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  • Severance, season 2: Adam Scott, Patricia Arquette and Tramell Tillman on returning to Lumon

    Severance, season 2: Adam Scott, Patricia Arquette and Tramell Tillman on returning to Lumon

    “I don’t think Mark, in the wildest reaches of his imagination, thought his company could do something as nefarious as faking a death,” says actor Adam Scott of his character in Apple TV’s Severance.

    But Mark’s is an unusual workplace, to put it mildly.

    Employees at biotech conglomerate Lumon Industries are offered the company’s pioneering severance programme, a concept inspired by series creator Dan Erickson’s desire to escape the mind-numbing drudgery of his office jobs.

    Sold as the ultimate work-life balance, the firm’s brain microchip procedure splits a person’s consciousness and memory into dual existences.

    This means when “severed” grieving widower Mark Scout and his colleagues take the office lift each morning, their work-self – or “innie” – awakens for duty. Once they clock off, their “outie” re-emerges, returning to home life blissfully unaware.

    But series one’s cliffhanger finale – the work of executive producer and director Ben Stiller – saw Mark discover his late wife Gemma may actually still be alive amid a rebellion by his team against their shadowy employers.

    The group managed to outsmart floor managers Harmony Cobel (Patricia Arquette) and Milchick (Tramell Tillman) and override the severance system, briefly awakening their real-world bodies. Rebellious sceptic Helly (Britt Lowery) also learned a shattering truth about her outie’s company ties.

    Fans have been waiting almost three years to find out what happens next, and on Friday, Severance returned to Apple TV for its anticipated second season.

  • ‘Frasier’ Canceled By Paramount+ After 2 Seasons; Revival Will Be Shopped By CBS Studios

    ‘Frasier’ Canceled By Paramount+ After 2 Seasons; Revival Will Be Shopped By CBS Studios

    Frasier’s return has hit a major bump. Paramount+ has opted not to renew the Kelsey Grammer-led comedy for a third season. Producer CBS Studios remains committed to the series and plans to shop it to other outlets.

    Those are not expected to include the most logical home for a multi-camera sitcom that originated on broadcast — CBS Studios’ sibling CBS. The network, which just committed to a planted spinoff of The Neighborhood, has no current shelf space available, and it also has a development slate set. Possibilities include Prime Video and Hulu, which both carry the library of Frasier’s original run. Seasons 1 and 2 of the revival, along with the original library episodes, will remain available on Paramount+.

    Paramount+ ordered Frasier to series in 2022 with James Burrows directing the first episode. Season 1 premiered a year later and Season 2 dropped in September.

    Despite its well known title and Grammer reprising his popular title role, Frasier could not break through in a major way on Paramount+, which has become known as a drama destination and the home of the Taylor Sheridan and Star Trek universes.

    Frasier was a lone multi-camera sitcom and one of only two original comedy series on the platform, alongside the single-camera international co-production Colin From Accounts, which is done under a different model and is looking good to continue.

    The new Frasier follows Frasier Crane — a character Grammer originated on NBC’s Cheers and then reprised on the network’s spinoff Frasier — in the next chapter of his life after he returns to Boston to face new challenges, forge new relationships, and – with hope – finally fulfill an old dream or two.

    The series also stars Jack Cutmore-Scott as Frasier’s son, Freddy; Nicholas Lyndhurst as Alan, Frasier’s old college buddy turned university professor; Toks Olagundoye as Olivia, Alan’s colleague and head of the university’s psychology department; Jess Salgueiro as Eve, Frasier and Freddy’s neighbor; and Anders Keith as Frasier’s nephew, David.

    While the cast was comprised of new actors, there were plenty of familiar faces who made appearances including Bebe Neuwirth, reprising the role of Frasier’s ex-wife Lilith, Peri Gilpin as Roz Doyle, Dan Butler as Bob “Bulldog” Briscoe, Edward Hibbert as Gil Chesterton and Harriet Sansom Harris as Frasier’s delightfully devilish agent, Bebe Glazer. Grammer spoke to Deadline at the Emmys last January about his wish to see Shelley Long return to the role of Diane Chambers in a future season of Frasier.

    David Hyde Pierce opted not to reprise the character of Niles Crane in the new spinoff series, much to the chagrin of longtime fans of the original Frasier.

    The series comes from writers Chris Harris and Joe Cristalli, who executive produce with Grammer, Tom Russo and Jordan McMahon. The series is produced by CBS Studios in association with Grammer’s Grammnet NH Productions.

