Peter Dinklage Reflects on Sophie Turner’s Standout Performance

Looking back on the ensemble that turned “Game of Thrones” into a global television event, Dinklage did not hesitate when discussing Turner’s contribution to the series. “She was I think the greatest actress on this f****ng show,” he said, before recalling the level of preparation she consistently brought to set. “She was always so prepared.”

The compliment carried extra weight given the arc Turner was tasked with portraying. Introduced as the sheltered eldest Stark daughter dreaming of courtly romance, Sansa gradually became one of the most politically savvy figures in Westeros. Across the show, the character endured betrayals, captivity, public humiliation, family tragedy, and multiple shifts in power before ultimately being crowned Queen in the North.

Dinklage also pointed to the challenges built into the role itself. “And that was such a difficult part,” he remarked, acknowledging the complexity of a character whose evolution spanned nearly every major chapter of the story. Unlike many of the warriors and rulers, Sansa’s journey was largely defined by survival, adaptation, and strategic growth.

Turner joined “Game of Thrones” as a teenager and remained a central figure until the series concluded in 2019. Over the years, her performance earned increasing recognition, culminating in an Emmy nomination for Outstanding Supporting Actress in a Drama Series for the show’s final season. She was also part of the cast’s multiple Screen Actors Guild Award ensemble nominations.

According to World of Reel, citing an interview with the Financial Times, Lanthimos admitted he is questioning whether filmmaking remains his next destination.

The Director Says He Needs to Rediscover the Joy of Making Movies

The comments surfaced while Lanthimos was discussing his latest photography exhibition, a creative pursuit that has increasingly occupied his attention. Unlike filmmaking, which requires years of planning, financing, and coordination, photography offers a different rhythm.

Describing the experience, he called it “freeing” and noted that “you can just walk around with a camera, it is a solitary thing, and kind of meditative in a way. You don’t have to have a concept, you don’t have to have an end goal. You don’t have to find financing.”

That contrast appears to have prompted a broader reflection on his career. Rather than outlining future directing plans, Lanthimos suggested that the path ahead remains uncertain. “Will I make more films? I don’t know, we will see,” he said when asked about the possibility of continuing behind the camera.

The filmmaker’s hesitation is particularly notable given the success of his recent work. Since returning to the big screen with “The Favourite” in 2018, Lanthimos has become one of the industry’s most celebrated auteurs, earning Oscar recognition and expanding his long-running creative partnership with Emma Stone through multiple projects.

For now, however, he seems unwilling to force another production into motion. “I need to find again the joy in making films,” Lanthimos remarked, adding that he wants “to let it come naturally, instead of pushing myself.” Whether that leads to another feature or a longer detour into photography remains an open question.

During an appearance on SubwayTakes, the internet talk show hosted by Kareem Rahma, the singer and actress offered a characteristically confident opinion about who gets to call themselves a true New Yorker.

Jennifer Lopez Draws a Hard Line on New York Identity

Asked for her controversial takes, Lopez wasted little time getting to the point. “You have to be born in New York to be a New Yorker,” she said, before adding, “I know everybody wants to claim the city. Everybody wants to claim our city, but you have to be born in New York.”

The Bronx native went even further, arguing that the distinction comes down to where someone enters the world. “You have to be born in one of the five boroughs to be a New Yorker,” she said.

Rahma challenged the idea with a hypothetical example. What about someone who had spent 50 years living in New York and reached the age of 90? Would that person qualify? Lopez’s answer was immediate: “I have to say no.”

She did, however, acknowledge that decades in the city leave a mark. “You live in New York. You take on the characteristics of New Yorkers, probably by that time,” she said. “You have a New York sensibility. You pay New York taxes.”

Even with those concessions, Lopez maintained that residency and identity are not the same thing. “But I can’t call it,” she said. “When you are born in New York, that’s when you are really a New Yorker.”

The A-lister’s appearance on SubwayTakes comes as she promotes “Office Romance,” her new Netflix romantic comedy in which she stars as Jackie, the powerful CEO of Air Cruz. The film follows her character’s strict no-fraternization policy as it is put to the test by the arrival of a charismatic new lawyer, played by Brett Goldstein.

In a recent interview with Variety, executive producer Gordon Smith offered a glimpse into where work on Season 2 currently stands.

‘Pluribus’ Season 2 Has Reached a Key Stage in Development

Fans eager for news on Pluribus received one of the clearest updates yet this week. Speaking about the status of the new installment, Smith said the writers are currently focused on mapping out upcoming episodes, noting that the team is “about midway through Season 2” as they continue developing the story.

The update arrives several months after the first part concluded with Carol Sturka, played by Rhea Seehorn, making a dramatic alliance with fellow survivor Manousos Oviedo following the arrival of an atomic bomb.

While progress is underway, Smith indicated that the process remains demanding. “We are working as hard as we can and as fast as we can, which isn’t very fast, but it is the best we can do,” he said.

As for cameras rolling again, there is still no official start date. Smith expressed hope that production could resume “by the end of this year or early next year,” offering the strongest indication yet of when filming may begin.

Created by Vince Gilligan, the series follows novelist Sturka, one of only a handful of people immune to an event known as the Joining, which turned most of humanity into a peaceful hive mind. Season 1 earned widespread acclaim for its unusual premise, with Seehorn’s performance drawing particular attention as the show established itself as one of Apple TV’s biggest successes.

A Career That Reached Across Stage and Screen

Born Patrick Lindesay Archibald Godfrey in London on February 13, 1933, he began his professional journey after winning the prestigious Carleton Hobbs Bursary and joining the BBC’s Radio Drama Company in 1956. His screen career gathered momentum in the decades that followed, leading to roles in period dramas and literary adaptations that became staples of British cinema.

Godfrey appeared in films such as “A Room with a View,” “Maurice,” “The Remains of the Day,” “The Count of Monte Cristo,” “The Importance of Being Earnest,” “The Duchess,” “Les Misérables,” and “Mr. Turner.” While often cast in supporting parts, he developed a reputation for bringing authority and subtlety to historical figures, clergymen, academics, and aristocrats.

His role as Leonardo da Vinci in “Ever After” remains one of his most recognizable performances, thanks to the character’s relationship with Drew Barrymore‘s Danielle.

Television audiences encountered him in a wide range of productions over the years. His credits included “Doctor Who,” “Inspector Morse,” “Foyle’s War,” “Midsomer Murders,” “Casualty,” “The Bill,” “Doc Martin,” and “His Dark Materials.” He was also active in voice work, contributing performances to projects such as “BioShock 2,” “Red Dead Redemption,” and “Red Dead Redemption 2.”

Godfrey is survived by his wife, actress Amanda Walker, whom he married in 1960, and their two children.

Wayans Family Return Powers Franchise Comeback

The sixth entry arrives with a notable sense of nostalgia attached to it. Marlon, Shawn, and Keenen Ivory Wayans returned to write and produce the film, reuniting the creative team that helped establish the franchise as a box office force in the early 2000s. Their involvement became one of the picture’s primary selling points as marketing emphasized a return to the tone of the first two installments.

The movie also brings back several familiar faces. Anna Faris reprises her role as Cindy Campbell, while Regina Hall returns as Brenda Meeks alongside Marlon and Shawn Wayans as Shorty Meeks and Ray Wilkins. The story centers on the resurfacing of the masked killer that haunted the original flick, drawing the surviving characters back into another round of genre parody and self aware horror comedy.

Like its predecessors, “Scary Movie 6” targets a wide range of contemporary horror hits. The picture pokes fun at titles such as “Sinners,” “Longlegs,” “Smile,” “M3GAN,” “The Substance,” and the recent “Scream” movies, while also weaving in references to broader pop culture.

The box office performance is particularly notable given the film’s reported $30 million production budget. If weekend projections hold, the movie will have already earned nearly twice its production cost domestically within its first few days of release, giving Paramount and Miramax an early win as the summer movie season continues.

Critical reception has been mixed to negative, but audience turnout suggests that longtime fans were eager to see the franchise’s original creative voices return. With an opening weekend now expected to set a new series benchmark, “Scary Movie 6” appears poised to become one of the most commercially successful chapters in the parody franchise’s history.

Sean Penn says skipping the Oscars was “better for my mental health”

During the conversation, Penn stressed that his absence from the Academy Awards was not about the ceremony itself. “It’s not just [that it’s] an awards show,” he said. “It would be the same if this group was going to an afterparty and one stepped into that.” He added that large gatherings have long been difficult for him, describing them as “social discomfort” because there are simply “too many people.”

Penn went on to reveal that he has drawn a firm personal boundary when it comes to crowded events. “I’m now down, committed for life, that I won’t go anywhere to be in a designated group beyond eight people,” he said. According to the actor, those settings trigger his “anxiety” and are “dread-provoking.”

Ahead of the Oscars, Penn discussed the situation with his “One Battle After Another” collaborators and ultimately decided not to attend. The group agreed it was “better for my mental health” if he skipped the ceremony. Instead, he traveled to Ukraine for activist work, where he watched the broadcast despite the time difference.

Watching from abroad gave him a different experience than the one he had known as a nominee and winner. “I really got to enjoy the Academy Awards for the first time,” Penn said. “It was great.”

The actor also revealed that his decision was shaped by an earlier awards-season appearance. Reflecting on a visit to the Golden Globes, he said, “The best that I could ever muster was relief.” That event ultimately convinced him that awards shows were no longer for him. “I went to the Golden Globes; I’d never been to that before. And that’s where I decided, ‘I can’t do this.’” As for what makes those gatherings difficult, Penn offered a simple explanation: “It’s the ninth person.”

Sarah Michelle Gellar Revisits Buffy’s Farewell to Honor Anthony Head

Rather than beginning with her own words, Gellar opened her tribute with a line from the Season 5 finale, when Buffy leaves a message for her mentor before her ultimate sacrifice: “Tell Giles I figured it out and I’m ok.”

