like you’re in such an incredible position right now in your career, you’re making projects like “Blue Moon” and “The Black Phone” movies, you’re doing TV work, you can direct your own projects like “Wildcat” or “The Last Movie Stars,” about Paul Newman and Joanne Woodward. How do you see where you are right now?
Hawke: It feels really good because I have a lot more I want to do. I’ve started to feel like one lifetime’s not enough for this profession and that there keeps being so much to learn. I get more excited about the possibilities of how storytelling can impact our culture and what the responsibilities are with that and how much fun I’ve had. I’ve really had a ball — my whole career I’ve gotten to do things the way that I wanted to do them.
And it’s kind of thrilling for me to watch Stellan [Skarsgård] this year and like get inspired. I mean, he’s a proper grown-up and he’s humble and so gifted and had such an amazing career. And it makes me really excited about the future. I’ve always had these huge actors I’ve admired, Christopher Plummer, Jason Robards, people who’ve learned how to grow up and be an adult in this profession. That’s what I’m trying to do. So I feel like that’s the moment you’re finding me in.
Because it seems at this point that you’re always working. Do you ever think about just taking a break?
Hawke: I’ve been always working since ’89. The thing is, I just love it. My wife and I have this little production company and we both just love to work and make things and try to sneak things into the atmosphere that might not exist otherwise. And it’s how you define work, right? Most of the time it’s not work for me. I loved making “Blue Moon.” When I’m on a set with Richard Linklater, I am exactly where I want to be. My relationship with my work is one where I wouldn’t want to take a year off because I wouldn’t know what to do.
I’ve noticed a lot of people, when they talk about you, they say they used to find you annoying — who does that guy think he is, writing a novel or directing a movie? — but that they’ve come to really respect and admire you for the fact that you try to do so many different things and you’ve really kept at it. How do you feel about it when you hear people talk about you in that way?
Hawke: I think they’re right too. It’s a general suspicion and if you can’t withstand that suspicion, then you should stop. Like you have to pass through that if you’re serious and you have to be willing to be criticized, to be made fun of. It’s a small luxury tax for getting to do it. You really want to be doing it because you want to offer something. And so if you’re offering it, then people can do with it whatever they want. They can throw it away. They don’t have to take it.
I think some of the stuff that was happening to me when I was younger, facing that attitude was really actually good for me. I mean, I hated it. We all want to be liked and understood and for people to understand our intentions and know that our aim is true and we’re coming from a good place. All of us crave that. But you just can’t give it too much credit. And you’ve just got to keep putting one foot in front of the other.
All That’s Left of You is a film missing from American screens until now. A moving production directed by Cherien Dabis, with Javier Bardem and Mark Ruffalo as executive producers, leaving the viewers in a state of trance long after the final credit has faded into darkness.
My first introduction to this movie came quietly, through a community post by someone who had watched it at San Diego’s Digital Gym Cinema. The message was simple: bring a box of tissues. Then came a text from a fellow writer in Florida, insistent and unmistakably shaken. “The theater was packed,” she told me. She didn’t say how much she cried, but she added something far more telling: her husband cried too, and he never cries.
“I’ve never seen anything this powerful,” she texted. “You have to write a review.” She even sent me the screening link in San Diego, as if daring me not to.
I hesitated. I have never written a film review before, and I knew watching this story in a theater, in public, would not be easy. I told her that KARAMA, an organization I’m associated with, would be screening the film during the San Diego Arab Film Festival in March. She wouldn’t let it go. “Write a review now,” she insisted. “People need to see this movie.”
There is always a first time, I thought. I relented and agreed to watch the film and write my first movie review. Thankfully, through KARAMA’s screening access, I watched it alone, in the stillness of my home office, where tears were free to drift, unpoliced.
All That’s Left of You is the cinema America has been missing, a film that turns away from spectacle and toward remembrance. The large screen becomes a space for lived experience, where memory lingers, mourns, and refuses to die.
What a movie? But it wasn’t a movie. It was the art of using a large screen to bear witness to a life lived. What made it unbearable, and unforgettable, was how intimately it reached into my own life. I was born and raised in a Palestinian refugee camp. I was no longer watching a film. I was remembering. I saw my mother’s tears. I saw my father’s weathered face, scanning the rain-soaked ground, trying to pitch a tent to shelter his wife, his seven-month-old baby, and his aging parents.
I saw displacement, not as an abstract political word, but as I lived it. My parents ethnically cleansed from home, from country, so someone who was oppressed in Europe could find safety and refuge in their home, claiming that a god had given them a deed of confiscation some 3000 years ago.
It became even more poignant as the saga unfolded scene by scene, my eyes flooded with tears. I had to hit the pause button several times, breathe deeply, and steady myself. The grief on the screen was not distant or symbolic. It was intimate, lived, and overwhelmingly familiar. I was taken back to the camp, to its alleys and schools, from flirting with classmates to resistance and political awareness. The camp was a repository of contradictions: a life of destitution, yet rich in love and community. Each scene felt like a reopening of wounds I had spent a lifetime trying to bury, memories layered with loss, fear, and an unrelenting sense of injustice.
What made it cut even deeper was the realisation that I had written extensively on untold stories of Palestinian displacement. I had co-authored two books with the fellow writer who texted me from Florida, a Jewish American author, where we chronicled a multi-generational family saga from Jafa, uprooted from their orange grove and reduced to existence in a tent. As I watched the film, the lines between fiction, memory, and history collapsed. The faces on the screen merged with the characters we had created, and the families we lived with in the pages of our two novels.
The tears were not only for what was lost, but for what keeps being lost again and again. Palestinians didn’t just mourn the homes, trees, and childhoods erased, but also the quiet human truths that survive despite everything. The ache of parents trying to shield their children from despair, the dignity of people stripped of almost everything except their will. At that moment, the film stopped being something I was watching. It became something I was reliving.
“Your humanity is also resistance.” The line from the movie is more than poetic, but rather a lived truth and a personal indictment. I have spent a lifetime watching how our humanity as Palestinians must first be erased before our suffering can be justified. Demonisation is a prerequisite. Only by denying our humanity can they rationalise starving our children, and when the erasure of a nation can be defended as policy rather than crime.
That line affirms what I have known instinctively and painfully, to remain human, to insist on grief, memory, and dignity, is itself an act of resistance against a system that survives on our dehumanisation. Strip our humanity away, then anything becomes permissible. Recognise it, even for a moment, and the entire moral and legal structure used to justify Israeli inhumanity begins to collapse.
All That’s Left of You is not a movie that comforts. It is a testament to humanity’s stubborn endurance under a malevolent Zionist occupation. It reminds us that what remains of a people is not only found in history books, but in the unspoken bonds between parents and children, in the traditions that outlast catastrophe, and in the Palestinian refusal to forget.
Watching this film will leave you with more questions than answers. What stays with you, however, is not confusion, but a sharpened awareness, an understanding passed into the world beyond the screen. All That’s Left of You is essential cinema, not as escapist entertainment, but as a work of rare scope and moral clarity, one that restores humanity to its rightful place and demands the viewer to carry it forward.
The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Monitor.
With her nomination for the cinematography of “Sinners,” Autumn Durald Arkapaw becomes the first woman of color — and only the fourth woman ever — to be recognized in the category. The recipient of a record-setting 16 nominations, Ryan Coogler’s vampire film set in the 1930s was advanced in every category for which it was eligible. Arkapaw previously collaborated with Coogler on 2022’s “Black Panther: Wakanda Forever.”
Arkapaw got on the phone on Thursday morning from her home in Altadena — thankfully spared from last year’s fires — that she shares with her husband, Adam Arkapaw, also a cinematographer.
“It’s nice to have an understanding of what each other does because it’s a hard job and making films isn’t easy,” said Durald Arkapaw of having two cinematographers under one roof. “But we also have a family, so usually when I’m working, he’s watching our son and vice versa. So it’s kind of a team effort. But there is an understanding. I wouldn’t say we talk about it all the time because it gets exhausting. You get enough of that when you’re at work.”
Autumn Durald Arkapaw, photographed in Los Angeles in November.
(Bexx Francois / For The Times)
What do these historic firsts mean to you?
Autumn Durald Arkapaw: I’m trying to take a moment to kind of let it sink in. I’m just so honored every time I get to stand next to Ryan and make a film with him, because what I think he does and says is very unique. And we’re always doing something for the first time and with a very unique group of people. Like having all heads of departments be women of color and these are women that inspire me every day. I think now to be a part of that because [production designer] Hannah [Beachler] and [costume designer] Ruth [E. Carter] have also been able to do some work that’s been recognized. Now being a part of that group, I feel very honored, especially for a film like this. That it’s for this film, means a lot to me.
What is it about this film in particular that makes it even more special?
Arkapaw: I think for myself and most of the team members, we have a lot of history and culture rooted in this story. My family’s from New Orleans. My father was born there, my great-grandmother was born in Mississippi. So when I read the story, it felt very close to home. And I think that allows you to be able to pour yourself into it. And there’s a lot of meaning in it and you want to make your ancestors proud. This film has so much love that was poured into it on set and I think it really connected with a lot of people. And I think that’s how you do really great films. You pour as much as you can of yourself into it.
The film was such a success when it came out earlier this year. What is it that you think audiences were responding to?
