Category: Entertainment

  • Tupac Murder Trial Highlights a Persistent Diddy Conspiracy Theory

    Tupac Murder Trial Highlights a Persistent Diddy Conspiracy Theory

    The trial of the former L.A. gang leader accused of orchestrating the shocking 1996 murder of rapper Tupac Shakur in a drive-by shooting in Las Vegas ended its first week on Friday with major evidence shown to the jury, including secret audio of the defendant’s admission to police decades ago of his involvement and the reemergence of the theory that imprisoned mogul Sean “Diddy” Combs ordered the hit.

    Duane “Keffe D” Davis is facing one count of murder with the use of a deadly weapon in a Las Vegas court for his alleged involvement in the murder of rap icon Shakur and attempted murder of Death Row Records honcho Suge Knight. Prosecutors claim Davis orchestrated the attack that killed Shakur on Sept. 7, 1996, and that his nephew, Orlando “Baby Lane” Anderson — who Tupac’s crew had roughed up earlier that day — was in a rented Cadillac when it pulled up alongside the record label owner’s BMW off the Vegas Strip. Gunshots were exchanged, leaving Knight injured and Shakur mortally wounded; Shakur died days later from his injuries.

    Audio from a conversation between Davis and investigators — which prosecutors say amounts to a full confession from the former Compton Crips capo — was played for the jury on Thursday. In it, Davis laments the state of life as a street gangster in Los Angeles and complains about the younger generation coming up in that world, before telling LAPD detectives about the 1996 shooting in an apparent bid to avoid prosecution on unrelated drug charges that would have carried a hefty sentence. He describes renting the car that pulled up to Knight’s vehicle and says his nephew fired the fatal shot.

    “He leaned over on the window. He rolled down the window, popped ’em,” Davis said, according to the recording. “If they drove on my side, I would have popped ’em, know what I’m saying. But they was on the other side.”

    LAPD Detective Daryn Dupree testified that when he was assigned to investigate the 1997 murder of rapper Christopher “Biggie Smalls” Wallace in Los Angeles, he interviewed Davis, who told him Bad Boy Records founder Combs had offered $1 million to whoever killed Shakur and Knight. To pursue Combs’ alleged involvement, Davis was brought in as a confidential informant and flown to New York to meet a man who was supposed to deliver the payment.

    Dupree told the court Davis said he could “rekindle that relationship with [a contact named] Zip Martin and [discuss] the money that was given from Sean ‘Puffy’ Combs to Mr. Martin that never got to Mr. Davis.” But the meeting fell through — Davis was instead connected with the contact’s nephew, and the lead went nowhere.

    Combs has repeatedly denied the allegation and has never been charged in connection with Shakur’s death.

    Still, it’s a persistent alternative narrative that has resurfaced many times in the decades since the killing devastated the rap community. The theory first gained substantial traction from a 2008 interview in which, according to former LAPD detective Greg Kading, Davis described Combs approaching him about eliminating two prominent Death Row figures, with his gang allegedly promised $1 million for the double hit.

    There was no hard evidence, and Combs has categorically denied the claim — but the theory resonated because it came from someone who was actually in the Cadillac during the shooting and was relayed by a law enforcement investigator. It was published in Kading’s 2011 book Murder Rap: Inside the Biggie and Tupac Murders. Combs called the theory “ridiculous,” but it was his book that pushed the idea deep into public consciousness. Notably, from 2011 on, the claim that Combs ordered Tupac’s murder was an allegation advanced by Kading based primarily on Davis’ statements — not a fact of any investigation.

    In 2016, Kading’s theory became the centerpiece of a documentary also titled Murder Rap: Inside the Biggie and Tupac Murders, which again presented Combs as having commissioned the hit and named Anderson as the triggerman. Combs again denied involvement.

    In 2019, Davis released a memoir, Compton Street Legend, offering a more detailed account of the shooting — one that reportedly contradicted his earlier narrative and is part of why he’s since been viewed as an unreliable witness and shaky defendant at trial.

    Davis was arrested in 2023, nearly three decades after the murder, when Las Vegas authorities charged him with murder with a deadly weapon in connection with Shakur’s death. Prosecutors allege he obtained the gun and organized the men in the Cadillac after Anderson was beaten in a fight at the MGM Grand earlier that night.

    Davis pleaded not guilty. Combs was not charged. The case drew renewed attention in 2024 when reports emerged that members of Shakur’s family had hired attorney Alex Spiro and a team of investigators to examine a possible Combs connection to the murder. Also that year, Ashley Parham filed a civil suit against Combs alleging that after she suggested in 2018 that he was involved in Tupac’s death, Combs threatened and assaulted her.

    As Combs entered federal prison last year following convictions in his Mann Act/RICO trial, the Emmy-nominated docuseries Sean Combs: The Reckoning introduced the theory of his involvement to a new audience, featuring Kading and others connected to the case. The film received strong reviews for its scope but more mixed reactions to its evidence-to-speculation ratio.

    Davis’s trial resumes Monday in Las Vegas.

  • Chris Aronson Files $4 Million Age Discrimination Suit Over Ouster at Paramount

    Chris Aronson Files $4 Million Age Discrimination Suit Over Ouster at Paramount

    Chris Aronson, who was let go as Paramount‘s head of domestic distribution last year, has filed a lawsuit accusing the company of reneging on an agreement to pay him $1.3 million.