  • Dave Matthews, John Mayer, Sting, Lady Gaga, Billie Eilish all slated for FireAid benefit concert

    Dave Matthews, John Mayer, Sting, Lady Gaga, Billie Eilish all slated for FireAid benefit concert

    NEW YORK (AP) — Boston Calling headliner Dave Matthews and former Berklee School of Music student John Mayer will perform live together for the first time at FireAid, a benefit concert for Los Angeles-area wildfire relief.

    Sting, Billie Eilish, Lady Gaga, the Red Hot Chili Peppers are also among the performers slated to take the stage.

    Announced last week, FireAid was originally scheduled to take place at the Intuit Dome in Inglewood, California. It will now take place in two venues: the Intuit Dome and the adjacent Kia Forum on Jan. 30.

    It will be broadcast and streamed live on Apple Music, Apple TV, Max, iHeartRadio, KTLA+, Netflix/Tudum, Paramount+, Prime Video, the Amazon Music Channel on Twitch, SiriusXM, Spotify, SoundCloud, Veeps and YouTube. It will also be shown at select AMC Theatre locations in the U.S.

    According to a press release, contributions to FireAid will “be distributed under the advisement of the Annenberg Foundation, for short-term relief efforts and long-term initiatives to prevent future fire disasters … All proceeds from the FireAid benefit concert at Intuit Dome and Kia Forum will go directly to the event’s designated beneficiaries.”

    The lineup also includes Joni Mitchell, Katy Perry, Lil Baby, Pink, Rod Stewart, Gwen Stefani, Green Day, Jelly Roll, Gracie Abrams, Stephen Stills, Stevie Nicks, Tate McRae and Earth, Wind & Fire.

    Tickets will go on sale Wednesday at 12pm PDT via Ticketmaster.

    The event is being held by Shelli, Irving, and the Azoff family with Live Nation and AEG Presents.

    Since the wildfires started, celebrities and entertainment organizations have pledged millions to help those who have been displaced or lost their homes, including a $2.5 million contribution from Beyoncé to a newly launched LA Fire Relief Fund created by her charitable foundation, BeyGOOD.

    Last week, the Recording Academy and MusiCares launched the Los Angeles Fire Relief Effort with a $1 million donation. Thanks to additional contributions, they’ve already distributed $2 million in emergency aid.

    The 67th annual Grammy Awards will still take place Sunday, Feb. 2, at the Crypto.com Arena in Los Angeles — though the Recording Academy has refocused its aim to support relief efforts following the devastating Los Angeles-area wildfires.

  • Rip David Lynch: Legendary Auteur of ‘Twin Peaks’ Dies at 78

    Rip David Lynch: Legendary Auteur of ‘Twin Peaks’ Dies at 78

    David Lynch, the avant-garde director of films like Eraserhead, Blue Velvet, and Mulholland Drive, as well as the paradigm-shifting TV series Twin Peaks, has died at 78. His influence transcended film, creating a uniquely dark visual narrative language that became known by fellow filmmakers, critics, and fans simply as “Lynchian.” This vision also reached his paintings, books, experiments with music and entrepreneurships.

    Lynch’s death was announced by his family on Facebook. “There’s a big hole in the world now that he’s no longer with us,” they wrote. “But, as he would say, ‘Keep your eye on the donut and not on the hole.’ It’s a beautiful day with golden sunshine and blue skies all the way.” While his family didn’t name a cause of death, Lynch announced in 2024 that he that he had been diagnosed with emphysema after a lifetime of smoking. According to Deadline, the director recently took a turn for the worse after having to evacuate his house during the Sunset Fire. In the wake of his passing, it’s only natural to take a look back at his prolific career and the impact he has had and continues to have in film, TV, and the arts as a whole.

    Born on January 20, 1946, in Missoula, Montana, Lynch jumped into the movie scene in 1977 with his debut film, Eraserhead. The macabre tone and subject matter turned it into a cult film among the midnight movie circuit. His breakthrough came with The Elephant Man (1980), a dark tale about a sideshow “freak” in Victorian England. This film earned him the first of his four nominations for Best Director at the Academy Awards.

    Lynch has long been renowned for his evocative, brooding creative vision, which mixed elements of surrealism with film noir and horror to create experimental narrative structures that inspired audiences to create their own meanings. There doesn’t seem to be an absolute consensus as to what is Lynch’s masterpiece — experts are divided between Blue Velvet (1986), a film that challenged the façade of the American Dream of the 80s; Twin Peaks (1990), the haunting TV series that would become a cornerstone for modern prestige television; and Mulholland Drive (2001), a neo-noir mystery that explores the dangerous allure of Hollywood and which earned Lynch the Best Director award at the 2001 Cannes Film Festival.

