Warner Bros. killed a Looney Tunes movie starring John Cena. Now it’s back from the dead

Just like in a Looney Tunes cartoon, a bruised and battered Wile E. Coyote may soon limp back to fight another day.

A year and a half after David Zaslav-run Warner Bros. Discovery shelved the movie “Coyote vs. Acme,” the studio is in talks to sell the film to North Hollywood-based film finance and distribution company Ketchup Entertainment.

The firm could pay nearly $50 million for the rights if the two sides can hammer out a deal, according to a knowledgeable person who was not authorized to comment.

Warner Bros. Discovery scrapped the movie during the fall of 2023 amid Zaslav’s purge of entertainment content amid his company’s race to cut costs and tidy its balance sheet following Discovery’s $42-billion takeover of Warner Bros. and the HBO and Turner channels. The acquisition left Warner Bros. Discovery heavily in debt.

But Warner Bros.’ decision to cut “Coyote vs. Acme,” a feature greenlighted by a prior management team, was immediately met with howls in Hollywood because of Wile E. Coyote’s iconic stature and because the film starring Will Forte and John Cena, featuring a blend of animation and live-action, had been finished and screened for test audiences.

Several producers who saw the film voiced support in a social media campaign soon after the news of its apparent demise.

To quell the jeers, Warner Bros. reversed its decision to shove the movie off a cliff. Instead, it agreed to allow the director, Dave Green, to shop the title around to other distributors in the hopes of finding a buyer.

Ketchup Entertainment’s Gareth West was not immediately available for comment on Wednesday.

Hollywood industry site Deadline first reported the advanced talks to sell the rights.

“Coyote vs. Acme” is based on classic Looney Tunes characters and a New Yorker humor article, “Coyote v. Acme” by Ian Frazier.

Written by Samy Burch, the film follows the travails of the desert denizen who is tired of being slammed with Acme products as he tries to outsmart the Roadrunner. Coyote finally decides to hire a lawyer to take the Acme Corp. to court for product liability, such as faulty rocket skates and defective aerial bombs. Forte plays his lawyer.

If a deal is clinched, it would pave the way for the film to be released in theaters as early as next year.

Last year, Ketchup acquired rights to another abandoned Warner Bros. project with Porky Pig called “The Day the Earth Blew Up: A Looney Tunes Movie.” It was released widely last week and generated $3.2 million in ticket sales, according to Comscore.

The initial outrage over the film’s shelving reached the halls of Congress. Rep. Joaquin Castro (D-Texas) had asked the Biden administration to investigate Warner Bros. Discovery’s decision to deep-six completed films for favorable tax implications. In addition to “Coyote vs. Acme,” Warner Bros. killed off “Batgirl” and “Scoob! Holiday Haunt.”

Back in 2023, Green pledged his continued support for the project and its crew.

“For three years, I was lucky enough to make a movie about Wile E. Coyote, the most persistent, passionate, and resilient character of all time,” Green said in a 2023 statement.

“I was surrounded by a brilliant team, who poured their souls into this project for years,” Green said back then, sounding a hopeful note. “I am beyond proud of the final product … but in the spirit of Wile E. Coyote, resilience and persistence win the day.”

A 72-hour stopover in Ethiopia offers travelers ancient wonders and city adventures

ADDIS ABABA, Ethiopia (AP) — As we darted through Addis Ababa’s morning rush hour, my jet lag couldn’t dull the…

ADDIS ABABA, Ethiopia (AP) — As we darted through Addis Ababa’s morning rush hour, my jet lag couldn’t dull the energy of Ethiopia’s capital.

We wove through crowds of office workers headed to high-rises and families leading goats home for Orthodox Christmas feasts while our guide explained how one needs at least three weeks to fully experience his country. From the dramatic peaks of Simien Mountains National Park to the sprawling salt plains of the Danakil Depression, natural wonders alone could fill a month of adventure.

But there’s also plenty for time-pressed travelers like we were. “With a few days, you can get a taste,” guide Yonas Zewede of Landscape Ethiopia Tours assured me.

So, we embarked on a whirlwind trip that would prove him right, an ambitious three-day sprint through remote sacred sites and bustling city streets in this East African nation.

The city, “New Flower” in Amharic, is being transformed, with construction nearly everywhere you look. Historic churches and mosques neighbor contemporary shops and restaurants amid a forest of cranes and scaffolding.

Among its enduring treasures is Ethiopia’s most famous export: Arabica coffee. We started the day at Tomoca Coffee on Wavel Street, one of Addis’ first coffee roasters. For less than a dollar a cup, the standing-room-only institution serves up macchiatos — bold coffee with a splash of milk — or a milder blend of coffee and tea, known as a sprice.

However, to fully appreciate the region’s coffee culture, one must experience a coffee ceremony, a ritual still practiced in homes, restaurants and hotels across Ethiopia. Incense mixes with the aroma of beans roasting over hot coals, each batch ground by hand before being brewed in a clay pot and poured with precision, as bowls of salted popcorn circulate.

