Cher Horowitz fans, rejoice: Amy Heckerling’s 1995 teen comedy is one of 25 classic movies chosen this year by the Library of Congress for its National Film Registry.
And if “Clueless” wasn’t your jam — whatever! — maybe this will send you deep into your dreams: Christopher Nolan’s mind-bending “Inception” is in the mix. Other films chosen for preservation include “The Karate Kid,” “Glory,” “Philadelphia,” “Before Sunrise,” “The Incredibles” and “Frida.” There are four documentaries, including “Brooklyn Bridge” by Ken Burns. From old Hollywood, there’s the 1954 musical “White Christmas,” and the 1956 “High Society,” Grace Kelly’s last movie before marrying into royalty.
Since 1988, the Library of Congress has selected 25 movies each year for preservation due to their “cultural, historic or aesthetic importance.” The films must be at least 10 years old.
The oldest of the 2025 picks dates from 1896, filmmaker William Selig’s “The Tramp and the Dog.” The newest of the group is from 2014: Wes Anderson’s “The Grand Budapest Hotel,” which, the registry noted, involved “meticulous historical research at the Library of Congress to create visually striking scenery.”
Turner Classic Movies will host a TV special March 19 to screen a selection of the films.
A closer look at some of this year’s selections:
“The Tramp and the Dog” (1896): Once deemed lost, but discovered in 2021 at the National Library of Norway, Selig’s silent film tells the story of a tramp who tries to steal a pie from a backyard windowsill — and is foiled by a dog. The registry notes it’s an early example of “pants humor” — “where a character loses (or almost loses) its pants during an altercation.”
“The Maid of McMillan” (1916): This 15-minute “whimsical silent romance” shot by students at a drama club at Washington University in St. Louis tells the story of the track team captain, Jack, who’s in love with Myrtle, “a pretty coed,” according to the university’s library. It is known, the registry says, as the first student film on record.
“Ten Nights in a Barroom” (1926): A silent film featuring an all-Black cast, it’s based on a stage melodrama adapted from “Ten Nights in a Bar-room and What I Saw There,” an 1854 “temperance novel” written to discourage readers from drinking alcohol.
“High Society” (1956): In what the registry calls “the last great musical of the Golden Age of Hollywood,” Bing Crosby appeared with Frank Sinatra and Grace Kelly, in her last movie before retiring and marrying Prince Rainier of Monaco. Louis Armstrong appeared with his band. Kelly wore her Cartier engagement ring during filming, the registry notes.
“Brooklyn Bridge” (1981): Ken Burns’ first documentary broadcast on PBS, in which the filmmaker recounted the building of the iconic landmark. “More than just a filmmaker, Burns has become a trusted public historian,” the registry says.
“The Big Chill” (1983): Lawrence Kasdan’s era-defining story of a group of friends reuniting after a suicide features Glenn Close, William Hurt, JoBeth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly in an ensemble that “portrays American stereotypes of the time — the yuppie, the drug dealer, the TV star — and deftly humanizes them.”
“The Karate Kid (1984): The first film in the franchise, starring Ralph Macchio and Pat Morita, is “as American as they come,” the registry says — “a hero’s journey, a sports movie and a teen movie — a feel-good movie, but not without grit.”
“Glory” (1989): Denzel Washington won an Oscar as Private Trip in this story of the 54th Regiment, a unit of Black soldiers who fought in the Civil War. The cast also included Morgan Freeman, Matthew Broderick, Cary Elwes and Andre Braugher.
“Philadelphia” (1993): Tom Hanks starred — and won an Oscar — in one of the first big studio movies to confront the HIV/AIDS crisis. The film is also known for Bruce Springsteen’s Oscar-winning song, “The Streets of Philadelphia.”
“Before Sunrise” (1995): The first film of Richard Linklater’s deeply romantic “Before” trilogy, starring Ethan Hawke and Julie Delpy. The registry notes Linklater’s “innovative use of time as a defining and recurring cinematic tool.”
“Clueless” (1995): Heckerling’s teen comedy, starring Alicia Silverstone, was a loose adaptation of Jane Austen’s “Emma” and forever enshrined the phrase “As if!” into popular culture. The registry hails “its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism.”
“The Wrecking Crew” (2008): Danny Tedesco’s documentary — not to be confused with the 2026 buddy cop movie of the same name — looks at a group of Los Angeles studio musicians who played on hit songs of the ‘60s and ’70s such as “California Dreamin’” and “The Beat Goes On.”
“Inception” (2010): In a movie that asks whether it’s possible to influence a person’s thoughts by manipulating their dreams, Nolan “once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects.”
Noveck writes for the Associated Press.
