Samie Elishi dramatically stormed off during the Love Island All Stars movie night on Friday
Love Island star storms off in explosive movie night that ‘will never be forgotten’(Image: ITV)
One Love Island star stormed off in an explosive movie night that “will never be forgotten”.
The third series of the popular spin-off returned to ITV2 last month, bringing back a group of former contestants to the villa for another opportunity at finding romance.
Over recent weeks, audiences have witnessed numerous heated exchanges, surprising eliminations and several bombshell entries. The latest arrivals included six American contestants, alongside the launch of villa USA.
Tensions flared when the two villas were brought together earlier this week, with disagreements breaking out between Belle Hassan and Sean Stone, as well as Lucinda Strafford and Samie Elishi.
Tonight’s episode featured the much-anticipated return of movie night, with contestants preparing for an evening of cinema-themed entertainment. The All Star selection included Free Millie, How to Lose Leanne in Ten Days, Some like it Scott, The Sean Identity, There’s Something About Samie, Tommy Dearest and Lucinda’s Web, reports OK!.
There’s Something About Samie showcased footage of the dispute between Samie and Lucinda, which started after Lucinda decided to pair up with Samie’s partner Ciaran Davies.
Matters intensified when Lucinda pied Samie during Thursday’s task, as she believed Samie doubted the authenticity of her new relationship with Sean. When the two attempted to resolve their differences, Lucinda started laughing, prompting Samie to storm off furiously.
Upon reviewing the footage, Lucinda remarked: “You weren’t there for me and Sean,” prompting Samie to immediately retort: “Are you alright? I warned you… I was actually trying to warn you… There’s me trying to have your f****** back and then you throw that pie in my face.”
The heated exchange escalated when Lucinda playfully told Whitney Adebayo not to laugh in front of Samie. An irate Samie responded: “Are you taking the p*** out of me again?”
The star continued: “I might need five minutes. This bird keeps laughing in my face, you’re p****** me off,” before storming off with Belle.
Whilst Belle attempted to calm Samie down, Whitney and Leanne Amaning became embroiled in their own dispute, just hours after Leanne had taken Whitney’s partner Yemen Sanders into the secret garden.
The movie night screening pressed on, as did the tension, moments before presenter Maya Jama made her surprise appearance in the villa. “Everyone enjoying movie night? Well, it’s time for a plot twist,” she announced, before the credits began to roll.
ITV audiences were left stunned following tonight’s turbulent episode, with one viewer posting on X (formerly Twitter): “Don’t know about anyone else but I’ve got a headache now from all the shouting. That movie night was absolute carnage!”
Another commented: “And this, is what I call a messy MOVIE NIGHT,” whilst a third remarked: “Love island all starts 2026 movie night gone but will NEVER be forgotten.”
Love Island All Stars airs Sunday to Friday on ITV2 and ITVX at 9pm
For the latest showbiz, TV, movie and streaming news, go to the newEverything Gossipwebsite
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
Movies that had limited awards releases last year are seeing their full-fledged openings this week. Top among them is “Pillion,” the debut from British writer-director Harry Lighton, starring Alexander Skarsgård and Harry Melling as two men who become engaged in a dominant-submissive relationship.
Alexander Skarsgård, left, and Harry Melling in the movie “Pillion.”
(A24)
In her review, Amy Nicholson writes of the film, “This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination. … Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.”
Emily Zemler asked Skarsgård about what has been guiding his decisions lately when choosing roles. As he said, “People think there’s this invisible ladder and you have to get to the next rung of the ladder. It’s easy to forget to check in with yourself and ask, ‘Well, what do I want to do?’ You can get swept away. I’m trying to get down the ladder to the ground.”
For most of the month of February, the New Beverly will refashion itself into the Eros, the adult movie theater it was called throughout much of the 1970s. (There’s even a commemorative T-shirt.) Married film dudes throughout the city are presumably coming up with inventive rationales and/or excuses as to why they simply must attend some of these screenings.