We’d have time for the full service later. For now, fortified by a quick caffeine fix, we made our way to the nearby Merkato, among Africa’s largest open-air markets. Wandering for hours through a labyrinth of alleyways, we passed vendors selling everything from fragrant spices to handwoven baskets and live chickens.

Zewede helped us thread through the chaos, dodging both traffic and towers of merchandise balancing on people’s heads, all the while keeping watch for pickpockets known to prowl the area. Before moving on, we refueled on the side of the road with a warm chornake — a hearty, fried pastry — and fresh papaya juice.

For a more relaxed shopping experience, he brought us to Shiro Meda Market. Intricately embroidered dresses lined the walls from floor to ceiling alongside other colorful textiles. The ankle-length garments, called habesha kemis, sell for $15 to $50. At Safi Honey, we sampled exotic varieties like cactus, coffee and black cumin while delving into Ethiopia’s extensive beekeeping history.

We left with 16-ounce jars of the local delicacy at $9 each.

Anthropology enthusiasts will enjoy visiting a famous — and very ancient — resident: “Lucy,” one of the earliest hominid fossils. For a 40-cent entrance fee, the National Museum of Ethiopia has exhibitions on African art history and human evolution. A plaster replica of Lucy’s partial skeleton is on display, while her original remains are safely preserved in the museum’s vault.

As dusk settled over Addis, we made our way to the stylish 360 Lounge atop the Monarch Parkview Hotel. Here, one of the best views of the capital’s evolving skyline unfolded — modern towers rising above older tree-lined neighborhoods.

We took a short, one-hour flight north to the Amhara Region, an area, it should be noted, where several countries maintain travel warnings due to recurring conflicts. We were transported to what felt like another Ethiopia entirely. Bouncing two to a seat in a sweltering van, we drove through rural highlands, mountain curves and scattered herds of livestock.

The destination proved worthwhile: Lalibela, a site that some consider an Eighth Wonder of the World.

More than 800 years ago, King Lalibela set out to create a “New Jerusalem” with 11 churches painstakingly carved out of solid volcanic rock. The craftsmanship is so extraordinary — using only 12th and 13th century hand tools — that local legend claims angels helped build them.

Beneath these architectural marvels lie catacombs and ceremonial passages, including a pitch-black tunnel said to represent the journey through hell.

We found ourselves among thousands of pilgrims who had converged on Lalibela for the upcoming Orthodox Christmas. They formed seemingly endless processions through the hallowed passageways. Many had traveled on foot for weeks to reach this holy place and mark the end of their 43-day fast. We squeezed into the stone structures among worshippers deep in prayer. Many kissed the weathered walls; some paused to snap photos with us.

We began at Biete Medhane Alem, believed to be the largest monolithic church in the world according to UNESCO. Its grand scale was remarkable, with more than 30 imposing columns adorning its exterior. But Biete Ghiorgis, or Church of Saint George, was the most memorable site, with its iconic cross shape. Peering down into its sunken courtyard, it was easy to see how this blend of nature, architecture and spirituality has captivated visitors for centuries.

Later, at Kana Restaurant and Bar overlooking Lalibela, we lingered over aromatic awaze tibs (a spicy meat dish) and hearty vegetable stews served on fresh Ethiopian flatbread, or injera. We watched the sun sink behind distant mountains, knowing we’d barely scratched the surface of Ethiopia — and already planning our return.

Before you go:

— Many visitors, including Americans, are eligible for Ethiopian E-visas online or visas on arrival at Addis Ababa Bole International Airport.

— Despite a 2022 peace agreement in the northern region of Tigray, travelers should note that several countries maintain travel warnings for parts of Ethiopia, including the Amhara Region, due to recurring conflicts.

— Stay connected by purchasing an Ethio Telecom SIM card at the Addis airport — it offers coverage in both Addis Ababa and Lalibela.

— Consider booking with a tour company like Landscape Ethiopia Tours to maximize your itinerary during a brief visit or layover.

Copyright © 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, written or redistributed.

Guns N’ Roses issue major announcement as band member exits

Guns N’ Roses drummer Frank Ferrer has departed the legendary band after nearly two decades rocking with the group.

The group called his exit ‘amicable’ in a statement announcing the move on Instagram on Wednesday.

Ferrer, 56, joined the group in 2006 and is the longest-serving drummer for the band, which has cycled through total of six drummers since it’s inception in 1985.

‘The band thanks Frank for his friendship, creativity, and sturdy presence over the past 19 years, and wish him success in the next chapter of his musical journey,’ the statement began in the post.

‘Frank first joined GNR during a show in June 2006 helping anchor the rhythm section during subsequent tours, including their recent outings featuring the reunited trio of Axl Rose, Slash, and Duff McKagan. His last show with the band took place November 5, 2023 in Mexico.’

The post contained photos of Frank with the band standing before a stadium audience, followed by one of him behind his drum kit on stage.

