Category: Entertainment

Jim Henson Idea Man, directed by Ron Howard, dominated the documentary categories with eight nominations at the 67th Primetime Emmy Awards. This was three more nominations than any other documentary received.

The film received nominations for Outstanding Documentary or Nonfiction Special, Outstanding Directing for a Documentary/Nonfiction Program for Ron Howard, recognition for writer Mark Monroe, cinematographers Igor Martinovic and Vanja Cernjul, picture editors Sierra Neal and Paul Crowder, the film’s sound editing and sound mixing teams, as well as David Fleming’s score.

Imagine Documentaries President Sara Bernstein, who was also nominated for producing Jim Henson Idea Man, expressed her excitement and gratitude for the honor from the Academy. “We’re so thrilled. What an honor from the Academy,” she said. “We’re so excited.”
The documentary delves into the life and remarkable artistic achievements of the late Jim Henson, who brought to life iconic characters like the Muppets and Fraggle Rock. He also directed films such as Labyrinth, The Dark Crystal, and the Oscar-nominated short Time Piece, as well as showcased his talents in singing, sketching, and performing characters like Kermit the Frog and Rowlf the Dog. The film also highlights the significant contributions of Jane Henson, Jim’s late wife, who was a puppeteer and co-founder of The Muppets, Inc.

Bernstein expressed his hope that Jim and Jane Henson, wherever they may be, are smiling and celebrating the Emmy nominations. He emphasized that Jim Henson was an exceptional creative genius and a true pioneer of television. The recognition from the Television Academy is a thrilling and great honor for the film.

To create this documentary, Howard was granted access to the Henson family archives by Jim Henson’s children. The documentary can now be streamed on Disney+.
“We were not involved in the production of the movie, but we are thrilled to see the incredible response to Ron’s film,” said Lisa Henson, one of Jim and Jane’s five children, in an interview with Deadline. “Ron’s artistry as a filmmaker allowed him to creatively and insightfully present Jim Henson as a person. Many people have been intrigued by Jim Henson, but he has always been a bit of a mysterious figure because he was always behind the scenes. Ron has created a beautiful and personal film that truly allows viewers to get to know my father.”

Henson also expressed their excitement for the recognition of the entire creative team involved. “We are absolutely thrilled to see the entire creative team being honored. Ron did a fantastic job directing, and it’s wonderful to see nominations for the writing, sound, and editing. Each of these individuals is at the top of their game in the documentary genre. It’s great to see the Imagine team being recognized in this way.”
Henson mentioned that there have been numerous filmmakers showing interest in creating a new documentary about Henson. This documentary would delve into new territory and have access to archives that previous filmmakers did not have. After being approached by many filmmakers, the Henson family decided to wait for the perfect match, a serious filmmaker who could align with Jim Henson’s perspective. When they met Ron, the family felt comfortable entrusting him with the film because their goal was not just to make a film, but to find the right person to trust with it. Henson praised Howard’s team for their efforts in searching for additional materials to complement what the family already has in their possession.
“We provided the archives with a lot of material, but they went above and beyond and discovered many things that even I hadn’t seen before, as well as most of my family. They really delved deep,” she said.

As Imagine considers a possible sale, the company has reportedly received several inquiries in the past eight weeks regarding potential buyouts or mergers. Deadline Co-Editor-in-Chief Mike Fleming Jr. recently reported that Brian Grazer and Howard have enlisted the help of JP Morgan to develop a strategic plan.
According to Bernstein, she is not involved in any discussions regarding a potential sale or merger. However, she expressed her hope that the documentary division of Imagine will continue to produce acclaimed projects. In recent years, Imagine has emerged as one of the most active creators of documentaries, with a diverse range of films and series, including “Judy Blume Forever,” “The Super Models,” “The Dynasty: New England Patriots,” “Frida” (a documentary about artist Frida Kahlo), “Julia” (about chef/author Julia Child), “We Feed People” (Ron Howard’s film about chef and humanitarian José Andrés), “Lucy and Desi” (directed by Amy Poehler, about Lucille Ball and Desi Arnaz), and many others.
“In 2018, Justin Wilkes and I established this division for Ron Howard and Brian Grazer. Our goal was to create a successful and prolific division,” Bernstein explained. “It’s truly amazing to see the amount of work, films, and series that we have been able to produce over the past six years. We have an incredible production team here at Imagine Docs, and I hope this momentum continues.”