The programming leans into what was referred to in The Times as “porn chic” — movies that were meant to work as cinema, even appealing to couples, while also fulfilling the needs of the raincoat crowd. This Friday and Saturday will be a double bill of Just Jaeckin’s 1974 “Emmanuelle,” starring Sylvia Kristel, and Bitto Albertini’s 1975 “Black Emmanuelle,” starring Laura Gemser.
When The Times’ Charles Champlin reviewed “Emmanuelle” after it opened in 1975 at the Fine Arts in Beverly Hills, he noted, “It may be the first porno film designed for people who don’t really want to see one.”
Other notable titles during the New Bev’s Eros month include “The Opening of Misty Beethoven,” directed by Radley Metzger under the pseudonym Henry Paris, Russ Meyer’s “Vixen” (with star Erica Gavin in-person), Ingmar Bergman’s “Summer With Monica,” Roger Vadim’s “Pretty Maids All in a Row,” “The Fireworks Woman,” directed by Wes Craven (credited as Abe Snake), Nagisa Oshima’s “In the Realm of the Senses” and Gerard Damiano’s “Deep Throat.”
Quentin Tarantino’s “Once Upon a Time … in Hollywood” will be playing on Fridays at midnight, which includes a knowing line about the Eros when Margot Robbie asks, “What’s happening at the dirty movie place?”
A 1976 article in The Times by Barry Siegel states that there were then 47 adult theaters operating within the city limits of Los Angeles, even while charting the rapid rise and quick decline of porn-chic movies in the wake of the success of “Deep Throat” in 1972.
‘sex, lies and videotape’ with starLaura San Giacomo
Laura San Giacomo in the movie “sex, lies and videotape.”
(Criterion Collection)
The Los Angeles Film Critics Assn. continues its 50th anniversary series at the Egyptian Theatre on Tuesday with a screening of Steven Soderbergh’s 1989 debut feature “sex, lies and videotape,” a key title in kicking off the independent filmmaking scene of the 1990s. Actor Laura San Giacomo, who won LAFCA’s New Generation Award for her performance, will be there for a Q&A moderated by Lael Loewenstein.
Soderbergh was all of 26 years old when the film premiered at what was then called the U.S. Film Festival (the precursor to Sundance), where it won the audience award before heading to Cannes, where it won the Palme d’Or. (James Spader picked up an acting prize there too.) Among the film’s many other accolades, Soderbergh would also be nominated for an Academy Award for original screenplay.
Spader plays Graham, an enigmatic wanderer who inserts himself into the lives of his old friend John (Peter Gallagher), his wife Ann (Andie MacDowell) and her sister Cynthia (San Giacomo), drawing out all manner of confessions and revelations.
In her original review of the film, Sheila Benson called the film an “electrifying psycho-sexual comedy … the funniest and saddest American movie since Jim Jarmusch landed straight in the middle of our consciousness, and it’s possibly the most compelling.”
Benson added, “What is not apparent from a thumbnail description is the film’s lacerating wit, its beautiful look and sound, and the bravura quality to each performance. Or the terrible vein of melancholy that Soderbergh touches.”
‘In the Soup’ in 35mm
Steve Buscemi and Seymour Cassel in the movie “In the Soup.”
(Factory 25)
Winner of the Grand Jury prize at 1992’s Sundance — the same year “Reservoir Dogs” premiered there — is “In the Soup.” Directed and co-written by Alexandre Rockwell, the film follows an aspiring filmmaker (Steve Buscemi) who falls in with an irresistibly charming gangster (Seymour Cassel, who won Sundance’s first acting award) as his erstwhile producer. A recently restored 35mm print of the film will be playing in L.A. for the first time Sunday at Brain Dead Studios.
The cast of the film also features Carol Kane, Jim Jarmusch and Jennifer Beals, the last married to director Rockwell at the time. Reviewing the film in November 1992, Kenneth Turan called it “a charming pipsqueak of a movie, a playful film of ragged and shaggy appeal.”
Director Michael Almereyda on the ’90s vampires of ‘Nadja’
Elina Löwensohn in the movie “Nadja.”
