Jeff

Oct. 22 (UPI) — Sen. Jeff Merkley, D-Ore., passed the 14-hour mark Wednesday morning in his filibuster speech on the “grave threats to democracy” he said President Donald Trump poses.

Merkley began his speech at 6:24 p.m. EDT Tuesday and was speaking as of about 10 a.m. Wednesday. The record for a Senate filibuster was set in April this year by Sen. Cory Booker, D-N.J., who spoke for 25 hours and 5 minutes.

The senator from Oregon used the speech to warn about what he described as Trump’s shift toward authoritarianism and weaponization of the Justice Department. He said it was “an incredible threat to our nation.”

“I’ve come to the Senate floor tonight to ring the alarm bells,” Merkley said in his opening remarks. “We’re in the most perilous moment, the biggest threat to our republic since the Civil War.

“President Trump is shredding our Constitution.”

Merkley took issue with the level to which Trump has used executive actions and powers, the mass deportations carried out by his administration, the deadly strikes used against suspected drug cartels in South and Central American waters, federal troop deployments to U.S. cities, and his work to dismantle diversity, equity and inclusion initiatives, according to Newsweek.

“President Trump wants us to believe that Portland, Ore., in my home state, is full of chaos and riots,” Merkley said. “Because if he can say to the American people that there are riots, he can say there’s a rebellion. And if there’s a rebellion, he can use that to strengthen his authoritarian grip on our nation.”

Merkley’s filibuster comes days after thousands of “No Kings” protests were held across the country. The anti-Trump demonstrations addressed many of the same issues as Merkley’s speech.

The Senate, which has yet to pass a stopgap funding bill to reopen the government after a 22-day shutdown, will be unable to carry out any business on the Senate floor until Merkley concludes his speech.

It’s easy to miss the confidence of Billy Wilder or Frank Capra whenever some brave soul tries to make a comedy that takes America’s temperature by straddling cynicism and optimism. Those Hollywood masters could handily juggle the sweet, sour and satirical and, in Wilder’s case, even leave you believing in a happy ending.

With his writing-directing feature debut, “Good Fortune,” however, Aziz Ansari, who stars alongside Seth Rogen and Keanu Reeves (as an angel named Gabriel), swings big, hoping to capture that jokey truth-telling vibe about the State of Things. His subject is a fertile one too: the gig economy fostering our crushing inequity, but also the desperation of the have-nots and how oblivious the wealthy are about those who made them rich. So let’s stick it to the billionaires! Let Keanu help the downtrodden!

Ansari’s high-low morality tale, set in our fair (and unfair) Los Angeles, is a friendly melding of celestially tinged stories (“Heaven Can Wait,” “Wings of Desire”) and body-swap comedies (“Trading Places”). But as agreeable as it is, it can’t square its jabs with its sentimentality. It’s got heart, kind eyes, a wry smile and some funny lines, but no teeth when you really need things bitten into, chewed up and spit out.

Ansari plays Arj, living a serious disconnection between his professional identity — wannabe Hollywood film editor — and how he actually exists: task-gigging for scraps and living in his car. When a garage-reorganizing job for Jeff (Rogen), a Bel-Air venture capitalist, turns into an assistant position, Arj feels secure enough to use the company card for a fancy dinner with occasional colleague and romantic interest Elena (an underused Keke Palmer). Jeff clocks the charge the next day, though (a realistic detail about the rich watching every penny), and immediately fires Arj.

All along, Arj’s sad situation has touched Reeves’ long-haired, khaki-suited angel, whose life-saving purview (he specializes in jostling distracted drivers) is low in the hierarchy overseen by boss guardian Martha (Sandra Oh). Gabriel wants a big healing job to show Arj, with a little role-reversal magic, that being Jeff isn’t all it’s cracked up to be. Except, of course, it is. (David Mamet’s line “Everybody needs money — that’s why they call it money” comes to mind.) The newly luxe-and-loving-it Arj shows no signs of wanting to switch back (which is apparently his call to make in the rules of this scenario), leaving out-of-his-depth Gabriel in the position of convincing a sudden billionaire why he should go back to being poor.

Which is where “Good Fortune,” for all its grasp of how Depression-era screwball comedies made the filthy rich mockable, struggles to match its issue-driven humor with its fix-it heart. While it’s funny to watch Rogen’s freshly desperate character suffer food-delivery humiliation, buying the script’s changes of heart — and the film’s naïve idea of where everyone should be at the end — is another matter. That’s why screwball comedies didn’t try to upend capitalism, just have some clever fun with it and let a simple love story stick the landing. Ansari’s ambition is admirable but he’s better at diagnoses than solutions.

His gold-touch move is giving the hilariously deadpan Reeves one of his best roles in years: a goofy meme brought to disarming life and the movie’s beating heart. Doing good can be hard work; understanding humans is harder. Plus, Reeves makes eating a burger for the first time a sublimely funny reaffirmation that sometimes, indeed, it is a wonderful life.

“We’ve been doing this for a while now,” laughs Channing Tatum, “and every once in a while a new thing comes out I haven’t heard.”

Tatum’s responding to the latest revelation of the press tour for his new film “Roofman”: Director Derek Cianfrance’s claim that he was the fastest checker in Walmart history. (“They gave you a raise if you got 18 rings a minute,” says Cianfrance. “I averaged 350.”)

The point, for Cianfrance, is that the characters at the heart of “Roofman” — good-hearted thief and unauthorized Toys “R” Us tenant Jeffrey Manchester (Tatum) and working mother Leigh (Kirsten Dunst) — are his kind of people.

And “Roofman,” which in its themes of personal responsibility, community and acceptance holds much in common with the work of Frank Capra, is his kind of film. The director behind the 1946 Christmas classic “It’s a Wonderful Life” loomed over Cianfrance’s film from the start. “As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore.’”

Cianfrance always knew he wanted “Roofman” to be a Christmas movie, which often features characters rediscovering themselves in a small town and magical happenings like, as he says, “a fish shows up with wings.” Or, in this case, that Manchester — on the lam after escaping prison — ends up falling in love with Leigh and being embraced by her family and community.

Tatum as Jeffrey Manchester in “Roofman.”

(Davi Russo / Paramount Pictures)

“I love the populist filmmaker who’s making movies about regular people,” says Cianfrance. “You never feel like Capra’s ever judging people, or being snobby about the people he’s making movies about. He’s making movies about the people who go to the movies.” And while the film’s true-life tale is certainly stranger than fiction, Cianfrance avoided turning “Roofman” into Hollywood escapism. Instead, he says, he wanted to illustrate his respect for working people’s dreams and aspirations: “The thing that transformed it for me was when Leigh told me that Jeff was the greatest adventure of her life, and that she didn’t regret a thing.”

With that in mind, he urged the cast to live their characters’ suburban North Carolina lives. He encouraged actor Peter Dinklage, who plays the Toys “R” Us store manager, to actually manage the store. Dunst’s Leigh, a new hire, was given an actual job interview by Dinklage himself. “He would not give me an inch in that interview,” says Dunst. “I respect him so much as an actor, I think I was also just intimidated by him as well.”

Cianfrance calls the set “an aquarium for actors” — a place where, to pull another Christmas reference he drops, everyone was Rudolph the Red-Nosed Reindeer on the island of misfit toys. Actors like Emory Cohen and Juno Temple expanded their characters beyond the page. Cohen, who plays bullied employee Otis, conjured up his character’s love for peanut M&M’s, while Temple, who plays the girlfriend of one of Manchester’s friends, saw her character as a hairdresser.

