EXCLUSIVE: Ahead of Cannes, Vertical has acquired North American rights to We Bury the Dead, a post-apocalyptic thriller starring Star Wars‘ Daisy Ridley and Brenton Thwaites (Titans). Written and directed by Australian filmmaker Zak Hilditch (1922), the film hasn't been dated but is expected to be released next year. The story unfolds after a catastrophic American military experiment results in mass casualties across Tasmania, as Ava (Ridley) joins a body retrieval unit to help identify the dead and search for her husband on the southern part of the island. Mark Coles Smith (Mystery Road: Origin) and Matt Whelan (Narcos) co-star. On the acquistion, Vertical Partner Peter Jarowey said, “With a great cast led by Daisy Ridley and Brenton Thwaites, Zak has re-energized the zombie genre with We Bury the Dead. Next year, North American audiences will be on the edge of their seats watching this post-apocalyptic thriller.” We Bury the Dead is a Penguin Empire production in partnership with Campfire Studios. Major production investment came from Screen Australia in association with Screenwest, Lotterywest and the WA Regional Screen Fund, with production financing provided by Peachtree Media Partners. The film was produced by Kelvin Munro, Grant Sputore, Ross M. Dinerstein, Joshua Harris, and Mark Fasano. Jarowey and SVP of Acquisitions Tony Piantedosi repped Vertical in the deal, with UTA Independent Film Group repping the filmmakers. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

We use vendors that may also process your information to help provide our services. Well, leave it to the “voice of a generation” Lena Dunham to capture that feeling all too well with her aptly titled Netflix rom-com series. Megan Stalter leads “Too Much” as a Dunham-esque character. Despite planning on being alone forever, Jessica soon meets Felix (“The White Lotus” star Will Sharpe), who challenges her to reevaluate her thirty-something crisis. Dunham co-created the series with her real-life husband, Luis Felber, who also serves as an executive producer and provides original music. Dunham is the creator, writer, director and executive producer. Related Stories Colombian Filmmaker Simón Mesa Soto Gets Meta with Satirical Midlife Drama ‘Una Poeta' — Watch Trailer Joe Wright's ‘Mussolini: Son of the Century' Epic Series Will Be Distributed by MUBI — Watch New Teaser The official synopsis of “Too Much” reads: Jessica (Stalter) is “a New York workaholic in her mid-30s, reeling from a broken relationship that she thought would last forever and slowly isolating everyone she knows. But when she meets Felix (Will Sharpe) — a walking series of red flags — she finds that their unusual connection is impossible to ignore, even as it creates more problems than it solves. Now they have to ask themselves: do Americans and Brits actually speak the same language?” “Girls” alums Rita Wilson and Andrew Rannells also star, along with Andrew Scott, Emily Ratajkowski, Naomi Watts, Stephen Fry, Michael Zegan, Janicza Bravo, Richard E. Grant, Leo Reich, Daisy Bevan, Adele Exarchopoulos, Dean-Charles Chapman, Prasanna Puwanarajah, Rhea Perlman, Kaori Momoi, and Adwoa Aboah. “This is a show that is very close to my heart — created with my husband Luis, cast with my favourite actors — the geniuses that are Meg and Will, along with a bevy of friends — and partnering again with Working Title, who are behind the romantic comedies that formed me,” Dunham said in a press statement. “Netflix has been so deeply supportive of the vision, which is to create a romantic comedy that makes us root for love, brings joy but also has the jagged edges of life.” Dunham later said during a Next on Netflix event that the lead characters, Jessica and Felix, were inspired by her own life. Dunham added of lead actress Stalter, “What I love about Meg is she has this warmth and openness and this sort of Midwestern charm that just makes her inherently likable. The series comes from Dunham's Good Thing Going banner and Universal International Studios' Working Title Television. Dunham will next direct a feature about the rise and fall of FTX founder Sam Bankman-Fried. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

