Afleveringen
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【Title/标题】
2025 Golden Globes winners announced: See the full list, from Best Actress surprises to Emilia Pérez domination
Nikki Glaser hosted a ceremony that skyrocketed Demi Moore into the Oscars race, while "Shōgun" and "Hacks" won big among TV contenders.
【Source/来源】
Media Outlet/媒体：Entertainment Weekly
Written by/作者：Joey Nolfi
【Transcript/文稿】
With the holidays in the rearview mirror, the 2025 Golden Globes winners rang in the new year with a fresh class of awards season darlings at the top of a heated race — including several stunning surprises and shutouts along the way.
Across Sunday night's ceremony hosted by comedian Nikki Glaser, the Golden Globes revealed its annual roster of winners in both film and TV categories, with many movies and performances in contention at the Globes — like Mikey Madison (Anora), Angelina Jolie (Maria), Colman Domingo (Sing Sing), and Ariana Grande (Wicked) — also expected to cross over into Oscars territory when the Academy announces its nominations on Jan. 17.
Best Film winners in the Drama and Musical or Comedy categories, respectively, included The Brutalist and Emilia Pérez, with the latter emerging as an industry-favorite musical drama that followed up its steamrolling of the European Film Awards in December with four Golden Globe wins — the most for any film this year. Given the Jacques Audiard-directed movie's prominence with both the EFA — which shares significant crossover membership with the Academy — and the Globes, Emilia Pérez may now be the Best Picture contender to beat. That scenario feels even likelier after previously presumed frontrunner Anora lost all of its competitive categories at the Globes.
One of those losses came in the Best Actress category, where Demi Moore triumphed over Anora's Madison, whom many predicted would win the award. Moore's performance in The Substance generated career-best reviews for the Hollywood icon, who will now likely go head-to-head with the Globes' Musical or Comedy winner, I'm Still Here's surprise victor Fernanda Torres, on Oscar ballots. Torres overtook strong competition from Maria's Jolie and Babygirl's Nicole Kidman to become a new leader among a crowded category.
On the supporting side, Emilia Pérez star Zoe Saldaña was the first winner of the night, while Kieran Culkin (A Real Pain) was honored with Best Performance by an Actor in a Supporting Role.
Among TV projects, Shōgun racked up the most significant haul of Golden Globes statuettes, with four overall wins, including three individual acting wins for stars Hiroyuki Sanada, Anna Sawai, and Tadanobu Asano.
Baby Reindeer and Hacks tied for the second-higest tally of TV wins, with each project earning two awards each.
Ahead of the main ceremony at a special gala on Friday, Golden Globes honorees Viola Davis and Ted Danson received the Cecil B. DeMille Award and Carol Burnett Award, respectively, for career achievement in film and TV.
The rest of the film and TV winners were presented during the televised ceremony, featuring presenters like Davis, Moore, Anya Taylor-Joy, Catherine O'Hara, Colin Farrell, Colman Domingo, Dwayne "The Rock" Johnson, Elton John, Glenn Close, Jennifer Coolidge, Melissa McCarthy, Michelle Yeoh, Mindy Kaling, Nicolas Cage, Salma Hayek, Seth Rogen, and Zoë Kravitz, among others.
See the full list of 2025 Golden Globes winners below.
Best Motion Picture — Drama
WINNER: The Brutalist
A Complete Unknown
Conclave
Dune: Part Two
Nickel Boys
September 5
Best Motion Picture — Musical or Comedy
Anora
Challengers
WINNER: Emilia Pérez
A Real Pain
The Substance
Wicked
Best Motion Picture — Non-English Language
All We Imagine as Light
WINNER: Emilia Pérez
The Girl With the Needle
I'm Still Here
The Seed of the Sacred Fig
Vermiglio
Best Motion Picture — Animated
WINNER: Flow
Inside Out 2
Memoir of a Snail
Moana 2
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot
Cinematic and Box Office Achievement
Alien: Romulus
Beetlejuice, Beetlejuice
Deadpool & Wolverine
Gladiator II
Inside Out 2
Twisters
WINNER: Wicked
The Wild Robot -
【Title/标题】
The Haunted New Twist in the Blake Lively-Justin Baldoni Scandal
【Source/来源】
Media Outlet/媒体：Slated
Written by/作者: JILL FILIPOVIC
【Transcript/文稿】
There’s a new twist in the dispute between actors Blake Lively and Justin Baldoni, and it says a lot more about our society than it does about them.
Last month, Lively filed a legal complaint that claimed Baldoni and film producer Jamey Heath not only sexually harassed her on the set of their blockbuster hit It Ends With Us, but that they, along with their production company Wayfarer, hired a crisis public relations firm to smear her reputation this past summer after the film’s release. The New York Times reported on the details of the allegations made in the complaint, which include messages from the crisis PR representatives asserting they could easily “bury” Lively. Baldoni and Heath deny any wrongdoing.
The response to the story was gigantic—in part because the smear campaign against Lively was successful even beyond the scope of what the crisis PR firm could have hoped to accomplish. As one of the crisis PR reps who orchestrated the campaign put it in a message, uncovered via subpoena, the amount of bashing Lively was subjected to online was “actually sad because it just shows you have people really want to hate on women.”
Baldoni, known previously for his role on the CW’s Jane the Virgin, was dropped by his talent agency. He had branded himself as a feminist—and after the Times’ report, an honor he received in December at a star-studded event for men who “elevate women” and “promote gender equality” was rescinded. His female co-host on a podcast called “Man Enough” quit the show.
The documentation seemed incontrovertible, with far-reaching implications. It showed, as the Times put it, “an additional playbook for waging a largely undetectable smear campaign in the digital era.”
The new twist is that Baldoni, Wayfarer, and crisis communications representatives have now sued the Times for libel for its reporting, claiming some $250 million in damages. Baldoni and Wayfarer don’t dispute that they hired a crisis PR firm, but say they did so out of “a legitimate need for public relations protection” from Lively herself, as they feared she was on the brink of taking some interactions out of context, or of blowing them out of proportion. What happened on set, they argue, wasn’t actually sexual harassment, and Lively’s claims that it was are simply false. In fact, the lawsuit implies, she was just a diva. (And supposedly, they’re going to sue Lively soon, too.)
Baldoni and Wayfarer’s version of events, as detailed in the new lawsuit, is a funhouse mirror of Lively’s. In her telling, sexual harassment is clear. In theirs, the interactions were professional, or simply personal, but not in any way inappropriate. And so this is where we are, in 2025, post-#MeToo, three decades after the Anita Hill hearings: still quibbling over what sexual harassment even is.
Lively says that Baldoni showed her a video of his nude wife giving birth, something she found shocking and wildly inappropriate. Baldoni says he did so in the context of discussing a birth scene in the film, and that the video is not pornographic but rather “deeply personal with no sexual overtone.” His wife, Baldoni’s suit says, condoned his showing it. In Lively’s telling, Baldoni conveyed his wife’s consent by saying, “She isn’t weird about this stuff,” which Lively understandably took to imply that it might be weird for her to not welcome it.