Even a scene where the Toys “R” Us is decorated for Thanksgiving gave Cianfrance and production designer Inbal Weinberg the opportunity to debate where to have Dunst place an inflatable turkey. “I was like, we’re gonna let the actors decide. Kirsten came to set. She got the turkey. And she started to decide where it went, and she put it where my production designer wanted it,” Cianfrance says. “And Peter Dinklage came out and was like, ‘No, the turkey goes here.’”

“As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore,’’’ says “Roofman” director Derek Cianfrance.

(The Tyler Twins / For The Times)

Dunst had been wanting to work with the director since auditioning (unsuccessfully, the pair joke) for his 2016 feature “The Light Between Oceans.” “I would have done this movie without reading any script,” she says. “How he makes a set — he wants to capture all the nuance and the things that make us humans interesting.”

Tatum concurs. He knew immediately the role would challenge him as a performer. The actor had heard stories of how Cianfrance worked with performers to get authentic responses, like giving Ryan Gosling and Michelle Williams — playing a married couple in 2010 drama “Blue Valentine” — contrasting information in scenes to heighten tension.

Dunst recalls a similar moment on “Roofman,” where Jeff scares Leigh by driving a car too fast with her and her daughters inside. “Derek held my arms and he was like, ‘Push against me as hard as you can,’” she says. “I did that and he held tight and then we went into the scene immediately after. It brought up emotions of being trapped and a feeling like everything was out of your control … but that really helped me a lot.”

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“I only told [Cianfrance] no one time,” says Tatum, “and that’s when he wanted me to sing.” That might surprise viewers considering Tatum has an extended nude sequence where Jeff tries to escape from Dinklage’s Mitch — the first time Dinklage and Tatum met, as it happens.

“[Derek] always jokes, ‘You read the script,’” says Tatum. “I’m like, ‘Yeah, I know I read the script. I just assumed you had a plan … a blocking plan.” The scene itself, which involved Tatum running through the toy store and leaping onto a small roof, took 15 takes to accomplish over almost eight hours. Tatum, Dunst and Cianfrance laugh about how the director broached the subject of keeping Tatum’s nudity tasteful. “He’s like, ‘You want me to blur it?’” says Tatum. “I’m like, ‘Don’t blur it. That’s even weirder.’”

As Dunst, Tatum and Cianfrance discuss the production, the conversation seems to be as much about the memories they made on set as the making of a film — which underscores Cianfrance’s approach to directing.

“I’ve always tried to make sure [the actors] have environments … so that they can have these accidents and surprises. Moments can happen one time that you can’t replicate, and they become the moment that you watch forever. They become immortalized because of that.”

It’s enough to make Frank Capra smile.

You have to look long and hard for stability and continuity in this era of transfer mania, but Beaumont football coach Jeff Steinberg is proud to point out that 26 of his 27 players in the starting rotation have been at Beaumont since their freshman seasons. The only one that didn’t came as a sophomore.

That kind of loyalty and confidence in a program produces community pride and helps build community support every time Beaumont plays.

The team is 5-1 and is favored to win the Citrus Belt League and be a factor in the Southern Section Division 2 playoffs.

Linebacker Matt Casas is a tackling machine with 52 tackles. Beaumont owns wins over Cathedral and Chaminade. Its only loss was 21-14 to Vista Murrieta.

Imagine how many fans from the Beaumont area will show up to playoff games. Can you say sellout?

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

Jeff Siegel, a major player on the Southern California horse racing scene for more than half-a-century, died at his home in Duarte on Saturday after an extended battle with cancer. He was 74.

There are few roles in horse racing, besides trainer or jockey, that Siegel didn’t perform since he first got a job in the publicity department at Hollywood Park in 1974.

Siegel’s last job in racing was both serving as a host on XBTV, a service, owned by The Stronach Group, that specializes in horse workout videos. He was also the morning-line maker for both Santa Anita and Del Mar. He continued doing the job until his health no longer allowed it earlier this year.

But what made Siegel a must-know personality in racing was his ability as a handicapper. Andy Beyer, the legendary Washington Post handicapper and namesake to Beyer speed figures, called Siegel the “World’s Greatest Handicapper” in his 1993 book “Beyer on Speed.” Siegel gave Beyer six horses to bet on a day’s card of Southern California racing. All six won, according to Beyer.

Siegel was born in Los Angeles on Oct. 8, 1950, and grew up in Southern California. He attended Fairfax High, where he ran track, and he worked at the school newspaper at L.A. Valley College. He later went to San José State, where he was pointed to radio and television journalism. He came home and got a job at radio station KLAC, where he worked with Jim Healy, who had a top sports commentary show for many years. Healy knew Siegel liked racing and got him a job at Hollywood Park without even asking Siegel, who said he liked his current job. Healy told him he would like the Hollywood Park job even more.

And he did. Siegel never looked back.

Because of his access to trainers, jockeys and owners, plus an ability to see things others didn’t, Siegel was a valued public handicapper and soon his picks were featured in many Southern California newspapers, including The Times, the Daily News, Pasadena Star-News, Orange County Register and San Diego Union-Tribune.

“Jeff has been my primary mentor in this game,” said Bob Ike, a long-time public handicapper in Southern California. “He made performance ratings before there were published Beyer figures. He videotaped gate workouts in the mid-1980s. His overall knowledge of pace, pedigree and European form is unsurpassed. As a public handicapper, he’s the GOAT.”

Hall of Fame trainer Bob Baffert often took advice from Siegel and loved his time talking to him about horses.

“I had total respect for his opinions and thoughts on horses,” Baffert said. “When [Triple Crown winner] Justify broke his maiden, Jeff told me the horse was going to win the Kentucky Derby.

“He just loved being part of the game and I respected his handicapping. If he picked your horse first, second or third, you knew you had a good chance of winning. He could see a horse run and he knew right away. After he saw [Triple Crown winner] American Pharoah run for the first time, he came up to me and said ‘You’ve got a real good one there.’

“I’m going to miss talking to him. I’d ask him what he thought and he might say, ‘I don’t think he can go that far.’ And he was right. On top of all that, he was such a nice man. His passion for the sport was unequaled. Nobody knew horses better than him. It’s a sad day and I will really miss listening to him.”

Siegel also co-founded partnership stables Clover Racing and Team Valor, the most successful partnership at that time, with his friend Barry Irwin.

“He was the best handicapper I’ve ever met.” Irwin said. “What separated him from his peers, is his ability to add horsemanship to his handicapping. He knew a lot of what went into training. He wasn’t just a nuts and bolts guy, he understood the animal.”

Irwin remembers a time he was at Siegel’s house to talk about buying a horse.

“I asked if he had any old Racing Forms so I could look up a horse,” Irwin said. “He said, ‘Go look in the bathroom.’ He had Racing Forms stacked to the top of the shower where the water comes out. His entire life was dedicated to horse racing and handicapping. Nobody ever met a kinder or nicer guy.”

Never deterred by the amount of work on his plate — unless it conflicted with UCLA football or basketball games — Siegel decided to try broadcasting. So, he joined HRTV, a horse racing channel, in 2004 and stayed for almost a decade as an analyst.

“In addition to all the great work he did on camera, he was a true fan and dedicated student of the game,” said Becky Somerville, senior director of production at FanDuel TV. “He was passionate about it, which came through in everything he did, and that passion was infectious, lifting up everyone around him.”

Somerville worked closely with Jeff at HRTV from 2004 to 2015, including producing his show “First Call.”

Siegel is survived by his brother, Barry Siegel; sister, Michelle Weiss; nieces Caryn and Mara; nephew Robert; grand nephews Kai, Beckett and Roman; and grand niece Monroe.

Funeral arrangements are pending.

JEFF STELLING has been torn apart by former Southampton and Wolves boss Dave Jones over an infamous Sky Sports tirade.