Gellar then revealed that the sentiment no longer felt true in the wake of Head’s passing. “Well I don’t have it figured out and I’m not ok. But I know I’m the lucky one because I knew you,” she wrote. The post quickly resonated with fans who remembered the emotional connection between Buffy and Giles, a relationship that evolved far beyond teacher and student during the show’s seven-season run.

The actress also took a moment to acknowledge Head’s family, thanking his daughters. “Thank you to Daisy and Emily who not only shared their dad with me, but with the world,” she wrote.

Head’s portrayal of Giles became one of the defining elements of “Buffy the Vampire Slayer.” Introduced as Buffy’s Watcher and mentor, the character gradually emerged as a father figure not only to Buffy but also to her closest friends. The role earned Head lasting acclaim and remained closely associated with him long after the series concluded in 2003.

According to Deadline, the project is not being positioned as a remake but as a new story that draws from the original premise while updating it for a very different media landscape.

Produced by Sony Pictures Television, the untitled pilot comes from writers Rob Rosell, known for his work on “It’s Always Sunny in Philadelphia,” alongside “Cobra Kai” collaborators Joe Piarulli and Luan Thomas.

Hulu’s Version Brings Chip Douglas Into the Streaming Age

While many film-to-television adaptations take only broad inspiration from their source material, Hulu’s project is maintaining a direct connection to “The Cable Guy.” Johnson and Wayans Jr. will portray updated versions of Chip Douglas and Steven Stephens, the characters originally played by Jim Carrey and Matthew Broderick in the 1996 picture directed by Ben Stiller.

The new series shifts the story into a world dominated by streaming services, binge watching and algorithm driven entertainment. According to the official logline, Chip is now an old fashioned cable technician struggling to find his place in an era that has largely moved beyond the service he represents. His life changes when Steven reaches out to have his cable reconnected, reviving a friendship that Chip has never forgotten.

At first, the relationship appears mutually beneficial. Both men find something they have been missing in their lives, but the dynamic gradually becomes more complicated as Chip’s eagerness begins to cross boundaries. The premise echoes the original film’s blend of comedy and discomfort while exploring themes of loneliness and connection through a modern lens.

Released in 1996, “The Cable Guy” followed an eccentric cable installer who inserted himself into the life of a reluctant customer after a chance encounter. The picture earned more than $100 million worldwide and, despite receiving mixed reviews at the time, later developed a devoted cult following. Its darker tone also marked a notable departure from the broader comedies that had made Carrey one of Hollywood’s biggest stars.

Whether the pilot ultimately moves forward to a full series remains to be seen, but Hulu’s order signals renewed interest in a film whose themes of media dependency and social isolation may be even more relevant today than they were thirty years ago.

‘The Acolyte’ Creator Hasn’t Given Up on Season 2

While no revival is currently in development, Headland made it clear that her enthusiasm for a second season has not faded. “I would still want to do it! Absolutely,” she told Empire. “As more people discover it, I think people may want to see some form of the story come back.”

Headland said the creative team had already mapped out several major storylines beyond the first season’s finale. “We did have a lot of stuff that we wanted to explore — including tying in lore to the sequels,” she revealed. Among the biggest unanswered questions were those surrounding Manny Jacinto’s Qimir, whose backstory was only beginning to emerge when the series ended.

According to Headland, future episodes would have dug deeper into the character’s connections across the “Star Wars” mythos. “Getting into who exactly Manny’s character is, his connection with Vernestra, his connection with Plagueis, and then his connection with other sequel established things,” she said, outlining some of the material that never made it to the screen.

For Headland, fluctuating reactions within the fandom are another reason not to rule out the show’s future. “The weather changes with Star Wars,” she said, pointing to how opinions can evolve over time. Referencing the once divisive prequel trilogy, she added, “There was a real negative reaction to [the Prequels], especially from a particular generation. And 25 years later, Hayden is at Celebration.” Whether that same reevaluation eventually benefits “The Acolyte” remains to be seen, but the creator is clearly keeping the door open.

Suspect Allegedly Confessed During 911 Call

Police were dispatched to the residence at approximately 9:30 a.m. after receiving a disturbing emergency call. According to Deadline, the caller told the dispatcher, “I am the son of man, I just killed the man of sin.” When officers arrived, they discovered Handy unconscious in the front yard with stab wounds to the chest. He was transported to a hospital, where he was later declared dead.

Investigators identified the suspect as 44-year-old Michael Gledhill. The Los Angeles Police Department said Gledhill approached responding officers and indicated that he was the person they were seeking. He was subsequently taken into custody and booked on suspicion of murder. Bail was set at $2 million.

LAPD officials also stated that Gledhill lived at the residence with his mother, who was reportedly in a relationship with Handy. Details regarding what may have led to the incident have not yet been released, and the investigation remains ongoing.

Handy built a lengthy career as one of Hollywood’s most recognizable character actors. Beginning in the late 1970s, he accumulated dozens of screen credits, appearing in films including “The Verdict,” “The Rocketeer,” “K-9,” and “Unbreakable,” among others.

His television résumé was equally extensive. Over the years, he appeared in series such as “Alias,” “Profiler,” “NYPD Blue,” “The West Wing,” “Law & Order,” “Criminal Minds,” “Castle,” and “The X-Files.” Though rarely a leading man, Handy became a familiar presence across American film and television, earning a reputation for dependable performances that kept him working steadily for nearly half a century.

James Handy Built a Career as One of Hollywood’s Most Reliable Character Actors

While he rarely occupied center stage, Handy became one of those recognizable faces audiences encountered across decades of television and film. His extensive résumé included appearances in acclaimed movies such as “The Verdict,” “Arachnophobia,” “Jumanji,” “Unbreakable,” “Logan,” and, most recently, “Top Gun: Maverick.” His ability to seamlessly move between drama, thriller, comedy, and action projects made him a steady presence in the industry for nearly 50 years.

Television viewers were equally familiar with his work. Handy accumulated dozens of guest appearances throughout his career, appearing on series including “Law & Order,” “ER,” “The X-Files,” “Quantum Leap,” “Criminal Minds,” “Castle,” and “The West Wing.” He also held recurring roles on “Alias,” where he portrayed Arthur Devlin, and “Profiler,” in which he played Lou Handleman.

Authorities say officers responded to a call Wednesday morning in Tarzana, where Handy was discovered unconscious in the front yard of a residence after suffering stab wounds to the chest. Emergency personnel transported him to a nearby hospital, but he was later pronounced dead. Investigators identified 44-year-old Michael Gledhill as the suspect in the case. Police stated that Gledhill lived at the residence with his mother, who was reported to be Handy’s girlfriend.

According to Variety, showrunner Adi Shankar said the production was structured around a three part narrative inspired by Dante Alighieri’s Divine Comedy, with each part representing a different stage of that journey.

Adi Shankar Says the Series Was Always Built as a Three-Part Story

Shankar explained that the clues have been present throughout the show, particularly in the episode titles and overall structure. He described Season 1 as “Inferno,” Season 2 as “Purgatorio,” and the upcoming final installment as “Paradiso.” Together, the three chapters form what he calls “The Force Edge Saga.”

“For those of you who have been paying attention to the episode names, I have been showing you the structure the entire time,” Shankar said. He added that the project was conceived as “Dante’s Divine Comedy with guns and a red coat.”

The showrunner also revealed that the entire saga was designed to function as “a movie trilogy disguised as a television series.” Rather than extending the narrative indefinitely, the creative team structured the adaptation around a beginning, middle, and end that would play out across three seasons.

Based on Capcom’s long running video game franchise, “Devil May Cry” follows demon hunter Dante as he battles supernatural threats while becoming entangled in a conflict involving the terrorist known as the White Rabbit, the military organization DARKCOM, and forces from Hell itself. The series features voice performances from actors including Johnny Yong Bosch, Scout Taylor-Compton, Hoon Lee, Robbie Daymond, and the late Kevin Conroy.

The first season premiered on Netflix in April 2025 and was quickly renewed for a second season, which debuted in May. While critics have generally responded positively to the adaptation, reactions among longtime fans of the games have been more divided. With a final season now confirmed, viewers will soon see whether Shankar’s long planned “Force Edge Saga” delivers the ending he has been building toward since the beginning.

Guillermo del Toro Gives a Major Vote of Confidence to ‘Widow’s Bay’

Del Toro did not hold back when sharing his reaction to the show. Posting on X, he wrote: “If I may -in my estimation- Widow’s Bay may very well be the best streaming series in a long time” before adding that it is “hands down one of the most mesmerizing acts of narrative prestidigitation in Horror.”

The endorsement arrives as “Widow’s Bay” continues to earn strong reviews for its unusual blend of supernatural scares, comedy, and mystery. Created by Katie Dippold and directed in part by Hiro Murai, the ten-episode series unfolds in a cursed New England island community where centuries of dark history collide with modern life. At the center of the story is Mayor Tom Loftis, played by Matthew Rhys, whose skepticism about local legends gradually gives way as increasingly bizarre events grip the town.

Alongside Rhys, the ensemble includes Kate O’Flynn, Kevin Carroll, Dale Dickey, Kingston Rumi Southwick, and Stephen Root. Across its first season, viewers have encountered haunted inns, ancient pacts, murderous folklore figures, and a growing web of secrets tied to the island’s origins.

With its first season still unfolding on Apple TV+, “Widow’s Bay” has already attracted attention from horror enthusiasts and television critics alike. Del Toro’s enthusiastic endorsement now places the show in even rarer company, giving one of 2026’s breakout genre series a powerful seal of approval from one of modern horror’s most celebrated filmmakers.

Tom Holland Says Live Cue Cards Make SNL a Challenge

Speaking on Amy Poehler’s Good Hang podcast, Holland revealed that he has been approached about hosting the iconic sketch series on multiple occasions but has never been able to get past one specific fear. “I’m heavily dyslexic, which is one of the reasons why … is why I’ve never done SNL,” he said, explaining that the show’s reliance on cue cards has always been a major concern.