    In 2020, the auteur received an honorary Oscar for lifetime achievement. A couple of years later, he made his final appearance in a film in Steven Spielberg’s The Fabelmans, where he played director John Ford. “I loved David’s films,” Spielberg said in a statement to The Hollywood Reporter. “Blue Velvet, Mulholland Drive, and Elephant Man defined him as a singular, visionary dreamer who directed films that felt handmade. The world is going to miss such an original and unique voice. His films have already stood the test of time and they always will.”

    Following his death, tributes started pouring in quickly. Movie theaters around the world changed their marquees in his honor, and former collaborators expressed how much Lynch had meant to them.

    “It wasn’t just his art that impacted me — his wisdom, humor, and love gave me a special sense of belief in myself I’d never accessed before,” Naomi Watts, one of the stars of Mulholland Drive, wrote on Instagram. “Every moment together felt charged with a presence I’ve rarely seen or known. Probably because, yes, he seemed to live in an altered world, one that I feel beyond lucky to have been a small part of. And David invited all to glimpse into that world through his exquisite storytelling, which elevated cinema and inspired generations of filmmakers across the globe.”

    Kyle MacLachlan, who appeared in so many of Lynch’s projects that he became known as his “alter-ego” or his “stand-in,” thanked him for propelling his career, and mourned his dear friend. “What I saw in him was an enigmatic and intuitive man with a creative ocean bursting forth inside of him. He was in touch with something the rest of us wish we could get to,” the actor shared. “While the world has lost a remarkable artist, I’ve lost a dear friend who imagined a future for me and allowed me to travel in worlds I could never have conceived on my own.”

    RIP Sidney Poitier: Paying Tribute to the Trailblazing Actor Who Paved the Way for Black Performers in Hollywood

    Interview: Sandro Miller and John Malkovich Go Inside the Mind of David Lynch

    Animator Hayao Miyazaki Wins First Golden Globe at the Age of 82 for ‘The Boy and the Heron’

  • Severance season 2 review: a return that exceeds expectations

    Severance season 2 review: a return that exceeds expectations

    Severance: Season 2 Score Details

    “Severance returns with a second season that is even weirder, thornier, and addictive than its first.”

    Pros Striking, rich direction throughout A commanding ensemble of lead performances A thematically richer season-long story Cons Occasional pacing lulls A few head-scratching jumps in logic

    It’s been almost three full years since Severance wrapped up its first season. The Apple TV+ sci-fi drama about a group of workers who literally live two different lives between the office and home captured viewers’ imaginations when it debuted in 2022. There was its alluring, constant thrum of dystopian sci-fi mystery, sure, as well as conspiracies surrounding the show’s central, seemingly diabolical corporation that always seemed to lurk just beyond the edges of the frame. But there was also Severance’s pristine aesthetic and the high level of visual execution provided by directors Ben Stiller and Aoife McArdle that made looking away from it seem impossible.

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    The series also stuck the landing — delivering a breathless season 1 finale that left viewers anxious to see what would happen next. Making those same viewers wait three years for any kind of continuation has been a tough pill to swallow, one that has come with questions about whether or not Severance’s second season would be able to live up to the expectations raised by both its last episode and its prolonged hiatus. It wouldn’t be like Severance, though, a show that thrives on disorientation, to return with a second season that simply answered viewers’ questions. It is with a profound sigh of relief then to report that Severance season 2 doesn’t just live up to the hype, but that it does so while introducing new questions and expanding the series’ already thorny thematic landscape.

    Severance season 2 picks up where its predecessor left off — more or less. To say much about how the season’s first two episodes play out would be to spoil part of the pleasures of watching Severance’s return unfold, but it is enough to say that the season’s opening is split in two in a manner slyly befitting the series. The season’s premiere brings viewers back into the labyrinthine, oppressively fluorescent offices of Lumon Industries as severed hero Mark Scout’s (Adam Scott) innie is awoken and welcomed by Seth Milchick (Tramell Tillman), the Lumon henchman whose PR friendly smile somehow feels even more devious than it did before. Seth reveals that he has been promoted to supervisor of Lumon’s severed floor, replacing the scheming Harmony Cobel (Patricia Arquette), and introduces Mark to his new team of co-workers, which include Alia Shawkat and a prickly Bob Balaban.

