Tag: Entertainment-Variety

  • D4vd Charged With Murder in Death of Teen Girl Celeste Rivas

    D4vd Charged With Murder in Death of Teen Girl Celeste Rivas

    D4vd has been charged with murder following his arrest last Thursday for the murder of a teen girl whose decomposed body was found in the trunk of his Tesla.

    At a press conference on Monday, District Attorney Nathan Hochman said that the singer, whose real name is David Burke, would face a first-degree murder charge which could potentially make him eligible for the death penalty. He will also face charges for lewd acts with a child and for dismembering the girl’s body.

    The victim, Celeste Rivas Hernandez, went to Burke’s home in the Hollywood Hills on April 23, 2025, Hochman said. That was the last time she was seen alive, he said. Her body was found five months later. Hochman declined to say how Rivas was killed, but said the coroner’s report would be released shortly.

    “There is physical evidence and there is forensic and digital evidence that we intend to present in court to prove these charges beyond a reasonable doubt,” Hochman said.

    Hochman alleged that Burke was having a sexual relationship with Rivas, who was 14 when she died and 13 when she ran away from home.

    Burke is accused of murder with multiple “special circumstances” that make the case eligible for either the death penalty or life without parole. Those include “lying in wait,” murder for financial gain, and murdering a witness to a crime — as Rivas is considered a witness to the lewd acts charge.

    At the press conference, LAPD Chief Jim McDonnell defended the decision not to release details of the investigation sooner.

    “My duty is not to fuel speculation,” he said. “It’s to deliver justice, and that requires patience and discipline on everybody’s part. This investigation was driven by a single purpose — to secure justice for Celeste Rivas and for those who loved her.”

    Burke was arrested and held without bail last week following a lengthy investigation by the LAPD’s Robbery-Homicide Division.

    The case began back in September 2025, when LAPD officers were called to the Hollywood tow yard to investigate a foul odor emanating from the car, which had been in the yard for days. The police found the decomposed body placed inside of a bag in the front trunk of the Tesla, which was registered in Hempstead, Texas to D4vd. The car was impounded the previous week after being abandoned in the Hollywood Hills, where neighbors complained of a rotting smell.

    Early reports indicated that D4vd was cooperating with the investigation. A week after he was linked to the body’s discovery, he canceled the remaining dates of his U.S. tour.

    The body was soon identified as Rivas, who was reported as missing in 2024 when she was 13. In November, the LAPD confirmed that they were investigating a trip that D4vd had taken to the Santa Barbara area sometime during the spring of 2025 following Hernandez’s disappearance, and the medical examiner’s office said the LAPD had blocked the office from releasing details about the death.

  • Channing Tatum’s ‘Magic Mike’ Live Show Sets Global Expansion With $45 Million Capital Raise (EXCLUSIVE)

    Channing Tatum’s ‘Magic Mike’ Live Show Sets Global Expansion With $45 Million Capital Raise (EXCLUSIVE)

    Finally, an answer to one of life’s great questions: can $45 million fit in the waistband of a man’s G-string?

    That would be a yes, as Channing Tatum’s experiential business Free Association Live has pulled off a significant capital raise to fund the global expansion of “Magic Mike Live” – a theatrical revue of skilled and sexy male dancers adapted from Tatum’s film franchise “Magic Mike.”

    FA Live, co-founded by Tatum, Peter Kiernan, Reid Carolin, and Vincent Marini, has raised $45 million in debt and equity financing to mount more “Magic Mike” shows around the world. The experience has already staged sold-out runs in London and Las Vegas, with New York and Australia up next. A multi-year tour across Asia and Europe is also in the works.

    The fundraise includes a strategic investment from Jeff Bewkes and Kevin Tsujihara’s Alignment Growth, a media and entertainment investor, and debt financing from East West Bank. 

    “Our incredibly successful and beloved London and Las Vegas experiences have made it clear that ‘Magic Mike Live’ has tapped into something powerful,” said Kiernan, CEO of FA Live.  “This investment comes at a pivotal moment for the company — it enables us not only to expand the IP globally, but also to think more ambitiously about how we leverage our track record and infrastructure in live entertainment to develop new IP, new formats, and bold new ways of engaging audiences worldwide.”

