Social media is buzzing over Oscar-nominated actor Colman Domingo‘s mind-blowing transformation into the infamous Joe Jackson in a stunning reveal at the center of the highly anticipated new trailer for Michael.
In the now-viral first look, Domingo disappears under extraordinary prosthetics and makeup to become the famed Jackson patriarch whose controversial tactics helped his son ascend into his very own realm of superstardom.
Check out the trailer below:
Directed by Antoine Fuqua—the second highest grossing Black director of all-time, Michael stars MJ’s nephew Jaafar Jackson (Jermaine’s son) as the King of Pop in the cinematic portrayal of the life and legacy of one of the most influential artists in the history of forever.
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Bustling with a special kind of nostalgia, the film “tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world,” per the official synopsis.
Source: Lionsgate Pictures
Delving into his off-stage life between some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael Jackson as never seen before.
Source: Lionsgate Pictures
Naturally, social media erupted with starry-eyed reactions to the long-awaited biopic which trended worldwide in the midst of Grammy night hysteria.
At one point, the film was rumored to be FOUR HOURS long before later being teased as a potential 2-part event.
When asked by an analyst about part two of the film, Lionsgate Motion Picture Chair Adam Fogelson teased that “more Michael” could be announced right after the first film is released, per World of Reel.
“…we’ve had the great pleasure of seeing the director’s cut of the first film, and it is exceptional,” he said on a recent earnings call.
“While we’re not yet ready to confirm plans for a second film, I can tell you that the creative team is hard at work making sure that we’re in a position to deliver more Michael soon after we release the first film.”
What are you wearing to the theater on premiere weekend? Tell us down below and peep the social media hysteria over Colman’s stunning transformation on the flip.
You might still be easing into 2026, but awards season is already out in full force. In a twist from the usual schedule, the calendar kicked off with the Critics’ Choice Awards, and just a week later, it’s time for arguably one of the most fun ceremonies of the season: the Golden Globe Awards.
The Golden Globes celebrate the best in the film and television industry; this year, Paul Thomas Anderson’s One Battle After Another garnered the most nominations for a film with nine, closely followed by Joachim Trier’s Sentimental Value, which netted eight noms. The White Lotus leads the pack with six television nods, tailed by Adolescence with five.
The evening always begins with a dazzling red carpet, when A-list guests arrive in their finest fashions. The Golden Globes tend to offer a more exciting spectacle in terms of style; it’s still a black tie event, but it’s not as buttoned-up as, say, the Academy Awards, which is why it’s one of our favorite red carpets of the entire year. Take a look at all the best, most fashionable moments from the 2026 Golden Globes red carpet.
Amal Clooney and George Clooney. Getty Images
Amal Clooney and George Clooney
Emma Stone. Getty Images
Emma Stone
Miley Cyrus. Getty Images
Miley Cyrus
Claire Danes. Kevin Mazur/Getty Images
Claire Danes
in Zac Posen for GapStudio
Leslie Mann and Judd Apatow. Kevin Mazur/Getty Images
Leslie Mann and Judd Apatow
Maya Rudolph. Kevin Mazur/Getty Images
in Chanel
Amy Poehler. Getty Images
Amy Poehler
in Ami Paris
Rashida Jones. WireImage
Rashida Jones
Timothée Chalamet. Kevin Mazur/Getty Images
Timothée Chalamet
Bella Ramsey. WireImage
Bella Ramsey
Jessie Buckley. Getty Images
Jessie Buckley
Kirsten Dunst and Jesse Plemons. Kevin Mazur/Getty Images
Kirsten Dunst and Jesse Plemons
Dunst in Tom Ford
Ana de Armas. Kevin Mazur/Getty Images
Ana de Armas
Leonardo DiCaprio. WireImage
Leonardo DiCaprio
Chloe Zhao. AFP via Getty Images
Chloe Zhao
Brenda Song and Macaulay Culkin. Kevin Mazur/Getty Images
Brenda Song and Macaulay Culkin
Damson Idris. Penske Media via Getty Images
Damson Idris
in Prada
Jennifer Lawrence. Getty Images
Jennifer Lawrence
in Givenchy
Zoë Kravitz. WireImage
Zoë Kravitz
in Saint Laurent
Jennifer Lopez. Kevin Mazur/Getty Images
Jennifer Lopez
in Jean-Louis Scherrer by Stéphane Rolland
Jeremy Allen White. Getty Images
Jeremy Allen White
Matthew Rhys and Keri Russell. WireImage
Matthew Rhys and Keri Russell
Parker Posey. Getty Images
Parker Posey
Britt Lower. Kevin Mazur/Getty Images
Britt Lower
in Loewe
Rhea Seehorn. Getty Images
Rhea Seehorn
Charli xcx. WireImage
Charli xcx
in Saint Laurent
Ashton Kutcher and Mila Kunis. Kevin Mazur/Getty Images
Ashton Kutcher and Mila Kunis
Hailee Steinfeld. Getty Images
Hailee Steinfeld
Renate Reinsve. Getty Images
Renate Reinsve
in Louis Vuitton
Hannah Einbinder. Getty Images
Hannah Einbinder
Chase Infiniti. Kevin Mazur/Getty Images
Chase Infiniti
in Louis Vuitton
Sarah Snook. Getty Images
Sarah Snook
Pamela Anderson. Kevin Mazur/Getty Images
Pamela Anderson
in Ferragamo
Michael B. Jordan. Getty Images
Michael B. Jordan
Alex Cooper. Getty Images
Alex Cooper
in Gucci
Diane Lane. WireImage
Diane Lane
Ariana Grande. Kevin Mazur/Getty Images
Ariana Grande
in Vivienne Westwood
Julia Roberts. The Hollywood Reporter via Getty
Julia Roberts
in Armani Privé
Jacob Elordi. Getty Images
Jacob Elordi
in Bottega Veneta
Jenna Ortega. Getty Images
Jenna Ortega
in Dilara Findikoglu
Natasha Lyonne. WireImage
Natasha Lyonne
Rose Byrne. Getty Images
Rose Byrne
in Chanel
Ryan Michelle Bathe and Sterling K. Brown. Getty Images
Ryan Michelle Bathe and Sterling K. Brown
Emma Hewitt and Jason Isaacs. WireImage
Emma Hewitt and Jason Isaacs
in Dolce & Gabbana
Odessa A’zion. WireImage
Odessa A’zion
Paul Mescal. WireImage
Paul Mescal
in Gucci
Mia Goth. Getty Images
Mia Goth
in Christian Dior
Patrick Schwarzenegger. Getty Images
Patrick Schwarzenegger
in Dolce & Gabbana
Molly Sims. Kevin Mazur/Getty Images
Molly Sims
in Sophie Couture
Amanda Seyfried. Getty Images
Amanda Seyfried
Stacy Martin. Getty Images
Stacy Martin
Jean Smart. Kevin Mazur/Getty Images
Jean Smart
Emily Blunt. Getty Images
Emily Blunt
in Louis Vuitton
Dakota Fanning. WireImage
Dakota Fanning
in Vivienne Westwood
Joe Keery. Getty Images
Joe Keery
Dax Shepard and Kristen Bell. Getty Images
Dax Shepard and Kristen Bell
in Armani
Michelle Rodriguez. The Hollywood Reporter via Getty
Michelle Rodriguez
Erin Doherty. Kevin Mazur/Getty Images
Erin Doherty
in Louis Vuitton
Alison Brie and Dave Franco. Kevin Mazur/Getty Images
Alison Brie and Dave Franco
Owen Cooper. Getty Images
Owen Cooper
in Bottega Veneta
Tessa Thompson. The Hollywood Reporter via Getty
Tessa Thompson
in Balenciaga
Kate Hudson. WireImage
Kate Hudson
in Armani Privé
Amanda Anka and Jason Bateman. Getty Images
Amanda Anka and Jason Bateman
Carolyn Murphy and Will Arnett. Getty Images
Carolyn Murphy and Will Arnett
Murphy in Zuhair Murad
Zoey Deutch. Getty Images
Zoey Deutch
Lori Harvey. Getty Images
Lori Harvey
in Roberto Cavalli
Walton Goggins. Kevin Mazur/Getty Images
Walton Goggins
in Saint Laurent
Teyana Taylor. Kevin Mazur/Getty Images
Teyana Taylor
in Schiaparelli
Nikki Glaser. Getty Images
Nikki Glaser
in Zuhair Murad
Adam Scott and Naomi Scott. Getty Images
Adam Scott and Naomi Scott
Eva Victor. AFP via Getty Images
Eva Victor
in Loewe
Aimee Lou Wood. Kevin Mazur/Getty Images
Aimee Lou Wood
in Vivienne Westwood
Elle Fanning. Kevin Mazur/Getty Images
Elle Fanning
in Gucci
Selena Gomez and Benny Blanco. Getty Images
Selena Gomez and Benny Blanco
Gomez in Chanel
Colman Domingo. Getty Images
Colman Domingo
in Valentino
Minnie Driver. Getty Images
Minnie Driver
in Sabina Bilenko
Joe Alwyn. Getty Images
Joe Alwyn
Sara Wells and Noah Wyle. Getty Images
Sara Wells and Noah Wyle
Adam Brody and Leighton Meester. Getty Images
Adam Brody and Leighton Meester
Meester in Miu Miu
Jennifer Garner. Getty Images
Jennifer Garner
in Cong Tri
Glen Powell. WireImage
Glen Powell
Connor Storrie. Getty Images
Connor Storrie
in Saint Laurent
Sabrina Dhowre Elba. Penske Media via Getty Images
Sabrina Dhowre Elba
in Guy Laroche
Snoop Dogg. FilmMagic
Snoop Dogg
Ayo Edebiri. Getty Images
Ayo Edebiri
in Chanel
Luke Grimes. Penske Media via Getty Images
Luke Grimes
in Giorgio Armani
Ginnifer Goodwin. Getty Images
Ginnifer Goodwin
in Armani Privé
Priyanka Chopra Jonas and Nick Jonas. Getty Images
A mere four days into the new year, and the first awards show of 2026 is upon us. Tonight, the Critics’ Choice Awards celebrate the best in film and television, recognizing the finest actors, directors, writers, costume designers, editors and more in the industry.
