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Patrick Muldoon, known for his roles on “Days of Our Lives,” “Melrose Place” and “Starship Troopers,” has died. He was 57.

The actor and producer reportedly died Sunday, his manager confirmed to Variety. According to Deadline, Muldoon died suddenly after a heart attack. The Times has reached out to Muldoon’s reps for comment.

Muldoon originated the role of Austin Reed on the daytime soap opera “Days of Our Lives.” He first portrayed the aspiring boxer and brother of Lisa Rinna‘s Billie Reed from 1992 to 1995, and returned to reprise the role from 2011 to 2012 (the character had since become a forensic accountant).

“Austin is a wonderful role,” Muldoon told The Times in 1995. The actor explained he took his “sweet time” mulling over whether to leave the show because “it was one hell of a decision to make.”

“I’m leaving for no other reason than why other people leave soaps,” Muldoon said at the time. “To take a shot at doing other things like nighttime, movies and other things. … I feel confident right now so I figured I better take the shot sooner than later. If I don’t, I’ll always wonder ‘what if.’ ”

He played the recurring villain Richard Hart on the primetime soap “Melrose Place” for three seasons beginning in 1995. Muldoon’s big-screen roles include Zander Barcalow, a pilot and rival of Casper Van Dien’s Johnny Rico, in Paul Verhoeven’s 1997 movie “Starship Troopers.”

Born September 27, 1968, in San Pedro, Muldoon’s early passions included football. He started playing at the age of 6 and would go on to play at Loyola High School and then at USC.

“I did fairly well for being a smaller tight end,” Muldoon told The Times in 2012, adding that getting run over during practice by USC teammate Junior Seau — the late linebacker who had a 20-year NFL career — was among the factors that led him to pursue acting instead. Muldoon began his acting career during the sport’s offseason, and his earliest roles were on shows such as “Who’s the Boss?” and “Saved by the Bell.”

In addition to acting, Muldoon was a producer with credits on films such as “Riff Raff” (2024), “Marlowe” (2022), “The Card Counter” (2021) and “The Comeback Trail” (2020). Most recently, he shared on Instagram his excitement of being among the executive producers for the upcoming film “Kockroach.”

Open your spellbooks. Nicole Kidman and Sandra Bullock have returned in the trailer for “Practical Magic 2.”

Warner Bros. released the trailer for the highly anticipated film after it was screened Wednesday at CinemaCon — an annual convention in Las Vegas for movie theater owners. The film will be released Sept. 11, nearly 28 years after the original debuted.

The sequel, directed by Susanne Bier, follows sisters Sally (Bullock) and Gillian (Kidman) Owens, as Sally’s daughter (Joey King) uncovers family secrets and develops her own magical abilities. Warner Bros. announced the sequel on TikTok in June 2024.

Lee Pace, Maisie Williams, Xolo Maridueña and Solly McLeod have joined the cast. Stockard Channing and Dianne Wiest will reprise their roles as Frances and Jet Owens, the aunts who raised Sally and Gillian. In the trailer, the sisters must leave their homes on a mysterious adventure. Sally even pokes fun at their past, comparing their current journey to the previous film.

“‘Everything’s gonna be OK?’ Just like it was when we had to bury a corpse under a rosebush? That kind of fine, or different?”

The original film chronicled Sally and Gillian’s quest for love while balancing their identities as witches and their familial curse. The sisters descended from a line of witches that doomed any man who fell in love with an Owens woman. In the film, the sisters nullify the hex by holding an exorcism on the spirit of Gillian’s abusive boyfriend, whom the sisters previously killed.

The sequel is based on the 2021 novel “The Book of Magic,” the fourth book in Alice Hoffman’s “Practical Magic” series. In 2019, HBO Max ordered a pilot for a prequel series, but the show was ultimately shelved.

Kidman and Bullock introduced the film last week during CinemaCon by referencing Kidman’s famous AMC ad. Bullock asked, “Why do we come here, Nicole?” “We come to this place for magic,” Kidman responded.

On Instagram, Kidman shared videos of her and Bullock sipping drinks out of mini cauldrons and walking the red carpet arm in arm. Bullock made her Instagram debut Tuesday (and has already amassed 5.2 million followers) with a nod to the original film’s midnight margaritas.

For disputed reasons, April 20, abbreviated to 420, has become a day to celebrate marijuana; even if this is nothing you mark on your calendar, the collective culture is bound to remind you.

Weed is not what it used to be, which is to say illegal everywhere. (State laws may differ, but the federal government still disapproves.) Stoners are no longer useful as a comedy device, while pot’s countercultural meaning has dissipated as it’s been absorbed into the mainstream. According to the CDC, some 60 million American reported using it in 2022. Snoop Dogg is a beloved media figure (and, somehow, an Olympics commentator). Seth Rogen co-owns a cannabis company, Houseplant, that also sells coffee, furniture and incense. The paper you are reading has published weed-themed gift guides.

Now, Hulu, wholly owned by the Walt Disney Company, is marking the day (Monday) with “4×20: Quick Hits,” a frisky anthology comprising four 20-minute documentaries on pot-related subjects, with family-friendly figure Jimmy Kimmel as an executive producer. It’s less about the drug itself than the arts, crafts and enterprises it has inspired. Given where we are now, it’s not surprising that there’s a historical bent to the films, a look back to earlier times — certainly worse for some of the people profiled, who were targeted by and battled with the law in pursuit of their businesses and dreams — but one they regard with a kind of amused nostalgia.

All the films are affectionate, most are light-hearted and often comical. One, Todd Kapostasy’s “Bong Voyage,” about the rise and fall and rise of artisanal glassblower Jason Harris, is narrated by one of his creations and includes such dumb puns as “fine piece of glass.” Directed by Brent Hodge, “Highly Unlikely” is an entertaining, straightforward reminiscence of the making of “Harold & Kumar Go to White Castle,” though it is less about the stoner themes than how the film broke stereotypes in making two little-known Asian actors, John Cho and Kal Penn, the film’s stars. The adorable “The Legend of Ganjasaurus Rex,” directed by Alex Ross Perry, and nearly the premise for a Christopher Guest movie, recounts an act of community filmmaking in the late ‘80s in pot-growing Humboldt County, wherein locals created a monster movie in a proxy war with the authorities, and its inspirational afterlife.

More serious in tone is Kyle Thrash‘s “High Times,” which looks at the history of the pot-centric magazine, its drug smuggling founder Tom Forçade and his suicide. More compelling perhaps is his friend, Yippie co-founder and lifelong cannabis activist Dana Beal, who frames the film; we see him in the nearly present day on trial for drug trafficking, having been stopped in Idaho with 56 pounds of raw marijuana, and also on the streets of New York leafleting passersby with his daughter to “help us legalize weed worldwide.”

