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  • US House passes Iran war powers resolution in rare pushback against Trump

    US House passes Iran war powers resolution in rare pushback against Trump

    The United States House of Representatives has passed a resolution to rein in President Donald Trump’s powers to attack Iran without congressional authorisation.

    Four Republicans joined Democrats to pass the bill in a vote of 215 to 208 on Wednesday in Washington, DC.

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    While the resolution is unlikely to become law, it represents a stark rebuke against Trump’s decision to join Israel in attacking Iran on February 28, launching an ongoing conflict that will reach its 100th day on Saturday.

    Trump did not seek congressional approval for the war, which he has attempted to label as a “skirmish” or a “short-term excursion”.

    The Republican leader’s repeated use of military force abroad has frustrated some leaders in Congress, a body which the Constitution solely imbued with the power to declare war.

    Wednesday’s vote marked the fourth time this year that the House has voted on a war powers resolution to force Trump to seek congressional backing for his military actions against Iran.

    It is the first time, however, that the resolution has been successful in the House. Its passage comes after a political manoeuvre that some interpreted as a Republican effort to scuttle the bill.

    A divide among Republicans

    A vote on the war powers resolution was expected on May 21, the eve of Congress’s Memorial Day recess.

    But the vote was cancelled, despite indications that the resolution would succeed with Republican support. House Speaker Mike Johnson, a Republican and close Trump ally, chose to adjourn the chamber early.

    The resolution, however, was picked up again after the recess. In Wednesday’s vote, Tom Barrett of Michigan, Warren Davidson of Ohio, Brian Fitzpatrick of Pennsylvania and Thomas Massie of Kentucky splintered away from the Republican establishment to pass the bill.

    Massie, whose re-election bid Trump actively campaigned against, marked the occasion with a message on social media.

    “The Iran War Powers Resolution that I cosponsored (opposing the war) just passed the House of Representatives,” Massie wrote. “The People’s House is sending a message: end this war.”

    Massie will not be returning to Congress next year. He was defeated last month in his local Republican Party primary by a Trump-backed opponent, Ed Gallrein.

    Barrett, whose House seat is vulnerable to a Democratic takeover in November’s midterms, explained his vote by arguing that Trump had exceeded his mandate.

    “Congress has the exclusive authority under the Constitution to declare war and authorize the use of force. The War Powers Act of 1973 delegates some of that authority to the president for a limited period of time,” Barrett, an army veteran, wrote.

    “That authority has expired, and my support of this resolution tonight is consistent with my belief that it is time for Congress to decide the scope of the mission and the appropriate limits on the use of force in Iran.”

    Democrats call on Senate to act

    While Trump’s war on Iran has divided House Republicans, the chamber’s Democrats were unanimous in their backing of the war powers resolution. After the vote, several urged their colleagues in the Senate to swiftly pass the measure.

    “We passed an Iran War Powers Resolution in the House to rein in Trump and end his unauthorized, reckless war,” Representative Ayanna Pressley, a progressive from Massachusetts, wrote on social media. “The Senate must immediately follow suit and act to end this war.”

    Representative Shontel Brown of Ohio, meanwhile, underscored the constitutional issues raised by Trump’s war, as well as its cost.

    “Congress holds the power to declare war — not the executive branch,” she said in a post. “After months of chaos, higher costs, and wasted resources, it is time to end Trump’s costly war in Iran NOW.”

    The war on Iran has been costly for the US, with the Pentagon estimating in May that $29bn had been spent so far.

    Some analysts consider this an undercount, though. In April, a public finance expert at Harvard University projected that the price tag could soar to more than $1 trillion.

    There are also concerns that the war has cost the US in terms of military preparedness.

    The Center for Strategic and International Studies, a US-based research institute, issued a report in April warning that certain critical munitions have run low, with the number used outstripping the number of anticipated replacements.

    They include Tomahawk missiles, Terminal High Altitude Area Defense systems (THAADs) and Precision Strike missiles (PrSMs).

    Public backlash growing

    US voters broadly disapprove of the US-Israel war against Iran. A poll last month from the Marist Institute for Public Opinion found that 60 percent of US citizens disapprove of Trump’s approach to the war, a jump from 54 percent in March.