The long-serving ex-Soccer Saturday host let rip at Jones and demanded his resignation during a live TV broadcast in 2017.

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Jones had just led Stelling’s beloved Hartlepool United to a 2-0 defeat at home to Barnet which plunged them further into relegation danger.

A furious Stelling ranted: “This is not personal but Dave Jones, for god’s sake, for the good of the club, walk now.

“Go now. This is not your level of football. If he won’t walk, sack him.

“If it means me resigning as president, I’ll do so happily. Do it now, do it today.”

Jones was dismissed shortly afterwards but Hartlepool still dropped out of the Football League weeks later.

The 69-year-old, who also had spells with Stockport, Cardiff and Sheffield Wednesday, kept quiet about Stelling‘s outburst for years.

But he has now broken his silence in spectacular fashion.

Jones told Under The Cosh: “I wouldn’t p*** on him if he was on fire. I’d just walk away from him. Got no time for him.

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“I think it was totally wrong, what he did. I don’t think there was one person who agreed with him. They just thought it was a disgrace.

“He doesn’t mean anything to me. He’s got a show but to do what? Not to criticise other people.

“We can all criticise him when he was mumbling or didn’t do this or do that but what’s the point? I’m bigger than that.

“Put it this way, if we were in the desert and I drove past him, I wouldn’t pick him up.”

Stelling, who left Sky Sports in 2023, admitted that he may have ‘gone too far’ in berating Jones.

He told The Times: “I should have stopped when I said, ‘Please walk away Dave’, and not gone any further.”

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TORONTO — In introducing the Saturday night TIFF world premiere of “Good Fortune,” his feature debut as a writer-director, comedian Aziz Ansari told the audience the three words that are scary in Hollywood right now: original theatrical comedy. But the one word that is never scary is Keanu.

Speaking from the stage of the festival’s Roy Thomson Hall, Ansari recalled that his star Keanu Reeves broke his kneecap early in production.

“I found out he broke his kneecap and I didn’t know what was going to happen,” Ansari continued, Reeves himself standing onstage just a few feet away. “It was like, ‘Oh, my God, what is Keanu going to say? Is he going to need some time off? Is he going to drop out of the movie?’”

“And you know what Keanu said?” Ansari added. “Nothing. He just kept showing up to work and never complained, not once,” Ansari said. “He worked through what surely must have been excruciating pain and delivered a hilarious, touching performance, and he is the soul of this movie.”

The film opens with Reeves standing atop L.A.’s iconic Griffith Observatory with a small pair of angel wings on his back. Reeves, in a change of pace from his recent action work in the “John Wick” movies, plays Gabriel, a low-level angel given the task of stopping people from texting and driving. That is until he sees Arj (Ansari), who is struggling to make ends meet while working both at a big-box hardware store and as a food delivery driver.

Hoping to show him the grass isn’t always greener, Gabriel switches Arj’s life with that of Jeff (Seth Rogen), an ultrarich tech investor whose days seem to largely consist of going back and forth between his sauna and his cold plunge.

Perhaps not surprisingly, Arj much prefers Jeff’s life to his own and is reluctant to switch back. The situation becomes more complicated for Gabriel as he loses his job as an angel and must learn the tribulations and joys of being human, while still trying to fix the problem with Arj and Jeff.

For all the film’s gentle humor and quietly humanist spirit, “Good Fortune” is also rife with a palpable anger at the income inequality that motivates its story, the reality that robots are replacing the work of humans and that the excesses of the few seem predicated on the deprivation of many.

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The day after the film’s premiere, 42-year-old Ansari is upbeat and dapper in a gray plaid coat, black turtleneck and black slacks as he sat down for an interview in Toronto to discuss the movie and all that led up to it. After the end of his Emmy-winning series “Master of None” in 2021, Ansari had begun shooting a feature called “Being Mortal” that was shut down in 2022 a few weeks into production over allegations of misconduct by its star Bill Murray. Then production of “Good Fortune,” Ansari’s pivot away from “Being Mortal,” was delayed by the Hollywood labor strikes of 2023. Seemingly at long last, Ansari’s debut opens Oct. 17.

When “Being Mortal” got shut down, did you feel like, “Am I ever going to get to make a movie?”

I didn’t feel that way. Steven Spielberg has this story of — what’s the movie he did? “1941.” That didn’t do well and he was like, just immediately throw yourself in another thing. And I really thought about that, and that’s what I did. I just immediately went into “Good Fortune.” I mean, I had a couple of days where I was like,“Oh, no” and it was also so shocking. I think your mind doesn’t process it because it’s not really sinking in that this is what’s really happening. It probably still a piece of me [in which] it hasn’t really sunk in. It was definitely disappointing, but part of me is like, this is what needed to happen. This is the movie that should be out first.

“Being Mortal,” it’s funny, but it’s heavy. The Atul Gawande book, it’s about end-of-life issues. So it’s like, “Oh, OK. It’s another heavy drama thing.” People may have just gotten pissed, like, “What’s this guy doing?” So “Good Fortune” is definitely, to me, if you like those first two seasons of “Master of None,” I feel like what you’d hope I’d do is kind of evolve that style into a feature film and raise the level of it by having Seth and Keanu and Keke [Palmer] and Sandra [Oh], and as a feature film rather than a show.

As sweet and funny as the movie is, there also is a real righteous anger behind it. Where does that come from?

I think I got it from when I was interviewing all these people about the subject matter in the film, when I was doing research to write the Arj character. That attitude seeps in there.

“It was definitely disappointing, but part of me is like, this is what needed to happen,” Ansari says of “Being Mortal,” his first attempt at directing a feature, one that ran into production troubles with its star, Bill Murray,

(Christina House / Los Angeles Times)

During the opening credits of the movie, you say the line “The American Dream is dead.”

But that’s a frustration a lot of people like that guy Arj feel.

But then, you are a very successful entertainer —

Oh, yeah. Me and Seth are Jeff, no question.

How do you reconcile that? Are you concerned some people might dismiss the movie out of hand for that simple reason?

If you’re writing, you have to be able to write outside your own experience — for someone who’s like Arj, who doesn’t have the platform to tell these stories. When I did “Master of None,” we did an episode called “New York, I Love You.” And there was a segment about taxi drivers, a segment about a doorman and a segment about a woman who’s deaf. And doing that episode taught me a process of interviewing people and figuring out how to get these stories right when they’re not your experience. We did an episode in Season 3 about a woman going through IVF. I’d never done that or anything, and it had never been a part of my life. But I talked to all these people, and from the feedback I got, we got it right. And that’s what I did with this.

I don’t want to spoil anything, but for a movie coming out from a Hollywood studio, Seth gives a speech at the end that is politically radical, about how rich people can’t expect to have so much without others getting angry.

It’s kind of nuts. Some of the stuff that’s in there, I’m like, “Whoa, we really got away with something here.” Some of the stuff that’s in there, and the trailer kind of hides a little bit of that stuff, I think there are people that’d be like, “Oh, s—.”

At the premiere, there was big applause for the line, “F— AI.” Is that your feeling as well?

I’d rather say that I’m pro-human. I’m pro-people.

Keanu Reeves, left, Seth Rogen and Aziz Ansari in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The movie is very ambitious in combining the character stories and the attention to the notion of income inequality. Was it hard for you in balancing the characters and that theme? Was the work of that more when you were writing it or when you were editing what you’d shot?

It was both. And that’s the difference between a TV show and a movie. You have a different canvas. But it was a tough thing to do. And it was my first time doing it. I remember writing a second one while I was editing, and it was such a great help because you kind of see a few moves ahead. You’re like, “Oh, wait a second, I should get to this faster.” You kind of can see your mistakes a little bit in an earlier stage because you have more experience. This is another reason I really want to get into it again and start working on the next thing because I feel like I learned a lot from it.

