Valerie Perrine, the Las Vegas showgirl turned Oscar-nominated actor best known for playing Lenny Bruce’s wayward wife Honey Harlow in “Lenny” and Lex Luthor’s secretary Eve Teschmacher in the 1978 and 1980 “Superman” films, died Monday morning. She was 82.
Perrine’s death was confirmed by Stacey Souther, her close friend and the director of the 2019 documentary “Valerie,” which followed the star’s debilitating battle with Parkinson’s disease.
“It is with deep sadness that I share the heartbreaking news that Valerie has passed away,” Souther announced on social media. “She faced Parkinson’s disease with incredible courage and compassion, never once complaining. She was a true inspiration who lived life to the fullest — and what a magnificent life it was. The world feels less beautiful without her in it.
“I love you, Valerie. I’ll see you on the other side.”
Souther also shared a GoFundMe link and a note that Perrine’s final wish was to be laid to rest at the Hollywood Hills Forest Lawn Cemetery. “After more than 15 years of fighting Parkinson’s, her finances are exhausted.”
Perrine was born Sept. 3, 1943, in Galveston, Texas, to parents Renee and Kenneth, a dancer and a U.S. Army lieutenant colonel. A military brat growing up, Perrine moved frequently and spent time in Japan, Paris and Scottsdale, Ariz.
She attended the University of Arizona, but her academic aspirations were short-lived. She skipped town, trading her textbooks for a feather headdress and G-string in Las Vegas. Soon she was a lead dancer in the star-spangled Lido de Paris show at the Stardust Hotel. She told the New York Times in 1974 that she spent some of her $800 weekly paycheck on experimenting with drugs: acid, mescaline, peyote, cocaine — you name it, she tried it.
Eight years after her foray into Vegas showbiz, her movie career kicked off unexpectedly during a visit to Hollywood. An agent at a friend’s dinner party took a liking to her, she told the Los Angeles Times in 2013. He asked if she had any publicity photos. The only one she had was in her topless Lido costume.
The sexy picture made its way to the desk of Monique James, the head of new talent at Universal. “She called me in and asked if I had ever acted before and I said ‘no,’” Perrine said. “She arranged a screen test.”
Paul Monash, the producer of “Slaughterhouse-Five,” which was based on Kurt Vonnegut’s acclaimed novel about World War II and time travel, directed the screen test. “They told me to wear a bikini because they wanted to see what my body looked like. I didn’t have a bikini. I wore my G-string and that was it.”
“I had been working in Vegas all the time and had been on the beach in St. Tropez, so being [naked] didn’t mean anything to me,” she told The Times. “It was my attitude that sparked his interest and the way I read the line, ‘Oh, you’re a moon child.’ He hired me.”
Dustin Hoffman as Lenny Bruce, left, and Valerie Perrine as Honey Harlow in a scene from the 1974 movie, “Lenny.”
(United Archives via Getty Images)
Soon after, she portrayed the love interest of NASCAR driver Junior Johnson opposite Jeff Bridges in the 1973 sports drama “The Last American Hero.” Perrine and Bridges dated briefly while working on the film. The same year she became the first woman to bare her breasts on television in the PBS telefilm “Steambath.”
Bridges described Perrine in the 2019 documentary “Valerie” as having a “real sense of fun and play.”
“She was excited about life and excited where she was and it’s a contagious feeling,” he said. “Growing up in a military family and traveling all over the world made her a really interesting person and as an actress, she had the ability to bring all of that into her performances.”
In 1974, she tapped into her showgirl background to portray the drug-addled stripper Honey Harlow opposite Dustin Hoffman as Lenny Bruce in the biopic “Lenny.” Her performance garnered rave reviews. She nabbed the lead actress award at the Cannes Film Festival, BAFTA named her most promising newcomer and she was nominated for an Oscar.
Perrine was perhaps best known for her portrayal of Eve Teschmacher, Lex Luthor’s secretary and love interest in the 1978 “Superman” starring Christopher Reeve, Gene Hackman and Marlon Brando. She played the role again in 1980’s “Superman II.”
She also starred in the 1980 disco flick “Can’t Stop the Music” alongside the Village People and Caitlyn Jenner. The movie flopped and Perrine was so mortified by the film’s poor reception that she moved to Europe. She didn’t officially retire from acting until around 2010, and by 2015 she had gone public with her Parkinson’s disease diagnosis.
The 2019 documentary short “Valerie,” directed by Souther, dropped the veil on Perrine’s battle with the illness, with her loss of bodily autonomy captured in the film. She said “the shakes” caused her to struggle and the level of care she required made her feel like a baby.
Still intact, though, were her sharp wit and self-deprecating sense of humor. In the film a doctor explains that there are times when physicians aren’t able to pin down a diagnosis or there are multiple diagnoses.
“The doctors don’t know what’s going on with me,” Perrine says. “They can’t figure it out.”
“What do you think it is?” the doctor asks Perrine.
Space isn’t a forgiving place to be stuck. There’s no air, no pulling over for directions and no margin for error. When something goes wrong, you’re left with whatever you have on hand for however long you can make it last.
That fear drives the new sci-fi epic “Project Hail Mary,” opening in theaters Friday, with Ryan Gosling as Ryland Grace, a middle school science teacher who wakes up alone on a spacecraft light-years from Earth with no memory of how he got there. Gradually he realizes he’s been sent on a mission to figure out why the sun is dimming and how to stop it. What begins in isolation turns into something closer to a buddy movie, as Grace ends up working with an alien he names Rocky, another traveler trying to solve the same problem.
The film, directed by Phil Lord and Christopher Miller, comes from sci-fi author Andy Weir, whose earlier, similarly survival-themed breakthrough novel “The Martian” was adapted by director Ridley Scott in 2015. That movie put Matt Damon alone on Mars and made the act of thinking through one life-or-death problem after another the engine of the story. The result was a critical and commercial hit that earned seven Oscar nominations, including best picture.
Put someone out in space long enough and the story can go in many directions. Sometimes it’s about survival. Sometimes it turns inward. Sometimes it gets more horrific or even darkly comic. Here are eight of our favorite movies about people lost or stranded in space. Watch them somewhere with plenty of oxygen.
The Ryan Gosling-led “Project Hail Mary” rocketed to the top of the box office this weekend, marking a big win for Amazon MGM Studios.
The film — which stars Gosling as a science teacher who embarks on a space mission to save humanity — hauled in $80.5 million in the U.S. and Canada, making it the biggest domestic debut of the year so far. Globally, “Project Hail Mary” brought in $140.9 million.
The movie is an adaptation of a novel by Andy Weir, author of “The Martian” — another successful book-to-screen adventure. The big opening weekend for “Project Hail Mary” is a boost for Amazon MGM Studios, which had heavily promoted the film as an example of the big blockbusters it could produce.
“We believe deeply in the Hail Mary, and it’s clear audiences do as well,” Kevin Wilson, head of domestic theatrical distribution for Amazon MGM Studios, said in a statement. “What we’re seeing in theaters —the energy, the exit scores, the word of mouth — is everything we believed this film would deliver.”
Walt Disney Co. and Pixar’s “Hoppers” came in second at the box office this weekend with a domestic total of $18 million. The original animated film has now garnered $120.4 million in the U.S. and Canada since it debuted in theaters earlier this month.
Indian action film “Dhurandhar The Revenge” came in third with $10 million, followed by Disney-owned Searchlight Pictures’ horror film “Ready or Not 2: Here I Come” and Universal Pictures’ romance “Reminders of Him” rounding out the top five.
Should Paramount Skydance prevail in its $111-billion takeover of Warner Bros. Discovery, the Larry Ellison family would control two historic Hollywood film studios, dozens of cable channels, HBO and two legendary newsrooms, CBS News and CNN.
Concerns about the potential loss of more Hollywood jobs, and questions about newsroom independence dominated a hearing Friday to address Los Angeles’ crisis of shrinking film and TV production jobs.
Paramount wants to wrap up its Warner merger by September — a rapid timetable. The takeover deal, which was struck last month after Netflix bowed out, would put HBO and CNN under the control of Larry Ellison and his son David, the chairman of Paramount, which includes CBS.
Both Ellisons maintain friendly relations with President Trump. Those bonds, along with challenges to legacy media and changes at CBS News in recent months, sparked handwringing during the hearing called by Sen. Adam Schiff (D-Burbank) and Rep. Laura Friedman (D-Glendale).
“The questions surrounding this merger go beyond jobs, contracts and consumers,” Schiff said. “They also go to editorial independence of two of America’s most significant news organizations, CNN and CBS News.”
Trump has long agitated for changes at CNN, and members of his cabinet, including War Secretary Pete Hegseth, have openly cheered for an Ellison takeover of CNN.
To pave the way for the Ellisons’ purchase of Paramount, the company paid $16 million to Trump last summer to settle his lawsuit over edits to a “60 Minutes” interview with Kamala Harris in October 2024. Most 1st Amendment experts had deemed Trump’s suit “frivolous.”
Since the Ellisons took the helm, there has been a change in direction at CBS News and a reduction in its size and scope. Staff members at CNN are bracing for similar changes, including to the tone of its newscasts.
In addition to the long-term health of Los Angeles’ film economy, the merger’s fate could determine “whether we have state sponsored media … or whether we have journalists who can truly follow the story,” Friedman said.
Paramount Chairman David Ellison has vowed to “build a stronger Hollywood,” by increasing the creative output of the two legendary movie studios — Paramount and Warner Bros. — to 30 theatrical releases a year. Warner Bros., which owns such prominent franchises as “The Matrix,” Batman, Harry Potter, “The Big Bang Theory,” and “Friends,” has long been one of Hollywood’s most prolific studios.
But Paramount has suffered from years of under-investment and Ellison and his team have been working to boost the film pipeline.
“HBO will continue to operate independently under our ownership, enabling it to create more of the world-class content it is renowened for,” Ellison wrote in the Feb. 28 letter to Schiff and Friedman, responding to their concerns about consolidation.
During Friday’s hearing, the lawmakers turned to former CNN anchor Jim Acosta, who famously jousted with Trump during his first term, for his reflections. He was asked whether any “guardrails” could protect against potential merger harms.
“If this merger goes through, the guard-rails are gone,” Acosta said bluntly. “If we continue to go down this road it will be lights-out for the news industry… We need media options that are not controlled by the wealthiest and most powerful people in the country.”
The hearing occurred the same day that CBS News imposed another sweeping round of layoffs and disbanded its CBS News radio network. It also came the same week as Trump’s Federal Communications Commission approved a massive television station merger, which will allow Texas-based Nexstar Media Group to control more than 250 stations, despite a legal challenge from state attorneys general.
The proposed Paramount-Warner merger would prompt at least $6 billion in cost savings, according to Paramount. Industry veterans warn that billions more in cuts may be necessary to make the deal math work.
