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  • ‘Daredevil: Born Again’ Trailer: Charlie Cox Battles Vincent D’Onofrio’s Kingpin in Long-Awaited Disney+ Series

    ‘Daredevil: Born Again’ Trailer: Charlie Cox Battles Vincent D’Onofrio’s Kingpin in Long-Awaited Disney+ Series

    Ten years after Charlie Cox first led the Netflix series “Daredevil,” the actor is finally back as Matt Murdock AKA the titular MCU superhero.

    Cox leads Disney+ series “Daredevil: Born Again,” which brings back the entire core cast of the Netflix show. Vincent D’Onofrio returns as Wilson Fisk AKA the Kingpin, with Deborah Ann Woll and Elden Henson reprising their own respective roles. Netflix’s “Daredevil” was canceled in 2018 after three seasons. Even Jon Bernthal, who led his own standalone Netflix Marvel series “The Punisher,” is back in character.

    Michael Gandolfini additionally makes his MCU debut, with Ayelet Zurer, Margarita Levieva, Zabryna Guevara, Nikki James, Genneya Walton, Arty Froushan, and Clark Johnson rounding out the cast.

    The official synopsis for “Daredevil: Born Again” reads: “Cox plays a blind lawyer with heightened abilities, who is fighting for justice through his bustling law firm, while former mob boss Wilson Fisk (D’Onofrio) pursues his own political endeavors in New York. When their past identities begin to emerge, both men find themselves on an inevitable collision course.”

    The 18-episode Disney+ series underwent a creative overhaul and reshoots.

    Cox previously told NME that he was “fascinated to discover why” the first season has so many episodes, the first of its kind for any Disney+ show.

    “I’m imagining there’s going to be an element to it that is like the old-school procedural show. Not necessarily case-of-the-week, but something where we go really deep into Matt Murdock the lawyer and get to see what his life is like,” Cox said. “If that’s done right and he really gets his hands dirty with that world, I think there’s something quite interesting about that.”

    He added, “My opinion is this character works best when he’s geared towards a slightly more mature audience. My instinct is that on Disney+ it will be dark but it probably won’t be as gory,” Cox said. “We’ve done that. Let’s take the things that really worked, but can we broaden? Can we appeal to a slightly younger audience without losing what we’ve learned about what works?”

    Cox has also played Daredevil in series “She-Hulk: Attorney at Law” and “Echo,” as well as the film “Spider-Man: No Way Home.”

    Dario Scardapane is the “Daredevil: Born Again” showrunner. Episodes are directed by Justin Benson and Aaron Moorhead, Michael Cuesta, Jeffrey Nachmanoff, and David Boyd. The executive producers are Kevin Feige, Louis D’Esposito, Brad Winderbaum, Sana Amanat, Chris Gary, Dario Scardapane, Matt Corman, Chris Ord, Justin Benson, and Aaron Moorhead.

    “Daredevil: Born Again” premieres at 6 p.m. PT/9 p.m. ET on March 4 on Disney+. Check out the trailer below.

  • Scammer uses AI to pose as Brad Pitt, tricks woman into sending $850,000

    Scammer uses AI to pose as Brad Pitt, tricks woman into sending $850,000

    Facepalm: Not for the first time, someone has been duped into believing they were conversing with a celebrity online and sent them money. The victim in this instance was a 53-year-old French woman, who sent $850,000 to a scammer that used AI-generated content to convince her she was in a relationship with Hollywood star Brad Pitt.

    The woman, an interior designer named Anne, was lured in after being messaged by an account that claimed to be run by Pitt’s mother, Jane Etta Pitt. The person made contact after Anne shared photos of her ski trip to Tignes on Instagram.

    “She told me that her son needed someone like me,” Anne said, according to France 24.

    Anne said she initially believed the account was a fake, “but I’m not used to social media and I didn’t really understand what was happening to me.”

    A day later, an account claiming to be Brad Pitt sent Anne another message, saying his mother had spoken about her a lot.

    The pair struck up an online relationship over the next two years. The scammer sent photos and videos that were likely a mix of AI and simple Photoshop edits – a lot of them are very unconvincing. Requests for money came when the person told Anne she was being sent luxury handbags but needed to pay the customs bill, the first being €9,000 ($9,272).

