premieres

MADONNA has landed a host of A-listers to feature in cameos on her new music film.

Last night the Queen of Pop premiered the 13-minute Confessions II — featuring Hollywood’s Benedict Cumberbatch, supermodel Kate Moss and several other celebrities.

The film features six songs from her upcoming album.

During the one unreleased track, Danceteria, the singer slinks through a bathroom where Chelsea football aces Cole Palmer and Joao Pedro are at the urinal, while Richard E. Grant, Gwendoline Christie, Shygirl, Kate and Benedict rave in the toilet disco.

Sabrina Carpenter, who teamed up with Madge on the record’s lead single, the recently released Bring Your Love, also has a starring role.

Julia Garner, who was cast as Madonna in a yet-to-be-filmed biopic, appears in a scene where Madge flies over the crowd.

KATIE’S TRUTH

Watch full chat with Katie Price as The Sun puts ALL Lee Andrews’ lies to her

OH BI-HAVE

Bianca Censori crawls on the floor in a g-string thong for Kanye’s birthday

The superstar’s ­daughter, Lourdes Leon, is in there too.

Other new tracks in the film are I Feel So Free, Good For The Soul, One Step Away and Read My Lips.

I first told in March how the superstar had enlisted her showbiz pals to be part of a four-day shoot at a West London studio for the video — and now she has proved it was worth the wait.

Her Confessions II collection is set to be released on July 3 — 21 years after her original Confessions On A Dancefloor album came out.

I revealed at the weekend that she is now eyeing up plans for potential concerts to celebrate the record’s release — but you are unlikely to see her follow in other stars’ footsteps with a Las Vegas residency.

Name-checking a state-of-the-art 20,000-capacity arena in Paradise,

Nevada, she said, during a Q&A: “Sphere seems cool, but I don’t want to wake up and look at Vegas every day.”

And she’s ready for fans to ditch their phones at any future gigs. She added: “Put your phones down, go out, and connect with people.

ABBA have hatched a scheme to take Mamma Mia! The Party to Manchester after it proved a hit in ­Stockholm and London.

Plans for a new entertainment venue next to the city’s Etihad Stadium have been recommended for approval by council planners.

The three-storey venue, set to be built beside Man City’s new North Stand and close to the Co-op Live, would offer a theatrical dining experience for up to 600 guests.

City have teamed up with entertainment giant Pophouse – founded by Abba’s Bjorn Ulvaeus – for the project, with bosses saying the city’s rich music heritage made it the perfect home for the production.

Pophouse chief executive Jessica Koravos said: “Manchester is known for its innovation in music and entertainment and we cannot think of anywhere better to bring one of the world’s most ­popular and ground breaking theatrical productions.”

TRAITOR STEPHEN’S MUSICAL

TRAITORS winner Stephen Libby fancies himself as the next Andrew Lloyd Webber.

I can reveal the Scottish fashionista has penned a musical that he hopes to bring to the West End in the not-too-distant future.

A source said: “Stephen has the musical all written and ready to go.

“He has always dreamed of his work making it to the West End.

“With The Traitors opening so many doors – both financially and in terms of connections – he feels like the time could be now.

“He’s been having various meetings and things are looking promising.”

Stephen and fellow Traitors winner Rachel Duffy split the hit BBC show’s £95,750 prize money earlier this year.

Since then he has been a regular on the showbiz circuit in London and even landed an ad hoc hosting job on ITV’s This Morning.

NIALL HORAN is on course to catch up with his One Direction bandmate Harry Styles this ­week by scoring his third No1 album.

The Irish singer released Dinner Party on Friday and it is ­currently in the lead to top the charts, after Sir Paul McCartney claimed pole position last week with The Boys Of ­Dungeon Lane.

ACE THEO TACKLES TOXICITY

FORMER England ace Theo Walcott is getting into the World Cup spirit despite hanging up his footie boots.

The Arsenal legend has teamed up with EE to front its new Yes Boys campaign.

The initiative aims to shine a light on the negative online influences shaping boys’ attitudes both on and off the pitch.

It comes as new data reveals 42 per cent of boys aged 11 to 16 encounter outdated phrases like “men shouldn’t show emotion” and “boys need to toughen up” every week.

Progress has been made over the years, but clearly there is still a long way to go.

DOLLS ASH: MY DANCE TRAUMA

PUSSYCAT DOLLS star Ashley Roberts has admitted she was so burned out when the group split in 2010 that even seeing people dance would make her cry.

The girls were known for their intense, choreographed routines but Ashley couldn’t bear to bust any moves after the break-up because of the trauma wrapped up in the group’s original run.

She said: “It was absolutely heartbreaking. I couldn’t even actually watch dancing because I would just be bursting into tears.

“When it first became my job, I was like, ‘Well, this is epic’.

“But then it got wrapped up in this bubble of a major pop group that was a global success.

“I got a bit on the other side and I was like, ‘Well, who am I actually outside of this, right?’

“I just felt very lost, very disconnected to the one thing that actually made me feel like it was like the essence of life to me.

“I just didn’t really recognise myself.

“And it was a really, really tough time.”

Thankfully Ashley has since healed herself, as well as her relationship with performing, and has reunited with Nicole Scherzinger and Kimberly Wyatt for a tour here this autumn.

On how she feels to be back, she told Fearne Cotton on her Happy Place podcast: “Everybody’s like, ‘No, you’re in shape – you got this’.

“I’m like, ‘No, this is a whole other beast’.

“It’s like running a marathon in heels.