Holland noted that the challenge is not reading itself but reading aloud under pressure. “It’s just that, for me, I can read fine,” he explained. “But when I have to read out loud, it just becomes, a kind of … it’s like a mental block, and I can freeze.” The actor added that the unpredictable nature of a live production only amplifies those concerns, admitting he is “just so petrified at the concept of, like, trying to read something and they change.”

The actor went on to describe script read throughs as the most difficult part of his work routine. “For me, my worst day at work is the read through,” Holland said. To help manage the situation, he prepares extensively beforehand, explaining, “I will really try and highlight everything and learn my lines ahead of time, so that I’m more kind of skimming it than I am reading.”

Although the prospect of hosting SNL remains daunting, Holland made clear that his reluctance has nothing to do with the show itself. “I’ve been really lucky that they’ve asked me a few times to do it,” he said. “I love the show, and I love the idea of having fun and making a fool of yourself in such a fun, creative way.” Even so, he acknowledged that the live format continues to be a hurdle, concluding, “It’s just that thing of the cue cards.”

The comments come as Holland prepares for one of the biggest years of his career. In just over a month, he will appear as Telemachus in Christopher Nolan’s “The Odyssey” before returning to the Marvel Cinematic Universe weeks later in “Spider-Man: Brand New Day,” his fourth solo film as Peter Parker.

Marlon Wayans Reveals Jordan Peele Passed on a Cameo

For the first time in more than two decades, Marlon and Shawn Wayans have reclaimed creative control of the franchise they launched in 2000. The new installment reunites them with original stars Anna Faris and Regina Hall while shifting its attention toward a new generation of horror favorites, including “Get Out,” “Sinners,” “Weapons,” “Longlegs,” and “Scream.”

Wayans explained that seeking approval is not typically part of the parody process. Reflecting on films inspired by contemporary horror directors, he remarked, “You don’t ask for permission, you just kind of do it and hope they enjoy it and if not they’ll never cast you in one of their movies, and that’s OK.”

Peele, however, was a different case. The filmmaker and Wayans had recently worked together on the horror feature “Him,” which Peele produced. That connection led Wayans to personally mention that “Get Out” would be among the picture lampooned in “Scary Movie.”

The conversation apparently went smoothly. Recalling Peele’s reaction, Wayans said, “He was like ‘Oh, cool.'” Encouraged by the response, he followed up with an invitation to join the film. The answer was brief. “I was like, ‘You want to be in it?’ He said, ‘Nah.'” Wayans then joked about the exchange, adding, “I was like, ‘Alright, not that cool.'”

Peele’s attention remains focused on the next chapter of his filmmaking career. The Oscar winner is currently developing an untitled horror-thriller for Universal Pictures through his Monkeypaw Productions banner. Although the project was previously scheduled for theatrical release, it has since been removed from the studio’s calendar and does not yet have a new premiere date.

The Casting Decision That Changed the Future of ‘Scary Movie‘

The revelation came when the cast was asked whether there had ever been a celebrity who wanted to join the franchise but did not make the final cut. Marlon Wayans quickly pointed to Hart, saying, “Melissa Joan Hart. She was supposed to play Anna’s part.” The comment caught Faris by surprise, with the actress admitting, “I didn’t know this,” before adding, “She’s good!”

According to Wayans, the final decision rested with Keenen Ivory Wayans, who saw something distinctive in Faris during the casting process. Recalling the moment, he remembered the director saying, “I saw this young lady, Anna Faris, and it really feels like that’s our Cindy.”

Hart was already a recognizable star thanks to her leading role in “Sabrina the Teenage Witch,” while Faris was still an emerging actress searching for her breakthrough. Instead, the role transformed Faris into one of the defining comedic performers of the early 2000s.

The anecdote surfaced as the cast celebrates the release of the new “Scary Movie,” which reunites Faris with Marlon and Shawn Wayans, Regina Hall, and several other returning cast members. The film marks the Wayans family’s first major creative involvement with the franchise since 2001 and brings Cindy Campbell back to the center of the action as the series revisits the masked killer storyline that inspired the original movie.

As the conversation wrapped up, Marlon Wayans could not resist turning the revelation into a joke, teasing Faris, “So you took Melissa Joan Hart’s job. Good job!” Shawn Wayans joined in with a simple, “Nice job,” giving the decades old casting story an appropriately comedic ending.

The rare public appearance from the teenager drew attention as he joined Faris, her husband Michael Barrett, stepson Dashiell Barrett, and stepdaughter Margot Barrett in support of the actress’ return to one of her most recognizable roles.

Jack Pratt Joins Family Celebration for Anna Faris’ Franchise Return

Jack’s appearance stood out because he has largely remained out of the spotlight despite having two of Hollywood’s most recognizable parents. Faris and Chris Pratt first met while filming “Take Me Home Tonight” in 2007 and quickly became one of the entertainment industry’s most beloved couples. They married in 2009 and welcomed Jack in 2012. The pair have previously spoken about the challenges surrounding his premature birth and the difficult weeks he spent in intensive care following his arrival.

Although Faris and Pratt announced their separation in 2017 and finalized their divorce the following year, they have maintained a notably cooperative co-parenting relationship. Both have emphasized creating a stable environment for their son despite their demanding careers and personal changes. Faris later married cinematographer Michael Barrett in 2021, while Pratt married Katherine Schwarzenegger.

The event celebrated the arrival of “Scary Movie,” better known as “Scary Movie 6,” which reunites Faris with several familiar faces from the franchise’s early years. She returns as Cindy Campbell alongside cast members including Regina Hall, Marlon Wayans, and Shawn Wayans.

The sixth installment follows Cindy and her infamous group of longtime allies as they confront the return of the masked killer connected to events from decades earlier. The film also marks the return of the Wayans family to the franchise for the first time since “Scary Movie 2,” a development that generated considerable interest among longtime fans.

Directed by Michael Tiddes, the picture arrives in theaters tomorrow. While early critical reactions have been mixed, the reunion of Faris, Hall, and several original cast members has been a major draw.

The latest valuation marks a dramatic increase from her billionaire status just two years ago and reflects the continuing impact of her record-breaking business decisions.

How Touring and Music Ownership Built Taylor Swift’s Fortune

Swift’s financial ascent has been driven by a combination of touring success, music rights ownership, and long-term control over her career. A central factor was The Eras Tour, which became the highest-grossing concert tour ever, generating approximately $2.2 billion in revenue and cementing its place as one of the most successful live entertainment events in history.

The tour’s unprecedented earnings helped propel Swift into billionaire territory in 2024. Unlike many artists whose wealth is tied primarily to touring or endorsements, Swift’s business model increasingly benefited from ownership. Her decision to re-record much of her catalog reshaped the economics of her music career and allowed a greater share of royalty revenue to flow directly to her.

That strategy emerged from a years-long dispute over the ownership of her original master recordings. By releasing new versions of her earlier albums, Swift not only regained commercial leverage over some of her most popular work but also encouraged broader industry conversations about artists retaining control of their music.

The financial rewards of that approach became even more apparent when she reportedly used part of her earnings to reacquire her original masters in a deal estimated at roughly $360 million. The move effectively reunited one of the music industry’s most valuable catalogs under her control.

Swift’s appearance on Forbes’ Iconoclast 50 list places her alongside influential figures from business, technology, sports, and entertainment. While the list includes everyone from major corporate leaders to cultural icons, Swift stands out for achieving a level of wealth built largely through music itself, a distinction that has become increasingly rare even among the entertainment industry’s highest earners.

10. Monster: The Ed Gein Story (Netflix) – 13.4 Million Viewers

The latest installment in Netflix’s “Monster” anthology continued the franchise’s strong track record with viewers. Focusing on notorious serial killer Ed Gein, the series attracted 13.4 million viewers and secured the final spot in the season’s top ten.

9. The Pitt (HBO Max) – 13.8 Million Viewers

HBO Max’s medical drama became one of the year’s breakout success stories. After earning critical acclaim and generating strong word of mouth, “The Pitt” reached 13.8 million viewers and finished just ahead of Netflix’s “Monster.”

8. High Potential (ABC, Hulu, Disney+) – 16 Million Viewers

ABC’s crime drama proved to be one of broadcast television’s strongest performers. Its multiplatform reach across Hulu and Disney+ helped push the series to 16 million viewers, making it one of the season’s most successful network shows.

7. Tracker (CBS, Paramount+) – 16.4 Million Viewers

CBS continued its streak of ratings success with “Tracker.” The action drama drew 16.4 million viewers, reinforcing its position as one of the network’s most reliable hits.

6. Bridgerton (Netflix) – 18.3 Million Viewers

Netflix’s Regency era romance remained a major draw for audiences. With 18.3 million viewers, “Bridgerton” once again demonstrated the enduring popularity of one of the streamer’s flagship franchises.

5. Landman (Paramount+) – 19.8 Million Viewers

The oil industry drama from the “Yellowstone” creative universe continued to attract a large audience. Nearly 20 million viewers tuned in, placing “Landman” firmly among the year’s elite performers.

4. Sean Combs: The Reckoning (Netflix) – 20.6 Million Viewers

True crime and documentary storytelling remained powerful audience magnets. “Sean Combs: The Reckoning” reached 20.6 million viewers, narrowly missing a top three finish.

3. Marshals (CBS, Paramount+) – 20.7 Million Viewers

The highest-ranked broadcast series on the list was “Marshals.” The CBS and Paramount+ drama attracted 20.7 million viewers, giving the “Yellowstone” franchise another major ratings success.

2. His & Hers (Netflix) – 25.6 Million Viewers

Only one series came close to challenging the season’s leader. Netflix’s “His & Hers” amassed 25.6 million viewers, making it the second most-watched television series of the year.