We use vendors that may also process your information to help provide our services. Palme d'Or-winning auteur Cristian Mungiu is making his English-language film debut with Neon. Mungiu's upcoming family drama “Fjord” starring Sebastian Stan and Renate Reinsve has landed at the powerhouse indie distributor ahead of Cannes. “Fjord” follows the Gheorghiu family, comprised of a Romanian father (Stan) and a Norwegian mother (Reinsve), as they settle into new life in a remote Norwegian village, where the mother was born. When the Gheorghius are suspected of disturbing behavior, their lives are thrown into chaos as they become the center of small town scrutiny.” Related Stories How to Stop Worrying and Learn to Love the Chaos IndieWire Announces Inaugural Future of Filmmaking Summit at the American Pavilion at Cannes Stan and Reinsve previously starred in Aaron Schimberg's “A Different Man” together; this is their second feature playing a couple onscreen. Goodfellas is handling worldwide sales on the film with Neon acquiring rights for the U.S., Canada, U.K., Australia, and New Zealand. “4 Months, 3 Weeks and 2 Days” director Mungiu already has one Palme d'Or to his name, and he's joining forces with a shingle with some big Cannes wins under its belt. The distributor has distributed the last five Palme d'Or winners out of Cannes, including Sean Baker's Best Picture winner “Anora” in 2024. This year, the studio will debut Joachim Trier's “Sentimental Value” also starring Reinsve, and Julia Ducournau's “Alpha.” Their other titles inclue Raoul Peck's “Orwell: 2+2=5” and Michael Angelo Covino's “Splitsville,” starring Dakota Johnson and Adria Arjona which Neon also produced. Stan previously told IndieWire that working with Mungiu was an incredible experience in his filmography. “He's been up there with me for a few years with filmmakers from Romania where I've been calling him trying to find a way to work with him, where I can speak Romanian as well. We finally found this story, which is about a Romanian family who's moved to Norway and then ends up in this very complicated trial. They go investigating the family for an incident, and it leads to this trial. There were a lot of religious communities that came to their side, and it's really interesting and quite complicated.” We use vendors that may also process your information to help provide our services.

EXCLUSIVE: True-crime thriller Golden State Killer (previously known as The Policeman), starring Vincent Gallo and James Franco, is on sale this week at the Cannes market with Lionsgate. The film has secured a domestic distribution release via Lionsgate's longtime genre partner Grindstone. Neon Takes North America, UK, Australia & New Zealand On Cristian Mungiu's 'Fjord' With Sebastian Stan & Renate Reinsve - Cannes Market Cannes Chief Thierry Frémaux Addresses Trump's Tariffs: "Cinema Always Finds A Way Of Existing & Reinventing Itself" Producers are Scott Clayton, Jordan Gertner, Barry Brooker, Todd Williams, and Gary A. Hirsch. Gertner was previously aboard as writer-director but that's no longer the case, we understand. The project, which is currently in post-production, hit some turbulence last year when it was scrutinized by SAG-AFTRA over misconduct complaints against Gallo by multiple female actors. Actor, filmmaker and musician Gallo, a Venice Best Actor winner, is known for subversive and provocative works including The Brown Bunny. 127 Hours, Spring Breakers and Pineapple Express star Franco has a spate of independent projects in production or post including Bunny-Man and Alina of Cuba: La Hija Rebelde. He hasn't appeared in a studio movie since the 2021 settlement of a legal case brought against him by former students who accused him of sexual misconduct. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Bad Bunny's Debí Tirar Más Fotos sits atop the chart at Number One after a new vinyl release. It had previously been Number One for three consecutive weeks after its release in January. New to the chart is música mexicana band Fuerza Régida's album 111XPANTIA, which debuts at Number Two. Not only does this make for Fuerza Régida's highest-charting album yet, 111XPANTIA is now the highest-charting Spanish-language album by a duo or group, and the highest-charting album in its genre. In another record-breaker, Debí Tirar Más Fotos's roughly 48,000 vinyls sold marks the largest vinyl sales week for a Latin album since Luminate began tracking those sales in 1991. For the crown, Bad Bunny bested Kali Uchis, whose Orquídeas sold 20,000 on chart from Jan. 27, 2024. Trump Gives In, Rolls Back China Tariffs Why Does Everything Sound Like an Audition Song for ‘The Voice'? What It's Really Like to Face Off With a Grizzly — and Live to Tell the Tale Last week, in an interview with Rolling Stone on 111XPANTIA, Fuerza Régida frontman Jesús Ortiz Paz said, “This album right here, is all about making your dreams come true, bro. On Debí Tirar Más Fotos, which means “I Should Have Taken More Photos,” Bad Bunny told Rolling Stone, “It has more to do with the way that sometimes there are these moments I live through, and I enjoy them, but I didn't take any photos. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