Guns N’ Roses drummer Frank Ferrer has departed the legendary band after nearly two decades rocking with the group

Ferrer pictured drumming beside singer Axl Rose back in 2011

‘Thank you, Frank. For the friendship, creativity and sturdy presence over the last 19 years,’ the post was captioned.

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Rock band announces 2025 stadium tour across UK, Europe and Middle East with special guests

Ferrer is the sixth drummer to serve the band.

Rob Gardner, Steven Adler, Matt Sorum, Josh Freese, and Bryan Mantia have all previously played drums for the band.

The group now currently consists Slash, Duff McKagan, Dizzy Reed, Richard Fortus, and Melissa Reese

Ferrer initially joined Guns N’ Roses in 2006 after Mantia left the group.

Although the performer was initially expected to play with the band as a touring member, he eventually was invited to stay with the group.

The drummer, who has also played with acts including The Psychedelic Furs and and Tool, took part in multiple tours with the band, including the Not In This Lifetime… Tour and the Guns N’Roses 2023 Tour.

Ferrer spoke about working with the band during an interview with KKDM, during which he expressed that he wanted to be able to replicate the sounds of the group’s former drummers.

The post contained this photo of the band standing before a stadium audience

Ferrer seen with the band in Salt Lake City, Utah in 2019

His departure was described as ‘amicable’ in a statement posted to Instagram on Wednesday

‘I really had to work hard to make sure I was able to represent [Steven] Adler’s feel, Matt Sorum’s feel and and [Bryan Mantia’s] feel of the Chinese Democracy [era],’ he stated.

The musician then remarked that, although the task was daunting, he was happy to have been able to join the band.

‘That was the toughest challenge — finding all three eras of Guns N’ Roses and bringing them together to one cohesive way of playing their material,’ he said.

The band are now set to embark on a 24-date stadium tour in 2025, including their first-ever show in Saudi Arabia.

Ferrer is the sixth drummer to serve the band; pictured 2012

The drummer, who has also played with acts including The Psychedelic Furs and and Tool, took part in multiple tours with the band, including the Not In This Lifetime… Tour and the Guns N’Roses 2023 Tour; pictured 2014

Axl Rose and co will kick off the jaunt – which follows their 2023 run – at Riyadh’s Kingdom Arena on May 23, and after playing in the Middle East, they will head to Europe and the UK throughout June.

The UK leg includes London’s Wembley Stadium on June 26, their first headline gig there since 1992, and Birmingham’s Villa Park on June 23.

The Welcome to the Jungle rockers will also play Turkey, Italy, Spain, Portugal and the Czech Republic.

Denmark, Norway, Sweden, Estonia, Lithuania, Poland, Hungary, Serbia, Bulgaria, Austria and Luxembourg are also on the list.

The run wraps at Germany’s Wacken Festival on July 31.

Snow White: Disney live-action remake panned by critics in a string of one-star reviews

The Snow White live-action remake has been hit with a wave of one-star reviews, with one critic calling it “exhaustingly awful.”

The Disney movie, a remake of the popular 1930s animated film Snow White And The Seven Dwarfs, stars American actress Rachel Zegler as the titular princess, and has faced controversy almost since being announced.

Some reviewers gave the remake one star, but both the BBC and The Telegraph awarded the movie three stars, with Metro going further with a four star rating.

When Zegler, 23, who is from a Latina background, was cast as a character described as having a complexion “as white as snow”, there was a backlash on social media.

Game Of Thrones star Peter Dinklage, who has a form of dwarfism called achondroplasia, criticised Disney, calling it a “backwards story of the seven dwarves living in the cave” on Marc Maron’s WTF podcast.

At the Guardian, Peter Bradshaw called it an “exhaustingly awful reboot”, criticising the decision to axe “the prince”, who was replaced by a character called Jonathan, played by American actor Andrew Burnap, and make seven supernatural creatures with CGI.

Giving it one star, he claimed Disney were “all too obviously agonising and backlash-second-guessing”, while needing to keep the brand identity of the princess in a yellow frock with puffy shoulders, and Wonder Woman star Gal Gadot as the Evil Queen with a “pointy dark crown and skull-hugging black balaclava”.

He said the CGI dwarfs are duplicated, as Jonathan, a Robin Hood-esque character, has his “own gang of seven live-action bandits, in which people with dwarfism are represented”.

“This fudged, pseudo-progressive approach is so tiring you’ll want to put your head in your hands,” he added.

Kevin Maher at the Times also gave it one star, saying Disney has “trashed its crown jewel and its reputation”.

He said it was “a new low for cultural desecration”, and the studio “infantilises global audiences with sanctimonious life lessons”.

Clarisse Loughrey at The Independent also gave the movie one star and wrote about “how predictable Disney’s choices have become”.

However, the Metro’s Tori Brazier praised the movie, calling it “surprisingly one of its (Disney’s) strongest and most worthwhile ‘reimaginings’ to date”.