    Mark, for his part, is desperate to reunite with his former team members, Dylan (Zach Cherry), Helly (Britt Lower), and Irving (John Turturro), and find out whether or not their overtime rebellion at the end of Severance season 1 has really had the impact Milchick says. At the top of his mind, of course, is also Ms. Casey (Dichen Lachman), the missing wellness counselor he discovered last season to be Gemma, his outie’s believed-to-be dead wife. Given the nature of TV, it shouldn’t be considered a spoiler to say that it doesn’t take long for both Mark and Severance to get the band back together. Once reunited with his team, Mark then sets out to find Ms. Casey and discover the truth of what happened to her in the outside world and why Lumon has been hiding it — and her — from his outie. His search leads him, Irving, Dylan, and Helly to new corners of the severed floor that beguile and delight, and which only make Severance’s debt to Twin Peaks all the more obvious. (Note: not a criticism.)

    Severance doesn’t rush to return to a recognizable status quo, though. Its new season begins with a nightmarish, reality-warping sequence that effectively hurls viewers back into its darkly funny, surreal world only to take its time from there on out. Questions are answered, though not always truthfully, and characters start to once again find new mysteries in the silences of others. Building off its season 1 finale’s game-changing revelations about Irving, Helly, and Burt (Christopher Walken), Severance season 2 invests more time in its characters’ outie lives. In doing so, the show gives itself more room to explore some of the same questions about the lines between our work and personal lives that it prompted in its first nine episodes, but it also presents interesting new dilemmas for viewers and its characters to consider. Mark, Helly, Dylan, and Irving’s innie selves are specifically forced to grapple with the fact that beating Lumon will almost certainly result in their own destruction.

    This possibility injects new dramatic tension into Severance exactly when it needs it most, and it allows the series to deepen its ideas about the people we are away from and at home, as well as the insidiousness of corporations that want us to value our work lives over our personal ones. In an early scene, Tillman’s Milchick convinces Mark’s outie self to resume his severance lifestyle by speaking positively about his innie’s office existence. “He’s found love,” Milchick reveals, referencing Mark and Helly’s season 1 kiss. Milchick paints a portrait of Mark’s innie life that is happier than his grief-stricken existence in the outside world and, therefore, worthier of living than the one he has at home. It’s a darkly affecting scene, and one that powerfully spotlights Lumon’s desire to make its workers feel as though they’ll find greater fulfillment in their halls than they ever could outside of them.

    All the while, Severance remains one of the most sharply composed, lit, and directed shows on TV. Every frame is precisely blocked, and the season’s directors, which include a returning Stiller, make greater, heightened use this time around of the shadows that permeate Severance’s chilly, snow-covered outside world. This aesthetic works in conjunction with the show’s overly bright interior office scenes to create not only a dynamic, striking visual look, but also a constant mood of corporate-driven intrigue. Severance season 1 standout Britt Lower, meanwhile, remains as compelling a screen presence as she was three years ago. She’s given even more room to play in Severance season 2, as she’s asked to explore further not just Helly, but also her potentially villainous outie self, Helena, the daughter of Lumon’s CEO.

    It is hard to watch Severance without thinking about the deteriorating state of America’s current corporate world. As work creeps closer and closer every year to completely taking over everyday people’s lives, Severance’s themes just grow more potent. That was the case when its first season was airing in 2022, and it is again three years later. The series is a modern TV rarity — a high-concept sci-fi drama that asks challenging questions without ever hitting you over the head with them. In its second season, it remains just as intelligent and thought-provoking, and it has returned to reclaim its spot among the best shows on television right now. Fingers crossed it won’t take another three years for it to do so again.

    The first episode of Severance season 2 is streaming now on Apple TV+. New episodes premiere weekly on Fridays.

  • ‘Oppenheimer’ and ‘1899’ Stars Cast as Supergirl’s Parents in DCU’s ‘Woman of Tomorrow’

    ‘Oppenheimer’ and ‘1899’ Stars Cast as Supergirl’s Parents in DCU’s ‘Woman of Tomorrow’

    Production on Supergirl: Woman of Tomorrow is underway, and the film has just cast the parents of the titular hero. Based on the DC Comic of the same name, Supergirl: Woman of Tomorrow will see House of the Dragon’s Milly Alcock in the lead role of Kara Zor-El, a.k.a. Supergirl in the DCU. The roles of Supergirl’s mom and dad have been cast, and they are fan favorites.

    The Hollywood Reporter revealed that David Krumholtz and Emily Beecham are set to play Supergirls’ parents. The rest of the cast includes Eve Ridley as Ruthie Marye Knoll, a young girl who hires Supergirl to hunt down the man who killed her father, Krem of the Yellows Hills, played by Rust and Bone’s Matthias Schoenaerts. Former Aquaman star Jason Momoa is set to play the intergalactic bounty hunter Lobo in the film.