Along with the usual categories, the 31st Critics’ Choice Awards will include four new honors, for Best Variety Series, Best Sound, Best Stunt Design and Best Casting and Ensemble. Chelsea Handler is hosting the awards show for the fourth year in a row, and the ceremony will once again take place at the Barker Hangar at the Santa Monica Airport in Santa Monica, California.
Sinners leads the film pack with a staggering 17 nods, followed by One Battle After Another‘s still-impressive 14, while Netflix’s limited series, Adolescence, scored the most for television with six, followed by another Netflix show, Nobody Wants This, with five.
Before the awards are handed out, however, the stars will walk the red carpet in the first major fashion moment of 2026. Last year’s show brought us standout looks like Margaret Qualley in ethereal Chanel, Colman Domingo in a brown leather Hugo Boss ensemble, Cynthia Erivo in black peplum Armani Privé and Mikey Madison in vintage Giorgio Armani, so we’re just going to have to wait with bated breath to see what this season’s nominees bring to the table. Below, see the best red carpet fashion moments from the 2026 Critics’ Choice Awards.
Leighton Meester and Adam Brody. Getty Images
Leighton Meester and Adam Brody
Jessica Biel. Getty Images for Critics Choice
Jessica Biel
in Lanvin
Jacob Elordi. Getty Images
Jacob Elordi
in Bottega Veneta
Elle Fanning. WWD via Getty Images
Elle Fanning
in Ralph Lauren
Ariana Grande. Getty Images for Critics Choice
Ariana Grande
in Alberta Ferretti
Chase Infiniti. WireImage
Chase Infiniti
in Louis Vuitton
Amanda Seyfried. Getty Images for Critics Choice
Amanda Seyfried
in Valentino
Natasha Lyonne. Getty Images for Critics Choice
Natasha Lyonne
Britt Lower. Getty Images
Britt Lower
in Bottega Veneta
Michael B. Jordan. Kevin Mazur/Getty Images for Cri
Michael B. Jordan
Jessica Williams. WWD via Getty Images
Jessica Williams
Keri Russell. Getty Images for Critics Choice
Keri Russell
Meghann Fahy. Getty Images for Critics Choice
Meghann Fahy
Adam Sandler and Jackie Sandler. Getty Images for Critics Choice
Adam Sandler and Jackie Sandler
Jessie Buckley. Getty Images for Critics Choice
Jessie Buckley
in Dior
Rose Byrne. Getty Images
Rose Byrne
in Valentino
Ego Nwodim. Getty Images for Critics Choice
Ego Nwodim
in Carolina Herrera
Kristen Bell. Getty Images for Critics Choice
Kristen Bell
in Elie Saab
Michelle Randolph. Getty Images for Critics Choice
Describe This Movie In One Bruce Almighty Quote: BRUCE: Lower and debase myself for the amusement of total strangers? Yeah, I could do that. Sounds like fun.
Brief Plot Synopsis: “Ben Richards, come on down!”
Rating Using Random Objects Relevant To The Film: 2 Richard Dawsons out of 5.
Tagline: “Millions hunt. One runs. Everyone watches.”
Better Tagline: “Still more ethical than trophy hunting.”
Not So Brief Plot Synopsis: Few things trigger desperation in a man like being unemployed with a sick child. Ben Richards (Glen Powell) knows more than most, having been blackballed from most employment for repeated “insubordination.” But there’s still one place where someone from the slums can earn some New Dollars, and that’s on the Network’s potentially lethal game shows. Producer Dan Killian (Josh Brolin) thinks the angry Richards is a perfect fit for The Running Man, in which contestants attempt to survive for 30 days while being hounded not just be the Network’s elite Hunters, but by ordinary citizens, who can earn money from contestant sightings.
“Critical” Analysis: Stephen King wrote the Running Man (as Richard Bachman) back in 1982, when constant surveillance was just a glint in Peter Thiel’s eye. Set in an economically depressed and dystopian 2025 (“fiction”), King’s novel was prescient in depicting both the stranglehold elites have on society and the increasing cruelty of reality television. What it may have overemphasized was the oppressed masses capacity for revolution, a pitfall stumbled into by both Paul Michael Glaser’s 1987 adaptation and this new version, directed by Edgar Wright (The “Cornetto” Trilogy, Baby Driver).
Wright’s version is more faithful to the book than Glaser’s. Though in truth, it would be harder not to be. The latter starred Arnold Schwarzenegger as the “weak and tubercular” (King’s words) Ben Richards, who played a cop betrayed by his superiors, in a version of the game setting the “Runners” against glandular freaks armed with flamethrowers and chainsaws. Here, Richards’ background is largely intact, and the concept of Runners being hunted by both Network assassins and billions of ordinary citizens remains as well.
Though referring to Glen Powell as “tubercular” is … a bit of a stretch.
So, fine; it’s a better adaptation. But is it a better movie? It certainly looks better, having been shot on location in he UK instead of in a janky Hollywood soundstage. Brolin, Colman Domingo (as Running Man host “Bobby T”), and yes, even Powell, are also better actors than Schwarzenegger, Jim Brown, or Jesse “The Body” Ventura. The special effects, courtesy of ILM, are top notch, and — for the movie’s first half, anyway — it felt like everything was falling into place.
Much like James Gunn, Edgar Wright has a tendency to mix comedy with occasionally shocking violence. This helps offset the brutality of the world Richards and his family inhabits. But should it? Because even this “more faithful” rendition runs counter to the bleak anti-capitalist message of the novel. The Running Man is the closest thing Wright has come to directing a straight action movie since Baby Driver. And some of the sequences are both gripping and amusing, but even the comedic flourishes are abandoned for the film’s third act.
“What do you mean your grandfather committed some ‘light treason?’” Credit:Paramount Pictures
This is also about where the 1987 version bogs down, and for similar reasons. Movies that tell downbeat stories without some form of comeuppance haven’t really been marketable to American audiences since the 1970s. The Schwarzenegger movie took the passages about Richards-inspired proletarian riot in King’s novel and blew them up into full-blown revolution (led by Mick Fleetwood and Dweezil Zappa, no less). In Wright’s movie, Richards shelters with a nerdy anarchist (played by Michael Cera) who publishes a zine that will blow the lid off the Network’s abuses.