    The scammer, who also sent Anne (almost certainly AI-generated) poetry, eventually created a story about the actor having kidney cancer.

    The fake Pitt said he could not access his funds to pay for the cancer treatment due to an ongoing divorce battle with Angelina Jolie, appealing to Anne to help with the costs. They also sent her AI-generated images of Pitt in a hospital bed. Anne agreed to the request and sent a large sum of money.

    “There are so few men who write such things. I liked the man I was talking to and he knew how to talk to women,” she reportedly told local media.

    Eventually, the fake Pitt asked Anne to marry him. She only realized she had been the victim of a scammer after seeing a news story on Pitt’s relationship with Ines de Ramon. Anne contacted the authorities but was unable to recover any of the $850,000 she had sent to the scammer.

    Advancements in generative AI have made romance scams even more convincing. The fake Pitt in this instance always said he was too busy with work to speak to Anne on the phone, which is a common tactic even though AI can now generate convincing, real-time conversations.

    It’s reported that Anne suffers from mental health problems and had been hospitalized for severe depression. France 24 noted that the official Netflix France account referenced the case, posting a message that promoted “four films to see with Brad Pitt (really) for free.”

    In September, five people were arrested in Spain for pretending to be Pitt and persuading two women, via WhatsApp and email messaging, to invest in fake projects.

  • Drake sues Universal Music for defamation amid feud with Kendrick Lamar over diss track ‘Not Like Us’

    Drake sues Universal Music for defamation amid feud with Kendrick Lamar over diss track ‘Not Like Us’

    NEW YORK (AP) — A hip-hop superstar beef was cranked up another notch Wednesday when Drake sued Universal Music Group for defamation over rival Kendrick Lamar’s diss track “Not Like Us.”

    The lawsuit, filed in federal court in New York City, alleges UMG — the parent record label for Drake and Lamar — published and promoted the track even though it included false pedophilia allegations against Drake and suggested listeners should resort to vigilante justice. Lamar is not named in the suit.

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    The result, the suit says, was intruders shooting a security guard and two attempted break-ins at Drake’s Toronto home, online hate and harassment, a hit to his reputation and a decrease in his brand’s value before his contract renegotiation with UMG this year.

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    “The lawsuit is not about the artist who created ‘Not Like Us,’” the lawsuit says, referring to Lamar. “It is, instead, entirely about UMG, the music company that decided to publish, promote, exploit, and monetize allegations that it understood were not only false, but dangerous.”

    The suit later alleges, “UMG did so because it understood that the Recording’s inflammatory and shocking allegations were a gold mine.”

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    And, the suit claims, the music company has made large investments and used its connections to arrange for “Not Like Us” to be performed at next month’s Super Bowl, where Lamar will be the halftime entertainment.

    The lawsuit, which is seeking a trial and an undisclosed amount of money for damages, also repeated allegations in other legal filings that UMG falsely pumped up the popularity of “Not Like Us” on streaming services.

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    The track is nominated for five Grammys, including record of the year and song of the year.

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    UMG disputed the lawsuit’s allegations in a statement Wednesday afternoon.

    “Not only are these claims untrue, but the notion that we would seek to harm the reputation of any artist — let alone Drake — is illogical,” the company said. “We have invested massively in his music and our employees around the world have worked tirelessly for many years to help him achieve historic commercial and personal financial success.”

    The company added: “Throughout his career, Drake has intentionally and successfully used UMG to distribute his music and poetry to engage in conventionally outrageous back-and-forth ‘rap battles’ to express his feelings about other artists. He now seeks to weaponize the legal process to silence an artist’s creative expression and to seek damages from UMG for distributing that artist’s music. “

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    Representatives for Lamar did not respond to emails seeking comment.

    The feud between Drake, a 38-year-old Canadian rapper and singer and five-time Grammy winner whose full name is Aubrey Drake Graham, and Lamar, a 37-year-old Pulitzer Prize winner, is among the biggest in hip-hop in recent years, with two of the genre’s biggest stars at its center.

    The two were occasional collaborators more than a decade ago, but Lamar began taking public jabs at Drake starting in 2013. The fight escalated steeply last year.

    Drake’s lawyers, from New York-based Willkie Farr & Gallagher, said the lawsuit seeks to hold UMG accountable for knowingly promoting false and defamatory allegations against him. They said the shooting and break-in attempts at Drake’s home, and the online vitriol, prompted him to move his family out of the house, and that he fears for his and their safety.