1. Stranger Things (Netflix) – 32.9 Million Viewers

The final season of “Stranger Things” finished its run in dominant fashion. Averaging 32.9 million viewers, the Netflix phenomenon stood well ahead of every other series on the rankings and claimed the title of America’s most-watched show of the 2025-26 television season.

Demon Slayer Leads a Packed Two-Day Showcase

Among the headline attractions is a major presentation for “Demon Slayer: Kimetsu no Yaiba Infinity Castle.” The event will bring together members of the film’s voice cast and include a special video presentation from Ufotable. Attendees will also get an early glimpse at footage from the studio’s next feature project.

Crunchyroll’s schedule extends far beyond its biggest franchise. Panels are planned for “The Apothecary Diaries,” “Gachiakuta,” “Daemons of the Shadow Realm,” and “Witch Hat Atelier,” with creators and cast members expected to discuss upcoming storylines, production details, and future plans. Elsewhere, “Clevatess” will receive a creative spotlight, while “Mob Psycho 100” is set to celebrate its tenth anniversary with a dedicated event.

The company is also using Anime Expo as a launchpad for several upcoming series. Fans can expect first looks, premiere screenings, and guest presentations tied to projects including “Firefly Wedding,” “Overgeared,” “Saga of Tanya the Evil” Season 2, “Sasaki and Peeps” Season 2, and several newly announced fantasy adaptations. The event will also highlight “Goodbye, Lara” and “Tomb Raider King,” both scheduled to arrive on Crunchyroll in July.

Advance screenings will play a major role in the lineup. Attendees will have opportunities to see episodes from “Mushoku Tensei” Season 3, “Returner’s Magic Should Be Special” Season 2, and “Reborn as a Space Mercenary” before their wider release.

Beyond screenings and panels, Crunchyroll is expanding its fan experiences on the convention floor. Its Dubbing Dojo attraction will allow visitors to record dialogue from series such as “Attack on Titan,” “BLUE LOCK,” “Sentenced to Be a Hero,” and “Solo Leveling.” Interactive exhibits tied to “Daemons of the Shadow Realm” and “Witch Hat Atelier” are also planned.

A Career-Spanning Look Inside Prince’s Legendary Vault

For years, Prince’s vast archive of unreleased music has been one of the most discussed collections. Previous posthumous projects often focused on specific albums or creative eras, giving listeners deeper insight into individual periods of his career. Timeless takes a different approach by drawing material from across the full timeline of his recording life.

The 10-track album features songs recorded between 1977 and 2016, covering the years from Prince’s earliest professional work through the final chapter of his career.

The announcement was accompanied by the release of “Stone,” a song recorded in the spring of 1995. The track was written by Sandra St. Victor, Tom Hammer, and Jules Van Even and now serves as the first preview of the forthcoming collection.

The launch of Timeless also coincides with Prince Celebration 2026, the annual gathering honoring the artist’s life and legacy. Taking place from June 3 through June 7 at Paisley Park and locations throughout Minneapolis, the event is expected to feature listening sessions, presentations drawn from Prince’s archives, and discussions with musicians and collaborators connected to his career.

In addition to digital availability, the album will be released in several physical formats. Fans will be able to purchase standard black vinyl and CD editions, while a limited Purple Marble Vinyl version will be offered exclusively through direct to consumer channels.

Critics Find More Nostalgia Than Reinvention

Directed by Michael Tiddes, the sixth installment reunites Cindy Campbell, Brenda Meeks, Marlon Wayans, Shawn Wayans, Ray Wilkins, and Shorty Meeks as they once again confront a masked killer tied to their past. The film marks the first “Scary Movie” entry involving the Wayans family since “Scary Movie 2” in 2001, making its arrival one of the most closely watched comedy revivals of the year.

For Owen Gleiberman of Variety, the movie’s biggest issue is that it leans too heavily on its own legacy. He wrote that “the majority of the jokes come off as more asserted than delighted,” adding that the picture is “jammed with spoof-genre history” and ultimately feels “more exhausting than exhilarating.” Gleiberman described it as “a top-heavy satirical party that’s become so meta it’s meh,” though he praised returning stars Anna Faris and Regina Hall, noting that both return with “good-sport glee.”

Pete Hammond of Deadline was similarly underwhelmed by the reboot, calling it “surprisingly devoid of many laughs.” He characterized the title as “a flat-footed and predictable satire” and argued that the filmmakers were “stuck in the same old formula” rather than finding a fresh way to parody modern horror. Hammond also wrote that the movie is “missing many opportunities for genuine satirical home runs,” despite bringing back many of the franchise’s original cast members. Among the ensemble, he singled out Faris, saying she “seems to be having the most fun and livens this up.”

The strongest criticism came from The Hollywood Reporter’s David Rooney, whose review was published under the headline “The Wayans Brothers’ Slasher Spoof Franchise Should Have Been Left for Dead.” Rooney argued that the performers are “reduced to joke machines trapped in a nonsensical nonplot” and said that while some gags generate laughs, “a far greater number fall flat.” He also pointed to the film’s reliance on familiar franchise habits, writing that this entry needs “fresh inspiration and not just a lazy retread of the same old meta contortions.”

With “Scary Movie 6” set to open nationwide tomorrow, the real test will be whether audiences are more receptive than critics. Critics largely agree that the picture relies heavily on nostalgia and familiar franchise beats, but the return of the Wayans family, Anna Faris, and Regina Hall could still prove a major draw for longtime fans.

A New Big Screen Portrait of a Music Icon

While Sony is keeping story details under wraps, the film will focus on Twain, whose rise from a difficult childhood in rural Canada to international stardom made her one of the defining music success stories of the 1990s. Across a career spanning more than three decades, Twain has sold tens of millions of records worldwide and helped reshape the commercial boundaries between country and pop music.

McKendrick will direct from her own screenplay. Before establishing herself as a writer and director, she worked as a singer songwriter, an experience that reportedly helped distinguish her as the right creative voice for the project.

Twain is also taking an active role behind the scenes, joining the production team alongside Amie Karp. The involvement of the artist herself suggests the film could offer a more direct perspective on key moments from her life and career, though no casting announcements or production timetable have been revealed.

The project has been in development at Sony for some time. Jessica Welch previously wrote an earlier version of the screenplay before the studio ultimately moved forward with McKendrick’s take on the material.

For Sony, “Shania” continues a growing investment in music driven storytelling. The studio previously released “Whitney Houston: I Wanna Dance With Somebody” and is also preparing Sam Mendes’ ambitious four-film exploration of The Beatles. Adding Twain to that slate gives Sony another globally recognized music figure whose personal story and cultural impact extend well beyond the recording industry.

Tarantino Says Modern Movies No Longer Hold His Attention

For years, Tarantino has been vocal about his dissatisfaction with the state of modern cinema, but his latest remarks go beyond complaints about trends or studio practices. Writing in Sight and Sound, the Oscar-winning filmmaker admits that the medium itself no longer inspires the same passion it once did.

“I loved going to the movies,” Tarantino writes before contrasting that feeling with his current outlook. “These days, however, the concept of what is a movie is more inclined to inspire contempt in me than generosity.”

The director also doubled down on a criticism he has made before, describing the present era as the weakest stretch of filmmaking he has experienced. In one of the essay’s most striking passages, he argues that “the movies of the last six years make the ‘80s seem like the ‘30s.“

Even among the pictures he has enjoyed, Tarantino suggests very few have delivered the kind of cinematic escape he once sought. He cites Steven Spielberg’s “West Side Story” and Kevin Costner’s “Horizon” films among the exceptions, but says none truly transported him back to the feeling that made him fall in love with movies in the first place. “These days I’d rather read a book,” he admits.

That makes his reaction to “The Rip” all the more notable. The Netflix thriller, directed by Joe Carnahan and starring Matt Damon and Ben Affleck, is the one recent release Tarantino says truly connected with him. Calling it a rare exception among modern titles, he said it “did grab me and held me for its entire duration,” the kind of immersive experience he believes has become increasingly uncommon.

Released earlier this year, “The Rip” follows a Miami narcotics unit whose discovery of millions in cartel cash triggers suspicion, betrayal, and a violent struggle over loyalty. The film earned generally favorable reviews and became one of Netflix’s higher-profile original releases of 2026. Judging by Tarantino’s latest comments, it also achieved something many recent pictures have failed to do: win over one of cinema’s most outspoken traditionalists.

David Harbour Celebrates Cast and Creator After Gotham TV Awards Win

Harbour used his acceptance speech to shine a light on the people around him rather than focusing solely on his own achievement. According to The Hollywood Reporter, the actor first acknowledged fellow nominee Linda Cardellini, joking about the reality that only one trophy could be handed out in the category. “We can share custody of this,” he quipped, before turning his attention to the series’ ensemble and creator Steven Conrad.

The recognition marks another milestone for “DTF St. Louis,” a darkly comic mystery that premiered in March on HBO Max. Created, written, and directed by Conrad, the show unfolds through a nonlinear narrative centered on a complicated relationship between three middle-aged adults whose personal lives become entangled in a murder investigation.

Harbour stars as Floyd Smernitch, an American Sign Language interpreter whose life becomes increasingly complicated after he is introduced to a dating app designed for married people seeking affairs. The story follows the fallout from those decisions, gradually revealing how a seemingly unconventional love triangle connects to Floyd’s eventual death and the investigation that follows.

The miniseries also features Jason Bateman and Linda Cardellini in leading roles, alongside Richard Jenkins, Joy Sunday, Peter Sarsgaard, Chris Perfetti, and Arlan Ruf. Throughout its seven episodes, the show repeatedly revisits key events from different perspectives, allowing viewers to piece together the chronology of the crime as detectives uncover new details.

For HBO Max, the Gotham TV Awards victories represent an early awards-season boost for a project that underwent a notable evolution during development. What began as a concept inspired by a real-life case eventually became a wholly original story under Conrad’s direction, culminating in one of the platform’s most acclaimed limited series of 2026 and now a two-time Gotham winner.

