Tag: Entertainment – Variety

  • Lee Chang-dong’s Films Head to Netflix Worldwide After ‘Possible Love’ Wins Silver Lion at Venice

    Lee Chang-dong’s Films Head to Netflix Worldwide After ‘Possible Love’ Wins Silver Lion at Venice

    Netflix will expand its lineup of Lee Chang-dong films worldwide, following the Silver Lion (Grand Jury Prize) win for “Possible Love” at the Venice Film Festival.

    The expansion will let viewers everywhere explore titles including “Secret Sunshine” and “Peppermint Candy.”

    “Possible Love,” Lee’s first film in eight years, opens in South Korean theaters Sept. 23, followed by Australia and New Zealand on Oct. 22 and the U.K., Japan, the U.S. and Canada on Oct. 23. The film will premiere globally on Netflix on Nov. 6.

    Netflix has also been adding earlier Lee titles to its library in additional countries alongside the new release. “Green Fish” and “Secret Sunshine” began streaming in late August in Italy, the U.K., France, Australia and New Zealand. “Peppermint Candy” and “Oasis” joined the platform in Italy and Spain on Sept. 4. “Poetry” and “Burning” are also planned for release in markets including Japan, the U.S., Canada, Australia and New Zealand.

    Rollout timing differs by market, and some territories will get the films with subtitle options covering as many as six languages, Korean among them.

    Lee debuted as a director with “Green Fish” in 1997, going on to build a filmography that also includes “Peppermint Candy,” “Oasis,” “Secret Sunshine,” “Poetry” and “Burning.” His work has drawn top honors on the festival circuit: “Oasis” earned him a directing prize at Venice in 2002, and “Poetry” took the screenplay award at Cannes in 2010. Lee’s newest distinction came at the Toronto Film Festival‘s 51st edition, where he became the first Korean filmmaker to receive its Ebert Director Award.

    “Possible Love” centers on two couples: one formed by a man who has lost his job and his wife, the other by a woman who directs documentaries and her husband. Their lives intersect during the making of a documentary, drawing out desires and struggles each had kept hidden. The film stars Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong, and is South Korea’s submission for the best international feature film category at the 99th Academy Awards.

  • Hyun Bin, Lee Min-ho, Jung Woo-sung, Isabelle Huppert Headline Busan Open Talk and Outdoor Stage Greeting Lineup

    Hyun Bin, Lee Min-ho, Jung Woo-sung, Isabelle Huppert Headline Busan Open Talk and Outdoor Stage Greeting Lineup

    The 31st Busan International Film Festival (BIFF) has unveiled the lineup and schedule for three of its fan-facing programs: Open Talk, Outdoor Stage Greeting and Talk-to-Talk. Held at the Busan Cinema Center Roof Theater and the HANMAC Smooooth Lounge, the sessions give audiences a chance to meet directors and cast members from a wide range of Korean and international selections.

    Open Talk opens Oct. 7 with director Lee Chang-dong and stars Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong for “Possible Love,” followed by “Cattle Run,” bringing director Kim Ji-hyun together with Ryu Seung-ryong, Park Hae-jun, Ong Seong-wu and Lee Sang-hee, and “The Table: Day and Night,” pairing director Kim Jong-kwan with Kim Min-ha, Joo Jong-hyuk, Han Sun-hwa, Shim Eun-kyung, Jeon So-young and Kim Dong-hwi.

    On Oct. 8, “Sapiens” brings out director Lee Hu-bin with Jung Sung-il, You Chea-myung and Ryu Hyunkyung, while “Dead-End Job” pairs director Kim Da-min with Kim Min-ha and Choi Hyun-wook. Oct. 9 sessions include “The Blue Road,” with director Han Jun-hee alongside Son Sukku, Nagayama Eita and Kim Shin-rok; “Ugly Duckling Ms. Maeng,” with director Lee Yong-jae and stars Lee Sun-bin, You Chea-myung, Jun Suk-ho and Kim Young-min; and “The Sorry Generation,” with director Kim Sung-yoon and actors Jung Jae-young, Kim Joo-ryoung, Lee Yi-kyung and Kim Ah-young.

