Disney’s Snow White Premiere Dims Amid Casting Controversy

Mirror, mirror on the wall, who’s stirring up the most drama of them all? Disney’s latest live-action adaptation of “Snow White” has traded its fairy-tale sparkle for something decidedly more subdued — and perhaps that’s telling us more about Hollywood’s current climate than any magic mirror ever could.

The House of Mouse’s decision to dial back the film’s March premiere at the historic El Capitan Theatre speaks volumes. Gone are the dazzling red-carpet festivities typically associated with such launches, replaced instead by an intimate gathering with carefully controlled press access. Welcome to Hollywood 2024, darlings, where even the most enchanted tales can’t escape reality’s harsh spotlight.

At the center of this swirling storm stands Rachel Zegler. The “West Side Story” breakout star (and let’s be honest, she was absolutely magnetic in that) found herself caught in a tempest of her own making. First came the predictable outcry over her Colombian-Polish heritage in a traditionally European role — because heaven forbid we acknowledge that fairy tales exist in every culture. Then came her refreshingly candid (though perhaps poorly timed) comments about the 1937 original that sent Disney traditionalists into a collective meltdown.

“She’s not going to be saved by the prince,” Zegler declared at D23, painting a portrait of a thoroughly modern Snow White who’s “dreaming about becoming the leader she knows she can be.” Cue the pearl-clutching from corners of the internet where change is apparently more poisonous than any apple the Evil Queen could conjure.

The controversies didn’t stop there. The creative decision to reimagine the seven dwarfs as “magical creatures” sparked heated debate about representation. Peter Dinklage’s critique on Marc Maron’s podcast cut straight to the bone: “They were very proud to cast a Latino actress as Snow White, but you’re still telling the story of ‘Snow White and the Seven Dwarfs.’”

Things got even more complicated when the film’s leading ladies found themselves on opposite sides of one of today’s most charged global conflicts. Gal Gadot’s pro-Israel stance and Zegler’s support for Palestine have transformed what should be a magical escape into a mirror reflecting our deeply divided world. (Though honestly, when did fairy tales ever truly escape politics?)

Zegler, to her credit, maintains remarkable composure. “I interpret people’s sentiments towards this film as passion,” she told Vogue Mexico — possibly the most diplomatic response since Grace Kelly became Princess of Monaco.

The European premiere’s relocation to a Spanish castle feels both strategic and symbolic. Trading London’s traditional glamour for a more controlled narrative in a setting that embraces the fairy tale’s romantic roots? Well played, Disney. Well played.

Director Marc Webb now faces a challenge worthy of any fairy tale hero: delivering a film that must somehow satisfy traditionalists while embracing modern sensibilities. His eclectic portfolio (from indie darling “500 Days of Summer” to “The Amazing Spider-Man”) suggests he might just have the range to pull it off.

As the March 21 release date approaches, this Snow White saga perfectly encapsulates Hollywood’s ongoing struggle to modernize beloved classics. In an era where every casting decision becomes a cultural battleground and each creative choice faces unprecedented scrutiny, even the fairest of them all can’t escape controversy’s shadow.

But perhaps that’s exactly as it should be. After all, the best fairy tales have always been about transformation — even when that transformation makes us uncomfortable.

Donatella Versace out as creative director of the Milan fashion house, in a shakeup by US owner

ROME (AP) — Donatella Versace has been replaced as creative director of the Italian luxury fashion house founded by her late brother Gianni Versace, assuming the new role of chief brand ambassador, Versace’s U.S. owner Capri Holdings announced on Thursday.

Versace will be replaced by Dario Vitale, who most recently was design director at the Miu Miu brand owned by the Prada Group. His appointment is effective on April 1.

Versace, 69, welcomed Vitale, emphasizing in a statement that “championing the next generation of designers has always been important to me,” while Vitale, 41, thanked Versace for “her trust in me.”