The tech giant says that Prime Video's main offering has added 15 million customers since its last update. The tech giant said Monday that the ad tier of Prime Video now reaches more than 130 million U.S. customers, that is up from 115 million, a number which it revealed last year. The 130 million figure is not the same as a subscriber number (Amazon last revealed Prime subscriber numbers in 2021, when it tallied up over 200 million worldwide), but it gives a sense of reach and scale for its streaming platform. Prime Video entered the advertising business in a major way last year, flipping on ads for all of its U.S. users (subscribers could also opt out of ads for a small monthly fee), giving it instant scale. The move worked, with ads revenue surging, but it also shook up the entire ad market, flooding it with inventory and sparking grumbles from other streaming players that suddenly had a lot more competition than anticipated. The company has since been rolling out its ad tier to other markets. Those products will include AI-generated contextual ad messaging which “auto-generates hyper-relevant ad copy to make ads feel like natural extensions of what viewers are watching”; shoppable ads that incorporate pricing, reviews and Prime shipping info from Amazon, letting users buy the product without ever leaving the content stream; and an expanded suite of interactive formats meant to drive sales off of Amazon, including calls to action like “subscribe now” or “book an appointment,” with info sent to users phones. “Starting this year, we are introducing a contextual advertising experience that dynamically aligns the ad message with the content viewers are watching – creating a natural and relevant connection. Based on Amazon's signals and fully addressable and authenticated audiences, we are uniquely positioned to offer viewers scene-aware ads as extensions of the entertainment experience, not interruptions.” Sign up for THR news straight to your inbox every day

As fans of “The Voice” prepare to vote for their favorites on the first live shows of season 27, they got an unexpected extra dose of excitement on May 12, 2025, as NBC announced the coaching lineup for season 28. Snoop Dogg, whose return was announced in early May, will be joined this fall by three more of the most popular coaches in recent history: Reba McEntire, Michael Bublé, and Niall Horan. The morning announcement had fans flipping out on social media. Snoop, Bublé, and McEntire had incredible chemistry during season 26, with Gwen Stefani rounding out their foursome. The first had over 100,000 likes within a couple of hours, and the comment sections were immediately flooded with responses from over-the-moon fans. One exclaimed in all caps, “SCREAMING BECAUSE THIS IS THE MOST ICONIC GROUP YET!!!! “LETS FREAKING GOOOOOOOO,” someone else wrote, while another chimed in, “Niall Horan & Micheal Buble on THE SAME season was notttt on my 2025 bingo card!!! The former One Direction star was a popular addition to the show and won both seasons he coached, with Gina Miles in season 23 and Huntley in season 24, but left in 2024 for his world tour. He's also been mourning the loss of One Direction bandmate Liam Payne, who died tragically in October. A post shared by NBC's The Voice (@nbcthevoice) Bublé, 49, previously said he turned down “The Voice” producers at least 15 times before finally agreeing to join the show for season 26. He quickly fell in love with the format, his fellow coaches and the contestants — including his season 26 winner Sofronio Vasquez. “This is the best job I've ever had,” he told People on May 12. I've had my dream come true, and the fact that I get to be a part of helping someone else in their journey to do that same thing, there's nothing better. The talent on this show is incredible, and it's been such a beautiful experience to be a part of the process.” Season 28 will air in the fall on NBC. Meanwhile, season 27 kicks off its live shows on May 12 at 8 p.m. Eastern time.