Lively also alleges that when filming a scene without sound, Baldoni went off-script and out of character and ran his lips over her neck, telling her she smelled good; she says he also barged into her dressing room when she was breastfeeding. Lively says Baldoni and Heath talked about their past addictions to pornography, which made her extremely uncomfortable. When she tried to shut it down by saying she had never seen porn, she alleges Baldoni announced that claim to a larger group, compounding her discomfort.
Baldoni’s lawsuit doesn’t respond in detail to every allegation, but says that Lively often nursed in meetings and other professional settings and in fact invited him into her trailer while she was pumping. But Lively is far from the only villain in Baldoni’s and his colleagues’ telling. The New York Times itself, they say, has squandered its reputation as “Times reporters have ever more frequently veered spectacularly from their own journalistic guidelines.” When partisans deride the Times as “fake news”—a rallying cry for Donald Trump and his followers—they do so, the Baldoni suit says, “with some justification.”
This is perhaps the most fascinating element: A self-styled male feminist (Baldoni) defending himself by saying that the woman is lying and his actions weren’t harassment, and then referencing the words of an incoming president who is notorious for being accused of sexual abuse many times over—and who was found liable for it by a jury.
It’s totally possible that Baldoni and his co-defendants (and co-plaintiffs) are correct that Lively is a diva who made unreasonable demands and ostracized him. But even if Baldoni’s version of events are true, it’s a bit rich that a male feminist—who claims he made this movie simply to help raise awareness about domestic violence and help survivors—would refuse to take a hard look at the acts that are not in dispute, including showing a video of his wife giving birth to a work colleague. Lively has given birth to four children; she doesn’t need to watch an unsolicited video of her co-star’s nude wife to know what it entails. -
【Title/标题】
Nikki Glaser Says She’s Not Touching ‘It Ends With Us’ Controversy During Golden Globes
【Source/来源】
Media Outlet/媒体：DEADLINE
Written by/作者：Glenn Garner
【Transcript/文稿】
As Nikki Glaser prepares to host the 82nd Golden Globes, she’s staying away from politics and the latest Hollywood drama.
The comedian, whose special Someday You’ll Die is nominated for Best Stand-Up Comedy Performance, recently explained that she’s “not gonna go so hard that anyone’s gonna be offended” during her hosting gig on Sunday’s awards show, airing live at 8pm ET on CBS and streaming on Paramount+.“I’ve made a point not to, and that’s not to disappoint anyone who’s hoping I’m going to pull a Ricky Gervais,” Glaser told Yahoo Entertainment. “I’m not Ricky Gervais. This isn’t my last Golden Globes, this is my first one. He really went hard on his last one. He was ready to burn some bridges [because] it didn’t matter anymore.”
After Blake Lively officially filed a lawsuit against It Ends With Us co-star and director Justin Baldoni, accusing him of sexual harassment and retaliation, Glaser explained that she’s staying away from the behind-the-scenes controversy in her jokes.
“I think the Blake Lively-Justin Baldoni thing is such a hot-button thing right now that even a mere mention of it will seem like I could be on the wrong side of things, even though I would never be,” she said. “I also don’t want to give his name any — I’m mad I even know his name, to be honest with you, so I don’t need to say it anymore.”
Glaser also plans to avoid the topic of politics after Donald Trump secured presidential re-election against Vice President Kamala Harris, explaining that “people are just tired of hearing about it, even though it’s looming and it’s in the air.”
“There will be a nod to it, but it will not be too heavy-handed,” said Glaser. “I’ve made a good point not to go too hard.”
Following her breakout performance on Netflix’s The Roast of Tom Brady, Glaser was announced as a first-time Golden Globes host in August. In November, she was also announced as a first-time nominee. -
【Title/标题】
What We Know About Meghan Markle’s Netflix Lifestyle Show Ahead Of January Debut
【Source/来源】
Media Outlet/媒体：Forbes
Written by/作者：Mary Rouloffs
【Transcript/文稿】
Meghan Markle is set to make her return to the small screen later this month with a new lifestyle show called "With Love, Meghan," a Netflix original lifestyle series born out of her and Prince Harry’s Archewell Productions’ $100 million deal with the streamer.
A nearly two-minute-long trailer released by Netflix on Thursday shows Markle wandering the rows of a meticulously kept garden, choosing fresh flowers, harvesting honey, kneading homemade bread and working in the kitchen with a lineup of famous friends.
Netflix says the eight-episode show, which will release in full Jan. 15, "reimagines the genre of lifestyle programming, blending practical how-to’s and candid conversation with friends, new and old."
Actress Mindy Kaling, chefs Alice Walters and Roy Choi, Godmothers Bookstore co-founder Jennifer Rudolph Walsh, “Suits” star Abigail Spencer, Prince Harry and other stars all make appearances in the trailer, with Kaling declaring her time in the duchess’ kitchen “one of the most glamorous moments of my life.”
The show is directed by Michael Steed, the man behind the "Anthony Bourdain: Parts Unknown" series, and showrunner Leah Hariton, who also made the Daytime Emmy-nominated "Selena + Chef" show with Selena Gomez.
An upcoming lifestyle series from Markle was first announced by Netflix last April, shortly after Markle launched a lifestyle brand called American Riviera Orchard in March of 2024 that has yet to produce any content or products.
"We're not in the pursuit of perfection, we're in the pursuit of joy," Markle says in the trailer for “With Love, Meghan.” "Love is in the details."
Before she became engaged to and later married Prince Harry, Markle ran a lifestyle blog called The Tig on which she interviewed celebrities, talked fashion and revealed personal details of her early life and career as an actress. She closed the site in 2017.
“With Love, Meghan" is the fifth project to come out of the reported $100 million deal with Netflix Harry and Meghan made after announcing their departure from the British royal family. "Polo," a five-part series on the sport of professional polo, debuted in December but didn't crack the streamers' top 10. Their first project, a tell-all 2022 documentary called "Harry & Meghan" was watchedfor 81.55 million hours in its first week and became the platform's most-watched documentary premiere. The couple's production company also created “Heart of Invictus,” a documentary following athletes participating in the Prince Harry-founded sporting event for wounded veterans, and “Live to Lead,” a docuseries on impactful world leaders.
In January 2020, 18 months after they were married and less than a year after welcoming their first child, Harry and Meghan announced they would be stepping down as senior royals, citing bullying from the British media, racism within the family and general mistreatment. The couple moved to California, where they had one more child, and have since launched several business ventures to varying degrees of success. The couple created a charity organization and an audio and video production company using the name Archewell and signed deals with Netflix and Spotify worth $100 million and $20 million, respectively. In 2023, the couple's Spotify partnership ended after they reportedly failed to meet “productivity benchmarks.” Last March, Markel announced American Riviera Orchard as a lifestyle brand that, in an LLC filing in Delaware, said it would create an online retail store selling tableware, cutlery, cookbooks, servingware, coffee and tea services, kitchen textiles, jams and jellies, oils and other foods. The brand has hit several road bumps, including the rejection of a trademark request and reports no CEO has been found to lead the business, and has gone nowhere since the announcement. No posts have been made on the brand’s Instagram since last March and the company’s website has been empty. -
【Title/标题】
Andy Cohen and Anderson Cooper New Year’s Eve Live
【Source/来源】
Media Outlet/媒体：Variety
Written by/作者：William Earl
【Transcript/文稿】
Andy Cohen and Anderson Cooper quickly jumped into their old rapport during CNN’s “New Year’s Eve Live” on Tuesday, with the two hosts and real-life BFFs teasing each other and breaking out the booze.