According to Deadline, Jim Henson Idea Man will be submitted for consideration at the Oscars, in addition to the Emmys. The film premiered at the Cannes Film Festival in May, which has served as a launchpad for many Oscar-winning and nominated documentaries such as Amy, Four Daughters, and Faces Places. Bernstein did not fully confirm any Oscar plans, stating, “Disney definitely supported that effort and the film was qualified for the Oscars. We’ll see what happens.”
According to sources, Ron Howard was unable to provide a comment today as he was occupied with his current project. One of his ongoing films is Eden, boasting an impressive ensemble cast that includes Vanessa Kirby, Sydney Sweeney, Jude Law, Ana De Armas, and Daniel Bruhl.

When asked about Howard’s specific focus today, Bernstein refrained from revealing any details but intriguingly mentioned, “It’s a particular film that will soon have its premiere.”

Viggo Mortensen recently voiced his concerns about Amazon’s decision to forgo a widespread theatrical release for the upcoming film “Thirteen Lives” directed by Ron Howard. In an interview with Vanity Fair magazine, Mortensen expressed his belief that the film, in which he starred alongside Colin Farrell and Joel Edgerton, deserves a proper theatrical release. He highlighted the fact that MGM, the studio behind the film, had initially planned to give it a grand theatrical release after receiving exceptionally high scores in test screenings, making it the highest-rated movie in the studio’s history.
According to Mortensen, the initial plan was to release the movie worldwide in numerous theaters. However, when Amazon acquired MGM, they initially agreed to honor the deal that MGM had made with Ron Howard, but later reneged on that promise. As a result, the film had a limited release in cities like Chicago, New York, LA, and London for only a week. Afterwards, it was exclusively available for streaming, which Mortensen found disappointing considering the high-quality cinematography of the movie.

On the other hand, “Thirteen Lives” premiered in selected theaters on July 29, 2022, and became available on Prime Video on August 5, 2022. The film received positive reviews, with many critics drawing favorable comparisons to Howard’s previous survival thriller “Apollo 13,” which also involved a race against time.
Mortensen criticized Amazon’s actions, attributing them to greed. He questioned the need for excessive wealth and suggested that Amazon could have honored their agreement by releasing the film in theaters and later on streaming platforms. However, he believed that Amazon opted for a more cost-effective approach, prioritizing their own profit over supporting theaters and investing in promotion. In his view, this decision ultimately stemmed from greed.
The actor expressed his disgust at how someone like Ron Howard, who has had such a successful and respected career in the film industry, could be treated in such a disrespectful manner. Despite Howard’s graciousness in not complaining about it, the actor felt compelled to speak out on his behalf, stating that he found the actions taken against Howard to be shameful.

Additionally, Mortensen shared his thoughts on the current state of film criticism, criticizing the lack of critical thinking in reviews nowadays.
The level of understanding that reviewers have about film history and the filmmaking process is quite low,” he remarked. “While there are some good reviewers who engage in interesting discussions about films, overall it’s not great. As a director-producer, I personally pay close attention to reviews. It matters to me a lot more than as an actor because the fate of the movie, including its distribution and theatrical release, depends greatly on how it is critically received.”

Get ready for an exciting collaboration that brings together the leading actor from The Batman, the director behind Smile, and a cult horror gem from the 80s. According to THR, Robert Pattinson is set to produce a remake of Andrzej Żuławski’s renowned 1981 horror film Possession. Joining forces with Parker Finn, the talented filmmaker currently working on Smile 2, Pattinson aims to bring a fresh take on this chilling classic.
If you’re not familiar with the original film, Żuławski’s supernatural horror takes place in West Berlin and follows the story of a spy, played by Sam Neill, who suspects his wife, Isabella Adjani, of having an affair. However, their marital problems quickly become the least of their concerns as their impending divorce sets off a destructive chain of events involving murder, doppelgangers, and even a terrifying alien creature with tentacles. On one hand, the film is a mind-bending experience with incredible performances from Neill and Adjani; on the other hand, it also serves as a deeply melancholic exploration of a crumbling marriage, made all the more poignant by the fact that Żuławski himself was going through a similar situation at the time.
The pitch for the remake of Possession has generated a lot of interest from potential buyers such as A24, Netflix, Paramount, Sony, and Warner Bros. Executives are excited about the “batshit” and “out there” story of the film. Although it is not confirmed whether Robert Pattinson will star in the project or focus solely on producing, his experience working with Robert Eggers on The Lighthouse, a cosmic horror film, and Finn’s expertise in psychological terror showcased in Smile, make for an intriguing prospect.