    Aronson was fired as part of the executive shakeup that followed the Skydance merger. Shortly before the deal closed, he signed an extension that would have kept him on through December 2028.

    According to his suit, filed in L.A. Superior Court, Aronson should have been fully paid out for the remainder of the deal. But Paramount took the position that it could only pay him for two years, leaving him $1.3 million short of a full payout.

    The suit argues that Aronson, then 69, was wrongfully fired in part due to his age, and replaced by a much younger executive. The suit alleges that workers 55 and above have represented a disproportionate share of the recent layoffs.

    Paramount hired Shaun Barber, a top distribution exec at Lionsgate, to take on Aronson’s role.

    Aronson was hired in 2019, following a lengthy career at Fox that ended in the wake of the Disney merger. As head of domestic distribution at Paramount, he was responsible for the rollout of “Top Gun: Maverick,” and installments in the “Mission: Impossible,” “A Quiet Place” and “Sonic the Hedgehog” franchises.

    On Sept. 29, 2025, weeks after Skydance closed its acquisition of Paramount, Aronson was called into a meeting and informed that he was being let go “without cause” and would be fully paid out on his contract. There was also a suggestion of a consulting deal, though that never materialized, the complaint states.

    It was only after Aronson left the company, in December, that his lawyers flagged a provision in Paramount’s severance agreement that limited his payout to two years. Aronson’s lawyers argue that Paramount’s lawyers are misreading an IRS provision that affects the timing of severance payouts.

    The suit alleges that Paramount’s unlawful termination has caused him some $4 million in economic damages. He is seeking punitive damages as well.

    Paramount did not immediately respond to a request for comment.

  • Julie Klausner Calls Phone Comedy “Isolating” and “Reductive” at Live ‘It Happened in Hollywood’

    Julie Klausner Calls Phone Comedy “Isolating” and “Reductive” at Live ‘It Happened in Hollywood’

    Julie Klausner would like comedy liberated from the phone and returned to the sitcom.

    “If I want to canvass for one cause, it is for the return of the hard comedy sitcom,” the Difficult People creator told a sold-out audience at Televerse in downtown Los Angeles, where The Hollywood Reporter’s It Happened in Hollywood staged its first live episode. “I think that the idea that comedy is for your phone is not great. I think that it’s a little isolating. I think it’s reductive.”

    Klausner joined me for an hour devoted to Difficult People, the cult Hulu comedy she created and starred in opposite Billy Eichner. Four clips from the series guided a conversation about its making, its reputation for being ahead of its time and the television landscape that has changed dramatically since its 2015 premiere.

    The phone-comedy discussion followed a scene in which Julie Kessler and Billy Epstein, the proudly embittered struggling comedians played by Klausner and Eichner, confront an up-and-coming digital creator.

    The face-off was pointed in 2015. Eleven years later, its target has largely won. Front-facing-camera videos and scrolling feeds have claimed an enormous share of comedy consumption, while traditional television has moved away from tightly constructed joke machines and toward dramedies and funny hourlong shows. Klausner cited Succession as an example of how much great comedy writing now resides in dramas.

    What she misses is not simply the multicamera format or a laugh track, but the communal and emotional function of a show built around jokes. “Sitcoms with hard jokes and heart are beyond comforting,” Klausner said. “They are a really, really important part of being connected.”

    She pointed to the enduring popularity of earlier ensemble comedies as evidence that younger viewers still respond to the form. “There’s a reason why even young people who were born way later than 1996 are watching Friends and Seinfeld and Golden Girls reruns every night,” she said. “We love and appreciate these rhythms. Shows especially about friendships are really great. They help us connect not just to different worlds, but to each other. And I really, really miss that form.”

    Friendship was also the protection built into Difficult People. For all the show’s cruelty, one of Klausner’s rules was that Julie and Billy would never seriously turn on each other. Their unconditional loyalty counterbalanced the acid surrounding them, grounding the series in what Klausner described as the special relationship between queer people and their “hags.” The rule was broken only in the series finale, when Klausner suspected the show might not return.

    Difficult People began during the Obama era, a context Klausner believes matters when people call the series prophetic. Its protagonists’ cynicism was then “more like salt on chocolate than salt on an open wound,” she said. The show mocked sex creeps before the #MeToo movement made those conversations public and treated online snark as something fun before, in Klausner’s formulation, “nuclear fertilizer” turned Twitter into something much uglier.

    Ironically, the series itself grew out of an earlier internet-comedy ecosystem. Klausner was Eichner’s first writer when Billy on the Street expanded from online videos into a television series. Their rapport led Amy Poehler to attach herself as a producer. USA funded a presentation before eliminating its scripted comedy department, and Hulu, then a relatively new buyer of original programming, picked up the show. Klausner remembered having to ask: “What’s Hulu?”

    At Televerse, the clips demonstrated the series’ density and range. In addition to the battle with the young digital creator, one transformed Julie’s discovery of her Italian American roots into a Goodfellas parody. Another found Julie and Billy serving as court-mandated clowns and tormenting a child. The final selection revisited Julie’s role in a catastrophically bad Woody Allen-created television series.

