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Category: Entertainment

  • Disneyland Paris to Welcome ‘The Lion King’ Animatronics, Re-Themed Space Mountain and New Parade

    Disneyland Paris to Welcome ‘The Lion King’ Animatronics, Re-Themed Space Mountain and New Parade

    Disneyland Paris may have just launched a new World of Frozen land earlier this year but it’s already looking towards its next land, which is set to be inspired by “The Lion King.”

    Imagineers offered fans a sneak peek of the attraction at the D23 expo in Anaheim over the weekend, including a look at concept art featuring an animatronic Scar.

    Concept art of the upcoming Disneyland Paris expansion themed after ‘The Lion King’ (Courtesy of The Walt Disney Company)

    The ride will bring to life the iconic scene in the 1994 animated classic, where Scar confronts his royal nephew. Set in a new 30,000 square metre area designed to reflect an African savanna, it will include attractions, stores, restaurants and character interactions.

    Although no opening date was announced for the highly-anticipated area, which will be the first in Disney’s global stable of immersive properties to be entirely dedicated to the big cat movie, construction is well under way at Disney Adventure World, one of two parks at the Disney’s French outpost.

    “The teams at Walt Disney Imagineering, Disneyland Paris and Disney Animation are hard at work bringing to life the beloved world of ‘The Lion King,’ which has captivated audiences for more than three decades,” said Michel den Dulk, VP portfolio executive at Walt Disney Imagineering Paris. “We believe this epic story was also embraced thanks to its unforgettable villain, so we are excited to lift the curtain on Scar’s presence in this major attraction. Thanks to an extraordinary level of detail, our guests will experience the very heart of the film’s story, its emotion and thrills, in an entirely new way.”

    Concept art of the new parade at Disneyland Paris (courtesy of The Walt Disney Company)

    In the meantime, visitors to the Paris-adjacent resort will have other attractions to look forward to. An “Up”-inspired ride called Wilderness Explorers Sky Swings will open next year while in 2028 Space Mountain is set to be re-themed, returning to its original 1995 version “De la Terre à la Lune” (“From the Earth to the Moon”) based on Jules Verne’s novel of the same name. (For the past ten years it has been themed to “Star Wars” as “Hyperspace Mountain.”) The ride will close towards the end of next year to accommodate the update, which will see a new spin on the original steampunk theme. Steve Bramson’s original score is also set to be fully remastered as part of the refurb.

    Also in 2028, for the first time since 2017 Disneyland Paris will debut a unique new daytime parade led by Mickey Mouse and friends. It will include eight new floats with beloved characters from films including “Aladdin,” “The Princess and the Frog,” “Rapunzel” and “Coco.” By the time of its launch, it will have required more than 10,000 hours of research and technical development and 225 sketches of costumes, wigs and makeup.

    “A new dawn of storytelling is upon us at Disneyland Paris,” said Christophe Murphy, president of Disneyland Paris. “From a vibrant daytime parade and a classic comeback for Space Mountain in Disneyland Park to the continued development of a themed area inspired by ‘The Lion King’ in Disney Adventure World, we are investing in the stories our guests love while continuing to evolve what a Disney visit can be. By listening to our fans and never standing still, I’m confident we are creating experiences that will delight people for years to come.”

  • Motion Picture Association Inks AI IP Protection Deal With ByteDance

    Motion Picture Association Inks AI IP Protection Deal With ByteDance

    Six months after a fully AI-generated viral video of Tom Cruise battling Brad Pitt took the internet by storm, the tech behind the ripoff has been tweaked to protect Hollywood intellectual property and likenesses.

    The Motion Picture Association on Monday said that it had reached a Memorandum of Understanding (MOU) with the Chinese tech giant ByteDance that will provide “strong guardrails” within its tech and platforms that will protect Hollywood.

    The agreement covers Seedance, the AI video model that generated the Cruise vs. Pitt video, as well as Seedream 5.0 Lite, TikTok, CapCut and Dreamina, among others.

    The launch of Seedance and the ensuing deal bears a striking similarity to Sora, OpenAI’s video model, which launched last year with a flurry of unauthorized videos featuring well-known characters and people, only to fizzle out after the tech giant agreed to pull back on the ripoffs. OpenAI ended up killing Sora earlier this year.

    ByteDance, however, is continuing to invest in Seedance, which has become one of the most advanced video models alongside offerings from Google and others.

    “Today’s agreement illustrates our belief that copyright is a cornerstone of the film and television industry – and reinforces our commitment to protect creative content,” said MPA Chairman and CEO Charles Rivkin in a statement. “For the past several months, we have had constructive engagement with ByteDance to implement meaningful guardrails on Seedance and Seedream, and this MOU reflects our shared determination to continue our work together to further fortify those guardrails.”