    While the press release does not name the character, in the comics, Supergirl’s father and mother are named Zor-El and Alura, respectively. Krumholtz broke out as Bernard in 1994’s The Santa Clause and is also known for his work in iconic films like 10 Things I Hate About You, Addams Family Values, and recent Best Picture winner Oppenheimer. Beecham is best known for her roles in hit television series like Into the Badlands, The Pursuit of Love, and 1899. Both Krumholtz and Beecham previously appeared in Hail, Caesar!, yet the two did not share a scene.

    Zor-El and Alura were previously played by Simon Ward and Mia Farrow, respectively, in 1984’s Supergirl. Supernatural’s Christopher Heyerdahl played Zor-El on Smallville. Zor-El appeared on the CW Supergirl series, initially played by Robert Brant and then Jason Behr, but the series focused more on Kara’s relationship with her mother, Alura. Laura Benanti originally played Alura on Supergirl for Season 1, but following Season 2, the role was taken over by Erica Durance, who previously played Lois Lane on Smallville. Krumholtz and Beecham are stepping into a rich legacy by playing Supergirl’s parents, who are as important to the hero’s origins as Superman’s are to his.

    Supergirl’s Parents Might Have Big Roles in the DCU Close

    Krumholtz previously revealed how he tried to land the role of Ben Grimm / The Thing in the upcoming MCU movie The Fantastic Four: First Steps, but the studio instead cast Ebon Moss-Bachrach. While he missed out on joining the MCU, Krumholtz now gets to be a part of James Gunn’s growing DCU, and both he and Beecham could have big parts to play in Supergirl: Woman of Tomorrow as well as future films in the franchise. What’s fascinating is that the DCU has cast Supergirl’s Kryptonian parents, but no one has been confirmed to play Superman’s Kryptonian father and mother, Jor-El and Lara, in Superman or any future DCU projects.

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    In the comics, Zor-El is the brother of Jor-El, the father of Superman. While Zor-El and Alura save their daughter from Krypton’s destruction by putting her in a rocket – like how Superman was sent to Earth – in the original comics, Supergirl’s parents survived Krypton’s destruction and later live on New Krypton. In 2011’s New 52 reboot, Zor-El becomes an antagonist for his daughter as the Superman villain Brainiac transforms him into the Cyborg Superman. It is unclear if this element will be brought into Supergirl: Woman of Tomorrow or the DCU, but it creates an intriguing possibility for future stories. While Krumholtz and Beecham might not be household names, they are talented actors who add to the exciting ensemble that director Craig Gillespie is bringing together for the second DCU feature film.

    Supergirl: Woman of Tomorrow Superhero

    Release Date June 26, 2026 Director Craig Gillespie Cast Milly Alcock

  • UK theatre and film legend Joan Plowright dies, aged 95

    UK theatre and film legend Joan Plowright dies, aged 95

    Award-winning British actor Joan Plowright, who did much to revitalise the UK’s theatre scene in the decades after World War II, has died aged 95.

    In a statement on Friday, her family said Plowright died the previous day at Denville Hall, a retirement home for actors in southern England, surrounded by her loved ones.

    “She enjoyed a long and illustrious career across theatre, film and TV over seven decades until blindness made her retire,” the family said. “We are so proud of all Joan did and who she was as a loving and deeply inclusive human being.”

    Part of a generation of British actors, inlcuding Judi Dench, Maggie Smith and Eileen Atkins, Plowright won a Tony Award, two Golden Globes and nominations for an Oscar and Emmy.

    Maggie Smith died last September, aged 89.

    Plowright was also the wife of Laurence Olivier, a renowned English actor and director who died in 1989 at age 82.

    ‘Such a life’

    From the 1950s to the 1980s, Plowright racked up dozens of stage roles in everything from Anton Chekhov’s The Seagull to William Shakespeare’s The Merchant of Venice. She stunned in Eugene Ionesco’s The Chairs, and George Bernard Shaw’s totemic two female roles Major Barbara and Saint Joan.

    “I’ve been very privileged to have such a life,” Plowright said in a 2010 interview with publication The Actor’s Work.

    “I mean it’s magic and I still feel, when a curtain goes up or the lights come on if there’s no curtain, the magic of a beginning of what is going to unfold in front of me.”

    Theatres across West End in London will dim their lights for two minutes at 7pm on Tuesday in her honour.

    Born in Brigg, Lincolnshire, England, her mother ran an amateur drama group and Plowright was involved in the theatre from age 3.

    She was soon spending school vacations at summer sessions of university drama schools.

    After high school, she studied at the Laban Art of Movement Studio in Manchester, then won a two-year scholarship to the drama school at the Old Vic Theatre in London.