    Klausner modeled the show’s intricate plotting on Curb Your Enthusiasm, constructing separate stories that would dovetail at the end of an episode. “It’s like sitcom ecstasy,” she said of achieving that convergence. She also assembled a cast from New York comedy and theater, including Cole Escola, who joined the writers room and played Matthew, Billy’s workplace nemesis.

    Difficult People ran for three seasons before Hulu canceled it in 2017, but Klausner has not abandoned the characters. She also revealed new details about an existing route back. Universal commissioned a Difficult People feature screenplay from Klausner and Alex Scordelis, a writer on all three seasons. The pair completed Difficult People: Ahead of Their Time in 2022 and will stage a reading at New York’s Town Hall on election night, Nov. 3.

    Christopher Meloni will play himself in the reading, Klausner said, while Cecily Strong and Michael Urie will portray what she called “a bizarro version of Billy and Julie.” She described the movie as a caper in the tradition of the 90-minute comedies she grew up watching, citing Foul Play, What’s Up, Doc? and Bette Midler’s Touchstone movies.

    “I hope it leads to something great happening,” Klausner said. “I hope that there’s some opportunity to revisit this world and these characters, in whatever form that takes.”

    A revived Difficult People would have no shortage of material. Klausner imagined Matthew falling into the “Clavicular manosphere.” Julie might land a “street-casted” role in a Benny Safdie movie, take a dubious weight-loss drug and become “the first person to die from a panic attack.”

    The ideas suggest that Julie and Billy remain ideally equipped to take on an increasingly surreal era of looksmaxxing, brand integration, nepo babies, prestige dramedies and vertical video.

    In other words, we’ve never needed Difficult People more.

  • Sonic the Hedgehog to Headline Fortnite’s ‘Override’ Season (Gaming News Roundup) 

    Sonic the Hedgehog to Headline Fortnite’s ‘Override’ Season (Gaming News Roundup) 

    Sonic the Hedgehog will headline Fortnite’s new “Override” season. 

    Players will be able to play as Sonic and unlock the Tails Sidekick with the purchase of the Battle Pass for the hedgehog’s 35th anniversary. The collaboration will also feature the Tails Sprite, Rings and Sonic Power Sneakers, which allow players to Spin Dash in their fight against Dr. Eggman. 

    “Bringing Sonic and his friends into Fortnite gives generations of fans an exciting new way to experience these beloved characters together and serves as another major moment in Sonic’s 35th anniversary,” Takashi Iizuka, Sonic Creative Officer, Sega of America, Inc., tells Variety. 

    The “Override” season also includes classic video game mechanics, such as Cheat Codes and 1-Up Tokens. 

    See more gaming news from this week in the roundup below.

    DATA/SALES

    U.S. video game spending has dropped 10% across content, hardware and accessories compared to last year, according to Circana’s July video games report.

    Mobile was the biggest driver of the decline, which totaled just $4.5 billion. Hardware spending reached a low last seen in July 2020 due to the global pandemic, the report also revealed. 

    Additional key takeaways include higher hardware prices impacting the selling of PlayStation 5 and Xbox Series. Prices in Nintendo Switch 2 will also see a spike in prices Sept. 1. 

    Beginning January 2028, Sony will stop producing physical software for new games, although physical software YTD for PlayStation hardware made up 32% of total US consumer spending on new physical games. 

    GAME UPDATES/DLC

    Get in, losers! It’s time to take your Sim shopping.

    “The Sims 4″ is getting two new for-purchase fashion kits for “Mean Girls” and “Clueless,” upgrading players’ online closets with ’90s and early 2000s looks. 

    Starting Aug. 27, the Mean Girls Capsule will bring a fetch array of miniskirts and matching sweaters and velour track suits, plus looks inspired by some of the film’s most notable scenes: the jingle bell performance and Mathletes team jacket. The Clueless Capsule Kit will feature Cher’s infamous yellow-plaid set, layered tops, button-front skirts, workout wear and overalls inspired by Tai.

    Think you won’t have enough to wear after these fashion kits? Ugh! As if!

    IN-GAME EVENTS

    “Game of Thrones: Dragonfire” is adding a limited-time “House of the Dragon” event to celebrate the series finale.

    Available now until Aug. 24, all dragons released throughout Season 3 are back at the Hatchery. The dragons are identical to those seen on screen and each possess unique passive Habit abilities, troop affinities and powerful synergies. They will return to standard drop rates following the limited-time event.

    Players can link their HBO Max and Warner Bros. Games accounts to “Game of Thrones: Dragonfire” to earn rewards by watching the third season of “House of the Dragon” until Oct. 1.

    TABLETOP CARD/RPG

    Ravensburger announced a digital version of the Disney Lorcana Trading Card Game (TCG) is officially in the works. 

    While at D23: The Ultimate Disney Fan Event, Ravensburger shared Disney Lorcana TCG will be featured at more Disney events and theme parks starting 2027, including exclusive cards at Epcot’s International Festival of the Arts. It is also set to expand across the Disney Cruise Line with its Collection Quests. 