    “ByteDance respects the intellectual property rights that underpin creative industries around the world, and we believe responsible innovation in AI goes hand in hand with meaningful protections for rightsholders,” adds John Rogovin, general counsel of ByteDance. “We appreciate the productive engagement with the MPA and its members as we continue to strengthen safeguards across our generative AI services. This MOU establishes an important framework for continued collaboration as the technology evolves, across a variety of products and platforms.”

  • Alia Shawkat Has Thoughts About Actors Who Don’t Work With Female Filmmakers

    Alia Shawkat Has Thoughts About Actors Who Don’t Work With Female Filmmakers

    Alia Shawkat has been trying to star in a stoner comedy for years. She signed on to Dylan Meyer‘s The Wrong Girls during the pandemic, giving a near-instant yes after her first coffee meeting with the writer-director and with the knowledge that the project would reunite her with her The Runaways costar Kristen Stewart. The group put on a table read for investors, and secured the financing to move forward. Then Shawkat got pregnant. The actress isn’t one to let anything get in the way of a job — she points out that she shot both the second season of The Old Man and the movie Atropia during her pregnancy — but The Wrong Girls requires some specific considerations.

    “There is so much weed smoking in this movie,” she says with a laugh. “Even if we could hide my pregnancy, and even though we’re not smoking real weed, you just really can’t do that.”

    Shawkat paused her commitment to the film, and — fickle as the indie film industry is — the financing disappeared. “And then I had my kid, and was like, I’m back, and I look normal,” she says. “And they were able to find more money.”

    Now, the long-awaited film has finally hit theaters, offering moviegoers an utter rarity: A stoner comedy about women, starring women, and helmed by a first-time female director. Here, the actress tells THR why it was worth the way.

    To start, I have to imagine this is one of the more fun press tours you’ve been doing…

    We’ve been doing really chill stuff. We were just hanging out with a bodega cat for awhile. All these internet shows are so funny. They’re like, say whatever you want and we’ll edit it into what we need. We did this one called, I think, Natasha Gets the Munchies, and she takes edibles and wears Google glasses and films her meals. Kristen and I met up with her at Korean barbecue, and we all just ate. She didn’t even ask us questions. It was like, do you guys like acting? It was so low-key. I was like, wow, journalism has changed.

    Kristen and I trip out on it so much, because we spent our lives making film and television and we’re like, this has nothing to do with it. I feel like an old person. I’ve been looking up these formats because I’ve never heard of any of these internet shows and it’s like, they have Oprah Winfrey on.

    Do you remember the first big press commitment you did?

    I used to get invited to a lot of kid premieres when I was a child actor. I was at like the Inspector Gadget premiere. I remember being on a red carpet and everyone screaming my name, and I was really shocked. They were probably pronouncing my name wrong too. I looked like a little adult, with a purse and my hand on my hip. I was like, I’m a woman. I also did a TV Guide blurb when I was nine and my mom still has it at our house. I think I talked about having a cat.

    Tell me about getting started on The Wrong Girls; it’s had a really long path to the screen.

    Dylan wrote it 13 years ago. She always had Kristen in mind, and then years later they met and got married. Dylan was like, I sent you a script a long time ago, and Kristen was like, no you didn’t. And then she found the email, and she just didn’t respond. But it’s so hard to get anything made, and I do really trust that things will happen in their own weird, mysterious way. It all happened for the best, especially since when they first wrote those characters it was for girls in their early 20s which is such a different vibe. Now it’s about girls in their mid- to late-30s being like, we’re still doing it. My character is 36 and just deciding if I’m going to move out and have a job, which I think is so funny. I think it just works better.

    Do you think that the fact that this is a stoner comedy about women played a part in making it harder to get financing, or get to the screen?

    In the past, obviously, it was always dudes in the lead of movies like this and the women were just used as the sexual jokes. Like oh, you embarrassed yourself in front of the hot girl. I think maybe it took this long to even be like, can you imagine girls who smoke weed? I will say that Point Grey, Seth Rogen’s company, was always attached. They had a good sense that this was a rad script. Dylan has been an on-set writer with Seth on a lot of his projects, she was an in-house comedian of sorts. To me, this movie seems like a million-dollar idea. We’ll see how well it does, but the sad truth is it’s just hard to get movies about women, and directed by women, made. You read the numbers now and somehow those numbers have even gone down, which is always nice as we move forward into this weird fascism.

    The last three movies you’ve been in — this, Atropia from Hailey Gates, and Blink Twice from Zoe Kravitz — have all been directed by women.

    I feel really lucky that I did those, and they were all really good friends of mine. It’s really not easy for a first-time female director to get money to make a feature. I’m happy to be part of these and be able to help get them made in any way I can.

    You bring up a good point about movies that are about women, in addition to directed by women; looking ahead to this season’s Oscars hopefuls, so many are male-focused stories.