Arkapaw: I’m an operator so I love to have my eyepiece to the camera and Ryan sits right next to me. So a lot of the stuff that we photographed, I was there in the moment. It was very felt. And I always said, “If I don’t feel it, then I don’t feel the audience can.” So I’m very much someone who shoots from the heart and wants to make sure that emotion is being conveyed. Ryan is the same way. There was a lot of that going on on set, where there were moments where you felt like you actually weren’t making a movie. Things were unfolding in front of you in a very unique way. Like it felt like a real space at times. That matters. If you feel that way on set, it is, it does feel communicated all the way up until the audience sees it in this dark room. And then they don’t feel like they’re watching a movie anymore. And it’s nice when that translates. It doesn’t always happen. And with this film it did, on an insane level.
Michael B. Jordan as Smoke and Stack in the movie “Sinners.”
(Warner Bros. Pictures)
When did you and Ryan start talking about shooting in 65-millimeter Imax?
Arkapaw: He had envisioned it to be 16-millimeter. So originally, I made some lenses with Panavision that I shot “The Last Showgirl” with before this. And so I was kind of testing those in hopes that it would be something we would use. And then the studio called Ryan and said, “Have you guys thought about large format?” And he called me immediately after and he was like, “Let’s talk about it.” And we got a bunch of different formats together and when you’re talking about large format in a film context, it means 65-[millimeter]. So we tested all these different formats. And obviously we fell in love with the [Imax formats] 15-perf and the 5-perf. And putting them together for the first time was unique. That was fun to do because we tested it and then we kind of put an edit together and looked at it as a team and it all felt very right. So it’s nice to do something historic like that and have it work and have the audience enjoy that big shift of ratios.
Just from a workflow aspect, what was it like having to adjust to these new technologies?
Arkapaw: I always feel like with Ryan, he always gives me a big challenge. He likes to think big and outside the box. We did that on “Wakanda Forever.” We shot a bunch of our scenes underwater with actors, for real. And in this film, there were a lot of different sequences, moving the Imax camera around in the studio, treating it like it wasn’t necessarily a large-format film, but shooting like we would if it was a smaller camera and being true to how we like to move the camera. It’s a lot of logistics involved. You have to have an amazing team. My team personally is fantastic and they did a great job. Focus-pulling is not easy on a film like this.
So it was a challenge. But I think because everyone’s so inspired by Ryan, he’s a great leader on set and everyone really likes him, so they want to do a good job for him. I see that every time we do a film, I have the same crew that I use. It’s like a family. And they respect him. So when you give us a challenge, we really want to make sure that we do it well so that it’s a good experience for the moviegoers. Because he’s always reminding us on set about that: “Big movie, big movie.” We’re making a movie for the theaters.
When the movie was coming out, people really liked that the explainer video that Ryan made about all the different formats. How did you feel about that video and that, for something that felt so technical and nerdy, it got really popular.
Arkapaw: I remember the moment that he brought it up, we were at the Playa Vista Imax headquarters and we had just done a screening to look at the prints. And he was like, “I want to talk to you guys.” And so myself and Zinzi [Coogler], our producer, and our post-producer Tina Anderson, we went and talked for a second and Ryan said, “I want to shoot a video that explains all the formats so that people can understand what we did and what it means and all that stuff.” And his eyes lit up and I thought it was such a cool idea. Fast-forward to it coming out and everyone really embracing it because it was so thoughtful. It was really cool.
If you see it in Dolby, it’s special, but if you go see it this way, it’s even more special because the screen opens up. So I think putting that in the hands of audiences is very thoughtful. And that’s how Ryan is. He wants them to have this information because when he was a kid and going to theaters, we all felt that same way, where that one night you walked to the theater or you drove and you waited an hour to see it and it was a whole experience. And so I think that’s why it went viral because people wanted to be a part of that.
Do you have a preferred format?
Arkapaw: My preferred format is the origination format, because I’m framing the movie for Imax 1.43:1 and then also with the 2.76:1 Ultra Panavision format. So my best way of seeing the film would be the Imax 70mm full-frame print. And obviously, there are only about 40 theaters in the world that project that. I don’t think we had it in all 40, maybe we only had 11, I think, across the world. But I was very much telling everyone that if you can get a ticket, please go see it in the 70-[millimeter] projection of Imax, full-frame. It’s so beautiful.
Nominating this popcorn trifle for best picture is silly, but at least it didn’t get a screenplay nod for a script that’s simply: See Brad Pitt go, go, go. Still, I’ll admit that I recommended this rumbler to everyone who wanted an excuse to speed to the multiplex. (I elbowed my uncle, a hobbyist racer, to go see it a half-dozen times.) Not once in ‘F1’ does it feel like we’re invested in Pitt’s bizarrely constructed character, a throwback fossil with jokey Gen-Z tattoos. The movie is fueled by pure star power and you can’t fault Oscar voters for huffing its fumes.
A “brujo,” a “magician,” “a social arsonist” and the “father of Chicano Theater” — these are just a few of the monikers that have been bestowed upon Luis Valdez over the course of his decades-long career. The 85-year-old filmmaker and playwright is responsible for “La Bamba” and “Zoot Suit,” films that raised a generation of Latinos and are now upheld as classics — both were inducted to the National Film Registry of the U.S. Library of Congress.
Valdez awakened a movement, bringing Chicanos from the California fields he grew up working in to stages and screens all over the world. His stories shifted the frame, placing us at the forefront of the American story, allowing us to see our dreams, anxieties and struggles reflected back at us. In David Alvarado’s upcoming documentary, “American Pachuco: The Legend of Luis Valdez,” it’s the celebrated storyteller’s turn to be on the other side of the lens.
The film traces Valdez’s beginnings as the son of migrant farmworkers in Delano, Calif., to his early days in theater helming El Teatro Campesino — a traveling performance troupe who worked alongside Cesar Chavez to mobilize farmworking communities, raising awareness about strikes and unions through skits and plays. Incorporating folk humor, satire and Mexican history, their work later evolved to include commentary on the Vietnam War, racism, inequality and Chicano culture more broadly.
Narrated by Edward James Olmos, who broke out as the enigmatic pachuco with killer style and a silver tongue in 1981’s “Zoot Suit,” the documentary was awarded the Library of Congress Lavine/Ken Burns Prize for Film last year.
De Los spoke with Olmos and Alvarado ahead of the film’s world premiere on Thursday at the 2026 Sundance Film Festival.
This interview has been lightly edited for clarity.
David, what was your introduction to Luis’ work? And how did it influence you as a filmmaker?
David Alvarado: I grew up watching things like “La Bamba” with my dad, and it made a huge impression on me, but at the time, as a kid, I didn’t really know the name Luis Valdez. Then in 2006, I was an undergrad at the University of North Texas, and I got a Hispanic Scholarship Award. At the celebration, Luis gave a speech and I was just blown away. I was a young wannabe filmmaker trying to learn how to make movies, and somebody like me was up there onstage telling a story about how he got there. I felt really inspired and I always carried that with me. Then in 2021, I was at a juncture in my career where I had told these science and technology stories, and I loved it, but I wanted to do something more personal. I thought back to Luis Valdez. Where was his story? So I reached out to him and that’s where this all started.
Mr. Olmos, your breakthrough came from playing El Pachuco in “Zoot Suit,” first in the play and then the film. What was your first impression of the story?
Edward James Olmos: I remember I had been doing theater for years, and I was walking out of an audition for another play at the Mark Taper Forum when I heard someone say, “Hey, do you want to try out for a play?” And I said, “Excuse me?” And she said, “Well, do you or don’t you?” And I said, “OK, what do you want me to do?” I didn’t know who she was, or what the play was about, but the next day, I was standing there with 300 other guys getting handed a little piece of paper with the opening monologue [for “Zoot Suit.”] I knew from reading it that this was serious, really serious, so I just became the character immediately.
I remember when they called me and asked me to do the role, it was on a Friday night, around 8 o’clock, and they were going to start rehearsals on Monday morning. I hadn’t gotten any phone calls, so I thought [the part] was gone. Then all of a sudden, the phone rang and they asked me if I wanted the role of El Pachuco. I said it would be my honor, my privilege. I hung up the phone and I slid down the side of the wall crying. I just completely lost it.
DA: Eddie really stole the show. I mean, it’s just undeniable. What he brought [to the production] was exactly what Luis was looking for, and I think it’s what Chicanos wanted to see and hear at the time. He really struck a nerve, and that was a huge part of the success of “Zoot Suit.” What Luis tapped into with this collaboration with Eddie, with the Teatro Campesino, or later with “La Bamba,” that was his gift: finding people who could represent the true nature of what it means to be Chicano.
(Elizabeth Sunflower / Retro Photo Archive / Sundance Institute )
There’s so much incredible archival footage here from the Teatro Campesino. What was your reaction to seeing some of that early work?
EJO: That footage is priceless, and that’s one of the reasons this movie is really important, because Luis is truly someone that has given our culture a voice. He gave me my voice. When you want to learn about a culture, you try to study what’s been written about them, any documentation or books, but nothing compares to their art. Right now, I’m working on a piece with Luis called “Valley of the Heart,” a play that he wrote over the last 12 years. It’s a never-been-told love story between a Mexican American and a Japanese American in an internment camp during World War II. It’s been difficult to make, but once people see it, they’re going to be thankful because it doesn’t matter what culture you are, the humanity of it comes through. That’s how people will feel after seeing David’s documentary, too. It’s inspiring.
DA: I think people are ready for the real story of America. I mean, the documentary and “Valley of the Heart” are part of American history, they talk about a real American experience, and it’s not the kind that people hear anymore. People are thirsty for that kind of authenticity, and to re-evaluate what the American story really is.
