In a landscape saturated with self-promotion and superficial gestures, Hollywood’s latest display of camaraderie appears more performative than heartfelt. Scarlett Johansson’s admission that Bryce Dallas Howard sent her a lengthy email welcoming her into the Jurassic World franchise might seem charming at first glance. However, a deeper analysis reveals a pattern of obligatory politeness overshadowed
Entertainment
In the realm of racing movies, Hollywood has consistently promised high-speed drama, visceral thrills, and compelling stories rooted in real competition. Yet, more often than not, these films serve as elaborate illusions, disguising superficial storytelling behind flashy visuals and big-name stars. The case of the attempted Ford v Ferrari project underscores a broader industry pattern:
In the whirlwind of relentless technological advancement, Hollywood increasingly finds itself at a perilous crossroads with artificial intelligence. While some see AI as an innovative tool, the deeper truth reveals that society, and particularly the entertainment industry, is dangerously enthralled by it, often blinding themselves to its profound risks. The narrative of worship around AI,
The British government’s recent stance on the high-end TV tax credit reveals a troubling complacency masked as fiscal prudence. Despite the undeniable success of the current scheme—where roughly a quarter of production costs can be reclaimed—officials show no real intention of bolstering this vital support system. Instead, they cloak their reticence behind vague assertions about
In today’s era of #MeToo and vocal activism, there’s a prevailing belief that exposing predators will bring justice and healing. Yet, the story of Charlize Theron reveals the complexities and emotional toll of sharing such painful experiences. Her decision to remain silent about the identity of the abusive director stems from a nuanced understanding of
In an era obsessed with surface-level progressiveness, it’s tempting to admire the facade of reform and justice as portrayed by contemporary media and political discourse. Yet, beneath the polished veneers lies a troubling reality: the promises of genuine social transformation often serve more as strategic narratives than as earnest commitments. This illusion of progress fosters
Cynthia Erivo’s transition from celebrated actress to shrewd producer signals a commendable shift in how Hollywood approaches genre filmmaking. With her production company Edith’s Daughter spearheading the adaptation of Adrian Tchaikovsky’s *Saturation Point*, Erivo is not merely chasing commercial success but is intentionally carving space for narratives that have been historically marginalized. This is much
In today’s filmmaking landscape, dominated overwhelmingly by blockbuster franchises and commercial giants, the success of an indie film like *Sorry, Baby* feels almost revolutionary. Directed by Eva Victor, the film quietly shattered expectations with a robust limited release, pulling in about $86,500 from just four theaters—an impressive $21,600 per screen. This feat is not simply
Matthew Goode’s candid reflection on his failed attempt to embody James Bond reveals a fascinating missed opportunity in the franchise’s evolution. At a pivotal moment when the beloved 007 series was striving to shed its entrenched misogyny and outdated tropes, Goode pitched a vision that was far more raw and psychologically complex than what the
The 36th edition of Sunny Side of the Doc, despite lasting a fleeting four days, struck a significant chord within the international documentary filmmaking community. Nestled in the quiet fishing town of La Rochelle, the event drew a remarkable crowd—over 2,100 participants spanning 60 countries, coupled with more than 1,000 companies, 85 exhibitors, and a