    A “BIFF Discoveries: Rising New Talents” session on Oct. 10 features Jeon So-young and Kim Dong-hwi from “The Table: Day and Night” alongside Sim Su-bin, who appears in both “The Birds” and “The World Before.” The program closes Oct. 13 with Isabelle Huppert and director Marc Fitoussi discussing their collaboration on “All About Corinne.”

    Outdoor Stage Greeting runs Oct. 7 through Oct. 11 and covers dozens of titles. On Oct. 7, director Stephanie Ahn appears with Moon Choi and Son Sukku for “Bedford Park”; director Fujii Michihito and actor Yokohama Ryusei present “You, Like a Star”; director Sato Sakichi brings Sawajiri Erika and Maruyama Ryuhei for “The Chain of Roses”; director Hur Jin-ho appears with Yoo Hai-jin, Park Hae-il and Lee Min-ho for “The Assassin(s)”; director Feng-I Fiona Roan brings Shuhua Yeh, Xuan Chen and Kent Tsai for “Happily Ever After”; director Woo Min-ho appears with Hyun Bin, Jung Woo-sung and Woo Do-hwan for “Made In Korea” Season 2; and director Kore-eda Hirokazu presents “Look Back” with Deguchi Natsuki, Makita Aju, Nanase Furi and Okada Rokka.

    Oct. 8 brings director July Jung with Kim Doyeon and Choi Wonyoung for “Dora”; director Kim Joung-hoon with Kim Jae-won, Cho Yi-hyun, Kang You-seok and Bae Gang-hee for “Final Interview”; a second “BIFF Discoveries” session featuring Kim Doyeon from “Dora”; director Hong Sung-min with Jung Sung-il and Park Ji-hyun for “Sinner”; director Song Il-gon with Kim Hye-ja, Park Seo-kyung, Choi Ju-eun, Moon Seong-hyun and Lee Seyoung for “Still Shining”; director Kamila Andini and producer Ifa Isfansyah with Putri Marino, Christine Hakim and Arya Saloka for “Four Seasons in Java”; director Takemura Kentaro with Michieda Shunsuke and Anzai Seira for “In the Clear Moonlit Dusk”; and actors Michelle Mao and Jin Ha for “zi.”

    Oct. 9 features director Yeon Sang-ho with Kim Hyun-joo for “Paradise Lost”; director Wang I-fan with Fukushi Sota and Han Ning for “The Scar-Faced Cat: Way of Asura”; and director Yoon Dan-bi with Sim Su-bin and Kim Eo-jin for “The World Before.” Oct. 10 brings actors Shin Mina, Ju Jihoon, Lee Jongsuk and Lee Seyoung for “The Remarried Empress,” plus Kwon Haehyo and Park Miso for “Nowhere to Lay My Eyes.”

    The section wraps Oct. 11 with an “Italy’s Fearsome New Directors” session pairing “Föa – Once Upon a Future” director Margherita Ferrari and producer Raffaele Perillo with “Deep Blue” director Ernesto Maria Censori, actor Andrea Arcangeli, producer Giorgio Gucci, screenwriter Lorenzo Marinelli and editor Chicchi Tadeucci; “Inherit,” with director Banjong Pisanthanakun and actors Davika Hoorne and Thitiya Jirapornsilp; and a joint stage greeting for Flash Forward section directors Rhys Marc Jones, Jannis Lenz, Fernanda Tovar, Jacqueline Lentzou, Emmanuel Marre, Manuel Wetscher, Margherita Ferrari, Grzegorz Dębowski and Manuela Martelli.

    Talk-to-Talk splits between the Roof Theater and the HANMAC Smooooth Lounge. At the Roof Theater on Oct. 10, “Women Directors: Taking the Scene” gathers Margherita Ferrari, Marjan Khosravi, May El-Youkhy, Michelle Zhou, Zainab Entezar, Jacqueline Lentzou and Julie Lecoustre. At the HANMAC Smooooth Lounge, Majid Majidi discusses his career from “Children of Heaven” to “Midday Meal” on Oct. 9, followed by four “Vision Korea” panels on Oct. 10 and Oct. 11 connecting directors and actors from “Things I Left at the Theater,” “Not for You” and “The Flower”; “Earbug,” “Some Detective” and “Nothing Has Happened Yet”; “The Birds,” “Space” and “Cosmic Trace”; and “Baler,” “Beyond Love’s Horizon” and “Full Moon.”