    Curator’s Collection Beauty and the Beast Edition, the new addition to the Curator’s Collection line, will release this October at select Disney locations and will feature new artwork of the film’s characters.

    The digital version of Disney Lorcana TCG will be playable on desktop and mobile. Fans can check its status on the Disney Lorcana website.

    LIVE EVENTS

    UNO! just upped the stakes: fans around the world can compete for the title of the tournament champion and a $50,000 grand prize at the UNO Championship Series on Nov. 11. 

    Gamers will participate in a series of in-person qualifying tournaments starting in Kissimmee, Florida on Oct. 3, Chicago on Oct. 10 and El Segundo, California on Oct. 17. There will also be digital qualifiers through the UNO! Mobile app. Play your cards right and you just might make it to the live entertainment stage. 

    The competition is a two-hour event in Los Angeles bringing top players together for a showdown that will be streamed live on Twitch.

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    The Esports Foundation (EF) has postponed the inaugural Esports Nations Cup until November 2027. 

    Originally planned to take place in November 2026, the event date was changed after “ongoing assessment of the wider regional situation.”

    “The decision to postpone the Esports Nations Cup was not taken lightly,” said Ralf Reichert, CEO of the Esports Foundation. “The response from National Team Partners, publishers, players and communities around the world has shown us how much potential this competition has. We owe them an inaugural ENC delivered under the right conditions and at the level this idea deserves.” 

    The Esports Foundation (EF) is a nonprofit organization based in Riyadh, Saudi Arabia that aims to develop global gaming and esports. The Esports Nations Cup (ENC) is a global international esports competition for nations and territories. 

    NEW VENTURES

    New game studio Black Pony Immersive has launched from game developers Harvey Smith and Ben Horne.

    The studio is built to design and develop first-person action RPGs where players can create their own experiences with emergent game systems.

    Smith serves as CEO and creative director for Black Pony Immersive. Horne is the chief operating officer and executive producer. Ricardo Bare is the design director.

    Smith served as studio director at Arkane Austin and is known for his work on the “Deus Ex” and “Dishonored” game series. Horne served as production director at Arkane Austin. Bare was most recently creative director at Arkane Studios and has worked as a designer on franchises including “Deus Ex” and “Prey.”

    RELEASE DATES

    Moomintroll and his family need your help! In “Moomin: Midsummer Madness,” Moominvalley has been submerged by a great flood, and Moomintroll and Little My need to make their way home. Join Moomintroll on his adventure on Nov. 12 for $19.99 USD (€19.50) on PC and Nintendo Switch 1 and 2.

    Embark on the journey by solving puzzles and mysteries within the point-and-click adventure game. You might even uncover the secrets of a mysterious floating theatre full of familiar faces. 

    These hand-drawn characters are brought to life from the fantasy novel “Moominsummer Madness” by Finnish-Swedish writer and artist Tove Jansson.  “Moomin: Midsummer Madness” is the latest adventure in the Moomin multiverse, brought to gamers by Crossbridge Game Studios and publisher Shochiku Games.

    *

    Construction sites just got a whole lot scarier. PlaySide Studios is expanding its “Dumb Ways To Die” IP and launching even more ways to die with their latest spinoff game “Dumb Ways to Build” on Sept. 10.

    In “Dumb Ways to Build,” players can wield a physics-based arsenal of tools to build construction sites and improvise their way out of chaotic and fatal situations. Whether tackling the job site with up to four friends in an online crew or braving it alone in Solo Play, the game puts your building and survival skills to the test.

    The game will be available across PC via Steam, PlayStation 5 and Xbox X|S for USD $7.99.

  • ‘Harry Potter’ Star Jessie Cave Says It Was ‘Embarrassing’ to Join OnlyFans to Pay the Bills but ‘It Has Saved Me’: Lavender Brown ‘Was a Small Part 20 Years Ago’

    ‘Harry Potter’ Star Jessie Cave Says It Was ‘Embarrassing’ to Join OnlyFans to Pay the Bills but ‘It Has Saved Me’: Lavender Brown ‘Was a Small Part 20 Years Ago’

    Jessie Cave, the actor who portrayed Lavender Brown in three “Harry Potter” movies, appeared in a recent interview on the U.K. talk show “This Morning” and spoke openly about her decision to launch an OnlyFans last year to help get her out of debt. Her decision resulted in a “Potter” fan convention barring her from being included.

    “People just assume I’m rich and I have loads of money and no I don’t,” Cave said, noting her role as Lavender Brown “was a small-ish part and it was 20 years ago.”

    “So it was embarrassing,” she continued about joining OnlyFans, “because on a certain level, I would have really liked to get a job. But you know what it’s like, you have kids. It costs so much for childcare… [OnlyFans] really has saved me.”

    Cave referred to herself as a “struggling artist,” noting she mainly does one-woman shows with puppets these days. But her OnlyFans page has afforded her the opportunity to continue with these artistic endeavors: “This is how I’m making a living as an artist which… I want to have less shame about it. I want other people who do weird art like me, I want them to know that there is some way of still making [it].”

    Cave started an OnlyFans account for her hair in May 2025. She said in an Instagram video at the time that she would be offering subscribers “the best quality hair sounds” and “very sensual stuff.” Cave does not post sexual content to OnlyFans, instead appealing to users with hair fetishes.

