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  • Top Trumps Panel Show, New Seasons of ‘Mock the Week’ Unveiled as Part of Warner Bros. Discovery U.K.’s TLC Comedy Slate

    Top Trumps Panel Show, New Seasons of ‘Mock the Week’ Unveiled as Part of Warner Bros. Discovery U.K.’s TLC Comedy Slate

    TLC in the U.K. has ordered a Top Trumps-themed panel show set to be hosted by comedian Katherine Ryan.

    Based on the card game and tentatively titled “Top Trumps: The Comedy Pack,” it will see Ryan in charge of proceedings as team captains Joel Dommett and Jon Richardson battle it out with classic card face-offs, live studio challenges and bluffing games. It is produced by TalkbackThames with Naked and set to launch early next year.

    “Everyone knows Top Trumps, but no one has ever played it quite like this,” said Ryan. “We’re taking this iconic game and supersizing it into something bigger, louder and much funnier. And with Jon and Joel captaining rival teams, chaos is pretty much guaranteed.”

    The news comes as part of a bumper comedy slate for the newly free-to-air channel, which is owned by Warner Bros. Discovery U.K. & Ireland.

    It includes a three-season order of “Mock the Week,” which will take the series up to Season 5 in 2027. The long-running panel show, which went on hiatus in 2022 after two decades at the BBC, was revived for the network earlier this year and has already broadcast Season 1 plus a summer special (Season 2 is set to air on Sept 13). It is hosted by Dara Ó Briain and produced by Angst productions.

    The network has made a concerted effort to invest in comedy since re-launching at the beginning of this year. As well as “Mock the Week,” TLC debuted another new format, “Unacceptable,” hosted by Ed Gamble which launched last month and has already been renewed for a second season.

    “Six months on from TLC’s successful launch as a free-to-air, broad entertainment channel, it’s hugely exciting to bring another brand-new original format to the schedule in ‘Top Trumps: The Comedy Pack’ (w/t),” said Graham Lafferty, WBD’s SVP for content strategy and networks in the U.K. and Ireland.

    “We are thrilled to have the brilliantly funny Katherine Ryan at the helm, no stranger to TLC after appearances on ‘Mock the Week’ and ‘Unacceptable,’ along with an exceptional comedy pairing in Joel Dommett and Jon Richardson. Our take on Top Trumps is perfectly placed for TLC’s growing U.K. comedy line-up, alongside ‘Mock the Week’ – which we are delighted to secure for a further three series with Dara Ó Briain satirically steering us through the 2027 news agenda – and a second series of ‘Unacceptable’ hosted by the hilarious Ed Gamble.”

    WBD is also investing in its motoring content with “The Race Mechanic,” “Richard Hammond’s Workshop” and “Wheeler Dealers World Tour,” among other titles set to land on TLC’s sister network Quest.

  • European Film Academy CEO and Greek New Wave Director Join Emily Watson on Sarajevo Jury

    European Film Academy CEO and Greek New Wave Director Join Emily Watson on Sarajevo Jury

    Director of the European Film Academy Matthijs Wouter Knol and Yorgos Lanthimos’ producer Athina Rachel Tsangari are among the industry professionals tapped to join British star Emily Watson on the Sarajevo Film Festival jury.

    Alongside filmmaker Igor Bezinović and actress Sara Klimoska, they will judge the feature film competition at the Bosnian film festival, running for a week in mid-August.

    Watson joins a rich constellation of auteurs who have previously presided over the Sarajevo jury in past editions, including Mike Leigh, Jeremy Irons, Asghar Farhadi, Ruben Östlund, and Mia Wasikowska.

    The group will award the Heart of Sarajevo Awards in the feature film competition at the ceremony on Aug. 21.

    Watson most recently starred as Mary Shakespeare in Chloé Zhao’s adaptation of Maggie O’Farrell’s award-winning historical novel Hamnet. Her notable film credits include Lars von Trier’s Breaking the Waves, A24’s God’s Creatures opposite Paul Mescal, Small Things Like These, Netflix drama Steve, and the Oscar-winning Gosford Park. On television, Watson currently leads the HBO/Max series Dune: Prophecy and has just finished shooting the second season.

