Hollywood

THE SMASHING MACHINE

(15) 123 min

★★★☆☆

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WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.

Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.

In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.

Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.

He’s not totally unrecognisable, though.

A professional wrestler himself, The Rock already had the fighter’s hulking physique.

Acting muscles

And he’s in familiar territory being on screen with his trademark biceps on display.

But here he proves he absolutely can flex his acting muscles too.

American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.

We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.

But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.

Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.

Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.

The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.

As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.

While the performances are gripping, the script lacks nuance.

Is this brutal watch a knockout? No, not completely.

But will the prosthetics pay off for Johnson come awards season?

They just might.

A HOUSE OF DYNAMITE

(15) 112mins

★★★★★

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KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.

The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.

The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.

Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.

The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.

Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.

It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.

LINDA MARRIC

HIM

(18) 96mins

★☆☆☆☆

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HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.

In short, this is a mess.

The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.

When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.

But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.

Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.

Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.

Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.

Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.

LINDA MARRIC

Scary. Terrifying. Deeply misguided.

Those were among the visceral reactions this week from Emily Blunt, Whoopi Goldberg, Natasha Lyonne and many other actors and filmmakers over the sudden fame of Tilly Norwood.

Norwood isn’t real — the brunette who appears in a comedy sketch on her Instagram page is in fact a computer-generated composite.

“I may be AI, but I’m feeling very real emotions right now,” states a message on Norwood’s Instagram page. “I am so excited for what’s coming next!”

The sentiment was not widely shared, at least in Hollywood, where anxieties about the use and abuse of artificial intelligence replacing actors runs deep.

Norwood’s creator ignited a furor after she announced that the digital actress would soon be signed by a talent agency.

This week, SAG-AFTRA weighed in with a withering response. Two years ago, the union’s members engaged in a 118-day strike to fight for more AI protections in their contracts with major studios.

“To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” the guild said. “It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”

Norwood was created by AI through Xicoia, a London-based AI talent studio launched by Dutch actor Eline Van der Velden. Xicoia is working with estates and Hollywood stars who want to appear as their younger selves on screen, according to Deadline, which first reported talent agency interest in Norwood.

Van der Velden, who is also the founder of AI production company Particle6, was not available for comment on Wednesday. But in a statement posted on Instagram following the backlash, Van der Velden stressed that Norwood is “a creative work — a piece of art.”

“I see AI not as a replacement for people, but as a new tool — a new paintbrush,” Van der Velden said. “Just as animation, puppetry, or CGI opened fresh possibilities without taking away from live acting, AI offers another way to imagine and build stories.”

SAG-AFTRA President Sean Astin disputed the claim.

He said in an interview with The Times that the material used to create Norwood was “improperly obtained” from SAG-AFTRA members’ work without permission, compensation or acknowledgment.

“It manipulates something that already exists, so the conceit that it isn’t harming actors — because it is its own new thing — ignores the fundamental truth that it is taking something that doesn’t belong to them,” Astin said.

“We want to allow our members to benefit from new technologies. … They need to give permission for it, and they need to be bargained with.”

Norwood has 44,000 followers on Instagram and is portrayed as an aspiring young actor based in London who enjoys shopping and iced coffee.

The social media page depicts Norwood in various scenes. In one, she’s armed and ready to battle a monster; in another, she’s running away from a collapsing building in a futuristic city.

At an industry panel in Zurich on Saturday, Van der Velden touted her creation.

“With Tilly, you know, when we first launched her, people were like, ‘That’s not going to happen,’” Van der Velden said. “And now, we’re going to announce which agency is going to be representing her in the next few months. It’s all changing and everyone is starting to see the light, fortunately.”

Talent agencies have represented digital characters used in ad campaigns. And seeing such avatars in the mainstream has become increasingly common — in 2024, Japanese digital character Hatsune Miku performed at Coachella and an AI model was featured in the August issue of Vogue magazine for L.A. brand Guess.

And some studios, including Lionsgate, have partnerships with AI startups to explore using the technology in areas such as storyboarding. Others, such as Netflix and Amazon MGM Studios, have series that use AI in visual effects.

Tech companies have argued that they should be able to train their AI models on content available online and bring up relevant information under the “fair use” doctrine, which allows for the limited reproduction of content without permission from the copyright holder.

But the proliferation of AI has also fueled concerns that AI companies are using copyrighted material to train their models without compensation or permission. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI companies over copyright infringement.

Some actors called for a boycott of any agents who decide to represent Norwood. “Read the room, how gross,” “In the Heights” actor Melissa Barrera wrote on Instagram.

“Our members reserve the right to not be in business with representatives who are operating in an unfair conflict of interest, who are operating in bad faith,” Astin said.

For the past five years, I’ve been interviewing Hollywood professionals about what they wish they’d known when they were starting out. The entertainment business can feel opaque and overwhelming, and many who navigated it the hard way said they want to help level the playing field for those arriving with passion but without connections.

The best advice — which is collected in a book I co-wrote with my former Times colleague Jon Healey, “Breaking Into New Hollywood: A Career Guide to a Changing Industry” — was often about how they handled chaos. The key to longevity, many said, is how you manage the rejection, instability and heartbreak that are unavoidable in the industry.

And as Hollywood has weathered the COVID-19 pandemic, strikes, recessions and periods of contraction — some reports estimate Hollywood jobs were down 25% in 2024 from their 2022 peak — many of them have had to take their own advice. Decades-long industry veterans have pivoted to adjacent professions, including teaching and advertising. Some of them have left Hollywood altogether.

But others have landed their dream jobs. They’ve learned how to build something from nothing. They’ve gotten to show what they’re capable of, once someone finally gave them a chance.

The most sensible advice to give young people who dream of working in the entertainment industry, they said, is to run in the other direction — or at least have a backup plan. There are so many practical, safer choices that can result in a happy, fulfilling career.

But dreams have a way of resurfacing, no matter how deep you try to bury them. So here’s what I would tell my own kids if they felt Hollywood was their calling.

Learn how all the different parts of Hollywood come together and figure out which jobs best suit your skills.

Many people, when they imagine working in Hollywood, think of only the most high-profile jobs: actor, writer, director and producer. But Hollywood is made of hundreds, if not thousands, of careers, from pre-production, production and post-production, to representation (publicists, agents and managers), design and more.

Some questions you can ask yourself: Do I like being in front of the camera or do I prefer being behind it? Do I want to be on set or would I prefer a desk job? Do I want a leadership role or do I prefer going deep into the day-to-day details? This can help you determine which path you should pursue.

Consider whether this is something you’d do even if no one paid you to do it.

Many Hollywood professionals will tell you not to take unpaid gigs, as it devalues your work and the industry itself. But that’s different from the time and effort you’ll have to devote to becoming extremely reliable at your craft — as well as the work you’ll do to convince people to give you the job (filming auditions, developing pitch decks, building portfolios and creating demo reels).

People across the industry consistently told us it often takes five to seven years before you earn a living wage. You not only have to keep wanting to do it for that long, with no guarantees of success, but you have to see it as an investment in yourself as an artist.

Anchor yourself with two essentials: money and community.

People who come into the industry with wealth and connections will have an advantage. But if you don’t know anyone in the industry, be diligent about saving and investing the money that you’re making from your day job or side gigs.

Prioritize networking by joining or creating your own communities. Networking isn’t just about attending intimidating Hollywood events — it can also mean going to film festivals, taking classes, joining a gym, engaging with your favorite social media influencers, collaborating on passion projects, joining Facebook groups or finding other whisper networks.

Make friends inside of the industry who are going through the same struggles so you can lift each other up. But also make friends outside of the industry who will remind you that there is life outside of Hollywood.

Figure out how you’re going to distinguish yourself.

Hollywood is an extremely competitive industry. The harsh reality is that most people are replaceable. So why would a producer or showrunner hire you over someone else? What unique skills or viewpoints could you bring to a project? Figure this out; it will be your advantage and calling card.

And once you pinpoint what sets you apart, create your own work (whether it’s sketches, designs, animations, TikTok videos or web series) and put what you’re proud of online. You’ll need to get very comfortable with self-promotion. Make sure that you’re on people’s minds if a job opens up that you’d be perfect for.

Learn AI tools.

If I were talking to a current working professional about AI, we would discuss its ethical and legal implications and what unions can do to protect worker rights and fight for fair compensation.

But if I were talking to a young person starting their career, I’d say, embrace the technology and figure out how it can make you more — not less — creative.

Know that it’s good to take breaks from Hollywood — and OK to leave.

Hollywood veterans will tell you that they’ve seen the industry rise and fall, again and again. Each time there’s an upturn, it feels like it won’t last. And each time there’s a downturn, it feels like it might be the end.

If Hollywood is your calling, you owe it to yourself to try, but if your experience in the industry starts to resemble a destructive relationship, you owe it to yourself to take some space or call it quits.

But for as long as you’re out there hustling, have fun on the roller coaster and appreciate every moment you get paid to do what you love.

In the latest salvo between Hollywood and artificial intelligence companies, tech start-up Character.AI has removed many Disney characters from its chatbot platform after the Burbank entertainment giant sent the firm a cease-and-desist letter, alleging copyright infringement.

Chatbots on the Character.AI platform impersonated well-known Disney characters such as Elsa, Moana, Peter Parker and Darth Vader and generated replies that simulated the “essence, goodwill, and look and feel of each character” and also incorporated their backstories, according to a letter dated Sept. 18 from a law firm representing Disney.

“These actions mislead and confuse consumers, including vulnerable young people, to believe that they are interacting with Disney’s characters, and to falsely believe that Disney has licensed these characters to, and endorsed their use by, Character.ai,” the letter said. “In fact, Character.ai is freeriding off the goodwill of Disney’s famous marks and brands, and blatantly infringing Disney’s copyrights.”

