ReportWire

Tag: Documentaries

  • Watching Taylor Swift’s ‘End of an Era’ Docuseries With Taylor Swift

    “It feels like the Eras Tour was a lifetime within my life,” Taylor Swift said earlier this week at an intimate New York City screening of the first two episodes of The End of an Era, the six-part docuseries pulling back the curtain on her record-breaking Eras Tour. Those episodes, as well as Taylor Swift | The Eras Tour: The Final Show, a concert film capturing the entirety of her final bow of the 149-show tour, hit Disney+ on Friday, a day before Swift’s 36th birthday.

    The tour was long—about a year and a half, all told—and its goodbye, ongoing even now, a year later, is long too. It’s fitting, though, as there’s a lot to process: While on the road, she released two Taylor’s Version re-recording projects (Red and 1989), launched a super-sized studio album (The Tortured Poets Department), began dating Travis Kelce (now her fiancé), attended two Super Bowls, and wrote and recorded another studio album (The Life of a Showgirl). And those are just the highlights.

    Taking the microphone, Swift spoke after the rambunctious cheering of the crowd—made up of her entire backing band and vocalists, the Eras Tour dancers, tour production staff, her dad Scott Swift, mom Andrea Swift, and brother Austin Swift, not to mention various Disney personnel and a few members of the media—faded, thanking all who were involved in the tour and production of the series.

    “It was a year ago yesterday that we played the last show of the Eras Tour. It feels insane. I know it does for me,” she said, before describing a career-long fixation with not just entertaining people, but providing an escape for audiences, where everything is not perfect, but all feelings are allowed. There’s room for the joy and community that fans have gushed over finding at her concerts, right alongside space to express grief with songs like “Marjorie,” rage (“The Smallest Man Who Ever Lived”), exasperation (“We Are Never Getting Back Together”), resilience (“I Can Do It With a Broken Heart”), giddy youthfulness (“22”), and more points along the emotional spectrum that colors everyday life.

    “Everything that went into this was all the lessons we’ve learned all of our lives,” she said, crediting her dancers, band, technical staff, and all involved with pouring their own life experiences into making the tour an immersive experience, before acknowledging the docuseries’ directors, Don Argott and Sheena Joyce, also in attendance, for their work preserving the period to share with the world.

    Kase Wickman

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  • Melania Trump Announces New Production Company

    Photo: Anna Moneymaker/Getty Images

    Michelle Obama had a kitchen garden, Nancy Reagan had “Just Say No.” Melania Trump has a vanity shingle. The FLOTUS announced her new production company, Muse Films, on social media Black Friday. She’s just the latest political figure to go Hollywood. Biden signed with CAA after leaving office, and the Obamas had their Netflix overall deal in 2021. But Melania isn’t waiting until her husband’s out of office to get this ball rolling. The company takes its name from Melania Trump’s secret service code name during the first Trump admin. Presumably she has a new one now.

    The first film released by Muse will be the documentary Melania. The film depicts the 20 days before Trump’s second inauguration. Directed by Brett Ratner of all people, Melania comes to theaters and Amazon Prime Video in 2026. Amazon paid $40 million for the privilege of streaming the film on their platform.

    It’s possible Muse will be involved in the newly announced (presidentially-mandated?) Rush Hour 4. Paramount has agreed to distribute RH4 after Donald Trump personally requested a revival of the franchise, per Semafor. Melania is Ratner’s first feature film since 2014’s Hercules. In 2017, he was accused of sexual misconduct by six women, including Olivia Munn and Natasha Henstridge. Variety reports that many distributors didn’t want to touch Rush Hour 4 due to Ratner’s involvement.

    Bethy Squires

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  • ‘Zodiac Killer Project’ Reveals True Crime’s Dirty Secrets

    Because Lafferty died in 2016, Shackleton worked with the late officer’s family to secure the rights to his fairly obscure book. The filmmaker was in the Bay Area, deep in preproduction, when he learned that the family had reversed course and decided against making a deal.

    “I was gutted, but I completely assumed, give it two weeks, three weeks, I’ll get over it, I’ll move on,” Shackleton tells Vanity Fair. Instead, “I found myself traipsing around London, hanging out with friends and seemingly every night, just reeling off scenes or entire narrative arcs from this film that would now never come to be.”

    Instead of a typical true crime feature or series, Shackleton decided to make the Zodiac Killer Project—a movie, opening November 28 in San Francisco, in which he’d explain exactly how he would have made a doc based on the now-verboten Silenced Badge. The approach is not quite having your cake and eating it too, but it’s close.

    Shackleton returned to the Bay Area in the summer of 2023 to capture footage of Vallejo highways, small NorCal towns, and that fateful rest stop. That—as well as short moments of reenactment Shackleton laughingly refers to as “evocative B-roll”—is mostly what we see as the director explains, beat by beat, how his theoretical film would have played out.

    Shackleton lays bare how rote “prestige” true-crime documentaries and docuseries have become. While announcing when the initial credits would roll, he juxtaposes clips of similar title sequences from such high-profile projects as The Jinx and Making a Murderer. “All these things are built to the same model now,” he says. He’s right. It seems every show begins with similar grayscale, layered, out-of-focus images of landscapes, birds, newspaper clippings, and the ubiquitous male figure, suspiciously slinking away.

    That’s just the first in a series of sharp jabs Shackleton takes at true crime. Name a standard moment from a buzzy docuseries, from someone saying that a small town has a dark side to the use of red in a reenactment to make a suspect appear more sinister, and Shackleton will admit—with a mix of sarcasm and wistfullness—that he would have used that same tool. The boilerplate array of victim photos is grounds for perhaps his sharpest critique: “That’s when you know these shows really care,” Shackleton says. “When they end with a black-and-white photo grid of all the victims.” He would have closed his film with one had Lafferty’s family been willing to play ball.

    Eve Batey

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  • What to Stream: ‘Stranger Things,’ ‘Mickey 17,’ Kevin Hart and ‘A Grand Ole Opry Christmas’

    Bong Joon Ho’s “Mickey 17,” a new batch of “Stranger Things’” final season and Kevin Hart debuting a new comedy special on Netflix are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: “Everybody Loves Raymond” gets a 30th anniversary special on CBS, the Hallmark’s special “A Grand Ole Opry Christmas” with Brad Paisley and Mickey Guyton, and a new Beatles documentary series hits Disney+.

    New movies to stream from Nov. 24-30

    —Taiwanese filmmaker Shih-Ching Tsou, known for collaborating with and producing several Sean Baker films including “Tangerine” and “The Florida Project,” makes her solo directorial debut with “Left-Handed Girl,” about a single mother and her two daughters who return to Taipei to open a stand at a night market. Netflix acquired the film after it was warmly received during the Cannes Film Festival and Taiwan has already selected the film as its Oscar submission. It begins streaming on Netflix on Nov. 28.

    —Bong Joon Ho’s “Mickey 17” arrives on Prime Video on Thursday, Nov. 26, for some dystopian holiday viewing. In her review for The Associated Press, Jocelyn Noveck praised Robert Pattinson’s performance (or, rather, performances) as an expendable who is constantly being reprinted anew. She writes, “It’s his movie, and he saves it from Bong’s tendencies to overstuff the proceedings. In an extremely physical, committed, even exhausting performance, Pattinson takes what could have been an unwieldy mess and makes it much less, well, expendable.”

    Recording artist Brad Paisley perform the national anthem prior to Game 3 of baseball's World Series between the Toronto Blue Jays and the Los Angeles Dodgers, Monday, Oct. 27, 2025, in Los Angeles. (AP Photo/Ashley Landis)

    —OK, “The Last Duel,” streaming on Hulu on Sunday, Nov. 30 might be four years old but it’s a far better option than, say, “Flight Risk” (on HBO Max on Wednesday). Ridley Scott’s medieval tale, written by Matt Damon, Ben Affleck and Nicole Holofcener, is a brilliant spin on the historical epic told from three different perspectives, Damon’s Jean de Carrouges, Adam Driver’s Jacques Le Gris and Jodie Comer’s Marguerite. In his review for the AP, film writer Jake Coyle wrote that it “is more like a medieval tale deconstructed, piece by piece, until its heavily armored male characters and the genre’s mythologized nobility are unmasked.”

    — AP Film Writer Lindsey Bahr

    New music to stream on Nov. 24-30

    — In 2021, over Thanksgiving, Disney+ released Peter Jackson’s six-hour “The Beatles: Get Back” to its streaming platform. The gargantuan project provided fans with a deep-dive into the band’s “Let It Be” sessions – including footage of their entire rooftop concert, shared in full for the first time. It was an ideal release date, to say the least. After all that delicious food, who doesn’t want to settle in for a lengthy journey into one of the greatest musical acts of all time? Well, in 2025, there’s yet another reason to be grateful: Starting Wednesday, “The Beatles Anthology” documentary series hits Disney+. That’s nine episodes tracing their journey. Lock in.

    — ’Tis the season for Hallmark holiday films. And for the country music fanatic, that means “A Grand Ole Opry Christmas.” The film follows a woman forced to confront her musical past and heritage in the esteemed venue – and there may or may not be some time travel and Christmas magic involved. Stay tuned for the all-star cameos: Brad Paisley, Megan Moroney, Mickey Guyton, Rhett Akins, Tigirlily Gold and more make an appearance. It starts streaming on Hallmark+ Sunday.

    — AP Music Writer Maria Sherman

    New series to stream from Nov. 24-30

    — It’s hard to believe that “Everybody Loves Raymond” has been off the air for two decades. The multicamera sitcom starred Ray Romano and Patricia Heaton as Ray and Debra Barone, a young married couple whose daily lives are interrupted regularly by Ray’s meddling parents, played by Peter Boyle and Doris Roberts, who live across the street. CBS recently taped a 30th anniversary special to air Monday which will also stream on Paramount+. Hosted by Romano and creator, Phil Rosenthal, it recreates the set of the Barone living room and features interviews with cast members including Romano, Heaton, Brad Garrett and Monica Horan. There will also be a tribute to Boyle and Roberts who died in 2006 and 2016, respectively. It’s fitting for the special to come out around the holidays because its Thanksgiving and Christmas episodes were top-notch. All nine seasons stream on both Paramount+ and Peacock.

