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On one of her previous visits to Los Angeles, Argentine filmmaker Lucrecia Martel found herself having a smoke on Hollywood Boulevard.

There, while she stepped over the famous concrete-embedded stars, an unhoused man struck up a conversation with her.

“He kept explaining to me that he was poorly dressed because he was currently living on the street after someone robbed him, but he had written a screenplay,” Martel, 59, recalls in Spanish over coffee on a morning in April at a West Hollywood hotel.

“He told me they had stolen a watch from him — not a Rolex but a known brand,” she continues. “The whole time he was trying to convince me he was a millionaire who just so happened to be on the street because of random circumstances.”

One of Latin America’s most indispensable storytellers, Martel is fascinated by how prevalent that dream still is in L.A. — that movies can change your life overnight.

“That particular fantasy is par for the course in this city,” she says, though she’s not above it. It’s the reason she’s back to promote her first documentary, “Our Land,” out Friday.

Unhurried when it comes to her output, Martel has only made four fiction features, among them 2001’s “La Cienaga” and 2008’s “The Headless Woman” (returning to theaters this month in a new 4K restoration). Her biting and formally audacious narratives examine class, politics and — a speciality — the interiority of women through enigmatic portraits of psychologically complex individuals.

“Our Land,” a piercing indictment of the enduring wounds of colonialism, chronicles the murder of Indigenous Argentine activist Javier Chocobar in 2009 and the prolonged trial of the perpetrators in 2018.

Chocobar was shot during a confrontation with armed men over land in the Tucumán province of Argentina where the Chuschagasta Indigenous community has lived for many generations. Martel explores the killing not as an isolated event in her country’s recent past but as part of a long history of dispossession.

“Racism is a foundational element,” she says of her homeland. “The only consistent thing in Argentina, from the country’s birth to the present day, is the rejection of Indigenous people.”

In Argentina, Martel explains, public education has indoctrinated the population into believing Indigenous people no longer exist. Yet many Argentines proudly claim a connection to the Europeans, Italians in particular, who arrived in the country in the late 1800s and early 1900s.

“When giving speeches, our presidents always say, ‘We are a country of immigrants,’ or ‘We came from the boats,’” says Martel. “They use metaphors like these because deep down Argentines feel much more indebted to European immigration than to our Indigenous population. But more than half of the people in Argentina have Indigenous ancestors.”

In 2020, Chocobar’s three convicted murderers appealed their guilty verdicts and were set free. “Our Land” premiered at the Venice Film Festival in September 2025, which brought renewed attention to the case. A month later, the sentence was upheld and two of the men returned to prison (one died in the interim).

Martel believes that outcome was a response to her film. “Communities wage the fight but cinema helps,” she says.

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” Martel says. “It’s not about delivering a message but rather about showing how an idea functions.”

(Jason Armond / Los Angeles Times)

For over 14 years, Martel worked on “Our Land” on and off. This time included periods when she focused on 2017’s “Zama,” her masterful period piece following a Spanish official in 18th century Argentina “who doesn’t want to be American,” she says, referring to the continent. In her mind, both “Zama” and “Our Land” come from the same impulse to dissect colonialism.

As part of her research process, Martel and her team created a detailed archive of documents related to the case that the Chuschagasta community now has at its disposal. Over the years, Delfín Cata, one of the Indigenous men present during the attack, would call Martel. He never asked about how her film was going, but the director sensed he was tacitly checking in on her progress, hoping that she was not losing faith.

“That was a confirmation that, beyond my own interest, there were people who needed this film,” she says. “I felt the immense satisfaction of knowing I was doing something that would be concretely useful.”

For Martel, the question of whether she was the right person to make this film (one she got in Venice) seems unfair. “It’s wrong to prevent a human being from speaking about their own history because they are not a woman, because they are not Black, or because they are not Indigenous,” she says. “It’s better to make mistakes trying to understand something than not to try at all. The chances of making a mistake are enormous in a film, no matter how good your intentions are.”

A key piece of evidence in the Chocobar case, prominent in the film, is a video that one of the attackers filmed, presumably expecting the Indigenous community to react violently, to justify firing his gun at them. The Chuschagasta men that faced them weren’t armed. As used by their aggressors, the camera functioned as a weapon.

Hollywood feels incompatible with Martel’s sophisticated, confrontational movies rooted in her country’s troubles. By Martel’s own admission, it doesn’t feel like a fit for her.

“I would have to force myself to create something outside my own country, outside my own language,” she says. “And that doesn’t really appeal to me.”

Still, Marvel Studios famously asked to meet with her when seeking a director for 2021’s “Black Widow.” Martel says she was among many directors they contacted, but she was curious to take the meeting even if she knew nothing would come of it.

“They wanted to do it over Zoom and I happened to be here in Los Angeles,” she remembers. “I told them I could come in, because I wanted to see what the whole process was like.”

Martel describes the month she spent in L.A. — an eye injury prevented her from flying home sooner — as a “lot of fun in the end,” even if no blockbuster emerged from it. More recently, another Hollywood offer did tempt her, but she ultimately passed.

“It was a good book suggested to me by an actress of undoubted talent,” Martel shares, careful to avoid names. “I considered it, but you very quickly have to picture yourself spending three years or at least a year and a half living in the United States making a movie. I have a thousand things in Argentina to worry about.”

Still, Hollywood, and its significance to moviemaking, has a singular, unnerving allure on her. Two of Martel’s favorite movies set in L.A. are David Lynch’s nightmarish “Mulholland Drive” and Robert Aldrich’s psychodrama “What Ever Happened to Baby Jane?”

“There is something ruthless and utterly devoid of sanity at the heart of this film industry, and I’ve never felt that darkness as clear as in ‘Mulholland Drive,’” she says. “How can an industry that handles so many millions [of dollars] and such impeccably dressed famous people be so full of lunatics? That film captures that perfectly.”

And occasionally, she thinks, a big production breaks the mold, such as Todd Phillips’ “Joker,” which won the Golden Lion at the Venice Film Festival in 2019 when Martel served as jury president — a controversial choice.

“It certainly had an impact on me,” says Martel. “I didn’t vote for it, though. I had another favorite, a Chinese film that stood no chance of winning.”

Phillips, she thinks, created a premonition for what was to come. “For me, the real killer clowns are Trump, Milei or Orbán,” Martel says, referring to polarizing leaders. “They expose themselves to ridicule and spout all sorts of nonsense. Those are clowns. And I think that movie captured that.”

Not one to mince words, Martel elaborates on the relation of Joaquin Phoenix’s social outcast turned supervillain and President Trump.

“The origin of the Joker is social resentment,” she says. “Trump holds no resentment toward society because the system gave him everything. But he has exploited the people who do harbor resentment. That is where you see the kind of clown he is, one who knows how to use people.”

Artificial intelligence, far-right ideologies, voracious capitalism — all of it makes Martel alarmed, seeing it as pushing us collectively to the brink of collapse. But there is hope, she thinks.

“What we have invented is very dangerous but we can dismantle it,” she says. “That is the only thing I’m betting on, that, at some point, a consensus will emerge and we’ll go, ‘Let’s not do this.’”

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” she says. “It’s not about delivering a message but rather about showing how an idea functions.”

She points to one of her subjects in “Our Land,” an Indigenous man who told her he loves the 1959 Charlton Heston epic “Ben-Hur,” a passion she does not share but understands.

“That’s a blow for all of us who make auteur cinema,” Martel says with a laugh. “That feeling that ‘Ben-Hur’ evoked gave him the strength to continue fighting for his community’s territory.”

The night before our interview, Martel rode around L.A. on a scooter holding onto a friend. These days she uses a cane to help her with mobility. “The city has great light,” she says, still open to being surprised by it.

“Tracker,” one of TV’s most-watched shows, is uprooting its Canadian production and moving to Los Angeles.

The action drama, produced by Disney’s 20th Television, is among a slate of new and recurring series benefiting from California’s improved $750 million tax incentive program. The show’s fourth season, set to begin shooting this summer, will receive the state’s largest tax credit , at $48 million, according to the California Film Commission.

The production will film for 176 days in California, with 250 crew members and 275 actors on board. The tax credit is based on the show’s projected spending of over $129 million. Deadline first reported the news of the show’s relocation.

The show stars actor Justin Hartley and follows his character as he tracks down people for reward money. Ever since its 2024 premiere, the show has resonated with audiences. Its third season is currently airing and was the fourth most-watched program on linear TV as of late April, according to Nielsen.

“Tracker” is primarily set in the wilderness, making the move to California a fresh opportunity for the production to explore diverse landscapes as its backdrop. Due to the rural setting, the show is also eligible to earn an extra 5% tax credit bonus, in addition to the 35% base credit, on qualified expenditures incurred outside the designated 30-mile zone of the Greater Los Angeles area.

Before “Tracker” secured the highest TV show tax credit, season 3 of Amazon’s “Fallout,” which relocated from New York to Los Angeles, received a $42M incentive. Dan Fogelman’s new NFL drama “The Land” received $42.8M. Other productions that have benefited from the tax program include medical drama “The Pitt,” Disney’s new animated movie “Phineas and Ferb” and Netflix’s upcoming reboot of “13 Going on 30.”

More than 100 productions have received tax credits since the program was expanded last year in response to the continued migration of productions to other countries like Ireland, U.K. and Canada.

But film industry advocates say these efforts aren’t enough to fully revitalize U.S.-based productions and local film economies.

To that end, , U.S. Sen. Adam Schiff (D-Calif.) announced in March he is working on a bipartisan federal film incentive proposal that would be globally competitive.

“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,” Schiff said.

Paramount Skydance Chairman David Ellison defended his commitment to release 30 movies a year once his media company swallows Warner Bros. Discovery — a goal that some industry observers view as overly ambitious.

During a Monday call with analysts to discuss Paramount’s first-quarter earnings, the tech scion said the target was achievable because his management team would maintain current levels of production. Paramount has doubled its film release capacity to 15 films this year, matching the number of theatrical releases planned by competing Warner Bros.

“The two companies are actually making 30 films to date,” Ellison said. “We really view our pending acquisition of Warner Bros. Discovery as a powerful accelerant to our strategy.”