Cohen excitedly brought tequila to take a shot at the top of every hour with Cooper. While Cooper, a light drinker, took the first shot in stride, the second one left him gasping for air.
The hosts remained jovial during the show, talking about having giggle fits during commercial breaks and FaceTiming with Hoda Kotb, who was hosting NBC’s New Year’s Eve special, “A Toast to 2024.”
A silly second-hour costume contest, set in front of the duo’s Madame Tussauds wax figures, featured a series of 2024 pop culture get-ups — including pygmy hippopotamus Moo Deng, viral French pole vaulter Anthony Ammirati and a sad Glasgow Oompa Loompa — which left Cooper in a fit of giggles.
In other media moments, Roy Wood Jr., host of CNN’s weekend comedy panel show “Have I Got News For You,” appeared with the show’s “team captains” Amber Ruffin and Michael Ian Black, turned down a shot with the hosts, quipping that, “the last Black man to drink on this network got fired,” which seemed to be a nod to Don Lemon getting the axe from CNN in 2023.
The alcohol marched on alongside the guests, as even serious stars like “Conclave” lead Ralph Fiennes threw back a shot with the duo. Amazingly, Fiennes, a distinguished actor, also did a dramatic recitation of the “Very Demure, Very Mindful” meme.
This year is Cohen and Cooper’s eighth time hosting the chatty New Year’s Eve show, which also welcomed plenty of their celeb friends, including chats with Amy Sedaris, Jon Hamm, Ziwe and more. Country singer Mickey Guyton helped the pair usher in 2025 by performing John Lennon’s “Imagine” shortly before the famous ball drop began at the countdown to midnight.
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【Title/标题】
BALL DROP IN TIMES SQUARE MARKS THE START OF 2025
【Source/来源】
Media Outlet/媒体：ABC 7
Written by/作者：Raegan Medgie
【Transcript/文稿】
Nearly a million people braved the pouring rain at the Crossroads of the World to say goodbye to 2024 and usher in a new year
Eyewitness News caught up with revelers who stood in the downpours to ring in the new year in Times Square with a poncho as their only defense.
For every raindrop and rain-soaked performance, there was just as much optimism for 2025.
"I'm just here celebrating love, life, and happiness," one visitor said.
They said they just wanted to take in some of the sights and sounds.
"I've always wanted to do this it's been on my bucket list since I was a kid," said Shauntay who made the trip all the way from California.
"The feel is incredible," said a woman who was there with her family. "We were comparing it to London, where we go often. And New York has it way better than London does!"
The NYPD patrolled the area with bomb-sniffing dogs. And sanitation trucks were positioned to prevent a vehicle-ramming attack, which is just a microcosm of the elaborate safety plan.
"We want everyone to have a happy and safe 2025, no better place to bring it," Mayor Eric Adams said.
Streets surrounding Times Square began closing at 4 am on Tuesday.
The entire area of 57th Street to 42nd Street between Sixth and Eighth Avenues was fully restricted by 11 a.m.
Police and organizers started letting spectators into the ball drop viewing area at 3 p.m.
From Sydney to Vladivostok to Mumbai, communities around the world have begun welcoming 2025 with spectacular light shows, embraces and ice plunges.
Auckland became the first major city to celebrate. Countries in the South Pacific Ocean are the first to ring in the New Year, with midnight in New Zealand striking 18 hours before the ball drop in Times Square in New York.
(The Associated Press contributed to this report.) -
【Title/标题】
‘Sonic 3' and ‘Mufasa’ battle for No. 1 at the holiday box office
【Source/来源】
Media Outlet/媒体：AP News
Written by/作者：Lindsey Bahr
【Transcript/文稿】
Two family films dominated the holiday box office this week, with “Sonic the Hedgehog 3” winning the three-day weekend over “Mufasa” by a blue hair.
Paramount’s Sonic movie earned $38 million, while “Mufasa” brought in $37.1 million from theaters in the U.S. and Canada, according to studio estimates Sunday. On a normal weekend counting Friday, Saturday and Sunday ticket purchases, the winner would be somewhat clear. But when the Christmas holiday falls on a Wednesday as it did this year, the studios look at two sets of numbers: The five-day earnings and the three-day weekend earnings. With the five-day tally, The Walt Disney Co.'s “Mufasa” had the edge, bringing in $63.8 million.
It all adds up to a rather robust theatrical landscape, helped by the continued success of “Wicked” and “Moana 2,” which are on their sixth and fifth weekends, respectively.
The vampire horror “Nosferatu” also debuted fairly triumphantly. Robert Eggers’ modern reimagining of a 1922 silent film starring Nicholas Hoult and Lily-Rose Depp rose to the top of a starry batch of Christmas Day newcomers, which included the Bob Dylan biopic “A Complete Unknown,” with Timothée Chalamet; the erotic drama “Babygirl” with Nicole Kidman; and “The Fire Inside,” about boxer Claressa Shields. -
【Title/标题】
‘Squid Game’ Stars Lee Jung-jae and Lee Byung-hun Break Down ‘Fun’ Season 2 Twist for Gi-hun and The Front Man, Plus That Game-Changer Finale
【Source/来源】
Media Outlet/媒体：Variety
Written by/作者：Matt Minton
【Transcript/文稿】
SPOILER ALERT: This article contains major spoilers from “Squid Game” Season 2 finale, now streaming on Netflix.
Facing betrayal from an inside man infiltrating the Squid Games is nothing new for Seong Gi-hun (Lee Jung-jae) within the twisted “Squid Game” universe.
When the first season of the Korean drama released on Netflix in 2021, watching Player 001, the old man Oh Il-nam (Oh Yeong-su), be revealed as the creator of the games came as a total surprise for both Gi-hun and the viewer. But in “Squid Game” Season 2, which dropped Thursday, the unexpected involvement of head game guard The Front Man (Lee Byung-hun), whose real name is In-ho, is handled quite differently when he joins the games as Player 001 upon Gi-hun’s reentry into the competition.
In-ho uses the fake name Young-il when he introduces himself to Gi-hun, who has returned to the games in “Squid Game” Season 2 to try to take them down from the inside, and conceals his real identity and motives while slowly attempting to gain Gi-hun’s trust and build a group of likeminded players.
“I think it’s kind of fun because only the audience knows that it’s him so it’s more tense for them to watch him in the game, forming this alliance with Gi-hun,” Lee Jung-jae tells Variety. “I think all the viewers will be thinking about is when Gi-hun will finally realize that he is The Front Man, or what game he can go until without revealing his identity.”