She said West Side Story actress “Zegler once again proves herself an enchanting talent with a voice to match, carefully avoiding falling into twee territory as the original Disney princess”, and “Gadot is clearly enjoying herself in the role of an iconic camp villain”.

Rolling Stones’ David Fear said that it “may not be the worst live-action adaptation of an animated touchstone, though it’s a strong contender for its blandest”.

He wrote: “The whole thing feels so bland and perfunctory to a fault that it’s surprising to think that this was the movie that caused such an uproar for nearly two years and a dozen news cycles.”

He added that, “You can feel the strain of trying to appeal to everyone, court both the purists and the pro-modernization contingent, be as non-offensive as possible — and still manage to satisfy next to no one.”

Helen O’Hara for Empire gave it two stars, explaining that “the film feels compromised and so small; like it’s been Frankensteined into submission in the edit and cut and recut 100 times.”

The Wall Street Journal’s Kyle Smith was more positive in his review, writing that it is “enchanting, scary and moving” but admitted that ultimately the film “already feels like it’s from a bygone era” and that “the story is so dopey it made me sleepy.”

BBC critic Nicholas Barber said the “story is cluttered, the tone is muddled, and the pacing is off”, but that “doesn’t make the film a disaster”.

“In some ways, the identity crisis is what makes it worth seeing,” he added.

“But this muddled production will be enjoyed more by politics and cinema students than by children who are hoping to be enchanted by Disney magic.”

IndieWire’s Kate Erbland said that, “It doesn’t always fit seamlessly together, but it’s far more entertaining than that might lead on. This is a spirited and sweet spin on classic material that deserves kudos for its balance of necessary updates and affection for the old ways.”

The Telegraph’s Robbie Collin said that it was not “too woke – and better than” the hit musical Wicked, the prequel reimagining of the film and book The Wizard Of Oz, that was one of the biggest blockbusters last year, and earned 10 Oscar nods, winning two.

He also said “there’s no real subversion or ‘girl-bossing’ for the sake of it in Disney’s live-action remake”.

After Dinklage’s remarks, Disney said it was consulting members of the dwarfism community to “avoid reinforcing stereotypes from the original animated film”.

The use of CGI for the miners by Disney has prompted criticism from some other actors with dwarfism.

The film has had small-scale premieres in Los Angeles and Spain, with few press opportunities,

Snow White will be released on Friday in UK cinemas.

Rock World Rocked: GNR Split and Eminem’s $50K Music Heist

Trust can take years to build and seconds to shatter — a truth that’s playing out in stereo across the music industry this week. Two seismic stories have emerged that paint starkly different pictures of loyalty in rock’s inner sanctum, leaving industry veterans shaking their heads and fans wondering what’s next.

Guns N’ Roses, those enduring icons of hard rock excess, announced Wednesday that drummer Frank Ferrer is hanging up his sticks after a remarkable 19-year run. The news dropped via Instagram with surprising warmth — especially for a band whose previous personnel changes often came with enough drama to fill a Netflix series.

“The band thanks Frank for his friendship, creativity and sturdy presence over the past 19 years,” read the statement, striking a notably different chord from the band’s more explosive partings of the past. Ferrer’s tenure stretched from 2006 through some of GNR’s most stable years, including that massive Not in This Lifetime… Tour that nobody thought would actually happen.

Here’s where it gets bittersweet. Just weeks ago, Ferrer sat down with My Global Mind, chatting enthusiastically about European tour plans and sharing his pre-show rituals. “It was initially only going to be a temporary thing. It was only going to be for two weeks,” he’d recalled about his 2006 start — funny how two weeks turned into nearly two decades.

Meanwhile, over in Detroit, a story’s unfolding that reads more like a cyber-thriller than a music industry report. Former studio engineer Joseph Strange (yeah, that’s really his name) is facing federal charges that could land him behind bars for up to 15 years. The alleged crime? Stealing and selling unreleased Eminem tracks — more than 25 of them — from password-protected hard drives.

The whole thing’s got a very 2025 feel to it: cryptocurrency payments, YouTube connections, digital breadcrumbs leading straight to the suspect’s door. Strange supposedly pocketed around $50,000 in Bitcoin for his trouble — though “trouble” might be putting it mildly.

Eminem’s spokesperson, Dennis Dennehy, didn’t mince words about the impact. “The significant damage caused by a trusted employee to Eminem’s artistic legacy and creative integrity cannot be overstated.” The breach came to light after producer Fredwreck dropped a not-so-subtle warning on X: “To the criminal leaking Eminem’s music: we will find you. Street law will apply.”

These parallel narratives — one a handshake goodbye, the other a digital knife in the back — spotlight the weird contradictions facing today’s music giants. In an age where tracks can vanish into the digital ether with a single click, and social media turns every minor dispute into trending drama, the industry’s still figuring out how to protect its own.

