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  • Mayu Matsuoka, Riisa Naka’s Netflix Cosmetic Surgery Drama ‘Plastic Beauty’ Sets September Premiere, Adds 23 Cast Members

    Mayu Matsuoka, Riisa Naka’s Netflix Cosmetic Surgery Drama ‘Plastic Beauty’ Sets September Premiere, Adds 23 Cast Members

    Plastic Beauty,” Netflix‘s upcoming Japanese drama set inside the country’s fast-growing cosmetic surgery industry, will premiere Sept. 17, the streamer announced alongside 23 additional cast members joining stars Mayu Matsuoka and Riisa Naka.

    Yuki Saito, who previously directed “Unmet: A Neurosurgeon’s Diary,” helms the series from a script by Junya Ikegami (“The Queen of Villains”). Netflix and the creative team spent months researching Japan’s cosmetic surgery world firsthand ahead of production. That research extended to the makeup department, where special effects artist Amazing JIRO (“Straight to Hell”) led a team that crafted a distinct “before,” “downtime” and “after” progression for every patient character featured across the cast.

    The series unfolds against Japan’s ongoing debate over beauty standards – a culture growing more open to diverse appearances even as its cosmetic surgery sector remains one of its fastest-growing industries. That tension plays out through two doctors with opposing views on transformation: Fumi Numata, a gifted physician forced out of her hospital after an emergency operation, and Rin Tohyama, a celebrity surgeon who sees beauty as a source of healing. When Fumi takes a job at Rin’s clinic planning to expose its darker side, their standoff drives the series, with the story more interested in what pushes people toward transformation than in the surgeries themselves.

    Matsuoka (“Shoplifters”) plays Fumi, a doctor whose principles are put to the test once she enters a profession with its own set of rules. Naka (“Alice in Borderland”) plays Rin, the clinic’s public face and its most committed defender against Fumi’s efforts to take it down.

    Also joining the cast are Shotaro Mamiya as Rui Komiya, the clinic’s second-in-command; Minami Tanaka as head nurse Nanami Todoroki; Hiromi Nagasaku as Fumi’s mother, Taeko Numata; and Atsuro Watabe as Arata Tohyama, an influential figure in the industry. Rounding out the ensemble are Riku Hagiwara, Mijika Nagai, Daichi Watanabe, Reiji of comedy duo Nakagawake, Kavka Shishido, Yu Shirota, Naosumi Masuko, Sosei Takeda, Rika Izumi, Kentaro Tamura, Eisuke Sasai, Hana Amano, Hina Kagei, Naoko Ken, Kayo Noro, Rin Furukawa, Yumi Adachi, Shunsuke Kazama and Kōki.

    Harue Miyake and Katsuhito Mogi produce, with Shin-ichi Kudo serving as planning producer. K2 Pictures produces the series for Netflix.

  • ‘Lucky’ Review: Anya Taylor-Joy Stars as an Identity-Swapping Con Woman in an Apple TV Thriller With Identity Issues of Its Own

    ‘Lucky’ Review: Anya Taylor-Joy Stars as an Identity-Swapping Con Woman in an Apple TV Thriller With Identity Issues of Its Own

    In a good con artist story, the marks are rarely the focal characters, but they’re often just as important.

    A grotesquely rich mark is an indication that the swindlers are the heroes and the tale has eat-the-rich undertones, making flimflammery into the last refuge of the desperate everyman.

    Lucky

    The Bottom Line

    Never clicks, despite a strong cast.

    Airdate: Wednesday, July 15 (Apple TV)
    Cast: Anya Taylor-Joy, Annette Bening, Timothy Olyphant, Aunjanue Ellis-Taylor
    Creator: Jonathan Tropper

    An overly sympathetic mark is an indication that the swindlers are villains, or at the very least anti-heroes, so desperate that they throw away class solidarity to make a quick buck.

    And if the mark is a MacGuffin, a few meaningless keywords tossed around without anything tangible to invest in, the rest of the story had darned well be delightful. Otherwise it’s going to feel insufficiently considered to the point of meaninglessness.

    That the main con in Apple TV‘s Lucky takes place before the events of the series, makes no sense, and therefore adds nothing to the principal story isn’t necessarily the only reason nothing in the seven-episode limited series clicks. But it’s representative of the choices made in an adaptation that scraps the entirety of the book being adapted and replaces those elements with motley bits and pieces that fail to generate a consistent tone, theme or pace. It’s a show about an identity-swapping heroine that has no sense of its own identity.

    It isn’t even that Marissa Stapley’s book is particularly good. It’s a frivolous beach read with an interesting main character. It’s more that Jonathan Tropper’s take on the material is half frivolous lark, half self-important commentary, wholly nothing in particular, though Anya Taylor-Joy and a solid ensemble cast work hard to swim against the underdeveloped stream.

    Taylor-Joy plays Lucky, a young con woman semi-reluctantly raised into The Life by her now-incarcerated con man father, John (Timothy Olyphant).

