Entertainment

It will include new post-credit footage.

(I'm not entirely sure if this is the right community to post this in, but I thought it fit. If it doesn't, please let me know)

Some highlights from the interview:

In stand-up, you do a bunch of intellectual labor to get a reaction out of people, whereas I’ve gone to concerts, and musicians will, in between songs, be like, “Water,” and everyone’s going crazy, dying laughing, and I’m like, “This room is so hot right now. If I could do a tight five, it would crush so hard.”

Now that I’m doing music, I see why, now, being a comedian would be so enticing, because to be a musician now, you have to be a comedian. You’ve got to post content. Music videos are going in a more Ludacris, Busta Rhymes sort of direction where it’s absurd, a little comical.

Increasingly, I’ve been trying to find alternatives to existing in digital spaces, or at least trying to figure out some sort of hybrid, because the internet I experienced as a young person is gone. The community, freeness, weirdness, and cross-pollination of that is something I want to recreate in my own work and the spaces I create.

A joke includes inherently tight word economy. It’s efficient. It’s almost like math.

When it comes to lyrics, the same rules apply, but there’s a little more room to wander and be more fluid, loose, and abstract. I think that released the pressure I was feeling with stand-up, where I’ve cultivated this voice and this way of speaking, and I like it, but I don’t think it can necessarily hold everything I want to say.

Just watched it for the first time, knew almost nothing about it going in.

Overall opinion: It was an alright movie, not bad. I had a good time, but it didn't seem groundbreaking or particularly funny or shocking. So what gives? Why do I hear so much about it?

My best guess is that the movie was shocking when it was released, because of the outright murder and violence, and I'm just desensitized to that in film now, so it wasnt as revelatory to me

What I found interesting about the article is not that he was exhausted (that much was easy to guess) but rather the window into the life and thoughts of a great artist who is known for being reclusive.

Archived version: https://archive.ph/hroNJ

Bradley Cooper is facing criticism for performing in “Jewface” after the release of the trailer for his biopic of Leonard Bernstein, which revealed the facial prosthetics he employed for the role.

Bernstein, the son of Jewish-Ukrainian immigrants to the US, was a hugely talented conductor and composer, best known for writing the music for West Side Story as well as composing three symphonies and becoming music director of the New York Philharmonic. Cooper, who directs, co-writes and stars in Maestro, is not Jewish, and can be seen in the trailer with a noticeably prominent fake nose opposite Carey Mulligan, who plays Bernstein’s wife Felicia Montealegre.

British actor and activist Tracy-Ann Obermann criticised Cooper on social media, writing: “If [Cooper] needs to wear a prosthetic nose then that is, to me and many others, the equivalent of Black-Face or Yellow-Face … if Bradley Cooper can’t [play the role] through the power or acting alone then don’t cast him – get a Jewish Actor.”

Obermann added, referencing Cooper’s performance on stage in 2014 as John Merrick in The Elephant Man: “Bradley Cooper managed to play the ELEPHANT MAN without a single prosthetic then he should be able to manage to play a Jewish man without one.”

The Hollywood Reporter’s chief TV critic Daniel Fienberg called the prosthetics “problematic” when photos from the set emerged in May, and subsequently described the film as “ethnic cosplay”.

In a statement posted on social media, Bernstein’s children Jamie, Alexander, and Nina defended Cooper, saying: “It breaks our hearts to see any misrepresentations or misunderstandings of [Cooper’s] efforts … Bradley chose to use makeup to amplify his resemblance, and we’re perfectly fine with that. We’re also certain that our dad would have been fine with it as well.”

The controversy follows objections to the casting of Cillian Murphy as nuclear physicist J Robert Oppenheimer – again, a non-Jewish actor playing a notable Jewish figure – in the biopic directed by Christopher Nolan, with David Baddiel describing such casting as “complacent” and “doubl[ing] down” on “Jewish erasure”. Baddiel also criticised the casting of Helen Mirren as Israeli prime minister Golda Meir, writing in the Guardian that “over a period of extreme intensification of the progressive conversation about representation and inclusion and microaggression and what is and isn’t offensive to minorities, one minority – Jews – has been routinely neglected”.