You read that right: in the year 2025, the masses will be moved to full-scale revolt by a type of publication that saw its popularity peak almost 30 years ago.
It isn’t just the facile revolutionary bullshit, because even though this iteration of The Running Man hews closer to King’s book, it still softens many of its bleaker aspects, including the fate of Richards’ family and his own ambiguous final moments. To be clear, I never expected anyone — Edgar Wright or otherwise — to try and bring the written ending to the screen (though to his credit, he does have Killian acknowledge the possibility). But instead of finding a reasonable alternative, he gives us a finale that makes Arnold walking into the sunset with Maria Conchita Alonso look like The Mist.
Admittedly, you don’t hire Edgar Wright if you’re just looking for a straightforward book treatment. And the aggravating thing is, The Running Man could’ve worked as an actioner that got some jokes in while still highlighting the depravity of a society that feeds its poorest citizens into a meat grinder for entertainment. But the movie’s utter cop-out of an ending (and ham-fisted credits buzzwords) now make me doubt if the director of Hot Fuzz really understands satire as much as I previously thought.
Even though fans have seen the end of Wicked thousands of times on Broadway, there’s still a good amount of intrigue over its big-screen conclusion, Wicked: For Good. Case in point, last week, director Jon M. Chu teased that he’d tapped a very talented mystery actor to provide the voice of the Cowardly Lion in the film. The reveal sparked all sorts of fun speculation, but now, we have the actual answer.
The official Wicked social media accounts revealed that the character will be voiced by Colman Domingo, best known for his role on Fear the Walking Dead and in critically acclaimed films like Rustin and Sing Sing, both of which garnered him Academy Award nominations. Here’s the reveal.
Domingo, who’ll also soon be seen in another November release, Edgar Wright’s The Running Man, is clearly a fantastic choice for this small but important role. But the pomp and circumstance around the reveal does have us wondering, are we about to get more surprise announcements? Fans of the musical have a good idea who’ll be playing the Scarecrow and the Tin Man, but Universal has yet to officially reveal who is playing Dorothy Gale in the film. Odds are we’ll find out soon.
Wicked: For Good is out in one month, on November 21, and picks up the story of the hit Broadway musical where the smash hit 2024 film, Wicked, left off. That story sees Elphaba (Cynthia Erivo) fighting against the forces of Oz to save not just herself, but the animals of the world. She’ll be opposed, sort of, by her best friend Glinda (Ariana Grande), who is more conflicted than ever. And, without giving away 20-year-old spoilers, that story ties in with the classic story of The Wizard of Oz, which we best remember from the 1939 film.
Are you excited for Domingo as the Cowardly Lion? What about the other mystery roles? Let us know below.
Colman Domingo secretly joined the cast of Wicked: for Good, as none other than the voice of the Cowardly Lion.
The movie and actor’s Instagram accounts shared the news Monday, after Jon M. Chu last week made headlines when he teased a big-name actor attached to the role. Domingo joins an already star-studded slate with Cynthia Erivo and Ariana Grande playing Elphaba (now known as the Wicked Witch of the West in the second film) and Glinda (or Glinda the Good), respectively.
The Cowardly Lion is one of a few new characters introduced in Wicked: for Good that hail from the mainstay story of The Wizard of Oz. The Tin Man, Scarecrow and Dorothy’s appearances have all been teased in the beginning of Wicked and subsequent teasers for the sequel. None of the actors who stepped into those roles have been revealed yet.
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Wicked: for Good marks the first time Elphaba and Glinda will officially cross paths with the beloved Wizard of Oz quartet in Chu’s set of films. Following suit with the events of the original Broadway musical, the second movie will merge timelines with that of the 1939 film amid Dorothy’s arrival to Oz.
Adding to the high-profile cast, Jonathan Bailey also stars as Prince Fiyero, Michelle Yeoh as Madame Morrible and Jeff Goldblum as the Wizard. Both Erivo and Glinda were nominated for Oscars for their portrayal of the beloved witches, as the original 2024 film earned a total of 10 Academy Award noms and two wins.
The forthcoming second Wicked film flies into theaters Nov. 21., and will pick up following the events of the first movie.
Selena Gomez and Benny Blanco. Los Angeles Times via Getty Imag
Selena Gomez and Benny Blanco
It’s time to celebrate the best and brightest of the small screen. Tonight, the 77th Primetime Emmy Awards commence, honoring the crème de la crème of the television industry. The awards show, presented by the Academy of Television Arts & Sciences, is once again taking place at the Peacock Theater in Downtown L.A., and this year, will be hosted by comedian Nate Bargatze for the first time. Along with Bargatze, presenters set to take the stage include Angela Basset, Jason Bateman, Alexis Bledel, Stephen Colbert, Jennifer Coolidge, Eric Dane, Tina Fay, Walton Goggins, Lauren Graham (please, please let there be a Gilmore Girls reunion!), Jude Law, Evan Peters and Sydney Sweeney.
Apple TV+’s Severance leads the pack with the most overall nominations at a staggering 27, followed by The Penguin (24) and newcomer The Studio (23). No matter if you agree or disagree with the surprises and snubs for the actor and actress noms, there’s no denying that the major categories feature some major star power, including Ayo Edebiri, Kristen Bell, Adam Brody, Jeremy Allen White, Sterling K. Brown, Pedro Pascal, Colman Domingo, Michelle Williams and Jake Gyllenhaal. And of course, Harrison Ford, whose nod for his role in Shrinking marks his first ever Emmy nomination.
Before the awards are handed out and the official ceremony begins, however, the attendees walk the red carpet in their most glamorous ensembles. Below, see the best red carpet fashion from the 2025 Emmy Awards.
Cate Blanchett. Kevin Mazur/Getty Images
Cate Blanchett
Michelle Williams. Getty Images
Michelle Williams
in Chanel
Scarlett Johansson and Colin Jost. Getty Images
Scarlett Johansson and Colin Jost
Keri Russell. AFP via Getty Images
Keri Russell
in Armani Privé
Elizabeth Banks. Getty Images
Elizabeth Banks
Jennie Garth. Getty Images
Jennie Garth
Adam Brody and Leighton Meester. AFP via Getty Images
Adam Brody and Leighton Meester
Brody and Meester in Prada
Kristen Bell. Getty Images
Kristen Bell
in Armani Privé
Brittany Snow and Malin Akerman. Getty Images
Brittany Snow and Malin Akerman
Akerman in Greta Constantine
Leslie Bibb and Sam Rockwell. Getty Images
Leslie Bibb and Sam Rockwell
Bibb in Giorgio Armani
Colman Domingo. Getty Images
Colman Domingo
in Valentino
Hunter Schafer. AFP via Getty Images
Hunter Schafer
Alexis Bledel. Getty Images
Alexis Bledel
in Marmar Halim
Lauren Graham. Getty Images
Lauren Graham
Catherine Zeta-Jones. Getty Images
Catherine Zeta-Jones
Halsey. Getty Images
Halsey
Rashida Jones. Getty Images
Rashida Jones
in Dior
Mariska Hargitay. Getty Images
Mariska Hargitay
in Elie Saab
Harrison Ford and Calista Flockhart. Getty Images
Harrison Ford and Calista Flockhart
Owen Cooper and Erin Doherty. Getty Images
Owen Cooper and Erin Doherty
Hannah Einbinder. Variety via Getty Images
Hannah Einbinder
in Louis Vuitton
Kathryn Hahn. WireImage
Kathryn Hahn
in Valentino
Sydney Sweeney. AFP via Getty Images
Sydney Sweeney
in Oscar de la Renta
Parker Posey. Kevin Mazur/Getty Images
Parker Posey
in Valentino
Selena Gomez. Getty Images
Selena Gomez
in Louis Vuitton
Angela Bassett. Getty Images
Angela Bassett
in Yara Shoemaker
Jake Gyllenhaal and Jeanne Cadieu. Kevin Mazur/Getty Images
The upcoming Running Man remake is set in a United States where people watch contestants try to survive being hunted. Watch any game show (or reality TV in general), and the host is as important as the players themselves, and that’s where Colman Domingo comes in.