    — ” Stranger Things” is finally back with its fifth and final season. Netflix is releasing the sci-fi series in three parts and the first four episodes drop Wednesday. Millie Bobby Brown says fans will “lose their damn minds” with how it ends.

    — Also Monday, Kevin Hart debuts a new comedy special on Netflix. It’s called “Kevin Hart: Acting My Age.” The jokes center around, you guessed it, aging.

    — A new “Family Guy” special on Hulu pokes fun at those holiday movies we all know, love and watch. It’s called “Disney’s Hulu’s Family Guy’s Hallmark Channel’s Lifetime’s Familiar Holiday Movie” and pokes fun at the commonly-used trope of a big city gal who ends up in a small town at Christmas and falls in love. It drops Friday, Nov. 28 on Hulu and Hulu on Disney+.

    — Alicia Rancilio

    New video games to play from Nov. 24-30

    — Artificial intelligence: friend to all humanity or existential threat to the planet? In A.I.L.A, Brazilian studio Pulsatrix leans toward the latter. You play as a game tester who’s asked to try out an AI-created horror story. But while you’re busy fighting off ghosts, zombies and ax murderers, the AI may be up to something more nefarious in the background — which could be bad news if you own a smart refrigerator. It all has the potential to be very meta, whether or not you welcome our new robot overlords. It arrives Tuesday on PlayStation 5, Xbox X/S and PC.

    — Lou Kesten

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  • What to Stream: ‘Stranger Things,’ ‘Mickey 17,’ Kevin Hart and ‘A Grand Ole Opry Christmas’

    Bong Joon Ho’s “Mickey 17,” a new batch of “Stranger Things’” final season and Kevin Hart debuting a new comedy special on Netflix are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: “Everybody Loves Raymond” gets a 30th anniversary special on CBS, the Hallmark’s special “A Grand Ole Opry Christmas” with Brad Paisley and Mickey Guyton, and a new Beatles documentary series hits Disney+.

    —Taiwanese filmmaker Shih-Ching Tsou, known for collaborating with and producing several Sean Baker films including “Tangerine” and “The Florida Project,” makes her solo directorial debut with “Left-Handed Girl,” about a single mother and her two daughters who return to Taipei to open a stand at a night market. Netflix acquired the film after it was warmly received during the Cannes Film Festival and Taiwan has already selected the film as its Oscar submission. It begins streaming on Netflix on Nov. 28.

    —Bong Joon Ho’s “Mickey 17” arrives on Prime Video on Thursday, Nov. 26, for some dystopian holiday viewing. In her review for The Associated Press, Jocelyn Noveck praised Robert Pattinson’s performance (or, rather, performances) as an expendable who is constantly being reprinted anew. She writes, “It’s his movie, and he saves it from Bong’s tendencies to overstuff the proceedings. In an extremely physical, committed, even exhausting performance, Pattinson takes what could have been an unwieldy mess and makes it much less, well, expendable.”

    —OK, “The Last Duel,” streaming on Hulu on Sunday, Nov. 30 might be four years old but it’s a far better option than, say, “Flight Risk” (on HBO Max on Wednesday). Ridley Scott’s medieval tale, written by Matt Damon, Ben Affleck and Nicole Holofcener, is a brilliant spin on the historical epic told from three different perspectives, Damon’s Jean de Carrouges, Adam Driver’s Jacques Le Gris and Jodie Comer’s Marguerite. In his review for the AP, film writer Jake Coyle wrote that it “is more like a medieval tale deconstructed, piece by piece, until its heavily armored male characters and the genre’s mythologized nobility are unmasked.”

    — AP Film Writer Lindsey Bahr

    — In 2021, over Thanksgiving, Disney+ released Peter Jackson’s six-hour “The Beatles: Get Back” to its streaming platform. The gargantuan project provided fans with a deep-dive into the band’s “Let It Be” sessions – including footage of their entire rooftop concert, shared in full for the first time. It was an ideal release date, to say the least. After all that delicious food, who doesn’t want to settle in for a lengthy journey into one of the greatest musical acts of all time? Well, in 2025, there’s yet another reason to be grateful: Starting Wednesday, “The Beatles Anthology” documentary series hits Disney+. That’s nine episodes tracing their journey. Lock in.

    — ’Tis the season for Hallmark holiday films. And for the country music fanatic, that means “A Grand Ole Opry Christmas.” The film follows a woman forced to confront her musical past and heritage in the esteemed venue – and there may or may not be some time travel and Christmas magic involved. Stay tuned for the all-star cameos: Brad Paisley, Megan Moroney, Mickey Guyton, Rhett Akins, Tigirlily Gold and more make an appearance. It starts streaming on Hallmark+ Sunday.

    — AP Music Writer Maria Sherman

    — It’s hard to believe that “Everybody Loves Raymond” has been off the air for two decades. The multicamera sitcom starred Ray Romano and Patricia Heaton as Ray and Debra Barone, a young married couple whose daily lives are interrupted regularly by Ray’s meddling parents, played by Peter Boyle and Doris Roberts, who live across the street. CBS recently taped a 30th anniversary special to air Monday which will also stream on Paramount+. Hosted by Romano and creator, Phil Rosenthal, it recreates the set of the Barone living room and features interviews with cast members including Romano, Heaton, Brad Garrett and Monica Horan. There will also be a tribute to Boyle and Roberts who died in 2006 and 2016, respectively. It’s fitting for the special to come out around the holidays because its Thanksgiving and Christmas episodes were top-notch. All nine seasons stream on both Paramount+ and Peacock.

    — ” Stranger Things” is finally back with its fifth and final season. Netflix is releasing the sci-fi series in three parts and the first four episodes drop Wednesday. Millie Bobby Brown says fans will “lose their damn minds” with how it ends.

    — Also Monday, Kevin Hart debuts a new comedy special on Netflix. It’s called “Kevin Hart: Acting My Age.” The jokes center around, you guessed it, aging.

    — A new “Family Guy” special on Hulu pokes fun at those holiday movies we all know, love and watch. It’s called “Disney’s Hulu’s Family Guy’s Hallmark Channel’s Lifetime’s Familiar Holiday Movie” and pokes fun at the commonly-used trope of a big city gal who ends up in a small town at Christmas and falls in love. It drops Friday, Nov. 28 on Hulu and Hulu on Disney+.

    — Alicia Rancilio

    — Artificial intelligence: friend to all humanity or existential threat to the planet? In A.I.L.A, Brazilian studio Pulsatrix leans toward the latter. You play as a game tester who’s asked to try out an AI-created horror story. But while you’re busy fighting off ghosts, zombies and ax murderers, the AI may be up to something more nefarious in the background — which could be bad news if you own a smart refrigerator. It all has the potential to be very meta, whether or not you welcome our new robot overlords. It arrives Tuesday on PlayStation 5, Xbox X/S and PC.

    — Lou Kesten

    Source link

  • Oscars: Academy Reveals Full Lists of Qualifying Documentary, International and Animated Features

    A total of 201 documentary features, 86 international features and 35 animated features are eligible for Oscar recognition this season in the best documentary feature, best international feature and best animated feature categories, respectively, the Academy of Motion Picture Arts and Sciences announced on Friday.

    The only time more documentaries were deemed eligible — 238 — was the year in which the pandemic led to an extension of the period of eligibility from 12 to 14 months (Jan. 1, 2020 to Feb. 28, 2021) and docs that did not play in theaters were considered.

    This year’s list of eligible documentary features includes titles that have dominated at the doc community’s precursor awards, including Netflix’s The Perfect Neighbor and Apocalypse in the Tropics, Apple’s Come See Me in the Good Light and Neon’s Orwell: 2+2=5. It also includes two acclaimed films made by celebrities about their famous parents, HBO’s My Mom Jayne and Apple’s Stiller & Meara: Nothing Is Lost, which were directed by Mariska Hargitay and Ben Stiller, respectively. And there are several titles related to recent turmoil in the Middle East, including Hemdale/Metallux’s Torn: The Israel-Palestine Poster War on New York City Streets and the self-distributed Coexistence, My Ass!, Holding Liat and Put Your Soul on Your Hand and Walk.

    The most glaring omission from the list: The Eyes of Ghana, a documentary directed by the two-time Oscar-winning documentarian Ben Proudfoot, which is still seeking distribution. The Hollywood Reporter has confirmed that a late decision was made to hold the film for next awards season. Other high-profile docs that were expected to be on the list but are not, either because they were not submitted or because they failed to meet the eligibility requirements, include A24’s Marc by Sofia, Oscar winner Sofia Coppola’s portrait of Marc Jacobs, and Oscar winner Questlove’s Hulu film Sly Lives! (aka the Burden of Black Genius).

    The list of eligible international features includes five widely lauded films that are being distributed in the U.S. by Parasite backer Neon and could conceivably all earn nominations: Norway’s Sentimental Value, Brazil’s The Secret Agent, South Korea’s No Other Choice, Spain’s Sirāt and France’s It Was Just an Accident. It Was Just an Accident, which won the Cannes Film Festival’s Palme d’Or, was directed by Jafar Panahi, a filmmaker from Iran but does not reflect well on the country; as a result, Iran submitted the much lower-profile Cause of Death: Unknown, while France submitted It Was Just an Accident, on the basis that much of the film’s financing was French.

    Other countries that made interesting submissions include Japan (GKIDS’ Kokuho, a film about Kabuki performers, which is now the highest-grossing non-animated film in that country’s history); Iraq (Sony Classics’ The President’s Cake won two prizes at Cannes); Belgium (Music Box’s Young Mothers could bring the brothers Jean-Pierre Dardenne and Luc Dardenne the first Oscar noms of their distinguished careers); and Taiwan (Netflix’s Left-Handed Girl, which was co-written by Anora Oscar winner Sean Baker).