That’s the thing that’s so interesting about doing stand-up and doing filmmaking. Stand-up, it’s so easy to “get to the gym,” right? If I really wanted to go to do stand-up tonight, I could do it. I could go find a club in Toronto and jump on a show. But If I wanted to go direct, that’s a big journey to get to the gym. So you have fewer opportunities to kind of get the reps in.

Shooting a movie is in L.A. has become such an economic and political issue for the city. Was that a consideration in making the movie in Los Angeles?

I wanted it to be in L.A., I felt like this movie had to be set in L.A. Jeff’s not going to be living in whatever place that gives you the tax credit. And L.A. really is the perfect backdrop for the story to me. And it was challenging, but you also get the benefit of working with some of the greatest technicians in the world in L.A. And I also just love being a part of the lineage of films that are set in L.A. I watched that documentary, “Los Angeles Plays itself,” and that was so fun to watch that and just see how every movie has its own L.A., whether it’s “Heat” or “Tangerine” or “Chinatown.”

And I feel like “Good Fortune” has its L.A., and it’s exciting to show some of these neighborhoods, to see people responding to seeing Eagle Rock or Los Feliz. Whenever I was writing the movie, I always thought about that taco place in Hollywood — it’s across the street from Jitlada. I always thought about that place. I thought there was something so cinematic, and it was a hard location to clear. And our guy [location manager] Jay Traynor, he made it happen. And finding Jeff’s house was so hard. But it all came together, and I loved showing Koreatown and that Gabriel works at a Korean barbecue restaurant. Just showing all these parts of L.A.

I want to be sure to ask you about working with Keanu. People are really responding to this role. And I’m having a hard time putting my finger on what that is about.

No, I’m feeling this. Even since [the premiere], I’m feeling it. I knew people would like him, but it’s hitting on another level.

Why do you think that is? What is the alchemy of Keanu in that role?

I was thinking about this when I was eating lunch. If you look at the roles he’s done that are comedic, whether it’s in “Bill & Ted” or in “Parenthood,” there’s this innocence, this sweetness and this kindness that’s in there. And then Gabriel, to me, is the progression of that. And it’s also that you have Keanu at 61, where when I first met him, I was like, “Hey, there’s something about you that people are responding to and who you are as a real person that I don’t think I’ve seen onscreen. And I think you can show some of that with Gabriel.”

It also has all of his comedy superpowers just dialed to the max. And we were just having so much fun. It just became playtime. We were coming up with bits all the time: Oh, he’s never used the internet before. Let’s just write a quick scene where he’s using the internet for the first time. What’s he gonna do? He’s gonna look at photos of baby elephants. It became such a fun joke bag. You could just make him do anything. And it was funny, the guy’s never done anything — if he takes a bite of a taco goes, “Wow!” It’s really the funniest character I’ve ever written for.

TORONTO — Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Have you seen the images from our photo gallery? Staff photographer Christina House and her crew are truly capturing the best of the fest.

There are wonderful shots up now, including Elle Fanning, Ethan Hawke, Channing Tatum and more, but this link will be updated periodically with others.

Expect Cillian Murphy, the cast of Rian Johnson’s ‘Wake Up Dead Man,’ Jessie Buckley, Paul Mescal, Cillian Murphy and more surprises!

The day’s buzziest premieres

‘Good Fortune’

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen/Lionsgate/Eddy Chen / Lionsgate)

A low-level guardian angel righting a wrong feels like the set-up to a classic comedy. But amid a premise motivated by income inequality, there’s a distinctly current edge to “Good Fortune,” the debut feature of writer-director-star Aziz Ansari.

A struggling film editor who makes ends meet as a food delivery driver, Arj (Ansari) is at the end of his rope when said angel Gabriel (Keanu Reeves) switches his life with Jeff (Seth Rogen), a wealthy, self-important tech investor.

Except, instead of realizing things are tough all over, Arj decides he likes Jeff’s life better and doesn’t want to switch back. Which is only the beginning of the complications for these three lost souls.

Looking for hope in an out-of-balance world while laced with a righteously indignant anger (and set against distinctly L.A. locations), “Good Fortune” is social satire with a big heart. — Mark Olsen

‘Canceled: The Paula Deen Story’

Paula Deen in the documentary “Canceled: The Paula Deen Story.”

(TIFF)

Hungry for a brisk, witty documentary that’s as easy to enjoy as a plate of hot biscuits? Filmmaker Billy Corben analyzes the tabloid feeding frenzy that chewed up celebrity TV chef Paula Deen when she admitted to using a racial slur.

Going in, I only knew two things about Deen: the 2013 scandal and her staunch devotion to butter. Her full story is fascinating, especially buttressed by contemporary interviews with Deen and her two sons, Bobby and Jamie, who all specialize in Southern-fried zingers: “It came on like a snowball full of chainsaws,” says Jamie of the media blitz.

A complex schematic of the cancelation machine, “Canceled” argues that Deen was punished double that summer because Trayvon Martin’s killer wasn’t punished at all. The great archival footage makes you get why audiences once loved Deen — and it’s evident how much her family and friends still do, even if Corben greases her mea culpa to the point that you feel a little queasy. — Amy Nicholson

‘Wake Up Dead Man: A Knives Out Mystery’

Josh O’Connor, left, and Daniel Craig in Rian Johnson’s movie “Wake Up Dead Man: A Knives Out Mystery,” having its world premiere as part of the 2025 Toronto International Film Festival.

(Netflix)

One of the real pleasures of the witty, surprising films made by writer-director Rian Johnson starring Daniel Craig as Southern gentleman detective Benoit Blanc is that, within the confines of the murder mystery, they could take place just about anywhere: a patriarch’s creaky mansion, a billionaire’s private island and now a small town’s historic church.

Or at least that’s the best we know from the scant details made public about the new “Wake Up Dead Man: A Knives Out Mystery” ahead of its TIFF world premiere tonight. Craig returns as Blanc but joining the cast this time are Josh O’Connor, Josh Brolin, Mila Kunis, Kerry Washington, Jeremy Renner, Daryl McCormack, Cailee Spaeny, Thomas Haden Church, Andrew Scott and Glenn Close.

The festival has been a good luck charm so far, with the previous two “Knives Out” movies premiering at TIFF in the same theater, day and time slot and both going on to Oscar nominations for their screenplays. — Mark Olsen

They couldn’t stop talking, even before the cameras for ‘Poetic License’ were rolling

Andrew Barth Feldman, left, Cooper Hoffman and Leslie Mann in “Poetic License,” having its world premiere as part of the 2025 Toronto International Film Festival.

(TIFF)

Mark Olsen has a fun interview with the banter-ific Andrew Barth Feldman and Cooper Hoffman, costars of Maude Apatow’s new movie “Poetic Licence.” They were friends before they shot the film and their verbal mutual affection — honed to a crazy degree of anticipation — is something to behold. They’ve raised bromance to an art form.

His apocalyptic art film ‘Sirât’ dances in the face of oblivion. That’s why people love it

Director Oliver Laxe, photographed in the Los Angeles Times Studios at RBC House during the Toronto International Film Festival.

(Christina House / Los Angeles Times)

Director Oliver Laxe has made a truly unique art film about a restless group of ravers who drive out in the the desert on the eve of what could be the end of the world. Since its debut at Cannes, “Sirât” is acquiring superfans — critics and audiences alike — wherever it plays. On the occasion of his first TIFF screening, Laxe spoke to me about his commitment to risk.

JEFF Bezos is mourning the loss of his mother, Jacklyn “Jackie” Bezos, who has died at the age of 78.