A combined Paramount-Warner would carry nearly $80 billion in debt, a legacy of the proposed leveraged buyout and the mergers that came before it.
The hearing at Burbank City Hall —“Lights, Camera, Competition”: Promoting American Film Production,” — was wide-ranging. Award-winning actor Noah Wyle, the star and a producer of Warner Bros.’ “The Pitt,” discussed the need to bring more productions back to Los Angeles where thousands of out-of-work film professionals have been suffering. “The Pitt” is filmed in Burbank.
“Over the last six years, the aggregate effect of projects leaving the state in search of tax credits, the pandemic and last year’s fires has been a near cratering of our once thriving industry,” Wyle said. “We lost 42,000 film and TV jobs between 2022 and 2024.”
The hearing unfolded down the road from the massive Warner Bros. studio complex, and was held to explore ways to boost the Hollywood economy, including the potential for a national tax credit under consideration in Congress. The campaign is intended to keep film jobs in the U.S. amid an increased migration to Britain, where Warner Bros. maintains an expansive studio complex in London, and other countries that offer generous subsidies.
“Work in the entertainment industry is precarious,” said Matthew D. Loeb, International President of the International Alliance of Theatrical Stage Employees (IATSE). “Past studio mergers have meant fewer jobs.”
“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” U.S. Sen. Adam Schiff (D-Calif.) said during a news conference Friday morning.
“We must act, and the urgency could not be greater,” he said. He revealed he is working on a bipartisan federal film incentive proposal that would be competitive with what other countries are offering for film productions.
He said the program isn’t about Hollywood’s stars; it’s about the jobs that productions create, including roles for set designers, carpenters and lighting crews.
“These are the people who make that magic happen. We want to keep those jobs here, and many of us are deeply concerned about what this potential merger will do to those jobs,” Schiff said.
Earlier this week, the California Film Commission revealed that 16 shows had recently received tax credits for filming in the state. The projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. Schiff said the state tax credit has generated more than $29.1 billion in motion picture production wages and supported more than 220,000 jobs.
Even as shows start to see gains in Southern California, Los Angeles film activity was still down 13.2% from July through September when compared with the same period in 2024. The downward trend extends the loss of 42,000 jobs in L.A. between 2022 and 2024, the continued suffering of local sound stages and the offshoring of productions internationally.
“Federal policymakers must act to level the playing field and make the U.S. film and television industry more competitive on the global stage,” said Matthew Loeb, the president of the International Alliance of Theatrical Stage Employees. “A globally competitive labor-based and tax incentive is. For us, production that supplements state incentives is essential to return and maintain film and television jobs in America.”
HBO Max’s medical drama “The Pitt” is filmed at one of Warner Bros. soundstages in Burbank and it’s one of the shows benefiting from California’s tax incentive.
Noah Wyle, the star and executive producer of the show, said during the news conference that “it’s really hard to shoot a TV show in Los Angeles, and it’s really expensive, prohibitively” — so adopting an economic model that allows productions to take full advantage of the California tax incentive was essential to “The Pitt” filming in L.A.
“As an Angeleno with generational roots to this city and as a seasoned member of its creative community, advocacy for Los Angeles-based production is something that is very close to my heart,” Wyle said.
“‘The Pitt’ has blessedly become proof of that speculative concept. I’m happy to report we’ll commence shooting season three this summer, and that a rising tide has indeed lifted all boats in season one under the 3.0 tax program,” he added.
The show received a 20% tax rebate on many above-the-line costs. The budget for one episode was approximately $6.6 million, so the show received a rebate of about $760,000 per episode. By the end of season one, the production was able to save over $11 million. Wyle estimated that the first season of “The Pitt” contributed around $125 million toward California’s gross domestic product.
Rep. Laura Friedman (D-Glendale), who is working with Schiff on production tax incentives, said that because California is already seeing benefits from the current program, there’s no reason it wouldn’t work nationally. Friedman added that tax incentives are a common practice among many industries in the U.S.
“Hollywood is not asking for special treatment. Whether it is computer chips, the energy sector or pharmaceuticals, this is something that is standard in the United States,” said Friedman. “In terms of our nation, Hollywood and its ability to tell the story of America, it is something worth saving.”
Walt Disney Co. installed Josh D’Amaro as chief executive Wednesday, beginning a new chapter for the storied Burbank entertainment giant.
Bob Iger passed the reins during Disney’s virtual annual meeting of shareholders, completing the company’s high-stakes and tightly choreographed changing of the guard. After spending two decades molding Disney into a media colossus, Iger segued into a senior advisory role, which will run through December when he officially retires.
The leadership shift comes amid an upheaval in Hollywood as traditional companies wage a desperate battle for survival.
D’Amaro, in his first address to shareholders, pointed to Disney’s signature storytelling as its competitive edge.
“While others in our industry are consolidating just to compete, or struggling to be relevant in a fragmented and disrupted world, Disney is in a category of one,” D’Amaro said during a video segment at the meeting. “This next chapter will be driven by staying focused on world-class creativity, enhanced by technology, bringing unforgettable stories to audiences wherever they are.”
D’Amaro, 55, becomes the ninth leader in Disney’s 102-year history. He was selected last month by Disney board members after a two-year internal bake-off among high-ranking division leaders. Board members were impressed with his business acumen, charisma and his deep love for Disney and its fabled history.
D’Amaro inherits a company that is beloved by millions. It generates $94 billion a year in revenue and employs 230,000 people.
He faces enormous challenges as he steers the ship through a turbulent media environment and tense geopolitics. The war in Iran prompted a sharp increase in fuel costs, which could become a drag on Disney’s critically important tourism business. Executives already have signaled “headwinds” in international visitation at its U.S. theme parks this year.
Lingering Middle East tensions also could weigh on Disney’s plans for a new Persian Gulf waterfront theme park and resort near Abu Dhabi.
D’Amaro, who served as parks and experiences chief until Wednesday, got his corporate start at Disneyland 28 years ago.
“Like so many of you, my connection to Disney goes back to my childhood, long before I began my career here,” D’Amaro told shareholders. “I grew up in a Disney family. We watched ‘The Wonderful World of Disney’ on Sunday nights. I was 10 years old when my family visited Disneyland for the first time. … Disney has always been a place of imagination, innovation and infinite potential.”
Disney previously announced a $60-billion, 10-year expansion program, which D’Amaro has led. But executives must strike a balance by keeping attractions true to their nostalgic core. In Anaheim, the expansion could result in at least $1.9 billion of development.
Disney also must continue to grow its animation business and manage revenue declines from its traditional linear television channels, including ESPN and ABC. It needs to turbocharge its streaming services with compelling movies and TV shows to remain competitive with Netflix and other leaders in the field.
Disney teased upcoming fan favorites, including the May release of Lucasfilm’s “Star Wars: The Mandalorian & Grogu,” a “Bluey” feature film (the kids show featuring an animated puppy, a blue heeler) and a sequel to a “Lilo & Stitch” film for 2028.
Streaming is key to Disney’s future, D’Amaro said.
“Disney+ will continue to evolve beyond a traditional streaming service to become the digital centerpiece of our company,” D’Amaro said, calling the service “a portal that connects our stories, experiences, games, films, and more in entirely new ways.”
The company plans to unify Disney+ and Hulu later this year.
Disney also must continue to incorporate technology while safeguarding its characters and franchises.
“We will continue to develop and embrace new technologies to empower our storytellers — but never at the expense of our characters and worlds, our creative partners, or the trust people place in us,” D’Amaro said. “Because Disney at its core is a company that celebrates human creativity.”
Wednesday also marked a reorganization of the company, configured by Iger, D’Amaro and Disney’s board.
Board members recognized that D’Amaro, who has spent most of his career in the parks division, lacks deep connections among Hollywood’s writers and producers. They elevated longtime television executive Dana Walden, who had been vying for the top job, to the newly formed role of chief creative officer and the company’s first woman president.
ESPN will continue to be managed by Jimmy Pitaro and Disney Entertainment, Studios chairman Alan Bergman will remain in his influential role overseeing film studios including production, marketing and distribution, and sharing oversight for streaming programming with Walden.
D’Amaro’s total compensation package is valued at about $40 million a year, including a $2-million annual base salary, $26.2 million in annual long-term stock incentives, a cash bonus and a one-time promotion award of $9.7 million.
“Josh is a wonderful choice to lead the Walt Disney Co.,” Iger said in a pre-recorded video. “He has passion for our businesses and brands, respect for our people, and he appreciates what makes this company so unique.”
Iger is wrapping up an unprecedented 52-year career at ABC and Disney.
He first stepped into the CEO role in 2005; his first 15 years were almost magical.
Iger led acquisitions of Pixar Animation, Marvel Entertainment and Lucasfilm, the studio behind “Star Wars,” that turned Disney into a blockbuster machine. Sports king ESPN spawned staggering profits, and Disney’s theme parks set industry standards.
Disney’s former Chief Executive Bob Iger will stay on through the end of the year as a senior advisor.
(Jay L. Clendenin / Los Angeles Times)
His decision to buy much of Rupert Murdoch’s 21st Century Fox, a $71-billion deal that closed in 2019, boosted Disney’s television production, refreshed its TV executive bench, and provided a controlling stake in general entertainment streaming service Hulu. The acquisition also gave Disney access to fan-favorite franchises, including “Deadpool,” “The Simpsons,” and James Cameron’s “Avatar.”
But the purchase left Disney saddled with debt just as the COVID-19 pandemic prompted production shutdowns and closures at theme parks and sports venues. It would take several years for Disney to recover.
Iger initially passed the CEO baton to Bob Chapek in February 2020. Iger, then chairman, retired the following year but came back in November 2022 to a mess. At the time, the company was losing billions of dollars on its shift to streaming but that unit is now profitable.
Iger spent the next three years focusing on four business pillars, including improving the quality and profitability of its film studios.
During the last two years, Disney has produced five franchise films that racked up more than $1 billion in worldwide ticket sales, including “Inside Out 2,” “Zootopia 2,” and “Avatar: Fire and Ash.”
The company is banking this year on several other films with blockbuster potential, including Disney and Pixar’s “Toy Story 5,” “Star Wars: The Mandalorian & Grogu” and Marvel Studios’ “Avengers: Doomsday.”
“I would want to be known as someone who was given the keys to this kingdom and brought it to a place that even Walt would be proud of — more storytelling, more innovation, more risk‑taking, and more creation of happiness,” Iger said during a “The Rest is History” podcast last year.
During the meeting, Iger appeared in a prerecorded video that celebrated his numerous career highlights. Shown were clips from his cub years when Iger was a newscaster with bushy black hair. His journey was depicted, including his orchestration of multi-billion-dollar acquisitions that strengthened Disney with more characters and franchises.