    Since its debut in 2017, the live show has entertained over 2 million guests from 70+ countries with over 6,000 performances across engagements in Miami, Dallas and Berlin. Earlier this year, Tatum appeared on “Today’ to announce the NYC residency, which counts strong pre-sales for its October debut. Tatum has also personally invested in this latest raise for FA Live, which operates independently from his film and TV production company. FA Live also counts COO Kosha Shah Eisenberg and chief brand officer Cody Carolin.

    “Experiential entertainment continues to be one of our highest-conviction investment themes, fueled by a sustained shift toward immersive, memorable experiences over material goods,” said Tsujihara, managing partner at Alignment Growth. “FA Live has built one of the most successful live entertainment franchises of the past decade.”

    East West Bank managing director Todd Steiner said the institution was “excited to partner with FA Live as they expand. As the largest independent bank headquartered in Southern California, East West Bank brings decades of experience in developing financing strategies tailored to the unique creative and operational complexities of the entertainment industry.

    Next in development is a collaboration with Lionsgate on a live show inspired by the “Step Up” film franchise, set to debut in 2027.

    The Raine Group, Eisner Law, and VirtuGlobal served as advisors to FA Live, which is repped by CAA. Granderson De Rochers served as advisor for Alignment Growth and Loeb & Loeb served as advisor to East West Bank.

  • ‘Superman’ Sequel ‘Man of Tomorrow’ Starts Filming as James Gunn Teases Brainiac, Lex Luthor in Jail

    ‘Superman’ Sequel ‘Man of Tomorrow’ Starts Filming as James Gunn Teases Brainiac, Lex Luthor in Jail

    It’s “Up, Up and Away!” for “Superman: Man of Tomorrow.”

    James Gunn has revealed the comic book sequel has started production, with the director sharing a photo from set of a chess board and Van Kull Prison badge for inmate A. Luthor (a.k.a. the villainous Lex Luthor), as well as a bag of Ruffles potato chips.

    David Corenswet is returning as the Man of Steel in “Superman: Man of Tomorrow,” written and directed by Gunn. In the sequel, Superman is forced to team up with his adversary Lex Luthor (Nicholas Hoult) as they work to defeat an even bigger threat: the super-intelligent antagonist Brainiac (Lars Eidinger).

    Adria Arjona recently joined the cast as Maxima, an alien queen who has been both an antagonist and a potential love interest for Superman in the comics. She’ll be joined by the ensemble of Rachel Brosnahan (who is Superman’s current beau Lois Lane), Skyler Gisondo (Jimmy Olsen), Sara Sampaio (Eve Teschmacher), Isabela Merced (Hawkgirl), Nathan Fillion (Guy Gardner), Edi Gathegi (Mister Terrific) and Aaron Pierre (John Stewart/Green Lantern).

    “Superman” relaunched the Warner Bros. owned DC Universe last summer, earning above $600 million at the global box office to stand as that year’s highest-grossing superhero adventure. “Man of Tomorrow” is scheduled to hit theaters on July 9, 2027. It’s currently one of two DC adaptations that year, including director Matt Reeves and star Robert Pattinson’s “The Batman Part II” on Oct. 1. Before the Last Son of Krypton makes his way back to the big screen, DC has two other comic book tentpoles in 2026, “Supergirl” in June and “Clayface” in October.

  • Brunello Cucinelli Takes His Brand to the Big Screen With North American Release of ‘The Gracious Visionary’

    At the start of the new documentary “Brunello: The Gracious Visionary,” Brunello Cucinelli strolls through his vineyards at night, illuminated by dozens of small, contained fires that protect the vines from frost. He’s a man in his 70s, walking with ease and confidence through his domain — a world he spent decades crafting, curating and restoring.

    Last Tuesday, the fashion designer strolled in a very different location. He walked down the star-studded red carpet, flanked by his family, at the New York City gala screening, an exclusive event and celebratory dinner in advance of his documentary’s North American distribution by Blue Fox Entertainment.

    Again, Brunello was a man at ease in his surroundings, pleased to share the docufilm about his life and philosophies. There’s more to the entrepreneur than the wild success of the pullover cashmere sweaters he crafted beginning in 1978. For decades, he has intentionally fashioned a company based on his brand of humanistic capitalism and human sustainability.