The company said it was on track to finalize its Warner takeover by the end of September. The $111-billion deal would transform the smaller Paramount into an industry titan with prestigious programming, including Harry Potter, “Game of Thrones,” “Euphoria,” as well as its current slate of Taylor Sheridan-produced franchises, including “Yellowstone” and “Landman.” The combined company also would own dozens of popular TV networks, including CBS, CNN, Comedy Central, Food Network and HGTV.

But the proposed merger would saddle the combined company with $79 billion in debt, stoking fears that Paramount would need to make steep cost cuts to balance such a large debt load. During the quarter, Paramount lined up banks and other institutional investors to provide bridge financing to help pull off the transaction, the company said.

“We’re pleased with the momentum and will continue to take the necessary steps to bring this deal to completion,” Ellison told analysts.

Late last month, Warner Bros. Discovery stockholders overwhelmingly voted in favor of the deal, which will pay $31 a share to Warner investors. The company now must secure regulatory approvals in the U.S. and abroad, and that process is well underway, Paramount said.

Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies. Ellison’s company is expecting $24 billion from three Middle Eastern royal families, who would become part owners of the combined entity. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

More than 4,000 filmmakers, actors and industry workers, including Bryan Cranston, Connie Britton, Kristen Stewart, Jonathan Glazer and Jane Fonda, have signed an open letter asking California Atty. Gen. Rob Bonta and other regulators to block the deal, saying it “would reduce the number of major U.S. film studios to just four.”

Late last week, a small group of consumers sued to block Paramount Skydance’s acquisition of Warner Bros. Discovery and unwind Ellison’s Skydance Media’s takeover of Paramount, alleging that both deals reduce marketplace competition.

For the January-March quarter, Paramount’s earnings beat Wall Street’s expectations. Revenue grew 2% to $7.3 billion compared with the first quarter of 2025.

Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) reached $1.1 billion, helped in part by growth in its streaming services unit. Paramount+ increased its revenue by 17% to nearly $2 billion, compared with the year earlier period when it generated $1.7 billion. The service added 700,000 subscribers, bringing the total to nearly 80 million.

With Warner’s HBO Max streaming platform, the combined service would boast more than 200 million subscribers.

Paramount reported first-quarter net earnings of $168 million, or 15 cents per share, compared with $152 million in 2025, which occurred before Skydance acquired the media company in August.

Executives pointed to “Scream 7,” a late February release that has topped $200 million in global ticket sales, as a success story. Studio revenue grew 11% to $1.28 billion for the quarter.

Television networks revenue declined 6% to $3.7 billion as Paramount’s cable channels continue to contend with the loss of cable cord-cutters, which reduces the company’s collections from pay-TV providers. Nonetheless, Paramount pointed to the strength of Sheridan’s “Landman,” starring Billy Bob Thornton, Ali Larter, Sam Elliott and Demi Moore, and the strength of the CBS television network, which currently has 13 of the broadcast industry’s top 20 prime-time shows, including “60 Minutes,” “Marshals,” and “Tracker.”

The company told analysts it would achieve $30 billion in revenue for the full year and $3.8 billion in adjusted EBITDA. Paramount said it would also make $2.5 billion in cost-cuts by the end of this year and reduce expenses by $3 billion in 2027.

Paramount said it ended the quarter with $1.9 billion in cash and cash equivalents. It also was carrying $15.5 billion in debt. The company had to draw $2.15 billion from its revolving credit facility to pay Netflix a $2.8-billion termination fee that Warner Bros. Discovery had agreed to pay under a previous deal to sell the company to Netflix.

Paramount released its earnings after Monday’s trading day. Its shares closed at $11.13, basically unchanged.

Everyone wants to be “The Devil Wears Prada 2,” as the 20-year sequel strutted to an estimated $77 million in the U.S. and Canada in its opening weekend, highlighting the spending power of women moviegoers at the box office.

The film, which returned stars Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, nudged out Lionsgate’s “Michael” for the domestic top spot at theaters this weekend. In its second outing, the Michael Jackson biopic brought in $54 million, upping its overall North American total to $183.8 million and its cumulative global haul to $423.9 million.

Worldwide, Walt Disney Co.-owned 20th Century Studios’ “The Devil Wears Prada 2” brought in $233.6 million, according to studio estimates. The theatrical revenue, both domestic and worldwide, edged studio expectations. Already, the film has brought in 72% of the total revenue that the original movie made ($326 million).

The 2006 original has become a cult classic, with lines like Streep’s infamous “that’s all” and Tucci’s “gird your loins” now millennial catchphrases. The popularity of that film has continued over time with repeat viewings on cable television and the Disney+ streaming service.

“Nostalgia is a big driving factor for movies like this,” Andrew Cripps, head of theatrical distribution for Walt Disney Studios, said. “It’s just one of those movies that got into the zeitgeist.”

The fashion-forward sequel had a production budget of about $100 million. The film notched a 77% approval rating on aggregator Rotten Tomatoes.

Women comprised the majority of the audience for “The Devil Wears Prada 2” this weekend, representing 71% of moviegoers, according to data from EntTelligence.

The strong showing for “The Devil Wears Prada 2” highlights the spending potential of female moviegoers, who have had few big movies aimed at them in the last few years.

Despite the billion-dollar blockbuster that was “Barbie” in 2023, Hollywood has largely failed to consistently deliver big films targeted to women. That’s led multiple box office analysts and studio executives to note that the industry is leaving money on the table.

In the past, comparable titles to “The Devil Wears Prada 2” would have been 2008’s “Mamma Mia” or the “Sex in the City” film, but those kinds of movies are now few and far between.

More recent female-focused fare includes last year’s “Wicked: For Good” and Taylor Swift’s “The Official Release Party of a Showgirl,” though “Wicked” has the benefit of also having a longtime Broadway fanbase.

“There haven’t been enough movies for females,” Cripps said. “When you can give them a good movie, as long as the movie plays well and I think this one plays brilliantly, there’s a big audience out there.”

Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” continued its run with a third place finish of $12.1 million at the box office this weekend, followed by Amazon MGM Studios’ “Project Hail Mary” in fourth and Neon’s horror flick “Hokum” in fifth, according to Comscore data.

As artificial intelligence becomes more embedded in film production, the Academy of Motion Picture Arts and Sciences is drawing a clearer line around it.

In new rules announced Friday for next year’s 99th Academy Awards, the academy said screenplays must be “human-authored” to be eligible for awards consideration, and that only performances “demonstrably performed by humans with their consent” will qualify for acting prizes. The group also reserved the right to request additional information about how AI tools were used in a film and the extent of human involvement.

The academy’s Board of Governors reviews its rules annually.This year’s revisions arrive as the industry continues to grapple with how AI tools are reshaping the creative process — and how institutions like the Oscars should reward that work, if at all.

The new changes build on guidance introduced a year ago, when the academy said that the use of AI would “neither help nor harm” a film’s chances of receiving a nomination, while emphasizing that voters should consider “the degree to which a human was at the heart of the creative authorship.” At the time, the organization stopped short of requiring formal disclosure of AI use, even as the technology became a flash point across Hollywood.

Taken together, the updated language suggests an effort to more clearly define the boundaries of authorship at a moment when tools such as voice cloning, digital doubles and AI-assisted writing are becoming more common in film production. The emergence of synthetic performers such as Tilly Norwood reflects how quickly those questions have moved from theoretical to practical.

In announcing the new rules, the academy framed the changes as part of an effort to reflect the current state of filmmaking, while maintaining what it called a “commitment to honoring human authorship and artistry.”

Beyond the AI provisions, academy leaders approved several structural changes across different categories.

In acting, performers may now receive multiple nominations in the same category if their performances rank among the top vote-getters, aligning the category with other branches.

The international feature film category also saw a notable shift. In addition to the traditional submission process through individual countries, non-English-language films can now qualify by winning top prizes at select major festivals, including Cannes, Berlin and Sundance. The award will be credited to the film itself, with the director accepting on behalf of the creative team, rather than to a submitting country or region.

Other changes — including updates to voting procedures in categories such as cinematography, visual effects and makeup and hairstyling — were largely technical in nature.

The new rules will take effect with next year’s Oscars, scheduled for March 14, 2027.

A group of five consumers have filed a lawsuit against Paramount Skydance seeking to block its acquisition of Warner Bros. Discovery and unwind the earlier merger that joined the storied Melrose Avenue studio with David Ellison’s Skydance Media, alleging that both deals reduce marketplace competition.

The lawsuit, filed Thursday in U.S. District Court in the Northern District of California, alleges the Paramount-Warner deal will lead to increased prices, fewer consumer choices and reduce production of film and TV since a major rival in the entertainment business will be eliminated.

The suit also alleges that the Paramount-Skydance merger, which was finalized last year, led to higher prices for the Paramount+ streaming service.

The plaintiffs — Pamela Faust, Len Marazzo, Lisa McCarthy, Deborah Rubinsohn and Gary Talewsky — are either Paramount+ subscribers, pay for cable bundles that include Paramount-owned TV channels or are moviegoers who watch films in theaters.

The deal activity for Paramount is part of a growing list of recent media mergers, including Walt Disney Co.’s 2019 acquisition of much of 21st Century Fox and Amazon’s purchase of MGM in 2021.

“These acquisitions show an industry moving by successive combinations toward fewer independent rivals, exactly the consolidation backdrop that heightens the competitive threat posed by the next merger, even if the combined firm remains smaller than the largest platforms,” the lawsuit states.

Paramount is aware of the lawsuit and “confident that it is without merit,” a company spokesperson said.

“The combination of Paramount and [Warner Bros. Discovery] will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice,” the spokesperson said in a statement.

The Paramount-Warner deal is currently winding its way through regulatory approvals. While that process is underway, Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies.

Paramount expects to receive $24 billion in funds from three Middle Eastern royal families, who will become part owners of the combined company. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

Paramount has said the Ellison family and RedBird Capital Partners “collectively hold the largest equity stake in the combined company and continue to be the sole owners of Class A Common Stock, representing 100% of the voting shares.”

But on Friday, Rep. Sam Liccardo (D- San Jose) urged the FCC to deny Paramount’s petition on the foreign ownership aspect of the deal.

