Blog

  • Journalists Call On WHCA To “Forcefully Stand Up For Freedom Of The Press” In Front Of Donald Trump As He Attends Rescheduled Dinner

    Journalists Call On WHCA To “Forcefully Stand Up For Freedom Of The Press” In Front Of Donald Trump As He Attends Rescheduled Dinner

    Veteran and former journalists are renewing their calls on the White House Correspondents’ Association to speak out on the Trump administration’s attacks on reporters and press freedom when he attends its rescheduled dinner on Friday.

    A letter to the WHCA, organized by former ABC News correspondent Lisa Stark and executive producer Ian Cameron, reiterates earlier calls to condemn the president’s attacks on the news media. More than 500 veteran and former journalists signed on to a letter in advance of the April dinner.

    The April event, though, was ended abruptly after a gunman attempted to enter the Washington Hilton ballroom by breaching a security checkpoint, with a Secret Service agent struck by a bullet into his protective vest. The gunman, Cole Tomas Allen pleaded not guilty to a series of charges, including attempted assassination of the president.

    “Since that evening, the administration’s attacks on journalists and press freedom have become even more egregious,” the new letter to the WHCA stated. “The President’s Department of Justice has subpoenaed journalists and their phone records. President Trump has threatened to revoke licenses of broadcasters who refuse to acquiesce to his demands.”

    The letter called on the WHCA to “forcefully stand up for freedom of the press in front of the President, publicly defend the journalists he attacks, and vow to resist his administration’s concerted effort to
    undermine the First Amendment.”

    Among other things, they cited the Justice Department’s subpoenas to New York Times journalists after they reported on the lack of security features on the new Air Force One, a retrofitted 747 that was a gift from Qatar. The FCC has ordered ABC stations to seek early renewals of broadcast licenses, in what the network called a threat to the First Amendment. The FCC said that the early renewal was related to an investigation of the company’s diversity, equity and inclusion hiring practices, but it came after Trump called on the network to fire Jimmy Kimmel over one of his jokes.

    Among the organizations signing on to the letter in April were the Society for Professional Journalists, the Committee to Protect Journalists, the National Association of Black Journalists, the National Press Photographers Association, the Freedom of the Press Foundation, the Coalition of Women in Journalism, the Radio Television Digital News Association and the Media & Democracy Project.

    The dinner, to be held at a smaller venue at the Waldorf Astoria, is scheduled to include remarks from Trump, presentation of awards and scholarships, and entertainment from Oz Pearlman. The WHCA announced that special awards will be presented to Victor Gonzales, the Secret Service officer, and to the staff of the Washington Hilton.

    This post was corrected to reflect that the WHCA dinner will be held at the Waldorf Astoria.

    The complete letter is below:

    To the Officers, Board of Directors, and Members of the White House Correspondents’
    Association (WHCA):

    In April, hundreds of veteran journalists called on the White House Correspondents’
    Association to use its Correspondents’ Dinner to forcefully oppose the Trump
    administration’s attacks on journalists and on freedom of the press.

    The WHCA rescheduled the dinner for this Friday, July 24th, after a gunman brought an
    abrupt and terrifying end to the April event.

    Since that evening, the administration’s attacks on journalists and press freedom have
    become even more egregious. The President’s Department of Justice has
    subpoenaed journalists and their phone records. President Trump has threatened to
    revoke licenses of broadcasters who refuse to acquiesce to his demands.

    Yet, the White House Correspondents’ Association still plans on hosting the President
    at its rescheduled dinner.

    Our message to the White House Correspondents’ Association is now more urgent:
    forcefully stand up for freedom of the press in front of the President, publicly defend the
    journalists he attacks, and vow to resist his administration’s concerted effort to
    undermine the First Amendment.

    WHCA President Weijia Jiang says the dinner’s purpose is “to celebrate the First
    Amendment and the hard daily work of the journalists who defend it.”

    We believe it is hypocritical to celebrate the First Amendment in front of the man who
    relentlessly attacks it. We urge the WHCA to condemn the administration’s actions from
    the podium and pledge to fight all attempts by his administration to undermine this core
    pillar of a functioning democracy.