Full chronological list of 2025 National Film Registry inductees
After Paul Dano came under unexpected fire from filmmaker Quentin Tarantino in December, the “There Will Be Blood” star received support from fellow artists including Daniel Day-Lewis and Ben Stiller. A month after the drama, he is now returning the love.
Dano finally publicly addressed Tarantino’s controversial comments at the Sundance Film Festival during a 20th anniversary screening of “Little Miss Sunshine.” Speaking to Variety, he said the groundswell of support “was really nice.”
Tarantino appeared on Bret Easton Ellis’ podcast in December to rank his top 10 films of the century. The “Django Unchained” and “Pulp Fiction” filmmaker placed Paul Thomas Anderson’s oil drama “There Will Be Blood” at No. 5 on his list, and said specifically Dano — not his performance — was the “big, giant flaw” in the Oscar-winning film. “There Will Be Blood” stars Dano as fiery preacher Eli Sunday and Day-Lewis as oil tycoon Daniel Plainview.
When the movie was released in 2007, former Times film critic Kenneth Turan praised Dano as “smoothly effective” and gifted. Clearly, Tarantino thought otherwise.
“He is weak sauce, man. He’s a weak sister,” Tarantino said, adding that he thought “Elvis” star Austin Butler (who was a teenager launching his career on Disney Channel and Nickelodeon when the movie came out) would have been a better actor for the part. “He’s just such a weak, weak, uninteresting guy,” he said.
Tarantino added: “You put [Day-Lewis] with the the weakest f— actor in SAG?”
A handful of Dano’s collaborators immediately defended him. “Escape at Dannemora” executive producer Stiller praised him as “brilliant” and Reese Witherspoon called her “Inherent Vice” co-star an “incredibly gifted, versatile actor” and a gentleman. Matt Reeves, Josh Gad, Alec Baldwin and Simu Liu also voiced their support for Dano, whose credits include Steven Speilberg’s Oscar-nominated “The Fabelmans,” Bong Joon Ho‘s “Okja” and Oscar-winning director duo Daniels’ (Daniel Kwan and Daniel Scheinert) “Swiss Army Man.”
“I was also incredibly grateful that the world spoke up for me so I didn’t have to,” Dano said at the Sundance screening.
Before Dano responded, though, Toni Collette (who played his mom in “Little Miss Sunshine”) chimed in, dismissing “that guy” Tarantino and speculating that “he must’ve been high.”
“It was just confusing. Who does that?,” she said, according to Variety. “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris also criticized Tarantino and praised their star.
During his podcast appearance in December, Tarantino also slammed Owen Wilson and scream king Matthew Lillard. In an interview with Entertainment Weekly published Wednesday, Lillard brushed off the shade and recalled the ensuing social media praise for his talents. “It was like living through your own wake,” Lillard told EW.
“All those R.I.P. emails or tweets and Instagram posts and TikToks, all of the things we see after somebody passes are so sweet,” he added. “And the reality is I just got to live through all of it firsthand — alive and kicking! I can’t imagine a more lovely reaction to what happened.”
At the 2024 Oscars, Ryan Gosling, reprising his role as Ken in Greta Gerwig’s 2023 movie “Barbie,” donned a bedazzled pink suit and belted the ballad “I’m Just Ken.”
“I’m just Ken, anywhere else I’d be a 10,” the actor sang. “Is it my destiny to live and die a life of blond fragility?”
Barbie’s needy male counterpart, it turns out, is not “just Ken.” His full name is Kenneth Sean Carson, according to Mattel, which says the doll saw a uptick in popularity in the years following the hit movie’s release.
Ahead of Ken’s 65th birthday, the El Segundo-based toy giant shared a laundry list of niche biographical details about the doll, including his official “birthday” — March 11, 1961, making him a Pisces — as well as his relationship history with Barbie.
The company said in a statement Monday that Ken has “experienced a resurgence in recent years.”
A Mattel spokesperson cited the “Barbie” movie as a driving factor, as it showed a “different side” of Ken. In a meta move, the company later in 2023 released Ken dolls modeled after Ryan Gosling’s portrayal of Ken.
The “Kenbassador” line launched last year was a “great success,” the spokesperson said. The first product in that toy series was a $75 doll modeled after basketball player LeBron James released in April.
Mattel says it does not break out sales of Ken dolls, but in 2017, when Mattel unveiled Ken dolls with different body types, including one that invited “dad-bod” comparisons, the company told the Wall Street Journal that, on average, girls have one Ken doll for every seven Barbies they own.
Ruth Handler, the creator of Barbie, named the original doll after her daughter, Barbara. The glamorous doll, unique in that it depicted a grown woman rather than a baby, was an instant hit when it debuted at the New York Toy Fair in 1959. Barbie has significantly evolved in the decades since. Recent additions include Barbies with Type 1 diabetes and another with autism.
