guest

Disneyland’s Star Wars: Galaxy’s Edge is turning back the clock.

In a shift from its original ambitions, the land will no longer be primarily set in the time period of the recent “Star Wars” sequels. That means modern villain Kylo Ren will be out, at least as a walk-around character, while so-called “classic” characters such as Darth Vader, Luke Skywalker, Han Solo and Princess Leia Organa will make their way into the fictional galactic town of Black Spire Outpost.

The changes, for now, are specific to Disneyland and are not currently planned to come to Walt Disney World’s version of the land, according to Disney. They also mark a significant tweak from the intent of the land, which was designed as an active, play-focused area that broke free from traditional theme park trappings — character meet and greets, passive rides and Mickey-shaped balloons. Instead of music, guests heard radio broadcasts and chatter, as the goal was to make Black Spire Outpost feel rugged and lived-in.

• Share via Close extra sharing options

It was to be a place of living theater, where events unfolded in real time. That tone will now shift, as while the in-land radio station won’t go away, Disneyland will soon broadcast composer John Williams’ “Star Wars” orchestrations throughout the area. The changes are set to fully take effect April 29, although Disney has stated some tweaks may roll out earlier.

The character of Rey, introduced in “Star Wars: The Force Awakens,” will still appear in the land, although she’ll now be relegated to the forest-like area near the attraction Star Wars: Rise of the Resistance. While the latter is due for refurbishment beginning Jan. 20, park representatives said it’s routine maintenance and no changes are planned for the land’s showcase ride, which will still feature Kylo Ren and the First Order.

Guests will also soon be able to find the Kylo Ren character at a meet and greet in Tomorrowland. Other personalities previously introduced to Galaxy’s Edge, including Chewbacca, Ahsoka Tano, the Mandolorian, Grogu and droid R2-D2, will still be featured in the land.

Taken as a whole, the moves turn Galaxy’s Edge into something more akin to a “Star Wars” greatest hits land. When the area opened in 2019, the hope was guests would feel as if they were protagonists able to choose their own adventure. Galaxy’s Edge came with its own vernacular, and an elaborate game in the Play Disney mobile app that was designed to track a guest’s reputation and be used in the land. It was once said, for instance, that Disney’s cast members — staff, in park parlance — would be able to recognize if someone’s personality leaned resistance, First Order or rogue. Such aspirations never materialized.

When Galaxy’s Edge opened in 2019, it was designed to feel rugged and lived-in.

(Allen J. Schaben / Los Angeles Times)

Galaxy’s Edge was a theme park experiment, asking how deeply guests would want to engage in physical spaces. But it came with challenges, namely that as these lands evolve to feel more like locations where action is unfolding in real time, the level of activity needed to maintain the illusion increases. And Galaxy’s Edge forever lacked some of its teased and hyped elements — there were no smugglers, for instance, tapping you on the shoulder in the cantina. When a land is designed to speak to us, we notice when it’s quiet.

Theme parks are also evolving spaces, responding to shifts in creative direction as well as guest feedback. In an online press conference announcing the move, Disney didn’t allow for deep questioning, but a reworking of the land to incorporate the franchise’s classic (and arguably more popular) characters feels in some part an acknowledgment that theme park visitors likely crave familiarity over ongoing narratives designed to play make-believe. Or at least that such a direction is easier to maintain.

“Since the very inception of Star Wars: Galaxy’s Edge, we really always imagined it as a platform for storytelling,” said Asa Kalama, a creative executive with Walt Disney Imagineering, the company’s arm devoted to theme park experiences, at the media briefing. “That’s part of the reason we designed this neutral Wild West space town because it allowed it to be a framework in which we could project different stories.”

Galaxy’s Edge on April 29 is dropping its fixed timeline and will soon incorporate more characters, including Darth Vader.

(Christian Thompson / Disneyland Resort)

Kalama pointed to next year being the 50th anniversary of the initial “Star Wars” movie and this May’s theatrical film, “The Mandalorian & Grogu,” as to why this was the opportune time to shift the direction of the land. To coincide with the release of the latter, the attraction Millennium Falcon: Smugglers Run will receive a new mission May 22, which will also mean the land’s two rides will soon be set in different “Star Wars” time frames.