Disney also raised concerns about reports that chatbots have engaged users in inappropriate conversations.

A spokesperson for the Menlo Park-based startup said in an email that Character.AI responds “swiftly” to rights holders’ requests to remove content and noted that all of the characters on the service are generated by users.

On Tuesday afternoon, a few Disney characters remained on the platform, including Elsa from the hit animated film “Frozen.” The spokesperson said removing the characters is a process.

“We want to partner with the industry and rightsholders to empower them to bring their characters to our platform,” the spokesperson said. “Our goal is to give IP owners the tools to create controlled, engaging and revenue-generating experiences from deep fandom for their characters and stories, expanding their reach using our new, interactive format.”

Friction between Hollywood studios and AI firms has been growing.

In June, Disney and Comcast’s Universal Pictures sued AI company Midjourney, alleging that its image generator infringed on its copyrighted characters from franchises such as “Star Wars” and “Despicable Me.”

Warner Bros. Discovery joined the legal fight earlier this month, alleging that Midjourney’s software was producing rip-offs of characters such as Scooby-Doo and Superman.

EMILY Ratajkowski raised the temperature as she posed for steamy lingerie snaps to promote her campaign with Lounge underwear. 

The actress and model, 34, flaunted her famous figure in a selection of lingerie pieces from her collaboration with the underwear brand, and posted some of the saucy pics to her Instagram account.

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Mum-of-one Emily donned a hot-pink bra, panties and garter set in one snap, as she posed suggestively with white sheets on a bed.

In another picture, the Gone Girl actress lay seductively on the floor in an all-black set as she looked directly into the camera.

The famously slender star also showed off her frame and toned stomach as she posed stood up in the all black ensemble, 

The sexy lingerie pieces are part of the model’s collection with Lounge Underwear, dubbed “Emily’s Edit”. 

Speaking about the edit, Emily said: “Sexiness has nothing to do with what someone else sees. It’s about how I feel. 

“I’m a mother, I’m a writer, I’m someone who loves fashion. I play a dozen different roles every day. I love that Lounge recognizes how multifaceted women can be.”

The edit, which features seasonal picks from the star, marks Lounge’s Fall 2025 collection, and also features clothing items including a suede blazer and matching shorts, a cherry lacquer argyle cardigan, and a chocolate sheer shirt paired with a coordinating skirt.

It comes a week after Emily was seen partying away with British pop star Charli XCX, after attending their wedding ceremony in Sicily, Italy. 

The Brat star, 33, married her The 1975 drummer husband George Daniel in a small ceremony in London last month, before flying out to Italy to throw a huge celebration with family and close friends.

Emily was among a flurry of stars who attended the wedding, which included Matty Healy, Gabriette, Amelia Dimoldenberg and Julia Fox.

The model appeared to attend the ceremony alone – without her four-year-old son Sylvester Apollo Bear, who she shares with her ex-husband Sebastian Bear-McClard. 

Emily finalized her divorce with the film producer, who faced a slew of sexual misconduct allegations, in July, after filing for divorce in September 2022. 

The model sparked her latest romance rumours earlier this month, after she was spotted getting close to Caught Stealing actor Austin Butler in New York. 

The pair were spotted together at the Waverly Inn in Manhattan’s West Village, in what could mark her first relationship since her divorce.

She has previously been linked to stars including chart-topper Harry Styles, Oscar winner Brad Pitt, artist Jack Greer and SNL alum Pete Davidson. 

Emily recently revealed she would be making a career turn, as she gears up for a screen-writing debut on A24’s untitled drama series for Apple TV+, which is set to explore female identity and modern motherhood – with Lena Dunham and author Stephanie Danler. 

“Lena was the first person who published my writing, on Lenny Letter, but she knew about me from Instagram,” she told Variety in July. 

“I’ve had a lot of experiences, with Lena specifically, where she has seen past surface level things and given me so many opportunities.”

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President Trump again suggested that films made outside the U.S. should be subject to a 100% tariff, a move he said would help rejuvenate film production in America but that has been greeted with skepticism by many in Hollywood.

“Our movie making business has been stolen from the United States of America, by other Countries, just like stealing ‘candy from a baby,’” Trump wrote in a post Monday morning on his Truth Social platform. “California, with its weak and incompetent Governor, has been particularly hard hit! Therefore, in order to solve this long time, never ending problem, I will be imposing a 100% Tariff on any and all movies that are made outside of the United States.”

The post did not include details on how such a tariff would work or how it would be levied. The White House did not immediately respond to a request for comment.

This is not the first time Trump has floated a tariff on films made overseas to combat so-called runaway production.

In May, Trump said he was authorizing the Commerce Department and U.S. Trade Representative to begin the process of instituting a 100% tariff on “on any and all Movies coming into our Country that are produced in Foreign Lands.”

That announcement surprised studio executives, who said at the time that they had no advance notice of the move. Shortly after, California Gov. Gavin Newsom reached out to the White House, offering to work together to create a federal film tax incentive, which many in the industry have said they would prefer over a tariff.

Newsom responded to Trump’s dig by sharing on X a screenshot of a news headline detailing the recent increase in applications for California’s revamped film and TV tax credit program next to a headline about Hollywood studios’ stock performance after Trump’s initial call in May for a 100% tariff on films made outside the U.S. “Almost like we know what we’re doing,” Newsom wrote in his post. “Almost like Donald Trump absolutely does not.”

Countries including Canada, the U.K. and New Zealand have developed generous film tax credit programs, which, along with lower costs, have increasingly lured productions out of the U.S. California has been particularly hard hit by the production exodus.

In response, states have also upped their individual tax credit programs, including California, which has now more than doubled the annual amount allocated to its film and TV tax credit program and expanded its eligibility criteria.

The Motion Picture Assn., the lobbying arm of Hollywood’s major studios, was not immediately available for comment.

On Monday, California congressional representatives reiterated their support for a federal film tax incentive program to support the U.S. film business.

Noting that a tariff could have “unintended and damaging consequences,” Sen. Adam Schiff (D-Burbank) said he was “ready to work with this administration” and colleagues “on both sides of the aisle” to pass a major federal film tax credit.

The California senator is currently working on a proposal for a federal film incentive, a Schiff spokesperson said.

Rep. Laura Friedman (D-Glendale), a former film producer, also called for movement on a federal tax incentive, saying that a 100% tariff on films made overseas would only increase costs for consumers.

“I’m relieved President Trump recognizes that we are losing a signature American product: the domestic film and TV industry,” she said in a statement. “I hope the President will join us in pioneering a real solution that levels the playing field with international competition.”

In Hollywood, something shifted in the six days between the time that Walt Disney Co. dropped “Jimmy Kimmel Live!” “indefinitely,” following Kimmel’s comments about the suspect in the shooting death of conservative activist Charlie Kirk, and the late-night comedian’s return.

For many, Kimmel’s rebound appears to be a win for free speech and a testament to the power of boycotts against powerful corporate interests. However, for other writers, particularly comedy scribes, who view the events that transpired in the darkest, most McCarthy-esque terms, the fight over comedy may have just begun.

“There’s fear and outrage at the same time,” said Emmy-winning comedy writer Bruce Vilanch, who for years was the head writer for the Oscars and “Hollywood Squares” and has written jokes for comics including Billy Crystal and Bette Midler.

“Ever since ‘woke’ started before COVID and George Floyd, comedy became a minefield. And then, last week, it became a nuclear garden,” he said.

Indeed, the day after Disney announced Kimmel’s return, President Trump told reporters that TV networks critical of him are an “arm of the Democrat Party,” and said, “I would think maybe their license should be taken away.” Angered that Kimmel was returning to the airwaves, he took to social media to threaten ABC and called for the late-night scalps of NBC’s Seth Meyers and Jimmy Fallon.

Such ominous threats have cast a pall in writers rooms across the industry.

One showrunner currently developing multiple series, who spoke on condition of anonymity, said that many of her colleagues have started to become more cautious about incorporating certain elements in their stories, something they didn’t do before. Others are having discussions privately rather than posting them on social media.

Several writers and showrunners who have worked on late-night shows, sitcoms and films declined to share their thoughts on the matter with The Times, citing fear of reprisals.

The cascade of anxiety comes at a time when Hollywood continues to struggle to get on solid footing after the pandemic lockdown, the dual labor strikes in 2023 and cost-cutting across the media landscape.

“Artists are already very concerned about our consolidated media ecosystem. A small shrinking number of gatekeepers control what Americans watch on TV, and these conglomerates are now being coerced into censoring us all by an administration that demands submission and obedience from what should be a free and independent media,” said television writer Meredith Stiehm, who is the outgoing president of Writers Guild of America West, during a rally in support of Kimmel outside the El Capitan Theatre last week.

“This cowardice has not only put the livelihoods of 20 writers, crew members and performers in limbo,” she said. “It has put our industry and our democracy in danger.”

Political satire has long held a mirror to human folly while challenging power with humor.

More than 2,400 years ago, Greek playwright Aristophanes’ biting, satirical comedies such as “Lysistrata” ridiculed Athens leaders during the Peloponnesian War. Many of the English nursery rhymes that are now viewed as sweet stories of princesses and fairies began appearing during the 14th century as veiled swipes at the monarchy. Rather than a lovely children’s melody, “Baa Baa Black Sheep” is said to be a critique of the wool tax imposed by King Edward I.

During the 1950s and 1960s, the brilliant satirical singer-songwriter (and mathematician) Tom Lehrer skewered taboo topics of the day such as the Catholic Church, militarism and racial conflict in America through parody songs.

In the early 1970s, George Carlin’s controversial monologue about the “Seven Words You Can Never Say on Television” set off a landmark Supreme Court case that broadened the definition of indecency on public airwaves and set a free speech precedent for comedians.