He plays Bobby Thompson in the film, who hosts the titular blood sport that’s the talk of the country. We got a little bit of the character in the trailer, and according to Domingo, playing a guy like that is like “[being] in a whole different film than anyone else.” Like he told Entertainment Weekly, Thompson’s only seen through the context of his show, where he’s “operating, manipulating, charming, not only the studio audience, but the guests as well.”
Despite not having any backstory to lean on, Domingo revealed two inspirations for Bobby: his old theater days of “being able to hold an audience” and Jerry Springer, whose reality show used to be a big deal in the mid-2000s and became a reliable time-killer for schoolkids during snow days. Domingo watched the two-part documentary on the late TV show host the night before filming his scenes and recognized Springer’s skill in “inciting and letting people…do what they need to do on a platform and really let them engage in the worst behavior and still feel like he had nothing to do with it. He’s just there moving the show along. I felt like, what an interesting strategic way to abstain from any responsibility of what happens on that set.”
Bobby’s need to keep the masses entertained also extends to his look, which Domingo said comes courtesy of writer/director Edgar Wright and costume designers keeping him looking “impeccable in every way. Maybe it made sense for Edgar to cast me because I think he knew I could possibly pull it off.” Style has always been a hallmark of Wright’s movies, and Running Man looks to keep that trend going—which, to Domingo, is a great incentive to see the film in theaters on November 14. The holidays are no stranger to event films, and he’s positive “this one is going to be a massive event in our cinemas.”
A rushed follow-through leaves the film’s mere 105 minutes feeling somewhat purposeless in the grand scheme of things. Courtesy Venice Film Festival
There’s something to be said about movies that are just good enough, especially those that refashion real events into cinematic junk food. It is, however, hard not to be disappointed when one such work comes from Gus Van Sant, which makes Dead Man’s Wire a frustrating experience despite its climactic vigor. The tale of a disgruntled Hoosier who takes a rich man hostage in 1977, the film re-creates the lengthy standoff in immense visual detail but rarely probes beneath the surface of its colorful characters and relegates any sense of tension or intrigue to its climactic scenes.
Van Sant has made several biopics (or pseudo-biopics) involving American gun violence, from the Palme d’Or-winning school shooter drama Elephant (2003) to the Oscar-winning gay rights drama Milk (2008). After decades of doing so, any artist is likely to lose their fascination with the subject, given how it’s ground to a standstill politically. And yet, the director presses on despite this, crafting a film where the threat of pulling a trigger is rarely riveting and even verges on doltish at times, as troubled Indianapolis resident Tony Kiritsis (Bill Skarsgård) tethers a wire to himself, his shotgun, and his wealthy would-be victim Richard Hall (Dacre Montgomery), in a kind of janky proto-Saw trap set to go off if the police intervene. But while the drama seldom feels zealous or threatening, it’s underscored by disappointment and disillusionment, the kind that has driven the weary Kiritsis to hold Hall at gunpoint.
DEAD MAN’S WIRE ★★1/2 (2.5/4 stars) Directed by: Gus Van Sant Written by: Austin Kolodney Starring: Bill Skarsgård, Dacre Montgomery, Colman Domingo, Al Pacino, Cary Elwes, Myha’la Running time: 105 mins.
Whatever Van Sant’s feelings about this kind of subject matter may have once been, he appears to now translate them through a lens of sheer exhaustion. “Here,” the movie gestures wearily. “Another one of these. Pew pew.” It is, on one hand, fascinating to watch a film whose director seems fed up with his own characters and with the very premise of being driven to gun violence while fashioning oneself into a martyr. And yet, Van Sant’s Taxi Driver-esque tale (by way of Fargo; his delusional anti-hero is surprisingly polite) lives in the body of a based-on-real-events saga without embodying the reality from which it draws.
Kiritsis, like Van Sant, is methodical, and the character responds to each of his plans going awry with a scrappy backup ploy (and a backup to each backup). This results in him kidnapping Hall from the fancy offices of his family mortgage company instead of his elderly father (an underutilized Al Pacino), who happens to be on vacation, and taking Hall to his cramped apartment as a number of policemen—with whom he happens to be friends—roll their eyes while in pursuit. Kiritsis’ motives are gradually revealed, and his demands involve apologies and restitution. His public declarations over the TV and radio establish how heroically he sees himself, so it’s no surprise that he foolishly believes the world to be entirely on his side, to the point that he thinks he’s in no danger of being arrested once things are all said and done.
It’s all very interesting on paper. The oddball case makes you wonder whether a crime so idiosyncratic really transpired, and the performances do a great job of selling the oddity of it all. Skarsgård, although he taps into Kiritsis’ wounded-animal nature and occasional snappiness, is a treat to watch in the moments he dials back and acts completely casually, as though trying to convince Hall he’s approachable despite holding a 12-gauge Winchester to his neck. Montgomery, meanwhile, eschews the usual charisma for which he’s cast and makes himself physically meek and small, embodying a sniveling desperation that, on occasion, makes Kiritsis’ grievances seem worth considering.
However, Van Sant never pushes Dead Man’s Wire in either of these two directions and instead lets it wallow in a casual middle ground. The unfolding action is never farcical enough to make the film satirical or outright funny, but it’s also never imbued with enough historical gravity to truly matter. Snapshot re-creations of known photos and news footage, and the presence of locally popular field reporters and radio hosts (played by Myha’la and Colman Domingo, respectively) seek to clarify the film’s reality, but these characters end up bit players in its opaque dramatic fabric rather than becoming living, breathing people crossing paths with an extraordinary, potentially violent scenario. The bigger picture, the moving pieces, and the various plans and strategies to save Hall never fade into view.
When it comes time for the standoff to end, the questions of how it’ll wrap up, who’ll survive, and which somewhat personable character will be forced to pull the trigger grant Dead Man’s Wire a temporary intensity. This last hurrah isn’t quite “too little too late,” but its rushed follow-through leaves the film’s mere 105 minutes feeling somewhat purposeless in the grand scheme of things. It’s a tale with no purpose beyond letting viewers know, with a bemused cadence, that something quirky once happened in Indianapolis and that it could’ve been much more destructive—and perhaps much more enrapturing—than it really was.
The highly anticipated Michael Jackson biopic Michael won’t hit theaters for awhile, but it’s already at the center of controversy. Paris Jackson, the 27-year-old daughter of the late King of Pop, took to her Instagram to slam the upcoming biopic from director Antoine Fuqua and writer John Logan, calling it “dishonest” and saying she has “0% involvement” in the film.
Jackson’s comments came two days after statements made by Oscar-nominated actor Colman Domingo, who plays Joe Jackson, the family patriarch, in the film. On Sunday, while leading the amfAR benefit gala for AIDS research during the Venice Film Festival, Domingo told People that Paris and her younger brother Prince Jackson were “very supportive of the film.” Paris Jackson, whom Domingo told People has been “lovely” to him, also performed at the amfAR event. “I’m excited to be here at amfAR tonight with Paris,” he added. “It feels like that’s a nice way for us to be together.”
The feeling was apparently not mutual. On Tuesday, Paris Jackson responded directly to Domingo’s comments on Instagram, distancing herself from the film. “[Colman], don’t be telling people I was ‘helpful’ on the set of a movie I had 0% involvement in lol. That is so weird,” she wrote.
The singer and actress explained that she had seen an early draft of the film and pointed out the parts that she felt were unconvincing: “I read one of the first drafts of the script and gave my notes about what was dishonest [and] didn’t sit right with me and when they didn’t address it I moved on with my life,” she wrote. “Not my monkeys, not my circus. God bless and godspeed.”
In follow-up videos posted to her Instagram story, Jackson expanded on her involvement with the film, saying that after she was explicitly informed her suggestions would not be considered, “I wasn’t involved at all, aside from giving feedback on the first draft and then getting the feedback that [production] was not actually going to address your notes at all. So I just butted out and left it alone because it’s not my project.”
She continued, saying that the filmmakers are “going to make whatever they’re going to make” and that the project would most likely make her father’s diehard fans happy. “A big reason why I haven’t said anything up until this point is because I know a lot of you guys are gonna be happy with it,” Jackson added. “A big section of the film panders to a very specific section of my dad’s fandom that still lives in the fantasy, and they’re gonna be happy with it.”