    Lucky and hubby Cary (Drew Starkey) are enjoying one last night of revelry in Las Vegas before fleeing the country with a briefcase containing nearly $10 million in cash, money skimmed by her father from an elaborate scam perpetrated by his mother (Annette Bening‘s Priscilla) and a wealthy, shady big boss (William Fichtner’s Whittaker).

    What was that scam? Something stupid about oil. I’m not even sure if that’s the con I referred to above because it’s so amorphous. Who is the victim? Is it us? Does it matter? Is there something Tropper could have done involving price-fixing in the oil industry? Perhaps. Does he get anything at all out of that backdrop here? Nope.

    Anyway, after said night of revelry, Lucky wakes up alone. Did something happen to Cary or was Lucky the mark? It’s completely impossible to care, but things start moving so quickly that “caring” becomes immaterial.

    Almost immediately, Lucky is fleeing from Priscilla and her chief enforcer Dutch (Clifton Collins Jr.), and from a dogged FBI agent (Aunjanue Ellis-Taylor) determined to bring everybody down. Like Netflix’s hit Harlen Coben adaptation I Will Find You, it’s another triangulated search that allows or requires every piece of exposition to be delivered in triplicate, at the expense of what ought to be pretty clean “run or die” momentum.

    Anybody who has read the book will note that its primary plotlines involve Lucky’s search for her birth mother and her possession of a winning lottery ticket she knows she can’t cash because she’s a wanted woman for a scam tied to bilking senior citizens of their investment income. Every bit of that has been scrubbed, to the degree that I wonder why, if all Apple, Tropper and executive producers Reese Witherspoon and Hello Sunshine wanted to do was make a show about a reluctant con woman with a con man father, any source material was required at all. This is as much a remake of Paper Moon as it is an adaptation of Lucky, and it definitely isn’t that either.

    Tropper and the series seem to actively hate the lightness of the book, the idea that you can perpetrate frauds and still be a redeemable heroine, without having the necessary intellectual heft to complicate things in a meaningful way. Tropper’s Your Friends & Neighbors, imperfect as it is, does a lot of the same things only much better, and neither show approaches the level of viewer-challenging moral ambiguity of Tropper’s Banshee.

    Participating in television’s ongoing “everything is the wrong length” epidemic, Lucky, at seven episodes, is exactly the wrong length. Anything shorter and things would perhaps move fast enough for us to ignore how poorly developed every supporting character is; anything longer might have allowed for the story to feel fully inhabited by real characters, not plot catalysts played by overqualified performers.

    The series sets viewers up with a pilot that’s almost entirely a Run Lola Run-style pursuit, with Taylor-Joy’s Lucky weaving in and out of casinos and making various daring escapes, all while changing her hairstyle and look in ways that aren’t convincing given that Taylor-Joy is mighty distinctive. Still, it’s entertaining, and Taylor-Joy is having a blast playing a woman easily able to inhabit multiple personae, all while sneaking into and out of labyrinthine casino passageways and leaping across various trucks at a rest station. Jonathan Van Tulleken, who directed the first and last two episodes of the series, isn’t great at the lighter elements of the story, but he moves things along.

    Then there are a couple of episodes in which the pieces are navigated around the chess board — man, Lucky isn’t in the same league as Taylor-Joy’s last limited series, Queen’s Gambit — with repeated exposition and more outfit and hairstyle changes. Finally, the series closes with two episodes building to a climax in which every twist is precisely predictable.

    Wedged in-between is a fourth episode, directed by Jet Wilkinson, that includes both a bruising car chase through Long Beach playing San Diego and lots of characters yelling sanctimoniously at each other and underlining the line of dialogue that gives the episode its title — “Are We Bad People?”

    The answer would theoretically be “yes” and I would theoretically be fully game to have a show in which the main characters are constantly facing their imperfections. That’s good drama! But in Lucky, the characters are, mostly, barely characters, which makes it hard to invest in whether or not they’re “bad” or “good.”

    When Lucky and Cary shout at each other, it isn’t a fair fight because one is the main character in the series played by an exceptionally versatile actress and the other is some guy played by some guy (Starkey has been good in other things in the past, but Cary is a useless role).

    Priscilla and Whittaker yelling at each other is closer to a fair fight, since Bening and Fichtner are fine actors on comfortable footing. Still, he’s on slithery autopilot and she’s mostly there to evoke memories of The Grifters, which doesn’t work when the material’s sense of moral ambiguity is so much less refined than the murky pragmatism driving Stephen Frears’ classic. Thanks to Bening, it’s possible to go seven episodes without wondering why Priscilla is defined by her love of horses, her love of her boring, boring son (she at least knows he’s a waste of time) and nothing else. Priscilla is the series’ main antagonist and she’s a cipher brought very partially to life by a great actor.

    See also Ellis-Taylor, so solid and so intense that you barely realize the only things we know about Agent Rand are things other characters tell her about herself in clumsy fashion. Ellis-Taylor and Olyphant gave the recent Justified reboot season its beating heart and it’s disappointing that nobody on Lucky was able to capitalize on that chemistry for more than a scene or two. More frequently, Ellis-Taylor has to share her scenes with Mo McRae’s Agent Gates and with Eric Lange as her surly boss, and McRae and Lange are stuck with characters who might as well have been named “Generic Partner” and “Generic Boss.”