    Recent Trump Administration Attacks on Freedom of the Press

    • On July 10 the Trump administration subpoenaed several New York Times reporters,
      seeking to compel them to testify about their story regarding security concerns with the
      new Air Force One jet donated by the Qatari government. The New York Times condemned
      the move as a “brazen act” that violates the constitutional protection of freedom of the
      press.
    • The administration has also subpoenaed phone records of several New York Times
      journalists and their relatives. The newspaper called the administration’s actions an
      “attempt to intimidate journalists and chill their ability to report on the administration.”
    • President Trump called for ABC and NBC to lose their “broadcast licenses” after the
      networks decided not to air his live primetime address.
    • On April 6 President Trump threatened jail time for journalists who refused to disclose
      their sources about a U.S. fighter jet shot down in Iran.
    • In April, FCC Chairman Brenden Carr ordered Disney to submit early license renewals for
      its 8 owned television stations. This highly unusual request followed a Jimmy Kimmel
      comment that angered the administration.
    • Carr has also launched an investigation into ABC’s daytime talk show, “The View” for
      alleged violations of the equal-time rule for political candidates. Disney says this action
      infringes on the First Amendment and free speech.
    • The President continued his personal attacks against journalists, targeting women
      journalists and undermining trust in the media.
    • In April, he referred to Fox News contributor Jessica Tarlov as one of the “Least
      Attractive and Talented People on all of Television” after she reported on his low
      approval ratings
    • In a “60 Minutes” interview about the Correspondents’ Dinner shooting, when Norah
      O’Donnell read from the alleged gunman’s manifesto Trump told her, “You should be
      ashamed” of yourself. “You’re a disgrace.”
    • On May 7, at an event by the Lincoln Memorial reflecting pool, ABC News’ Rachel Scott
      asked Trump why he was focused on renovation projects amid rising gas prices during
      the Iran war. Trump turned to his aides and said “This is one of the worst reporters.
      She’s with ABC fake news, and she’s a horror show,” calling her question “a disgrace to
      our country.”
    • On May 12, Trump told MS NOW’s Akayla Gardner, a Black correspondent who
      questioned the ballooning cost of the White House ballroom, “I doubled the size of it,
      you dumb person… You are not a smart person.”
    • On June 3, during an Oval Office press availability he called CNN’s Kaitlin Collins “a
      corrupt reporter, [a] young, beautiful woman who never smiles. I never see a smile on
      her face. I see her standing there with hatred in her eyes.”
    • On June 5th during an interview for NBC’s Meet the Press, Kirsten Welker pressed
      Trump for evidence of election fraud claims. Trump told her, “You’re either crooked or
      you’re stupid.” He walked out of the interview saying, “Let’s call it quits because I’ve
      had enough. Thank you darling.”
    • The Pentagon continues to try to restrict reporter access, requiring journalists to be
      accompanied by an oeicial escort. In July, a judge determined this violated the First
      Amendment and ordered the Pentagon to temporarily stop the escort requirement.
    • On July 16th, the Trump administration announced it will drastically shorten visas for
      foreign journalists.
  • ‘Godzilla vs. Kong’ Stars Rebecca Hall and Millie Bobby Brown Pay Tribute to Kaylee Hottle: “You Will Be Deeply Missed”

    ‘Godzilla vs. Kong’ Stars Rebecca Hall and Millie Bobby Brown Pay Tribute to Kaylee Hottle: “You Will Be Deeply Missed”

    The Godzilla vs. Kong family is paying tribute to late franchise star Kaylee Hottle. 

    Hottle died in a car crash on Tuesday. She was 18. Her father confirmed her death in American Sign Language in a Tuesday Facebook video. 

    Hottle, a deaf actress, made her feature debut in 2021’s Godzilla vs. Kong when she was 9 years old; she played a deaf, orphaned indigenous Iwi girl rescued on Skull Island by Kong. She returned for 2024’s Godzilla x Kong: The New Empire, where her character’s relationship with Dr. Ilene Andrews (Rebecca Hall), an anthropological linguist who works on government monster research, is at the forefront of the storyline. 

    Hall shared a series of photos with Hottle in an Instagram post. She wrote, “Devastated to hear this news. My heart goes out to your family. You will be missed Kaylee.” 

    Millie Bobby Brown, who starred in Godzilla: King of the Monsters in 2019 and Godzilla vs. Kong, shared a tribute on her Instagram Story. “I’m so devastated to hear this. You will be deeply missed Kaylee,” she wrote atop a photo of the actress on the latter film. 

    New Empire actor Dan Stevens also took to his Instagram Story, where he shared a tribute photo of Hottle alongside a broken heart emoji. 

    Legendary Pictures, the production company behind the Godzilla movies, said in a statement on X, “We are devastated by the tragic passing of Kaylee Hottle. Through her unforgettable portrayal of Jia, Kaylee brought extraordinary heart, humanity, and light to Godzilla, Kong, and the Monsterverse. She was a cherished member of our film family, and her kindness, warmth, and remarkable talent touched everyone fortunate enough to work alongside her. Our hearts are with her family, friends, and all who knew and loved her during this unimaginably difficult time.” 

    CODA Oscar-winning actress Marlee Matlin wrote on Facebook, “I am absolutely gutted about the passing of sweet Kaylee Hottle. May her beauty and talent be a memory for eternity.”