Versace was thrust into the role of creative director in 1997 after her brother’s murder in Miami, at first tentatively and then with a boldness that led to some big runway and red carpet moments. They included a healing and celebratory tribute to Gianni Versace on the 20th anniversary of his death, featuring supermodels that he helped create alongside a new generation of celebrity model, and Jennifer Lopez in an even skimpier version of the jungle dress that nearly broke the internet at the 2000 Grammys, reprised on the Spring-Summer 2020 runway.

Versace acknowledged the difficulty of her transition as she took from her brother, known for his sexy silhouettes and purposely loud prints and of the Versace Medusa and Greca motifs. Under Donatella, Versace became synonymous with the power woman she herself projected, despite periods of self-doubt.

“I asked why I took so long to find my way,” she told reporters ahead of the anniversary show. “The first few years I wasn’t sure of myself. I made mistakes. But you learn from your mistakes.”

The creative shift comes amid speculation that the Prada Group is in talks to buy Versace from Capri Holdings, which paid 2 billion euros (currently $2.2 billion) for the fashion house in 2018. The U.S. group also owns Michael Kors and Jimmy Choo.

Miuccia Prada acknowledged interest in the brand on the sidelines of Milan Fashion Week last month, while Versace made no comment at what was to be her last runway show. Versace symbolically wore a vintage jacket that Gianni made for her in 1992, inspired by the powerful Miss S&M collection.

Capri Holding’s statement made no mention of any plans to sell Versace, but the arrival of a designer from Miu Miu is only likely to fuel speculation of a possible deal.

Versace received an outpouring of love and support on social media posts marking the shift from younger designers she has championed, including Roberto Cavalli creative director Fausto Puglisi and former Valentino designer Pierpaolo Piccoli, along with tens of thousands of fashion fans.

“I hope I’ve made you proud so far,” Versace wrote in an Instagram post celebrating her and her brother’s major moments in Versace’s nearly 50 years.

They included photos of Gianni and Donatella together, and major Versace celebrity moments featuring Lady Diana, Naomi Campbell, Elton John, Adele, Taylor Swift, Gigi Hadid, Lady Gaga, Madonna, Jane Fonda and many more.

Versace CEO John D. Idol said in a statement that the creative shift was “part of a thoughtful succession plan for Versace.” He called Vitale “a strong leader,” and expressed confidence that “his talent and vision will be instrumental to Versace’s future growth.”

As chief brand ambassador, Versace “will continue to champion the Versace brand and its values,” Idol said.

Versace represented 20% of Capri Holdings 2024 revenue of 5.2 billion euros. Capri recently laid out strategic plans to rebalance the Versace portfolio to return the brand to its more daring roots, increase sales of accessories and win back entry-level consumers put off by a post-pandemic focus on higher net-worth clients.

During the presentation, Idol acknowledged that Versace had recently struggled in menswear “where the historical … customer was used to us being very, very loud. And we’ve gone much quieter.”

Versace said she was “thrilled” that Vitale would join Versace and that she was “excited” to see the brand her brother founded in 1978 “through new eyes.”

“It has been the greatest honor of my life to carry on my brother Gianni’s legacy. He was the true genius, but I hope to have some of his spirit and tenacity,” she said in a statement. “In my new role as chief brand ambassador, I will remain Versace’s most passionate supporter. Versace is in my DNA and always in my heart.”

Billy Joel Postpones Tour Dates After Surgery for Medical Condition: ‘My Health Must Come First’

Ingrid Andress Talks Frankly About the National Anthem That Made Her ‘America’s Punching Bag,’ and Being ‘Terrified’ Before Her Joyful Do-Over: ‘You Can’t Mess It Up Twice’ 2 days ago

Billy Joel has postponed eight stadium concerts he was scheduled to do between now and July, citing an undisclosed “medical condition” and saying that his “health must come first.”