The Bezos Family Foundation announced the news, revealing she passed away peacefully at her Miami home today.

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While no cause of death was given, the Foundation said she was diagnosed with Lewy Body Dementia in 2020.

In an emotional post, Jeff reflected on how his mom’s life as an adult began early, becoming a mother at just 17.

He said she “pounced on the job of loving me with ferocity,” later bringing his stepfather Mike into the family and expanding her love to his siblings Christina and Mark.

Bezos said her “list of people to love never stopped growing” and that she “always gave so much more than she ever asked for.”

He shared that after a long battle with Lewy Body Dementia, Jackie died surrounded by her children, grandchildren, and Mike.

“I know she felt our love in those final moments. We were all so lucky to be in her life,” he wrote, adding: “I hold her safe in my heart forever… I love you, mom.”

In a heartfelt tribute, the Foundation described Jackie as “the true meaning of grit and determination, kindness and service to others” — values she passed on to her children and grandchildren.

It praised her husband, Mike Bezos, for staying by her side “at every step” of her illness and thanked the healthcare team who cared for her.

Born December 29, 1946, in Washington, D.C., Jackie had Jeff at 17 with her first husband, Ted Jorgensen, before the couple split when Jeff was a toddler.

She later married Cuban immigrant Miguel “Mike” Bezos in 1968 — a lifelong partnership that lasted nearly six decades.

In 1995, the couple famously invested just under $250,000 into Jeff’s then-new venture, Amazon.

A devoted mother to Jeff, Christina, and Mark, Jackie juggled work, night school, and family life — making countless trips to Radio Shack for Jeff, supervising cheerleading practice for Christina, and hauling drums in the family station wagon for Mark.

She later earned her psychology degree at 45, proving, as the Foundation put it, “it’s never too late to follow your dreams.”

In 2000, she and Mike founded the Bezos Family Foundation, spearheading initiatives such as Vroom, which supports early childhood development, and the Bezos Scholars Program for students in the US and Africa.

She also played a major role in funding groundbreaking cancer research at Seattle’s Fred Hutch Cancer Center.

Her greatest joy, however, was family — particularly her 11 grandchildren, for whom she created “Camp Marmie,” a summer tradition of adventures, problem-solving, and laughter.

Jeff’s wife, Lauren Sánchez, re-shared the tribute on Instagram Stories with a broken heart emoji.

Jackie is survived by Mike, her children Jeff, Christina, and Mark, 11 grandchildren, and one great-grandchild.

The family is asking people to honor her memory by supporting a meaningful nonprofit or performing a simple act of kindness.

More to follow… For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos.

Like us on Facebook at TheSunUS and follow us on X at @TheUSSun

Short, pained lives marked by achievement and promise and then abruptly gone leave a restless afterglow. Youth is supposed to fade away, not become one’s permanent state. And regarding the late musician Jeff Buckley — a roiling romantic with piercing good looks whose singing could rattle bones and raise hairs — that loss in 1997, at the age of 30 from drowning, burns anew with every revisiting of his sparse legacy of recorded material.

Lives are more complicated than what your busted heart may want to read from a voice that conjured heaven and the abyss. So one of the appealing takeaways from the biodoc “It’s Never Over, Jeff Buckley” is a repudiating of the typical narrative of inescapable fate, instead pursuing the richness of a gifted artist’s ups and downs. Director Amy Berg would rather us see Buckley as he was in the world instead of some conveniently doom-laden figure.

The result is loving, spirited and honest: an opportunity for us to get to know the talented, turbulent Buckley through the people who genuinely knew him and cared about him. But also, in clips, copious writings and snatches of voice recordings, we meet someone empathetic yet evasive, ambitious yet self-critical, a son and his own man, especially when sudden stardom proved to be the wrong prism through which to find answers.

With archival material often superimposed over a faint, scratchy-film background, we feel the sensitivity and chaos of Buckley’s single-mom upbringing in Anaheim, the devastating distance of his absentee dad, folk-poet icon Tim Buckley (you’ll never forget the matchbook Jeff saved), and the creative blossoming that happened in New York’s East Village. There, his long-standing influences, from Nina Simone and Edith Piaf to Led Zeppelin and Nusrat Fateh Ali Khan, coalesced into a post-grunge emotionalism anchored by those unbelievable pipes.

Even after Buckley’s record-label discovery leads to the usual music-doc trappings — tour montages, media coverage, performance morsels — Berg wisely keeps the contours of his interior life in the foreground, intimately related by key figures, most prominently Buckley’s mother, Mary Guibert, romantic confidantes such as artist Rebecca Moore and musician Joan Wasser, and bandmates like Michael Tighe. Berg keeps these interviewees close to her camera, too, so we can appreciate their memories as personal gifts, still raw after so many years.

Fans might yearn for more granular unpacking of the music, but it somehow doesn’t feel like an oversight when so much ink on it already exists and so little else has been colored in. The same goes for the blessed absence of boilerplate A-list praise. The global acclaim for his sole album, 1994’s “Grace,” which includes his all-timer rendition of Leonard Cohen’s “Hallelujah,” certainly put admiring superstars (Dylan, Bowie, McCartney) in Buckley’s path, including one of his idols, Robert Plant. But Berg stays true to a viewpoint rooted in Buckley’s conflicting feelings about the pressures and absurdities of fame, and why it ultimately drove him to Memphis to seek the solace to start a second album that was never completed.

The last chapter is thoughtfully handled. Berg makes sure that we understand that his loved ones view his death as an accident, not a suicide, and the movie’s details are convincing. That doesn’t make the circumstances any less heartbreaking, of course. As warmer spotlights go, “It’s Never Over, Jeff Buckley” may never fully expunge what maddens and mystifies about the untimely end of troubled souls. But it candidly dimensionalizes a one-album wonder, virtually ensuring the kind of relistening likely to deepen those echoes.

Darrell Wayne Lukas, known to the general public as D. Wayne and to friends simply as Wayne or as “The Coach” if you were in the business, died on Saturday after a brief illness. He was 89.

Lukas’ career, which started in Southern California in 1968, not only built a recognizable brand but helped shape horse racing for more than 50 years. He won 15 Triple Crown races among his lifetime win total of 4,953, having run horses in 30,436 races. His horses earned more than $300 million.

He died at his home in Louisville, Ky., after being diagnosed with a severe MRSA blood infection that affected his heart, digestive system and worsened preexisting chronic conditions. Lukas decided against an aggressive treatment plan that involved surgeries and round-the-clock assistance. Instead, he returned home and entered hospice care.

“It is with heavy hearts that we share the passing of our beloved husband, grandfather and great-grandfather D. Wayne Lukas. who left this world peacefully [Saturday] evening at the age of 89 surrounded by family,” the Lukas family said in a statement released by Churchill Downs.

“His final days were spent at home in Kentucky, where he chose peace, family and faith. As we grieve at his passing, we find peace knowing he is now reunited with his beloved son, Jeff, whose memory he carried in his heart always.

“We are deeply grateful for the outpouring of love, prayers and support from all corners of the racing community — from ractetracks across the country to lifelong friends and respected rivals, and from fans who never missed a post parade when ‘Lukas’ was listed in the program.”

His illness was announced on June 22 along with the decision that he would not return to training. All of his horses were transferred to his longtime assistant Sebastian “Bas” Nicholl.

“Wayne built a legacy that will never be matched.” said Nicholl upon learning Lukas was not returning to racing. “Every decision I make, every horse I saddle, I’ll hear his voice in the back of my mind. This isn’t about filling his shoes — no one can — it’s about honoring everything he’s built.”