The long-discussed return of “The Critic” has taken a significant step forward, with co-creator Al Jean revealing to Polygon that the project is closer than ever to becoming a reality.

The animated satire, which ran for just 23 episodes between 1994 and 1995 before developing a devoted following through reruns and webisodes, has remained a frequent subject of revival speculation for years. Now, the people behind the series say the pieces are beginning to fall into place.

After Years of Rumors, ‘The Critic’ Could Finally Be Making a Comeback

Jean offered the strongest indication yet that a revival is moving forward, revealing that one of the project’s biggest obstacles has already been cleared. “The hurdles are passed with me making my deal,” he said, before explaining that the remaining negotiations involve Jon Lovitz, the voice behind Jay Sherman. While nothing has been officially finalized, Jean noted that Lovitz “definitely wants to do it” and expressed confidence that an agreement will ultimately be reached.

Even with the final paperwork still pending, Jean sounded optimistic about the show’s prospects. Calling his update “the honest, very up-to-the-minute fact,” he acknowledged that he could not guarantee the outcome but added that he is confident the deal will close. His most revealing assessment came when discussing the overall state of the project, saying, “It’s never been closer to actually happening.”

The possibility of a reboot has already sparked creative thinking behind the scenes. Jean revealed that he has been developing potential storylines for a modern version of the series, including one idea that would send Jay to a Mets game where he unexpectedly “falls in love with Mrs. Met, who’s hitting on him.” The pitch suggests the revival would retain the surreal, pop culture-driven humor that made the original title a cult favorite.

Fellow co-creator Mike Reiss, who developed “The Critic” alongside Jean after the pair’s acclaimed run as writers and showrunners on “The Simpsons,” indicated that his role would likely be more limited if the project moves ahead. “I’m sort of on the sidelines,” he said, adding that while he would not be running the show, he expects to remain involved. “I’ll be a little part of the thing. I’ll keep a hand in it.”

Despite not being at the center of the reboot’s development, Reiss shares Jean’s confidence that the series will return. Pointing to television’s ongoing fascination with revivals, he said, “I can’t imagine it not selling because every reboot seems to sell. So why not that?” For fans who have spent decades hoping to hear Jay Sherman deliver another “It stinks!,” the creators’ latest comments offer the most promising update in years.

The complaint, submitted Monday in federal court in California, targets producer Thunder Road Films, franchise writer Derek Kolstad, and distributor Lionsgate, with Wicker seeking at least $10 million in profits generated by the films.

Writer Alleges His Screenplay Inspired Key Elements of the Franchise

The lawsuit argues that “Blood for Escobar” and the script that later evolved into “John Wick” share a series of highly specific similarities. Wicker claims both stories follow a widowed former assassin who is drawn back into the criminal underworld and launches a violent quest for revenge after a personal tragedy. His complaint contends that the resemblance extends beyond broad genre conventions and into particular plot developments and character arcs.

Among the examples highlighted are opening sequences involving a home invasion and the death of a beloved pet, followed by the protagonist retrieving hidden weapons and confronting enemies in a nightclub. The filing also points to the presence of a structured organization of assassins that operates under strict rules, a concept that became one of the franchise’s signature features.

Wicker’s attorneys further cite similarities involving a Ford Mustang, a character assigned to eliminate the protagonist before eventually helping him, and storylines in which the assassin network ultimately turns against its former member. The complaint alleges that Kolstad had access to “Blood for Escobar” through industry connections, including entertainment executive Mike Goldberg and representatives involved in assembling the original “John Wick” project.

The case arrives at a time when courts have shown greater willingness to allow copyright disputes to move forward rather than dismissing them at an early stage. Even so, copyright law does not protect general ideas or familiar storytelling tropes, meaning Wicker will still need to demonstrate that the alleged similarities involve protected creative expression rather than common elements of the action thriller genre.

The actor, best known for his long-running work as Shaggy in the “Scooby-Doo” franchise, was responding to a question about why the transition from live-action acting to voice acting appears more common than the reverse. His answer quickly turned into a broader critique of industry priorities.

Matthew Lillard Questions Hollywood’s Casting Priorities in Animation

Lillard did not hold back in describing what he sees as a growing disconnect between celebrity culture and voice performance. “I want to say that I think Hollywood has made a huge mistake by hiring actors that are not able to carry a part with [their] voice,” he said during the discussion.

He expanded on the distinction between screen acting and voice work, emphasizing that animation strips performers down to a single expressive tool. “As an actor, you have full function, your face, your body, you have all these things that you can play on when you’re on the screen, but a voice actor has only their voice to work,” he added.

The “Scooby-Doo” veteran then underscored what he believes is being lost in the current casting landscape. “The ability to carry a film, as the lead of a film with only a voice, is a power very few people have,” he said.

He closed his remarks with his most pointed criticism, aimed squarely at the industry’s reliance on recognizable names to sell tickets. “And the idea that they keep hiring crappy celebrities to carry huge films is killing us,” Lillard said, drawing a clear line between marketing-driven casting and performance-driven storytelling.

While Lillard did not name specific productions, his comments arrive amid ongoing debate around celebrity-heavy animated pictures, with recent examples often cited by critics including Illumination’s “Super Mario Bros. Movie,” where Chris Pratt voiced Mario, and Pixar’s “Toy Story 5,” which continues its A-list tradition with returning stars Tom Hanks and Tim Allen alongside newer additions such as Bad Bunny among the ensemble cast.

According to The Wrap, which first reported the news, work on the follow up is already underway, with Netflix later confirming the project through its social media channels.

‘War Machine 2’ Will Pick Up After the Film’s Cliffhanger Ending

The announcement comes as little surprise given the performance of the original picture. Released globally on Netflix in March, “War Machine” quickly became one of the platform’s biggest action hits of the year. The military science fiction thriller spent two weeks as Netflix’s most watched movie worldwide and accumulated more than 118 million views during its first five weeks on the service.

Directed by Hughes, the first installment followed a traumatized Army Ranger candidate known only as 81, played by Ritchson, whose training exercise spiraled into a deadly confrontation with an extraterrestrial machine. What began as a survival story gradually expanded into a larger invasion narrative, ending with the revelation that humanity was facing a global war against an army of alien-controlled machines.

One of the most discussed aspects of the film was its refusal to provide clear answers about the invaders. Rather than explaining where the machines came from or who controlled them, the story concluded at the moment the larger conflict was just beginning. Hughes has since revealed that the ambiguity was intentional, designed to place viewers in the same state of confusion as the characters confronting an unprecedented threat.

That approach appears set to change in the sequel. Hughes has indicated to the Wrap that the next part will finally explore questions left hanging by the original ending, including the origins of the machines and the forces behind them.

While Netflix has not yet announced the full cast, Ritchson is currently the only returnee expected to reprise his role as development on “War Machine 2” moves forward.

The project comes from Sony Pictures Television and arrives as the streamer prepares for the eventual conclusion of “The Lincoln Lawyer,” one of its most successful legal series.

Revisiting a Landmark Legal Drama

The new show is being written by Jeremy Miller and Dan Cohn, whose previous credits include “That Was Then.” Both will also serve as executive producers alongside “The Lincoln Lawyer” executive producer Ross Fineman. The adaptation is described as a gritty story centered on an idealistic attorney whose personal and professional life begins to unravel as he battles a deeply corrupt legal system.

The project draws inspiration from Norman Jewison‘s 1979 film, which starred Pacino as Baltimore defense attorney Arthur Kirkland. The original story followed Kirkland as he confronted a series of legal and ethical crises, including wrongful imprisonment, judicial misconduct, and a criminal justice system that repeatedly failed those it was meant to protect. As the pressure mounted, the attorney found himself increasingly disillusioned with the institutions he had devoted his career to serving.

Upon its release, “…And Justice for All” earned Academy Award nominations for Pacino’s performance and for the screenplay by Valerie Curtin and Barry Levinson. The title also featured a notable supporting cast that included Jack Warden, John Forsythe, Christine Lahti, Lee Strasberg, Jeffrey Tambor, and Craig T. Nelson.

The movie remains best known for its climactic courtroom sequence, in which Kirkland publicly denounces the legal system during a trial. The scene became one of the most recognizable moments in courtroom cinema and has been referenced and parodied across numerous television series and films in the decades since.

Netflix has not announced any casting decisions, production schedule, or release date for the adaptation. For now, the project remains in development as the streamer explores a new take on a legal drama that has retained its cultural relevance for nearly five decades.

According to comments Holland shared during an appearance on Amy Poehler’s Good Hang podcast, the star decided to quit alcohol after recognizing the impact it was having on multiple areas of his life. The experience ultimately became the foundation for BERO, the non-alcoholic beer brand he launched in 2024.

Tom Holland Reflects on Life After Quitting Alcohol

During the conversation, Holland spoke openly about the reasons behind his decision to stop drinking, describing it as a necessary change rather than a temporary lifestyle adjustment. “I quit drinking because I had a problem, and I just couldn’t put it down,” he said, adding that alcohol had begun affecting “my professional life, my personal life, and my health.”

The transition was far from easy. Looking back on the period that followed, Holland described the first year of sobriety as “the toughest challenge I have ever faced.” The actor explained that navigating social situations became particularly difficult, especially when many gatherings revolved around alcohol.

That experience led him to notice what he felt was a gap in the market for people seeking alternatives. Holland recalled finding few options for those who still wanted to participate in social occasions without drinking alcohol, saying there were limited choices for people looking to enjoy “the social experience without feeling like the only person with a lemonade.”

The idea eventually evolved into BERO, a premium non-alcoholic beer brand introduced in October 2024. According to the company’s website, the brand was inspired by Holland’s own journey and is built around the idea that moderation and enjoyment do not have to be mutually exclusive.