    Following her London stage debut in 1954, Plowright became a member of the Royal Court Theatre in 1956 and gained recognition in dramas written by the so-called Angry Young Men, such as John Osborne, who were giving British theatre a thorough airing-out.

    The new, rough-hewn, working-class actors like Albert Finney, Alan Bates and Anthony Hopkins were her peers.

    Plowright made her feature film debut with an uncredited turn in American director John Huston’s epic adaptation of Herman Melville’s Moby Dick in 1956, starring Gregory Peck as the obsessed Captain Ahab.

    A year later, she co-starred with her future husband Olivier in the original London production of Osborne’s The Entertainer. She played Olivier’s daughter in the work and the two reunited for the 1960 film adaptation.

    By then, Plowright’s marriage to British actor Roger Cage had ended, as had Olivier’s 20-year union with Vivien Leigh. Plowright and Olivier were married in Connecticut in 1961, while both were starring on Broadway, he in Becket and she in A Taste of Honey, for which she won a Tony.

    One love letter Olivier sent summed up his love: “I sometimes feel such a peacefulness come over me when I think of you, or write to you — a gentle tenderness and serenity. A feeling devoid of all violence, passion or shattering longing … it makes me go out into the street with a smile on my face and in my heart for everybody.”

    Plowright enjoyed a career resurgence at the age of 60, doing a mixture of more upmarket productions and commercial fare.

    She was in Franco Zeffirelli’s version of Charlotte Brontë’s Jane Eyre in 1996 and the Merchant-Ivory production of Surviving Picasso, as well as starring as the stalwart nanny in Disney’s live-action remake of 101 Dalmatians in 1996 with Glenn Close.

    She starred opposite Walter Matthau in the big screen adaptation of the classic comic strip Dennis the Menace, and made a brief appearance in the Arnold Schwarzenegger self-referencing satire Last Action Hero in 1993.

    Rare accolades

    Plowright became one of only a handful of actors to win two Golden Globes in the same year, in 1993, when she won the supporting actress TV award for Stalin and the supporting actress movie award for Enchanted April.

    For the latter, which told the story of a group of Britons finding their lives transformed on a vacation to Italy, she received her sole nomination for an Academy Award.

    A prominent role in later life was keeper of the Olivier flame — bestowing awards, defending her husband in the press and curating his letters.

    “That is my choice because I was privileged to live with him,” she told The Daily Telegraph in 2003. “When someone who has had such fame and idolatry and worship goes, then there’s bound to be a backlash which comes the other way and you get a bit sick of that. Mine was really trying to put things straight.”

    Plowright is survived by her three children — Tamsin, Richard and Julie-Kate, all actors — and several grandchildren.

  • Greta Gerwig’s Narnia Reboot Sets IMAX Release Date Ahead of Netflix Debut

    Greta Gerwig’s Narnia Reboot Sets IMAX Release Date Ahead of Netflix Debut

    Following the success of Barbie in 2023, Greta Gerwig’s upcoming project will be a new retelling of The Chronicles of Narnia. Gerwig will collaborate with Netflix for the upcoming reboot and has scored a major win for it to receive a wide release.

    Initially supposed to be released on Netflix, IMAX has reportedly expressed interest in screening the upcoming adaptation of Narnia. The deal might’ve been difficult, considering Netflix’s policy on theatrical releases but, after months of negotiations, the movie will be officially heading to IMAX. Per Variety, Narnia will be exclusively released on Imax’s screens worldwide two weeks in advance before the movie’s wide release on Netflix. The Narnia film will premiere on Netflix on Christmas 2026, with an Imax release on Thanksgiving Day of the same year.

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    The popular C.S. Lewis fantasy series has been previously adapted before and Greta Gerwig is set to reboot the series on a big budget. Netflix agreeing to release films in IMAX is a rarity, considering that the streaming service usually opts for limited release for its titles in order to qualify for awards, like Emilia Perez and Maria, but mostly keeps all the films on its platform.

    The upcoming Narnia adaptation has been in development for a long time. Netflix announced the plans to develop a new TV series and film project based on the series in 2018. Gerwig joined the project in 2023, and her deal would include directing at least two Narnia films.

    In the fall of 2024, news broke out that IMAX and the Oscar-nominated filmmaker were looking into a theatrical release for the upcoming adaptation, but nothing could guarantee that Netflix would agree to it. Netflix reportedly intends to adapt all seven of Lewis’ books in the eponymous series, reportedly committing a $175 million budget to the first movie. Prior to the announcement, Gerwig was reportedly “bummed” over Netflix’s release plans, but the Imax news is exciting for the first installment, as well as the rest of the series.