We will provide more updates on Possession as soon as we receive them. In the meantime, fans can anticipate Pattinson’s next film, Mickey 17, directed by Bong Joon-Ho, which will finally be released in UK cinemas on January 31, 2025. If you haven’t seen the original Possession yet, now is the time to do so! You might just have enough time to recover from that subway scene before the remake hits the screens.

A female band from the 1980s expressed their excitement as they prepare for their first full gig in nearly 38 years. Zenana, comprised of Anita Gabrielle Tedder, Penny Griffiths, and Ruth Elder, originally formed in Milton Keynes in 1983 but disbanded after four years.

Earlier this year, they were signed to Rush Hour Records in Amsterdam after a DJ discovered their single “Witches” in a second-hand shop and instantly fell in love with it.

As they gear up for their upcoming gig in Bedford this Friday, 70-year-old Ms. Tedder admitted uncertainty about the longevity of their newfound fame. However, 57-year-old Ms. Griffiths expressed joy in “feeling young again.”

In May 2022, Kiernan Abbott, a 24-year-old DJ from Bristol, contacted the group to share his discovery of a copy of “Witches,” which never made it onto the charts, in a second-hand shop in Cornwall.
According to Ms. Tedder, he praised the performance as brilliant and mentioned that he had played it in various clubs in Los Angeles, Paris, and other venues known for their ’80s music scene. As a result, DJ Antalheitlager, the managing director of Rush Hour, decided to sign them. In light of this, a remastered 12-inch vinyl, a digital version, and an extended remix of the song “Witches” by Bedmo Disco (DJ Matt Anniss and Gareth Morgon) are scheduled to be released on Friday, September 13th. Ms. Tedder explained that DJ Antal chose this date because he thought it was the perfect day.

During the ’80s, Zenana had the opportunity to perform in various pubs and clubs in Milton Keynes, Bedford, and even at the prestigious Hippodrome in London. Since their reunion, they have played a few small warm-up gigs, including one with just Penny and Anita, and another at a Queer Variety Show in Bethnal Green where they showcased three songs. However, their upcoming concert at Bedford’s Cellar Bar will be a special occasion as it will allow people to hear 10 songs, including the extended remix of “Witches,” for the first time. Ms. Tedder expressed her excitement, mentioning that this will be their first performance in Bedford in nearly 38 years.
“We have an extensive back-catalogue with a wide range of content, it’s not just limited to one track.”

According to Ms. Griffiths, she has faced challenges with her mental health, including the loss of both parents within a year and a separation from her husband. Therefore, the group’s reformation came at the perfect time as a source of upliftment.

“It truly reminded me of who I am,” she expressed.

Despite recently undergoing heart surgery, Ms. Elder, 64, shared, “I feel amazing. We are older and wiser, having lived through so much, and we still have a great bond. We’ve surprised ourselves.”

Ms. Tedder added, “We are seizing every single moment. We are uncertain of how long it will last. We have experienced illnesses and endured a lot, so revisiting these songs and having such a good time has been incredibly beneficial for us.”

She also mentioned that since their record’s resurgence made headlines, they have received interest from a couple of film companies intrigued by their story.
For those who can’t attend the Zenana performance in Bedford this Friday, they will have another chance to see them at the Bedfringe Festival on 28 July. The performance will feature a group of talented dancers, all of whom are over the age of 55.

Furthermore, Zenana is optimistic about the possibility of adding another major event to their already packed schedule. Ms. Tedder expressed her hopes by asking, “Is it still possible for us to participate in Glastonbury?”