    Croatian director Bezinović is best known for his 2025 film Fiume o morte!, which won numerous awards, including the European Film Award for best documentary, as well as AFA Awards (Adriatic Film & TV Awards) for best film, best director, and best screenplay. His other works include the documentaries The Blockade (2012) and Veruda – A Film About Bojan (2015), both of which received the Oktavijan Award for best Croatian documentary film. His debut feature, A Brief Excursion (2017), premiered at Rotterdam and went on to win the Grand Golden Arena for best film at the Pula Film Festival.

    Klimoska is an actress from North Macedonia whose latest leading role is in Sister Brother Manhole Cover, directed by Milcho Manchevski, which is set to premiere in 2026. This marks her third collaboration with the acclaimed director, following Willow and Kaymak. Her credits also include You Won’t Be Alone by Goran Stolevski, which premiered at Sundance, and Housekeeping for Beginners, which screened at the Venice Film Festival. Internationally, she has appeared in Nico by Eline Gehring, Family Secrets by Malik Vitthal, and Replay by Jason Lester. Klimoska has been part of the Talents Sarajevo program at Sarajevo Film Festival, and the corresponding scheme at the Berlinale. In 2022, she was nominated for the Heart of Sarajevo award for her role in the TV series Underneath.

    Knol is an industry-renowned film producer, lecturer, editor and journalist from the Netherlands. Since 2021, he has been the CEO and director of the European Film Academy. He is responsible for the executive management, the vision and all related programming of current and future activities of the Academy, including brand and audience development, knowledge sharing and film heritage projects, and the annual European Film Awards. Knol has been part of the main jury at the festivals of Buenos Aires, Jerusalem, Istanbul, and Locarno.

    Greek director-screenwriter-producer Tsangari is considered a principal instigator of the Greek New Wave. Her genre-bending films explore power and desire in gender, class and alterity. Her debut project,
    The Slow Business of Going (2001), was a sci-fi road movie shot in hotel rooms across nine cities around the globe. It went on to garner several best film and best director awards worldwide, and now resides in MoMA’s permanent film collection.

    Her sophomore feature Attenberg (2010) premiered at Venice in competition, where it won the Coppa Volpi and the Lina Mangiacapre Directing award. Chevalier (2015) won best film at the BFI London Film Festival and was nominated for best foreign film at the Independent Spirit Awards. Both movies were Greece’s official submissions for best international film at the Oscars. Under the banner of her Athens-based company Haos Film, she has produced a number of award-winning films such as Yorgos Lanthimos’ Kinetta and Alps, Georgis Grigorakis’ Digger, and was co-producer on Richard Linklater’s Before Midnight.

    Her latest feature, Harvest, a neo-western starring Caleb Landry Jones and Harry Melling, was shot in the Scottish Highlands and premiered at Venice in 2024.

  • Venice Days Unveils Female-Centric Selection, Kicking Off With Lili Horvát’s ‘My Notes on Mars’ Starring Mackenzie Davis and Rupert Friend

    Venice Days Unveils Female-Centric Selection, Kicking Off With Lili Horvát’s ‘My Notes on Mars’ Starring Mackenzie Davis and Rupert Friend

    Hungarian filmmaker Lili Horvát’s first English-language feature, “My Notes on Mars,” starring Mackenzie Davis and Rupert Friend, will open the Venice Film Festival’s independently run Giornate Degli Autori.

    The section has unveiled a richly assorted lineup featuring works by female directors and exploring the female universe, regardless of who is behind the camera.

    This years’s selection of the Giornate – which is also known as Venice Days – comprises 25 world premieres across several sections, 14 of which are directed by women.

    The hotly anticipated “My Notes on Mars” by Horvát — whose last film “Preparations to Be Together for an Unknown Period of Time” debuted at Venice and Toronto in 2020 — centers on an astrophysicist with a troubled marriage named Margot who vanishes while hiking with her husband, Sam. Weeks later, she suddenly reappears on the day of her own memorial service. Margot remembers nothing about her life — except her Mars research.

    “Notes on Mars” is among 10 Venice Days competition entries that will be judged by an all-female jury headed by Spanish director Carla Simón (“Alcarràs,” “Romeria”). The other jurors are Hania Mroue, founder and director of Beirut’s beloved Metropolis Cinema, and Italian director and producer Sara Fgaier.

    Polish-born director Kuba Dorabialski’s “Agata the Writerm” starring Mia Wasikowska as a Polish-Australian satirical novelist who travels from Sydney to Sarajevo to write a novel about the Bosnian war only to be challenged by locals, is also ensconced in a competition berth.