Iger, 75 and now gray, ended by thanking shareholders “for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving,” he said. “It has meant more to me than I can say.”
Animated pixie dust twinkled on the screen, courtesy of the fairy, Tinker Bell.
“Bob, on behalf of our employees, cast members, shareholders, and fans around the world, thank you so much for your tremendous leadership, your steadfast support, and your countless contributions to The Walt Disney Co.,” D’Amaro said, as the hand-off was complete.
“You’ve set an incredible example for all of us. … You will be missed,” D’Amaro said.
There was little fanfare during the business portion of the investor meeting.
The company’s slate of board directors were elected with 93% of the vote. Shareholders also approved executive compensation packages with about 85% of votes.
Shareholder-led proposals to compel reports on charities eligible for Disney’s gift-matching program, a review of the company’s accessibility practices in its theme parks for disabled guests, and a push for cumulative voting at future meetings all failed to muster support.
Disney shares closed at $99.41, down roughly 1% on the day.
Disney has a new captain, and his eyes are on the stars.
Taking over the reins from Bob Iger on Wednesday, new chief executive Josh D’Amaro signaled a bold shift for the entertainment giant: a future where emotional storytelling remains the “North Star,” but cutting-edge technology provides the fuel.
From ESPN to the Magic Kingdom, D’Amaro said in his first letter to employees as the top boss that his mission is to turn a century of nostalgia into a more personal, high-tech reality for fans worldwide.
“Used thoughtfully, it can empower our storytellers, strengthen our capabilities, and help us create more immersive, interactive and personal ways for people to experience Disney,” he wrote in the Wednesday morning note.
D’Amaro also said he wants the sprawling company, which includes film and TV studios, a tourism division, streaming services and live sports programming, to operate as “one Disney,” saying the global businesses all play a role in deepening consumers’ relationship with the Mouse House.
That connection people have with Disney’s brand is key to the company’s future. Consumers have more film, TV and experiences to choose from than ever, meaning Disney needs to distinguish itself among competitors.
To do that, D’Amaro plans to focus on the emotions consumers feel when they encounter Disney. As an example, he reminisced about his own first visit to Disneyland more than 40 years ago.
He recalled the joy on his father’s face as the two rode Peter Pan’s Flight together. And when they soared over the miniature version of London on the ride, he remembered his father leaning in and saying, “See, I told you. It feels like we’re flying!”
“That feeling of flying I had on Peter Pan all those years ago is still real to me,” he wrote in the Wednesday morning note. “And today, I am honored to move forward with all of you — with ambition, optimism, and absolute confidence in what we can build together.”
That new era also included a goodbye to Bob Iger, who handed over the reins Wednesday and now moves into a senior advisory role for the rest of the year before his planned retirement.
The company paid tribute to Iger in a video during Disney’s annual shareholders meeting Wednesday morning.
With clips from his earliest public appearances as Disney’s CEO, a highlight reel of the acquisitions the company made under his tenure and even a nod to his previous career behind the anchor desk, the video highlighted Iger’s legacy at the company and the role he played in bulking up Disney’s franchises, global theme parks, sports and streaming platforms.
When asked in the video about where he’ll go from here, Iger laughed and replied, “To Disneyland.”
In a pre-recorded speech, Iger said his time at Disney has spanned much of his life and that he never expected to become CEO of the company — much less twice.
“Over the years, we experienced extraordinary change and faced real challenges that were particularly profound in the last three years,” Iger said. “It was daunting at times, but through it all, what sustained me was the passion I saw every day from great storytellers, innovators, leaders and people around the world.”
In his parting remarks during that speech, he expressed confidence in the new leadership team of D’Amaro and Dana Walden, who is now president and chief creative officer of the company.
“I will be cheering on Josh, Dana and all of you as I sail off into the sunset,” he said. “So thank you for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving. It has meant more to me than I can say.”
Even as California’s soundstages suffer from a slowdown in local production, the local economy may get a boost from the state’s expanded film tax credits.
Medical drama “The Pitt,” a “Family Guy” spin-off and a kids’ science competition show from late-night host Jimmy Kimmel are among the 16 shows that received tax credits for filming in the state, the California Film Commission said Wednesday.
In total, the projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. More than 4,500 cast and crew members will be employed across the 16 shows, along with more than 50,000 background actors, the film commission said.
New to this round of awardees are animated shows and competitions, which were added to the film and television tax credit program during its revamp last year. Under the program, producers can receive up to 25% of qualified production expenses back in the form of credits that they can apply toward tax bills they have in the state.
“California’s creative economy isn’t just part of who we are — it helps power this state forward,” Gov. Gavin Newsom said in a statement. “From the folks on the soundstage to the people designing the sets, these are jobs that anchor communities.”
HBO Max’s “The Pitt” received a credit of $24.2 million, while “Stewie,” a spin-off of Seth MacFarlane’s irreverent adult cartoon “Family Guy,” was awarded $6.4 million. Kimmel’s “Schooled!” competition show, which pits young scientists and their experiments against one another, secured $6.9 million.
Since the state’s production incentive program was bolstered last year, more than 100 films and TV projects have received tax credits.
But it has taken a while for those shows to jump-start local production, which has seen a sustained slump since the pandemic, the dual writers’ and actors’ strikes in 2023 and spending cutbacks at the studios.
That lag has affected the business of local soundstages.
For the first half of 2025, the average occupancy rate at Los Angeles County soundstages was 62%, slightly lower than the 63% average recorded in 2024, according to new data from the nonprofit FilmLA, which tracks local production.
Those figures mark a significant decline from the average occupancy rate of 90% seen from 2016 to 2022, according to FilmLA data.
That’s been a problem for local soundstage operators, which had aggressively funded development of new properties or acquired them only to see production slow.
There’s still nine months to go before audiences can return to Arrakis. Until then, Warner Bros. has released a trailer to hold us over.
“Dune: Part Three,” which takes place nearly two decades after the events of the sequel, promises more political upheaval, introduces a ruthless new villain and teases Paul and Chani’s future child, according to a trailer released Monday.
“Dune” stars Zendaya and Javier Bardem joined Denis Villeneuve to preview the trailer for the conclusion to his famed sci-fi trilogy. New cast members Anya Taylor-Joy and Robert Pattinson were also in attendance at the AMC event while Timothée Chalamet, Florence Pugh and Jason Momoa sent video messages.
“It’s a trailer launch? It looks like a premiere,” Villeneuve said during the event, which included a Q&A with the cast and was met by thunderous applause from the audience.
Zendaya, who stars in the films as Chani, a Fremen warrior, expressed excitement about the upcoming film, saying the “movies have meant so much to me over the years. I’ve literally been able to grow up in my entire 20s doing them, and so they have such a special place in my heart.”
Here’s everything to know about “Dune: Part Three.”
What is ‘Dune 3’ about?
The trilogy’s final installment picks up 17 years after the second movie, though the trailer hints at continued war and political turmoil in Arrakis and beyond.
Paul Atreides, played by Chalamet, is dealing with the consequences of defeating the Harkonnens and becoming emperor, struggling with his role as the Fremen’s messiah.
The trailer hints at a possible future child between Paul and Chani. The pair, who are introduced as potential love interests in the first movie, were split up at the end of the second film, with Paul marrying Princess Irulan, played by Pugh, in a political move to ensure his ascension to the throne.
In the trailer, Chani asks Paul, “If we have a girl, what will we name her?” hinting at a possible reconciliation. In a pre-recorded video played during the event, Pugh addressed the love triangle, and asked Zendaya what her character thinks of Irulan’s marriage to Paul.
“You guys will just have to see for yourself what happens, because it’s quite the journey,” Zendaya said during the event.
At the heart of the third movie, Villenueve said, is a love story, adding that “the heartbeat of the film is still the relationship between Paul and Chani,” according to Deadline.
The trailer also offers a sneak peek at continued battles in the universe, even years after Paul, the “chosen one,” becomes emperor.
Jason Momoa returns as Hayt in “Dune: Part Three,” a clone of Duncan Idaho.
(Warner Bros. Pictures)
When will ‘Dune 3’ be released?
The final installment of the trilogy will hit theaters Dec. 18.
“Dune: Part Three” is inspired by “Dune Messiah,” the second novel in Frank Herbert’s “Dune” series. The first two films were adapted from the first novel.
Villeneuve had planned to temporarily step away from the “Dune” universe, but “felt a responsibility to finish the story” after seeing audience excitement for the second film, which was released in 2024, he said during the trailer launch. The first two movies were box-office hits, collectively grossing more than $1.1 billion worldwide. “Part Two” won two Oscars, and the first film earned six Oscars out of 10 nominations, primarily in the technical categories.
“It’s a good idea to come back to those worlds, not by nostalgia, but by urgency,” he said. “If the first movie was contemplation — a boy exploring a new world — and the second one is a war movie, this one is a thriller. It is action-packed and tense. More muscular.”
Robert Pattinson plays shape-shifting villain Scytale in “Dune: Part Three.”
(Warner Bros. Pictures)
What have ‘Dune’ stars said about the film?
The trailer’s exclusive screening was introduced via a video message by Chalamet, who said Villeneuve’s third film is “a true act of cinema.”
“This film would not exist without the master of cinema, the great artist that is Denis Villeneuve,” Chalamet said. “I’m not alone in saying thank you to Denis for his dedication in bringing the ‘Dune’ films to life — and now the ‘Dune’ trilogy to life.”
Momoa, who starred in the first film as Duncan Idaho before his character was killed off, will be back in the third installment, he announced in a video at the event. Taylor-Joy, who had a brief cameo in the second movie, will return as Paul’s younger sister Alia.
Pattinson will take on the role of shape-shifting villain Scytale. Pattinson said he got the job just months after he asked Zendaya how he could join the “Dune” cast while on set filming their black comedy “The Drama.” (The A24 movie opens April 3.)
“Everybody wants to work with Denis. He’s a master,” Pattinson said during the event. “When you see the scope and scale and ambition of these movies, like on set, you get why they feel like this on the screen. It’s just extraordinary.”
“The Voice of Hind Rajab,” a heartbreaking retelling of the efforts to save a 6-year-old Palestinian girl amid Israel’s attacks on Gaza, will be honored at the 98th Academy Awards on Sunday — without one of its star players.
Actor Motaz Malhees, who stars in the film as Red Crescent dispatcher Omar, confirmed Thursday that he will be absent from the festivities because of President Trump’s travel ban against Palestinians. “I had the honor of playing one of the lead roles in a story the world needed to hear,” Malhees said on Instagram, “but I will not be there.”
“I am not allowed to enter the United States because of my Palestinian citizenship,” he added.
Trump announced his widened travel ban in December, noting his decision to “fully restrict and limit the entry of individuals using travel documents issued or endorsed by the Palestinian Authority,” along with people from countries including South Sudan and Syria. The president issued the order months after he presented his 20-point peace plan for the Gaza strip — efforts that some Palestinians feel have been now brushed aside amid U.S. and Israeli attacks against Iran.