Holland’s remarks arrive as he prepares for a major year on screen. The actor is set to appear as Telemachus in Christopher Nolan’s upcoming adaptation of “The Odyssey,” scheduled for release on July 17, before returning as Peter Parker in “Spider Man: Brand New Day,” which is due to arrive in theaters on July 31.

The actor, whose career spans acclaimed television dramas such as “The Wire” and “Luther,” officially received the knighthood announced in the New Year Honours list, recognizing his services to young people.

Idris Elba Receives Knighthood From King Charles

The honor marks a significant milestone for Elba, who has built a reputation beyond his work on screen through years of charitable and community-focused initiatives. Now formally known as Sir Idris Elba, the 53-year-old actor was recognized for efforts that have included mentoring programs, youth advocacy, and campaigns aimed at tackling social issues affecting young people across the United Kingdom.

Much of that work has been tied to organizations that played a role in his own early career. Elba has frequently credited The Prince’s Trust, the youth charity founded by then Prince Charles, with helping him establish himself in the entertainment industry. In 2009, he was appointed the charity’s anti-crime ambassador and has remained involved in initiatives designed to create opportunities for young people.

In recent years, Elba has become one of the most visible public figures campaigning against knife crime in Britain. He participated in the UK government’s inaugural knife crime summit in 2024 alongside Prime Minister Keir Starmer and other officials, advocating for practical measures to address the issue. Through the Elba Hope Foundation, he has also supported broader efforts focused on youth intervention programs and reducing access to dangerous weapons.

His public service work has extended into other areas as well. Elba collaborated with the UK government during efforts to combat the Ebola crisis in West Africa, served on the Board of Governors of the British Film Institute from 2018 to 2022, and has spoken before Parliament on the need for greater diversity within the entertainment industry.

Elba was not the only high-profile recipient honored at Windsor Castle. Olympic ice dancing legends Jayne Torvill and Christopher Dean received a damehood and knighthood respectively for their contributions to ice skating and voluntary service, while Meera Syal was recognized for her work in literature, drama, and charitable causes.

Robert Pattinson Says ‘Tenet’ Still Has Him Guessing

Few modern studio films have inspired as much debate and theory crafting as “Tenet,” Nolan’s ambitious thriller built around inverted time and shifting perspectives. While audiences have spent years dissecting its mechanics, Pattinson suggested that confusion was hardly limited to viewers.

Recalling a conversation near the end of production, the actor remembered turning to co-star John David Washington with a startling conclusion about his character. “I remember saying to John David on pretty much the last week of the shoot, I’m like, ‘I think I’m dead. I think I’ve always been dead.’” The response was immediate. “And John David’s like, ‘You’re not dead. What are you talking about?’”

Pattinson played Neil, the enigmatic operative who guides Washington’s Protagonist through a world where people and objects can move backward through time. As the story unfolds, Neil becomes central to the film’s intricate web of cause and effect, with revelations near the finale prompting years of discussion among fans about his timeline and ultimate fate.

The actor’s remarks arrive as he joins Nolan once again for “The Odyssey,” the filmmaker’s large scale adaptation of Homer’s ancient Greek epic. The production stars Matt Damon as Odysseus and follows the legendary king’s long journey home after the Trojan War. Anne Hathaway plays Penelope, while the ensemble cast also includes Tom Holland, Lupita Nyong’o, Zendaya, Charlize Theron, and Pattinson.

Set for release on July 17, “The Odyssey” is believed to be Nolan’s most expensive feature to date and the first film shot entirely on IMAX 70 mm cameras. Pattinson portrays Antinous, one of Penelope’s suitors, in a project that reunites the actor with the director nearly six years after “Tenet” first challenged audiences and, apparently, some of its own cast members.

Martin Scorsese Sees AI as Part of Cinema’s Next Chapter

At a moment when many filmmakers remain cautious about artificial intelligence, Scorsese is arguing that the technology should be viewed as another step in the medium’s ongoing evolution. Explaining his enthusiasm in the field, he said, “I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.” He also pointed to cinema’s relatively short history, adding that “we have to be open to how it can evolve.”

One recent experiment left a strong impression on the director. “I recently tested this out on a scene, and the ability to visualize and immediately share the storyboard was creatively freeing,” Scorsese said. The speed of the process, he noted, offered advantages without forcing compromises elsewhere. “During the preproduction process, time costs money, and this allowed us to move faster without sacrificing quality or craft.”

The comments arrive while Scorsese remains deeply involved in several major projects. He is currently shooting the psychological horror film “What Happens at Night” in Prague, with Leonardo DiCaprio and Jennifer Lawrence leading the cast. At the same time, “Cape Fear,” the 10-episode crime thriller series he executive produces alongside Steven Spielberg and starring Javier Bardem, is set to debut globally on Apple TV+ on June 5.

By publicly backing AI assisted storyboarding while taking an advisory role at Black Forest Labs, Scorsese is entering one of the industry’s most contentious conversations. Whether his endorsement influences broader attitudes in Hollywood remains to be seen, but it places one of cinema’s most celebrated directors among the technology’s most prominent advocates.

According to What’s on Netflix, the latest installment will debut on June 16, following the cheerleaders throughout the Dallas Cowboys’ 2025-26 campaign and the demanding journey required to earn and keep a place on the team.

Season 3 Returns to the Audition Room and Beyond

Directed by Emmy-winning filmmaker Greg Whiteley, the series has built its reputation on offering an unfiltered look at a highly competitive institution that operates at the intersection of professional sports, entertainment, and public scrutiny. The upcoming part will consist of seven episodes, each running approximately 55 minutes.

This year, the competition appears especially intense. Netflix revealed that 30 returning veterans will enter auditions seeking to retain their positions, leaving only six openings available for newcomers. The narrow path to making the final roster raises the stakes for aspiring cheerleaders while increasing pressure on returning members to maintain their standing within the organization.

The new installment will also examine how growing visibility has transformed the experience of being a Dallas Cowboys Cheerleader. Alongside game day performances, the squad faces expanding opportunities through public appearances, touring commitments, and social media exposure. With that increased profile comes greater public attention and expectations, themes that are expected to play a significant role throughout the season.

Since premiering in 2024, “America’s Sweethearts: Dallas Cowboys Cheerleaders” has become one of Netflix’s notable unscripted sports offerings. The series serves as a successor to “Dallas Cowboys Cheerleaders: Making the Team,” which aired for 16 seasons on CMT, while expanding the focus beyond auditions to include the personal and professional realities of life on the squad.

The documentary has also sparked discussion among viewers about the demands placed on cheerleaders, including the physical expectations, intense competition, and compensation associated with the role. As Season 3 follows the team through another NFL season, the show appears poised to continue examining both the prestige and the pressures that come with representing one of sports’ most recognizable brands.

Adam Marcus Revives His Experience Working With Val Kilmer

Marcus revisited his time working with Kilmer on “Conspiracy” through a post that included a behind the scenes photo from the 2008 production. Referring to the actor by two of his most famous roles, he wrote, “#MicroIntellectMonday to that time when I directed that guy. The guy who played Iceman and Doc Holiday [sic]. You know the one.”

The director then turned to his memories of the shoot itself. Sharing the image, Marcus captioned it, “Here’s me and the P*tz working it out on the set of Conspiracy,” signaling that his view of the actor had not softened in the years since they worked together.

Marcus also addressed those who might take issue with speaking negatively about Kilmer following his death in 2025. Rather than backing away from the subject, he doubled down, writing, “And to any of you rolling your eyes because of the whole ‘don’t speak ill of the dead bull**it’, f*** that.”

The filmmaker went on to argue that Kilmer’s alleged behavior would not be tolerated in today’s industry environment. Without detailing specific incidents, Marcus claimed that if the actor “did one-tenth of what he did on my set today, he would have been cancelled in a blink.”

He concluded the post with his harshest assessment yet, describing Kilmer as the “Worst human being I’ve ever known… and that is really saying something.” Although the post was later deleted, the comments quickly spread online and reignited discussion about Kilmer’s reputation behind the scenes during various stages of his career.

“Conspiracy” marked the only collaboration between Marcus and the late performer. Released in 2008, the action thriller starred Kilmer as William MacPherson, a wounded former Marine who arrives in a small Southwestern town searching for a missing friend, only to uncover a deeper mystery. Jennifer Esposito, Gary Cole, and Greg Serano rounded out the cast. The film was released directly to DVD and received largely negative reviews from critics.

Directed by Travis Knight and led by Nicholas Galitzine as Prince Adam and He-Man, the film arrives in theaters June 5 after years of false starts, studio changes, and creative overhauls. While reviewers largely agree on the strength of its production values, opinions diverge on whether the reboot offers more than a lavish recreation of familiar mythology.

Critics Praise the Scale but Debate the Substance

One of the most common themes across the first wave of reviews is the picture’s commitment to bringing Eternia to life on a grand scale. Critics have pointed to everything from the practical effects and production design to the costumes and music as evidence that Amazon MGM spared little expense in translating the beloved toy line and animated series to the big screen.

At Deadline, Pete Hammond was particularly impressed by the craftsmanship behind the production, writing that “Production values are top notch across the board,” while highlighting the contributions of production designer Guy Hendrix Dyas and composer Daniel Pemberton. Hammond also noted that director Travis Knight has crafted “a loving return to a property that still provides a good time at the movies, and a reason to stay through the end credits.”

Much of the praise has also centered on the film’s visual identity. In his review for Variety, Guy Lodge also pointed to Dyas suitably garish production design, which he said “conjures a semblance of medieval splendor while never forgetting that this story’s natural world is plastic.” He also singled out Pemberton’s music, describing it as a “spirited revival of the fantasy-metal sound that defined the franchise’s original era.”

Yet Lodge was less convinced by the movie as a whole. While acknowledging its entertaining moments, he concluded that “it’s a nostalgia trip that never quite belongs to the present, and never rouses any real, cherished memory of the past.” He added that longtime fans may recognize every reference, while newcomers “might just be bemused that He-Man ever had such power in the first place.”