    A session titled “Asian Cinema Through Global Eyes” brings together Martine Therouanne of the Vesoul International Festival of Asian Cinema, Sabrina Baracetti of the Udine Far East Film Festival, Jeon Hyejung of the London East Asia Film Festival, Samuel Jamier of the New York Asian Film Festival and Teruoka Sozo of the Osaka Asian Film Festival. Directors Marco Nguyen and Nicolas Athané appear for “The Hottest Virus of the Year, ‘Jim Queen,’” and the program closes Oct. 13 with Kim Ah-young and Kim Seulki discussing their move from “SNL Korea” to film.

    The 31st Busan International Film Festival will run Oct. 6-15 at the Busan Cinema Center and venues throughout Busan, with the 21st Asian Contents & Film Market held Oct. 10-13.

  • Dead Boys Guitarist Cheetah Chrome Dies at 71

    Dead Boys Guitarist Cheetah Chrome Dies at 71

    Eugene Richard O’Connor, the punk rocker known as Cheetah Chrome and guitarist of the Dead Boys, died Sunday, his bandmates confirmed on Instagram. He was 71.

    “We are incredibly sad to announce the news of the passing of our beloved friend and bandmate Cheetah Chrome,” the band wrote in the post. “Cheetah was a true original, an architect of the punk rock movement. A one-man hurricane tearing up the musical landscape with his feral guitar riffs and manic energy. Beyond all that Cheetah was also just a really sweet guy that loved rock-roll. We extend our deepest condolences to Cheetah’s family, friends and fans around the world. His music lives on and will continue to inspire others for generations to come. We ask for privacy during this difficult time. Godspeed Cheetah. Tony, Chris, Mark and the entire Dead Boys family.” 

    Cheetah Chrome was a Cleveland, Ohio-born punk-rock musician based in Nashville. He started as a guitarist in Rocket from the Tombs in 1974 before starting Frankenstein with Dead Boys members Stiv Bators and Johnny Blitz. The band quickly evolved into Dead Boys.

    The three-piece band released their first album, “Young, Loud and Snotty,” in 1977 and their second, “We Have Come for Your Children,” in 1978 before breaking up a year later. The band reunited for a series of live performances over the years, but never put out another studio album. In honor of its 50th anniversary, the band had plans to tour their debut album in 2027. 

    O’Connor is survived by his wife, Anna O’Connor, and his 14-year-old son Rogan, who reside in Nashville. 

  • Israel’s Minister of Culture Threatens to Revoke Israeli Citizenships of ‘NAZA’ Filmmakers

    Israel’s Minister of Culture Threatens to Revoke Israeli Citizenships of ‘NAZA’ Filmmakers

    Israel’s Minister of Culture Miki Zohar threatened to revoke the Israeli citizenships of “NAZA” co-directors Yuval Abraham and Rachel Szor. He called the documentary “shocking” and accused the filmmakers of “betraying the state.”

    “The self-loathing that burns in the creators, who are willing to harm their homeland just to get applause from antisemites around the world, is inconceivable and constitutes a betrayal of the state,” Zohar wrote. “As Minister of Culture, I will act immediately to revoke the Israeli citizenship of these despicable creators for betraying the state.”

    “NAZA” shows “in detail the systems behind Israel’s calculated mass killing of Palestinian civilians in Gaza,” according to its official logline. The film recently premiered at the Venice Film Festival, where it received overwhelming acclaim. The standing ovation at the film’s premiere clocked in at 24.5 minutes, the longest in festival history. Abraham and Szor were awarded the special jury prize for their work.

    After accepting the award, Abraham said, “It’s honestly not very easy to stand here, thinking of all the Israeli politicians and journalists who are now attacking this film and denying it without even seeing it. So much is being done not to look at reality.”

    He added, “We believe that the denial of a crime is what helps it persist, and that’s why it’s especially important for us that Israelis watch this film — it’s our country that is doing these crimes — that Europeans watch it, and especially here in Italy because your government and the German government are blocking pressure on Israel that can end this, that Americans watch it because that country is funding much of the killing.”