    There actually are a lot of rad movies coming out this year directed by women, but the question is who are they willing to put all their money behind? You have The Invite, you have Camp Miasma, these are really well-made movies, but who are they going to bet on? They’re like, it’s Chris Nolan all the way. And I get it! It’s a very big, commercial movie. But it’s part of why we have to look at awards differently. We’re lying to everybody by being like, they just got a phone call, people love the movie! It’s like, no, they have a whole team who are pushing for them and spending a lot of money to get these nominations.

    Kristen, of course, also had her directorial debut recently; have you guys been circling each other since you were both in The Runaways?

    We didn’t share much screen time. She was Joan Jett and I was a Glorified Extra. My character was an entertainment lawyer and was like, I don’t want to be involved [with the biopic]. They told me that on set, and that I couldn’t say anything in the movie. I was just there to hang out. But there’s lots of cute photos of me and Kristen together in a band, which is fun. All the girls on the movie would hang out and smoke weed and have a fun time, but Kristen and I were young and awkward and in different stages of life. We’d see each other throughout the years just from being actresses, and every time we’d be like, we gotta do this more. And then this movie felt like we were just hanging out and then capturing that on camera. We’d be doing something funny off-camera and Dylan would be like, what are you guys doing, keep doing that on camera. At the end of the movie we have that dance to Celine Dion, we didn’t prep anything, we just made it up.

    How did the aforementioned fake weed treat you?

    On one of the first days we did a scene with a Bongatron, and I did get a little high by accident. The fake weed is just weed without the THC, but if you smoke enough of it. I was kind of paranoid because I hadn’t been smoking in awhile since I had my kid. It was just enough where I was like, I’m not sober, and I’m at work. I asked Kristen if she felt anything and she said no, but just to go with it. And she was right. And I sobered up by lunch. And we’re in a stoner comedy! I leaned in.

    You’ve been doing comedy for decades, but I’m curious if you learned anything from working with Kate McKinnon on this movie.

    I truly think she’s one of the greatest comedians of our time. You could just tell she has a million ideas at all times. You just have to tell her to go and she’ll blast off. She has a scene where she says “Fuck me in my ass” 20 different ways. It’s on the blooper reel. We were all a little intimidated by her and just like, thanks for being in our movie.

    Do you keep a proverbial rolodex of people you want to work with?

    When I see a new movie, I’ll send it to my agents and ask about the person. Especially foreign filmmakers. I saw this film from Colombia, A Poet, and I was able to have a Zoom with the director. Obviously, the PT Andersons and the Scorseses of the world, it’s like, obviously I’d like to work with them. But at the same time I feel like my lane is more working with cool new filmmakers and women. There’s a lot of big actresses who don’t work with female directors, and I have a hard time believing that it’s on accident. It’s like, you have to actively avoid it. They’re trying to not work with female filmmakers. I genuinely believe we need to start building up female directors, there are so many who have made so many movies and they still have a hard time getting money. Kelly Reichardt should not have a hard time getting a movie made. She’s one of the best we have, and if she was a man she would have no problem.

    If she was a man, she would be Paul Thomas Anderson.

    Exactly. She would be. And she would be respected in that way. To pretend this issue isn’t real is crazy. I have this mix of desires, to be in bigger movies, but I don’t need to be in huge movies. I just want opportunities to play bolder characters, people who go through some crazy stuff.

    Do you have a desire to go back onstage?

    I do. It’s really hard and the hours are nuts and you get paid no money. It’s hard to live off. I’m hoping to make enough money this year to be able to do another play.

    Your play, You Got Older, really set the Cherry Lane Theater on a path to being the cool downtown theater.

    I’m not trying to pat myself on the back, but I do feel like there’s a lot of stuff in my work where everyone’s like, that was the first one. Arrested Development was an early Netflix production. Search Party produced a lot of really great talent, John Early and John Reynolds both have movies this year. Honestly, if that show hadn’t gotten re-released on Netflix it would have disappeared. I did a TV show when I was young that still can’t get the rights on Disney because all the music is really well-known 60’s music. It’s called State of Grace. I’m dying to get it on streaming.

  • Gillian Anderson Says Sony Exited ‘The Salt Path’ Distribution Deal After Authors’ ‘Fabrications’ Exposed: ‘It Felt Like Such a Betrayal’

    Gillian Anderson Says Sony Exited ‘The Salt Path’ Distribution Deal After Authors’ ‘Fabrications’ Exposed: ‘It Felt Like Such a Betrayal’

    Gillian Anderson has said that Sony ditched a deal to distribute “The Salt Path,” in which she starred alongside Jason Isaacs, after a scandal broke last summer over alleged fabrications in the supposedly true story.