“Congress did not entrust the public airwaves to this agency so that it could auction off America to Riyadh, Abu Dhabi and Doha,” he wrote in a statement. “This will not stand.”

“All the President’s Men” was released 50 years ago this month, an anniversary that’s been greeted with equal parts rue and reverence by the journalists, political junkies and discerning cinephiles who have worshiped the film for five decades.

As a member of all three of those constituencies, I’ve done my share of genuflecting, most recently as chief film critic at the Washington Post, whose city room was as vivid and fully realized in the movie as Robert Redford’s Bob Woodward and Dustin Hoffman’s Carl Bernstein.

Like so many Posties of my generation, I’ll never forget the so-real-it’s-surreal experience of walking into the fifth-floor newsroom for the first time in 2002. By then, standard-issue electric typewriters and six-ply carbon paper had been replaced by far less visually interesting computers. But the office’s pervading atmosphere of hard work and quiet focus felt uncannily similar to its big-screen analog.

For the last two years, I have been researching a book about the making of “All the President’s Men,” whose production involved almost as many contingencies and unresolved questions as Watergate itself. Among the film’s many mysteries, one I’ve found particularly intriguing has to do with Katharine Graham, publisher of the Washington Post and CEO of its parent company during the Watergate investigations. As the movie amply demonstrates, it took guts for Woodward and Bernstein to persevere with their reporting in the face of terrified sources and their own growing paranoia. But, unbeknownst to many observers at the time, Graham was enduring even more withering pressures, with determination that was all the more impressive for being almost entirely invisible.

I’m still in the process of discovering why she remained invisible in “All the President’s Men.” For now, it’s clear that the backstory is more nuanced than mere oversight or, as many are quick to assume, simple sexism.

In fact, William Goldman’s first script of the film featured a sequence with Graham and Woodward, a scene that appeared in every subsequent draft. Based on an actual meeting between the two, it’s a cagey game of cat-and-mouse, with the publisher taking the measure of a nervous, still-inexperienced journalist, looking for reassurance that his reporting will prove out.

Earlier this year, at a January staged reading of “All the President’s Men” at Harmony Gold Theater in Hollywood — a fundraiser for the Stella Adler Academy — it was possible for fans to conjure what might have been. Mark Ruffalo played Woodward and Ethan Hawke played Bernstein in a version of the movie assembled from different Goldman drafts.

A high point of the evening was when Ruffalo and actor Susan Traylor brought the Graham-Woodward scene to tentative, tense and teasingly playful life. After grilling Woodward about his sources and coyly asking him about Deep Throat’s identity, Traylor’s Graham asked him if the truth about Watergate would ever be revealed. “It may never come out,” Ruffalo’s Woodward replied. “Don’t tell me ‘never,’” Graham laments, before bringing the meeting to a close with a gently peremptory “Do better.”

In poring over director Alan J. Pakula and Goldman’s papers, I’ve probably read that scene dozens of times. But when I heard it play out in real time, I was ambushed by the emotions it stirred — a mixture of pride in Graham’s legacy and deep sadness at how that legacy has been so inexplicably ignored in recent years.

I was also sad that Redford, who died in September, wasn’t there. He often expressed regret that Graham wasn’t a featured character in “All the President’s Men.” Keenly aware of how her spine and steadfastness made Woodward and Bernstein’s work possible, he wanted to honor that crucial support. When I interviewed him for the first time in 2005, he insisted that fearless owners were every bit as important in preserving democracy as the reporters he and Hoffman helped glamorize.

Over the next two decades, every time I saw Redford, he bemoaned the “downward slide of this thing,” by which he meant the constellation of institutions “All the President’s Men” celebrates: not just journalism and a robust First Amendment but a Washington where investigators, prosecutors, judges, the Senate and Congress did their jobs regardless of partisan loyalties, and a Hollywood where a studio as mainstream as Warner Bros. would agree to finance a tough-minded film about a contentious and still-raw period in recent history.

Granted, that film was based on a bestselling book and anchored by two huge stars. But today, with political and corporate leaders — including media companies — falling over each other to curry favor with President Trump, “All the President’s Men” feels like an artifact from a vanished age.

Nowhere is this more distressingly true than at the Post itself, where the newsroom immortalized by the movie has been slashed by more than a third, and where Jeff Bezos, who bought the paper in 2013, seems intent on erasing Katharine Graham’s legacy until it vanishes completely. During the first Trump administration, Bezos stood up to threats against the Post and the press at large that would make Nixon blush, or at least pea-green with envy.

Now, Bezos has become a one-man meme of what author Timothy Snyder calls “obedience in advance,” quashing an endorsement of Kamala Harris, ostentatiously grinning his way through Trump’s second inauguration, vastly overpaying for a promotional film about First Lady Melania Trump and staying conspicuously mum (at least publicly) when a Post reporter’s home was raided by the FBI in January.

All of this has come at an enormous moral and material cost, with thousands of readers canceling their subscriptions and an alarming number of the Post’s finest reporters and writers leaving for other publications and platforms. As my former boss Marty Baron told my former colleague Ruth Marcus in the New Yorker in February, Bezos’ turnaround has been “sickening” to witness: “a case study in near-instant, self-inflicted brand destruction.”

Of course, that brand was built, in no small part, by “All the President’s Men,” which taught a generation how to walk, talk, dress and act like real reporters. (Hint: A good corduroy jacket and a pen in your mouth can’t hurt.)

In 1976, Pakula was interviewed about his dealings with Graham, whom he admired tremendously and with whom he would become close friends. “I could do a film about the Katharine Graham story,” he enthused. “It’s a superb story.”

Thirty years later, Steven Spielberg would bring Pakula’s idea to fruition with “The Post,” about Graham’s decision to publish the Pentagon Papers, a dress rehearsal for the even higher stakes of Watergate a year later.

“The Post,” which starred Meryl Streep in a shrewdly judged performance of aristocratic assurance and creeping insecurity, premiered in Washington less than a year into Trump’s first administration. Bezos attended that screening, which many of us saw as tacit acknowledgment that he was taking her lessons in character, comportment and competence to heart.

That was clearly wishful thinking. Graham may have finally assumed her rightful place in the newspaper-movie canon, but we’re still left to ponder her absence from the most iconic journalism movie of the 20th century.

It’s no longer the shoe-leather reporters who need a big-screen tutorial in how to do their jobs. It’s their bosses. A simple place to start would be to memorize the best two-word speech to never appear in a major motion picture: Do better.

Ann Hornaday was a film critic at the Washington Post from 2002 to 2025, when she retired. “All the President’s Men” plays at TCM Classic Film Festival Saturday at 2:45 p.m.

SEOUL, May 1 (UPI) — South Korean entertainment giant CJ ENM premiered its AI-hybrid feature film The House this week, presenting the low-budget occult thriller as a test case for how artificial intelligence could help revive a struggling film industry.

The 60-minute film, unveiled Thursday at CGV Yongsan I’Park Mall in Seoul, follows a young woman who can see dead souls after moving into a decrepit apartment building. It is scheduled to be released Friday on CJ ENM’s streaming platform TVING.

Taken on its own merits, The House is far from innovative. It scans as a fairly forgettable horror flick, leaning heavily on gloomy atmospherics, digital gore and jump scares in service of a paper-thin story.

But behind the scenes, the film represents a cutting-edge use of fast-evolving technology that dramatically reduces both costs and production time.

CJ ENM said the actors’ performances were filmed entirely indoors on a green-screen stage, while every background and visual effect was created with AI, using Google tools including Imagen, Nano Banana and Veo.

“We have expanded the production paradigm,” Jeong Chang-ik, head of CJ ENM’s AI Studio and lead producer of The House, said at a panel discussion after the premiere Thursday.

The film cost about $337,000 to produce — at least five times less than a comparable conventional production, Jeong said.

He added that the efficiency gains could be especially significant for genre films, disaster movies and other effects-heavy productions.

“From our perspective, there isn’t much difference in production costs between making a scene where a main character drinks coffee at a cafe and making a scene where that main character defeats a monster,” he said. “In reality, there is a huge difference, but in terms of AI, the difference is not much.”

Actor Kim Shin-yong, who plays a security guard in the film, said the process differed sharply from traditional chroma-key filming, where performers must imagine effects that are added later.

“I could perform while seeing the completed backgrounds in real time, which made immersion much better,” Kim said, adding that the entire shoot took just four days.

The rapid adoption of AI has raised alarm across the global entertainment industry, helping fuel strikes in Hollywood in 2023 amid concerns over job losses and creative control. But the technology is already being widely integrated across production pipelines.

The team behind The House said the goal is not to replace actors or creators, but to integrate AI into existing production workflows.

Ahn Sung-min, director of customer engineering at Google Cloud Korea, said AI is being used not to “take the place of creation,” but to help realize creators’ intent within the filmmaking process.

CJ ENM executives also pushed back on the idea that AI could replace human performers.

“We are actually certain that AI cannot replace the acting of actors,” Baek Hyun-jung, head of content innovation, said. “That’s why we designed this hybrid approach — to preserve the actor’s unique expressiveness while using AI for backgrounds and effects.”

The experiment comes as South Korea’s film industry faces mounting pressure from rising production costs, reduced investment and competition from streaming platforms.

Korean Film Council data showed theater admissions fell 13.8% in 2025 from a year earlier, while revenue from domestic films plunged 39.4%.

Despite the global popularity of Korean content, Culture, Sports and Tourism Minister Chae Hwi-young said in September that the reality facing the country’s creative industries is one of “despair.”

He singled out the film sector as the most vulnerable, noting the number of commercial Korean productions has dropped from around 60 per year to about 20 in 2025.

“Investment has stopped, and the film production scene has run out of money,” Chae said. “The ecosystem of the film industry is collapsing to the point where filmmakers can’t make a living.”

Some A-list filmmakers have responded with dramatic measures such as “microbudget” productions. Train to Busan director Yeon Sang-ho’s 2025 film The Ugly was made for around $150,000 and performed respectably, drawing more than 1 million theatrical viewers before landing on Netflix.

Against that backdrop, AI is increasingly being seen as a potential lifeline for the industry.

For CJ ENM, The House builds on a growing slate of AI-driven projects, including the animated series Cat Biggie, released online last year.