Whether or not cannabis itself interests you, each of these mini-docs is capable of holding your attention for 20 minutes — assuming you’re capable from your end — and, being as brief as they are, may well send you to learn more. (I don’t imagine they will send you to smoke pot if you don’t — they didn’t work on me, anyway — and, who knows, might even make one less inclined.) You might finally watch “Harold & Kumar,” or find Garberville on a map, or look to see how things are going for Beal, or discover whether the same John Holmstrom who once edited High Times is the same person who founded Punk magazine and drew covers for the Ramones’ “Rocket to Russia” and “Road to Ruin” albums. (He is.) “Ganjasaurus Rex,” in its 90-minute full length, is itself online to see, and, for those who celebrate, I don’t suppose there’s a better day to watch it.

HAMPTON Court Palace has everything families need for a fun day out and it’s all within the grounds of an enormous former royal home.

From seeing inside the historic building itself to the pretty gardens, a kids’ playground and there’s even a comic-book themed takeover this summer.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

When you’re at a loss with how to keep the kids entertained over the weekend, or the next warm day during the week – head to Hampton Court Palace in London.

Kids in particular will love its enormous playground called the Magic Garden.

It’s aimed at children under 12 and has so much to keep them entertained from climbing up the huge towers to even facing a ‘dragon’.

GO SEA IT

£9.50 holiday spot with shipwrecks, seals offshore & horseshoe-shaped waterfalls

SIGHT SEA

£9.50 holidaymakers’ favourite Skegness activities… away from the beach

There’s a secret grotto with hidden pathways, plenty of slides and a sandpit, while a nearby cafe is the best spot to stop for hot drinks and snacks.

Another popular spot is the maze – which is the oldest surviving hedge maze in the country.

It covers a third of an acre on the grounds of Hampton Court Palace with plenty of twists and turns throughout.

And this summer, a new Beano-themed trail is set to launch.

From July 25 to August 23, kids will be able to see some of their favourite characters like Dennis the Menace and Gnasher.

More information about the trail says “Dennis, Minnie, Harsha, Rubi and Gnasher were late for their Bash Street School trip to Henry VIII’s palace.

“To save the day, Dennis has turned his go-kart into a time machine with Rubi’s flux capacitor – but “whoops”! it has malfunctioned and crash-landed in Hampton Court Palace.

“Now the timeline’s in a right royal muddle and Henry VIII is not amused. It’s utter chaos! It’s up to YOU to help the Beano friends fix their busted time machine.

“Grab your special Hampton Court Palace Beano comic strip story on arrival, packed with clues to track down the missing pieces scattered around the palace.”

There will even be some historic residents like Henry VIII and Elizabeth I dressed in the classic Beano red and black stripes.

During May half-term kids can enjoy The Big Bahooey which has cabaret performances, world-class street theatre and circus workshops.

To step back in time, head back in July to watch knights take on a jousting tournament – families can pick a favourite and cheer them on until the winner is crowned.

The jousting is on during on the weekends of July 11-12 and July 18-19.

If you want to steer clear of chaotic cartoons, head to the Hampton Court Gardens for a more relaxing stroll.

The formal gardens are pruned to perfection with neat hedges, immaculate lawns, ponds and pretty flower beds – especially in the Rose Garden.

During particular days of the year, the gardens are open free of charge with no pre-booking required.

This year these are May 9-10, September 12-13, October 10-11, November 21-22, December 26 (Wilderness garden only).

Then of course there’s the palace itself, which was famously the home of Henry VIII and his six wives.

For those who want to learn even more about Hampton Court Palace, a free audio guide is included in the price of admission.

The tour explores the highlights when it was lived in by Henry VIII and even how the palace has appeared on the back-drop of TV and film since the 1920s.

More recently it was used in Bridgerton as the home of Queen Charlotte, and the gardens are frequently used when characters are strolling around London.

It’s also appeared in Wolf Hall: The Mirror and the Light, My Lady Jane, The Favourite starring Olivia Coleman, and Lily James‘ Cinderella.

For more on family days out, this adventure attraction is inside the UK’s biggest park huge playground and ‘roller slide’.

And this huge new wooden play attraction is set to open at historic English house with den building, zip lines and racing slides.

Subscribers to the recently new service have a new title to check out but it is not for everyone

Fans are going to love this new dark romantic comedy-drama film.

The movie Pillion only hit cinemas last year, but it has already been released on at least two platforms. Not only is it available to those with a standalone subscription to the latest service, HBO Max, but it can also be accessed by those with Sky Cinema or a Movies Pass on the NOW platform.

According to its synopsis, the film follows Colin, a timid man who meets Ray, an enigmatic, impossibly handsome biker who sweeps him off his feet. He soon initiates him into a submissive relationship.

This challenges Colin’s mundane existence and prompts personal growth through their unconventional dynamic. Harry Melling, best known for playing Dudley Dursley in the original Harry Potter films, takes on the role of Colin, while True Blood, Succession, and Murderbot actor Alexander Skarsgård plays Ray.

Upon its initial release, the film was a big hit with critics, earning a near-perfect 99% on Rotten Tomatoes. One review claimed: “Pillion is a bold, bawdy film told through small looks and big feelings. It broke my heart and put it back together again.”

Although another warned, “Pillion isn’t a film for everyone. But those who know what it means to grovel for their beloved…will find in a subject for analysis in Pillion’s erratic relationship and outlandish romance.”

Another agreed but also highlighted how it handles its subject matter. The reviewer penned: “While the cringe is strong (and deliberate) in many scenes of Pillion, Lighton makes it clear that kink isn’t an embarrassing detour for Colin — it’s how he comes to know himself. For him, in a very real sense, submission becomes empowering.”

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Fans who have already seen the film have been left just as impressed. One person shared their views online, saying: “Unforgettable film in so many ways. Yes, it’s explicit, but that isn’t the lasting footprint of this film. I left the cinema having been enlightened, embarrassed, happy, and so very sad.

“It’s a masterclass in the subtlety of truly great acting where so few words are needed to elicit such emotion from an audience. There won’t be Oscar nominations as it’s a small, independent film with a small budget, but there really, really should be.”

While someone else commented, “A beautiful, unflinching look at queer BDSM life. While it might not be for some (the faint-hearted), it is soulful enough to warrant consideration of anyone capable of empathetic, non-discriminatory understanding of joy in all relationships, and ultimately how fleeting and precious it is.”