    Read more tributes below.

  • Sausalito city manager appears in court to face charges

    Sausalito’s city manager made her first court appearance on Tuesday to face charges involving an alleged spate of crimes on the waterfront.

    Elaine Christina Forbes, 53, is charged with one count of prowling, two counts of unauthorized lodging on different boats and one count of petty theft of personal property.

    The charges are misdemeanors. Forbes has been at the Marin County Jail since Saturday morning, when sheriff’s deputies booked her on suspicion of felony burglary at a vessel at the Sausalito Yacht Harbor.

    In a brief proceeding, the court delayed the arraignment until Wednesday and did not address Forbes’ bail amount.

    Forbes did not enter a plea. Her defense attorney, Randall Knox, attended the proceeding by video link.

    Forbes, the former director of the Port of San Francisco for nine years, started the Sausalito job on July 1. She has a floating home on Richardson Bay just north of Sausalito city limits.

    The arrest happened two days after the Sausalito City Council met in closed session and approved a two-month leave of absence for Forbes. The city did not disclose the reason.

    On Friday, a former coworker concerned about Forbes filed a missing-person report with the Marin County Sheriff’s Office. The alleged burglary happened the following morning.

    Bill Aubrey, the captain of several vessels at the Sausalito Yacht Harbor, said he called authorities after finding Forbes aboard a client’s 75-foot cabin cruiser.

    “Even though she had locked all the doors, I was still able to get in and I confronted her,” Aubrey said. “Basically, I told her to get the heck off the boat, and then she looked at me and had a smile on her face, almost like she didn’t realize that anything was out of the ordinary.”

    The Marin County District Attorney’s Office filed charges on Monday. The complaint alleges that Forbes unlawfully entered two boats at the Sausalito Yacht Harbor, the Lisa Marie and the Sea Dog. It also alleges that she stole a woman’s clothing.

    A public relations consultant hired by family members of Forbes issued a statement saying she suffered a mental health crisis.

    “She appreciates that the city of Sausalito has been so supportive and understanding of the situation,” Knox said after the hearing Tuesday. “She’s got a tremendous network of friends and family who are trying to help her get through this.”

    Knox declined to comment on the alleged crimes.

    The city has named Assistant City Manager Brandon Phipps as interim city manager.

    “Our thoughts are with Elaine and her family,” the city said in a statement released on Monday. “She remains on a leave of absence while we evaluate the facts surrounding the matter.”

  • TV Ratings: World Cup Final Scores 63 Million Viewers, Smashing All-Time High for Soccer in the U.S.

    TV Ratings: World Cup Final Scores 63 Million Viewers, Smashing All-Time High for Soccer in the U.S.

    The biggest World Cup ever in the United States was fittingly capped by the most watched final match — and most watched match, period.

    Spain’s 1-0, extra-time victory over Argentina in Sunday’s final match delivered a combined total of nearly 63 million viewers on Fox, Telemundo and Peacock (62.8 million, to be precise). That is well beyond every other record set in earlier stages of the tournament and more than doubles the 25.78 million who watched the 2022 final between Argentina and Spain (16.78 million on Fox, 9 million on Telemundo and Peacock).

    Sunday’s audience was the the largest ever in the United States for any soccer match by almost 17 million viewers. The U.S. team’s loss to Belgium in the round of 16 was the previous high with 45.99 million viewers in both English and Spanish.

    Fox’s English-language broadcast averaged 38.9 million viewers, 5.8 million more than the U.S.-Belgium match, and peaked with almost 51.7 million people watching from 5:45-6 p.m. ET as Spain sewed up its victory on a Ferran Torres goal in the 106th minute. The 38.9 million figure also includes some pre-game coverage (as have its other ratings reports for the World Cup); for the match only, Fox’s audience was 42.5 million.

    The match-only figure for Fox was more than all but two of its NFL broadcasts last season — the NFC Championship game and its Thanksgiving game.

    Telemundo and Peacock’s Spanish-language telecast brought in 23.9 million viewers — breaking the all-time Spanish-language record of 23.2 million, set two weeks earlier for the Mexico-England match in the round of 16.

    The semifinals also brought in big numbers, with Argentina’s comeback to beat England scoring 28.3 million combined viewers (16.9 million on Fox, 11.4 million on Telemundo and Peacock) and Spain’s shutout of France earning 22.91 million (13.11 million for Fox, 9.8 million for Telemundo/Peacock).

    Saturday’s third-place game, a defense-optional 6-4 win for England over France, drew 13.13 million viewers for Fox, almost three times as many as the previous English-language high (4.76 million in 2010). Telemundo and Peacock averaged 7.7 million for a total of 20.83 million.