    Taylor-Joy and Olyphant are really the series’ standouts: the former because Lucky is an entertaining mix-and-match character, even if eliminating most of the the book’s flashback structure eliminates most of the depth to her character’s reluctance; the latter because both Olyphant and Tropper are smart enough to emphasize the imperfections in his slickly charming huckster archetype.

    But John isn’t much of a character either, and it’s hard to take this thin half-hearted “It’s tough to be the son or daughter of a career criminal/con man” meditation seriously. Or humorously. Or thrillingly. Whatever Lucky wants to be or thought it could be, it doesn’t come together as more than an uneven diversion with a super Fiona Apple theme song.

  • Robotaxi riders are falling asleep, sparking frantic 911 calls

    By Kara Carlson and Natalie Lung, Bloomberg

    Waking up in a Waymo comes as a shock.

    Ditto Kasendar remembers soft music drifting from the robotaxi’s speakers as he rode home late at night from a friend’s birthday party last year. The next moment, Los Angeles firefighters were opening the door and asking if he was OK.

    RELATED: Waymo car delivers misbehaving teen passengers to San Mateo police

    His six-minute trip had ended nearly an hour before. A remote Waymo assistant, dialing in through the car’s speakers, repeatedly tried to rouse him and finally called 911 when he wouldn’t stir.

    “I was like, ‘Oh my god, what happened?’” said Kasendar, 30, an interior designer.

    Kasendar’s robocab nap was, unfortunately, not an isolated incident.

    As companies like Alphabet Inc. and Tesla Inc. bring self-driving taxis to more cities, the messier aspects of serving unpredictable humans are becoming harder to ignore. Passengers are falling asleep, spilling drinks, dropping food, vomiting, experiencing medical emergencies and, in at least two instances, giving birth in the cars. They stumble out of the vehicles and forget to close the doors, forcing the operators to pay nearby gig workers to do it.

    These seemingly minor nuisances are becoming a drain on municipal resources and complicating the rollout of robotaxi service.

    So many robotaxi customers have nodded off in the midst of a ride that Austin police and firefighters even have a name for the incidents: “sleepers.” The Texas capital recorded 99 such calls in Waymo’s first nine months of service there, said Roger Patterson, a commander with Austin-Travis County Emergency Medical Services.

    RELATED: Waymos are convenient, safe and increasingly obnoxious

    If tired or wasted passengers fall asleep in a traditional taxi or rideshare, the driver can shout or shake them awake. Not so in a robotaxi. Remote assistants monitoring the cars try talking through the speakers and checking on passengers with interior cameras. But if they get no response, company protocols often require them to call 911. And first responders have to assume the worst.

    Austin dispatchers treat an incident as a potential heart attack if the remote assistant can’t tell whether the passenger is breathing, Patterson said. In the end, only about 3% of such calls require transporting the passenger to a hospital, he said. But the incidents tie up personnel who might be needed elsewhere.

    “We don’t want to commit a significant number of resources to these calls when, statistically, we know that most of the time, these people do not need further medical treatment,” Patterson told an Austin City Council meeting in April. “These calls are very resource-heavy.”

    For the cities involved, robotaxis can pose other problems that require a human response. In San Francisco, more than 60 Waymos had to be moved out of the way after a widespread blackout in December left the cars paralyzed on city streets, in some cases blocking first responders.

    Last week, the National Highway Traffic Safety Administration sent autonomous driving companies a letter saying some cars have been driving through emergency scenes, ignoring flares and traffic cones and obstructing ambulances. It urged the companies to find solutions and said the administration would set up meetings with them to ensure the problems are addressed.

    “When someone else is there to take on the responsibility, then that divests the company of a lot of incentives to do something,” said Bryant Walker Smith, an associate law professor at the University of South Carolina and expert on automated vehicle technology. “Local governments are massively subsidizing the research and development and operation of automated driving.”

    Tom Dwiggins, fire chief of a Phoenix suburb served by Waymo, said the companies need to standardize their procedures so first responders won’t have to guess how to immobilize vehicles, open car doors and contact remote assistants in an emergency.

    “We would love to see one standard approach across the board,” said Dwiggins, with the Chandler, Arizona fire department. “If you expect a firefighter in a four-minute response to look up research, try to figure out which vehicle it is, what type of platform it’s on, what company — that’s not going to happen.”

    Robotaxi companies don’t publicly report statistics on slumbering customers or mid-ride emergencies, making it difficult to gauge the scale of such problems. Most host cities aren’t in a rush to publicly discuss them, either. Officials in San Francisco, ground zero for the technology’s testing and deployment, did not disclose numbers despite repeated requests from Bloomberg, although Austin officials in a public meeting said San Francisco experienced 250 such incidents in 2025.

    The rollout of autonomous taxis, however, can at times resemble a vast social experiment, testing technology and people alike.