One person added their verdict and posted: “It is a rare film, dealing with a theme seldom explored in cinema and, above all, very raw. I have seen some opinions suggesting that the ending was unpleasant. For me, the ending was one of the best parts.”

Pillion is streaming on HBO Max, Sky Cinema and NOW for those with a movies pass.

Against its otherworldly scenes of ancient woodland, rustic bridges, snowdrops, and spiralling rivers, is a landscape that has attracted worldwide attention and featured in mega movies

You don’t need a ticket to Hollywood to immerse yourself in movie magic, but simply a visit to a UK ancient woodland.

Situated between the Rivers Wye and Severn in Gloucestershire and on the Welsh border, is the enchanting Forest of Dean, one of England’s largest ancient woodlands. It’s made up of around 27,000 acres of towering forest, with a fairytale-like atmosphere, and was once a medieval royal hunting ground.

Rich in heritage, the woodland previously served as a vital timber supply for Tudor warships, before transforming into industrial terrain for coal mines, ironworks and tramways. It became England’s first National Forest Park in 1938, and today it’s a renowned area of spectacular beauty, set against a serene backdrop, that attracts hundreds of visitors for a day out or weekend escape.

There are scenic views of the River Wye from Symonds Yat Rock, the Clearwell Caves that are 100ft beneath the forest, winding cycling and walking trails, and an array of activities on offer.

Forest Ranger for Forest Holidays, Gerry O’Brien, exclusively told the Mirror: “The Forest of Dean was used where Harry and Hermione were camping in Harry Potter and the Deathly Hallows: Part 1.”

In the movie, Hermione also recalls memories of a holiday to the Forest of Dean with her parents. Symonds Yat and Coppett Hill, near Goodrich, were also featured in Harry Potter and the Deathly Hallows: Part 1, along with the forest pool where Harry retrieved Gryffindor’s sword.

Sharing an insight into the area, Gerry said: “If you’re looking down from Symonds Yat Rock, with the River Wye below you, you can look out over Copper Hill and on the other side, it’s the woodland where Harry Potter was filmed.”

But there’s another notable credit that the Forest of Dean holds. The Ranger at Forest of Dean added: “If you go to Symonds Yat East, it’s a little hamlet by the river, it’s beautiful and really picturesque. But you walk right past the house that was used in the Netflix series, Sex Education.

“It’s the red house, so all of that was filmed in and along the Wye Valley. There are a lot of hidden gems around the Forest of Dean. They’ve done alot of movies and TV work around the forest.”

Living amongst the Hollywood fame, the Forest of Dean has a diverse wildlife of free-roaming fallow deer, Pine martens, beavers, foxes and badgers, and is a favourite among birdwatchers. It’s also home to England’s largest wild boar population, earning it the nickname “wild boar capital of the UK”; yet visitors will be relieved to hear that they typically forage at dawn and dusk.

Thanks to its remarkable terrain, the ancient woodland has become a popular spot for those looking to explore nature, with its collection of winding footpaths and trails, tranquil lakes and ponds, nestled among the woodland. To experience this enchanting part of the world, many opt for a stay at Forest Holidays in the Forest of Dean, which offers a collection of lodges, cabins and treehouses, some with outdoor hot tubs to soak under the towering trees. Meanwhile the likes of Sykes Holiday Cottages and Holidaycottages.co.uk both also offer various stays in the region.

For something extra enchanting, the beautiful Puzzlewood woodland is a must-visit. Nestled in the heart of the Forest of Dean, it offers 14 acres of twisting, moss-covered trees, rustic wooden bridges, and snowdrops decorating the rugged ground, and is often tipped as being one of the region’s most beautiful spots.

This otherworldly feel has meant it’s also enjoyed some Hollywood spotlight, serving as a location for the likes of Star Wars: The Force Awakens, The Secret Garden, The Huntsman: Winter’s War, Doctor Who, Merlin, Netflix’s Our Planet and BBC’s Atlantis.

It was even named in Big 7 Travel’s ’50 Most Beautiful Places in the UK’ list for 2025 and again this year. Noting its characteristics that are used so widely as a film location, Big 7 Travel said: “Gnarled wooden trees, ancient wooden bridges and mossy mounds all create the perfect atmosphere for a fantasy novel setting.”

But that’s not all. Puzzlewood is also believed to have been an inspiration for Middle Earth in The Lord of the Rings series, including Mirkwood and the Old Forest. The magical woodland is also said to have influenced JK Rowling, for the Forbidden Forest featured in the Harry Potter franchise.

Do you have a travel story to share? Email webtravel@reachplc.com

WASHINGTON — Defense Secretary Pete Hegseth, leading a Pentagon prayer meeting, quoted a fictional bible verse taken from a violent monologue in Quentin Tarantino’s 1994 film “Pulp Fiction,” originally delivered by actor Samuel L. Jackson just before his character shoots a helpless man to death.

The secretary used the prayer to frame the war in Iran as an act of divine justice, the same justification Jackson’s character cites in the film before pulling the trigger.

Hegseth told the audience at a monthly Pentagon worship service held Wednesday that he learned the prayer from the lead mission planner of a team called “Sandy 1,” which recently rescued downed Air Force crew members in Iran.

Hegseth said the verse is frequently spoken by combat search-and-rescue crews, who call the prayer “CSAR 25:17, which I think is meant to reflect Ezekiel 25:17” from the Bible.

“And I will strike down upon thee with great vengeance and furious anger those who attempt to capture and destroy my brother,” Hegseth recited. “And you will know my call sign is Sandy 1, when I lay my vengeance upon thee.”

The infamous Ezekiel 25:17 speech from “Pulp Fiction” is almost entirely a screenwriter’s creation; only the final refrain is loosely inspired by the actual biblical verse. The majority of the monologue in Tarantino’s film is adapted from the opening of the 1976 Japanese martial arts film “The Bodyguard,” with action star Sonny Chiba.

Hegseth’s minute-long prayer closely followed those scripts, with only the last two lines resembling language from the Bible. In Hegseth’s version, he replaced “and they shall know that I am the Lord,” from the book of Ezekiel with the call sign for a U.S. A-10 Warthog aircraft.

Chief Pentagon Spokesman Sean Parnell said some outlets accused Hegseth of mistaking Jackson’s Golden Globe-winning performance with actual scripture, and called that narrative “fake news.”