The new film is less a finished template than a proof of concept. Its visual seams remain visible, and panelists acknowledged that AI tools still struggle with consistency, particularly in longer narrative works.

Still, executives said AI will likely become inseparable from mainstream filmmaking.

“I think AI will be the next generation after CGI,” Baek said. “The era in which the boundaries between regular movies and AI movies disappear will surely come quickly.”

“I WAS a bit of a Duracell bunny,” confesses Iron Maiden’s irrepressible Bruce Dickinson. 

“To some extent, I still am — much to the dismay of people around me! They’re like, ‘Don’t you EVER stop?’” 

Dickinson is reflecting on the manic energy he brought to the heavy metal titans after replacing original singer Paul Di’Anno. 

In 1981, he was a 22-year-old member of hard-rocking fellow travellers Samson when Maiden’s manager Rod Smallwood came calling.

Unlike many of his peers, including his predecessor, Dickinson didn’t have to rely on drugs and booze to fuel his high-octane performances. 

He continues: “I discovered that having these amazing, ecstatic, endorphin-filled moments — being in front of people and singing with a group in total sync — was way more uplifting than any drugs on offer.” 

savage end

Megan Thee Stallion QUITS Broadway show after split and on-stage breakdown

SAD GOODBYE

Rock band member QUITS group after 10 years as band mates confirm departure

One of the great spectacles in rock is a sweat-soaked Dickinson running and jumping around on stage with audiences in the palms of his outstretched hands. 

Match his physical presence to a rich operatic tenor and an iconic catchphrase, “Scream for me!”, and you have a powerful combination.  

The songs that stretch his vocal cords aren’t too shabby either — many filled with intriguing historical references.

Run To The Hills deals with European colonisation of Native American territory, The Trooper visits the Crimean War’s Charge Of The Light Brigade and Aces High is a pilot’s eye-view of the Battle Of Britain — not your average metalhead subject matter.  

What about the 14-minute Rime Of The Ancient Mariner, based on Samuel Taylor Coleridge’s poem and written by Maiden founder and leader Steve Harris? 

“It’s just epic,” says Dickinson of the closing track on the band’s fifth album Powerslave, released in 1984.  

“It’s one of my favourites to perform.

“I love the storytelling aspect and we’ve got huge screens now to tell the whole story.” 

Let’s also not forget the enduring core band which today comprises bassist and chief lyricist Harris, three virtuoso guitarists in Dave Murray, Adrian Smith and Jannick Gers, mighty drummer Nicko McBrain (now retired from touring after a stroke in 2023) — and, of course, Dickinson.

The singer remembers Maiden’s gruelling, breathless climb to metal’s summit in the Eighties, when he was “run ragged but young enough to handle it”. 

Now 67, he accepts that his unfettered antics have taken their toll on his body, but insists: “Damaging it and knackering it by doing things on stage is a relatively easy fix — drugs take away your soul.” 

I’m speaking to Dickinson to mark the arrival in cinemas next Thursday of Iron Maiden: Burning Ambition, a riveting film documenting their 50-year rollercoaster ride with insightful interviews, live footage and unguarded offstage moments. 

Through the prism of band members past and present, and superfans including Metallica’s Lars Ulrich, Public Enemy rapper Chuck D and actor Javier Bardem, it is 106 minutes of pedal to the metal. 

The movie is the first milestone in a momentous year for the band formed in Leyton, East London, by Harris in 1975. 

In late May, Maiden continue the Run For Your Lives world tour, including a monster outdoor event, Eddfest (named after their shape-shifting undead mascot Eddie), at Knebworth on July 10 and 11. 

Then, in November, they join Oasis, Phil Collins and Billy Idol, among others, in being inducted into the Rock & Roll Hall Of Fame in the US. 

Dickinson says: “We’re about to do the biggest tour of our lives, playing to 2.5million people in six months. 

“People might say, ‘How the hell did that happen?’ to which I answer, ‘Have a look at the film — that is how’. 

“We’ve had lots of tidal waves and earthquakes in our career.”

Crucial to the upward trajectory has been the sense of community around Maiden and their fans, which Dickinson believes is only rivalled by “a very different kind of band, the Grateful Dead and their Deadheads”. 

He says: “We’ve never compromised and have grown on our own terms, creating our own universe. 

“You reach those millions one person at a time,” he adds. “Look them in the eyes — although that is a lot easier in a pub than in a 50,000-seat arena!” 

Though the upcoming tour will send Maiden through Europe, then on to North, Central and South America, Australia and Japan, Dickinson spares a thought for the places they can’t visit “because of the chaos in the world”. 

“There are huge pockets of fans in Iran,” he affirms.

“And in Israel, Ukraine and Russia — all these wonderful people who just want to love everybody else who loves Iron Maiden. It’s tragic.” 

This is cue for him to trawl through the mists of time to the early days again and it’s clear that, above all, it is Steve Harris’s band. 

Referred to as “the boss”, he formed Maiden just before punk upended the music scene. 

Dickinson says: “Steve felt very strongly about punk because many in the media decided it was the ‘acceptable face of heavy metal’ — and that enraged him. 

“Frankly, the first LP wasn’t that well produced so it actually sounded like a crap punk album.

“Steve has always said, ‘My God, I wish I could have remade it with Martin Birch [who produced their next eight records].” 

In the Burning Ambition film, we see the struggles of original singer, the late Paul Di’Anno, who embraced rock and roll excesses to the full, prompting Harris and Smallwood to search for a replacement. 

“Paul was very charismatic with a characterful voice,” says his successor. “He was a bit of a pirate . . . like Adam Ant or a member of band I loved, Johnny Kidd & The Pirates.  

“His look was different to the rest of the metal world — and that was cool.” 

With a rueful expression, Dickinson remembers being described as a “human air-raid siren” after his first gig with Maiden. 

He says: “They were obviously big fans of Paul who came to see me at the [now defunct] Rainbow and one of them sent a letter to a music magazine, Melody Maker maybe. 

“It said what a terrible disaster the show was, like ‘hearing my favourite songs being sung from inside a cement mixer by an air-raid siren’. 

“Even though someone was trying to be insulting, Rod Smallwood took the attitude, ‘When life throws lemons, make lemonade’. 

“He nicked the idea and turned the whole thing on its head, which actually made me laugh.” 

ON EDDIE: ‘EASTWOOD OF ZOMBIES’

MENACING mascot Eddie is an Iron Maiden icon.

Illustrated in numerous guises by Derek Riggs, the shape-shifting creature has appeared on every album cover and in every outlandish stage set. 

He inspired the name of the band’s outdoor shindig Eddfest at Knebworth in July and features in new animated sequences for the Burning Ambition movie. 

Bruce Dickinson calls Eddie the “Clint Eastwood of zombies” and says: “He has a Dirty Harry type of morality about him. 

“You think he’s evil but he’s ambivalent, so you don’t know exactly where you stand with him,” he explains. 

“If you’re basically a good person, you’re probably going to be OK – but he’ll blow you away if you’re not!” 

Dickinson believes Eddie has a future beyond Maiden. “One day, inevitably, we’ll stop playing live. 

“The great thing about Eddie is that he’s eternal. He can have a whole career on his own. We could even write albums for him.  

“In fact, there’s so much you could do with him, whether it’s movies, animation, or an Eddie avatar show. All these things are up for grabs.” 

To Dickinson, sharing the stage with Eddie is a rite of passage. 

“He’s an extension of our world but you just can’t pin him down.” 

A fascinating aspect of Maiden has been Dickinson’s relationship with Harris, not always plain sailing but one that created undeniable chemistry. 

And surely Harris accepts that the flamboyant singer helped propel his band to stadium-slaying proportions. 

“When I was in Samson, people were calling Steve ‘the Ayatollah’,” says Dickinson. “He had a reputation for being uncompromising and rigid. 

“But, as we’ve got older, he’s been much more amenable to ideas that might broaden the vision.” 

However, Dickinson had to set one thing straight from the start.  

“When I first did shows with Maiden, I was thinking, ‘Why am I standing on one side of the stage? I’m the singer’. 

“The answer was because Steve would go running down front and centre playing the bass. Suddenly I would have this big old lump of wood thrust in my ear. I nearly lost a couple of teeth because of it!” 

Dickinson insisted that, as lead singer, he was going to “stand at the front, in the middle — and I wasn’t going to back down”. 

Iron Maiden’s third album, The Number Of The Beast (1982), was Dickinson’s first and its songs including the title track, Run To The Hills and Hallowed Be Thy Name took the band to the next level. 

For the new recruit, making the album was the calm before the storm.  

He says: “It was like 1939 when Britain was at war but everybody was still out sunbathing and reading the papers because nothing bad had happened.  

“Then we hit the road and, wow, we had a No1 album, the single was going crazy and we were doing seven, eight, nine shows in a row. Even our day off was travelling.” 

Despite the overwhelming demands, Maiden enjoyed a rocket-fuelled rise to the crest of the New Wave Of British Heavy Metal (NWOBHM), a movement that included Def Leppard, Saxon and Motörhead. 

Dickinson says: “The albums we were producing in the Eighties were phenomenal. We created a style with The Number Of The Beast and it continued with Piece Of Mind and Powerslave. The trajectory was fantastic.” 

As the Burning Ambition movie attests, the band began building a devoted following in all corners of the globe. 

In August 1984, Iron Maiden ventured behind the Iron Curtain to play five shows in Poland, much to delight of fans starved of music from the West. 

In January the following year, the band went nuclear in South America by playing Rock In Rio to a 300,000-plus crowd.  

ON FLYING: ‘I HAD ROAD TO DAMASCUS MOMENT’

ANYONE who follows the life less ordinary of Bruce Dickinson will know there’s a lot more to him than just being the singer in Iron Maiden.

At school, he took up boxing but he “wasn’t very big” and people “would beat the crap out of me”.

So he took up fencing instead, inspired by a metalwork teacher who brought in a “full-on, two-handed sword like Excalibur”.

Not one to do things by halves, he became a champion – so good that he reached the UK top ten, trained with the Olympic squad and is still a member of fencing clubs in London, Paris and LA.

Dickinson harboured other dreams, too. “I was really into aviation and wanted to be an astronaut or a pilot,” he says.