For Guns N’ Roses, Ferrer’s exit marks another line in their colorful history. For Eminem’s camp, it’s a wake-up call about the vulnerabilities lurking in studio hard drives. But both stories circle back to that age-old truth about trust — whether you’re keeping time or keeping secrets, it’s still the backbone of the music business. Some things, it seems, never change — even if the ways they break do.

Movie Review: ‘Snow White’ is no poisoned apple but it doesn’t whistle

Mirror mirror on the wall, what’s the fairest Disney live-action remake of them all?

Wait, mirror. Hold on a second. Maybe choosing from the likes of “Alice in Wonderland” (2010), “Mulan” (2020) and “The Lion King” (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix?

Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (“Pete’s Dragon”? “Cinderella”?) they breathe life into old classics that could use a little updating. At their worst, well, blue Will Smith.

Given the rapacious rate of remakes in modern Hollywood, it’s remarkable that it’s taken nearly 90 years for Disney to return to “Snow White.” It means going back to the very foundation of the Mouse House. The 1937 “Snow White and the Seven Dwarfs” was Disney’s first animated feature; its grosses paid for the studio’s Burbank lot.

That legacy of “Snow White,” by comparison, doesn’t do any favors to Marc Webb’s inevitably lesser, inert live-action retread. Good intentions, like swirling bluebirds, flutter through this “Snow White”: to give its singing protagonist ( Rachel Zegler ) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.

It wouldn’t be an earthshattering observation to note that a 1930s cartoon, let alone a 19th century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.

But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s “Snow White” has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason “and the Seven Dwarfs” has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.

Despite some gloriously lush production design, “Snow White” — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this “Snow White” is Zegler’s casting.

But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives “Snow White” an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this “Snow White,” not 1937’s.

You might be thinking: But what about the movie? The problem with “Snow White” is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.

Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.

Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in “Snow White” — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.

“Snow White,” a Walt Disney Co. release is rated PG by the Motion Picture Association for violence, some peril, thematic elements and brief rude humor. Running time: 109 minutes. Two stars out of four.

The Handmaid’s Tale Final Season Trailer: The Revolution Is Her(e)!

Returning April 8th for its sixth and final season, here’s the official trailer for Hulu’s Elisabeth Moss-starring The Handmaid’s Tale.

With less than three weeks to go until the sixth and final season of Hulu and series creator Bruce Miller’s Elisabeth Moss and Yvonne Strahovski-starring The Handmaid’s Tale hits our screens, viewers are getting their best look yet at what’s to come. During the final run, June’s (Moss) unyielding spirit and determination pull her back into the fight to take down Gilead. Luke (O-T Fagbenle) and Moira (Samira Wiley) join the resistance. Serena (Strahovski) tries to reform Gilead while Commander Lawrence (Bradley Whitford) and Aunt Lydia (Ann Dowd) reckon with what they have wrought, and Nick (Max Minghella) faces challenging tests of character. This final chapter of June’s journey highlights the importance of hope, courage, solidarity, and resilience in the pursuit of justice and freedom.

Set to return with three episodes on April 8th (with weekly episode drops following), the series also stars Madeline Brewer, Amanda Brugel, Sam Jaeger, Ever Carradine, Josh Charles, and D’Arcy Carden in a guest-starring role. You can check out the official trailer for the final run above – with the latest key art poster waiting for you below:

“A lot of people won’t make it to the end of ‘Handmaid’s Tale.’ It’s pretty chilling but also exciting. I feel that Eric Tuchman & Yahlin Chang, who are the showrunners this year — Bruce, of course, remains an executive producer — they really, really thought a lot about what the audience wants and needs. And I think we will satisfy those who have been with us through six seasons; I think they’ll feel powerfully rewarded. Also, Lizzie has arrived as a directing force — that all happened over the course of ‘Handmaid’s Tale’ — and it’s really appropriate that she is the director that takes us home,” television industry trailblazer and producer Warren Littlefield (The Littlefield Company) shared during a December 2024 profile interview with Deadline Hollywood.

In terms of the franchise’s future, Miller has been focusing on a series adaptation of author Margaret Atwood’s book sequel, The Testaments. Though nothing is official in terms of an official pick-up, Littlefield noted that the spinoff series was “a priority project” that “we’re spending a lot of time on” since it’s set within a “really important franchise.” As Littlefield sees it, the spinoff/sequel series should prove as relevant today as The Handmaid’s Tale still is heading into 2025. “While [Handmaid’s Tale] was developed in an Obama administration, when we were shooting, I think, Episode 4 of Season 1, Trump came to office and, while we thought and hoped and prayed that we would be less relevant a series, the longer we were on, the more relevant we became. Our thematics only got stronger, sadly, and today, as we think and discuss plans for ‘Testaments.’ It feels like there’s a reason to keep this world alive,” he explained.

Based on the book by Margaret Atwood, Hulu’s The Handmaid’s Tale is produced by MGM Television and executive produced by Bruce Miller, Warren Littlefield, Eric Tuchman, Yahlin Chang, Elisabeth Moss, Sheila Hockin, John Weber, Frank Siracusa, Steve Stark, Kim Todd, Daniel Wilson, and Fran Sears. The series is distributed internationally by Amazon MGM Studios Distribution.