We use vendors that may also process your information to help provide our services. With four panels across four days, these lively conversations will speak to where the industry is going and the opportunities for emerging creatives at a time of unprecedented change. The summit is presented by United for Business. Richard Linklater will be our keynote chat in conversation with Eric Kohn, artistic director of Southampton Playhouse. The ultimate outsider-insider, Linklater has been a celebrated filmmaker for over 30 years. Related Stories Colombian Filmmaker Simón Mesa Soto Gets Meta with Satirical Midlife Drama ‘Una Poeta' — Watch Trailer Tarik Saleh Closes Out Cairo Trilogy with Egyptian Political Satire ‘Eagles of the Republic' at Cannes: See First Footage Our panel on the future of international production will be a hot-button topic at a moment when Trump is tacking tariffs on “foreign movies.” Harris-Bridson will lead a conversation with Watch This Ready executive vice president Emily Korteweg; Fabula North America head of film and TV, Andrew Hevia; Mandalay Pictures president Jason Michael Berman; and Oxbelly executive director Caroline von Kuhn. IndieWire editor at large Anne Thompson will also lead a one-on-one conversation with Mubi head of global distribution Arianna Bocco. She's one of the indie film world's most respected tastemakers and served as president of IFC Films, where she steered the release of major festival titles such as Venice Golden Lion winner “Happening” as well as bold new visions from filmmakers making their feature debuts. We'll also host “How to Survive and Thrive in the Age of AI,” moderated by former IndieWire editor Eric Kohn. It features Fable Studios CEO Edward Saatchi, Prezense/NVIDIA's Seth Piezas, DoubleEye Studios founder Kiira Benzing, Asteria Film Co. partner Paul Trillo, and Venice Immersive programmer Liz Rosenthal. Attendance for all panels requires a festival badge and American Pavilion membership, which can be purchased here. If you can't join us, we got you: Videos from the Future of Filmmaking summit will be published on IndieWire. Thursday, May 1511:45amInternational Distribution: MUBI in Focus • Panelist: Arianna Bocco• Moderator: Anne Thompson The company recently hired veteran distribution executive Arianna Bocco, who ran acquisitions at IFC Films for nearly 20 years, as its SVP of Global Distribution. Bocco will share her insights on the increasing value of international territories in distribution strategy and how the landscape has changed. Friday, May 1611:00amThe Future of International Production• Panelists: Emily Korteweg (Producer, Splitsville), Andrew Hevia (Head of North American Production, Fabula), Jason Michael Berman (President, Mandalay Pictures), Caroline von Kuhn (Executive Director, Oxbelly)• Moderator: Dana Harris-Bridson Saturday, May 172:30pmKeynote Chat: Richard Linklater• Moderator: Eric KohnSunday, May 1811:00amHow to Survive and Thrive in the Age of AI• Panelists: Edward Saatchi (Founder and CEO, Fable Studios), Kiira Benzing (Founder, DoubleEye Studios), Seth Piezas (Senior Product Manager, NVIDA/Founder, Prezense), Liz Rosenthal (Programmer, Venice Immersive), Paul Trillo (Partner, Asteria Film Co.)• Moderator: Eric Kohn The acceleration of artificial intelligence in recent years has led to rampant fears across the entertainment industry, some more founded than others. However, AI isn't going away – and its progress relates to broader changes to the future of storytelling as a whole. On this panel, we'll hear from creatives and executives about how to make the most of a new era defined by dramatic technological change. United for Business comes with everything that will keep your production moving forward – reduced airfare, special rates for equipment, custom booking options, airport escort services and a dedicated entertainment support desk. We use vendors that may also process your information to help provide our services.