This helps explain how he qualified as an airline pilot and ended up flying Iron Maiden on three world tours, firstly in a Boeing 757 dubbed Ed Force One and then, in 2016 for the Book Of Souls tour, a jumbo jet.

He says: “My love of flying came from my great uncle who was in No. 200 Squadron RAF in the Second World War. When I was five, he’d tell me all these stories.

“But I was rubbish at maths in school and you need to be a rocket scientist to be a pilot so I became a rock star instead.

“Then, in the Nineties, I took a trial flying lesson in Florida for 30 bucks, just to see. It was a road to Damascus moment.”

The next step for Dickinson was training with British Airways, flying a 757. Picking up the story, he says: “From 2000 to 2011, I was a pilot for UK company Astraeus, flying people around the world on holiday. I had to take unpaid leave to go on tour with Iron Maiden.

“You would probably have had no idea I was your captain because no one listens to captain’s announcements!”

During this time, Dickinson hatched the idea to extend his flying exploits to his other job as a member of Iron Maiden.

“I thought, ‘Wouldn’t it be cool if we put all the equipment, the band and the crew on one airplane?’ To my surprise, our manager Rod thought it was a great idea. Normally, I get told to p*** off!

“So we did three world tours. It was brilliant calling it Ed Force One – I think that was an invention by the fans.”

Dickinson remembers his initial horror when American secret servicemen boarded the plane in Chicago. “I went, ‘Oh s**t! What have we done wrong?’ Turned out Obama was coming in the next day on Air Force One and the men just wanted to have a look at Ed Force One.

“I’ve still got Air Force One-branded M&Ms, matches and a bottle opener somewhere.

“So, I’m thinking, ‘What’s going on in the President’s plane?’ They’re cracking open beer bottles, smoking themselves to death and taking all the red Smarties.”

As the Eighties progressed and the Nineties dawned, the pace rarely slackened and, as we witness in unvarnished detail in Burning Ambition, “the wheels eventually fell off”.  

Guitarist Smith quit in 1990 over “creative differences” and an exhausted Dickinson dropped a second bombshell by leaving in 1993 to pursue his solo career, much to the consternation of his bandmates, notably McBrain. 

“It was a sudden burst of artistic integrity of my own invention,” confesses Dickinson. 

“I knew Maiden were great, but they didn’t allow me to do anything a bit out there.  

“I was still in my thirties and the thought of leaving momentarily terrified me. But then I read Henry Miller’s quote, ‘All growth is a leap in the dark, a spontaneous unpremeditated act without the benefit of experience’. 

“It hit me like a ton of bricks. I thought to myself, ‘If you don’t jump, you’ll never find out’.” 

As for the reaction to his departure in the Maiden camp, Dickinson says: “The only person I told was the manager, Rod. I don’t know what got said between him and the guys but Nicko got upset about it. And fair enough.” 

He sees what became a five-year absence as part of “a real story of real people”.  

He adds: “We’re a bunch of bizarre brothers who got stuck together. In the end, we had to make it work.” 

So it was in 1999, after Wolfsbane singer Blaze Bayley had gamely attempted to hold the fort, that guitarist Smith and singer Dickinson returned to the fold — for good. 

“To use a football analogy, Blaze had been passed a ball which was a ticking timebomb,” says Dickinson, before recalling his bizarre meeting with Harris and Smallwood to discuss his return. 

They convened in secret at a yacht club in Brighton, entered by a special code — an occasion Dickinson likens to a scene from a John Le Carré novel. 

“Part of me was thinking, ‘This is ridiculous’. It felt like going through Checkpoint Charlie in The Spy Who Came In From The Cold,” he says. 

“But I looked at Steve and realised he’d been through the ringer with all kinds of things. I decided that if he’s up for it, then we should get on with it. 

“I told him, ‘I am the one guy on the planet you can trust. When I say we’ll make a great new album together, we will’. And we did [Brave New World]. 

“Steve and I are very different individuals — but that’s our strength. 

“I’ve certainly grown to respect him. Has he grown to respect me? I don’t want to put words into his mouth.” 

Dickinson signs off with a heartfelt statement: “The music is the thread that holds us in Maiden together. Whatever we started, we started well — and when eventually we finish, we will finish well.” 

Lionsgate’s “Michael” is on track to unseat “Straight Outta Compton” as the king of musical biopics.

Early returns suggest the Antoine Fuqua-directed film will surpass the $60-million opening weekend box office record set by the N.W.A biopic in 2015, with the studio expecting an opening that could reach $70 million.

“Michael Jackson is one of the most influential artists in human history. His impact on music, fashion, dance, film and business has withstood the test of time,” said Adam Fogelson, the chair of the Lionsgate Motion Picture Group.

“All of those things together seem to have created a profound response from audiences of all ages,” he added.

“Michael,” starring the legendary pop star’s nephew Jaafar Jackson, hits 3,900 screens nationwide on Friday.

The film marks the first time the story of Michael Jackson’s life and career are back in movie theaters since 2009’s “This Is It.” That posthumous documentary followed the rehearsals for his London residency, which was canceled after he died, just 18 days before the first of 50 scheduled shows.

That film remains the highest-grossing documentary of all time with nearly $270 million in global ticket sales.

The stakes may be higher for “Michael,” not just because of its roughly $200-million cost, but also its circuitous journey to the big screen.

Early development on the motion picture began in 2019, but frequent changes — both in the storyline and production — forced delays. The original idea was to encapsulate Jackson’s life from childhood fame with the Jackson 5 to his solo commercial peak during the ’80s and end with the child sex abuse allegations he faced in 1993.

That version of the film was well underway when the production was forced to go back to the drawing board due to a legal issue. The Jackson estate, which is in support of the project, reportedly discovered the early draft of “Michael” violated a $15-million settlement with the accuser in that case. Part of the agreement stipulated that the alleged victim would never be pictured or mentioned in a dramatization of Jackson’s life.

Production reconvened for 22 additional days and the Jackson estate took on tens of millions of dollars in additional reshoot costs.

The current version of “Michael,” hitting theaters this weekend, is set between the 1960s and 1988. It closely follows the controlling relationship between Jackson and his father, Joe Jackson, played by Colman Domingo, and tracks the king of pop’s peak stardom. Janet Jackson is notably absent from the storyline.

Depending on how the movie performs, there are plans for a potential sequel. The follow-up would tell the second half of Jackson’s career, where much of the scrapped footage could be used. Lionsgate has done advanced work to ensure that a significant amount of the previously captured footage could be included.

So far, the movie is receiving mixed reviews. As of Friday morning, the critic’s consensus on Rotten Tomatoes was less than favorable, with a score of 40%. But Lionsgate remains confident the film will resonate positively with average moviegoers and Jackson fans, both domestically and globally.

“The audiences that are now starting to watch the movie in early previews have been euphoric,” Fogelson said. “Audiences are speaking loudly and clearly about how much they appreciate the final product.”

Even outside of theaters, Jackson’s story continues to find success. “MJ,” the jukebox musical based on his life, is in its fourth year on Broadway and has had both national and international showings. Michael Jackson’s estate has also collaborated with Cirque du Soleil for several acrobatic productions since 2011. The “Michael Jackson ONE” show, which first premiered in 2013, recently extended its run on the Las Vegas Strip until 2030.

Tiffany Naiman, the director of music industry programs at UCLA, said the sustained interest in the pop icon speaks to his loyal fan base and place in American cultural history.

“He represents not only extraordinary artistic achievement, but also the contradictions of fame at its most amplified,” Naiman said in a statement. “That tension — between brilliance and controversy, innovation and scrutiny — is precisely what continues to draw audiences back, and what will likely shape both the film’s reception and its broader cultural impact.”

The film has been hailed a “must-see” by fans.

Fans of war films are being urged to watch a “powerful and moving” movie with a star-studded cast.

Those who love war movies and historical dramas are in for a treat as a classic biographical war drama is available to stream now.

The film is based on the Austrian mountaineer and Schutzstaffel sergeant Heinrich Harrer’s 1952 memoir of the same name.

Documenting his experiences in Tibet between 1944 and 1951, Seven Years in Tibet stars Brad Pitt and David Thewlis, and it is available to stream on Paramount+.

The film sees Thewlis play Austrian Peter Aufschnaiter, with Pitt as Harrer as the pair go mountaineering in 1930s India.

When the Second World War begins, their German citizenship results in their imprisonment in a British prisoner-of-war camp in the Himalayas.

Fans have taken to IMDb reviews to share their thoughts on the film, with one hailing it a “masterpiece”, adding: “I strongly recommend this movie to those who think about war and occupation all day long.”

Another called it “vital viewing”, adding: “This movie is in my Top 100 of all time. Well acted by everyone involved, well directed, and the soundtrack is awesome. I feel this movie should be shown in schools [over the world].”

A third called it a “must-see”, sharing: “I accidentally picked this movie up w/o knowing anything about it! I was intrigued with it from the very beginning! Brad Pitt did an excellent job! I don’t know why I haven’t seen or heard anything about it before.”

Another fan added: “I can’t believe I did not watch this masterpiece earlier. Heinrich Harrer, from climbing mountains and escaping prison to being the Dalai Lama’s teacher, lived a life that it’s fascinating to learn about, and the movie shows that excellently.”

Another viewer commented: “This masterpiece still makes me curious every time I see it. Brad Pitt does an amazing job portraying an Austrian, even down to his accent.

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“The cinematography is extraordinary, and the direction is quite good. I love watching it every so often, and learning new things that I missed the times before.”

The film did not go down well in China, and it was condemned by the government of the People’s Republic of China, which said the Communist Chinese military officers were intentionally shown as rude and arrogant, brutalising the local people.

Films produced by Sony were initially banned from playing in China and Pitt and Thewlis were temporarily banned from entering the country.

The movie was nominated for a Golden Globe Award and Pitt won a Rembrandt Award for Best Actor for his role.

Seven Years in Tibet is on Paramount+

Like the milieu in which they’re set, prison movies can be terribly constricting. Often focusing on well-worn themes of masculinity, regret and redemption, they feature (and sometimes indulge) rough-hewn portrayals of tortured characters suffering through physical and emotional tumult. Inherently compelling but also a shade predictable, the genre promises a tantalizing glimpse at a terrifyingly macho world — one that most of us are fortunate not to know firsthand.