Malhees said in his post that the restriction “hurts” but offered his followers and supporters a kernel of truth: “You can block a passport. You cannot block a voice.”
“The Voice of Hind Rajab,” directed by Tunisian filmmaker Kaouther Ben Hania, is nominated in the international feature category. The film is set in a Red Crescent call center in Ramallah and centers the 70-minute phone recording of Hind’s pleas for help as she waits with her family in a trapped car for emergency responders. She and two medics dispatched to her location were killed in February 2024 in Israeli attacks in Gaza.
The film earned the grand jury prize at the Venice Film Festival.
Though unable to celebrate the film at the Oscars on Sunday, Malhees said he stands “with pride and dignity” and that his “spirit will be with the Voice of Hind Rajab that night.”
“Our story is bigger than any barrier, and it will be heard,” he said.
A representative for the Academy of Motion Picture Arts and Sciences did not immediately respond to a request for comment.
As Malhees publicized his absence, fellow stars including Oscar winner Riz Ahmed and Emmy-nominated “Succession” star Arian Moayed rallied in support.
“Your work in the film and the film itself are both incredible and will live on forever,” Ahmed commented.
“You are brilliant, azizam,” Moayed replied to Malhees. “And this is heartbreaking and unjust.”
JUNIOR Andre has made his acting debut alongside his father Peter and an EastEnders star, just days after revealing his secret job.
The young lad, 20, played the role of Johnny in a new coming-of-age drama called Finding My Voice.
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Junior has announced he’ll be starring in a filmCredit: Instagram/findingmyvoicemovieThe news comes only a matter of days after he revealed he secretly works at the London underground to make money to support his own musicCredit: Instagram/findingmyvoicemovie
Finding My Voice is about a girl called Mel who feels like she has nowhere to go after facing a series of tragedies.
Her family breaks up due to alcoholism following the death of her baby brother, plunging her into deep struggles.
Johnny is a friend who is always there for her when she needs someone to believe in her, which is truly heartwarming.
At the end of the month Finding My Voice will host its first screening as a part of Manchester‘s Film Festival.
Another Instagram post announced who Junior would be playing, which received a roaring reception from his friends and family.
The post shows a carousel of snaps of Junior featuring in the film, the first of which includes the name “Johnny” over his head in block lettering.
The caption says: “Junior Andre. Johnny is Mel’s school friend and one of the few people who’s always there when she needs someone to believe in her.
“Finding My Voice movie is out on 28th March at Manchester Film Festival. See you there!”
Junior’s character is very supportive in the filmCredit: Instagram/findingmyvoicemovieHis girlfriend Jasmine gushed with pride online about his film debutCredit: Splash
Right at the top of the post’s comments section is Peter, gushing: “Yea my son,” followed by three flame emojis.
Junior’s girlfriend Jasmine Orr added: “Can’t wait for this,” along with three hand emojis forming hearts.
Fans felt the same level of enthusiasm, saying “Wow” and that they “can’t wait to watch” the film.
Peter plays the role of Costas, who more details are yet to be released about.
Twenty-three years ago, the Oscars were in turmoil. President George W. Bush had just begun an invasion of Iraq after the Sept. 11 attacks, and as the nation’s TV screens filled with the “shock and awe” campaign, many did not know quite how to proceed with Hollywood’s biggest night.
ABC wanted to postpone, presenters begged off, Jack Nicholson urged his fellow actor nominees to boycott (animated feature winner Hayao Miyazaki did), documentary winner Michael Moore attempted to directly shame Bush from the stage (to loud boos) and many of the acceptance speeches acknowledged the war and included pleas for peace.
President Trump’s recent decision to attack Iran is not precisely the same — American troops have thus far not invaded and the Bush administration’s media blitz of rockets lighting up the sky is absent. No one expected the Oscars to be canceled or delayed and there has been no talk of boycotts; whether the war and (if polls are to be believed) its general unpopularity are noted, either by host Conan O’Brien (who has already said he will not be mentioning Trump) or the winners, remains to be seen.
But if recent history is any indication, it could go unmentioned. Which would be something of a political statement in itself: It would be terrible if the false notion that awards shows have become too political had a chilling effect on anyone who wanted to use their platform to speak about something important they care about.
Thus far, film and television awards winners have stayed away from the issues that have prompted widespread public outrage and protests this year — including the often brutal methods of Immigration and Customs Enforcement, the ongoing concern over the war in Gaza and the endless revelations of the Epstein files.
Despite complaints from certain quarters, awards shows, particularly the Oscars, rarely have more than one or two truly political moments. But this year, the absence has been notable.
Compared with the Grammy Awards, where Trevor Noah, in his final stint as host, roasted Trump and anti-ICE sentiment reigned in speeches and on pins, this year’s Golden Globes (which aired three weeks before the Grammys) appeared to exist in another world. A few stars wore similar pins and spoke on the red carpet, but aside from a few digs about Epstein and CBS News from host Nikki Glaser, there was no mention of the many issues roiling the nation. (As he was beginning to make late-in-speech remarks about this being an important time to make films, Kleber Mendonça Filho, Brazilian director of the non-English language film winner “The Secret Agent,” ran over time and was played off.)
Has Hollywood lost its spine? Or, having been beset for years by grievances that the Oscars have become “too political” and “too woke,” are filmmakers and actors saving their outrage and passion for social media and bowing to pressure to keep their acceptance speeches grateful and celebratory?
“I know that there are people who find it annoying when actors take opportunities like this to talk about social and political things,” said Jean Smart on the Golden Globes red carpet, adding, when she won for actress in a TV comedy: “There’s just a lot that could be said tonight. I said my rant on the red carpet, so I won’t do it here.”
It was an echo of Jane Fonda’s famous 1972 Oscar speech: “There’s a great deal to say, and I’m not going to say it tonight.” And, perhaps, a response to more recent “shut up and dribble” criticism, as distilled by 2020 Golden Globes host Ricky Gervais, who cautioned the audience: “If you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world.”
Indeed, as Oscars ratings have plummeted over the last 20 years, some have suggested that political speechifying is to blame. This is patently absurd. Viewership for just about everything except the Super Bowl has dropped dramatically, and the Oscars ratings do not take into account the millions who watch portions of the show on social media. (We’ll see what happens when the Oscars move to YouTube in 2029.)
And the Oscars have never been particularly political.
Speeches that deviate from the ubiquitous laundry list of thank yous always get more attention, whether they’re political or not, for the simple reason that they’re so dang unusual. But taken as a whole, either by decade or particular telecast, the Oscars is mostly, and consistently, apolitical. As in, almost every minute of a three-hour-plus show, year after year after year.
Unless, of course, you consider thanking God to be political. Which I do not. Nor do I categorize as such any speech that underlines the fact of a historic win (as Halle Berry did in 2002), encourages Hollywood to tell more diverse stories (as Cate Blanchett did in 2014) or reminds audiences in a general way that systemic oppression and war are bad (as Adrian Brody did amid his ramblings in 2025).
Many of the speeches that have been branded as “political” are simply underscoring the themes of the films being honored — in 2009, both Dustin Lance Black and Sean Penn advocated for gay rights when accepting Oscars for “Milk,” which chronicled the life of assassinated gay rights activist Harvey Milk. Likewise, John Irving supporting abortion rights and Planned Parenthood after winning for “The Cider House Rules” in 2000 and John Legend and Common speaking passionately about civil rights, past and present, after winning for “Glory,” a song from the civil rights drama “Selma,” in 2015 was only natural.
Sacheen Littlefeather refuses the lead actor Academy Award on behalf of Marlon Brando in 1973.
(Bettmann Archive)
A purely political speech, to my mind, directly calls out specific leaders, policies or crises, which may or may not have anything to do with the film being awarded. The most famous are, of course, Marlon Brando’s decision to send Sacheen Littlefeather to accept his Oscar for “The Godfather” and protest the treatment of Native Americans, and Vanessa Redgrave’s 1978 denunciation of “Zionist hoodlums” who were demonstrating against her involvement in a pro-Palestinian documentary even as she accepted for supporting actress in “Julia.”
In 1993, while many Oscars attendees wore red ribbons to honor those living with HIV/AIDS and call for government assistance, then-couple Susan Sarandon and Tim Robbins took it further, using their time as presenters to ask the U.S. government to allow HIV-positive Haitians being held at Guantanamo Bay to be let into the country. That same year, presenter Richard Gere used the fact that “1 billion people” were watching to send “sanity” to Chinese leader Deng Xiaoping in the hopes that he would allow the people of Tibet to “live free.” (Then-Oscars producer Gil Cates quickly denounced the three presenters; Gere did not return to the Oscars until 2013.)
A year after Moore blasted Bush over Iraq, Errol Morris, winning for “The Fog of War,” briefly compared the war in Iraq to the “rabbit hole” of Vietnam (which was the subject of his film). In 2015, “Boyhood” star Patricia Arquette used most of her supporting actress speech to demand equal wages for women. That same year, “Birdman” director Alejandro G. Iñárritu dedicated his award to his fellow Mexicans, with the hope that they would be treated by Americans “with dignity and respect” so that together, they could build a “great immigrant nation.” (Which frankly plays more purely political now than it did at the time.) A year later, Leonardo DiCaprio spoke about climate change after winning for “The Revenant.”
In 2019, Spike Lee, accepting for adapted screenplay (“BlacKkKlansman”), called on voters in the upcoming election to mobilize and “be on the right side of history” and in 2024, “Zone of Interest” director Jonathan Glazer, accepting for international film, riled many by comparing the dehumanization required for the Holocaust to occur with events in Gaza.
Even now, the most notable examples of political speeches, the ones that are always mentioned, are from the freaking‘70s. Which certainly obliterates the idea that the Oscars have grown more political and undermines the argument that it is a Big Problem.
Put these relatively few moments next to the endless hours of acceptance speeches that, with varying degrees of emotion, honor the art of movie-making and the legions that support those who are doing it (including God, parents, spouses, children, some random but heaven-sent teacher) and it’s difficult to see much “wokeness.”
The people who gather at the Oscars are storytellers, and many of the stories they tell deal with uncomfortable truths about our collective past, present and future (including best picture front-runners “One Battle After Another” and “Sinners”). Of course nominees and winners have opinions about politics, science, social issues, international conflict and those suffering without recourse or voice — that’s why they make movies. So if a few of them decide to skip thanking their manager or the studio head and say a few words about climate change or whatever current law/policy/presidential action they believe is making lives worse for a lot of people, that’s their choice. They just won an Oscar!
For those uncomfortable watching it, just use the 45 seconds to grab a snack and by the time you’re back, the host will be moaning about how long the show is and the next five winners will inevitably cry and smile; praise their fellow nominees; thank the producers; say something sweet about their cast, crew and mamas; before telling their kids they love them and it’s time to go to bed.
Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.
The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.
“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.
Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.
That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.
Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.
Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.
At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.
The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.
Jennifer Runyon, a film and television actor known best for her roles on “Ghostbusters,” “A Very Brady Christmas” and “Charles in Charge,” has died. She was 65.
Runyon died Friday, according to a Sunday statement reportedly posted to her social media account, which has since gone private.
“This past Friday, our beloved Jennifer passed away. It was a long and arduous journey that ended with her surrounded by her family,” the statement read, according to ABC7. “She will always be remembered for her love of life and her devotion to her family and friends. Rest in peace our Jenn.”
“Bewitched” actor Erin Murphy shared in a Sunday post on Facebook and Instagram that Runyon died “after a brief battle with cancer.”
“Some people you just know you’ll be friends with before you even meet,” Murphy wrote in her tribute. “She was a special lady.”
On the 1980s sitcom “Charles in Charge,” Runyon portrayed Gwendolyn Pierce, a fellow college student of the show’s titular live-in housekeeper (portrayed by Scott Baio) and the target of his affections.
In his Facebook tribute, fellow “Charles in Charge” actor Willie Aames described Runyon as a “dear dear friend, muse, and encourager.”
“From the moment we met on set all those decades ago- I knew you ‘got me,’” wrote Aames. “Watching you slip away these last few months was one of the hardest times of my life… I can still hear your voice so clearly. No one will ever be able to fill the massive hole that’s been left in our hearts… ever.”
A Chicago native, Runyon made her television debut as Sally Frame in the long-running soap opera “Another World.” She also appeared in episodes of “Magnum, P.I.,” “Quantum Leap” and “Murder, She Wrote.” Runyon also portrayed the grown-up Cindy Brady in “A Very Brady Christmas.”
Her film credits include the 1984 classic “Ghostbusters,” where she appeared as one of the students participating in the ESP study conducted by Bill Murray’s Peter Venkman.
On Instagram, Runyon’s daughter Bayley Corman, an actor who has appeared on TV shows such as “Chilling Adventures of Sabrina,” “Bel-Air” and “Running Point,” described her mother as “the kindest most compassionate person i’ve ever known.”
“All of the best parts of me came from you,” Corman wrote in her tribute. “i would give anything for one more day together.”
Walt Disney Co. and Pixar’s “Hoppers” took the box office crown this weekend in an encouraging sign for the company’s original animated films.
The film generated $46 million in ticket sales in the U.S. and Canada, marking the highest domestic opening for an original animated movie since 2017’s “Coco,” according to studio estimates. The global box office total for “Hoppers” was $88 million.
The zany movie features a young environmental advocate who “hops” her consciousness into a robotic beaver and bands together with other woodland creatures to stop a planned freeway expansion through a glade.
The film is directed by Daniel Chong, who created the Cartoon Network animated series “We Bare Bears.”
The muscular debut for “Hoppers,” as well as the strong performance from Sony Pictures Animation’s “Goat” last month, has been a positive sign for audience interest in original animated films.
Since the pandemic, theatrical returns for animated sequels have far surpassed that of original films. Disney’s “Zootopia 2,” for instance, has now grossed more than $1.8 billion in global box office revenue, with more than $426 million domestically. Disney and Pixar’s 2024 hit “Inside Out 2” also crossed more than $1.6 billion globally.
By contrast, Disney and Pixar’s 2025 original film “Elio” brought in about $154 million in worldwide box office revenue.
Original films are vital to Pixar’s future, as the Emeryville-based studio built its reputation on its string of nearly uninterrupted original blockbuster hits, including 1995’s “Toy Story” and 2004’s “The Incredibles.”
Paramount Pictures and Spyglass Media Group’s “Scream 7” came in second at the box office with $17.3 million in its second weekend in theaters. Warner Bros. Pictures’ “The Bride!,” Sony’s “Goat” and Warner Bros.’ “Wuthering Heights” rounded out the top five at the box office, according to data from Comscore.
With several strong releases, as well as popular holdover films from 2025 that continue to bring in revenue, the first few months at the box office have been a notable improvement over last year’s dismal first quarter.
Domestic box office revenue so far is up more than 12% compared to the same time period in 2025, according to Comscore.
One of the best action blockbusters of the past few years has just been added to Netflix just in time for an adrenaline-fuelled weekend viewing
‘Phenomenal’ action film called ‘pure adrenaline’ now on Netflix(Image: UNIVERSAL PICTURES)
Netflix has just added an exhilarating action film starring two of Hollywood’s greatest stars that you won’t want to miss.
Both leads are featuring in some of the most highly anticipated films of 2026, while the director is one of the most prominent action filmmakers in recent years.
The Fall Guy stars Ryan Gosling as stunt performer Colt Seavers, who reluctantly agrees to a comeback after a life-threatening injury when his ex-girlfriend Jody Moreno (played by Emily Blunt) lands her first gig as the director of a major studio film.
However, the pair soon find themselves wrapped up in a complex conspiracy when the movie’s lead actor, Tom Ryder (Aaron Taylor-Johnson), goes missing.
When Colt is covertly hired to go after the people the producers suspect are responsible for his disappearance, he leaps at the chance to win back his ex by saving her debut. But he quickly realises he’s in over his head.
Both megastars are poised to rule the box office over the coming months. Gosling is about to return to the big screen for the bombastic space opera Project Hail Mary, while Blunt is also tackling extraterrestrial threats in Steven Spielberg’s new sci-fi thriller Disclosure Day.
She is also returning to one of her most iconic roles in The Devil Wears Prada 2, along with Meryl Streep and Anne Hathaway. With The Fall Guy available to stream on Netflix, now is the perfect time to revisit one of their best films ahead of their must-see cinematic experiences.
Fans have been raving about the film since its release, and it received an impressive 82 percent Rotten Tomatoes score from critics, with 84 percent from audiences.
One five-star review from an RT user gushed: “A truly phenomenal film! It’s fun, but locks in when seriousness is needed. I love it so much!”
Someone else described it as “Pure adrenaline popcorn perfection that delivers unfiltered chaos candy!”
The stellar reviews continued on IMDb, where one viewer called The Fall Guy “Pure entertainment” and said: “While watching this movie, I found myself smiling nearly the entire time. If you are looking for pure, unfettered fun (in the form of romcom action of course), then this is the movie for you.
“The plot was fun, the acting was solid, the situations that the characters found themselves in were hysterical, the action was on point, the cinematography was nice, and the romance was entertaining.”
And a final fan wrote: “The Fall Guy is insanely fun, with incredibly cool action scenes, romantically charming elements, and a captivating world of stuntmen.
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“It’s full-on entertainment, especially for film enthusiasts, with meticulously crafted action sequences in both real and fake movies that look fantastic, grand, and impressively complete.
“Both Ryan Gosling and Emily Blunt have impeccable chemistry, and the portrayal of the stuntman profession is sharp. The film cleverly satirizes the Hollywood industry with excellence.
“Watching this movie in theaters is an absolutely delightful experience. Director David Leitch nails every aspect of the film, truly delivering on the action-packed excitement.”
The Fall Guy is available to stream on Netflix.
For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
In 2020, “We Bare Bears” creator Daniel Chong came to Pixar leaders with an idea.
He had seen documentaries in which robotic animals with eyeball cameras captured footage of natural habitats. But what if that technology was so good that no one could tell the difference? And to make it even more zany — what if someone went undercover in that animal body?
That idea became the basis of Walt Disney Co. and Pixar’s new animated movie, “Hoppers,” which debuts this week. The film is Pixar’s latest attempt to break through at the box office with an original story, something that has been a struggle for the storied animation studio since the pandemic.
The pressure of Pixar’s legacy can be a little overwhelming and coming up with an original idea is difficult, said Chong, who directed “Hoppers” and also serves as a writer on the film.
“For a Pixar movie, it’s very high stakes,” he said. “But I just felt like I had a really funny idea, and I thought as long as we made it really funny and had characters you loved, to me that’s the key to every Pixar movie — really awesome characters that really connect emotionally with people.”
Recent theatrical success for Pixar as well as other animation studios has come from sequels, such as 2024’s “Inside Out 2,” which grossed $1.7 billion globally. But the reputation of Emeryville-based Pixar is built on its string of blockbuster originals, including 1995’s “Toy Story,” 2001’s “Monsters, Inc.” and 2004’s “The Incredibles,” making new stories crucial to the studio’s future.
People like coming back to familiar characters like Woody and Buzz from “Toy Story,” but the studio can do only so many sequels, said Pete Docter, Pixar’s chief creative officer. And some films don’t lend themselves to new chapters, he said, noting the studio’s efforts to look at “Monsters, Inc.”
“We’ve been trying, struggling for a long time to get somewhere with that, and we’ll see in the future how things go, but it’s been an uphill battle,” he said. “For whatever reason, that movie seems to be self contained and doesn’t want to go forward without repeating some of the same themes, which I think would be disappointing.”
Opening weekend expectations for “Hoppers” are wide-ranging, from $25 million to $40 million, on a production budget of $150 million. So far, the reviews have been strong, with a 96% approval rating on aggregator Rotten Tomatoes.
“If we don’t continue to do originals, we’re going to run out of stuff,” Docter said. “If ‘Hoppers’ can really catch on, it could show that audiences still want original movies. They’re still excited to see things that surprise them, that are not just following through on characters and worlds that they’ve seen before.”
It’s been a tough time for original animated movies — and new films in general. As the theatrical market continues to find its footing after the pandemic, audiences still largely have gravitated toward familiar fare, including sequels and reboots, even as they profess to want new stories.
Pixar’s previous original film, 2025’s “Elio” cratered at the box office, partially beset by the tough climate for new animated stories as well as strong competition from other kids’ movies such as live-action adaptations of Universal Pictures’ “How to Train Your Dragon” and Disney’s “Lilo and Stitch.”
The pandemic played a major role in Pixar’s recent track record with originals. When COVID-19 hit, original films like 2020’s “Soul,” 2021’s “Luca” and 2022’s “Turning Red” all were sent straight to the Disney+ streaming service to give families something to watch during the stay-at-home orders. But that also got audiences accustomed to waiting to watch Pixar films at home, and as theaters started opening up again, families were some of the last groups to return because of concerns about health and safety.
“There had been a conditioning process,” said Heather Holian, a professor of art history at the University of North Carolina at Greensboro. “It was challenging to turn the ship around a little bit, or getting people to rethink how they engage with Pixar films and getting them back to theaters.”
To connect with audiences, Pixar films need to feel familiar in some way, but with a surprising twist — something that is incredibly difficult to do, Docter said. “Hoppers” also involved extensive, early stage collaboration with the studio’s story artists. Chong would give them a rough idea of his thoughts, which the artists would then use to develop dialogue and other details that expanded on his vision. That’s a bit of a departure from Pixar’s typical process, which involves writing pages and giving them to the artists, who then go to work..