    For the tournament as a whole, Fox Sports averaged 7.74 million viewers on Fox, FS1 and Tubi, more than doubling the audience for both of its previous men’s World Cups (3.59 million in 2022, 2.77 million in 2018). Telemundo and Peacock (plus Universo and other Telemundo digital platforms) likewise had more than twice as many viewers as for the 2022 tournament, averaging 6.3 million viewers (vs. about 2.6 million four years ago).

    July 21, 4:28 p.m. Updated with final totals for Telemundo/Peacock and the cross-platform audience.

  • Spain’s World Cup Win Breaks Ratings Records, Scores as Most-Watched Soccer Telecast in U.S. TV History

    Spain’s World Cup Win Breaks Ratings Records, Scores as Most-Watched Soccer Telecast in U.S. TV History

    Spain’s victory over Argentina at Sunday’s FIFA World Cup 2026 final broke the record books in the United States — averaging 38,937,000 viewers watch on Fox, making it the most-watched soccer telecast in U.S. TV history and most-watched FIFA World Cup final ever in the U.S., according to Nielsen.

    Meanwhile, on the Spanish language side, Telemundo and Peacock brought in 23.9 million viewers to the World Cup Final, also making it the most-watched soccer match ever in Spanish-language TV history.

    Combined, that makes for a record-breaking 62.8 million viewers watching the match on Sunday, July 19.

    On Fox, the numbers spiked at 5:45 p.m., when 51,685,000 viewers were watching as Spain secured the only goal of the game — cementing its 1-0 victory in extra time over Argentina.

    The final was up 132% vs. FIFA World Cup 2022 final in Qatar (France vs. Argentina, Sunday morning Dec. 18, 2022, averaging 16,784,000 viewers) and up 240% vs. the FIFA World Cup 2018 final in Russia, (France vs. Croatia, Sunday morning July 15, 2018, with 11,441,000 viewers)

    The thriller of a World Cup final was completely dominated by Spain, which controlled the ball from virtually the start of the match. But despite multiple shots by Spain, Argentina deftly defended its goal — forcing the match to go into extra time. Finally, in minute 106, substitute Ferran Torres scored a goal for Spain, securing them the World Cup victory and denying Argentina a back-to-back win.

    The 38,937,000 viewers audience for the Spain win beat what had previously been the most-watched soccer telecast ever on U.S. English language TV, set by the U.S. Men’s National Team’s loss to Belgium in the round of 16, which garnered 33,089,000 viewers.

    The World Cup Final was a smash all over the world: As Variety previously reported, inside the winning country of Spain, the final averaged 15.7 million viewers and an extraordinary 87.1% audience share across RTVE’s La 1, regional broadcaster 3Cat, La 2 and DAZN, reaching a cumulative 20.1 million people.

    Last week, the two World Cup semifinal matches also broke records, including last Wednesday’s nailbiter between Argentina and England that averaged 15.063 million viewers on Fox, making it the most-watched FIFA Men’s World Cup semifinals match in English-language history.

    All told, the 2026 FIFA World Cup averaged 7.74 million viewers on Fox, FS1 and Tubi across 104 matches, up 116% vs. 2022 (3.59 million) and up 179% from 2018 (2.77 million). That made it the most-watched in U.S. TV history. Meanwhile, Telemundo and Peacock secured the most-watched World Cup in Spanish-language U.S. TV history, witch 6.3 million viewers — up 143% from 2022 (2.6 mllion).

    On Saturday, the third place game between France and England brought in 13,130,000 viewers on Fox, making it the most-watched FIFA Men’s World Cup third-place telecast in U.S. history (beating 2010’s Uruguay vs. Germany match, which had 4,755,000 viewers). Telemundo/Peacock’s coverage of the France vs. England third place match averaged 7.7 million viewers, making it the most-watched Third Place game in Spanish-language media history (up 225% vs. 2022’s Croatia vs. Morocco, which had 2.4 million viewers).

    The 39-day World Cup delivered an audience and sponsorship windfall for Fox and Telemundo/Peacock. With the strong performance on Fox, rivals are now looking at potentially making a bid for the next World Cup (which Fox paid $485 million for in 2026). Among some reportedly interested suitors: Netflix, ESPN, YouTube and Apple.

  • Dixon Q. Dern, Entertainment Lawyer Who Represented Desilu and Helped Get CAA Off the Ground, Dies at 97

    Dixon Q. Dern, Entertainment Lawyer Who Represented Desilu and Helped Get CAA Off the Ground, Dies at 97

    Dixon Q. Dern, the influential entertainment lawyer who represented Lucille Ball and Desi Arnaz and helped structure the business affairs of their landmark Desilu production company, has died. He was 97.