Michael has been in development since 2019 in collaboration with the Jackson family. It stars Domingo, Miles Teller, Nia Long, Kat Graham, and, in his big screen debut, Michael Jackson’s grandson Jafar Jackson as the pop icon. The film has already faced several controversies. According to Puck, the production has reportedly been mired in rewrites and reshoots. The entire third act of the film reportedly had to be rewritten and re-shot, allegedly because the first version had overlooked terms of a settlement between the Jackson estate and a child-abuse accuser.
A source close to the production, however, flatly denied rumors that the production was a mess. “The Michael Jackson biopic is not in total chaos,” they told People in January. “The inflammatory headlines about the moving halting are simply not true. The film is moving forward, and reshoots are happening in March.”
Michael is currently set for release on April 24, 2026 from Lionsgate.
Evidently continuing to assert herself as the reigning queen of making Taurus anthems (sorry Adele [though “Someone Like You” still slaps, particularly as a Taurus anthem/torch song]), with “Taste” (not to be confused with Sophie Ellis-Bextor’s) and “Please Please Please” being some of the pinnacles of what that means, Sabrina Carpenter has released yet another one: “Tears.” Marking the second hit single from Man’s Best Friend (following “Manchild”), it’s very much in keeping with the tropes of this specific zodiac sign—more to the point, her specific zodiac sign. And yes, it was Carpenter herself who once said, “My favorite thing about being a Taurus is that I get to use the excuse ‘I’m sorry I’m a Taurus.’ It kinda works in every facet of life.”
Not least of which is lusting after a man who’s responsible, reliable and “good around the house.” For there’s nothing a Taurus loves more than someone who not only respects the sanctity of their domestic space, but even seeks to further elevate it. For their (usually-not-so-humble) abode is an environment they especially deem their “kingdom” (though they tend to see most everywhere else as part of their “dominion,” too). And, considering that Carpenter has been on tour for the past two years (embarking on the Short n’ Sweet Tour from 2024 to 2025), it’s no wonder she would deliver such comforts-of-home-craving lines as, “Assemble a chair from Ikea, I’m like, ‘Uh.’” Granted, the unabashed decadence of Taurean tastes means you won’t typically find them anywhere near an Ikea. Particularly with a limitless budget like Carpenter’s.
What they can be found near, however, are spooky houses with sumptuous interiors, as is the case with the Rocky Horror Picture Show-inspired video that accompanies the track. For what is a Taurus if not adventurous and naughty, paired with a dichotomous penchant for desiring luxury, debauchery and comfort? Then, of course, there’s the “problem” of being ruled by Venus, which applies not just to the planet, but to the goddess also known as Aphrodite. Her sensual nature, which makes the frequently-depicted-in-the-buff deity a natural fit for embodying the Goddess of Love, is what extends to the sign she reigns over, with the Taurus’ sense of raunchiness (and, as Carpenter also represents, general horniness)—e.g., “I get wet at the thought of you/Being a responsible guy…/Tears run down my thighs—getting them into almost as much trouble as their stubbornness.
Regarding the raunch factor, it’s at least part of what draws “innocent” (even if only in appearance) Carpenter to the abandoned-looking ramshackle of a house after her incompetent boyfriend apparently got them into a car crash. Then, like Alice down the rabbit hole or Dorothy in Oz, Carpenter stumbles upon a “land” that makes everything suddenly feel like it’s in Technicolor, having formerly existed in a bland, black-and-white way in the life she shared with her now-presumed-dead boyfriend. But Carpenter’s Easter Sunday appearance quickly gives way to clothes coming off (quite literally) as she dances and prances with Colman Domingo (a Sag cusping Scorpio, Taurus’ opposite on the zodiac wheel, which also makes Scorpio something like their diabolical id) in the overt Dr. Frank-N-Furter role. A pied piper bringing out all of Carpenter’s inner kink. On this note, it seems an unfair (and inaccurate) stereotype that Taureans are also often accused of being “boring” when, in fact, that couldn’t be further from the truth. For their love of “responsibility” is matched only by their love of fun and beauty (these things, increasingly, often being what only money can buy and, therefore, part of the Taurean obsession with making as much of it as possible).
This love of fun and beauty is what Carpenter embodies in the Bardia Zeinali-directed video (following what he did for another one of Carpenter’s Taurus anthems, “Please Please Please”). Her Taurean fervor for the heady combination of vibrant aesthetics and sensuality reaches an especial crescendo as she “just happens to find herself” in frilly lingerie while pole-dancing in some nearby cornfield. And not just because, as an Earth sign, Carpenter can’t help but show some love for “the land.” With cornfields also being a “necessary” cliché in many horror movies (see, most recently: Pearl, with the eponymous character putting her own “sexy spin” on what a cornfield can provide, mood-wise…apart from just creepiness). But the “horror” (or horror-comedy, considering the movie it pays homage to) pastiche of “Tears” is wielded, ultimately, to emphasize a “pure” and “wholesome” girl (read: a Taurus) coming to terms with her irrepressible sexuality (read: a Taurus at war with their so-called dark side). Much like Janet Weiss (Susan Sarandon) in The Rocky Horror Picture Show.
By the same token, what awakens the sexual gratitude in a Taurus are the very “normie,” Hestia-oriented types of things Carpenter brings up when she declares, “A little respect for women can get you very, very far/Remembering how to use your phone gets me oh so, oh so hot/Considering I have feelings, I’m like, ‘Why are my clothes still on?’/Offering to do anything, I’m like, ‘Oh my God.’” And, of course, the domesticity “codedness” of, “I get wet at the thought of you/Being a responsible guy/Treating me like you’re supposed to do/Tears run down my thighs” can’t be overemphasized enough. Mixing the pure and the profane as only a Taurus can with that chorus (no rhyme intended), Carpenter then continues, “A little initiative can go a very long, long way/Baby, just do the dishes, I’ll give you what you, what you want/A little communication, yes, that’s my ideal foreplay.”
It doesn’t get more “banal” than that—and yet, this expression of “just wanting some safeness and dependability” is spiced up in a manner that only a Taurus can do it, with their keen ability to infuse the quotidian with a much-needed tincture of sexiness and sassiness. A skill that, lately, Carpenter has been quite keen to flex. Because, yes, a bit of a “nobody does it better” attitude is also part and parcel of being a “standard” Taurus. Along with plenty of snark “hidden” behind that false veneer of “being slow” (or slow-talking).
Sabrina Carpenter’s vocal doppelgänger, Ariana Grande, may have once said, “Ain’t got no tears left to cry,” but Carpenter is telling a different tale on “Tears,” the second single and video from her bop-laden seventh album, Man’s Best Friend. A song that indicates she has plenty of “moisture” left to…cry. Only not from her eyes so much as from her vag, ergo the chorus, “I get wet at the thought of you/Being a responsible guy/Treating me like you’re supposed to do/Tears run down my thighs.” Unfortunately, tears running down a girl’s thighs is an increasing rarity amid a climate of irresponsible men (in every possibly form that irresponsibility can take).
Like “Please Please Please,” “Tears” is once again directed by Bardia Zeinali (who also, incidentally, directed the Ariana Grande video for “In My Head”). But rather than riffing on a very hetero Bonnie and Clyde theme (complete with Barry Keoghan in the “Clyde” role), this time, Carpenter opts for a rightfully kitschy homage to the masterpiece of camp that is The Rocky Horror Picture Show. Borrowing key elements from the first act of the movie, the well-timed-for-the-advent-of-fall video opens on an overhead shot of a car that’s clearly crashed (though into what is never made apparent), with Carpenter lying face-down off to the side of the passenger seat, as though she was thrown from the vehicle.
Dressed in what can best be described as her Easter Sunday best, Carpenter “comes to” as the sound of a howling wolf in the dead of night only adds to the creep factor of her environment. Seeing that they’ve conveniently crashed right near someone’s spooky house (much more convenient than the distance Brad [Barry Bostwick] and Janet [Susan Sarandon] had to walk in order to get to Dr. Frank-N-Furter’s [Tim Curry] castle), Carpenter decides to approach the seemingly abandoned abode to get help. Even if all the signs point to the fact that she ought to just run the other way, lest, like Brad and Janet, she ends up going down a “dark path” from whence she can’t return.