“Secretary Hegseth on Wednesday shared a custom prayer, referenced as the CSAR prayer, used by the brave warfighters of Sandy-1 who led the daylight rescue mission of Dude 44 Alpha out of Iran, which was obviously inspired by dialogue in Pulp Fiction,” Parnell wrote on X. “However, both the CSAR prayer and the dialogue in Pulp Fiction were reflections of the verse Ezekiel 25:17, as Secretary Hegseth clearly said in his remarks at the prayer service. Anyone saying the Secretary misquoted Ezekiel 25:17 is peddling fake news and ignorant of reality.”

Hegseth has frequently used his prayer sessions to call for violence in the ongoing Iran war. In last month’s sermon, he asked God to “grant this task force clear and righteous targets for violence.”

The services are not mandatory, a senior defense analyst with knowledge of Pentagon operations told The Times, but some who work closely with Hegseth’s office feel an “implied pressure” to attend and “fill seats.”

The effect — some feel — is less attention on the Pentagon’s wartime efforts, and more on supporting political stunts, according to the source, who is not authorized to speak to the media and requested anonymity.

“We have managers and leaders that are missing mission critical work to go listen to ‘Pulp Fiction’ quotes,” the source said. “It delays our ability to make operational, mission related war-fighting decisions.”

The prayer came amid an ongoing clash between the Trump administration and Pope Leo XIV, who has spoken out in recent weeks against the U.S.-Israeli war in Iran. Statements from the Vatican were met with a series of reprisals from President Trump, who said he doesn’t “want a pope” who criticizes the president of the United States.

On Thursday, the pope released a statement against military leaders who conflate war with divinity.

“Woe to those who manipulate religion and the very name of God for their own military, economic, and political gain, dragging that which is sacred into darkness and filth,” he said.

Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.

“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from 8 in 2025.

He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.

“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”

Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”

Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.

“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”

The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.

The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.

“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”

It turns out the “Spaceballs” sequel won’t be called “Spaceballs 2: The Search for More Money” after all.

Mel Brooks beamed into Amazon MGM Studios’ CinemaCon presentation to set the record straight via a pre-taped video Wednesday. The follow-up to his 1987 film set in a galaxy very, very, very, very far away is actually titled “Spaceballs: The New One.”

“After all these years, I found the money,” the comedy icon explains as he waves toward a duffel bag overflowing with “Spaceballs” money. “But everywhere I go people say, ‘Mel, Mel, where’s the new “Spaceballs”? When are you going to make the new “Spaceballs”? When are you going to make the new one?’”

“Well, we did it, and the title is ‘Spaceballs: The New One,’” Brooks continues. “It’s just like the old one, but it’s newer.”

While details about “The New One’s” story remain under wraps, the studio did offer attendees a glimpse of the film with a new trailer that pokes fun at the current state of the industry. A voice-over declares Hollywood studios are “merging willy-nilly” as images of the Paramount and Warner Bros. signs appeared on screen — before noting that the merger between Amazon and MGM Studios is what led to “Spaceballs 2.”

Dark Helmet’s look appears to be updated for the times, as his mask resembles that worn by the “Star Wars” sequel trilogy’s Dark Side warrior Kylo Ren. The trailer also included footage of lightsaber (or Schwartz ring) fights as well a nod to the “Avatar” franchise, with Dark Helmet crossing paths with a Na’vi in the restroom.

“Spaceballs: The New One” is slated to hit theaters April 23, 2027. Here’s everything we know about the sequel so far.

What is “Spaceballs: The New One” about?

According to Amazon MGM’s press release, the film’s story details “are being kept under lock, key and an industrial-strength Schwartz shield.”

Who is in the movie?

Original “Spaceballs” cast members Rick Moranis (Lord Dark Helmet), George Wyner (Colonel Sandurz), Daphne Zuniga (formerly Princess, now Queen Vespa), Bill Pullman (Lone Starr) and Mel Brooks (Yogurt) are confirmed to return for “The New One.” This marks Moranis’ first onscreen film role since taking a hiatus in 1997.

Newcomers include Josh Gad, Keke Palmer, Lewis Pullman and Anthony Carrigan playing new characters who’ve yet to be revealed.

Who are the filmmakers?

“The New One” is directed by Josh Greenbaum (“Barb and Star Go to Vista Del Mar,” “Will & Harper”) from a script written by Josh Gad, Dan Hernandez and Benji Samit (based on characters created by Brooks, Thomas Meehan and Ronny Graham).

Brooks is among the producers of “The New One,” which also includes Brian Grazer and Jeb Brody as well as Gad, Greenbaum and Kevin Salter. Executive producers include Adam Merims, Samit and Hernandez.

Time staff writer Samantha Masunaga contributed to this report.

ACTRESS Zendaya goes against the grain — with a bizarre sand-like outfit.

The US star, 29, dressed the part to promote upcoming flick, Dune: Part Three.

She was joined at CinemaCon by her co-star Timothée Chalamet, 30, and director Denis Villeneuve, 58, for a first look at the sci-fi sequel, which is out in December.

Last month the US actress, wore abridal-style gown at the Los Angeles premiere of her film The Drama.

The movie is about a couple unravelling on their wedding week.

Zendaya has been dating her Spider-Man co-star Tom Holland, 29, since 2021.

stamp of approval

Zendaya flashes side-boob and shows off new tattoo tribute to Tom Holland

‘AT EASE’

Zendaya shares moment she knew Tom Holland was The One but won’t confirm wedding

She also stars in the recently released third season of TV series Entourage alongside Sydney Sweeney.

Nicole Kidman, 58, and Sandra Bullock, 61, were also at Caesars Palace in Las Vegas to promote their new film Practical Magic 2.

Sandra also joined Instagram for the first time — gaining over three million followers in under an hour.

She took a step back from acting in 2022 to spend more time with her family, and has now returned to Hollywood.

No actor in a movie this month is enjoying themselves more than Ian McKellen as an egomaniac painter in Steven Soderbergh’s slender pleasure “The Christophers.” Once, his Julian Sklar was the bisexual provocateur of the London art scene commanding millions for a single piece. Now he’s better known as the villain of “Art Fight,” a reality competition show where he took cruel pleasure destroying amateurs’ hopes.

Equally dismissive of his own output, Julian hasn’t wielded a paintbrush in decades. And so his adult children Barnaby and Sallie (James Corden and Jessica Gunning of “Baby Reindeer”) — two money-grubbing, untalented brats — hire a broke art restorer, Lori (Michaela Coel), to finish a stack of half-sketched portraits Julian made of his male ex-lover that were left abandoned in the attic. Don’t think of it as forgery, Barnaby assures Lori, “more like forging through them until they are completed.”