    Meanwhile, at least three countries submitted acclaimed documentaries for best international feature consideration: Ukraine (PBS’ 2000 Meters to Andriivka, a doc about a Ukrainian platoon’s fight to retake a city from Russian invaders, which was directed by Mstyslav Chernov, who won the best doc feature Oscar two years ago); North Macdeonia (Nat Geo’s The Tale of Silyan, from Tamara Kotevska, whose 2019 film Honeyland was nominated for best international feature and doc feature Oscars); and Denmark (Mr. Nobody Against, a film about Vladimir Putin’s propaganda efforts, which is still seeking U.S. distribution).

    And the list of animated features includes giant blockbusters like Crunchyroll’s Demon Slayer: Kimetsu no Yaiba Infinity Castle, which is now the highest-grossing Japanese film of all time and the highest-grossing international film in the U.S. of all time, as well as the fifth-highest-grossing film of 2025; streaming hits like Netflix’s KPop Demon Hunters, which is now that streamer’s most watched film ever; acclaimed indies like Neon’s Arco, a French-language critics’ darling that counts Natalie Portman among its producers; and highly-anticipated forthcoming titles like Disney’s Zootopia 2.

    Among the animated films that were expected to contend but are not on the list of eligible titles, either because they were not submitted or because they failed to meet the eligibility requirements, are A24’s Ne Zha 2, Sony’s Paddington in Peru and Paramount’s Smurfs.

    The documentary feature and international feature categories are winnowed down to shortlists before nominations, while the animated feature category goes straight to nominations. Shortlist voting will span Dec. 8-12, 2025, and the announcement of the shortlists will come on Dec. 16. Nominations voting in all categories will span Jan. 12-16, 2026, and the announcement of the nominations will come on Jan. 22, 2026.

    A full list of eligible animated, documentary and international features follows.

    Eligible animated features

    Thirty-five features are eligible for consideration in the Animated Feature Film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    To determine the five nominees, members of the Animation Branch are automatically eligible to vote in the category. Academy members outside of the Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category. Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture. Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.

    “All Operators Are Currently Unavailable”

    “Arco”

    “The Bad Guys 2”

    “Black Butterflies”

    “Boys Go to Jupiter”

    “Chainsaw Man – The Movie: Reze Arc”

    “ChaO”

    “Colorful Stage! The Movie: A Miku Who Can’t Sing”

    “David”

    “Demon Slayer: Kimetsu no Yaiba Infinity Castle”

    “Dog Man”

    “Dog of God”

    “Dragon Heart – Adventures Beyond This World”

    “Elio”

    “Endless Cookie”

    “Fixed”

    “Gabby’s Dollhouse: The Movie”

    “In Your Dreams”

    “KPop Demon Hunters”

    “The Legend of Hei 2”

    “Light of the World”

    “Little Amélie or the Character of Rain”

    “Lost in Starlight”

    “A Magnificent Life”

    “Mahavatar Narsimha”

    “Night of the Zoopocalypse”

    “Olivia & las Nubes”

    “100 Meters”

    “Out of the Nest”

    “Scarlet””Slide”

    “The SpongeBob Movie: Search for SquarePants”

    “Stitch Head”

    “The Twits”

    “Zootopia 2”

    Eligible documentary features

    Two hundred one features are eligible for consideration in the documentary feature film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    Documentary features that have won a qualifying film festival award or have been submitted in the international feature film category as their country’s official selection are also eligible in the category. Films submitted in the documentary feature film category may also qualify for Academy Awards in other categories, including best picture. Members of the documentary branch vote to determine the shortlist and the nominees. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    “Abby’s List, A Dogumentary”

    “Ada – My Mother the Architect”

    “Afternoons of Solitude”

    “The Age of Disclosure”

    “Ai Weiwei’s Turandot”

    “The Alabama Solution”

    “All God’s Children”

    “The Altar Boy, the Priest and the Gardener”

    “Always”

    “Amakki”

    “American Sons”

    “Among Neighbors”

    “animal.”

    “Antidote”

    “Apocalypse in the Tropics”

    “Architecton”

    “Are We Good?”

    “Art for Everybody”

    “Art Spiegelman: Disaster Is My Muse”

    “The Art Whisperer”

    “Artfully United”

    “Assembly”

    “BTS ARMY: Forever We Are Young”

    “Becoming Led Zeppelin”

    “Being Eddie”

    “Below the Clouds”

    “Benita”

    “Between the Mountain and the Sky”

    “Beyond the Gaze: Jule Campbell’s Swimsuit Issue”

    “Billy Idol Should Be Dead””BLKNWS: Terms & Conditions”

    “Blum: Masters of Their Own Destiny”

    “Bodyguard of Lies”

    “Brothers after War”

    “Can’t Look Away: The Case against Social Media”

    “Caterpillar”

    “Champions of the Golden Valley”

    “Checkpoint Zoo”

    “Cheech & Chong’s Last Movie”

    “Child of Dust”

    “Chronicles of Disney”

    “Coexistence, My Ass!”

    “Come See Me in the Good Light”

    “Complicated”

    “Cover-Up”

    “Cracking the Code: Phil Sharp and the Biotech Revolution”

    “Cutting through Rocks”

    “Dalit Subbaiah”

    “The Dating Game”

    “Deaf President Now!”

    “Democracy Noir”

    “Diane Warren: Relentless”

    “Dog Warriors”

    “Drop Dead City”

    “The Duel We Missed”

    “El Canto de las Manos”

    “Elie Wiesel: Soul on Fire”

    “The Encampments”

    “Endless Cookie”

    “Europe’s New Faces”

    “Facing War”

    “Fatherless No More”

    “Fiume o Morte!”

    “Folktales”

    “Food Delivery: Fresh from the West Philippine Sea”

    “For the Living”

    “14 Short Films about Opera”

    “From Island to Island”

    “Ghost Boy”

    “Girl Climber”

    “Go to the People”

    “Goodbye Horses: The Many Lives of Q Lazzarus””Grand Theft Hamlet”

    “Heaven. Poste Restente”

    “Heightened Scrutiny”

    “Holding Liat”

    “I Know Catherine, the Log Lady”

    “I, Poppy”

    “I Was Born This Way”

    “If You Tell Anyone”

    “I’m Not Everything I Want to Be”

    “I’m Only Blind”

    “Imago”

    “In Limbo”

    “In Waves and War”

    “In Whose Name?”

    “Israel Palestine on Swedish TV 1958 -1989”

    “It’s Never Over, Jeff Buckley”

    “Janis Ian: Breaking Silence”

    “The King of Color”

    “The Last Class”

    “The Last Holocaust Secret”

    “The Last Philadelphia”

    “The Last Twins”

    “Li Cham (I Died)”

    “The Librarians”

    “Life After”

    “Lilith Fair: Building a Mystery – The Untold Story”

    “Liza: A Truly Terrific Absolutely True Story”

    “Love+War”

    “Mahamantra – The Great Chant”

    “The Man Who Saves the World?”

    “A Man with Sole: The Impact of Kenneth Cole”

    “Marlee Matlin: Not Alone Anymore”

    “Meanwhile”

    “Men of War”

    “Mighty Indeed”

    “Mr. Nobody against Putin”

    “Mistress Dispeller”

    “Monk in Pieces”

    “My Armenian Phantoms”

    “My Mom Jayne: A Film by Mariska Hargitay”

    “My Undesirable Friends: Part I – Last Air in Moscow”

    “Natchez””The New Yorker at 100”

    “Night in West Texas”

    “1985: Heroes among Ruins – The Triumph of the People”

    “Norita”

    “Of Mud and Blood”

    “One to One: John and Yoko”

    “Orwell 2+2=5”

    “Our Time Will Come”

    “Out of Plain Sight”

    “Paint Me a Road Out of Here”

    “Paparazzi”

    “The Parish of Bishop John”

    “Pavements”

    “The Perfect Neighbor”

    “The Pool”

    “Predators”

    “Prime Minister”

    “The Prince of Nanawa”

    “Put Your Soul on Your Hand and Walk”

    “Rebel with a Clause”

    “Remaining Native”

    “Riefenstahl”

    “Rise Up! 14 Short Films about Alliance for Positive Change”

    “River of Grass”

    “The Road between Us: The Ultimate Rescue”

    “The Rose: Come Back to Me”

    “Row of Life”

    “Sanatorium”

    “A Savage Art”

    “Schindler Space Architect”

    “Secret Mall Apartment”

    “Seeds”

    “Selena y Los Dinos”

    “Sensory Overload”

    “76 Days Adrift”

    “Shari & Lamb Chop”

    “The Shepherd and the Bear”

    “Shoot the People”

    “Shuffle”

    “The Six Billion Dollar Man”

    “67 Bombs to Enid”

    “Slumlord Millionaire””Songs from the Hole”

    “Soul of a Nation”

    “Speak.”

    “Stans”

    “Steve Schapiro: Being Everywhere”

    “Stiller & Meara: Nothing Is Lost”

    “Stop the Insanity: Finding Susan Powter”

    “Story of My Village”

    “Strange Journey: The Story of Rocky Horror”

    “The Stringer”

    “Suburban Fury”

    “Sudan, Remember Us”

    “Supercar Saints”

    “Swamp Dogg Gets His Pool Painted”

    “The Tale of Silyan”

    “Thank You Very Much”

    “There Was, There Was Not”

    “Third Act”

    “This Ordinary Thing”

    “Through the Fire (The Eaton Fire: The Aftermath)”

    “Torn: The Israel -Palestine Poster War on New York City Streets”

    “Trade Secret”

    “Trains”

    “Twin Towers: Legacy”

    “2000 Meters to Andriivka”

    “Unbanked”

    “UnBroken”

    “Under the Flags, the Sun”

    “Unseen Innocence”

    “Viktor”

    “Viva Verdi!”

    “WTO/99”

    “Walk with Me”

    “Walls – Akinni Inuk”

    “We Were Here – The Untold History of Black Africans in Renaissance Europe”

    “Welded Together”

    “The White House Effect”

    “Who in the Hell Is Regina Jones?”