This week, David Baute’s powerful animated film “Black Butterflies” (“Mariposas Negras”) will be showcased at Annecy, competing in the Contrechamp strand alongside Isabel Herguera’s “Sultana’s Dream.” Drawing inspiration from Baute’s live-action project, “Climate Exodus,” the film weaves together personal stories of women from different parts of the world who are forced to leave their homes due to the devastating effects of climate change. Baute, along with scriptwriter Yaiza Berrocal, collaborated with art director María Pulido (“Ámome”) and production designer and animation director José Sanchez Alonso (“Run Ozzy Run”) to carefully craft the narrative and visuals.
According to Baute, we have been following stories of forced emigration worldwide due to climate issues for almost a decade. This research has provided us with numerous possibilities when developing the script. Rather than coming up with entirely new sequences, our goal was to groom the existing material and incorporate additional layers that would allow viewers to truly understand the hardships faced by these women who have lost their homes and are forever displaced.

The delicate 2D animation in the film is influenced by the art of the Caribbean, India, and Turkana County, the regions depicted in the story. The rich textures and dreamy watercolors create an immersive experience for the audience, while the score, curated by Diego Navarro, ranges from ambient and ethereal to ancestral, incorporating acoustic hand-strung guitar chords.
Grammy Award-winning Panamanian musician and activist Rueben Blades contributed an exclusive song to the project, which co-producer Edmon Roch of Ikiru credits with “enhancing the impact of our film.”

The skillful techniques employed in the film effectively depict the individual journeys of the women while also highlighting the shared pain, fear, and underlying trauma that unite them. This suggests that while these tragedies may seem distant, their consequences are far-reaching and closer to home than many realize.

Baute, the film’s director, elaborates on the creative process, stating, “Although the stories have a common narrative thread, it was important to create a distinct atmosphere in each location, allowing our protagonists to have their own identities through the use of color treatments.”
According to the source, the documentary shoots from the past have served as a major source of inspiration for the artistic production of the film. This has resulted in a distinct visual language that sets each story apart and makes them truly unique. The collaboration between the animation and artistic departments, led by Pepe Sánchez and María Pulido respectively, was crucial in ensuring the film had an organic and dynamic feel.
Diego Navarro’s soundtrack was designed to bring unity to each of the stories in the film. While there were subtle musical variations connected to each specific location, the main score served as the cohesive foundation for the film, allowing each character’s journey to be supported and enhanced. The sound design, expertly executed by the Coser y Cantar team, further solidified the soundtrack and added depth to the overall production, particularly important in the realm of animation.

The film follows the lives of Lobuin, Vanesa, and Soma, who are uprooted from their peaceful rural existence and thrust into the chaotic urban landscape. The weight of uncertainty and longing is palpable on screen, from the heart-wrenching separations at the beginning to the simmering anxiety of starting anew. The characters find solace in sharing folk stories, with Soma’s recollection of the tale of Ganesha, the Hindu deity of beginnings, holding particular significance.
The film tackles a crucial and pressing issue – climate change and its disproportionate impact on marginalized communities. It skillfully explores this oft-discussed topic with a fresh approach, using animation and drawing inspiration from the lives of three real women who are transformed into relatable characters. Through their experiences, the film sheds light on the injustice faced by those who suffer the consequences of climate change despite being least responsible for it. In doing so, it avoids the pitfalls of oversaturation and instead leaves audiences enlightened and motivated to take action.
The film successfully shifts the focus from sensationalized headlines to a pressing global concern, sparking a necessary dialogue about the ongoing turmoil that will undoubtedly impact a significant portion of the population.

Baute, the filmmaker, considers himself a documentarian, viewing “Black Butterflies” as a documentary that utilizes 2D animation as a storytelling technique. In his documentaries and in this particular film, he consistently intertwines social and environmental issues. He sees cinema not only as a poetic art form to express our fears and hopes but also as a tool to provoke contemplation on urgent matters that affect us as living beings and necessitate our integration into the natural world.
He emphasized that the issue of the environment and climate change is a topic that is constantly being discussed by experts, politicians, and citizens, which can lead to a sense of fatigue among the population. He believes that this is a dangerous situation because the climate issue should be the main concern as it directly affects our lives. In order to bring more attention to this crisis, they have made an effort to personalize the issue and highlight its connection to migration. Their goal is to spark a deeper discussion about the urgent state of the world’s climate crisis.