(Arbelos Films)
As much a survey of late-night diners, bars and 3 a.m. conversations, Michael Almereyda’s “Nadja” is very much a vampire film. It is also a wonderful example of the creative freedom of the ’90s indie boom — everything from its cast to its look to its deadpan humor.
Executive produced by David Lynch (who paid for the film out of his own pocket and appears in a small role), “Nadja” combines the 1936 horror film “Dracula‘s Daughter” with Andre Breton’s 1928 surrealist novel “Nadja.” In the movie, a New York City vampire (Elina Löwensohn) looks to avenge the death of her father at the hands of Dr. Van Helsing (Peter Fonda) while also dealing with a complicated swirl of relationships involving her brother (Jared Harris), his nurse (Suzy Amis), Van Helsing’s nephew (Martin Donovan) and his wife (Galaxy Craze).
Re-released by Grasshopper Film and Arbelos Films with a streaming and home video release to follow, the new 4K restoration of the film’s original version that premiered at the 1994 Toronto International Film Festival is a few minutes longer than what played at Sundance just a few months later. (It was there that Almereyda also made the documentary “At Sundance,” interviewing filmmakers for their thoughts on the future of movies.) This new “Nadja” is playing on Feb. 6 and 8 at the Philosophical Research Society, then at Vidiots on Feb. 21 and 22 and Frida Cinema on Feb. 25 and 26.
On the phone from Sao Paulo, Brazil, where he is prepping an adaptation of Don DeLillo’s 2016 novel “Zero K,” the thoughtful and reflective Almereyda shared some of his memories of making the film.
Peter Fonda, left, Jared Harris, Martin Donovan and Galaxy Craze in the movie “Nadja.”
(Arbelos Films)
How did you get the idea of combining “Dracula’s Dracula” with Breton’s “Nadja”?
Michael Almereyda: It was fairly spontaneous. David Lynch had offered to help me make a movie if I could come up with something that was definably genre. And I went to [NYC movie theater] Film Forum at a time when — do you remember [film historian] William K. Everson? He would show up at Film Forum unannounced to start talking before the movie. This was one time when I showed up late and he was talking and they read a raffle ticket and there was silence. And I reached in my pocket: I had won the raffle. And that was to get a book of William K. Everson’s about horror movies. And so it was kind of a gift that I read about “Dracula’s Daughter.” I’d never seen it and I liked the outline of the plot and I chased it down and it felt like I could retrofit a number of ideas I had about New York with that story. It felt like the two things talked to each other.
One thing about vampire movies is that the best ones are always about something else. For you with “Nadja,” what’s the something else?
Almereyda: It’s not really a scary movie and it wasn’t really designed to be. It’s certainly atmospheric but the emotion of it, when I saw it again recently, had to do with both the comic aspects of being in love and the miserable aspects. It’s kind of a side-winding answer, but that’s partly what it’s about. It’s about family ties, obviously. I think I made or wrote enough scripts about tangled families that I began to sort of get over it. But we all come from these families.
David Lynch in the movie “Nadja.”
(Arbelos Films)
Did David Lynch‘s presence impact the tone at all? Do you feel the movie became in any way Lynchian?
Almereyda: Well, David’s impact on me and my whole generation of filmmaking and the generation behind us is vast. And I wouldn’t want to pretend it’s not, but direct influence is kind of minimal. It might be more fair to say that David’s art school background rhymes with mine. And that we had similar influences. People don’t really talk about how much David did or didn’t know about Maya Deren and Cocteau, but it’s kind of hard to miss. And there was just a certain sensibility and attitude. I felt close to David’s Midwestern-ness, and you combine that with some fondness for and knowledge of French culture, including surrealism, and you’re halfway to David Lynch without specifically thinking about it.
I really haven’t addressed this question much, but when he died, I ended up writing a fair bit of my memories and it’s moving to me how much impact he had when he died. There was such a wave of mourning and celebration, too, that it felt more phenomenal than he could have anticipated. It was clear how famous he was — how recognizable he was — within the time I knew him. But the love of David Lynch is really moving to me and it’s still something we’re swimming in, I hope, in a dark time.