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    Daniel Craig also reportedly clashed with Netflix over the release of his Knives Out sequel, Glass Onion: A Knives Out Mystery. The director wanted the sequel to head to theaters, just like the first installment, and reportedly told Netflix co-CEO Ted Sarandos that directly. The sequel received a limited release in more than 600 theaters for a week in 2022, but the actor wanted more.

    The Chronicles of Narnia Have Been Adapted Before

    While Netflix is currently hoping Narnia will become its latest hit on the platform, this will be hardly the first time the seven books have been adapted. The first time C.S. Lewis’ novels received an adaptation was in 1967, when the first installment, The Lion, the Witch and the Wardrobe, was adapted into a ten-episode series. The same novel was adapted again in 1979 as an animated special. From 1988 to 1990, several parts of the fantasy series were turned into three BBC TV serials, based on the first four novels.

    Close

    The Chronicles of Narnia has also been adapted to the big screen. Between 2005 and 2010, Disney and 20th Century Fox adapted the first three novels out of the seven-book series, The Lion, the Witch and the Wardrobe, Prince Caspian, and The Voyage of the Dawn Treader. All three films grossed over $1.5 billion worldwide, although they had less commercial and critical success with each installment. There were plans for a fourth film but were abandoned once Netflix purchased the rights for a new adaptation.

    Source: Variety

    The Chronicles of Narnia

    Created by C.S. Lewis

    First Film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

    Latest Film The Chronicles of Narnia: The Voyage of the Dawn Treader

    First TV Show The Lion, The Witch and the Wardrobe

  • Navigating Health and Hope: The Biden Administration’s Bold Step in Drug Price Reforms and Huntington’s Breakthroughs Illuminate a Path Forward

    Navigating Health and Hope: The Biden Administration’s Bold Step in Drug Price Reforms and Huntington’s Breakthroughs Illuminate a Path Forward

    In the bustling corridors of Washington power—where political machinations often eclipse the tangible concerns of everyday citizens—a significant stride has been taken towards alleviating the financial burden of critical medications for older Americans. The Biden administration has announced the inclusion of popular weight loss and diabetes medications, such as Ozempic and Wegovy, in Medicare’s price negotiations, marking a pivotal moment in healthcare policy. This initiative is set against the backdrop of a historical reluctance by Medicare to engage in price negotiations—a hesitation now challenged by new legislative avenues that aim to thrust the government into the role of negotiator.

    With the baton soon to be passed to the Trump administration, the price negotiations for these 15 newly added drugs will be a litmus test of bipartisan commitment to curbing prescription costs. These include, besides Ozempic and Wegovy, Trelegy Ellipta for asthma and Otezla for psoriatic arthritis, along with several cancer treatment drugs. Should negotiations unfold successfully, it promises billions in savings for taxpayers—a fiscal boon much desired in these times of economic uncertainty.

    As U.S. Health and Human Services Secretary Xavier Becerra noted, “Some folks have to skip a dose in their prescription so they can make a prescription last longer.” This stark reality underscores the pressing necessity for such reforms. These drugs alone represent a third of Medicare’s prescription expenditure—a testament to their cost. Yet the issue is not without its complexities. Current legislation prevents Medicare from covering anti-obesity treatments, thus limiting access for enrollees needing these drugs for weight loss.

    The fruits of these negotiations—a direct result of a law passed by a Democratic majority and signed by President Joe Biden—are expected to materialize by 2026. The law’s intent is to create a negotiation precedent for the most financially burdensome prescriptions, a prospect faced with resistance from pharmaceutical companies. Even as legal battles loom, there’s a clear message from advocacy groups like the AARP, which states, “For too long, big drug companies have padded their profits by setting outrageous prices at the expense of American lives.”

    It’s a narrative of hope and skepticism. The potential $6 billion in savings for taxpayers and $1.5 billion for Medicare enrollees is significant, yet the efficacy of these negotiations in actually lowering the price landscape remains to be seen. And as with any policy hinged on political goodwill, the future of prescription affordability may ride the unpredictable waves of election cycles and administrative priorities.

    Meanwhile, in the realm of medical science, researchers have taken a giant leap in understanding Huntington’s disease—a hereditary disorder characterized by the gradual breakdown of nerve cells in the brain. The breakthrough discovery by scientists from the Broad Institute of MIT and Harvard has illuminated the enigmatic nature of how the genetic mutation associated with Huntington’s remains benign for decades before suddenly wreaking havoc through toxic protein production.