Details About Aubrey Plaza’s Marriage Surfaces Amid Loss

Newly released details about the death of filmmaker Jeff Baena, husband of actress Aubrey Plaza, have shed light on the couple’s private struggles.

Baena, best known for directing indie hits like “Life After Beth” and “The Little Hours,” was found deceased in his Los Angeles home on January 3. His dog walker, who had arrived for her usual visit, was the first to discover something was off. She noted that loud music was playing inside, an unusual occurrence. Upon letting herself in, she found Jeff Baena unresponsive and immediately contacted authorities.

Now, new documents have revealed that the possible reason Aubrey Plaza was not home at the time is because the couple had been separated for months before his passing.

According to a Medical Examiner’s report obtained by TMZ, Baena and Plaza had been living apart since September 2024, with Plaza relocating to New York. The report confirmed Baena’s death was ruled a suicide, consistent with initial law enforcement statements.

Police records indicate that Baena spoke with Plaza on the phone the night before his death. Officers later contacted Plaza, who confirmed their separation and disclosed that Baena had previously made concerning remarks in October 2024. Concerned for his well-being at the time, Plaza asked a friend to check on him. She also revealed that he was attending therapy but had no known history of suicide attempts.

The Medical Examiner’s findings state that Baena was pronounced dead at 10:39 AM PT on January 3. Plaza reportedly last heard from him that same morning at 7:36 AM PT when he texted her. No illicit substances or alcohol were found in his system, and no suicide note was discovered.

Plaza and Baena first started dating in 2011 and married in 2021. Despite keeping much of their relationship out of the spotlight, Plaza occasionally shared affectionate glimpses into their life together.

During a 2021 appearance on “The Drew Barrymore Show,” she described their wedding as spontaneous, saying, “The marriage was just like a joke that honestly went too far. We got married on a whim. Literally decided at around 5 p.m. and got married at 8:30.”

She also shared quirky details of their unconventional nuptials, revealing that Baena had tie-dyed their wedding outfits himself.

“Jeff got really into tie-dyeing during quarantine, so I decided that we were going to wear tie-dye pajamas that Jeff had made for us,” she said. “I had my little rosemary crown and a love altar in the backyard of all of our love objects. It was very witch-core, but it happened.”

Aubrey Plaza is receiving an outpouring of love and support following her first public appearance since the tragic passing of her husband, Jeff Baena. The actress, who has been mourning the devastating loss, was praised for her resilience and strength as she took the stage at the “Saturday Night Live 50th Anniversary” special.

Plaza introduced a musical performance by Miley Cyrus and Brittany Howard during the milestone event, marking her first major public moment since Baena’s death on January 3, 2025, which was ruled a suicide.

Her appearance came as a surprise to many, and a short clip shared on X (formerly Twitter) by @CinemaBurst quickly sparked an emotional reaction from fans.

“Aubrey Plaza’s surprise appearance was the emotional lift we all needed! Welcome back, Aubrey!” one fan wrote. Another shared, “Aubrey’s return was such a pleasant surprise; we missed her energy.”

Many recognized how significant it was for Plaza to attend such a major event so soon after her personal loss. “I’m so glad she was brave enough to come out for this, especially with how meaningful this show is to her,” one person commented.

Others highlighted the emotional weight of the moment, with one noting, “Aubrey Plaza’s surprise appearance was the perfect pick-me-up after such a tragedy. So glad to see her back and shining with Miley and Brittany at ‘SNL50’!”

Baena, born June 29, 1977, in Miami, Florida, built a respected career in independent cinema, known for his genre-blending storytelling and sharp wit.

He started in Hollywood as an assistant to filmmaker Robert Zemeckis before making his mark as a co-writer on “I Heart Huckabees” (2004) alongside David O. Russell. His directorial debut, “Life After Beth” (2014), starred Plaza and Dane DeHaan in a unique zombie romantic comedy.

Over the years, Baena continued to carve a niche in dark comedies and psychological dramas, directing “Joshy” (2016), “The Little Hours” (2017), “Horse Girl” (2020), and “Spin Me Round “(2022). His collaborations frequently featured Plaza, as well as stars like Alison Brie, Dave Franco, and Molly Shannon.

Plaza has yet to publicly comment on the latest findings surrounding Baena’s passing.

Who is Robert De Niro Playing in The Alto Knights? His Dual Role, Explained

If there is one genre that seems to lack quality in recent years, it is the gangster genre. From time to time, an unexpected gem will come along and give fans another gripping drama based in an organized crime setting. However, for the most part, the genre has been much less active since the days of The Sopranos’ success on television and Martin Scorsese’s The Departed won multiple Academy Awards. While the genre has evolved over the course of cinema history, it was a staple of the movie theater experience for decades, until more recently. A big part of the genre’s success was due to some of cinema’s greatest auteurs telling stories about the mob. Francis Ford Coppola, Martin Scorsese and Brian De Palma invigorated the genre in the ’70s, ’80s and ’90s. In the 21st century, it feels like only those powerhouse filmmakers can deliver the next classic gangster movie.