Chong worked as a story artist at Pixar before he went on to create Cartoon Network’s “We Bare Bears” and then returned to the studio in 2019.
“Hoppers” could get strong tailwinds from the success of Sony Pictures Animation’s “Goat,” which was produced by Golden State Warriors star Stephen Curry and tells an original story set in an all-animal world about an undersized “roarball” player who pushes to make it in the big leagues. That film has netted nearly $75 million in the U.S. and Canada, with a global total of more than $131 million..
The two movies are the beginning of a potentially big year for animated films. After “Hoppers,” Nintendo and Universal Pictures’ sequel “The Super Mario Galaxy Movie” is out in April, followed by Pixar’s “Toy Story 5” in June and Universal Pictures and Illumination Entertainment’s “Minions & Monsters” in July. In the fall, Warner Bros. Pictures Animation plans to release “The Cat in the Hat.”
High-performing years at the box office traditionally are anchored by strong family movies, said Shawn Robbins, director of movie analytics at Fandango and founder of the site Box Office Theory.
“A lot of us are so optimistic about what the box office can do overall this year because of the animated releases,” he said. “When there is appealing content out there, families are a big driver for this industry.”
Los Angeles has a secret magic to which you have to earn access, and the way you earn it is by making it, becoming a contributor to the city’s misapprehended culture of spectacle and soul, diversity and monolithic elitism. It’s a get-in-where-you-fit-in or get-edged-all-the-way-out kind of city, wherein a deceptively laissez-faire game of musical chairs can determine your fate. Kahlil Joseph has a private magic to which you have to earn access, and you earn it by resonating with the untapped nerve centers of Black culture that animate this city, and even then you might be denied.
Joseph is like the city (Los Angeles, not Hollywood), and the city enforces confidentiality, drive, wit, style and devotion often mistaken for diva-ism. The filmmaker and video artist moved to Los Angeles from Seattle for university, and was quickly followed by his brother, the painter Noah Davis, who would found the Underground Museum, a venue and near-speakeasy with West Coast casual gravitas and pan-African rigor and breadth, which became as important to the zeitgeist of Black Los Angeles as both brothers have.
Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” Funmilayo Akechukwu (Kaneza Schaal) channels a 93-year-old W.E.B Dubois, 200 years in the past.
In somewhat rapid succession, Joseph lost his father, Keven Davis, an accomplished attorney who represented the likes of the Williams sisters and Wynton Marsalis, in 2012, and his brother Noah in 2015. Joseph navigated those years in the wake with unadorned reverence, while starting a family of his own and directing some of the most transcendent music videos of the 2010s. As testament to his resilience and that of the community around him, grief sharpened Joseph’s purpose and became a kind of grace he transmuted into moving images so saturated with feeling, sans easy pathos, they offered new ways of seeing. The stakes were higher and layered with the existential absurdity of abrupt shifts, which he carried with an elegant, slightly seething temperament that has found its expression in the work. It’s relevant that he shares a birthday with Miles Davis — this is Los Angeles, where it’s customary for a person to request your cosmic DNA before asking your name — and it’s relevant that like Miles, Joseph’s vocal tone is whisper-pitched, toward the mode of retreat that begets echo; you lean in and hear him twice. His quiet tone is not shyness or false modesty but circumspection and a sense of boundaries that imply respect and love for real communication. You sense this in his work ethic and what it produces, an intimacy of form that implies an almost ritualistic attentiveness to the world around him on its own terms. In the 2012 Flying Lotus music video “Until the Quiet Comes,” directed by Joseph and set in Los Angeles, death and rebirth are addressed as a duet, companions in the expansion of collective consciousness instead of foils or adversaries, as a fallen child leaves his body and returns more alive than before he was bloodied on screen. And the violent scenes aren’t grotesque or didactic — think of Miles’ muted trumpet sound reconfigured as resurrection visuals, of his ability to play and stage ballads so well that their uptempo momentum moves into territories too macabre to mute. Like Miles, Joseph tests and stretches his range.
With the closure of the family-run Underground Museum, first in 2020 and then officially in 2022, the path uptempo was visited by more obstacles and disappointments, a shift, if temporary, in Joseph’s role in the local community, as he became more private and distant from public elegy. On the phone recently, Joseph and I discussed the trauma economy, how much of a trap it is for Black art and artists, especially in this post-BLM, post-Obama, post-neoliberal dominance, post-nonprofit industrial complex dominance territory we’re all in now, whether we face it or not. As antidote and balm to the market for repackaged abjection, Joseph adapted the sensibility that makes his music video landscapes so lush and transgressive for the art world with “Blknws,” which debuted in 2019 as an imagined syndication or television network, a nonlinear merger of digitized Black archival material pulled from the center to the margins and the radical academic avant-garde — an infinitely looping ensemble wherein Fred Moten enters into conversation with memes of ghetto-fabulous street gymnasts doing backflips into a fried chicken spot, for example, collapsing so-called high and low into an endless woodshed for an impossible concert.
The result was so compelling that the project was commissioned by A24 as a feature film sans script, then purchased from them by Rich Spirit and released last year as “Blknws: Terms & Conditions.” In this longer and more structured form, what began as an intentional scattering of ashes becomes an elegiac letter home mediated by shipwreck. Joseph weaves together an imaginary “Transatlantic Biennial” and W.E.B. Dubois’ “Encyclopedia Africana” — a project that Henry Louis Gates Jr. and Kwame Anthony Appiah transformed into a book, which Joseph’s father had given his brother before they passed. In this way, the film becomes a manifesto for alternate destinies within the Black experience, and a semi-formal goodbye letter to the delusional but politically expedient optimism of the 2010s, wherein the end of the neoliberal order becomes a gateway to renewed self-possession and agency. Since our grief is less of a ready-made commodity lately, we can reorient it around ourselves, a little safer and more sovereign from the gnawing public gaze. And we can be more honest about its paces and paths in that more autonomous landscape. “Blknws” arrives how a successful jazz album does, belligerently inconclusive about the next stylistic leaps the music might make but clearly in the process of launching in that unknown or unspeakable (perhaps secret) direction. The film is agitation made vivid and precise in the dialectic between theorized “Black Study” and practical applications of Black marronage, where we realize that big disembodied ideas are no more sophisticated than what can be danced and gestured at and spoken in our real and virtual conversations. Here, the multiverse becomes one transcendental, transatlantic consciousness where past and present, life and afterlife, blur the way they do in Joseph’s interpretation of “Until The Quiet Comes” to give us a film with a song-like hook and an album’s non-sequitur whimsy.
Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” The underwater study of Funmilayo Akechukwu (Kaneza Schaal) located in the hold of the ship.
Over the last several months, I’ve discussed with Joseph what might become of the momentum propelling “Blknws: Terms & Conditions,” after the film’s run, as speculators enclose searching for clues and stake in his next project. He’s considered its potential evolution into a media company, a real paper, a production house, a series of related films, or a hybrid of all of these endeavors. Alongside his experience on all sides of the art world, he has an acute awareness of the wayward state of print and digital culture, writing and production, the constant closure or downsizing of veteran media outlets, the aftermath of diversity fever in the form of shrinking major magazines often starting with those who cover culture explicitly, the mass turn toward brand-name digital platforms that become extractive monopolies and diminish what can be covered and produced as writers and artists are overworked, understaffed and undervalued. Galleries are also closing and downsizing, and films that don’t oblige the content farm aren’t solicited as readily as influencer-helmed or easily digestible projects that can be played as background noise for scrolling.
After a screening last December of “Blknws: Terms & Conditions” at 2220 Arts + Archives, a space I co-curate, the rapt audience of local cinephiles seemed eager for some magic-bullet insight into Joseph’s path to creative breakthrough and relative creative freedom. Rather than hacks and shortcuts, he shouted out collaborators and inspirations — Wales Bonner, who hand-stitched garments for the film’s Ghana-based scenes; British composer Klein, who helped score the film; Joseph’s time in Brazil, where his father was from and where he went to high school. Sensibility and natural eclecticism, rather than unchecked ambition, is what propels Joseph; he has an innate knack for assembling bands and ensembles, good taste and good timing.
Kahlil Joseph with friends at the screening of “Blknws: Terms & Conditions.”
“I found the encyclopedia at the Underground,” he explains, of the DuBois work that became central to “Blknws.” “It seemed no one had looked through it, as if my dad and brother left it for me in the future.” And instead of ruminating on the weight of that inheritance, he integrates it into his film, whose refrain-as-question is do you remember the future? As if his father and brother are awake in some scenes, asking him to remember. Another resurrection. “I just want to make films,” Joseph reaffirms as a personal coda when the questions get too meta or abstract, never conflating the material conditions of the craft with the magical thinking that can unfold in scripts and on screen. Most everyone in attendance at 2220 seemed to be there to meet or support one of their favorite artists, one of the devout purists of our time who manages to remain that without getting smug, lazy or feral, all common pitfalls.
Last October, I gave Joseph a copy of Hemingway’s “A Moveable Feast,” which I’d just finished reading myself for the first time. I was impressed to the point of restlessness with the authority of Hemingway’s memory, his recall; it’s one of those books you wanna throw at the wall and absorb word for word at the same time. Hemingway seemed to effortlessly savor and store every detail of his days, while remaining agile and present enough within them to focus on writing one true thing after another, in his daily sessions at the typewriter, as if possessing two coterminal minds and the capacity to access or silence both at will. A juggler too advanced for the circus, language’s great folk hero. Joseph is kind of like this, capable of intense simultaneous focus on both creative and mundane tasks without complaint, and he took to the book as I expected he might, sharing my sense of awe over the writer’s command of time and scene. They are both among the artists who have a polite way of making those around them feel like a team and want to work a little harder and little less aggressively (more communally) at the same time. Editors at his post-production studio have come from all over the country to work with him based on that leadership.
Joseph’s next feature, he suggests, will certainly be more narrative, more of a linear beginning-middle-end story, more Hemingway-esque in its commitments to the blunt daily reality that “Blknws” blurs with Black myth. He and his family have sacrificed unquantifiably in effort to defy stale archetypes and outdated patterns of art practice, and it might be his time or turn to be reciprocated for having endured those risks, time to give his family unequivocal and vivid afterlives on and off screen.
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Gina Gershon considers herself a storyteller, first and foremost. When we connect via video call, Gershon admits this is the first interview she’s done since submitting the manuscript for her latest book, “AlphaPussy: How I Survived the Valley and Learned to Love My Boobs.”