    It’s a compelling story both in real life and in the film. Director Giuseppi Tornatore combines documentary storytelling and re-created flashbacks in “Brunello: The Gracious Visionary.” Friends, family, peers and celebrities speak about Brunello’s achievements alongside the re-creations.

    “I wanted Giuseppe to undertake this project because he is a poet, and I believe that poets are the greatest human beings on earth,” Brunello tells Variety. “Ultimately, my dream was for this film to serve as a testament to what my life, what our life, has been: a legacy to leave behind for our children, our grandchildren and all those who will come after us.”

    As the docufilm shows, Brunello spent his early years among a loving family, but emerged from a poor, rural farm existence in Umbria, Italy. He met his future wife Federica when they were teens, and she became his entrée into the world of fashion. Becoming the “King of Cashmere” with his eye-catching, durable pullovers, he has over time expanded his reach in both garments and his approach to running his company. As a young man, he overheard his father complaining bitterly about being treated badly in his factory job, which became a “turning point in my life,” in which he decided to live, and work, for human dignity.

    Federica’s small hamlet of Solomeo became Cucinelli’s home base — not just for his company, but where he could settle down. Over the decades, he’s devoted much of his wealth to preserving an earthquake-damaged castle, turning it into his company headquarters; along with developing parks, renovating a church, building a theater and creating a library with over 500,000 titles.

    Bringing their story to life, one Federica calls a “true fairytale,” shows what the couple of 54 years has achieved together. “This was intended to be, in a sense, our own personal monument to life — partly because Brunello and I met when we were very young,” she tells Variety. “I never would have imagined that we would one day see the story of our lives turned into a film.”

    Meanwhile, the environment in Brunello’s company is less that of a factory and more a creative hive, where workers receive higher-than-average pay and craft their garments in natural light, then share communal meals. To Brunello, the business was never only about making money — it was about creating a livable job environment, where his ideas about treating workers humanely could play out in real time.

    And over the years, the business has become a true family affair. While Federica runs the Brunello and Federica Cucinelli Foundation, their daughters Carolina and Camilla are vice presidents, who know precisely how to share the Cucinelli brand with the next generation. For the NYC gala screening, Carolina wore a “very feminine dress” and paired it with a “non-biker jacket.” Camilla’s gala outfit was created with an eye toward representing the company. “The concept was to feature, for example, a tuxedo with color-blocking rather than a solid, single color,” she tells Variety. “I felt it would effectively embody our philosophy.”

    The family patriarch hopes the company will continue with its mission long after he is gone, ideally in his adopted village of Solomeo. “We feel a profound sense of responsibility toward the company and the people who work alongside us every day. This is also, in part, the reason behind our choice to remain in our village and to raise our families right here in Solomeo,” Carolina tells Variety. “We were instilled with the concept of work as a noble pursuit: one free of coercion yet driven by a great passion inherited from our parents. We have embraced this philosophy and are now weaving it into our daily work, with the hope of carrying this company and its values forward into the future.”

    Possibly the docufilm will be the key to inspiring those next generations, and to convince them to stay the course regarding Brunello’s humanistic philosophy and vision. “One may inherit ownership, but never the actual capacity for entrepreneurship,” he allows. “Yet they truly love it and this whole idea of being here together, with the grandchildren … it all possesses a certain charm, a certain poetry. And so, I wanted this film, both for my grandchildren and for my daughters, to serve as a small living testament: a record of what we have, and of how we have lived.”

    The gala screening, held one day after Blue Fox Entertainment announced the July 24 North American theatrical release date, was also a callback to the past. The first Cucinelli store opened in the United States in the West Village in 2006. Today, the family reveres New York City — and not just as a mecca for fashion. “New York is a city that gives us so much energy and inspiration,” says Carolina. “Every time we visit, we truly take so much back home with us.”

    Ultimately, the founder’s wish is that “Brunello: The Gracious Visionary” will take its rightful place alongside other major achievements — the library, the town restoration, his speech at the G20 Summit in 2021 in which he urged leaders to consider themselves the “temporary guardians of Creation.”

    Brunello, who’s namedropped in “The Devil Wears Prada 2” and inspired an entire storyline in “Emily in Paris,” says the message of his docufilm is not just for people who share his last name. As with many things he does, it’s a message to share with the world.