The ride makeover will feature three new locations from the “Star Wars” films — planets such as the urban Coruscant or gas realm of Bespin, as well as the wreckage of the second Death Star near Endor. Each flight crew will determine the destination. Additionally, those seated in the ride’s “engineer” positions will be able to communicate with Grogu, colloquially referred to as “baby Yoda.”

Star Wars: Galaxy’s Edge was meticulously designed to be set between episodes eight and nine of the core saga, with its ships modeled after the most recent films. When guests encountered characters, for instance, they would speak to them as if they were visitors on the fictional planet, often trying to suss out someone’s allegiance. It was indicated by Michael Serna, executive creative director with Disney Live Entertainment, that such a level of playfulness would continue.

Darth Vader, for instance, is said to be on the planet of Batuu seeking to hunt Luke Skywalker. Luke, for his part, is described as roaming the land looking for Force artifacts, while Leia and Han will be spotted in areas near the Millennium Falcon and Oga’s Cantina, the latter tempting Han while Leia will serve the role of a recruiter. Timelines for the land’s bar and shops will also be dialed back to better reflect the the classic characters, although “Star Wars” die-hards maybe shouldn’t think too hard about it as an animatronic figure such as Oga’s robotic DJ “Rex” is best known for a different role during that era.

The character of Rey, introduced in “Star Wars: The Force Awakens,” will still meet with guests in Galaxy’s Edge, although she will be stationed near the ride Star Rise: Rise of the Resistance.

(Allen J. Schaben / Los Angeles Times)

Galaxy’s Edge had been moving in a more populist direction for some time. The reframing of the ride Smugglers Run was the first major indication that Disney would pivot from the land’s initial design intent. Luke, meanwhile, was introduced to the land for limited appearances in 2025, and that character followed the arrival of the Mandalorian and Grogu. And the lack of Williams’ score in the land has long been a common guest complaint. The film’s “Main Title,” as well as “Han Solo and the Princess,” “The Desert and the Robot Auction,” “The Emperor” and other Williams selections will now be heard in the land.

While the vibe and tenor of Galaxy’s Edge will shift, Serna stressed it’s still designed as a place for guest participation. “It’s still an active, living land, if you will,” he said.

And if Galaxy’s Edge is now a mesh of timelines and characters, that simply makes it more in-line with what already exists at the resort. To put it another way: No one has been confused that New Orleans Square has ghosts and pirates next to a cozy place for beignets. Likewise, we don’t wonder why “Cars” character Doc Hudson is dead in the current timeline of the films but alive on the ride — and then memorialized via an ofrenda during the land’s Halloween makeover.

Theme parks remain a place where imagination reigns.

Hartman was previously (legally) growing cannabis on the ranch. However, when the market became oversaturated, it was no longer profitable to be a small-scale cannabis grower in the Santa Ynez Valley, he said.

Hartman loves growing crops, and his mother mentioned protea, an ancient type of flowering plant found in South Africa and Australia. Protea are drought-tolerant and do well in California’s Mediterranean climate, he said. In the summer, the staff only has to provide a gallon of water to the plants.

Hartman said his family took a “massive gamble” and picked out 16 of the best cultivars that they thought would grow well, planting them in 2020. They’ve found the South African varieties, like the Safari Sunset and Goldstrike, do the best.

“These protea plants go back in the fossil record like 300 million years,” Hartman said. “They’re some of the oldest flowers on the planet.”

Hartman said he plans to open a nursery, hopefully later this year, so people can buy potted protea and plant them around their homes, given how drought-tolerant they are.

The tour through the ranch’s 8 acres of proteas includes a U-pick option where guests can take cut flowers home.

Good Morning Britain hosts Kate Garraway and Ranvir Singh were left stunned on Friday

A Good Morning Britain guest has revealed the “horrific” ordeal that left her “fighting for her life”. Friday’s (January 9) edition of the hit ITV breakfast show saw Kate Garraway and Ranvir Singh bring viewers the latest developments from Britain and beyond.

Weather presenter Laura Tobin was also on hand in the studio to provide crucial updates on Storm Goretti, following the Met Office’s stark “danger to life” alert.

During the programme, Kate and Ranvir interviewed Sara Platt, whose botched cosmetic procedure in Turkey left her facing serious health complications.