The announcement said that the singer “is expected to make a full recovery” after a recent surgery. He will be undergoing doctor-supervised physical therapy as he recovers, it said.

“While I regret postponing any shows, my health must come first,” Joel said in a statement Tuesday morning. “I look forward to getting back on stage and sharing the joy of live music with our amazing fans. Thank you for your understanding.”

The next date on his tour will now be a regularly scheduled show at Acrisure Stadium in Pittsburgh on July 5.

His next show was to have taken place this Saturday in Toronto, Canada. That concert will now take place one year after the scheduled date, on March 14, 2026. After that, he had a concert booked at Detroit’s Ford Field for March 29, which is the only one of the gigs that has been rescheduled for this year, on Nov. 15, 2025. An April 11 date in Syracuse has been pushed back by just one day shy of a year, to April 10, 2026. Joel’s Charlotte concert, slated for May 10, will now take place 16 months from now, on July 3, 2026. His May 23 Salt Lake City show has been pushed back to May 22 of next year. An Edinburgh concert that was to have taken place June 7 will now go down June 6 of next year. And a Liverpool show slated for June 21 has been rescheduled for June 20, 2025.

One show that has been put off still awaits a new date; a Milwaukee show scheduled for April 26 of this year is now listed as TBD.

Tickets will automatically be valid for the rescheduled shows, the announcement said.

Joel’s last concert before the interruption was Feb. 22 at Mohegan Sun Arena in Uncasville, CT.

The full list of new dates, some of which are co-billed shows with Stevie Nicks or Sting, is as follows:

November 15, 2025 DETROIT Billy Joel & Stevie Nicks Ford Field

March 14, 2026 TORONTO Billy Joel Rogers Centre

April 10, 2026 SYRACUSE Billy Joel & Sting Syracuse JMA Wireless Dome

May 22, 2026 SALT LAKE CITY Billy Joel & Sting Rice Eccles Stadium

June 6, 2026 EDINBURGH Billy Joel Scottish Gas Murrayfield Stadium

June 20 2026 LIVERPOOL Billy Joel Anfield Stadium

July 3, 2026 CHARLOTTE Billy Joel & Sting Charlotte Bank of America Stadium

TBD MILWAUKEE Billy Joel & Sting American Family Field

REPORT: Wife Of Reality Star Aaron Goodwin Arrested For Allegedly Hiring Hitman To Have Him Killed

Police reportedly arrested Victoria Goodwin, wife of “Ghost Adventures” star Aaron Goodwin, for solicitation to commit murder and conspiracy to commit murder.

Victoria was involved in a murder-for-hire plot in October with an inmate at a Florida prison, according to an arrest report obtained by TMZ. She allegedly put aside $11,515 to pay a hitman to kill Goodwin while he and Zak Bagans were filming their show.

The report also claims Victoria messaged the inmate, asking, “Am I a bad person? Because I chose to end his existence. Not divorce.’”

Victoria allegedly gave the inmate information about where her husband would be and when he was expected on set in California while filming “Ghost Adventures.”

The inmate she was in contact with allegedly messaged another male about the alleged plot, writing, “He’s asleep right now in the hotel room … I need to know what’s going on. Can I get an update. Was it done?”

The report alleged that messages were sent regarding an advance payment of $2,500, according to TMZ.

Police said they uncovered the alleged plot after corrections officers discovered and seized the inmate’s contraband phone. They took Victoria into custody on $100,000 bail, and it is believed that she is still detained at the time of this writing.

Police said Victoria denied wanting her husband’s death and claimed she was daydreaming or fantasizing about no longer having her husband. They claimed she also told them she didn’t recall messaging the inmate and said she thought the money in question was for buying cell phones. She admitted she and Goodwin were suffering marital issues, according to law enforcement.

Bagans told TMZ that Goodwin was blindsided and devastated by the allegations and said he is supporting his friend through this challenging time. (RELATED: Police Arrest Lil Durk In Murder-For-Hire Plot: REPORT)

Goodwin and Victoria were married in August 2022 at the Haunted Mansion in Disneyland.