    Dr. Mark Mehler from the Albert Einstein College of Medicine hails the research as a “landmark” study, addressing long-standing conundrums of the disorder’s delayed onset. It’s a scientific voyage that charts the silent accumulation of CAG repeats in DNA, lying dormant until the mutation crosses a detrimental threshold. The findings could potentially shift the trajectory of therapeutic strategies—from targeting protein levels to intervening in the genetic expansion process.

    The ripples of these discoveries extend beyond academic circles and into the lives of thousands afflicted by this incurable disease. While experimental drugs have faltered in trials, the new path illuminated by these findings offers hope for future breakthroughs.

    In another corner of health discussions, as thinning hair becomes an increasingly common concern, experts encourage a shift from topical remedies to dietary introspection. The foods we consume—rich in biotin, zinc, omega-3 fatty acids, and other vital nutrients—play a critical role in hair vitality. Registered dietitian Kim Yawitz emphasizes, “More and more men are embracing an inside-out approach to grooming and self-care, and that includes eating more foods that are reported to help with hair growth.”

    While genetics, lifestyle, and age certainly cast long shadows over hair health, a nutrient-rich diet can provide a much-needed counterbalance. Foods like fatty fish, almonds, eggs, and bell peppers are not only linked to hair growth but also offer myriad health benefits, making them worthy additions to any dietary regimen.

    These revelations across the health spectrum, from policy-driven price negotiations to scientific advancements and dietary insights, highlight the intersection where everyday lives meet the broader tapestry of societal and scientific progress. Each step, whether in negotiating drug prices or unraveling genetic mysteries, nudges us closer to a future where health equity and understanding are more than mere aspirations.

  • Unraveling the Threads of Life: The Fight Against Genetic Time Bombs, Hidden Health Battles, and Bold Public Health Moves

    Unraveling the Threads of Life: The Fight Against Genetic Time Bombs, Hidden Health Battles, and Bold Public Health Moves

    As the dawn of a new year brings with it resolutions and reflections, science and health stories have taken center stage—each narrative shedding light on the complexities and challenges of human resilience. In labs and clinics, from sobering diagnoses to groundbreaking discoveries, tales unfold of battles fought within the body and mind, each urging us to confront our mortality with courage and determination.

    In a landmark study, researchers at eminent institutions like the Broad Institute of MIT and Harvard have finally unveiled a piece of the Huntington’s disease puzzle—an enigmatic condition that stealthily resides in one’s genetic makeup, only to reveal its devastating hand decades later. The study delves into the intricate dance of DNA, where the harmless CAG repeats in a specific gene slowly expand, eventually reaching a deadly crescendo. “The conundrum in our field has been: Why do you have a genetic disorder that manifests later in life if the gene is present at conception?” mused Dr. Mark Mehler, emphasizing the monumental implications of these findings.

    This discovery opens a door to potential strategies aimed at halting these insidious DNA expansions, offering a glimmer of hope in delaying, or maybe even preventing, the inevitable onset of Huntington’s for the 41,000 affected Americans. Yet, as researchers embark on this promising path, they caution that the road is long, with no guarantees—urging perseverance and innovation in the quest for a cure.

    In stark contrast to the clinical and genetic conversations, personal stories of health battles resonate deeply. Kwame Appiah, a familiar face from the reality show “Love Is Blind,” recently shared a sobering update with his fans. Diagnosed with ulcerative colitis—a relentless inflammatory bowel disease—Appiah’s journey from dismissing innocuous symptoms to confronting a full-blown health crisis serves as a powerful reminder of the fragility of health. “Small things can lead to big problems if we ignore them,” Appiah warns, advocating vigilance and awareness in managing one’s well-being.

    Meanwhile, in the public health domain, U.S. Surgeon General Vivek Murthy’s call for cancer warnings on alcoholic beverages has ignited passionate discussions. Alcohol, a pervasive and socially accepted substance, is under scrutiny for its undeniable link to cancer—a link that Edith Langford knows all too well, having witnessed alcohol-related cancers ravage her own family. Langford lauds Murthy’s audacious stance as a necessary step towards breaking the silence surrounding alcohol’s darker truths. “Alcohol is a psychoactive drug that suppresses the central nervous system,” she states, urging a collective awakening to its potential harm.

    Murthy’s endeavor, though likely hindered by powerful industry forces, aims to foster mindful consumption and awareness—a noble pursuit that resonates with those whose lives are marred by alcohol’s destructive wake.

    As these stories unfold, they collectively echo a crucial message: Knowledge can empower, awareness can protect, and each step, however small, can be pivotal in mitigating the adversities our bodies and minds may face. Be it through scientific breakthroughs, personal testimonials, or public health advocacy, the narrative is clear—our health journeys are intertwined with our choices, vigilance, and the relentless pursuit of understanding.