    “Wisdom of Happiness”

    “The Wolves Always Come at Night”

    “Worth the Fight”

    “Writing Hawa”

    Eligible international features

    Eighty-six countries or regions have submitted films that are eligible for consideration in the International Feature Film category for the 98th Academy Awards.

    An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly (more than 50 percent) non-English dialogue track.

    Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    Albania, “Luna Park”

    Argentina, “Belén”

    Armenia, “My Armenian Phantoms”

    Australia, “The Wolves Always Come at Night”

    Austria, “Peacock”

    Azerbaijan, “Taghiyev: Oil”

    Bangladesh, “A House Named Shahana”

    Belgium, “Young Mothers”

    Bhutan, “I, the Song”

    Bolivia, “The Southern House”

    Bosnia and Herzegovina, “Blum: Masters of Their Own Destiny”

    Brazil, “The Secret Agent”

    Bulgaria, “Tarika”

    Canada, “The Things You Kill”

    Chile, “The Mysterious Gaze of the Flamingo”

    China, “Dead to Rights”

    Colombia, “A Poet”

    Costa Rica, “The Altar Boy, the Priest and the Gardener”

    Croatia, “Fiume o Morte!”

    Czech Republic, “I’m Not Everything I Want to Be”

    Denmark, “Mr. Nobody against Putin”

    Dominican Republic, “Pepe”

    Ecuador, “Chuzalongo”

    Egypt, “Happy Birthday”

    Estonia, “Rolling Papers”

    Finland, “100 Liters of Gold”

    France, “It Was Just an Accident”Georgia, “Panopticon”

    Germany, “Sound of Falling”

    Greece, “Arcadia”

    Greenland, “Walls – Akinni Inuk”

    Haiti, “Kidnapping Inc.”

    Hong Kong, “The Last Dance”

    Hungary, “Orphan”

    Iceland, “The Love That Remains”

    India, “Homebound”

    Indonesia, “Sore: A Wife from the Future”

    Iran, “Cause of Death: Unknown”

    Iraq, “The President’s Cake”

    Ireland, “Sanatorium”

    Israel, “The Sea”

    Italy, “Familia”

    Japan, “Kokuho”

    Jordan, “All That’s Left of You”

    Kyrgyzstan, “Black Red Yellow”

    Latvia, “Dog of God”

    Lebanon, “A Sad and Beautiful World”

    Lithuania, “The Southern Chronicles”

    Luxembourg, “Breathing Underwater”

    Madagascar, “Disco Afrika: A Malagasy Story”

    Malaysia, “Pavane for an Infant”

    Mexico, “We Shall Not Be Moved”

    Mongolia, “Silent City Driver”

    Montenegro, “The Tower of Strength”

    Morocco, “Calle Malaga”

    Nepal, “Anjila”

    Netherlands, “Reedland”

    North Macedonia, “The Tale of Silyan”

    Norway, “Sentimental Value”

    Palestine, “Palestine 36”

    Panama, “Beloved Tropic”

    Paraguay, “Under the Flags, the Sun”

    Peru, “Kinra”

    Philippines, “Magellan”

    Poland, “Franz”

    Portugal, “Banzo”

    Romania, “Traffic”

    Saudi Arabia, “Hijra”

    Serbia, “Sun Never Again”Singapore, “Stranger Eyes”

    Slovakia, “Father”

    Slovenia, “Little Trouble Girls”

    South Africa, “The Heart Is a Muscle”

    South Korea, “No Other Choice”

    Spain, “Sirât”

    Sweden, “Eagles of the Republic”

    Switzerland, “Late Shift”

    Taiwan, “Left -Handed Girl”

    Tunisia, “The Voice of Hind Rajab”

    Turkey, “One of Those Days When Hemme Dies”

    Uganda, “Kimote”

    Ukraine, “2000 Meters to Andriivka”

    United Kingdom, “My Father’s Shadow”

    Uruguay, “Don’t You Let Me Go”

    Venezuela, “Alí Primera”

    Vietnam, “Red Rain”

    Scott Feinberg

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  • If Selena Quintanilla Had Lived Past 23, What Might She Be Doing Now?

    The new Netflix documentary Selena y Los Dinos tells an inspirational story of a hard-working family band’s ascent from playing tiny restaurant back rooms to selling out the Houston Astrodome. It’s also difficult to watch without wondering what Selena Quintanilla, the preternaturally gifted lead singer of Los Dinos, might be doing now had she not been killed in 1995 at the age of 23. How many more Grammys would she have under her belt? Would she have moved into films, shooting them in between albums? Would she have a clothing line at Fashion Week, or financially fruitful Target collabs? Would she be touring with her own children, or even grandchildren, just as her parents toured with her?

    To tell the story of Selena and her family, Emmy-nominated director Isabel Castro (Mija) sifted through family archives and previously unseen footage from the Quintanillas’ private home videos. Castro also conducted candid interviews with Selena’s parents, Marcella and Abraham; her sister and drummer, Suzette; her bassist-songwriter brother, A.B.; and her guitarist husband, Chris Pérez.

    Suzette is now the steward of Q Productions, the Quintanilla family’s hometown HQ. For this project, she wanted to find a director who could sift through the family’s massive archive to tell a story that would resonate with the generations of fans who still make the pilgrimage to visit the Selena Museum in Corpus Christi, Texas, and wider audiences as well. Castro is a lifelong fan herself who found she had “really great chemistry” with Suzette in their first Zoom conversation. For Suzette, the vibe was mutual. “She reminded me of home, like I’d known her for a long time,” she says of Castro. “Before we hung up on the call, I texted my lawyer, ‘She’s the one.’” The child of Mexican immigrants and raised in Connecticut, Castro could relate to how the Quintanillas had a foot in two cultures: “Selena was so inspiring to me because of her unapologetic confidence in her identity.”

    Over the course of two years, Castro and producer J. Daniel Torres spent about 10 hours a day, five days a week, poring through the material, clocking moments that would best serve the story. The sheer volume was daunting. “Suzette opens the door to this room with floor-to-ceiling bookcases of VHS tapes, CDs, flash drives, original film, albums, and boxes with photos,” she says. “It felt like we entered a sacred space, and I found it overwhelming in this way I’d never experienced in my career—both in terms of process and deciding how to distill this into a film. But the responsibility of access to that archive is what drove me and the whole team to work as hard as we did.”

    Interviews with the Quintanilla family were a delicate process that took six months. Marcella, the family matriarch, was especially reluctant about participating. Says Suzette, “My mother suffers from depression from losing my sister. She gets extremely emotional, and I didn’t think she was going to do it. I had to tiptoe around it and do the whole cute face on her, like, ‘Please, Mom, it’s important for you to be a part of this, because you played a huge role in keeping us grounded and showing us the way we deserve to be as women.’”

    Vivian Manning-Schaffel

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  • What to Stream: ‘Wicked: For Good’ soundtrack, Ted Danson, ‘The Bad Guys 2’ and Black cowboys

    Ted Danson’s “A Man on the Inside” returning to Netflix for its second season and Ariana Grande and Cynthia Erivo belting out the “Wicked: For Good” soundtrack are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Aerosmith teaming up with Yungblud on a new EP, “The Bad Guys 2” hitting Peacock and Jordan Peele looking at Black cowboys in a new documentary series.

    New movies to stream from Nov. 17-23

    — “Train Dreams,” (Friday, Nov. 21 on Netflix), Clint Bentley’s adaptation of Denis Johnson’s acclaimed novella, stars Joel Edgerton as Robert Grainier, a railroad worker and logger in the early 20th century Pacific Northwest. The film, scripted by Bentley and Greg Kwedar (the duo behind last year’s “Sing Sing” ), conjures a frontier past to tell a story about an anonymous laborer and the currents of change around him.

    — The DreamWorks Animation sequel “The Bad Guys 2” (Friday, Nov. 21 on Peacock) returns the reformed criminal gang of animals for a new heist caper. In the film, with a returning voice cast including Sam Rockwell, Awkwafina, Craig Robinson, Anthony Ramos and Marc Maron, the Bad Guys encounter a new robbery team: the Bad Girls. In his review, AP’s Mark Kennedy lamented an over-amped sequel with a plot that reaches into space: “It’s hard to watch a franchise drift so expensively and pointlessly in Earth’s orbit.”

    — In “The Roses,” Jay Roach (“Meet the Parents’), from a script by Tony McNamara (“Poor Things”), remakes Danny DeVito’s 1989 black comedy, “The War of the Roses.” In this version, Olivia Colman and Benedict Cumberbatch star as a loving couple who turn bitter enemies. In his review, Kennedy called “The Roses” “an escalating hatefest that, by the time a loaded gun comes out, all the fun has been sucked out.”

    — AP Film Writer Jake Coyle

    New music to stream on Nov. 21

    — Musical theater fans, your time has come… again. “Wicked: For Good” is upon us, and with it comes the release of its official soundtrack. On Friday, after or before you catch the film in theaters, stream its life-affirming compositions to your heart’s content. Might we suggest Ariana Grande’s “The Girl in the Bubble?” Or Cynthia Erivo’s “No Place Like Home?” And for the Jeff Goldblum and Jonathan Bailey lovers, yes, there’s gold to be unearthed, too.

    — Rock this way: Aerosmith is back with new music. Following their 2023 “Greatest Hits” collection and just a few months after the conclusion of their “Peace Out: The Farewell Tour” (the band said it would no longer hit the road due to singer Steven Tyler’s voice becoming permanently damaged by a vocal cord injury ) they’re teaming up with next gen rock ‘n’ roller Yungblud. It’s a collaborative EP called “One More Time,” out Friday. The anthemic opening track, “My Only Angel” sets the tone. What’s another one for the road?

    — AP Music Writer Maria Sherman

    New series to stream from Nov. 17-23

    — Raise your hand if you still miss “Succession” Sundays on HBO. An acclaimed Swedish drama called “Vanguard” debuts Tuesday on Viaplay that’s of the same vein. It’s a dramatization about Jan Stenbeck, one of Europe’s most influential media moguls. There’s ambition, betrayal and yes, sibling rivalry.