    Dern died Sunday at his home in Los Angeles, a spokesperson for WME announced.

    Dern also represented Bob Hope, Jackie Gleason, The Jackson 5 and the Television Academy, among many others. And as a founding partner of Dern, Mason, Swerdlow & Floum, he helped build a formidable Hollywood law practice.

    In 1975, Dern was approached by Michael Ovitz, Ron Meyer, Michael Rosenfeld, Rowland Perkins and Bill Haber, who told him they were bolting William Morris and forming a new agency, CAA.

    They asked “me if I would represent CAA and more importantly serve as a sort of go-between on the shift of clients from William Morris that would follow them,” he recalled in a 2009 interview for the TV Academy Foundation website The Interviews. He agreed to do so.

    Born on Jan. 24, 1929, in Colorado Springs, Dixon Quackenbush Dern was adopted by a woman who wasn’t yet married, a rare occurrence back then. He enrolled in 1946 at Stanford University, where he earned his undergraduate and law degrees, before arriving in Los Angeles, and he was admitted to the California Bar in 1954.

    His first job in L.A. was as the in-house attorney for the animation house UPA, the studio behind The Gerald McBoing-Boing Show and Mr. Magoo. He moved to CBS, where he handled network programming and employment contracts, but left the legal department to work directly with such series as Perry Mason and Rawhide.

    Dern exited in 1962 for the job of general counsel at Desilu Productions, the home of I Love Lucy and later shows including The Untouchables, Star Trek, Mannix and Mission: Impossible. There, his work contributed to the growth of television syndication as an enduring economic model, fundamentally changing how programming would be financed, distributed and valued for generations.

    He left Desilu in 1965 to run business and legal affairs at United Artists Television for a couple years before going into private practice with Dern, Mason, Swerdlow & Floum.

    Around that time, he also began serving as an arbitrator and mediator in entertainment and labor disputes, with his opinions widely respected and cited within the industry.

    Dern served as vice president and as a member of the board of governors of the State Bar of California; as president of the Beverly Hills Bar Association; as trustee of the Los Angeles County Bar Association; and as president of the Los Angeles Copyright Society.

    In 2009, the Television Academy honored him with its Syd Cassyd Founders Award, which recognizes members who have made a significant, positive impact on the Academy of Television Arts & Sciences with their years of involvement and service.

    His family noted he loved opera, books, politics and square dancing and “was deeply devoted to his AA community and proud of his 50 years of sobriety.”

    Survivors include his children, Chelsea, Warren, Peter, Rosalin and Greg Dern, five grandchildren and many great-grandchildren. He will be buried beside his wife, Lisa Dunn-Dern (the mother of Chelsea, she died in 2016), at Forest Lawn Hollywood Hills.

  • ‘The Odyssey’ Anoints Christopher Nolan as Hollywood’s Most Powerful Director — Here’s How Universal Thwarted Warner Bros. to Land Him

    ‘The Odyssey’ Anoints Christopher Nolan as Hollywood’s Most Powerful Director — Here’s How Universal Thwarted Warner Bros. to Land Him

    Greek mythology is riddled with humans who become immortal, many as punishment for tangling with the gods. But not Christopher Nolan, the toast of the mortal world’s Mount Olympus — Hollywood.

    The opening-weekend success of his Imax epic “The Odyssey” cements Nolan as his own kind of myth: a bankable auteur who can command the attention of worldwide moviegoers simply by picking up his camera.

    Nolan has spent most of his career in the upper stratosphere of show business; he’s thought to be one of a few name directors who are events unto themselves (Quentin Tarantino, Ryan Coogler, Greta Gerwig, James Cameron). But after a nearly $265 million global first frame for “The Odyssey,” the best start of Nolan’s career, he’s moved even closer to the sun. Analysts predict the film now has the runway to gross $1 billion around the world. The title has also crashed down on this year’s Oscars race like a thunderbolt from Zeus, disrupting a low-hum narrative that Amazon MGM’s “Project Hail Mary” is the reigning, populist choice for best picture.

    “The Odyssey” has “invited people back to a theatrical experience which had been hobbled since the pandemic,” says Jason E. Squire, professor emeritus at USC School of Cinematic Arts. “This is an extraordinary creative and commercial victory for Nolan and Universal Pictures.”

    Indeed, the other victor here is Donna Langley, NBCUniversal’s entertainment and studios chairman. As the days tick by and box office records for “The Odyssey” keep rolling in, it’s abundantly clear how important it was that Langley wooed Nolan to Universal Pictures five years ago following his messy breakup with Warner Bros.