Every presidential campaign season has become must-see TV on “Saturday Night Live.” Think Dana Carvey’s George H.W. Bush, Phil Hartman’s Bill Clinton, Tina Fey’s Sarah Palin or Alec Baldwin’s Donald Trump.

But now the political climate has changed drastically.

“It’s a dark time for comedians and, by extension, for all Americans,” said a statement put out by hundreds of comedians under the banner Comedians4Kimmel in the wake of his ouster.

“When the government targets one of us, they target all of us. They strike at the heart of our shared humanity. They strip away the basic right every person deserves: to speak freely, question boldly, and laugh loudly.”

What’s different now is that where once market and cultural forces placed pressures on comedians — see Ellen DeGeneres and Roseanne Barr — the squeeze is now coming directly from the government. (Barr, who was fired from her eponymous reboot in 2018 after she made a racist tweet about senior Obama advisor Valerie Jarrett, has accused ABC of having a “double standard.”)

“That’s just called censorship,” said Vilanch. “This is the government actually intervening in the most capricious way.”

It’s not just late-night comedy that is deemed offensive, Trump has made public a rolling perceived enemies list, and he is going after them with vigor.

Just last week, former FBI Director James Comey was indicted, and Atty. Gen. Pam Bondi said that she would “absolutely target” people who engaged in “hate speech.”

This month, Trump sued the New York Times for $15 billion, claiming that the paper and four of its journalists had engaged in a “decades-long pattern … of intentional and malicious defamation.” A federal judge dismissed the suit. In July, he sued the Wall Street Journal and its owner, media mogul Rupert Murdoch, for $10 billion, claiming defamation. That suit is ongoing.

What’s deemed funny or offensive has shifted through the years. Comedy writers have long pushed that line and adjusted. But after the cultural wars and trigger warnings of recent years, where writers adapted to audience sensitivities, they are now facing an era where offending the president and his administration itself is considered illegal.

”So much was going on before,” said a veteran late-night TV writer. “It just feels like another brick in the wall of the world that I have worked in for the past 35 years no longer exists.”

The uproar over Kimmel began after the comedian seemed to suggest during his monologue that Tyler Robinson, the Utah man accused in the shooting death of Kirk, might have been a pro-Trump Republican.

Last Tuesday, after Kimmel came back on air with a defiant defense of free speech, several writers sighed a breath of relief, seeing his return as a victory.

“It would have been scary if this actually ended in his firing,” said the former late-night writer.

But the culture and free speech wars are not over.

“I think [comedy] will get sharper,” said Vilanch. “It will get sharper and probably meaner because people are angry, and they want to fight back. And that’s always what happens when you try and shut people down. They come back stronger.”

It has been used as a location for a number of blockbuster movies and TV shows known for the stunning views and ‘timeless architecture’ with lots to do for everyone to enjoy

A Northumberland castle, known for its appearances in blockbuster films and hit TV shows, has been named one of the top film locations to visit in the UK.

The castle has been praised for its ‘timeless architecture’ and ‘stunning’ surroundings. For years, the cast and crew of the popular drama Vera have descended upon the North East each summer to film new series of the beloved show.

While Gateshead, Newcastle and South Shields have all featured, it’s Northumberland that has been the primary filming location, with numerous spots in the area taking centre stage as Brenda Blethyn retired from her iconic role earlier this year.

READ MORE: Travel expert names best sun-soaked destinations for a ‘shoulder-season’ escapeREAD MORE: Epic walk through popular location ends at ‘heavenly’ cave famous for its beauty

Northumberland also made waves on the big screen in 2025, following the release of Danny Boyle’s zombie sequel 28 Years Later. The film shot straight to the top of the UK film charts after its summer release.

The Oscar-winning director utilised various locations in the region for his story, including Rothbury, Kielder and Holy Island, reports Chronicle Live.

While it didn’t make an appearance in 28 Years Later, Alnwick Castle is no stranger to the glitz and glamour of Hollywood, having now been named one of the top film locations in the UK by travel gurus at Holiday Cottages.

The castle, which served as the backdrop for key scenes in the first two films, including the iconic flying lesson in The Philosopher’s Stone, has also played host to the cast and crew of big-budget blockbuster Dungeons and Dragons, as well as the acclaimed period drama Downton Abbey and Star Trek: The Next Generation.

In their glowing review of the famous landmark, Holiday Cottages wrote: “Northumberland has long been a favourite location for filmmakers because of its captivating history and landscapes that seem almost otherworldly, and one of its most famous landmarks is Alnwick Castle, which will be instantly recognisable to fans of a certain wizarding franchise as Hogwarts School of Witchcraft and Wizardry in the first two films.

“Visitors can wander through the Outer Bailey, where Harry first learned to fly on a broomstick with Madame Hooch, and children and adults alike can experience the magic themselves by taking part in the castle’s Broomstick Training Lessons, while the courtyards recall the memorable scenes when the flying car came crashing down in the early films.”

The travel site heaps praise on Alnwick, describing it as a ‘joy to explore’ with its enchanting cobbled streets, unique shops and stunning coastline, all contributing to its ‘magical’ staycation appeal.

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ONE BATTLE AFTER ANOTHER

(15) 162mins

★★★★★

WHAT time is it? It is a question Leonardo DiCaprio’s stressed-out fugitive Bob Ferguson is asked over and over again in this black comedy.

Wearing a dressing gown and bad shades, Bob doesn’t have the answer because he’s too stoned to remember the code he was given by a left-wing terror group called the French 75.

But I can tell you that the time is absolutely right for One Battle After Another.

This is a political satire that skewers both the extreme right and the extreme left at a moment when both sides are to the fore in the real world in the United States.

The time is also well overdue for this piece of cinematic dynamite that will have you on the edge of your seat — from laughter or the high-octane action.

Directed by Paul Thomas Anderson, it is a work of genius that fuses the best elements of his films There Will Be Blood and Boogie Nights.

It begins 16 years ago with Bob helping to free refugees at a US border crossing.

During the raid his girlfriend, the wonderfully named Perfidia Beverly Hills (Teyana Taylor), orders Sean Penn’s military officer ­Steven J Lockjaw to “get up” his private parts.

The French 75’s increasingly reckless terrorism ends in a thrilling chase and Bob needing to go into hiding with the baby daughter he shares with Perfidia.

Most of the story is set in the current time, with Lockjaw coming after Bob and his daughter Willa.

As things get wilder, the audience is introduced to a bunch of incredible characters, including members of the white supremecist Christmas Adventurers Club, gun-toting nuns and Benecio Del Toro’s always-cool martial arts instructor Sergio.

The serene Del Toro is a perfect comic foil for the frantic DiCaprio who spends a lot of time running around shouting “f, f, f***.”

In one of the standout screwball moments, Sergio keeps repeating “four” as Bob is reluctant to jump out of his moving car like “Tom Cruise”. It is just one of many quotable lines.

But the most memorable scene brings the movie’s various plots to a perfect, heart-racing conclusion.

All of the cast are outstanding, with DiCaprio and newcomer Chase Infiniti as Willa most likely to be nominated for awards.

If there is any justice this film will get one Oscar after another.

GRANT ROLLINGS

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THE STRANGERS: CHAPTER 2

(15) 96mins

★★☆☆☆

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DIRRECTED by Renny Harlin, this second instalment in the Strangers trilogy is a bafflingly incoherent mess.

It picks up right after the events of Chapter 1, but instead of expanding on Bryan Bertino’s original 2008 home-invasion nightmare, it devolves into a clumsy blend of ­borrowed horror tropes held together by a barely coherent backstory.

Chapter 2 follows the survivor, Maya (Madelaine Petsch), as she is relentlessly pursued by masked killers in a sleepy American town.

Despite her injuries, Maya must find the strength to stay alive and tell the tale.

Petsch is committed to the physical demands of the role, fighting a CGI boar in a bafflingly out-of-place sequence.

However, the film’s drawn-out and repetitive cat-and-mouse chases become truly unbearable.

Narratively, the film is all over the place lurching from home-invasion suspense to slasher to survival horror.

The only thing that prevents it becoming a total farce is Harlin’s occasional use of a few inspired jump scares.

As a middle chapter, this feels like a placeholder for the next film.

LINDA MARRIC

DEAD OF WINTER

(15) 98mins

★★★☆☆

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IF you were casting for a Ramboesque heroine, Emma Thompson would not be the first name to spring to mind.

But in this rescue of a kidnap victim from a remote cabin thriller, it is the Love Actually actress displaying ingenious ways to survive.

Set in northern Minnesota in the US, Thompson’s Barb heads out in a snow storm to a lake that had a sentimental value to her recently deceased husband.

There she comes across a man who has tied up a young woman in his cellar.

Unable to go to get help, Barb vows to save the girl herself.

But the man is not her main concern, because it is a gun-toting woman played by Judy Greer who is the one with the least to lose by fighting to the bitter end.

Thompson is remarkably good when Barb is stitching up a bullet wound in her arm with fishing wire, and the attention to detail in the sets also impresses.

But choosing her isn’t enough to make this last- person-standing drama feel particularly original.

Like the tracks that Barb leaves in the snow, you know where most of the plot turns lead.

GRANT ROLLINGS

DISGRACED rap mogul Sean “Diddy” Combs has received glowing handwritten testimonials from his fellow inmates.

The letters paint him as a positive force inside Brooklyn’s Metropolitan Detention Center, despite the serious convictions hanging over him.

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The 55-year-old, awaiting sentencing next month, has reportedly been running a weekly session called “Free Game with Diddy.”

Inmates say it covers everything from entrepreneurship to health advice, while also giving them a chance to “pick his brain” about fame and money.

Douglas Welch, 42, told Judge Arun Subramanian that Combs “brings love into the Unit” and claimed the class pushed him to go “harder at my health journey.”