Scarlett Johansson Wants Marvel Fans to Let Black Widow Go: ‘Natasha Is Dead’

At least one member of the Marvel Cinematic Universe’s original Avengers lineup won’t be coming back anytime soon — not if Scarlett Johansson has anything to say about it.

In an interview with InStyle published Tuesday, Johansson insisted that Marvel fans need to let go of Natasha Romanoff, a.k.a Black Widow, the MCU hero she played onscreen for 11 years. Natasha famously sacrificed her life in 2019’s “Avengers: Endgame.” While Johansson subsequently reprised the role in 2021’s “Black Widow,” a prequel set years before “Endgame,” she has no plans of undoing her character’s tragic, heroic death.

“Natasha is dead. She is dead. She’s dead. OK?” Johansson exasperatedly told InStyle, noting that Marvel fans remain convinced that she is going to return to the MCU at some point. “They just don’t want to believe it. They’re like, ‘But she could come back!’”

Ultimately, Johansson said she thinks the weight of her character’s death in “Avengers: Endgame” is too important to undo. “I think the balance of the entire universe is held in her hand. We’re going to have to let it go,” the actress explained. “She saved the world. Let her have her hero moment.”

Johansson’s comments came at a time when several of her fellow original MCU stars are expected to come back to the blockbuster franchise. TheWrap broke the news last year that Chris Evans will reprise his role as Steve Rogers/Captain America in 2026’s Russo Brothers-directed “Avengers: Doomsday.” Marvel, meanwhile, announced last year that Robert Downey Jr. has signed on to play his second MCU character, the villainous Victor Von Doom.

Downey Jr.’s potential reprisal of Tony Stark/Iron Man, who also canonically died in “Avengers: Endgame,” doesn’t seem entirely off the table right now, either.

Johansson does not seem interested in following the same path as Downey Jr. and Evans. The actress, to her credit, has not had a hard time staying busy in the years since she hung up her Marvel hat. In addition to starring in non-franchise movies like Wes Anderson’s “Asteroid City” and Apple’s “Fly Me to the Moon,” Johansson has also had roles in popular animated films like “Transformers One” and is set to lead this summer’s “Jurassic World: Rebirth.”

Hollywood Snow White premiere ‘scaled back’ following controversies

The premiere for the remake of the 1937 animated classic will be on March 15, but according to Variety, there will be no reporters interviewing cast on the red carpet.

The premiere will be held at El Capitan Theatre, with a pre-screening party – with the film’s stars Rachel Zegler (Snow White) and Gal Gadot (the Evil Queen) expected to attend.

There is already no London premiere for the film, which is an unusual step for Disney. Instead, the film will be launched as a European premiere at a castle in Spain.

London Standard has contacted Disney for comment.

Zegler, who rose to fame in 2021’s West Side Story remake, has been at the centre of much of the controversy.

It was announced that the West Side Story actor, 23, would be the titular character in the live-action Disney remake in 2021 – which was met with discrimination, as Zegler is of Colombian and Polish descent.

In a 2022 interview, she described the original Snow White story as “dated,” calling Prince Charming “a guy who literally stalks [Snow White]” and deeming the tale “weird.”

World politics have also affected the film, with Zegler apologising after speaking out following US President Trump’s re-election.

Gadot has publicly advocated for Israel, leading pro-Palestinian activists to call for a boycott of the film.

The movie also faced criticism after images of the casting confirmed that the film would not have the seven dwarves, and they would instead be called “magical creatures”.

Disney said it changed the dwarfs to “avoid reinforcing stereotypes from the original animated film” in a statement to Hollywood Reporter.

A spokesperson for Disney said: “We are taking a different approach with these seven characters and have been consulting with members of the dwarfism community.”

Snow White And The Seven Dwarves, released in 1937, was the first Disney animated feature film.