Lukas was so good that he was in not one but two halls of fame. He was inducted into the American Quarter Horse Hall of Fame in 2007 and the U.S. Racing Hall of Fame in 1999.

“Wayne is one of the greatest competitors and most important figures in thoroughbred racing history,” said Mike Anderson, president of Churchill Downs racetrack in Kentucky, after the Lukas family announced the severity of his illness. “He transcended the sport of horse racing and took the industry to new levels. The lasting impact of his character and wisdom — from his acute horsemanship to his unmatched attention to detail — will be truly missed.”

Lukas’ story started on a small farm in Wisconsin.

Bill Dwyre, who previously was the sports editor of L.A. Times and the Milwaukee Journal-Sentinel, recently chronicled Lukas’ roots.

“Lukas did not grow up on some farm in Kentucky, mucking stables as a teenager and rubbing elbows all day, every day, with grizzled horsemen,” Dwyre wrote last year after Lukas won the Preakness with Seize the Grey. “Lukas did grow up on a farm, all right, but in the state of Wisconsin, where there is no parimutuel betting, and where horse racing is pretty much confined to county fairs. His birthplace, Antigo, Wis., an hour and a half northwest of Green Bay, had a fair and D. Wayne … liked the horses.

Trainer D. Wayne Lukas looks on as Preakness Stakes winner Seize the Grey cools down after a workout ahead of the 156th running of the Belmont Stakes in 2024.

(Julia Nikhinson / Associated Press)

“But that sort of career was not foremost in his mind. He went to the University of Wisconsin, got his master’s degree in education, started teaching and soon was a high school head basketball coach. For a while, he was an assistant coach in the Big Ten for UW’s John Erickson. He stayed close to the game of basketball, even as his days were dominated by barns and backstretches. Along the way, one of his best friends became Bob Knight. D. Wayne liked the toughness and drive to win of the legendary Indiana University coach.”

Lukas decided to try his hand at training and started at Los Alamitos in 1968 working with quarter horses. It took him 10 years to realize that the real stars — and the money — was in thoroughbred racing. Before leaving the quarter horse ranks, he won 739 races and saddled 24 world champions.

He won his first thoroughbred race on Oct. 20, 1977, at Santa Anita. He won his last race at Churchill Downs on June 12 with 4-year-old colt Tour Player.

In between, he won the Kentucky Derby four times, the Preakness seven times and the Belmont Stakes four times. He has won 20 Breeders’ Cup races. He won the Eclipse Award for top trainer four times and was the leading trainer by wins four straight years from 1987 to 1990. In 1995, he won all three Triple Crown races but with two different horses; Thunder Gulch won the Kentucky Derby and Belmont Stakes and Timber Country won the Preakness. It was the first time a trainer accomplished that feat.

“The most enduring and essential sports legacies can also be the most complicated,” wrote NBC’s Tim Layden, a multiple Eclipse Award-winning journalist, upon learning of Lukas’ illness. “The very best are not just driven, but obsessive. Not just creative, but ingenious. Not just hungry, but voracious. Jordan. Woods. Ali. Armstrong. Rose. One of Lukas’ favorites, and a close friend: Bob Knight. To name a few. … Transcendence demands a selfish eccentricity; because greatness and normalcy are often mutually exclusive. Lukas has lived long enough to earn a warm embrace that he would not have received as a younger man, but that embrace alone doesn’t tell enough of his outsized story and his place in racing history, where he stands very much alone.”

Lukas first made his thoroughbred mark in 1980 when he won the Preakness with Codex. It was not a popular win as Codex beat Derby-winning filly Genuine Risk and then had to withstand an inquiry to officially give Lukas his first Triple Crown win.

Bookending that win was his last Triple Crown race victory, when he won the Preakness last year with Seize the Grey.

“One of the things that was very significant to me [that day] — and maybe it’s because I’m getting a little bit older — but as I came out of the grandstand and out across the racetrack, every one of the guys that were in that race stopped and hugged me and gave me a handshake,” Lukas told The Times after the race.

“That meant more to me than any single thing. [Bob] Baffert, Kenny McPeek, right down the line.”

Lukas did not get the nickname Coach because of his days as a basketball coach but because of the coaching tree he established during his tenure.

Among those that were his assistants were Hall of Famer Todd Pletcher, future Hall of Famer Brad Cox, Kiaran McLaughlin, Dallas Stewart, Mike Maker, Mark Hennig, Randy Bradshaw, George Weaver and Bobby Barnett.

Among those Lukas was closest to, but never worked for, is Baffert.

“I asked him for a job one time out of high school, and he turned me down,” Baffert told The Times in 2018, while he was on his Triple Crown run with Justify. “I tell him, ‘I’m sure glad you turned me down because you’d be taking all the credit for this.’ But he probably would have fired me after two weeks because he works way too hard.”

Lukas later introduced Baffert at his U.S. Racing Hall of Fame induction ceremony.

“He told me everybody was laughing and kidding [when they heard I was inducting him,]” Lukas told The Times in 2018. “They were saying he’s not going to have Wayne do it because they thought we were rivals. Yet he came to me, and I said, ‘Bob, I’ll be honored to present you.’ And I did.”

“The media portrayed us as rivals and everything, so we would go along with you guys and then we’d go to dinner later,” Lukas said of Baffert.

“We’ve been friends for a long time. I have great respect for his ability. He’s got an excellent eye for a horse. He’s one of the few guys in the sale that when I pick one out that I like, I know sure as hell he’ll be bidding too.”

Seize the Grey’s trainer, D. Wayne Lukas, left, shakes hands with Bob Baffert, Imagination’s trainer, after Lukas’ horse won the Preakness Stakes in 2024.

(Julia Nikhinson / Associated Press)

In fact, this year at the Preakness Alibi Breakfast, an annual affair at Pimlico where trainers, owners and others tell stories and trade barbs about their career and horses, Lukas and Baffert hijacked the event with witty repartee and joking much to the delight of those in attendance. Their friendship was borne out as genuine.

“The horses were everything to Wayne,” Baffert posted on X after learning of Lukas’ death. “They were his life. From the way he worked them, how he cared for them, and how he maintained his shedrow as meticulously as he did his horses. No detail was too small. Many of us got our graduate degrees in training by studying how Wayne did it. Behind his famous shades, he was a tremendous horseman, probably the greatest who ever lived.”

Lukas’ life on the racetrack had one significant downside, when his son and assistant, Jeff, was run over and permanently injured by a loose horse at Santa Anita in 1993.

“I have a phone with one of those long cords,” Lukas told The Times’ Dwyre in 1999, “and so, I was up and walking around and right near the door when it happened. I was the first one to get to him.”

“One of Lukas’ Triple Crown prospects, Tabasco Cat, had bolted and was loose,” Dwyre wrote. “Jeff Lukas, a veteran horseman well schooled in the procedures for such situations, had stepped in Tabasco Cat’s path and was waving his arms. Horses always stop, or veer away. But this time…

“It’s like when you meet somebody in a narrow hallway,” Lukas said. “You go right and he goes right, and then you both go the other way. But eventually, one goes right and one left. Well, Jeff and the horse both went the same way.”

“Witnesses say that the sound of Jeff Lukas’ head hitting hard, compact ground after the collision could be heard several barns away. There was no blood, just an unconscious, badly injured 36-year-old man.”

The next year, Jeff Lukas had recovered enough to return to the racetrack but it proved too difficult for him to work around horses safely. Jeff eventually moved to Oklahoma and lived in a home his father bought him until Jeff’s death in 2016 at age 58.

Santa Anita issued this statement on Sunday after learning of Lukas’ death.

