Tag: Entertainment-Variety

Kelly Osbourne is speaking out after many people have been commenting on her appearance and weight loss online after Saturday’s Brit Awards.

“There is a special kind of cruelty in harming someone who is clearly going through something,” she posted on her Instagram story after the British awards show. “Kicking me while I’m down, doubting my pain, spreading my struggles as gossip, and turning your back when I need support and love most.”

Kelly’s father, the late heavy metal rockstar Ozzy Osbourne, was posthumously honored with a lifetime achievement at the Brit Awards. He died on July 22, 2025, at 76 years old, and Kelly and her mother Sharon accepted the award on Ozzy’s behalf Saturday.

In the months following Ozzy’s death, Kelly has repeatedly responded to body-shaming critics of her weight loss.

“To the people who keep thinking they’re being funny and mean by writing comments like ‘Are you ill,’ or ‘Get off Ozempic, you don’t look right.’ My dad just died, and I’m doing the best that I can, and the only thing I have to live for right now is my family,” Kelly said in a since-deleted social media video late last year.” “So to all those people, fuck off.” Sharon also defended her daughter in an interview with Piers Morgan, saying, “She’s lost her daddy, she can’t eat right now.”

The online critics returned after the mother and daughter walked the Brit Awards red carpet and gave a speech honoring Ozzy.

“None of it proves strength; it only reveals a profound absence of compassion and character,” Kelly wrote on Instagram. “I’m currently going through the hardest time in my life. I should not even have to defend myself. But I won’t sit here and allow myself to be dehumanized in such a way!”

On the Brit Awards stage, Sharon paid tribute to her late husband by saying, “If Ozzy was here tonight with us, he would be showing us that gorgeous smile that he had and I know he would be so proud to receive this from the country that he loved. So he may not be here, but he left us one amazing body of work that will never be forgotten by the country that made him.”

Some of Hollywood’s most prolific and established producers weighed in on the Paramount-Warner Bros. Discovery merger Saturday night at as they walked the red carpet at the Producers Guild Awards in Los Angeles.

“It’s sad. A lot of people will lose their jobs unfortunately, which is no good, but [Paramount Skydance chairman and CEO] David Ellison love movies. He’ll make a lot of movies, which is a good thing,” said industry veteran Jerry Bruckheimer, who was nominated at the PGAs for producing Apple’s “F1: The Movie.”

Does Bruckheimer think it’s possible for Ellison to live up to his promise of releasing 30 theatrical films a year? “He could certainly try,” he said. “At least he’s trying rather than saying, ‘I’ll make five movies.’”

Jerry Bruckheimer on the “F1” sequel and the Paramount-Warner Bros. merger: “It’s sad that a lot of people will lose their jobs, but David Ellison loves movies and will make a lot of movies, which is a good thing.” #PGAAwards pic.twitter.com/5yBXX57RAZ

— Variety (@Variety) March 1, 2026

Warner Bros. Discovery agreed to be acquired by Paramount Skydance in a $110 billion deal reached on Friday after Netflix decided to back out of its bid for the studio.

Jason Blum, this year’s recipient of the Milestone Award at the PGAs, said he believes “it’s an overblown thing about the consolidation.”

He pointed to a decade ago when Netflix, Amazon and Apple were just starting to rev up their activities in film and TV.

READ MORE: ‘One Battle After Another’ Takes Producers Guild Award as Paul Thomas Anderson Pays Emotional Tribute to Warner Bros. Pictures Chiefs

“So there are three major new buyers so I think it’s not surprised that studios would consolidate,” Blum said. “But I believe David really really believes in the theatrical business and loves movies and I think he’s going to take very good care of Warner Bros.”

Blum acknowledged the “real fear” of people losing their jobs due to the merger. “There’s nothing worse than that,” he said. “That’s an absolute real fear and you know, the only thing that can stop that is the government, but that is a real fear. That is always a downside of consolidation.”

This year’s Norman Lear Achievement Award honoree Mara Brock Akil said there are still too many unknowns for her to form a definitive opinion. “I think that’s the scary part of it,” she said. “What do you do when you’re scared – crawl in the corner or take action? I think we need to decide who we want to be as a community, as artists and have a conversation with clearly what’s going to be the most powerful studio in the world…We need to start that now.”