    In 2021, Langley fended off Sony Pictures, Paramount and the deep-pocketed Apple Studios to win the director’s unexpected blockbuster “Oppenheimer.” While Nolan never has signed any kind of exclusive studio deal — and almost surely never will — Langley’s team has proven an able partner for the once-in-a-generation talent. In essence, they have replaced Warner Bros., where Nolan made nine of his 13 movies, as his default home.

    “You may think it’s an easy approval process to move forward with any Nolan movie, but it’s an enormous financial commitment. A $250 million budget, another $100 million at least for marketing? There is no guarantee of profitability, and that’s the intriguing and seductive gamble for movie executives,” added Squire, who taught Coogler at USC and hosts “The Movie Business Podcast.”

    That gamble has paid off and observably came down to an issue of trust. Nolan was incensed in 2021 when Warner Bros., his studio partner of nearly 20 years, went rogue amid the COVID-19 pandemic and decided to release a full slate of films concurrently on its streaming service HBO Max and in cineplexes. This directly impacted Nolan’s time-traveling action film “Tenet,” led by John David Washington and Robert Pattinson. Nolan’s brand exclusively celebrates movies made for theaters. Jason Kilar, the corporate overlord of Warners at the time, exploded the company’s goodwill with talent and agents in every corner of the business by forcing the studio’s titles to stream day and date.

    Langley, known for an English sort of grace under pressure and her bedside manner with filmmakers, swooped in with a complex and unusual deal for “Oppenheimer.” It guaranteed a lengthy exclusive theatrical window for the opus about the atomic bomb, committed in writing to a marketing spend equal to the film’s $100 million budget and awarded Nolan a generous portion of the film’s first-dollar box office grosses. Nolan earned a reported $100 million in fees and back end for the best picture Oscar winner. Langley and Nolan’s bond had been forged years before, as the two both have same-aged kids.

    While his “Odyssey” deal is thought to be a more standard agreement than the “Oppenheimer” pact, insiders say Nolan will again receive first-dollar gross. That means he stands to reap millions for his work on top of his salary early in “The Odyssey”’s theatrical run, instead of having to wait until the film is profitable. Reps for Universal Pictures and Nolan declined to comment.

    Not that WB, Universal’s neighbor in Burbank, didn’t put up a fight. In 2022, following Discovery’s purchase of Warner Bros., the film studio’s incoming leaders, Mike De Luca and Pamela Abdy, announced plainly in a Variety cover story that they were “hoping” to get Nolan back. Subsequently, we reported that De Luca and Abdy cut a seven-figure check to the director in 2022 — a payment in arrears for fees he waived in hopes of getting “Tenet” to be the first film shown in theaters reopening after coronavirus closures.

    That “little kiss,” as one source put it, didn’t work. Especially given the windfall that came to Nolan after Warner Bros. staked its own blockbuster “Barbie” on the same July 2023 release date that Universal had given “Oppenheimer.” While the competition ignited the box office in a world-class example of counterprogramming, the move was seen as baiting and antagonizing the director.

    And so Universal won the day again with “The Odyssey.” After the success of “Oppenheimer,” Nolan and partner Emma Thomas did not take “The Odyssey” out to other bidders. Langley traveled to Nolan and Thomas’ Hollywood Hills home and read the script with the pair, insiders say. Afterward, the group rolled directly into planning for the Matt Damon epic.

    Nolan can run the table with any studio partner he wants, but “The Odyssey” feels like his own homecoming to Langley’s lot. Shareholders, the creative community and global audiences are all pleased. Why test the movie gods?

  • OpenAI Models Escaped Locked Test Environment, Hacked Hugging Face to Cheat on Benchmark

    OpenAI Models Escaped Locked Test Environment, Hacked Hugging Face to Cheat on Benchmark

    In brief

    • OpenAI’s GPT-5.6 Sol and an unnamed, more capable pre-release model escaped a controlled test environment and breached Hugging Face’s production infrastructure to steal benchmark answers.
    • Hugging Face disclosed the breach on July 16 after detecting it independently; OpenAI confirmed its models were behind it today, describing them as “hyperfocused” on cheating rather than anything more sinister.
    • Hugging Face’s defenders turned to Z.ai’s GLM 5.2—a Chinese open-weight model—after commercial U.S. frontier AI refused to help analyze the attack data because its safety filters couldn’t tell a defender from an attacker.

    If you thought Chinese AI models were the ones you had to worry about, here’s a fun update: OpenAI’s own models just broke out of a locked testing environment, hacked Hugging Face’s production servers, and had to be cleaned up by a Chinese AI—because American commercial models were too restricted to help investigate.