That’s a great line, and “The Christophers” has a dozen more almost as good. Nearly all get delivered by McKellen’s Julian, waving a champagne coupe while monologuing about humidifiers, cancel culture and a doctor who smells like radishes. He seems to imagine acolytes — or at least, television audiences — eagerly soaking up his bon mots. Meanwhile, Lori, a young Black woman hired under false pretenses as an assistant, stares mutely. If their first meeting as boss and employee were freeze-framed into a painting, it would be called “A Study in Contrasts.”

The script is by Ed Solomon, who also collaborated with Soderbergh on the more action-packed 2021 gangster movie “No Sudden Move.” This plot doodles along, rarely going where we expect. Mostly, Julian and Lori take turns thwarting his obnoxious kids and threatening to quit. I chuckled every time Corden and Gunning showed up for more abuse, including from Soderbergh, who shoots them like a wall of stupidity, blocking doorways as they stand side-by-side like Tweedledee and Tweedledum.

The inequalities of the art world are gestured to as fact. Lori, who might be every bit as technically gifted as Julian, ekes out a living serving egg rolls in a food truck while sharing a walk-up loft with three other struggling painters. Julian lords over not one but two swanky adjoining townhouses stuffed with antiques. Once, to flip off the establishment, he sold a work worth 2 million British pounds for the price of a used car. His version of disdain is her idea of a fortune.

One stick figure by Julian would be worth more than anything Lori’s ever done, which makes it extra maddening that he chooses instead to earn a little extra pocket money recording video messages for fans who only care about him as that mean guy on TV. In the glow of a ring light, he tosses off glib advice that might itself be worthless. Quit art school, he tells one, and “happy birthday, blah, blah, blah.” (Even imagining a popular TV show about art is, in itself, culturally aspirational for those of us who enjoy reruns of Bob Ross.)

Why is there such disparity between the value of Julian and Lori’s work? The reasons are so obvious that, to the film, they’re barely worth mentioning: age, gender, era, fame and skill. Julian would dismiss the first two, claiming that wokeness gives an old, white male like him the handicap. But it’s frustrating that the film doesn’t dig very deep into the rest, either. I especially wanted a scene where Julian must reckon with a no-name interloper’s ability to copy his genius, but comparing whether Lori is Julian’s equal would call the film’s bluff and force it to actually show us their art. The handheld camera prefers to lurk on the wooden side of the easel.

Really, I’m not sure Soderbergh even has an opinion on their clash. He just wants to be an eavesdropper in the room, standing back against the dusty brick-a-brack. Of course, if you squint, you can see what interests Soderbergh in this set-up. Like Julian, he’s been threatening to retire for years. He knows how irritated people are when an artist claims they don’t want to bother anymore. And like the neglected paintings in the attic — the Christophers of the title — every filmmaker has their own unfinished projects taking up mental space overhead, treasured ideas that will never emerge to their satisfaction.

Still, I suspect that even if Soderbergh personally identifies with the premise (even though he continues to release more movies in one year than his peers do in five), he still finds Julian’s paralysis a bit pathetic. Julian just needs paint, a brush and the will to create. Filmmakers, now those poor bastards need rich patrons.

Even so, Soderbergh likes to make movies as resourcefully as he can, doing his own editing and cinematography and, above all, prioritizing the act of invention. He can’t be copied because his own work is so eclectic. Have you ever heard of any director being called the next Soderbergh? You sense that, to him, forgery is as creatively dull as a factory-issued franchise sequel. (Except, of course, his “Magic Mike” and “Ocean’s” series, which are, at their best, closer to wacky Warhols.)

Tasked to play the foil to McKellen’s clown, Coel comes off stiff. She has the spine to hold her own against him, but it’s hard to play withholding, particularly when the film needs her character to be both the voice of reason and a politically correct scold. Only her carved cheekbones give off an impression of Lori’s hungry ambition. Still, when she does deign to speak, there’s a dynamite scene where she dresses down Julian critically and psychologically. Whether or not she’s the second coming of him as an artist, she’s more insightful than he ever was insulting watercolors of kittens on TV.

Really, we’re just watching McKellen give a bravura, scene-gobbling performance that doesn’t hold back one iota. My favorite detail he pulls off comes when he greets Lori at the front door undressed and, when she insists he wear clothes, ties on a trench coat that somehow makes him look even more pervy and naked in how McKellen wears it, leaving one bare shoulder roguishly exposed.

The film has plenty of funny little asides like that which make it worth your while. Angelenos will chuckle at a scene in which two characters verbally commit to a meet-up both know won’t happen — or, as we say here, let’s do lunch. Out of magnanimity, I’ll liken this trifle to a Rothko. The more I think about “The Christophers,” the more I imagine it has interesting layers. But I won’t fault anyone who just sees a simple square.

To laugh or to cry? It’s a question that feels a little too familiar of late — one confronted often while watching “Maddie’s Secret,” the debut as writer-director from comedian and performer John Early.

Playing the title role with an unnerving sincerity and startling sense of vulnerability, Early stars as Maddie Ralph, a young woman climbing the ranks as a Los Angeles food influencer while secretly hiding her struggle with bulimia.

Early’s performance is a truly remarkable highwire act, all the more so for the wig, padding and prosthetics he wears to play the character. Made in the earnest style of a disease-of-the-week television movie without ever tipping over into winking irony, the film is both funny and tender.

“That, to me, is Maddie’s true secret,” says Early, 38, on a recent video interview from the apartment he is renting in New York City while appearing onstage in Wallace Shawn’s new off-Broadway play “What We Did Before Our Moth Days.”

“The secret of the movie — the real twist of the movie — is not any kind of trope-y reveal,” Early says. “The twist is actually a tonal twist. What I hope is then that becomes funny: the sheer commitment to the stakes of it.

“At any given moment, you can experience it as totally sincere, you can absorb it genuinely and be moved by it,” Early continues, “or you can take a little break and step out of it and find it uproariously funny that we’re even doing this to begin with.”

John Early, front, and Eric Rahill in the movie “Maddie’s Secret.”

(Magnolia Pictures)

Early’s skillfully wrought psychodrama, which had its world premiere at last fall’s Toronto International Film Festival, is now the opening-night selection for this year’s Los Angeles Festival of Movies, playing Thursday at Eagle Rock’s Vidiots with members of the cast present for a Q&A, and then again on Friday at 2220 Arts + Archives in Historic Filipinotown.

“Maddie’s Secret,” which opens in theaters June 12, makes for a fitting kickoff for this year’s event. Though the programming includes movies from all over the world, organizers ended up leaning heavily into films made in Los Angeles.