    Alphabet’s Waymo, Amazon.com Inc.-owned Zoox and Tesla have had to design incentives to keep passengers from trashing cars that lack a watchful human driver. Tesla, for example, charges users $50 for moderate messes such as food spills or significant dirt. Smoking or leaving biowaste behind costs $150.

    Waymo, meanwhile, prompts users to report their own spills, charging a $50 cleaning fee that jumps to $100 if the next passenger discovers the mess first. Repeat offenders — for trash and smoking violations — will be charged more, according to the company’s help page.

    “Life happens, which is why we have robust systems and trained professionals ready to support our riders and fleet when it does,” said a Waymo spokesperson. “Since Waymo is a shared space, we ask riders to treat the vehicles with respect and let us know if a car needs more attention so it stays clean and pristine for the next person.”

    The absence of a driver can lull passengers into thinking they can do whatever they want, unobserved. But the cars have internal cameras. Waymo’s remote team of support staff, for example, can access that footage to conduct cleanliness checks or if they detect unusual activity or rule violations.

    And someone will always find the mess. Waymos — all of them electric — return to their depots when they require charging, giving workers a chance to clean the cars. If they have to deal with any sort of biohazard, they are paid extra for the shift, one former contractor told Bloomberg News. A recent job listing for an autonomous vehicle cleaner posted by Moove, Waymo’s fleet partner in Miami, included “respond to biohazard incidents (vomit, blood, spills) per OSHA bloodborne pathogen protocol” as one of the job’s responsibilities. “Full PPE and training are provided,” the posting read.

    Social media show many passengers are willing to ride with some level of mess, even if it annoys them. They often post snapshots of the refuse, including beer cans, spilled fries, a half-eaten bowl — even cracked eggs.

    Sarah Vasile, a frequent Waymo rider in Los Angeles, has found trash and alcohol left inside some vehicles. Her roommate recently took a ride during which BuzzBallz rolled out from beneath the seat. Still, Vasile considers the robotaxis cleaner than most human-driven cabs or rideshares.

    Last year, Vasile realized she had stepped in dog poop just before her Waymo arrived. She hit the call button on the back screen of the car to report the issue to Waymo remote assistants, who thanked her and said the car would return to its depot after her trip was done. She wasn’t charged for cleaning.

    “It made me feel good knowing that they weren’t going to send the car to someone else,” she said.

    Preventing or cleaning filth, however, pales in comparison to the problems posed by medical emergencies en route.

    Waymo has a team of specialized, US-based agents dedicated to coordinating with first responders during incidents, according to the company’s written testimony to US Senator Ed Markey in February. Riders who experience a medical emergency can reach out to 911 directly or contact Waymo’s remote support staff via the in-car tablet. Zoox passengers can press the “emergency call” button located above them, on the screen, or on their app to connect with a support representative who will contact first responders as necessary, according to a company spokesperson.

    In December, a passenger in San Francisco on her way to the hospital even gave birth in a Waymo’s back seat. The remote assistant called to check on the rider and contacted 911 after the vehicle detected “unusual activity,” according to NBC News. That marked at least the second Waymo delivery, following a similar situation in Phoenix.

    David Margines, director of product management at Waymo, said the vehicles can offer a safer solution in emergencies than a traditional taxi or rideshare, whose driver may not know how to respond.

    For his part, Kasendar said the response to his accidental nap made him even more likely to use Waymo, which he rides about four or five times a week. It didn’t hurt that the experience ultimately did not cost him more than the original $8 fare, even with the added time.

    “It feels safer in a way,” Kasendar said. “With humans you don’t know what’s going to happen, but with Waymo you do know.”

    More stories like this are available on bloomberg.com

    ©2026 Bloomberg L.P.

  • Nordstrom Anniversary Sale 2026: The Top 20 Deals on Hollywood’s Most-Loved Labels

    Nordstrom Anniversary Sale 2026: The Top 20 Deals on Hollywood’s Most-Loved Labels

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    From discounted designer gems to the best of premium beauty, summer’s steepest savings have arrived courtesy of Nordstrom’s Anniversary Sale. Early access for the annual event opens on a rolling basis starting Tuesday, July 14 (more on this ahead), with public sale access between Saturday, July 18 and Sunday, August 9.

    Below, everything to know about the 2026 Anniversary Sale, including 20 of the most sought-after styles for this season and beyond.

    Nordstrom Anniversary Sale Dates and Early Access

    While the 2026 Nordstrom Anniversary Sale opens to the general public on Saturday, July 18, rewards members can enjoy early access as soon as Tuesday, July 14. Customers’ access dates depend on their membership tier in The Nordy Club, the retailer’s free-to-join loyalty program. Access dates for the 2026 sale are as follows:

    • Icons: July 14
    • Ambassadors: July 15
    • Influencers: July 16
    • Everyone: July 18

    Influencer status can be achieved either by opening a Nordstrom Credit Card or reaching a purchase balance of $500. Ambassador status is unlocked with a minimum annual spend of $5,000, and Icon status is achieved once reaching a minimum annual spend of $15,000 using your Nordstrom card. The sale ends for everyone on Sunday, August 9.