    “Replace fear with hope,” he urges those who view the film. “Have a dream. Look up at the sky. The stars will be your source of inspiration…. Do not feel pressured to make everything work perfectly right away. Pursue your dream throughout your life. That is what I would love most of all. Hold fast to this ideal and strive to live as if you were the pro tempore custodians of humanity. Yes, yes we can do it.”

    The docufilm, produced by Brunello Cucinelli S.p.A. and MasiFilm in collaboration with RAI Cinema, opened in Italy on Dec. 9 and garnered more than $1 million during its limited seven-day run.


    “Brunello: The Gracious Visionary” opens in theaters in U.S. and Canada on July 24.

  • ‘Practical Magic 2’ Trailer: Nicole Kidman and Sandra Bullock Return for Magical Sequel 28 Years After Original

    ‘Practical Magic 2’ Trailer: Nicole Kidman and Sandra Bullock Return for Magical Sequel 28 Years After Original

    Nicole Kidman and Sandra Bullock are back for more magic.

    Warner Bros. has released the trailer for “Practical Magic 2” after it was debuted last week to attendees at CinemaCon, the annual convention for movie theater owners in Las Vegas. It will arrive in theaters this fall on Sept. 11.

    Directed by Susanne Bier, the sequel “returns to a world steeped in moonlit mischief and powerful ancestral magic, as the Owens sisters must confront the dark curse that threatens to unravel their family once and for all in a must-see cinematic event of fun, magic and mayhem.”

    In addition to Kidman and Bullock back as Sally and Gilly Owens, the cast includes Joey King, Lee Pace, Maisie Williams, Xolo Maridueña and Solly McLeod. Stockard Channing and Dianne Wiest are also back as Frances and Jet Owens, Sally and Gilly’s aunts, after starring in the original 1998 film.

    In the sequel, Sally has adult daughters now starting lives of their own, while Gilly has settled into a cozy life with a black cat. It doesn’t take long for trouble to find them — Pace’s mystery character pulls the sisters from their quaint New England town on a dramatic assignment.

    Akiva Goldsman and Georgia Pritchett wrote the sequel, which is based on the 2021 novel “The Book of Magic” by Alice Hoffman, the fourth in her “Practical Magic” book series. Denise DiNovi, Bullock and Kidman produce. Andrew Kosove, Broderick Johnson, Donald Sabourin and Hoffman serve as executive producers.

    Watch the trailer below.

    More to come…

  • ‘Memory of Princess Mumbi,’ Set in a Retro-Futuristic Africa Recreated With AI, Scores Istanbul Film Festival Top Prize

    ‘Memory of Princess Mumbi,’ Set in a Retro-Futuristic Africa Recreated With AI, Scores Istanbul Film Festival Top Prize

    Swiss-Kenyan director Damien Hauser’s dystopian fable “Memory of Princess Mumbi,” set during 2093 in an imaginary Africa created with the use of artificial intelligence, scooped the Golden Tulip Award at the Istanbul Film Festival on Sunday.

    Set in the futuristic African country of Umata, “Memory of Princess Mumbi” is a playful meta-fiction that is part romance, part mockumentary and revolves around a love triangle between a film director named Kuve, an aspiring actress and a prince.

    The film’s Istanbul Film Festival victory marks the first time a feature made with AI has won the top award at a prominent film festival.

    In an interview with Variety, Hauser readily admitted he could have never made the film without using AI, even as he, paradoxically, set out to “make a movie that AI could never make.” “Memory of Princess Mumbi” launched last September from Venice’s independently-run Venice Days section before traveling widely, including to Toronto and Zurich.

    The Istanbul festival jury, headed by Scottish director David Mackenzie (“Fuze”), awarded the event’s special jury prize to Chinese arthouse darling Bi Gan’s six-part epic “Resurrection,” in which a movie monster drifts through China’s 100-year history. “Resurrection” previously won the 2025 Cannes Jury Special Prize.

    Istanbul’s best director honors went to French duo Romane Gueret and Lise Akoka’s coming-of-age drama “Summer Beats,” while the screenplay prize went to Austrian filmmaker Markus Schleinzer and his co-writer Alexander Brom for Sandra Hüller-starrer “Rose.” In this historical tragedy, Hüller plays a 17th-century woman living as a man.