When Lee Byung-hun first met with “Squid Game” creator and director Hwang Dong-hyuk to discuss possible directions for Season 2, they casually speculated over drinks about In-ho’s backstory. While Season 2 ultimately doesn’t show his past — choosing instead to give details through dialogue about In-ho’s late wife who died of illness when they were destitute — Lee Byung-hun kept thinking about how his character entered the Squid Game the first time he played and, like Gi-hun after him, won the competition, and how his spirit has changed since.
“He’s really seen kind of the bottom pit of humanity and in the midst of the violence and desperation of Squid Game, his hope for humanity and the world has really dwindled,” Lee Byung-hun explains. “He has this very pessimistic view of the people in the world around him.”
Another one of the returning “Squid Game” characters is detective Jun-ho (Wi Ha-joon), who teams up with Gi-hun at the beginning of Season 2 to try and find the Squid Game island again. Jun-ho made his way there in Season 1 searching for his missing brother, In-ho, later finding out that his brother has gone from a former competitor in the games to becoming The Front Man himself. Jun-ho was shot by his brother upon this revelation in Season 1 and barely survived falling off the cliffs of the Squid Game island. When he teams up with Gi-hun to try to get back to the island again and end the games in Season 2, he decides not to tell Gi-hun that The Front Man is his brother.
Showing In-ho playing the games alongside Gi-hun, who still fights to believe in the best in people and humanity — despite the cruelty of the Squid Game — pits two opposing characters together. Lee Byung-hun was tasked to act out much of this subtly as In-ho (who watched Gi-hun from behind a mask in Season 1) studies Gi-hun through the various games while forming a bond with him and not letting his true thoughts out.
Lee Byung-hun describes how “when [In-ho] meets Gi-hun, who is still trying to break down the system, who returns to the games to be able to change something, because he still has hope for humanity — I think In-ho really wants to break Gi-hun’s spirit, and that’s why you see him observing him throughout the games and very meticulously making a plan to dismantle a lot of what he is doing.” -
【Title/标题】
‘Dexter: Original Sin’ Is Guilty of Beating a Dead Horse: TV Review
【Source/来源】
Media Outlet/媒体：Variety
Written by/作者：Alison Herman
【Transcript/文稿】
It is seemingly not possible for “Dexter,” as a franchise, to move forward. In the final moments of the sequel series “New Blood,” which aired eight years after the original series finale in 2013, Michael C. Hall’s serial killer was fatally shot. (Or at least, he appeared to be — more on that in a second.) This development, on its surface, marked the end of the road for one of the defining leads of the antihero era, a role Hall had been playing for 15 years at the time. Sure, yet another follow-up, “Resurrection,” would pass the torch to Dexter’s son Harrison (Jack Alcott). But if network Showtime wanted to keep wringing drops from this blood-soaked towel, the only direction left to go in was back.
Incredibly, the prequel “Dexter: Original Sin” tries to have it both ways. Not only does the 10-episode season — advance screeners of which were not provided for critics — wind the clock back to 1991, when a 20-year-old Dexter (Patrick Gibson) graduates from the University of Miami and makes his way into the local police department as a paid intern. The show, created by original “Dexter” showrunner Clyde Phillips, also undoes the seeming finality of “New Blood.” As it turns out, Dexter survived, and the events of “Original Sin” are framed as memories he mulls over while on the operating table. Before introducing Gibson, the camera zooms in so the “Emergency Room” sign instead reads “Emerge.”
The immediate, insurmountable problem with “Original Sin” is that the same superfans who form its target audience are already familiar with its major events, because “Dexter” itself was chock-full of flashbacks. Christian Slater may be new to the part of Detective Harry Morgan, but it’s long-established “Dexter” lore that Harry helped his adoptive son channel his “Dark Passenger” to more (debatably) constructive ends by targeting other killers. Even the identity of his first victim, a nurse who preyed on her patients, is locked into the canon. There aren’t many gaps left in Dexter’s early life for “Original Sin” to fill in.
“Original Sin” opts to steer into the skid, embracing repetition rather than putting in much effort to avoid it. Dexter’s coworkers Batista (James Martinez) and Masuka (Alex Shimizu) are introduced exactly as they will be in the first series, right down to their costumes: Batista is a gregarious mensch in a fedora, Masuka is a skeezy lech, and both are already installed at Miami Metro. While Maria LaGuerta (Christina Milian) at least gets a backstory as a new detective who’s been publicly critical of the homicide department’s disproportionate focus on white, well-off victims, she’s not that far removed from the woman she’ll be in 15 years. Gibson spends most of the premiere in a ridiculous wig of surfer curls; by the end, he’s got Hall’s haircut, and his inner monologue sounds suspiciously like his predecessor. (Hall returns IRL for the opening scene, but retreats to the sound booth to provide narration throughout.)
Dexter may be a relative novice at 20 years old, yet he already has his M.O. of wrapping his victims and their environs in plastic — both to restrain them and allow for efficient cleanup — dialed in. His sister Deb (Molly Brown) is a bratty teenager, and there’s a faint whiff of novelty to “Original Sin” as a demented family sitcom about a grieving family with some deadly secrets. (In 1991, Deb and Dexter’s mother has recently passed away.) Dexter’s first kill, initiated by the nurse poisoning Harry when he’s hospitalized after a heart attack, is intercut with Deb’s high school volleyball game. But there’s not enough to unseat the impression that “Original Sin” is just playing back the hits, right down to a soundtrack of ‘90s touchstones like “Ice Ice Baby.” The show could’ve taken more time to get Dexter in the swing of things; instead, he satisfies his bloodlust and lands the job in 45 minutes of screentime.
“Original Sin” offers some new information via Harry, who gets his own garishly color-saturated timeline set in the 1970s. But the device just turns into an echo of the “Dexter” flashbacks, and calls attention to how much the slight ‘90s timeline is in need of padding out. The “fresh” faces in the “Original Sin” ensemble are themselves avatars of nostalgia: Sarah Michelle Gellar plays Dexter’s new boss, while Patrick Dempsey appears as the mustachioed, helmet-haired police chief. (At least the hair and makeup departments are having fun!) “Original Sin” doesn’t draw any new life from a piece of IP that’s now old enough to vote. It does, however, represent the profit-chasing retrospection that’s devouring culture from the inside out like a termite infestation. All that’s left is a hollow structure to be blown away by the next Miami storm.
The first episode of “Dexter: Original Sin” is now streaming on Paramount+ and will premiere on Showtime on Dec. 15 at 10 p.m. ET, with remaining episodes streaming on Fridays and airing on Sundays. -
【Title/标题】
Billboard Music Awards 2024: See the Complete Winners List!
【Source/来源】
Media Outlet/媒体：People
Written by/作者：Glenn Garner
【Transcript/文稿】
The metrics are in, and the 31st Billboard Music Awards has honored the year’s most listened-to artists, albums, songs, producers and songwriters.
Making history with most career wins at 49 total, Taylor Swift swept Thursday’s awards show with 10 wins, including Top Artist, Top Female Artist, Top Streaming Songs Artist and Top Billboard 200 album for The Tortured Poets Department.
Zach Bryan followed with five wins, and Morgan Wallen won four categories. Shaboozey, Bad Bunny, Drake and Elevation Worship each won three awards.