    The increase was even seen among Republicans. While 15 percent disapproved of Trump’s handling of the war in March, the number has since increased to 22 percent.

    Among US citizens overall, 61 percent found that the war had done “more harm than good”.

    The growing disapproval reflects, in part, the economic backlash to the war, which has sent prices for fuel and other products like agricultural fertiliser skyrocketing.

    The Trump administration has also faced criticism for the unprovoked nature of the February 28 attack, though the president and his allies have argued the war was necessary to prevent Iran from obtaining a nuclear weapon.

    More than 3,400 people have died in Iran during the war. At least 13 US soldiers have also been killed in the conflict, which spilled into nearby countries, with deaths reported across the region.

    Wednesday’s House war powers resolution now proceeds to the Senate, which passed a similar bill in May.

    But it faces an uphill battle overall, as Trump is likely to veto any attempt to curtail his military powers.

    Only a bill passed with a two-thirds majority in both the House and Senate can overcome a presidential veto. So far, neither the Senate’s version, nor the House’s, has breached that threshold.

  • ‘Mapogo: The Lion Throne’ Vertical Documentary Series Set at FlareFlow

    ‘Mapogo: The Lion Throne’ Vertical Documentary Series Set at FlareFlow

    COL Group‘s FlareFlow and Singapore-based Bomanbridge Media have teamed on one of the first premium vertical-format documentary series, a wildlife title set to go live on the platform across 200-plus countries in late Q3 2026.

    Unveiled at Owl&Co’s Vertical Media Summit in Los Angeles, “Mapogo: The Lion Throne” was shot over multiple years in South Africa’s Sabi Sands Game Reserve and tracks the ascent and collapse of the Mapogo Lion Coalition – a pride whose members, including Mr. T, Kinky Tail and Makulu, are believed to have killed more than 100 rival lions during their rule and have sustained devoted online followings long after their reign ended.

    Microdrama performer Sam Myerson will narrate the series. Myerson broke out with “Oops, I Married My Bestie’s Brother,” which accumulated 220 million views within 10 days of release on FlareFlow.

    “Narrating ‘Mapogo’ is an incredible opportunity to show how the core elements of a great microdrama are entirely universal,” Myerson said. “The same things that keep fans hooked on microdramas, like intense drama, high stakes, and shifting loyalties, are exactly what make these lions so fascinating. We are bringing that same fast-paced, gripping energy to a new documentary format of microdrama.”

    The project is positioned as the flagship title for FlareFlow’s Vertical 2.0 initiative, which aims to push the platform’s short-form mobile format beyond scripted content and into premium factual programming. FlareFlow currently carries around 5,200 series and counts 33 million registered users across more than 200 countries and territories, with content available in 14 languages.

    Timothy Oh, general manager of international business at COL Group and chief marketing officer of FlareFlow, said: “‘Mapogo: The Lion Throne’ is the perfect story to launch documentary as part of Vertical 2.0 because its emotional DNA already mirrors the very best premium scripted storytelling. This is one of wildlife’s most legendary true sagas, packed with all the betrayal, power, loss and suspense that vertical audiences connect with instinctively.”

    Bomanbridge, which is headquartered in Singapore with an additional office in London, brings a catalogue exceeding 5,700 hours across factual, wildlife, history, lifestyle and scripted genres. The company has recently broadened its footprint in premium natural history through the acquisition of U.K.-based distributor West One International – now rebranded as Bomanbridge West – and a production partnership with German natural history outfit Doclights.

    “The factual genre has always evolved alongside shifts in audience behavior and viewing technology,” said Sonia Fleck, CEO of Bomanbridge Media. “As viewing habits become increasingly mobile-native, we believe the next generation of factual storytelling must evolve alongside them.”

    COL Group is listed on the Shenzhen Stock Exchange’s ChiNext board and is among the earliest companies to develop the microdrama sector in both China and the U.S.