    Other standout Venice Days competition titles include Italian director Nicola Sorcinelli’s “Balcanica,” about Afghan musicians traveling along the Balcan route after music has been banned in their country, starring Matilda De Angelis (“Citadel: Diana”) who is also a co-producer on the film; Nigerian director Damilola Orimogunje’s “Dear Ajayi,” about two estranged Nigerian sisters who reunite at the wake of a tragedy; and French filmmaker Robert Guèdiguian’s “A Woman Today,” about a young woman named Juliette who holds a top job in finance and whose world collapses when she is assaulted by a colleague at a company event.

    Special events include Italian director Francesca Archibugi’s doc “Carla Lonzi, dentro e fuori dal mondo,” about radical feminist activist and art critic Carla Lonzi; Dutch-Egyptian director Ashgan El-Hamus’ debut “Al Baraneya,” about a young, pregnant, woman in an Egyptian village who is mulling the prospect of a promising future in the city if their family land is sold; and the closing film, which is French director Lèa Domenach’s queer and feminist musical comedy “A Man’s Skin,” which is set in the Italian Renaissance and re-teams the director with Catherine Deneuve after their collaboration on Bernadette Chirac comedy “The President’s Wife.”

    Shorts by Mona Fastvold and Claire Denis will unspool as part of the Prada-commissioned Miu Miu Women’s Tales, a series of short films directed by women.

    In a statement, the section’s artistic director Gaia Furrer pointed out the variety of narrative forms on display. She described them as: “sentimental science fiction, experimental documentaries, history films, family melodramas, anti-hero westerns, musical comedies and other works that freely cross the borders between documentary film and fiction, autobiography and invention.”

    “It’s a patchwork of genres that reflects the vibrancy of contemporary cinema and its ability to evolve along with the world itself,” Furrer said.

    This edition of Venice Days is dedicated to the memory of Italian film critic Giorgio Gosetti, who in 2004 founded the Venice Days section – which is modeled on Cannes’ Directors’ Fortnight and supported by Italian film directors’ associations ANAC and 100autori. Gosetti died in March in Rome at 70 years old.

    “For 23 years, without interruption, he was its [Venice Days’] guiding spirit, the lifeblood of the organization, motivating and uniting the professionals that turned it into a festival that is known and respected the world over,” a statement noted.

    The 23nd edition of Venice Days will run Sept. 2-12, in tandem with the official Venice Film Festival selection. See the full lineup below.

    IN COMPETITION

    “Sadness Sometimes, Other Times Revolt,” Maria Aparicio

    “Agata the Writer,” Kuba Dorabialski

    “Balcanica,” Nicola Sorcinelli

    “Camouflage,” Mykyta Gibalenko 

    “Dear Ajayi,” Damilola Orimogunje

    “I Plant My Hand in the Garden,” Boris Hadžija and Hoda Taheri 

    “Les Indes,” Pauline Julier, Nicolas Chapoulier 

    “My Notes on Mars,” Lili Horvàt – Opening Film

    “Salón De Bellezza” Nathalia Acevedo

    “A Woman Today,” Robert Guédiguian

    OUT OF COMPETITION

    “Man’s Skin,” Léa Domenach 

    SPECIAL EVENTS

    “Al Baraneya,” Ashgan El-Hamus  

    “Carla Lonzi, A Feminist Story,” Francesca Archibugi 

    “The Phantom,” Ignacio Masilorens, David Lamelas

    “The Massacre,” Cosimo Messeri

    “Even if Hell Came,” Samuele Rossi 

    WOMEN’S TALES PROJECT (shorts), in collaboration with Prada’s Miu Miu Label

    “Discipline,” Mona Fastvold 

    “Avec Kim,” Claire Denis 

  • Ramp opens stablecoin accounts to every business, settling on Solana

    Ramp opens stablecoin accounts to every business, settling on Solana

    Ramp has made stablecoin accounts and payments available to all its customers, giving businesses one platform to hold, send, and receive both regular dollars and stablecoins like $USDC and USDT.

    Until now, most finance teams treated stablecoin payments as a separate hassle, requiring a different wallet, no approval controls, and hours of manual reconciliation.

    One Ramp beta customer found that stablecoin payments made up just 10% of vendor payments but consumed half of their accounts payable team’s time.