“Santa Anita joins the racing community in mourning the passing of D. Wayne Lukas. … His on-track success was such that it was easy to overlook his outstanding horsemanship that we were lucky to often witness back at the barn, away from the spotlight.”

Funeral arrangements for Wayne Lukas were not immediately announced.

Lukas is survived by his fifth wife, Laurie; grandchildren Brady Wayne Lukas and Kelly Roy; and great-grandchildren Johnny Roy, Thomas Roy, Walker Wayne Lukas and Quinn Palmer Lukas.

Jeff Bezos and Lauren Sánchez are officially husband and wife.

The Amazon founder, who’s been linked to Sánchez since 2019, hosted an extravagant, reportedly $50-million celebration in Venice, Italy, stretching three days. From the lavish location to the celebrity guest list, the event has attracted a media frenzy, but also experienced its fair share of hiccups — including a last-minute venue change to the island of San Giorgio Maggiore.

Here’s what we know about the wedding so far.

The wedding dress

Sánchez opted for a custom Dolce & Gabbana wedding gown inspired by Sophia Loren’s gown in the 1958 film “Houseboat.” This marks the first time Sánchez has worn such a high-necked formal dress, she told Vogue.

“It is a departure from what people expect,” she said, “from what I expect — but it’s very much me.”

The bride shared two images of her dress Friday on Instagram, where she also updated her handle to @laurensanchezbezos.

Other ensembles planned for the big day were a corseted gown inspired by the Rita Hayworth film “Gilda” and an Oscar de la Renta cocktail dress with 175,000 crystals, according to Vogue.

Lauren Sánchez departs from her hotel in Venice for pre-wedding celebrations.

(Antonio Calanni / AP)

Something Blue Origin

Sánchez’s “something borrowed” was a pair of Dolce & Gabbana Alta Gioielleria Miracolo earrings, according to Vogue. And her “something blue,” she revealed, was a souvenir she brought on her controversial 11-minute Blue Origin spaceflight.

“It was literally one of the most profound experiences I’ve ever had in my life,” she told Vogue. “Jeff said, ‘It’s gonna change you more than you think,’ and it completely has, visually, spiritually.”

Kim and Khloé Kardashian were among the celebrities who attended Jeff Bezos and Lauren Sánchez’s wedding.

(Luigi Costantini / AP)

A star-studded guest list

As expected, several A-listers made the 200-person guest list.

Notably, Orlando Bloom arrived solo after reportedly ending his engagement with Katy Perry. Sánchez seemed to acknowledge Perry’s absence, commenting, “We miss you Katy,” Friday on the pop star’s Instagram. Perry famously joined Sánchez on the Blue Origin space flight and has received a disproportionate amount of the criticism.

Though President Trump was not present (despite reports that he received an invitation), his daughter Ivanka Trump and Ivanka’s husband, Jared Kushner, were in attendance, along with in-laws Karlie Kloss and Joshua Kushner.

Other celebrities in attendance were Kim and Khloé Kardashian; Kris, Kylie and Kendall Jenner; Bill Gates and Paula Hurd; Sydney Sweeney; Tom Brady; Leonardo DiCaprio; Usher; Eva Longoria and José Bastón; Diane von Furstenberg and Barry Diller; Oprah Winfrey; and Gayle King, who was also aboard the Blue Origin spaceflight.

Though President Trump wasn’t present, his daughter Ivanka Trump and her husband, Jared Kushner, attended the wedding.

(Luigi Costantini / AP)

Protests and criticism

The lavish celebration was not without its critics. The No Space for Bezos movement — a combination of anti-cruise ship campaigners, university groups and housing advocates — staged protests throughout Venice leading up to the event, even planning to obstruct canal access to prevent wedding guests from reaching the venue, according to the Associated Press. The newlyweds reportedly had to make an eleventh hour venue change, opting for the more secluded and secure Arsenale for the Saturday reception, according to local media.

BOBBY Brazier has called his dad Jeff a ‘rock’ in a sweet Father Day’s post – after his brother Freddy’s rehab U-turn.

The EastEnders star, 22, and younger sibling Freddy, 20, are sons of Jeff Brazier and the late Jade Goody.

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Taking to Instagram, Bobby shared a photo of himself, Jeff and Freddy stood on a beach, looking out towards the ocean.

With the three having their arms around each other in the snap, he captioned: “My dads a rock.”

It comes as Freddy made a shock U-turn on plans to enter rehab – just days after admitting he’s been hooked on smoking since the age of 12.

The Celebrity Race Across The World alum shared a dramatic change of heart on Instagram over the weekend.

Posting a black and white throwback of himself as a child, Freddy wrote: “You know what I don’t need rehab! I just need a holiday with a good group of boys or a retreat.”

Freddy stunned followers when he opened up about a long-standing smoking addiction and a desire to make peace with his dad after a tense family rift.

The 20-year-old, revealed he wanted to get help in Spain for cannabis, saying he “wants a healthy relationship with his dad”.

In a heartfelt post, he said: “I want to be clean so I can life happily and have healthy relationships with people and be there for all of my family rather then feeling like I’m in the middle and have to choose a side.”

Freddy also shared hopes of mending things with his famous father, saying: “I want to play football and take up boxing. I want to be happy and be in a healthy relationship and have a healthy relationship with my Nana and my father.”

Elsewhere, elder son Bobby has “become a Hare Krishna” and is “seeking solace” in rituals following mum Jade’s death.

The former Strictly finalist has become a regular at the Hare Krishna temple in Soho, where he takes part in communal prayers, chants mantras and helps prepare meals.

Friends say Bobby’s interest in spirituality has grown over the past year and is helping him process the lasting impact of losing his mum to cervical cancer in 2009, when he was just five.

A volunteer at the temple told MailOnline: “He’s here every Saturday without fail. He joins our kitchen session, learns the prayers – this isn’t a gimmick.”

A family friend added: “Bobby had a difficult life. His mum dying left a mark on him, as it would.

“Hare Krishna is somewhere he seeks solace. It might seem strange, but for him, it works.”

Last year, The Sun published images of Bobby joining in cha-cha-chanting at a Hare Krishna gathering on Oxford Street, where he was even seen handing out leaflets.

Bobby said of the movement: “I’ve had the blessing of meeting some incredible devotees who have really taken me under the wing and been really merciful upon me.

“And they are just the most beautiful, happy, content, smart, intelligent people.”

The young actor will also soon be leaving his EastEnders role as Freddie Slater.

Inside Bobby Brazier’s burgeoning TV career

Bobby Brazier has risen through the ranks to become a well known face on British TV.

As the son of Jade Goody and Jeff Brazier, he has been well-known amongst the public from a young age.

Bobby first embarked on a showbiz career when he was just 16-years old when he started modelling.

The star made his catwalk debut in 2020 at Milan Fashion Week, but it wasn’t long before he had his eyes on a TV career.

He shot to prominence in 2022 when he was cast as Freddie Slater in EastEnders.

The incredibly acting skills displayed on screen earned him the National Television Award in the ‘Rising Star’ category.

His famous dad was in tears as Bobby accepted the award on stage in front of the likes of Holly Willoughby and Alison Hammond.

It wasn’t long before BBC bosses wanted him to take part in the 21st series of Strictly Come Dancing.

He clearly impressed the viewers with his dancing skills as he made the grand final and was a runner-up.

Since then, viewers were delighted when he returned to his role in the long-running BBC One soap.

An EastEnders spokeswoman said: “We can confirm that Bobby Brazier will be leaving EastEnders, and we wish him all the best for the future.”

A telly insider revealed: “Bosses had a meeting with Bobby only recently as they had a plan in mind for a storyline, and it just so ­happened that Bobby was also thinking that now was the right time to look for other opportunities outside the show.