  • Quentin Tarantino Says Post-Pandemic Movies Are Riddled by “Flaws, Miscast Performers or Just Plain Stupid S***”

    Quentin Tarantino Says Post-Pandemic Movies Are Riddled by “Flaws, Miscast Performers or Just Plain Stupid S***”

    Quentin Tarantino is sharing his opinion on the new films coming out as of late, slamming them for the “just plain stupid shit [that] usually torpedoes every new movie coming out of the flavorless sausage factory that used to call itself Hollywood.”

    The Pulp Fiction director penned a new op-ed for Sight and Sound magazine, where he explained that since the pandemic, he can’t seem to find a new movie that he doesn’t “pick to death.”

    “Since the pandemic, for me anyway, it seems almost impossible for a new movie to come out that I don’t pick to death. Flaws, implausibilities, audience pandering, miscast performers or just plain stupid shit usually torpedoes every new movie coming out of the flavorless sausage factory that used to call itself Hollywood,” he wrote. “These days, the entire concept of what is a movie is more inclined to inspire contempt in me than generosity. Which is fair enough, because by comparison the movies of the last six years make the 80s seem like the 30s.”

    Tarantino cited a few films that he’s seen since the pandemic that he’s “liked,” still noting that none have really caught his eye — except for one.

    “I’ve seen movies I’ve liked since then — West Side Story (2021); Horizon: An American Saga — Chapter 1 & 2 (both 2024), a few others, but nothing that really held me in its grip and swept me away to the magical land of enjoyment that I used to visit and was the reason why I loved movies above all artforms,” Tarantino said. “These days I’d rather read a book.”

    The “suspenseful new movie” that self-admittedly grabbed the Oscar winner “and held me for its entire duration” was Joe Carnahan’s The Rip for Netflix, which stars Matt Damon and Ben Affleck.

    “The film is an exciting cop thriller with a novel premise that manages to deliver the goods in really clever ways,” Tarantino wrote of The Rip. “The whole package worked for me: Carnahan’s direction, the splendid cast, the look of the film (courtesy of cinematographer Juan Miguel Azpiroz) — but the real powerhouse component of this splendid collection is the sensational screenplay by Carnahan and Michael McGrale.”

    The Rip recently made headlines as Damon and Affleck’s production company is facing a defamation lawsuit from two Miami-Dade police officers who claimed the movie has caused them reputational damage because its content blends fictionalized details with facts from their real-life experiences.

    As for Tarantino, the director is in the midst of working on his first stage play, The Popinjay Cavalier, which will open on London’s West End in 2027. The show is described as “a rambunctious comedy of deception and disguise inspired by the grand swashbuckling epics of stage and screen.”

  • NBA, Disney providing many ways to watch and experience the 2026 NBA Finals

    2026 NBA Finals | History Is Calling

    30 teams start the journey, but only two are left standing. Game 1 of the NBA Finals tips off tonight at 8:30 p.m. ET on ABC.

    NBA fans will have a multitude of options to follow, watch and experience the 2026 NBA Finals, including new viewing offerings and enhanced production elements. 

    The 2026 NBA Finals between Jalen Brunson and the New York Knicks and Victor Wembanyama and the San Antonio Spurs tips off tonight (8:30 ET, ABC). 

    Disney and the NBA are introducing a host of new features, programs and fan experiences for the Finals, highlighted by expanded on-site coverage from ABC and ESPN, including the Finals debut of Inside the NBA 

    Ernie Johnson, Charles Barkley, Kenny Smith and Shaquille O’Neal will anchor the official telecast of the pregame, halftime and postgame show on-site from San Antonio and New York.  

    Each game night will feature a 90-minute pregame show and new cinematic broadcast opens celebrating the history of the league and the players, teams and milestones that have defined the NBA’s biggest stage. 

    There will also be an alternate Finals presentation during Game 3 — live from Madison Square Garden — starring Pat McAfee alongside Quentin Richardson, Kendrick Perkins, Darius Butler, Tone Digs, Connor Campbell and Ty Schmit. 

    ESPN will cover the NBA Finals each day starting at 3 p.m. ET, with programming spread out across NBA Today, SportsCenter, Pardon the Interruption, NBA Tip-Off, Inside the NBA and SportsCenter with Scott Van Pelt. 