    “My aim? To get the house safe, cover the arsenic/lead wallpaper, build a new roof etc.” Cave explained at the time of her decision. “My aim? To get out of debt. My aim? To empower myself? To prove to those in the past who have misjudged me that I’m not so sweet? To put time into something I never invested in before: self-love.”

    Cave debuted as Lavender Brown in 2009’s “Harry Potter and the Half-Blood Prince” and reprised the role in both “Deathly Hallows” movies. While she is best known for her work in the “Harry Potter” movies, Cave has also appeared in films such as “Great Expectations” and on television series like “Black Mirror” and “Industry.” She voiced Lavender Brown in two “Harry Potter” video games.

    When a “Harry Potter” fan convention barred her from attending a few months later because “OnlyFans is affiliated with porn,” Cave noted the decision was “baffling to me as some actors who do conventions (most actors, actually) have done TV and films in which they’ve done sex scenes and nudity. I’m just playing with my hair!”

    “I am not upset about the prospect of no more ‘Harry Potter’ conventions,” Cave added. “There’s going to be a new cast now and it’s a different time. Plus, I have done conventions for over 15 years and have enough photos and wizard memorabilia.”

    Watch Cave’s full interview on “This Morning” in the video below.

  • Icelandic Producer Hlín Jóhannsdóttir Sets ‘Just a Kid’ With Alief Ahead of Haugesund and Reunites with ‘Driving Mum’ Team (EXCLUSIVE)

    Icelandic Producer Hlín Jóhannsdóttir Sets ‘Just a Kid’ With Alief Ahead of Haugesund and Reunites with ‘Driving Mum’ Team (EXCLUSIVE)

    Veteran Icelandic producer Hlín Jóhannsdóttir of Ursus Parvus, behind titles from some Iceland’s most renowned filmmakers including Fridrik Thor Fridriksson, Dagur Kári and Rúnar Rúnarsson, has signed with French-U.K. sales outfit Alief on the coming-of-age “Just a Kid” (“Bara barn”) by up-and-coming writer-director Vala Ómarsdóttir.

    To be pitched at New Nordic Films’ Works in Progress in Haugesund, Aug. 27, the project fits into Jóhannsdóttir’s roster of debut features by talented female directors, next to “Quake” by Tinna Hrafnsdóttir, which Alief sold to more than 20 territories including Juno Films in the U.S.

    Hlín Jóhannsdóttir, Hilmar Oddsson, Þröstur Leó Gunnarsson and Hera Hilmar

    Credit: Ursus Parvus

    Besides Alief, which chipped in an Minimum Guarantee, a strong partner on the project is Estonian producer Marianne Ostrat of Alexandra Film, producer of Sundance winner and Estonian Oscar entry ”Smoke Sauna Sisterhood,” co-produced by Ursus Parvus.

    In “Just a Kid,” the story turns on 16-year old Julia (Birgitta Marín Thorsdottir) who’s moved from Norway to Iceland and struggles to balance caring for her younger sister with fitting in at a new school. Drawn to charismatic Salka (Hafrún Arna Levy from “When the Light Breaks In”) and the school newspaper, she begins to find her voice. But when a traumatic drunken night resurfaces, Júlía must confront shame, family responsibilities and the courage to tell her own story, reads the logline.

    Speaking with Variety, the versatile filmmaker and performer Ómarsdóttir said the idea for the pic developed when she was pregnant with her second daughter. “I remember thinking about this bond we have, knowing that at some point when [my kids] get older they will not need me as much as they do now. I am very interested in this mother-daughter bond, especially concerning the teenage years,” said the helmer. 

    After researching “what it feels like being a teenager today,” Ómarsdóttir said she drew from the rehearsal-driven sessions with her young cast “to continue the research, understand, and tell the story from their point of view.” “The whole experience was a long and exciting journey where I learned and discovered so many things. Both in visual storytelling and in human nature regarding the need to connect with someone and the need to set boundaries,” she said.

    Alief partner Miguel Govea who boarded the pic at development stage said “the story and setting drew us in. Once we saw the rehearsals, and proof of concept, we knew Hlin [Hrafnsdóttir] and Vala [Ómarsdóttir] had concocted some magic.”

    Boiling down the story and audience appeal he added: “Just a Kid” is a tender story of teen-angst and sexual awakening with a handsome cast that will resonate with discerning audiences.”

    “Just a Kid” received funding from the Icelandic Film Centre, Icelandic tax rebates, RÚV, Saga Film, Studio Syrland, Nordisk Film & TV Fond, and Estonian tax rebates. Max will handle the theatrical release in Iceland.

    “Driving Mum” Team

    In Haugesund, Jóhannsdóttir will also pitch at the Nordic Co-Production Market another project very close to her heart: “At The End of the Road,” which reunites her with the core team of the Tallinn Grand Prix winner “Driving Mum:” writer/director Hilmar Oddsson, prominent actor (“Noi the Albino,” “Solitude”) and Hera Hilmar (“Mortal Engines,” “Life in a Fishbowl”).