Martin Scorsese’s The Irishman is a good example of this and reunited the director with Robert De Niro for another historical epic about the mafia. Robert De Niro is no stranger to the gangster genre and has collaborated with multiple genre filmmakers in his career to bring audiences some of the best crime epics in cinema history. After the success of The Irishman, fans weren’t sure De Niro would be making another gangster epic any time soon. However, Warner Brothers has teamed up the legendary star with other big names to bring another important historical story to life on screen. The Alto Knights could be the next big gangster movie audiences weren’t expecting, and it includes Robert De Niro’s most intriguing new challenge as an actor: playing dual roles.

What Is The Alto Knights About?

It Is Based on a True Story

Close

Fans should remember the name Nicholas Pileggi when thinking about some of the most iconic gangster movies in history. As a novelist and historian, Pileggi documents some of the Italian Mafia’s most compelling true stories and structures them into entertaining works of literature. These works have been adapted into some of the best mafia movies of the ’90s. Martin Scorsese’s two most famous mob flicks, Goodfellas and Casino, are based on true stories and adapted from Nicholas Pileggi books. Pileggi has returned to the gangster genre as the screenwriter of the upcoming gangster epic The Alto Knights. As one of the world’s leading authorities on the history of the American Mafia, Pileggi is a good choice to scribe these kinds of stories, and with The Alto Knights he is tackling the story of two infamous Mafia bosses from New York. The Mafia’s power and influence has always been most prominent within New York’s five families and The Alto Knights explores another crucial moment in the history of New York’s Genovese Crime Family. What people don’t realize is that the Genovese Crime Family is probably the most powerful family in the American Mafia’s history, but it’s usually the Gambino Family that is mainly portrayed.

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The Genovese Family was formerly known as the Luciano Crime Family and was run by a gangster who effectively gave birth to the modern-day Mafia as it is known today. Charles “Lucky” Luciano restructured organized crime into “La Cosa Nostra” after prohibition and created “The Commission” (a ruling panel of bosses all across the country). The Alto Knights follows the story of two gangsters who were as close to Lucky Luciano as anyone. The movie tells the story of a friendship-turned-rivalry between Frank “The Prime Minister” Costello and Vito Genovese. These two powerhouse New York mobsters effectively ran the Luciano Family as its boss at different times in the Mob’s history. However, they both wanted power during a time when both men were respected and feared equally. This would lead to them becoming rivals who vied for control of the family in the ’50s and ’60s. Vito Genovese was Lucky Luciano’s original “underboss” and Frank Costello was Luciano’s first “consigliere.” After Luciano was convicted of multiple crimes and deported back to Italy, Costello ran the family for twenty years while both Luciano and Genovese were overseas. When Genovese came back to New York in 1957, an internal feud would begin between Costello and Genovese over control of the family.

Who Is Robert de Niro Playing in the Film?

De Niro Is Playing Two Roles for the First Time In His Career

With epic organized crime events being portrayed, like the Kefauver Hearings, the Apalachin Meetings and the Genovese Feud, it would make sense for Warner Brothers to pit Robert De Niro against another powerhouse talent for the ultimate mafia movie dynamic. However, instead of two big names playing Costello and Genovese, Robert De Niro will be playing dual roles for the first time in his career. De Niro will boldly challenge himself by playing both Vito Genovese and Frank Costello as the two gangsters feud with one another during one of the biggest New York mafia events in history. With both Genovese and Costello having a long history of mob status and peacefully running the Luciano family together in various ways throughout the years, it makes sense to allow De Niro a chance to play off himself and give both roles attention in different ways. Once the two friends become rivals, that is when De Niro can play to his acting strengths best and attempt to bounce off himself when the drama of The Alto Knights really kicks in. Robert De Niro is one of the greatest actors of all time but will now be doing something he has never done before on screen. A little hair and make-up to distinguish the characters is just the first step toward getting the best character dynamic out of a single actor.

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It helps that De Niro is surrounded by other talented performers, such as Cosmo Jarvis (who is most famously known for his role in Shogun), Debra Messing, Kathrine Narducci, Michael Rispoli and Matt Servitto. Jarvis will play Vincent “The Chin” Gigante, who would go on to become another infamous Genovese Crime Family boss, while Messing, Narducci and Servitto will have key roles such as Bobbie Costello, Anna Genovese and George Wolf. The Alto Knights will be one of the more big-budgeted theatrically released gangster epics in years and boasts strong writing from Nicholas Pileggi as well as a score from David Fleming and cinematography by Dante Spinotti. It has a lot of potential for a De Niro-led gangster drama about a moment in time that audiences aren’t as familiar with. The Alto Knights is one of those once-in-a-while gangster movies that unexpectedly solidifies itself as one of the contemporary classics of the genre. It was originally going to be titled “Wise Guys” but was changed due to it being the same title as Nicholas Pileggi’s book, which was adapted into the movie Goodfellas. The Alto Knights is named after a prominent social club in Manhattan that was used as Vito Genovese’s hangout. Perhaps the greatest attribute of The Alto Knights besides De Niro, is the film’s director.