    NBA Today will expand to two-hour programming — running from 3 p.m. to 5 p.m. — on weekend gamedays, and SportsCenter with Scott Van Pelt will be filmed live on location at Madison Square Garden for all Knicks home games with former Knicks guard Jeremy Lin joining to provide his unique perspective.


    More ways to watch and experience the Finals

    The ESPN app will air inaugural SpursCasts and KnicksCasts to offer localized radio calls alongside ESPN Radio’s national broadcast.  

    The NBA App will deliver content during the Finals through behind-the-scenes access to both teams and live coverage from the arenas, including through the perspective of rising stars and draft prospects as part of the NBA Player Correspondents program:  2026 NBA Draft prospect Caleb Wilson (Game 1), the New Orleans Pelicans’ Derik Queen (Game 2) and Jeremiah Fears (Game 3), 2026 NBA Draft prospect AJ Dybantsa (Game 4) and the Charlotte Hornets’ Kon Knueppel (Game 5, if necessary) will participate. 

    • The 2026 NBA Finals courts feature the return of the Larry O’Brien Trophy and Finals script logos on each team’s home floor, designed to enhance the championship atmosphere. 

    • Fans will be able to track the players’ arrival through the Finals Elevated Entryway, a cinematic runway that will connect today’s stars with their peers who have come before them. 

    ABC’s presentation will incorporate 1080P HDR capture and transmission, more than 50 cameras, AI-enhanced imagery, and next-generation replay technology to its broadcast experience. 

    • Fans all around the world will have an opportunity to participate in events and viewing experiences, including Finals watch experiences hosted in Los Angeles, Dallas and Atlanta.  

    • NBA House fan events in Sao Paulo, Brazil, Montreal, Canada and Mexico City, Mexico will bring together fans for watch parties that also feature interactive basketball activities and performances, with additional Finals watch parties planned in South Korea and China. The NBA and USO will join forces to host a Game 1 watch party at a US military base in Okinawa, Japan, to celebrate the USA’s 250th anniversary. 

  • Live: 2026 NBA Finals | Knicks, Spurs ready to tip off Game 1 of the NBA Finals

    Live: 2026 NBA Finals | Knicks, Spurs ready to tip off Game 1 of the NBA Finals

    Victor Wembanyama and the San Antonio Spurs face Karl-Anthony Towns and the New York Knicks in Game 1 of the 2026 NBA Finals tonight on ABC.

    Welcome to the live blog! We’ve reached the 2026 NBA Finals.

    Tonight, Victor Wembanyama and the San Antonio Spurs will host Jalen Brunson, Karl-Anthony Towns and the New York Knicks in Game 1 (8:30 ET, ABC), as these two storied franchises compete for the Larry O’Brien Trophy.

    What we know about Tuesday’s game:

    • The Knicks won the season series 2-1, including their victory over the Spurs in the 2026 Emirates NBA Cup Final.
    • The Spurs have won five NBA championships in their history (1999, 2003, 2005, 2007, 2014), while the Knicks have won two (1970, 1973).

    JUNE 3, 2026 / 8:13 ET

    The Jackals are ready to howl

    “With tremendous effort and results (they’ve realized my vision),” Victor Wembanyama said of The Jackals cheering section at Media Day. “I knew for years this Spurs community had it in them, and now to see it organized into something efficient and effective, it’s a great joy.”

    Wembanyama founded the group of avid Spurs supporters ahead of the 2025-26 season.


    JUNE 3, 2026 / 8:00 ET

    Patrick Ewing in the place to be

    New York royalty. A warrior. Only fitting that he’s in the building to see the Knicks pursue glory.


    JUNE 3, 2026 / 7:30 ET

    The Knicks’ captain gets loose


    JUNE 3, 2026 / 7:05 ET

    These two teams went down to the wire this season


    JUNE 3, 2026 / 6:30 ET

    Jalen Brunson and the New York Knicks are in San Antonio to face the Spurs in Game 1 of the 2026 NBA Finals.