One of the core themes within the documentary is how we as Chicanos view the American Dream: Can we achieve it by being ourselves, or do we have to assimilate? We see that identity struggle play out as Luis and his brother, Frank, take different approaches in their lives, and it’s later paralleled in the story of “La Bamba.”
DA: That’s such a core pillar of the film. We all want the American Dream, but what that dream is confusing to a lot of people. The quest to get there through assimilation is something that Chicanos, Latinos and other immigrants have tried at the expense of their own heritage and identity. They give it all up and lay it at the altar of the American Dream. They try to fit in, and be this other thing, and so often, that doesn’t work. In his own life, Luis’ answer to that was if America is supposed to be this multicultural beacon of democracy, then let’s have a space for Chicanos to play a role there. I’ll retain my culture and be an American.
He and his brother tried to make it together, but they weren’t taking the same approach. In Frank’s story, that caused him a lot of pain, and he never quite made it that way. Luis, in very important ways, did make it. The fact that his work speaks to those themes, and was part of his personal life, I couldn’t leave that on the editing room floor.
In the documentary, we see the triumph of “Zoot Suit” being the first Chicano production on Broadway, and then the crush of it being panned by critics who didn’t seem to get it. Mr. Olmos, you say that the reaction wasn’t a loss for you all, it was a loss for America. What did you mean by that?
EJO: Well, because it wasn’t going to be spread around the country and understood. To me, the theater is magic. When it really works, it’s amazing. But [those negative reviews] stopped us from that growth process. There was one critic from the New York Times, Richard Eder, who said it was street theater on the wrong street.
I have to tell you, though, the people who were given the opportunity to see that play in New York, even after the critics panned it, always gave us a cheering standing ovation at the end. They burned the house down every single night. Even in L.A., that play was monumental. But that criticism hurt Luis badly, it hurt us all. I think if we’d gone through Arizona, Texas, Chicago, Miami before hitting New York, we would’ve been a powerhouse that would still be running today. It’s one of those stories that deserves to be revived over and over again.
The story of “Zoot Suit” is set in the 1940s, during a time of intense scrutiny and discrimination for Mexican Americans. How did the story resonate in the 1980s, and what do you think it has to tell us now?
EJO: People came from all over the world to watch the play, but Latinos kept coming back. Some of them had never been to a theater before in their lives, and they were bringing in family, friends to come and see it every weekend. It was a beautiful experience, one that was like giving a glass of water to somebody in the middle of the desert. They cherished us for giving them the opportunity. Now, we’re needed more today than we were even then. Today’s time is uglier than almost any time.
DA: It’s ugly, and it’s crass. We’ve had so long to try to figure out racism and get the American experiment back on track, and yet it just feels so depressing. Like when is the cycle going to end? At the same time, I hope that there’s a little bit of optimism in the film that the community can come together, and that we can find a way through this.
The documentary does a great job of showcasing the power of art. The performances from the Teatro de Campesinos allowed the farmworkers to really see themselves in a way that helped build a movement and made for a successful collective action. What do you hope this documentary can teach a new generation of Latinos today?
DA: For me, it’s to understand who you are, and to do what it takes to make it work here in America. When Luis spoke to me from that lectern, the thing that really got me going was that he said, “Whatever it is that you’re trying to do, whatever your project is, just stop doubting yourself and do it.” I remember thinking, “Oh my God. Maybe I can be a filmmaker. Maybe I could tell stories for a living.” So I hope that that’s clear in the film: that if you believe in yourself, you can fit into America, you can make a place for yourself.
But also, know that creation is an act of joy, and that the whole point of life is to find happiness and share it with other people. Despite all the heavy things we’ve talked about so far, I do want to point out the film is a joyful one of exploration. Luis has his moments when the world pushes back on him so hard, and it’s painful, but he just has so much love to give, and that’s the point of making art. I want people to walk away thinking that they can do it too.
England’s tallest single-drop waterfall is a popular attraction for those who love to explore the great outdoors – and it’s just as stunning as it is impressive
08:00, 21 Jan 2026Updated 08:20, 21 Jan 2026
The feature makes an appearance in an iconic movie scene (Image: DrewRawcliffe via Getty Images)
Yorkshire is a treasure trove of hidden gems, and this stunning waterfall is no exception, attracting visitors with its unique features that set it apart in the country.
Nestled within the Yorkshire Dales, behind the tranquil village of Hardraw, lies the renowned Hardraw Force. It holds the title of England’s highest single-drop waterfall, presenting a truly awe-inspiring spectacle. The water cascades from an impressive height of 100 feet, equivalent to 30 metres, maintaining a single unbroken drop throughout.
Visitors from far and wide can marvel at this natural wonder by strolling through a picturesque valley, even stepping behind the veil of tumbling water. But it’s not just its towering height that puts this waterfall on the map. Many will recognise its scenic backdrop from a well-known film.
Hardraw Force graces an iconic scene in Robin Hood: Prince of Thieves, the 1991 classic featuring Kevin Costner. In a memorable sequence, Maid Marian, portrayed by Mary Elizabeth Mastrantonio, observes Robin Hood bathing beneath this very waterfall.
The scene was shot from the surrounding gorge, which encircles the fall like an amphitheatre and forms part of the grounds of the historic Green Dragon Inn.
The site is under the stewardship of the same owner as the quaint pub, who has worked hard to restore the area to its natural splendour for visitors to appreciate.
The grounds span a whopping 15 acres, complete with a car park for visitors and a well-maintained Heritage Centre that serves as the gateway to the stunning water feature.
Entry is priced at £4 per person, with discounts on offer for families and senior citizens. Dogs are welcome too, provided they’re well-behaved, and the path has been deliberately gravelled to facilitate wheelchair access.
A recent guest at Hardraw Force shared their thoughts on TripAdvisor, saying: “Excellent place to visit, especially after rainfall. An easy walk and a harder one if you are fit. Dogs are welcome too. Go early if you can, and you may see a red squirrel.”
Another visitor shared: “The waterfall itself was spectacular. A lovely flow of water into the pool below, this provided a lovely picturesque setting for everyone to enjoy. Absolutely worth visiting for the beautiful scenery.”
Meanwhile, another guest wrote: “Visited the waterfall today, cold but had blue skies and sunshine, which made the waterfall even more spectacular. It’s privately owned and costs £4 p/p which goes to maintaining the falls and the gorgeous surrounding area.”
They added: “It has a small on-site cafe and toilets, which were very clean. The walks around the waterfall are easy to a little more challenging, we had stayed at the lovely Green Dragon Inn that backs straight onto the entrance for the waterfall.”
Radford Studio Center, the storied movie lot that gave Studio City its name, is in financial distress and is expected to be returned to lenders as declining film and television production racks the entertainment industry.
Formerly known as CBS Studio Center, the Los Angeles lot has been home to generations of landmark television shows including “Gunsmoke” and “Seinfeld.”
Hackman Capital Partners, one of the world’s largest independent studio operators, has defaulted on a $1.1-billion mortgage and investment bank Goldman is leading a takeover of the historic property. Bloomberg first reported on the news.
A street sign on the lot of the Radford Studio Center in Studio City.
(Gary Coronado / Los Angeles Times)
The move follows Hackman’s aggressive push in recent years to buy up studios to capitalize on anticipated growth, especially in the TV business. As of last year, the company had $10 billion in assets under management.
Founded by silent film comedy legend Mack Sennett in 1928, the lot became known as “Hit City” in the decades after World War II as popular TV shows such as “Leave It to Beaver,” “Gilligan’s Island,” “The Mary Tyler Moore Show,” “The Bob Newhart Show” and “Will & Grace” were made there.
Culver City-based Hackman Capital Partners and Square Mile Capital Management teamed up to buy the Radford Avenue property from ViacomCBS in 2021 with a winning bid of $1.85 billion after a competitive battle for the 55-acre studio beloved by the television industry.
At the time, the staggering price tag underscored the value — and scarcity — of TV soundstages in Los Angeles as content producers scrambled for space to shoot TV shows and movies to stock their streaming services. It was one of the largest ever real estate transactions for a TV studio complex in Los Angeles.
A photo of actors John Wayne, center, Max Terhune, left, and Ray Corrigan in the movie “Three Texas Steers,” filmed in 1939, hangs on a wall at Radford Studio Center.
(Gary Coronado / Los Angeles Times)
Since then, production has substantially declined. L.A. continues to battle the loss of production to other states and countries, as well as the continued effects on the industry of the pandemic and the 2023 dual writers’ and actors’ strikes. Cutbacks in spending at the major studios after a surge in streaming-fueled TV production have further damped film activity in Southern California.
Total film and television shoot days for 2025 dropped 16.1% compared with the previous year, according to a recent report. The production decline has left many in Hollywood without work for months or even years.
Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the Greater L.A. area. In 2024, the total was 23,480 shoot days.
“While the year-end numbers are disappointing, they are not unexpected,” Philip Sokoloski, spokesman for FilmLA, said in a statement. “Although our overall numbers remain low, there are dozens of incentivized projects that have yet to begin filming.”
Financial incentives to film in California are offered through the state’s revamped film and television tax credit program approved by state legislators and signed by Gov. Gavin Newsom last year. The new program now has a cap of $750 million, up from $330 million.
“We are continuing to work with the Radford lenders on a path forward for this asset,” Hackman Capital spokesman Nathan Miller said in a statement. “This is a challenging time for all suppliers and independent studio owners and operators in the U.S.”