Cal McMau’s feature directorial debut hardly reinvents the formula, but it does remind audiences what remains so sturdy about the premise of an ordinary man trying to stay alive behind bars. And thanks to the latest impressive turn from rising star David Jonsson, “Wasteman” even finds a few new notes to play within a familiar stark melody.

Jonsson is Taylor, who has been serving 13 years in a U.K. prison for a drug deal that went tragically wrong, leading to an accidental death. Soft-spoken and overly accommodating, the young man mostly wants to avoid trouble, allowing himself to be bullied by cell-block thugs Paul (Alex Hassell) and Gaz (Corin Silva) while offering to cut their hair in exchange for the pills that fuel his addiction. Taylor has learned to go along to get along, existing in a zombie-like state from the perpetual high he chases.

But Taylor’s stasis is interrupted by the news that he may be granted early parole. (The overstuffed U.K. penal system needs to shed nonviolent prisoners to make room for dangerous offenders.) Longing to reconnect with his estranged teenage son Adam (Cole Martin), Taylor can see the light at the end of the tunnel — until the arrival of Dee, his new cellmate.

Played by a snarling, coiled Tom Blyth, Dee swaggers whereas Taylor shrinks. Seeing his new home as his kingdom, Dee quickly becomes the prison’s chief supplier of whatever you need — sneakers, candy, drugs — while ferociously asserting his dominance. (Early on, Dee slashes a fellow inmate’s face, recognizing him as someone who once ran with a rival crew.) Taylor adapts to the volatile situation as he always has, serving as the unthreatening beta, eventually earning Dee’s trust and friendship. Soon, Dee takes an interest in Taylor, ordering his lackeys on the outside to give Adam gifts that they claim are from his dad.

“Wasteman” introduces this odd-couple scenario and then waits for their fragile coexistence to rupture. Accustomed to being the prison’s top dogs, Paul and Gaz don’t take kindly to Dee invading their turf, resulting in an escalation of tension that puts Taylor’s parole at risk. But if much of “Wasteman” follows an expected trajectory, the film’s conception of Taylor proves thornier than anticipated.

Although probably best known for the HBO series “Industry,” Jonsson has demonstrated a dazzling range over a short period of time, including acing romantic dramas (“Rye Lane”) and dystopian thrillers (“The Long Walk”). But what unites his diverse roles is the sense of a sensitive, intelligent actor who constantly makes us wonder what he’s thinking.

Jonsson’s silences always seem to say so much and in “Wasteman” he capitalizes on his reserved demeanor and smaller frame to create a character who is much less frightening than those around him. Unlike Dee, he’s no hardened criminal, merely a guy who made one stupid mistake to financially support his child, and “Wasteman” initially encourages viewers to sympathize with this delicate soul who’s been thrown to the wolves.

Gradually, though, Jonsson complicates our feelings about Taylor. Equally desperate to be freed and to keep getting high — essentially escaping one prison while remaining in another — he slowly reveals himself to have little in the way of principles or ethics. When Paul and Gaz confront Dee, Taylor’s response is so cowardly that it’s pathetic, suggesting a spinelessness that bedeviled him long before he wound up in jail. The film presents Taylor as a kindly spirit, which turns out to be little more than calculated self-preservation.

Within the confines of a fairly conventional prison drama, McMau dissects an anonymous nobody who discovers that, both in prison and in life, there are consequences for not taking sides. Despite Dee’s savagery, Blyth portrays Taylor’s cellmate as loyal and honest — someone who believes in a personal code of conduct. The movie’s bitterest irony is that, of the two men, it’s ultimately Dee who may be more honorable.

McMau’s attempts to amplify the story’s grim authenticity occasionally fall flat. (Inspired by footage shot by actual inmates with contraband cellphones, the first-time director incorporates stagey inserts meant to re-create these intimate, graphic images.) He’s on firmer footing exploring his two leads as they square off inside this smoldering crucible. Like Jonsson, Blyth hints at a whole universe inside his character simply by the way he quietly listens and observes. As Taylor’s parole looms, the stakes grow. By the time “Wasteman” reaches its ambiguous finale, our loyalties are far from clear-cut.

In the first of several significant flashbacks in “Over Your Dead Body,” Samara Weaving’s unhappy Lisa complains to a friend about a hunting trip her equally miserable husband Dan (Jason Segel) is taking her on. “You know how much I hate guns,” Lisa fumes. “So dangerous.” Turns out, she’s actually telling two lies, which is par for the course for this twisty yet underwhelming dark comedy that views marriage as both a hyperviolent blood sport and a battle to the death.

Based on Norwegian filmmaker Tommy Wirkola’s 2021 “The Trip,” “Over Your Dead Body” concerns a couple whose wedded bliss has faded along with their professional prospects. Dan directed a moderately successful sci-fi film several years ago but is now stuck shooting cheesy pop-up ads. Meanwhile, Lisa’s nascent acting career is flailing. As the movie begins, Dan conspicuously informs his production team that he and his wife are going hiking in the middle of nowhere — something, he insists, the risk-taking Lisa wants to do, despite how perilous that might be. What we soon realize is that he’s creating cover for his nefarious plan, which is to kill Lisa at his family’s forest cottage, making it look like she disappeared without a trace in the woods.

But director Jorma Taccone eventually reveals that it’s not just Dan who has murder on his mind. That first flashback rewinds to Lisa’s simultaneous scheming, claiming to those close to her that Dan longs to go hunting — when, in fact, she’s secretly brought a rifle so that the authorities will assume he accidentally shot himself. (Whatever fears she once harbored about firearms are, clearly, no longer an issue, if they ever were.) Dan is offended when he uncovers her plot: Why would she want to kill him? At least he’s justified, he believes, having caught Lisa in an affair with her scene partner.

More surprises are in store as Dan and Lisa engage in a deadly standoff in the cabin, only to discover that they’re not alone. Another flashback details how two convicted killers, Todd (Keith Jardine) and Pete (Timothy Olyphant), escaped from a local penitentiary with the help of Pete’s girlfriend, prison guard Allegra (Juliette Lewis), and are seeking refuge at the cottage. Suddenly, the feuding married couple must work together to stay alive.

One-third of the comedy troupe the Lonely Island, Taccone previously directed the big-screen adaptation of the “Saturday Night Live” sketch “MacGruber” and co-directed the endlessly rewatchable mockumentary “Popstar: Never Stop Never Stopping.” For “Over Your Dead Body,” he teams with producer David Leitch, whose 87North shingle specializes in R-rated action-comedies like “Nobody” and “Violent Night.” Taccone’s irreverent, slyly shocking style would seem a good match for a story in which the pain of romantic discontent is paired with myriad scenes in which a variety of weapons wreak grisly havoc, including lawnmowers, sports cars, gardening equipment and a sock with a pool ball in it.

But despite Segel and Weaver’s best efforts, they can’t make this bickering duo deliciously awful, the characters proving more grating than hilariously combustible. And when Pete and his cohorts arrive, they’re too broadly quirky to be either menacing or hysterical, although Olyphant’s long-suffering leader has some nice moments slowly processing how dumb Todd and Allegra are.

Other than one queasy homage to “Deliverance,” the film’s handling of the showdown between this drab married couple and the cartoonish criminals is rarely gripping. Instead, “Over Your Dead Body” delivers over-the-top fight sequences emphasizing grimaces and gross-out laughs. People aren’t simply shot in the head — the bullet transforms it into a gooey slab of meat. Fingers get sliced off, stakes are driven through hands and a foot is reduced to bloody tatters. Taccone handles all this with gleeful excessiveness but once you’ve seen one pulverized face, you’ve seen them all.

A droll irony is intended to unfold alongside the rising body count. Dan and Lisa embarked on this getaway to murder one another, but they’ll end up rekindling their love. To be sure, Segel and Weaving are much more winning once their characters start warming to one another. Still, the film feels like a missed opportunity for Weaving, who became a scream queen in the “Ready or Not” films. In those movies, as an unsuspecting bride thrust into a life-or-death situation, she appealingly balanced a convincing physical performance with an understated comedic streak, her beleaguered character enduring one absurdity after another.

Weaving finds herself in a somewhat similar role in “Over Your Dead Body” and this uneven action-comedy is anchored by her had-it-up-to-here performance, which provides a witty insight into marriage that the film otherwise ignores. It’s bad enough that Lisa has to deal with Dan’s insecurity — now she’s got to tangle with some dopey crooks? Women have to do everything in a relationship.

Sophy Romvari’s luminous debut feature “Blue Heron” is a loving and studious act of remembrance. Her protagonist and surrogate, Sasha (Amy Zimmer), attempts to understand her family’s past through a reverent process of recreation. While she finds that not everything can be understood, there is beauty and solace in the journey itself — and maybe a kind of catharsis.

“Blue Heron” is an autobiographical project, but it’s more apt to call it a memoir. Sasha admits she doesn’t remember much of her childhood and doesn’t even trust the fragments. But she will try anyway. As Sasha zooms in on her iPhone, standing at the bluff overlooking her hometown, Romvari rolls up the back of a moving truck to deliver a lush slice of ’90s childhood nostalgia, picking up the memory as her Hungarian immigrant family — two parents, three brothers and one sister — arrive at their new home on Canada’s Vancouver Island.

Father (Ádám Tompa) settles into work on the home computer; Mother (Iringó Réti) attempts to amuse the kids with trips to the beach and nature preserves. Snippets of summer filter through the eyes and ears of 8-year-old Sasha (Eylul Guven) and in the photos snapped by their parents.

But a disquieting presence looms: Jeremy (Edik Beddoes), the eldest son. Blond, light-featured and tall, he is visually distinct from the three other children and his silent rebellion permeates the atmosphere.

His misbehavior is minor — irritating but untenable when stacked together — like bouncing a ball against a wall, disappearing for fun or climbing on the roof. He mostly just seems like a moody, unsatisfied teen, drawing elaborate maps and sometimes playing with his siblings sweetly. It all seems like harmless mischief until it escalates.