  • Seth Green Says He Was Never Invited Back for the Canceled ‘Buffy the Vampire Slayer’ Reboot

    Seth Green Says He Was Never Invited Back for the Canceled ‘Buffy the Vampire Slayer’ Reboot

    Seth Green revealed in the Sept. 8 episode of “The McBride Rewind” podcast that he was not involved in any discussion of reprising his role as the werewolf guitarist Oz in Hulu’s canceled “Buffy the Vampire Slayer” reboot. 

    “I was not part of those talks,” he said in the episode. 

    While he was not involved, he would return if asked. 

    “If they wrote an Oz story, I’d love to see where Oz is right now,” he said. 

    Reps for 20th Century and Hulu did not immediately respond to Variety‘s request for comment.

    The original seven-season series followed Sarah Michelle Gellar as Buffy Summers, a young woman who slays vampires, demons and other supernatural creatures with the help of her friends. Inspired by the film of the same title, “Buffy the Vampire Slayer” ran from 1997 to 2003. It was set to be rebooted by Hulu in March 2025 but was cancelled after the pilot. 

    “I am really sad to have to share this, but I wanted you all to hear it from me. Unfortunately, Hulu has decided not to move forward with ‘Buffy: New Sunnydale,’” Gellar said in a video on Instagram. “I want to thank Chloé Zhao, because I never thought I would find myself back in Buffy’s stylish yet affordable boots. And thanks to Chloé, I was reminded how much I love her and how much she means not only to me but to all of you. And this doesn’t change any of that, and I promise if the apocalypse actually comes, you can still beep me.”

    The project, titled “Buffy the Vampire Slayer: New Sunnydale,” would have starred Ryan Kiera Armstrong as the new slayer, with original series star Gellar returning as Buffy. The pilot also starred Faly Rakotohavana as Hugo, Ava Jean as Larkin, Sarah Bock as Gracie, Daniel di Tomasso as Abe and Jack Cutmore-Scott as Mr. Burke.

  • ‘On Behalf of My Son’ Review: A Strained Brazilian Drama About a Mother’s Apology Tour

    ‘On Behalf of My Son’ Review: A Strained Brazilian Drama About a Mother’s Apology Tour

    A Brazilian drama with a powerful premise but labored execution, Gabriel Martins’ “On Behalf of My Son” follows the ripple effects of a tragic bus accident through the eyes of the driver’s mother, Vicentina (Rejane Faria). As she pillories herself with an apology tour, family members of the other victims veer in and out of the spotlight, offering more potentially affecting moments which — by structural necessity — quickly fade from view. Instead, the dramatic focus pivots entirely around Faria’s performance, which unfortunately works against the movie, more often than not.

    Opening with unassuming portraits of passengers on their commute in the city of Belo Horizonte, “On Behalf of My Son” begins with an enticing visual setup for individual stories that don’t fully materialize. In the moment, however, Martins imbues tremendous intrigue through snippets of the seemingly distracted middle-aged driver, Wesley (Renato Novaes), and eventually, through the crash itself. Its presentation is shocking and harrowing even if you know it’s coming.

    The film is at its most vigorous here, when its possibilities lie ahead. In the few moments we see Vicentina before she’s told of this tragedy, the aged character hobbles around on her crutch and performs unassuming household tasks with a captivating, disaffected demeanor, as she curtly cuts off an incoming phone call (the dramatic irony of which only the viewer is aware). Something’s clearly on her mind, and we never need to know exactly what in order for her to feel familiar.

    Once she’s told of the tragedy by her younger neighbor Joana (Maíra Azevedo), the routine of having to answer questions and identify her son’s remains allows Faria to shift quickly into thorny territory, promising a film that lives within the rankling discomfort of loss. Wesley’s twin brother (also played by Novaes) briefly comes to visit, practically conjuring Wesley’s ghost as he wanders around the house. However, gossipy TV news stories speculate on Wesley’s intent and state of mind, foisting doubt upon the mourning matriarch as an intimate mystery fades into view. Her way of dealing with the ensuing guilt is to track down the families of the other victims and apologize on her son’s behalf, which, on paper, makes for a fascinating approach to grief, but proves rote and repetitive in execution.