    — Ted Danson’s “A Man on the Inside” returns to Netflix for its second season on Thursday. Danson plays a widower named Charles who has found a new sense of purpose as an amateur private detective. In Season One, Charles moved into a retirement home to catch his culprit. In Season Two, he goes back to college to solve a case. Danson’s real-life wife, Mary Steenburgen, joins the cast as Charles’ love interest as he explores the idea of a second chance at romance.

    — Keeley Hawes and Freddie Highmore co-star in “The Assassin” for AMC+. Hawes (“Bodyguard”) plays a retired assassin living in solitude on a Greek island whose peaceful life is turned upside down when her estranged son (Highmoore) comes to visit. When the two find themselves in danger they must work together to stay alive. It premieres Thursday.

    — Jordan Peele has a new documentary series called “High Horse: The Black Cowboy” coming to Peacock on Thursday. The three-part series examines how stories of Black cowboys have been erased from both pop culture and history books.

    New video games to play from Nov. 17-23

    — If you bought Mario Kart World when Nintendo launched the Switch 2 back in June, you may be wondering: Do I really need another racing game? Kirby Air Riders comes from designer Masahiro Sakurai, the mastermind behind Super Smash Bros., so it adds that franchise’s chaotic combat to the mix. Each of the competitors has different weapons and each of the vehicles has different benefits and drawbacks. And everyone can use Kirby’s signature “inhale” technique, which lets you absorb an opponent’s skills by, well, swallowing them. So if you like your racing weird, get your motor running Thursday.

    — Lou Kesten

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  • What to Stream: ‘Wicked: For Good’ soundtrack, Ted Danson, ‘The Bad Guys 2’ and Black cowboys

    Ted Danson’s “A Man on the Inside” returning to Netflix for its second season and Ariana Grande and Cynthia Erivo belting out the “Wicked: For Good” soundtrack are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Aerosmith teaming up with Yungblud on a new EP, “The Bad Guys 2” hitting Peacock and Jordan Peele looking at Black cowboys in a new documentary series.

    — “Train Dreams,” (Friday, Nov. 21 on Netflix), Clint Bentley’s adaptation of Denis Johnson’s acclaimed novella, stars Joel Edgerton as Robert Grainier, a railroad worker and logger in the early 20th century Pacific Northwest. The film, scripted by Bentley and Greg Kwedar (the duo behind last year’s “Sing Sing” ), conjures a frontier past to tell a story about an anonymous laborer and the currents of change around him.

    — The DreamWorks Animation sequel “The Bad Guys 2” (Friday, Nov. 21 on Peacock) returns the reformed criminal gang of animals for a new heist caper. In the film, with a returning voice cast including Sam Rockwell, Awkwafina, Craig Robinson, Anthony Ramos and Marc Maron, the Bad Guys encounter a new robbery team: the Bad Girls. In his review, AP’s Mark Kennedy lamented an over-amped sequel with a plot that reaches into space: “It’s hard to watch a franchise drift so expensively and pointlessly in Earth’s orbit.”

    — In “The Roses,” Jay Roach (“Meet the Parents’), from a script by Tony McNamara (“Poor Things”), remakes Danny DeVito’s 1989 black comedy, “The War of the Roses.” In this version, Olivia Colman and Benedict Cumberbatch star as a loving couple who turn bitter enemies. In his review, Kennedy called “The Roses” “an escalating hatefest that, by the time a loaded gun comes out, all the fun has been sucked out.”

    — AP Film Writer Jake Coyle

    — Musical theater fans, your time has come… again. “Wicked: For Good” is upon us, and with it comes the release of its official soundtrack. On Friday, after or before you catch the film in theaters, stream its life-affirming compositions to your heart’s content. Might we suggest Ariana Grande’s “The Girl in the Bubble?” Or Cynthia Erivo’s “No Place Like Home?” And for the Jeff Goldblum and Jonathan Bailey lovers, yes, there’s gold to be unearthed, too.

    — Rock this way: Aerosmith is back with new music. Following their 2023 “Greatest Hits” collection and just a few months after the conclusion of their “Peace Out: The Farewell Tour” (the band said it would no longer hit the road due to singer Steven Tyler’s voice becoming permanently damaged by a vocal cord injury ) they’re teaming up with next gen rock ‘n’ roller Yungblud. It’s a collaborative EP called “One More Time,” out Friday. The anthemic opening track, “My Only Angel” sets the tone. What’s another one for the road?

    — AP Music Writer Maria Sherman

    — Raise your hand if you still miss “Succession” Sundays on HBO. An acclaimed Swedish drama called “Vanguard” debuts Tuesday on Viaplay that’s of the same vein. It’s a dramatization about Jan Stenbeck, one of Europe’s most influential media moguls. There’s ambition, betrayal and yes, sibling rivalry.

    — Ted Danson’s “A Man on the Inside” returns to Netflix for its second season on Thursday. Danson plays a widower named Charles who has found a new sense of purpose as an amateur private detective. In Season One, Charles moved into a retirement home to catch his culprit. In Season Two, he goes back to college to solve a case. Danson’s real-life wife, Mary Steenburgen, joins the cast as Charles’ love interest as he explores the idea of a second chance at romance.

    — Keeley Hawes and Freddie Highmore co-star in “The Assassin” for AMC+. Hawes (“Bodyguard”) plays a retired assassin living in solitude on a Greek island whose peaceful life is turned upside down when her estranged son (Highmoore) comes to visit. When the two find themselves in danger they must work together to stay alive. It premieres Thursday.

    — Jordan Peele has a new documentary series called “High Horse: The Black Cowboy” coming to Peacock on Thursday. The three-part series examines how stories of Black cowboys have been erased from both pop culture and history books.

    — If you bought Mario Kart World when Nintendo launched the Switch 2 back in June, you may be wondering: Do I really need another racing game? Kirby Air Riders comes from designer Masahiro Sakurai, the mastermind behind Super Smash Bros., so it adds that franchise’s chaotic combat to the mix. Each of the competitors has different weapons and each of the vehicles has different benefits and drawbacks. And everyone can use Kirby’s signature “inhale” technique, which lets you absorb an opponent’s skills by, well, swallowing them. So if you like your racing weird, get your motor running Thursday.

    — Lou Kesten

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  • In Taylor Swift’s ‘End of an Era’ Trailer, Mama Swift Says What We’re All Thinking: “That’s Complicated”

    “So it goes ‘New Year’s Day’ verse and chorus, ‘Manuscript’ bridge into ‘Long Live’ bridge, into the down verse of ‘Long Live,’ into ‘Hold on to the memories, they will hold on to you,’ into ‘Long Live’ chorus but slowed down to half time, ‘New Year’s Day’ chords underneath it, into the last verse of ‘The Manuscript,’” Swift rattles off in the trailer’s final clip as her mother watches with a stunned expression that may be one of horror or one of admiration, but is probably both.

    After a beat, Andrea says, “That’s complicated,” not even bothering to remove her balled-up fist from where it’s resting on her chin as she listens to her daughter’s grand plan for the supersized surprise song mash-up that she performed for the final night of the tour in Vancouver on December 8, 2024.

    An incredibly successful artist, Swift occupies a singular position in our cultural consciousness, with her work and very life drawing just as much public criticism as they do fervent fan adoration. She’s incredibly private about her personal life—remember the rumor that she left her apartment building in a gigantic suitcase so as not to be photographed outside? I sure do!—while sharing other experiences and feelings in painstaking detail, whether through her song lyrics and letters or documentaries and interviews. Consider that she spent nearly two hours chatting with then boyfriend Travis Kelce and his brother, Jason Kelce, on their New Heights podcast in August—sharing not only the title, cover art, and release date for her newest album, The Life of a Showgirl, but also Travis’s dream pet, a “really specific type of otter.” (In short: a wild one he rescues, thus earning its unending devotion.)

    After the recording, later in the day, Travis proposed to her. A few short weeks later, she shared that too.

    All of this is to say that just when it seems like Swift has shown all her cards and there’s nothing left to reveal, the singer produces yet more compelling work. The original Eras Tour concert film had its theatrical run extended, then extended again, and you’d think, perhaps, that the appetite for a three-plus-hour filmed show would be sated, but here comes The Eras Tour | The Final Show, another full-length filmed concert, this one including the Tortured Poets Department set that Swift added to the tour after that album’s release. The new concert film will be released on December 12 on Disney+, as will the first two of episodes of the six-installment docuseries, just in time for Swift’s 36th birthday on December 13.

    Kase Wickman

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  • Premiere: Netflix’s New True Crime Doc Dives Into a Mother’s Mysterious Disappearance

    The victim’s sister called it “one big Greek tragedy”—and she meant it.

    In September 2016, Nathan Carman took off in a fishing boat with his mother near Block Island. A few days later, a freighter spotted Nathan on a life raft off the coast of Martha’s Vineyard. He was rescued. His mother, Linda, was never found.

    Such begins the story of The Carman Family Deaths, Netflix’s latest true crime documentary, based on a 2021 WIRED feature by Evan Lubofsky. Carman was, according to his father, the “first-born grandson of a Greek dynasty,” and when questions began to emerge following his rescue, suspicions arose that what happened at sea wasn’t what he claimed.

    Carman’s grandfather, Linda’s father, had been shot and killed several years before and there was a lot of money at stake. For the weeks following Carman’s rescue, the story made headlines as investigators tried to piece together what happened. Some thought Carman’s version of events didn’t add up, but his defenders pointed to the fact that he had autism spectrum disorder and could often be misunderstood.

    In 2022, nearly a year after WIRED published its story about the Carman family, Nathan Carman was charged with killing his mother in an alleged attempt to inherit his family’s vast estate.

    Directed by Yon Motskin, who made the UFO sighting documentary Encounters, The Carman Family Deaths is produced by Jesus Camp directors Rachel Grady and Heidi Ewing, Mary-Jane Mitchell, and WIRED Studios. The film lands on Netflix on November 19. Watch the first trailer for the documentary below and read more here.