The Ken doll, created in 1961, was named after Handler’s son, Kenneth. He featured molded hair, wore red swim trunks and carried a yellow towel.
Kenneth Handler told The Times in a 1989 story that there were few similarities between him and the doll named after him. He died in 1994.
“Ken doll is Malibu,” he said. “He goes to the beach and surfs. He is all these perfect American things.”
But when Kenneth Handler was at Hamilton High School in Beverlywood, he “played the piano and went to movies with subtitles.” He continued, “I was a nerd — a real nerd. All the girls thought I was a jerk.”
Like Barbie, Ken dabbled in many different careers over the decades. There have been doctor, pilot, tennis player, firefighter, lifeguard, barista and even Olympic skier Kens, among many others. In 2006, he received a “mid-life makeover” from celebrity stylist Phillip Bloch.
According to the company, Ken and Barbie “met” on the set of their first television commercial in 1961 and soon began dating. After more than four decades, the doll couple broke up in 2004, but reunited in 2011.
Mattel was founded by Ruth Handler; her husband, Elliot Handler; and Harold “Matt” Matson in 1945 in a Los Angeles garage. The toy maker became a publicly traded company in 1960.
Mattel, which also owns Fisher-Price and Hot Wheels, wrote in its October Securities and Exchange Commission filing that “industry-wide shifts in retailer ordering patterns” pushed its third quarter net sales down 6%.
In 2024, Barbie gross billings — which measure the total value of products Mattel ships to retailers before sales adjustments — were down 12% from 2023, which had seen a boost from the movie, according to the company’s annual SEC filing.
Many in Hollywood fear Warner Bros. Discovery’s sale will trigger steep job losses — at a time when the industry already has been ravaged by dramatic downsizing and the flight of productions from Los Angeles.
David Ellison‘s Paramount Skydance is seeking to allay some of those concerns by detailing its plans to save $6 billion, including job cuts, should Paramount succeed in its bid to buy the larger Warner Bros. Discovery.
Leaders of the combined company would search for savings by focusing on “duplicative operations across all aspects of the business — specifically back office, finance, corporate, legal, technology, infrastructure and real estate,” Paramount said in documents filed with the Securities & Exchange Commission.
Paramount is locked in an uphill battle to buy the storied studio behind Batman, Harry Potter, Scooby-Doo and “The Big Bang Theory.” The firm’s proposed $108.4-billion deal would include swallowing HBO, HBO Max, CNN, TBS, Food Network and other Warner cable channels.
Warner’s board prefers Netflix’s proposed $82.7-billion deal, and has repeatedly rebuffed the Ellison family’s proposals. That prompted Paramount to turn hostile last month and make its case directly to Warner investors on its website and in regulatory filings.
Shareholders may ultimately decide the winner.
Paramount previously disclosed that it would target $6 billion in synergies. And it has stressed the proposed merger would make Hollywood stronger — not weaker. The firm, however, recently acknowledged that it would shave about 10% from program spending should it succeed in combining Paramount and Warner Bros.
Paramount said the cuts would come from areas other than film and television studio operations.
A film enthusiast and longtime producer, David Ellison has long expressed a desire to grow the combined Paramount Pictures and Warner Bros. slate to more than 30 movies a year. His goal is to keep Paramount Pictures and Warner Bros. stand-alone studios.
This year, Warner Bros. plans to release 17 films. Paramount has said it wants to nearly double its output to 15 movies, which would bring the two-studio total to 32.
“We are very focused on maintaining the creative engines of the combined company,” Paramount said in its marketing materials for investors, which were submitted to the SEC on Monday.
“Our priority is to build a vibrant, healthy business and industry — one that supports Hollywood and creative, benefits consumers, encourages competition, and strengthens the overall job market,” Paramount said.
If the deal goes through, Paramount said that it would become Hollywood’s biggest spender — shelling out about $30 billion a year on programming.
In comparison, Walt Disney Co. has said it plans to spend $24 billion in the current fiscal year.
Paramount also added a dig at Warner management, saying: “We expect to make smarter decisions about licensing across linear networks and streaming.”
Some analysts have wondered whether Paramount would sell one of its most valuable assets — the historic Melrose Avenue movie lot — to raise money to pay down debt that a Warner acquisition would bring.
Paramount is the only major studio to be physically located in Hollywood and its studio lot is one of the company’s crown jewels. That’s where “Sunset Boulevard,” several “Star Trek” movies and parts of “Chinatown” were filmed.
A Paramount spokesperson declined to comment.
Sources close to the company said Paramount would scrutinize the numerous real estate leases in an effort to bring together far-flung teams into a more centralized space.