Meanwhile, Chappell Roan was crowned Top New Artist, and fans officially declared Beyoncé as Top Female Country Artist after her album debut in the genre with Cowboy Carter.
Thursday’s BBMAs were hosted by Michelle Buteau, featuring awards celebrations around the world and performances by Coldplay, Fuerza Regida, Jelly Roll, Megan Moroney, SEVENTEEN, Shaboozey, Stray Kids, Teddy Swims and Tyla.
Here are the winners of the 31st Billboard Music Awards, which is available to stream Friday on Hulu.
Top Artist
Taylor Swift
Top New Artist
Chappell Roan
Top Male Artist
Morgan Wallen
Top Female Artist
Taylor Swift
Top Duo/Group
Fuerza Regida
Top Billboard 200 Artist
Taylor Swift
Top Hot 100 Artist
Taylor Swift
Top Hot 100 Songwriter
Taylor Swift
Top Hot 100 Producer
Jack Antonoff
Top Streaming Songs Artist
Taylor Swift
Top Radio Songs Artist
Taylor Swift
Top Song Sales Artist
Shaboozey
Top Billboard Global 200 Artist
Taylor Swift
Top Billboard Global (Excl. U.S.) Artist
Taylor Swift
Top R&B Artist
SZA
Top R&B Male Artist
Tommy Richman
Top R&B Female Artist
SZA
Top R&B Touring Artist
Bruno Mars
Top Rap Artist
Drake
Top Rap Male Artist
Drake
Top Rap Female Artist
Doja Cat
Top Rap Touring Artist
Travis Scott
Top Country Artist
Morgan Wallen
Top Country Male Artist
Morgan Wallen
Top Country Female Artist
Beyoncé
Top Country Duo/Group
The Red Clay Strays
Top Country Touring Artist
Zach Bryan
Top Rock Artist
Zach Bryan
Top Hard Rock Artist
Linkin Park
Top Rock Duo/Group
Linkin Park
Top Rock Touring Artist
Coldplay
Top Latin Artist
Bad Bunny
Top Latin Male Artist
Bad Bunny
Top Latin Female Artist
KAROL G
Top Latin Duo/Group
Fuerza Regida
Top Latin Touring Artist
Luis Miguel
Top Global K-Pop Artist
Stray Kids
Top K-Pop Touring Artist
SEVENTEEN
Top Afrobeats Artist
Tyla
Top Dance/Electronic Artist
Charli XCX
Top Christian Artist
Elevation Worship
Top Gospel Artist
CeCe Winans
Top Billboard 200 Album
Taylor Swift — The Tortured Poets Department -
【Title/标题】
As ‘Kraven’ Hunts for Audience, Sony’s Marvel Universe Takes Final Bow for Now | Analysis
【Source/来源】
Media Outlet/媒体：The Wrap
Written by/作者：Umberto Gonzalez
【Transcript/文稿】
The lights were on, but nobody came. At Brazil’s prestigious Comic Con Experience (CCXP) on Sunday, Sony Pictures’ surprise panel for “Kraven the Hunter” — the studio’s latest non-Spider-Man Marvel movie — played to rows of empty seats, according to an individual in attendance. There were no stars, and not that many fans. Just silence where superhero hype should have been.
The half-empty panel presentation of a $110 million budgeted antihero movie at one of the world’s largest pop culture events reflected the Sony Marvel franchise’s diminishing profile outside the mainline “Spider-Man” movies starring Tom Holland. While “Venom: The Last Dance” launched on more than 4,000 movie screens in October, “Kraven the Hunter” will debut this Friday in just 3,000 — a stark 25% reduction that signals waning confidence in Sony’s failed Marvel experiment.
The latest setback follows a string of disappointments for Sony as it has sought to exploit its rights hold on most of the characters in Marvel’s “Spider-Man” comics, from the historic second-week collapse of “Morbius” in 2022 to the disastrous $52 million worldwide opening of “Madame Web” earlier this year.
The studio’s desire to capitalize on the superhero boom led to a series of tonal mismatches that left audiences confused rather than intrigued. “Venom” succeeded largely on Tom Hardy’s chaotic charm, but attempts to replicate that formula with “Morbius” and “Madame Web” resulted in films that seemed uncertain whether they were horror, action or comedy.
The identity crisis extended beyond individual films to the universe as a whole, which never established a consistent style or vision in the way Marvel Studios had with the MCU.
“Anytime you try to spin off a character, you’re hoping to grab some of that magic created by the halo effect that the branding of ‘Spider-Man’ can bring to the table, but it’s not always a slam dunk,” Paul Dergarabedian, senior media analyst at Comscore told the Wrap. “It’s easier said than done.” Although Dergarabedian noted that “Kraven” could find a place in the December marketplace as R-rated counterprogramming to family friendly are.
Sony declined to comment for this story.
The apparent end of Sony’s Marvel spinoff franchise represents one of Hollywood’s most ambitious – and costly – attempts to build a shared cinematic universe without its central character. While Spider-Man himself swings successfully through Disney’s Marvel Cinematic Universe thanks to a landmark shared deal struck in 2015 with Marvel Studios, Sony’s solo efforts to mine Spidey’s rogues gallery have proved to be a costly catastrophe: The studio has burned through more than $465 million in production costs while audience interest plummeted with each release.
“The biggest issue with the Sony Spider-Man spinoffs seems to be the lack of quality control. The movies just aren’t good,” a Sony insider told The Wrap. “Sometimes that lack of quality meets a movie no one asked for, which was the case with ‘Madame Web,’ and that is a no-win scenario. It may be time for Sony to start cultivating different IP to launch new franchises.”
The financial trajectory of Sony’s Marvel universe tells its own stark story. While 2018’s “Venom” grossed $856 million worldwide and its sequel managed to cross $500 million despite pandemic constraints, each subsequent release showed diminishing returns.
The Jared Leto-fronted “Morbius” limped to $167 million globally, with a historic 74% second-weekend box office drop that became a social media punchline. While “Venom: The Last Dance” — the third and likely final film in the “Venom” franchise — demonstrated the enduring appeal of Hardy’s portrayal with a $472 million worldwide gross as of Monday, the Dakota Johnson-led “Madame Web” marked a new low for the franchise. Its $52 million worldwide opening earlier this year represented one of the weakest debuts for a major superhero film in recent memory, compounded by a wave of memes poking fun at the female-centric film’s quality. -
【Title/标题】
Timothée Chalamet Pre-Recorded Bob Dylan Vocals for ‘A Complete Unknown,’ but James Mangold Ditched Them After Hearing Him Sing Live
【Source/来源】
Media Outlet/媒体：Variety
Written by/作者：Jazz Tangcay
【Transcript/文稿】
Yes, Timothée Chalamet pre-recorded his vocals to play Bob Dylan in James Mangold‘s “A Complete Unknown,” but he also sang live. Mangold decided he was going to go with the live performance after being blown away by the actor’s performance.