    Turkish films took the acting honors. The best actress prize went to İnci Sefa Cingöz for her role as a tormented young woman in first-time director Pinar Yorgancioglu’s drama “Those Who Whistle After Dark” Kemal Burak Alper took actor honors for Nuri Cihan Özdoğan’s “Dead Dogs Don’t Bite,” which mixes social drama and gangland war film tropes. 

    The 45th Istanbul Film Festival, which ran April 9-19, marked a revamped edition of Turkey’s top film event and market. Artistic director Kerem Ayan has made the festival more global under a new format that mixes Turkish and international works in the main competition, while also driving local cinema by still having other sections dedicated solely to Turkish works.

    The festival, organized by the Istanbul Foundation for Culture and Arts (IKSV), also had a vibrant edition of its Meetings on the Bridge market component being relaunched under the new leadership of former Antalya Golden Orange Film Festival chief Başak Emre and Pınar Evrenosoğlu.

    And the winners are…

    GOLDEN TULIP COMPETITION

    Golden Tulip Best Film – “Memory of Princess Mumbi,” directed by Damien Hauser

    Special Jury Prize – “Resurrection,” directed by Bi Gan

    Best Director – Lise Akoka and Romane Gueret, “Ma frère” (“Summer Beats”)

    Best Screenplay – Markus Schleinzer and Alexander Brom, “Rose”

    Best Actress – İnci Sefa Cingöz, “Those Who Whistle After Dark”

    Best Actor – Kemal Burak Alper, “Dead Dogs Don’t Bite”

    Special Mention (to all animals in films) – “Hen,” directed by György Pálfi

    SHORT FILM COMPETITION

    Best Short Film – “Gravity,” directed by Dalya Keleş

    Special Mention – “Love and the Others,” directed by Sitera Değirmen

    NEW VISIONS

    Seyfi Teoman Best Film Prize – “32 Meters,” directed by Morteza Atabaki

    Best Cinematography – Ziya Demirel and Yusuf Tan Demirel for “The Greatest Funeral Hits”

    Best Editing – Morteza Atabaki for “32 Meters”

    Best Actress – Esra Dermancıoğlu for “The Greatest Funeral Hits”

    Best Actor – Burak Dakak for “About My Mom”

    Best Supporting Actress – Çağdaş Ekin Şişman for “The Greatest Funeral Hits”

    Best Supporting Actor – Özer Keçeci for “The Greatest Funeral Hits

    Best Art Direction – Elif Öner for “Dump of Untitled Pieces”

    Best Music – Efe Demiral for “Dump of Untitled Pieces

    INDEPENDENT AWARDS

    International Federation of Film Critics (FIPRESCI)

    Golden Tulip Competition – Best Film – “Rose of Nevada,” directed by Mark Jenkin

    Directors Association of Türkiye (FİLM-YÖN)

    Best Director (in memory of Osman Sınav) – Sunay Terzioğlu “Bonds, Roots and Passions”

    Association of Documentary Filmmakers in Türkiye (BSB)

    Documentary films from Türkiye – Best Documentary – “2m2,” directed by Volkan Üce

    Turkish Association of Film Critics (SİYAD)

    “Dump of Untitled Pieces,” directed by Melik Kuru

  • One of TV News’ Most Respected Consultants Says Format Is Breaking, Needs to Change Quickly

    One of TV News’ Most Respected Consultants Says Format Is Breaking, Needs to Change Quickly

     
    When it comes to TV news, winning viewers’ trust is out, and making them passionate about what they watch is in.

    A media consultancy that had a hand in creating the format that ultimately became “Good Morning America” is warning TV-news organizations that they need to blow up their old models as soon as possible, or risk saying “good night” to audiences and ratings.

    Magid, a media consultant that has worked for decades with TV networks and stations, believes local and national TV-news organizations need to start giving viewers more context, depth and emotional reassurance, rather than relying on breaking news and dozens of star anchors and correspondents.