    New York:

    • PG Jalen Brunson
      • Brunson discussed the challenge of going up against Stephon Castle at Media Day. “I think his intensity and tenacity are special… He’s something you definitely have to game plan for, and just be smart.” We’ll see if Castle’s strength can bother Brunson in the mid-post, where he is consistently dominant.
    • SG Josh Hart
      • Hart shot 41.3% from 3-point range during the regular season, but that’s dipped to 30.3% in the postseason. It’s been enough to keep him viable, but the Spurs may try to cheat off him — watch that as an early variable in this series.
    • SF Mikal Bridges
      • The NBA’s current iron man is cruising along, as always, in the Playoffs, basically mirroring his regular season production. He may need to step it up in this series, as the Spurs have the defenders to bother Brunson. Can Bridges be a consistent section option when the lights are at their brightest?
    • PF OG Anunoby
      • Anunoby will likely draw the initial assignment on Victor Wembanyama, allowing Karl-Anthony Towns to lurk around the rim and block shots. Wembanyama punished the Thunder for going small in the Western Conference Finals, but OG is an elite all-around defender, with a 7’2″ wingspan, and mirrors Wemby at roughly 240 pounds.
    • C Karl-Anthony Towns
      • Towns was a team-low -10 against the Spurs this season despite shooting 51.6/36.4/92.3 from the field. This is the biggest stage the six-time All-Star has ever played on. Will he be able to step up in this matchup?

    San Antonio:

    • PG De’Aaron Fox
      • Will Fox be able to hold up against Jalen Brunson on switches? Brunson shot 6-of-11 against him for 15 points over 33.3 possessions in the regular season.
    • SG Stephon Castle
      • Castle’s eager for the challenge of guarding the Knicks’ captain. “What’s worked for me is trying to be physical with him,” he said at Media Day. “Trying to be as disciplined I can, crowd his space, but not give him the angles that he’s looking for.”
    • SF Devin Vassell
      • Vassell averaged 13.9 ppg, including 39.6% shooting from 3-point range, while largely being guarded by Shai Gilgeous-Alexander in the Western Conference Finals. He’ll have to be able to hold up physically against the strength of the Knicks wings and potentially punish Brunson on the offensive end.
    • PF Julian Champagnie
      • The Brooklyn native was crucial in Game 7 against the Thunder, knocking down six 3-pointers en route to the victory. He can go off like a supernova.
    • C Victor Wembanyama
      • The Alien ascends to the global stage tonight. He had a transcendent Game 1 against the Thunder — all eyes will be on him tonight, as he seeks to match it.

    JUNE 3, 2026 / 6:00 ET

    Tuesday’s injury report

    Mitchell Robinson is questionable with a fractured right fifth metacarpal bone. The metacarpals connect the fingers to the wrist.


    JUNE 3, 2026 / 5:30 ET

    Two great teams prepare for the NBA Finals

    Welcome to the biggest stage in basketball. It’s the culmination of a long season.

    Enjoy the drama, and the moment.

     

  • Comedy Mockumentary “Dave Vs. Hollywood” to Premiere at TCL Chinese Theatre in June During Dances with Films Festival – Film News in Brief

    Comedy Mockumentary “Dave Vs. Hollywood” to Premiere at TCL Chinese Theatre in June During Dances with Films Festival – Film News in Brief

    “Dave Vs. Hollywood,” a new comedy mockumentary from directors Brad Dickson and Daniel Katz, will have its World Premiere at the TCL Chinese Theatre on June 26 for the upcoming Dances With Films: Los Angeles festival.

    Per the official description, “Dave Vs. Hollywood” follows “a struggling actor (Preston Tyler Ward) who moves to Los Angeles without any connections or contacts. After fruitlessly pursuing the traditional route to success, paved with humiliations and indignities, he decides to try a subversive, ‘anything goes’ approach. Are there any depths to which Dave won’t sink in his effort to make it in Hollywood?”

    Vincent Spano, Chloe Paige Flowers, and Eric Roberts round out the cast, with Spano also serving as producer alongside Katz, Gregory Standifer, and Faustus McGreeves.