He wrote: “Sean Combs brings love into the unit.

“I know because since he’s been here all the Spanish and black inmates cook and pray together, workout together too…

“Since he started his class I’ve been going harder at my health journey.”

Another inmate, Quinton Davis, said the sessions included “business Management, entrepreneurship and life skills,” adding that Combs had even encouraged the group to use “AI and Chat GPT.”

“It’s a key factor and inside scoop on how Mr. Combs started from nothing and became the icon-business mogul he is today,” Davis explained.

“I also learned how to research things better by using AI and Chat GPT.”

A third prisoner insisted the rapper “brings joy and happiness to the atmosphere in the unit” and alleged that “everybody in the unit is treating and acting positively towards each other” since his arrival.

“Because of Mr Combs everybody in the unit is treating and acting positively towards each other,” the letter said.

“Mr Combs cares very much for everyone in here, doesn’t matter what race or age and he is making it his business to do his best to make an impact.”

An official evaluation form dated June 10 backs up those glowing reports.

The “Work Performance Rating – Inmate” document identifies Combs as a tutor in Unit C-B, with a handwritten note praising: “Excellent class. Keep up the great work!!!”

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The case against Combs

Combs has been jailed at MDC since his September 2024 arrest.

He was acquitted in July of headline-grabbing charges including sex trafficking and racketeering conspiracy.

But he was convicted on two counts of violating the Mann Act after prosecutors said he arranged travel for women and escorts across state lines for alleged drug-fuelled “freak-offs.”

Sentencing is scheduled for October 3, 2025.

His lawyers last week filed a 380-page plea asking Judge Subramanian to impose no more than 14 months, which would mean immediate release after time served.

They cited what they described as “inhumane” jail conditions, his childhood trauma, and claimed progress in battling substance abuse.

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Over 100 letters from family and associates were also submitted, attempting to portray him as rehabilitated.

Prosecutors are expected to argue for a far stiffer punishment — reportedly four to five years — and continue to highlight allegations of violence and coercion against ex-girlfriend Casandra “Cassie” Ventura and another woman known as “Jane.”

On top of the looming sentencing, Combs is fighting multiple civil lawsuits and reputational fallout from years of abuse and exploitation claims.

For now, though, the inmates sharing his unit have presented a strikingly different picture to the judge — one of a man they say “changes the vibe” in prison.

ROME — Acclaimed Italian actor Claudia Cardinale, who starred in some of the most celebrated European films of the 1960s and ’70s, has died, AFP reported Tuesday. She was 87.

She starred in more than 100 films and made-for-television productions, but she was best known for embodying youthful purity in Federico Fellini’s “8½,” in which she co-starred with Marcello Mastroianni in 1963.

Cardinale also won praise for her role as Angelica Sedara in Luchino Visconti’s award-winning screen adaption of the historical novel “The Leopard” that same year and a reformed prostitute in Sergio Leone’s spaghetti western “Once Upon a Time in the West” in 1968.

She died in Nemours, France, surrounded by her children, her agent Laurent Savry told AFP. Savry and his agency did not immediately return emailed requests for comment from the Associated Press.

Cardinale began her movie career at the age of 17 after winning a beauty contest in Tunisia, where she was born of Sicilian parents who had emigrated to North Africa. The contest brought her to the Venice Film Festival, where she came to the attention of the Italian movie industry.

Before entering the beauty contest, she had expected to become a schoolteacher.

“The fact I’m making movies is just an accident,” Cardinale recalled while accepting a lifetime achievement award at the Berlin Film Festival in 2002. “When they asked me, ‘Do you want to be in the movies?’ I said no, and they insisted for six months.”

Her success came in the wake of Sophia Loren’s international stardom, and she was touted as Italy’s answer to Brigitte Bardot. Although never achieving the level of success of the French actor, she nonetheless was considered a star and worked with the leading directors in Europe and Hollywood.

“They gave me everything,” Cardinale said. “It’s marvelous to live so many lives. I’ve been living more than 150 lives, totally different women.”

One of her earliest roles was as a black-clad Sicilian girl in the 1958 comedy classic “Big Deal on Madonna Street.” It was produced by Franco Cristaldi, who managed Cardinale’s early career and to whom she was married from 1966 to 1975.

The sensuous brunette with enormous eyes was often cast as a hot-blooded woman. As she had a deep voice and spoke Italian with a heavy French accent, her voice was dubbed in her early movies.

Her career in Hollywood brought only partial success because she was not interested in giving up European film. Nonetheless, she achieved some fame by teaming with Rock Hudson in the 1965 comedy thriller “Blindfold” and another comedy, “Don’t Make Waves,” with Tony Curtis two years later.

Cardinale herself considered the 1966 “The Professionals,” directed by Richard Brooks, as the best of her Hollywood films, where she starred alongside Burt Lancaster, Jack Palance, Robert Ryan and Lee Marvin.

In a 2002 interview with the Guardian, she explained that the Hollywood studio “wanted me to sign a contract of exclusivity, and I refused. Because I’m a European actress and I was going there for movies.”

“And I had a big opportunity with Richard Brooks, ‘The Professionals,’ which is really a magnificent movie,” she said. “For me, ‘The Professionals’ is the best I did in Hollywood.”

Among her industry prizes was a Golden Lion for lifetime achievement that she received at the Venice Film Festival nearly 40 years after her initial appearance onscreen.

In 2000, Cardinale was named a goodwill ambassador for the U.N. Educational, Scientific and Cultural Organization for the defense of women’s rights.

She had two children. One with Cristaldi and a second with her later companion, Italian director Pasquale Squitieri.

Simpson, the principal writer of this obituary, is a former Associated Press writer.

BRITISH actor James Norton has said he “worked hard” to perfect his Dublin accent for his upcoming series House Of Guinness.

Norton, 40, plays Sean Rafferty, foreman of the Guinness brewery, in the eight-part Netflix series from Peaky Blinders creator Steven Knight.

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House Of Guinness brings to life the real scandals, power struggles and generational secrets of Ireland’s most famous family.

The series reimagines the fallout from Sir Benjamin Guinness’s death, set against the backdrop of 19th-century Dublin and New York.

The Happy Valley actor said he was adamant to get the accent right.
Norton said: “I worked hard. I was aware that many actors have gotten it wrong, and the Irish are a proud bunch so if you get it wrong, you hear about it.

“I worked hard and had great guidance from my fellow cast members.”
Norton, who recently starred in and co-produced historical drama series King & Conqueror for BBC One, said he learned a lot about 19th century Irish history from the Guinness show.

He said: “It’s always a privilege, and part of our job is being given the opportunity to explore periods of history we might not otherwise encounter.

“For me, it was a massive revelation. I hadn’t realised how influential the Guinness family was on Dublin’s architecture, or the extent of their welfare and philanthropic efforts, like the pensions and support they provided, which are portrayed in the show.

“They were also pioneers as a brand, becoming one of the first multinational drinks companies and dominating North America as the biggest beer brand of their time. It was both eye-opening and an incredibly thrilling journey to delve into all of that.”

The show explores the impact of Sir Benjamin’s will on the futures of his four adult children: Arthur, played by Derry Girls actor Anthony Boyle; Edward, portrayed by Enola Holmes star Louis Partridge; Anne, played by The Responder actress Emily Fairn; and Benjamin, portrayed by Normal People actor Fionn O’Shea.

Boyle, 31, whose character is homosexual, said he drew inspiration from Irish poet and writer Oscar Wilde for his role.

He said: “I looked a lot at Oscar Wilde, particularly because of the threat of someone finding out about your sexuality at that time and you could have resulted in 20 years of hard labour, which is essentially a death sentence, which is what Oscar Wilde was sentenced to.

“And reading a lot of his work, like the Ballad Of Reading Gaol.”

Boyle, who leads the series, said he is particularly proud that the programme showcases Irish culture.

“I’m really, really proud Irish culture is having such an amazing moment right now on the global stage and I feel really, really proud of having artists like Kneecap and Fontaines DC being on the soundtrack. It’s class.”

Knight, 66, who is writing the script for the next James Bond film, said the series’ ability to showcase Irish culture is like a “Christmas present”.

He said: “It’s not an effort to force it in, it’s already there. And then there’s that whole generation of Irish music, along with this incredible generation of young Irish actors.”

Knight added that the Guinness family provided an excellent stimulus for dramatic storytelling.

He said: “I was immediately surprised no one’s done this because the story is dynamite, the characters are so interesting and the dynamic of the family. It’s all there ready for you.

“There’s the reading of the will, which is a dramatic moment. Sir Benjamin Guinness leaves millions of pounds, along with land, lakes and castles. Yet his four children are all left unhappy with the terms. They must then go on and live their lives. It’s fantastic.”

House Of Guinness premieres on Netflix on Thursday.

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If Arnold Schwarzenegger’s gubernatorial campaign does nothing else, it ought to excise the mythology of liberal Hollywood from our popular consciousness once and for all.

The notion that Hollywood marches in ideological lock step — left foot always forward — has long been useful to publicity-seeking congressmen, right-wing culture warriors and moralists-on-the-make from the Legion of Decency to the Traditional Values Coalition. In fact, there was a time, not so very long ago, when the mere mention of Jane Fonda’s name was so remunerative to conservative fund-raisers’ direct mail campaigns that they should have put her on retainer.

Like so much in politics, it all works very nicely — until you consider the record:

Schwarzenegger is traversing a well-marked path from entertainment celebrity to elective office, and all who have preceded him have been Republicans, foremost among them Ronald Reagan. Age and Constitution permitting, he probably could have been elected to a third presidential term. There’s former U.S. Sen. George Murphy and the late Rep. Sonny Bono, who came to politics through song and dance. Clint Eastwood was probably America’s most famous small-town mayor.