    Nordstrom Credit Card Benefits​ and Sign Up Bonus

    For those considering signing up for Nordstrom’s credit card, the Anniversary Sale is the most strategic time to do so. Card members get automatic Influencer status, which opens the sale’s early access window on July 16, two days ahead of general access. Additionally, through Aug. 9, new cardmembers will receive $60 off their next purchase.

    For beauty fans, Nordstrom is also offering cardmember-exclusive cosmetics savings of up to 30 percent on top brands like Dyson, Clé de Peau Beauté and Clarins. These Early Access Beauty Exclusives — only available July 18 — join Nordstrom’s larger collection of Anniversary Sale Beauty Exclusives, offered to all shoppers. Non-cardholders can apply for a credit card now at Nordstrom.com.

    Nordstrom Anniversary Sale 2026: Shop 20 Best Deals

    The darted, tapered-leg gives a subtle barrel jean effect.

    While Nordstrom’s fashion and beauty deals may first come to mind, homeware is a sleeper hit year after year.

    Transition from chilly summer nights to breezy fall days with Faherty’s trending rugby shirt, available in three striped varieties.

    No explanation needed.

    Hop on the animal print wave with four patterned variations of the limited-edition Nordstrom x Flabelus collab.

    If you haven’t already, it’s time to embrace the boar bristle brush. By distributing oils from roots to ends, these natural bristles are the secret to healthy, shiny hair, and Bur Bur’s version has gone completely viral for its chic wavy handle. For the best results, pair with the Detangling Mermaid Brush, also 30 percent off for a limited time.

    Nordstrom Anniversary Sale: the most acceptable time to splurge on cashmere socks.

    Prep for summer showers with Barbour’s water-repellent jacket, available in both olive and black.

    Therabody can do no wrong.

    Also available in pink stripe.

    A summer-friendly alternative.

  • Almost Friday’s Tyler Falbo to Direct R-Rated Comedy ‘Boys for Life’; Paramount Sets Theatrical Release Date (EXCLUSIVE)

    Almost Friday’s Tyler Falbo to Direct R-Rated Comedy ‘Boys for Life’; Paramount Sets Theatrical Release Date (EXCLUSIVE)

    Tyler Falbo, a writer, director and producer known for his shaping the viral comedy videos of sketch group Almost Friday, is helming an R-rated comedy movie for Paramount.

    Titled “Boys for Life,” the film will be released theatrically on April 9, 2027, under Paramount’s newly announced Primal label. While few plot details are available, Variety hears it is an ensemble comedy about a group of friends reuniting — with a twist.

    “Boys for Life” is currently in production. Paramount acquired the project in a competitive situation that also involved A24 and Warner Bros., Variety hears. Falbo serves as director and producer, and he co-wrote the script with Max Barrett. Galen Core also serves as producer.

    As its de facto showrunner, Falbo is credited with driving the dark, genre-bending humor of “Almost Friday TV,” the sketch comedy arm of the Los Angeles-based digital media company that launched Will Angus, Eilise Patton and other rising talent into the comedy scene. Falbo is also attached to direct “Last Night Was a Movie,” his TV project starring Almost Friday cast members that’s in development at FX.

    Co-writer Barrett is the creator of Friday Beers and co-founder of Almost Friday Media, who, in 2020, formed the company’s original sketch comedy crew of Liam Cullagh, Angus, Chet Collins and Billy Langdon.

    The project hails from Paramount Primal, which will focus on “smartly budgeted” films from “next-generation storytellers” across comedy, horror, action and grounded science-fiction. The label recently acquired the U.S. rights to adapt the original screenplay for “A Nightmare on Elm Street” from the Wes Craven estate.

    Falbo is represented by Range Media Partners, UTA and Ziffren Brittenham. Barrett is represented by Mosaic, Fox Rothschild and WME.

  • Christopher Nolan Crammed Inside Trojan Horse With 20 Actors to Shoot Pivotal ‘Odyssey’ Scene

    The Odyssey world tour landed in New York City on Tuesday night, shutting down Lincoln Square for a star-studded red carpet accompanied by soldiers and a massive Trojan Horse.

    The 40-foot statue is much more than just a prop to promote the film, as it also plays a pivotal part in the story — Odysseus (played by Matt Damon) and his men hide inside for their secret attack to win the Trojan War, before they begin their long and treacherous journey home. Christopher Nolan and his team built the horse — along with many other major set pieces — practically for the film, and even saw the director himself climb inside.

    John Leguizamo, who plays Odysseus’ trusted friend Eumaeus, told The Hollywood Reporter on the red carpet that he first saw the Trojan Horse when “I was looking for Chris Nolan to meet him, and they told me he was inside the horse with 20 actors and the DP [Hoyte van Hoytema] and the IMAX camera. I couldn’t believe that. I was like, wow, this man is a leader. This man is not going to ask anything of you that he doesn’t attempt himself.”

    Charlize Theron, Samantha Morton, John Leguizamo, Tom Holland, Matt Damon, Anne Hathaway, Lupita Nyong’o, and Zendaya at the New York premiere.