Republic Avenue on the lot of Radford Studio Center in 2023.
(Gary Coronado / Los Angeles Times)
Miller added: “We have substantial capital behind us, hold 50% of our assets without debt, and remain geographically diverse, with 55% of our studios outside the U.S. This will help us to navigate through these troubled waters.”
Among its 19 properties are studios in England, Ireland, Scotland and Canada.
A sticking point in Radford’s financial challenges is MBS Group, which provides lighting and other production services for shooting locations and was acquired by Hackman Capital in 2019. In the last year, Bloomberg said, MBS broke away from Hackman while continuing to manage many of the firm’s properties, including Radford.
In a December letter to investors, Hackman said MBS had thwarted its efforts to restructure the loan, spurring its decision to return the property to lenders, Bloomberg said.
“MBS delivered a proposal requiring significant adverse changes to the Radford equipment rental agreement that would undermine the projected economics of the loan restructuring,” Hackman said in the letter.
Hackman is considered Hollywood’s largest landlord.
In 2019, Hackman Capital purchased CBS’ other sprawling complex in Los Angeles — the 25-acre Television City adjacent to the Original Farmers Market and the Grove — for $750 million.
Hackman Capital also owns the Manhattan Beach Studios Media Campus and the historic Culver Studios in Culver City, where “Gone With the Wind,” “Rebecca” and “E.T.” were filmed. Amazon Studios now operates from the site.
Times staff writer Samantha Masunaga contributed to this report.
Walt Disney Co.’s “Zootopia 2” is now the highest-grossing U.S. animated film of all time, the company said Sunday.
The animated sequel to 2016’s “Zootopia” raked in $1.7 billion in worldwide box office revenue as of Sunday. The movie edges out the previous record holder, “Inside Out 2.” The 2024 Disney and Pixar hit grossed $1.69 billion.
Disney Entertainment Co-Chairman Alan Bergman noted the film’s international appeal in a statement Sunday about the new record.
“This milestone belongs first and foremost to the fans around the world whose enthusiasm made it possible,” he said in the statement.
The film has earned the bulk of its money overseas, with an international box office total of $1.31 billion. In the U.S. and Canada, “Zootopia 2” has made $390 million.
The movie’s largest international haul has come from China, where “Zootopia 2” grossed $610 million thus far.
The first “Zootopia” was a surprise hit in China, where audiences connected with rabbit cop Judy Hopps’ storyline of moving from a small rural village to the big city, as well as the unconventional relationship between Judy and her partner Nick Wilde, a fox, Disney executives have said.
Disney then built on that popularity by opening a “Zootopia”-themed land in Shanghai Disneyland — the only such themed area in any Disney park.
But the warm response in China was not a given.
A decade ago, Hollywood blockbusters that got government approval could count on the China market to boost their international box office totals.
But since the COVID-19 pandemic, the recent geopolitical tensions between the U.S. and China and the growth of the local film industry, that kind of reception has been much more unreliable.
The last Disney film that was released in China and earned more than $100 million was 2024’s “Alien: Romulus.”
Wagner Moura won the Golden Globe for lead actor in a motion picture drama on Sunday night for the political thriller “The Secret Agent,” becoming the second Brazilian to take home a Globes acting prize, after Fernanda Torres’ win last year for “I’m Still Here.”
“ ‘The Secret Agent’ is a film about memory — or the lack of memory — and generational trauma,” Moura said in his acceptance speech. “I think if trauma can be passed along generations, values can too. So this is to the ones that are sticking with their values in difficult moments.”
The win marks a major milestone in a banner awards season for the 49-year-old Moura. In “The Secret Agent,” directed by Kleber Mendonça Filho, he plays Armando, a former professor forced into hiding while trying to protect his young son during Brazil’s military dictatorship of the 1970s. The role earned Moura the actor prize at last year’s Cannes Film Festival, making him the first Brazilian performer to win that honor.
For many American viewers, Moura is best known for his star-making turn as Colombian drug lord Pablo Escobar in Netflix’s “Narcos,” which ran from 2015 to 2017 and earned him a Golden Globe nomination in 2016. He has since been involved in a range of high-profile English-language projects, including the 2020 biographical drama “Sergio,” the 2022 animated sequel “Puss in Boots: The Last Wish,” in which he voiced the villainous Wolf, and Alex Garland’s 2024 dystopian thriller “Civil War,” playing a Reuters war correspondent.
“The Secret Agent,” which earlier in the evening earned the Globes award for non-English language film, marked a homecoming for Moura after more than a decade of not starring in a Brazilian production, following years spent working abroad and navigating political turmoil in his home country as well as pandemic disruptions.
Though he failed to score a nomination from the Screen Actors Guild earlier this month, Moura now heads strongly into Oscar nominations, which will be announced Jan. 22. “The Secret Agent” is Brazil’s official submission for international feature and has been one of the most honored films of the season, keeping Moura firmly in the awards conversation. Last month, he became the first Latino performer to win best actor from the New York Film Critics Circle.
Even as his career has been shaped by politically charged projects, Moura has been careful not to let that define him. “I don’t want to be the Che Guevara of film,” he told The Times last month. “I gravitate towards things that are political, but I like being an actor more than anything else.”
After the Flood features an impressive cast of familiar faces from hit shows including Peaky Blinders, The Crown and Bridgerton – here’s your guide to the ITV drama’s stars
After the Flood features an impressive cast of familiar faces(Image: ITV)
After the Flood is back for series two and it boasts a star-studded cast that fans will recognise from popular shows like Peaky Blinders and Bridgerton.
The first series saw an unidentified man found dead in an underground car park after a devastating flood with PC Jo Marshall, played by Sophie Rundle, commissioned to investigate the truth of the man’s death with devastating and shocking revelations.
The second series of After the Flood follows newly promoted detective Jo as she embarks on a perplexing murder investigation. As Waterside teeters on the brink of disaster due to the looming threat of moorland fires and potential flooding, a body is found under strange circumstances.
Jo’s pursuit of the killer puts her at odds with the town’s powerful and influential figures, leading her into an investigation that becomes deeply personal.
To uncover the corruption that has plagued the town’s police force – and her own family – for years, she’ll need to conduct her investigation covertly.
But who are the new and returning familiar faces gracing series two? Let’s take a look…
Sophie Rundle – Jo Marshall
Sophie, 37, takes centre stage in After the Flood as Jo Marshall. Viewers may recognise her from a host of TV programmes such as ITV’s miniseries Titanic, Merlin, The Bletchley Circle, guest appearances in Call the Midwife, Happy Valley, and Brief Encounters.
Her most notable role came in 2013 when she landed the part of Ada Shelby in BBC’s historical drama series Peaky Blinders, where she starred for all six series until 2022. In the show, Sophie shared the screen with Cillian Murphy, who played her character’s brother and notorious gang leader, Tommy Shelby.
Sophie has also graced Sky One’s Jamestown as Alice Kett and a year later, she portrayed Vicky Budd in BBC’s thriller Bodyguard, sharing the screen with Keeley Hawes and Richard Madden. Fans of Gentleman Jack will recall Sophie for her role as Ann Walker, while viewers of the 2020 surrogacy drama series The Nest will recognise her as Emily.
Jill Halfpenny – DS Sam Bradley
Jill Halfpenny, 50, is joining After the Flood for series two as DS Sam Bradley. Jill first soared to fame playing Nicola Dobson in Byker Grove in 1989. Jill later gained roles in Coronation Street as Rebecca Hopkins in 1999 and later EastEnders as Kate Mitchell in 2002.
Other roles include Izzie Redpath in Waterloo Road, Emma in Mount Pleasant, Fiona in Wild at Heart, Diane Manning in In The Club, Julie Winshaw in Three Girls, Jennifer in Liar, Jodie Walsh in The Drowning, Roisin in Everything I Know About Love, Doreen Hill in The Long Shadow, Emma Bartlett in The Feud and Eve Riser in Girl Taken.
Nicholas Gleaves – DS Phil Mackie
Nicholas Gleaves, 57, is known for his role as Sergeant Phil Mackie, Jo’s boss and surrogate father figure in the series but he’s hiding a dark secret. Nick, as he’s often called, has certainly carved out a successful career since his TV debut in 1993 as Carl in Boon.
Since then, he’s amassed an impressive list of credits, having starred in Casualty, The Bill, Faith and Soldier, Soldier. In 1997, he landed the role of PC Rudy Whiteside in Wokenwell before securing the role of Rick Powell in the hit series Playing the Field, which also featured his wife Lesley Sharp.
Other TV roles include Eddie in Being April, Duncan in The Queen’s Nose, and Ray Fairburn in Conviction. He’s also known for his performances as DS Gary Tate in City Lights, Tom Bedford in The Chase, Oliver in Murderland, James Whitaker in Survivors, and Richard Whitman in Waterloo Road.
In 2011, Nick took on the role of DS Andy Roper in Scott and Bailey, where he starred alongside his real-life wife once again. He went on to secure minor roles in Cold Feet, Death in Paradise, The Split, and Midsomer Murders before landing a part in Bodyguard as Roger Penhaligon.
Soap enthusiasts will remember the actor from his stint on Coronation Street, where he portrayed Duncan Radfield from 2018 to 2019. He’s also ventured into film, with roles in Spider-Man: Far From Home and a portrayal of John Birt, the former director general of the BBC, in Netflix’s The Crown in 2022.