    Based on a memoir of the same name by Ray and Moth Winn, the book and film tell the story of a down-on-their-luck couple who walk the south coast of England after their home is repossessed and Moth is diagnosed with a terminal illness, emerging stronger and with a newfound sense of purpose.

    Anderson played Ray while “Harry Potter” and “White Lotus” star Isaacs played Moth. Both the book and the screen adaptation were billed as a true story.

    However last summer the U.K.’s Observer newspaper reported that key elements of the Winns’ story had been misrepresented, claiming that the couple had lost their house after Ray embezzled money and casting doubts on Moth’s diagnosis of corticobasal degeneration which sees sufferers given an average of eight years to live. The couples’ names were also revealed to be pseudonymous.

    The Winns, who won numerous awards for the book, disputed the allegations at the time.

    “It was really disappointing, a huge letdown,” Anderson has now said of the scandal. “The story came out the week we were signing U.S. distribution and Sony withdrew. We had been so surprised by its success: ‘What, really, this film about two old people going on a walk?’ It felt like such a betrayal because we’d spent time with [the Winns].”

    Speaking to The Times of London, Anderson said she has not heard from the couple but seemed to have some sympathy for them, telling the newspaper: “It must have been really unsettling, to be potentially, allegedly, not telling the truth on live TV.”

    She added: “I was interested in the due diligence — like, how has it come to this? What degree of proof was there? They had told us that they couldn’t talk about [a previous] legal case because it was ongoing. Anyway. It was unfortunate.”

    As Variety exclusively reported earlier this year, the film is set to get a North American release via Rialto Distribution International later this month. “This is a film of quiet power,” Kelly Rogers, CEO of Rialto, said at the time. “It speaks to something deeply human – love, endurance and the idea that it’s never too late to begin again. We’re thrilled to share this remarkable screen work with viewers in the United States and Canada and believe it will leave a lasting impression.”

    Variety‘s review, published before the scandal broke, praised the film, saying: “this portrait of loss, humanity and rebirth makes it worth the emotional investment.”

    A rep for Sony did not respond by press time.

  • Toronto First Look: ‘Black Sunflowers’ Images Show Ukrainian Youth Coming of Age in Wartime (Exclusive)

    Toronto First Look: ‘Black Sunflowers’ Images Show Ukrainian Youth Coming of Age in Wartime (Exclusive)

    James Marcus Haney made his name as a filmmaker sneaking into Coachella, Glastonbury and other top music festivals by posing as press to get exclusive footage of pop stars and their performances.

    That need to gate crash marquee festivals with his camera was captured in his 2014 feature documentary No Cameras Allowed. Now Haney is headed to the Toronto Film Festival with Black Sunflowers, a feature documentary about Ukrainian youth coming of age amid martial law as they move between underground raves and car racing on the home front and the brutal front lines of war against Russia.

    Black Sunflowers.

    Toronto Film Festival

    The first images for Black Sunflowers, which will have a Sept. 11 world premiere in Toronto, has young Ukrainians facing tragedy and duty as soldiers on the front lines, while they find distraction on concert dance floors, in relationships or bonding at a local watering hole.

    Working with a Ukrainian film crew, Haney captures an army truck driver who races his car down city streets back home; a young amputee soldier finding freedom on a high energy rave dance floor, despite a blade prosthesis; a young woman turning from nature photography to war photography amid the ruins of war; and still another young woman being trained to shoot a rifle as a generation of youth face compulsory military service.

    Black Sunflowers.

    Toronto Film Festival

    Haney, in a director’s statement on the TIFF website, recalls first arriving in Ukraine as war reshaped everyday life: “I was surprised to see how much normal life carried on, despite the war. I couldn’t help but think that mainstream media is missing half of the story.”

    Haney’s film joins a slew of other Ukraine war documentaries, including Roman Liubyi and Volodymyr Tykhyy’s Time Machine Maidan, which bowed at Sheffield, Oscar-winning filmmaker Mstyslav Chernov‘s new film, 2000 Meters to Andriivka, and Militantropos, from co-directors Alina Gorlova, Yelizaveta Smith and Simon Mozgovyi.

    Black Sunflowers, with an original score by Fred Gibson (Fred Again), Brian Eno and Koloah, is produced by Pedram Rezaee, Mikayla Jean Miller, Yevhenii Zdorovylo, Samy Mosher, Eric Maldin, Volodymyr Yatsenko and Anna Yatsenko.

    Black Sunflowers

    Toronto Film Festival

    Black Sunflowers.

    Toronto Film Festival

  • Amy Schumer to Star in and Produce Break-Up Comedy ‘Best Divorce Ever’ (EXCLUSIVE)

    Amy Schumer to Star in and Produce Break-Up Comedy ‘Best Divorce Ever’ (EXCLUSIVE)

    Amy Schumer is getting her teeth into another comedy, with the Emmy winner set to star in and produce “Best Divorce Ever.”