“The government has issued a fresh warning on botched cosmetic surgery, saying it’s going to take decisive action to crack down on rogue operators and treatments that offer, when you look at them, do seem too good to be true,” Kate explained, reports Wales Online.

Ranvir continued: “It’s the subject ITV News has been investigating for two years, and as part of that, we met Sara Platt. She travelled to Turkey for surgery, and she says it left her life at risk.”

Before the interview progressed, Ranvir cautioned viewers: “[The surgery] went horribly, horribly wrong. We’re going to show some pictures which might be distressing.”

As photographs of Sara’s injuries appeared on screen, she explained: “I lost 12 stone [during] Covid. I had severe excess skin, so I went and had an uplift implant and a tummy tuck, because I had constant skin infections.”

She continued, “[The surgery] just made it tenfold worse. What I’m left with now, not just body but my mental health, is really bad.”

As Sara delved into the difficulties she encountered, including multiple infections, Kate and Ranvir were visibly taken aback. “You thought you might die,” Ranvir said.

Sara responded: “It was extremely bad. I lost my right breast. I had gaping holes in my stomach. I was only supposed to have a tummy tuck and impact, but they cut from my arms, sides, and my back because, obviously, there was not enough skin to close me.

“On day nine, I was operated on awake and part of my body was placed by the side of my head.”

A shocked Kate replied: “Oh, Sara. We’re hearing this [and] it’s obviously horrific.”

The guest concluded: “We do get bad comments and this is why I’m trying to get change made, so people coming back from Turkey don’t use the NHS. It was life-saving surgeries for me. This is why we need regulations. The government need to take a stand.”

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website

Santa Fe, N.M. — Meow Wolf is coming to Los Angeles. And with its move to the Southland, the experiential art collective isn’t just taking over a former movie theater, it is, in a sense, placing a skewed spotlight on Hollywood’s grandiosity itself.

• Share via Close extra sharing options

Born in Santa Fe, N.M., more than a decade ago, Meow Wolf’s fast-tracked rise has taken the company to Denver, Las Vegas, Houston and the Dallas suburbs. Along the way the firm has skirted the line between theme park-like interactive experiences and hand-made, outsider art, pitching itself as a new form of all-encompassing, maximalist, sensory overloaded entertainment — or, in the words of one of its creative directors, “that classic feeling of good confusion.”

Destined to open in late 2026 at West L.A.’s Howard Hughes entertainment complex, Meow Wolf has kept much of its plan for Los Angeles under wraps. Until now.

Meow Wolf arist Chris Hilson spins a hanging mobile. Hilson is working on multiple pieces for Meow Wolf Los Angeles.

(Gabriela Campos / For The Times)

A work in progress piece by Los Angeles collective Everything Is Terrible. “Los Angeles is a city built on madness, dreams — broken and realized — and most importantly, simulacra. With this work, we are confronting propaganda, competing narratives, forgotten labor and myths that refuse to die,” said the group in a statement.

(Gabriela Campos/For The Times)

It’s been known that the installation would be taking over a large section of what had long been the Cinemark movie theaters. Meow Wolf, however, is using the location to lean into one of L.A’s longest standing — and currently troubled — ritualistic experiences. In the same way exhibitions in Santa Fe or Las Vegas begin in an otherworldly house or an extraordinary grocery store before getting truly psychedelic, Meow Wolf Los Angeles will launch via a fantastical movie theater, one complete with a concession stand — beware of the animated, sentient candy — and a grand auditorium. Here, describes co-founder and executive vice president Sean Di Ianni, guests may spy transparent seats that appear to be floating.

“Over your head will be etherealized seats — sculptures of these kind of translucent seats that will be animated with light and hyper-directional sound,” Di Ianni says. “You might hear the inner monologue of a previous audience.”

Sean Di Ianni, co-founder of Meow Wolf, is leading development of the Los Angeles space, which is taking over part of Cinemark movie theaters at the Howard Hughes entertainment complex.

(Robert Gauthier/Los Angeles Times)

A view into the Meow Wolf warehouse during a walk through of new art projects that will be featured in Meow Wolf L.A.

(Gabriela Campos/For The Times)

When Meow Wolf announced Los Angeles as its next destination for a full-scale, walk-through exhibition in 2024, it did so during a time of tumult, the company having just undergone a round of severe layoffs. And thus, Los Angeles became not just Meow Wolf’s next step but its rebirth.