For example, CBS has much of its administrative offices on Gower in Hollywood, blocks away from the Paramount lot. And HBO maintains its operations in Culver City — miles from Warner’s Burbank lot.
The tender offer was set to expire last week, but Paramount extended the window after failing to solicit sufficient interest among Warner shareholders.
Some analysts believe Paramount may have to raise its bid to closer to $34 a share to turn heads. Paramount last raised its bid Dec. 4 — hours before the auction closed and Netflix was declared the winner.
Paramount also has filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming stockholder meeting.
Should Paramount win Warner Bros., it would need to line up $94.65 billion in debt and equity.
Billionaire Larry Ellison has pledged to backstop $40.4 billion for the equity required. Paramount’s proposed financing relies on $24 billion from royal families in Saudi Arabia, Qatar and Abu Dhabi.
The deal would saddle Paramount with more than $60 billion of debt — which Warner board members have argued may be untenable.
“The extraordinary amount of debt financing as well as other terms of the PSKY offer heighten the risk of failure to close,” Warner board members said in a filing earlier this month.
Paramount would also have to absorb Warner’s debt load, which currently tops $30 billion.
Netflix is seeking to buy the Warner Bros. television and movie studios, HBO and HBO Max. It is not interested in Warner’s cable channels, including CNN. Warner wants to spin off its basic cable channels to facilitate the Netflix deal.
Analysts say both deals could face regulatory hurdles.
In late 2024, shortly after her husband, Donald Trump, was reelected as the 47th president of the United States, Melania Trump saw an opportunity: a documentary centered on her life.
The film, a follow-up to her eponymous memoir, would offer a window into the first lady’s private, sphinx-like world, in contrast to that of her bombastic, spotlight-seeking husband.
To direct the film, a fly-on-the-wall chronicle of the 20 days leading up to the inauguration, Melania turned to an unlikely choice: Brett Ratner, who only a few years earlier had been all but banished from Hollywood.
The controversial filmmaker had been recommended by her agent and “senior advisor” Marc Beckman, who had a long-standing relationship with Ratner.
“He’s one of the most talented directors of our lifetime,” said Beckman, who negotiated the unusually lucrative $40-million deal with Amazon MGM Studios to distribute the film.
“He actually accounts for like $2 billion in box-office receipts,” Beckman told The Times. “He really understands not just how to create something that’s gorgeous, but also how to reach the passions and emotions of his audience.”
The timing was fortuitous. Ratner was looking for a comeback vehicle from his heady days as one of the industry’s most successful filmmakers. And Beckman was among several prominent figures in Trump’s orbit who could help make that happen.
President-elect Donald Trump kisses his wife, Melania, before his inauguration on Jan. 20, 2025.
(Saul Loeb / Associated Press)
Brash, rich and successful, Ratner, 56, was the director and producer of a string of blockbuster films, the “Rush Hour” franchise and “X-Men: The Last Stand” among them. He was a consummate Hollywood dealmaker and habitué of red carpets who held court at the legendary basement disco inside of his equally storied Beverly Hills estate.
Then, in the fall of 2017, The Times reported on sexual misconduct allegations against Ratner made by multiple women. At the time, Ratner strenuously denied the claims.
It was the height of the #MeToo movement and a range of sexual misconduct allegations toppled the careers of powerful men, from disgraced producer Harvey Weinstein to “Today Show” host Matt Lauer and CBS Chairman Les Moonves. Weinstein was later convicted of rape in Los Angeles and sentenced to 16 years in prison.
Almost immediately, Ratner’s reign as blockbuster king was over.
Beckman, however, viewed Ratner first and foremost as a director. They had a relationship that stretched back to 2007. Beckman’s agency hired Ratner to direct a sultry Jordache jeans campaign, inspired by the iconic photographer Helmut Newton, whose work was edgy, provocative and erotically charged. The campaign, shot at the Chateau Marmont, featured a mostly topless Heidi Klum — in one ad she is brandishing a riding whip.
Beckman declined to say whether he had talked to other potential directors, nor would he address any of the claims made against Ratner. He stressed that it was Ratner’s “massive talent” that put him in the director’s chair. “We focused on Ratner’s capabilities as being a superior director,” he said.
The documentary, “Melania,” is set to premiere at the Kennedy Center for the Performing Arts in Washington — which the president is trying to rename the Trump Kennedy Center — on Thursday, followed the next day by a global theatrical release.
In addition to the “Melania” documentary, a three-part docuseries also filmed during the inauguration run-up about the first lady that Ratner directed and is part of the same Amazon deal, is set to air on the streamer later this year, according to Beckman.
Brett Ratner, center, and the stars of “Rush Hour 3,” Jackie Chan and Chris Tucker, at the film’s Los Angeles premiere party in 2007.