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    “Beginning on May 4, 2024 and every day since, UMG has used its massive resources as the world’s most powerful music company to elevate a dangerous and inflammatory message that was designed to assassinate Drake’s character, and led to actual violence at Drake’s doorstep,” the law firm said in a statement.

    “This lawsuit reveals the human and business consequences to UMG’s elevation of profits over the safety and well-being of its artists, and shines a light on the manipulation of artists and the public for corporate gain,” it said.

  • ‘Severance’ Creator Teases Season 2 Reveals: “People Deserve Some Answers”

    ‘Severance’ Creator Teases Season 2 Reveals: “People Deserve Some Answers”

    Dan Erickson, the creator and executive producer of the compelling Apple TV+ sci-fi drama Severance, is still fairly tight-lipped about what revelations Season 2 has in store for fans. But that doesn’t mean he isn’t above teasing a few details about where the narrative is going.

    In an interview with Entertainment Weekly, Erickson acknowledged the hunger for information on the part of the viewers, and promised that answers to some questions are definitely coming — but also warned that those answers will lead to other questions. He said:

    “People deserve some answers, but at the same time, you can take the magic out of something by answering it too quickly or explaining it too completely. And so we were trying to hit that balance… It takes a lot of work, but I’m very happy with what we came up with for Season 2.”

    So, what exactly will we learn this season? Erickson hinted that audiences will find out a bit more about what the Lumon Corporation is actually up to. “We do get to explore other parts of the severed floor that were glimpsed in season 1… And I think people are going to be excited to see more of that and start to get a sense of the bigger tapestry of what’s going on on that floor.”

    Erickson also said that Milchick (Tramell Tillman) will play a bigger role in the upcoming season, and that this particular character has had quite the journey since his initial inception. He was written more as a second banana to Patricia Arquette’s Cobel, but once Tillman began speaking the lines, the character took on a life of his own.

    Erickson Loves All the “Kooky” Fan Theories About the Show Close

    As far as the numerous fan theories out there, Erickson admits he is painfully up-to-date on all of them, as surfing Reddit for theories and fan art is one of his favorite pastimes. Some of the theories even get fairly close to the actual trajectory of the series.

    “I love all of them and some of them are kooky, but the show is kooky, so it makes sense,” he explained. “I would not say that I’ve seen anybody get it totally right… I don’t think that I’ve seen anything where I’m like, ‘Oh God, they got it. Time to leave the country and change my name.’”

    Related Everything to Remember About ‘Severance’ Before Season 2

    After a three-year hiatus, there are a handful of key points about ‘Severance’ that viewers will want to remember.

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    Erickson even said some of the theories were so good, he wished he could deviate from the already mapped-out course to try the idea. “I’ll see a theory, and I’ll be like, ‘That’s such a good idea, I wish that we were doing that.’ But at the end of the day, we know what we’re doing, and the job is just to continue in that story.”

    Severance will return to Apple TV+ on Jan. 17, 2025. For those who are curious but aren’t currently subscribed to the streaming service, Apple has made the entire first season available to stream for free via Roku until Jan. 19.

    Severance TV-MA DramaMystery Sci-Fi Release Date February 18, 2022 Cast Adam Scott , Britt Lower , Zach Cherry , Tramell Tillman , Jen Tullock , Dichen Lachman , Michael Chernus , John Turturro , Christopher Walken , Patricia Arquette , Sarah Bock , Marc Geller , Michael Cumpsty Seasons 2 Writers Dan Erickson Streaming Service(s) AppleTV+ Directors Ben Stiller Expand

  • Country Star Orville Peck Sets Broadway Debut in ‘Cabaret’ — Will He Unmask?

    Country Star Orville Peck Sets Broadway Debut in ‘Cabaret’ — Will He Unmask?

    Dave Quinn is a Senior Editor for PEOPLE. He has been working at the brand since 2016, and is the author of the No. 1 New York Times best-selling book, Not All Diamonds and Rosé: The Inside Story of the Real Housewives from the People Who Lived It.

    Broadway’s Tony Award-winning revival of Cabaret at the Kit Kat Club has a new Emcee, and it looks to be a role that’ll be very revealing for the star playing him.