Philip Glenister – Jack Radcliffe
Audiences will recognise Philip Glenister, 62, who takes on the role of property developer Jack Radcliffe, from his successful television career. He is most renowned for his portrayal of DCI Gene Hunt in the BBC’s Life on Mars from 2006 to 2007, and its sequel Ashes to Ashes from 2008 to 2010.
Beyond these popular TV series, Philip has landed roles in David Walliams‘ sitcom Big School in 2013 as Trevor Gunn, in the horror series Outcast as Reverend Anderson, and in Belgravia playing the lead role of James Trenchard. Most recently, he assumed the lead role of DCI Paul Bethell in Steeltown Murders.
Some might also recall his film roles, including his part in 2003’s Calendar Girls as Lawrence, as Squire in Kingdom of Heaven in 2005, or as Charles Forestier in 2012’s Bel Ami.
Lorraine Ashbourne – Molly Marshall
Another standout cast member is Lorraine Ashbourne, 65, who portrays Jo’s worried mother Molly. Her acting career spans over three decades, with one of her most beloved roles being Mrs Varley – the housekeeper for the Featherington family – in Netflix’s Bridgerton.
The actress has also portrayed Barbara Castle in The Crown, DI Tessa Nixon in Unforgotten and Lace Polly in Jericho. Her impressive television portfolio includes roles in Playing the Field, Clocking Off, The Syndicate, Cheat, Jericho, and Vera.
In 2022, she brought to life the character of Daphne Sparrow in the popular TV series Sherwood. Lorraine also played Karen in I Hate Suzie, Joan in the comedy Alma’s Not Normal and Michelle Lafferty in Silent Witness.
Off-screen, Lorraine is part of a renowned family, being married to actor and filmmaker Andy Serkis, famed for voicing Gollum in The Lord of the Rings films. Their son Louis Ashbourne Serkis is carving out his own acting path, having appeared in 2020’s The Queen’s Gambit as Georgi Girev and alongside Sheridan Smith in the 2022 drama No Return.
Faye McKeever – Kelly
Actress Faye McKeever, 40, is known for her role as Kelly, but recently she was seen as Tanya Helsby in BBC’s prison drama Time. One of her most memorable roles was Linda in the comedy Trollied, though she’s graced our screens in numerous gripping dramas.
She featured in the Shannon Matthews-inspired BBC drama The Moorside in 2017 as Petra Jamieson, and in ITV’s chilling miniseries Des in 2020 as Linda Jay. In 2022, Faye took on the role of Jodie Sweeney in The Responder and a year later starred in BBC’s The Reckoning as Alison – which is a factual drama examining the crimes of Jimmy Savile.
Matt Stokoe – Pat Holman
Matt Stokoe, aged 37, portrays Jo’s on-screen husband Pat Holman, and off-screen, the couple – Matt and Sophie – are engaged and proud parents to two children who are four and one. Matt first gained recognition for his role as Alex in Channel 4’s Misfits, which paved the way for roles in The Village and the third series of The Musketeers.
In 2018, he starred as Luke in the TV series Bodyguard, alongside his future wife Sophie who played Vicky Budd in the BBC thriller. The couple also shared screen time in Sky One’s Jamestown and the film Rose, penned by Matt himself.
Matt took on the role of Gawain in Netflix’s original series Cursed and the contentious character Raoul Moat in The Hunt for Raoul Moat. He’s also appeared in films such as Hollow and Outlaw King, and lent his voice to several Final Fantasy video games.
Jacqueline Boatswain – Sarah Mackie
Jacqueline Boatswain brings to life local politician Sarah Mackie in After the Flood, boasting an impressive resume in both television and film. Audiences may recognise Jacqueline from her roles as Mima Blodwen in Carnival Row, Victoria in Wolfblood, and Patreesha St Rose in Shameless.
Fans of Grange Hill will also recall her memorable portrayal of headmistress Mrs Bassinger from 2003 to 2006 in the popular BBC teen drama. She later joined the Hollyoaks cast as Simone Loveday, a role she held from 2015 until 2019.
More recently, Jacqueline graced an episode of The Good Ship Murder and shared the screen with After The Flood co-star Sophie Rundle in The Diplomat.
Alun Armstrong – Alan Benson
Alun Armstrong is joining After the Flood series two as Alan Benson. Alun, 79, is known for roles such as Cardinal Jinette in Van Helsing, Mornay in Braveheart, Baltus Hafez in The Mummy Returns, and the High Constable from Sleepy Hollow.
Other roles include Gary Jackson in Sherwood, John Southouse in Garrow’s Law and Brian Lane in New Tricks – to name a few.
Ian Puleston-Davies – Tony Rower
Ian Puleston-Davies is joining After the Flood series two as Tony Rower. Ian, 65, is best known for playing Owen Armstrong in Coronation Street from 2010 to 2015.
Other roles include Terry Williams in Hollyoaks from 1995 to 1996, Jimmy in EastEnders in 1998, Mick Glover in The Bill, Phil Wiley in I’m Alan Partridge, Charlie Fisher in Waterloo Road, Peter Cullen in Marcella, Arthur Pennyworth in Pennyworth, Brian in The Teacher, Supt. Ross Beardsmore in D.I. Ray, Terry McGregor in The Bay and Eric in The Responder.
After the Flood returns on Sunday, 18 January, airing weekly on Sundays and Mondays on ITV. All episodes are available on ITVX.
For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
The actors, directors and producers guilds have weighed in with their picks for the best of 2025, though, as always, their slates reflect an American sensibility at odds with the motion picture academy’s global membership. “F1” as one of the year’s best movies? That’s a whole lotta love, PGA. Will it translate to an Oscar nom?
Falling out of the rankings since Nov. 3: “Avatar: Fire and Ash,” “Wicked: For Good”
10. “The Secret Agent” (Unranked)
This last slot is truly anyone’s guess. “F1”? It’s going to pick up Oscar nods for film editing, sound and visual effects. Maybe that below-the-line love catapults it. “Weapons”? It earned a PGA slot too, even with writer-director Zach Cregger off filming “Resident Evil,” removing him from the awards circuit. “Blue Moon”? “It never entered my mind,” but maybe. I’m going to stick to my belief that the academy’s overseas contingent will come through in a historic fashion this year, nominating three non-English language films, including Kleber Mendonça Filho’s resonant drama.
9. “It Was Just an Accident” (7)
Here’s the second international entry. Jafar Panahi’s Palme d’Or-winning thriller possesses a withering critique of the cruelty and corruption of an authoritarian regime, combined with a blistering sense of humor. Panahi didn’t receive a DGA nom, but I still think he’ll earn a nomination from the academy’s directors branch, putting this movie on solid ground for best picture.
8. “Train Dreams” (Unranked)
Clint Bentley’s haunting adaptation of the Denis Johnson novella was among the producers guild’s 10 best picture nominees, following similar success with the National Board of Review, the American Film Institute and the Film Independent Spirit Awards. It entered the season behind Netflix’s high-profile contenders — Noah Baumbach’s “Jay Kelly,” Kathryn Bigelow’s “A House of Dynamite” and Guillermo del Toro’s “Frankenstein” — and became the year’s slow-burn, word-of-mouth favorite. What a terrific story.
7. “Bugonia” (9)
(Atsushi Nishijima/Focus Features)
On the first set of power rankings after the September fall festivals, I put “Bugonia” at No. 10, almost as a placeholder. “Something will knock it out,” was my thinking. I moved it up to No. 9 last time around and now, from all appearances, it looks like Yorgos Lanthimos (“Poor Things,” “The Favourite”) will have a third best picture nominee with this darkly funny master class in misanthropy.
6. “Sentimental Value” (4)
Joachim Trier’s family drama felt like the kind of beautifully made, down-the-middle movie for grownups that would go far this awards season. It even had a dash of film industry satire, poking fun at Netflix, the monolith on everyone’s minds these days. And it has done fine. But the fact that it couldn’t land a single nomination with SAG-AFTRA voters, not even for Stellan Skarsgård’s charming turn as the irascible family patriarch, tells us to temper expectations.
5. “Frankenstein” (8)
Clearly people like Guillermo del Toro’s monster movie a lot more than I do. Part of it is that people just dig Del Toro, a movie fanboy who goes out of his way to boost film culture. His directors guild nomination portends similar recognition at the Oscars, and the film itself could wind up with as many as 10 nominations. Some of these will be clearly in the spirit of rewarding work that is the “most” and not the “best,” an academy tradition that will never go away.
4. “Hamnet” (2)
(Agata Grzybowska/Focus Features)
So many tears. So many film festival audience awards. And yet Chloé Zhao’s tender drama about love and loss and the cathartic power of art seems destined to win just one Oscar — lead actress Jessie Buckley.
3. “Marty Supreme” (5)
It’s done well at the box office. Its director Josh Safdie scored a nod with his branch. And it did well with SAG-AFTRA voters, earning noms for cast and actors Timothée Chalamet and Odessa A’zion. Fire up the blimp and get Chalamet that Oscar.
2. “Sinners” (3)
Three movies hold the record for most Oscar nominations in a single year, 14 — “La La Land,” “Titanic” and “All About Eve.” Ryan Coogler’s genre-defying “Sinners” appears poised to break that record, notching 15. And that’s not even really wish-casting any categories. Follow with me and take off your socks and shoes if you need help counting: Picture, director, lead actor Michael B. Jordan, supporting actress Wunmi Mosaku, Coogler’s original screenplay, casting, cinematography, costume design, film editing, makeup and hair, production design, score, the original song “I Lied to You,” sound and visual effects. You could also make a case for Miles Caton, nominated for an Actor Award for his turn as young blues musician Sammie and no one would give you any side-eye.