Did y'all know there's a Scott Pilgrim anime on the way? And it has the entire cast of the 2010 movie reprising their roles? And it has Edgar Wright and Bryan Lee O'Malley listed as executive producers?

Y'all i did not know and I am EXCITE

A new report into the fatal shooting on the set of the movie Rust appears to cast doubt over star and producer Alec Baldwin's accounts of events.

Mr Baldwin denies pulling the trigger of the prop gun which went off, killing cinematographer Halyna Hutchins.

Weapons experts have now said the trigger would have "had to be pulled".

The actor's representatives told the PA news agency they had no comment to make on the latest development in the ongoing case.

Charges of involuntary manslaughter against Mr Baldwin were dropped in April, but prosecutors said it did not "absolve Mr Baldwin of criminal culpability".

They said charges against the star could be refiled over the October 2021 shooting, which occurred on the set of the western movie.

A new report, written by weapons experts Lucien Haag and Mike Haag, was given prosecutors in New Mexico on Tuesday.

According to the documents, prosecutors previously stated that they had information that there had been an alleged modification of the gun used by Baldwin on the Rust set.

Lawyers for Rust armourer Hannah Gutierrez Reed, who was also charged with involuntary manslaughter, said the Haags' report "does not indicate any modification to the gun" and "specifies that the trigger had to be pulled".

"Although Alec Baldwin repeatedly denies pulling the trigger, given the tests, findings and observations reported here, the trigger had to be pulled or depressed sufficiently to release the fully cocked or retracted hammer of the evidence revolver," said an excerpt of the weapons report included in the court documents.

"If the hammer had not been fully retracted to the rear, and were to slip from the handler's thumb without the trigger depressed, the half cock or quarter cock notches in the hammer should have prevented the firing pin from reaching any cartridge in the firing chamber."

It continued: "If these features were somehow bypassed, a conspicuously off-centre firing pin impression would result."

Last week, Ms Gutierrez-Reed pleaded not guilty to involuntary manslaughter and evidence tampering charges, related to the shooting.

Her plea came ahead of a jury trial scheduled for 6 December looking into the death of Ms Hutchins at the age of 42.

It is not yet clear whether or not the findings of the new report will result in charges against Mr Baldwin being refiled.

Earth is visited by an alien species that threatens humanity’s existence. Events unfold in real time through the eyes of five ordinary people across the globe as they struggle to make sense of the chaos unraveling around them.

Gaal, Salvor, and Hari arrive on Ignis and meet the source of the strange signal they’ve been tracking. Dawn and Dusk are suspicious of Day.

For a moment, it seemed like the streaming apps were the things that could save us from the hegemony of cable TV—a system where you had to pay for a ton of stuff you didn't want to watch so you could see the handful of things you were actually interested in.

Archived version: https://archive.ph/K4EIh

Archived version: https://archive.ph/w8JRj

Effective October 12, the company will raise the monthly price of its ad-free plans Disney+ and Hulu plans by more than 20%.

The Disney+ ad-free plan will rise by 27% to $13.99 a month in the US, up from $10.99. That's double the $6.99 monthly cost Disney charged for the service when it first launched in 2019.

Hulu's ad-free plan will increase by $3 a month, or 20%, to $17.99 a month. The ad-supported tiers for both services will remain at $7.99 each.

The price hikes come amid Disney's continued efforts to slash $5.5 billion in costs this year.

The monthly prices of its two Hulu live TV packages will also increase by $7 each for both the ad-free plan and the ad-supported offering. ESPN+ will go up by $1 to $10.99 a month.

Additionally, Disney announced that starting September 6 subscribers in the US will have access to a new ad-free bundled subscription featuring the ad-free Disney+ and Hulu services for $19.99 a month.

It seems like its rating been bombed by people disliking the feminism themes, but I'm curious, have you watched it? do you recommend it?

Archived version: https://archive.ph/zDSbp

An enormous amount has been made lately about Barbie and (to a lesser extent) Oppenheimer reversing the terminal decline of the theatrical cinema experience. The films have enmeshed themselves in the cultural conversation in ways that movies simply don’t do any more and, as a result, scores of people who don’t habitually go to the cinema are being dragged out to see them. This is a good thing. Anything that prolongs the life of cinema deserves to be celebrated.