    Across nearly two-and-a-half hours, the camera follows Vicentina — from an observant distance when she makes arduous journeys between neighborhoods, and then in closeup when she arrives — as she meets with family members one by one. Few of these sit-downs play out with meaningful differences until late into the runtime, during which Faria is shouldered with dramatic heavy lifting that doesn’t quite gel with her approach. She’s clearly adept at summoning despair when required, but behind the character’s rehearsed apology (which we hear spoken ad nauseam) is a near-identical approach to emoting that proves troublesome when repeated back to back. It’s a performance of loud thoughts writ large across her face, reeled in by pursed lips, resulting in the awkward effect of stilted emotions struggling to be expressed, when the film ought to be at its most volatile.

    A handful of those she visits offer riveting work in return — like Fábio Leal as a grieving, battered lover who harbors complicated feelings about his fiancé’s death — but Vicentina becomes a mere interloper to these lives, and they seldom affect her own sense of self, or her sense of contrition, in the process. Those who reject or question her motives are pushed far into the movie’s gradual, calculated unspooling, gesturing at thorny complexities which are never allowed to arise.

    The recurring appearance of a mysterious friend of Wesley’s, a death-metal frontman with dwarfism named Fred (a heartbreaking Giovanni Venturini), becomes vital to Vicentina understanding that he lived a life of unexpected interests and frustrations. But before these doubts and mysteries can be folded into her worldview, the focus pivots elsewhere, never allowing even dead ends and unanswered questions to emotionally linger, before the film wraps around to questions of how Vicentina is to live and cope going forward.

    Martins has a deft eye for place and environment. Many of the victims are poor, and his camera’s tour of Black Brazilian lives hints at a multifaceted cultural portrait not usually contained within the Brazilian cinema that takes hold in North America. (At least, not since “City of God.”) However, the fluidity of his exploration is hardened early on, thanks to a tedious focus on hitting the same beats with little variety or escalation. It is, at best, intriguing from a safe distance, where its detailed, rundown textures can tell you more about its characters’ struggles than up-close depiction of their inner lives ever does.

  • Ella Langley’s ‘Dandelion’ Album Returns to No. 1 Spot on Billboard 200 for First Time in Four Months, So ‘Choosin’ Texas’ Won’t Get Lonely at the Top

    Ella Langley’s ‘Dandelion’ Album Returns to No. 1 Spot on Billboard 200 for First Time in Four Months, So ‘Choosin’ Texas’ Won’t Get Lonely at the Top

    Ella Langely’s fans are choosing her “Dandelion” album as a complete piece of work, and not just staying entirely trained on her long-running “Choosin’ Texas” smash. “Dandelion” has returned to the No. 1 spot on the Billboard 200 album chart for a third non-consecutive week at the top. Its previous stay at No. 1 was contained to the first two weeks it was out, in late April , but the album has rarely been too far from the summit in the intervening four and a half months.

    With the re-ascent of “Dandelion” on the album chart, probably no one needs to be told that this means Langley is again topping both of Billboard’s primary charts, as the indomitable “Choosin’ Texas” remained at No. 1 on the most recent Hot 100 singles chart to be released. The next Hot 100 will be made public on Monday, and chances are good that “Texas” will still be on top, which would mark the song’s 22nd week at No. 1. If that turns out to be the case, Langley will have tied Mariah Carey’s all-time record of 22 weeks for “All I Want for Christmas is You” and be one week away from breaking the record.

    “Dandelion” benefited from the ongoing hunger for all things Langley, but also from a Labor Day holiday period in which there were no huge albums debuting. It reached the summit with 67,000 equivalent album units. That’s pretty much par for the recent course for Langley’s album; that figure was down just 1% from the previous week for her. But as Billboard pointed out, 67,000 was the lowest number for a No. 1 album in more than a year. (The last time an album was No. 1 with fewer units was in May 2025, when SZA’s “SOS” topped the chart with just 52,000.)