“The timing of the decision worked for both, but his final scenes are not for a while yet.

“The character has had a great run, but the time is now right for Bobby to look for other opportunities, and for EastEnders to wave goodbye to Freddie Slater.”

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At the beginning of “Mountainhead,” written and directed by Jesse Armstrong of “Succession” fame and premiering Saturday on HBO, three multibillionaire tech bros make their way by private plane, helicopter and SUV caravan to join a fourth in a big modernist house on an isolated, snowy mountaintop for a weekend of poker and drugs — “no deals, no meals, no high heels.” One might wish for an avalanche, were there anything higher to fall on them.

Venis (Cory Michael Smith), the world’s richest man — imagine Musk, Bezos and Zuckerberg put in a blender, as perhaps you have — commands a social media site with, wait for it, four billion subscribers, and has just released new “content tools” that allow for super high-res “unfalsifiable deep fakes.” As a result, the sectarian world is going up in flames. Jeff (Ramy Youssef), a rival who had poached members of Venis’ team, has an AI algorithm capable of filtering out the bad information which Venis, closing the digital barn door after the cow is out, wants to acquire; but Jeff, for reasons of profit, power and/or ego, is not going to let it go.

Randall (Steve Carell), their gray-haired guru — they call him “Papa Bear,” though Jeff also dubs him “Dark Money Gandalf” — controls a lot of international infrastructure, including military. Preoccupied with his mortality — told by his latest oncologist that his cancer is incurable, he responds, “You are not a very intelligent person” — he’s hoping to upload his consciousness to the grid, a possibility Venis assures him is only five years off as long as he can get his hands on Jeff’s AI. The relatively inoffensive Hugo (Jason Schwartzman), whose house it is, hopes to expand the meditation app he created, into a lifestyle super app — offering “posture correction, therapy and a brand new color” — with his friends’ investment of “a b-nut,” i.e., a billion dollars. They call him “Souper,” for “soup kitchen,” because he is worth only $521 million. He’s the runt of the litter, and the comedy relief.

Jason Schwartzman plays Hugo, only worth half a million, who is the comedic relief in “Mountainhead.”

(Macall Polay / HBO)

For no given reason, they call themselves the Brewsters — perhaps just so they can crow “cock-a-doodle-brew.” They are full of themselves — “The great thing about me,” says Randall, “is that I know everyone and do everything” — and basically insecure.

They rewrite their fundamental nihilism into the belief that their business is good for mankind, whatever the actual human cost. “You’re always going to get some people dead,” Randall says. “Nothing means anything,” Venis says, “and everything’s funny and cool.” (But he does miss his mother and, in a particularly creepy interlude, his baby is brought up the mountain for an uncomfortable minute.) In the only scene to take them out of the house, the four travel to the crest of a mountain, where Hugo writes each man’s net worth in lipstick on his chest, they don hierarchical headgear and shout, “Mountain god accelerator legacy manifestation!” into the valley below, each adding a wish. It is, seemingly, something they have done before.

Randall name-checks philosophers — Hegel, Kant, Nietzsche, Plato, Marcus Aurelius — he misunderstands to his advantage and drops references to the Catiline Conspiracy and the Battle of Actium to make base actions sound important and dignified. He calls the president a “simpleton” — one assumes Armstrong is reflecting on the current one — but for all their power, money and influence, they all lack wisdom. And if recent years have taught us anything, it’s that these things are not mutually exclusive.

Venis thinks the violence engulfing the globe, which cannot touch him, may prove cathartic; Randall is “excited about these atrocities.” They discuss taking over “failing nations” to “show them how it’s done.” (In perhaps the film’s funniest line, Hugo, who has been working on his house, muses, “I don’t know if I want to run Argentina on my own — not on the back of a major construction project.”) They trade in gobbledygook phrases like “AI dooming and decelerationist alarmism,” “compound distillation effect” and “bootstrap to a corporate monarchy, cyber-state it to the singularity, eat the chaos,” which for all I know is just Armstrong quoting things people of this sort have actually said. It seems possible.

As the only one with a sense of humor and a semblance of perspective, Jeff is the most sympathetic of this toxic crew. He tracks the worsening world situation with some empathetic concern, but even though he holds the key to end the madness, he does not seem in a hurry to turn it. (Mostly he is concerned with his girlfriend, who is in Mexico, not so much because of the unrest, but because he fears she’s having sex.) Still, he stands a little apart, to his peril.

The first half of the film proceeds essentially as a play for four characters. Apart from Hugo’s asking for “help with the cold cuts” or inquiring whether everyone’s cool with reusing plates, there is a scarcely a line in which people talk like people; it is all theatrical declaration. To some extent it fits the coldness of the quartet — they hug and hoot and occasionally express a droplet of emotion, but the friendship on which they insist is competitive, transactional and illusory. They are not good company, but for those of us less than impressed by the whole “move fast and break things” thing, or not willing to bow down before ChatGPT and OpenAI or the actual tech billionaires deforming the world, there is some fun in watching them fall apart. In some ways, “Mountainhead” (rhymes with “Fountainhead”) feels as much a public service as an entertainment. So thanks for that, Jesse Armstrong.

When, in the farcical, action-oriented second half, some attempt to execute a … plot, they bumble and argue and push each other to the front. It is an old kind of movie comedy, and works pretty much as intended.

Stag Web describes the experience as an “ultra-high-end weekend exclusively for those with 10-digit bank balances” that is “inspired by Jeff Bezos’s upcoming nuptials”

Things have come a long way in the world of stag do planning.

A few decades ago a typical “last night of freedom” consisted of traipsing down to the local pub with your best friend from school, a cousin and a father-in-law or two for an evening of ale, crisps and perhaps a go on the fruity.

Those days are now a long way behind us, with a typical stag far more likely to jet off to Benidorm or Amsterdam.

For those who enjoy a bit of one-upmanship, one stag do company is taking things to the next level with a “bespoke service for the top 0.0001%: the Billionaire Stag Do”.

Stag Web describes the experience as an “ultra-high-end weekend exclusively for those with 10-digit bank balances” that is “inspired by Jeff Bezos’s upcoming nuptials”.

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“They only quote actual billionaires, though, so unless you have the money to prove you’re a real high roller, you won’t be able to enquire,” the firm jokes. Unfortunately, they won’t let on how much the package costs.

When the Mirror asked, Stag Web’s spokesperson said: “It’ll be a bespoke, build-from-scratch service so the sky’s the limit!” Judging from the list of possible options, it is not going to be cheap.

They include:

• A private jet to “fly the squad in from wherever the hell they currently live”.
• Helicopter transfers “between continents, countries, courses, and clubs”.
• Supercar convoy “through a sun-drenched city”.
• Private mega-yacht or “Bond villain-style clifftop villa with panoramic views”.
• Private chef “squad crafting midnight wagyu sliders and 4 am caviar toasties”.
• The works “which means hot tubs, infinity pools, cigar lounges, saunas, secret bars”.

Stag Web urges punters to “party like the 1%”, although it is hard to imagine exactly how that is possible if you don’t have a tech company or large private income.

Nonetheless, the happy-go-lucky firm is willing to arrange a “elicopter bar crawl across three countries in a single night, luxury golf experience on a private course with Champagne caddies, private island takeover for beach parties, shark diving, etc, personal comedy roast by a stand-up who’s actually been on TV and casino hire.”

If that isn’t enough to clear out your bank account, then you can hire a butler for each guest, a Champagne cannon for dramatic entrances andstag do goodie bags filled with Rolexes, “keys to your new penthouses, and other billionaire goodies”.

“We created the million-pound stag weekend 10 years ago, but that’s chump change to the billion-pound club,” said Jon Stainer, director at StagWeb.