    Angela Watercutter

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  • In ‘Mr. Scorsese,’ fitting a filmmaking titan into the frame

    NEW YORK (AP) — The first time the filmmaker Rebecca Miller met Martin Scorsese was on the set of 2002’s “Gangs of New York.” Miller’s husband, Daniel Day-Lewis, was starring in it. There, Miller found an anxious Scorsese on the precipice of the film’s enormous fight scene, shot on a sprawling set.

    “He seemed like a young man, hoping that he had chosen the right way to shoot a massive scene,” Miller recalls. “I was stunned by how youthful and alive he was.”

    That remains much the same throughout Miller’s expansive and stirring documentary portrait of the endlessly energetic and singularly essential filmmaker. In “Mr. Scorsese,” which premieres Friday on Apple TV, Miller captures the life and career of Scorsese, whose films have made one of the greatest sustained arguments for the power of cinema.

    “We talk about 32 films, which is a lot of films. But there are yet more films,” Miller says, referencing Scorsese’s projects to come. “It’s a life that overspills its own bounds. You think you’ve got it, and then it’s more and more and more.”

    Scorsese’s life has long had a mythic arc: The asthmatic kid from Little Italy who grew up watching old movies on television and went on to make some of the defining New York films. That’s a part of “Mr. Scorsese,” too, but Miller’s film, culled from 20 hours of interviews with Scorsese over five years, is a more intimate, reflective and often funny conversation about the compulsions that drove him and the abiding questions — of morality, faith and filmmaking — that have guided him.

    American film director Martin Scorsese gestures during a news conference in Rome to promote his movie “New York, New York,” Oct. 14, 1977. (AP Photo/Massimo Sambucetti)

    “Who are we? What are we, I should say?” Scorsese says in the opening moments of the series. “Are we intrinsically good or evil?”

    “This is the struggle,” he adds. “I struggle with it all the time.”

    Miller began interviewing Scorsese during the pandemic. He was then beginning to make “Killers of the Flower Moon.” Their first meetings were outside. Miller first pitched the idea to Scorsese as a multifaceted portrait. Then, she imagined a two-hour documentary. Later, by necessity, it turned into a five-hour series. It still feels too short.

    “I explained I wanted to take a cubist approach, with different shafts of light on him from all different perspectives — collaborators, family,” Miller says. “Within a very short amount of time, he sort of began talking as if we were doing it. I was a bit confused, thinking, ‘Is this a job interview or a planning situation?’”

    Scorsese’s own documentaries have often been some of the most insightful windows into him. In one of his earliest films, “Italianamerican” (1974), he interviewed his parents. His surveys of cinema, including 1995’s “A Personal Journey With Martin Scorsese Through American Movies” and 1999’s “My Voyage to Italy,” have been especially revealing of the inspirations that formed him. Scorsese has never penned a memoir, but these movies come close.

    While the bulk of “Mr. Scorsese” are the director’s own film-to-film recollections, a wealth of other personalities color in the portrait. That includes collaborators like editor Thelma Schoonmaker, Paul Schrader, Robert De Niro, Leonardo DiCaprio and Day-Lewis. It also includes Scorsese’s children, his ex-wives and his old Little Italy pals. One, Salvatore “Sally Gaga” Uricola for the first time is revealed as the model for De Niro’s troublemaking, mailbox-blowing-up Johnny Boy in “Mean Streets.”

    “Cinema consumed him at such an early age and it never left him,” DiCaprio says in the film. “There will never be anyone like him again,” says Steven Spielberg.

    Director Martin Scorsese gestures during his presentation of the Platinum Award to Leonardo DiCaprio at the Santa Barbara International Film Festival, Jan. 30, 2005, in Santa Barbara, Calif. (AP Photo/Michael A. Mariant)

    Director Martin Scorsese gestures during his presentation of the Platinum Award to Leonardo DiCaprio at the Santa Barbara International Film Festival, Jan. 30, 2005, in Santa Barbara, Calif. (AP Photo/Michael A. Mariant)

    It can be easy to think of Scorsese, perhaps the most revered living filmmaker, as an inevitability, that of course he gets to make the films he wants. But “Mr. Scorsese” is a reminder how often that wasn’t the case and how frequently Scorsese found himself on the outside of Hollywood, whether due to box-office disappointment, a clash of style or the perceived danger in controversial subjects (“Taxi Driver,” “The Last Temptation of Christ”) he was drawn to.

    “He was fighting for every single film,” Miller says. “Cutting this whole thing was like riding a bucking bronco. You’re up and you’re down, you’re dead, then alive.”

    Film executives today, an especially risk-averse lot, could learn some lessons from “Mr. Scorsese” in what a difference they can make for a personal filmmaker. As discussed in the film, in the late ’70s, producer Irwin Winkler refused to do “Rocky II” with United Artists unless they also made “Raging Bull.”

    For Miller, whose films include “The Ballad of Jack and Rose” and “Maggie’s Plan,” being around Scorsese was an education. She found his films began to infect “Mr. Scorsese.” The cutting of the documentary took on the style of his film’s editing. “In proximity to these film,” she says, “you start to breathe the air.”

    Nearness to Scorsese also inevitably means movie recommendations. Lots of them. One that stood out for Miller was “The Insect Woman,” Japanese filmmaker Shōhei Imamura’s 1963 drama about three generations of women.

    “He’s still doing it,” Miller says. “He’s still sending me movies.”

    “Mr. Scorsese” recently debuted at the New York Film Festival, where Miller’s son, Ronan Day-Lewis made his directorial debut with “Anemone,” a film that marked her husband’s return from retirement. At the “Mr. Scorsese” premiere, a packed audience at Lincoln Center’s Alice Tully Hall came to enthusiastically revel in, and pay tribute to its subject.

    “You hear all those people laughing with him or suddenly bursting into applause when they see Thelma Schoonmaker or at the end of the ‘Last Waltz’ sequence,” Miller says. “There was a sense of such palpable enthusiasm and love. My husband said something I thought was very beautiful: It reminded everyone of how much they love him.”

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  • Bon Jovi is hitting the road. Band announces first tour since Jon Bon Jovi’s vocal cord surgery

    NEW YORK — NEW YORK (AP) — Decades into his career and the unthinkable happened. It was 2022, and Jon Bon Jovi began struggling through his songs. He saw a doctor who said one of his vocal cords was atrophying. He needed major surgery.

    Bon Jovi had the procedure, and in the years since, has undergone extensive rehab, leading to the current moment: Next summer his band, Bon Jovi, will embark on their first tour in four years.

    The “Forever Tour” kicks off with four nights at New York’s Madison Square Garden before the band heads to Edinburgh, Scotland; Dublin and London.

    “There is a lot of joy in this announcement — joy that we can share these nights together with our amazing fans and joy that the band can be together,” Bon Jovi said in a statement. “I’ve spoken extensively on my gratitude but I will say it again, I’m deeply grateful that the fans and the brotherhood of this band have been patient and allowed me the time needed to get healthy and prepare for touring. I’m ready and excited!”

    Bon Jovi’s last concert was held on April 30, 2022, in Nashville — as seen in the 2024 Hulu documentary, “Thank You, Goodnight: The Bon Jovi Story.”

    An artist presale begins Tuesday at 10 a.m. Eastern. General sales launch Oct. 31, also at 10 a.m. Eastern, via bonjovi.com.

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  • Drugs, Divorce, and Directors Jail: Martin Scorsese Unpacks His Darkest Chapters in New Documentary

    One of the most surprising realities of Martin Scorsese’s success is just how often he was on the brink of losing it. The 82-year-old auteur’s setbacks occupy as much real estate as his victories do in Mr. Scorsese, a five-part docuseries covering his film career, now streaming on Apple TV.

    Directed by Rebecca Miller, daughter of playwright Arthur Miller and wife of Daniel Day-Lewis (who starred in Scorsese’s The Age of Innocence and Gangs of New York), Mr. Scorsese follows the director from his rough-and-tumble adolescence in New York’s Little Italy neighborhood to his making of the 10-time Oscar-nominated Killers of the Flower Moon (2023)—touching on every set in between. Scorsese discusses his oeuvre in great detail—with assists from family, friends, and former collaborators such as Day-Lewis, Francesca Scorsese, Robert De Niro, Leonardo DiCaprio, Mick Jagger, Steven Spielberg, Jodie Foster, and Cate Blanchett, as well as Casino’s Sharon Stone and The Wolf of Wall Street’s Margot Robbie, both of whom speak candidly about working on their respective male-dominated Scorsese projects.

    After exploring the Mob violence he grew up near on film, Scorsese was often reduced to his gangster dramas (Mean Streets, Goodfellas), but nearly as much of the filmmaker’s work is rooted in his Catholic religion (The Last Temptation of Christ, Silence). Even Scorsese’s otherwise secular titles ponder questions like, “Who are we? What are we, I should say, as human beings?” as he says in the series’ opening. “Are we intrinsically good or evil?… This is the struggle. And I struggle with it all the time.”

    That dichotomy is reflected in some of Scorsese’s darker chapters, which range from a drug addiction during the 1970s to four divorces before his marriage to his current wife, Helen Morris, in 1999. “The problem is that you enjoy the sin!” Scorsese says in the series. “That’s the problem I’ve always had! I enjoy it. When I was bad, I enjoyed a lot of it.” Ahead, some of the most revealing moments from Mr. Scorsese.

    Scorsese credits his childhood asthma with facilitating his love of cinema.

    “As far back as I can remember, I always wanted to be a gangster,” Ray Liotta’s character memorably declares at the end of Goodfellas’ opening scene. But Scorsese himself actually pursued the priesthood before his love of movies took root. He grew up first in Corona, Queens, then in New York City’s Lower East Side after witnessing an altercation between his father, Charles, a Garment District worker, and their landlord. “There was an axe involved. I remember seeing an axe,” Scorsese says in the doc, without elaborating much further. “Violence was imminent all the time.”

    When not braving the mean streets or finding refuge in the Catholic Church, an asthmatic Scorsese often visited air-conditioned movie theaters and engaged in people-watching from his apartment window. In the series, Scorsese even credits that particular vantage point with instilling his love of high-angle shots in movies.
    “Marty’s life depended upon going to movies,” says Goodfellas and Casino screenwriter Nicholas Pileggi. “That’s where he could breathe.” Or as Spike Lee more colorfully puts it: “Thank God for asthma!”