During a two-day tour of Meow Wolf’s Santa Fe headquarters late last year, the company unveiled multiple pieces of art in various stages of planning, with installation in Los Angeles set to ramp up in the coming weeks. Though Meow Wolf is keeping certain story elements off the record for now, and some plans may shift as art is completed, expect an exhibit based around an intergalactic roadside attraction, a location destined for a pilgrimage. Throughout, guests will explore the hulls of a spaceship, hop on planet-traversing bikes and uncover a divey greasy spoon at the end of the galaxy, complete with sculptures of the proprietor at various stages of his life.

Artist Karen Lembke looks to see how the cape falls for a piece destined for Meow Wolf Los Angeles.

(Gabriela Campos/For The Times)

But by grounding it in the nostalgia and timeless appeal of a movie theater, the hope is to also learn some lessons from more linear entertainment. “We pushed really hard on this one to take that story experience to the next level,” says Shakti Howeth, creative director. “We got so much feedback from other shows that people want more of that. They want it to make sense. They want to understand it. They want to think about it afterwards. They want to grab onto certain characters.”

Thus, it will be Meow Wolf’s first exhibition with a firm beginning, middle and conclusion, even if the latter is a bit open-ended. Meow Wolf is known for its byzantine tales, but here the company is aiming to simplify, zeroing in on a story that coalesces around our instinct for a rite of passage. Think, for instance, of the way humans may trek to witness a newborn panda, or similarly cross the globe to capture the aurora borealis. Locally, ceremonial destinations such as Disneyland or the corner chapel spring to mind — anywhere people gather craving community, connection, reverence and, hopefully, a revelation.

Though narrative plans date to 2022, before Los Angeles was chosen as the locale, once the team knew it was moving into a former movie theater it was sold on the concept. That’s in part due to the transcendent nature of cinema, but also a recognition of what Los Angeles represents culturally.

“It’s cool that we’re creating a story about a pilgrimage because L.A. is that for so many artists, especially people involved in storytelling,” says Howeth. “It’s one of those places that’s built on layers and layers of dreams, and we’re really exploring that here. Not only dreams, but broken dreams — the compost that can happen when you digest broken dreams.”

It’s not the only way the exhibition hopes to reflect Los Angeles. Throughout, we’ll follow the lives of three characters, some known to Meow Wolf die-hards and some new creations, such as a Boyle Heights-raised usher. Elsewhere, an installation bathed in neon and shape-shifting projections nods to Frank Lloyd Wright’s Ennis House. And Meow recently completed the filming of multiple short movies that serve as cinematic parodies — a Bob Fosse-inspired musical, a Clint Eastwood-style western, a “Lethal Weapon”-like action flick and more. They’ll be shown throughout the space, and expect to encounter characters possessing a cult-like obsession to the films.

1

2

3

1. Work in progress pieces by aritst Jess Webb. 2. Costumes by Emmanuelle John. 3. Chris Hilson’s space bike model. (Gabriela Campos/For The Times)

It isn’t lost on Meow Wolf creatives that they’re dabbling in themes of religious-like devotion to the art of storytelling at a time when Hollywood is in flux. The very venue for the exhibition, for instance, was open to the team largely because of the struggles that movie theaters have had to confront.

Early concepts had the exhibition starting, perhaps, in a motel, or a work that nodded to L.A.’s Midcentury architecture. “But being in L.A., a number of sites, due to the dire state of the movie theater business right now, were movie theaters,” says James Longmire, who works on Meow Wolf’s story development. “So why not a movie theater? Why not lean into that? In my mind, that immediately started to connect and feel a lot more resonant to this idea of art and story being important forces in humanity and human growth and how we grapple with not having answers to big questions.”

An art installation, partly inspired by Frank Lloyd Wright’s Ennis House, is planned for Meow Wolf Los Angeles.

(Gabriela Campos / For The Times)

And it will be interactive. A spiritual temple, for instance, will house a secretive space that Meow Wolf creatives refer to as a “reverse escape room,” in which guests will have to work together to find and break into. Creative director Elizabeth Jarrett, who worked on Scout Expedition’s long-running immersive L.A. show “The Nest,” is helping to devise a handful of quests and what Meow Wolf is calling “story moments,” which will take over an entire space. Lighting and visual cues, for instance, may direct audience members to collaborate or reposition themselves — a psychic motel room, perhaps, where a tree has grown into a couch. Sit in the right spot and cause the room to come alive with projections and cinematics.