    The film comes from writer-director Sean Mullin (“Bob Trevino Likes It,” “Amira & Sam”), with Concourse Media launching worldwide sales in Toronto next month.

    Schumer will produce alongside Matthew Lee Miller and Natalie Metzger for Vanishing Angle, the production company behind acclaimed comedies such as “Kill Me,” “Werewolves Within,” “Greener Grass,” “Queens of the Dead” and “Thunder Road.” Concourse Media will executive produce and finance alongside its sister company, Archetype Media Finance.

    “Best Divorce Ever” follows Clarissa (Schumer) and Franklin, who after 20 years together decide they’re done with marriage – but not with each other. Determined to pull off the world’s most amicable divorce, they throw an ‘Untying the Knot’ party and eagerly embrace their newly single lives. But when disastrous dates, suspicious children and spectacularly misguided attempts at ‘conscious uncoupling’ throw their perfect plan into chaos, Clarissa and Franklin discover that getting divorced is the easy part. Figuring out how to stay a happy family is where things get complicated.

    “Amy is one of the few people who can take something as painful as divorce and make it brutally honest and incredibly funny”, said Matthew Shreder, CEO of Concourse Media. “Sean has written a smart, funny script with a ton of heart and gives Amy a great playground to do what she does best. It feels like exactly the kind of commercial comedy audiences are ready for, and we’re thrilled to be part of it.”

    “Divorce has a branding problem,” said Mullin, whose script was inspired by his owned amicable divorce. “I think we need to change the narrative that the only successful way to end a marriage is for one person to die.”

    Miller and Metzger added: “Sean has been a longtime member of the Vanishing Angle family, and we’ve had the privilege of watching his voice as a filmmaker grow from ‘Amira & Sam’ through ‘It Ain’t Over.’ He has a rare ability to find enormous humor and genuine humanity in the messiest parts of life. Amy brings that same fearless honesty to everything she does, and we couldn’t be more excited to reunite with Sean and partner with her as both a producer and performer to bring this film to life.”

    Schumer created, wrote, directed, executive produced and starred in the Peabody and Emmy Award-winning Comedy Central series “Inside Amy Schumer,” which also earned her Writers Guild, Critics Choice Television and Television Critics Association awards. She went on to write and star in the comedy “Trainwreck,” wile her other film credits include “I Feel Pretty,” “Snatched,” “The Humans,” “Unfrosted” and “If.” Most recently, Schumer starred in, co-wrote and produced Netflix’s “Kinda Pregnant,” and also created, wrote, directed, executive produced and starred in Hulu’s acclaimed comedy-drama “Life & Beth,” and released the Netflix stand-up special “Amy Schumer: Emergency Contact.”

    Meamwhile, Mullin is an award-winning writer and director whose narrative feature debut, “Amira & Sam,” starring Martin Starr and Dina Shihabi, earned top prizes at numerous festivals and was released theatrically by Drafthouse Films. His directing credits also include the documentaries “Kings of Beer,” “Brothers on Three” and “It Ain’t Over,” his portrait of baseball legend Yogi Berra, which was released theatrically by Sony Pictures Classics and earned two Critics Choice Award nominations and a Writers Guild Award nomination. He is currently writing and directing a documentary about Buzz Aldrin. As a producer, Mullin most recently produced “Bob Trevino Likes It,” which won more than 30 festival awards, including both the Jury Award and Audience Award at the 2024 SXSW Film Festival, before its theatrical release by Roadside Attractions. He is repped at UTA.

    Concourse Media’s slate also includes the ensemble crime thriller “The Smack,” which starts production next month and stars Casey Affleck, Sam Rockwell, Marisa Tomei, and Kathy Bates, and the Lucy Hale romantic comedy “Vision Board.” It recently closed global distribution deals on their SXSW-premiered psychological thriller “Sender” starring Jamie Lee Curtis, Britt Lower, Rhea Seehorn and David Dastmalchian and their inspirational drama “Maybe We Should” starring Heather Graham, Jeremy John Wells, Lil Rel Howery and Kevin Nealon.

  • Jonas Brothers Announce 45-City ‘Burning Up’ North American Tour Dates

    Jonas Brothers Announce 45-City ‘Burning Up’ North American Tour Dates

    The Jonas Brothers, who have been road warriors in recent years, have announced a massive 45-city North American tour that continues their “Burning Up Tour All Over Again.” Magnus Ferrell, Franklin Jonas, and All Time Low will be special guests on select dates.

    Promoted by Live Nation, the tour kicks off on Friday, September 25 at TD Garden in Boston, MA, making stops in Toronto, Washington, D.C., Miami, Los Angeles, Seattle, Denver, and more before wrapping up on Monday, December 21 at Prudential Center in Newark, NJ.