“We’re like, ‘Screw it’. You never know when we’re going to be able to do this again.

“We’ve got to just do it – we’ve got to say yes and just go for it.”

Swissh look, Sam

SAM SMITH mixed business with glamour by pairing a shirt and tie with an eye-catching gold corset.

The Stay With Me singer’s snap has been released for the first time as part of a book called The Elegance Of Time, celebrating the 60th edition of Switzerland’s Montreux Jazz Festival.

Sam played at the event – held annually near Lake Geneva – in 2023, and this photo, along with 150 other intimate portraits of artists including Raye, Lionel Richie, Benson Boone and Pulp, will be included in the book, which is out tomorrow.

BBC bosses splashed out on therapy for UK Eurovision act Look Mum No Computer after he came last in the contest and was ridiculed online.

The performer, whose real name is Sam Battle, said the fallout from his quirky entry Eins, Zwei, Drei is ongoing, so he is still seeing a counsellor.

Sam told The Euro Trip podcast: “There was some sort of therapy stuff. The BBC got me a therapist, which is amazing.

“I’ve never really had one before. They were very accommodating. In fact, I’ve still got the therapist because obviously the fallout is another thing. They don’t just leave you.”

Now Sam reckons the only way forward for the UK at Eurovision is to send a hard rock band.

He said: “We went for ‘very good sensible pop songs’ and then for something ‘a little bit left field’. Still didn’t quite work.

“My tip? Metal. Do we have anything to lose?”

SEOUL, May 1 (UPI) — South Korean entertainment giant CJ ENM premiered its AI-hybrid feature film The House this week, presenting the low-budget occult thriller as a test case for how artificial intelligence could help revive a struggling film industry.

The 60-minute film, unveiled Thursday at CGV Yongsan I’Park Mall in Seoul, follows a young woman who can see dead souls after moving into a decrepit apartment building. It is scheduled to be released Friday on CJ ENM’s streaming platform TVING.

Taken on its own merits, The House is far from innovative. It scans as a fairly forgettable horror flick, leaning heavily on gloomy atmospherics, digital gore and jump scares in service of a paper-thin story.

But behind the scenes, the film represents a cutting-edge use of fast-evolving technology that dramatically reduces both costs and production time.

CJ ENM said the actors’ performances were filmed entirely indoors on a green-screen stage, while every background and visual effect was created with AI, using Google tools including Imagen, Nano Banana and Veo.

“We have expanded the production paradigm,” Jeong Chang-ik, head of CJ ENM’s AI Studio and lead producer of The House, said at a panel discussion after the premiere Thursday.

The film cost about $337,000 to produce — at least five times less than a comparable conventional production, Jeong said.

He added that the efficiency gains could be especially significant for genre films, disaster movies and other effects-heavy productions.

“From our perspective, there isn’t much difference in production costs between making a scene where a main character drinks coffee at a cafe and making a scene where that main character defeats a monster,” he said. “In reality, there is a huge difference, but in terms of AI, the difference is not much.”

Actor Kim Shin-yong, who plays a security guard in the film, said the process differed sharply from traditional chroma-key filming, where performers must imagine effects that are added later.

“I could perform while seeing the completed backgrounds in real time, which made immersion much better,” Kim said, adding that the entire shoot took just four days.

The rapid adoption of AI has raised alarm across the global entertainment industry, helping fuel strikes in Hollywood in 2023 amid concerns over job losses and creative control. But the technology is already being widely integrated across production pipelines.

The team behind The House said the goal is not to replace actors or creators, but to integrate AI into existing production workflows.

Ahn Sung-min, director of customer engineering at Google Cloud Korea, said AI is being used not to “take the place of creation,” but to help realize creators’ intent within the filmmaking process.

CJ ENM executives also pushed back on the idea that AI could replace human performers.

“We are actually certain that AI cannot replace the acting of actors,” Baek Hyun-jung, head of content innovation, said. “That’s why we designed this hybrid approach — to preserve the actor’s unique expressiveness while using AI for backgrounds and effects.”

The experiment comes as South Korea’s film industry faces mounting pressure from rising production costs, reduced investment and competition from streaming platforms.

Korean Film Council data showed theater admissions fell 13.8% in 2025 from a year earlier, while revenue from domestic films plunged 39.4%.

Despite the global popularity of Korean content, Culture, Sports and Tourism Minister Chae Hwi-young said in September that the reality facing the country’s creative industries is one of “despair.”

He singled out the film sector as the most vulnerable, noting the number of commercial Korean productions has dropped from around 60 per year to about 20 in 2025.

“Investment has stopped, and the film production scene has run out of money,” Chae said. “The ecosystem of the film industry is collapsing to the point where filmmakers can’t make a living.”

Some A-list filmmakers have responded with dramatic measures such as “microbudget” productions. Train to Busan director Yeon Sang-ho’s 2025 film The Ugly was made for around $150,000 and performed respectably, drawing more than 1 million theatrical viewers before landing on Netflix.

Against that backdrop, AI is increasingly being seen as a potential lifeline for the industry.

For CJ ENM, The House builds on a growing slate of AI-driven projects, including the animated series Cat Biggie, released online last year.

The new film is less a finished template than a proof of concept. Its visual seams remain visible, and panelists acknowledged that AI tools still struggle with consistency, particularly in longer narrative works.

Still, executives said AI will likely become inseparable from mainstream filmmaking.

“I think AI will be the next generation after CGI,” Baek said. “The era in which the boundaries between regular movies and AI movies disappear will surely come quickly.”