When she knocks on the door (with the “spooky vocalizing” of the song briefly playing), no one answers. Yet when she peers through the boarded-up window emanating a glowing red light, she sees a “sexy leg” with a fishnet stocking on it, lifted up on a chair. Dropping her hat at the “salacious” sight, she steps backward and sees that the front door is now partially ajar. It doesn’t exactly emulate the way Brad and Janet are greeted by the handyman, Riff Raff (Richard O’Brien, who also wrote The Rocky Horror Picture Show), suggestively remarking to the couple, “You’re wet.” Soon after, he adds, “I think perhaps you better both…come inside.” These, of course, being the kind of innuendos that Carpenter can readily get on board with (and likely part of her attraction to the cult classic).
Just as she gets on board with Colman Domingo in the ostensible Dr. Frank-N-Furter role, along with his coterie of “colorful” guests (a polite word for pearl-clutchers to say “trans”). Guests who make Carpenter feel right at home as they sing along to such lyrics as, “A little initiative can go a very long, long way/Baby, just do the dishes, I’ll give you what you, what you want/A little communication, yes, that’s my ideal foreplay/Assemble a chair from Ikea, I’m like, ‘Uh.’”
In the next scene, she’s thrust into a “red room,” with a number of disembodied hands (with over-the-top acrylics) disrobing her as one of them passes her a Coke-inspired can with the “brand” Tears on it and the tag line, “Get wet.” To be sure, these eerily detached arms and hands recall something out of Jean Cocteau’s La Belle et la Bête more than they do The Rocky Horror Picture Show.
Before she knows it, she is getting pretty wet over “Colman Frank-N-Furter’s” vibe and lifestyle, finding herself pole dancing in a cornfield (something about this feeling very Pearl) as this ringleader of “dolls” (as in, “Protect the dolls”) observes her with something like aroused approval (but, like, a gay man’s kind of approval) from his perch on a tractor. Talk about campifying “butch” paraphernalia.
The 70s (a.k.a. disco-fied) sound of the track intensifies after Carpenter announces, “Dance break,” which singals yet another backdrop change. One that showcases Carpenter in a showgirl-y number (think: Cher on The Sonny & Cher Show) as she prances along the streets of some alley (for this house is apparently magical in its ability to provide all kinds of milieus at the literal drop of a hat).
It would seem that, having been out of the house for so long in these random outdoor settings, the abode evidently realizes it can’t sustain Carpenter’s fundamental heteronormativity, spitting her back out after her choreo with the trans residents runs its course. Once again outfitted in her “Easter Sunday” ensemble, Carpenter tries to get her bearings just as her boyfriend, billed as “the guy who has to die” (Joe Apollonio), randomly appears to say, “Baby! I’m so glad you’re okay.” Carpenter, on the other hand, doesn’t look all that glad that he’s okay, responding, “Wait…no.”
Perhaps blaming him (and his straightness) in some way for getting her “bounced” from the house, she continues, “You died earlier I thought.” He replies, “Babe, what are you talking about?” She then meta-ly explains, “It’s a thing, it has to…someone has to die every video.” This being a reference to “Taste” (another one-word single that starts with a “T”). Looking and sounding horrified at what she’s suggesting, before he knows what’s happening, Carpenter says, “Sorry, we’ll always remember you though.” And with that, she boomerangs her high heel into his chest.
Carpenter then gets up from the porch and declares, “You have to give the people what they want.” And what the people with, that’s right, taste want are references to The Rocky Horror Picture Show from a mainstream artist at a time when transphobia in the U.S. has ramped up at an alarming rate. Thus, Domingo’s tweet announcing the arrival of the video with, “Protect all the Dolls.”
Every year, stars and celebrities spend the first Monday in May with hairdressers, makeup artists and stylists in preparation of the annual Met Gala in New York City.
The dress code for this year’s event was “The Garden of Time.” It coincided with the opening of Metropolitan Museum of Art’s new exhibit, “Sleeping Beauties: Reawakening Fashion,” on famous fashion looks too fragile to wear. The Met Gala serves as a fundraiser for the Met’s Costume Institute.
A number of stars with ties to the Philadelphia region were on the guest list, including singer Sabrina Carpenter, basketball star Ben Simmons and actress Da’Vine Joy Randolph dressed head to toe in couture. Two of them, actor Colman Domingo and actress Amanda Seyfried, even earned nods in Vogue’s best dressed list.
Here’s what they each wore:
Simmons, the maligned former 76ers player, sported a plaid-on-plaid suit by Thom Browne and a clock briefcase to match the event’s theme.
Seyfried glittered in a silver Prada gown with a headpiece and jewelry from Chaumet. Seyfried, who was born in Allentown, recently went on a ride-along with Philly police as part of her preparation for her role in an upcoming TV show based on a Temple University professor’s book.
Randolph, who won an Oscar earlier this year, made an appearance in a Zac Posen gown made of Gap denim. The Mt. Airy native is in talks for a role in a new movie about Pharrell Williams.
Domingo hit the carpet in a cream Willy Charvarria suit featuring a cape and floral embellishment, our newsroom’s favorite look of the night. Domingo, who grew up in Philly, is set to star in a Michael Jackson biopic and a Nat King Cole movie musical.
“Barbie” actress Hari Nef, who was born in Philadelphia, styled a sequined white dress with a large bow detail from H&M.
Lancaster County native Jonathan Groff appeared in a Simone Rocha suit with floral details.
Carpenter, who spent her early years in Bucks and Montgomery counties, wore a floor-length Oscar de la Renta gown.
After enduring the pandemic and a pair of industry-stopping strikes, Hollywood seemed extra jazzed about celebrating itself at this year’s Oscars. While there weren’t a ton of genre movies on the ballot—truly, last year’s Everything Everywhere All at Once sweep still feels rather validating—a few did find their way to the podium.
What Should Fans Take Away from Imaginary?
Most notably it was Poor Things leading the charge for genre, including a Best Lead Actress win for Emma Stone for her portrayal of Bella Baxter—arguably only rivalled by Oppenheimer, which took home the trio of big wins in Best Lead Actor, Best Director, and Best Picture. Barbie, amid a sea of discourse after nominees were initially announced earlier this year about perceived snubs, home only one win for original song out of its slate of nominations. Here are all the winners (plus their fellow nominees) from the 2024 Academy Awards. And may we just say, if Best Visual Effects winnerGodzilla Minus One does get a sequel, we hope it makes it into more categories than its Best Picture-worthy predecessor.
Best Supporting Actor
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Winner: Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Supporting Actress
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Winner: Da’vine Joy Randolph (The Holdovers)
Best Animated Feature Film
Winner: The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse
Best Animated Short Film
“Letter to a Pig”
“Ninety-Five Senses”
“Our Uniform”
“Pachyderme”
Winner: “War Is Over! Inspired by the Music of John and Yoko”
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (David Crossman & Janty Yates)
Oppenheimer (Ellen Mirojnick)
Winner: Poor Things (Holly Waddington)
Best Live-Action Short
“The After”
“Invincible”
“Knight of Fortune”
“Red, White and Blue”
Winner: “The Wonderful Story of Henry Sugar”
Best Makeup and Hairstyling
Golda
Maestro
Oppenheimer
Winner: Poor Things
Society of the Snow
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Winner: Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Sound
The Creator
Maestro
Mission Impossible: Dead Reckoning
Oppenheimer
Winner: The Zone of Interest
Best Adapted Screenplay
Winner: American Fiction (Cord Jefferson)
Barbie (Noah Baumbach & Greta Gerwig)
Oppenheimer (Christopher Nolan)
Poor Things (Tony McNamara)
The Zone of Interest (Jonathan Glazer)
Best Original Screenplay
Winner: Anatomy of a Fall (Arthur Harari & Justine Triet)
The Holdovers (David Hemingson)
Maestro (Bradley Cooper & Josh Singer)
May December (Samy Burch & Alex Mechanik)
Past Lives (Celine Song)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Winner: Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Documentary Feature Film
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
Winner: 20 Days in Mariupol
Best Documentary Short Film
The ABCs of Book Banning
The Barber of Little Rock
Island in Between
Winner: The Last Repair Shop
Nai Nai & Wài Pó
Best Film Editing
Anatomy of a Fall
The Holdovers
Killers of the Flower Moon
Winner: Oppenheimer
Poor Things
Best International Feature Film
Io Capitano
Perfect Days
Society of the Snow
The Teacher’s Lounge
Winner: The Zone of Interest
Best Original Song
“The Fire Inside” (Flamin’ Hot)
“I’m Just Ken” (Barbie)
“It Never Went Away” (American Symphony)
“Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
Winner: “What Was I Made For” (Barbie)
Best Production Design
Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Winner: Poor Things
Best Visual Effects
The Creator
Winner:Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible — Dead Reckoning, Part One
Napoleon
Best Lead Actor
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Winner: Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Lead Actress
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Director
Justine Triet (Anatomy of a Fall)
Martin Scorcese (Killers of the Flower Moon)
Winner: Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Johanathan Glazer (Zone of Interest)
Best Picture
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Winner: Oppenheimer
Past Lives
Poor Things
The Zone of Interest
What did you think of this year’s winners? Any favorite moments from the ceremony? Share in the comments below!