For all the difficulties of being an independent filmmaker, what keeps you doing it?
Almereyda: I’m stumped. I was just going through my head and I know you just interviewed Ethan Hawke and he’s a true comrade that I’ve been lucky to work with a few times. And he was in the interview with Rick Linklater when we did our “At Sundance” movie. They had “Before Sunrise” at the festival and Rick started by quoting Truffaut, talking about the future of film is the personal film.
Even if it’s a fantasy, even if it’s a vampire movie, you’re still relating to your experience and your sense of an emotional reality. So that feels like a candle that doesn’t go out for me. And despite all the derailments and dead ends, I don’t question continuing. It just feels like a natural path, even if it’s winding and difficult.
In other news
Timothée Chalamet, tributee
Timothee Chalamet in the movie “Marty Supreme.”
(A24)
I will leave the ins and outs of this year’s awards campaigns to my trusted colleague Glenn Whipp at The Envelope, but one event jumped out as worth noting: Announced this week and immediately selling out is an eight-film American Cinematheque retrospective of Timothée Chalamet‘s movies, with the actor in person for all screenings.
Chalamet is currently an Oscar nominee as both actor and producer for “Marty Supreme.” And he has an impressive roster of collaborators who will be appearing with him to show their support, including Edward Norton with “A Complete Unknown,” Denis Villenueve with “Dune” and “Dune: Part Two,” Christopher Nolan with “Interstellar” and Elle Fanning with “Beautiful Boy.”
If there were some murmurs last year that Chalamet didn’t do enough conventional campaigning to win for his turn as Bob Dylan in “A Complete Unknown,” this year he seems to be pulling out all the stops.
ACTRESS Florence Pugh revealed her bloody face and welts on her forehead in new photos after undergoing “Botox and fillers.”
The A-list star got candid about the beauty treatments she’s endured and their shocking side effects in a series of social media posts.
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Florence Pugh shared photos of herself undergoing ‘Botox and filler’ injectionsCredit: Instagram/florencepughThe actress joked that she was being a ‘responsible adult’ by receiving the beauty treatmentCredit: Instagram/florencepugh
Earlier this week, Florence, 30 – who is set to star in the first James Bond Amazon spin-off – shared several snapshots from her recent visit with her plastic surgeon, showing herself receiving injections in her forehead and lips.
One pic captured the Oppenheimer star sticking her tongue out at the camera while her doctor smiled as she injected a needle into her forehead, which already showed multiple red bumps.
“Just mama Pugh freezing her forehead like a responsible adult,” the Thunderbolts star teasingly wrote over the clip.
A second snap showed Florence with a neutral expression as she received filler injections in her top lip.
The Don’t Worry Darling star then showed the after-effects of the injections, including visible marks on her face.
“I wasn’t stung by a bee. I repeat: I wasn’t stung by a bee. Just had some tox and fillers,” Florence jokingly clarified in her caption.
The Pretty Woman star appears to have made a habit of prioritizing herself from a young age.
Last February, during an appearance on the National Geographic series No Taste Like Home, Florence opened up about her childhood battle with severe respiratory issues.
“I wasn’t supposed to live,” the United Kingdom native revealed.
“When I was born, they told my parents that it wasn’t going to happen, and just enjoy the time whilst you have it.
“I had many struggles growing up with my breathing, constantly being ill. Going in and out of the hospital,” Florence added.
The We Live in Time star previously revealed that she was diagnosed with tracheomalacia as a baby, a condition that causes the windpipe to collapse and makes breathing difficult.
Her parents uprooted their lives to Spain when she was three years old after doctors suggested that a warmer climate would help her breathe better.
“We were in Spain because I have a breathing issue,” Florence said in a past interview.
“I have asthma and this thing called tracheomalacia. From a young age, I’ve just had a different breathing system.”
Florence was initially on the show to trace her family’s roots through culinary creations in Oxford.