    Watch the trailer below:

    Wednesday, June 3

    Teenage Sex and Death at Camp Miasma‘ Leads Mubi Fest Chicago Line-Up, Set for July

    Mubi Fest Chicago is returning July 10-12, headlined by a special screening of Jane Schoenbrun’s Cannes-winning “Teenage Sex and Death at Camp Miasma.”

    With screenings held at the Music Box Theatre, the Salt Shed and the Gene Siskel Film Center, this year’s theme is centered around “Better Together.”

    Additional screenings include a preview of “Rosebush Pruning” starring Elle Fanning, Riley Keough and Pamela Anderson, a live score performance of Kelly Reichardt’s “The Mastermind” with composer Rob Mazurek, and a scented screening of the acclaimed body horror hit “The Substance,” along with anniversary screenings of “Popstar: Never Stop Never Stopping” and “Ocean’s Eleven.”

    The Mubi Market will also return to the Salt Shed, bringing new and returning local businesses and an exclusive MUBI merch pop-up.

    Watch the official festival teaser below.

    *

    ‘Fractured,’ Psychological Thriller Starring Bruce Dern and Julia Ormond, Sets Dances With Films World Premiere

    “Fractured,” a psychological thriller led by Bruce Dern and Julia Ormond and directed by Mädchen Amick, is set to world premiere at the Dances With Films festival.

    The TCL Chinese Theatre screening will take place on Thursday, June 25 at 8:30pm as part of the festival’s 29th edition. Shot entirely in Los Angeles, the film follows a young woman (Elissa Shay) as her ex-boyfriend unexpectedly shows up, triggering childhood memories of her father’s (Dern) traumatic death.

    “’Fracture’ started as a question I needed to answer for myself — and bringing it to the Chinese Theatre, carried by this extraordinary cast and amazing crew, is proof that the stories we’re most afraid to tell are usually the ones most worth telling,” Shay said. “Thanks to Dances With Films for supporting independent film and inviting us to join their prestigious film festival.”

    The cast is rounded out by Anne Dudek, Christopher Redman, Igbal Theba, Jordan Belfi and Tom Franco. Producers include Iris Torres, Penny Edmiston and Chelsey Neders. Jenifer Westphal and Joe Plummer executive produce for Wavelength, along with Shay, Milan Chakraborty and Gayle Pillsbury.

    American Cinema Editors’ ACE Eddie Awards to Return in February 2027 

    The American Cinema Editors’ ACE Eddie Awards will take place on February 6, 2027 at UCLA’s Royce Hall in Los Angeles. The annual event honors outstanding editing in film, television, documentaries, shorts and digital content.

    Submissions for nominations will open on October 1 and end on December 7. Nomination ballots will be sent on December 21 and are due January 7. On January 14, nominations will be announced, with final ballots due on January 25. The eligibility period for all submissions runs from January 1 through December 31.

    “Editing is the invisible art that makes everything else possible, and the ACE Eddie Awards exist to make that work visible,” said ACE President Sabrina Plisco in a statement. “We are proud to bring our community together once again at UCLA’s Royce Hall to honor the editors whose art shapes every story we love.”

    Two Career Achievement awards will be presented, as well as the Golden Eddie Filmmaker of the Year honor. Honorary award recipients will be announced later this year.

    Monday, June 1

    The Academy Launches Global Award Recognizing Exceptional Movie Theaters Worldwide

    The Academy of Motion Picture Arts and Sciences has announced a new global award to celebrate moviegoing and the traditional theatrical experience. The Academy Marquee Theater List is designed to recognize the most remarkable movie theaters around the world and honor the best in exhibition, celebrating theaters that provide “exceptional audience experiences, preserve cinematic history and serve as cultural anchors in their communities.”

    50 theaters will be selected for the first Marquee Theater List in the spring of 2027, including 25 theaters from the United States and 25 international theaters. A committee of Academy members across all branches will select the movie theaters, which will be approved by the Academy’s Board of Governors.

    Eligible movie theaters must be brick-and-mortar theaters that operate year-round. A maximum of 10 theaters operated by the same theater chain or owner may be submitted in a single submission cycle.