Which isn’t to say that it’s a perfect outcome, because all these newcomers have clearly forgotten how cinemas are supposed to work. The last few weeks have seen a rash of headlines about a number of regrettable blow-ups that have occurred because people just can’t seem to remember the basic rules of cinema etiquette any more.

In Maidstone, a woman took her ticketless child into Barbie; an act that resulted in a stand-up, full-volume physical fight. A Brazilian Barbie screening ended with a similar brawl, apparently because a woman let her child watch YouTube throughout the movie. Nor is this confined to Barbie. In June, a fight broke out at a screening of The Little Mermaid in Florida, and in March the same thing happened in France at the end of Creed III. Meanwhile, Twitter is awash with tales of poor cinema etiquette, from talking during films to taking photos during films.

Now, there are two ways of looking at this. The first is that social media – TikTok especially – has made it easier for people to record and publish fights in cinemas, to the extent that the Maidstone melee seems to have been posted by multiple accounts from multiple angles, like a sort of mega Zapruder. Perhaps, for all we know, cinemas have always been a tinderbox of mouthy idiots itching for a scrap, but it’s only since the advent of shareable video that anyone has actually noticed.

But then again, the fact that all these fights were recorded on phones – in an environment that repeatedly and explicitly discourages the use of phones – speaks to a deterioration of etiquette in itself. Plus, as a regular cinemagoer myself, I’ve seen first-hand the lack of basic common sense that has trickled in over the last few months.

I went to see Barbie on opening day and, although it was nice to see a full auditorium for once, it was slightly confusing to see how many people had brought their children along. Not their older, age-appropriate 12A children, either – their tiny, young toddlers who in all honesty were unlikely to appreciate the intricacies of a film that largely exists to deconstruct feminist iconography. The film was preceded by a trailer for Joy Ride, in which all the characters start singing the line from WAP about all the whores in the house. I don’t know if you’ve ever seen several dozen mums simultaneously panic in the dark, but I’d recommend it.

So what’s causing this spate of awfulness? My guess is our old friend Covid. The lockdowns of 2020, coupled with the film studios’ sudden mania for slinging all their new releases on the nearest streaming platform, stopped people from going to the cinema altogether. Nobody wants to spend several hours sitting shoulder to shoulder with hundreds of strangers in an enclosed space when there’s a fatal virus going around, after all. And it isn’t like people went to the cinema all that much before then either, given the enormous cost of tickets and snacks and drinks and babysitters.

The fact that Barbie is so successful means that, for a huge percentage of its audience, this will be their first cinema visit since 2019. And four years is easily long enough to forget some of the rules. They’re so used to twin-screening during films at home that it seems alien for them to not have their phones in their hands. They’re so used to talking through films at home that it seems unreasonable to be expected to remain silent in a cinema. And when this sort of behaviour meets a wall of people who have spent a considerable amount of money to just enjoy a film, of course violence is going to erupt. It’s like stumbling across an unexploded bomb, or being on a standing room only train next to someone who has their backpack slung in an empty seat. Things are always going to kick off.

The good news is that the wild success of Barbieheimer might have reminded people how much fun it is to go and see a new film in the cinema. Things are rough now, etiquette-wise, but if this has shaken people out of their slumber enough for them to return to cinemas regularly, then it will only be a matter of time before they start obeying the rules once again. The bad news is that Barbieheimers don’t come along every day. Unless The Meg 2 inexplicably ends up becoming a Star Wars-level hit, it might be a while before these people return to the big screen again.

Recent screenings of the movies "Barbie" and "Oppenheimer" have been marred by disruptive behavior from audience members. Incidents include individuals being naked in the theater, drunken outbursts, cellphone use, and exhibitionism. The trend of unruly behavior extends beyond movie theaters, with instances of disruptions at concerts, Broadway shows, and even on airplanes. Experts suggest that a combination of recent collective traumas, cellphone culture, and a desire for constant stimulation may be contributing factors. Movie theater policies and enforcement are being relied upon to address the issue, but some argue that disruptive behavior is becoming normalized in public spaces.

Queen Sareth and Dawn share a moment as she tries to learn more about Day. Brothers Constant and Poly bring Hober Mallow to Terminus.