So why isn’t “Sinners” No. 1 on this list? Because “One Battle After Another” exists. What a year for Warner Bros. (Makes that “Sentimental Value” story line all the more cutting.)
1. “One Battle After Another” (1)
Paul Thomas Anderson’s electrifying epic seems set for a pretty good Oscar nominations morning too, probably netting a baker’s dozen. It also set a Screen Actors Guild Awards (a.k.a. The Actors) record, earning seven nominations. It’s in great shape, even if that “Sinners” haul indicates that this race might be a close one.
If you’re looking for a great watch in the cinema, this could be the film for you.
Going to the cinema can still be an enjoyable experience(Image: Roger Mechan via Getty Images)
My mum, being a Sky Cinema member, receives two complimentary cinema tickets each month – and she alternates between taking my sister and me to catch the latest films. It’s a cute little tradition, made all the more convenient by the fact that her local Vue cinema (the only chain where the tickets are valid) is just a five-minute drive away.
This time around, The Housemaid was on the cards; having only seen the trailer and a few TikTok videos of women shielding their boyfriends’ eyes during certain scenes, I was bracing myself for an uncomfortable viewing experience. However, I found the film to be fast-paced, mildly risqué for about five minutes, and packed with unexpected plot twists.
The Housemaid initially focuses on Millie (Sydney Sweeney), an ex-convict on parole who is desperately in need of employment. Soon enough, she finds herself sitting across from Mrs Nina Winchester (Amanda Seyfried), who just so happens to be looking for a live-in maid.
The offer seems too good to pass up, particularly as Millie has been sleeping rough in her car and washing in public restrooms.
Once hired, Millie’s quickly introduced to Mrs Winchester’s handsome husband, Andrew (portrayed by Brandon Sklenar), who initially appears to be a devoted family man dealing with an unstable wife.
In a job she can’t afford to walk away from, Millie finds herself biting her tongue as Mrs Winchester’s demands become increasingly chaotic.
Witness to his wife’s tantrums, Andrew begins to feel sorry for Millie and tries to comfort her, which predictably turns into an affair – but that’s when the predictability stops.
Unexpected plot developments arrive one after another, maintaining the film’s brisk momentum; before long, Mrs Winchester’s viewpoint emerges, and the audience are shown what really drove her to madness.
The two-hour runtime flies by remarkably quickly, making for genuinely compelling viewing. Plus, Amanda Seyfried delivers an outstanding performance as an emotionally fragile mother justifiably worried about her wandering husband.
Notably, Sydney Sweeney excels in her part – creating a character audiences find themselves supporting as she seeks retribution against the charismatic unfaithful spouse, convincingly brought to life by Brandon Sklenar.
What other people are saying
The production has earned a remarkable 92% popcornmeter score on movie review platform Rotten Tomatoes, with viewers hailing it as “one of the best thrillers” they’ve experienced – a sentiment I wholeheartedly share.
One reviewer stated: “Honestly, one of the best thrillers I have watched. Absolutely nerve-racking and exciting, would definitely watch again.” Someone else said: “Phenomenal. Much better than I expected. Definitely worth the watch.”
Provided you don’t scrutinise the conclusion too closely once everything appears resolved, this gripping thriller offers plenty to appreciate.
What makes a perfect L.A. movie? Some kind of alchemy of curdled glamour, palm trees, ocean spray, conspiracies big and small — and more than a pinch of vanity. From hard-bitten ’40s noirs and vertiginous Hollywood rises (and falls) to the real-life poetry of neighborhood dreamers and nighttime drivers, Los Angeles is always ready for its close-up. The city has long occupied a cinematic place, straddling its gauzy past and a dark, rainy future. Go west, they said, and we came here, a site of fantasy, industry, possibility and obsession.
We asked 17 film writers — staffers, freelancers, critics and reporters — to rank their top 20 movies set in L.A. (not as easy as you think) using a balloting process that blended their painstaking choices to develop this list. Angelenos live among the actual locations in these films; we’ve noted those specific details in each write-up, so you can go out exploring. Of course we didn’t have room for every title. Let us know your favorites, the ones you carry with you. — Joshua Rothkopf, film editor
Now in their early 70s, Jean-Pierre and Luc Dardenne have spent their filmmaking careers worrying about the fate of those much younger and less fortunate. Starting with the Belgian brothers’ 1996 breakthrough “La Promesse,” about a teenager learning to stand up to his cruel father, their body of work is unmatched in its depiction of young people struggling in the face of poverty or family neglect. Although perhaps not as vaunted now as they were during their stellar run in the late 1990s and early 2000s — when the spare dramas “Rosetta” and “L’Enfant” both won the Palme d’Or at Cannes — the Dardennes’ clear-eyed but compassionate portraits remain unique items to be treasured.
Their latest, “Young Mothers,” isn’t one of their greatest, but at this point, the brothers largely are competing against their own high standards. And they continue to experiment with their well-established narrative approach, here focusing on an ensemble rather than their usual emphasis on a troubled central figure. But as always, these writers-directors present an unvarnished look at life on the margins, following a group of adolescent mothers, some of them single. The Dardennes may be getting older, but their concern for society’s most fragile hasn’t receded with age.
The film centers around a shelter in Liège, the Dardennes’ hometown, as their handheld camera observes five teen moms. The characters may live together, but their situations are far from similar. One of the women, Perla (Lucie Laruelle), had planned on getting an abortion, but because she became convinced that her boyfriend Robin (Gunter Duret) loved her, she decided the keep the child. Now that she’s caring for the infant, however, he’s itching to bolt. Julie (Elsa Houben) wants to beat her drug addiction before she can feel secure in her relationship with her baby and her partner Dylan (Jef Jacobs), who had his own battles with substance abuse. And then there’s the pregnant Jessica (Babette Verbeek), determined to track down the woman who gave her up for adoption, seeking some understanding as to why, to her mind, she was abandoned.
Starting out as documentarians, the Dardenne brothers have long fashioned their social-realist narratives as stripped-down affairs, eschewing music scores and shooting the scenes in long takes with a minimum of fuss. But with “Young Mothers,” the filmmakers pare back the desperate stakes that often pervade their movies. (Sometimes in the past, a nerve-racking chase sequence would sneak its way into the script.) In their place is a more reflective, though no less engaged tone as these characters, and others, seek financial and emotional stability.
The Dardennes are masters of making ordinary lives momentous, not by investing them with inflated significance but, rather, by detailing how wrenching everyday existence feels when you’re fighting to survive, especially when operating outside the law. The women of “Young Mothers” pursue objectives that don’t necessarily lend themselves to high tension. And yet their goals — getting clean, finding a couple to adopt a newborn — are just as fraught.
Perhaps inevitably, this ensemble piece works best in its cumulative impact. With only limited time for each storyline, “Young Mothers” surveys a cross-section of ills haunting these mothers. Some problems are societal — lack of money or positive role models, the easy access to drugs — while others are endemic to the women’s age, at which insecurity and immaturity can be crippling. The protagonists tend to blur a bit, their collective hopes and dreams proving more compelling than any specific thread.
Which is not to say the performances are undistinguished. In her first significant film role, Laruelle sharply conveys Perla’s fragile mental state as she gradually accepts that her boyfriend has ghosted her. Meanwhile, Verbeek essays a familiar Dardennes type — the defiantly unsympathetic character in peril — as Jessica stubbornly forces her way into her mystery mom’s orbit, demanding answers she thinks might give her closure. It’s a grippingly blunt portrayal that Verbeek slyly undercuts by hinting at the vulnerability guiding her dogged quest. (When Jessica finally hears her mother’s explanation, it’s delivered with an offhandedness that’s all the more cutting.)
Despite their clear affection for these women, the Dardenne brothers never sugarcoat their characters’ unenviable circumstance or latch onto phony bromides to alleviate our anxiety. And yet “Young Mothers” contains its share of sweetness and light. Beyond celebrating resilience, the film also pays tribute to the social services Belgium provides for at-risk mothers, offering a safety net and sense of community for people with nowhere else to turn. You come to care about the flawed but painfully real protagonists in a Dardennes film, nervous about what will happen to them after the credits roll. In “Young Mothers,” that concern intensifies because it’s twofold, both for the mothers and for the next generation they’re bringing into this uncertain world.
Lucasfilm President Kathleen Kennedy will step down this week, marking a major — though expected — changing of the guard at the Walt Disney Co.-owned “Star Wars” studio.
In her place, current Lucasfilm Chief Creative Officer Dave Filoni has been named president and will retain his creative title and Lucasfilm Business President and General Manager Lynwen Brennan has been named co-president, Disney said Thursday. The pair will co-lead the San Francisco-based studio and will report to Disney Entertainment Co-Chairman Alan Bergman.
The move comes amid widespread speculation about Kennedy’s future. Handpicked in 2012 by “Star Wars” and “Indiana Jones” creator George Lucas to helm the company he founded, Kennedy, 72, oversaw the expansion of the “Star Wars” franchise into a new trilogy, two spin-off movies, as well as several TV shows, including “The Mandalorian” and “Andor.”
But the expansion, and her tenure, were not without setbacks.
2018’s “Solo: A Star Wars Story” grossed just $392.9 million at the box office, after a fraught production in which the studio replaced the directors during shooting. Several “Star Wars” projects have been announced over the years with big names attached, only to be delayed or dropped, including a planned trilogy with “Game of Thrones” showrunners David Benioff and D.B. Weiss.