The Hollywood Reporter offered one of the more critical assessments. Frank Scheck acknowledged that the picture “touches all the fan-serving bases,” citing a cameo tied to a previous film adaptation and multiple post credits scenes. However, he argued that “it all comes off as terribly forced, as if everyone involved was already trying to figure out exactly how much they’ll earn signing autographs at future Comic-Cons.”

The early critical consensus suggests that “Masters of the Universe” succeeds in delivering the spectacle many fans have long imagined. Whether audiences embrace it as a triumphant revival or view it as an exercise in nostalgia will become clearer when the title opens nationwide on June 5.

Extra Development Time Changed the Timeline

Reflecting on the process, Holland said the delay proved invaluable for the project. “We wouldn’t have had the 6 month period to develop the script with Destin to get it to a place where it is now,” he said, referring to the extended window that emerged after production schedules were adjusted.

The actor also expressed confidence in the finished screenplay, suggesting the additional development period helped strengthen the film’s creative direction. “I truly believe that we’ve made the best version of any Spider-Man movie going,” Holland remarked while discussing the current state of the project.

The scheduling adjustment stemmed from Holland’s involvement in “The Odyssey,” Christopher Nolan‘s large scale adaptation of Homer’s epic poem. The picture stars Matt Damon as Odysseus and features an ensemble cast that includes Anne Hathaway, Zendaya, Robert Pattinson, Lupita Nyong’o, Charlize Theron, and Holland as Telemachus. Production on Nolan’s title moved ahead first, requiring changes to the timetable for “Spider-Man: Brand New Day.”

The fourth MCU “Spider-Man” movie is directed by Destin Daniel Cretton and serves as a new chapter for Peter Parker following the events of “Spider-Man: No Way Home.” Holland returns alongside Zendaya and Jacob Batalon, with Sadie Sink, Jon Bernthal, Mark Ruffalo, Michael Mando, and Tramell Tillman joining the cast. The film is scheduled to reach theaters on July 31, just two weeks after the release of Nolan’s “The Odyssey.”

Since arriving in theaters on May 29, “Backrooms” has become one of the year’s biggest success stories. The psychological sci-fi horror picture opened to an estimated $118 million worldwide, setting a new benchmark for A24 and turning Parsons into the youngest filmmaker ever to top the North American box office. The strong commercial performance has accelerated conversations about where the property could go next.

A Franchise Beyond the Original Film

Parsons has indicated that the feature film was never intended to be the final stop for the eerie universe he first introduced through his viral YouTube series. During the promotional campaign for “Backrooms,” the filmmaker spoke openly about his interest in expanding the concept into a larger anthology format, exploring new corners of the unsettling dimension that helped make the online series a phenomenon.

For now, however, the focus appears to be on building the sequel’s creative foundation. Deadline reports that Parsons is searching for a writing partner to help develop the screenplay. No casting announcements have been made, and the project has not yet received an official green light. The report notes that Parsons remains under contract with A24 for additional “Backrooms” projects.

The original film marked Parsons’ feature directing debut and expanded the mythology established in his web series. Starring Chiwetel Ejiofor and Renate Reinsve, the story follows a struggling furniture store owner who discovers a gateway to a vast labyrinth of distorted spaces hidden beneath his business. As the mystery deepens, the seemingly endless environment reveals connections to a secretive research organization and manifestations of personal trauma.

Produced on a reported budget of under $10 million, “Backrooms” transformed an internet born horror concept into a major theatrical event. The picture’s success has reinforced Hollywood’s growing interest in creators who first build audiences online, while also giving A24 one of the biggest commercial victories in the company’s history.

The show comes from Universal International Studios and Heyday Television. Rather than revisiting the events of Hitchcock’s 1963 film, the adaptation is designed as a contemporary reinterpretation that borrows from both the classic movie and Daphne du Maurier’s original short story while charting its own narrative path.

A New Story Takes Flight in Alaska

Set in present day Alaska, the project centers on Myra Massey, a traveling magistrate played by Snook. What begins as a routine trip back to her hometown for a presumptive death hearing quickly spirals into something far more dangerous. Upon her return, Myra discovers the body of a childhood friend riddled with gunshot wounds, pulling her into a murder investigation that forces her beyond the boundaries of her judicial role.

As she searches for answers, the environment around her becomes increasingly hostile. A wave of aggressive bird attacks sweeps through the region, turning an already unsettling criminal case into a fight for survival.

The involvement of Spezialy signals a notable creative direction for the project. The writer is known for his work on acclaimed television dramas including “The Leftovers” and “Watchmen,” both of which combined genre storytelling with character driven narratives. Snook, meanwhile, continues to expand her television profile following her Emmy winning performance in “Succession” and her role in “All Her Fault.”

The original “The Birds” remains one of Hitchcock’s most influential works. Released in 1963 by Universal Pictures, the film starred Rod Taylor, Jessica Tandy, Suzanne Pleshette, and introduced Tippi Hedren in her screen debut.

Centered on a series of unexplained bird attacks in the California town of Bodega Bay, the picture earned greater critical recognition over the decades and is now widely regarded as a landmark of horror cinema. Its cultural impact was further cemented when it was selected for preservation in the National Film Registry by the United States Library of Congress.

What We Know About Martin Scorsese’s New Psychological Horror Film

Based on Peter Cameron’s 2020 novel of the same name, “What Happens at Night” marks a notable departure into Gothic psychological horror for Scorsese. The story follows an American married couple who travel to a remote snow covered town in Europe to adopt a baby. As complications arise around the adoption process, their sense of identity and understanding of their own lives begins to unravel.

The film brings together an impressive ensemble led by Leonardo DiCaprio and Jennifer Lawrence, who play the central couple. The cast also includes Mads Mikkelsen, Patricia Clarkson, Jared Harris, Welker White, Ilinca Manolache, and Gabriel Spahiu. The project reunites Scorsese and DiCaprio once again while pairing the director with Lawrence in a leading role for the first time.

Development on the adaptation stretches back several years. Patrick Marber adapted Cameron’s novel for the screen, and reports later indicated that filmmaker Paul Thomas Anderson contributed uncredited revisions to the screenplay. Interest in the project intensified in 2025 when Scorsese officially came aboard as director, with DiCaprio and Lawrence attached to star.

Production began in February in the Czech Republic before moving to locations in Switzerland. During the film’s early stages, DiCaprio revealed that Scorsese had pointed him toward Alfred Hitchcock’s “Vertigo” as a creative reference point, offering a glimpse into the psychological atmosphere the filmmakers were pursuing.

With principal photography now complete, attention shifts to the post production process. While no release date has been announced, “What Happens at Night” is already shaping up as one of the most anticipated upcoming projects on Scorsese’s slate, combining an acclaimed creative team with a story rooted in psychological suspense and mystery.

McCartney Revisits an Old Beatles Question

Dimoldenberg challenged McCartney with a question that fans have debated for decades. Asked to name his favorite Beatle, the music legend first acknowledged the obvious reality that only one of his former bandmates is still alive alongside him.

“Now, currently it’s Ringo,” McCartney replied, referring to Ringo Starr. The answer drew a laugh, but he quickly expanded on how he viewed the group during its heyday.

For McCartney, the conversation naturally turned to John Lennon, whose influence within the band remained significant even without an official title. Recalling those years, he said, “During the Beatles, I think we all used to look up to John, ’cause he was like the leader, even though there wasn’t officially a leader of the group.”

McCartney also reflected on Lennon’s personality and presence within the band. “He was very witty and he was great to have in the group,” he said, before suggesting that the admiration was shared among the members. “I think all of us might’ve said John was our favorite Beatle.”

More than half a century after the group changed popular music, debates over leadership and influence continue among fans. McCartney’s answer did not settle those discussions, but it did provide a rare glimpse into how one Beatle viewed another from inside the world’s most famous band.

Jamie Lee Curtis Shares Heartfelt Farewell to Sister Kelly Curtis

Jamie Lee Curtis used her tribute to paint a portrait of the woman she knew away from the spotlight. Opening her message with “A warm aloha to my older sister, Kelly Lee Curtis,” the Oscar winner revealed that her sister died “in her home. In nature. At peace.”

Among the memories she chose to highlight was the role Kelly played throughout her life. “She was my first friend and lifelong confidant,” Curtis wrote, describing her sister as both “jaw droppingly beautiful” and a gifted performer. The tribute also offered glimpses into Kelly’s personal passions, from travel and music to thrift shopping, family gatherings, and even Pokémon Go.

Curtis remembered her sister as someone defined by generosity, curiosity, and unwavering opinions. She noted that Kelly would be remembered for her distinctive personality and for the homemade almond crescent cookies that earned her the family nickname “Auntie Cookie.” The post also referenced her pride in her Danish and Hungarian Jewish heritage.

Kelly Curtis built a career that spanned film, television, and theater. She appeared in projects including “Magic Sticks” and “The Devil’s Daughter” and held a regular role during the first season of “The Sentinel.” Television audiences also saw her in series such as “Star Trek: Deep Space Nine” and “Judging Amy.” Beyond acting, she later contributed behind the scenes as a production assistant on films including “Freaky Friday,” “Christmas with the Kranks,” and “You Again.”

The tribute concluded with a farewell that carried special significance within the family. Curtis recalled that Kelly often ended messages with the Hungarian blessing “Isten Veled,” meaning “God is with you.” Echoing those words one final time, she addressed her sister directly: “Isten Veled to my sister of the sun and the moon, my Tai. I’ll see you on down the line.”

O’Heaney died on May 18 in Westchester County, New York. No cause of death has been disclosed.