Charles Roven isn’t exactly feeling bad for Netflix losing to Paramount. “Paramount – the Ellisons –were incredibly aggressive. Ted [Sarandos] made a nice deal for himself in picking up $2.8 billion for the breakup fee so no one’s crying for him,” he said. “We’ll see what happens because there’s still a lot of steps to do. It’s going to be interesting to see how all the different states and the Department of Justice look at the transaction because…Paramount and Skydance have things that Warner Bros. have – CNN and CBS, HBO Max and Paramount+.”

Roven, whose credits include about a dozen Batman and Superman movies at Warner Bros., believes the combined studios could release 30 movies a year – if the studios remain somewhat independent of each other. “If [Ellison] keeps Warners separate from Paramount, it’s conceivably possible,” he said. “I just think it’s going to be challenging depending on how dominate of a presence a guy at the top – and David is on the top – is going to be because he’s not going to have time to actually get granular on 30 movies. I don’t think. Maybe his is that brilliant. I don’t know.”

Funny or Die CEO Mike Farah said he was hesitant to offer an opinion because he wants “to give people time to figure it out.”

But then he said, “Generally speaking, many people – and I agree with them – believe this isn’t great for Hollywood because it is a form of consolidation and that will have impact. There is much disruption and change right now that I just want to take a beat, let’s see if any of it goes through – it probably will – and then let’s just take people at their words,” Farah said.

“Hamnet” producer Pippa Harris worries that she’ll have one less studio to pitch her wares. “Hopefully, whoever ends up running Warner Bros. they will keep it as an active successful studio and making the kind of movies they’ve been successful with this year,” she said.

(Pictured: Jason Blum, Mara Brock Akil and Jerry Bruckheimer)

It is both an ineffective sales pitch and generally accurate to call “DTF St. Louis” the unsexiest erotic thriller ever made. The HBO limited series, all seven episodes of which were written and directed by “Patriot” creator Steven Conrad, combines sex, murder and betrayal in the entanglements between Clark (Jason Bateman), his new friend Floyd (David Harbour) and Floyd’s wife Carol (Linda Cardellini). But “DTF St. Louis” sets this story against an exquisitely banal backdrop to uncanny, off-kilter and ultimately hilarious effect. 

The series’ first image is of Clark, a local weatherman, commuting to work on his recumbent bike, as dorky a mode of transportation as has ever been invented. Brands like Purina (where Carol works in the corporate office), Outback Steakhouse (where Clark and Floyd go on their first friend date) and Jamba Juice (where Clark gets his daily Go-Getter smoothie for an afternoon pick-me-up) are invoked to set the tone. St. Louis itself — though our heroes actually live in the fictional suburb of Twyla — is seemingly selected for its total lack of glamor or noirish allure. 

“DTF St. Louis” is the second HBO series in six months, after Tim Robinson’s “The Chair Company,” to heighten the bland normality of suburban life into a staging ground for absurdist humor with its own distinct cadence. In fact, an early entry in my notes reads “Tim Robinson but quiet” — there’s a Robinsonian rhythm to simple, quirkily phrased lines of dialogue like “You want my dreams, at the Quality Garden Suites?” But Conrad’s characters aren’t loud, blustering oafs designed to explore masculine bravado, even if that’s part of what’s going on here; when Clark and Floyd, an on-air ASL interpreter, meet while covering a cyclone, the ensuing bromance has shades of “Step Brothers.” The central trio are mild-mannered people in economic and spiritual malaise of the sort that drives Clark and Carol to strike up an affair, and leads Floyd to wind up dead by a poisoned (and canned) Bloody Mary.