March 10 is Oscar Sunday! Watch the 2024 Oscars live on ABC.
Red carpet coverage starts at 1 p.m. ET 10 a.m. PT with “Countdown to Oscars: On The Red Carpet Live.” At 4 p.m. ET 1 p.m. PT, live coverage continues with “On The Red Carpet at the Oscars,” hosted by George Pennacchio with Roshumba Williams, Leslie Lopez and Rachel Brown.
Watch all the action on the red carpet live on ABC, streaming live on OnTheRedCarpet.com and on the On the Red Carpet Facebook and YouTube pages.
The 96th Oscars, hosted by Jimmy Kimmel, begins at 7 p.m. ET 4 p.m. PT, an hour earlier than past years.
The Oscars are followed by an all-new episode of “Abbott Elementary.”
Margaret Qualley and Geraldine Viswanathan in Drive Away Dolls.Working Title/Focus Features
Over the years, the Coen Brothers have developed a distinctive, compelling style of filmmaking, culminating in 2018’s The Ballad of Buster Scruggs. Since then the directors have gone their separate ways—artistically at least. Joel Coen helmed The Tragedy of Macbeth in 2021, an evocative, unsettling take on the iconic Shakespeare play. Drive-Away Dolls marks Ethan Coen’s debut solo feature (he also directed documentary Jerry Lee Lewis: Trouble in Mind in 2022), offering a glimpse into the filmmaker’s personal creative ambitions and inspirations.
DRIVE AWAY DOLLS ★★1/2(2.5/4 stars) Directed by: Ethan Coen Written by: Ethan Coen, Tricia Cooke Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon Running time: 84 mins.
The film, originally titled Drive-Away Dykes, a far better name for the resulting effort, is a collaboration between Coen and his wife Tricia Cooke, who co-wrote and edited the movie. It’s got an intriguing premise, paying homage to B-movies from the 1960s and ‘70s, but the storytelling itself falters, often mired in shock value for the sake of shock value. Visually interesting with committed performances, it doesn’t quite stick the landing.
Geraldine Viswanathan plays Marian, a young lesbian with a dull job and an uptight demeanor. Her unlikely best friend Jamie, played by Margaret Qualley doing quite the accent, is the exact opposite, a sexed up live-wire who cheats on her cop girlfriend Sukie (Beanie Feldstein) in the opening minutes of the film. The pair head out on a road trip to Tallahassee by borrowing a car from the local drive-away, which rents people cars if they relocate them for the owner. The girls accidentally end up with the wrong car, which holds a mysterious briefcase and the frozen head in the trunk. A group of criminals are hot on their tail, although they are none the wiser.
In theory, it’s a fun story. In execution, it’s a series of scenes and set pieces that never quite gel. Marian and Jamie stop at various locales along the way to Florida, with Jamie encouraging Marian to let down her hair and get laid. This results in hijinks like an all-girl make-out party in someone’s basement and Jamie saying “honey darling” in a Southern accent a lot. By the time they get to Tallahassee, having discovered the contents of their trunk, Jamie and Marian’s relationship shifts, inciting a romance that doesn’t feel earned or true. Pedro Pascal and Matt Damon play small roles, but despite Pascal’s high billing he is barely in the movie. Kudos to Coen, though, for a scene that recalls the actor’s most famous Game of Thrones moment.
Pedro Pascal in Drive Away Dolls.Wilson Webb/Working Title /Focus Features
On the plus side, Drive-Away Dolls is extremely gay. There’s a lot of sex, all of it between women, and Coen never exploits the girl-on-girl action or makes it feel voyeuristic, although some of it is purposefully wild (see: shock value). Cooke identifies as queer, which clearly helped the film’s authenticity, and the film smartly doesn’t attempt represent all lesbian experiences or tastes. The tone is light-hearted (although critics in my press screening didn’t find the movie particularly funny), and Cooke has said she wanted to make a queer film that isn’t over serious or dramatic. It’s a great addition to the queer movie canon with actresses committed to telling the story.
Drive-Away Dolls never sets itself up to be realistic or grounded—the colorful psychedelic interludes add to this effect—but even in its own version of reality there’s just something missing. It’s stylish with witty dialogue, but for a road-trip movie there’s not much forward motion. And maybe that’s the point. Maybe this is just a whimsical trip with quirky characters and little depth. Maybe we’re never supposed to really understand or care about anyone’s motivation or background. There are great moments and a great idea here. Without that connective substance, though, the car gets stuck in neutral.
Observer Reviews are regular assessments of new and noteworthy cinema.
Cillian Murphy as J. Robert Oppenheimer in Oppenheimer. Universal Pictures
From major Oscar nominees to a massive new Netflix series, this week boasts some exciting new titles across streaming. Action, thriller, musical and more—it’s all available to watch this week, so make the most out of your streaming subscriptions.
What to watch on Netflix
Warrior
A gripping historical crime drama that mixes martial arts with gangsters, Warrior is an excellent blend of genres that’s worth watching for its fight scenes alone. The show comes from a long lost pitch from the late Bruce Lee, and it’s brought to life by his daughter Shannon Lee and a dedicated team. The series takes place in 1870s San Francisco, where the burgeoning Chinatown sees brewing gang wars. Meanwhile, Chinese immigrants in the city are facing threats from a white establishment that’s growing increasingly hostile. All three seasons of Warriorwill begin streaming Friday, February 16th. Read Observer’s review.
Avatar: The Last Airbender
One of the most anticipated live-action television adaptations in recent memory, Avatar: The Last Airbender is a new fantastical adventure series based on the mid-’00s cartoon of the same name. The show takes place in a world where nations tied to the elements (water, earth, fire, and air) are at war. The Fire Nation is on a path of conquest, helped by those who can wield and bend the element, and only the mystical figure known as the Avatar (who can control all four elements) can stop it. The problem? The Avatar, Aang, is only a child, but he’s been hiding from his responsibilities for years. Avatar: The Last Airbenderpremieres Thursday, February 22nd.
Amy Schumer returns with Season 2 of Life & Beth, a dramedy about grappling with love, loss, and buried trauma. Schumer stars as Beth, a woman who ditched her fairly comfortable (but fairly boring) life to deal with the death of her mother and all of the feelings that it stirred up. Along the way, she discovered a charming farmer (Michael Cera) and decided to really try to live her life rather than just exist in it. Now, they’re a happy couple, but personal realizations and rushed proposals threaten to derail that relationship. Season 2 of Life & Bethpremieres Friday, February 16th.
What to watch on Amazon Prime
Teenage Mutant Ninja Turtles: Mutant Mayhem
The Teenage Mutant Ninja Turtles have long been sources for middling movies, so it’s a good thing that Teenage Mutant Ninja Turtles: Mutant Mayhem finally realized the fun that could be had with these characters. The animated film takes the kind of creative visual swings that made the two Spider-Verse movies such hits, oozing with bright, clever animation. Mutant Mayhem follows the heroes in a half shell as they work to bust a mysterious mutant crime syndicate and get some good press (with the help of Ayo Edebiri’s April O’Neil) for mutants at large. Teenage Mutant Ninja Turtles: Mutant Mayhemstreams Wednesday, February 21st.