    Mike Coppola/Getty Images for Universal Pictures

    Damon — who walked the NYC carpet alongside fellow stars Tom Holland, Anne Hathaway, Zendaya, Charlize Theron, Lupita Nyong’o, Elliot Page and Jon Bernthal — has also spoken about shooting the Trojan Horse sequence during the press run, telling GamesRadar+ that Nolan didn’t have a plan on how they would film it until the day of.

    Damon said that Nolan told the group they were “just going to cram in there and figure it out,” as the star recalled “that feeling of claustrophobia, that was all just developing organically… Hoyte was looking through the lens, and Chris was right next to him. They just built that in real time. It was so cool to see. If we had planned it out, I don’t think it would have had that same energy.”

    The original horse from the film is currently on display outside the AMC Theater at Universal Studios Hollywood’s CityWalk. The Odyssey hits theaters on Friday.

    Michaela Zee contributed to this report.

     

  • Whether in ‘Jurassic Park’ or ‘The Piano,’ Sam Neill Put the Movies First

    Whether in ‘Jurassic Park’ or ‘The Piano,’ Sam Neill Put the Movies First

    Sam Neill had been steadily working in the movies for nearly two decades before he became, at the age of 45, a star in the industry’s eyes. A sturdy, reliable everyman who radiated, depending on the role, a kind of quietly masculine decency or a steely chill, the New Zealander never chased the flashy, all-guns-blazing lead roles. Indeed, through the early years of his career, he did much of his best work as a selfless supporting pillar for various female tour de force turns: Judy Davis in “My Brilliant Career,” Isabelle Adjani in “Possession,” Nicole Kidman in “Dead Calm” and Meryl Streep in “Plenty” and “A Cry in the Dark.” His performances in all those films were intelligent, carefully etched and modulated so as to throw all the spotlight on his co-star; if he wasn’t yet a household name, that very humility had him much in demand.

    Yet when a pair of career-defining roles in 1993 launched him to the A-list, it wasn’t through a notable change in tack. As paleontologist Dr. Alan Grant in Steven Spielberg’s “Jurassic Park,” he was finally first-billed in a Hollywood mega-blockbuster, playing a macho hero type with his own accompanying action figure — but Neill knew as well as anyone that he was still playing second banana to a horde of dazzlingly rendered dinosaurs. With those creature effects always set to be the film’s primary selling point, Spielberg and Universal didn’t need a ready-made star for what producer Kathleen Kennedy at the time conceded “isn’t an intensely complicated part.” Neill was professional and affordable and wouldn’t pull focus; he was perfect.

    Yet “Jurassic Park” was the kind of cultural colossus that threatened to make him a Hollywood leading man in spite of himself — even if, in a Los Angeles Times interview at the time, he shrugged off the idea, claiming that Spielberg’s film may have given him “a little more leverage,” but he continued to have “this penchant for small films — my agents complain about it from time to time — because I like to play a lot of different things.”

    One of those small films was “The Piano,” by his compatriot Jane Campion, which won the Palme d’Or at Cannes just as “Jurassic Park” was hitting theaters. In it, Neill was no hero. As the violently abusive, cuckolded husband of Holly Hunter’s mute mail-order bride in Campion’s colonial-era erotic fable, he was the stiff, priggish counterpoint to the liberated, sensual masculinity embodied in the film by Harvey Keitel. It was an unflattering, potentially thankless part that Neill played with a petty, almost poignantly impotent rage, and a fascinating performance to be doing the rounds while, over on the other side of the world, Neill was being fashioned as a Hollywood action man.

    Once again, he was a lucky charm for his female co-star: Hunter won the Oscar for her brilliantly anguished, intuitive turn, and while “The Piano” received eight nominations overall, there was none for him. Not that he was bothered. Years later, he wrote that he regarded Campion’s “important feminist film” as being like “a medal on my chest”: “It’s a film that will always have a place in cinema history. And I served in it.”

    It’s a statement that encapsulates Neill’s approach to his career. He’d never headline a hit on the scale of “Jurassic Park” again, but that film and its sequels enabled him to take more profitable, unmemorable paycheck roles than he might otherwise have been offered. And those in turn gave him the liberty to pursue unusual, intimate projects with gifted collaborators (from John Carpenter’s “In the Mouth of Madness” to Sally Potter’s “Yes” to Warwick Thornton’s “Sweet Country” to Taika Waititi’s “Hunt for the Wilderpeople”) in which his own performance was less important than the artistic whole. In later years, unlikely social media fame — for posts showcasing his wry sense of humor and down-home love of nature — would seal his reputation as one of the industry’s nice guys. As a screen presence, however, he was more interesting and unpredictable than that.

  • DeepMind CEO Says AGI Will Be Bigger Than Electricity or Fire

    DeepMind CEO Says AGI Will Be Bigger Than Electricity or Fire

    In brief

    • Demis Hassabis says AGI is likely only a few years away.
    • He wants a new U.S. standards body to evaluate frontier AI models before deployment.
    • The proposal calls for pre-release testing that could eventually become mandatory for the most capable systems.

    For the second time this year, Demis Hassabis predicted that artificial general intelligence would arrive before the end of the decade. This time, however, he said it won’t simply be another technological breakthrough—it will rival the discovery of electricity or fire.