Mangold is no stranger to his actors singing live. Joaquin Phoenix did it for “Walk the Line” playing Johnny Cash. In “A Complete Unknown,” Chalamet portrays a young Dylan who arrives in New York in 1961 and rapidly ascends through the folk scene. The film takes place from 1961 to 1965 when Dylan goes electric.
It’s not a typical biopic, as Mangold puts it, because the story isn’t anchored in Dylan’s birth and life story. Rather the film focuses on Dylan and the folk scene in New York back then. Mangold told an audience at the WGA during a post-screening in Beverly Hills on Friday night, “The other benefit was that in between 1961 and 1965, he wrote all the songs heard in this movie — and the guy was not even 24 where this movie ends. That is only a tenth of the songs he wrote in that period.”
Every song was pre-recorded as a precaution and to have a logistical backup. Audiences can hear those tracks on the forthcoming soundtrack because “we didn’t use them during the movie,” Mangold revealed.
The film took five years to get going due to COVID and the labor union strikes, but that stoppage worked to Mangold’s advantage. He said the actors, particularly Chalamet, spent time honing their crafts, perfecting their singing and getting acquainted with their instruments.
Mangold was grateful for that, stating “There are all these downsides that come with playback.”
Filming finally began in early 2024, and Mangold wasn’t sure if he would use live recordings all the way through. One of the first scenes he filmed was the moment with Dylan and Woody Guthrie, played by Scoot McNairy. “We shot that in the first five or six days,” Mangold said. “And there was a whole backstage thing with Timmy saying, ‘I want to try it live.’”
Admittedly, Mangold said, “some of the sound and music direction people were like, ‘It’s not a good idea.’” But Mangold didn’t want to hold anyone back, particularly Chalamet. So they went for it. “And he was phenomenal. Not only that, he proved the brilliance of the method.” Mangold continued, “There’s this moment where he finishes that song and he holds a note and just keeps hitting the low string on the guitar over and over again, and he’s just his eyes are kind of boring into Woody, and he’s just holding this note, and it gave him chills.” How did Mangold feel hearing that? “I remember sitting there eight feet from him as he did it, and I remember thinking, ‘Holy shit.’ That could not have happened if there was an earwig in his ear.”
With Mangold wearing multiple hats as a director and producer, he wasn’t sure if they could continue doing the live performances throughout the entire shoot, so he didn’t make any promises. However, as they continued, he said, “We just kept doubling down until we made our way through the whole movie.”
And how did they pull it off? The sound team strategically placed a selection of mics to capture the performance. Sound mixer Tod Maitland had to find a way to mic Chalamet, particularly during the acoustic aspects of the movie. Dylan held his guitar high, and there was no way to wire him in the typical fashion. Speaking with Variety, Maitland said, “I talked to Timmy early on, and I said, ‘The only way that we’re going to be able to do this is if I can wire you and your hair,’ and the microphone would then come off of his forehead and go right down past his mouth, right to the guitar.”
Other times, the sound team used 40 different practical microphones that were period correct. Maitland explained, “The idea was to get a little bit different sound in each different venue by using practical microphones from the period. That helped create a nice tapestry of sounds. But Timmy went 100% live. It was pretty amazing.”
The most challenging aspect was Chalamet’s voice and capturing the different ways he delivered those performances. Maitland explained, “Bob’s a mutterer, and Timmy gave his best mutter, so it was pulling that out. He would go from there to that twangy, tough voice that could shrill your eardrums. But there were, like four different voices inside of Timmy capturing all those and giving them all character was a whole other dimension.”
Supervising music editor Ted Caplan noted that while the film doesn’t show full performances or full song moments, every single one was recorded “from top to tail” Even the film’s climatic Newport Folk Festival 1965, which saw Dylan take his electric guitar public, much to the audience’s chagrin, was recorded. “That was recorded as a full concert; from the Hammer song to ‘Baby Blue,’ it was one run,” said Caplan, explaining that rather than do take after take of each song, the concerts were done as single straight runs. “I think it gave it a special live real magic.” He added, “You can see Timmy is so into it and so in the mindset of it.” -
【Title/标题】Golden Globes 2025 Nominations: ‘Emilia Perez’ Dominates Films With 10 Nods; ‘The Bear’ Leads TV With Five
【Source/来源】
Media Outlet/媒体: Variety
Written by/作者：Matt Donnelly, Jordan Moreau
【Transcript/文稿】
“Emilia Pérez” has a lot more to sing and dance about, raking in 10 nominations at Monday’s 2025 Golden Globe Awards nominations.
Jacques Audiard’s charming drug cartel musical, acquired by Netflix out of this year’s Cannes Film Festival, scored the most nods out of any feature film contender. It’s up for best motion picture – musical or comedy, director for Audiard, supporting actress for Zoe Saldana and Selena Gomez, actress for Karla Sofia Gascón, screenplay, original score and more.
Not far behind is Brady Corbet’s “The Brutalist,” a sweeping A24 drama about the trials of a Hungarian architect under the thumb of an enigmatic art patron. In addition to nabbing a nod for best motion picture – drama, stars Adrien Brody and Felicity Jones both scored acting nominations and Guy Pearce took one for supporting. The project was also recognized in score and screenplay categories. That’s seven total, one more than the haul from another leading contender, Focus Features’ “Conclave.” Its star Ralph Fiennes earned a best actor in a drama nomination for his portrayal of a conflicted priest overseeing a papal election crawling with sabotage and subplots. His co-star Isabella Rossellini received supporting actress recognition, with the film fetching score, screenplay and best picture nods.
Other notable films of the year to notch four or more Globe nominations include “Anora,” “Challengers,” “A Real Pain,” the Universal juggernaut “Wicked” and — the surprise of Monday morning’s announcement — Coralie Fargeat’s “The Substance,” including best musical or comedy, lead actress for Demi Moore, supporting actress for Margaret Qualley and best director.
The year was also strong in double (and triple!) nominees. Sebastian Stan is nominated for best actor in a motion picture in both comedy/musical (“A Different Man”) and drama (“The Apprentice”). Kate Winslet was recognized in lead actress drama for the biopic “Lee” and as a limited series actress for HBO’s “The Regime.” Selena Gomez took home acting noms for “Emilia Pérez” and in television series – musical or comedy for Hulu’s “Only Murders in the Building.” Audiard of “Emilia Pérez” received nominations for directing, screenwriting and his contributions to the original song “El Mal.”
On the TV side, FX/Hulu’s “The Bear” continues its trophy domination with the most nominations for any series; that’s five for the restaurant-set dramedy including best musical/comedy and acting noms for Jeremy Allen White, Ayo Edebiri, Ebon Moss-Bachrach and Liza Cólon-Zayas.
“Only Murders in the Building” and “Shogun” earned four nominations each, with Netflix’s buzzy new rom-com “Nobody Wants This” making a surprise entry with acting and series nods. Newcomers like “Baby Reindeer,” “Disclaimer” and “Monsters: The Lyle and Erik Menendez Story” took home three noms apiece. Eyebrows were raised with the inclusion of the Netflix sensation “Squid Game,” the second season of which was nominated for best series drama despite the fact that it will not debut on the streamer until the end of December.