A limited series about her life and music is in early development at Netflix, with Madonna and Shawn Levy, whose 21 Laps has an exclusive TV overall deal at the platform, executive producing, Deadline has learned. 'Lupin 4' Confirmed By Netflix As Shoot With Omar Sy Begins In Paris Media & Tech Stocks Pop As China Tariff Tensions Thaw Still, Garner has remained engaged — she famously appeared alongside Madonna on stage at the singer's Celebration Tour in December 2023 — and I hear the Ozark star would most likely play Madonna, subject of availability as she doesn't have a deal. (Garner would also feel right at home at Netflix where she just signed on her for her third series, an FTX limited series, following her turns on Inventing Anna and Ozark.) It is also too early to tell whether Madonna would be involved in the writing; she co-wrote the proposed feature. Teaming with Netflix and one of the streamer's most prolific TV producers, Levy, who is behind such Netflix shows as mega hit Stranger Things and limited series The Perfect Couple and All the Light We Cannot See, represents a major step in bringing Madonna's story to the screen, something she has been passionate about for years. “I want to convey the incredible journey that life has taken me on as an artist, a musician, a dancer – a human being, trying to make her way in this world,” she said at the time of the Universal feature announcement in 2020. Madonna had remained committed to the idea and last November hinted on Instagram that she may be pivoting from a feature biopic to a TV series about her life. Certified the best-selling female music artist in history, Madonna has sold 400 million records worldwide and was inducted into the Rock and Roll Hall of Fame in 2008. Her impact on society and pop culture have gone beyond her influence in the music industry as a revolutionary pop star who challenged sexism to redefine what it means to be a powerful woman in the field. Madonna is repped by CAA, Maverick Management, Untitled Entertainment and Grubman Shire Meiselas & Sacks. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

The mockumentary from Greg Daniels and Michael Koman will premiere in September. It follows the publisher (Domhnall Gleeson) and staff of a historic but struggling newspaper in Toledo, Ohio. The series, from former Office showrunner Greg Daniels and Michael Koman, is set to premiere in September. Inside the NBCUniversal Upfront: A Caustic Seth MacFarlane, an Aerial Ad Chief and ... John Tesh Nuñez, Gleeson and co-star Sabrina Impacciatore appeared on stage Monday at NBCUniversal's upfront presentation to advertisers, and Nuñez related that he talked with Daniels that post-The Office, he imagined Oscar moving to a more cosmopolitan environment. “Greg heard me and moved Oscar to Toledo, Ohio, which has three times the population of Scranton,” Nuñez said. “It's about this struggling Midwestern newspaper that's much reduced from its glory days. A lot of the story lines are about how this guy, Domhnall Gleeson's character, is trying to restore this paper, and he just doesn't have the budget for hiring reporters, and he has to use all the staff that work there on a volunteer basis to be reporters. The Paper also stars Chelsea Frei, Melvin Gregg, Gbemisola Ikumelo, Alex Edelman, Ramona Young and Tim Key. Duane Shepard Sr., Allan Havey, Nate Jackson, Mo Welch, Nancy Lenehan, Molly Ephraim and Tracy Letts will have guest roles. Ikumelo, Edelman, Rahill and Welch are also writers on the series. Sign up for THR news straight to your inbox every day

Sean “Diddy” Combs strode into court today morning to a packed courtroom filled with his children and anxious family members, as the hip-hop mogul faces charges of sex trafficking and racketeering that could put him behind bars for life. During jury selection last week, the larger-than-life music executive who is known for commanding a spotlight and has previously faced a 15-year prison sentence and beat the case admitted he was a “little nervous” ahead of the trial's commencement. Yet this morning, his publicist, Holly Baird, described Combs as “upbeat” and “ready to have his side told in court.” Combs' mother, Janice, and children Christian, Justin, Quincy, D'Lila, Jessie, and Chance appeared in court to support the mogul. Assistant U.S. Attorney Emily Johnson began opening statements by conceding the jury members might be familiar with Combs by multiple names, his multi-million-dollar