    Scorsese fantasized about destroying the rough cut of Taxi Driver after it received an X rating.

    After helming the Roger Corman–produced exploitation film Boxcar Bertha (1972), his first De Niro gangster epic, Mean Streets (1973), and Ellen Burstyn’s Oscar-winning turn in Alice Doesn’t Live Here Anymore (1974), Scorsese had his major industry breakthrough with Taxi Driver in 1976—which had a fraught journey to the screen.

    Savannah Walsh

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  • In ‘Mr. Scorsese,’ fitting a filmmaking titan into the frame

    NEW YORK — NEW YORK (AP) — The first time the filmmaker Rebecca Miller met Martin Scorsese was on the set of 2002’s “Gangs of New York.” Miller’s husband, Daniel Day-Lewis, was starring in it. There, Miller found an anxious Scorsese on the precipice of the film’s enormous fight scene, shot on a sprawling set.

    “He seemed like a young man, hoping that he had chosen the right way to shoot a massive scene,” Miller recalls. “I was stunned by how youthful and alive he was.”

    That remains much the same throughout Miller’s expansive and stirring documentary portrait of the endlessly energetic and singularly essential filmmaker. In “Mr. Scorsese,” which premieres Friday on Apple TV, Miller captures the life and career of Scorsese, whose films have made one of the greatest sustained arguments for the power of cinema.

    “We talk about 32 films, which is a lot of films. But there are yet more films,” Miller says, referencing Scorsese’s projects to come. “It’s a life that overspills its own bounds. You think you’ve got it, and then it’s more and more and more.”

    Scorsese’s life has long had a mythic arc: The asthmatic kid from Little Italy who grew up watching old movies on television and went on to make some of the defining New York films. That’s a part of “Mr. Scorsese,” too, but Miller’s film, culled from 20 hours of interviews with Scorsese over five years, is a more intimate, reflective and often funny conversation about the compulsions that drove him and the abiding questions — of morality, faith and filmmaking — that have guided him.

    “Who are we? What are we, I should say?” Scorsese says in the opening moments of the series. “Are we intrinsically good or evil?”

    “This is the struggle,” he adds. “I struggle with it all the time.”

    Miller began interviewing Scorsese during the pandemic. He was then beginning to make “Killers of the Flower Moon.” Their first meetings were outside. Miller first pitched the idea to Scorsese as a multifaceted portrait. Then, she imagined a two-hour documentary. Later, by necessity, it turned into a five-hour series. It still feels too short.

    “I explained I wanted to take a cubist approach, with different shafts of light on him from all different perspectives — collaborators, family,” Miller says. “Within a very short amount of time, he sort of began talking as if we were doing it. I was a bit confused, thinking, ‘Is this a job interview or a planning situation?’”

    Scorsese’s own documentaries have often been some of the most insightful windows into him. In one of his earliest films, “Italianamerican” (1974), he interviewed his parents. His surveys of cinema, including 1995’s “A Personal Journey With Martin Scorsese Through American Movies” and 1999’s “My Voyage to Italy,” have been especially revealing of the inspirations that formed him. Scorsese has never penned a memoir, but these movies come close.

    While the bulk of “Mr. Scorsese” are the director’s own film-to-film recollections, a wealth of other personalities color in the portrait. That includes collaborators like editor Thelma Schoonmaker, Paul Schrader, Robert De Niro, Leonardo DiCaprio and Day-Lewis. It also includes Scorsese’s children, his ex-wives and his old Little Italy pals. One, Salvatore “Sally Gaga” Uricola for the first time is revealed as the model for De Niro’s troublemaking, mailbox-blowing-up Johnny Boy in “Mean Streets.”

    “Cinema consumed him at such an early age and it never left him,” DiCaprio says in the film. “There will never be anyone like him again,” says Steven Spielberg.

    It can be easy to think of Scorsese, perhaps the most revered living filmmaker, as an inevitability, that of course he gets to make the films he wants. But “Mr. Scorsese” is a reminder how often that wasn’t the case and how frequently Scorsese found himself on the outside of Hollywood, whether due to box-office disappointment, a clash of style or the perceived danger in controversial subjects (“Taxi Driver,” “The Last Temptation of Christ”) he was drawn to.

    “He was fighting for every single film,” Miller says. “Cutting this whole thing was like riding a bucking bronco. You’re up and you’re down, you’re dead, then alive.”

    Film executives today, an especially risk-averse lot, could learn some lessons from “Mr. Scorsese” in what a difference they can make for a personal filmmaker. As discussed in the film, in the late ’70s, producer Irwin Winkler refused to do “Rocky II” with United Artists unless they also made “Raging Bull.”

    For Miller, whose films include “The Ballad of Jack and Rose” and “Maggie’s Plan,” being around Scorsese was an education. She found his films began to infect “Mr. Scorsese.” The cutting of the documentary took on the style of his film’s editing. “In proximity to these film,” she says, “you start to breathe the air.”

    Nearness to Scorsese also inevitably means movie recommendations. Lots of them. One that stood out for Miller was “The Insect Woman,” Japanese filmmaker Shōhei Imamura’s 1963 drama about three generations of women.

    “He’s still doing it,” Miller says. “He’s still sending me movies.”

    “Mr. Scorsese” recently debuted at the New York Film Festival, where Miller’s son, Ronan Day-Lewis made his directorial debut with “Anemone,” a film that marked her husband’s return from retirement. At the “Mr. Scorsese” premiere, a packed audience at Lincoln Center’s Alice Tully Hall came to enthusiastically revel in, and pay tribute to its subject.

    “You hear all those people laughing with him or suddenly bursting into applause when they see Thelma Schoonmaker or at the end of the ‘Last Waltz’ sequence,” Miller says. “There was a sense of such palpable enthusiasm and love. My husband said something I thought was very beautiful: It reminded everyone of how much they love him.”

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  • From Madonna to Stevie Nicks: Please Make These Artists’ Music Biopic Next

    One surefire way to grab an audience’s attention is to cast a famous actor in a music biopic about an equally famous artist. Think Timothée Chalamet as Bob Dylan, Austin Butler as Elvis Presley, Jeremy Allen White as Bruce Springsteen, and Rami Malek’s Oscar-winning turn as Freddie Mercury in Bohemian Rhapsody. “The success of Bohemian Rhapsody raised eyebrows about what could happen when you’re successful with a biographical film,” Larry Mestel, CEO of Primary Wave Music, a leading music publisher and talent management company told Vanity Fair last year of the music biopic boom in recent years. “It’s been a big explosion. For many years, artists didn’t want to make films that depicted their life story because they were afraid of how it would come out. There’s a much greater openness now that there’s been a bunch of these films that have done very well—their success, but also how the stories have been told and the quality being as vivid as it has been.”

    Further proof of this industry-wide trend: last week’s report from Bloomberg, citing people close to the matter, that Warner Music Group (WMG) is “close to an agreement” with Netflix to create movies and documentaries based on the company’s artists and songs. “Our company has a tremendous catalog: Prince, Madonna, Fleetwood Mac,” WMG CEO Robert Kyncl said at the Bloomberg Screentime conference on Wednesday, October 8, without confirming a specific deal or explicitly naming the streamer. “It just goes on and on and on. The stories we have are incredible, and they haven’t really been told. We’re like Marvel [Comics] for music.”

    Multiple movies about Warner Music artists have already been made (see Joaquin Phoenix as Johnny Cash in 2005’s Walk the Line) or are already in the works—including Selena Gomez as Linda Ronstadt, Leonardo DiCaprio as Frank Sinatra, and Jennifer Lawrence as Ava Gardner. And John Lennon is covered by Harris Dickinson, who plays one-fourth of the Beatles for Sam Mendes’s upcoming four-part film project. But there are dozens of other musicians who’ve earned the biopic treatment.

    Below, five Warner Music artists whose stories we’d like to see on the big screen.

    Stevie Nicks

    Stevie Nicks performing at a Canadian music festival in 1983.Paul Natkin/Getty Images

    Savannah Walsh

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  • Secrets of the Beckham Marriage, According to Victoria

    Victoria Beckham walks the runway during the Victoria Beckham Ready to Wear Spring/Summer 2024 fashion show as part of the Paris Fashion Week on September 29, 2023 in Paris, France.

    Victor VIRGILE/Getty Images

    To do so, Victoria says she transformed into “a simpler, more elegant version of myself” and debuted her first collection—10 dresses shown in a Waldorf-Astoria hotel suite—sans David, to eliminate any distraction. After earning rave reviews, Victoria gained a foothold in the fashion industry. But despite the professional respect, financial strain crept in. David was “investing a lot” in her business, and “we were tens of millions of pounds in the red,” Victoria explains in the documentary.

    “I was panicked by it. Because I never saw anything coming back,” David says of his investment in the business. “We always agreed that we would support each other no matter what, but it worried me. This isn’t sustainable.”

    Though her business recovered, the scars of that experience remained. But in the new series, David makes it clear to Victoria that he’ll support her no matter what she does. “You are so driven, so passionate, dedicated,” he tells her in the documentary, growing teary-eyed. “It makes me quite emotional because you are always trying to prove yourself to people. But who are you trying to prove it to?”

    “Maybe to you,” Victoria replies, wiping away a tear. “Of course, I feel bad. About all those times I’ve had to ask you to bail me out. When I saw your face and the kids’ faces [during her Paris fashion show], I saw for the first time how proud of me you were.”

    “You could make a cheese sandwich, and we’d be proud of you,” David replies.

    “Actually, I couldn’t,” she laughs, to which he responds, “I know.”

    Savannah Walsh

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  • Melania, Brett Ratner’s Documentary About Melania Trump, Takes a Page from Melania and Melania

    The documentary will also reportedly be supported by a three-part making-of docuseries about the documentary, which according to a representative at Amazon was filmed “during the 20 days before the inauguration, while she travels between New York City, Palm Beach, and Washington, D.C.” What will they call it? Melania and Melania are taken.