    Ramp’s approach folds stablecoins directly into the same system businesses already use for cards, bills, and accounting, so a payment settling in $USDC follows the same approval chain as one settling in dollars.

    “Businesses shouldn’t need a second financial system just because a payment settles on different rails,” said Andrew Chapello, Stablecoin Product Manager at Ramp.

    How it actually works

    Businesses can hold stablecoin balances, earn rewards on them, and pay vendors or employees directly from a stablecoin account, a checking account, or a linked bank account, without needing to pre-fund anything.

    Every transaction syncs automatically into the company’s existing accounting system with the same categorization and audit trail as a regular payment.

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    Stablecoin deposits are supported across seven blockchain networks, including Solana, a high-performance blockchain known for its speed and low transaction costs.

    Solana has increasingly become a preferred settlement layer for stablecoin activity, and its inclusion here reflects a broader trend of payment platforms building directly on top of it rather than treating it as one option among many.

    More than 150 businesses adopted stablecoin accounts during Ramp’s public beta, spanning far beyond crypto-native companies, including a farming business and a church managing donations.

    Ramp built the feature in partnership with Stripe, whose Bridge and Privy infrastructure powers the stablecoin issuance and wallets behind the scenes. Stablecoin accounts and payments are now available to all Ramp customers.

  • Guillermo del Toro, Kim Novak, Ari Aster Lined Up for ‘The Fall,’ Investigating Hitchcock’s ‘Biggest Mystery’ – the Stunning ‘Vertigo’ Finale (EXCLUSIVE)

    Guillermo del Toro, Kim Novak, and Ari Aster are among several star “witnesses” already lined up for Alexandre O. Philippe’s two-parter doc feature “The Fall,” which is set to be unveiled July 22 at Fantasia’s Frontières as part of its International Co-Production Market pitch event.

    A two-part film, “The Fall” will be produced by Medianoche Productions, behind Philippe’s 2025 Venice-premiering doc “Kim Novak’s Vertigo.” Medianoche producer Terri Piñon and writer-director Philippe are reunited with France’s Tell Me Films, their producing partner on the Novak film. The partners are also teamed up with France’s Thunderbug Productions for the new title.

    With a pre-sale to France’s Cine+ also locked, Piñon and Philippe land at Frontières looking for an international sales agent and financing partners for a project that is not only in production – with roughly a year to go – but also gathering momentum as it moves towards a milestone plot point in cinema history.

    “We’re building ‘The Fall’ as a two-part event, with separate premieres for Part I and Part II, for ‘Vertigo’s’ 70th anniversary in 2028 that will be the cinephile event of the year,” Piñon said. “With the cast we’re securing, the French pre-sale, the co-production structure, and early interest from some of the most prestigious festivals, it’s set up for a spectacular rollout to ride the ‘Vertigo’ anniversary buzz throughout 2028.”

    The working title “The Fall” refers to the iconic and fascinatingly ambiguous finale of Hitchcock’s “Vertigo.” When Judy plummets to her death from the belltower, the viewer is never shown exactly how it happens, and instead is shown 57 frames of Scottie’s face as he watches.

    The film is structured as a film-noir investigation of the fall and the emotions and ideas it inspires. Philippe, whose 2024 Venice Classics Lion winner “Chain Reactions” explores the impact of Tobe Hooper’s “The Texas Chain Saw Massacre” 50 years after its release, said he wants to “inhabit” rather than solve the riddle of the fall.

    Each interview subject offers “a different version of the truth,” said Philippe, who has called te “Vertigo” finale Hitchcock’s ‘biggest mystery.’ “Each version reveals something intimate about the person telling it. It’s the culmination of everything I’ve chased for 20 years: the film I was born to make.”

    Fantasia’s four-day Frontières Market runs July 22-25 in Montreal.

  • TRON Network Releases Major Update to Improve Its Technical Infrastructure!

    TRON Network Releases Major Update to Improve Its Technical Infrastructure!

    TRON has implemented a significant update to improve its technical infrastructure. According to a statement from TRON, GreatVoyage v4.8.2 (Pyrrho) is now officially available.

    The new version enhances compatibility with the Ethereum ecosystem while also including various improvements in smart contract execution performance, node management, and network monitoring capabilities.