What to watch on Max
The Color Purple
A new take on an American classic, The Color Purple puts Alice Walker’s riveting story of self-discovery and empowerment (and, more specifically, its Tony Award-winning Broadway musical adaptation) on the big screen. American Idol winner Fantasia Barrino stars as Celie, who suffers abuses of all kinds as she struggles to find her voice. The rest of the cast is overflowing with musical and acting talent, with Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, H.E.R., Halle Bailey, and Ciara making up the sprawling ensemble. The Color Purplepremieres on streaming Friday, February 16th.
What to watch on Apple TV+
Constellation
From Invasion to For All Mankind, no platform loves a space show as much as Apple. Constellation is the newest space-set series from the streamer, though it leans a bit more into psychological thriller than sci-fi or drama. Noomi Rapace stars as Jo, an astronaut whose mission goes awry. When she returns to Earth, she discovers that key parts of her life are different, from an inexplicable new ability to play the piano to Jo’s altered relationship with her daughter. Jonathan Banks and James D’Arcy also star. The first three episodes of Constellation premiere Wednesday, February 21st.
What to watch on Peacock
Oppenheimer
The biggest addition to streaming this week comes in the form of one of 2023’s biggest and best movies. Christopher Nolan’s Oppenheimer made a massive splash in theaters last summer, combining the director’s affinity for richly realized filmmaking and an intricate story about one of history’s most notorious figures. It’s a heavy favorite to walk away with plenty of Oscars come March 10th, given that it’s the most-nominated film of the year. With stellar performances from Cillian Murphy, Emily Blunt, and Robert Downey Jr., this period piece about the science and politics of war is near-perfect. Oppenheimerpremieres Friday, February 16th. Read Observer’s review.
What to Watchis a regular endorsement of movies and TV worth your streaming time.
Colman Domingo is set to take on the role of Michael Jackson’s father in an upcoming biopic about the King of Pop.
The West Philly-native actor and Temple University alum will play Joe Jackson, the patriarch and talent manager of the Jackson family, in “Michael,” a film scheduled to premiere next year, Deadline reported.
Joe Jackson, who died in 2018 at the age of 89, was known for “his hard-driving management and often controversial parenting of the Jackson 5,” according to Deadline. The Jackson 5 was the pop group founded in the ’60s that included brothers Jackie, Tito, Jermaine, Marlon and Michael Jackson, launching the latter into megastardom. Joe Jackson and his wife Katherine had 10 children, including Janet and La Toya Jackson.
Jaafar Jackson, the 27-year-old son of Jermaine, will take on the role of Michael. Fans got a look at Jaafar in the role through a behind-the-scenes image the actor shared last week to Instagram, alluding to the fact that production on the movie would begin this Monday.
“I’m excited to be a part of a film that explores both the complicated soul of the legendary Michael Jackson as well as his impact on music and culture as a global icon,” Domingo said in a statement obtained by Variety. “Not only am I fortunate to have a rich, complex and flawed character to portray in Joe Jackson, but I also have a front row seat for Jaafar’s incredible transformation.”
“Michael,” which was written by three-time Oscar nominee John Logan, will be directed by Antoine Fuqua and produced by Oscar-winner Graham King, along with the coexecutors of the Michael Jackson estate, John Branca and John McClain. The film is scheduled to premiere April 18, 2025.
Domingo’s latest role comes during his successful awards season. Earlier this week, he received an Oscar nomination for his portrayal of Bayard Rustin — a civil rights leader born in West Chester — in the Netflix film “Rustin.” This is the first Oscar nomination for Domingo, who previously won an Emmy for his role in “Euphoria.” Domingo also has been nominated for Golden Globe, BAFTA, Critics Choice and SAG awards for his work on “Rustin.”
He also starred in the 2023 musical adaptation of “The Color Purple” and can be seen next month in the comedy “Drive-Away Dolls” alongside Margaret Qualley, Beanie Feldstein, Pedro Pascal and Matt Damon.
A handful of awards season hopefuls headed to Santa Monica Beach on Saturday morning for Film Independent’s Spirit Award nominees brunch at Hotel Casa del Mar.
Killers of the Flower Moon star Lily Gladstone, the Spirit Awards honorary chair for the org’s Feb. 25 show, and Rustin star Colman Domingo teamed to host the event and hand out Emerging Filmmaker Awards including $75,000 in grants.
The Someone to Watch Award, presented by Stella Artois, was doled out to Mountains director Monica Sorelle. The honor, now in its 30th year, is meant to recognize “a talented first-time narrative filmmaker of singular vision who has not yet received appropriate recognition,” and comes with a $25,000 unrestricted grant.
The Truer Than Fiction Award was given to Set Hernandez, director of unseen. The award, which is in its 29th year and is “presented to a first-time director of nonfiction features who has not received significant recognition,” includes a $25,000 unrestricted grant.
The Producers Award presented by Bulleit Frontier Whiskey went to Monique Walton. The award, designed to honor “emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity, and vision required to produce quality, independent films.” This prize, in its 27th year, includes a $25,000 unrestricted grant funded by Bulleit Frontier Whiskey, which for the last several years has maintained a high-profile at the Spirit Awards.
“Understanding the enormous challenges independent artists are facing, it’s essential that they are provided the resources to move forward with their artistic visions,” said Josh Welsh, president of Film Independent. “The Emerging Filmmaker Awards provide vital support to these talented artists, enabling them to continue to develop new work and thrive as singular artists.”
The Spirit Awards, hosted by Saturday Night Live alum Aidy Bryant, will be streamed live on the IMDb and Film Independent YouTube channels, as well as across other social platforms. The show is supported by principal sponsor IMDbPro and official sponsors Bulleit Frontier Whiskey, Fiji Water, Miraval and Stella Artois.
Other attendees at Saturday’s seaside brunch included Todd Haynes, Jeffrey Wright, Erika Alexander, Cord Jefferson, Trace Lysette, Troy Kotsur, Zoe Lister-Jones, Dominique Fishback, James Marsden, Glenn and Jill Howerton, Dominic Sessa, Franz Rogowski, Da’Vine Joy Randolph, Pam Koffler, Celine Song and others.
Colman Domingo is having a banner year thanks to acclaimed performances in “Rustin” and “The Color Purple,” the latter of which opened to a triumphant $18 million on Christmas Day. But things were considerably different for the actor back in 2014. Despite being a Tony nominee for “The Scottsboro Boys,” Domingo couldn’t get his screen acting career off the ground. He recently told The New York Times he was stuck auditioning for “under-fives,” roles that only offered him a just line or two of dialogue.
Domingo figured one of these “under-five” roles might lead to a bigger break, and the most promising of them was for a bit part on an episode of “Boardwalk Empire.” The HBO drama series was looking for an actor to play the maître d’ at a Black-owned nightclub. Domingo wore a tuxedo to the callback audition and apparently impressed producers by singing and tap dancing. He later got a call from his agent.
Per The Times: “His agent began that call by saying that everyone on ‘Boardwalk Empire’ had loved his audition. This is the one that’s going to change it up for me, Domingo thought. This is the one that’s going to finally be my big break. There was just one problem, his agent said. After the callback, a historical researcher on the show reminded producers that the maître d’s in those nightclubs were typically light-skinned, and Domingo was not. ‘Boardwalk Empire’ had passed.”
“That’s when I lost my mind,” Domingo said, adding that he told his agent: “I can’t take it anymore, I think this is going to kill me.”
What a difference a decade makes. Domingo has won an Emmy for “Euphoria” and has starred in major Oscar contenders such as “If Beale Street Could Talk” (2018) and “Ma Rainey’s Black Bottom” (2020). He’s back in the Oscar conversation with Netflix’s “Rustin,” which could earn him his first nomination for best actor. He revealed to The Times that he is now an “offer-only” actor, a decision he made after realizing that in order to have the stature of a leading man he’d have to stop going through the hurtful audition process.
“I became an actor that was ‘offer-only’ probably sooner than the industry thought I should have,” Domingo said. “But I decided I have a body of work. You can go and look at it, you can ask other directors about me, and you can make me the offer or not.”
“Rustin” is now available to stream on Netflix. “The Color Purple” is playing in theaters nationwide from Warner Bros.