Kennedy told The Times in 2019 that perceptions of director churn at Lucasfilm were overblown.
“Nobody in our business develops something with one person, that’s it, and everything goes perfectly,” she said at the time. “That’s a fairly common part of the process. We fall under incredible scrutiny because it’s ‘Star Wars.’ Because of the quality I’m striving for, I’m reaching out to top talent, and vice versa.”
Kennedy also had to weather scrutiny from die-hard fans about the new direction of the franchise. Nevertheless, the newest “Star Wars” trilogy grossed a collective $4.3 billion in worldwide box office revenue, with spinoff “Rogue One: A Star Wars Story” hauling in more than $1 billion globally and leading to the popular series “Andor.”
She will continue as producer of Lucasfilm’s next two theatrical films — May’s “Star Wars: The Mandalorian and Grogu” and “Star Wars: Starfighter,” which is being helmed by Shawn Levy and set for release in 2027.
“The Mandalorian and Grogu” will mark the first “Star Wars” theatrical film since 2019’s “Star Wars: Episode IX — The Rise of Skywalker.” During production for that movie, Kennedy asked Disney Chief Executive Bob Iger if the company could take a pause on “Star Wars” films to give them more time develop new storylines. At that point, the company had released at least one “Star Wars” movie a year since 2015, while Lucas himself had previously waited at least three years between films. (Since 2019, the studio did release “Indiana Jones and the Dial of Destiny,” as well as several “Star Wars” series and streaming films.)
Both Filoni and Brennan step into their new roles as Lucasfilm veterans.
Filoni, who frequently wears a cowboy hat in public and is thus widely recognizable to fans, was chosen by Lucas in 2005 to build the studio’s animation business. He created Lucasfilm’s first series, “Star Wars: The Clone Wars” as well as “Star Wars Rebels,” was the executive producer on shows including “The Mandalorian” and “Ahsoka” and is producer and writer of the “The Mandalorian and Grogu” film.
Brennan joined Lucasfilm visual effects studio Industrial Light & Magic in 1999 and currently leads business strategy, franchise and production operations, as well as ILM’s expansion worldwide.
It was another tough year for film and television production in Los Angeles as the total shoot days for 2025 dropped 16.1% compared to the previous year, according to a new report.
Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the greater L.A. area. In 2024, that total was 23,480 shoot days.
The drop in filming comes as L.A. continues to battle runaway production to other states and countries, as well as the continued effects on the industry of the pandemic and the 2023 dual writers’ and actors’ strikes, as well as cutbacks in spending at studios.
The production decline has left many in Hollywood without work for months or even years, leading to a widespread lobbying effort last year to bolster the state’s film and TV production incentive program. An increased annual cap, as well as expansion of eligibility criteria, was passed by lawmakers last year, buoying the industry’s hopes that filming could return to the Golden State.
The new inclusion of 20-minute shows to the qualification categories could also lead to more production in L.A., particularly for TV comedies, FilmLA said.
Several of the projects awarded production incentives have relocated from other states or countries, including the action series “Mr. and Mrs. Smith,” which returned to California from New York and Italy.
But it will take time for those awarded projects to show up in filming data, said Philip Sokoloski, FilmLA vice president of integrated communications.
“While the year-end numbers are disappointing, they are not unexpected,” he said in a statement. “Although our overall numbers remain low, there are dozens of incentivized projects that have yet to begin filming.”
For the fourth quarter, on-location production totaled 4,625 shoot days, down 21.1% compared to the same time period in 2024.
The steepest filming declines that quarter were in commercials, which saw a decline of 23.2% to 586 days compared to 2024. Television shoot days dropped 21.9% to 1,247 days. Feature film shoot days were down 19.7% to 473 from the fourth quarter in 2024, and FilmLA’s “other” category, which includes student films, documentaries and music videos, was down 20.4% to 2,319 days.
Within the TV category, filming for pilots saw a 62.5% decline that quarter compared to 2024 with 9 days, while dramas fell 36.4% to 336 days. Reality TV shoot days were down 9.8% to 698 days and TV comedy filming was down 6% to 110 days for the fourth quarter.
Not long after documentary filmmaker Rachel Mason began looking into the gruesome 1990 cold-case murder of gay porn actor Bill Newton in Hollywood, Newton’s former boyfriend, Marc Rabins, showed her a gay newspaper from the time, full of obituaries.
There was Newton’s young, handsome face, but also the faces of other young men, all of whom had died of AIDS.
“AIDS, AIDS, AIDS, murder,” Mason said in a recent interview with The Times. “I was so disgusted. Like, no, you can’t have a murder in this sea of people already dying — that’s not right, not fair. We can’t let this go.”
And she didn’t.
Instead, Mason helped convene a team of amateur sleuths to doggedly investigate the case, and in a stunning twist perfect for the true-crime documentary she was filming all along the way, helped lead Los Angeles police detectives to a new suspect — who confessed to killing Newton, who went by “Billy London” in films, before his head and feet were found in a dumpster.
On Wednesday, organizers of the SXSW Film and TV Festival announced that Mason’s documentary — titled “My Brother’s Killer” and featuring a chilling on-camera interview with the confessed killer — will world premiere at SXSW in March.
“The unsolved murder of Billy London, a gay adult film performer brutally killed in West Hollywood, was an urban legend for 33 years. A documentary intended to honor his life took an unexpected turn when members of the community joined forces to uncover overlooked clues, and seek a resolution to the mystery of who killed him,” the festival announcement teased.
“Drawing on a rare trove of VHS and personal footage,” the announcement added, “the film reveals a chilling overlap between the victim and some of the suspects who were captured on camera in films made in the narrow window of Billy’s death.”
Before then, Newton’s story had only really been told in smaller gay publications, Mason said. Now, it’s being featured at a “major, mainstream festival” at a time when LGBTQ+ rights are under attack across the country, which is “a big deal.”
“The larger picture of this film is, if anything, a point of optimism, you know? A beacon of hope in some dark times,” she said. “A community solving a murder!”
A killer film
Mason is known in part for a previous Netflix documentary she made called “Circus of Books,” about the adult bookstore on Santa Monica Boulevard where her parents spent years selling gay porn and LGBTQ+ literature.
That film was in part an ode to West Hollywood, and so is “My Brother’s Killer,” which talks about Los Angeles’ gayborhood with both reverence and a dose of reality — acknowledging its role as a safe haven for gay people facing discrimination and its seedier side as a drug-heavy party scene in decades past.
Rachel Mason in 2023 in Hollywood.
(Genaro Molina / Los Angeles Times)
The film captures Newton’s struggles with that scene, including with methamphetamine, but also his sweet side, featuring interviews with family and friends who recalled a kind but unsettled 25-year-old who’d faced rejection at home in Wisconsin and run away as a teen to find acceptance. It also captures what the gay porn industry was like in West Hollywood as AIDS ravaged and stigmatized the community.
The film introduces various members of Mason’s investigative squad, including Clark Williams, a stay-at-home dad with a background in social work who also hailed from Wisconsin. Williams developed the lead that convinced LAPD detectives to head to an Oklahoma penitentiary in search of answers from their new suspect, DarraLynn Madden.
And it is with the introduction of Madden — a former gay porn actor and skinhead in Hollywood and now a transgender inmate serving a life sentence for killing another gay man years after Newton’s murder — that the film really hits its stride.
First, lead detective John Lamberti discusses securing a confession from her.
“We initially just said that we were there to talk about an old case from L.A., and it was Madden who actually brought up Billy first, and said, ‘Oh well yeah, and there was this one case where somebody’s head and feet got found in a dumpster,’” Lamberti says in the film. “And I’m just sitting there trying to keep a poker face: ‘Oh, OK, tell me more.’”
“The fact that I walked out of there with a confession was just mind-blowing,” he says.
Then Madden recounts in harrowing detail the killing in an on-camera interview Mason arranged after striking up a written correspondence with her.
Bill Newton, a.k.a. Billy London, was a Wisconsin transplant to L.A. and gay porn actor whose head and feet were found in a Hollywood dumpster in 1990.
(Marc Rabins)
Madden tells Mason that she and some skinhead friends saw Newton “in a place us skins frequented to hunt and to perform acts of violence,” and that she “laid the plan down to get out, put my arm around him and let him know this is what we’re gonna do — or else. We’re going to walk to this car and we’re just going to take a ride.”
Madden describes the group punching, kicking and elbowing Newton — “He was kind of like a prize pinata at the time. I know that sounds horrible” — and taunting him for being gay and high. She then describes strangling him with a cord, and deciding to cut up his body.
“The only thing we could think of to get out of the apartment as clandestine as we possibly could was to dismember Billy, which was not an easy task,” Madden says.
Full circle for sleuths
Mason’s film — which she made independently with editor and producer Dion Labriola — gives substantial time to her fellow sleuths, including Williams and Christopher Rice and Eric Shaw Quinn, who have pored over the case on their podcast “The Dinner Party Show.”
After watching Mason’s interview with Madden, Rice says in the film, “I always harbored a suspicion that maybe it was a false confession, but that’s not a false confession.”
Rice also contemplates Madden’s own troubled upbringing, her struggling in a world where both gay and transgender people face tremendous discrimination, and what he sees as Madden projecting her own self-loathing onto Newton.
“Yes, the queer community has villains, we have people who are seeking to oppress us,” Rice says in the film. “But if we indulge our own self-loathing, it can go down a road as dark and twisted as this.”