    The only new album to make the top 10 was Adela‘s first full-length alum, “Prima,” which bowed at No. 4 with 56,000. The numbers for Adela were tilted toward full-album sales, with 31,000; streaming (SEA) units were good for another 25,000 units, on the strength of 25.94 million on-demand streams. The album debuted at No. 1 on the album sales chart and No. 14 on the streaming albums chart.

    Beyoncé’s “B’Day” virtually counted as a new album, reentering the chart for the first time in 18 years due to a 20th anniversary deluxe reissue. It reentered at No. 8 with 38,000 units.

    Rounding out the top 10: Olivia Rodrigo, still riding high at No. 2 (with 64,000 units, down just 4%), followed by Morgan Wallen at No. 3, Noah Kahan at No. 5, Ariana Grande at No. 6 (up nine spots thanks to a deluxe edition with live tracks coming out), Rod Wave at No. 7 (down six spots and 57% after debuting at No. 1 a week ago), Drake at No. 9 and Olivia Dean at No. 10.

  • FCC Chairman Slams James Talarico as Running a ‘Hoax’ With Jimmy Kimmel Interview, Which ABC Punted to YouTube, to Get ‘Clicks and Donations’

    FCC Chairman Slams James Talarico as Running a ‘Hoax’ With Jimmy Kimmel Interview, Which ABC Punted to YouTube, to Get ‘Clicks and Donations’

    Brendan Carr, the Trump-aligned Republican chairman of the FCC, accused James Talarico, a Texas Democrat running for the U.S. Senate, of running a “hoax” to garner attention and campaign donations by sitting for an interview with Jimmy Kimmel — which ABC put on YouTube instead airing it on broadcast TV to avoid a potential clash with the FCC.

    In a post on X Saturday night, Carr wrote that Talarico is “just running the same hoax he did a few months ago on Colbert for the purpose of getting clicks and donations — he’s banking on people not understanding the statute or operating as partisan lemmings.”

    Carr’s post included a meme mocking Talarico and Kimmel meant to show a self-inflicted fail. It depicts Kimmel riding a bike with Talarico tucked into a baby backpack carrier on the TV host’s shoulders; Kimmel then inserts a stick into the spokes, causing the bike to crash.

    Variety has reached out to Talarico’s press office for comment.

    Kimmel on Wednesday announced on his ABC late-night show that the interview Talarico would be on YouTube and not TV, saying the decision was made “out of consideration for our local stations, especially our ABC affiliates in Texas who would have to deal with this nonsense.”

    The concern was that the FCC would retaliate against ABC over Talarico’s appearance under the agency’s equal-time rule, which requires broadcast programs give equivalent airtime to political candidates (unless they are “bona fide” news programs). Late-night shows and daytime talk shows have long been considered exempt from the rule. But earlier this year, Carr kicked off a formal review of whether ABC daytime talk show “The View” qualifies for an exemption to the equal-time rule. The FCC chairman has alleged that many talk shows on broadcast networks function as partisan mouthpieces for Democrats and should be subject to agency regulations like the equal-time rule and a prohibition on “news distortion,” because they are using publicly licensed TV spectrum.

    Talarico characterized ABC’s decision to abstain from putting his interview with Kimmel on TV as effectively amounting to censorship by the U.S. government. “Government censorship should be a concern to all of us, regardless of our political party,” Talarico said in an interview Thursday on MS NOW. The Democrat called the FCC’s threats against broadcasters over “The View” and other programming “the most dangerous form of cancel culture.”

    After Kimmel’s interview with Talarico was posted Thursday on YouTube, it notched over 5 million views in the first 24 hours. As of this writing, it has racked up 7.3 million views on the platform.

    “We are being targeted by the FCC for the crime of interviewing political candidates,” Kimmel said at the top of the segment. “Even though, for years, we and every other late-night talk show have welcomed numerous candidates including Donald Trump when he was running [for president]. He was on this show two times. But now I guess he doesn’t like me anymore or the First Amendment. And so the FCC has threatened me or threatened my show, our network, even our local ABC stations because they want to make our editorial decisions for us, which of course we cannot accept. And so tonight, we are bypassing the public airwaves and hosting this interview on YouTube, even though our government would clearly prefer that we not do it at all.”