“This year it really does feel like a homegrown festival,” said Sarah Winshall, LAFM’s co-founder and festival director. “What it ended up doing is making us think about L.A. as a small town as a result.”

“I think the movie is an incredible accomplishment,” said Micah Gottlieb, LAFM co-founder and artistic director. “It’s made by somebody who’s not just a great comedian but also is a cinephile, knows the history of cinema, is trying to make something that fits within that lineage, while also just making an all-out entertaining movie.”

“Maddie’s Secret” was shot in the same workaday, creative-class neighborhoods where LAFM unspools. (Maddie’s house in the movie is Early’s own home.) The actor and filmmaker describes it as a “very Echo Park, Silver Lake, Eagle Rock, Frogtown, Glassell Park, Highland Park, Los Feliz movie.”

The story is also rooted in Early’s own complicated feelings about the L.A. food scene.

“It’s completely born out of my time in L.A. and my initial shock when I was confronted with a burgeoning restaurant scene,” says Early, who grew up in Nashville and moved to L.A. from New York in 2016.

“Not to always be talking about millennials, but it seemed very much of my generation,” he says, “specifically these kinds of restaurants where the food is really expensive but you’re sitting on a milk crate, eating lots of Middle Eastern food made by white people. There was just something very funny about all of it to me, even though I completely also sincerely loved it and still do.”

The film’s supporting cast is drawn largely from Early’s own circle of friends, including his most frequent collaborator, the comedian and writer Kate Berlant, along with Conner O’Malley, Claudia O’Doherty, Eric Rahill and Vanessa Bayer. The film’s production designer Gordon Landenberger is his ex-boyfriend and Early is excited that a number of other key collaborators, including costume designers Kimme Aaberg and Izzy Heller and cinematographer Max Lakner, are working on a feature for the first time, just as he is as writer-director.

“I think I wanted to force myself at gunpoint into a place of innocence and naivete,” says Early. “I think this movie is a strange mutation of the camp tradition.”

(Justin Jun Lee / For The Times)

Berlant plays Maddie’s best friend in the film. She and Early have worked together on shorts, live performances and their 2022 Peacock special “Would It Kill You to Laugh?” The two always share what they are developing and so Berlant first heard about “Maddie’s Secret” when it was just percolating as an idea.

“It was a very wild proposition,” she recalls with a laugh while driving down L.A.’s Beverly Boulevard. “He’s like, ‘I’m going to play a woman who’s struggling with bulimia.’ I was like, ‘Good luck.’ I was astonished that he totally pulled it off and he’s such a true filmmaker. It was kind of miraculous.”

Berlant describes their shared sensibility, the ability to simultaneously play comedy and pathos, as a kind of freedom. “Just the underlying absurdity or joke really gives you the ability to go to these really intense emotional places,” she says. “It gives you the permission to go to places that otherwise would be too unbearably saccharin.”

For Early it was also a chance to fulfill his longtime desire to play an old-school ingénue.

“I think I wanted to force myself at gunpoint into a place of innocence and naivete,” says Early. “I think this movie is a strange mutation of the camp tradition.”

“I was astonished that he totally pulled it off and he’s such a true filmmaker,” says Kate Berlant, Early’s longtime collaborator. “It was kind of miraculous.”

(Justin Jun Lee / For The Times)

He references Susan Sontag’s famous essay “Notes on Camp” to say there are two kinds of camp humor, one that is unknowing and another that is knowing. It is near impossible now to genuinely create the first kind, but the process of making “Maddie’s Secret” was in a sense about being the second and striving for the first.

“In the age of the internet and in the kind of crumbling, depressing world we live in, it’s almost impossible to be the first kind of camp,” says Early, “to feel innocent and naive and to twirl. But obviously there is a part of me, there’s a part of all of us, that is very childlike and innocent and has hope. So I think this movie, it knows itself to be camp but it’s aching to be more like the first kind of camp. It’s aching to be pure and naive.”

Though it may be easy to place what Early is doing in the tradition of drag performers such as Divine’s work with filmmaker John Waters, to Early his performance in “Maddie’s Secret” sits outside of it.

“Drag is often obviously about a certain kind of extravagance and fabulousness and Maddie is very humble,” he says. “And so I don’t really see it as drag. It didn’t feel like drag doing it, whatever that means. It honestly just felt like acting to me.”

In dealing with the serious topic of bulimia, Early was careful never to make the eating disorder the joke. He points to a trio of TV movies — 1986’s “Kate’s Secret,” starring Meredith Baxter Birney; 1997’s “Perfect Body,” starring Amy Jo Johnson; and 1981’s “The Best Little Girl in the World,” starring Jennifer Jason Leigh — along with Lauren Greenfield’s 2006 documentary “Thin” as key influences on how he approached the film’s depiction of the illness. (Other non-bulimia influences include Alfred Hitchcock’s “Marnie,” Paul Verhoeven’s trashy “Showgirls” and Adrian Lyne’s “Flashdance.”)

“I don’t find bulimia itself funny,” says Early. “The genre of these movies — that’s what’s funny. It’s the emotional pitch of those movies and the way that they’re made and the acting style and the kind of moralistic quality while being totally pervy. All that was funny to me. And then also putting contemporary life — young, gentrified L.A. food-content influencer culture — putting all that through a melodrama-style filter, that was funny to me.”

While writing the screenplay, Early says he often found himself weeping, overtaken by the emotions of what he was creating. “I guess I’m not above the genre at all,” he admits.

But playing the part was another matter, having sold everyone involved in the production on a very specific tone and conception of what they would do together.

“I was like, ‘I am so stupid, I can’t believe I have put myself in this position,’” Early says, laughing at the memory. “I had set myself up to do the thing that I really had no proof that I could do, which is to play an almost Juliet kind of character who’s going through these extreme things. And I was the one that promised everyone that we would take it seriously. And then suddenly I was like ‘OK, well you have to do it. You actually have to do it.’”

Even if Early was uncertain in the moment, the result is undeniable: a dizzying, disarming blend of humor and emotion — and one of the year’s boldest performances.

Sony Pictures Entertainment plans to lay off a few hundred employees globally in a move to restructure its business.

The cuts, announced Tuesday afternoon, are set to affect employees who work across Sony’s film, TV and corporate divisions the company said, declining to specify how many would lose their jobs.

Sony said the cuts reflect a shift in business strategy under its new chief executive, Ravi Ahuja.

“As we lean into those priorities, we need to operate with greater focus, speed, and alignment to strengthen our differentiated capabilities,” said Ahuja in a statement. “To support our growth, we are aligning our organization with where the business is going — not where it has been. That requires changes to how we are structured and where we invest.”