    On Wednesday, Jan. 15, producers announced that queer country star Orville Peck will step into the shoes of the leading character in director Rebecca Frecknall’s production of the landmark 1966 musical, currently running at the August Wilson Theatre in New York City.

    It’s a milestone moment for the South African-born, Canadian-raised singer, who makes his Broadway debut in the production. And it just might be a milestone moment for fans of Peck’s, too.

    In his professional performance career, the deep-voiced crooner has famously concealed his face a different mask each time he performed, a move he said he started as a nod to the troupe of the country outlaw. And though the Emcee wears many masks himself in Cabaret, they’re more metaphorical, begging many to wonder whether Peck will ditch his trademark anonymity when he takes the stage by showing his face.

    Fans will have to wait until this Spring to see it for sure. The 37-year-old begins performances on Monday, March 21. His limited 16-week engagement wraps on Sunday, July 20.

    Joining him in the production will be Grammy winning theater star Eva Noblezada, currently treading the boards in The Great Gatsby. She’ll play Sally Bowles, the fictional English singer who performs at the Emcee’s Kit Kat Club.

    Adam Lambert and Auli’i Cravalho, who are currently in the roles, will play their final performances in the production on Saturday, March 29.

    Prior to launching his wildly successful musical career, Peck studied acting at the London Academy of Music and Dramatic Art (LAMDA) and worked in classical theater on London’s West End.

    “The Emcee has been my dream role since I was a teenager,” said Peck, in a statement released Wednesday. “The nature of the character allows for complete freedom of individual expression. It can be portrayed through such a vast range of emotions, perspectives, and performance styles. That kind of freedom is every actor’s dream.”

    “I truly cannot believe I’m getting to make my Broadway debut in one of my favorite shows and in probably my favorite role in all of musical theater,” he added. “I grew up in the theater. I was a working actor and a dancer for many years before I started making music. I did the hustle, and the struggle, for a long time, trying to make things happen for myself. But it taught me so much of who I am as a performer and a person, so it feels very full circle to be making a return to it at this point in my career.”

    Noblezada, who wraps her run as ‘Daisy Buchanan’ in The Great Gatsby on Jan. 30., also expressed her excitement about the role.

    “While studying musical theater in school, Cabaret always stood out,” the 28-year-old, two-time Tony nominee said. “I was, and am, amazed by the lineage of theater royalty who have been in the show. And Sally Bowles to me is simply… fascinating. She is like a totally conscious child who is also completely unhinged. Almost clownish. But real and raw and in your face. And that character amidst and against that backdrop of such an evil reality is painfully surreal.”

    “I am totally psyched to start learning more,” she said. “And I am ready to be as submissive as possible to the iconic world that is Cabaret.”

    Cabaret at the Kit Kat Club originally opened on April 2024, with Eddie Redmayne and Gayle Rankin.

    Based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 novel Goodbye to Berlin by Christopher Isherwood, the musical follows fictional American writer Clifford Bradshaw as he moves to Berlin amid the rise of the Nazi party. His observations about the eccentric characters that populate the Kit Kat Club provide the groundwork for both the musical and his future novel.

    The musical has long been a success both on the stage and screen, first hitting Broadway in 1966. before being turned into the 1972 film of the same name starring Oscar-winner Liza Minnelli as Sally. It was revived on Broadway in 1998 and in 2014, both with Alan Cumming as the Emcee.

    A score, by Kander & Ebb, is made up of a string of songs that have become musical theater mainstays, like “Willkommen,” “Don’t Tell Mamma,” “Mein Herr,” “Two Ladies,” “Tomorrow Belongs to Me,” “Money,” “Maybe This Time” and, of course, “Cabaret.”

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    The production also stars two-time Tony Award winner and 2024 Tony Award nominee Bebe Neuwirth, Calvin Leon Smith as ‘Clifford Bradshaw,’ 2024 Tony Award nominee Steven Skybell as ‘Herr Schultz;’ Henry Gottfried as ‘Ernst Ludwig,’ and Michelle Aravena as ‘Fritzie/Kost.’

    Other stars in the cast include Gabi Campo as ‘Frenchie,’ Ayla Ciccone-Burton as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Kayla Jenerson as ‘Rosie,’ Marty Lauter as ‘Victor,’ Loren Lester as ‘Herman/Max,’ David Merino as ‘Lulu,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ and Paige Smallwood. Maya Bowles, Hannah Florence, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban are swings.