(Matt Sayles / Associated Press)
Then there is the much-buzzed-about fourth installment of “Rush Hour.” It has been widely reported that Ratner will direct the $100-million movie to be distributed by Paramount.
The long-stalled project came about after President Trump was said to have urged his friend Larry Ellison, who bankrolled his son David’s acquisition of Paramount, to revive the franchise.
Not everyone is happy about Ratner’s return.
“It speaks to the larger issue that these men who didn’t take responsibility for their actions are coming back into society as if nothing happened,” said Nancy Erika Smith, a partner at Smith Mullin in Montclair, N.J., who has litigated numerous harassment cases, including that of former Fox anchor Gretchen Carlson.
Reached by phone, Ratner declined to respond to questions, saying, “I don’t talk to or cooperate with the Los Angeles Times.”
He referred questions to his London-based publicist, who did not respond to a detailed list of questions.
An early love of movies
Growing up in Miami, Ratner once said that “I eat, sleep, breathe the movies.” He was raised by a single mother, Marsha, who had him at 16, and his grandparents Mario and Fanita Presman, Jewish Cubans who immigrated to Florida during the 1960s. (His paternal grandfather, Lee Ratner, founded d-Con, the rat poison company.) At 12, he was an extra, appearing as a boy on a raft, during a pool scene at the Fontainebleau Hotel in the 1983 Brian De Palma film “Scarface.”
Early on, Ratner garnered a reputation for his ambition, relentless drive and a preternatural ability to surround himself with famous friends and mentors.
While a student at New York University in the late 1980s, he befriended Def Jam co-founder Russell Simmons, who made him his protégé, tapping Ratner to direct music videos.
At 28, he directed his first film, the 1997 buddy comedy “Money Talks,” starring Charlie Sheen and Chris Tucker. The movie grossed $48 million on a $25-million budget, cementing Ratner’s reputation as a highly bankable director.
In 2012, Ratner and Australian billionaire investor James Packer co-founded RatPac Entertainment. A year later, they merged with the film financing company Dune Entertainment, founded by Steven Mnuchin (Trump’s future Treasury secretary), that had bankrolled massive hits like “Avatar.”
The rebranded RatPac-Dune quickly entered into a $450-million slate financing deal with Warner Bros. to fund up to 75 movies, including Oscar winner “Gravity” and box-office hit “Wonder Woman.”
Ratner himself served as an executive producer on such acclaimed films as the epic western drama “The Revenant.”
“I was not the best student, but I was the hardest-working kid that I know, and it paid off,” said Ratner when the Friar’s Club honored him with a comedy achievement award in 2011.
A self-styled jet-setting playboy, Ratner dated actor Rebecca Gayheart and tennis star Serena Williams. He cocooned himself inside a circle of much older, famous cinema legends that he considered his mentors such as Robert Evans, Roman Polanski and Robert Towne.
The late movie producer Robert Evans was part of a clutch of cinema legends that Ratner considered his mentors.
(Getty Images)
Ratner’s Beverly Hills mansion, Hilhaven Lodge, the estate once owned by “Casablanca” actor Ingrid Bergman, was the scene of numerous raucous parties filled with celebrities and models.
After he made a series of vulgar and inappropriate comments while promoting his film “Tower Heist” in 2011, including saying that “rehearsal is for f—,” using an anti-gay slur, he dropped out of producing the Academy Awards broadcast.
Still, Ratner frequently groused that he was misunderstood.
“I don’t drink; I don’t do drugs. Do I like to have fun? Yeah. Do I like to enjoy myself, enjoy my life? Yeah. But I’m not a decadent person. … I’m just a nice Jewish kid from Miami Beach who loves movies and pretty girls,” he said in an interview with the Jewish Journal.
Over the years, Ratner sat on the boards of several charities such as Chrysalis, a group that helps homeless people; and the Ghetto Film School. In 2013, he donated $1 million to the Academy Museum of Motion Pictures and he actively supported the Simon Wiesenthal Center, where he was a trustee, and the Museum of Tolerance.
When Patty Jenkins presented him with the Tree of Life humanitarian award at a Jewish National Fund dinner in 2017, the director of “Wonder Woman” and “Monster” shared that he financed her thesis film.
In 2017, when Ratner received a star on the Hollywood Walk of Fame, he was cheered on by actors Edward Norton, Dwayne Johnson and Eddie Murphy, producer Brian Grazer and Warner Bros. chief Kevin Tsujihara.
(Chris Delmas / AFP via Getty Images)
That year, RatPac-Dune’s co-financing deal with Warner Bros. delivered a series of hits, including “It,” “Wonder Woman” and “Dunkirk.” He received a star on the Hollywood Walk of Fame.