    With the released update, the TRON Virtual Machine (TVM) has been made more compatible with Ethereum’s Pectra and Osaka upgrades. Additionally, the CLZ (Count Leading Zeros) command has been added for developers, and a new precompiled function for secp256r1 digital signature verification has been introduced. These improvements aim to facilitate the migration of Ethereum-based applications to the TRON network and enhance the developer experience.

    Significant changes were also made to the infrastructure. With the new version, the JSON processing infrastructure was migrated from the Fastjson library to the Jackson platform. In addition, node monitoring and performance metrics were transferred from the InfluxDB system to the Prometheus infrastructure. This aims to make network monitoring, performance analysis, and operational management more efficient.

    The TRON team emphasized that GreatVoyage v4.8.2 is a mandatory update. According to the announcement, node operators need to upgrade to the new version before 11:59 PM on August 16, 2026 (Singapore time). Failure to update by this date may result in node synchronization issues and loss of compatibility with the network.

    On the other hand, TRON’s Event Plugin component has also been updated to version v3.0.0. Node operators using the official plugin are advised to update the Event Plugin first, then upgrade their main node software. Operators using their own custom plugins are recommended to complete compatibility work with the new version as soon as possible.

    Experts believe this update will strengthen TRON’s technical integration with the Ethereum ecosystem, modernize developer tools, and significantly contribute to the network’s long-term scalability and operational efficiency. This is expected to enhance TRON’s competitiveness in decentralized applications and smart contract development.

    *This is not investment advice.

  • U.S. DOJ Moves to Seize $25 Million in Cryptocurrency Linked to International Fraud Ring

    U.S. DOJ Moves to Seize $25 Million in Cryptocurrency Linked to International Fraud Ring

    The U.S. Department of Justice has initiated forfeiture proceedings to seize more than $25 million in cryptocurrency tied to an international fraud investigation, according to a report by The Block. The action marks the latest effort by federal authorities to recover digital assets linked to cross-border financial crimes.

    DOJ Targets Digital Assets in Global Fraud Crackdown

    Prosecutors are pursuing a formal forfeiture action to transfer the seized cryptocurrency to the state, the DOJ confirmed. The assets were secured during a broader investigation into an international fraud scheme, though officials have not disclosed specific details about the alleged perpetrators or the nature of the fraudulent activity. The case underscores the growing role of cryptocurrency in illicit financial networks and the government’s increasing capacity to trace and recover digital funds.

    Broader Recovery Efforts Under the Scam Center Strike Force

    The DOJ’s Scam Center Strike Force, established to combat large-scale fraud, has recovered over $800 million in victim assets to date. This figure includes funds from various schemes, such as investment fraud, romance scams, and business email compromises, many of which involve cryptocurrency as a payment or laundering vehicle. The $25 million forfeiture action is part of this ongoing campaign, which leverages blockchain analytics and international cooperation to identify and freeze illicit assets.

    Implications for the Crypto Industry

    This case highlights the dual nature of cryptocurrency: while it enables financial innovation, it also presents new avenues for fraud. For legitimate investors and businesses, the DOJ’s actions signal a maturing regulatory environment that prioritizes consumer protection and asset recovery. However, the seizure also raises questions about due process for asset owners and the challenges of proving ownership in decentralized systems. The outcome of this forfeiture could set a precedent for how U.S. authorities handle similar cases involving digital assets.

    Conclusion

    The DOJ’s pursuit of $25 million in cryptocurrency tied to international fraud is a significant step in its broader mission to dismantle illicit financial networks. With over $800 million already recovered, the Scam Center Strike Force demonstrates the government’s commitment to using advanced tools to protect victims. As the case progresses, it will provide further clarity on the legal treatment of digital assets in fraud-related forfeiture proceedings.

    FAQs

    Q1: What is the DOJ’s Scam Center Strike Force?
    A: It is a specialized unit within the U.S. Department of Justice that focuses on investigating and recovering assets from large-scale fraud schemes, including those involving cryptocurrency.

    Q2: How does the DOJ trace cryptocurrency in fraud cases?
    A: Investigators use blockchain analytics tools to follow transaction trails on public ledgers, often collaborating with exchanges and international law enforcement to identify and freeze assets.

    Q3: What happens to seized cryptocurrency after forfeiture?
    A: Once forfeited, the assets are typically converted to fiat currency through a government-approved process, and the proceeds are used to compensate victims or fund law enforcement activities.