It was important, says Jarrett, for the so-called story moments to be triggered by the audience. “The audience has a sense of agency in the story advancing,” Jarrett says. “We’re communicating when an opportunity is arising for you to choose to engage. The guests are a protagonist and a character as much as any other character in this world. There are characters who speak directly to the audience. We’re experimenting with breaking the fourth wall.”

Not all of the art, of course, will reference film. Meow Wolf is planning, for example, a two-player game in which tarot cards will be digitally constructed exquisite corpse-style. And art curator AJ Girard is working closely with dozens of L.A. artists to bring them into the space. Gabriela Ruiz is one such artist who will have a large presence in the exhibition, a part of Ruiz’s work being an adorably vibrant, multicolored insect that will serve as a periscope.

“I thought about a little bug because they have the ability to see infrared and visualize the world differently than we do,” Ruiz says.

Girard, too, views the space as something of a commentary on L.A. “Social media and social capital is so relevant in our city,” Girard says. “How do we make fun of it in an avant garde, punk, radical way? How do we poke holes at it?”

Meow Wolf Los Angeles will house a cafe that will feature neon art.

(Gabriela Campos/For The Times)

It won’t be easy, especially for a city that sometimes takes its main, exportable art a bit too self-serious. But if Los Angeles has long viewed the movie theater as a temple, perhaps it’s time someone turns one into a playground.

“It’s partly our job to be playful with it, to not let that weight crush us,” Di Ianni says. “Let’s poke fun at movies. Let’s celebrate them. Let’s have fun with the reputation of Los Angeles and its insane impact. We have to play. That’s what we’re inviting the audience to come in to do. They’ll hopefully have meaningful, emotionally resonant experiences that show them a different perspective on their own stories, but to get them there, they’re going to have to play.”

Meow Wolf likes to say that its upcoming Los Angeles exhibition is focused on the art of storytelling — why it matters, what it means and how stories transform.

“This exhibition is about the inevitability of change,” says creative director Elizabeth Jarrett, “and how the stories that we tell ourselves and others have the ability to affect the way we perceive change and the way we experience it.”

That also means that Meow Wolf, known for its large-scale, explorable installations in Las Vegas, Denver, Houston, the Dallas suburbs and its home base of Santa Fe, N.M., will double down on its experiments with other media. Throughout the Los Angeles show, guests will encounter mixes of live action and animation, shadow boxes, games and even a mini escape room, only here guests have to break into rather than out of a secret room.

The Times spent two days in Santa Fe late last year to preview Meow Wolf’s Los Angeles exhibition, set to take over part of the Cinemark complex at Howard Hughes L.A. near the end of this year. Here are five fast things to know about the experience.

CHILLING details have been revealed in the strange death of Tommy Lee Jones’s daughter.

Former child star Victoria Jones, 34, was found unresponsive in the early hours of New Year’s Day.

Staff thought Jones had been drinking when they found the 34-year-old lying on the ground of the 14th floor of the ritzy Fairmont hotel, San Francisco.

She was spotted by a guest who thought she “might be drunk”, a source told The Daily Mail.

But when desperate attempts to revive her failed, they realised the truth.

Hotel staff quickly started CPR and called an ambulance, but couldn’t bring her back.

TRAGIC LOSS

Tommy Lee Jones’ daughter ‘found dead on New Year’s Day in luxury hotel’

‘IN OUR HEARTS’

JFK’s granddaughter dead at 35 only weeks after revealing cancer diagnosis

Emergency services were called to the swanky hotel at 2.52am, where paramedics found Victoria unresponsive, TMZ reported.

First responders pronounced Victoria, daughter of actor Tommy Lee Jones, dead at the scene.

There were no signs of foul play or trauma to the body, according to the Daily Mail source.

Cops didn’t find drug paraphernalia on the scene, or any signs that Jones had taken her own life.

Her cause of death remains a mystery, and San Francisco police have asked anyone with information about the incident to get in touch with them.

It is still unclear if the child star was a guest at the hotel or what she was doing on the 14th floor.