Rabins, Newton’s boyfriend who police once suspected of being the killer, says in the film that hearing Madden’s confession marked a turning point in his mourning process: “Up until that moment, I always felt Bill’s presence around me. And after that, I feel like he’s flying free.”
Prosecutors declined to bring charges against Madden, citing a lack of evidence beyond the confession and Madden already being behind bars for life in Oklahoma. Madden could not be reached for comment.
Williams has since worked on a dozen other cold-case homicides across the country and helped prosecutors build a case against a new suspect in a 1991 murder in Michigan. That suspect is now headed to trial for murder.
Rachel Mason with Clark Williams in 2023, shortly after the LAPD announced they were closing the investigation into Billy Newton’s murder after securing a confession.
(Genaro Molina / Los Angeles Times)
Williams said he was able to crack Newton’s killing by completely immersing himself in Newton’s life, and that Newton really came alive for him through that process. “Billy became a person to me that I knew and loved,” he said.
Because of that, he is a little apprehensive about Madden appearing in Mason’s film, he said.
“I understand why she’s a cinematic figure, but I don’t like DarraLynn Madden,” He said. “In fact, I loathe DarraLynn Madden.”
That said, Williams said he trusts Mason to do the story justice, and is excited to see the film.
“I’ve always believed that Billy Newton reflects a whole generation — my generation — of gay men who came of age in the 1980s and 90s,” Williams said. “I’m really happy that that story gets to be told.”
Asad Ayaz, the Disney marketing chief behind creative campaigns for Disneyland Resort’s 70th anniversary and films like “Zootopia 2” and the live-action adaptation of “Lilo & Stitch,” has been named chief marketing and brand officer for Walt Disney Co., the entertainment giant said Wednesday.
The 21-year veteran most recently served dual roles as the company’s first chief brand officer as well as president of marketing for Walt Disney Studios.
Ayaz will now lead a new marketing and brand organization within the Burbank media and entertainment company. He reports to Disney Chief Executive Bob Iger, as well as the heads of Disney’s film and TV studios, theme parks segment and ESPN for those sectors’ respective marketing efforts.
“As our businesses have evolved, it’s clear that we need a company-wide role that ensures brand consistency and allows consumers today to seamlessly interact with our wonderful products and experiences,” Iger said in a statement Wednesday. “The Chief Marketing and Brand Officer role is critical for this moment, and Asad is the perfect fit.”
In his new role, Ayaz will lead the company’s global marketing efforts, including social and digital strategy, overseeing corporate partnerships and franchise priorities, Disney said.
Ayaz previously worked on brand campaigns commemorating Disney’s 100th anniversary, global expansion of Disney’s D23 fan club and led marketing for Disney+, including shows such as “The Mandalorian,” Marvel Studios’ “WandaVision” and the launch of Taylor Swift’s “The End of an Era” on the streaming platform.
Disneyland’s Star Wars: Galaxy’s Edge is turning back the clock.
In a shift from its original ambitions, the land will no longer be primarily set in the time period of the recent “Star Wars” sequels. That means modern villain Kylo Ren will be out, at least as a walk-around character, while so-called “classic” characters such as Darth Vader, Luke Skywalker, Han Solo and Princess Leia Organa will make their way into the fictional galactic town of Black Spire Outpost.
The changes, for now, are specific to Disneyland and are not currently planned to come to Walt Disney World’s version of the land, according to Disney. They also mark a significant tweak from the intent of the land, which was designed as an active, play-focused area that broke free from traditional theme park trappings — character meet and greets, passive rides and Mickey-shaped balloons. Instead of music, guests heard radio broadcasts and chatter, as the goal was to make Black Spire Outpost feel rugged and lived-in.
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It was to be a place of living theater, where events unfolded in real time. That tone will now shift, as while the in-land radio station won’t go away, Disneyland will soon broadcast composer John Williams’ “Star Wars” orchestrations throughout the area. The changes are set to fully take effect April 29, although Disney has stated some tweaks may roll out earlier.
The character of Rey, introduced in “Star Wars: The Force Awakens,” will still appear in the land, although she’ll now be relegated to the forest-like area near the attraction Star Wars: Rise of the Resistance. While the latter is due for refurbishment beginning Jan. 20, park representatives said it’s routine maintenance and no changes are planned for the land’s showcase ride, which will still feature Kylo Ren and the First Order.
Guests will also soon be able to find the Kylo Ren character at a meet and greet in Tomorrowland. Other personalities previously introduced to Galaxy’s Edge, including Chewbacca, Ahsoka Tano, the Mandolorian, Grogu and droid R2-D2, will still be featured in the land.
Taken as a whole, the moves turn Galaxy’s Edge into something more akin to a “Star Wars” greatest hits land. When the area opened in 2019, the hope was guests would feel as if they were protagonists able to choose their own adventure. Galaxy’s Edge came with its own vernacular, and an elaborate game in the Play Disney mobile app that was designed to track a guest’s reputation and be used in the land. It was once said, for instance, that Disney’s cast members — staff, in park parlance — would be able to recognize if someone’s personality leaned resistance, First Order or rogue. Such aspirations never materialized.
When Galaxy’s Edge opened in 2019, it was designed to feel rugged and lived-in.
(Allen J. Schaben / Los Angeles Times)
Galaxy’s Edge was a theme park experiment, asking how deeply guests would want to engage in physical spaces. But it came with challenges, namely that as these lands evolve to feel more like locations where action is unfolding in real time, the level of activity needed to maintain the illusion increases. And Galaxy’s Edge forever lacked some of its teased and hyped elements — there were no smugglers, for instance, tapping you on the shoulder in the cantina. When a land is designed to speak to us, we notice when it’s quiet.
Theme parks are also evolving spaces, responding to shifts in creative direction as well as guest feedback. In an online press conference announcing the move, Disney didn’t allow for deep questioning, but a reworking of the land to incorporate the franchise’s classic (and arguably more popular) characters feels in some part an acknowledgment that theme park visitors likely crave familiarity over ongoing narratives designed to play make-believe. Or at least that such a direction is easier to maintain.
“Since the very inception of Star Wars: Galaxy’s Edge, we really always imagined it as a platform for storytelling,” said Asa Kalama, a creative executive with Walt Disney Imagineering, the company’s arm devoted to theme park experiences, at the media briefing. “That’s part of the reason we designed this neutral Wild West space town because it allowed it to be a framework in which we could project different stories.”
Galaxy’s Edge on April 29 is dropping its fixed timeline and will soon incorporate more characters, including Darth Vader.
(Christian Thompson / Disneyland Resort)
Kalama pointed to next year being the 50th anniversary of the initial “Star Wars” movie and this May’s theatrical film, “The Mandalorian & Grogu,” as to why this was the opportune time to shift the direction of the land. To coincide with the release of the latter, the attraction Millennium Falcon: Smugglers Run will receive a new mission May 22, which will also mean the land’s two rides will soon be set in different “Star Wars” time frames.
The ride makeover will feature three new locations from the “Star Wars” films — planets such as the urban Coruscant or gas realm of Bespin, as well as the wreckage of the second Death Star near Endor. Each flight crew will determine the destination. Additionally, those seated in the ride’s “engineer” positions will be able to communicate with Grogu, colloquially referred to as “baby Yoda.”
Star Wars: Galaxy’s Edge was meticulously designed to be set between episodes eight and nine of the core saga, with its ships modeled after the most recent films. When guests encountered characters, for instance, they would speak to them as if they were visitors on the fictional planet, often trying to suss out someone’s allegiance. It was indicated by Michael Serna, executive creative director with Disney Live Entertainment, that such a level of playfulness would continue.
Darth Vader, for instance, is said to be on the planet of Batuu seeking to hunt Luke Skywalker. Luke, for his part, is described as roaming the land looking for Force artifacts, while Leia and Han will be spotted in areas near the Millennium Falcon and Oga’s Cantina, the latter tempting Han while Leia will serve the role of a recruiter. Timelines for the land’s bar and shops will also be dialed back to better reflect the the classic characters, although “Star Wars” die-hards maybe shouldn’t think too hard about it as an animatronic figure such as Oga’s robotic DJ “Rex” is best known for a different role during that era.
The character of Rey, introduced in “Star Wars: The Force Awakens,” will still meet with guests in Galaxy’s Edge, although she will be stationed near the ride Star Rise: Rise of the Resistance.
(Allen J. Schaben / Los Angeles Times)
Galaxy’s Edge had been moving in a more populist direction for some time. The reframing of the ride Smugglers Run was the first major indication that Disney would pivot from the land’s initial design intent. Luke, meanwhile, was introduced to the land for limited appearances in 2025, and that character followed the arrival of the Mandalorian and Grogu. And the lack of Williams’ score in the land has long been a common guest complaint. The film’s “Main Title,” as well as “Han Solo and the Princess,” “The Desert and the Robot Auction,” “The Emperor” and other Williams selections will now be heard in the land.
While the vibe and tenor of Galaxy’s Edge will shift, Serna stressed it’s still designed as a place for guest participation. “It’s still an active, living land, if you will,” he said.
And if Galaxy’s Edge is now a mesh of timelines and characters, that simply makes it more in-line with what already exists at the resort. To put it another way: No one has been confused that New Orleans Square has ghosts and pirates next to a cozy place for beignets. Likewise, we don’t wonder why “Cars” character Doc Hudson is dead in the current timeline of the films but alive on the ride — and then memorialized via an ofrenda during the land’s Halloween makeover.
Theme parks remain a place where imagination reigns.
