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Antoinette Bower, the German-born British actress who starred on an Adam & Eve-like episode of The Twilight Zone and portrayed the seductive catlike alien Sylvia on an installment of Star Trek, has died. She was 93.

Bower died April 30 in an Eagle Rock senior retirement home in Los Angeles, her friend Carlotta Glackin — great niece of famed Golden Age character actor Edward Everett Horton — told The Hollywood Reporter.

On the big screen, Bower got top billing in the Filipino-shot horror film Superbeast (1972), played the wife of Leslie Nielsen and mother of Jamie Lee Curtis in the slasher classic Prom Night (1980) and was kidnapped by Charles Bronson in the action thriller The Evil That Men Do (1984).

For three seasons (1989-92), she recurred as the kind Fox Devlin, an associate of Winston Rekert’s Dr. Michael Terry, on the Canadian TV drama Neon Rider, set on a ranch in British Columbia for troubled and abused teens.

On the Rod Serling-penned, Ted Post-directed Twilight Zone episode “Probe 7, Over and Out,” which premiered in November 1963 during the anthology show’s fifth and final season, the statuesque Bower portrayed Eve Norda, a woman stranded on a distant planet. The only other person around is an astronaut named Adam Cook (Richard Baseheart).

Bower also was memorable as the villainous Sylvia opposite Theo Marcuse as Korob on the second-season Star Trek episode “Catspaw,” which premiered in October 1967.

Antoinette Alexandra Jane Bower was born to a German mother and English father on Sept. 30, 1932, in Baden-Baden, Germany.

Educated in England, she was a field language supervisor and welfare counselor in the late 1940s with the United Nations’ International Refugee Organization, which assisted millions of people left homeless across Europe and Asia following World War II.

Bower rejoined her family in Canada in 1953 and in Toronto landed a job with the fledgling Canadian Broadcasting Corp., where she worked in public affairs, wrote scripts and conducted interviews on live TV. She also did some acting, appearing in a 1958 TV adaptation of The Tell-Tale Heart and in 1959 on the syndicated series Hudson’s Bay.

She visited L.A. and in the early 1960s decided to stick around after landing an uncredited role in Marlon Brando’s Mutiny on the Bounty (1962) and guest-star parts on such shows as Adventures in Paradise, Alfred Hitchcock Presents, Hong Kong, Wagon Train, Thriller, Hawaiian Eye and Perry Mason.

She remained quite busy through the early ’80s, showing up on Combat!, The Man From U.N.C.L.E., Burke’s Law, The Wild Wild West, I Spy, The Fugitive, The Invaders, The Big Valley, Bonanza, Mannix, Hawaii Five-O, Get Smart, Hogan’s Heroes, Mission: Impossible, The F.B.I., Columbo, Kojak and Murder, She Wrote and in the 1983 miniseries The Thorn Birds.

She pretty much left acting after her run on CTV’s Neon Rider.

About 10 years ago, Bower completed a documentary about chuckwagon racing in Canada that she shot, directed, edited and narrated after spending several summers with the participants.

Glackin noted that Bower, who studied carpentry at Santa Monica College, had been a valued Home Depot employee who custom-built cabinets and tall bookshelves at her home in Beverly Glen.

She added that Bower was still getting lots of fan mail from the Star Trek faithful and that William Shatner had emailed his condolences after learning of her death. (She was one of the 20 or so women to kiss Capt. Kirk on the show, according to this post.)

Bower wed Texas-born pop artist James Gill in 1963, but their marriage ended in divorce. She was pre-deceased by her half-brother, Roger.

A life celebration is scheduled for Sept. 26 in Pasadena.

Sofía has just finished her psychology studies in Valparaíso, Chile, and returns to her hometown, Valdivia. This return coincides with the discovery of a young girl’s body, which awakens buried memories of childhood in Sofía. She must decide whether to look beyond the rain and its veil to uncover a past that is painful and uncomfortable not only for herself but also for her whole community.

Director Valeria Sarmiento’s new film Behind the Rain world premiered in the Crystal Globe main competition of the 60th edition of the Karlovy Vary International Film Festival. Mixing beautiful black-and-white landscape images with the difficult subject matter of childhood sexual abuse, the movie is based on an original idea from Sarmiento and a screenplay that she worked on with the late Omar Saavedra Santis​. The director of photography is Acácio de Almeida; the editor is Galut Alarcón.