A spokesperson for the police force said: “On 1/1/26 at approximately 3:14 a.m., San Francisco Police officers responded to a hotel located on the 900 block of Mason street regarding a report of a deceased person.

“At the scene, officers met with medics, who declared the adult female deceased. The Medical Examiner arrived on scene and conducted an investigation.”

Victoria was the daughter of Tommy and his second wife Kimberlea Cloughley.

She followed in her father’s footsteps, acting in several films, including 2002’s Men in Black II and One Tree Hill.

She performed her first acting role as a child before making her Hollywood debut in 2002.

Her famous father played Agent K in the Men in Black franchise.

Victoria also appeared in a handful of acting projects as a child, including a 2005 episode of One Tree Hill and a role that same year in the Western picture The Three Burials of Melquiades Estrada, which was directed by her father.

Tommy is also known for Batman Forever, No Country for Old Men, Captain America: The First Avenger and Jason Bourne.

After a brief stint in Hollywood, Victoria did not act in any other movies, but occasionally appeared alongside her father to attend red carpet events.

In 2017, she posed at his side at the ArcLight Hollywood for the premiere of his movie Just Getting Started, which also starred Morgan Freeman and Rene Russo.

She is survived by her father Jones, her mother Cloughley and her brother, Austin.

Death in Paradise returns for a festive special episode tonight, with a guest cast set to join DI Mervin Wilson

Death in Paradise is gearing up for another festive special episode, ahead of welcoming a fresh series in 2026. The BBC programme has proved a massive success since it first hit our screens in 2011, with Ben Miller originally taking the lead detective role.

Don Gilet has stepped into Death in Paradise as the newest lead detective, DI Mervin Wilson, making his debut in the 2024 Christmas Special before headlining the complete Series 14 in early 2025, replacing Ralf Little.

Discussing his return to the role of Detective Inspector Mervin Wilson, Don Gilet shared with the BBC: “It felt good. Slightly daunting, but in a positive sense because you want to do the same again, if not better.

“I jokingly describe it as the second album. The first album went really well, but you can’t rest on your laurels and be complacent, there’s still more audience out there to win over. So, I went out to Guadeloupe with a renewed appetite. It was great to come back and reconnect with the characters and the actors,” reports the Express.

The BBC has now revealed what audiences can anticipate from the Christmas special, scheduled to broadcast tonight (December 28) on BBC One, featuring a new guest lineup appearing in this year’s standalone episode.

Death in Paradise Christmas special 2025 cast

• DI Mervin Wilson- Don Gilet
• Detective Sergeant Naomi Thomas- Shantol Jackson
• Officer Sebastian Rose- Shaquille Ali-Yebuah
• Catherine Bordey- Elizabeth Bourgine
• Officer Darlene Curtis- Ginny Holder

Guest cast

• Josie Lawrence (Outside Edge)
• Kate Ashfield (Shaun of the Dead)
• Pearl Mackie (Doctor Who)
• James Baxter (Waterloo Road
• Billy Harris (Ted Lasso)
• Oriana Charles
• Alix Serman

Death in Paradise Christmas special 2025 plot

The BBC has revealed a thrilling plot for the upcoming Christmas special of Death in Paradise. The office Christmas do takes a sinister twist when four colleagues wake up with pounding heads, only to find an unknown man shot dead in their villa’s pool.

DI Mervin Wilson and his squad manage to locate the murder weapon, but they’re left scratching their heads when they realise it was locked away in a drawer at the time of the shooting… and that drawer was thousands of miles from the crime scene, all the way back in Swindon. All the suspects insist they’ve never crossed paths with the deceased before.

As the team delves deeper into a tangled web of secrets and criminal activity, it becomes apparent they’ll need all the assistance they can muster to crack this perplexing case. Maybe a familiar face spending the festive season back in the UK could be persuaded to chip in.

Meanwhile, the Yuletide celebrations on Saint Marie are in full swing. The annual nativity is underway, and Mervin has a role to fill. But the DI has other matters preoccupying him.

A few months ago, he reached out to a brother he’d only recently discovered, but he’s yet to hear back. Can Mervin sort out his family issues and embrace the holiday cheer for the sake of his team and the island?

The Death in Paradise Christmas special airs Sunday, December 28 at 8:30pm on BBC One

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**