“I don’t have my spiel yet!” she warns, inquiring for the first of a few times what I thought of it and whether I enjoyed it. Despite the many decades Gershon has been treading the boards, starring in indie films and Hollywood star vehicles, and stalking the stage as a singer-guitarist, she still really cares about what you think, even if it won’t change her own mind. Perhaps that’s the key to her professional longevity.
“AlphaPussy” is neither a memoir nor a guide to self-betterment, but elements of both feed into Gershon’s stories. Each wittily titled chapter plunges readers into Gershon’s freewheeling 1970s childhood, defiant adolescence, burgeoning performance career and collaborations with some of the biggest names in film (including Sharon Stone, Paul Verhoeven and Tom Cruise). Most of the stories take place in the San Fernando Valley, where young Gershon was discovering weed, mushrooms and rock ‘n’ roll. This is not a titillating tell-all, and all the better for it.
“AlphaPussy” by Gina Gershon
(Akashic Books)
“This book realistically started during COVID,” Gershon explains from her New York home. “I’d told my book agent, a friend, some stories one day when we were drunk, and he kept prodding me to write a book. I was hesitant, though. I’m not a tell-all gal, that’s not my MO.”
She adds, “It was during lockdowns, and I think his mother was sick and he was having a hard time, so when he said, ‘Just write me stories to keep me cheered up,’ I started to write stories in no particular order, whatever bubbled up, because otherwise I figured I’d forget them one day.”
At the same time, Gershon had observed that young women weren’t feeling empowered to advocate for themselves in their personal relationships and workplaces.
“I noticed that especially with younger women friends of mine, they’d tell me about things they were going through on set or with their bosses, and I don’t know if it’s a millennial thing, but I said, ‘Why don’t you just look him in the eye and tell him to stop?’ and there was this sense [for me] of ‘Why can’t you do that? Because if you don’t, you’ll always be prey to these guys.’ ”
She clarifies that she means “annoying” men rather than abusive men.
“I’m not that tough,” admits Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
In her new book, Gina Gershon recalls the industry vitriol toward her 1995 erotic film “Showgirls.”
(Evelyn Freja / For The Times)
And also to steer herself through well-intended advice, both personal and professional, to follow her instincts.
“Listen, it’s not like I’ve had the most normal career. I’ve done most of my projects despite warnings from other people and from my agents saying, ‘You can’t do this, you’ll ruin your career.’ I’m like, ‘Why? I like this project!’ ”
One of those projects, most infamously, was “Showgirls,” which gets plenty of mentions in the book.
As Gershon recalled, it was 1994, and an astrologer had predicted her major breakout role would arrive in October that year, testing the young actor and her ability to cope with notoriety. Great, thought Gershon, bring it on.
Months later, Gershon was hanging from the ceiling, dressed in bondage gear, reflecting upon her early acting goals to perform Chekhov, portray Medea and stun audiences into silence.
She was on the set of “Showgirls” (or “Survival of the Titties,” as she nicknames it), dressed in one of the many glittering, spangled, flimsy outfits that her character Cristal Connors parades about wearing as a veteran of Vegas striptease. That role, and the vitriol from within the industry toward the movie (a flop turned cult favorite), still stings.
“I was super excited going into ‘Showgirls.’ As I talk about in one of the chapters, it was just very different when I got there. It was a completely different show than I thought I was going to be doing. … I thought it was gonna be one of [director Paul Verhoeven’s] dark Dutch films.”
Realizing that it was something else, to say the least, Gershon pivoted.
“I learned how to deal with an insane environment while keeping focused on what it is that I was trying to achieve with the part, without getting swallowed up by the insanity, which is a valuable lesson, you know? I mean, it’s a good lesson to learn no matter what you’re doing.”
Last year, Gershon watched the movie for the first time in decades.
“I hadn’t seen it in a zillion years, and when I saw it, I understood it a little bit more. It made me feel tense, but I also thought, ‘Oh, interesting.’ Some scenes that I thought shouldn’t have been there and others that absolutely have to be there. I saw it with a different lens.”
She says, “Weirdly, I feel like I’m not supposed to be talking about ‘Showgirls,’ although I think I have five chapters about ‘Showgirls’ [in the book]. I did the ones that I thought were kind of funny and fun and had some sort of growth in it for me.”
Having recently wrapped filming on “an independent film, a trans love story” in Palm Springs, penned a script and midway through writing another, Gershon doesn’t intend on writing another book anytime soon. Still, “there’s so many stories I left out,” she concedes.
“I could write three more books with things, but I really wanted to stay on point with the themes of manipulation, survival, and moving around and being able to stand on your own two feet and know who you are and to have agency over your life, especially as a woman, especially as an actress, especially in this world.”
“I’m not that tough,” says Gina Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
There were tears (and cheers) for Catherine O’Hara. Rhea Seehorn explained “Pluribus,” or at least tried to. Harrison Ford was celebrated at the “half-point of his career.” And, because the show’s on Netflix, there were a few well-placed F-bombs, not including the swears muttered by the actors who didn’t win.
There were TV awards presented too. But we pay attention to the Actor Awards because the show takes place while Oscar ballots are out and are, for the most part, a reliable precursor to the Academy Awards. How trustworthy will they be for the acting winners this year? Let’s take a look.
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The past: The winner of this award has gone on to take the best picture Oscar in 15 of 30 years, making it basically a coin flip and easily the Actor Awards’ least trustworthy Oscar precursor. (The ensemble prize wasn’t awarded in 1994, the ceremony’s first year.) Oscar also-ran “Conclave” won last year, ending a three-year streak — “CODA,” “Everything Everywhere All at Once” and “Oppenheimer” — where the winner of the cast prize went on to take best picture.
Will history repeat itself? If “Sinners” had simply taken this award and nothing else, I would say “One Battle After Another” would still be the overwhelming favorite to win the best picture Oscar. But snagging this prize and Michael B. Jordan winning lead actor gives one pause, doesn’t it? Again, the cast award is not a reliable best picture precursor. A Ryan Coogler movie (“Black Panther”) won in 2019, but lost the Oscar to “Green Book.” And while “Sinners” did haul in a record-breaking 16 Oscar nominations, “One Battle” wasn’t far behind with 13, just one shy of the previous record. It’s easy to get carried away with the way the room exploded when Samuel L. Jackson announced the winner, but “One Battle’s” Producers Guild win carries more weight. I’ll need a couple of days to sit with this.
Female actor in a leading role
(Kayla Bartkowski / Los Angeles Times)
Winner: Jessie Buckley, “Hamnet”
The past: SAG and the academy have matched 21 of 31 years. The last two years have seen the groups split, with Emma Stone (“Poor Things”) winning her second Oscar over SAG winner Lily Gladstone (“Killers of the Flower Moon”) in 2024 and Mikey Madison prevailing for “Anora” over Demi Moore, who won over SAG-AFTRA voters and earned a huge standing ovation when she took the stage for her gonzo comeback turn in the body horror movie “The Substance.”
Will history repeat itself? Buckley has been a lock for the lead actress Oscar since “Hamnet” premiered in September at the Telluride Film Festival, her searching, searing turn as the film’s grieving mother producing the kind of visceral reaction that guts audiences and wins awards. And, boy, has she won awards these last few months, taking pretty much everything save for the major critics groups. The naysayers decried the acting as overripe, sniffing instead of sniffling. Monsters. There’s no denying Buckley goes big with her emotions here, but the magic in her work also can be seen in a much-used still photo from “Hamnet,” the one where she’s resting her elbows on the Old Globe stage, hands clasped, face transfixed, heart opened. You know the shot. And you’re probably getting a little verklempt just thinking about it.
Male actor in a leading role
(Kayla Bartkowski / Los Angeles Times)
Winner: Michael B. Jordan, “Sinners”
The past: This category has been the most reliable indicator of Oscar victory, with SAG and the academy matching 24 of 31 times. There are exceptions, though, such as just last year when Adrien Brody won the Oscar for “The Brutalist,” prevailing over SAG winner Chalamet (“A Complete Unknown”).
Will history repeat itself? Entering the month of February, it looked like Timothée Chalamet was a shoo-in for playing a talented, self-promoting ping-pong player in “Marty Supreme.” In fact, some know-it-all called this race more or less over just a week ago. (That was me.) Chalamet could still win. Maybe SAG-AFTRA voters didn’t want to give him the award again, just a year after they honored him for his lead turn in “A Complete Unknown.” Maybe SAG-AFTRA voters felt he was a bit, shall we say … “brash” in the way he marketed the movie and needed to be taken down a peg.
So now, entering March, it’s looking like “Marty Supreme” could be this year’s version of “The Irishman,” a film that earns a lot of nominations (in this case, nine) and comes away with nothing.
Meanwhile, Jordan’s big swing movie star turn in “Sinners,” playing twin brothers Smoke and Stack, was the best work of his career. That scream that Viola Davis let out when she opened the envelope spoke to the enthusiasm in the room both for the actor and the film. Momentum definitely seems to be on Jordan’s side right now.
Female actor in a supporting role
(Kayla Bartkowski / Los Angeles Times)
Winner: Amy Madigan, “Weapons”
The past: The Actor Award winner has gone on to take an Oscar 23 of 31 times, including last year, when Zoe Saldaña won for “Emilia Pérez,” one of countless prizes she won that season. (Note: One of those 23 winners, “The Reader’s” Kate Winslet, was nominated for — and won — the 2009 Oscar for lead actress for that performance.)
Will history repeat itself? Who knows? This category has been all over the place, but as Madigan said in her speech, she’s been doing this a “long ass time” and there’s a lot of love for this 75-year-old acting great. Teyana Taylor (“One Battle After Another”) took the Golden Globe, and Wunmi Mosaku (“Sinners”) won at the British Academy Film Awards. And the “they’re due” narrative doesn’t always play at the Oscars. (Just ask Demi Moore or Glenn Close.) Will a “One Battle” sweep carry both Taylor and Sean Penn? Or is there room for an outlier? It’s tempting to lean toward Madigan.
Male actor in a supporting role
Winner: Sean Penn, “One Battle After Another”
The past: The SAG winner has gone on to win the Oscar 22 times in 31 years, including the last dozen, the longest streak of any category.
Will history repeat itself? Penn did not attend the Actor Awards, the only thing less surprising than this win. Coming on the heels of taking the supporting actor prize from BAFTA last weekend (Penn didn’t go to that ceremony either), it’s looking likely now that Penn will win his third Oscar. He’s barely campaigned and remains a divisive figure. But his menacing turn as the outrageous Col. Steven J. Lockjaw, a man given to zealotry and tight T-shirts, is the best work he has done in years. Will he go to the Oscars, if only to collect the trophy so he can give another statue to Ukranian President Volodymyr Zelensky? We’ll soon see.
It starts with the exclamation point, right there in the title. “The Bride!” is a wild, willfully over-the-top double-barreled reinvigoration of 1935’s “Bride of Frankenstein” that is always doing something a little extra in telling its unpredictable story of identity and the reclamation of the self.