Who Is the Director of the Film?

He Has Worked With Robert De Niro Four Other Times

Aside from the movie starring Robert De Niro, The Alto Knights has a chance to be a great gangster movie because of the film’s director. Helmed by Barry Levinson, The Alto Knights has one of Hollywood’s top-tier directorial visions leading the way and bringing an epic gangster story to life on screen. Levinson has directed classic films such as Good Morning Vietnam, Rain Man and Avalon and has worked with Robert De Niro four other times on the films Sleepers, Wag the Dog, What Just Happened and The Wizard of Lies. Levinson began to establish himself as a genre filmmaker when he made one other gangster movie in his career with the 1991 underrated gem Bugsy. The Alto Knights has been in the works with Barry Levinson attached to direct for over a decade, and there is a chance it will be one of his better films in years.

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It remains to be seen whether The Alto Knights will follow the true story of Genovese and Costello faithfully. Early footage suggests some changes to what actually happened, including the two gangsters running their own families and an all-out war breaking out (both of which are not true). However, with Nicholas Pileggi behind the story, it is safe to assume the context in which everything takes place will be about valuing the true story of these New York mob legends. Audiences will be surprised at the twists and turns of this Mafia rivalry and who ultimately comes out on top. However, the really exciting part of the film for gangster movie fans will be seeing Robert De Niro attempt to play two powerful mob bosses at the same time. The Alto Knights might not be the most anticipated movie of the year, but it could end up being the most surprising.

The Alto Knights

R

Crime

Drama

Release Date April 21, 2025

Runtime 120 Minutes

Director Barry Levinson

Writers Nicholas Pileggi

Producers Irwin Winkler, Jason Sosnoff, Charles Winkler, David Winkler, Mike Drake, Barry Levinson

Cast

Robert De Niro

Vito Genovese / Frank Costello

Debra Messing

Bobbie Costello

Kathrine Narducci

Anna Genovese

Cosmo Jarvis

Vincent Gigante

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‘The Handmaid’s Tale’ Final Season Trailer: The Rebellion Is Here

‘Black Mirror’ Season 7 Reveals Release Date and Captivating Trailer for New Episodes

The Handmaid’s Tale has released its full, official trailer for the sixth and final season of the hit Hulu series starring Elisabeth Moss. The footage shows where each of the main players are when the dystopian Gilead saga returns and introduces an all-out war on the horizon, as June (Moss) leads a resistance of rage against Gilead for justice.

“Rise up and fight for your freedom!” screams June. “We use all of our friends, everyone and anyone who hates Gilead, to finally declare: Enough.”

The red-cloaked army will be coming for Gilead on April 8. The Emmy-winning series returns with three episodes, followed by a weekly drop until the May 27 finale.

The fifth season began with the smirk seen ’round the globe, pitting June Osborne (Moss) against Serena Joy Waterford (Yvonne Strahovski). The season then ended with the same expression between the pair as they unexpectedly found themselves alone, yet together, on a train of Gilead refugees hoping to make it to Vancouver and, eventually, Hawaii.

At the time of that November 2022 finale, Moss, also an executive producer and director, told The Hollywood Reporter, “It’s actually a pretty positive ending for the show and the season, which we don’t usually do. It’s a cliffhanger … but there’s something positive about it. Of course, of all the people that would be on the train is this person who is her other half, the other half of this experience.”

Now the show returns more than two years later and the trailer puts June and Serena Joy on different squares on the chess board, as June is seen reuniting with both husband Luke (O-T Fagbenle) and lover Nick (Max Minghella) as she plots her takeover, while Serena Joy seems confused about what’s coming.

Here’s the logline: “June’s unyielding spirit and determination pull her back into the fight to take down Gilead. Luke and Moira join the resistance. Serena tries to reform Gilean while Commander Lawrence and Aunt Lydia reckon with what they wrought, and Nick faces challenging tests of character. This final chapter of June’s journey highlights the importance of hope, courage, solidarity and resilience in the pursuit of justice and freedom.”

The season six cast also includes Bradley Whitford, Ann Dowd, Samira Wiley, Madeline Brewer, Amanda Brugel, Sam Jaeger, Ever Carradine and Josh Charles.

The Handmaid’s Tale is produced by MGM Television. Season six is executive produced by creator Bruce Miller, co-showrunners Eric Tuchman and Yahlin Chang, Moss, Warren Littlefield, Sheila Hockin, John Weber, Frank Siracua, Steve Stark, Kim Todd, Daniel Wilson and Fran Sears.