This is the second year for two newly minted Globes categories. The first is for achievement in stand-up comedy specials, which for 2025 has nominees including Jamie Foxx, Nikki Glaser, Seth Meyers, Adam Sandler, Ali Wong and Ramy Youssef. The second is a prize for achievement at the global box office, which this year will see “Wicked,” “The Wild Robot,” “Alien: Romulus,” “Deadpool & Wolverine,” “Gladiator II,” “Twisters,” “Inside Out 2” and “Beetlejuice Beetlejuice” battle it out. -
【来源】CNN
【标题】Jay-Z denies allegations he sexually assaulted a 13-year-old in 2000 with Sean ‘Diddy’ Combs
【正文】
A woman who alleges she was sexually assaulted by Sean “Diddy” Combs has amended her lawsuit to include allegations that she was also assaulted by Jay-Z at the same party.
The lawsuit was initially filed against Combs in October, but on Sunday the woman added Shawn Carter, the rapper and businessman known as Jay-Z, as a defendant in the civil lawsuit.
Carter is the first celebrity to be accused of sexual assault in connection to Combs.
In a statement addressed to CNN, Carter called the allegations “so heinous in nature that I implore you to file a criminal complaint, not a civil one!! Whomever would commit such a crime against a minor should be locked away, would you not agree?”
Combs was indicted on charges of sex trafficking, racketeering conspiracy and prostitution related charges. Combs pleaded not guilty to the charges and has denied all wrongdoing in roughly 30 civil lawsuits that have been filed against him.
The woman, who is identified as a Jane Doe, says she was 13 years old at the time she was allegedly assaulted by Combs and Carter at an after party following the Video Music Awards in 2000. The woman alleges she began to feel woozy after consuming a drink at the party and wandered into a nearby bedroom. The woman alleges Carter raped her first, followed by Combs. The woman says she hit Combs and ran out of the party, according to the amended lawsuit.
Carter was identified in the initial lawsuit as Celebrity A.
News of the lawsuit was first reported by NBC.
According to the lawsuit, the Doe’s attorneys reached out to Carter to request “a mediation to resolve this matter.”
“Upon present information and belief, Jay-Z responded to said letter by not only filing an utterly frivolous lawsuit, but by also orchestrating a conspiracy of harassment, bullying and intimidation against Plaintiff’s lawyers, their families, employees and former associates in an attempt to silence Plaintiff from naming Jay-Z herein. This effort was meant to scare Plaintiff and to discredit her counsel. That effort failed. Indeed, Plaintiff chose to file this amendment as a result of the egregious conduct perpetuated by Carter,” according to the lawsuit.
In his response sent to CNN on Sunday – which was addressed to Doe’s attorney – Carter called the mediation request a “blackmail attempt.” Carter also said this lawyer, “who I have done a bit of research on, seems to have a pattern of these type of theatrics!”
In a statement from Houston-based attorney Tony Buzbee on Saturday, he wrote, “The pleading speaks for itself. This is a very serious matter that will be litigated in court.”
CNN has also reached out to Jay-Z’s wife Beyoncé Knowles for comment.
Carter added in his statement that his “only heartbreak” is for his family: “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence. Children should not have to endure such at their young age.”
CNN reported in November that an anonymous male celebrity filed a lawsuit against the Texas attorney representing the Doe alleging he was the victim of an extortion scheme.
The celebrity accused Buzbee and his firm of “shamelessly attempting to extort exorbitant sums from him or else publicly file wildly false horrific allegations against him.”
Attorneys for the unnamed celebrity claimed further the Buzbee had “threatened to unleash entirely fabricated and salacious allegations of sexual assault” that included “multiple instances of rape of a minor, both male and female” if their client “refuses to comply with their demands.”
Buzbee denied the extortion claims against him, in an Instagram post in which he wrote that his firm “won’t allow the powerful and their high-dollar lawyers to intimidate or silence sexual assault survivors,” and in a statement to CNN.
“If you are trying to hide your identity and you claim you did nothing wrong, doesn’t seem very smart to take this approach,” Buzbee told CNN in an email at the time. “We will address it in due course.”
“I have confidence that with full public disclosure all of this will sort itself out,” Buzbee wrote. -
European Film Award Winners: Jacques Audiard’s ‘Emilia Pérez’ Takes Best Film — Full List
Jacques Audiard’s latest Emilia Pérez dominated the European Film Awards this evening in Lucerne, Switzerland, taking Best Film and Best Director. Check out the full winners list below.
The Netflix crime drama won all four of it’s nominations. Audiard’s pic came into this evening’s tied with Pedro Almodovar’s The Room Next Door for the most noms. The film’s haul included Best Actress for Karla Sofia Gascón and Best Screenplay.
Other big winners this evening in Switzerland included filmmaker Gints Zilbalodis who won Best Animated feature for his buzzy pic Flow and the Palestinian-Israeli film No Other Land took the Best Documentary prize.
Tonight’s dominant display hands Audiard and his Emilia Pérez collaborators a significant vote of confidence as they head into the heat of awards seasons. The European Film Awards, which are voted on by the Berlin-based European Film Academy’s some 5,000 members based across Europe, are also seen as a bellwether for which European films are likely to pick up steam in the U.S. awards season.
Last year’s Best European Film winner Anatomy of a Fall garnered five Oscar nominations, including Best Picture and Best Actress (Sandra Hüller), with director Justine Triet and co-writer Arthur Harari winning the Academy Award for Best Screenplay.
This year’s ceremony in Lucerne marked the last time it takes place in December with the dates shifting to mid-January, starting with the 38th edition in 2026, as part of a strategy to position the prizes within the wider awards season conversation on both sides of the Atlantic. -
‘Y2K’ Review: Dying Like It’s 1999
A computer glitch makes electronics go haywire in this zany and nostalgic horror-comedy from the comedian Kyle Mooney.
The first 20 minutes of the director Kyle Mooney’s “Y2K” are so densely packed with references to turn-of-the-millennium pop cultural ephemera — AND1 apparel, “That 70s Show,” devil sticks, Tae Bo and the Dancing Baby, to name a handful — that I was exhausted by nostalgia before the end of the first act.
Mooney’s ordinarily eccentric, heavily ironic sense of humor, honed over many years on his cult-favorite YouTube channel and later on “Saturday Night Live,” seemed to have been replaced by something more cloying and conventional, where simply reminiscing about 1999 was a substitute for actually writing jokes about it. (Mooney and Evan Winter penned the screenplay.) Where was the genius behind such classic sketches as “ball champions,” an early forerunner of “How To With John Wilson” and “I Think You Should Leave”?
But then the movie takes a sudden, jarring pivot, and Mooney’s unique sensibility aggressively (and thankfully) reasserts itself: A familiar story of teenage slackers at a New Year’s Eve party transforms into an anarchic, over-the-top Armageddon picture, as the “Y2K problem,” the computer coding crisis that incited much fear on the eve of the year 2000, turns all electronics evil and bloodthirsty at the stroke of midnight. A beard trimmer leaps into jugulars, a VCR shoots tapes like a cannon, and the carnage of consumer goods is nasty, gory and cruel, with a darkly comic mean streak that recalls Joe Dante’s “Gremlins.”