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    • UK Government Cracks Down on Foreign Political Funds, Targeting Reform Party’s Crypto Backers
    • Chilean Regulator Revokes License of Crypto Exchange Linked to Venezuelan Crime Syndicate
  • Ossoff challenges Hegseth on cost and duration of Iran war

    Ossoff challenges Hegseth on cost and duration of Iran war

    NewsFeed

    Senator Jon Ossoff challenges Defense Secretary Pete Hegseth over past claims that Iran’s military had been ‘destroyed’ and rendered ‘combat ineffective,’ questioning whether those claims were accurate as US forces continue operations against Iran.

    Published On 22 Jul 2026

  • Jennifer Garner Rails Against Paparazzi Who ‘Knocked Over’ Kids and More Just to Get Photos of Her and Ben Affleck: ‘So Hungry to Get at Me’

    Jennifer Garner Rails Against Paparazzi Who ‘Knocked Over’ Kids and More Just to Get Photos of Her and Ben Affleck: ‘So Hungry to Get at Me’

    Jennifer Garner recently told the “Shut Up Evan” podcast that paparazzi would go to dangerous lengths to get photos of her and her children.

    “If I went through a yellow light, 15 cars would go through the red behind me,” Garner said. “They would drive up onto people’s lawns, even on a hillside. We were trying to have our little one play soccer, and the association asked us to stop because there were 20 cars coming. So it wasn’t just about us. It was just an industry that had gotten out of control.”

    She added, “If you show up and you’re trying to get into the pediatrician and you have a sick kid on your shoulder and you’re scared and you can’t get into the door because you’re blocked by photographers, there’s something wrong with that, and the kids are paying the price.”

    Garner also recalled a time when she saw kids “getting knocked over coming out of preschool by photographers who were so hungry to get at me or Ben [Affleck].” She went on to explain that, despite living in a community with many celebrities, the paparazzi would target her because she “had the kids.”

    When asked by host Evan Katz if things ever got better, Garner said she still has two photographers who have been assigned to follow her for “20 plus years.” She says in that time, they’ve developed an “odd respect for each other.

    “Like, there’s kind of a Stockholm syndrome thing,” Garner said. “And at the same time, I’ve called the cops on him a million times and been like, ‘Can you please just give me a walk around the block with my kids and my dog?’”

  • ‘La La Land’ 10th Anniversary Poster Finally Corrects Ryan Gosling’s Flat Hand

    ‘La La Land’ 10th Anniversary Poster Finally Corrects Ryan Gosling’s Flat Hand

    Ryan Gosling can finally sleep at night.

    After nearly a decade of joking that his pose on the original La La Land poster “haunted” him, Lionsgate has finally fixed it with a new poster celebrating the film’s 10th anniversary.

    The updated artwork arrives as La La Land heads back to theaters beginning Aug. 16, when the Oscar-winning musical will return to Dolby Cinema at AMC Theatres for its anniversary re-release. A La La Land musical is also currently in development for Broadway.

    The original poster for the 2016 film features Emma Stone and Gosling dancing against the Los Angeles skyline. Both actors have one arm raised, but while Stone’s hand is extended up, Gosling tilted his hand flat — a choice he has since joked he regretted.

    Speaking to The Wall Street Journal in 2024, the Barbie star reflected on why the pose still “haunts” him.

    “Maybe La La Land,” he said when asked if there was a role he’d like to do over. “There’s a moment that haunts me where we’re dancing, Emma and I, and I didn’t know this would become the poster for the movie, but I thought we were supposed to have our hands up and I thought it’d be cool to put my hand [flat].”

    “Even though everyone told me it wasn’t cool, I was sure it was cooler,” he continued. “Now when I look at it, and I have to see it all the time, you know what would’ve been cooler… [the correct pose]. It just killed the energy that way. I call it La La hand.”

    Gosling even poked fun at the moment earlier this year while promoting Project Hail Mary, releasing a video in March in which he finally corrected his “La La hand.”

    Directed by Damien Chazelle, La La Land follows aspiring actress Mia (Stone) and jazz musician Sebastian (Gosling) as they chase their Hollywood dreams while falling in love.

    The film won six Academy Awards, including best director for Chazelle and best actress for Stone. It is also remembered for the infamous best picture mix-up at the 2017 Oscars, when La La Land was mistakenly announced as the winner before it was revealed that Moonlight had actually taken home the award.

    La La Land poster 2026

    Lionsgate