    In it, Leó, a renowned geriatrician specialized in Alzheimer’s disease, develops an unconventional friendship with Ásdís, a psychiatrist who’s returned to Iceland to care for her ailing grandmother. When Ásdís discovers that Leó himself is developing Alzheimer’s, both are forced to confront buried secrets.
    Jóhannsdóttir said she contributed to the development process with Oddsson and Gunnarsson as all have personal experiences about Alzheimer’s. “Sitting together, the three of us, and discussing the script was among the most rewarding experiences of my career as a creative producer,” she told Variety, underlining that the tone will remain darkly humorous. “I think a lot of people familiar with the disease will relate to the tragi-comedic side of Alzheimer’s.”

    “At the End of the Road” will “hopefully be both funny and dramatic, poetic, dreamlike, and realistic all at once,” said Oddsson in a statement.

    In Haugesund, Jóhannsdóttir will be looking for co-producers, co-financiers, sales and distribution.
    Commenting on the fact that “Just and Kid” and “At the End of the Road” are the only Icelandic projects selected for the popular the Norwegian Intl. Film Festival’s New Nordic Films showcase (Aug. 25-28)  at Haugesund, the seasoned producer, who sat on the board of the Icelandic Producers Association for several years, said “things are very difficult in Iceland, funding-wise.” 

    Citing the important Aug. 29 Icelandic referendum on whether to resume EU membership talks, she said: “our small nation is split, but it is really important for us producers that people at least to say ‘yes’ to the negotiations.”

  • ‘Good People’ Review: Milcho Manchevski’s Haunting Documentary Revisits the Kočani Nightclub Fire Through Survivors’ Eyes

    ‘Good People’ Review: Milcho Manchevski’s Haunting Documentary Revisits the Kočani Nightclub Fire Through Survivors’ Eyes

    On March 16, 2025, a fire broke out at the Pulse nightclub in the small North Macedonian town of Kočani, injuring hundreds and killing 63 people due to burn damage, smoke inhalation and other physical traumas sustained while attendees scrambled to flee through the venue’s sole exit. The club had only one fire extinguisher and its ceiling was made of highly flammable material, while the venue’s 250-person capacity was exceeded by double the amount of people, most of them between the ages of 16 and 25. 

    Making its world premiere in Sarajevo’s documentary competition, Milcho Manchevski’s “Good People” leaves the broader political context to the journalists. Arriving a little over thirty years since his auspicious debut, the muscular war drama “After the Rain,” nabbed Venice’s Golden Lion, this strikingly austere and undecorated film, which Manchevski self-funded, doesn’t cover the vast institutional failures that precipitated the incident and increased its casualties. Instead, it assembles over 20 first-hand accounts by victims and witnesses, bringing to life the tragedy’s harrowing timeline through testimonies entirely. The result is a haunting portrait of social collapse whose power is premised on the words and faces of survivors. 

    Bookended by drone shots of the Macedonian countryside and a somber cello refrain by Novogradska, this 86-minute doc is otherwise composed of scoreless interviews with subjects seated in front of black curtains and captured in medium range. (Two brief exceptions include silent, phone-recorded footage of, first, the spark on the ceiling prior to the full break-out, and, second, an outside view of the club obscured by plumes of smoke.) The simplicity of the setup simplicity pays respect to the memory of the fallen, refusing to sensationalize the events or cater to morbid curiosity — principles that have dictated a long tradition of documentary filmmaking that privileges oral testimony, like Claude Lanzmann’s “Shoah” and Chantal Akerman’s “Tell Me.” 

    But unlike those long take-heavy films, “Good People” cuts frequently between its subjects, a chorus-like effect that is sometimes choppy as editor Mishko Chunikhin flits between longer memories and observations as short as a few words. The doc starts out by describing the club’s downward spiral, with survivors — some of whose burn marks you can observe on their necks and hands — sharing eerily similar experiences. The beginning of the fire was widely mistaken as a special effect put on by the pop group performing at the time, and the flames spread quicker than clubbers could realize what was happening.

    “My eyes were seeing so many things that my brain couldn’t process,” says one of the more eloquent speakers, a young woman with shell-shocked eyes and flat-ironed hair who lost all of her friends in the incident. Proceeding chronologically through the night, the speakers recall navigating the chaos of people rushing toward the exit; and how this fatal stampede, along with asphyxiating conditions, knocked people unconscious, creating a “carpet of dead kids” under which more people were trapped and sometimes killed by suffocation, all while “burning alive.”

    Frequent fades to black and plain intertitles, displaying pithy phrases drawn from the interviews (like “that’s it” and “like helpless animals”), allow for moments of silence, encouraging the subjects’ words to soak in. These pauses also give the documentary an air of mournful respect, making its pace more deliberate than the standard talking heads-doc that might be mistaken as a stylistic counterpart. 

    The second half introduces some parents of survivors and interviews with a handful of locals and early escapees who (re-)entered the club to help pull out injured bodies. The doc’s tagline — “when good people burn in hell” — comes off more than a bit crude, but the descriptions of people running out of the club burned and naked, their clothes and shoes torn off in the push to escape; or victims with bodies hot to the touch, their skin melting and ripping off the bone as rescuers pull them out from beneath piles of corpses, certainly justifies the metaphor. Against expectation, the film eschews neat narratives about survival and heroism. Ethics and normal human behavior are subsumed by “pure animal instinct” and “kicking, clawing, and biting.”