    In a blog post published Tuesday on X, the Google DeepMind CEO said AGI is “probably only a few short years away,” describing it as a technology that could reshape human civilization.

    “When we look back on this time in the decades to come, I think we will realise we were standing in the foothills of the singularity–nothing less than the dawning of a new age for humanity.”

    According to Hassabis, AGI, the point when computers can understand, learn, and perform a wide range of tasks as well as or better than humans, should not be compared with advances such as the internet or mobile computing because its impact could be even greater.

    “It is much more akin to the discovery of electricity or fire,” he wrote. “If you stop to think about it, we’ve essentially found a way to make sand think. It’s miraculous.”

    Despite that optimism, Hassabis warned that AI capabilities are advancing faster than society’s ability to understand and manage the risks, pointing to cybersecurity threats that already exist with today’s frontier models, adding that future systems could introduce biological, nuclear, and other national security risks.

    As AI becomes more agentic and capable of self-improvement, he argued, stronger technical safeguards will be needed to ensure humans remain in control.

    “On the horizon, we will need robust safeguards to maintain control of increasingly agentic, recursively self-improving systems–and tackle unknown issues that will only become clearer over time.”

    The news comes as AI leaders have spent much of the past year since the public launch of ChatGPT in 2022 warning that AGI could arrive sooner than expected. In January 2026, Anthropic CEO Dario Amodei said human-level AI could emerge within one to five years and warned governments were underestimating the pace of development. Then, in June, Hassabis predicted AGI would arrive by 2030 and warned society had “not long to prepare.”

    To address those concerns, Hassabis proposed creating a U.S. Frontier AI Standards Body modeled after the Financial Industry Regulatory Authority, or FINRA, a private organization that oversees U.S. brokerage firms. The federally supervised public-private partnership would be funded primarily by the AI industry and staffed by independent technical experts and open-source representatives to evaluate frontier AI models.

    “The rapid progress we’re seeing in AI requires a new approach to testing frontier AI model capabilities that is dynamic, adaptable, and rigorous,” he wrote. “The US is well positioned, given its economic and technical standing, to take the first step in developing such a framework.”

    The proposal follows similar calls made by the prominent members of the industry to establish oversight for advanced AI.

    In May 2023, during a hearing before the U.S. Senate Committee on the Judiciary, OpenAI CEO Sam Altman called for a federal agency to license powerful AI systems and require independent safety audits. More recently, last month, President Donald Trump signed an executive order creating a voluntary framework for reviewing advanced AI models before their release. That same month, Anthropic CEO Dario Amodei warned that AI is getting too powerful and safety rules akin to the Federal Aviation Administration (FAA) are needed.

    Despite the push to regulate AI development, Hassabis said the world has only a limited window to establish common standards before AGI arrives.

    “The future is not yet written, we must use this precious window before AGI arrives to shape this technology for the benefit of all humanity,” he wrote. “What we collectively do now will determine how the next phase of civilisation unfolds. By safely stewarding AGI into the world, we can enter a new golden age of scientific discovery and progress, and usher in a bright future of incredible human flourishing.”

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  • QuickSwap Goes All-In on Orbs for Perpetual Futures Trading

    QuickSwap Goes All-In on Orbs for Perpetual Futures Trading

    QuickSwap, one of the oldest names in decentralized exchange trading, has officially rolled out Orbs’ Perpetual Hub Ultra 2.0 as the default engine powering perpetual futures across every chain it operates on. The decision wasn’t made behind closed doors. It came after a community vote, “Full Shift of Decentralized Perpetuals to Orbs Network,” which cleared with a decisive 81.8% approval from QUICK token holders.

    The shift effectively retires the Orderly-based Falkor setup that had been running on Polygon PoS, replacing it with the same Orbs-driven architecture that QuickSwap already introduced on Base back in the fourth quarter of 2025. It’s not a cold start, either. QuickSwap and Orbs have been working together for years at this point, with tools like dTWAP, dLIMIT, and Liquidity Hub already live in production on both Polygon PoS and Base.

    Ran Hammer, VP of Business Development at Orbs, framed the announcement as something bigger than a routine infrastructure swap. “This is what the next phase of DeFi looks like: a top-tier DEX running a complete perps stack natively on Layer-3, with liquidity from day one and execution quality that rivals centralized venues,” he said. He also pointed to the vote itself as a signal of where the industry is heading, adding, “An 81.8% community vote says it all – decentralized markets are ready to compete with traditional finance on its own terms.”

    Full-Service Perpetual Trading Stack

    What QuickSwap gets out of the deal, in practical terms, is a full-service perpetual trading stack that doesn’t lean on outside providers. Execution, settlement, hedging, liquidation, pricing, and the trading interface itself are all handled natively through Orbs’ Layer-3 infrastructure. There’s no bootstrapping period to worry about, either; liquidity is pulled in from day one through Orbs’ integrated system, which taps into several deep liquidity sources at once rather than relying on a single pool building up over time.