The last time a certified Hollywood liberal had a real shot at elective office it was 1950, when one-time actress Helen Gahagan Douglas — whose husband was actor Melvyn Douglas — ran as the Democratic candidate for one of California’s U.S. Senate seats. She, of course, was defeated in a bruising campaign by a young Orange County congressman named Richard M. Nixon.

The 1960s generally are regarded as the time when liberalism spread Kudzu-like throughout the film and television industries, choking out every other mode of thought and expression and producing a spate of culturally subversive and anti-Vietnam War films. Like a majority of Americans, most people who worked in Hollywood in those years came to oppose the war, and it’s safe to say that a fair number inhaled along the way. Yet it was also an era in which so-called mainstream stars like John Wayne and Bob Hope maintained considerable influence.

And, when all was said and done, the guys with the real power — the ones in suits who run the studios — recruited as their industry’s new international spokesman President Lyndon B. Johnson’s former chief of staff, Jack Valenti. And so he remains today, Hollywood’s sonorous paladin of unshakable centrism.

David Freeman, novelist and screenwriter, is also a shrewd chronicler of his company town.

He points out that the real Hollywood — as opposed to the imagined one — always has encompassed both ends of the ideological spectrum. “Jimmy Stewart, a deeply conservative and sincere Republican, and Gregory Peck, a very liberal and committed Democrat, were the opposing poles of their era,” he said. “Louis B. Mayer thought of himself as a Republican plutocrat. Big money usually is conservative; this is not news. Over the last generation, it’s certainly true that liberals have been noisier, but there always have been plenty of conservatives, though an ingrained sense of good manners made them quieter about it.

“There are vocal people on the left — Barbra Streisand, for example — but on the other side there are people like Tom Selleck, Bruce Willis, Mel Gibson and Arnold, who have made their positions known. In fact, now that conservatism is fashionable, Republicans everywhere, including Hollywood, have become louder. There’s been a change in the country, and Hollywood always reflects changes in the country. It doesn’t lead change; it reflects it.”

Thus, said Freeman, since Sept. 11, most Hollywood Democrats — like most Americans — have adopted a more traditionally conservative approach to issues of physical security.

Take, for example, his friend and former Yale Drama School classmate Roger L. Simon, a mystery novelist, Academy Award-nominated screenwriter and filmmaker whose best-selling Moses Wine mysteries involve a protagonist who came to private detection as a pot-smoking Berkeley radical. Nowadays, Simon — whose latest novel is “Director’s Cut” — also maintains a popular blog that generally supports Schwarzenegger, whom he describes as “a straight down the line, middle-of-the-road Republican.”

“When I came here 30 years ago,” Simon said, “I was known as a radical. I was considered too left wing for creating a hero out of Moses Wine.

“Now, I consider myself nothing. Since 9/11, my politics are completely based on individual issues. I was definitely in favor of war on Iraq.”

Even when he began writing films, Simon recalled, Hollywood’s “liberalism was never universal. When I wanted to pitch stories with leftish themes, I never went to the so-called baby moguls, who made such a big deal out of being former SDSers. They were afraid of those stories, but other — ostensibly more conservative — people in the industry wanted to appear open. Hollywood is a business. You can have any opinion you want, if your movies are making money.”

There is no better evidence of that — and no stronger refutation of the liberal Hollywood myth — than the movie industry’s most decisive intervention ever into California politics.

In 1934, the muckraking novelist, socialist tract writer and dietary crank Upton Sinclair stunned the state by winning the Democratic gubernatorial nomination. His platform called for adopting a modest universal old-age pension and seizing idle factories and farmlands so that they could be handed over to cooperatives of the unemployed. Sinclair was favored to win the general election, and that prospect rattled the California establishment to its marrow.

Among those most alarmed were the mostly Republican, mostly Jewish founding fathers of the film industry. They had a particular reason to loathe Sinclair, who, as a relatively well-paid but unsuccessful screenwriter and producer, had turned on the industry. The year before he won the nomination, Sinclair had published a book, “Upton Sinclair Presents William Fox,” based on a series of interviews he had conducted with the recently deposed Fox Studios founder. The book, as historian Kevin Starr points out, was “an anti-Semitic document in which Jewish villains were everywhere. Ostensibly an expose of Hollywood and Wall Street, the Fox memoir had a strong secondary theme as well: Hollywood as the Cosa Nostra of American Jewry.”

Hollywood responded as it never had before — or since. Louis B. Mayer collected a day’s pay from every one of his employees making more than $100 a week for Sinclair’s Republican opponent. Irving Thalberg, Metro’s production chief, produced dozens of phony newsreels, subsequently distributed free to theaters up and down the state, in which seedy, suspicious looking immigrants with vaguely Russian accents endorsed the Sinclair program: “Vell, his system worked vell in Russia. Vy can’t it vork here?”

Sinclair lost and returned to his tracts and novels, though he never worked in Hollywood again. Paradoxically, he later would win the Pulitzer Prize for “Dragon’s Teeth,” one of 10 novels he wrote about the adventures of an anti-Nazi secret agent, Lanny Budd.

Somehow, like the Schwarzenegger campaign, it all suggests that Hollywood lives not by ideas left or right but by Joseph P. Kennedy’s famous dictum: “Sooner or later, everybody does business with everybody.”

There’s a particular niche of sophisticated, loungy music that thrived from the late ’90s into the mid-2000s. It grew out of ELO’s regal rock and Serge Gainsbourg’s loucheness, taking on bits of U.K. trip-hop, midcentury exotica, the Largo scene’s orchestral flourishes and Daft Punk’s talkboxes. I don’t quite have a word for it — conversation-pit-core? — but a primary text of it is Air’s “Moon Safari.”

The French duo of Nicolas Godin and Jean-Benoît Dunckel released “Moon Safari,” Air’s debut LP, to wide acclaim in 1998. The band’s meticulously hazy synth pads paired beautifully with ultra-minimal funk bass and loping tempos. “Moon Safari” set a new benchmark for upmarket French pop, with singles like “Sexy Boy” and “Kelly Watch the Stars” proving they had chops for hooks as well. The band immediately followed it with the score for Sofia Coppola’s debut feature, “The Virgin Suicides,” and those two albums locked in Air as the ultimate turn-of-the-century band for tasteful European melancholy.

At the Bowl on Sunday, the band revisited the whole of “Moon Safari” with the Hollywood Bowl Orchestra, capping off KCRW’s festival season there. Since that album’s release, Coppola’s daughter Romy grew old enough to become an influencer herself, yet “The Virgin Suicides” remains a mood-board favorite for Gen Z. Fellow travelers like Bonobo, who opened the night with a DJ set, have become arena stars in their own right.

“Moon Safari” has held up wonderfully on its own merits. But as algorithms funnel audiences deeper into formless background listening, Sunday’s show was a reminder that chill can be compelling. Air’s intense focus gave these wispy songs a strong backbone too.

From the opener of “La Femme d’Argent,” lifted by Godin’s nimble basslines, the vibes were, as they say, immaculate. Dressed in all-white formalwear, the band took care to show how much compositional rigor went into this album’s laid-back feeling. The arrangements highlighted the nuanced tones of each of Dunckel’s many synths, and how the band’s Beatles-y chord changes could keep your ears locked into the most stark passages.

Extra credit goes to Air’s creative direction and lighting designer, who locked the band inside a rectangular elevated platform that gave the look of performing inside a James Turrell sculpture. It’s a neat conceptual challenge to visually enliven a famously blissed-out album like this onstage, and Air did it with exquisite panache on Sunday.

The Hollywood Bowl Orchestra usually kicks back on shows like this, adding some sizzle and arrangement richness but functioning more as another band member. The orchestra’s horns perked up during “Ce Matin-là” and raised the dramatic temperature on closer “Le Voyage de Pénélope,” but the whole set was an exercise in restraint as a means of making sure every good idea gets its shine. “Moon Safari” didn’t need much else, but what it got was illuminating.

The back half of the set went into the band’s score work for Coppola — “Highschool Lover” and “Alone in Kyoto,” from “The Virgin Suicides” and “Lost In Translation” respectively, stirred the wistful elder millennials among the crowd, this writer included. They adopted a Daft Punk-ish distance on “Electronic Performers,” touting how “MIDI clocks ring in my mind … We need envelope filters to say how we feel,” but they didn’t really need that wink and nudge. When they broke the spell of ethereal cuts like “Cherry Blossom Girl” for heavier, krautrock-driven numbers like “Don’t Be Light,” they proved that being roused from tasteful stoned pondering is as fun as falling into it.

ACTOR Tom Holland was rushed to hospital after a stunt on the set of the latest Spider-Man blockbuster went wrong.

It is believed he cracked his head in a fall and was treated for concussion.

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A woman, thought to be a stunt double, was also taken to hospital in an ambulance.

Filming of £150million Spider-Man: Brand New Day was suspended at Leavesden Studios in Watford, Herts, on Friday and could be on hold for weeks.

British star Tom’s comedian dad Dominic, attending a charity dinner in Mayfair, confirmed his son would be away from filming “for a while”.

Tom, 29, was there too and even posed for pictures with co-star and fiancée Zendaya, 28.

However, he left early after feeling ill.

The fall could lead to an investigation by the Health and Safety Executive.

The film — Tom’s fourth standalone Spider-Man movie — is due out next July.

Leavesden Studios and Sony Pictures were contacted for comment.

An East of England Ambulance Service spokesman said: “We were called at 10.30am on Friday to attend to a patient who had sustained an injury at Leavesden Studios in Watford.

“An ambulance was sent to the scene, and the patient was transported to hospital for further care.”

A grainy circle flashes on the top-right corner of the screen at the Eagle Theater. The single-screen repertory cinema, run by the nonprofit organization Vidiots, was showing a 35-millimeter print of Paul Thomas Anderson’s psychological drama “The Master.”