    If this doesn’t seem like a gracious revelation, there’s a point to the deep horror that Manchevski draws out here. As one subject explains, she feels “indignity” to have been violated so deeply by what she endured and witnessed. “Good People” may not explore the structural inadequacies that allowed this catastrophe to happen, but it does remind us of the ease with which our modern world can slide back into medieval times — and the responsibility we have to prevent it. 

  • ‘The Marching Band’ Review: Brothers From Opposite Worlds Are United by Music in a Finely Tuned French Crowdpleaser

    ‘The Marching Band’ Review: Brothers From Opposite Worlds Are United by Music in a Finely Tuned French Crowdpleaser

    “The Marching Band” blasts through more story in its first 12 minutes than many films now manage in two hours. In those first 720 seconds we meet Thibaut (Benjamin Lavernhe), a well-heeled classical music conductor in Paris, who discovers that he will need to find a blood marrow transplant as he has leukemia; he learns that his sister is not a match, as he was adopted; he then discovers a biological brother, Jimmy (Pierre Lottin), who was not adopted and still lives in a disadvantaged working-class community in the north of France; he asks his new-found brother to help him, and Jimmy accepts.

    That concision is evident in an almost brutally economical edit and in sharp, precise writing which provides narrative elements and deftly sketches character before moving busily on. Just as a marching band keeps time with its feet, so “The Marching Band” strides on, hitting the requisite notes and paying attention to the melody, sure, but especially making sure to hold the beat and keep the show on the road. This attention to rhythm helps director Emmanuel Courcol‘s film to stay true as it navigates some rather rocky terrain, for it is at once a mismatched buddy movie, a socially conscious crowdpleaser in the vein of, say, “The Full Monty,” and a sophisticated psychological drama à la française.

    That the film mostly pulls this off is testament to its formal precision and to a central pairing of actors, in Lavernhe and Lottin, who manage to find subtlety where broad strokes would seem to be called for. More than two years after its Cannes premiere, “The Marching Band” opens theatrically in the U.S. this week through Greenwich Entertainment.

    Once the film has dispatched its initial premise — the leukemia storyline is essentially a MacGuffin, and soon disappears for a sizable stretch — it can get down to the business of developing a bond between the characters, and establishing its (gentle) social critique. Jimmy, who works as a cook in a canteen, has a musical gift, which throws into sharp relief the different chances both men have been given in life. A scene in which this terse, withdrawn young man is revealed to have perfect pitch is typical of “The Marching Band’s” best qualities in its appealing first hour or so: Thibaut asks his brother to identify the sounds of a honking car or a barking dog, and Jimmy shyly names the correct chords. That pertness should be unbearable, but the scene is written in a minor key and performed by both actors to match, favouring eye contact and murmurs; the sheer brevity prevents it from becoming gloopy or crass.

    The casting of Lavernhe and Lottin is particularly inspired, as the two performers bring an affect to these characters that mimics the story’s dynamic. Lavernhe, credited as “Benjamin Lavernhe de la Comédie-Française,” comes from a background in classical theatre, and performs his role with worldly elegance; Lottin, meanwhile, is a veteran of the popular comedy franchise “Les Tuche”, centering on a working-class family from the north of France. These sensibilities come together in the film’s tight dialogue, as when the two men meet and Thibaut introduces himself: “My name is Thibaut Desormeaux, and two weeks ago I learned I have leukemia…” Jimmy: “Ah, shit.” Thibaut: “Yes.”

    Lottin is particularly intelligent in articulating Jimmy’s shame at his lack of means and achievement, inflected with pride and a lightly worn resentment that comes out in bursts of passive-aggressive joshing; meanwhile, Lavernhe deftly portrays the well-meaning and likable Thibaut as, conversely, insufficiently ashamed of his good fortune, at least early on: This smooth Parisian bobo does not even perceive how he flaunts his wealth and education.

    In parallel, “The Marching Band” depicts a working-class community struggling with poverty and unemployment, for whom the musical collective — in which Jimmy plays the trombone, alongside his on-off girlfriend Sabrina (Sarah Suco) — has become a lifeline. Thibaut becomes involved, but will he be able to save the band from ruin? Here, the film closely mirrors the 1996 British comedy “Brassed Off,” making it a dead cert that we’ll eventually get a barn-burning finale showing the federating power of music in adversity.

    Revealing how that comes about would enter spoiler territory, but saying that it happens at all is germane, as it shows that the film finally falls victim to formula. In these pre-ordained moments — a surfeit of montages, an artificial falling-out between the brothers, the occasional dip into the saccharine — “The Marching Band” becomes a touch pleased with itself. The formula works (and the film has the domestic box-office receipts to prove it), but it detracts somewhat from the project’s smarts elsewhere.

    In a well-presented technical package, plaudits should go to editor Guerric Catala for a cut that attempts to shun sentiment, and to Christel Birot for costumes that smartly outline both character and class differences via the means of double denim or a freshly pressed felted overshirt. The music department, as well as Courcol’s lively directing and writing, must be commended for scenes of the brass ensemble playing and rehearsing, in a constantly dynamic interaction with dialogue. The zippy soundtrack, much like the film itself, veers between surprisingly choice cuts (the aching “I Remember Clifford” by Lee Morgan) and rabble-rousing crowdpleasers (Dalida, or the overture from “Aida”). Ravel’s “Bolero,” which repeats the same phrase over and over again but with tonal differences each time, also features.