    According to OpenAI, GPT-5.6 Sol and an unnamed, “even more powerful pre-release model” were being internally evaluated on ExploitGym—a publicly available cybersecurity benchmark that gives AI agents 898 real-world software vulnerabilities and one instruction per bug: turn it into a working attack, scored pass or fail. The evaluation ran with reduced safety filters, standard when you actually want to know what your models can do.

    The models were supposed to run inside a heavily restricted sandbox—an isolated digital environment with no internet access, connected only to an internal package registry proxy (a caching server that manages software library downloads).

    But, according to OpenAI’s blog post today, things went a little out of control.

    “While operating in our sandboxed testing environment, our models spent a substantial amount of inference compute finding a way to obtain open Internet access, in pursuit of solving the evaluation problem,” Sam Altman’s company reported.

    And, despite the company’s safeguards, the AIs found a way to be free. The models identified a zero-day vulnerability—an unknown software flaw with no existing patch—in that proxy, exploited it to escalate privileges (gain admin-level access to systems they had no business touching), moved laterally (jumped between connected servers inside OpenAI’s internal network), and eventually reached a machine with real internet access.

    All this without OpenAI knowing—at least that’s what OpenAI says.

    Once online, they correctly deduced that Hugging Face—host to over a million publicly available AI models, datasets, and research resources—likely held the benchmark solutions, and they were right.

    “The models identified and chained vulnerabilities across OpenAI’s research environment and Hugging Face’s production infrastructure to obtain test solutions directly from Hugging Face’s production database,” OpenAI wrote.

    They didn’t want any passwords. They wanted to pass the test.

    “All evidence suggests that the models were hyperfocused on finding a solution for ExploitGym, going to extreme lengths to achieve a rather narrow testing goal,” OpenAI added.

    Hugging Face goes public

    Hugging Face’s security team caught the breach independently, aided by its own AI-powered anomaly detection.

    On July 16, the company published its disclosure and made clear this wasn’t a standard breach: “This one was different from anything we had handled before in one important way: it was driven, end to end, by an autonomous AI agent system—and we detected and dissected it largely with AI of our own.”

    The campaign, per the disclosure, was “run by an autonomous agent framework executing many thousands of individual actions across a swarm of short-lived sandboxes, with self-migrating command-and-control staged on public services.”

    The attack exploited two code-execution paths in Hugging Face’s dataset processing pipeline and reached internal datasets and service credentials. OpenAI confirmed today—five days later—that its models were behind it.

    To analyze more than 17,000 logged attacker events, Hugging Face’s security team first tried American frontier AI via their standard APIs. It didn’t go well.

    “When we started the log analysis, we first used frontier models behind commercial APIs,” the company wrote. “This did not work: the analysis requires submitting large volumes of real attack commands, exploit payloads, and C2 artifacts.”

    “These requests were blocked by the providers’ safety guardrails, which cannot distinguish an incident responder from an attacker,” Hugging Face added.

    So they switched to GLM 5.2—a 753-billion-parameter open-weight model (architecture fully public, anyone can download and run it locally) from Chinese AI startup Z.ai. “We ran the forensic analysis instead on GLM 5.2, an open-weight model, on our own infrastructure,” Hugging Face wrote. “This had a second benefit: no attacker data, and none of the credentials it referenced, left our environment.”

    The forensic work—reconstructing the attack timeline, mapping compromised credentials, separating real damage from decoy activity—took hours instead of days.

    Hugging Face drew the lesson directly for other defenders: “Have a capable model you can run on your own infrastructure vetted and ready before an incident, both to avoid guardrail lockout and to keep attacker data and credentials from leaving your environment.”

    What OpenAI is doing about it

    OpenAI said it implemented strict controls on research infrastructure while patching the affected systems, disclosed the zero-day to the third-party vendor whose proxy was exploited, and is conducting a joint forensic investigation with Hugging Face.

    Hugging Face has also been added to OpenAI’s trusted access program for cyber defense—giving approved organizations access to versions of its models with reduced safety filters for legitimate security work, the same configuration that started this whole thing.

    Hugging Face CEO Clem Delangue had a pointed take: “AI safety won’t be solved by any single company working in secret. It will be solved in the open, collaboratively, with broad access to AI for every defender, everywhere.”

    OpenAI called the incident one “involving newly state-of-the-art cyber capabilities” and committed to sharing full findings when the joint investigation with Hugging Face is complete.

    Daily Debrief Newsletter

    Start every day with the top news stories right now, plus original features, a podcast, videos and more.

  • Crypto Clarity Act still at mercy of ethics section as Democrats balk at Trump deal

    Crypto Clarity Act still at mercy of ethics section as Democrats balk at Trump deal

    August 7 — the fast-approaching final day before the Senate’s summer recess — is seen as a major deadline for finishing the Clarity Act this year. Crypto insiders are expecting the bill to get to the floor as soon as the beginning of next week, which would fit with what Senate Majority Leader John Thune had previously indicated. The legislation could require several days to get to a final vote.