    “We’ve fully arrived in the ‘context’ era, and we are completely out of the ‘breaking news’ era,” says Jaime Spencer, Magid’s chief operating officer, during a recent interiview. “It doesn’t mean that breaking news isn’t important. It’s an expectation. It’s just become a completely functional attribute that doesn’t drive brand loyalty or consumption.”

    Instead, the executive says, news broadcasters need to think about what will keep viewers they’ve already acquired watching for longer periods of time, rather than trying to get as many people to watch as possible. That means focusing more intently on new kinds of attributes.

    “The brands that are succeeding and the brands that will succeed are aligning around these sort of attributes of ‘insightful,’ ‘thoughtful,’ ‘reassuring,’ ‘timely,’ ‘calming,’ ‘innovative,’” he says. Words that have less relevance to viewers include “’balanced,’ ‘explanatory,’ ‘trustworthy,’ ‘essential,’ ‘substantive,’ ‘reliable,’ ‘confident,’ ‘accurate,’ ‘clear.’ I mean, some real tenets of journalism,” says Spencer.  “It’s not that they’re not important as fundamentals, but brands built around those things are going to be really unlikely to break through” in the future.

    Magid delivers its recommendations as TV-news grapples with some severe challenges. Advertisers remain wary of the format, worried that appearing alongside a vociferous anchor or a scene tied to news about war or climate change will turn off potential customers. Younger viewers, meanwhile, are turning more readily to digital venues like TikTok or YouTube and spending more time with influencers who don’t always have a formal journalism background or understand the ethics of newsgathering or reporting.

    Others say TV news retains its power. A new report from VAB, a trade organization that represents TV networks in discussions with Madison Avenue, says more people from key consumer niches — people between 35 and 54, people who make over $100,000 a year and adults who are employed full-time — are watching more TV news than they did last year. The report is based on the findings from a December 2025 survey of 2,319 U.S. adults. The report suggested these niches are more likely to go to TV news first over social media for breaking news coverage.

    Indeed, TV news is poised for a pick up. Consequential elections like the 2026 midterms are typically catalysts for broader viewing of news programs.

    Over the longer run, however, news organizations need to promote themselves as places to get more understanding and reassurance, says Spencer, not as backers of trustworthy, reliable information. “If you’re just looking to monetize and grow an audience, trustworthiness isn’t really a part of that anymore. In fact, those that are more confirming of my personal beliefs are more likely to get attention to get consumption, to have brand connection.”

    More major news outlets are working to create communities out of current viewers. Fox Nation, the streaming service backed by Fox News, spotlights lifestyle programming, documentaries, even stand-up comedy, along with the news programs from its flagship cable outlet. Versant’s MS NOW has unveiled plans to launch a new streaming service that aims to play to fans of its personalities and programming.

    In such a moment, Spencer says, viewers put more faith in individual anchors, influencers and creators than in news brands, and polarizing perspectives drive more passion from audiences. He points to examples such as Brian Tyler Cohen, a progressive political host, and MS NOW’s Rachel Maddow, as well as conservative host Dan Bongino and Fox News’ Sean Hannity.

    Just as digital influencers can gain massive audiences without well-appointed studios and dazzling visuals, so too can news outlets, Magid suggests. “There is no correlation between overhead costs and perceived quality,” he says, and traditional broadcasters can gain by emulating that model. Magid has begun recommending that local news organizations try to bet on one main “quarterback” rather than developing dozens of different news stars.

    And news outlets need to think about bringing in a devoted audience, rather than the largest. “The goal is to get one more of something, right? One more commercial break, one more minute of consumption, one more page view, one more episode of this seres.” says Spencer. “Creating that emotional connection and trying to hold you longer through that one thing is  likely a better path to monetization than to try to get more.” In a dikfferrt era, the idea was that :”if we have something for everyone, then surely everyone will come, right?” he asks. Today, he says. “It just doesn’t stand up.”

  • ESPN Pulls Boston Marathon Doc ‘Rachel, Breathe’; Director Frank Marshall Cites Rights Disagreement and Says Lawyers Told Him ‘Sign It Now or We Are Pulling the Show’

    ESPN Pulls Boston Marathon Doc ‘Rachel, Breathe’; Director Frank Marshall Cites Rights Disagreement and Says Lawyers Told Him ‘Sign It Now or We Are Pulling the Show’

    According to prolific director and producer Frank Marshall, ESPN pulled his new documentary “Rachel, Breathe” an hour before it was set to premiere due to a rights disagreement.