    The evaluation criteria for the movie theaters is as follows: community engagement; visual and audio presentation; programming; diversity, inclusion and accessibility; historic significance and preservation; theater design, lighting and conditions; and concessions.

    The application is available now. For more information, visit Oscars.org.

    James Cameron’s Lightstorm Vision Acquires 3D Camera Manufacturer Stereotec

    Stereotec, a manufacturer of precision 3D camera rigs, has been acquired by James Cameron’s Lightstorm Vision, the world’s leading developer of integrated 3D production technology. Stereotec creates the equipment “used on some of the most ambitious stereoscopic productions of the past decade,” per the company. 

    Stereotec’s rigs captured “Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D),” Ang Lee’s “Gemini Man,” “Billy Lynn’s Long Halftime Walk,” the IR-3D rig on “Dune: Part Two” and other Immersive titles for Meta Quest and Apple Vision Pro. For its work in stereoscopic 3D, Stereotec has been awarded twelve Lumiere Awards from the Advanced Imaging Society. 

    “Florian (Dr Maier) and I share a vision for the 3D future, like brothers from another mother. We intend to manifest that vision together through rapid advancement in technology over the next few years. We are both innovators at heart, and take joy in pushing the tech to create beautiful, transformative 3D experiences. As stereoscopic 3D expands in all entertainment media, including sports, music, streaming, and movies, we will remain at the cutting edge and hold the lead as the go-to brand for highest quality and efficient production,” said Cameron in a statement.

  • Sharon Stone Reveals Physical Assault While Being Hit From Behind: “I Didn’t Know How I Got There”

    Sharon Stone Reveals Physical Assault While Being Hit From Behind: “I Didn’t Know How I Got There”

    Sharon Stone has revealed for the first time that she was physically assaulted years ago by an unnamed perpetrator, claiming that a doctor discovered evidence of a “felony” crime during a medical exam.

    During a wide-ranging interview on a new episode of The Person Who Believed in Me podcast hosted by CBS correspondent David Begnaud, Stone launched into the story after detailing how a cancer scare led to the demise of her marriage to newspaper editor Phil Bronstein.

    “I don’t know how much I can tell about this. I was hit from behind,” Stone said. “I didn’t really know until 10 years later what had happened to me because I woke up. I was unconscious on the floor. The two couches were sideways. The coffee table was all over the place. It was sort of upside down. Everything that had been on the coffee table was all over the floor and I didn’t know how I got there.”

    The veteran star said the dramatic scene was brought to her attention a decade later while visiting a doctor. “I went to a clinic because I was having a lot of problems with the back of my neck and my shoulders were so sore and I went to a neck and spine clinic in Marina Del Rey and they had given me propofol and they’d done a lot of X-rays of my front and back and all this stuff. They were going to do some kind of injections into what they thought was arthritis in my neck and shoulders, and they had done all these preliminary x-rays of my thoracic rib cage and my neck and my shoulders and my spine and the doctor came in and he’s like, ‘We’re not going to be able to do this surgery.’ I was like, ‘I don’t know what you’re talking about.’ And he’s like, ‘Your thoracic rib cage is all fractured and scarred back together. It’s clear that you were attacked and that what happened to you was a felony.’”

    Begnaud asked Stone who attacked her, though she declined to reveal a name. “I am not going to say publicly, but I am going to say that we did report and we did do everything,” she noted. “I had the opportunity to press charges, but because it had been a decade and because I’m a public figure, I decided not to.”

    Stone also said that while she believed she had enough “circumstantial evidence to make a case,” she also elected not to pursue charges because she “did not want that to be my legacy.” Begnaud also asked whether she believed it to be domestic violence and Stone said, “I’m not at liberty to say.”

    The reveal was just one of many anecdotes Stone shared with Begnaud while covering her career, the success of Basic Instinct, recovering from a brain hemorrhage and standing up to her abusive father. See the full episode below.