    Under the hood, the platform runs on a TEE-secured execution environment, meaning trades are processed inside a trusted, hardware-isolated setting rather than out in the open. Price feeds come in cryptographically signed, and the resulting state is periodically committed on-chain through rollup settlement, giving traders a verifiable record without sacrificing speed.

    On the trading side, users get access to the usual order types, market, limit, stop-loss, take-profit, along with more advanced bracket orders. Convenience features like one-click trading, account abstraction, and gasless transactions are also part of the package, lowering the friction that’s historically kept some traders away from on-chain platforms.

    QuickSwap itself needs little introduction to anyone who’s spent time in DeFi. It’s been running since 2020 and remains the top exchange within the Polygon ecosystem, expanding over the years from Polygon PoS into Polygon zkEVM and Base while holding onto its reputation as Polygon’s flagship DEX.

    Like much of its infrastructure, the exchange is steered by its community through QUICK token governance, which is exactly the mechanism that greenlit this latest move. Orbs, for its part, operates as a decentralized Layer-3 network built specifically to handle the kind of complex trading logic that standard smart contracts struggle with.

    Its validator network runs on delegated Proof-of-Stake, backed by more than 1.12 billion ORBS tokens staked across the system. Both teams are pitching this integration as a step toward closing the gap between decentralized and centralized trading venues, not just in terms of speed and cost, but in the overall experience, while still keeping self-custody and on-chain transparency intact for users.

  • Anya Taylor-Joy Is a Con Artist on the Run in Apple TV’s High-Voltage Thriller ‘Lucky’: TV Review

    Anya Taylor-Joy Is a Con Artist on the Run in Apple TV’s High-Voltage Thriller ‘Lucky’: TV Review

    Based on Marissa Stapley’s 2021 novel of the same name and adapted for television by “Your Friends & Neighbors” creator Jonathan Tropper, Apple TV limited series “Lucky” is the captivating story of one young woman’s desperate attempt to break free of the dark and violent life that’s shaped her. More than an intricate game of cat-and-mouse, the crime drama plays on the tensions between nature and nurture while unpacking the dangers and vulnerabilities that come with loving other people.

    We first see Luciana “Lucky” Armstrong (a fantastic Anya Taylor-Joy) trying to evade the FBI at a crowded bus stop somewhere in Arizona. But this is not where Lucky’s story begins. In a flashback to the previous day, Lucky embraces her husband, Cary (Drew Starkey), on the balcony of their massive hotel suite in Las Vegas. At the bidding of Lucky’s incarcerated con artist father, John (Timothy Olyphant), the couple has stolen $10 million from notorious gangster Wayne Whittaker (William Fichtner), and they decide to live it up for one last night before fleeing the country. Despite their celebratory mood, Lucky can’t quite shake the feeling that something is on the verge of going horribly awry.

    When Lucky awakens the next day alone in the suite, with neither Cary nor the money in sight, she realizes her gut instinct was correct. With FBI special agent Billie Rand (Aunjanue Ellis-Taylor) on her tail and Whittaker underboss Priscilla Matheson (Annette Bening) on her neck, Lucky must use all the knowledge her sole parental figure instilled in her so she may emerge from her circumstances in one piece.

    Replete with gunfights, car chases and more than a few intriguing grifts, all seven episodes of “Lucky” feature heart-racing sequences that rival those of any worthwhile high-voltage thriller. Still, the show maintains its dynamism because it remains character-driven. Billie’s obsession with taking down Priscilla constantly puts her team in peril, because being so laser-focused on one thing clouds the bigger picture. While it’s clear that John deeply loves his daughter, his addiction to manipulation and money usurps his paternal instincts. Priscilla is as vicious as they come, but her muscle, Dutch (Clifton Collins Jr.), does all her bloody bidding. Yet, in Whittaker’s presence, she becomes softer and more compliant. Cary, torn between his own desires and others’ expectations, can’t seem to determine where his loyalties lie. Lucky thinks she can escape the world she was born into unscathed. However, as Priscilla reminds her at one point, “Just because you don’t like who you are doesn’t mean you can run away from her.”

    Lucky faces this conundrum as she tries to track down Cary while outrunning the FBI and Priscilla’s wrath. Meanwhile, the series unpacks how she even got into this predicament. Through flashback sequences, we see her childhood with John, which was shaped by distrust and lies. This exhausting existence has kept Lucky emotionally dependent on her father. It also cost her the only sense of true normalcy she’s ever known.

    “Lucky” is a project worthy of Taylor-Joy’s talent. Following the resounding success of “The Queen’s Gambit,” she was cast in the high-profile 2024 movie “Furiosa: A Mad Max Saga,” where George Miller’s spectacle overwhelmed her performance — and it bombed. “Lucky” is different. Through Taylor-Joy’s character, the series reminds us to face ourselves, even the broken and painful bits that feel shameful. It is about embracing the good and the bad before fully shedding what no longer serves you. As Lucky comes to understand, it’s one thing to con other people, but the cost of conning yourself is often insurmountable.

    The first two episodes of “Lucky” debut July 15 on Apple TV, with the remaining episodes airing weekly on Wednesdays.