Ahuja, who was promoted just over a year ago, added that the company is ”reducing roles in certain areas while increasing focus and investment in others that are most critical to our future.”

Sony plans to focus on franchise strategy and brand extension with game shows, as well as develop more anime, experiences and invest in content that will connect with a younger audience. This includes more game adaptations and growing its YouTube capabilities.

One of the studio’s biggest franchises is the “Spider-Man” universe, which includes both live-action films starring actors like Tom Holland and the Oscar-winning animated “Spider-Verse” movies. The studio is set to release the latest live-action installment, “Spider-Man: Brand New Day,” this summer. The previous movie “Spider-Man: No Way Home” was a major win for Sony as it generated $1.9B globally.

Sony Pictures operates under its Japanese parent company Sony Group Corp, alongside other subsidiaries like Sony Music Group and Sony Electronics. The film studio was established in 1987 and maintains a strong presence in Culver City.

Recently, the studio acquired the “Peanuts” comic in a $457-million deal, reupped the “Reading Rainbow” for a YouTube audience and is working on PlayStation adaptations for video games like “Helldivers” and “God of War.”

The company has also combined its game-show group with its nonfiction TV department and is slowing down areas of its business that have low growth, like the VFX and virtual production studio, Pixomondo.

The layoffs are the latest to hit Hollywood, which has been hard hit by the exodus of film and TV jobs to other states and countries, a cutback in the number of films being released and media consolidation. Last year, Paramount cut 10% of its workforce after it was acquired by David Ellison’s Skydance Media.

Unruly salt-and-pepper hair in a long quaff, round glasses and broad smile give James Ortiz the look of a whimsical inventor, the kind that hides away in his workshop crafting extraordinary artifacts.

That description is essentially true; as a puppet designer and puppeteer, his job entails figuring out how to materialize figments of the imagination.

“I love playing characters that are so unbelievable that they have to exist in a different way,” says Ortiz on a video call from New York. “I love over-the-top characters and creatures.”

For more than 15 years, Ortiz has created puppets for theater projects in New York City, including those for “Into the Woods” on Broadway. His skill set has now made its way to the big screen with the box-office hit “Project Hail Mary,” an adaptation of Andy Weir’s 2021 sci-fi novel.

The space dramedy follows scientist Ryland Grace (played in the film by Ryan Gosling) who, against his will, is alone on a mission to save Earth with no return plan.

Ortiz, 42, plays Rocky, an arachnoid alien made of stone-like material, who befriends Grace. As the main puppeteer on set, Ortiz was in charge of moving its face or central carapace — and he also voices him.

Rocky and Grace don’t speak the same language. But when Grace figures out how to use his computer to translate Rocky’s sounds into English, the voice we hear coming from his jerry-rigged laptops is Ortiz’s.

Ryan Gosling in the movie “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

“We had anywhere between three to six puppeteers on set with me. I would always be on the body, and they would always do the other limbs or legs,” Ortiz explains. “I needed to lead the thoughts and the dialogue and the feelings that Rocky was having.”

Thanks to both Gosling’s tongue-in-cheek charisma — as well as the curious and utterly sincere personality that Ortiz imbues into Rocky through his voice performance and intuitive puppeteering (with plenty of improvisation) — the movie becomes a disarming interstellar, interspecies bromance.

“I was always playing Rocky like the universe’s little brother,” Ortiz adds. “There was a little bit of a childlike thing that was being put in there.”

Over the years, Ortiz had developed a relationship with casting director Jeanne McCarthy, who often invited him to audition for acting jobs. Ortiz is a trained actor and has occasionally appeared on camera as himself, sans puppets. But every time McCarthy would reach out, he had a theater commitment. The timing finally worked when McCarthy mentioned she had an opportunity for Ortiz as a puppeteer in “Project Hail Mary.”

“I wasn’t familiar with the book, but then when I mentioned it to two of my friends, they knew everything about it,” Ortiz says. He soon met with directors Chris Miller and Phil Lord and had an immediate connection. “They are so delightfully immature that I felt like they were my cousins,” he says. “They are such artistic geniuses, but so silly and playful.”

For a chemistry read with Gosling, with the film’s producers also present, Ortiz opted for using a version of Rocky he had made himself, which looked like Thing from “The Addams Family” built off a fancy glove, instead of the larger puppet the production had available. That his hand version of Rocky could climb onto Gosling, and interact with the actor more directly, allowed for an amusing rapport to develop instantly between them.

Puppetry, Ortiz says, is intricately technical. When bringing a puppet to life, he’s concerned with the placement of the rods used to move the characters’ body parts, and in this case, he’d have to pay attention to where the camera is and where he and his fellow puppeteers have to hide. Amid all those preoccupations for his physical performance, Ortiz also had to deliver his lines and be present in the moment, reacting to Gosling with spontaneity.

Puppeteer James Ortiz plays Rocky, the adorable alien in “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

“I promised Ryan that between action and cut, all of [the technical elements] were going melt away,” Ortiz recalls. “I said, ‘I’m just going to be an improvising partner with you. I’m never going to let you think that Rocky isn’t real, because I want this relationship to feel as playful and as dynamic as possible.’”

The more intricate Rocky puppet that appears on screen was later designed by Neal Scanlan, a legendary special effects artist, at the Creature Shop in London. Ortiz admits it was an adjustment to work with a puppet he didn’t design himself. Fortunately, Scanlan’s openness to involve him in the fabrication process made for a fulfilling experience.

“I had ultimately a lot of input, never on how Rocky looked, but a lot on how he was operated and what materials he was made out of,” Ortiz says. “I was able to pick what types of fiberglass we were using to cast him out of, because I knew, given the amount of improvisation that we would be doing on set, [that] I needed a puppet that could do anything.”

It’s not common for a puppeteer to voice the character they are manipulating. “It doesn’t usually happen because moviemaking is a business and you have to have names and sell it,” Ortiz says. Yet, as the post-production process advanced, and Lord and Miller started testing the film with audiences, Ortiz’s lines from set became the preferred Rocky voice.

Knowing that Rocky’s voice would come from Grace’s unsophisticated computer setup, Ortiz gathered inspirations, at times subconsciously, from a variety of robotic sources. These included Tik-Tok, a robot in 1985’s “Return to Oz,” one of his favorite movies.

“I have always valued my lifelessness,” Ortiz says in a hilariously monotone voice, quoting Tik-Tok. And there’s also a bit of the robot bartender from the futuristic world of “The Fifth Element” — “you want some more?” he says, making an impression.