    Earlier this year, Talarico similarly was kept off TV over CBS’s fear of running afoul of Carr’s enforcement of the FCC equal time rule. In February, Stephen Colbert said CBS execs pulled his interview with Talarico from air over concerns about violating the equal time rule. CBS said it didn’t block the interview from airing but that the network provided “The Late Show” producers “legal guidance that the broadcast could trigger the FCC equal-time rule.”

    Meanwhile, ABC has dragged the FCC into federal court over the agency’s demand it submit licenses for its eight owned-and-operated TV stations early renewal. ABC sued the FCC and Carr last month, alleging the commission was waging an “extraordinary assault” on its First Amendment rights through the implicit threat of revoking its local TV broadcast. The Disney-owned broadcaster’s lawsuit alleged that the FCC’s “true target” is not the stations’ employment practices but the content of their programming: “Because the Commission cannot regulate that content directly, it has used its review of the Stations’ licenses as an instrument to the same end,” the suit said. The FCC asserts the ABC early license renewal was initiated from the agency’s investigation into “allegations of unlawful discrimination” in employment practices at Disney and ABC. On Sept. 3, the agency asked the court to dismiss ABC’s lawsuit, arguing that the network failed to establish that the license review represents “retaliation” for disfavored speech.

    Carr, in his Saturday-night commentary, was responding to a comment on X by an organization called University Democrats at UT Austin, which asked rhetorically, “So I can’t watch Talarico on Kimmel but I have to watch Ted Cruz on GameDay?” That’s a reference to an appearance on ESPN’s “College GameDay” Saturday by Sen. Ted Cruz (R-Texas), who was on-air for almost 10 minutes. Cruz, who spent most of his time on the program lobbying for the Protect College Sports Act legislation that would impose new restrictions on collegiate sports practices, was loudly heckled and booed by the fans in attendance.

    Carr, who was appointed chairman of the FCC by Donald Trump in 2025, noted that the FCC’s equal-time rule doesn’t apply to ESPN’s “College GameDay” because Congress applied it to broadcast TV stations, not cable networks. In addition, he pointed out correctly, the statute only applies to “legally qualified candidates” running for office.

    He also argued that the equal-time statute “does not prohibit anyone from interviewing anyone on broadcast tv. It is about more speech, not less. Congress wanted to ensure that voters would decide elections, not media gatekeepers picking winners and losers by providing preferential airtime to some candidates and not others.”

    Carr, explaining why broadcast and cable networks are regulated differently by the FCC, continued, “Broadcasters are unique. The FCC gave them free licenses worth many billions of dollars to use a public resource (spectrum). They are given a government sanctioned monopoly on their broadcast frequencies, too. If anyone else wants to use that same public resource (spectrum) for the purpose of expressing their own views, the government will not let them — it will eject anyone else that tries to use a broadcaster’s licensed spectrum.”

    The Supreme Court has ruled that “holding broadcasters to their public interest obligations is not censorship or any sort of 1A [First Amendment] violation,” Carr wrote. “And Congress has charged the FCC with ensuring that broadcasters meet those public interest obligations, as required by their licenses. The agency should do so.”

    Of course, today, most Americans watch broadcast television networks like ABC on cable, satellite or internet pay-TV services — not using over-the-air antennas.

    In response to Carr’s 479-word post, UT Austin’s University Democrats wrote, “ok brandon.”

  • Oscars: Philippines Selects Rafael Manuel’s ‘Filipiñana’ for International Feature Race

    Oscars: Philippines Selects Rafael Manuel’s ‘Filipiñana’ for International Feature Race

    Rafael Manuel’s “Filipiñana” has been chosen as the official entry from the Philippines in the international feature category at the 99th Academy Awards. It was selected from a shortlist of 8 films. 

    The film is written and directed by Manuel and is distributed by Kino Lorber.