“The White Lotus” creator Mike White has described the dead body that opens each season as a kind of Trojan horse, successfully leveraging a murder mystery to a mass audience for the adult relationship dramedies that were already White’s stock in trade. “DTF St. Louis” feels like a potentially similar bait-and-switch for Conrad, even if Missouri may have less immediate allure than the Maui beaches of “The White Lotus” Season 1. Who killed Floyd and why is a simple, easy-to-understand framework for the story, driven in the present tense by investigating detectives Donoghue (Richard Jenkins, a masterful straight man) and Jodie (Joy Sunday). (Much of the show takes place in nonlinear flashbacks that fill in the gaps of Clark, Carol and Floyd’s dangerous liaisons.) While I can’t predict its popular success, the genre and HBO-Sunday-night perch of “DTF St. Louis” seem destined for at least a broader reach than Conrad’s prior CV of shows with a small but fiercely loyal audience. Ever heard of the stop-motion noir musical “Ultra City Smiths,” which aired for a single season on AMC+? If you haven’t, someone in your life is probably happy to wax rhapsodic.

“DTF St. Louis,” it should be said, is the name of an app catering to married but nonmonogamy-curious users in the titular urban area. Clark, whose early bird schedule has interfered with his sex life, initially pitches Floyd on joint exploration. Once Clark takes up with Carol, however, it’s Floyd who dives in, recounting his exploits in breathless detail for Clark’s vicarious enjoyment. Like Floyd’s job, which involves tasks as disparate as communicating the severity of a weather event to dancing along at a pop concert, or the St. Louis Sheriff’s Department severe Brutalist headquarters, the hyper-local app’s existence is a clue the show takes place in a universe that’s not exactly our own. 

Another indication is how frankly, if dispassionately, everyone talks about sex. “Porn is a part of my marital sex life,” Jodie flatly informs Donoghue, her coworker. In recounting one of his app encounters, Floyd clinically says he “withdrew my ass” to politely signal a lack of interest. Though the deadpan delivery is clearly comedic, “DTF St. Louis” takes its subjects’ desires seriously; the roleplay Clark and Carol undertake in their rendezvous is too psychologically specific to be simply a gag. The result is an impressive balancing act: to joke around and about sex without making sex the punchline. 

To pull it off, Conrad has the assistance of an exemplary cast. Last year, I criticized the Netflix series “Black Rabbit”, in which Bateman played a good-for-nothing troublemaker, for failing to realize the actor works best with bad guys who hide their flaws beneath a pleasant facade. Here, thankfully, he’s right back in his sweet spot. We don’t know whether Clark actually hurt Floyd, but at minimum, he’s the type of guy who lies to his wife about conducting a “Safety Sesh” on a swing set so he can ogle his neighbor. But as our perceptions of Clark shift with various revelations, Bateman masterfully modifies his bearing from blandly sinister to sweetly sincere and back again. The credits sequence alone, in which Bateman karate chops in slow motion to The Fifth Dimension, is an Emmy reel in miniature.

Harbour, for his part, seems to relish the reprieve from limiting, if lucrative, family genre fare like “Stranger Things” and the MCU. Saddled with 30 extra pounds and thousands in unpaid tax debt, Floyd is a bashful, self-conscious guy who nonetheless can’t help telling Clark about his penis deformity in their first-ever conversation. Harbour gives him both a childlike naivete and flashes of confidence, the qualities combining to help him connect with Carol’s socially maladjusted son Richard (Arlan Ruf). Clark may be cuckolding his much less financially secure friend, yet we still understand that Floyd, too, has something to contribute to their relationship. (Here is the space where I acknowledge that Harbour recently made headlines as the target of Lily Allen’s scathing breakup album “West End Girl,” about…sexual infidelity in a modern marriage. Does that have any real bearing on his work here? No! Is the parallel still too glaring to ignore? Yes!)

Cardellini’s Carol is, by design, the most opaque of the three. (Bateman and Harbour also executive produce, whereas Cardellini does not.) After the first couple episodes are framed from the men’s point of view, her perspective is the last to arrive. Until then, we get a former Don Draper mistress reentering seductress mode, with a “DTF St. Louis” twist: Carol and Floyd’s sex life has fizzled because she’s taken on a side hustle as a Little League umpire and he finds her getup, which we’re treated to at every possible ungainly angle, unattractive; the way Carol slices a carrot puts Kendall Jenner’s cucumber knifework to shame. Cardellini is equally plausible as a femme fatale and a woman who likely has an active Nextdoor profile.

As performers, Cardellini, Harbour and Bateman have the chemistry that their awkward, alienated characters sometimes don’t. “DTF St. Louis” isn’t exactly cringe comedy, but it is idiosyncratic enough that I expect some will find the show a tough sell; it certainly took me a few episodes to acclimate to Conrad’s stilted, precisely crafted world. That the performances are all so calibrated to each other’s wavelengths, if not a bewildered viewer’s, is an indication that “DTF St. Louis” is achieving its own goals, however inscrutable they are to an outsider. When I reached the end of the four episodes provided to critics, I was down for more — if not in the way the show’s title suggests.

“DTF St. Louis” will premiere on HBO and HBO Max on March 1 at 9 p.m. ET, with remaining episodes airing weekly on Sundays.

“Frankenstein,” One Battle After Another” and ‘The Fantastic Four: First Steps” won top film honors at the 30th Art Directors Guild (IATSE Local 800) Excellence in Production Design Awards.

The awards were handed out on Saturday night at the InterContinental Los Angeles Downtown.

TV winners included “Andor,” “Severance” and “The Studio.”

The event celebrated the visionary production design teams behind the year’s most visually ambitious films, television series, and music projects, recognizing outstanding achievement in the art of cinematic and episodic world-building.

Martin also won a second award for her work on the Prada “Galleria Bag” commercial.

As Oscar voting is open, Deverell and Martin are both nominated in the production design category. The other nominees are for “Hamnet” (Production Design: Fiona Crombie; Set Decoration: Alice Felton),
“Marty Supreme” (Production Design: Jack Fisk; Set Decoration: Adam Willis) and “Sinners” (Production Design: Hannah Beachler; Set Decoration: Monique Champagne).

“Kpop Demon Hunters” continued its winning streak, collecting the ADG Award in feature animation. This past week it won 10 Annie Awards including best feature and three Visual Effects Society trophies. It also won the Producers Guild award.

The guild handed out special honors tonight to filmmaker Jon M. Chu, whoreceived the Cinematic Imagery Award. Rep. Laura Friedman (D-CA) was presented with the set for the President’s Award. Production designer Thomas E. Sanders, (”Saving Private Ryan” and “Bram Stoker’s Dracula”) was inducted posthumously into the ADG Hall of Fame. The guild handed out four Lifetime Achievement Awards. Honorees included set designer and art director Jann Engel. Production designer Bo Welch. Production designer Tom Southwell and scenic artist Stephen McNally.

Welch whose credits include “Men in Black,” “The Birdcage” and “Beetlejuice” dedicated his award to “my brilliant beautiful wife Catherine O’Hara and our sons Matthew and Luke, who all inspire me daily and are my greatest lifetime achievement.” O’Hara died on last month at her Los Angeles home, and was married to Welch.

During her speech Friedman vowed to defend the film and television industry. Friedman who has been fighting for a national film credit, started her speech by talking about how films show the world what America is. “It’s why people was in immigrate here in the first place. It’s why people in other countries that don’t enjoy those freedoms understand what that would mean to their lives and to the lives of their children. So what you do does move hearts and minds.”

Friedman told the room she had stopped reading from the teleprompter, and was speaking from the heart. She said, “We are going to finish the job of having a national film tax credit, because Hollywood is worth fighting for. The film industry is worth fighting for.”

She said, “I will defend this industry. I will defend it from offshoring productions. I will defend it as much as I can from corporate consolidation. I will absolutely defend it from AI taking away the work of artists.” Friedman continued, “We’re going to fight for it in Georgia, New York, New Jersey, all across this country, because when we have a strong film and TV industry, America succeeds. So we are going to continue working on this tax credit. I have great faith that we are going to deliver for you.”

Chu was mourning the end of his “Wicked” journey. As he accepted his award, he said, “Have you ever put so much love into something like true love that you never wanted it to end like it hurts, like it physically hurts your stomach to think about your life without it.” He said, “That’s where I’m at right now with ‘Wicked.’ That’s what it feels like for me to say goodbye to ‘Wicked,’ because this may be one of the last times I get to celebrate it.” He talked about the craft of production design and called on those who he had worked with throughout his career from Nelson Coates (“In the Heights”) to Nathan Crowley (“Wicked”). Chu called filmmaking “an empathy exercise built into our culture for generations, and design is what makes it possible. It is the official language of this connection.” He told the room of production designer and set decorators, “You are not simply designers. I think you are explorers.”

Full list of 30th ADG Awards winners below:

FEATURE FILM NOMINEES:

PERIOD FEATURE FILM

“Frankenstein”
Production Designer: Tamara Deverell

FANTASY FEATURE FILM

“The Fantastic Four: First Steps”
Production Designer: Kasra Farahani

CONTEMPORARY FEATURE FILM

“One Battle After Another”
Production Designer: Florencia Martin

ANIMATED FEATURE FILM

“KPop Demon Hunters”
Production Designers: Mingjue Helen Chen, Dave Bleich

TELEVISION NOMINEES:

ONE-HOUR PERIOD SINGLE-CAMERA SERIES

Palm Royale: “Maxine Drinks Martini’s Now,” “Maxine Serves a Swerve”
Production Designer: Jon Carlos

ONE-HOUR FANTASY SINGLE-CAMERA SERIES

Andor: “Who Are You?”
Production Designer: Luke Hull

ONE-HOUR CONTEMPORARY SINGLE-CAMERA SERIES

Severance: “Chikhai Bardo”
Production Designer: Jeremy Hindle

TELEVISION MOVIE OR LIMITED SERIES

Monster: The Ed Gein Story
Production Designer: Matthew Flood Ferguson

HALF-HOUR SINGLE-CAMERA SERIES

The Studio: “The Note”
Production Designer: Julie Berghoff

MULTI-CAMERA SERIES

Mid-Century Modern: “Bye, George”
Production Designer: Glenda Rovello

VARIETY OR REALITY SERIES

Saturday Night Live: “Lady Gaga Host”
Production Designers: Akira Yoshimura, Keith Ian Raywood, N. Joseph De Tullio, Andrea Purcigliotti

VARIETY SPECIAL

SNL50: The Anniversary Special
Production Designers: Akira Yoshimura, Keith Ian Raywood, N. Joseph De Tullio

COMMERCIALS

Prada: “Galleria Bag”
Production Designer: Florencia Martin

SHORT FORMAT & MUSIC VIDEOS

Apple – Someday by Spike Jonze: “AirPods 4 with Active Noise Cancelation”
Production Designer: Shane Valentino

The Iranian Independent Filmmakers Association (IIFMA) is supporting the ongoing attacks by the U.S. and Israel in Iran that have caused the death of Supreme Leader Ali Khamenei prompting the possibility of seismic political changes.

“The Islamic regime in Iran, following the national uprising and tragic massacre of January 2025, has left its defenseless citizens with no option but to seek urgent humanitarian intervention from the international community,” the organization – which claims to represent hundreds of members of Iran’s dissident film community – said in a statement. 

Over 40,000 civilians are estimated to have been killed by Iran’s Islamic Revolutionary Guard Corps (IRGC) during the Jan. 8-9  crackdown on nationwide anti-government protests.

“In this context, the Iranian Independent Filmmakers Association (IIFMA) calls upon the international community to uphold Iran’s sovereignty and to prioritize the protection of tens of millions of citizens held hostage by the Islamic regime,” the statement added.

“We advocate for targeted actions against government officials and oppressive agents while avoiding harm to innocent civilians,” it continued. “It is essential to put an end to this archaic cycle of patriarchal violence.”

Top Iranian auteurs such as Jafar Panahi, Asghar Farhadi and Mohamed Rasoulof have yet to weigh in with public statements on the joint U.S.-Israel attack on Iran. Besides Khamanei, the air strikes have also killed Iran’s chief of army staff and defense minister, according to Iran’s state state-run IRNA news agency and other news outlets.

Iran has retaliated to the air strikes by launching missiles and drones targeting Israel and U.S. military installations in Bahrain, Kuwait and Qatar.

The effects of the attacks on Iranian civilians were not immediately clear. HRANA, a Washington-based Iranian rights group, said late Saturday that at least 133 civilians had been killed and that 200 others had been injured. The U.S. and Israeli militaries have not immediately commented.

Meanwhile massive explosions are being reported on Sunday in the Iranian capital of Tehran where on Saturday celebrations for the supreme leader’s death with fireworks and dancing in the streets reportedly took place but there were also protests on the part of Khamenei supporters.

Iranian regime change is considered a complicated matter due to the regime’s deep roots in the country despite widespread opposition. The political vacuum could evolve in unpredictable ways.

“Sinners,” “Marty Supreme” and “One Battle After Another” took home prizes at the 16th annual Guild of Music Supervisors Awards on Saturday night.

Dedicated to honoring the best achievements in music supervision and songwriting, winners on the TV side included the music supervisors of “The Lowdown” and “The Studio.”

Raphael Saadiq’s “I Lied To You” (co-written with Ludwig Göransson), from Ryan Coogler’s “Sinners,” won for Best Song Written and/or Recorded for a Film. Saadiq was also awarded the Icon Award for his contributions to the music and film industry. 

Robin Kaye, a music producer, supervisor and former Vice President of the Guild of Music Supervisors, was honored posthumously with the Legacy Award. “American Idol’s” Alejandro Aranda honored Kaye with a touching tribute performance. 

The evening featured a number of live performances, including Saadiq’s rendition of “I Lied To You” alongside Ludwig Göransson and special guest Brittany Howard of Alabama Shakes on guitars. From “Diane Warren: Relentless,” Diane Warren, Sharon Farber and Eden Kontesz performed the Oscar and GMS Award–nominated “Dear Me,” and from “Dark Winds,” Keith Secola performed the GMS Award–nominated “NDN Kars.” Cris Chil debuted her new song “15K.”

John Legend, Kate Hudson and Flavor Flav all made appearances at the award ceremony. 

The event is produced by the Guild of Music Supervisors Awards Production Committee: President Lindsay Wolfington, Vice President Heather Guibert, Janet Lopez, Priya Autrey, and Joel C High. Show Production is handled by Angelia Shepperd from ABS Collective with Talent Producer Julie Donsky and Technical Production by Nick Urbom from Big Push Media Group.  

See the complete winners list below.

FILM 

Best Music Supervision in Major Budget Films

Niki Sherrod, “Sinners” 

Best Music Supervision in Mid-Level Budget Films

Gabe Hilfer, “Marty Supreme” 

Best Music Supervision in Low Budget Films

Sarah Bromberg, Stephanie Diaz-Matos, “One of Them Days” 

Best Music Supervision in a Non-Theatrically Released Film

Frankie Pine, “Nonnas” 

Best Song Written and/or Recorded for a Film

“I Lied to You” from Sinners, Music Supervisor: Niki Sherrod, Performer: Miles Caton , Songwriters: Ludwig Göransson, Raphael Saadiq 

TELEVISION 

Best Music Supervision in a Television Drama 

Tiffany Anders, “The Lowdown” (Season 1) 

Best Music Supervision in a Television Comedy 

Gabe Hilfer, “The Studio” (Season 1) 

Best Music Supervision in Reality Television 

Meryl Ginsberg, Sara Torres, Jordan Young, “Love Island USA” (Season 7) 

Best Song Written and/or Recorded for Television 

“Dialing In” from “Smoke” (Season 1), Music Supervisor: Mary Ramos, Performer: Thom Yorke, Songwriter: Thom Yorke 

DOCUMENTARIES 

Best Music Supervision in a Documentary Film 

Amanda Clemens, Jody Colero, “Lilith Fair: Building a Mystery” 

Best Music Supervision in a Docuseries 

Deborah Mannis-Gardner, “Hip Hop Was Born Here” (Season 1) 

ADVERTISING 

Best Music Supervision in Advertising (Synch) 

Nellie Rajabi, Jonathan Wellbelove, Apple – “iPhone 17 Pro | The Ultimate Pro” 

Best Music Supervision in Advertising (Original Music) 

Patrick Lawrence Zappia, Gap – “Give Your Gift. (2025)” 

Best Music Supervision in Advertising (Long-Form) 

Julian Drucker, Yogi Tea – “The Theory of Spice” 

TRAILERS 

Best Music Supervision in a Trailer (Film) 

Adam Konger, Sanaz Lavaedian, Marina Polites, “One Battle After Another” (Official Trailer 2) 

Best Music Supervision in a Trailer (Series) 

Scenery Samundra, Gregory Sweeney, “The White Lotus: Season 3” (Official Trailer) 

Best Music Supervision in a Trailer (Video Game & Interactive) 

Megan Barbour, Naaman Snell, “Fortnite Battle Royale” “Chapter 6 Season 2: Lawless” (Cinematic Gameplay Trailer) 

VIDEO GAMES 

Best Music Supervision in a Video Game (Synch) 

Allison Wood, “NASCAR 2025” 

Best Music Supervision in a Video Game (Original Music) 

“Death Stranding 2: On the Beach,” Music Supervisor: Hideo Kojima, Composers: Ludvig Forssell, Woodkid below.

“Heated Rivalry” costars Connor Storrie and Hudson Williams reunited on “Saturday Night Live” on Feb. 28. During a sketch filmed outside the Rink at Rockefeller Center, Storrie played a guy on a bachelor party, ice skating and having fun with his friends.

Meanwhile, a couple (Tommy Brennan and Veronika Slowikowska) discussed their relationship — he proposed, she said no, and they got into a fight. However, he couldn’t help but get distracted by the group having fun — Storrie, Mikey Day and Ben Marshall.

Around midway through the sketch, Hudson then came skating out on the ice to an excited Storrie. “Sorry I’m late, fellas, but I have a serious question: Who’s read the skate their butts off?” he asked.

Later, the group skated in a four-person train, and Williams says it’s the most fun he’s ever had. At the end of the sketch, Brennan hopped into the rink, ditching his now-ex to celebrate with the guys he didn’t know.

A few moments later on “SNL,” Williams came back out to introduce Mumford and Sons, alongside Storrie.

Storrie is best known for playing Russian hockey player Ilya Rozanov on the steamy Crave series “Heated Rivalry,” opposite Williams, who plays his love interest/rival Shane Hollander.

“Now, some of you may have seen literally all of me on my show. It’s a show that has taught a lot of people about hockey, and it’s taught a lot of straight women that their sexuality is actually gay guy,” Storrie said when he opened the show. He later brought out both the women’s and men’s Olympic hockey teams.

“I got my teeth knocked out in the finals. Does that happen in your show?” Jack Hughes asked Storrie, who cheekily responded, “Metaphorically.”

Taskovski Films has come on board as the sales agent for “We Have to Survive,” which has its world premiere at the Thessaloniki Intl. Documentary Festival, which runs March 5-15.

The film, written and directed by Tomáš Krupa, reveals the challenges of a changing world, and the quiet strength of those living through it, illustrated with a number of character-driven stories.

The film travels from the fragile Outer Banks of the U.S., where the ocean slowly reclaims the land, to the vast Mongolian desert, where a family plants trees against the wind, and on to the underground town of Coober Pedy in Australia, where people build their lives beneath the burning earth, and the icy shores of Greenland, where ancient fishing traditions have new beginnings.

Irena Taskovski, head of acquisitions at Taskovski Films, says: “ ‘We Have to Survive’ brings us face to face with lives already reshaped by a changing climate. But it is not just the scale of the crisis, but the human dignity, and care that emerge within it. These stories remind us that climate change is not distant, it is lived, shared, and deeply human. At a time when the future can feel uncertain, Tomáš Krupa’s film offers something essential: a sense of connection, responsibility, and a reminder that we are all under the same sky.”

The film is produced by Krupa for Hailstone. The co-producers are Christian Popp (Yuzu Productions), Peter Drössler (Golden Girls Film), and Arash T. Riahi (Golden Girls Film). Cinematography is by Martin Čech and Ondřej Szollos.

Krupa was the recipient of the Sun in a Net National Film Award, the IGRIC Film and TV National Award, and the Slovak Film Critics’ Award for his feature documentary “The Good Death” (2018).

In 2013, he founded his production company, Hailstone, which focuses on creative documentaries and art-house feature films.

His profile was recognized internationally when he was selected for the Emerging Producers 2020 program, presented at Ji.hlava Intl. Documentary Festival. Most recently, he co-produced the Austrian-Slovak historical drama “Perla,” which won Best Austrian Film at Viennale in 2025.