Fallout over allegations of misconduct
Then, in November, The Times published detailed allegations against Ratner made by six women who accused him of harassment, groping and forced oral sex. Actor Olivia Munn claimed that Ratner masturbated in front of her when she delivered a meal to his trailer on the set of the 2004 film “After the Sunset.”
At the time, Ratner’s attorney Martin Singer rejected the women’s claims, saying that his client “vehemently denies the outrageous derogatory allegations that have been reported about him.”
The Times published another report weeks later that included additional sexual misconduct allegations from several other women. The report also named Simmons, the Def Jam co-founder, as a witness and alleged perpetrator in several of the episodes.
Both Ratner and Simmons disputed the women’s accounts and denied their allegations. Simmons subsequently faced several rape accusations, which he has denied.
The professional repercussions were swift. Ratner’s agents at WME dropped him, as did his publicist, and projects were put on hold. Ratner parted ways with Warner Bros.
“I don’t want to have any possible negative impact to the studio until these personal issues are resolved,” he said in a statement.
Two years later, Ratner’s name surfaced amid the tangled Hollywood sex scandals involving British actor Charlotte Kirk, whose allegations brought down two studio chiefs: Warner Bros. CEO Kevin Tsujihara and NBCUniversal Vice Chairman Ron Meyer, with whom she claimed to have had sexual affairs.
British actor Charlotte Kirk accused several Hollywood power players including Ratner of “victimizing her.”
(Paul Archuleta / FilmMagic)
In a sworn court declaration, Kirk said she was victimized by Tsujihara, Ratner, Packer and Millennium Films CEO Avi Lerner, stating that the men “coerced me into engaging in ‘commercial sex’ for them and their business associates.”
She further accused Packer, whom she had dated for a period, and Ratner of having “sexually exploited me,” with Ratner sending her “crude sexual text messages, and offering me as an inducement to his business partners,” according to her declaration.
Attorney Singer, who represented the men, “categorically and vehemently” denied any wrongdoing on the part of his clients.
Cast out of Hollywood, Ratner appeared to escape the piercing scrutiny by living large. He was spotted variously at the five-star Faena Hotel in Miami and sunning on a yacht off Saint-Barthélemy in the Caribbean.
Ratner’s initial attempts to get back behind the camera went nowhere. In 2021, he announced plans to direct a long-stalled Milli Vanilli biopic with Millennium Media, but soon after, Millennium Media stated that it was no longer involved with the film.
In Trump’s orbit
Despite the setbacks, the seeds for Ratner’s eventual comeback had been sown. Known as a world-class schmoozer, Ratner cultivated numerous ties to people affiliated with Trump.
For several years, he was partners with Mnuchin, who served as Treasury secretary during Trump’s first term, through their production and financing company RatPac-Dune.
Billionaire Len Blavatnik, owner of Warner Music Group, bought Packer’s stake in RatPac-Dune through his Access Entertainment in 2017, making him Ratner’s partner for a time. Blavatnik, through his company, contributed $1 million to Trump’s first inauguration.
Then there’s Arthur Sarkissian, the producer of the original “Rush Hour” movie. He also produced the 2024 Trump-friendly documentary, “The Man You Don’t Know.”
Steven Mnuchin, who was Treasury secretary during Trump’s first term, was a partner with Ratner through their company RatPac-Dune Entertainment.
(Alex Brandon / Associated Press)
Ratner also developed a friendship with Israeli Prime Minister Benjamin Netanyahu, who has a long-standing relationship with Trump. Ratner was the prime minister’s guest at the United Nations General Assembly in September 2023. He posted a picture on his Instagram standing behind a seated Netanyahu and his wife, and next to attorney Alan Dershowitz, himself a longtime advisor and friend of Trump’s.
That year, several Israeli media outlets reported that Ratner had obtained Israeli citizenship after he posted the passbook Israel issues to new immigrants on his Instagram story with his name “Brett Shai Ratner” captioned in Hebrew.
“There’s a strong community in south Florida that is close to Trump,” said someone who worked with the family but was not authorized to speak publicly. “Brett has relationships with a bunch of them; it was just a matter of connecting the dots.”
Ratner no longer appears to live at his Hillhaven estate (which is currently listed for lease at $82,500 a month), while there have been sightings of him at Mar-a-Lago.
Not long after the presidential election, Ratner was given unprecedented entrée to Melania Trump and became a part of her trusted inner circle.
Beckman said Ratner was given “remarkable” access to her life. “There were behind-the-scenes meetings,” he said. “She’s a very private person and for the first time she was allowing the cameras to cover her, her family, her philanthropy and of course her business endeavors.”