“Black Butterflies” is a collaborative project involving Ikiru Films (“Tad, The Lost Explorer”), Tinglado Film (“Ona”), Panama’s Tunche Films (“Ainbo: Spirit Of The Amazon”), Anangu Grup (“Mummies”) and Catalan Corporation of Mitjans Audiovisuals.
The movie was backed by several entities, including Spanish pubcaster RTVE, state TV operator 3Cat in Catalonia, Public Television of the Canary Islands, and Mogambo. It received financial support from Spain’s Ministry of Culture-ICAA, as well as support from ICEC-Department of Culture-Generalitat de Catalunya, the government of the Canary Islands, and the Island Council of Tenerife.

Warning: Spoilers for the second part of Bridgerton season three ahead.

As Bridgerton enters its third season, a pattern has emerged: the show excels at building anticipation and tension, but struggles to deliver a satisfying climax. Audiences don’t sign up for a romance only to be left wanting more from the final moments. It can be frustrating when a carefully constructed relationship leads to a lackluster finale. However, Bridgerton’s third season manages to alleviate some of this disappointment by focusing on the development of secondary characters and exploring the stories of the other Bridgerton siblings. This takes some of the pressure off the main couple, and the overall enjoyable and exciting aspects of the show help to compensate for the less than stellar culmination of their relationship.
Similar to its previous seasons, this latest installment of Bridgerton is a charming and whimsical journey filled with an abundance of sugary silliness, a touch of Barbie feminism, and occasional puzzling structural flaws. Each season of Bridgerton has its own share of imperfections, with season one being a chaotic mix of racial politics and reproductive anxieties hidden beneath the show’s Regency period fantasy. On the other hand, season two took a more cautious approach to the racial aspects of its universe but faced criticism for not featuring enough steamy scenes and for struggling to navigate the intricate emotional dynamics of its sisterly love triangle. In both cases, the season began with a promising premise but ultimately failed to fully explore the complexities of its own emotional stakes in the latter half.
Season three of the show is poised for success. The characters of Colin Bridgerton and Penelope Featherington have been given ample time to develop in the previous seasons, making their potential match-up all the more intriguing. Adding to the tension is Penelope’s secret identity as Lady Whistledown, the anonymous author of a scandalous gossip pamphlet that holds significant influence over high society. Nicola Coughlan’s portrayal of Penelope has endeared her to fans, as her character evolves from a shy, supporting role to a captivating love interest. Luke Newton’s portrayal of Colin is equally charming, as he portrays a character torn between longing and frustration when it comes to Penelope. Colin despises Lady Whistledown for the hurtful things she has written about him and his family, and Penelope’s secret is a ticking time bomb that is sure to explode in dramatic fashion. Viewers can anticipate an explosive and captivating storyline in season three.
Until the last few episodes, everything seems to be progressing smoothly, like a new carriage on a sunny spring day. Colin and Penelope, having dealt with the emotional aftermath of their traumatic experience with a balloon, embark on a digital exploration that brings them closer to marriage. While the mysterious Lady Whistledown lingers in the background, Colin and Penelope share a beautiful and tender moment of intimacy in their future home. It seems like everything is leading up to an exciting and satisfying conclusion. However, there is a concerning lack of development when it comes to Colin. Unlike Penelope, who has a hidden life and ambitious aspirations for social influence, Colin’s journey to Europe was underwhelming. He received less mail than he had hoped for and resorted to seeking comfort in a brothel. It is unclear what his true passions and goals are, perhaps he aspires to be a writer.
He was introduced suddenly in the premiere, but despite being a wealthy man with ample free time and the freedom to publish anything, he finds it difficult to write. He dons a large great coat reminiscent of Mr. Rochester and casually walks around with an unbuttoned shirt, attempting to convey a flirtation with masculine angst in the style of Brontë. However, his sadness comes across as unconvincing at best and downright comical at worst.
This issue does not stem from Bridgerton’s chosen storytelling setting or its focus on wealthy aristocrats. In this fantasy world, where money holds little significance and societal norms are constantly changing, the problem lies in the structure itself. Without money or class concerns, Colin lacks any obstacles to overcome. He is in love with his neighbor, who reciprocates his feelings. He possesses ample resources, social status to withstand scandal, and minimal responsibilities. As the most sought-after bachelor of the season, he seems to have it all. Therefore, when the inevitable fallout from Penelope’s secret identity reaches Colin, the betrayal and sadness should be evenly felt by both parties. However, the imbalance in emotions feels irritatingly one-sided. In an ideal scenario, when two romantic leads face challenges, there should be a sense of equality.
In a clash between two parties, it is important for the audience to be able to empathize with both sides and understand the perspectives that are causing the conflict, even if it is obvious that they will eventually resolve it. However, due to Colin’s lack of personal development throughout the season, viewers are primarily just anticipating his self-improvement.
As expected, the reunion between Penelope and Colin is far from joyous. Despite their unhappiness, they proceed with their wedding, which only intensifies the tension between them. It seems they are destined to be trapped in a deeply unhappy marriage. However, Bridgerton hesitates to fully embrace this angry wedding scenario. Colin smiles warmly at Penelope as she walks down the aisle, which seems lovely for a couple trying to make things work but detrimental to the romantic plot. Does this mean they are now okay? Have they reached some sort of agreement? Not quite, as Colin reverts back to his anger towards Penelope after the wedding. The resolution comes when she publicly confesses to being Lady Whistledown in the finale, although they barely discuss it. Penelope is fully aware that there are still problems ahead, but there is no cause for concern. They have a baby, Colin publishes his book, and everything is magically perfect.
Despite the disappointing outcome for Polin, the third season of Bridgerton remains a captivating and enjoyable watch. This is mainly due to the transfer of the unrealized potential of the Polin storyline to compelling side characters and the promise of future seasons. While season three should have focused on Polin, it truly belongs to the Featheringtons, especially Polly Walker’s Lady Featherington. She effortlessly steals every scene she is in, portraying a mix of cruelty, pragmatism, fondness, exasperation, sadness, and love, all while maintaining impeccable comedic timing. Alongside her, the two other Featherington sisters shine, making them the undeniable stars of this season.