From Stage Acclaim to Television Stardom

Born Kathleen Heaney in Milwaukee, Wisconsin, on August 16, 1952, O’Heaney developed her craft early, earning a full scholarship to New York City’s prestigious Juilliard School at just 17 years old. Her professional journey began in theater, where she built an extensive résumé in off Broadway and regional productions before moving into television and film.

Her breakthrough arrived in 1982 when she was cast as Sarah Stickney White, the adventurous female lead opposite Stephen Collins in ABC’s “Tales of the Gold Monkey.” Although the series lasted only one season, it developed a devoted following and remained the role most closely associated with her career. Five years later, she returned to network television as Snow White Charming in ABC’s fantasy sitcom “The Charmings,” another performance that helped cement her place in 1980s television.

Beyond television, O’Heaney appeared in a variety of film projects throughout her career. Horror fans remember her as Amy in “He Knows You’re Alone,” the thriller notable for featuring Tom Hanks in his first feature film role. She also worked with filmmaker Woody Allen, appearing in “Zelig” and later “The Purple Rose of Cairo,” while continuing to balance screen work with stage performances.

Her career remained active well into the 2000s. O’Heaney appeared in films including “The Emperor’s Club,” “Brooklyn Lobster,” “Asylum Seekers,” and the 2014 thriller “Late Phases.” Even as screen opportunities evolved, she maintained close ties to theater and arts organizations in New York, supporting playwrights and independent productions.

Outside acting, O’Heaney pursued creative projects that reflected her broader interests. She wrote and recorded the environmental and anti war song “Who Have We Freed?” with folk music legend Pete Seeger and remained involved in artistic and community initiatives throughout her later years. Her career spanned more than four decades, encompassing stage, film, television, music, and advocacy work.

Swift finalized the acquisition of her original recordings from Shamrock Capital in May 2025, bringing a lengthy chapter to a close.

A Fight That Reshaped the Conversation Around Music Ownership

The road to that moment began in 2019, when Big Machine Records, the label that released Swift’s first six studio albums, was sold to music executive Scooter Braun‘s Ithaca Holdings. Included in the transaction were the master recordings of Swift’s early work, setting off a highly publicized disagreement over who controlled some of the most valuable recordings in contemporary music.

The situation evolved again in late 2020 when Braun sold the catalog to private equity firm Shamrock Capital. While ownership had changed hands, Swift still did not possess the recordings herself. Rather than wait for another opportunity to purchase them, she pursued a different strategy that would eventually redefine the dispute.

That strategy became the foundation of the “Taylor’s Version” era. Beginning with “Fearless (Taylor’s Version)” in 2021, Swift started re-recording the albums she originally released under Big Machine. The project expanded with new versions of Red, Speak Now, and 1989, each becoming major commercial successes while directing attention back to music she could fully control.

The re-recordings accomplished more than preserving revenue streams. They transformed a contract dispute into a cultural event, encouraging fans to support the newly recorded editions and turning ownership rights into a mainstream topic of discussion. What began as a business conflict evolved into a broader conversation about how artists manage and protect their creative work.

In May 2025, following the conclusion of the record breaking Eras Tour, Swift ultimately secured the outcome she had sought for years. By purchasing the masters, along with associated videos and artwork, from Shamrock Capital for an estimated $360 million, she gained ownership of the recordings that had been at the center of the dispute. One year later, the deal remains a landmark moment not only in Swift’s career but also in the ongoing discussion about artist control in the music business.

Rather than offering a conventional pop anthem, the Jacksons delivered a statement that reflected the growing tension between celebrity culture and personal privacy.

Why ‘Scream’ Still Feels Like a Rebellion Against Fame

When “Scream” was released, Michael Jackson was facing relentless tabloid attention and public controversy. Instead of addressing that environment through interviews or carefully crafted public appearances, he channeled those frustrations into music. The song’s lyrics carried a sense of exhaustion and resistance, presenting a rare moment in which one of the world’s biggest stars openly pushed back against the forces shaping his public image.

Janet Jackson’s presence proved equally important. By joining her brother, she transformed the track from a personal response into a united statement. Their chemistry gave the song additional weight, making it feel less like an individual grievance and more like a shared challenge to the way media narratives were being constructed around public figures.

The accompanying music video amplified that message. Set inside a futuristic spacecraft and filmed in striking black and white, it presented the siblings as isolated from the outside world while still under constant observation. At the time, the production became famous for its record breaking budget, but its lasting impact comes from how effectively its visuals reinforced the song’s themes of alienation and defiance.

Musically, “Scream” also stood apart from much of mainstream pop in the mid 1990s. Its aggressive energy, industrial influences, and confrontational tone made it an unusual release for artists of Michael and Janet’s stature. Rather than pursuing a softer or more commercially predictable approach, the song embraced intensity and anger, giving it a distinct identity within both performers’ catalogs.

Thirty one years after its debut, “Scream” continues to resonate because its central themes remain relevant. The relationship between celebrities, the press, and public opinion has only become more complicated in the age of social media. What began as a response to a specific moment in 1995 now serves as a reminder that fame often comes with pressures that even the most successful artists struggle to control. For Michael and Janet Jackson, “Scream” was more than a hit single. It was a declaration that they would not quietly accept the narratives being imposed on them.

It is scheduled to reach theaters on May 28, 2027, with Ryan Gosling leading a cast that also includes Flynn Gray, Matt Smith, Mia Goth, Aaron Pierre, Simon Bird, Jamael Westman, Daniel Ings, and Amy Adams.

What We Know About the Next ‘Star Wars’ Film

“Star Wars: Starfighter” is set roughly five years after the events of “Star Wars: The Rise of Skywalker,” but it is not being positioned as a direct continuation of that storyline. Lucasfilm executives have described the project as a largely self contained adventure centered on new characters, allowing the franchise to explore a different corner of the timeline while remaining connected to the broader “Star Wars” universe.

The road to production stretched across several years. Levy first entered discussions with Lucasfilm in 2022, though development slowed during the 2023 Writers Guild of America strike. Momentum returned after the strike ended, and writer Jonathan Tropper, a frequent collaborator of Levy’s, joined the project in 2024. By early 2025, Gosling had entered negotiations to star, helping move the picture to the front of Lucasfilm’s theatrical plans.

Details about the story remain limited, but several casting announcements have offered clues. Newcomer Flynn Gray is playing the nephew of Gosling’s character, while Amy Adams portrays the boy’s mother. Matt Smith and Mia Goth are set to play antagonistic figures, suggesting that the central conflict may revolve around Gosling and Gray’s characters as they are pursued across the galaxy.

Levy has emphasized that the picture is charting its own path rather than relying heavily on familiar faces or established storylines. He has described the project as an opportunity to create new worlds, creatures, technology, and characters while still maintaining the spirit audiences associate with “Star Wars.” The filmmaker has also cited “Return of the Jedi” as a major creative influence, pointing to its blend of adventure, emotion, humor, and spectacle.

Production began in the United Kingdom in August 2025 and later moved to locations in Sardinia, Italy, before wrapping that December. The movie is now deep into post-production, with editor Adam Gerstel assembling the final cut and acclaimed composer Thomas Newman crafting the score. With exactly one year remaining until release, “Starfighter” stands as the next major step in Lucasfilm’s effort to expand the franchise beyond the stories that have dominated the big screen for decades.

Emilia Clarke Says Changing Daenerys’ Ending Was Never an Option

For years, debate has surrounded Daenerys Targaryen’s dramatic downfall in the final season of “Game of Thrones.” The character, who spent much of the series building a reputation as a liberator and conqueror, ultimately met her end after destroying King’s Landing and being killed by Jon Snow. Yet Clarke insists that influencing those story decisions was never part of her role.

Reflecting on the production process, the actress explained that she had no desire to contribute creatively beyond her performance. “Aside from what I brought as an actor, I didn’t have any creative input, nor did I want any,” she said, while also praising showrunners David Benioff and D.B. Weiss as “geniuses.” Looking back at her younger self, she added that she did not consider herself “qualified” to shape the narrative.

When asked whether she could have persuaded the writers to take Daenerys in a different direction, Clarke immediately rejected the idea. Her answer was a firm “No,” recalling how closely the scripts were followed on set. According to the actress, even the smallest changes in wording were discouraged, with performers expected to deliver lines exactly as written.

That strict approach reinforced the separation between performance and authorship. Although Clarke spent eight seasons bringing Daenerys to life, she said she never felt responsible for developing the character’s arc. Instead, her focus remained on understanding the motivations behind every decision the future queen made.

“I was given the seasons, and I, to the best of my ability, empathized and understood and tracked every choice she made so it felt like mine,” Clarke recalled. “I felt like that was what my job was.”

According to People, Paul Rudd is once again addressing one of Hollywood’s most persistent questions: how he seems to avoid aging altogether. The topic came up during a recent appearance on Jake Shane’s podcast, where the conversation quickly turned toward the actor’s famously youthful appearance and the speculation that often surrounds it.

Paul Rudd Shuts Down Rumors About Cosmetic Procedures

The exchange unfolded casually on the May 27 episode of Therapuss, with Shane jokingly trying to uncover Rudd’s supposed secret. After asking whether the actor follows a vegan lifestyle and getting a quick “no” in response, the host shifted to the question that has followed Rudd for years: “So then why don’t you age?”

Rather than lean into the joke, the “Ant-Man” star pushed back on the idea entirely. “I do [age],” Rudd said during the interview. “You’re kind for saying that, but I really do.”

The conversation then moved to cosmetic procedures, with Shane directly asking whether Botox played any role in Rudd’s youthful look. The actor immediately dismissed the idea. “No. Look at my face,” he replied while raising his eyebrows to make the point.

At 57, Rudd remains one of the most talked about examples of celebrity agelessness, a reputation that has followed him since the 1990s thanks to films like “Clueless” and, more recently, his role in the Marvel franchise. Despite years of memes and online theories, the actor has consistently avoided turning the conversation into a larger lifestyle narrative, instead responding with the same understated humor that has become part of his public persona.