The cast features Paula Prado, Cristián Arriagada, Aline Kuppenheim, Shlomit Baytelman, Chamila Rodríguez, Daniel Muñoz, Julio Milostich, Aimar Alarcón Rodríguez and Clara Vargas Arellano. Rodríguez is also the producer of the movie.

Sarmiento and Rodríguez, who have been collaborators since Secrets (2008), talked to THR, via an interpreter, about Behind the Rain and their hopes for the societal debate it could cause.

What inspired this story and led you to make a film about a very important, and also very heavy, topic?

Valeria Sarmiento The initial inspiration was that in our society, child abuse is sadly really common. And oftentimes, we are silent about it.

You worked on the screenplay with Omar Saavedra Santis​. Was that his final film project, and how did he come on board?

Sarmiento Initially, I wanted to work on the film with my French and Swiss friends, but we did not really make any progress. When I met with Chamila, she suggested to go back to where it all started, which meant Chile. And that’s when I contacted Omar, who then he joined the team and developed my initial idea further.

Chamila, why did you want to work on this film – both as an actress and producer?

Chamila Rodríguez I was really intrigued by the artistic complexity, and I’ve been working with Valeria for 20 years. So, I had great trust in her. While we were working on our previous film, she started talking about this story, and it was very appealing to me, because I experienced something similar when I was a child. My experience of child abuse was hidden, and I never spoke about it until I was 40. Then; I finally started to speak about it, so I could really relate to the story. When she showed me the script, I immediately knew that I wanted to do it. I also see art, including film, as a way to exorcize demons, as a way to transform horrible things into something that’s more positive.

Your character isn’t necessarily the easiest person to be around…

Rodríguez Yes, my character is a lawyer who is really difficult to be with.

Behind the Rain has stunning black-and-white visuals, with color coming in only at the very end. Can you maybe talk about that choice?

Sarmiento I knew from the very beginning that the film was going to be in black and white, except for the ending, because I grew up seeing films with no color. I was born in 1948, so it took quite a time before I was able to see a color film. And the title also comes in here. My mother said to me that I have to look behind the rain in order to see all the colors and aspects, so that’s what I tried to do.

How did you cast Paula Prado in the lead role?

Sarmiento It was not easy to find an actress who would be able to travel with us to Valdivia, because many actresses work in theaters, and they can’t really travel to go there. And when I found Paula, I immediately felt that she was the right person, that she would be the perfect one to convey the ideas of the film.

How was the whole experience on set?

Sarmiento The shoot was very harmonious.

Rodríguez It was. And it is a great pleasure to work with Valeria, because as a director, she’s really calm, and you can trust her. You feel safe, and she knows exactly what she wants. Also, Valdivia is a beautiful small town. Everything is close there, so from a technical point of view, it was really helpful and easy to work there.

What is your hope for the film and the discussions it can maybe create in society?

Sarmiento We hope the film will do exactly that.

Rodríguez Yes, because people have to talk about it. It’s like the abuse is hidden because children don’t have the words to be able to tell others about what’s been happening

Don Iwerks, the Disney legend who spearheaded various camera and projection systems for the company’s parks and films, has died. He was 96.

Disney announced Iwerks died Thursday evening.

“It is with great sadness that we report that Disney Legend Don Iwerks has passed away at the age of 96,” reads a statement shared on Disney D23’s Instagram. “Iwerks was an innovator whose work brought The Walt Disney Company to new technological heights, aiding in perfecting the sodium vapor process used in 1964’s Academy Award®-winning Mary Poppins, developing the 360-degree Circle-Vision camera used to film America the Beautiful for Disney Parks, and implementing the projection system for the fan-favorite Star Tours attraction, among numerous other advancements. The achievements of Don Iwerks and his family have shaped Disney’s creative ethos and will forever be part of the company’s history.”

Born on July 24, 1929, Iwerks was the son of fellow Disney Legend Ub Iwerks, co-creator of Mickey Mouse (alongside Walt Disney himself). Iwerks began at Walt Disney Productions in 1950, when he was a special photographic processes laboratory technician. He was drafted into the Korean War but upon his return two years later returned to Disney.

Iwerks took on his role as a camera technician position in 1953, when he worked on his first feature 20,000 Leagues Under the Sea. He went on to lead the machine shop department, camera service department and technical engineering and manufacturing division.