By the conclusion of the season, one’s overall impression is that it was a regrettable chaos yet one cannot help but eagerly anticipate more.

In its endeavor to expand the world of Bridgerton and explore the stories of multiple family members simultaneously, the series has successfully embraced the necessary narrative changes to transition from a romance novel series to a television show. It has also deviated enough from Julia Quinn’s original books to establish itself as a distinct work rather than a lackluster retelling of the source material, which is always a crucial benchmark for any adaptation. A Bridgerton series should be able to accomplish both: embrace ensemble storytelling while also capturing the complete satisfaction and meticulous structural balance of a romance novel. Unfortunately, season three falls short in achieving this, but Bridgerton remains too enjoyable to even consider parting ways with in the near future.

During his time as Tyrion Lannister in HBO’s “Game of Thrones,” Peter Dinklage emerged as a formidable presence at the Emmys, securing four wins out of eight nominations. However, the talent of the “Game of Thrones” cast was so exceptional that many of them continue to be strong contenders at the Emmys, even after the show’s conclusion and their transition to new ventures. Now, let’s delve into the “Game of Thrones” alumni who have the potential to vie for recognition at this year’s Emmys.

One such alumnus is Jonathan Pryce, who has made notable appearances in “The Crown” and “Slow Horses.”
Another actor from “Game of Thrones” who deserves recognition for his captivating performance as the High Sparrow is now garnering attention for his portrayal of Prince Phillip in “The Crown.” Pryce’s Prince Phillip may not have as prominent a role as Matt Smith’s version, but he delivers notable moments, particularly through his intellectual connections with other women that he shares with the Queen. In our Emmy odds chart for Best Drama Supporting Actor, Pryce currently ranks third, with only Billy Crudup and Jon Hamm from “The Morning Show” ahead of him. Our predicted nominees in this category also include Tadanobu Asano (“Shōgun”), Khalid Abdalla (“The Crown”), Nathan Lane (“The Gilded Age”), Mark Duplass (“The Morning Show”), and Jack Lowden (“Slow Horses”). Additionally, we anticipate Pryce to receive a Best Drama Guest Actor nomination for his role in “Slow Horses,” alongside Nestor Carbonell.
Jonathan Pryce, known for his roles in “Game of Thrones” and “The Two Popes,” has received Emmy nominations for his performances in the miniseries “Shōgun,” as well as in the series “Mr. and Mrs. Smith” alongside John Turturro, and “Fallout” alongside Michael Emerson and Kyle MacLachlan. This marks Pryce’s third and fourth Emmy nominations, following his previous nods in 1993 for “Barbarians at the Gate” and in 2010 for “Cranford.”