She then discovered that her 3x great-grandparents, Mauritz and Anna, who emigrated from the Netherlands to London in the mid-1800s, had a daughter, Florence, who died at just four days old.
The actress learned that her relative likely died from tuberculosis, prompting her to reflect on her own health struggles growing up.
Florence also shared a pic of her bloody face and welts on her forehead following the procedureCredit: Instagram/florencepughThe movie star previously opened up about her childhood health battlesCredit: RexFlorence revealed that she was diagnosed with tracheomalacia, which made breathing difficultCredit: Getty
Successful romances star at least one looker. I don’t mean someone attractive. I mean an actor who gazes at their scene partner with such delight that we swoon, too. Clark Gable was a looker. Diane Keaton was a looker. The combined eyeball voltage of Ryan Gosling and Emma Stone is so powerful that it’s turned silly scripts into hits.
Harry Melling is a late-blooming looker. Onscreen most of his youth as the Muggle brat Dudley Dursley in the “Harry Potter” franchise, Melling is only just now getting to show off that talent in the funny-kinky “Pillion,” which puts him on his knees beaming up at Alexander Skarsgård’s 6-foot-4 biker as though this blond hunk was the sun. His Colin, a shy gay man who sings the high notes in a barbershop quartet, is so visibly infatuated licking Skarsgård’s leather boots in a dark alley that you believe he lusts for humiliation. Colin has only just discovered that fact about himself. He’s yet to even learn this man’s name. (It’s Ray.)
Perhaps you’d like to be taken to dinner first, but “Pillion” is about Colin’s needs — specifically his need to please — and first-time feature filmmaker Harry Lighton challenges us to root for his bliss. This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination.
“Pillion” is what motorcyclists call the passenger seat, at least in suburban England where this is set. It’s a passive position compared to the driver, but still a cooler upgrade from where Colin starts the movie riding in: the rear of a sedan. Out the car’s back window, he sees Ray zoom by in white Stormtrooper-looking gear and, by happenstance, bumps into him that night at a pub where Colin’s mother, Peggy (Lesley Sharp), has set up a blind date with a nice bloke. That guy gets forgotten the instant Ray slips Colin a note with a time and place to meet.
Peggy isn’t panicked by her son’s alpha-male predilections. “I think a biker sounds exciting,” she says with a grin. His father, Pete (Douglas Hodge), just wants him to wear a helmet. Neither parent is privy to the fact that Ray simply isn’t very nice. Ray controls the gobsmacked Colin quietly, calculating the bare minimum of kindness required to have a house boy willing to cook dinner, tend to his Rottweiler and sleep on the floor. He withholds his approval to keep the paler, smaller man anxious.
That Rottweiler contended for the Palm Dog at last year’s Cannes, a prize for the festival’s best canine. Frankly, Melling himself should have won. His performance is pure puppy, from the way he silently studies Ray’s silent cues to the eagerness with which he leaps up to fetch Ray a beer. When Ray lavishes attention on another biker’s pet pillion, Kevin (Jake Shears of the Scissor Sisters), Colin sulks until his master unzips his trousers and gives him a treat.
Flexing his abs in shiny Motoralls, Skarsgård uses his own appeal to expose an unattractive wrinkle in human behavior: Ray is so gorgeous that everyone just takes it as fact that Colin is lucky to be near him. When a coworker asks this scrawny geek how he bagged a hunk like Ray, Colin brags that he has “an aptitude for devotion,” which includes wearing a padlock around his neck and shaving his Byronesque curls so that he looks like a zealot — which in a way, he is.
Over and over, Colin takes stock of his own debasement. But then he looks at his model-handsome lover and calculates that his suffering is worth it. He’s good at compartmentalizing; he’s a parking violations attendant who tickets angry people all day. When he needs an excuse to cry, he finds one (and it hurts to watch).
Lately, it’s been a thrill to see queer stories confidently leapfrog over coming-out narratives to the trickier question of whether two individuals in particular are a decent match. Lighton leaps further than that — he goes full Evel Knievel by daring to ask how we feel about a relationship that’s indecent, but still has worth as a set of training wheels for a wobbly young man learning what he wants.