Many of the women who came forward in 2017 to level their accusations against Ratner declined to speak about him now or to comment on his return to directing.
In the 2017 Times article, actor Jaime Ray Newman alleged that during a flight Ratner made sexually inappropriate comments and showed her nude photos of his then-girlfriend.
“I said my piece a couple of years ago and have moved on,” Newman, who stars in the Netflix hit “The Hunting Wives,” told The Times. “I feel really good and brave in what I did.”
The “Melania” trailer is in heavy rotation online and was shown during the NFL playoffs. Billboards loom over cities and on buses.
Talking to reporters on Air Force One earlier this month, the president praised the upcoming film.
“I’ve seen pieces of it, it’s incredible,” Trump said. “Everybody wants tickets to the premiere. I think it’s going to be great.”
Don’t stop me if you’ve heard this one before, since I’m admittedly something of a broken record on the subject, but I very much prefer Marvel’s television series, which tend to be fleet, original and unpredictable, to its movies, which tend not to be. “Loki,”“Ms. Marvel,”“Moon Knight,”“Echo,”“WandaVision” and its spinoff “Agatha All Along” — all (among others) are worth watching, even the ones that are dumped after a season.
Developing longer stories with less money, the TV shows makers need to be inventive, creative with their resources, so they invest in characters and ideas rather than special effects and action. They focus on secondary or ensemble figures who would never be given a theatrical feature of their own to carry, are particular about culture and family and place, and are often less contingent on the Marvel Cinematic Universe, with its phases and stages, its crossovers and cross-promotions and long-range marketing plans. At once higher concept and more grounded than the movies, they’re interesting on their own, to the point where, when they finally hitch on to the Marvel multi-mega-serial train, I find them disappointing.
“Wonder Man,” whose eight episodes premiere all at once Tuesday on Disney+, is perhaps the most grounded of these series. Created by Destin Daniel Cretton (“Shang-Chi and the Legend of the Ten Rings”) and Andrew Guest (who has written for “Community” and “Brooklyn Nine-Nine”), the series is a (generally) sweet, disarming tale of actors in Hollywood, tricked up with picture-business details that you don’t need to be au fait with the MCU to appreciate. There are things it might be helpful to know, but you can work out everything that matters through context. (Locals will enjoy playing Spot the Locations.)
Yahya Abdul-Mateen II plays Simon Williams, who as a child became a fan of a B-movie superhero called Wonder Man — not a “real” superhero, in this reality, merely a fiction. Now in his 30s, he’s a struggling actor in Hollywood, good enough to land a small part in an “American Horror Story” episode, but not clever enough to keep from slowing down the production with questions and suggestions when all he needs to do is deliver a couple of lines before a monster bites his head off. He loses the part and a girlfriend directly afterward.
Taking in a revival house matinee of “Midnight Cowboy,” he meets Trevor Slattery (Ben Kingsley), who is back from having played the Mandarin — that is, he acted the part of a terrorist called the Mandarin, believing it was just a job — in “Iron Man 3” and providing appealing comedy relief in “Shang-Chi and the Legend of the Ten Rings.” The character here is more fleshed out, something of a mess (but 13 years sober, he likes to point out), serious but not a joke. Before it all went wrong, Trevor played King Lear (in Croydon), appeared in “Coronation Street” and in a movie with Glenda Jackson, was off-off-off Broadway in “The Skin Our Teeth” and briefly had the lead in a hospital show with Joe Pantoliano, who’s very funny playing himself.
Trevor Slattery (Ben Kingsley), left, and Simon Williams (Yahya Adbul-Mateen II) team up in “Wonder Man.”
(Suzanne Tenner / Marvel Television)
Slattery tells Simon that European art director Von Kovak (Zlatko Burić) is rebooting Wonder Man, a role Simon feels born to play. He makes an end run around his unconvinced agent, Janelle (X Mayo), and wheedles an audition — where he again meets Trevor, auditioning for Barnaby, Wonder Man’s pal, or sidekick or something. There are wheels behind wheels in this setup, some of which could use a little grease, but for most of the series they do their squeaking off to the side. It’s a love story, above all — “Midnight Cowboy,” not an accidental choice, is more of a touchstone than any Marvel movie.
Simon does have powers — things shake, break or explode around him when he’s upset, and his strength can become super in a tight spot — which puts him in the sights of the Department of Damage Control, embodied by Arian Moayed as P. Cleary, who would like to contain him. But he struggles to keep them secret, especially in light of something called the Doorman Clause — its history established in a sidebar episode, a cautionary Hollywood fable with Josh Gad as himself — which prohibits anyone with super powers from working in film or television, all Simon lives for.