  • Amazon MGM Studios Unveils Teaser for Kunal Kemmu’s ‘Vibe’ (EXCLUSIVE)

    Amazon MGM Studios Unveils Teaser for Kunal Kemmu’s ‘Vibe’ (EXCLUSIVE)

    Amazon MGM Studios has released the teaser for “Vibe,” an action comedy written and directed by Kunal Kemmu that follows two ordinary friends who unexpectedly become the country’s last line of defense.

    The teaser introduces Hardik (Kemmu) and Bugs (Sparsh Shrivastava), a pair of accidental heroes who are neither trained nor willing for the job but end up tasked with protecting the nation once it comes under threat. Preity G Zinta plays a commanding figure who pulls the two deeper into the danger, a character presented as composed, confident and several steps ahead of everyone around her.

    The footage mixes high-speed chases and explosive action with comedic beats, framing a story built around chaos, mismatched heroism and rising stakes as the mission unfolds.

    Kemmu produces “Vibe” alongside Chirag Nihalani under their banner Drongo Films. Founded by Kemmu and Nihalani, the company has positioned itself around backing stories described as authentic and character-driven, aiming to balance creative ambition with commercial appeal.

    The cast also includes debutant Vanshika Dhir in a lead role, with Dinesh Lal Yadav and Yashpal Sharma appearing in supporting parts.

    “Vibe” marks another theatrical bet for Amazon MGM Studios, which produces and acquires films for cinema release as well as content exclusively for Prime Video and the MGM+ pay television network. Amazon MGM Studios and Colour Yellow have also set “Nayyi Navelli,” an Indian fantasy family entertainer starring Yami Gautam Dhar, for release in cinemas this October, timed to the Dussehra festival period.

    “Vibe” opens in theaters Sept. 18.

    Watch the “Vibe” teaser here:

  • Neon Sets Early Premium-Format Release for Na Hong-jin’s ‘Hope’ (Exclusive)

    Neon Sets Early Premium-Format Release for Na Hong-jin’s ‘Hope’ (Exclusive)

    Neon is giving Korean action maestro Na Hong-jin‘s gritty monster epic Hope an early theatrical launch on premium screens across the U.S. 

    The distributor revealed Thursday that it will hold large-format screenings of Hope on Sept. 7 at 175 premium locations ahead of its wide release on Sept. 9. The one-night event, with showtimes at 6:30 p.m., spans six formats — Dolby Cinema, 4DX, ScreenX, Barco HDR, D-Box and Dolby Atmos — at theaters in New York, Los Angeles, Chicago, San Francisco, Dallas and elsewhere. The launch strategy is reminiscent of Neon’s rollout last year of Osgood Perkins’ The Monkey, which used advance premium-format screenings to build word of mouth on the way to the film’s strong $40 million theatrical performance.

    One of the buzziest films to emerge from this year’s Cannes Film Festival, Hope’s visceral spectacle certainly seems to warrant the premium-format splash. 

    Describing the film as “a superbly sustained pedal-to-the-metal experience that’s almost dizzying in its bravura,” The Hollywood Reporter‘s chief film critic hailed Hope as a “rip-roaring sci-fi creature feature” that “has instant cult classic written all over it.”

    Set in the fictional border town of Hope Harbor near the Korean Demilitarized Zone (DMZ), the film follows put-upon police chief Bum-seok (Hwang Jung-min) and his bad-ass female deputy Sung-ae (Squid Game‘s Hoyeon) as they frantically hunt an enormous mystery creature that has begun rampaging through their village. A band of local hunters, led by the charismatic Sung-ki (Zo In-sung), joins the chase and tracks the beast into a nearby forest — only to become its prey. What begins as a series of understandable misjudgments soon spirals into tragedy on a cosmic scale.

    Hope is Na’s first feature in roughly a decade. The writer-director has become a favorite of both arthouse fans and action aficionados thanks to his trio of stunning genre movies, the brutal crime thrillers The Chaser and The Yellow Sea and the 2016 horror sensation The Wailing. He reunites here to stunning effect with his Wailing cinematographer, Hong Kyung-pyo, a revered figure in the Korean industry whose other credits include Bong Joon Ho’s Parasite and Lee Chang-dong’s Burning. Hope‘s score is by Michael Abels, the composer behind Jordan Peele’s Get Out and Nope. The film’s Korean ensemble is rounded out by surprising supporting characters played by Michael Fassbender, Alicia Vikander, Taylor Russell and Cameron Britton. 

    Hope opened at home in South Korea on July 15 and has earned $35 million, becoming the country’s third-biggest domestic release this year. 

    Na conceived Hope as the first chapter of a potential franchise — and, so far, international distributors appear on board. The film’s main backer and sales agent, Plus M pre-sold the title to roughly 200 territories out of Cannes, a record for a Korean film, with the deals reportedly recouping nearly half of the movie’s net production budget ahead of release.