    Earlier on Tuesday, CoinDesk had reported that a White House official said Trump agreed to “the most comprehensive and wide-ranging ethics provision in history,” though the actual language he’s accepted hadn’t yet been shared with Democrats. As of press time, it was still unclear if Democrats had seen the exact language. Still, the administration argued that it had “bent over backward” to satisfy Democrats, suggesting it would be their fault if the legislation doesn’t advance.

    Trump’s agreement to a crypto constraint of his own business ties raises significant questions about how his involvement would be made sufficiently remote to comply with the limit. The president and his family are deeply connected to several crypto business initiatives, including their ownership stake in World Liberty Financial. While Trump has insisted he’s not conflicted as his administration imposes crypto policies that affect his own businesses, Democratic lawmakers have openly accused him of corruption.

  • Indie LGBTQ Dramedy ‘Actual Nobodies’ Acquired by Scatena & Rosner Films, Sets Early 2027 Release (EXCLUSIVE)

    Indie LGBTQ Dramedy ‘Actual Nobodies’ Acquired by Scatena & Rosner Films, Sets Early 2027 Release (EXCLUSIVE)

    Scatena & Rosner Films has acquired distribution rights for North America, Australia and New Zealand for the LGBTQ indie dramedy “Actual Nobodies,” written and directed by Alex Wyse. S&R picked the film up at this year’s Cannes Market.

    Germany’s Media Luna New Films has secured rights for all remaining territories. A U.S. release is planned for early 2027.

    Marking Wyse’s solo feature directorial debut following the GLAAD Media Award-nominated and ARTIOS-winning “Summoning Sylvia,” “Actual Nobodies” stars legendary actress Didi Conn (“Grease,” “Best Medicine”) and Austin P. McKenzie (“When We Rise,” “Speech & Debate”).

    “Actual Nobodies” tells the story of two lonely outsiders who find unexpected companionship when Joyce (Conn), a whimsical woman in her seventies, rents out her spare room to Anthony (McKenzie), a young gay man in search of solitude.

    The ensemble also includes Greta Quispe (“American Fiction,” “New Amsterdam”), Paul Lieber (“Alias,” “Barney Miller”), Will Chase (“Stranger Things,” “Dopesick”), Jason Veasey (“Only Murders in the Building,” “Best Medicine”), Olli Haaskivi (“Widow’s Bay,” “Oppenheimer”) and David T. Patterson (“The Gilded Age,” “Blue Bloods”).

    “’Actual Nobodies’ is a story about the people who feel invisible to the world and the surprising ways they ultimately connect with one another,” Wyse said in a statement Tuesday. “Making this film with this extraordinary cast and crew was deeply personal, and finding partners in Scatena & Rosner, who truly believe in filmmaker-driven, emotionally resonant storytelling, makes this next chapter especially exciting.”

    Gato Scatena and Jordan Rosner of Scatena & Rosner Films added: “Alex has a unique voice that balances humor and heart with incredible precision. Actual Nobodies is exactly the kind of elevated, theatrical-forward independent cinema we are passionate about championing, and we’re thrilled to have launched the film’s global journey in Cannes. Independent films don’t break through simply because they’re well made—they break through because they make audiences feel something. Actual Nobodies does exactly that.”

    “Films with genuine emotional authenticity have tremendous international appeal, and Actual Nobodies delivers exactly that. Alex Wyse has created a heartfelt, uplifting film with universal themes that we believe will resonate with international buyers and audiences alike,” Media Luna New Films’ Ida Martin said.

    Producer Cody Lassen of Alder Street Productions said, “From the moment we began sharing the film, we felt it connect with audiences in a profound way. Scatena & Rosner and Media Luna immediately understood both its emotional core and its broader marketplace potential. We’re excited to partner with them as we introduce Actual Nobodies to buyers and audiences around the world.”

    Producing alongside Tony Award-winning and Grammy-nominated Lassen’s Alder Street Productions (“Summoning Sylvia,” “Indecent”) is Trey Tetreault (“Holding Back the Tide”), and Wyse, with co-producers Neil Gooding Productions, Second Set Productions, and associate producers Rayshaun Sandlin and Pam Moriarty.

    The film features cinematography by Al Bouchillon, editing by Sara Corrigan, music by Max Mueller, costumes by Nadia Durham, and production design by Rachel Aileen Abraham. The film was shot on location in New Jersey.

    Lassen and Wyse previously collaborated on the horror-comedy feature “Summoning Sylvia,” which received a theatrical release, was acquired by Starz, and currently holds a 100% critics’ score on Rotten Tomatoes.