  • Good Omens creator Neil Gaiman denies allegations of sexual assault

    Good Omens creator Neil Gaiman denies allegations of sexual assault

    Note: The following article contains discussion of sexual misconduct allegations.

    Good Omens creator Neil Gaiman has denied allegations of sexual assault from multiple women.

    The author has been subject to claims from eight women in a piece published by New York Magazine this week, four of whom previously spoke out in Tortoise Media’s podcast series Master in 2024.

    Gaiman has now released a statement on his website addressing the allegations, writing: “Over the past many months, I have watched the stories circulating the internet about me with horror and dismay.

    “I’ve stayed quiet until now, both out of respect for the people who were sharing their stories and out of a desire not to draw even more attention to a lot of misinformation.”

    Gaiman noted that he “half-recognises” some moments that are recounted in the claims, but said others “emphatically did not happen”.

    “I’m far from a perfect person, but I have never engaged in non-consensual sexual activity with anyone. Ever,” he categorically stated.

    Gaiman said he has re-read the messages he exchanged with the women, claiming they “read now as they did when I received them – of two people enjoying entirely consensual sexual relationships and wanting to see one another again”, adding that at the time “they seemed positive and happy on both sides”.

    “I also realise, looking through them, years later, that I could have and should have done so much better,” he continued. “I was emotionally unavailable while being sexually available, self-focused and not as thoughtful as I could or should have been.”

    He went on to say that he regrets being “careless” and “selfish” when it came to people’s feelings towards him, and has spent months “trying to do the work needed” to learn from his past actions.

    “To repeat, I have never engaged in non-consensual sexual activity with anyone,” he concluded. “Some of the horrible stories now being told simply never happened, while others have been so distorted from what actually took place that they bear no relationship to reality.

    “I am prepared to take responsibility for any missteps I made. I’m not willing to turn my back on the truth, and I can’t accept being described as someone I am not, and cannot and will not admit to doing things I didn’t do.”

    Gaiman was the subject of a complaint about sexual assault to New Zealand police in 2023, though this was dropped.

    Following the release of the Tortoise podcast, a number of Gaiman projects were affected, with Good Omens season 3 having its production halted. Gaiman subsequently stepped away from the show and the season has been turned into a 90-minute special.

  • Daredevil: Born Again trailer gives first look at Bullseye, Punisher, Vanessa comebacks

    Daredevil: Born Again trailer gives first look at Bullseye, Punisher, Vanessa comebacks

    The trailer focuses in on a conversation between Daredevil and Kingpin, as they survey how each other has “gone up in the world”.

    Of course, following the end of Echo, Kingpin is now the mayor of New York City, with his face plastered across billboards.

    While Daredevil speaks to Kingpin about how he stopped being a vigilante, he establishes that “the city can’t go unchecked” as violence erupts, and we see the likes of Frank Castle AKA Punisher (Jon Bernthal) and Benjamin Poindexter AKA Bullseye (Wilson Bethel) coming to cause more chaos.

    Although the trailer prominently shows the meeting between Kingpin and Daredevil, Cox revealed he wanted to minimise the amount of scenes he had with D’Onofrio, to maximise their impact when they do happen.

    He told Entertainment Weekly: “I believe you have to be really careful when and how you bring these two people into the same room because we have to feel like when they meet, it is an unstoppable force meeting an immovable object.

    “It has to feel like it could and will explode. The more you bring us together with no consequence, the less that illusion can maintain itself.”

    One more thing’s for certain – much like the Netflix show, the trailer absolutely does not hold back on the violence, with brutal stabbings, a literal hatchet job, and an abominable leg crunch.

    As we say, we’re so back!

  • Drake Sues Universal Music for Defamation in Kendrick Lamar Song

    Drake Sues Universal Music for Defamation in Kendrick Lamar Song

    The rap artist Drake has sued Universal Music Group NV for defamation in US federal court, accusing the company of putting his life in danger by releasing and promoting a song by his rival and labelmate Kendrick Lamar.