It tells the story of a princess fed a poisoned apple by her stepmother, placing her in a deep sleep from which she can only be awakened by a kiss from a prince.

Its original soundtrack includes the songs Heigh-Ho, Someday My Prince Will Come and Whistle While You Work.

Marc Webb, whose previous films include 500 Days Of Summer and The Amazing Spider-Man, has directed the latest adaptation of the classic fairy tale.

Review: Steven Soderbergh’s twisty spy thriller Black Bag is filled with sex, lies and encrypted videotape

Starring Michael Fassbender, Cate Blanchett and Pierce Brosnan

There might be no single cinematic pleasure greater than watching beautiful people double-cross each other.

This is a truth that the director Steven Soderbergh has long universally acknowledged, having devoted a sizable portion of his ridiculously deep filmography – Haywire, The Good German, Side Effects, Out of Sight, all the Ocean’s movies – to exactly that particular sub-genre. And while Soderbergh’s latest feature, Black Bag, might not leave you gasping for air quite like his 1989 breakthrough sex, lies, and videotape – ground zero for the director’s fascination with conniving couples – watching the new spy thriller is akin to lighting up a postcoital cigarette. It is just that satisfying.

Written by Soderbergh’s new favourite collaborator David Koepp (who also penned Soderbergh’s two most recent films, Presence and Kimi), Black Bag is an espionage flick with a thankfully bloodless twist: The real violence is saved not for extraction missions or assassinations, but the cutting remarks shared between romantic partners who also happen to be high-level spooks. Think Doug Liman’s Mr. & Mrs. Smith, but with incisive insults replacing the semiautomatics.

At the centre of the high-stakes drama are George (Michael Fassbender) and Kathryn (Cate Blanchett), a suave London couple who both work for a branch of MI6. One night, George – something of a human lie-detector machine, who values the “truth” above all else – is informed by a colleague that there’s a turncoat in his office, with Kathryn named a potential defector. Now, George must figure out whether it’s his wife who has been playing him, or perhaps a member of two other couples who fall under suspicion: the young tech whiz Clarissa (Marisa Abela) and her older agent beau Freddie (Tom Burke), or military man James (Regé-Jean Page) and his agency-psychologist girlfriend Zoe (Naomie Harris).

Surely there is some kind of inter-office dating policy inside the real MI6, but the spy game is the perfect ground for Koepp and Soderbergh to explore themes found in any relationship: If your job is to lie, then who’s to say where the truth starts and stops inside the bedroom? George and Kathryn’s marriage is the one in which Black Bag mostly pivots around, but the searing and frequently funny performances from supporting players Burke, Abela, Page and Harris keep the film’s heart racing. And to ensure that there’s never a dull beat, Soderbergh throws in a mid-film appearance by an erstwhile 007, casting Pierce Brosnan as a righteously annoyed MI6 bigwig.

Like many of his features, Soderbergh not only directs Black Bag but also acts as the film’s cinematographer and editor, his adventurous eye savouring the more privileged corners of London with a kind of sumptuous envy. George and Kathryn’s ultramodern home is a temple of high style – complete with a kitchen, and collection of knives, to die for – but Soderbergh keeps the luxurious environs laced with a din of dread. If the marriage falls apart, so, too, does the state of the world.

Blanchett, as always, is flawless as the seductive and secretive Kathryn, but it’s Fassbender who reveals a different side of himself. Just a year or so removed from playing a fastidious and rather sympathetic assassin in David Fincher’s The Killer, the actor flips his statuesque features inward to play a rather meek and distrustful nuisance – everyone’s least favourite workplace colleague. It is a performance that feels constructed with as much attention and space for ambiguity as the film’s own just-twisty-enough story. Keep your friends close, but keep your duplicitous movie stars closer.

Actress leaves US after Donald Trump reelection; MAGA reacts

Rosie O’Donnell has left the United States, saying she may return when “it is safe for all citizens to have equal rights there in America.”