    “Our last tour reminded us just how much this music means to us and to the fans who’ve been with us from the start,” said the Jonas Brothers. “The response was so overwhelming announcing the MSG shows that we knew we couldn’t stop at New York. We’re taking The Burning Up Tour All Over Again on the road so we can relive it with all of you, city by city. We can’t wait to run it back with all of you.”

    On Sunday, the brothers were inducted as Disney Legends at D23, one of the Walt Disney Company’s highest honors.

    TICKETS: Tickets will be available starting with the Spotify Reserved presale in the US on Tuesday, August 18 at 8:28 am local time. Additional presales will run throughout the week ahead of the general on sale beginning Friday, August 21 at 10am local time.

    RESERVED BY SPOTIFY: For the first time, eligible Spotify Premium top fans will have tickets set aside for them to purchase before they go on sale to the general public. Reserved is a Spotify Premium benefit that turns real fandom into first access.

    Jonas Brothers Reserved by Spotify tickets may be available to eligible US and Canada Spotify Premium subscribers through Ticketmaster. Eligible fans will be notified by Spotify via in-app, email, and push notifications, and will have the opportunity to purchase up to two tickets during the offer window.

    VIP: The tour will also offer a variety of different VIP packages and experiences. Packages vary but include premium tickets, invitation to the pre-show Burnin’ Up VIP Lounge, specially designed VIP gift item, pre-show merch shopping & more.

    THE BURNING UP TOUR ALL OVER AGAIN DATES:

    Thu, Aug 20 – New York, NY – Madison Square Garden

    Fri, Aug 21 – New York, NY – Madison Square Garden

    Sat, Aug 22 – New York, NY – Madison Square Garden

    Fri, Sep 25 – Boston, MA – TD Garden*^

    Sat, Sep 26 – Manchester, NH – SNHU Arena^

    Mon, Sep 28 – Toronto, ON – RBC Amphitheatre^

    Wed, Sep 30 – Washington, DC – Capital One Arena^

    Thu, Oct 1 – Raleigh, NC – Lenovo Center^

    Fri, Oct 2 – Philadelphia, PA – Xfinity Mobile Arena*^

    Mon, Oct 5 – Miami, FL – Kaseya Center*^

    Tue, Oct 6 – Orlando, FL – Kia Center*^

    Thu, Oct 8 – Atlanta, GA – State Farm Arena*^

    Fri, Oct 9 – Birmingham, AL – Legacy Arena at the BJCC*^

    Sun, Oct 11 – Tampa, FL – Benchmark International Arena*^

    Tue, Oct 13 – Charlotte, NC – Spectrum Center*^

    Thu, Oct 15 – Indianapolis, IN – Gainbridge Fieldhouse*^

    Fri, Oct 16 – Columbus, OH – Nationwide Arena*^

    Sat, Oct 17 – Lexington, KY – Rupp Arena at Central Bank Center*^

    Mon, Oct 19 – Cleveland, OH – Rocket Arena*^

    Tue, Oct 20 – Buffalo, NY – KeyBank Center*^

    Thu, Oct 22 – Rosemont, IL – Allstate Arena*^

    Sun, Oct 25 – Detroit, MI – Little Caesars Arena*^

    Mon, Oct 26 – Pittsburgh, PA – PPG Paints Arena*^

    Sun, Nov 1 – Milwaukee, WI – Fiserv Forum*^

    Mon, Nov 2 – St. Paul, MN – Grand Casino Arena*^

    Tue, Nov 3 – Kansas City, MO – T-Mobile Center+^

    Thu, Nov 5 – Nashville, TN – Bridgestone Arena+^

    Mon, Nov 9 – Oklahoma, OK – Paycom Center+^

    Tue, Nov 10 – Dallas, TX – American Airlines Center+^

    Fri, Nov 13 – Austin, TX – Moody Center+^

    Sat, Nov 14 – San Antonio, TX – Frost Bank Center+^

    Tue, Nov 17 – Palm Desert, CA – Acrisure Arena*^

    Wed, Nov 18 – Los Angeles, CA – Hollywood Bowl#*^

    Sat, Nov 21 – San Francisco, CA – Chase Center*^

    Sun, Nov 22 – Sacramento, CA – Golden 1 Center*^

    Fri, Nov 27 – Glendale, AZ – Desert Diamond Arena*^

    Sat, Nov 28 – Las Vegas, NV – MGM Grand Garden Arena*^

    Mon, Nov 30 – San Diego, CA – Viejas Arena*^

    Wed, Dec 2 – Anaheim, CA – Honda Center*^

    Sat, Dec 5 – Seattle, WA – Climate Pledge Arena*^

    Mon, Dec 7 – Salt Lake City, UT – Delta Center*^

    Wed, Dec 9 – Denver, CO – Ball Arena*^

    Thu, Dec 10 – Lincoln, NE – Pinnacle Bank Arena*^

    Sat, Dec 12 – Sioux Falls, SD – Denny Sanford PREMIER Center*^

    Tue, Dec 15 – Grand Rapids, MI – Van Andel Arena*^

    Sat, Dec 19 – Belmont Park, NY – UBS Arena*^

    Mon, Dec 21 – Newark, NJ – Prudential Center*^

    Support Key

    #All Time Low

    *Magnus Ferrell

    +Franklin Jonas

    ^Deleasa

  • Diane Kruger, Tim Roth, Danny Boon Join Netflix Nazi Hunter Drama ‘Project K’

    Diane Kruger, Tim Roth, Danny Boon Join Netflix Nazi Hunter Drama ‘Project K’

    Diane Kruger and Dany Boon will star as Beate and Serge Klarsfeld, the German-Jewish couple who tracked down former Gestapo officer Klaus Barbie, in Projet K (working title), the new film from Netflix France, the streamer announced Monday.

    Tim Roth will play Barbie in the drama, from French director Yvan Attal (The Accusation, Breaking Point). Attal co-wrote the screenplay together with Laurent Turner, who is known for his work on French Netflix crime series Ganglands.

    Projet K follows Beate and Serge Klarsfeld, a German woman and a French Jewish man, whose relationship and shared commitment to justice led them to pursue Barbie, the notorious “Butcher of Lyon” for more than a decade, fighting multiple governments and institutions along the way.

    Serge (Boon), born in Bucharest in 1935 to a Jewish family that relocated to France before World War II, survived a roundup of Jews in Nice as a child. His father was later arrested and killed at Auschwitz. Beate (Kruger), born in Berlin in 1939, was the daughter of a Wehrmacht soldier. The couple married in 1963 and become known as Nazi hunters, tracking down former Nazi officials and Vichy collaborators, including Kurt Lischka, Ernst Ehlers, Kurt Asche and Maurice Papon, in addition to Barbie.

    Barbie (Roth) served as head of the Gestapo in Lyon during the German occupation of France, where he was responsible for the deportation and torture of thousands of people, including the roundup of Jewish children from a safe house.

    After the war, he worked for United States intelligence services before relocating to Bolivia under the alias Klaus Altmann. The Klarsfelds identified Barbie’s location and alias in 1971 and campaigned for his extradition. Despite state opposition, including from the Bolivian government at the time, Barbie was extradited to France in 1983, and stood trial in Lyon. Convicted of crimes against humanity, he was sentenced to life in prison, where he died in 1991.

    Barbie reign of terror in Lyon was the focus of Moulin, the Cannes competition film from Son of Saul director László Nemes, with Lars Eidinger playing the Butcher of Lyon and Gilles Lellouche as French Resistance hero Jean Moulin.

    The Klarsfelds’ pursuit of Barbie was previously dramatized in the 2008 Canal+ television film La Traque, directed by Laurent Jaoui, in which Attal played Serge Klarsfeld opposite Franka Potente as Beate Klarsfeld.

    Attal wrote, directed and starred in Breaking Point (2023) and was the co-writer and director of The Accusation (2021), an adaptation of Karine Tuil’s novel about a rape accusation and its aftermath, which premiered out of competition at the Venice Film Festival in 2021.

    Kruger is coming off a starring turn in Fatih Akin post-WW2 drama Amrum, which premiered in Cannes last year, and roles in Paramount+ drama Little Disasters and HBO Max’s Dangerous Liaisons prequel series The Seduction.

    Boon, best known for writing, directing and starring in 2008 French box office smash Welcome to the Sticks, had a starring turn in Emmanuel Poulain-Arnaud’s dramedy Regarde, released in French theaters last year.

    Oscar-nominee Roth was most recently see opposite Cillian Murphy in Tom Harper’s Peaky Blinders: The Immortal Man feature for Netflix.

    Attal is producing Projet K through his Films Sous Influence outfit, together with NAC Films’ Antoine Pezet and Jérôme Corcos. The film will be shot in France, Bolivia and Belgium.

  • Rosie O’Donnell, Viola Davis Pay Tribute to Hayden Panettiere: “Heartbroken”

    Rosie O’Donnell, Viola Davis Pay Tribute to Hayden Panettiere: “Heartbroken”

    Following the sudden death of Hayden Panettiere, fellow industry notables are taking to social media to pay tribute to the actress.

    Panettiere’s rep told ABC News on Sunday that she died at age 36. “It is with profound sadness that we share the tragic passing of our beloved Hayden,” the rep wrote in a statement. “She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her — and to the millions who watched her onscreen.” Her cause of death wasn’t immediately available.