businesses and his “larger-than-life” persona, but she said, “there is another side to him”: a dangerous and violent figure, whose “inner circle” of bodyguards, personal assistants and a chief of staff worked tirelessly to deliver on his every whim and to safeguard his reputation. At the heart of his alleged “criminal enterprise” was Combs' insatiable sexual appetite where he required two girlfriends, Casandra “Cassie” Ventura and an anonymous woman identified as “Jane,” to have sex with male escorts, in what he called “freak-offs” or “Wild King Nights.” In the coming days, Johnson said, Ventura will testify about the “dark hotel rooms” that Combs kept her in for days at a time, where she was allegedly forced to have sex with hired male sex workers. During these days-long “freak-offs,” Ventura was allegedly kept compliant and awake through a variety of drugs, including Ecstasy. Johnson said Ventura once overdosed during a freak-off and said it felt like she was “choking” when Combs directed a sex worker to urinate in her mouth. Jane is expected to testify that Combs physically abused her too, Johnson said. One employee allegedly helped Combs break into a romantic rival's residence in December 2011. Meanwhile, Combs' attorney Teny Geragos argued that the case is not about sex trafficking, but about people's motivations for coming forward after all these years. She argued that Ventura and “Jane” were fully capable women who made choices because they had something to gain from being in a relationship with Combs. She told jurors that Ventura filed a civil lawsuit before reporting her alleged abuse to authorities. Geragos admitted Combs engaged in domestic violence in both relationships, but she said it was the product of romantic quarrels linked to jealousy. She claimed the hotel beating caught on tape was not sparked by Ventura trying to escape alleged sex trafficking, but by something found on a cellphone that led to a dispute over alleged infidelity. When combined with drug use, the fight led to regrettable actions — but in no way did it constitute sex trafficking, she told jurors. Sean Combs Trial: Celeb Names, Nerves, and a Delayed Jury Menendez Brothers: Resentencing Hearing Back On After Courtroom Showdown She described Jane as a fully consenting adult who was a willing participant in threesomes and remained in the admittedly “dysfunctional” relationship by choice. Music producer Rodney “Lil Rod” Jones, who sued Combs in February 2024 for sexual assault and lack of payment, and his attorney Tyrone Blackburn turned up to court, though declined to give statements. Southern District of New York prosecutors and Combs' defense team trimmed down the remaining 43 jurors into a final group of eight men and four women, with six alternates. and whose tremendous influence brought hip-hop and rap to the mainstream — used his billion-dollar empire as a criminal enterprise, fueled by the mogul's sexual desires. He allegedly instructed a team of staffers — who were allegedly subjected to forced labor and physical threats themselves — to carry out acts of bribery, arson, and kidnapping. Other alleged victims were said to be coerced into sex with Combs, as well as with hired male sex workers in dayslong, drug-fueled sexual sessions Combs called “freak-offs.” Meanwhile, Combs' all-star legal team — which includes celebrity attorneys Brian Steel and Marc Agnifilo — has insisted upon their client's innocence. They have claimed that although Combs participated in a “swinger” lifestyle and would frequently hire male escorts that did not constitute as sex trafficking. When quizzed on the lines of questioning the defense would take during their cross-examination of Victim-1, attorneys Agnifilo and Alexandra Shapiro said they hoped to question Combs' former girlfriend about “other instances where she has been violent.” They said the questioning was central to speak to Ventura's alleged nonpeaceful nature and her independence in effort to dismantle prosecutors' claim that Combs coerced her into certain situations. Why Does Everything Sound Like an Audition Song for ‘The Voice'? This week, prosecutors indicated that they planned to call two “short” witnesses to the stand, including a male escort, before a third witness would testify. Although the name of that witness has not been disclosed, all signs point to Ventura. This post was updated on Monday, May 12 at 1:15 p.m. to reflect opening statements by prosecutors and Combs' lawyers.