The actress and comedian posted a video on TikTok on Tuesday in which she revealed she moved to Ireland with her 12-year-old child Clay in January.

“Although I was never someone who thought I would move to another country, that’s what I decided would be the best for myself and my 12-year-old child.”

O’Donnell is “in the process” of getting her Irish citizenship as she has Irish grandparents.

“It’s been pretty wonderful, I have to say. The people are so loving and so kind, so welcoming. And I’m very grateful,” she said.

“I miss my other kids. I miss my friends. I miss many things about life there at home, and I’m trying to find a home here in this beautiful country. And when it is safe for all citizens to have equal rights there in America, that’s when we will consider coming back.”

She made it clear why she left.

“It’s been heartbreaking to see what’s happening politically and hard for me personally as well. The personal is political, as we all know.”

Anika Noni Rose Is ‘Deeply Disappointed’ by ‘Tiana’ Disney+ Cancellation

Anika Noni Rose has broken her silence about the cancellation of “Tiana,” the recently axed streaming series follow-up to Disney’s “The Princess and the Frog.”

“I too am deeply disappointed that the continuation of Tiana’s journey in series form has been cut short,” the voice actress wrote on Instagram on Tuesday a week after the Disney+ show was cancelled. A one-off animated special will now be coming in its place instead.

Rose shared that she had been asked by many outlets for a statement but that she’d “rather talk to you directly.”

She continued: “The series was a longtime coming and a lot of beautiful work was put into it by all of the creatives involved, including – but not limited to – longtime champion Jenn Lee, our wonderful writer/director Joyce Sherri, some fabulous editors and an amazing music team.”

Additionally, Rose wrote, “As hurtful as it is for anything you’ve put your heart and soul into to be prematurely ended, my hope is that when what is now to be a ‘Tiana Special Event’ airs, that all of you beautiful, loving, loyal fans who’ve been championing not just the series but a ‘Princess and the Frog’ sequel, tune in.” She encouraged fans to tell everyone about the special and make sure they all tune in. “Show your love and your desire in the numbers. Make that desire an undeniable and real thing,” she said. “Until then, we will be continuing to work hard to bring you the most beautiful content we can.”

Rose has had a deep relationship with the character, not only voicing her in the movie, but also returning to the role for a cameo in “Ralph Breaks the Internet” and for the Disney Parks attraction Tiana’s Bayou Adventure, which is now open at Disneyland and Walt Disney World’s Magic Kingdom. Last year, she also wrote a Tiana-based children’s book called “Tiana’s Perfect Plan.” The Tony-winning actress has also been inducted as a Disney Legend.

Last week, it was announced that “Tiana,” which was first revealed at an investor’s day event in 2020, had been canceled and that Walt Disney Animation Studios would be abandoning long-form streaming series in favor of shorter content or things like the eventual “Tiana” special, which will be directed by Sherri and Disney vet Stephen Anderson. As part of the announcement, a full-length feature produced at Disney Animation’s Canadian satellite studio was also canceled.

‘Black Bag’ Review: Love as a Spy Game

Steven Soderbergh’s latest — a sexy espionage thriller that forsakes explosions in favor of mind games — is 90 minutes of pure fun.

Nobody makes a cool little movie like Steven Soderbergh. Never tied down to a single genre or style, his latest is a sexy spy thriller that forsakes shootouts and explosions in favor of mind games and incisive dinner table conversation. Black Bag is light, unpretentious entertainment for grown-ups, a solid 90 minutes of pure, mostly bloodless fun.

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BLACK BAG ★★★ (3/4 stars)

Directed by: Steven Soderbergh

Written by: David Koepp

Starring: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan

Running time: 94 mins.