    Panettiere, who got candid about her postpartum depression and alcohol and opioid addiction in her memoir This Is Me: A Reckoning earlier this year, was best known for her roles in Heroes, Nashville, the Scream franchise, Bring It on: All or Nothing and dozens of other projects.

    Viola Davis, Melissa Barrera, Rosie O’Donnell and David Arquette are among those sharing heartfelt messages to remember Panettiere.

    “Oh my god – heartbroken #hayden,” talk show host and comedian Rosie O’Donnell wrote in an Instagram post. David Arquette, who worked with Panettiere on Scream 4, also kept his reaction brief, writing: “I love you Hayden.”

    Melissa Barrera, who starred in Scream VI with Panettiere, said in an Instagram Story with a broken heart emoji: “Rest in peace sweet Hayden.”

    Davis called Panettiere “an old wise soul with such a deep heart,” adding: “I wish the world had more time with you because I had a burning curiosity about who you were becoming.”

    See more tributes below.

  • ‘Supporting Role’ Review: Dato Bakhtadze Captivates in a Nocturnal Odyssey Through Tbilisi

    ‘Supporting Role’ Review: Dato Bakhtadze Captivates in a Nocturnal Odyssey Through Tbilisi

    A nocturnal odyssey through the spectral streets of Tbilisi is conjured with mesmerizing effect in Georgian writer-director Ana Urushadze’s “Supporting Role.” On the heavy heels of Niaz (Dato Bakhtadze), a lumbering Georgian movie star whose glory days are behind him, Urushadze’s second feature plays like an old-school Jim Jarmusch joint — all existential wandering and weird, winding conversations — but with a distinctly post-Soviet gallows humor. Having won a Special Jury award and the FIPRESCI prize at Rotterdam in January, the film now lands in the main competition at Sarajevo.

    This mordant melange takes off from the opening sequence, when Niaz finds himself at a casting call for an indie directed by Aza (Elene Mausuradze), an androgynous female director with the pallid look of a Tim Burton extra. Winking back to Bakhtadze’s stints in Hollywood (“Wanted,” “Extraction 2”), Niaz is used to playing brawny leading men and taking direction from male auteurs. So he’s silent and slackjawed when “this tiny weird creature,” as he describes Aza, confidently pitches him a tragic one-scene role with no script — only a hand-drawn storyboard, the sole copy of which she lends him when he asks for three days to consider. So ensues a period of delirious soul-searching, given tremendous gravitas by Bakhtadze.

    The film follows Niaz as he drifts through depopulated streets and former haunts like a dizzied mastiff. With a meandering rhythm, he encounters characters from his past, fans and random eccentrics who sweep him into their homes and vehicles as quickly as he slips away. Among them are an Armenian duo with whom Niaz goes to the spa; a few former lovers, including a statuesque makeup artist and a veiled actress; and a crowd of colleagues attending the wake of a veteran critic whose final unpublished work is an exhaustive study of Niaz’s career. 

    Too driven a character study to be the kind of trancelike reverie you might float in and out of sleep from, the film nevertheless challenges with an 139-minute runtime — a length that induces a dreamworld immersion. The film’s trippy side keeps Niaz’s reckoning from drowning in male sorrow, while the measured use of a jazzy, bass-heavy refrain by composer Sten Sheripov accents this wry romanticism.

    Urushadze, to her great credit, employs surrealism with a delicate touch: a special herb that Niaz picks from the side of the road reappears later in the film when he turns out his pockets during a tender meeting with his former partner; a finger doodle traced on a fogged-up window resurfaces like a bout of déjà vu. An avatar for Urushadze, who based “Supporting Role” on an experience she had making her debut feature “Scary Mother” (which won Locarno’s Best First Feature award in 2017), Aza justifies her lack of a script by claiming that the visuals are most important. Urushadze agrees, complementing the film’s shadowy Tbilisi nightscape with bursts of jewel color: a turquoise bird, a room bathed in purple light, a bone-white body against midnight blue sheets. 

    Disheveled and brutish, Niaz is routinely greeted by his peers with wariness and surprise, his star faded by what is heavily suggested to be his own doing. But if the idea of Aza’s film triggers Niaz’s mourning over the death of his career — which is tied up with his old self — it also forces him to consider a new act, and perhaps the necessity of change in a world that’s beginning to shed its tolerance for the antics of male genius.

    Eventually, he becomes obsessed with playing the supporting role. As Niaz searches desperately for a way into the character — at one point shaving an eyebrow, and being whisked away before the second one comes off — he finds the challenge posed by this novel part demands a softness and vulnerability he had long denied both onscreen and off. A sensitively observed meeting with his estranged son crystallizes the film’s ideas about the hazy boundary between performance and real life; we are who we play and those characters can reshape us, a notion that, in Urushadze’s hands, comes with a decent side of hope.