The faint warning is easily missed by most viewers, but it appears every 10 minutes, alerting the projectionist to change the reel.

The auditorium was sold out. Audience members clapped as the film title appeared onscreen. There was a buzz in the air even before the lights faded to black with the standby line filled with hopefuls trying to grab a last-minute ticket. The stakes were high for the person manning the reel exchange.

Guests wait to enter the Vidiots movie theater for a movie night in Los Angeles.

Michael Rousselet, a projectionist at the Eagle Rock theater, often drinks a lot of coffee to stay alert during late-night screenings.

“If we do a good job, no one knows we exist,” Rousselet quipped as he showed off the projection booth. “If we mess up, everyone knows we exist.”

The carefully curated communal experience offered by repertory theaters is enduring the hardships of the box office, even after the pandemic, which led to the demise of some well-known cinemas. The famed Cinerama Dome and adjoining former Arclight theater on Sunset Boulevard have still not reopened, despite popular demand.

A Monday screening of a 35-millimeter copy of the 2007 film “Michael Clayton” by American Cinematheque sold out. Independent cinema has captured a niche population that has helped it prevail in a time when box office revenue is tumbling down.

Guests enter the movie theater at Vidiots in Los Angeles.

The summer box office season, which stretches from early May through Labor Day, grossed $3.67 billion in the U.S. and Canada, down slightly from last year and significantly less than the pre-pandemic norm of $4 billion. Some new films with major stars struggle to get anyone to show up. “Americana,” starring Sydney Sweeney, one of Hollywood’s top young stars, earned $500,000 during its opening weekend last month.

The unique cinematic experiences crafted by the different repertory theaters play a pivotal role in revitalizing the film industry in Los Angeles, according to Maggie Mackay, executive director of Vidiots.

“I don’t think you can [raise the next generation of film lovers] through one platform,” Mackay said, sitting down in her auditorium. “I don’t think you can fall in love with an art form by clicking a few times and observing it by yourself.”

Patrons at the bar of the Vidiots’ cinema in Los Angeles.

A 2024 study by Art House Convergence showed that between 2019 and 2024, audiences became younger and more diverse. The number of wide releases have also made the independent industry healthier, according to Rich Daughtridge, president of Independent Cinema Alliance.

Independent theaters “are still down compared to 2019, but the momentum attraction is going up,” he said.

Netflix bought the Egyptian Theatre from American Cinematheque for an undisclosed amount in 2020. The influx of money helped the organization grow the brand and host more screenings — the total jump from 500 screenings to 1,600 with 350,000 patrons visiting their theaters, according to Grant Moninger, artistic director at American Cinematheque.

Part of the reason audiences are choosing smaller theaters over multiplexes is the care and attention staff members put into each showing. The viewing experience at these revival theaters always starts with a crew member reminding the audience to stay away from their phones — they want everyone to enjoy the tiny scratches, dust specks and vibrant colors of the print they are showing.

Patrons watch a movie at Vidiots movie theater in Los Angeles.

“I think people are desperately in search of community right now and of feeling closer to other people and sharing things and not feeling disconnected by technology,” Sean Fennessey, the host of the podcast “The Big Picture,” said after the “Michael Clayton” screening.

“We’re very lucky in Los Angeles that we have so many great spaces … that are encouraging people to come together and hang out and laugh and cry and feel chills,” he added.

Each location offers Hollywood cinephiles and casual viewers alike options to catch a variety of movies based on their niche. Independent cinema has had the least trouble recruiting an audience post-pandemic, according to Art House Convergence.

The Vista Theater and the New Beverly show personal copies from the private collection of Quentin Tarantino, who saved the theaters from extinction. Its recent run of “Kill Bill: The Whole Bloody Affair” sold out and warranted the Vista announcing a new run of it.

American Cinematheque hosted a festival of films handpicked by different podcasters, which sold out screenings in the middle of the week.

Guests wait to enter the Vidiots movie theater in Los Angeles.

Vidiots hosted a discussion with American Cinema Editors member Leslie Jones after a screening of 2012’s “The Master,” a filmed she worked on. The showing sold out and most of its audience stayed late for a Q&A discussion with her.

Regardless of the inspiration these repertory theaters provide with, say, retrospectives of Akira Kurosawa, the model is not bulletproof to the punches theaters have taken. Organizations like Vidiots and American Cinematheque still rely on their nonprofit status.

These organizations count on donations and memberships. Access to directors, actors, prints and people in the industry also plays an important role in keeping afloat, according to Moninger.

“Our job is to get everybody in [the theater]. You can’t just say, ‘Hey, we’re a nonprofit,’” he said.

The uncertainty of the model does leave room for growth, according to Roger Durling, the executive director of the Santa Barbara International Film Festival.

Vidiots technical director Boris Ibanez sets up a section of the film in a projector in the projection booth of Vidiots movie theater.

The nonprofit organization recently purchased the Film Center, a five-screen multiplex, in the downtown Santa Barbara area. It is the second five-screen theater they have purchased, and it will also screen films during the festival every winter.

Throughout the year, when the theaters aren’t showing movies for the festival, the organization will maintain its existence through a repertory model.

“The nonprofit aspect allows you to concentrate more on the artistic side as opposed to thinking, ‘I just need to make money,’” Durling said.

But the thought is still on his mind.

“The more you concentrate on the artistic side of it, the money will take care of itself.”

Spider-Man and a Hollywood tour guide were having it out.

They stood right outside Jimmy Kimmel’s studio on Hollywood Boulevard, arguing about whether ABC was right to yank the host’s TV show off the air last week after he commented on the political response to right-wing activist Charlie Kirk’s killing.

“I like Kimmel!” said the Spider-Man impersonator, who wore pink Nike sneakers and leaned in close so he could hear through his thin, face-covering costume. “What he said is free speech.”

A tour bus drives past what was Jimmy Kimmel’s studio on Hollywood Boulevard on Sept. 18, 2025.

(Genaro Molina/Los Angeles Times)

Todd Doten, a tour agent for Beverly Hills Tours of Hollywood, pushed back. He said he believed broadcasters are held to a different standard than private citizens, and that the Federal Communications Commission — which pushed to get Kimmel’s show canceled — “has somewhat of a point.”

The men verbally sparred beside singer Little Richard’s cracked star on the Walk of Fame. Then Doten patted the selfie-hawking superhero on the back and they parted ways amicably.

The scene on Friday afternoon captured the Hollywood that Kimmel embraced and aggressively promoted: Weird, gritty and surprisingly poignant.

Ever since he began filming at the El Capitan Entertainment Centre in 2003, Kimmel has been one of the famed neighborhood’s biggest ambassadors. He drew tourists to the storied Hollywood Boulevard, which — despite being home to the Academy Awards, TCL Chinese Theatre and the Walk of Fame — has long struggled with crime, homelessness and blight. He used his celebrity to help homeless youth and opened a donation center on his show’s backlot for victims of the January wildfires.

And he filmed many a sketch with Hollywood itself as the bizarro backdrop — including one returning bit called “Who’s High?” in which he tried to guess which of three pedestrians was stoned.

Protesters in front of Jimmy Kimmel’s theater a day after ABC pulled the late-night host off air indefinitely over comments he made about the response to right-wing influencer Charlie Kirk’s death.

(Genaro Molina/Los Angeles Times)

Now, locals and entertainment industry officials alike worry what will happen if Kimmel’s show permanently disappears from a Hollywood still struggling to recover from the writers’ and actors’ strikes of 2023 and the COVID-19 pandemic that literally shut the neighborhood down. While his suspension has sparked a roiling debate over free speech rights nationwide, in this neighborhood, the impact is more close to home.

“A hostile act toward Jimmy Kimmel is a hostile act toward Hollywood itself and one of its great champions,” former Los Angeles Mayor Eric Garcetti told The Times on Friday.

“Hollywood is both a place and an idea. It’s an industry and a geography. Jimmy is always big on both. He actually lives in Hollywood, at a time when not a lot of stars do.”

Miguel Aguilar, a fruit vendor who often sets up near Kimmel’s theater, said Friday that business was always better on the days “Jimmy Kimmel Live!” filmed because so many audience members bought his strawberries and pineapples doused in chamoy. He was stunned when a Times reporter told him the show had been suspended.

“Was it canceled by the government?” Aguilar asked. “We used to get a lot more customers [from the show]. That’s pretty scary.”

A man holding a sign advertising at a nearby diner said he worried about Kimmel’s crew, including the gaffers and makeup artists.

“How many people went down with Kimmel?” he asked.

And Daniel Gomez, who lives down the street, said he feared that nearby businesses will suffer from the loss of foot traffic from the show, for which audience members lined up all the way down the block.

“Tourists still will come to Hollywood no matter what, but a portion of that won’t be coming anymore,” Gomez said as he signed a large canvas outside the theater on which scores of fans and free speech advocates wrote messages about the show being axed.

Protesters in front of Jimmy Kimmel’s theater in Hollywood.

(Genaro Molina/Los Angeles Times)

“It’s pretty bad that he got shut down because of his comments,” Gomez added. “Comedians should be free to say whatever they want.”

In a joint statement, a coalition of Hollywood labor groups including the International Alliance of Theatrical Stage Employees and Screen Actors Guild–American Federation of Television and Radio Artists, said the kind of political pressure that Kimmel faced as a broadcaster “chills free speech and threatens the livelihoods of thousands of working Americans.”

“At a time when America’s film and television industry is still struggling due to globalization and industry contraction, further unnecessary job losses only make a bad situation worse,” the statement read.

During his monologue Monday, Kimmel made remarks about Tyler Robinson, the Utah man accused of fatally shooting Kirk. He said the “MAGA gang” was “desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”

Ingrid Salazar protests outside of the “Jimmy Kimmel Live!” studio on Thursday.