Married couple George Woodhouse (Michael Fassbender) and Kathryn St. Jean (Cate Blanchett) are high-ranking British intelligence agents who are accustomed to keeping secrets from each other. But when George learns that a deadly cyber weapon has been stolen from the agency, the list of plausible suspects is extremely small — and Kathryn is among them. Could George, whose ability to sniff out a lie is a point of professional pride — be blinded by his devotion to his wife? And, if she is the leak, is his loyalty to her or to his country?

One can easily imagine the above logline applying to a $200 million dollar action blockbuster, particularly since neither actor is averse to a big studio production. It could also describe a somber, self-serious prestige picture, something to finally earn Blanchett her third Oscar. Instead, Black Bag lives in between the two, a snappy adult drama that’s more entertaining than it is demanding.

The deadly international stakes of Black Bag are almost incidental. The real drama is in the romantic entanglements at George and Kathryn’s workplace. Dating within the spy community, it turns out, is not only common but essential, since few civilians could cope with a partner whose entire life is strictly classified. The drawback, of course, is that spies are practiced liars and skilled cheaters, and none of them trust each other. Except, somehow, for George and Kathryn, who are as revered within their community for their seemingly perfect marriage as they are for their individual accomplishments as spies.

As it happens, each of the suspects in George’s secret investigation is paired up with one of the others, and deciphering their possible motives essentially amounts to testing the strength of their relationships. George picks at the tangled web between them: the hotshot field agent (Regé-Jean Page) that George recently promoted is dating his on-site psychiatrist (Naomie Harris); she’s treating the protégé that George passed over (Tom Burke); said protégé is dating a young surveillance satellite technician (Marisa Abela), who’s got a crush on George. Forget who’s possibly selling state secrets — who’s cheating on who with whom? Black Bag is less like a Bourne or Bond movie and more like the Mike Nichols drama Closer if all the lovers happened to be secret agents.

That Fassbender and Blanchett command their every scene, either together or separately, is no surprise. George is a perfect Fassbender role, a quietly intense intellectual who’s equal parts sexy and threatening. Blanchett, of course, can play just about anything, and is totally at home as an enigmatic smooth operator who you absolutely believe has killed people, like a mix of her roles from Carol and Thor: Ragnarok. The surprise standouts, however, are Tom Burke and Marisa Abela as the agency’s most dysfunctional couple, who steal their scenes right out from under their Oscar-adorned colleagues.

Black Bag is crisp and understated on every level. It’s got a dry, cerebral wit, never reaching for a laugh but earning a few nevertheless. It’s intriguing, but with only a few scenes of suspense or immediate peril. It’s sexy by mere suggestion, allowing the electricity between Blanchett and Fassbender to crackle in a glance or a brief, fleeting touch. Soderbergh doesn’t show off much behind the camera, mostly letting the actors and Phillip Messina’s slick contemporary production design speak for themselves. No one in the movie ever runs or breaks a sweat, and neither does the movie itself. It’s an exercise in cool confidence.

In an interview last year with Filmmaker Magazine, Soderbergh expressed a desire for his next film to be “something entertaining, like Howard Hawks,” something in a “pure pleasure space.” Black Bag definitely hits that mark, but when the “pleasure space” is typically dominated with far more sensational work, a film as restrained as this one can feel like it’s missing some adrenalin or spectacle. On the other hand, for an adult drama, it’s pretty slight, which could leave an audience member asking, “Where are my vegetables?” This is a movie set in the world of political sabotage and surveillance, but doesn’t have anything to say about that world other than “It’s murder on relationships.” It lacks the depth or critique of power that one might expect from the director of Traffic or High Flying Bird.

Still, one of the things that’s refreshing about Soderbergh as a filmmaker is that where others are chasing big box office or critical acclaim, Soderbergh is simply vibing, producing whatever interests him at the moment and then moving on to the next thing. Can that make each release feel disposable, like the 42nd Stephen King novel or Guided By Voices album? Maybe, but the world of cinema is better for him being out there, just doing his thing.