It’s a more optimistic take on Colin and Ray’s coupledom than was in the book that inspired the script, Adam Mars-Jones’ 2020 novella “Box Hill,” which was subtitled “A Story of Low Self-Esteem.” A study of the psychology of abuse, that story’s more brainwashed version of Colin finds him decades older looking back on the affair and pining for a relationship that reads as horrible between the lines.
Lighton isn’t oblivious to the power imbalance, but he’s made a movie about going forward, not being stuck. He trusts his naif with more agency, and so “Pillion” is freer to play its insults for laughs. You’ll giggle a lot. That gleam in Melling’s eyes makes it feel like a comic fantasy, although who knows? Perhaps there really are BDSM biker gangs hosting afternoon picnics with serving boys tied spread-eagled on a buffet table. That bucolic scene is filmed in a slow pivot around the park, cinematographer Nick Morris getting a chuckle from how the image shifts from Georges Seurat to “Hellraiser.”
Eventually, Colin’s parents will be more flinchy about his new boyfriend, leading to a beat or two that don’t land with the impact they could. Oddly, Lighton might be too restrained himself. Like his leads, he prefers to say everything with a look.
But while Melling is always endearingly open and responsive, Skarsgård stays unreadable. His Ray always seems to be hiding behind a motorcycle visor even when he’s not and when he deigns to speak, the words trail off in a huff of exhaustion. The only thing we know about Ray’s life are the names of his two previous dogs, and that’s only because he has them tattooed on his chest.
Any more personal facts about Ray — his own job or family or romantic history, even his favorite movie — would risk us clinging onto it too tightly as an explanation of what he gets out of this himself. Serving Ray’s pleasure is Colin’s focus. And our focus is on Colin’s pursuit of that.
Yet with subtle skill, Skarsgård reveals that Ray is thinking about Colin more than he’s willing to let on. Curiosity flickers across his face when his submissive surprises him. He stays gruff, of course, but you sense that Ray is as manacled by his authoritarian role as Colin literally is in his hungry, slurping devotion to his master. Puny and pathetic as Colin appears, he begins to seem like the braver of the two. It takes courage to map your own boundaries — then to cross over that line and get hurt, and get back up and out there. Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.
Kristen Stewart fears the death of classic Hollywood cinema.
As the actor-turned-director drove through the streets of Los Angeles and saw beloved local theaters replaced by major retail chains, she decided to help save theatergoing in the city that started it all.
So she bought a historic movie theater in L.A.
Stewart purchased and is restoring the Highland Theatre, a cultural landmark that once hosted vaudeville acts.
“When people are desperate, they start doing desperate things,” Stewart said in an interview with Architectural Digest. “I think buying this theater feels a little desperate in like the most beautiful way.”
The theater shut its doors nearly two years ago — less than a week short of its 100th anniversary. The owner, Dan Akarakian, told The Times in 2024 that the theater was unable to recover economically from the COVID-19 pandemic.
“Everything that’s already living here is so beautiful. It just needs to be like taken care of,” Stewart said. “I mean, the place is falling down. We definitely need like a lot of help, but it’s worth it.”
The local film and TV industries in L.A. were struggling long before wildfires that ravaged the city early last year dealt another blow, halting production and threatening the homes of stars and crews alike.
Stewart, who first achieved international success with her role as Bella Swan in the “Twilight” saga, said movie theatergoing is becoming a lost art, as “people are watching movies on their tablets and their TVs and likely watching a couple of things at once.” She and her peers struggled to get movies off the ground.
Stewart hopes the theater can become “a space that families can go and that also filmmakers can go and so we can kind of be in service of each other,” she said. “We can be in actual communication with people and not cut off from each other.”
The three-story building has theater rooms and venue space, ideal to host screenings and public community events, she said.
The theater was designed by architect Lewis Arthur Smith, known for other local theaters like the Vista in Los Feliz and El Portal in North Hollywood.