    “I’m sad to report that RACHEL, BREATHE, will not premiere on ESPN2 today,” he wrote on X on Sunday night. “After several days of negotiations that should have been very simple and were not about money, but rights, the ESPN lawyers stopped talking to us an hour before broadcast and said, ‘sign it now or we are pulling the show’. I’m extremely disappointed for Rachel and John and entire team that spent 2 years making this film about hope, love and friendship. We remain genuinely excited for the day this documentary reaches the world, it is simply not tonight. And just like Rachel, we remain resilient and the moment I know where and when the premiere is, you will hear from me. And thanks to Dick’s Sporting Goods for fighting the fight.”

    “Rachel, Breathe” tells the story of marathon runner Rachel Foster, who made headlines in 2023 for her athletic chievements after a major medical hardship. The official logline reads, “Five months after waking up from a coma no one expected her to emerge from, Rachel accomplished the unthinkable and completed the 2023 Boston Marathon. Despite the victory of that moment and feeling like she was on the path to a full recovery of her life as it was, new challenges arise. The film follows Rachel, now preparing to run the 2025 Boston Marathon as a reclamation of self, to prove that though her reality has changed, her essence remains the same. Interweaving Rachel’s journey to run Boston past and present, the film explores themes of loss, love, grit, friendship, redemption and transcendence.”

    ESPN did not immediately respond to Variety‘s request for comment.

  • FBI Director Kash Patel Files $250 Million Defamation Lawsuit Against the Atlantic, Which Calls Suit ‘Meritless’

    Kash Patel, the director of the FBI, filed a lawsuit against the Atlantic over a story alleging that he “has alarmed colleagues with episodes of excessive drinking and unexplained absences.” Patel’s suit seeks $250 million in damages.

    In a statement Monday, the Atlantic said: “We stand by our reporting on Kash Patel, and we will vigorously defend The Atlantic and our journalists against this meritless lawsuit.”

    “Kashyap P. Patel, the Director of the Federal Bureau of Investigation, brings this lawsuit to hold Defendants The Atlantic Monthly Group LLC and its staff writer, Sarah Fitzpatrick, accountable for a sweeping, malicious, and defamatory hit piece published on April 17, 2026,” the complaint reads. “Defendants are of course free to criticize the leadership of the FBI, but they crossed the legal line by publishing an article replete with false and obviously fabricated allegations designed to destroy Director Patel’s reputation and drive him from office.”

    A copy of Patel’s lawsuit, filed Monday in the U.S. District Court for the District of Columbia, is available at this link.

    The Atlantic, Patel asserts in the suit, “published the Article with actual malice, despite being expressly warned, hours before publication, that the central allegations were categorically false; despite having abundant publicly available information contradicting those allegations; despite obvious and fatal defects in their own sourcing; despite The Atlantic’s well-documented, long-running editorial animus toward Director Patel; despite a request for additional time to respond that Defendants refused to honor; and despite deliberately structuring the pre-publication process to avoid receiving information that would refute their narrative.”

    In the article, “The FBI Director Is MIA,” Fitzpatrick cited more than two dozen anonymous “witnesses” who, among other things, alleged that Patel had engaged in “bouts of excessive drinking” and “unexplained absences” that “often alarmed officials at the FBI and the Department of Justice.”

    “Several officials told me that Patel’s drinking has been a recurring source of concern across the government. They said that he is known to drink to the point of obvious intoxication,” Fitzpatrick reported in the Atlantic article. “Early in his tenure, meetings and briefings had to be rescheduled for later in the day as a result of his alcohol-fueled nights, six current and former officials and others familiar with Patel’s schedule told me.”

    Fitzpatrick’s piece also said that “on multiple occasions in the past year,” members of the FBI director’s security detail “had difficulty waking Patel because he was seemingly intoxicated, according to information supplied to Justice Department and White House officials.” In addition, according to the Atlantic article, “A request for ‘breaching equipment’ — normally used by SWAT and hostage-rescue teams to quickly gain entry into buildings — was made last year because Patel had been unreachable behind locked doors, according to multiple people familiar with the request.” The Atlantic story also said that “some of Patel’s colleagues at the FBI worry that his personal behavior has become a threat to public safety.”