  • Steve Kroft Says ’60 Minutes’ Is ‘Disastrous’ Under Bari Weiss After Scott Pelley and More Fired: ‘This Is Journalistic Interference’

    Steve Kroft Says ’60 Minutes’ Is ‘Disastrous’ Under Bari Weiss After Scott Pelley and More Fired: ‘This Is Journalistic Interference’

    PBS NewsHour reporter Geoff Bennett teased an excerpt from his interview with Steve Croft, in which the “60 Minutes” legend said the direction of the historic news program under the leadership of CBS News boss Bari Weiss was “disastrous.”

    “This is journalistic interference,” Kroft said. “It makes no business sense whatsoever. It’s the highest rated news program on television, and it has been that way for more than 50 years. The audience was up about 9% last year. Why would you mess with that?”

    PBS NewsHour’s entire sitdown with Kroft airs on Wednesday at 4 p.m. PT.

    “60 Minutes” has been under intense scrutiny since Paramount-Skydance CEO David Ellison inserted Weiss as the new head of CBS News. Some have accused Weiss, who lacks experience in TV reporting, of trying to undermine one of the most revered sources of broadcast news with political bias. The drama came to a head in late May after longtime executive producer Tanya Simon and correspondents Cecilia Vega and Sharyn Alfonsi were fired, and former NYT technology columnist Nick Bilton was hired to run the show.

    Just days later, it was reported that “60 Minutes” veteran Scott Pelley lashed out at Bilton during a staff meeting, saying the new executive producer has “slender qualifications for this job.” He also went after Weiss, alleging that she is “murdering ‘60 Minutes’” with her changes.

    Late Tuesday, Bilton released a letter announcing that CBS leadership and Pelley failed to reach common ground, and that Pelley was released from “60 Minutes.”

    “Your antipathy to the future of the show has come through loud and clear,” Bilton wrote. “And I have heard you. I therefore write on behalf of CBS News to inform you that your employment with CBS is terminated effective immediately.”

    Hours later, Pelley fired back with a letter of his own, claiming that “incompetence and unprofessionalism” had “wreaked havoc” on “60 Minutes” for months.

  • TikTok Teams With Sundance Institute for Four-Week Microseries Writing Workshop

    TikTok Teams With Sundance Institute for Four-Week Microseries Writing Workshop

    TikTok and Sundance Institute want to see more creators writing and producing microdramas and other short-form scripted series.

    They’re launching a microseries writing program through Sundance Collab, Sundance Institute’s digital learning and community platform, to support “the next generation of creator-led short-form storytelling for digital audiences.”

    The four-week live online course, to run later this year, will focus on scriptwriting for microseries. The course is being designed to equip creators with the tools, frameworks and “industry guidance” to develop serialized, story-driven content. There will be a limited number of participants selected for the workshop, who will reflect “the broad reach of TikTok’s creator community,” per the companies.

    Applications are now open globally on the Sundance Collab website. Participants can apply on the site at this link through Wednesday, July 1.

    The companies announced the new partnership Wednesday at the Vertical Media Summit, produced by Owl & Co., the media research and consulting company led by Hernan Lopez.

    TikTok got into the microseries content business earlier this year: Issa Rae’s Hoorae Media inked a deal for the exclusive premiere of original microdrama “Screen Time” on TikTok and the PineDrama app. TikTok said the Sundance partnership reflects its “continued investment in microseries storytelling,” while aligning with Sundance Collab’s mission to support the discovery and development of independent artists and audiences.

    “TikTok has become a home for serialized storytelling, where original microseries find audiences faster and more authentically than ever before,” said Dawn Yang, head of entertainment partnerships at TikTok. “Following the success of ‘Screen Time,’ produced by Hoorae Digital, we’ve seen how powerful community-driven discovery can be in helping stories break through, and we’re excited to partner with Sundance Collab in continuing to champion original voices.”

    Patty West, director of Sundance Collab, added, “The microseries format is genuinely exciting to us because its constraints produce exactly the kind of creative pressure that generates the most original work. Partnering with TikTok allows us to bring this opportunity to writers around the world entirely for free, removing the barrier between curiosity and action. We want creators to see this format not as a lesser version of film or television, but as its own distinct craft that is wide open for new voices to define.”