(Juliana Yamada/Los Angeles Times)

While Kimmel’s remarks could be interpreted in different ways, Kirk’s supporters immediately accused the talk show host of claiming Robinson was a Trump ally, which many of Kimmel’s supporters reject. Kimmel himself has not publicly responded.

Kimmel also mocked President Trump for talking about the construction of a new White House ballroom after being asked how he was coping with the killing of his close ally.

Nexstar Media Group responded on Wednesday, saying it would pull the show from its ABC affiliate stations because of Kimmel’s comments. Walt Disney Co., which owns ABC, then announced it would suspend “Jimmy Kimmel Live!” indefinitely.

Nexstar’s decision to yank the show came after FCC Chairman Brendan Carr, a Trump appointee, threatened to take action against ABC and urged local ABC affiliate stations to stand up the network.

“We can do this the easy way or the hard way,” Carr told right-wing podcast host Benny Johnson. “These companies can find ways to change conduct and take action, frankly, on Kimmel, or, you know, there’s going to be additional work for the FCC ahead.”

Trump wrote on his Truth Social account: “Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED. Congratulations to ABC for finally having the courage to do what had to be done.”

He also targeted late-night hosts Jimmy Fallon and Seth Meyers, calling them “total losers.” He pressured NBC to cancel their shows, writing: “Do it NBC!!!”

The president this summer praised CBS’s decision to cancel “The Late Show With Stephen Colbert” after this season, writing on Truth Social on July 18: “I absolutely love that Colbert’ got fired. His talent was even less than his ratings. I hear Jimmy Kimmel is next.”

Pedestrians walk across the street from the “Jimmy Kimmel Live!” theater a day after ABC has pulled the late-night host off air indefinitely.

(Genaro Molina/Los Angeles Times)

While the show is in limbo, it is unclear what will happen to Kimmel’s iconic theater in the historic former Hollywood Masonic Temple, a neoclassical 1921 building fronted by six imposing columns.

Disney owns the building, as well as the adjacent 1920s office building that contains the El Capitan Theatre and the Ghirardelli Soda Fountain and Chocolate Shop. Kimmel’s production company, 12:05 AM Productions, occupies four floors — 26,000 square feet — in the six-story office building, according to real estate data provider CoStar.

Disney did not respond to a request for comment.

Garcetti, who long represented Hollywood on the L.A. City Council, said Kimmel was a major advocate for renovation of the old Masonic lodge and other revitalization Hollywood projects.

And after the Oscars returned for good to the Kodak Theatre (now Dolby Theatre) across the street in 2002 after several years outside of Hollywood, Kimmel “helped usher in what I call Hollywood’s second golden age, when the Academy Awards came back and people saw actual stars in nightclubs and restaurants,” Garcetti said.

When Garcetti was showing off the city to officials with the International Olympic Committee years ago in an effort to host the Games, Kimmel met their helicopter on the roof of a Hollywood hotel to brag about the neighborhood.

Jimmy Kimmel, host and executive producer of the late-night talk show, “Jimmy Kimmel Live!” celebrates as he receives his star on the Hollywood Walk of Fame Jan. 25, 2013.

(Reed Saxon/Associated Press)

At the 2013 Hollywood Chamber of Commerce ceremony awarding Kimmel a star on the Hollywood Walk of Fame, Garcetti quipped: “When you came here to Hollywood Boulevard, this place was full of drug dealers and prostitutes, and you welcomed them with open arms.”

Kimmel joked that his parents brought him to the Walk of Fame as a 10-year-old and left him there to fend for himself.

“I’m getting emotional,” he said during the ceremony. “This is embarrassing. I feel like I’m speaking at my own funeral. This is ridiculous. People are going to pee on this star.”

Kimmel’s star is by his theater, near the stars for rapper Snoop Dogg — and Donald Duck.

On his show in May, pop star Miley Cyrus told Kimmel she developed a serious infection after filming on the Hollywood Walk of Fame last year, where she rolled around on the sidewalk. Part of her leg, she said, started to “disintegrate.”

“Have you been to the Walk of Fame in the middle of the night?” she asked.

“I live here,” Kimmel said.

“I thought it was my last day,” Cyrus responded.

Hundreds of protesters have gathered outside Kimmel’s theater in recent days, decrying the suspension of his show.

The cancellation occurred right after Dianne Hall and Michael Talbur of Kansas City got tickets to a live taping of the show and traveled to Los Angeles. So, they attended a protest Thursday instead.

Hall said she was expecting Kimmel’s monologue “to be something rude toward the [Kirk] family” but was surprised when she actually listened to it.

“I kept thinking, ‘Surely something bad was said for him to get fired,’ ” Hall said. “But it was nothing like that.”

Hollywood resident Ken Tullo said he’s “not a protesting type of guy, but enough’s enough” and he did not want his daughters to grow up with a fear of speaking freely.

“The current administration cannot laugh at themselves,” Tullo said, “and they don’t want anybody else to laugh.”

Times staff writer Roger Vincent contributed to this report.

THE saying goes, ‘less is more’, but celebrities are taking that a little too literally as flashing thongs return.

The trend was big in the noughties with the ‘it’ girls of the day, Britney Spears and Paris Hilton, showing the tops of their G-Strings.

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And TV royalty, Gillian Anderson flashed hers on the red-carpet at the Oscars in 2001 but later was killed off by fashion notoriety – along with tramp stamps.

Flashing your thongs had a resurgence in 2020 with the likes of Jennifer Lopez and Kim Kardashian flashing their underwear, but now the trend is more than just peeking above your jeans.

It’s about basically doing a moony, but getting away with it because you’re in couture.

Last week Margot Robbie paid tribute to the late, and great, Mr Giorigio Armani who sadly passed away earlier this month by wearing one of his spring designs, a completely sheer and bejewelled dress.

At the premier of her new film, A Big Bold Beautiful Journey, the 35-year-old undoubtedly looked incredible in the see-through gown with plunging back that showed she was only wearing a thong.

Just a couple of days later fellow actress Dakota Johnson, 35, wore a similar look.

A high neck, long sleeved, floor length dress made from lace that also flashed her bum in a black thong.

Her Gucci gown for a charity dinner in New York, again, looked incredible on her.

But we need to think about their consequences.

Thongs, a piece of fabric that connects from the front to the back and no more than a few centimetres thick. And that connection of fabric goes via your, erm, bum.

When it’s in black and white it sounds vulgar, and not to mention uncomfortable.

And I don’t want to see that when I’m in a bar sipping my glass of Sauvignon, because let’s face it where celebs lead – we all follow.

When you’re a Hollywood A-lister with the pristine figure good enough to better the world’s best supermodels, sure flash away – you look sensational.

But let’s not make this trend grip the nation or we’ll be faced with fleshy, droopy, white bottoms on the loose up and down the country.

Pants for a charity fundraiser? No thank you.

Clemmie Fieldsend

And if you shudder at the sight of a ‘builders bum’ then don’t, please don’t, let this trend catch on – because your Friday night in your local ‘Spoons will be overrun with bums.

And it’s not just Margot and Dakota that could lead us into the cringe fashion flop.

Actress Helen Flannagan celebrated her 35th birthday by wearing a gold dress with a thong-bodysuit underneath.

Whilst on holiday the Corrie star went for a more toned down version of the trend wearing something similar to a thong cossie under a beach dress.

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Singer Dua Lipa, 30, hit the streets of New York for the Charlie Chaplin Gala this April in a beautiful black knitted dress with a fine weave that revealed her underwear.

Another modest style of the trend but nevertheless, pants for a charity fundraiser? No thank you.

Model Cara Delevingne has been at it too.

In May at the premier for the Ocean With David Attenborough documentary in London she flashed her thong, and the rest of her body all within spitting distance of our national treasure, Sir David.

There’s no escaping the fact that if we copy you we’ll become the butt of every joke

Clemmie Fieldsend

Complete with plunging neckline, the 33-year-olds chainmail grown might have been a bit too risque for such an occasion and a bit too chilly.

In the same month, Britney Spears did her one of her usual dancing around on Instagram videos, but this time just in thread-bare underwear.

The 43-year-old chose to wear just her bra and knickers for the video and black leather knee high boots.

Now, I’m all for doing what you like in your own home, but maybe the rest of us don’t need to see it.

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Love Island host Maya Jama was reviving the noughties trend way back in January.

For the All Stars series she headed back to the villa wearing a Norma Kamali see-though, ruched gown with off-the-shoulder straps with nothing but black underwear underneath.

With the warm temperatures of South Africa, she may have felt hot and wanted something cool to wear, and if anyone is going to look amazing in this trend it’s Maya, but let’s save it for private holidays.

For high days and holidays maybe, but come on ladies.

There’s no escaping the fact that if we copy you we’ll become the butt of every joke.

So let’s leave this trend, and cracks, in the past.

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Filming was about to start on David E. Kelley’s Apple TV+ series “Margo’s Got Money Troubles” in early January when the wildfires hit the Los Angeles area, devastating Pacific Palisades and Altadena.

Crew members lost their homes or were dealing with severe smoke damage. Others on the show took people who were displaced into their houses.

To add to the uncertainty, the series was still waiting to hear whether it would receive a state film and television tax credit.

It was time for a decision, Kelley and his fellow producers thought. Should they play it safe and relocate to a cheaper filming locale, such as New Mexico or Vancouver, to ensure they had the budget to film the pivotal mid-season finale in Las Vegas?

They took a gamble and decided to stay in California. The bet paid off. “Margo” got a tax credit of about $1.2 million per episode, and the show was able to shoot both in the Los Angeles area and travel to Las Vegas for four days of filming.