The executive is particularly known for developing the 360-degree Circle-Vision camera; alongside Ub, he also helped develop the sodium vapor process.

After 35 years with Disney, he founded Iwerks Entertainment Inc. in 1986. The company was acquired by SimEx Inc. in 2001.

In 1997, Iwerks received the Gordon E. Sawyer Award from the Academy of Motion Picture Arts and Sciences’ Board of Governors, then named a Disney legend in 2009.

“Don embodied that rare combination of heart, ingenuity and passion that has always defined Disney,” Disney CEO Josh D’Amaro said in a statement. “Through his innovative contributions to some of our most iconic films and attractions, he helped create experiences that have delighted generations of fans around the world. All of us at The Walt Disney Company will miss him deeply, and we send our most heartfelt condolences to his family, whose enduring connection to Disney has helped shape its legacy for over a century.”

Barbara Ling, the production designer who turned back time and won an Oscar for re-creating 1969 Los Angeles for Quentin Tarantino’s acclaimed Once Upon a Time in Hollywood, has died. She was 73.

Ling died Thursday in Santa Barbara after a battle with cancer, a spokesperson for WME announced.

A Los Angeles native, Ling also tooled around her hometown for the present-day, Michael Douglas-starring Falling Down (1993), then reteamed with director Joel Schumacher to set up the fictional Gotham City for Batman Forever (1995) and Batman & Robin (1997).

In a career that spanned more than four decades, Ling served as the production designer on two 1991 classics, Oliver Stone’s The Doors and Jon Avnet’s Fried Green Tomatoes, on which she also was an associate producer.

She also teamed with director Scott Hicks on Hearts in Atlantis (2001), No Reservations (2007), The Lucky One (2012) and Fallen (2016).

Most recently, she worked on Marc Forster’s A Man Called Otto (2022), starring Tom Hanks, and on the blockbuster biopic Michael (2026), directed by Antoine Fuqua.

On Once Upon a Time in Hollywood (2019), Ling shared the Oscar for best production design with set decorator Nancy Haigh; the two had worked together once before, on the 1988 film Checking Out.

Tarantino’s “main thing from the moment we sat down was, ‘I want this to be real. I want to see. I want to smell and I feel that Hollywood. I don’t want to do green screen over here or have the digital interpretation. Let’s really change the billboards, and let’s put the real facades back on,’” Ling said in a 2019 interview.

“That is, to me, very exciting. It’s something we don’t do much of anymore. I knew that what he wanted was to encompass himself and the actors into an environment that you could feel is real. You’re not just staring at something that’s a piece of green screen where we piece together later. That was the starting ground of this.

“I had to go out and figure out where I could attach real things to. It was quite an engineering feat to do, particularly on Hollywood Boulevard, to say, ‘I want the Pussycat Theater back.’ To build those marquees, it’s added weight. These are old and fragile buildings that we were working with. We had to also work with engineers to make sure we weren’t going to pull the facade off once we rebuilt the old signs. It was laborious but well worth it.

“The night of the first shoot when all the neon lit up and the period cars came out and [Arianne Phillips’] costumes were out there, you absolutely believed you were in 1969 because everything was real. It was a movie filming a real street. We pretty much carried that theme through Westwood [to re-create the Bruin Theater] and everywhere we shot.”

After winning her Oscar, Ling lamented to reporters backstage that “L.A. is not a preservation city, never has been. Now there’s been a nonstop movement of apartment building and glass towers. … What we did will be impossible to do next year. It’s unfortunate. We hope this will bring some nostalgia back and stop things from being torn down.”

Born in August 1952, Barbara Claire Ling began her career designing sets and lighting for more than 200 theater, opera and musical productions. Among her early efforts was the 1981 HBO special The Pee-Wee Herman Show, taped at the Roxy in West Hollywood.

She made the leap to filmmaking when David Byrne enlisted her to design his directorial debut, True Stories (1986).

Her credits also included Heaven (1987), Less Than Zero (1987), V.I. Warshawski (1991), With Honors (1994) and Sydney Pollack’s Random Hearts (1999), among the films that demonstrated she was equally comfortable with period authenticity, contemporary realism and stylized fantasy.

Survivors include her wife, Lindsay, and their sons, Clay and Will.