The movie’s title refers to a key chain from a gift shop that Jeremy, who almost never speaks, presents to his younger sister. Like him, the film is quiet and meditative, bathed in the cool blues and verdant greens of the setting, captured in Maya Bankovic’s saturated cinematography. We are transported to a place of natural beauty and a period of seemingly unlimited time. But Jeremy-related tension simmers beneath the domestic surface, just as it does in Chantal Akerman’s 1975 landmark “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,” referenced in a shot of a mother and daughter peeling potatoes.

“Blue Heron,” though, is not just going to simply be a throwback family drama about a troubled boy and his younger sister. The film suddenly zooms out, linearly, to two decades later. Zimmer’s older version of Sasha is grappling with her brother’s void and she does so with her mind, her work, her actions. She conducts a focus group of social workers for a documentary in order to try to understand Jeremy’s behavior and the treatment he got at the time. She scrubs through video and photos and interviews a case worker. She escapes into old movies.

In Romvari’s award-winning 2020 short “Still Processing,” a companion piece to “Blue Heron,” she processes the loss of two brothers through photography, sifting through boxes of old photos and film negatives shot by her father, who trained as a cinematographer in Hungary. It seems natural for Romvari to access the emotional through artistic practice, to give her — and Sasha — something to do with their hands. The tactility of the photographs in “Still Processing” provide an access point to the past. Romvari weeps as she spreads them out on a table, saying “hi” softly to her brothers. But there’s a remove in the rigorous focus on the snapshots that perhaps also protects her from the full crushing weight of these emotions.

But in a film like “Blue Heron,” anything is possible, including time travel, and for Romvari, it’s the channel that she offers Sasha to achieve the closure that she needs: a visit to a time she doesn’t really remember, even as she’s building an archive of materials to bolster herself.

If young Sasha watches (and Guven is absolutely terrific at watching), the older Sasha speaks. Zimmer, a New York City comedian, is tasked with a heavy, grief-laden dramatic role, and she’s utterly convincing, entrancing in her stillness. But she also has a way with words, a clarity that rings with a rare kind of honest empathy, especially in a letter that Sasha reads to her parents.

That letter is what “Blue Heron” represents for its filmmaker — an attempt to re-create the past, to bring it back to life. Even if imperfect, the value is in the effort, in the ongoing practice of remembering, as an act of devotion to family and self.

Tamil Nadu, India – Standing on top of a customised van on a hot and humid afternoon in Tirunelveli, about 600km (373 miles) south of Tamil Nadu’s capital Chennai in southern India, C Joseph Vijay tells his supporters his opponents have joined hands to stop him from becoming the state chief minister.

“My rivals might appear different from outside, but they have only one aim: that Vijay should not become the chief minister,” says the 51-year-old actor-turned-politician to a mammoth crowd that begins to chant his name, which means “victory” in Tamil, in unison.

Tamil Nadu, one of India’s most developed states with impressive human development indices, also has a long history of electing film stars as leaders, some of whom are still revered by people as demigods years after their deaths.

As Tamil Nadu votes on Thursday to elect its 234-member state legislative assembly, Vijay’s bid for power is the latest addition to the state’s trend of film star-politicians, turning a traditionally bipolar battle into a triangular contest.

‘A blessing and a curse’

Vijay entered politics with much fanfare when he launched the Tamilaga Vettri Kazhagam (TVK) party in 2024, promising to end the decades-old dominance of the governing Dravida Munnetra Kazhagam (DMK) and the main opposition All India Anna Dravida Munnetra Kazhagam (AIADMK).

Incumbent Chief Minister MK Stalin leads the DMK and its 14-party Secular Progressive Alliance, in which the Indian National Congress is a junior partner. On the other hand, opposition leader Edappadi K Palaniswami of the AIADMK heads the 10-party National Democratic Alliance, which also includes Prime Minister Narendra Modi’s Bharatiya Janata Party (BJP).

The DMK and the AIADMK identify themselves as Dravidian parties, which derive their names from a powerful political and social justice movement in Tamil Nadu that opposed caste inequalities, championed social reforms, and rejected perceived attempts by India’s more dominant north Indian parties to impose Hindi – and upper-caste Hindu values – on the non-Hindi speaking southern states.

Dravidian parties have held power in Tamil Nadu continuously since 1967, with national parties like the Congress and the BJP playing secondary roles. While the BJP is contesting 27 seats in alliance with the AIADMK, the Congress is fighting for 28 seats as part of the DMK-led coalition.

More than 87 percent of Tamil Nadu’s 72 million people are Hindu, followed by Christians at 6.1 percent and Muslims at 5.8 percent, according to the last census conducted in 2011.

Among Hindus, the so-called “backward” or less-privileged castes constitute 45.5 percent, “extremely backward” castes 23.6 percent, while Dalits are at 20.6 percent. Dalits, formerly referred to as “untouchables”, fall at the bottom of India’s complex caste hierarchy and have faced marginalisation and violence for centuries.

Vijay, son of a Christian filmmaker father and a Hindu mother who is a background singer in films, belongs to the Vellalar community, an affluent agrarian group in Tamil Nadu with both Hindu and Christian members.

Vijay started his film career as a child actor in movies directed by his father. His 1992 debut as a hero, however, in Naalaiya Theerpu (Tomorrow’s Verdict), flopped. Following the setback, his father cast him alongside popular star Vijayakanth — who later founded his own political outfit, Desiya Murpokku Dravida Kazhagam (DMDK) — in Senthoorapandi (1993), which gave his career a new lease of life.

It was the 2004 film Ghilli (Gutsy), which carried a subtle political undertone, that catapulted Vijay to superstar status. He dropped hints about his political ambitions in the 2013 hit Thalaivaa (Leader), which was launched with the tagline “Time to Lead”.

Soon, political messaging became central to many of Vijay’s subsequent films. Even the title of his yet-to-be-released Jana Nayagan (People’s Leader) — which he claims will be his final film — alludes to his political aspirations.

Riding on personal charisma, Vijay has attracted millions of supporters to his rallies, despite allegations of poor crowd management, which caused a stampede at one such gathering in September last year, killing 42 people.

He is expected to draw a share of Dalit and minority Christian votes that would have otherwise flowed to the DMK-led coalition. He is also banking on anti-incumbency votes that could have benefitted the AIADMK alliance.

Yet analysts say Vijay’s ambition of becoming the next chief minister will not be as easy as the scripted blockbusters he has built his career on, since he faces two opponents with decades of experience in real politics.

That leads political commentator R Kannan to describe Vijay as “both a blessing and a curse” for the two Dravidian coalitions.

“When the AIADMK joined the BJP-led NDA, many predicted the Dravidian party would lose heavily, with minorities and Dalits flocking to the DMK. Vijay’s entry, however, has offered the AIADMK a ray of hope — he is expected to draw a decent share of votes that would otherwise have gone to the DMK,” he said.

“At the same time, he works in the DMK’s favour by siphoning off anti-incumbency votes that might not entirely have gone to the AIADMK. For both Dravidian parties, he is at once a blessing and a curse.”

Tamil Nadu’s tryst with stars

Vijay is aiming to follow the path of illustrious predecessors: Maruthur Gopalan Ramachandran, popularly known as MGR, and his protege, Jayaram Jayalalithaa – Tamil Nadu’s most beloved on-screen pair.

Born into poverty, MGR’s rise to stardom was nothing short of phenomenal. He captured the imagination of Tamil Nadu’s working class, who idolised him in return. From his first superhit, Rajakumari (Princess) in 1947, his films cast him as a champion of the masses, battling oppression and corrupt authority.

MGR launched the AIADMK in 1972 after breaking away from the DMK and served as Tamil Nadu’s chief minister from 1977 to 1987. He introduced several welfare programmes, the most significant being the Puratchi Thalaivar MGR Nutritious Meal Scheme, which provided free meals to schoolchildren to eliminate malnutrition and boost school enrolment.

His political heir, Jayalalithaa, was a six-time chief minister between 1991 and 2016, when she became India’s first female state leader to die in office. She is remembered for launching several women-centric programmes, including all-women police stations and subsidised two-wheelers for working women, apart from her work in curbing female infanticide.

The DMK also has a history of film personalities, including the party’s founder, CN Annadurai, who rose to fame as a pathbreaking scriptwriter with films like Velaikkari (1949), and MGR as the party’s star campaigner and leader before he founded the AIADMK.

Soon, Muthuvel Karunanidhi emerged as another prominent writer, poet and screenwriter with films like Parasakthi (1952), meaning Supreme Power, often cited as a turning point in Tamil cinema. Directed by Krishnan-Panju and written by Karunanidhi, then 28 years old, the film fiercely attacked casteism and social inequality, while propelling the spread of the Dravidian ideology.

Karunanidhi, popularly known as Kalaignar (artist), wrote scripts for more than 75 films that resonated with the struggles of the working class, championing rationalism and social equality.

He won the Tamil Nadu Legislative Assembly election for a record 13 terms and served as the state’s chief minister for five terms between 1969 and 2011. He died at the age of 94 in 2018, when his son, Stalin, took over as chief minister and DMK chief.

Film star-politicians who embraced Tamil identity politics flourished, while those who did not fell by the wayside.

“Successful leaders such as MGR, popularly known as Puratchi Thaalaivar [Revolutionary Leader], Jayalalithaa, who earned the monikers Puratchi Thalaivi [Revolutionary Female Leader] and Amma [Mother], embraced identity politics. Another popular film actor, Sivaji Ganesan, by contrast, could not make the same mark in politics even after he tried,” said Kannan, who has written biographies of MGR and Annadurai.

In 2005, popular actor Vijayakanth added to the starry mix by launching his DMDK party, another Dravidian political outfit. He made every attempt to position his party as an alternative to the DMK and the AIADMK, but failed. The party won just one seat in 2006 — Vijayakanth’s own — and drew a blank in 2009. Though he went on to become the leader of the opposition in the assembly in 2011, the election reverses forced him to seek alliances. The DMDK, now led by his wife Premalatha, is contesting 10 seats in alliance with the DMK.

Which is where, say analysts, Vijay’s pitch for power is unlikely to make an impact in this election. They say his TVK party does not fall in the long line of Dravidian parties that have a distinct political ideology and programme that appeals to their voters.

“Tamil Nadu is an ideologically and politically evolved state. Issues such as social justice, centre-state relations, and linguistic and cultural identity are paramount here. People will not back a politician without a clear ideology,” Ramu Manivannan, former professor of political science at the University of Madras, told Al Jazeera.