“I probably can’t definitively explain it,” says writer-director Maggie Gyllenhaal about that punctuation. “I think I first just put it there and wondered when someone was going to tell me to take it away. And nobody ever did.”
Set in a dreamscape 1930s — imagine a steampunk-meets-art-deco version of “Bonnie and Clyde” — the film features a title performance by Jessie Buckley in three roles, sometimes in conversation with each other. First, there’s Ida, a Chicago party girl who is killed when she becomes an inconvenience to powerful men. Then there’s “Frankenstein” author Mary Shelley, taking possession of another person’s body and voice.
Finally, there’s the Bride herself, the rebellious, reanimated corpse of Ida brought back to life as a companion to a creature here known as Frank (Christian Bale). The duo sets off on a lovers-on-the-run-style crime spree that captures national attention.
On a February Los Angeles morning, Gyllenhaal moves briskly across the lobby of a low-key-chic hotel, barely breaking stride to ask that, instead of a discreet celeb-friendly indoor corner table, perhaps our interview could take place on an outdoor patio. She would like to take in a bit more California sunshine before returning home to wintry Brooklyn.
Dressed in a baggy suit that is both sharp and casual, Gyllenhaal doesn’t come across as particularly fussy but, rather, as someone certain of what she wants, even if what she wants is to explore the messiness of uncertainty, pushing the edges for herself and her collaborators.
Jessie Buckley in the movie “The Bride!”
(Warner Bros. Pictures)
Take, for example, that exclamation point. What might at first seem a bit of preciousness, and which even Gyllenhaal initially makes seem a bit of a throwaway, reveals itself to have a much deeper meaning.
“It wasn’t that it was careless,” Gyllenhaal says with a calm focus. “If you are Ida or Mary Shelley or many women in the world and you’ve been sort of tamped down and silenced and not able to express everything it is that you wanted or needed to express, it’s like if you’ve had your hand on a geyser. When the geyser finally breaks, it’s going to break with a whole lot of extra energy. And maybe that’s where the exclamation point comes from.”
“The Bride!” is the second feature film as writer and director for Gyllenhaal, 48, following 2021’s “The Lost Daughter.” That movie, a bracing examination of the psychological toll of motherhood, would go on to wide acclaim and awards recognition, including Oscar nominations for actors Buckley and Olivia Colman, as well as for Gyllenhaal’s screenplay (an adaptation of the 2006 novel by Elena Ferrante). Prior to that, Gyllenhaal had been known for emotionally fearless performances in films such as “Secretary,” “The Dark Knight” and “Crazy Heart,” for which she received a supporting actress Oscar nomination.
Deciding how to follow up “The Lost Daughter” wasn’t easy. Gyllenhaal says she went to a party and saw someone with a tattoo on their forearm of Elsa Lancaster‘s intense gaze from “Bride of Frankenstein.” Taken with the image, Gyllenhaal checked out the movie and was surprised to discover Lancaster’s iconic character was only in it for a few minutes. After reading the original novel of “Frankenstein,” she started to wonder whether Mary Shelley had other things on her mind at the time of her debut novel.
“I just had this fantasy,” she says with a slightly conspiratorial air. “I’m not speaking for Mary Shelley, but there must have been some other, naughtier, wilder, more dangerous things that Mary Shelley wanted to say that weren’t said in ‘Frankenstein.’ What else might she have wanted to express?”
Christian Bale and Jessie Buckley in the movie “The Bride!”
(Warner Bros. Pictures)
And so Gyllenhaal set about writing, with her “Lost Daughter” star in mind for the lead, though she initially didn’t tell Buckley. One of Gyllenhaal’s biggest learning curves in directing “The Lost Daughter” was figuring out how to speak to each actor individually to get the most out of them.
“With Jessie, I just spoke to her like I speak to myself,” Gyllenhaal said. “No translation needed.”
Reached via email, the “Hamnet” star evokes a Frida Kahlo painting to convey their closeness.
“We share two beating hearts,” Buckley says. “Maggie has absolutely been instrumental to waking me up to a part of myself I needed to know — and I think vice versa. We share a similar language and curiosity.”
Moving from the intimate scale of “The Lost Daughter” to the expanded scope of “The Bride!” was exciting for them both.
“I loved seeing her in a bigger sandpit,” Buckley says. “From ‘The Lost Daughter’ it was clear that Maggie had something to say as an artist. But where do we grow? What’s the scarier place? What are the questions we might whisper to ourselves? And what happens if we put those whispers into the ether?”
Gyllenhaal’s new film is unafraid to risk being too much. One extravagant party turns into a musical sequence that finds Bale’s creature singing and dancing to “Puttin’ on the Ritz” — a wink to a whole other self-aware frame of reference and Mel Brooks’ satirical 1974 “Young Frankenstein.”
“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.
“But I think that scene is sort of about that. It’s about a kind of explosion of life and humanity. So much of the movie is about these people who cannot fit into their box. This is where they celebrate their bigness, their too-muchness, their monstrousness. That’s the monster mash: ‘I am who I am.’”
“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.”
(David Urbanke / For The Times)
Making a purposefully idiosyncratic retelling of a classic tale came with its own challenges. “The Bride!” was originally scheduled to be released by Warner Bros. last fall, on the date that would eventually go to “One Battle After Another.” When a rescheduled March 2026 opening was announced, there were reports — “Beware ‘reports,’ ” Gyllenhaal tells me, wryly — of behind-the-scenes clashes between the director and the studio.
Gyllenhaal doesn’t deny that, to find the final version of the movie, she worked closely with Pam Abdy, who, along with Mike De Luca, is co-chair and co-chief executive of Warner Bros. Motion Picture Group. This time the stakes were higher, the filmmaker says, and being left to her own devices, as she had been on “The Lost Daughter,” wasn’t always the best solution.
“If I make a big, hot roller coaster of a movie and remain totally honest in what I’m trying to explore and think about inside it, will people respond? That was my question,” she says. “And then I cut it in a way that was entirely my expression. And I have to say in particular, Pam, who was my point person on this and also has become a friend, she really took me to task on that and said, ‘You want many people to respond and understand this. You have to clarify here and here.’ ”
Though Gyllenhaal admits there were moments of “friction” and that Abdy “has a slightly different agenda than I do,” she now sees the merit in the process. “Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal says. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”
In a phone interview, Abdy says, “Listen, she tasks me with challenging her, and I task her with challenging us. We’re all in the service of making the best movie we can possibly make for the audience. And we, privately, all of us — studios, directors, filmmakers — we go through a process. It’s unfortunate that certain people choose to assume they know what’s happening in those rooms. But they don’t.”
Abdy describes their collaboration as a healthy and normal one. “You test the movie, you get information, you make adjustments,” she says. “And we needed the time and space to do that.”
Maggie Gyllenhaal, right, on set with Jessie Buckley and Christian Bale while making “The Bride!”
(Warner Bros. Pictures)
The courage Gyllenhaal once exhibited as a performer now seems to be serving her as a filmmaker. The last feature Gyllenhaal appeared in as an actor was 2018’s “The Kindergarten Teacher,” playing an overzealous mentor to a young poetry prodigy. She also appeared in three seasons of the HBO series “The Deuce” from 2017 to 2019, in which she played an adult film performer struggling to move behind the camera into directing.
As to whether she will return to acting, Gyllenhaal says, “I don’t know. I really prefer directing. This is a better job for me.”
Better how? “I felt as an actress, to be honest, like I always would hit up against a wall of how much I was able to participate or express,” she says. “And I thought for a long time, OK, this is the gig, and what I have to do is learn how to protect self-expression, even if that means I just need a tiny bit of space around me where I have the real estate to do what I need to do as an actress.
“And then when I moved into writing and directing, I didn’t have to play that game anymore,” she says. “And also I could create an environment where nobody had to play that game. Anyone could explore and express the things that were interesting to them. It was ultimately up to me to decide if I wanted to use them or not. So why not let people explore and surprise me?”
Gyllenhaal’s “The Bride!” may catch the same current wave of pop-inflected Gothic-style romances as Emerald Fennell’s “Wuthering Heights” and Guillermo del Toro’s “Frankenstein.” A catchphrase that emerges in the film is “brain attack,” the Bride becoming a folk hero to women around the country who emulate her distinctive look: Jean Harlow by way of Courtney Love with an inky smear of makeup across the face.
There is something intuitively catchy about brain attack, even if it’s also a little bewildering.
Gyllenhaal remembers an “aspect of terror” about stepping into a bigger studio release. “So do most things that require that you really grow and learn in order to do them. But I’m interested in terror and so I guess I was playing around with the idea of heart attack, panic attack. And I think in order to really do that, some brain attacks are required.”
Gyllenhaal tells me how a few days earlier she had been wearing a hat with the phrase on it while reading by the hotel pool and three 20-something women, maybe a little day drunk, began asking her about it. Two of them seemed puzzled by the phrase, struggling to parse out its meaning, while the third instinctively got it. She just knew. So Gyllenhaal gave her the hat.
“I guess ‘brain attack’ is a phrase you might have to feel,” Gyllenhaal offers, her mouth widening into a smile.
So too, perhaps, with Gyllenhaal’s telling of “The Bride!” with its visions of reckless abandon and personal reclamation — exclamation point and all. It will become a movie waiting for those who need it.
Paul Thomas Anderson’s darkly comedic action-thriller “One Battle After Another” won the top prize at the Producers Guild Awards on Saturday, continuing its dominating run through awards season.
The PGA honor, presented at a ceremony in Beverly Hills, cements Anderson’s celebrated film as the front-runner for the best picture Oscar. Since 2009, when both the Producers Guild and the motion picture academy expanded their best picture nominee slates from five to 10 and adopted a preferential ballot, the PGA winner has gone on to win best picture all but three times.
The last time the groups diverged came six years ago when PGA winner “1917” lost the Oscar to Bong Joon Ho’s “Parasite,” a film that surged in momentum in the weeks leading up to the 2020 Oscars.
No other movie this season has shown that kind of strength other than Ryan Coogler’s “Sinners,” which scored a record-breaking 16 Oscar nominations in January. However, “One Battle” has prevailed at the major ceremonies since then, winning best picture at the British Academy Film Awards last week and Anderson taking the top honor with the Directors Guild earlier this month.
“Sinners” has one more chance to reverse the tide. It will compete against “One Battle After Another” for the cast award at the Actor Awards on Sunday. That ensemble honor, the most prestigious prize handed out by SAG-AFTRA voters, isn’t as strong a precursor as the PGA’s best film. But “Parasite” did win it right before the 2020 Oscars.
Hope springs eternal. Oscar voting ends on Thursday.
Read the full list of 2026 Producers Guild Award winners below.
Darryl F. Zanuck Award (outstanding theatrical motion picture): “One Battle After Another”