  • Catherine O’Hara Rewrote Entire Scenes for ‘Schitt’s Creek,’ Dan Levy Reveals: ‘She Was Just an Irreplaceable Talent and an Irreplaceable Person’

    Catherine O’Hara Rewrote Entire Scenes for ‘Schitt’s Creek,’ Dan Levy Reveals: ‘She Was Just an Irreplaceable Talent and an Irreplaceable Person’

    Catherine O’Hara didn’t just have notes for the writers of “Schitt’s Creek” — she would rewrite entire scenes “from top to tail,” according to Dan Levy.

    O’Hara died on Jan. 30 in her Los Angeles home after a brief illness. She was 71. On Monday’s episode of podcast “Conan O’Brien Needs a Friend,” Levy recalled working with his friend and co-star on the award-winning sitcom

    O’Brien told Levy, “I remembered thinking it was such a nice thing for Catherine to have that role during that last decade of her life, where she was playing someone who was beloved, because people love the character and they’re really getting to see yet another way that she’s really funny. … It was such a nice thing for her that you made happen.”

    Levy responded: “She made it happen. I just made sure that I was prepared. That’s really what it came down to. Like so much of Moira Rose was Catherine.” He recalled Seth Rogen once telling him that O’Hara would send emails the night before a shoot that said “Gentlemen, some thoughts about the scenes we’re shooting tomorrow,” and “it would be a full top-to-tail rewrite.”

    “And as soon as he said it, it was like: I got those emails. The ‘gentleman’ — it always started with ‘gentlemen, some thoughts’ — and then it was an unbelievable rewrite of the scene. And that is what the amazing, all the great Catherine roles were when she found collaborators that wanted to give her that platform,” Levy said.

    Levy continued, “You know, because she had so much to offer, and she was so, the way that she thinks is so on another level that as a writer, you can’t get into her head. So all you can really do is set the table, wait for the email, ‘gentlemen, some thoughts,’ read the scene and say, ‘Fuck yeah.’ You know, and like, just be prepared.”

    Levy also revealed that he often stops and watches clips of O’Hara from the show when he sees them online.

    “The crazy thing about it is that I’m still like, you know, I go on Instagram and her face is there and Moira’s clips from the show are all over the place,” Levy said. “And I, every time I see her — even though I wrote the thing — I stop and I watch, and I’m watching not for anything that I did, but I’m watching because she is impossible not to watch. And she’s impossible not to love and she’s, it’s impossible not to laugh with her in anything she does. And it’s, it is like an unimaginable loss. She was just an irreplaceable talent and an irreplaceable person.”

    On the podcast, O’Brien asked Levy if he owns the costumes from “Schitt’s Creek,” noting that Sarah Jessica Parker owns the dresses from “Sex and the City.”

    Levy responded: “Are you fucking crazy? Do you understand how little that show cost? We had to sell every piece of clothing to pay off the debts that the show had, even in our sixth season. We got no cash. It was like slim pickings from the very beginning, and then incremental sort of, I think it’s like a standard 15%, whatever it is, that your budget can increase, but 15% on like a pile of shells and a feather is not giving you much.”

    Although they had to sell most of the “Schitt’s Creek” wardrobe, Levy said, he kept four “looks” from his character, as well as O’Hara’s Moria Rose and Annie Murphy’s Alexis. “Unfortunately, my dad’s suits, we can just buy in a store. So I have some,” Levy said. “The retrospective will be small, but I do have some of the looks.” Said O’Brien, “So the museum is going to be like a little nook in a mall.” To which Levy replied, “It’ll be a corner.”

    O’Hara starred in “Schitt’s Creek” alongside Dan Levy, Eugene Levy and Annie Murphy. The show followed a wealthy family who became penniless overnight after falling victim to fraud. “Schitt’s Creek” premiered on Canadian broadcaster CBC in 2015 and ran for six seasons until 2020. In the U.S., the series is available to stream on HBO Max.

    Dan Levy had previously said he was considering a “Schitt’s Creek” sequel series before O’Hara’s death.

    Watch Levy’s appearance on SiriusXM’s “Conan O’Brien Needs a Friend” at this link.