Jaeden Martell, Julian Dennison and Rachel Zegler, as the teens tasked with thwarting the apocalypse, make charming heroes — but it’s Mooney himself, as the loquacious stoner Garret, who is the film’s dopey MVP. -
Saudi Arabia’s Red Sea Film Festival kicked off its fourth edition with a starry opening ceremony on Thursday evening as it returned to the historic Al-Balad neighborhood of its home port city of Jeddah.
Among the stars hitting the red carpet were Michael Douglas and Catherine Zeta-Jones as well as Spike Lee, who is the jury president this year, Eva Longoria, Michelle Yeoh, Cynthia Erivo, Will Smith, Michelle Rodriguez and career honorees Vin Diesel, Emily Blunt and Aamir Khan.
As he received his career award, Diesel commented on the star wattage in the room: “There might be more familiar faces than some of the awards shows back in America. Am I crazy to say that? There are just so many great people here.”
Singling out Lee, The Fast & Furious star revealed how he had worked as an extra on the director’s movies in the 1980s. “When I saw Spike, I would try to run because if anyone sees you as an extra, you’ll always be an extra. I was doing extra work on his movies and hiding,” he recalled.
“I never knew that,” Lee shouted up from the floor.
Lee noted in his speech that this was his third time in Saudi Arabia, having previously attended the festival in 2022 and also shot part of his 1992 Oscar-nominated film Malcolm X in Mecca.
He described being asked to be jury president as one of those blessings that come out of nowhere.
“This definitely goes in that category. When I got the call that [they] wanted me to be president of the jury, it didn’t take me too long to answer, I said, ‘Hell yeah’,” he recounted.
The return to Al-Balad marks a milestone for the festival with its parent body opening permanent headquarters in the neighbourhood.
The festival has taken place in Jeddah’s chateau like Ritz Carlton hotel over the past two years, but most guests were happy to be back in Al-Balad, which hosted the event in its inaugural year, and has been considerably spruced up since. -
The Hollywood Reporter‘s Women in Entertainment event, presented by Lifetime, returned on Wednesday for its yearly celebration of Hollywood’s most powerful ladies.
This year, the star-studded event — which coincided with the publication of THR’s annual Women in Entertainment Power 100 — honored Nicole Kidman with the Sherry Lansing Leadership Award, highlighting a woman who is a pioneer in her field. Selena Gomez was also recognized with the Equity in Entertainment Award, honoring her work amplifying the voices of underrepresented communities in the entertainment industry.
Nikki Glaser kicked off the morning, joking, “What better time to honor women than at 8 a.m., before the industry is even awake, in that coveted post-Thanksgiving pre-Christmas Hollywood dead zone? We are women in Hollywood, hear us roar!”
“Let’s just take a moment right now to really appreciate the firepower in this room. Look around — this is the Power 100. The most powerful women in Hollywood, assembled here together in the same room. We’re like the Avengers of people who haven’t seen The Avengers,” Glaser joked, while also admitting it can be hard to be encouraging when the industry pits women against each other.
THR deputy editorial director Jeanie Pyun and writer-at-large Lacey Rose then took the stage alongside THR president Joe Shields and senior vp entertainment, digital sales and strategy Lori O’Connor as they congratulated this year’s honorees and thanked the event sponsors. The group brought up Molly Shannon, who was on hand to present Gomez with the Equity in Entertainment Award.
Shannon, who worked with Gomez on season four of Only Murders in the Building, gushed, “From the moment we met, I knew I was in the presence of someone truly extraordinary. Yes, she’s an incredibly talented actress, a multiplatinum Grammy-nominated recording artist and a history-making producer. But more than that, someone who genuinely cares about people and the world around her. She uses her platform to make a real, lasting impact.” -
Adam Somner, an award-winning assistant director, producer and longtime collaborator of Steven Spielberg, Martin Scorsese and Paul Thomas Anderson, has died. He was 57.
Somner died Wednesday of anaplastic thyroid cancer, a family spokesperson announced.
Some of the movies Somner worked on with Spielberg throughout his career were West Side Story, Lincoln, Indiana Jones and the Kingdom of the Crystal Skull, Ready Player One, Bridge of Spies and Munich.
Somner earned an Oscar nomination for his work on 2021’s Licorice Pizza and received a DGA Award for outstanding directorial achievement in a feature for 2015’s The Revenant.
“The job title ‘assistant director’ is insufficient to describe what Adam Somner was to me and the contribution he made to my films — just as my left arm is more than just an assistant to my right,” Spielberg wrote in a tribute. “He worked as AD and producer, and he performed both of those tasks with equal measures of devotion. He loved making movies. He loved being on the set. It was his gridiron. He was a cheerleader and ball carrier, and at times I couldn’t tell if he was following my lead or I was following his.”
The filmmaker continued: “He made everyone who joined the crew feel like they were part of the family. He was a uniter, and when things weren’t going according to plan, his English working class wit and humor could smooth out the problem through his under-the-breath cursing, laughter and the backup plan he always seemed to have standing by. He was an icon in his field and an inspiration to anyone who wants a career in the mounting of productions — with the full recognition that it is as creative as it is organizational. Going back to work without Adam will never be the same.”
Scorsese shared in a statement: “Adam Somner had an extraordinary artistry when it came to organizing and orchestrating movement in the frame. He embodied and practiced all of it.” -
K-pop sensation NewJeans said late on Thursday they are leaving label Ador, a subsidiary of Korean billionaire Bang Si-hyuk’s entertainment giant Hybe, citing alleged “mistreatment” and “manipulation.”
The announcement made by the five-member girl group comes after a months-long internal company dispute between Hybe and Ador, which only manages NewJeans. It sent shares of Hybe, best known for nurturing K-pop powerhouse BTS, down 4% on the Korean stock exchange on Friday while shares of rivals SM Entertainment and YG Entertainment gained over 1% and JYP Entertainment rose 3.5%.
In a press conference on Thursday, NewJeans said they would terminate their contract with Ador on Friday. “We have faced mistreatment not just towards us, but also including our staff, countless preventions and contradictions, deliberate miscommunications and manipulation regarding multiple areas,” said NewJeans member Pham Ngoc Han, who goes by Hanni.
“Ador has neither the will nor the ability to protect us. Therefore, staying here would be a waste of time would continue to cause us mental distress,” said
Pham. “More importantly, there is nothing to gain professionally, so we believe there is no reason for the five of us to remain with Ador.”
In an email response on Friday, Ador expressed regret about NewJeans’ decision to cease the contract “without sufficient review, prior to receiving a response to the legal notice,” adding that the contract“remains in full effect.” Meanwhile, Hybe said in a stock exchange filing it will disclose the decision regarding the contract termination “as soon as it is made.”
The management feud started earlier this year when Hybe sought to remove Min Hee-jin as CEO of Ador, accusing her of trying to take over Ador with outside investors. Min refuted the allegations and said Hybe’s move was a retaliation against her whistleblowing on alleged plagiarism by another label of Hybe in directing a new girl group called Illit. - Laat meer zien