    In a complaint filed in the Southern District of New York on Wednesday, Drake — whose given name is Aubrey Drake Graham — detailed multiple incidents of violence that occurred at his home in Toronto last spring after Universal released Lamar’s so-called diss track “Not Like Us.” The song, which was part of a high-profile public dispute carried out through a barrage of releases from the two artists, “falsely accuses Drake of being a pedophile and calls for violent retribution against him,” according to the complaint.

  • Wolf Man Review – IGN

    Wolf Man Review – IGN

    Invisible Man director’s latest spin on a Universal Monster prioritizes craft over story.

    There’s a shot in Wolf Man that’s so good, it’s used twice. A parent and child – first father and son, then mother and child – are hiding in a hunter’s deer blind in the damp Oregon woods, cowering from an unseen threat. We hear the titular creature growling and panting as it approaches, until it’s inches away on the other side of a waist-high wooden door. It’s so close, in fact, that the steam from its breath wafts up over the top. Director Leigh Whannell frames the shot like a landscape, with the door as the horizon. The image is eerie and beautiful, and the closest we’ll get to the beast for quite a while.

    We’ll see plenty of the monster later on, both in its original incarnation and as family man Blake Lovell (Christopher Abbott) mutates after an attack. Whannell’s approach to the transformation scenes – a centerpiece of any werewolf movie – is clever, as is typical for the Australian screenwriter-turned director who helped launch the Saw and Insidious franchises before rebooting The Invisible Man in 2020. Blake devolves scene by scene, rather than all at once, eliminating any unconvincing transitional moments. First, he breaks out in a red, painful rash. Then his jaw shifts into an underbite. Then, the fangs. The final form of this Wolf Man is unique as well, part Bigfoot and part burn victim.

    Most interestingly, Whannell reimagines lycanthropy from a curse to a disease, sending the affected into a green-and-purple delirium that’s a bit like The Further in the Insidious movies. This fresh take on werewolf lore is one strength of Whannell’s version of The Wolf Man. Another is his knack for inventive, robotically precise camera movements. The sound design is excellent as well, which goes a long way towards adding tension to multiple scenes of characters standing at the end of dark hallways holding their breath. (On the negative side, all that visual gloom means this is one of those movies that’ll be hampered by any theater that hasn’t properly balanced the contrast and brightness of its projectors.)

    Then we must turn to the story. After a documentary-style title card informing the viewer of a Pacific Northwest phenomenon Indigenous people call “the face of the wolf,” an opening sequence takes us back to 1995, where a rugged survivalist and his son are terrorized by a canine creature that walks on two feet, leading to the cool shot mentioned above. Fast-forward to 2025 San Francisco, where that kid has become one of those “soft” “soyboys” that so enrage certain people on the internet. Blake even stays at home raising his daughter Ginger (Matilda Firth) while his wife Charlotte (Julia Garner) rather improbably provides for the family with her salary as a newspaper reporter!

    This will indeed come into play later, after the family goes to Oregon to pack up Blake’s father’s things when the old man – who, we’re told, walked into the woods one day and never came back – is finally declared legally dead. Whannell and co-writer Corbett Tuck are clearly attempting a commentary on masculinity in this film, but the final message isn’t flattering to women or men. In the first half, Charlotte is cold and critical, and emasculates her husband by chiding him for interrupting her important work call. She’s still a girlboss in the second half, but in a heroic way; by that point, Wolf Man has shifted into framing all men as beasts, the traits they inherit from guys like Blake’s hyper-macho father lying dormant within them just waiting to be activated. This is all laid out in the dialogue, in case subtext really isn’t your thing.

    Maybe Whannell and Tuck really are complete misanthropes, and hate humans of all genders. Or maybe the messy messaging is a side effect of the filmmakers’ intense focus on capturing stunning mountain landscapes and creating cool, gross gore. (The scene where Abbott, crazed with wolf fever, gnaws on his own arm is a highlight.) The lighting in The Wolf Man is very theatrical, which is interesting; but it’s another symptom of prioritizing craft over storytelling, which is compounded by the fact that, by the halfway point, it’s obvious how all this will end.

    Or who knows? As long as we’re throwing out theories: The original 1941 version of The Wolf Man is one of the weaker films in the Universal Monsters cycle, and Wolf Man is similarly inferior to Whannell’s own version of The Invisible Man. Weird way to pay tribute to your influences, but okay.