    The rights to the documentary, on which Melania is credited as an executive producer, were bought for $40 million by Jeff Bezos in December 2024 before Trump took office, the Wall Street Journal reported. Sources with knowledge of the deal said that Melania will see some 70% of that fee.

    In January, Melania told Fox News that the response to her book was so positive that people wanted to see more about her life.

    “My life is incredible, it’s incredibly busy, and I told my agent, I have this idea so please, you know, go out and make a deal for me,” she said. The film, she said then, will be about her “day-to-day life, what I’m doing, what kind of responsibilities I have. It’s day to day, from transition team to moving to the White House, packing, establishing my team, the First Lady office, moving into the White House, what it takes to make the residence your home, to hire the people that you need.”

    Representatives from the White House and Skyhorse Publishing did not immediately respond to Vanity Fair’s requests for comment.

    Kase Wickman

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  • Ozzy Osbourne, Prince of Pilates?

    “I want to feel confident enough to pull it off. Because it’s gotta be the fucking best show in the world.”
    Photo: Paramount+

    Ozzy Osbourne died 17 days after his spectacular farewell concert in July, an event that had millions of metalheads in big, beautiful tears over his legacy. It’s doubtful, though, that Osbourne would’ve made the trek to Birmingham, England — or, to be more blunt, still been alive — if it weren’t for the intensive physical therapy he received in the months leading up to the concert. Such is revealed in Ozzy: No Escape From Now, a documentary whose creators had unbridled access to the Osbourne family and their patriarch for the past four years. (It’s now available to stream on Paramount+.) Initially conceived as a project to chronicle Osbourne’s recovery and career bounce-back following a fall in his home in February 2019, No Escape From Now has since morphed into a posthumous opus that ends with the Back to the Beginning send-off in his hometown. There’s also an unexpected detour that chronicles Osbourne’s solo induction into the Rock & Roll Hall of Fame in late 2024, which he almost wasn’t cleared to travel to by doctors due to severe blood clots in his legs.

    Those legs were spiritually in Lululemon leggings for most of 2025. In order to maintain his strength in the lead-up to Back to the Beginning — Osbourne joked several times that he could no longer build strength, given, well, his batty lifestyle choices in the past — he hired a live-in physical therapist to get him into good-enough working order. The documentary shows him and the therapist, Gary Viles, making use of a Pilates reformer machine to get his lower body and core into a state of movement. “It’s a slow process. I’m not a very good patient,” Osbourne said. “I wanna get it over and done with. I go from nought to fucking 300 in one day. I wonder why I can’t walk the next day, you know.” Viles would guide Osbourne, makeup free and in a sweatband, through rounds of basic footwork and spring changes. Just add a caffè latte and he could’ve been on track to becoming a West Village Girl.

    Osbourne in his unnatural habitat. Paramount+.

    Osbourne in his unnatural habitat. Paramount+.

    “Obviously, one of the objectives is to get him functionally capable for the concert, but more importantly for me is to enhance his overall health for the rest of his life,” Viles explained. “I want to get Ozzy healthy.” At that point, Osbourne was using a cane to walk and suffered from Parkinson’s disease in addition to various other ailments that had plagued the rocker since his fall. Sometimes he used a wheelchair if he was having a particularly bad day because of his spinal damage. “All I can say is I’m working my balls off to get myself ready for the Villa,” Osbourne explained, referring to the benefit concert’s venue. “I want to feel confident enough to pull it off. Because it’s gotta be the fucking best show in the world. It’s gotta be just the best show in the world when I do it. Otherwise, what’s the point in doing it?” His eldest daughter, Aimee Osbourne — who refused to appear on The Osbournes and has maintained a life out of the public eye — enjoyed seeing the men develop an unlikely friendship as their sessions progressed. “Gary couldn’t care less about who he is or who he’s not,” she said, “and just sees a person that has the ability to overcome this and knows exactly how to get him through those moments where he’s about ready to throw the towel in.”

    Osbourne, of course, was able to ride the crazy train straight to Back to the Beginning, where he reunited with his Black Sabbath brothers and watched 17 other acts — including Metallica and Guns N’ Roses — pay their respects to his metal holiness. (He even did a five-song set of his own hits, perched on a custom throne festooned with bats.) The concert reportedly raised 140 million pounds for various charities selected by Osbourne, who would later die, surrounded by his family, on July 22. That’s one hell of a way to go out.

    Devon Ivie

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  • What to Stream: Documentaries on John Candy and Victoria Beckham, Battlefield 6 and ‘Family Guy’

    Documentaries on comedian John Candy and pop artist-turned-fashion designer Victoria Beckham as well as a “Family Guy” Halloween special are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Keira Knightley stars as a journalist in “The Woman in Cabin 10,” Electronic Arts is ready to get back in the fight with the game Battlefield 6 and hip-hop group Mobb Deep will release “Infinite,” their ninth and final album.

    — More than 30 years after his death at age 43, John Candy might be even more beloved than he was during his all-to-short career. “John Candy: I Like Me” (Friday, Oct. 10 on Prime Video), a documentary directed by Colin Hanks and produced by Ryan Reynolds, is a kind of eulogy and tribute to the actor of “Planes, Trains and Automobiles,” “Uncle Buck” and “Stripes.” The film, made with the cooperation of the Candy family, includes many famous faces, from Bill Murray to Mel Brooks.

    – In “The Woman in Cabin 10” (Friday, Oct. 10 on Netflix), Keira Knightley stars as a journalist aboard a luxury yacht for an assignment. In the middle of the night, she sees a woman go overboard, but the ship has no record of her, and no one believes her. Simon Stone, who directed 2021’s underrated “The Dig,” directs this thriller, based on Ruth Ware’s bestselling novel.

    — It being October, just about everything streaming service has by now trotted out their best horror offerings. By why mess around when you can go to the source? Or, at least, one of the richest B-movie legacies of synths and scares? In Directed by John Carpenter, the Criterion Channel gathers some of the filmmaker’s most vivid nightmares, including “The Fog,” “Escape Form New York” and “They Live.”

    — AP Film Writer Jake Coyle

    — Mobb Deep hath returned. On Friday, Oct. 10, the hardcore New York hip-hop duo will release “Infinite,” their ninth and final album and first since the death of Prodigy in 2017. It features P’s distinctive flow on a few posthumous tracks, produced by his other half Havoc and their frequent musical collaborator, the Alchemist. It’s clearly a labor of love.

    — Indie fans might remember the upcoming and coming folk-rocker Avery Tucker from his previous project, the primitive punk duo Girlpool. His debut album, “Paw,” out Friday, couldn’t be further from that material — but both lead with the heart. Start with “Big Drops,” “Like I’m Young,” “Malibu,” and the ascendant closer “My Life Isn’t Leaving You.” The album was co-produced by A. G. Cook, the hyperpop virtuoso best known to many as one of Charli XCX’s “Brat” collaborators. This is not a release for the club, but it one that grows and grows more bodily with each listen.

    — It has been six years since Jay Som, the project of multi-instrumentalist, songwriter and producer Melina Duterte, released a new album. On Friday, the wait is over. “Belong” is an expansion of her once nascent talents, a rush of electro-synths, punk-pop and other variously nostalgic indie genres, presented in a new way. Perhaps it has a little something to do with how Duterte has spent the last few years: ranking up production credits on a number of beloved albums, including the Grammy-winning boygenius’ “The Record” and Lucy Dacus’ “Forever Is A Feeling.”

    — AP Music Writer Maria Sherman

    — It’s spooky season and “Family Guy” has a new Halloween special debuting Monday on Hulu and Hulu on Disney+. The episode, titled “A Little Fright Music,” features Brian and Stewie’s attempt to write a hit Halloween song and Peter learning about the dangers of lying about trick-or-treating.

    — David Beckham’s 2023 Netflix docuseries was both an Emmy Award winner and internet fodder thanks to a scene where he repeatedly told his wife Victoria to “be honest” about her family’s economic status as a child. It’s only fitting that the filmmakers turned their sights on her next and she agreed. “Victoria Beckham” is a three-part docuseries launching Thursday on Netflix. Viewers will see the former pop star-turned-fashion designer share her story — and it’s TBD whether David weighs in.

    — On the subject of Emmys, Kathy Bates didn’t win this year for best actress in a drama series as predicted for her work on “Matlock.” The award instead went to Britt Lower for “Severance.” You can still watch the performance that got Bates nominated though when the show begins streaming its second season Friday, Oct. 10 on Paramount+. A third season of “Elsbeth” will also begin streaming then, too.

    — Another docuseries debuting Friday, Oct. 10 on Tubi also follows a celebrity but this one’s on the come-up. “Always, Lady London” features the rising rapper, Lady London, as she records her first album and gets ready to go on tour.

    — Alicia Rancilio

    — When it comes to video-game warfare, there are two superpowers: Call of Duty and Battlefield. The latter hit a rough patch with its last major installment, 2021’s Battlefield 2042, but Electronic Arts is ready to get back in the fight with Battlefield 6. You are part of an elite Marine squad trying to stop a private military corporation in a single-player campaign that bounces around the globe. There’s plenty of gut-wrenching infantry combat, but you also get to drive tanks and fly helicopters and fighter jets. And there will be the usual assortment of multiplayer mayhem, including the new Escalation mode, in which the territory shrinks every time a team captures a control point. Take up arms Friday, Oct. 10, on PlayStation 5, Xbox X/S and PC.

    — Bandai Namco’s Little Nightmares games specialize in the kind of things that terrified when you were a kid, presenting them in a gloomy yet vivid world reminiscent of Tim Burton’s stop-motion animation. Little Nightmares III promises more of the same, with one major addition: You can now confront your night terrors with a friend in co-op play. One of you gets a bow and arrow, while the other uses a wrench to fix things or clobber enemies. Britain’s Supermassive Games, the studio that has taken over the series, is known for horror gems like Until Dawn and The Quarry, so don’t expect pleasant dreams. The haunting begins Friday, Oct. 10, on PlayStation 5/4, Xbox X/S/One, Switch and PC.

    — Lou Kesten

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