Film

Henry Jaglom, the uncompromising indie filmmaker who eschewed big-budget operations in order to preserve his creative vision, died Monday night. He was 87.

Jaglom died at his Santa Monica home surrounded by his family, his daughter Sabrina Jaglom said. The writer-director, whose filmography includes “Last Summer in the Hamptons” and “Eating,” was known for his intimate, naturalistic style and foregrounding of women’s stories in his work.

Sabrina, also a director, said in a statement that her father was “larger-than-life, and made the world a lot more colorful for those of us lucky enough to know him.”

“But, most of all, he was the most loving and supportive Dad. He will be greatly missed, but impossible to forget,” she said Thursday.

From his earliest directing gigs, Jaglom was committed to creating autobiographically inspired and emotionally resonant stories with as little studio intervention as possible. He kept costs low, cast his friends and family in his movies and pursued an improvisational production style that preceded the early-2000s film genre mumblecore.

“My movies talk about the emotional side of life,” Jaglom told The Times in 2009.

“I just try to have people do what we do, which is sit around, talk, deal with the emotions of life,” he said. “It can be touching, sad, happy, but it allows people to go through some of what they go through in life and not feel isolated and lonely.”

Jaglom’s 1985 film, “Always,” in which he co-starred with his ex-wife Patrice Townsend, was inspired by the disintegration of the couple’s own relationship. Jaglom and Townsend divorced two years before the film’s release.

Nearly a decade later, conversations Jaglom had with his second wife, actor Victoria Foyt, about parenthood were distilled into 1994’s “Babyfever,” which the couple wrote, directed and Foyt starred in.

Former Times staff writer Chris Willman called the comedy-drama “remarkable in its comprehensive documentary aspects.”

“Jaglom is, as always, big on verite and improvisation; with such a large cast milling about the airy, oceanside house, he’s managed to cover just about every conceivable baby base, with sentiments ranging from banal self-interest to self-conscious belly laughs, and a lot of very real, undeniably affecting poignancy in-between,” Willman wrote in his review of the film.

“Babyfever” was lauded for sincerely engaging with topics affecting women and for starring a mostly female cast — both of which were trademarks for Jaglom, who went on to form a women’s arm to HHH Rainbow Productions, his production company with producers Howard Zucker and Henry Lange, which for many years was located on the Sunset Strip in West Hollywood.

“Women are the most disenfranchised people in this business,” he told The Times in 1987. “They still have to play mostly by men’s rules. And as I’ve been successfully making million-dollar movies for some time now I thought: ‘Why can’t they do it too?’”

Jaglom was a mentee and close confidant of acclaimed filmmaker and actor Orson Welles, whose farewell performance came in Jaglom’s 1987 comedy “Someone to Love,” which screened at the Cannes Film Festival.

“He plays himself, shedding even the persona he adopted for TV talk shows,” Jaglom told The Times of Welles’ acting style in the film. “People will finally get to see him the way I knew him; it’s almost as if he was sitting there having lunch with you.”

Peter Biskind compiled conversations between the longtime friends for his popular 2013 book, “My Lunches With Orson: Conversations Between Henry Jaglom and Orson Welles.”

Several people approached Jaglom about publishing the tapes before Biskind came knocking, the director told The Times in 2013. But Biskind was the first one he took seriously.

“I said, ‘You want to put yourself through all this?’” Jaglom said. “And he said, ‘Yeah, on the one condition that you don’t censor me.’”

Jaglom, born in London in 1938, was the child of Jewish parents who immigrated to England to escape Nazi persecution. Later, Jaglom’s family moved to New York, where Jaglom spent his formative years and returned after attending the University of Pennsylvania.

In New York, Jaglom trained with Lee Strasberg at the Actors Studio, acting in and directing off-Broadway theater and cabaret before moving to Hollywood in the late 1960s. The multihyphenate went on to make his directorial debut in 1971 with “A Safe Place,” which starred Wells and Jack Nicholson.

After finding commercial success with his third film, “Sitting Ducks” (1980), Jaglom told The Times in 1987 that he was pitched by several big-time studio heads who said, “‘When you’re ready to make a serious movie, a big movie, come and see me.’”

“I said: ‘If you love my films why would you want me to come and make one of your big ones?’” Jaglom said, adding that with a large studio at the helm, directors run the risk of ceding the “final cut.”

“As far as I’m concerned all the big stars and fancy limos and fine dressing rooms aren’t worth a thing if you don’t control your film creatively,” he said.

For years, Henry ate at the same cafe on Santa Monica’s Montana Avenue. He was always delighted when fans and aspiring filmmakers stopped to say hello.

In addition to Sabrina, Jaglom is survived by a son, Simon Jaglom, and ex-wives Townsend and Foyt, Sabrina and Simon’s mother.

The old stage at West Hollywood’s Roxy Theatre looks as small as ever to Tim Curry. Back in 1974, the actor spent nearly a year strutting across its boards in fishnets and a snug corset as Dr. Frank-N-Furter, the flamboyant, sexually ravenous mad scientist of the musical comedy “The Rocky Horror Show.”

Witnesses to that run of performances still marvel at the spectacle of Curry’s nightly entrance, as he marched from the lobby on a long catwalk, his high heels at eye level with the audience. He would then cast aside his Dracula cape to sing a personal theme song, “Sweet Transvestite.”

“It’s actually really nice to be here because it was another home for me,” says Curry, 79, looking up at the empty stage inside the Sunset Strip nightclub. “It became my stomping ground. I had to appear as though I owned it — and I kind of did.”

At the end of that same year, Curry was back home in England to shoot the feature film version, “The Rocky Horror Picture Show,” a rock ’n’ roll send-up of old sci-fi and horror B-movies that became both a cult classic and a vibrant symbol for sexual freedom. It is the original midnight movie and is now being feted around the world for its 50th anniversary with a second life as the longest continuous theatrical release in cinema history.

Tim Curry, center, as Frank-N-Furter in 1975’s “The Rocky Horror Picture Show.”

(John Jay Photo / Disney)

The role changed Curry’s career forever, and he will be part of some of those celebrations, beginning with a screening of a newly restored 4K version of the film, along with a panel Q&A, at the Academy Museum on Friday.

At the time of the film’s original release in 1975, it tapped into a cultural zeitgeist that mixed glamour and androgyny, akin to the era’s glam-rock movement led by David Bowie. “The Rocky Horror Picture Show” ultimately found a cult of fans who gathered for weekly midnight screenings in costume as the movie’s outlandish characters, performing as a “shadow cast” in harmony with the film onscreen.

“It was part of the sexual revolution, really,” says Curry. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

Since a stroke in 2012, the actor has been in a wheelchair and most of his work has been in voiceover. He did appear on camera in a 2016 remake of “Rocky Horror” for television, this time as the criminologist. But it was as the lascivious, self-confident Frank-N-Furter that Curry made history.

On this afternoon, he is dressed in black, auburn hair slicked back. In the Roxy’s lobby is a portrait of Curry in character as the mad doctor in pearls. It was a role he originated in London, on the tiny stage upstairs at the Royal Court Theatre, where it first became an underground sensation.

“Even for the time, there was a lot of courage that went into that performance,” remembers Jim Sharman, who directed Curry in the original stage productions in London and Los Angeles and then onscreen. “Tim himself was actually a kind of quiet intellectual offstage, but onstage he really knew how to let it rip.”

Curry, center, in “The Rocky Horror Picture Show.”

(Disney)

With a story and songs written by actor Richard O’Brien, who also played the skeletal, sarcastic Riff-Raff, “Rocky Horror” begins with a young couple caught in a rainstorm who approach a mysterious castle in search of shelter and a phone.

Played by then-unknowns Susan Sarandon and Barry Bostwick, the couple find Frank-N-Furter is hosting a convention of partying aliens in formalwear from the planet Transsexual in the galaxy Transylvania.

The mad doctor is also anxious to show off his latest experiment, the creation of a perfectly formed male, a personal plaything of chiseled muscles and blond hair, as he sings “I Can Make You A Man.” The scene leaves an impression.

“He takes no prisoners — it’s his world and you just happen to live in it,” Curry says with a smile of his Frank-N-Furter. “He doesn’t leave much air in the room. And I enjoyed that because it was so not like me, really.”

Notably, the film shares a 50-year anniversary with “Jaws,” and Curry remembers someone at 20th Century Fox placing newspaper ads that year for “Rocky Horror” with the film’s glossy red lips image and words promising, “A different set of jaws.”

“Jaws,” of course, was a record-breaking summer blockbuster, but as the longest-running theatrical release of all time, “Rocky Horror” really has no competition in terms of impact. It helped establish a culture for midnight movies in open-ended rotation, from David Lynch’s “Eraserhead” to Paul Verhoeven’s “Showgirls.”

At the customary hour of midnight, the restored 4K film will be premiering across the country this weekend, with special screenings and Q&As on Oct. 4 at Hollywood Forever Cemetery and Oct. 15 at the Grammy Museum. The film will then be rereleased on Blu-ray on Oct. 7, with a reissue of the official soundtrack album on Oct. 10.

Also landing in time for the celebration is a new documentary, “Strange Journey: The Story of Rocky Horror,” directed by Linus O’Brien, son of “Rocky Horror” author and composer Richard O’Brien. The 90-minute film explores the making of the movie, the original stage musical and the decades of fan culture that followed.

“When a work of art survives this long, it’s working on many different levels,” says the younger O’Brien, who was a toddler on the set. “You want to live in that house and have those naughty experiences. [People] will be talking about it long after we’re all dead.”

The “Rocky Horror” journey from underground theater to feature film began after Los Angeles music impresario Lou Adler saw the show during a trip to London. Known as a manager and record producer (Carole King’s “Tapestry”), Adler was shaken from his jet lag, instantly recognizing “Rocky Horror” as a potential attraction for his recently opened L.A. club, the Roxy. Within two days, Adler signed a deal to host its U.S. premiere.

At the Roxy, the show was an immediate sensation, fueled by Curry’s wildly charismatic performance. Opening night brought out a crowd that included Jack Nicholson, John Lennon and Mick Jagger. L.A. Times theater critic Dan Sullivan compared Curry to various Hollywood grande dames (Joan Crawford and Bette Davis, among them).

“It was one of the great parties of all time,” Adler recalls during a video call from his home in Malibu. “The acceptance was unbelievable.”

Talk of turning the stage musical into a movie soon followed and a deal was made with 20th Century Fox, with producers Adler and Michael White guaranteeing delivery on a modest budget of about $1 million.

“I don’t know if 20th Century Fox ever understood the film,” Sharman says with a laugh, in a video call from Australia. “They might’ve been relieved that it was going on a low budget and being made on somebody’s lunch money.”

It was the first feature film for many of them. But Adler and White insisted on keeping the stage musical’s creative team together, including Sharman, costume designer Sue Blane and production designer Brian Thomson. With Curry firmly in the lead role, most of the cast members were drawn from the London production. Joining them were American actors Sarandon, Bostwick and singer Meat Loaf.

“I adored her,” Curry says of Sarandon. “She was a witty girl and so beautiful, and a real actress, I thought. You could tell that she had something.”

He also became friends with Meat Loaf, who appeared in the small but impactful role of Eddie, bursting out of a freezer on a motorcycle long enough to sing the manic “Hot Patootie, Bless My Soul.” In 1981, Curry hosted “Saturday Night Live” and appeared with Meat Loaf in a skit that had the actors selling “Rocky Horror” memorabilia. (Curry is still irritated by that one: “Dreadful.”)

Lou Adler, photographed at the Roxy in West Hollywood in 2023.

(Jason Armond / Los Angeles Times)

“When the movie was a definite thing, there were several big stars who wanted to play the part,” Curry remembers. “Mick Jagger wanted to play it and he would’ve done a great job if you saw ‘Performance.’ But [director Sharman] said he wanted me to do it. I don’t think the studio was happy that he turned down Mick.”

Though Sharman was a very experienced stage director, he had made only one previous film, a 16mm feature called “Shirley Thompson vs. the Aliens.” For “Rocky Horror,” he says he was aiming for “a dark version of ‘The Wizard of Oz.’” He was also inspired by old B-movies and German Expressionism along with lessons learned from the stage. Interior scenes were shot at the old Hammer horror films’ Bray Studios just outside London.

“The reason we don’t have great anecdotes from the shoot is we didn’t have time for anecdotes,” adds Sharman. “It was shot in five weeks.”

Bostwick, appearing in one of his first film roles, remembers, “It felt like a very low-budget but colorful, bright and inspiring musical. You knew from the moment you were around the sets and costumes and lighting and makeup and camera people that they were at the top of their game.”

“The Rocky Horror Picture Show” evolved in some subtle but meaningful ways in its transition from the stage. For the live performances, Curry did his own makeup. “In the theater, I made it look a lot more amateur, deliberately, like he wasn’t good at it but was making a brave attempt and didn’t care much,” Curry says with a laugh. “In the play, it was just a lot trashier.”

For the film, French makeup artist Pierre La Roche was recruited to refine Frank-N-Furter’s exterior. La Roche had previously worked with Bowie during the Ziggy Stardust era.

“He was indeed very French,” says Curry, campily. “He was brilliant.”

An early sign of the challenges the movie would face arrived at an early screening of the completed film for Fox executives. Curry was there with Adler. “You could touch the silence at the end,” recalls Curry. “It wasn’t a very alive audience. There was really no reaction at all.”

Fox also hosted a test screening in Santa Barbara. The audience was a local mix of retirees and university students, and many of the older filmgoers began heading for the exit, until the theater was nearly empty.

But as Adler and a young Fox executive named Tim Deegan sat on the curb outside, they also met young people who were excited about the film. Adler credits Deegan for finding the “Rocky Horror” audience in an unexpected place: indie theaters at midnight.

Its second life began at the Waverly Theater in New York, where it began evolving into a happening that was both a movie and a theatrical experience. At the time, Curry happened to live within walking distance of the Waverly.

“It was a sort of guaranteed party,” he says of any potential moviegoer. “And if he didn’t bring a date, he could perhaps find one.”

On a recent weekend at the Nuart Theater in West L.A., barely five miles away from the Roxy, it’s approaching midnight and the lobby is filled with fans and volunteer shadow performers in “Rocky Horror” drag. Appearing as Frank-N-Furter is Kohlton Rippee, 32, already in his heels and makeup.

Like many here, he sees the film as both an outlet and a connection to a found family — a way “to see aspects of themselves represented in ways that they don’t see from traditional media. It’s like, ‘Oh, I can see myself in this and find this weird community to be around.’”

Bostwick first heard of the film’s second life from others and word trickled in that his every appearance onscreen was met with an affectionate callback from the crowd: “Ass—!” He didn’t see the phenomenon himself until later at the Tiffany Theater on Sunset.

“What do they say, that Disneyland is the happiest place on Earth? I’ve always thought that a Friday and Saturday night at a theater at midnight was the happiest place on Earth,” the actor says of the many raucous screenings he’s witnessed. “Everybody was just having a ball.”

After Walt Disney Co.‘s 2019 acquisition of 20th Century Fox, it turned the House of Mouse into the unlikely steward of “Rocky Horror.” Back in 1975, nothing could have been further from the Disney brand than a rock ’n’ roll musical about a cross-dressing scientist. That year, Disney released “The Apple Dumpling Gang.”

“I guess Walt is kind of revolving in his grave,” Curry jokes.

Even so, Adler says Disney has been a good partner on “Rocky Horror” and is supporting the multiple official anniversary events. “Walt was a breakthrough guy,” the producer notes. “He broke through and made a mouse a hero. So, in a way, he had his own Frank-N-Furter.”

The Los Angeles Film School is at the center of a whistleblower lawsuit from two former executives who allege the institution unlawfully collected government funds in an elaborate accreditation scheme.

Dave Phillips and Ben Chaib, the school’s former VP of career development and VP of admissions, respectively, allege in a federal lawsuit that the L.A. Film School violated federal employment requirements and accrediting standards. The lawsuit also names LAFS’ Florida counterpart Full Sail University, its main owner James Heavener and two other business partners as defendants.

The lawsuit, originally filed in L.A. federal court in June 2024, was recently unsealed after the Department of Justice opted to not investigate.

Representatives of LAFS could not be immediately reached for comment but have previously denied the claims.

In statement to Variety last week the school’s attorneys said that Phillips and Chaib are attempting “to resuscitate time-barred and erroneous allegations, which were already thoroughly investigated and settled by the Department of Education.”

For a university to be accredited and receive federal funding, the accreditation criteria state that a school must successfully instruct 70% of its students to land and hold jobs for which they are trained. The plaintiffs argue that graduates from the film school are unable to receive entry-level positions, citing an internal report which shows that most graduates earn $5,000 or less in their field of study. Only 20% of students were able to find work, the suit alleges.

LAFS receives over $85 million a year in federal financial assistance, including about $60 million in federal student loans, and more than $19 million in veterans’ financial aid funds. The Winter Park, Fla.-located Full Sail University, which teaches curriculum in entertainment-adjacent fields, also gets over $377 million per year in federal financial assistance, according to the complaint.

“For at least the last ten years, nearly all federal funds bestowed upon and taken in resulted from fraud with the institution using taxpayer funds to finance and facilitate multiple, temporary employment positions for LAFS graduates,” the lawsuit states.

Seeking to continue collecting government funds, the university is alleged to have spent nearly $1 million (between 2010 and 2017) to provide temporary employment from nonprofits and paid-off vendors. These jobs would usually last two days; LAFS would determine who would be hired, their schedule and wage. Students were led to believe these opportunities were “in-house production opportunities” and “post-graduate apprenticeships,” but instead, they were schemes planned and paid for by the school to remain an accredited university, according to the lawsuit.

Federal law prohibits higher education from “provid[ing] any commission, bonus, or other incentive payment based directly or indirectly on success in securing enrollments.” When LAFS was audited in 2017, the plaintiffs further allege that the school misled the Department of Education auditors, denied the existence of the incentive compensation system and failed to disclose their connection to vendors.

Beyond collecting these federal funds, the former executives argue that the school misled students and potential enrollees by overstating the availability of jobs and making untrue or misleading statements related to employment.

LAFS was created in 1999 and is located on Sunset Boulevard in Hollywood. It offers a variety of bachelor’s and associate degrees in areas including film, film production and animation, with tuition ranging between $40,000 and $80,000.

Both plaintiffs, Phillips and Chaib, worked at the film school for 12 years and were members of the senior executive team. Phillips’ contract was not renewed in 2022.

The Accrediting Commission of Career Schools and Colleges recently renewed the school’s accreditation in 2023 for a five-year period.

Sept. 24 (UPI) — Chinese pre-release viewers of an Australian movie saw a straight couple’s wedding when it should have been two men getting married.

The horror film, Together, starring Dave Franco and Allison Brie, was altered seemingly by using artificial intelligence before it was shown in China.

In a scene with a wedding between two men, one of the men’s faces was altered to be a woman’s, purportedly using AI, Out reported. The scene reveals plot points in the movie, which means the change created confusion for viewers.

Viewers in China only noticed the change when they saw side-by-side screenshots on social media, The Guardian reported. “What’s happening outside the film is even more terrifying than what’s shown in it,” wrote one Weibo user. Weibo is a Chinese social media site.

It’s not unusual for western movies to undergo Chinese censorship before being shown there. Often, the censorship is performed via cut scenes. But the use of AI or other technology to change the scenes is new, The Guardian said.

The film was scheduled to be released in China on Sept. 19, but after the outcry about the change, the film’s Chinese distributor has pulled the film, citing “changes in the film’s distribution plan.”

Homosexuality is no longer a crime in China, but it still faces strong stigma. The government had a longstanding stance to neither support or oppose LGBTQ+ relationships, but that has changed in recent years with a crackdown on gay groups.

In 2016, China’s censors banned “abnormal sexual behavior,” among other things the government disapproves of, in films and TV.

One RedNote user said that the use of AI to gender-swap gay characters was “humiliating minority groups.” Public opinion of homosexuality is on the rise in China.

With great power comes a great risk of injury, it seems.

Tom Holland, 29, who plays Spider-man in the most current iteration of the web-slinger film franchise, suffered a mild on-set concussion that has resulted in a one-week production pause on “Spider-Man: Brand New Day,” Variety reported Monday.

Filming is expected to restart Sept. 29, the trade said, and the delay shouldn’t keep the fourth Holland-as-Spidey movie from swinging onto the big screen on its scheduled release date.

Holland is taking it easy “out of an abundance of caution,” a source close to the production told the outlet.

Since production began in early August, the actor has been sharing his experiences on his Instagram, hyping fans before the film is released.

“Someone is cooking … again,” chef and fan Gordon Ramsay commented on one post, adding a winking emoji to capture his excitement.

Holland posted a video last month where he revealed the film‘s release date while wearing the iconic Spidey suit. A few days later, he posted behind-the-scenes footage where he was interacting with fans on set. It was the first time, he wrote, that fans were on set on Day One of filming.

The fourth film in Peter Parker‘s Holland era will reunite him with his on-screen girlfriend and offscreen fiancée, Zendaya, and actor Jacob Batalon, who plays his friend Ned Leeds.

A few newcomers are in the cast — Emmy winner Liza Colón-Zayas from “The Bear,” Sadie Sink from “Stranger Things” and recent Emmy winner Tramell Tillman from “Severance” — and in true Marvel Cinematic Universe style, audiences can expect to see the Hulk (Mark Ruffalo) and the Punisher (Jon Bernthal) up there with Holland’s hero as well.

A grainy circle flashes on the top-right corner of the screen at the Eagle Theater. The single-screen repertory cinema, run by the nonprofit organization Vidiots, was showing a 35-millimeter print of Paul Thomas Anderson’s psychological drama “The Master.”

The faint warning is easily missed by most viewers, but it appears every 10 minutes, alerting the projectionist to change the reel.

The auditorium was sold out. Audience members clapped as the film title appeared onscreen. There was a buzz in the air even before the lights faded to black with the standby line filled with hopefuls trying to grab a last-minute ticket. The stakes were high for the person manning the reel exchange.

Guests wait to enter the Vidiots movie theater for a movie night in Los Angeles.

Michael Rousselet, a projectionist at the Eagle Rock theater, often drinks a lot of coffee to stay alert during late-night screenings.

“If we do a good job, no one knows we exist,” Rousselet quipped as he showed off the projection booth. “If we mess up, everyone knows we exist.”

The carefully curated communal experience offered by repertory theaters is enduring the hardships of the box office, even after the pandemic, which led to the demise of some well-known cinemas. The famed Cinerama Dome and adjoining former Arclight theater on Sunset Boulevard have still not reopened, despite popular demand.

A Monday screening of a 35-millimeter copy of the 2007 film “Michael Clayton” by American Cinematheque sold out. Independent cinema has captured a niche population that has helped it prevail in a time when box office revenue is tumbling down.

Guests enter the movie theater at Vidiots in Los Angeles.

The summer box office season, which stretches from early May through Labor Day, grossed $3.67 billion in the U.S. and Canada, down slightly from last year and significantly less than the pre-pandemic norm of $4 billion. Some new films with major stars struggle to get anyone to show up. “Americana,” starring Sydney Sweeney, one of Hollywood’s top young stars, earned $500,000 during its opening weekend last month.

The unique cinematic experiences crafted by the different repertory theaters play a pivotal role in revitalizing the film industry in Los Angeles, according to Maggie Mackay, executive director of Vidiots.

“I don’t think you can [raise the next generation of film lovers] through one platform,” Mackay said, sitting down in her auditorium. “I don’t think you can fall in love with an art form by clicking a few times and observing it by yourself.”

Patrons at the bar of the Vidiots’ cinema in Los Angeles.

A 2024 study by Art House Convergence showed that between 2019 and 2024, audiences became younger and more diverse. The number of wide releases have also made the independent industry healthier, according to Rich Daughtridge, president of Independent Cinema Alliance.

Independent theaters “are still down compared to 2019, but the momentum attraction is going up,” he said.

Netflix bought the Egyptian Theatre from American Cinematheque for an undisclosed amount in 2020. The influx of money helped the organization grow the brand and host more screenings — the total jump from 500 screenings to 1,600 with 350,000 patrons visiting their theaters, according to Grant Moninger, artistic director at American Cinematheque.

Part of the reason audiences are choosing smaller theaters over multiplexes is the care and attention staff members put into each showing. The viewing experience at these revival theaters always starts with a crew member reminding the audience to stay away from their phones — they want everyone to enjoy the tiny scratches, dust specks and vibrant colors of the print they are showing.

Patrons watch a movie at Vidiots movie theater in Los Angeles.

“I think people are desperately in search of community right now and of feeling closer to other people and sharing things and not feeling disconnected by technology,” Sean Fennessey, the host of the podcast “The Big Picture,” said after the “Michael Clayton” screening.

“We’re very lucky in Los Angeles that we have so many great spaces … that are encouraging people to come together and hang out and laugh and cry and feel chills,” he added.

Each location offers Hollywood cinephiles and casual viewers alike options to catch a variety of movies based on their niche. Independent cinema has had the least trouble recruiting an audience post-pandemic, according to Art House Convergence.

The Vista Theater and the New Beverly show personal copies from the private collection of Quentin Tarantino, who saved the theaters from extinction. Its recent run of “Kill Bill: The Whole Bloody Affair” sold out and warranted the Vista announcing a new run of it.

American Cinematheque hosted a festival of films handpicked by different podcasters, which sold out screenings in the middle of the week.

Guests wait to enter the Vidiots movie theater in Los Angeles.

Vidiots hosted a discussion with American Cinema Editors member Leslie Jones after a screening of 2012’s “The Master,” a filmed she worked on. The showing sold out and most of its audience stayed late for a Q&A discussion with her.

Regardless of the inspiration these repertory theaters provide with, say, retrospectives of Akira Kurosawa, the model is not bulletproof to the punches theaters have taken. Organizations like Vidiots and American Cinematheque still rely on their nonprofit status.

These organizations count on donations and memberships. Access to directors, actors, prints and people in the industry also plays an important role in keeping afloat, according to Moninger.

“Our job is to get everybody in [the theater]. You can’t just say, ‘Hey, we’re a nonprofit,’” he said.

The uncertainty of the model does leave room for growth, according to Roger Durling, the executive director of the Santa Barbara International Film Festival.

Vidiots technical director Boris Ibanez sets up a section of the film in a projector in the projection booth of Vidiots movie theater.

The nonprofit organization recently purchased the Film Center, a five-screen multiplex, in the downtown Santa Barbara area. It is the second five-screen theater they have purchased, and it will also screen films during the festival every winter.

Throughout the year, when the theaters aren’t showing movies for the festival, the organization will maintain its existence through a repertory model.

“The nonprofit aspect allows you to concentrate more on the artistic side as opposed to thinking, ‘I just need to make money,’” Durling said.

But the thought is still on his mind.

“The more you concentrate on the artistic side of it, the money will take care of itself.”

More than 100 members of the Writers Guild of America East and their supporters jammed the sidewalk in front of Walt Disney Co.’s Lower Manhattan headquarters Friday to protest ABC’s decision to pull “Jimmy Kimmel Live!”

The late-night program has been dark since Wednesday, when the Disney-owned network announced in a terse statement that it will be “preempted indefinitely.” The move followed decisions by two major owners of ABC affiliates to drop the show because of Kimmel’s remarks about the suspect in the shooting death of right-wing activist Charlie Kirk.

Members of the union, which represents TV and film writers, marched with signs calling the move an attack on free speech and accusing Walt Disney Co. executives of lacking backbone.

Among the messages: “Disney and ABC Capitulation and Censorship,” “Always Be Cowards,” “Absolute Bull— Cowards” and “Disney/ABC Bows to Trump Extortion.” There were chants of “Bring Jimmy back.”

The demonstration reflected anger building in the creative community over Kimmel’s removal, which Federal Communications Commission Chairman Brendan Carr called for during a podcast interview that aired on Wednesday.

Carr said if action was not taken against Kimmel, there could be consequences for the TV stations that carry his show.

On Monday’s show, Kimmel seemed to suggest during his monologue that Tyler Robinson, the Utah man accused in the shooting death of Kirk, might have been a pro-Trump Republican. He said MAGA supporters “are desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”

The remarks prompted a widespread conservative backlash on social media, including demands for Kimmel’s firing. Kimmel, who has expressed sympathy for Kirk’s family online, has not yet commented on his removal.

President Trump has also said that late-night hosts who are critical of his administration should be banished from the airwaves. Trump cheered ABC’s decision, as he did the recent cancellation of CBS’ “The Late Show With Stephen Colbert.”

Kimmel remains off the air and has had discussions with Disney executives about how to bring the show back on the air. But his future with the network remains uncertain.

Greg Iwinski, a late-night TV writer and council member of the WGA East, said the threat of pulling a broadcast license is a dangerous weapon that can be used on any program and ultimately chill free expression.

“You can use that for any broadcast network anywhere,” Iwinski said. “Any late-night show, daytime show, game show or sitcom — any show you don’t like. Everything is under threat that is on network TV.”

Iwinski warned that ABC’s actions will only invite the Trump administration to exert more control over the broadcast airwaves.

“What if a relationship on a drama doesn’t fit the values of Donald Trump?” he said. “What if it’s not racially representative of what he thinks — ‘Well, we’re going to pull your licenses’ — all of that is on the table.”

The WGA East members were joined by local government officials supporting their cause, including New York City Comptroller Brad Lander.

Statements of protest over ABC’s moves are coming from all corners of the entertainment industry, including from Michael Eisner, the former Disney chief who preceded Bob Iger’s first run in the job.

“Where has all the leadership gone?” Eisner wrote Friday on X. “If not for university presidents, law firm managing partners, and corporate chief executives standing up against bullies, who then will step up for the first amendment?”

Eisner said ABC’s action is “yet another example of out of control intimidation” by the FCC.

“Maybe the Constitution should have said, ‘Congress shall make no law abridging the freedom of speech, or of the press, except in one’s political or financial self-interest.’” Eisner added. “By-the-way, for the record, this ex-CEO finds Jimmy Kimmel very talented and funny.”

Disney did not immediately comment on Eisner’s post.

Damon Lindelof, the Emmy-winning co-creator of the hit ABC series “Lost,” said in an Instagram post Wednesday that he would no longer work for Disney or ABC unless Kimmel is reinstated.

A major Republican voice weighed in on Friday as well, with Sen. Ted Cruz (R-Texas) saying the FCC chair’s threats are “dangerous as hell” and compared them to organized crime tactics.

Carr, who has been in lockstep with Trump on matters concerning the media, has said that stations have the right to pull the show if owners believe the content conflicts with community standards.

“Broadcast TV stations have always been required by their licenses to operate in the public interest — that includes serving the needs of their local communities,” he wrote Thursday on X. “And broadcasters have long retained the right to not air national programs that they believe are inconsistent with the public interest, including their local communities’ values. I am glad to see that many broadcasters are responding to their viewers as intended.”

Since it first premiered in 1926, F.W. Murnau’s “Faust” has been lauded as one of the greatest silent films ever made. And in the century that’s followed, striking a deal with the devil has been one of cinema’s most enduring tropes.

“Him,” the Jordan Peele-produced horror film reaching theaters Friday, is the latest testament to the fact that, in Hollywood at least, the devil’s offer never goes out of style.

It tells the story of an aspiring professional football player, Cameron Cade (Tyriq Withers), who gets invited to train at a secluded compound under famed quarterback Isaiah White (Marlon Wayans). But Cade eventually realizes what is meant by the question he keeps getting asked: “What are you willing to sacrifice?”

“People are so fixated with the whole selling your soul to the devil and they really think that it’s a man in a suit who’s like, ‘Sign the dotted line,’” said Julia Fox, who plays White’s wife. “I think that selling your soul to the devil is a metaphor for selling out and doing things that you don’t want to do, compromising your morals and values for a paycheck.”

Like “Him,” Faustian stories in cinema are often billed as horror. Much like the literary and artistic retellings of the German fable, from Marlowe and Goethe to the song “The Devil Went Down to Georgia,” film adaptations span place, decade and genre — from the cult Keanu Reeves’ DC Comics adaptation, “Constantine,” to Brendan Fraser’s 2000 rom-com “Bedazzled,” a remake of the 1967 film of the same name that starred Raquel Welch.

The devil can promise money — as in “The Devil and Daniel Webster,” the 1941 post-Great Depression takedown of greed — or fame, a la Jack Black’s 2006 musical comedy, “Tenacious D in The Pick of Destiny.”

“It’s pretty much everywhere once you start looking,” said Kirsten Thompson, a professor of film studies at Seattle University. “We all want to have eternal life or youth or power or status. And the various iterations of the myth sometimes emphasize different things.”

“Him” isn’t even the first Faustian film set against the backdrop of sports. “Damn Yankees,” the 1958 adaptation of the Bob Fosse-choreographed Broadway show, tells the story of a diehard baseball fan who makes a devilish pact to help his team.

Murnau’s ‘Faust’ legacy

Although the 1926 “Faust” isn’t the oldest cinematic retelling of the legend — French filmmaker Georges Méliès made a handful of adaptations beginning in the 1890s — Murnau’s movie has the greatest legacy.

“The film has these very striking set pieces that are, visually, enormously iconographic and influential on subsequent silent cinema, including American cinema,” Thompson said.

Speaking with the Associated Press last year to promote his adaptation of “Nosferatu” (the original vampire tale was also made by Murnau, in 1922), Robert Eggers testified to the ways in which “Faust” has influenced him as a director.

“Filmmaking — it didn’t really get better than that,” he said.

Murnau’s “Faust” follows its titular protagonist, a faithful alchemist who despairs over a deadly, seemingly unstoppable plague. He eventually meets the demon Mephisto — legend often refers to him as Mephistopheles — who convinces Faust to do a trial-run pact to renounce God in exchange for the power to help the infirm village.

But Faust’s demonic deal is found out when a crowd realizes he cannot look upon a cross. Despondent, Faust plans to kill himself, but is stopped by Mephisto, who comes back with another offer: The demon will give the elderly alchemist back his youth.

Origins of the devil’s offer

It’s unclear when exactly the idea that humans could strike a deal with the demonic materialized, according to Joseph Laycock, a professor of religion who studies Satanism and demonic belief at Texas State University.

The idea that a powerful supernatural being could grant wishes or help humans exists in pre-Islamic Arabic traditions, but most Western depictions of this kind of myth borrow from Christian theology.

“Humans and demons each have something the other wants. We want this power. We want control over the natural world. The demons have it and we don’t. But the demons want our souls,” Laycock said. “The Faust legend is kind of ready to be told as soon as this Christian demonology emerges.”

One clue into the origins of a Satanic bargain lies within the “Malleus Maleficarum,” often translated as the “Hammer of Witches,” a 15th century German Catholic theological text on demonology.

In it, God has limited Satan’s power, Laycock explained. But, “there’s this loophole. And the loophole is, if a demon makes a pact with a human, the demon gets to do all the stuff it couldn’t normally do.”

This period around the Reformation was a “golden age” for possession, exorcism and witch-hunting in Europe, Laycock said, which sets the stage for the Faust legend to materialize.

In the 1800s, Johann Wolfgang von Goethe adapted the Faust story into a two-part tragic play, converting the German legend into a literary giant that would have tremendous influence on the Western world, Thompson argues.

She compares Goethe’s cinematic influence to works from Shakespeare and stories like “Sherlock Holmes,” which have also been repeatedly retold. “Canonical works of literature in different languages are adapted over and over again,” she said.

Fauria writes for the Associated Press. Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc.

Just three months after rock ’n’ roll legend Ozzy Osbourne died at age 76, a new documentary will shed light on his final days.

Paramount+ released a trailer Wednesday for a new documentary film following the life of Osbourne, who died from a heart attack July 22. The film, “Ozzy: No Escape From Now,” was initially announced in February on his official site.

“The last six years have been full of some of the worst times I’ve been through. There’s been times when I thought my number was up,” Osbourne previously said of his career. “But making music and making two albums saved me. I’d have gone nuts without music.”

The press release describes the film as a “warm and deeply personal portrait” of Osbourne and how his world “shuddered to a halt” six years ago upon receiving his Parkinson’s diagnosis in 2019. Notably, it is said to depict the lead-up to the 76-year-old’s final farewell show, “Back to the Beginning,” at Villa Park on July 5.

Directed by BAFTA winner Tania Alexander and produced by Echo Velvet, the film also includes commentary from an array of Osbourne’s closest family and friends.

“Ozzy’s one regret is that he never really got to say goodbye to his fans,” his wife Sharon Osbourne says in the trailer.

Later, she poses a question to her husband: “What do you think of a big farewell show?”

“If I’m gonna go up there, I wanna be up there the old Ozzy singing,” he replies.

The film is not the only tribute to Osbourne, as a special performance at the 2025 VMAs was dedicated to the Black Sabbath frontman.

The farewell saw Aerosmith’s Steven Tyler come out of retirement to perform alongside bandmate Joe Perry, singer Yungblud, and Extreme guitarist Nuno Bettencourt. It featured a medley of hits, including “Crazy Train,” “Changes” and “Mama, I’m Coming Home.”

“Ozzy forever, man!” Yungblud yelled out at the end, before embracing Tyler.

Robert Redford looked like he walked out of the sea to become a Hollywood god. He was physically flawless. Pacific blue eyes, salt-bleached hair, a friendly surfer-boy squint. Born in Santa Monica to a milkman and a housewife, his first memory was of sliding off his mother’s lap at the Aero Theatre as a toddler and running toward the light, causing such a ruckus that the projectionist had to stop the film.

He definitely grew up to grab the movies’ attention. He wasn’t just telegenic but talented, although that wasn’t a requirement for stardom when he emerged in the late ’50s when the industry was scooping up hunks like him by the bucket for television and B-movies. All a male ingenue needed to do was smile and kiss the girl. It would have been so easy to do that a couple times and wind up doing it forever. You can understand why so many forgotten actors made that deal, without realizing that forever can lead to a fast retirement.

But if Redford had sensed at 2 years old that he was meant to be onscreen, by his 20s, he insisted he’d only do it on his own terms. At 27, with nearly zero name recognition, he horrified his then-agent by turning down a $10,000-a-week TV gig as a strait-laced psychiatrist to do a Mike Nichols theater production for just $110. His rejection of the easy money was an unusual choice, particularly for a cash-strapped father of two.

To appreciate Redford fully, we have to applaud not only the work he did but the simple, feel-good roles he rejected. He could have become a celebrity without breaking a sweat as the war hero, the jock, the husband, the cowboy, the American ideal made incarnate. Yet, he had the rare ability to sidestep what audiences thought we wanted from him to instead give us something we didn’t know we needed: selfish victors (“Downhill Racer”), self-destructive veterans (“The Great Waldo Pepper”) and tragic men who did everything right and still failed (2013’s “All Is Lost”).

In spirit, Redford never strayed far from the teen rebel he’d been — a truant who’d skipped school, stole booze and crashed race cars — and the radical artist he hurled himself into becoming by quitting everything traditional (the football team, his fraternity, college altogether) to move to Paris where he took up oil painting and marched against the Soviets. He might have excelled at the sleazy roles that made Dustin Hoffman and Al Pacino famous. On the outside, he knew they didn’t fit, either.

Sometimes Redford said no even when I wish he’d have said yes. Imagine if he’d agreed to face off against Elizabeth Taylor and Richard Burton in “Who’s Afraid of Virginia Woolf?” Instead, he told Nichols he’d rather tangle with Anne Bancroft in “The Graduate,” only to be rejected as too handsome for the role. “Can you honestly imagine a guy like you having difficulty seducing a woman?” Nichols told him.

Instead, Redford used his all-American good looks to make us question our flattering image of ourselves. In the 1974 adaptation of “The Great Gatsby,” he was the first person you’d think of to play the title role because he fully understood the point of F. Scott Fitzgerald’s book — how it felt to represent our country’s whole image of success while knowing it’s a phony put-on. I imagine him making a devil’s bargain with his face, vowing that he won’t hide behind goofy accents and stunt wigs the way other too-handsome oddballs do, if he’s allowed to use his appeal like a Trojan horse.

If there’s one thing that unites his roles, from 1966’s “The Chase” to “Lions for Lambs,” it’s his willingness to give the screen his full charisma — to let audiences stare at him for the whole running time of a movie — as long as we’ll agree to ask what’s lurking in his underbelly. Most often, we’ll find frustrated idealism just at the moment it starts to sour.

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The films of the 1960s and ’70s that made Redford an icon mostly cleave into two categories: scamps and truth-seekers. (The latter can overlap with suckers and stooges.) His antihero crooks in “Butch Cassidy and the Sundance Kid” and “The Sting” captured something in our national id, our not-so-secret belief that it’s OK to break a few rules to get ahead — that we can forgive a sin if we like the sinner. I like how those movies give you a guilty little tingle about rooting for Redford even when it means scratching off a couple of the Ten Commandments. (Thou shalt not steal unless you’re Robert Redford, who got away with it all the way through 2018’s “The Old Man and the Gun.”)

Lately, the Redford roles I’ve been thinking about are the ones where his all-American appeal makes us examine all of America, good and bad. The two that instantly jump to mind are his pair of political thrillers: “Three Days of the Condor,” in which he plays a CIA agent on the run from his own co-workers, and “All the President’s Men,” in which he doggedly uncovers the Watergate scandal. Both films believe in the power of getting the truth out to the press; neither is so naive as to think the truth alone will save the day.

But let’s not overlook “The Candidate,” a movie that has Redford as underqualified political scion Bill McKay, pressed to run for governor of California. “He’s not going to get his ass kicked — he’s cute,” his father (Melvyn Douglas) says. Meanwhile, his own campaign team cares more about the length of his sideburns than ideas in his head. Released in 1972, five years into former actor Ronald Reagan’s own governorship, the movie hammers home that superficiality might be democracy’s downfall — and the stakes are bigger than who is Hollywood‘s latest heartthrob.

Vice President Dan Quayle once said “The Candidate” inspired him, triggering its screenwriter Jeremy Larner to dash this off in an op-ed: “Mr. Quayle, this was not a how-to movie, it was a watch-out movie. And you are what we should be watching out for!”

In his later years, Redford became a filmmaker himself and I can picture him pulling Brad Pitt aside on the set of “A River Runs Through It” to whisper: You don’t have to stay in that pretty–boy box. Feel free to get weird. As an actor and director, Redford continued to create characters who uncovered our our hidden rot, whether in our purported national pastime, baseball (“The Natural”), or in our actual one, watching television (“Quiz Show”). His turn in “Indecent Proposal” as the wealthy man who offers to rent his employee’s wife lives on as shorthand for tycoons who assume they can buy whatever, and whoever, they want. When he eventually signed on for a superhero film, it was, fittingly, alongside Captain America, that upright paragon of virtue — and Redford played the villain.

What Quayle missed about “The Candidate” is that when it comes to a Robert Redford movie, truth is never as plain as what your eyes can see. There’s always a deeper level and there’s no guarantee that justice would win. In fact, I’d argue in Redford’s films, it rarely does.

Mario is headed to outer space for his next cinematic adventure.

Nintendo held a supersized livestream of announcements Friday commemorating the 40th anniversary of “Super Mario Bros.”: The first game in the popular franchise was released in Japan in September 1985. Among the news items shared by the company’s video game maestro Shigeru Miyamoto is that the sequel to “The Super Mario Bros. Movie” is officially titled “The Super Mario Galaxy Movie.” The follow-up to the 2023 blockbuster is slated to hit theaters in April.

“What kinds of adventures do you think Mario and his friends will have in space?” Miyamoto, who created Nintendo’s iconic mustachioed hero, said during Nintendo Direct after sharing a brief teaser for the film. “This movie will be the main event of the ‘Super Mario Bros.’ 40th anniversary.”

“The Super Mario Galaxy Movie” is another collaboration between Nintendo and the animation studio Illumination. During the livestreamed announcement, producer and Illumination chief executive Chris Meledandri shared that “while the ‘Super Mario Galaxy’ games are the core inspiration for our story, this next film holds surprises for fans of every Mario era.”

“The Super Mario Bros. Movie” directors Michael Jelenic and Aaron Horvath are once again at the helm for “The Super Mario Galaxy Movie.” Also returning are cast members Chris Pratt (Mario), Anya Taylor-Joy (Princess Peach), Charlie Day (Luigi), Jack Black (Bowser), Keegan-Michael Key (Toad) and Kevin Michael Richardson (Kamek), as well as composer Brian Tyler.

The announcement did not mention whether Lumalee — the cheerfully nihilistic star-shaped blue being that Luigi meets during “The Super Mario Bros. Movie” — will return for the sequel, but the teaser did include a glimpse of a yellow Luma. So it’s impossible not to hope that the character will have some sort of role in “The Super Mario Galaxy Movie,” since the star-shaped creatures appear in both the 2007 video game “Super Mario Galaxy” and its 2010 sequel. While the character in the movie had memorable one-liners about “the sweet relief of death” and how “hope is an illusion,” in the games these blue Lumas are more helpful merchants of life.

New characters likely to debut in the sequel include Rosalina, a sort of guardian of the cosmos and caretaker of the Lumas who first appeared in the “Super Mario Galaxy” game, as well as Yoshi, the dinosaur-like character who can grab faraway objects — and foes — with his tongue. Yoshi was teased in “The Super Mario Bros. Movie’s” post-credits scene.

The success of films like “The Super Mario Bros. Movie,” which grossed more than $1.3 billion worldwide, is among the reasons Hollywood has recently pivoted to more video-game inspired fare. The “Super Mario” movie sequel was first announced in 2024.

Journalist Seymour Hersh in 1975, as seen in the documentary “Cover-Up.”

(The New York Times)

When real-life political anxieties (or worse) infuse the atmosphere of a film festival, it’s hard to pretend that celebrating art is ever enough. “Cover-Up” was, for me, the antidote: a furious, hard-nosed profile of legendary investigative journalist Seymour Hersh, the man who broke the My Lai massacre in 1969, then went on to an impressive run of stories that included revelations about Watergate, the CIA and Abu Ghraib. Oscar-winning documentarian Laura Poitras (“Citizenfour”), co-directing with Mark Obenhaus, mainly tries to stay out of the way of Hersh’s ferocious forward momentum, capturing the writer’s method with a minimum of wasted words. “I’ve got every right to be here, buddy,” Hersh bats back to a displeased listener and you thrill to an era when breaking the news wasn’t chilled by caution. — Joshua Rothkopf

Paramount on Friday sharply denounced a proposed boycott of Israeli film institutions by a group that calls itself Film Workers for Palestine and is supported by dozens of Hollywood luminaries.

Earlier this week, the group launched an open letter pledging to withhold support for Israeli film festivals, production companies and other organizations that the group said were involved in “genocide and apartheid against the Palestinian people.”

The letter has been signed by hundreds of individuals, including filmmakers Jonathan Glazer, Ava DuVernay, Yorgos Lanthimos, Emma Stone, Joaquin Phoenix, Rooney Mara, Olivia Colman and Mark Ruffalo.

“As filmmakers, actors, film industry workers, and institutions, we recognize the power of cinema to shape perceptions,” the group wrote. “In this urgent moment of crisis, where many of our governments are enabling the carnage in Gaza, we must do everything we can to address complicity in that unrelenting horror.”

The group pledged “not to screen films, appear at or otherwise work with Israeli film institutions — including festivals, cinemas, broadcasters and production companies,” which have been “implicated” in attacks on Palestinians. The group described its effort as being inspired by filmmakers joining the South African boycott over apartheid, a global campaign decades ago that proved influential in helping overturn the nation’s government.

Paramount, which was acquired last month by the Larry Ellison family and private equity firm RedBird Capital Partners, made clear its opposition to the filmmakers’ campaign.

“We believe in the power of storytelling to connect and inspire people, promote mutual understanding, and preserve the moments, ideas, and events that shape the world we share,” said an emailed statement attributed to the company. “We do not agree with recent efforts to boycott Israeli filmmakers. Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.”

Paramount is the first studio to state a position on the divisive issue. An insider who was not authorized to speak about the internal debate said Paramount Chief Executive David Ellison and the company’s leadership team felt strongly about the need to speak out in opposition, believing that individuals should not be boycotted based on their nationality.

“The global entertainment industry should be encouraging artists to tell their stories and share their ideas with audiences throughout the world,” Paramount said. “We need more engagement and communication — not less.”

Published on
12/09/2025 – 9:49 GMT+2

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Shares in Warner Bros Discovery surged nearly 30% in New York on Thursday after the Wall Street Journal reported that Paramount Skydance was preparing to buy its rival.

Paramount Skydance’s stock also rose around 16% in daily trading.

The majority cash bid is reportedly for the entire company, including its movie studio and cable networks like HBO and CNN. Warner said late last year that it planned to split into two operating divisions: one focused on cable TV and the other on streaming and studios.

Paramount’s offer is allegedly backed by Oracle’s Larry Ellison, who briefly became the world’s richest person this week, overtaking tech tycoon Elon Musk. The billionaire’s son, David Ellison, runs Paramount Skydance.

The WSJ noted that a bid hasn’t yet been submitted and that plans could still fall apart.

Paramount Skydance’s market value was $19 billion (€16bn) as of Thursday’s close, while that of Warner Bros Discovery was roughly $40bn (€34bn).

Paramount and Warner Bros did not immediately respond to requests for comment regarding reports of the acquisition.

If approved, a merger between the two firms would mark the biggest consolidation in Hollywood since Walt Disney bought the entertainment division of Fox Corp. in 2019.

Scale would allow the new company to compete with the likes of streaming giants Netflix and Disney as the industry is redefined by changes in traditional viewing habits.

Paramount Skydance merger

The report comes just weeks after the finalisation of a $8bn (€7bn) merger between movie giant Paramount and independent film studio Skydance Media.

This acquisition became particularly controversial after it was linked to a legal dispute over a CBS News interview.

In July, Paramount paid $16 million (€14mn) to settle a defamation case against US President Donald Trump. The Republican leader claimed that Paramount’s CBS News in November edited a “60 Minutes” news programme with then-vice president Kamala Harris in a way that was deliberately deceptive.

Paramount said in a statement that the settlement with Trump was “completely separate from, and unrelated to, the Skydance transaction and the FCC approval process”. 

Even so, critics of the settlement lambasted it as a veiled bribe to appease Trump and allow the merger to go ahead.

Despite the payout, Paramount’s settlement did not include a statement of apology or regret.

Skydance did, however, declare it would end Paramount’s diversity programmes and appoint an ombudsman to review complaints of bias. Paramount also cancelled the left-leaning Late Show with Stephen Colbert ahead of the merger approval.

Critics viewed the moves as further attempts to win over President Trump, although Paramount denied that the Colbert show was cancelled for political motives.

TORONTO — In introducing the Saturday night TIFF world premiere of “Good Fortune,” his feature debut as a writer-director, comedian Aziz Ansari told the audience the three words that are scary in Hollywood right now: original theatrical comedy. But the one word that is never scary is Keanu.

Speaking from the stage of the festival’s Roy Thomson Hall, Ansari recalled that his star Keanu Reeves broke his kneecap early in production.

“I found out he broke his kneecap and I didn’t know what was going to happen,” Ansari continued, Reeves himself standing onstage just a few feet away. “It was like, ‘Oh, my God, what is Keanu going to say? Is he going to need some time off? Is he going to drop out of the movie?’”

“And you know what Keanu said?” Ansari added. “Nothing. He just kept showing up to work and never complained, not once,” Ansari said. “He worked through what surely must have been excruciating pain and delivered a hilarious, touching performance, and he is the soul of this movie.”

The film opens with Reeves standing atop L.A.’s iconic Griffith Observatory with a small pair of angel wings on his back. Reeves, in a change of pace from his recent action work in the “John Wick” movies, plays Gabriel, a low-level angel given the task of stopping people from texting and driving. That is until he sees Arj (Ansari), who is struggling to make ends meet while working both at a big-box hardware store and as a food delivery driver.

Hoping to show him the grass isn’t always greener, Gabriel switches Arj’s life with that of Jeff (Seth Rogen), an ultrarich tech investor whose days seem to largely consist of going back and forth between his sauna and his cold plunge.

Perhaps not surprisingly, Arj much prefers Jeff’s life to his own and is reluctant to switch back. The situation becomes more complicated for Gabriel as he loses his job as an angel and must learn the tribulations and joys of being human, while still trying to fix the problem with Arj and Jeff.

For all the film’s gentle humor and quietly humanist spirit, “Good Fortune” is also rife with a palpable anger at the income inequality that motivates its story, the reality that robots are replacing the work of humans and that the excesses of the few seem predicated on the deprivation of many.

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The day after the film’s premiere, 42-year-old Ansari is upbeat and dapper in a gray plaid coat, black turtleneck and black slacks as he sat down for an interview in Toronto to discuss the movie and all that led up to it. After the end of his Emmy-winning series “Master of None” in 2021, Ansari had begun shooting a feature called “Being Mortal” that was shut down in 2022 a few weeks into production over allegations of misconduct by its star Bill Murray. Then production of “Good Fortune,” Ansari’s pivot away from “Being Mortal,” was delayed by the Hollywood labor strikes of 2023. Seemingly at long last, Ansari’s debut opens Oct. 17.

When “Being Mortal” got shut down, did you feel like, “Am I ever going to get to make a movie?”

I didn’t feel that way. Steven Spielberg has this story of — what’s the movie he did? “1941.” That didn’t do well and he was like, just immediately throw yourself in another thing. And I really thought about that, and that’s what I did. I just immediately went into “Good Fortune.” I mean, I had a couple of days where I was like,“Oh, no” and it was also so shocking. I think your mind doesn’t process it because it’s not really sinking in that this is what’s really happening. It probably still a piece of me [in which] it hasn’t really sunk in. It was definitely disappointing, but part of me is like, this is what needed to happen. This is the movie that should be out first.

“Being Mortal,” it’s funny, but it’s heavy. The Atul Gawande book, it’s about end-of-life issues. So it’s like, “Oh, OK. It’s another heavy drama thing.” People may have just gotten pissed, like, “What’s this guy doing?” So “Good Fortune” is definitely, to me, if you like those first two seasons of “Master of None,” I feel like what you’d hope I’d do is kind of evolve that style into a feature film and raise the level of it by having Seth and Keanu and Keke [Palmer] and Sandra [Oh], and as a feature film rather than a show.

As sweet and funny as the movie is, there also is a real righteous anger behind it. Where does that come from?

I think I got it from when I was interviewing all these people about the subject matter in the film, when I was doing research to write the Arj character. That attitude seeps in there.

“It was definitely disappointing, but part of me is like, this is what needed to happen,” Ansari says of “Being Mortal,” his first attempt at directing a feature, one that ran into production troubles with its star, Bill Murray,

(Christina House / Los Angeles Times)

During the opening credits of the movie, you say the line “The American Dream is dead.”

But that’s a frustration a lot of people like that guy Arj feel.

But then, you are a very successful entertainer —

Oh, yeah. Me and Seth are Jeff, no question.

How do you reconcile that? Are you concerned some people might dismiss the movie out of hand for that simple reason?

If you’re writing, you have to be able to write outside your own experience — for someone who’s like Arj, who doesn’t have the platform to tell these stories. When I did “Master of None,” we did an episode called “New York, I Love You.” And there was a segment about taxi drivers, a segment about a doorman and a segment about a woman who’s deaf. And doing that episode taught me a process of interviewing people and figuring out how to get these stories right when they’re not your experience. We did an episode in Season 3 about a woman going through IVF. I’d never done that or anything, and it had never been a part of my life. But I talked to all these people, and from the feedback I got, we got it right. And that’s what I did with this.

I don’t want to spoil anything, but for a movie coming out from a Hollywood studio, Seth gives a speech at the end that is politically radical, about how rich people can’t expect to have so much without others getting angry.

It’s kind of nuts. Some of the stuff that’s in there, I’m like, “Whoa, we really got away with something here.” Some of the stuff that’s in there, and the trailer kind of hides a little bit of that stuff, I think there are people that’d be like, “Oh, s—.”

At the premiere, there was big applause for the line, “F— AI.” Is that your feeling as well?

I’d rather say that I’m pro-human. I’m pro-people.

Keanu Reeves, left, Seth Rogen and Aziz Ansari in the movie “Good Fortune.”

(Eddy Chen / Lionsgate)

The movie is very ambitious in combining the character stories and the attention to the notion of income inequality. Was it hard for you in balancing the characters and that theme? Was the work of that more when you were writing it or when you were editing what you’d shot?

It was both. And that’s the difference between a TV show and a movie. You have a different canvas. But it was a tough thing to do. And it was my first time doing it. I remember writing a second one while I was editing, and it was such a great help because you kind of see a few moves ahead. You’re like, “Oh, wait a second, I should get to this faster.” You kind of can see your mistakes a little bit in an earlier stage because you have more experience. This is another reason I really want to get into it again and start working on the next thing because I feel like I learned a lot from it.

That’s the thing that’s so interesting about doing stand-up and doing filmmaking. Stand-up, it’s so easy to “get to the gym,” right? If I really wanted to go to do stand-up tonight, I could do it. I could go find a club in Toronto and jump on a show. But If I wanted to go direct, that’s a big journey to get to the gym. So you have fewer opportunities to kind of get the reps in.

Shooting a movie is in L.A. has become such an economic and political issue for the city. Was that a consideration in making the movie in Los Angeles?

I wanted it to be in L.A., I felt like this movie had to be set in L.A. Jeff’s not going to be living in whatever place that gives you the tax credit. And L.A. really is the perfect backdrop for the story to me. And it was challenging, but you also get the benefit of working with some of the greatest technicians in the world in L.A. And I also just love being a part of the lineage of films that are set in L.A. I watched that documentary, “Los Angeles Plays itself,” and that was so fun to watch that and just see how every movie has its own L.A., whether it’s “Heat” or “Tangerine” or “Chinatown.”

And I feel like “Good Fortune” has its L.A., and it’s exciting to show some of these neighborhoods, to see people responding to seeing Eagle Rock or Los Feliz. Whenever I was writing the movie, I always thought about that taco place in Hollywood — it’s across the street from Jitlada. I always thought about that place. I thought there was something so cinematic, and it was a hard location to clear. And our guy [location manager] Jay Traynor, he made it happen. And finding Jeff’s house was so hard. But it all came together, and I loved showing Koreatown and that Gabriel works at a Korean barbecue restaurant. Just showing all these parts of L.A.

I want to be sure to ask you about working with Keanu. People are really responding to this role. And I’m having a hard time putting my finger on what that is about.

No, I’m feeling this. Even since [the premiere], I’m feeling it. I knew people would like him, but it’s hitting on another level.

Why do you think that is? What is the alchemy of Keanu in that role?

I was thinking about this when I was eating lunch. If you look at the roles he’s done that are comedic, whether it’s in “Bill & Ted” or in “Parenthood,” there’s this innocence, this sweetness and this kindness that’s in there. And then Gabriel, to me, is the progression of that. And it’s also that you have Keanu at 61, where when I first met him, I was like, “Hey, there’s something about you that people are responding to and who you are as a real person that I don’t think I’ve seen onscreen. And I think you can show some of that with Gabriel.”

It also has all of his comedy superpowers just dialed to the max. And we were just having so much fun. It just became playtime. We were coming up with bits all the time: Oh, he’s never used the internet before. Let’s just write a quick scene where he’s using the internet for the first time. What’s he gonna do? He’s gonna look at photos of baby elephants. It became such a fun joke bag. You could just make him do anything. And it was funny, the guy’s never done anything — if he takes a bite of a taco goes, “Wow!” It’s really the funniest character I’ve ever written for.

Nearly two decades after the fact, Anna Wintour is finally giving her review of “The Devil Wears Prada,” the 2006 Anne Hathaway comedy built around the onetime Vogue editor in chief’s notorious style of leadership.

And although Wintour is more than fashionably late, she’s showing up in time for the sequel.

The film “had a lot of humor to it, it had a lot of wit, it had Meryl Streep,” Wintour said recently on the New Yorker Radio Hour. “[The cast] were all amazing. And in the end, I thought it was a fair shot.”

The famed editor, who stepped down from the Vogue gig this summer, said she went into the premiere of the original film wearing Prada but not knowing what the movie was about. Wintour said people in the fashion industry had expressed concerns about the Miranda Priestly character, worrying she would be played as a caricature of Wintour. But those fears were unfounded.

“First of all, it was Meryl Streep, [who is] fantastic.”

“The Devil Wears Prada” is based on the 2003 bestselling novel of the same name by Lauren Weisberger, who worked as a personal assistant to Wintour. The film follows a writer played by Hathaway who gets a job at a fashion magazine managed by a highly demanding boss, played by Streep.

The actor who played the no-nonsense editor in chief earned an Academy Award nomination for her performance.

Wintour announced in June that she would step down as editor in chief of the magazine after 37 years at the helm. She will continue to oversee Condé Nast, the global media company that publishes Vogue among other publications including the New Yorker, GQ, Vanity Fair and Wired.

“The Devil Wears Prada 2” is in production with a release date set for May 2026. Streep, Hathaway, Emily Blunt and Stanley Tucci will all reprise their roles; Adrian Grenier, who played Hathaway’s boyfriend in the original film, will not appear. New cast members include Kenneth Branagh, Justin Theroux and Lucy Liu.

Downton Abbey: The Grand Finale is being released this week and despite the subtitle of the film, it’s already been teased that the story may not be over for fans just yet

Downton Abbey: The Grand Finale fans are expecting to bid farewell to characters from the beloved franchise when it’s released on Friday. The third film in the series, it follows on from Downton Abbey (2019) and A New Era (2022).

Focusing on the Crawley family and their staff as they navigate how to lead Downton Abbey into the future, the film sees the story enter the 1930s. It’s previously been teased that it will “close off” the stories that began on the ITV show, which ran for six seasons from 2010 to 2015.

Despite being billed as the “grand finale,” it’s been suggested that fans may not have to say goodbye just yet. There’s been hints about potential spin-offs already and it’s now teased that a prequel series could be underway in the future.

READ MORE: Downton Abbey Mrs Patmore star Lesley Nicol admits cast divide as she gushes over one bondREAD MORE: Downton Abbey’s final film features unexpected cameos from relatives of iconic star

Allen Leech, known for his role as former chauffeur Tom Branson, has teased that the story may not be over despite the marketing of the film. He’s suggested that a future prequel could delve into the backstory of Violet Crawley, played by the late Dame Maggie Smith.

Violet, the Dowager Countess of Grantham, was a matriarchal figure in the franchise but was killed off in the second film, released three years ago. Cast member Maggie then herself died, aged 89, just last year.

Allen, 44, said on Virgin Radio this week that Violet’s history could be explored in a prequel project. He shared that it could be in the pipeline moving forward, following rumours last year of a spin-off about Violet’s younger years.

Speaking on the Ryan Tubridy Show, he said: “I was chatting to the director, yesterday, Simon [Curtis], over lunch and he was saying there is a great poignancy about this movie, not just for Downton fans but for anyone. It’s about letting go and it’s about moving on.”

Asked about the potential for more stories, he said: “From what I hear, the plan is if they’re ever gonna do anything with it, they’re either gonna go back in time and [do a] prequel [about Violet] in her younger years, which would be very interesting.”

Allen added that a project set in the 1970s at the property could be on the cards instead. He said: “Or they’re gonna go seventies [and] all the debauched madness that happened in the house then. I think it’d be kind of interesting.”

The upcoming film has previously been described as a “last tributing” to Maggie. Speaking on the radio station last year, her on-screen son Hugh Bonneville, 61, said about the latest film: “It’s very much set in the house and saying goodbye to all these characters and we obviously say goodbye to Dame Maggie, which was very poignant on screen and now in real life. She’ll be sorely missed. But the final film will obviously be a great lasting tribute to her.”

Maggie had been among the cast when Downton Abbey first aired in the UK in 2010. It later proved popular in the US and its six seasons have been followed by the film continuations. As well as receiving critical acclaim, the show is said to have boosted tourism to villages like Bampton in Oxfordshire and Highclere Castle in Hampshire.

Speaking ahead of the third film’s release, creator Julian Fellowes, 76, told the Writing Studio: “It feels quite complete. I’m not saying we’ll never see Downton Abbey in any other form – one should never say never, but I think it feels natural and right that we have made the journey with the original concept and the original cast, so I’m rather pleased about that.”

He has however suggested that several characters could be worthy of spin-offs. Discussing the prospect of one centred on Thomas Barrow, played by Rob James-Collier, Julian told RadioTimes: “I think you could make a case for many of them.”

Fans eager for more Downton Abbey don’t have long to wait as ITV will also be releasing a special about the franchise on the day of the film’s release. It’s teased that the doors to the iconic property will be “opening one last time” for Downton Abbey Celebrates The Grand Finale as the cast reunite to share memories and secrets from the last 15 years.

Downton Abbey: The Grand Finale is released on Friday in the UK. Downton Abbey Celebrates The Grand Finale will be available on ITVX then too and the special will later air on ITV3 on Saturday at 9pm.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

One of the greatest films of the decade is apparently now on Netflix after a TikTok reviewer shed light on the movie in a recent post – and it’s just over 90 minutes long

A movie fan has named one of the “greatest films” of the decade – and it’s on Netflix. In recent weeks, we’ve seen a number of shows go viral, including the ‘most addictive’ Netflix series that people are raving on about.

Now we all know TikTok is the best place for advice on pretty much everything so how about you check this film out? EccyReviews, who boasts 350,300 followers, recently named “one of the greatest films of the decade” in a clip which garnered 1,300 likes. He used his platform to urge fans to watch the drama movie Hard Truths.

The 2024 drama was written and directed by Mike Leigh with a cast which includes Marianne Jean-Baptiste, Michele Austin, and David Webber. Set in London, its plot follows the story of a depressed woman and the relationship with her sister.

It was named one of the top 10 independent films of 2024 by the National Board of Review, meanwhile Jean-Baptiste received Best Actress nominations at the Critics’ Choice Awards, BAFTA Film Awards and the Gotham Awards.

As for IMDB, the 12A film has a rating of 7.2/10.

And recently the TikTok video revealed why it was the greatest film to watch right now.

The user said: “So Netflix has just dropped one of the greatest films of the decade and you need to go and check it out immediately.

“It’s raw, it’s emotional and it’s one of the most human films you will ever see.

“The film is called Hard Truths, this film is just over 90 minutes long, it’s set in London, tells a raw and emotional story of grief and depression.

“It’s such a gripping film if you’ve ever grieved for anyone in your life, you will resonate with this film so much, it’s such a passionate and beautiful story which more people need to see.”

Speaking about the performances, the reviewer claimed they were “truly unbelievable” and not “spoken about enough”.

“It will make you laugh, it will make you cry,” he continued.

“It’s genuinely a film that will stay with you for a very long time.”

The reviewer concluded: “Please get this film on your watch list, get it watched and make sure you tag your friends so they can check out this hidden gem.”

Since the recommendation was shared on TikTok earlier this week, it racked up a lot of attention from viewers eager to give it a go.

One said: “Thank you for giving news about films going to watch now. Hard Truths.” Another added: “I watched this last night, was captivating.”

A third commented: “Loved it. Sad, but funny and so truthful.” While a fourth admitted: “Cheers, on it now.”

JAMES McAvoy was allegedly punched by a stranger at a Toronto bar while in town for the premiere of his directorial debut, California Schemin’.

The 46-year-old Scottish Hollywood star was enjoying a quiet night out with his wife, Lisa Liberati, when things reportedly turned sour at around 11.55pm on Monday.

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“James was having a casual get-together with the producers of his movie and, as he later learned when speaking with the staff, there was a man who drank too much who was getting escorted out,” a source told People.

“James’ back was to him and the man just punched him.” 

McAvoy apparently tried to defuse the tense situation.

Despite taking a blow, he stayed at the bar and even laughed off it with others, the source added.

The alleged assault happened at Toronto bar Charlotte’s Room.

It’s unclear whether the stranger knew he was punching the X-Men star – or if McAvoy was simply in the wrong place at the wrong time.

The Scotsman is believed to have escaped injury.

He had been in the Canadian capital for the premiere of California Schemin’ – his directorial debut – at the Toronto International Film Festival on Saturday.

The movie tells the wild true story of two Scots – Gavin Bain and Billy Boyd – who tricked music label bosses into singing them a record deal by posing as Eminem protégés from the US.

Performing as Silibil N’ Brains, the duo partied with Madonna, appeared on MTV and toured with rap legends.

The cast includes Séamus McLean Ross as Gavin, Samuel Bottomley as Billy, Lucy Halliday as Mary Boyd and Rebekah Murrell as their manager, Tessa.

The film is based on Bain’s memoir California Schemin’, which was later reprinted as Straight Outta Scotland.

McAvoy, who grew up in the Drumchapel area, said that coming from a council estate in Glasgow himself, he wanted to tell stories about people from similar backgrounds.

Speaking last year at Glasgow’s Barrowland Ballroom, he said: “I was interested in telling a story not just solely set in Scotland, but about people from backgrounds where they have fewer opportunities, whether that’s council estates or whatever.”

The star added that he was passionate about “telling a story that was entertaining and aspirational, and not just dwelling on the grime and dirt, which is part of that sort of lower economic background, definitely”.

McAvoy rose to global fame as Mr. Tumnus in the 2005 fantasy film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and as an assassin in the 2008 action blockbuster Wanted.

He won the BAFTA Rising Star Award in 2006 and went on to earn BAFTA Award nominations for the period dramas The Last King of Scotland and Atonement during that time.

In 2011, he took on the role of Charles Xavier in the superhero film X-Men: First Class, reprising it in the later X-Men films.

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TORONTO — Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Christina House, our staff photojournalist, continues to kill it with her portraits out of the Toronto International Film Festival. In the last day alone, she’s seen Angelina Jolie, Jacob Elordi and the cast of “Frankenstein,” Jodie Foster and more.

Or maybe you’d rather watch a video interview with Angelina Jolie and the cast and director of the inspiring fashion film “Couture?” Follow us on Instagram for all of our daily posts.

‘Blood will be shed. Possibly even a tear’: Our critic on Rian Johnson’s new ‘Knives Out’ mystery

Josh O’Connor, left, and Daniel Craig in Rian Johnson’s “Wake Up Dead Man: A Knives Out Mystery.”

(Netflix)

Amy Nicholson had fun with “Wake Up Dead Man: A Knives Out Mystery.”

She’s also noticing a fair amount of Canadian pride at her screenings. It’s been an unusually loaded moment for foreign relations with our neighbors to the north.

Amy weighs in on the scene from the first four days, her favorite (and less-than-favorite) movies at TIFF and a few surprises.

The day’s buzziest premieres

‘The Smashing Machine’

Emily Blunt and Dwayne Johnson in the movie “The Smashing Machine.”

(Ken Hirama / A24)

Sunday saw the TIFF schedule loosen up its restrictions regarding films that premiered at other festivals and audiences started to see more major titles from competing fests.

Take for example the Monday night premiere of “The Smashing Machine,” which just won the directing prize at Venice for Benny Safdie.

Making his solo debut apart from brother Josh — their most recent collaboration was “Uncut Gems” — Benny turns in a surprisingly heartfelt sports story based on mixed marital arts fighter Mark Kerr.

Taking the leading role is none other than wrestler-turned-actor Dwayne Johnson, in a part seemingly tailor-made to play off his own career arc and give him a prestige boost he has never had before.

Add Emily Blunt to the mix, as Kerr’s supportive partner, along with boutique studio A24 and the film seems like it should land the right combinations. — Mark Olsen

‘Exit 8’

A scene from the movie “Exit 8.”

(TIFF)

Ever fear that you’re racing around but going nowhere — that you’re in such a rush to make your way through the world that you’re barely seeing it?

Japan turned that feeling into a best-selling video game in which commuters are condemned to roam an underground subway station until they learn to pay attention to their surroundings.

Now Genki Kawamura has transformed that game into a movie. In Kawamura’s emboldened adaptation, our main player, the Lost Man (Kazunari Ninomiya of the pop band Arashi) is an aimless young slacker who is stuck both physically and emotionally.

If he ever wises up and escapes, he’s got to make better choices.

I’ve got a few quibbles with the film’s mechanics, but “Exit 8” is a moving metaphor for the art of giving things a close, appreciative watch. On day five of a film festival, we could all use a reminder to look sharp. — Amy Nicholson