  • Conclave, Emilia Perez lead the BAFTA nominations

    Conclave, Emilia Perez lead the BAFTA nominations

    Ah, awards season, when cinema stans obsessively track the goings-on at all the film fétes in America and that one in England. While not necessarily as big of an indicator for the Academy Awards race as U.S. shows like the Golden Globes, Oscars prognosticators will factor what goes on at the British Academy Film Awards into their predictive formulas. As American awards bodies are still figuring out how to proceed amid natural disaster in Los Angeles, their U.K. counterpart announced the 2025 BAFTA nominations on Wednesday morning, and Edward Berger’s Conclave and Jacques Audiard’s Emilia Perez lead the pack.

    Papal thriller Conclave scored an impressive 12 nominations, including best film, director, leading actor for Ralph Fiennes and supporting actress for Isabella Rossellini. (This is Rossellini’s first BAFTA nod; as Variety notes, half of the recognized actors are first-time nominees.) Emilia Perez is not far behind with 11 nominations, including best film, director, leading actress for Karla Sofía Gascón and supporting actress for Selena Gomez and Zoe Saldaña.

    Rounding out the 2025 BAFTA nominations for Best Film include The Brutalist (which took nine total nominations), Anora (seven nominations), and A Complete Unknown (six nominations). Fan favorite Wicked missed a Best Film nod, but earned seven nominations total. Irish-language comedy biopic Kneecap is up there with the rest of the Hollywood fare having earned six nominations, including a nod for Outstanding British Film — though Kneecap themselves might dispute that designation.

    The BAFTAs previously announced their nominees for the 2025 Rising Star Award, which celebrates up-and-coming industry talent. This year’s crop of nominees — voted by the public — is a strong showing for HBO’s Industry, with two current and one former cast member on the roster. The full list includes Marisa Abela (Back To Black), Jharrel Jerome (Unstoppable), David Jonsson (Alien: Romulus), Mikey Madison (Anora) and Nabhaan Rizwan (In Camera). The 2025 BAFTA ceremony will take place on February 16, hosted by David Tennant. You can check out the full list of nominations below.

    Santosh — Sandhya Suri (Director, writer), James Bowsher (Producer), Balthazar de Ganay (Producer), also produced by Alan McAlex, Mike Goodridge

    Kneecap — written by Rich Peppiatt, story by Rich Peppiatt, Naoise Ó Cairealláin, Liam Óg Ó Hannaidh, JJ Ó Dochartaigh

    Sing Sing — screenplay by Clint Bentley and Greg Kwedar, story by Clint Bentley, Greg Kwedar, Clarence ‘Divine Eye’ Maclin, John ‘Divine G’ Whitfield

    Emilia Pérez — Julia Floch Carbonel, Emmanuel Janvier, Jean-Christophe Spadaccini, Romain Marietti

    Nosferatu — David White, Traci Loader, Suzanne Stokes-Munton

    The Substance — Pierre-Olivier Persin, Stéphanie Guillon, Frédérique Arguello, Marilyne Scarselli

    Gladiator II — Stéphane Bucher, Matthew Collinge, Paul Massey Danny Sheehan

    The Substance — Valérie Deloof, Victor Fleurant, Victor Praud, Stéphane Thiébaut, Emmanuelle Villard

    Wicked — Robin Baynton, Simon Hayes, John Marquis, Andy Nelson, Nancy Nugent Title

    Kingdom Of The Planet Of The Apes — Erik Winquist, Rodney Burke, Paul Story, Stephen Unterfranz

    Wicked — Pablo Helman, Paul Corbould, Jonathan Fawkner, Anthony Smith

    “Adiós” — José Prats, Natalia Kyriacou, Bernardo Angeletti

    “Mog’s Christmas” — Robin Shaw, Joanna Harrison, Camilla Deakin, Ruth Fielding

    “Wander To Wonder” — Nina Gantz, Stienette Bosklopper, Simon Cartwright, Maarten Swart

    “The Flowers Stand Silently, Witnessing” — Theo Panagopoulos, Marissa Keating

    “Marion” — Joe Weiland, Finn Constantine, Marija Djikic

    “Milk” — Miranda Stern, Ashionye Ogene

    “Rock, Paper, Scissors” — Franz Böhm, Ivan, Hayder Rothschild Hoozeer

    “Stomach Bug” — Matty Crawford, Karima Sammout-Kanellopoulou