“It’s an opportunity to make a space to gather and scheme and dream together,” Stewart told AD. “This project is about creating a new school and restructuring our processes, finding a better way forward.”
Stewart’s effort to save local cinema comes on the heels of a coalition of filmmakers, led by “Juno” director Jason Reitman, purchasing the 93-year-old Village Theater in Westwood in 2024.
Oscar-winning writer-director Quentin Tarantino bought the Vista, also designed by Smith, in 2021. The theater reopened its doors over two years later.
Stewart, who was raised in the San Fernando Valley, has been a longstanding advocate of the L.A. community. She works closely with the Downtown Women’s Center, which provides housing to homeless women.
The actor decried the lack of stories by and for women in Hollywood during her keynote speech at the annual Academy Women’s Luncheon in November.
“I absolutely f— love this city,” she said. “I like the spaciousness. You can decide how you want to fill it.”
As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.
Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.
From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.
Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.
The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.
The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.
Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.
Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.
“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”
Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”
Though geared toward children, the movie drew a vast audience of all ages.
“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.
In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.
He said over the last 10 years, the role has become about more than just finding a song to match a scene.
“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”
The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.
Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.
The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.
“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.
Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.
According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.
“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.
Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.
Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”
“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.
“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.
Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.
When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).
“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”
Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.
Despite being over 30 years old, this epic historical war drama film directed and produced by Mel Gibson about Sir William Wallace is still hailed as a “masterpiece” by fans.
Mel Gibson stars in this iconic period drama
A classic period drama movie starring Mel Gibson has won over fans who praised it as “literally the best film ever made”, and it’s on Film4 tonight.
Braveheart is a 1995 epic historical war drama film directed and produced by Mel Gibson, who portrays Scottish warrior Sir William Wallace as the lead role. The film depicts Wallace as the medieval Scottish patriot who is spurred into revolt against the English when the love of his life is slaughtered.
Leading his army into battles that become a war, his advance into England threatens King Edward I’s throne before he is captured and executed, but not before becoming a symbol for a free Scotland.
Despite being over 30 years old, the film is still hailed as a “masterpiece” by fans and the film has an impressive score of 76 percent on Rotten Tomatoes, with countless five-star reviews from film fans.
One review posted: “One of the saddest and most epic things I’ve ever seen since the Planet of the Apes trilogy and Titanic; this movie shows the true meaning of love, passion and faith – that is how you make a masterpiece!”
Another added: “Quite literally the best film ever made. Holds up still, even 30 years later. Quality sweeping scenic views, amazing James Horner soundtrack, action, adventure, and a roaring rollercoaster of emotions that hits every vibe from its tales of love, tragedy of loss, moments of anger and vengeance, triumph, vindication, desperation, heart break… it’s all there.
“Many complain about the violence and gore, but it sets the stakes and makes clear the cold, dark and gritty nature of the world. Do yourself a favour and watch this masterpiece!”
A third said: “An epic and inspiring story full of heart put to film! One of the most iconic soundtracks of all time (Outlawed Tunes on Outlawed Pipes). The historical inaccuracies are there, [but] they don’t make this masterpiece a tad less spectacular.”
Another said: “Top three movies of all time. This movie is long but worth a watch. I’ve probably seen this movie more than 20 times. Great movie. Classic.”
Another wrote: “Beautiful cinematography, compelling characters, and intense, gory, and violent battle scenes, Braveheart is a thrilling and heartfelt experience after 30 years and has a great performance and direction from Mel Gibson.”
One more review praised the film by stating: “Braveheart is my favourite movie of all time. The story, action, characters and everything is perfect. The action in this movie is great.
“It’s a masterpiece. I love every second of this movie and it delivers one of the most iconic lines. This movie is a masterpiece and I’m not taking that back.”
Somebody else noted: “Astonishing movie. If you enjoy action-packed sequences of angry Scots, harrowing tales of love and impressive acting, then this movie is for you.”
Braveheart airs on Saturday January 31 on Film4 HD at 9pm.
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+).