There is little in the way of action, and you won’t miss it. The fate of the world is never in question, but a callback for a second audition means everything. The only costumed characters are actors playing costumed characters; the only villains, apart from the bureaucracy that seeks to bring him in, are Simon’s own self-doubt and temper. As things progress, Trevor will become a mentor to Simon. As is common in stories of love and friendship, a betrayal will be revealed, but if you have seen even a few such stories, you know how that’s going to go, and will be glad it does.
Whether discussing acting techniques or the traffic they’re stuck in on Hollywood Boulevard (Trevor: “Probably the Hollywood Bowl.” Simon: “It’s too late for the Bowl.” Trevor: “It’s usually the Bowl. I remember seeing Cher there once — breathtaking. Chaka Khan, now there’s a woman”), Abdul-Mateen and Kingsley work well together; their energies are complementary, laid back and loose versus worked up and tight and, of course, each will have something to teach one another about who they are and who they could be. I was genuinely anxious for them, as friends, more so than just wondering how such and such a superhero (or team) might defeat such and such a supervillain (or team).
“Our ideas about heroes and gods, they only get in the way,” says Von Kovak, putting a room of hopeful actors through their paces, and essentially speaking for the series he’s in. “Too difficult to comprehend them. Let’s find the human underneath.”
HAMNET, the new Shakespearean film starring Jessie Buckley and Paul Mescal is thrusting this lesser-known UK county into the spotlight.
Herefordshire stood in for Stratford-upon-Avon in the new film and it’s predicted that people will soon be visiting its pretty villages over that of its popular neighbour.
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Hamnet is set to put Herefordshire on the map after using it for filmingCredit: AlamyThe half-timbered houses make the perfect period backdropsCredit: Alamy
The Independent called Herefordshire the ‘quiet corner of England’ and explained that the county hoping for more tourists with what they’re calling the ‘Hamnet effect’.
In 2024, cast and crew descended on a small Herefordshire village to transform it into looking like Shakespeare’s Stratford.
The hope is that the county will become popular like its neighbour – the Cotswolds which is just 25 miles down the road.
As we all know the Cotswolds is known for its charming villages with cottages built from limestone brick that sit along cobbled streets around winding rivers.
Well, you can still get such charm in Herefordshire, and it sees much fewer visitors – around six million each year compared to the Cotswolds’ 25million.
One of Herefordshire’s villages that appeared heavily in Hamnet was Weobley, which is nicknamed a ‘black and white’ village thanks to its many half-timbered houses.
The Hollywood production transformed the village into one from the 1500s, which was done fairly easily thanks to its old buildings.
While you won’t find many shops in Weobley, there are a few places to have a bite to eat like The Green Beach Cafe, or the local Indian restaurant, Lal Bagh which has a TripadvisorTravellers‘ Choice Award and 375 five-star reviews.
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Weobley also has two pubs, Ye Old Salutation Inn and The New Unicorn Inn.
But fans of Hamnet should head into The Wobbly Badger cafe which took centre stage for the exterior of Shakespeare’s family home in the film.
There are lots of other villages that are part of Herefordshire’s ‘black and white villages’ – and there’s even a dedicated tour route to see them.
One of the other villages in the trail is Pembridge, or Eardisland, which sits on the banks of the River Arrow – and looks similar to Bourton-on-the-Water.
Even smaller villages include Eardisley, Dilswyn, Leominster and Kingsland.
It’s not just Hamnet that was filmed in Herefordshire, as one very famous Netflix series also made its home there.
The recognisable red and white chalet where Otis and Jean live sits high above the River Wye.
Eardisland in Herefordshire sits on the banks of the River ArrowCredit: AlamyIt’s riverside location makes it similar to Bourton-on-the-water in the CotswoldsCredit: Alamy
It’s the UK’s fifth longest river and has an incredible backdrop of rolling green hills – and getting onto the water is one of the best ways to see it.
There are plenty of companies offering kayaking, canoeing or stand up paddleboard sessions for around £60 per person along the river.
Herefordshire is also well regarded for its cider production thanks to its acres of orchards that cover the countryside – it’s been made there since the 17th century.
Scattered around the county are orchards and breweries that you’re welcome to pop into.
VisitHerefordshire even has ‘Cider Circuits’ with dedicated cycling loops to see as many as possible.
If you head to Westons Cider Mill in Ledbury, you can sample the latest flavours – tours of the cider mill cost just £15 for adults.
If you go there with the family, there’s an outdoor play park with slides and tyre trails to entertain the kids.
If you need a place to stay, Gwatkin even has its own campsite with pitches from £9pppn.
Just outside Lyonshall village is the White Heron Estate where they make their own signature blackberry liqueur – British Cassis and British Framboise.
Taking a walking tour and tasting is £25pp (for groups of 10+).