Ortiz believes puppetry found him by accident. The youngest of three children, he grew up in Richardson, Texas, a suburb of Dallas, with a mother of Italian descent and a Puerto Rican-born father who met in 1970s New York.

“Interestingly enough, when I was growing up, there was a touring marionette theater of Richardson that was one of the first places that excited me towards puppets,” Ortiz recalls.

An introverted child, Ortiz grew up enjoying painting and handcrafts, as well as having an interest in engineering and how things are built. “My father was always in the garage building something,” he recalls. “We’re not talking like building a spaceship but building little simple machines.”

On multiple fronts, his dad has served as a source of inspiration. “My father was born in Puerto Rico and moved when he was about 4 or 5 to Brooklyn in the early 1950s,” Ortiz explains. “He was his mother’s translator. She didn’t speak any English at all. I have such admiration for him, because he was learning English in real time in school and helping his mother get through the day. It’s a powerful part of my narrative and something I’m really proud of.”

For Ortiz, this part of his heritage, his father and grandmother struggling to communicate with the world around them in a new city, connects with “Project Hail Mary.” He adds: “What I love is that there’s a little bit of that in Rocky, because so much of this story is about someone struggling to be understood and then ultimately being understood.”

Ryan Gosling stars as biologist-turned-schoolteacher-turned-astronaut Ryland Grace and Sandra Huller as mission leader Eva Stratt in “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

In middle school, Ortiz enrolled in theater classes. Soon after, making marionettes entered the picture. “I discovered puppetry around the same time, because it’s sort of the center of that Venn diagram of crafts, fine arts, engineering and acting,” he says. For undergrad he attended Purchase College in New York to study acting in a classical program. After graduating, however, the phone wasn’t ringing with professional opportunities.

Ortiz’s first job out of school was working on Venezuelan-born theater director and filmmaker Moisés Kaufman’s 2010 production of Xavier Montsalvatge’s Spanish-language opera, “El gato con botas.” It was his self-taught talent with puppets that landed him the gig.

“I’m grateful that I’ve been able to have a pretty long career. I’ve been doing everything. There was one year on Broadway [when] I was doing all the special effects makeup; [another] I was doing set design.”

Puppetry, it turned out, moved from a supplementary expertise to Ortiz’s prime artistic strength. “I’ve worn so many different hats and what was interesting is that puppetry kept being the thing that invited all of me to work, as opposed to just a part of me,” he adds.

Since those early days, Ortiz has designed puppets for “The Woodsman,” which he also wrote, directed and starred in; “Disney’s Hercules” (for productions at Public Theater in New York and in Hamburg, Germany), and more recently for Lileana Blain-Cruz’s production of “El Niño” at the Metropolitan Opera.

Now that “Project Hail Mary” has launched the possibility of a fruitful Hollywood career, Ortiz’s only aim is to continue letting his abilities lead the way without inflexible expectations.

“I’m not a very calculated career person. I’m running towards bliss and then seeing what happens,” he says, smiling and running his hands through his imposing hair.

Before Israeli occupation, there was British colonialism. We speak to director Annemarie Jacir about Palestine 36, her epic film about the 1936 Palestinian revolt that almost succeeded, the often-forgotten roots of today’s crisis, and why this history still feels painfully present.

In this episode: 

Episode credits:

This episode was produced by David Enders, Sonia Bhagat, and Sarí el-Khalili with Spencer Cline, Chloe K. Li, Catherine Nouhan, Tuleen Barakat and our host, Malika Bilal. It was edited by Tamara Khandaker. 

Our sound designer is Alex Roldan. Our video editors are Hisham Abu Salah and Mohannad al-Melhem. Alexandra Locke is The Take’s executive producer. 

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Fans will need to tune in as it is not streaming anywhere

An ‘original’ sci-fi film that comes from the writers of the ‘best horror movie ever’ is on TV tonight.

The movie, 65, was originally released in 2023 and gives film fans the ideal way to begin their extended bank holiday weekend. According to its synopsis, the story follows a lone pilot named Mills, who after a catastrophic crash, lands on an unknown planet.

He quickly discovers he’s actually stranded on Earth… 65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive.

Those wanting to watch the film will be able to watch it tonight (April 2) from 9pm on Film4. Fans will need to make sure they tune in if they don’t want to miss it as at the time of writing, the title is not currently streaming anywhere. Viewers could alternatively tune in to Film4+1 where the film will begin an hour later at 10pm.

Adam Driver, known for playing Kylo Ren in the Star Wars sequel trilogy leads the cast as Mills, while he is also joined by Ariana Greenblatt as Koa. Former Disney actress Greenblatt has since appeared in Barbie, Borderlands and Now You See Me Now You Don’t.

The film was written and directed by writing partners Scott Beck and Bryan Woods. The pair are most famously known for being the ones who penned the original horror film A Quiet Place before handing off creative control of the franchise to John Krasinski. They also made Heretic together, with fans calling both of their spooky offerings as ‘one of the best horror movies ever’.

Meanwhile, 65 failed to repeat the commercial success of their previous projects. It only made $60 million against a $45 million budget at the worldwide box office. And despite its less than favourable 35% rating on Rotten Tomatoes, many fans say it is well worth checking out.

Although one critic looking back on the film did share an updated verdict for why it is worth watching years after its release.

the film delivers a tense sci-fi survival story where action drives a narrative of isolation and connection. Fans of creature features and suspense will appreciate its concise format, focused on impact and pacing, echoing the tradition of dinosaur movies that have long held a unique place in the world of blockbuster cinema.

Many fans go so far as to disagree completely with the negative critical reviews. Its brief 93 minute runtime is also hailed as a positive and preferred option than slogging through a marathon release.

One fan went so far say it is the “best dinosaur movie ever made” with many making comparisons to how it has superior action to the Jurassic World movies. Another viewer added: “This film deserves 10 STARS!!! Instant Classic!!!”

Someone else claimed: “This movie checked off all the boxes. Space travel, dinosaurs, suspense, emotional connection, and Adam Driver! It doesn’t waste any time grabbing your attention, and the compelling story line is a great ride all the way through.”

However there are some who disagree, although they largely feel disappointed in the ending. Others argue that 65 did not get a fair chance at the cinema because it ended up against some big franchise sequels like John Wick 4, Shazam 2, Scream VI and Creed III.

One fan gave the ultimate approval when they commented: “Think Jurassic Park but much better and believe me when I say a lot better. This is that rare science fiction action movie that people have tried to make but didn’t get it right. Here, they finally not only got it right but they excelled!! Plus, real life marine Adam Driver is top notch in a really exciting movie.”

65 airs tonight at 9pm on Film4.