    Richard Lorber, chair and CEO of Kino Lorber, said, “From the moment I saw ‘Filipiñana’ at the Sundance Film Festival, I’ve been telling everyone I know that it’s nothing short of a cinematic miracle.” He added, “When you’ve been distributing films for many decades, as I have, it feels like a gift that you can still discover something that truly feels like the future of the form. I am beyond thrilled that Rafael Manuel’s stunning and astounding debut has been chosen as the Philippines’ official Oscar submission and wish to reaffirm Kino Lorber’s commitment to helping it go the distance. ‘Filipiñana’ is already a theatrical hit in North America and our team is poised and ready to work with the film’s producers to translate our ongoing publicity and marketing efforts into a successful awards campaign.”

    The film is set against a backdrop of oppressive heat and drought. The narrative follows Isabel, a 17-year-old from the provinces of the Philippines, who gets a job at a prestigious golf resort.

    Speaking with Variety, Manuel said he felt the golf course was the perfect setting for the film to explore societal inequities in the country. With the very first courses established on American military bases, the local elite eventually took over, making the golf course a center of power.

    “When you think about it, it’s a good metaphor for the country in that it’s very large and situated on a very fertile plot of land that’s toiled on and worked on by so many people, but ultimately enjoyed and profited from by only a select few.” That, Manuel said, illustrates the class divide that has been so ingrained in the Philippines.

    The international feature selections can be found here.

  • Trans Pregnancy Drama ‘Aman’ Boards Parallax Films for Global Sales Ahead of Toronto and London Premieres (EXCLUSIVE)

    Trans Pregnancy Drama ‘Aman’ Boards Parallax Films for Global Sales Ahead of Toronto and London Premieres (EXCLUSIVE)

    International sales company Parallax Films has boarded “Aman,” writer-director Rahul Roye’s short film about a trans man who discovers he is pregnant on the eve of his gender-affirming surgery, for worldwide sales.

    The announcement comes ahead of the film’s world premiere in the Short Cuts competition at the Toronto Film Festival, after which it travels to the BFI London Film Festival for its European premiere in that festival’s competition section, which selects 10 shorts from across the world.

    Parallax Films is an international sales agent rooted in Sinophone cinema with teams based in Asia and Europe, focused on bringing high-quality Asian films to the global market.

    Parallax founder Liuying Cao said: “‘Aman’ is an ambitious film, yet one deeply grounded in human emotion. It touches upon the most intimate experiences of an individual life, while never losing sight of the social and political realities – and responsibilities – that those experiences carry. Rather than resorting to slogans, the film reaches the audience through pain that is visceral, embodied, and deeply human. We are especially thrilled to be collaborating with such a beautiful and moving queer film from India.”

    The 16-minute film, a U.K.-U.S.-India-France co-production shot in the Hindi and Bengali languages, had previously unveiled Nikkhil Advani and Dominique Welinski as executive producers. It is produced by Apoorva Bakshi for Awedacious Originals, Elle León Nostas for Aymara Films, Neeraj Churi for Lotus Visual Productions, and Tushar Tyagi and Abid Aziz Merchant.

    The producers said in a joint statement: “‘Parallax Films brings a rare combination of global sales expertise and a deeply bespoke approach to every film they represent. With ‘Aman,’ we wanted a partner who could hold our sensitive and layered film with gentle hands, protecting what makes it intimate and singular while being ambitious and precise about how it is positioned for the world. Their instinct for both the film and its audience made the partnership feel immediate, and we’re thrilled to have them champion ‘Aman’ internationally.”

    The cast includes Kabir Maan, a transgender activist making his acting debut in the title role, opposite Sirat Taneja, Guntaj Deep Singh and Satakshi Nandy. Taneja previously appeared at Toronto in Deepa Mehta’s documentary “I Am Sirat.”

    “‘Aman’ is my attempt to create space for bodies and identities that refuse simplification. Pregnancy is one of the most deeply gendered experiences in our societies – ritualized, politicized and controlled. By placing a trans man at its center, the film questions how fragile our definitions of gender can be. Ultimately, it is a film about becoming,” Roye said.

    “Aman” is supported by the Sumitra Gupta Foundation for the Arts, the Keshav Suri Foundation and the Kashish Q Drishti Film Grant, presented by the Kashish Arts Foundation, with additional support from Renuka Shahane and Lotus Visual Productions. The film marks Roye’s third short, following “Man & Wife” and “A Lullaby for Yellow Roses.”