Through the years I've noticed that quite a few Hollywood films play fast and loose with any other language than English.

I was watching Oppenheimer yesterday and the titular character was supposed to be speaking Dutch fluently, but the actual lines spoken were mostly jibberish, and more like German than Dutch. As a native speaker, I found this quite jarring and sloppy. Though I can imagine that to non-native speakers this would probably fly under the radar.

This got me thinking if there were more examples of shoddy translation, weird pronunciation, mishandling of language or dialect that you as a native speakers have noticed when watching movies?

Archived version: https://archive.li/25ZWC

Leah Remini is taking legal action against the Church of Scientology and its leader, David Miscavige, for harassment and defamation.

The actress, who starred in the sitcom The King of Queens, joined the Church in 1979 as a child and left in 2013.

Remini, 53, claims Scientology's "mob-style operations and attacks" have "significantly" impacted her life and career.

BBC News has asked the Church of Scientology for comment.

In a statement released to Variety, Remini said: "For 17 years, Scientology and David Miscavige have subjected me to what I believe to be psychological torture, defamation, surveillance, harassment, and intimidation, significantly impacting my life and career.

"I believe I am not the first person targeted by Scientology and its operations, but I intend to be the last."

According to the press release, Remini filed the lawsuit in the California Superior Court on Wednesday (2 August) in an attempt to "require Scientology, and any entity it controls and funds, to cease and desist its alleged practice of harassment, defamation, and other unlawful conduct against anyone who Scientology has labelled as an 'enemy.'"

Variety reports Remini also seeking compensatory and punitive damages for the alleged harm Scientology has inflicted on her personal and professional life.

The press release refers to "OSA Network Orders" - a reference to directives alleged to be issued by the Church's Office of Special Affairs.

Remini alleges these orders are a series of retaliatory measures, said to have been implemented by the Church's founder L Ron Hubbard, to be taken against any individual or organisation that the Church deems to be an enemy.

Named defendants in the legal case are the Church of Scientology, Miscavige and Religious Technology Center, Inc., which, Remini alleges, manages policing operations and principally enforces Scientology's punishment orders.

Remini alleges that a series of attacks meant to "obliterate" and "totally restrain and muzzle" her were "activated by OSA and their operatives." The case details alleged "coordinated campaigns" by the Church levied against Remini and her family, friends and business associates.

"With this lawsuit, I hope to protect my rights as afforded by the Constitution of the United States to speak the truth and report the facts about Scientology," Remini continued.

"I feel strongly that the banner of religious freedom does not give anyone licence to intimidate, harass and abuse those who exercise their First Amendment rights."

In 2015, Remini co-created and executive produced a documentary series about the Church, called Leah Remini: Scientology and the Aftermath, which ran for three seasons and won two Emmy Awards.

The actress is best known for starring in The King of Queens, a comedy which ran from 1998 until 2007 and is still regularly repeated in the UK by Channel 4.

In addition, she played smaller roles in Cheers, Friends, and NYPD Blue. She was also a regular panellist on US daytime show The Talk, and finished in fifth place in the 2013 series of Dancing With The Stars, the US version of Strictly.

Archived version: https://archive.li/KVPW3

This story was published by narratively, readable with a 7-day free trial. It has been republished with permission by Pocket, which is free for Firefox users. It is also available through archive services.

Short excerpt:

In the mid-1980s, my mom and dad forged their identities in the punk music scene at the edges of the University of Florida. Pee-wee’s Playhouse had an in-your-face energy and subversive visual reinterpretation of old-school children’s television that made it required watching among their friends.

“You have to understand,” my dad explains every time we pass the apartment where my godmother, mom’s first bandmate, used to live. “Very few people had cable back then. CBS didn’t have a local affiliate, but Sharon had a 12-inch TV with a wire hanger antenna that caught the Jacksonville signal. When I met your mom, we all went over there on Saturday mornings to get stoned, eat grits and watch Playhouse.”

The Rookie is an ABC cop show that spends a lot of time talking about the problems with policing and putting forth an aspirational vision of the police. Their solution? Body cameras, and lots of them. But is that a good idea or is the show just lying?