“The rest of the story is a California story,” said Matthew Tinker, president of David E. Kelley Productions. “It’s really magical to leave L.A., go to Vegas and then come back, and it gives the show a huge production value that otherwise, we wouldn’t have had.”

Matthew Tinker, president of David E. Kelley Productions, stands on the rooftop of producer David E. Kelley’s new production office in Santa Monica.

(Jason Armond/Los Angeles Times)

As film and TV projects have increasingly moved out of state in search of better tax incentives and cheaper costs — moves that have culled the number of Hollywood jobs — Kelley’s production company is doubling down on California. The former attorney turned writer-producer is one of the biggest names in TV behind such legal dramas as “Ally McBeal” and “The Practice.”

All of his current projects will shoot in L.A., including the third season of HBO series “Big Little Lies,” the legal drama “The Lincoln Lawyer,” a new HBO Max series based on a Michael Connelly book called “Nightshade” that takes place on Santa Catalina Island, and the thriller “Presumed Innocent.”

Post-production work for his shows also is done in L.A. Kelley’s company, known as David E. Kelley Productions, also recently moved into a new headquarters in Santa Monica, where it plans to make a home for the foreseeable future.

“It just feels wrong to me that L.A. is not continuing to be the epicenter for film and television series,” Kelley said via Zoom in August. “This town has been very good to me for many, many years, so I have an inclination not to abandon it, to cling to the community that has been so rewarding for me.”

The sentiment is shared by his second-in-command.

From the concrete rooftop garden atop the Santa Monica building that houses Kelley’s production office, Tinker looked out at the hills, remembering the wall of smoke that lingered for days.

The January wildfires also encouraged the decision to keep Kelley’s production company in L.A., despite some pitches to move out of state. At the time, there had been industry chatter that the state’s incentive program would be bolstered, giving some optimism for the future of production in the state. But after the fires, there was no question. The company saw the need to rebuild and reinvest in L.A. and Hollywood. The eventual boost to the state’s film and TV tax credit program approved this summer solidified their decision.

“The fires challenged our resilience and sense of community, but the people of L.A. rallied,” Tinker said. “There simply wasn’t a thought beyond this moment to plant roots anywhere else.”

The 2,900-square-foot office, which is a new build that replaced an older building in Santa Monica, is sleek and modern, with concrete walls and flooring, dark wood details, two arcade game machines and a shelving unit holding dozens of awards right at the heart of the space. Inside Tinker’s office is an homage to Hollywood history.

A wall showcases trophies at producer David E. Kelley’s new production office in Santa Monica.

(Jason Armond / Los Angeles Times)

An old sign from Kelley’s previous offices at the Fox lot hangs on the wall, next to the title page for the first episode of “Margo,” addressed to David and signed by actor Elle Fanning. A photo of Ronald Reagan with Matthew Tinker’s late grandfather Grant Tinker, former chief executive of NBC, sits near a bobblehead from Kelley’s “Boston Legal” days and a black-and-white group shot of Matthew’s father, John Tinker, winning a writing Emmy for the drama “St. Elsewhere” in 1986.

When looking back at his own career, Matthew Tinker has done “pretty much every job under the sun,” which was only possible in a city that consistently had multiple productions running.

That concern for the future of industry employment was a major part of Hollywood and state legislators’ push to increase the annual funding for California’s film and TV tax credit program to $750 million and expand eligibility criteria to allow more projects to apply.

Memorabilia in the office of Matthew Tinker, president of David E. Kelley Productions.

(Jason Armond/Los Angeles Times)

Those changes, which were approved by Gov. Gavin Newsom this summer, have now largely gone into effect and are starting to produce results.

In the first round of TV show tax credits since the program was revamped, the California Film Commission saw a nearly 400% increase in applications and awarded tax credits to a total of 22 shows.

“There was a lot of pent-up demand,” said Colleen Bell, executive director of the California Film Commission. “There’s a lot of momentum here, and these improvements to the program have helped to drive that momentum.”

The new activity is much needed. Production activity in L.A. so far this year is down 9% compared with last year, according to the nonprofit FilmLA, which tracks shoot days in Greater L.A. 2024 was the second-worst year on record for production in the area after 2020, when the industry shut down due to the pandemic.

But there is hope on the horizon — of the 22 new TV projects that received a California tax credit this past round, 18 are slated to film largely in Greater L.A., including Kelley’s “Presumed Innocent.”

“The more that people have hope in the future of California as a production destination, I think you will continue to see entrepreneurs and others make their careers here,” said Philip Sokoloski, spokesman for FilmLA.

Because Los Angeles is more costly than other locations, filmmakers must make certain adjustments, such as shooting a TV series in 85 days instead of 100, or reducing daily filming hours.

But that’s very doable with experienced crews in L.A., said Caroline James, co-executive producer of “Presumed Innocent” and “Margo,” which employed about 500 people.

“There’s such an infrastructure in L.A.,” she said. “There’s no learning curve.”

Kelley’s production company, which has six employees including the veteran writer and producer, may not always be able to shoot everything in L.A., but executives intend to keep L.A. first and foremost in their decision-making and hopes that mentality will catch on around town.

“The goal is to always look at California first,” Tinker said.

Since it first premiered in 1926, F.W. Murnau’s “Faust” has been lauded as one of the greatest silent films ever made. And in the century that’s followed, striking a deal with the devil has been one of cinema’s most enduring tropes.

“Him,” the Jordan Peele-produced horror film reaching theaters Friday, is the latest testament to the fact that, in Hollywood at least, the devil’s offer never goes out of style.

It tells the story of an aspiring professional football player, Cameron Cade (Tyriq Withers), who gets invited to train at a secluded compound under famed quarterback Isaiah White (Marlon Wayans). But Cade eventually realizes what is meant by the question he keeps getting asked: “What are you willing to sacrifice?”

“People are so fixated with the whole selling your soul to the devil and they really think that it’s a man in a suit who’s like, ‘Sign the dotted line,’” said Julia Fox, who plays White’s wife. “I think that selling your soul to the devil is a metaphor for selling out and doing things that you don’t want to do, compromising your morals and values for a paycheck.”

Like “Him,” Faustian stories in cinema are often billed as horror. Much like the literary and artistic retellings of the German fable, from Marlowe and Goethe to the song “The Devil Went Down to Georgia,” film adaptations span place, decade and genre — from the cult Keanu Reeves’ DC Comics adaptation, “Constantine,” to Brendan Fraser’s 2000 rom-com “Bedazzled,” a remake of the 1967 film of the same name that starred Raquel Welch.

The devil can promise money — as in “The Devil and Daniel Webster,” the 1941 post-Great Depression takedown of greed — or fame, a la Jack Black’s 2006 musical comedy, “Tenacious D in The Pick of Destiny.”

“It’s pretty much everywhere once you start looking,” said Kirsten Thompson, a professor of film studies at Seattle University. “We all want to have eternal life or youth or power or status. And the various iterations of the myth sometimes emphasize different things.”

“Him” isn’t even the first Faustian film set against the backdrop of sports. “Damn Yankees,” the 1958 adaptation of the Bob Fosse-choreographed Broadway show, tells the story of a diehard baseball fan who makes a devilish pact to help his team.

Murnau’s ‘Faust’ legacy

Although the 1926 “Faust” isn’t the oldest cinematic retelling of the legend — French filmmaker Georges Méliès made a handful of adaptations beginning in the 1890s — Murnau’s movie has the greatest legacy.

“The film has these very striking set pieces that are, visually, enormously iconographic and influential on subsequent silent cinema, including American cinema,” Thompson said.

Speaking with the Associated Press last year to promote his adaptation of “Nosferatu” (the original vampire tale was also made by Murnau, in 1922), Robert Eggers testified to the ways in which “Faust” has influenced him as a director.

“Filmmaking — it didn’t really get better than that,” he said.

Murnau’s “Faust” follows its titular protagonist, a faithful alchemist who despairs over a deadly, seemingly unstoppable plague. He eventually meets the demon Mephisto — legend often refers to him as Mephistopheles — who convinces Faust to do a trial-run pact to renounce God in exchange for the power to help the infirm village.

But Faust’s demonic deal is found out when a crowd realizes he cannot look upon a cross. Despondent, Faust plans to kill himself, but is stopped by Mephisto, who comes back with another offer: The demon will give the elderly alchemist back his youth.

Origins of the devil’s offer

It’s unclear when exactly the idea that humans could strike a deal with the demonic materialized, according to Joseph Laycock, a professor of religion who studies Satanism and demonic belief at Texas State University.

The idea that a powerful supernatural being could grant wishes or help humans exists in pre-Islamic Arabic traditions, but most Western depictions of this kind of myth borrow from Christian theology.

“Humans and demons each have something the other wants. We want this power. We want control over the natural world. The demons have it and we don’t. But the demons want our souls,” Laycock said. “The Faust legend is kind of ready to be told as soon as this Christian demonology emerges.”

One clue into the origins of a Satanic bargain lies within the “Malleus Maleficarum,” often translated as the “Hammer of Witches,” a 15th century German Catholic theological text on demonology.

In it, God has limited Satan’s power, Laycock explained. But, “there’s this loophole. And the loophole is, if a demon makes a pact with a human, the demon gets to do all the stuff it couldn’t normally do.”

This period around the Reformation was a “golden age” for possession, exorcism and witch-hunting in Europe, Laycock said, which sets the stage for the Faust legend to materialize.

In the 1800s, Johann Wolfgang von Goethe adapted the Faust story into a two-part tragic play, converting the German legend into a literary giant that would have tremendous influence on the Western world, Thompson argues.

She compares Goethe’s cinematic influence to works from Shakespeare and stories like “Sherlock Holmes,” which have also been repeatedly retold. “Canonical works of literature in different languages are adapted over and over again,” she said.

Fauria writes for the Associated Press. Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc.