When Charlie Sheen needed his then-13-year-old daughter taken to a hair appointment because he was too drunk to drive, he turned to his sober friend, Tony Todd.
When Sheen wanted to meet Carlos Estévez because the major league pitcher shared Sheen’s given name, he turned to his connected friend, Tony Todd.
When Sheen was in the throes of a crack addiction, fired from his starring role on “Two and a Half Men” and in need of an unwavering voice of encouragement, he turned to his non-judgmental friend Tony Todd.
“There are so many fake friends in Charlie’s life,” Todd said. “I’ve been there for him since we were little kids. The cool thing is, we’ve never had an argument.”
Thanks to the recent Netflix documentary “aka Charlie Sheen” and publication of “The Book of Sheen” memoir, Todd’s 50-year friendship with the mercurial actor has been revealed to the world. Todd’s social media accounts have since been flooded with praise from viewers far and wide.
“I had to reach out immediately to say you were and remain an angel from heaven.”
“You are the friend we would all like to have man, greetings from Spain!”
“Dear Tony, If you ever visit Istanbul, it would be our honor to host you in our hotel…. You are not only a great actor but also a true friend.”
“You … are a stellar human being [heart emoji].”
Todd and Sheen have been pals since they bonded through baseball, first on Little League fields in Malibu, then on the Santa Monica High School team, then while taking batting practice in Sheen’s posh indoor batting cage, then while putting on power-hitting displays at local high school fields and even Dodger Stadium.
And their friendship spread into their private lives, with Todd serving as best man at the first two of Sheen’s three marriages and serving as a drug-free wingman even when Sheen descended into a chaotic, self-destructive morass of cocaine, alcohol and reckless sex.
“There’s never been a call he hasn’t answered, there’s never been a crisis he didn’t help solve,” Sheen said in a phone interview. “Tony Todd has always been a friend, and a true one.”
The documentary “aka Charlie Sheen” is a first-person tell-all, with the narrative helped along by Sheen’s oldest brother, Ramon, childhood neighbor Sean Penn, “Two and a Half Men” co-star Jon Cryer and executive producer Chuck Lorre, drug dealer Marco Abeyta and ex-wives Denise Richards and Brooke Mueller.
And, of course, Todd. He laughs. He cries. He exudes honesty and empathy.
“He’s just one of my favorite people to have around in any situation,” Sheen said.
All of it certainly has made Todd — not to be confused with the actor of the same name who starred in “Candyman” and died a year ago — fame-adjacent.
Although he has enjoyed a career that includes acting/stuntman roles in both “Black Panther” movies and acting roles in the movie “Little Big League,” the TV show “Anger Management” and more than two dozen national commercials, Todd is best known in Santa Monica as the dude who can’t say no to volunteer fundraisers and sports a vanity license plate that reads “NVR KWT.”
Just this summer he helped raise $10,000 for Santa Monica Little League by hosting an outdoor screening of “Little Big League” and tapping into his vast contact list of pro athletes and A-list entertainers to attract silent-auction items.
And Todd was hailed as a “real hero” by authorities after he gave $700 to a family of five who had been robbed of their rent money in Lancaster in 2018. He was “so moved by the family’s story” that he jumped in his car and drove from Santa Monica to the high desert to hand-deliver the money.
His friendship with Sheen resonates with many, in part because Todd professes never to have taken a drug or a drink. Sheen, of course, was the poster man-child of substance abuse until becoming sober in December 2017, the day he relinquished his car keys to Todd to drive his daughter Sami to a hair salon appointment in Moorpark.
When Sheen was addicted to crack, Todd moved into his friend’s Mulholland Estates house in Beverly Hills. Even then, Sheen wouldn’t smoke the drug in Todd’s presence, and they often would end evenings watching MLB Network or ESPN’s “Sports Center.”
“I didn’t do hard stuff in front of him, just out of respect,” Sheen said.
Todd wept in “aka Charlie Sheen” when he explained why he continued to live with his friend knowing the actor was often smoking crack in the next room.
“I just can’t leave him to die,” he said.
Happier times occurred when they would head to a ball field to hit. Years earlier, after suffering a shoulder injury, Sheen had learned to bat left-handed, taking a hundred or so swings a day off an Iron Mike pitching machine in his indoor batting cage.
While filming a DirecTV commercial at Dodger Stadium in 2007, Sheen stepped into the batter’s box during a lunch break and crushed a pitch over the right-field wall. Todd whooped and hollered, in no small part because he had bet a Dodgers employee that his buddy would go deep.
“I knew it was going to happen because of all the [batting practice] we’d been taking,” Todd said.
Sheen also increased his strength by taking massive doses of testosterone, which he mentions in the documentary and alluded to in a 2015 interview when he said his HIV-positive diagnosis wasn’t the reason for his epic meltdown in 2011 after he was fired from “Two and a Half Men.”
“I wish I could blame it on that, but that was more of a ’roid rage,” said Sheen, who earlier had admitted he took steroids ahead of filming the 1989 hit movie “Major League,” in which he played pitcher Ricky (Wild Thing) Vaughn.
Todd had a video shot of batting sessions at Oak Park and Santa Clarita Hart high schools around 2008. Sheen hit a home run Todd estimated traveled 445 feet at Oak Park and hit a barrage of homers at Hart in the presence of Hall of Fame slugger Eddie Murray and the Hart High team.
Todd followed Sheen’s power display at Hart with a home run of his own. Todd was a talented-enough baseball and football player to earn a double scholarship to USC, although a serious injury his senior year in high school cost him the free ride.
His baseball ability landed him the role of Mickey Scales in “Little Big League” and his astonishing speed delighted Sheen even into their 40s. During one of their batting sessions at Oak Park High, Todd was challenged to a race around the bases by an onlooker.
Sheen told the man to start the race at second base while Todd started at home plate.
“By the time they rounded third, Tony had passed him, and after touching the plate he grabbed a glove and pretended to tag the guy when he reached the plate,” Sheen said, laughing.
Todd served as a baseball coach at Santa Monica High for several years, and in 2013 he lobbied for the school to award Sheen his diploma — the actor had been 1½ credits short 30 years earlier and hadn’t graduated.
Todd reached out to his friend Ross Mark, who handled bookings for “The Tonight Show With Jay Leno,” and they concocted a plan to have Sheen on as a guest and for Leno to surprise him with the diploma.
Todd walked on stage with the diploma and Sheen — who had quickly donned a cap and gown — gave him a hug, his lifelong friend having effectively smoothed over one more rough patch in his life.
“Chainsaw Man — The Movie: Reze Arc,” the Japanese anime from Crunchyroll and Sony, claimed the top spot at the domestic box office this weekend, taking in an estimated $17.25 million, according to Comscore.
The R-rated movie, based on Tatsuki Fujimoto’s popular manga series, follows teen demon hunter Denji, who is betrayed by the yakuza and killed as he attempts to pay off the debts he inherited from his parents. His beloved chainsaw-powered dog Pochita makes a deal and sacrifices his life, fusing with Denji who is reborn with the ability to transform parts of his body into chainsaws.
“Chainsaw Man,” already a global hit, delivered a blow to Disney and 20th Century’s biopic “Springsteen: Deliver Me From Nowhere,” starring Jeremy Allen White, which came in a disappointing fourth place with an estimated $9.1 million.
Based on the 2023 Warren Zanes book of the same name, the film plumbs Springsteen’s life and career through the creative process, during the making of his 1982 acoustic album “Nebraska.”
The Times described the movie as a “thoughtful exploration of the creative process” that runs out of steam by the end, “meandering aimlessly into a depressive period of Springsteen’s, and it never quite regains its footing.”
In its second week out, the horror sequel “Black Phone 2” took the No. 2 slot, earning an estimated $13 million over the weekend, giving the Universal and Blumhouse movie a domestic total of $49.1 million.
Rounding out the third spot is Paramount’s romantic drama “Regretting You,” the latest film adaptation of novelist Colleen Hoover (“It Ends With Us”). Starring Allison Williams and Dave Franco, it opened to an estimated $12.5 million domestically.
Anthony Frias II will suffer a setback, like those scary months when the UCLA running back was stuck in transfer portal limbo, unsure if his college career was over, and he’ll hear those familiar words.
It’s part of the movie.
He’ll strain in anonymity, police repeatedly coming to the door of his home at 2:30 a.m. because neighbors kept complaining about the sound of weights slamming onto the floor of the garage after another sweaty deadlift, and here comes his father’s favorite phrase again.
UCLA running back Anthony Frias II’s family gathers for a photo in front of the Rose Bowl before cheering for him and the Bruins.
(The Frias family)
It’s part of the movie.
Then there’s moments like last weekend, when something happens that makes this whole improbable journey feel like it’s just getting started, like there’s so much left to do and so many people to inspire for the kid from a tiny town in the San Joaquin Valley who once had no college scholarship offers.
Having been made a bigger part of the offensive game plan against Maryland, Frias bolted for his first career touchdown run. Later, with the Bruins needing to reach field-goal range in the game’s final moments, he chugged ahead for 35 yards, dragging defenders with him to set up the winning score.
When Frias emerged from the tunnel inside the Rose Bowl afterward to reconnect with his family, having starred inside the stadium where he once stood as a teenager with a sign proclaiming that he would play there one day, it was only a matter of time before he heard that refrain once more.
“Every time something happens, he mentions it,” the namesake son said of his father, “and it gives me a little bit more belief each time that he’s right.”
For many years, the genre of Anthony Frias II’s story seemed uncertain.
Would it be a hero’s tale? A drama about unfulfilled dreams?
The only sure thing was the conviction of the boy and his father who believed their journey would take them well beyond the confines of Le Grand, Calif., population 1,592.
Little Anthony wanted to play football so badly growing up that after suffering a hairline fracture in his knee that was supposed to sideline him for the rest of the season, he made his own rehabilitation plan.
He was only 9.
Setting his alarm for 5:30 in the morning, he’d wake his father and they would go for a 1½-mile run to a relative’s home for workouts before running back. With his team on the verge of its championship game, Anthony needed a doctor’s clearance to return ahead of schedule.
One morning, he took a crumpled piece of paper to his mom in bed. When she awoke unexpectedly, he ran away nervously. Sabrina Frias looked at the paper, which outlined his recovery and mentioned that he had been waiting for this moment his whole life.
Anthony Frias II was in high school when he stood in front of the Rose Bowl while holding up a sign that read, “One day I will play here!” and featured the Stanford logo. He realized his dream of playing in the Rose Bowl, although it was for UCLA.
(The Frias family)
Anthony left his fate in his mother’s hands, asking her to make a choice — circle the “Yes” he had written alongside a happy face or the “No” alongside a sad face.
Her heart breaking at the thought of denying her son, she circled “Yes.” Anthony went on to score every point in his team’s 20-19 victory.
By the time he was 13, Anthony had modeled his playing style after Christian McCaffrey, the dynamic Stanford running back who was making a strong push for the Heisman Trophy. That made the Christmas present he received that year — tickets to see Stanford play Iowa in the Rose Bowl — an all-time favorite.
Before the game, Anthony’s father painted a giant red “S” on his son’s bare chest. Together, they made a sign that Anthony held above his head while standing outside the stadium. It read, “One day I will play here!”
Looking back, Anthony said the sign was mostly his father’s idea.
“He just knew,” Anthony said, “that I was gonna be so special.”
Few shared that belief when Anthony was coming out of high school.
Starring for Turlock High, which was not known for producing high-level college prospects, wasn’t enough to draw interest beyond a few Division II schools. What was the recruiters’ biggest hang up?
“When they looked at him,” Anthony’s father said of someone who now stands 5-foot-10 and weighs 225 pounds, “he wasn’t the guy they wanted.”
Enrolling at Modesto Junior College, Anthony quickly rose from fourth-stringer to featured tailback during the 2021 season, topping 100 yards rushing three times and leading all California junior college players with 17 rushing touchdowns.
It was enough to earn him a scholarship offer at Kansas State.
Kansas State running back Anthony Frias II catches the ball during a game against Tulane on Sept. 17, 2022, in Manhattan, Kan.
(Colin E Braley / Associated Press)
Buried on the depth chart, he redshirted during his first season with the Wildcats. The next season, playing mostly on special teams, Anthony rarely got more than a carry or two in any game. As confident as he was in his ability, it was impossible to keep out the doubt.
He forged ahead, bolstered by his religious faith and conversations with the father who also happened to be his therapist and best friend, telling him not to worry, that things would eventually pay off.
“You know, we talk it through, I’m there for him all the time,” the elder Frias said. “I’ve been there through the tears, I’ve been there through the needing to hold my son, through the questioning, ‘What more can I do, dad?’ But he never faltered, never quit.”
He did seek a new football home.
Kansas State running back Anthony Frias II carries the ball while running into the Central Florida defense on Sept. 23, 2023, in Manhattan, Kan.
(Travis Heying / Associated Press)
Before Kansas State played its bowl game at the end of the 2023 season, Frias entered the transfer portal. Then he waited. And waited. Months went by without a new offer to play elsewhere.
“Nobody was coming, nobody was calling, there was a moment where we were just like, ‘Man, what are we going to do?’” Anthony’s father said. “We just prayed and had faith, like it’s going to work out, don’t worry.”
Sure enough, the new coaching staff at Arizona, which had pursued Anthony when it was at San José State, offered a spot as a preferred walk-on. That meant Anthony was going to have to take out student loans and pay for his own apartment in Tucson.
About a week before he was scheduled to move in, Anthony received a call from Marcus Thomas, UCLA’s running backs coach. How would you like to become a Bruin? Anthony told him that he’d need to be more than a preferred walk-on because otherwise he was just going to go to Arizona.
Less than five minutes later, UCLA offensive coordinator Eric Bieniemy called. The team agreed to cover his tuition and living expenses through name, image and likeness funds, even though he wouldn’t be on scholarship.
Done.
When Anthony giddily walked into the Rose Bowl for the first time as a player, during a practice before the 2024 season opener, he FaceTimed his parents, even going over to the seat where he and his father had watched that Rose Bowl game.
“That,” Anthony said, “was like the first full-circle moment that I had.”
Anthony’s first season as a Bruin largely mirrored his final season as a Wildcat. There was a lot of special teams work and only a few carries before an expanded role in the season finale against Fresno State.
Entering what’s likely to be his final college season, the redshirt senior earned a scholarship but no guarantee of emerging from the shadows.
As usual, his father wore his son’s No. 22 jersey last weekend when he settled into his seat in the family section inside the Rose Bowl, never imagining the name on the back would be one of the most talked about inside the stadium.
When Anthony took a handoff early in the second quarter, cutting one way and then the other before breaking a tackle on the way to a 55-yard touchdown run, his every movement was accompanied by his father’s voice in the stands.
“I’m like, ‘Oh, oh dang, oh dang!’ ” the elder Frias said. “And then I stand up, like, ‘Oh!’ and I see that [defender] chase him and I’m like, ‘Come on, Ant, turn it up!’ and then he beats the guy out to score the touchdown and I just went crazy.”
With fellow running backs Anthony Woods and Jaivian Thomas later sidelined by injuries, Anthony Frias got a few more carries. His last one, on the game’s final offensive play, captured the essence of someone who refused to quit.
Running away from one defender who tried to grab him by the shoulders, he spun away from another before finally getting dragged down at the five-yard line to set up the winning field goal on the next play.
“Just all the pain, all the suffering, all the longing, all the workouts, all the late nights, all the no-love, no-opportunity, that run signified the release of that,” his father said. “And when he came out of there, he let out his roar. He was like, ‘I won’t be denied any more.’ ”
In one game and only four carries, Anthony had piled up 97 rushing yards — exceeding the 91 yards he had tallied in the three previous seasons combined.
“He made the most of the situation,” UCLA interim coach Tim Skipper said. “He made critical plays — I mean, we’re not just talking he got some first down or something, he made critical, impact, explosive plays that changed that game and for that to happen for him, it couldn’t have happened to a better person.”
Later, emerging from the tunnel leading to the same spot outside the Rose Bowl where he had held that sign over his head almost a decade earlier, Anthony flashed a smile that his father had never seen before when he reached a jubilant throng of family and friends.
“It just was all the years of the grinding and the behind-the-scenes stuff that I’ve been going through,” Anthony said, “and you know, getting opportunities here and there doing different things and showing that I could do more.”
Everyone shouting his name, waiting their turn for a hug, the only thing missing was a climactic score and rolling credits.
Netflix on Tuesday said its third-quarter revenue jumped 17% to $11.5 billion, powered by the hit animated film “KPop Demon Hunters.”
The Los Gatos-based streamer reported a net income of $2.5 billion during the third quarter, up 8% from the same period a year ago but well below the $3 billion analysts had projected, according to FactSet.
Revenue was in line with analyst estimates and was boosted by increased subscriptions, pricing adjustments and more ad revenue.
The company said it incurred a $619-million expense related to a dispute with Brazilian tax authorities.
“Absent this expense, we would have exceeded our Q3’25 operating margin forecast,” Netflix said in a letter to shareholders on Tuesday. “We don’t expect this matter to have a material impact on future results.”
Netflix shares, which closed Tuesday at $1,241.35, fell 5% in after-hours trading.
As it continues to dominate the streaming market with more than 301 million subscribers, Netflix has been investing in a diverse slate of content, including new movies rolling out in the fourth quarter such as Guillermo del Toro’s “Frankenstein,” as well as the final season of sci-fi hit “Stranger Things” and family-friendly games for the TV such as Boggle.
“KPop Demon Hunters” has garnered more than 325 million views in its first 91 days on the service. The movie, about a trio of powerful singers who hunt demons, was released in June.
It bested 2021 action film “Red Notice,” which had been previously its most watched film in its first 91 days on Netflix with 230.9 million views.
On Tuesday, Netflix also announced a licensing deal with toymakers Hasbro Inc. and Mattel Inc. to make toys including dolls, action figures, youth electronics and other items related to “KPop Demon Hunters.”
Popular TV shows launched in the third quarter include the second season of the Addams family spinoff series “Wednesday” and the second season of drama “My Life With the Walter Boys.”
“When you have a hit the size of ‘KPop Demon Hunters,’ it stirs the imagination of where you can take this,” said Ted Sarandos, co-chief executive of Netflix, in an earnings presentation.
He said the film benefited from Netflix’s platform, allowing superfans to repeat view it and make it appealing for audiences to watch in theaters as well. “We believe this film, ‘KPop Demon Hunters,’ actually worked because it was released on Netflix first,” Sarandos added.
The company said in the fourth quarter it expects revenue to grow another 17% due to growth in subscriptions, pricing and ad revenue.
For the full year, Netflix is forecasting revenue of $45.1 billion, up 16%, and said it is on track to more than double it ad revenue in 2025.
Like other entertainment companies, Netflix has been taking steps to diversify its business in a challenging landscape, as production costs for TV and movies increases and studios consolidate.
“With entertainment industry employment becoming more precarious, Netflix is slyly pivoting its content strategy to rely more on live sports, YouTubers, creators and podcasters,” said Ross Benes, a senior analyst with research firm Emarketer in a statement.
But some investors still remain skeptical about the future of subscription streaming services, as the technology behind video generation tools powered by AI get more sophisticated, making it easier to replicate visual effects and customize content to viewers.
“Netflix’s core lay-back easy-to-watch scripted content is potentially most at risk by the emergence of generative AI compared to peers,” said John Conca, analyst with investment research firm Third Bridge. “Netflix will need to channel its earlier days and find a way to remain nimble, even though it’s now the 800-pound gorilla in this space to deal with this threat.”
On Tuesday, Netflix said it is using generative AI to improve the quality of its recommendations and content discovery on its platform. Creators on Netflix are also using AI tools for their projects, including filmmakers for comedy “Happy Gilmore 2” using generative AI and volumetric capture technology to de-age characters.
Netflix is looking to capitalize on the popularity of its animated movie “KPop Demon Hunters” — and continue its foray into the retail space.
Netflix on Tuesday announced a licensing deal with toy makers Mattel Inc. and Hasbro Inc. to make dolls, action figures, plushies, youth electronics and other items based on “KPop Demon Hunters,” a movie about a trio of powerful singers and demon hunters who protect the world from dangerous demons.
“KPop Demon Hunters” has been a worldwide hit since its release in June, becoming Netflix’s most-watched film with more than 325 million views in its first 91 days on the streaming service.
The licensing deals come as Netflix has been aggressively partnering with brands to expand the fandom of its shows and movies.
Next month, Netflix will open the first of several planned physical locations called Netflix House where it will host experiences based on its programs and sell food and merchandise.
“KPop Demon Hunters unleashed a global fan frenzy,” said Marian Lee, Netflix’s chief marketing officer, in a statement. “Netflix, Mattel and Hasbro joining forces on this first-of-its-kind collaboration means fans can finally get their hands on the best dolls, games, and merchandise they’ve been not-so-subtly demanding on every social platform known to humanity.”
Under the partnership, Hasbro and Mattel will both become global co-master toy licensee to “KPop Demon Hunters.”
Netflix has had other partnerships with other toy makers, including Squishmallows for shows like sci-fi series “Stranger Things” and Lego sets based on pirates tale “One Piece.”
The Los Gatos, Calif., company has also launched in-person experiences such as balls based on the Regency era romance series “Bridgerton.”
“KPop Demon Hunters is a powerful pop culture phenomenon with global resonance—one that aligns seamlessly with our portfolio of iconic brands and our commitment to innovation,” said Tim Kilpin, Hasbro’s president of toy, licensing, and entertainment, in a statement.
ONE of Yorkshire’s prettiest towns is set for superstardom this December, as it stars in a new Christmas film featuring some of Hollywood’s top actors.
Huge Hollywood stars descended on the pretty Yorkshire town earlier this yearCredit: SkyThe town of Knaresborough is the backdrop of a Sky Original Christmas movieCredit: Alamy
Between January and February 2025, cast and crew were spotted in the Yorkshire town, in areas like Castlegate,Riverside, andGreen Dragon Yard.
Filming of the Sky Original Christmas movie meant that the festive decorations were up for months longer than usual.
The film, set to be released n November 28, will see Kiefer Sutherland play Bradley Mack, a failed Hollywood action star ending up in a small, snow-dusted village to star in the town’s eccentric production of Cinderella.
It’s here that he encounters a number of oddball locals, one of whom is no-nonsense choreographer Jill, played by Rebel Wilson.
Knaresborough has pretty waterfront cafes and the opportunity to canoe down the river, while watching steam trains travel over the viaduct.
Katrina said: “If you venture down by the river from either Bond End or walking down the steps at the castle you’ll stand at the foot of the iconic viaduct.
“Amongst the cafes and houses are two boat hire places – Blenkhorn’s and Marigold Cafe & Boating. Both are open daily, weather permitting, and are a great way to soak up the stunning scenery.
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“No visit to Knaresborough is complete without heading to Knaresborough Castle for the best view of the viaduct.
“You don’t need to pay to enter the castle grounds, and I recommend seeing the view during the day and at night time, with the viaduct all lit up.”
Knaresborough was decked out for Christmas during January and February of 2025 for filmingCredit: SkyA popular activity during the summer is to go boating on the waterCredit: AlamyThe Yorkshire town could get its own tourist land train – like the one in WeymouthCredit: Alamy
Katrina also suggested checking out the many pubs in the area from Blind Jack’s in the market square, to Carriages.
As for attractions, there’s Mother Shipton’s Cave which is named after the Yorkshire prophetess who predicted many things, including the great fire of London and the black death.
It’s also the oldest tourist attraction to charge a fee in England, and has been open to visitors since 1630.
The town is also lobbying for cash to buy a tourist land train, which would mean visitors could easily go exploring without having to climb steep hills and steps.
A previous grant to get a land train was rejected due to “concerns over the scheme’s viability”, as reported by the BBC.
Now, the Knaresborough & District Chamber, which submitted the bid, is looking for alternative funding to get the service started.
The hope is that the land train would increase the number of visitors to all of Knaresborough, from the river to the main town.
One of the local council members told the BBC that visitors who visit usually wander around the castle and marketplace but don’t go down to the river because of the steep hill and steps.
If the land train becomes a reality, it would join other UK towns which run services generally during the summer.
Weymouth has its very own land train which runs across the promenade, meanwhile Bridlington has two trains, one which heads north, and the other, south.
And another Yorkshire destination to add to your To Do list…
Hutton-Le-Hole is said to be one of the last unspoiled villages in the UK, thanks to its very quaint houses and attractions.
Home to just 400 locals, it has been named one of Yorkshire‘s “best looking villages” by Lonely Planet, as well as one of the UK’s prettiest by Conde Nast Traveller.
Jane Austen fans will recognise it, having featured in the Death Comes To Pemberley BBC drama.
In the summer, locals sit on the village green, with the sloped grass leading into the river to cool off.
But the village is just as beautiful in autumn with the trees turning bright orange.
Most of the sheep are free-roaming, so expect to see a few munching on the grass.
If you fancy some retail therapy, The Chocolate Factory, which opened 20 years ago, is one of the top attractions.
Despite being small, there are a number of places you can stay like The Crown Inn and The Barn Guesthouse or a number of small B&Bs.
Toy Story graced the movie screens all the way back in 1995, but people are only just realising one hidden detail in the first film which shaped the entire Pixar universe
Christine Younan Deputy Editor Social Newsdesk
09:54, 19 Oct 2025
The first Toy Story was released 30 years ago
It’s been 30 years since the first Toy Story movie was released back in 1995. The adventure comedy, which features the voices of Tom Hanks, Tim Allen and more, follows a group of toys who prepare to move into a new house with their young owner Andy.
But trouble arises when Sheriff Woody, the leader of the pack, fears Andy will soon replace him when he receives a new toy, Buzz Lightyear, on his sixth birthday. Then things escalate further during a family trip for dinner at Pizza Planet where Woody accidentally knocks Buzz out of the window, making the others believe he killed him.
Buzz confronts Woody leading to a brawl and a fall out of the car where the two are left behind, fending for themselves. Since the first iconic instalment in the 90s, Toy Story returned for four sequels with the fifth set for release in 2026.
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Now one movie fan couldn’t help but notice a tiny detail in the first film which shaped the rest of the sequels and even the entire Pixar universe.
Ivan Mars, known as the ‘Movie Detective’, boasts 962,000 followers on Instagram where he spots hidden details in films. And most recently, he was mind-blown after noticing one Toy Story detail.
He said: “It took me 20 years to notice something hidden in Pixar movies… something that started in Pixar’s very first work: Toy Story. In that movie, Woody and Buzz are lost and their only chance to get back to Andy is to the Pizza Planet truck.
“Without it, the story might have ended right there and because of this, the Pizza Planet truck became a symbol appearing in every Pixar movie from Ratatouille to Cars.
“In Wall-E, it’s the only abandoned vehicle on Earth. And more recently in Elio, it appears in a blink and you’ll miss it scene. So this means it actually became Pixar’s secret thread because it saved the very first characters giving birth to the entire Pixar universe. Mind-blowing…”
People were equally floored by the revelation as the post garnered a lot of attention pretty quickly. One said: “WHAAATTTT!” Another added: “Omg so cool.” A third pointed out: “Yes it’s one of the common Easter egg of Pixar movies!”
Others claimed there were other hidden details as someone commented: “The Pixar lamp is in every movie also I believe.”
Toy Story 5 is set to be released on June 19, 2026. Buzz, Woody and the rest of the gang’s job will get harder when they go head-to-head with a new threat to playtime.
Sea otters love to play, play, play, play, play and they also have to eat, eat, eat, eat, eat — at least that’s what people say — so the Monterey Bay Aquarium is tapping Taylor Swift fans for help.
The Central Coast aquarium launched a fundraising campaign Thursday involving a re-release of one of its classic T-shirt designs to support its sea otter program and other marine conservation efforts after noticing a curious flood of $13 donations it could attribute only to Taylor Swift fans.
The Grammy-winning singer-songwriter is seen sporting a vintage 1993 Monterey Bay Aquarium shirt with sea otter art in “The Official Release Party of a Showgirl,” her movie celebrating the release of her latest album, “The Life of a Showgirl.” Swift’s fiancé, Travis Kelce, a tight end with the Kansas City Chiefs, is a known sea otter fan, and the Monterey Bay Aquarium had previously invited the couple for a special visit.
“Swifties, you truly walk the talk,” the aquarium said in a post on its website announcing the new campaign. “We tracked down the original artwork — first printed in the 1990s — and are bringing it back to say thank you, sustainably.”
The limited-time fundraiser, which offers the new eco-conscious reprints of the shirt in adult and kids sizes to those who donate $65.13, hit its initial goal in a mere seven hours, according to an update posted Thursday by the aquarium. When this story was published Friday, the total was approaching $2.2 million and the shirts were available on back order only.
“Intentional or not, by putting our sea otter conservation work in the spotlight, this has brought a new era of support and awareness to the Aquarium’s long history of ocean conservation,” the Monterey Bay Aquarium said on its website, which also features some fun Swift and sea otter crossover facts.
In addition to debuting the music video for “The Fate of Ophelia,” Swift’s “Release Party” movie included behind-the-scenes footage and commentary from the artist about her songs. The 89-minute movie made $34 million at the box office over its one weekend in theaters.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
When news broke last weekend that Diane Keaton had died at age 79, it came as an extraordinary shock because so much of Keaton’s screen presence and persona was rooted in a vitality, a sense of of being very much alive and open to everything.
Revisiting Keaton’s Oscar-winning performance in “Annie Hall” this week, I was struck by how much humor she mined from a hyperawareness of self, often commenting on her own dialogue and behavior as she was still in the act of doing it. She brought a tremendous charge to everything she did.
Diane Keaton and Jack Nicholson in the movie “Something’s Gotta Give.”
(Bob Marshak / Columbia Pictures)
In her appreciation of Keaton, Amy Nicholson called her “the icon who feels like a friend,” adding, “The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers.”
There was a very genuine wave of emotion and affection after the news of Keaton’s death. One of the most heartfelt and moving tributes came from screenwriter and director Nancy Meyers, who worked with Keaton on four films, from “Baby Boom” to “Something’s Gotta Give.”
As Meyers said, “She made everything better. Every set up, every day, in every movie, I watched her give it her all.”
Meyers added, “She was fearless. She was like nobody ever. She was born to be a movie star. Her laugh could make your day and for me, knowing her and working with her changed my life.”
AMC Theaters have already announced limited showings of both “Annie Hall” and “Something’s Gotta Give.” Other screenings will certainly happen shortly.
Crispin Glover, still doing his own thing
Crispin Glover in “No! YOU’RE WRONG. or: Spooky Action at a Distance.”
(Volcanic Eruptions)
Still best known for the eccentric screen presence he brought to movies such as “River’s Edge,” “Wild at Heart,” “Charlie’s Angels,” “Back to the Future” and countless others, Crispin Glover is also extremely dedicated to his own filmmaking practice.
“No! YOU’RE WRONG” is the third feature Glover has made himself. He began developing the screenplay in 2007, started building the sets in 2010, began shooting in 2013 and didn’t commence editing until 2018. He goes at his own pace, though Glover is self-excoriating.
“None of this is acceptable,” he tells me during a recent video call from New York City following the film’s world premiere at the Museum of Modern Art. “I’m not happy that this has taken as long as it’s taken. Every step of this film just took ridiculously long.”
While Glover enjoys talking about the film, he struggles to explain what it’s actually about. Set across five time periods — 1868, 1888, 1918, 1948 and right now — Glover shot for the first time on 35mm and, for some scenes, used a hand-cranked camera that belonged to the Czech animator Karel Zeman. The negative was hand-processed, which can alter how it looks, with some sections then colored by hand to replicate early film techniques.
“It’s almost better for me to talk about the technical aspects because by talking about the the technical aspects, it sort of reveals things about the film itself,” Glover says. “All of my films on some level deal with surrealism in one aspect or another. And part of the way surrealism operates is to have either disparate pieces of information or withholding information so that the audience can make the correlations themselves and become a participant in the art.”
Bruce Glover in the movie “No! YOU’RE WRONG. or: Spooky Action at a Distance,” directed by his son Crispin Glover.
(Volcanic Eruptions)
Aside from Glover himself, the film includes his father, character actor Bruce Glover, who died in March 2025, as well as his mother, dancer Betty Glover, who died in 2016. Following the death of his father, Glover had to make some changes.
“I don’t want to say too much,” says Glover as he catches himself starting to clarify an aspect of the story. “You’d have to see the film. It’s not good for me to talk about it because the way the film is made and layered, it’s something that people will have different interpretations of. And if I say too much, then it will sway the interpretation. They’ll think, ‘Oh, it’s wrong because the filmmaker said this,’ but it isn’t wrong. What they’re thinking is what’s right for them.”
Points of interest
Cronenberg movies at Brain Dead
Léa Seydoux, left, Viggo Mortensen and Kristen Stewart in the movie “Crimes of the Future.”
(Nikos Nikolopoulos)
Brain Dead Studios has been running a program of David Cronenberg films through October and still has a few titles left to go. And while his films may not fit everyone’s strict definition of Halloween-style spooky, they are reliably unsettling in their examinations of the darker aspects of human existence.
Friday will see a screening of 2022’s “Crimes of the Future,” starring Viggo Mortensen, Kristen Stewart and Léa Seydoux, Monday will be Cronenberg’s 1991’s adaptation of William S. Burroughs’ “Naked Lunch,” Thursday brings 1979’s low-budget horror film “The Brood” and Saturday, Oct. 25 will have 1996’s controversial “Crash.”
I spoke to Cronenberg around the release of “Crimes of the Future,” which at the time felt like something of a summation of the director’s ongoing interests in technology and the body, though he claimed it wasn’t intentional.
“It’s not a self-referential film because I’m not thinking that when I’m writing it or directing it,” Cronenberg said. “But the connections are there because my nervous system, such as it is including my brain, is the substrate of everything I’m doing. So I might even say in the Burroughsian way that all of my work and all of my life is one thing. In which case, it now makes perfect sense that there should be these connections.”
David Fincher’s ‘The Game’
Michael Douglas in the movie “The Game.”
(Tony Friedkin / Polygram Films)
David Fincher’s 1997 thriller “The Game” is somewhat easy to overlook in his filmography, landing between the provocations of “Seven” and “Fight Club” and before fully-formed works like “Zodiac” and “The Social Network.” However, the movie, in which a wealthy man (Michael Douglas) finds his life turned upside in what may be a live-action role-playing game, is strange and unpredictable and among Fincher’s most purely pleasurable movies. It plays at the New Beverly on Friday — a rare chance to catch it in a theater on 35mm.
In his review of the film, Jack Matthews wrote, “Douglas is perfectly cast. Who else can blend moneyed arrogance, power and rank narcissism with enough romantic flair, intelligence and self-deflating humor to make you enjoy his defeats and his victories? What other major star is as much fun to watch when he’s cornered?”
It’s clear from the existence and execution of “Black Phone 2” that Universal and Blumhouse never expected 2021’s “The Black Phone” to be a hit. If there was ever an inkling that the first film might have been more than a quick and dirty ’70s-style riff on a boogeyman tale, there’s no way those in charge would have let their big baddie, the Grabber, be killed off at the end of the movie.
But a hit it was and so, for a sequel, supernatural elements must be spun out and ’80s slasher classics consulted, especially since it’s now four years later, in 1982. Masked serial killer the Grabber, played by Ethan Hawke (we never really see his face, though we do hear his voice), continues to haunt, torment and maim children, despite the inconvenience of death.
Scott Derrickson and C. Robert Cargill co-wrote both films, with Derrickson behind the camera as director. The first was based on a short story by Joe Hill (the son of Stephen King) and is set in 1978 Denver, where plucky Finney Blake (Mason Thames) had to escape the clutches of kidnapper the Grabber while fielding phone calls from the ghosts of his previous victims, offering tips and tricks. What distinguished “The Black Phone” was its shocking approach to violence with its young characters, who all sported entertainingly profane potty mouths. While it was daring in its hard-R riskiness and played on our basest fears, it didn’t reinvent the wheel, or even try to. However, the film’s phone conceit played well enough and young star Thames was outstanding.
In “Black Phone 2,” Finney’s now a high school student, drowning his trauma in weed and schoolyard fights, sometimes the bully himself. He’s protective of his sister, Gwen (Madeleine McGraw), who has the gift of psychic sight, but mostly he just wants to check out from his own brain. The sequel is primarily Gwen’s movie. She starts lucid dreaming and sleepwalking, receiving phone calls from beyond — like from their dead mother when she was a teenager beyond.
The messages bring Gwen, Finney and her crush, Ernesto (Miguel Mora), to a winter retreat for Christian youth, Camp Alpine, now run by Mando (Demián Bichir) and his niece, Mustang (Arianna Rivas). As it turns out, this camp is rife with the ghosts of young dead boys — the phone keeps ringing and it won’t stop until Finney picks it up.
If “The Black Phone” dabbles in crimes that are taboo and is even unforgivable in its depiction of brutality against innocent children, “Black Phone 2” commits its own unforgivable crime of being dreadfully boring. This movie is a snooze, not just because all of the action takes place entirely during Gwen’s dreams.
The film can’t shake its lingering scent of “Stranger Things,” but the filmmakers have also turned for inspiration to another iconic ’80s-set property: The whole movie is a “Nightmare on Elm Street” ripoff, with a disfigured killer stalking his prey through their subconscious. Those sequences are fine, action-packed if not entirely scary, but at least it’s something more rousing than the awake scenes, where the characters stand in one place and make speeches to each other about their trauma and backstories. The entire affair is monotonously one-note and dour, with only a few pops of unintentional humor.
You realize almost immediately what the deal is with these ghost boys, but the film takes its sweet time explaining it all. It’s a fairly simple story, so you do understand why Derrickson gussies it up with grainy dream sequences and shaky 8mm flashbacks, and a pretty terrific electronic score composed by his son, Atticus Derrickson.
It’s also a bit surprising that “Black Phone 2” turns out to be so pious and deeply Christian, which is a bit of an odd mix. For a film about Jesus and the power of prayer, it also features a scene in which a kid’s face gets sliced in half by a windowpane. Then again, horror’s trend toward the faith-based isn’t a surprise when you take a look at the success of the Bible-thumping “Conjuring” franchise.
However, it seems like this might be the Grabber’s last hurrah. You’ll root for the characters to vanquish him only because then the drudgery might finally end. Who knows, maybe it’ll be a hit and they’ll figure out another way to reanimate this utterly uninspiring horror villain. Personally, I’ve had my fill of the Grabber’s grabbing.
Katie Walsh is a Tribune News Service film critic.
‘Black Phone 2’
Rated: R, for strong violent content, gore, teen drug use and language
“Frankenstein” has haunted Guillermo del Toro since he was a kid who barely reached the Creature’s knees. Back in 2011, the writer-director was already tinkering with a version of the monster that resembled a blend of Iggy Pop and Boris Karloff with jagged sutures, gaunt wrinkles and a crushed nose. Since then, Del Toro has made changes. The 2025 model is played by Jacob Elordi, a 6-foot-5 actor often cast as the ideal human specimen in movies like “Saltburn” and who here howls to life with handsome features and rock star swagger. But your eyes keep staring at his pale, smooth seams. He doesn’t look hand-stitched — he looks a little like a modern android.
Of course he does. The decades have given Del Toro time to think about what truly scares him. It’s not monsters. He loves all disfigured nasties, be they swamp creatures, eyeball-less ogres or bolt-headed Hellboys. It’s tech bros, like the ones weaseling into Hollywood, who give their every innovation a sterile sheen.
“Frankenstein” is the director’s lifelong passion project: He doesn’t just want to make a “Frankenstein” but the “Frankenstein,” so he’s faithfully set his adaptation in the past. But he’s adjusted the wiring so that 1850s Europe reminds us of Silicon Valley. The result is the best movie of his career.
This Baron Victor Frankenstein (Oscar Isaac) is a short-sighted egomaniac who barks over his critics while jabbing the air with his fingers. “I fail to see why modesty is considered a virtue,” he says with a snort.
And Del Toro has written Victor an enabler: a deep-pocketed investor named Henrich Harlander (Christoph Waltz) who struts into Victor’s science lecture hunting for a whizkid to crack the code to immortality. With his gold-heeled shoes and a confidence that he’s too rich to die, Waltz’s wealthy arms dealer is a 19th century take on venture capitalists like Bryan Johnson and Peter Thiel who’ve been poking into the feasibility of pumping their veins with young blood.
“Don’t be a reasonable man,” Henrich advises Victor. The assumption is — and remains — that tycoons and geniuses deserve to run rampant. Great success demands an indifference to the rules. And if you’re wondering whether money or brains has more power, there’s a scene in which Henrich uses a chamber pot and smugly orders Victor to “flush that for me.”
Del Toro is wired into the outrage in Mary Shelley’s sly 1818 novel, a nightmarish satire about men who care only about yelling “first!” without asking what horrors come next. Centuries ago, she warned of man’s ill-considered rush to create artificial intelligence. Today, Dr. Frankenstein’s descendants keep promising that AI won’t destroy civilization while ignoring Shelley’s point, that the inventor is more dangerous than his monster.
Victor, a stunted man-child who drinks milk served by a sommelier, is frozen in the I’ll-show-him stage of growing up with an abusive father (Charles Dance) who whipped him when he got a wrong answer on his schoolwork. Victor’s name, we’re reminded, means “winner,” a symbol of the pressure he’s under to excel.
Isaac plays him with a pitchman’s exuberance that sags as the corners of his mouth wrench down in disappointment. He’s hacked how to make a disembodied head moan in agony. But having rarely felt affection, Victor doesn’t know how to generate that emotion at all. Worse, it hasn’t occurred to him to think past the triumph of his product launch, that his Creature can’t be readily unplugged. The only kind characters in the movie are a rural blind man (David Bradley) and the moth-like Mia Goth, double-cast as Victor’s mother, Claire, and his brother’s fiancee, Elizabeth. A convent girl with a creepy streak, Elizabeth sees beauty in biology, leaning over a corpse’s flayed back to appreciate the intricacy of its ventricles. But the more she studies Victor, the less impressed she gets.
Because Shelley came up with “Frankenstein” as an 18-year-old newlywed who’d just lost a baby, her message gets boiled down to gender: Women birth life, men mimic it. Really, the feminine strength of the book lies in its foxy, shifting narration that opens with a prologue from an Arctic explorer who’s gotten his sailors trapped in the ice, before transitioning to Victor’s story and then the Creature’s. Like a hostess who secretly loathes her guests, Shelley encourages her characters to flatter themselves and expose their braggadocio.
Del Toro has kept that tactic and he’s kept the book’s structure. But within that framework, he’s changed nearly everything else to make Victor more culpable. Unlike the 1931 film, there’s no Igor and no excuse of accidentally using the wrong brain. This Victor does his own dirty work and what goes wrong is his fault. Meanwhile, Del Toro amps up the action, starting the film off with a ghastly great sequence in which Elordi’s Creature punches a sailor so hard his spine snaps into a backward somersault.
“What manner of devil made him?” the Captain (Lars Mikkelsen) exclaims. Victor guiltily explains why he played God.
Being a futurist isn’t bad. Henrich, an early adopter of daguerreotype cameras, shoots photographs of women posing with skulls like he’s paving the way for Del Toro’s whole filmography. But pompous Henrich and Victor don’t appreciate that their accomplishments are built on other’s sacrifices. When the cinematographer Dan Laustsen pans across a battlefield of dead soldiers, it feels like a silent scream. Henrich made his fortune killing these men; now, Victor will salvage their body parts.
Del Toro delights in the kinetic gusto of the tale, the grotesquerie of cracking limbs and blood sloshing about Victor’s shoes. In the laboratory, dead leaves and buzzing flies whirl through the air as if to keep up with the inventor’s wild ambitions and Alexandre Desplat’s swirling orchestral score. The production design by Tamara Deverell is superb as are the costumes by Kate Hawley, who shrouds Goth in dramatic chiffon layers and dresses laced to highlight her vertebrae. (This movie loves bones as much as Sir Mix-A-Lot loved backs.)
As Victor rudely flings around torsos and limbs, it’s clear that he only values life if it’s branded with his name. So yes, of course, Elordi’s Creature looks good. He’s been assembled from the choicest bits of man flesh to show off the talent of his creator, not so different from Steve Jobs caressing samples of brushed aluminum. When Elordi’s Creature pleads for a companion, a sliver of sculpted abs peeking out from under five hulking layers of wool and fur, you expect half the audience’s hands to shoot up and volunteer.
Elordi has adopted one or two of Karloff’s mannerisms: the arms outstretched in search of warmth, the lurching walk. You can see that he’s a tad lopsided on the left side, presumably because Victor couldn’t find matching femurs. Mostly, he’s his own monster, neither the calculating serial murderer of the book nor Karloff’s reactive, animalistic killer, but a scapegoat who finally starts leveling his foes with bone-breaking efficiency.
Towering over Victor by almost a foot, Elordi’s Creature dwarfs his creator physically, morally and emotionally. There’s anguish in his eyes, and when Del Toro shows us the world through his perspective, humanity itself appears anti-life, a pestilence that destroys without hesitation.
There’s a pack of digital wolves that just looks silly. Otherwise, you trust how intensely Del Toro has doted upon every detail. I was flummoxed by a row of servants flanking young Victor (Christian Convery) who appeared to be wearing gauzy bags over their heads. What are those for? My theory is it’s a tribute to the veil Karloff sported during lunch breaks, so as not to frighten any pregnant secretaries on the Universal lot.
Eschewing mobs of pitchfork-wielding villagers, Del Toro focuses on Victor’s inability to parent his unholy son. And while the end stretch gets a bit too stiff and speechy, particularly with a line that Victor is the “true monster,” I loved the moment when the Creature, venting on behalf of all frustrated children however big they‘ve grown, growls, “The miracle is not that I should speak but that you would listen.”
This deservedly anticipated “Frankenstein” transforms that loneliness into stunning tableaux of Victor and his immortal Creature tethered together by their mutual self-loathing. One man’s heart never turned on. One can’t get his heart to turn off. Ours breaks.
Diane Keaton died in Los Angeles on Saturday at age 79, and her family says the cause was pneumonia.
Family members of the Oscar-winning actress shared a statement with People confirming Keaton’s cause of death and saying they were “very grateful for the extraordinary messages of love and support” they had received in recent days.
The outlet first reported the news of the screen icon’s death Saturday, saying the Los Angeles Fire Department had responded to her home that morning and transported a 79-year-old woman to an area hospital. Initially, the family did not disclose the cause of death and asked for privacy as they processed their grief.
In Wednesday’s statement, Keaton’s family members said the star had a deep love for animals and was passionate about supporting the unhoused community. They encouraged people to honor her memory by donating to a food bank or animal shelter.
Keaton was known for her powerful performances in iconic pictures such as Francis Ford Coppola’s “Godfather” movies and Woody Allen’s “Annie Hall,” which earned her the 1978 Academy Award for lead actress. She was also nominated for lead actress for her roles in “Reds” (1981), “Marvin’s Room” (1996) and “Something’s Gotta Give” (2003).
Born in Los Angeles in 1946, Keaton rose to fame through her late 1960s New York stage career, earning a Tony nomination at age 25 for her role in Allen’s 1969 theatrical production of “Play It Again, Sam.”
Later in her career, she became a muse for writer-director-producer Nancy Meyers and starred in four of her movies. She was a noted trendsetter known for her fabulous on-screen outfits and, more recently, for sharing her style on Instagram, where she amassed 2.6 million followers.
Keaton’s death was widely mourned by theater, movie and fashion lovers alike.
“She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star,” wrote actor Bette Midler on Instagram. “What you saw was who she was.”
“Diane Keaton wasn’t just an actress: she was a force,” wrote actor Octavia Spencer on Instagram, “a woman who showed us that being yourself is the most powerful thing you can be. From Annie Hall to Something’s Gotta Give, she made every role unforgettable.”
Times film editor Joshua Rothkopf contributed to this report.
“KPop Demon Hunters” creator Maggie Kang thinks there’s potential for more Huntr/x stories in the future, but only in animation.
In a recent interview with the BBC, the co-director of the Netflix phenomenon said there is nothing officially in the works, but she thinks “there’s definitely more we can do with these characters in this world.” Kang and her co-director Chris Appelhans also assured fans that if another “KPop Demon Hunters” were to happen, “it will be a story that deserves to be a sequel, and it will be something that we want to see.”
Produced by Sony Pictures Animation, the movie follows a popular K-pop girl group whose members use their music and dance moves (and magical powers) to fight demons and protect the world. But Huntr/x’s leader Rumi is keeping a secret from her bandmates Mira and Zoey that could lead to their downfall.
With Hollywood’s current trend of sequels and remakes, it’s easy to believe that “KPop Demon Hunters” could spawn its own franchise. But Kang and Appelhans both insist that a live-action adaptation should be off the table.
“It’s really hard to imagine these characters in a live action world,” Kang told the BBC, pointing to the tone and comedic elements in “KPop.” “It would feel too grounded. So totally it wouldn’t work for me.”
Appelhans agreed that the characters in “KPop Demon Hunters” are best suited for animation and worried a live-action version of them could feel too “stilted.”
“One of the great things about animation is that you make these composites of impossibly great attributes,” Appelhans told the BBC. “Rumi can be this goofy comedian and then singing and doing a spinning back-kick a second later and then free-falling through the sky. The joy of animation is how far you can push and elevate what’s possible.”
For now, it seems that Huntr/x will keep shining only in the medium they were born to be — in animation.
When Diane Keaton was 11, her father told her she was growing into a pretty young woman and someday, a boy would make her happy. She was horrified. One boy? Keaton — then going by her birth name of Diane Hall — needed to be loved by everyone. It was an early sign that she was meant to be an actor.
“Intimacy meant only one person loved you, not thousands, not millions,” Keaton wrote decades later in her 2011 memoir “Then Again.” Like drinking and smoking, she added, intimacy should be handled with caution.
“I wanted to be Warren Beatty, not date him,” Keaton confessed, romancing fellow artists as long as their relationship was mutually stimulating and then after that, remaining friends. “I collect men,” she jokingly told me when I interviewed her a decade ago, referring to a photo wall in her Los Angeles home of fellows she admired, including Morgan Freeman, Abraham Lincoln, Gary Cooper and John Wayne. She wanted an excuse to add Ryan Gosling and Channing Tatum, so I suggested a love-triangle comedy as a twofer. “No! Not one movie!” Keaton exclaimed. “I want to keep my career going.”
Just as she hoped, millions of us did fall in love with Keaton, who died Saturday at age 79. She captivated us for over 50 years, from awards heavy-hitters to a late-career string of hangout comedies that weren’t about anything more than the joy of spending time with Diane Keaton, or in the case of her 2022 body swap movie “Mack & Rita,” the thrill of becoming Diane Keaton.
In her final films, including “Summer Camp” and the “Book Club” franchise, Keaton pretty much only played variations of herself, providing reason enough to watch. I looked forward to the moment her character fully embraced looking like Diane Keaton, writing in my otherwise middling review of “Mack & Rita” that the sequence in which she “picks up a kooky blazer and wide belt is presented with the anticipation of Bruce Wayne reaching for his cowl.”
I wanted to be Diane Keaton, even if she wanted to be Warren Beatty.
The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers. That is, when she’d consent to be interviewed at all, which in the first decade of her career was so rare that Keaton, loping across Central Park in baggy pants to the white-on-white apartment where she lived alone, was essentially a movie star Sasquatch.
Journalists described her as a modern Garbo. “Her habit is to clutch privacy about her like a shawl,” Time Magazine wrote in 1977, the year that “Annie Hall” and “Looking for Mr. Goodbar” established Keaton as a kooky sweetheart with serious range. I love that simile because she did refer to her wardrobe as an “impenetrable fortress.” The more bizarre the ensemble — jackets over skirts over pants over boots — the less anyone would notice the person wearing it.
Odd ducks like myself adored the whole package, including her relatable candor. She showed us how to charge through the world with aplomb, even when you’re nervous as heck.
Once young Keaton decided she wanted to perform, she set about auditioning for everything from the church choir and the cheerleading squad to the class play. But her school had a traditionally beautiful ingenue who landed the leads. This was Orange County, after all. Keaton would go home, stare at the mirror and feel disappointed by her reflection. She dreamed of looking like perky, platinum blond Doris Day. Instead, she saw a miniature Amelia Earhart. (She’d eventually get a Golden Globe nomination for playing Earhart on television in 1994.)
Keaton stuck a clothespin on the tip of her nose to make it smaller, and acted the part of an extrovert: big laugh, big hair and, when she stopped liking her hair, big hats. By age 15, she was assembling the bold, black and white wardrobe she’d wear forever and her taste for monochrome clothes was already so entrenched that she wrote Judy Garland a fan letter wondering why Dorothy had to leave Kansas for garish Oz. She might have been the only person to ever ask that question.
Not too long after that, Keaton flew across the country to New York where several things happened in short succession that would have puffed up anyone else’s ego. The drama coach Sanford Meisner gave her his blessing. The Broadway hit “Hair” gave her the main part (and agreed she could stay fully clothed). And “The Godfather,” the No. 1 box office hit of 1972, plucked Keaton from stage obscurity to give the fledgling screen actor its crucial final shot, a close-up.
Keaton made $6,000 for “The Godfather,” less than a quarter of her salary for the national deodorant commercial she’d shot a year earlier. Her memories from the set of the first film were uncharacteristically terse. Her wig was heavy, her part was “background music” and the one time Marlon Brando spoke to her, he said, “Nice tits.”
Nevertheless, Keaton’s Kay is so soft, friendly and assured when she first meets the Corleone clan at a wedding, sweetly refusing to let her boyfriend Michael dodge how the family knows the pop singer Johnny Fontane, that it’s heartbreaking (and impressive) to watch her become smaller and harder across her few scenes. But Keaton says she never saw the finished movie. “I couldn’t stand looking at myself,” she wrote in “Then Again.”
Woody Allen put the Keaton he adored front and center when he wrote “Annie Hall.” He wanted audiences to fall in love with the singular daffiness of his former girlfriend and it worked like gangbusters. It’s my favorite of his movies and my favorite of hers, and there’s just no use in pretending otherwise, as obvious of a pick as it is. Even now that I know the Annie Hall I worship is a shy woman putting on a show of being herself, the “la-di-dah” confidence she projects makes her the most precious of screen presences: the icon who feels like friend.
But I wonder if Allen also made “Annie Hall” so that Diane Keaton could fall in love with Diane Keaton just as he had. Maybe if she saw herself through his eyes, it could convince her that she really was sexy, sparkling and hilarious. But Keaton only watched “Annie Hall” once, in an ordinary theater well after it opened, and she found the experience of staring at herself miserable. She never absorbed her lead actress Oscar win. “I knew I didn’t deserve it,” she said. “I’d won an Academy Award for playing an affable version of myself.”
Nearly herself, that is. The onscreen version of Keaton is stumped when Alvy Singer brings her a copy of the philosophical tome “Death and Western Thought.” But a decade later, Keaton directed “Heaven,” an entire documentary about the subject, in which she asked street preachers and Don King and her 94-year-old grandmother how they imagined the afterlife. (As in Allen’s movie, her grandmother actually was named Grammy Hall.)
“Heaven” is an experimental film that’s heavy on dramatic shadows and surreal old movie footage, the sort of thing that would play best on an art gallery wall. It flopped, as test screenings warned it would, cautioning Keaton that her directorial debut only appealed to female weirdos — people like her. Keaton isn’t a voice in the film. Yet, that she made it at all makes every frame feel personal, and you hear her affection for the cadence of her occasionally tongue-tied subjects. Her first interviewee stutters, “Uh, heaven, heaven is, uh, um, let me see.” Exactly how Annie Hall would have put it.
Today more than ever, I’m wishing Keaton had been comfortable turning her camera on herself. I’d have liked to watch her explain where she thinks she’s gone, however adorably flustered the answer. But in her four memoirs, she safely bared all in print, openly confronting her harsh inner critic, her battle with bulimia, and — yes, Alvy — her musings on death.
“I don’t know if I have the courage to stare into the spectacle of the great unknown,” Keaton wrote in 2014’s “Let’s Just Say It Wasn’t Pretty,” sounding as apprehensive as ever. “I don’t know if I will make bold mistakes, go out on a blaze of glory unbroken by my losses, defy complacency, and refuse to face the unknown like the coward I know myself to be.”
At last, a sliver of confidence peeks out. “But I hope so.”
Diane Keaton, the beloved star of “Annie Hall,” “The Godfather” and “The First Wives Club,” wooed audiences as much as she did her multiple Hollywood boyfriends. It seems that much remains true for ex-lovers Woody Allen and Al Pacino, whose high-profile romances with the Los Angeles native are back in the spotlight in the wake of her death over the weekend.
“Her face and laugh illuminated any space she entered,” Allen, Keaton’s “Annie Hall” director and co-star, wrote Sunday.
The acclaimed and controversial filmmaker reminisced on his dating relationship with Keaton for the Free Press, recalling how they first met in Manhattan in the late 1960s for his stage production of “Play It Again, Sam.” Allen’s first impression of the eventual Oscar winner was, he explained, as “if Huckleberry Finn was a gorgeous young woman.”
“The upshot is that she was so charming, so beautiful, so magical, that I questioned my sanity. I thought: Could I be in love so quickly?” he wrote, later describing their evolution from collaborators to romantic partners.
Keaton and Allen collaborated on eight movies, also including “Stardust Memories,” “Sleeper” and “Love and Death.” The 89-year-old director wrote that he “made movies for an audience of one, Diane Keaton,” and heavily valued her opinions on his work. As Allen praised Keaton’s radiating personality (“She was a million laughs to be around”) he recalled learning about her struggles with bulimia and spending Thanksgiving with her family in Orange County.
“Why we parted only God and Freud might be able to figure out,” Allen wrote.
Pacino, who shared the screen with Keaton in three “Godfather” films and dated Keaton throughout the ‘70s and ‘80s, is also thinking about what could have been. “Looking back, Al admits the love of his life was Diane who he’s always called an ‘amazing woman,’ ” a source close to the 85-year-old actor told the Daily Mail.
“I know he will forever regret he didn’t make his move when he had the chance,” the source added. “For years after he and Diane split, Al used to say, ‘If it’s meant to be, it’s never too late for a do-over. But sadly, now it is.’ ”
After news of Keaton’s death spread Saturday, stars including Bette Midler, Steve Martin, Viola Davis and Kate Hudson paid tribute on social media. “What you saw was who she was,” Midler said of her “First Wives Club” co-star. Keaton never married and is survived by two adopted children, Duke and Dexter Keaton.
Allen closed his essay emphasizing the significance of Keaton’s death: “A few days ago the world was a place that included Diane Keaton. Now it’s a world that does not. Hence it’s a drearier world.”
“Still there are her movies,” he wrote. “And her great laugh still echoes in my head.”
Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations in our new series, L.A. Times Concierge.
My 73-year-old mother is coming to visit from the East Coast. She recently had hip surgery and it’s painful for her to walk too far. She likes quirky experiences like sushi on conveyor belts. I live in Sawtelle. Other times she has come we have gone to the Getty Villa, a couple studio tours, live taping of “Jeopardy!” and a local ramen place. She likes places with a backstory. For example in Boulder, she wanted to drive past the house where JonBenétRamsey had lived because she is obsessed with true crime. One thing she did say she wanted to do was try to see “Jimmy Kimmel Live!” — CJ Schellack
Here’s what we suggest:
First off, your mom sounds like a good time. And I agree with her: The best places to visit often have an interesting backstory. Let’s start with the food. Given that your mom likes sushi experiences, make a stop at Yama Sushi Marketplace, conveniently located in your neighborhood. The family-owned Japanese seafood shop sells restaurant-quality sushi at takeout prices, writes Tiffany Tse in our guide to Sawtelle. “Just point to what catches your eye, and the staff will slice it fresh, sashimi-style, right in front of you,” she adds. Or if you’d prefer to check out another revolving sushi spot, check out Kura, which has a Sawtelle location.
To satisfy your mom’s appetite for one-of-a-kind, quirky experiences, head to Galco’s Soda Pop Stop in Highland Park. Yes, it’s a bit of a push from your hood — don’t go during rush hour — but it’s worth the trek, especially if you have a sweet tooth. The 100-year-old family-owned shop is stacked with aisles of rare sodas from around the globe, nostalgic candies and retro toys that its 82-year-old owner John Nese tells me “you can’t find anywhere else.” In the back of the shop, next to the make-your-own-soda station, there’s a deli stand that sells “blockbuster” sandwiches — a name that was inspired by boxing legend Rocky Marciano who, after tasting one, declared “This is a real blockbuster!” (Pro tip: If Nese is there when you visit — and the likelihood is high because he “practically lives there,” he says — be sure to ask him for a rec.)
Once you’ve secured your snacks, grab a picnic blanket or low chair and head over to Hollywood Forever Cemetery to watch a movie — a favorite L.A. experience for many of my colleagues. Through Halloween, Cinespia is hosting movie nights at the cemetery where stars like Judy Garland, Mickey Rooney and Johnny Ramone are laid to rest. Films are projected onto a mausoleum wall and moviegoers sit on the lawn (an open area with no graves). There’s a designated wheelchair user and companion area with restrooms close by, and accessible parking is available with a placard (though you’ll still need to buy a parking pass in advance).
But if you think your mom would be more comfortable indoors, check out the Quentin Tarantino-owned New Beverly Cinema, known for screening double features of classic, indie, cult and foreign flicks the old-fashioned way — on 35mm film. As Michael Ordoña writes in our guide to the best movie theaters in Los Angeles, “the New Bev is just what a rep cinema should be. It’s cozy, with a mellow, enthusiastic vibe. Surprises sometimes occur.”
To tap into your mom’s inner true crime fascination, make a visit to some of L.A.’s darker landmarks. “I like to take friends visiting from the East Coast on a drive along the Sunset Strip to show them where famous people died, like Belushi at Chateau Marmont and River Phoenix outside the Viper Room,” senior audience editor Vanessa Franko tells me. (Bonus: You don’t even need to get out of your car.) But if you prefer an actual tour, visit the Greystone Mansion and Gardens, where oil heir and homeowner Ned Doheny and his secretary, Hugh Plunkett, were found dead in 1929. Times travel writer Christopher Reynolds recommends it, saying that at this destination, you get “a crime scene, filming location and L.A. oil history, all in one.” We’ve also curated a list of 12 iconic L.A. film and TV horror homes that’s worth checking out (the filming location for the WB series “Charmed” is featured in the photo illustration above). I hope that you and your very cool mom have the best time. Please send us pictures if you hit up any of these spots.
“We’ve been doing this for a while now,” laughs Channing Tatum, “and every once in a while a new thing comes out I haven’t heard.”
Tatum’s responding to the latest revelation of the press tour for his new film “Roofman”: Director Derek Cianfrance’s claim that he was the fastest checker in Walmart history. (“They gave you a raise if you got 18 rings a minute,” says Cianfrance. “I averaged 350.”)
The point, for Cianfrance, is that the characters at the heart of “Roofman” — good-hearted thief and unauthorized Toys “R” Us tenant Jeffrey Manchester (Tatum) and working mother Leigh (Kirsten Dunst) — are his kind of people.
And “Roofman,” which in its themes of personal responsibility, community and acceptance holds much in common with the work of Frank Capra, is his kind of film. The director behind the 1946 Christmas classic “It’s a Wonderful Life” loomed over Cianfrance’s film from the start. “As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore.’”
Cianfrance always knew he wanted “Roofman” to be a Christmas movie, which often features characters rediscovering themselves in a small town and magical happenings like, as he says, “a fish shows up with wings.” Or, in this case, that Manchester — on the lam after escaping prison — ends up falling in love with Leigh and being embraced by her family and community.
Tatum as Jeffrey Manchester in “Roofman.”
(Davi Russo / Paramount Pictures)
“I love the populist filmmaker who’s making movies about regular people,” says Cianfrance. “You never feel like Capra’s ever judging people, or being snobby about the people he’s making movies about. He’s making movies about the people who go to the movies.” And while the film’s true-life tale is certainly stranger than fiction, Cianfrance avoided turning “Roofman” into Hollywood escapism. Instead, he says, he wanted to illustrate his respect for working people’s dreams and aspirations: “The thing that transformed it for me was when Leigh told me that Jeff was the greatest adventure of her life, and that she didn’t regret a thing.”
With that in mind, he urged the cast to live their characters’ suburban North Carolina lives. He encouraged actor Peter Dinklage, who plays the Toys “R” Us store manager, to actually manage the store. Dunst’s Leigh, a new hire, was given an actual job interview by Dinklage himself. “He would not give me an inch in that interview,” says Dunst. “I respect him so much as an actor, I think I was also just intimidated by him as well.”
Cianfrance calls the set “an aquarium for actors” — a place where, to pull another Christmas reference he drops, everyone was Rudolph the Red-Nosed Reindeer on the island of misfit toys. Actors like Emory Cohen and Juno Temple expanded their characters beyond the page. Cohen, who plays bullied employee Otis, conjured up his character’s love for peanut M&M’s, while Temple, who plays the girlfriend of one of Manchester’s friends, saw her character as a hairdresser.
Even a scene where the Toys “R” Us is decorated for Thanksgiving gave Cianfrance and production designer Inbal Weinberg the opportunity to debate where to have Dunst place an inflatable turkey. “I was like, we’re gonna let the actors decide. Kirsten came to set. She got the turkey. And she started to decide where it went, and she put it where my production designer wanted it,” Cianfrance says. “And Peter Dinklage came out and was like, ‘No, the turkey goes here.’”
“As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore,’’’ says “Roofman” director Derek Cianfrance.
(The Tyler Twins / For The Times)
Dunst had been wanting to work with the director since auditioning (unsuccessfully, the pair joke) for his 2016 feature “The Light Between Oceans.” “I would have done this movie without reading any script,” she says. “How he makes a set — he wants to capture all the nuance and the things that make us humans interesting.”
Tatum concurs. He knew immediately the role would challenge him as a performer. The actor had heard stories of how Cianfrance worked with performers to get authentic responses, like giving Ryan Gosling and Michelle Williams — playing a married couple in 2010 drama “Blue Valentine” — contrasting information in scenes to heighten tension.
Dunst recalls a similar moment on “Roofman,” where Jeff scares Leigh by driving a car too fast with her and her daughters inside. “Derek held my arms and he was like, ‘Push against me as hard as you can,’” she says. “I did that and he held tight and then we went into the scene immediately after. It brought up emotions of being trapped and a feeling like everything was out of your control … but that really helped me a lot.”
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“I only told [Cianfrance] no one time,” says Tatum, “and that’s when he wanted me to sing.” That might surprise viewers considering Tatum has an extended nude sequence where Jeff tries to escape from Dinklage’s Mitch — the first time Dinklage and Tatum met, as it happens.
“[Derek] always jokes, ‘You read the script,’” says Tatum. “I’m like, ‘Yeah, I know I read the script. I just assumed you had a plan … a blocking plan.” The scene itself, which involved Tatum running through the toy store and leaping onto a small roof, took 15 takes to accomplish over almost eight hours. Tatum, Dunst and Cianfrance laugh about how the director broached the subject of keeping Tatum’s nudity tasteful. “He’s like, ‘You want me to blur it?’” says Tatum. “I’m like, ‘Don’t blur it. That’s even weirder.’”
As Dunst, Tatum and Cianfrance discuss the production, the conversation seems to be as much about the memories they made on set as the making of a film — which underscores Cianfrance’s approach to directing.
“I’ve always tried to make sure [the actors] have environments … so that they can have these accidents and surprises. Moments can happen one time that you can’t replicate, and they become the moment that you watch forever. They become immortalized because of that.”
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This has turned into one of those weeks when there are just way too many movies opening. From titles that premiered earlier in the year, to films that popped up only recently, distributors have decided that today is the time to drop them in theaters. It can make for some tough calls as a moviegoer but hopefully ones with pleasant returns. Here’s some intel.
Mary Bronstein’s “If I Had Legs I’d Kick You” was a standout at Sundance in January and remains one of the most powerful films of the year. Rose Byrne gives a knockout performance as Linda, a mother struggling to hold onto her own unraveling sense of self as she cares for her ill daughter.
Rose Byrne in the movie “If I Had Legs I’d Kick You.”
(Logan White / A24)
In his review Glenn Whipp said, “Linda makes dozens of bad decisions in ‘If I Had Legs I’d Kick You,’ many of them seemingly indefensible until you realize that just how utterly isolated she feels. … Bronstein demands you pay attention to her, and with Byrne diving headfirst into the character’s harrowing panic, you will find you have no other choice.”
Speaking to Esther Zuckerman for a wide-ranging feature, Byrne said of the part: “Anything dealing with motherhood and shame around motherhood, whether it’s disappointment, failure — she’s got this line in the movie, ‘I wasn’t meant to do this’ — these are pretty radical things to say. People aren’t comfortable with that. So performance-wise, that was the hardest part because it was like a tightrope, the tightrope of this woman.”
Another Sundance premiere hitting theaters this week is director Bill Condon’s adaptation of “Kiss of the Spider Woman,” starring Diego Luna, Tonatiuh and Jennifer Lopez. Already a novel, a movie and a Broadway show, the story involves two men imprisoned in an Argentine jail for political crimes during the 1980s, with Lopez playing a fantasy film star who exists in their imaginations — a reverie to which they can escape.
Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
For our fall preview, Carlos Aguilar spoke to Tonatiuh, a native of L.A.’s Boyle Heights, whose performance is a true breakout.
“When I first met Jennifer, I was like, ‘Oh, my God — that’s Jennifer Lopez. What the hell?’ ” he recalled, with the enthusiasm of a true fan. “I must have turned left on the wrong street because now I’m standing in front of her. How did this happen? What life am I living?”
After praising both Lopez and Tonatiuh in her review of the film, Amy Nicholson wrote, “Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings.”
Robert De Niro, left, and Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
The American Cinematheque is celebrating filmmaker Rebecca Miller this weekend with a four-title retrospective plus a preview of her documentary series “Mr. Scorsese,” a five-part portrait of the life and career of Martin Scorsese.
Miller will introduce a Saturday screening of her 2023 rom-com “She Came to Me,” starring Anne Hathaway and Peter Dinklage, then do a Q&A for the first two episodes of the Scorsese project on Sunday. Also screening in the series will be 2016’s “Maggie’s Plan,” starring Julianne Moore, Ethan Hawke and Greta Gerwig; Miller’s 2002 Sundance grand jury prize winner “Personal Velocity”; and 2005’s “The Ballad of Jack and Rose,” starring Miller’s husband Daniel Day-Lewis, screening with an introduction from co-star Camilla Belle.
Ethan Hawke and Greta Gerwig in “Maggie’s Plan,” written and directed by Rebecca Miller.
(Sony Pictures Classics)
I spoke to Miller this week about the retrospective and her new Scorsese project, which premieres Oct. 17 on Apple TV+. Along with extensive interviews with Scorsese himself, the series includes insights from collaborators such as Robert De Niro, Paul Schrader and longtime editor Thelma Schoonmaker as well as childhood friends, Scorsese’s children, ex-wives and fellow filmmakers such as Steven Spielberg, Brian De Palma, Ari Aster, Benny Safdie and Spike Lee.
“It feels like such an honor and so weird in a way,” said Miller of the notion of having a retrospective. “You feel like you’re just in the middle of making everything, but then you realize, no, I’ve been making these films for 30 years. And it’ll be really interesting to see how the films play now for people. It’s exciting to have them still be sort of alive.”
When you look back on your own movies, what comes to mind for you?
Funnily enough, there is a connection between “Personal Velocity” and Martin Scorsese, which is that when I was about to shoot personal “Velocity,” I was in Rome, on the set of “Gangs of New York,” and I was watching the snack trolley go by and thinking my entire budget is probably the same as their snack budget. And thinking: What am I doing? What was I thinking? How am I going to do this? But talking to [“Gangs” cinematographer] Michael Ballhaus, I told him how long we had to shoot everything, and he said, “Oh, I envy you. We shot ‘The Bitter Tears of Petra von Kant’ in 10 days.” He was looking back on his days with Fassbinder as the good old days.
Then Marty gave me some advice on films with voiceovers to watch, and he ended up watching “Personal Velocity.” It was the first of my films that he saw, which then led probably to this [doc series] because he knew my films quite well. He watched them as time went on.
What interested you in Scorsese as a subject?
I knew that he was Catholic, that there was a strong spiritual element to his films. But I was interested in how that Catholicism kind of jogged with his fascination, or apparent fascination, with violence. Who is that person? How do those two things go together? And I thought that could be part of my exploration. I had a sense that all his work has a spiritual undercurrent in it, which I think it does. And I think that’s one of the things that I try to explore in the documentary. I felt I had something a little bit different to offer, for that reason.
The big questions that he’s asking: Are we essentially good? Are we essentially evil? And his immense honesty with himself about who he really is, the darkness of his own soul. I don’t think that people are usually that honest with themselves. And you realize that part of his greatness has to do with his willingness to look at himself.
Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”
(Apple TV+)
As much as we think we know about Scorsese, he seemed so candid about some of the darkest moments of his life, especially when he talks about his drug overdose and hospitalization in the late 1970s or about some of his issues with Hollywood, especially around “The Last Temptation of Christ.” Were you ever surprised that he was so willing to go there with you?
Oh, yeah, I was. I really didn’t know what to expect. I didn’t have an agenda. I had the scaffolding of the films themselves and a strong sense that this was a man that you can’t separate from the films. So the thing is like a dance, it’s like a permanent tango between those two things. You’re not going to pry them apart. I didn’t know about the addiction. I didn’t know a lot of these things. My questions are totally genuine, there’s no manipulation. It’s all me. I was very prepared in terms of the films. But in terms of the chronology and the connective tissue of his life, I was really right there discovering it.
Martin Scorsese at work on his film “Killers of the Flower Moon,” as seen in Rebecca Miller’s documenary series “Mr. Scorsese.”
(Apple TV+)
You’re catching him such a remarkable point in his life and career. He seems very happy and settled in his personal life and yet he still makes something like “Killers of the Flower Moon,” full of passion and fire. What do you make of that?
[Screenwriter] Jay [Cocks] says he’s learned that he can be selfish in his art, but he doesn’t have to be selfish in his life. Even if your outside is regular, your inside can be boiling. And I think Marty’s inside is always going to be boiling. The seas are not calm in there and never will be.
‘They Live’ and ‘Josie and the Pussycats,’ together at last
Roddy Piper in John Carpenter’s 1988 thriller “They Live.”
(Sunset Boulevard / Corbis )
There’s a real art to putting together a double bill. Sure, you can just program movies that have the same director or share the same on-screen talent. But what about deep, thematic links that might not otherwise be noticed?
The New Beverly has put together an inspired double bill playing on Friday, Saturday and Sunday of John Carpenter’s 1988 “They Live” and Deborah Kaplan and Harry Elfont’s 2001 “Josie and the Pussycats.” Though one is a rough-and-tumble sci-fi action picture and the other a satirical teen-pop fantasia, they both use the idea of subliminal messages to explore how consumer culture can be a means of control.
In “They Live,” wrestler-turned-actor “Rowdy” Roddy Piper plays a drifter who lands in Los Angeles and discovers a secret network fighting against an invasion of aliens living among us.
In Michael Wilmington’s original review, after joking the movie could be called “Invasion of the Space Yuppies,” he adds, “You can forgive the movie everything because of the sheer nasty pizzazz of its central concept. … The movie daffily mixes up the paranoia of the Red Scare monster movies of the ’50’s with a different kind of nightmare: the radical’s belief that everything is tightly controlled by a small, malicious ruling elite. Everything — the flat lighting, the crazily protracted action scenes, the monolithic beat and vamp of the score — reinforces a mood of murderous persecution mania.”
Rosario Dawson, from left, Rachael Leigh Cook and Tara Reid in the movie “Josie and the Pussycats.”
(Joseph Lederer / Universal Studios)
In “Josie and the Pussycats,” a small-town rock ‘n’ roll band (Rachael Leigh Cook, Tara Reid and Rosario Dawson) are plucked from obscurity when they are signed to a major record label and all their dreams of stardom seem to come true. But they come to realize the company’s executives (a brilliant pairing of Parker Posey and Allan Cumming) are using them for their own nefarious purposes.
Aside from some very hummable songs, the film has a truly epic amount of corporate logos and branding that appears throughout. Many reviewers at the time brought this up, including the L.A. Times’ own Kenneth Turan, who noted, “It’s a potent reminder that no matter how innocent a film may seem, there’s a Hollywood cash register behind almost every frame.” In subsequent interviews, Kaplan and Elfont confirmed these were not instances of paid product placement and, in fact, the production had to fight to get them all on-screen.
Points of interest
‘Eight Men Out’ in 35mm
Charlie Sheen, center, in a scene from the film “Eight Men Out.”
(Archive Photos / Getty Images)
Writer-director John Sayles has been so consistently good for so long that it is easy to take his work for granted. Case in point: 1988’s “Eight Men Out,” which tells the story of the infamous “Black Sox” scandal, when players from the Chicago White Sox were accused of intentionally throwing the 1919 World Series in league with underworld gamblers. The movie is playing on Sunday at Vidiots in 35mm.
The film captures much of what makes Sayles so special, particularly his unique grasp of the interplay between social and economic dynamics — a sense of how things work and why. He also fully grasps the deeper implications of the forces of greed and money setting themselves upon such an unassailable symbol of wholesome Americana as baseball. It’s also what makes the movie particularly worth a revisit now. With a phenomenal cast that includes John Cusack, David Straithairn, D.B. Sweeney, Charlie Sheen, John Mahoney, Christopher Lloyd, Michael Lerner and Sayles himself, the film was a relatively early effort from cinematographer Robert Richardson, who would go on to work repeatedly with Martin Scorsese and Quentin Tarantino.
In a review at the time, Sheila Benson wrote, “ ‘Eight Men Out’ is not a bad movie for an election year. Everything that politicians cherish as ‘old-fashioned’ and ‘American’ is here. The Grand Old Game. Idealistic little kids. Straw hats and cat’s-whisker crystal sets. And under the slogans and the platitudes, a terrifying erosion and no one to answer for it. No wonder Sayles, hardly an unpolitical animal, found it such a relevant story nearly 70 years later.”
‘The Sound of Music’ in 70mm
Julie Andrews, center, in the 1965 musical “The Sound of Music.”
(20th Century-Fox)
On Sunday the Academy Museum will screen Robert Wise’s “The Sound of Music” in 70mm, a rare opportunity to see this classic in the premium format on which it was originally released. Based on the stage musical by Rodgers and Hammerstein , the film would eventually win five Oscars, including director and best picture.
Starring Julie Andrews and Christopher Plummer, it’s the story of the singing Von Trapp family, eventually forced to flee their native Austria as the Nazis take power.
In a Times review from March 1965, Philip K. Scheuer wrote of Wise and his collaborators, “They have taken this sweet, sometimes saccharine and structurally slight story of the Von Trapp Family Singers and transformed it into close to three hours of visual and vocal broilliaance, all in the universal terms of cinema. They have invested it with new delights and even a sense of depth in human relationships — not to mention the swooning beauty of Salzburg and the Austrian Alps, which the stage, of course, could only suggest.”
Even notorious gossip columnist Hedda Hopper liked the movie, presciently writing, “The picture is superb — dramatically, musically, cinematically. Julie Andrews and Christopher Plummer were born for their roles. … All children — from 7 to 90 — wil love it. The following morning I woke up singing. Producer-director Bob Wise did a magnificent job and 20th [Century Fox] will hear nothing but the sound of money for years to come.”
Diane Keaton, the actor who made film history — and won an Oscar — as the title character in Woody Allen’s beloved 1977 romantic comedy “Annie Hall,” died Saturday. She was 79. Tributes poured in from those who worked with and admired Keaton, including Bette Midler, Kate Hudson, Steve Martin and Josh Gad.
Here are some notable social media posts:
For the record:
8:42 p.m. Oct. 11, 2025An earlier version of this article incorrectly cited films in which Diane Keaton co-starred with actors Kate Hudson, Rosie O’Donnell, Octavia Spencer and Elizabeth Banks. These actors did not co-star in the listed films with Keaton.
Bette Midler, the actor, singer and comedian who starred with Keaton and Goldie Hawn in the 1996 comedy “The First Wives Club,” about three divorced women who seek revenge on their ex-husbands: “The brilliant, beautiful, extraordinary Diane Keaton has died. I cannot tell you how unbearably sad this makes me. She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star. What you saw was who she was …oh, la, lala!”
Steve Martin, who co-starred as Keaton’s husband in the “Father of the Bride” films, reposted an exchange between Keaton and Martin Short:
Short: “Who’s sexier, me or Steve Martin?
Keaton: “I mean, you’re both idiots.”
Martin then commented on the post: “Don’t know who first posted this, but it sums up our delightful relationship with Diane.”
Josh Gad: “What a monumental loss. Diane Keaton in many ways defined my love of movies. From Annie Hall to the Godfather films, from First Wives Club to Baby Boom, from Father of the Bride to Something’s Gotta Give, here resume was nothing short of iconic and hall of fame worthy. I was very fortunate to work with her many years ago on an unproduced HBO pilot and what I found was one of the most humble, ruthlessly funny, and unbelievably talented human beings I’ve ever come across. In many ways, this year will be defined by the loss of a Hollywood we will never again see. There simply are no replacements for a Gene Hackman or a Robert Redford or a Diane Keaton. They were the mavericks who helped redefine movies for a generation. … My heart goes out to Diane’s entire family during this impossible moment. RIP”
Kimberly Williams-Paisley, the actor, author and director who played Keaton’s daughter in the “Father of the Bride” films: “Diane, working with you will always be one of the highlights of my life. You are one of a kind, and it was thrilling to be in your orbit for a time. Thank you for your kindness, your generosity, your talent, and above all, your laughter. 🙏🏻🕊️💔❤️❤️❤️”
Rosie O’Donnell: “oh this breaks my heart – love to her children- what style what grace – she will be missed #ripdianekeaton”
Octavia Spencer: “Today we lost a true original. @diane_keaton wasn’t just an actress: she was a force. a woman who showed us that being yourself is the most powerful thing you can be. From Annie Hall to Something’s Gotta Give, she made every role unforgettable. But beyond the screen, she brought joy, laughter, and style that was all her own… Thank you, Diane, for reminding us that authenticity never goes out of fashion.”
Elizabeth Banks: “She was beloved in her industry. Every one of us idolizes her. Her influence on culture, fashion, art and women can’t be overstated. She was a delight. I am proud I have a career that allowed me to meet her and breathe her air.”
Viola Davis: “No!! No!!! No!! God, not yet, NO!!! Man… you defined womanhood. The pathos, humor, levity, your ever-present youthfulness and vulnerability — you tattooed your SOUL into every role, making it impossible to imagine anyone else inhabiting them. You were undeniably, unapologetically YOU!!! Loved you. Man… rest well. God bless your family, and I know angels are flying you home”
“The Chair Company,” premiering Sunday on HBO, is a conspiracy comedy — dark comedy, one would definitely have to say — in which Tim Robinson goes down a rabbit hole, from one carrot to the next, after a chair collapses beneath him. It’s a thriller in its way; there will be suspense, and injuries, and a lot of screaming, mostly by the star.
Robinson, who co-created the series with Zach Kanin (who also co-created Robinson’s Netflix sketch show, “I Think You Should Leave”), is a difficult hero. His main shtick is the madman underneath a cracking veneer of civilization; physically, he projects a sort of eccentric normality, like a critique of normal. From the beginning of “The Chair Company,” we see that Robinson’s Ron Trosper is tense and nervous and can’t relax, getting into a argument with a waitress over what and what isn’t a mall — he’s been named to lead the development of a new one in Canton, Ohio. (The action all takes place in the state.)
A presentation he’d been dreading goes well, but as he sits back down, his chair — a standard office model — collapses under him, robbing him of a moment of triumph. What most would throw off with a joke sets Ron on edge, and he begins an obsessive quest to track down the manufacturer. But all he comes up with are dead ends and empty offices, and he begins to suspect a conspiracy. When, getting into his car, he’s hit on the head with a pipe and told to stop asking about the chair, it only makes him more determined to uncover it. Lurking, sneaking and stealing will ensue. Reckless behavior. Shouting.
Along with some standard office comedy involving HR reports and Ron’s “know it when I see it” boss (Lou Diamond Phillips, aging gracefully), there is a family element. Wife Barb (Lake Bell) is moving ahead with plans to develop a more attractive breast pump. Daughter Natalie (Sophia Lillis) is getting married to her girlfriend, and wants to change the venue at the last moment to a haunted house. Son Seth (Will Price), a basketball player apparently of enough talent to mention it in the series, has discovered the pleasures of drinking just as recruiters are coming around. It’s not a developed thread, but it gives Price the opportunity to deliver my favorite line in the series: “Some nights I’ll have like four beers and I’ll sit in my room and I’ll put on Abbott and Costello after I’ve had a couple; it makes me feel good to know that [these] two guys found each other because they both seem so different.” Which is a theme of the show.
The character who makes the series breathe is Mike Santini (Joseph Tudisco), the person wielding the pipe. Ron will track him down, and eventually they’ll become partners in his investigation and, after a fashion, friends. (Though Ron is not always friendly.) Mike is the series’ most original conception, and, in a strange way, its heart — someone not beyond taking money from a stranger to hit another stranger over the head, but sympathetic. Lonely, he craves the connection. Ron, for his part, is forever running out on his family to join Mike in some misadventure.
Robinson, the rare “Saturday Night Live” worker who went from performer to writer, is quite adept at playing this character, which makes Ron exhausting company; it takes a certain sort of stamina, or a love for, this particular brand of chaos to put up with him. It seems hardly credible at times that he’s successfully helped raise two rational children, one to adulthood; has attained an upper-middle-class life (with Lake Bell!); and occupies a position of creative responsibility. There are difficult comic characters you’re nevertheless happy to see — Larry David, because he’s so centered in his world and basically right, Lucille Ball because she’s a genius. But Ron spends so much time at DEFCON 1, dialed up past 11, that it can be off-putting, and drowns out the human inside.
Nevertheless, like any mystery, it draws you along, waiting for answers. Seven episodes of eight were released to reviewers; the seventh ends on what feels like a note of quiet irresolution — if not, in Ron’s mind, satisfaction. But the eighth will surely not let things rest, and you may rest assured — and may need the rest — that eight is not the end.