Manivannan said large crowds at Vijay’s rallies should not be mistaken for potential votes. “Film stars always attract crowds. To assume all of them will translate into votes is unfair.”

Vijay’s TVK is rooted in his fan clubs, which thrive on masculine aggression, said S Anandhi, retired professor at the Madras Institute of Development Studies.

“Vijay’s populist rhetoric — defying all authority — appeals strongly to the youth. But he never clarifies what he will actually do in power. He frames it as all established forces being arrayed against young men, and youngsters see this as an opportunity for a new kind of collectivisation. I would call it a dangerous class,” she told Al Jazeera.

Appeal to young, female voters

Vijay appears to be banking heavily on two voter blocs: younger voters between 18 and 39 years, who number 23 million of the state’s 57 million voters, and women, who account for more than half of them.

At his rallies packed with young people and women, Vijay has alleged that Stalin’s true allies are “bribery and corruption”, framing the contest as a personal battle between himself and the chief minister.

Stalin, for his part, has largely brushed off Vijay’s attacks. “Newly-formed parties have a wrong notion that they can survive by criticising DMK,” he said in a recent interview.

Instead, Stalin has focused his attacks on the Modi government, accusing it of depriving Tamil Nadu of its share of federal funds, and framing the election as a contest between Tamil Nadu and New Delhi – a ploy that simultaneously targets the AIADMK for allying with an “adversary”, the BJP.

The AIADMK’s Palaniswami has countered by saying Stalin raises the centre-state issue only because he has “no achievements of his own to show”.

Despite their ideological differences, all parties are competing heavily on welfare promises in a state known for freebies during elections.

The DMK has pledged to double the monthly women’s allowance to 2,000 rupees ($21), offer 8,000 rupees ($85) in home appliance coupons, and build one million homes for the poor over five years. The AIADMK, also promising a monthly allowance of 2,000 rupees for women, has additionally offered free refrigerators to the poor and a one-time family grant of 10,000 rupees ($106).

Vijay’s TVK, hoping to cash in on the ongoing global fuel crisis, has promised six free LPG cylinders annually, 2,500 rupees ($26.5) monthly support for the female heads of a household, 8gm gold and a silk saree for poor women getting married, 4,000 rupees ($42.5) stipend for unemployed college graduates, and interest-free education loans of up to 2 million rupees ($21,257).

Still, Kannan feels Vijay can at best be a disruptor in the three-cornered contest.

“Vijay’s campaign gained momentum in the final lap. He turned what was a bipolar contest into a three-cornered one. But apart from his personal charisma, he lacks proper organisational machinery. Many of his party’s candidates are unknown faces,” he said.

Michael Jackson’s famous clan stepped out to celebrate the premiere of the new “Michael” biopic, but some of the Jacksons snubbed the event and have opposed the film.

On Monday at the Dolby Theatre in Hollywood, several members of the Jackson family gushed about the Antoine Fuqua-helmed film, which depicts the origin story of the King of Pop and follows the hitmaker from childhood through his upward trajectory to superstar status in the 1980s.

Michael Jackson’s nephew Jaafar Jackson, son of Jermaine Jackson, starred in the title role, and his aunts and uncles dropped accolades for his performance in red carpet interviews. Marlon Jackson said, “Watching the movie, sometimes we think we’re watching Michael up there, that’s how good he is.”

La Toya Jackson called his performance “absolutely excellent” and echoed Marlon, saying that she forgot she was watching Jaafar: “I thought I was watching my brother.”

But not all of the Jacksons were up for celebrating the film. Most notably absent were the “Beat It” singer’s pop star sister, Janet Jackson, and his daughter, Paris Jackson. The eldest of the siblings, Rebbie Jackson, also skipped the event. And although the film includes portrayals of many of the Jackson siblings, some also asked to be left out of the biopic, including Janet.

“I wish everybody was in the movie,” La Toya Jackson told Variety at the premiere. “She was asked and she kindly declined, so you have to respect her wishes.”

Last month, rumors began to swirl that the “All for You” singer attended a family screening of the film and wasn’t pleased. Page Six reported that Janet and Jermaine got into a spat, with Janet critiquing almost every scene.

At Monday’s premiere, “Entertainment Tonight” asked La Toya about the controversy, which she was quick to shut down. “There was absolutely no problem whatsoever, none whatsoever,” she said. “Please believe it.”

Although both of Michael Jackson’s sons, Prince and Bigi, have supported events for the film (Prince attended Monday’s premiere, and Bigi attended a Berlin premiere last week), and Prince served as an executive producer and was regularly on set, Paris Jackson has been vocal about her lack of involvement.

Last year, she posted on social media that she gave feedback on an early draft of the film, but her notes weren’t addressed. “I’ve left it alone,” she said. “It’s not my project, they’re going to make whatever they’re going to make.”

Paris Jackson, who works in the entertainment industry as a model, actor and musician, said she had stayed quiet about her feelings toward the “sugar-coated” project because she knew many people would be happy with it. “The film panders to a very specific section of my dad’s fandom that still lives in the fantasy,” she said.

“The thing about these biopics is, it’s Hollywood. It’s fantasy land. It’s not real, but it’s sold to you as real,” she continued. “The narrative is being controlled, and there’s a lot of inaccuracy, and there’s a lot of full blown lies, and at the end of the day, that doesn’t really fly with me.”

In earlier drafts of the “Michael” script, plot points included sexual abuse allegations brought by 13-year-old Jordan Chandler in 1993. Reportedly, the Michael Jackson estate became aware of a contract that legally barred the dramatization of the Chandler family and had to scrap parts of the script.

The film was originally set to premiere last year, but the production needed a new ending and weeks of reshoots to make the new iteration of the film work. In the version that hit theaters this week, “Michael” concludes in 1988, with a teaser for a potential Part 2.

Colman Domingo and Nia Long, who portray Michael Jackson’s parents, Joe and Katherine Jackson, appeared on “Today” this week and addressed the elephant in the movie theater.

“The film takes place from the ‘60s to 1988, so it does not go into the first allegations,” Domingo said. “Basically, we center it on the makings of Michael. So it’s an intimate portrait of who Michael is … through his eyes. So that’s what this film is.

“And there’s a possibility of there being a Part 2 that may deal with some other things that happen afterward,” he continued. “This is about the making of Michael, how he was raised, and then how he was trying to find his voice as an artist and be a solo artist.”

Long added that there might be a sequel, “if the price is right.”

The stars of “The Devil Wears Prada 2” thrilled us with their bold fashion choices at the film’s world premiere in New York City on Monday night, the most recent stop in a press tour that began at the end of March. Meryl Streep, Anne Hathaway and Emily Blunt brought their A game, embracing method dressing without going overboard. Even Miranda Priestly would be proud.

While the film dons Prada’s name, Schiaparelli was among the go-to designers for the promo tour. From custom numbers to archival pieces, cast members, new and old, impressed in gowns that deserved center spreads in Runway. And there were no florals in sight.

Anne Hathaway attends “The Devil Wears Prada 2” world premiere in New York.

(Evan Agostini / Invision / AP)

During the film’s New York City premiere, Hathaway wore a devilish satin red gown. Designed by Nicolas Ghesquière for Louis Vuitton, Hathaway’s tea-length dress was paired with dazzling jewels from Bulgari.

Lady Gaga attends “The Devil Wears Prada 2” world premiere at Lincoln Center’s David Geffen Hall in New York.

(Evan Agostini / Invision / AP)

Styled by sisters Chloe and Chenelle Delgadillo, Lady Gaga donned a black Saint Laurent gown from the fashion house’s fall 2016 collection. But Gaga really turned heads with her sparkling 7-carat earrings designed by Tiffany & Co.

Gaga has a cameo in the film, which director David Frankel told Vanity Fair was the “the worst-kept secret in showbiz.” The entertainer also wrote and recorded “Runway” with rapper Doechii for the sequel’s soundtrack.

Meryl Streep attends “The Devil Wears Prada 2” premiere on Monday.

(Evan Agostini / Invision / AP)

Streep paired her statement sunglasses with a Givenchy by Sarah Burton caped dress at the film’s New York City premiere. The sweeping red dress included elegant black gloves that matched her Stuart Weitzman heels.

Emily Blunt attends “The Devil Wears Prada 2” world premiere in New York.

(Evan Agostini / Invision / AP)

Emily Blunt wore a dress from the Schiaparelli spring 2026 line. The dress’ structured bodice gave way into tulle skirt, with the fabric’s warm tone contrasting Blunt’s dark red lip. The bustier was covered in 25,000 silk thread feathers, which required roughly 4,000 hours of work.

Simone Ashley attends “The Devil Wears Prada 2” world premiere at David Geffen Hall in New York.

(Evan Agostini / Invision / AP)

“Bridgerton” star Simone Ashley made her “Devil Wears Prada” debut in a vintage high-low Prada dress. Styled by Rebecca Corbin-Murray, she paired the chartreuse dress with marching diamonds. Ashley plays Amari Mari, Miranda’s first assistant in the film.

Meryl Streep promotes “The Devil Wears Prada 2” in Seoul.

(Ahn Young-joon / AP)

Streep wore a custom Prada power suit and David Yurman jewels while promoting the film in Seoul.

Anne Hathaway on the red carpet to promote “The Devil Wears Prada 2” in Seoul.

(Ahn Young-joon / AP)

During the film’s premiere in Seoul, Hathaway donned a red leather Balenciaga number. Dressed by stylist Erin Walsh, the oversize jacket contrasted with her pencil skirt, and the look was tied together with Hathaway’s sleek ponytail.

Meryl Streep attends the “The Devil Wears Prada 2” premiere at Anahuacalli Museum in Mexico City.

(Angel Delgado / Getty Images for Disney)

During the press tour’s kickoff in Mexico City, Streep — styled by Micaela Erlanger — donned a long, belted navy blue Schiaparelli dress.

Anne Hathaway promotes “The Devil Wears Prada 2” on “The Late Show With Stephen Colbert.”

(Scott Kowalchyk / CBS)

For an appearance on “The Late Show With Stephen Colbert,” Hathaway wore vintage Versace.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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