Donald Trump doesn't see why everyone is so concerned that he accepted a $400 million jet from the Qatari government — one that will serve as the new Air Force Once, and which the president will reportedly retain through his presidential library fund after he leaves office. MAGA,” the president wrote late Sunday night on Truth Social, reposting the message Monday morning on X. “I would never be one to turn down that kind of an offer.” ABC News reported on Sunday that Trump is accepting the jet, described as “a flying palace,” as part of a shockingly blatant attempt from the Qatari government to buy influence with the White House. It's the latest development in a disturbing string of nakedly corrupt maneuvers from Trump and his administration — from the president's crypto enterprise to his family's business deals in the Middle East. “This isn't a good idea even if the plane was being donated to the U.S. government,” Sen. Chris Murphy (D-Ct.) wrote, highlighting how the plane will reportedly be donated to Trump's presidential library after he leaves office. It's simply a cash payment to Trump in exchange for favors. “The Constitution is perfectly clear,” wrote Rep. Jamie Raskin (D-Md.) Some of Trump's closest allies aren't happy, either. We cannot accept a $400 million ‘gift' from jihadists in suits,” Laura Loomer, a far-right activist who has been advising Trump on personnel decisions, wrote on X, adding that accepting the plane would be “such a stain” on the administration and that she is “so disappointed.” “Any donation to this government is always done in full compliance with the law, and we commit ourselves to the utmost transparency,” Leavitt added on Fox & Friends. When asked if there was any concern that Qatar may want something in return, Leavitt said “absolutely not” and that Trump “only works with the interest of the American public in mind.” Why Does Everything Sound Like an Audition Song for ‘The Voice?' People Are Losing Loved Ones to AI-Fueled Spiritual Fantasies Trump was asked the same question about Qatar expecting something in return by reporters on Monday. He largely ignored it, touting how nice the planes in “Arab countries” are compared to the current Air Force One and noting that the United States has done a lot for Qatar, and that the plane is a “nice gesture.” He'll leave Monday for the Middle East, and Qatar will be one of his stops. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

Former “Dancing With the Stars” competitor and now co-host Alfonso Ribeiro gave fans a glimpse into his relationship with his wife Angela Unkrich when he honored her with a heartwarming Instagram post on Mother's Day on May 11. The “Fresh Prince of Bel-Air” actor posted a photo of himself, Unkrich, and their three kids, Alfonso Jr., Anders, and Ava, on Instagram (she is also a stepmother to his adult daughter Sienna). In the caption, he shared his thoughts on the incredible woman he is married to and how all she does leaves him amazed and grateful. He has also used the platform to commemorate milestones like his anniversary, and most recently, to show appreciation for his wife. He also praised her for putting their family “before everything” and said she deserved all the love she got on Mother's Day. Ribeiro's post has attracted attention from fans and also his DWTS family. Witney Carson commented with a message celebrating Unkrich. Other reactions include, “Alfonso your wife Angela is best thing that's ever happened to you,” and “Amazing couple and amazing kids! Ribeiro and Unkrich married on October 13, 2012, at the Lakeside Golf Club in Burbank, California. He posted a throwback photo of them on their wedding day and got emotional in his caption, dedicating the message to his “best friend.” “We made an incredible life together.” He thanked Unkrich for their achievements and concluded that “the best is yet to come.” Ribeiro's followers praised him and Unkrich for being a “beautiful couple” and congratulated them on their wedding anniversary. Fans of love can always look forward to Ribeiro's anniversary posts. In 2021, he posted a close-up photo of his beautiful wife from their wedding day.

When cameras panned to judges Luke Bryan, Carrie Underwood, and Lionel Richie, all three looked shell-shocked. After she was cut, fans immediately flooded social media, with some so upset to see Samone go that they insisted they'll stop watching the final episodes of season 23. In her post-show Instagram share, Samone wrote, “Thank you all so much for the love and support!!! I am soo grateful to have made it this far! Please continue to support my friends On their journey! During her journey on “American Idol,” the Baltimore native repeatedly said how wild it was to keep advancing in the competition when she had arrived feeling unsure of herself and her gift, despite having videos of her singing go viral online. Ironically, Hudson also placed in the top 7 back in 2004, but went on to become a rare EGOT winner — earning an Emmy, Grammy, Oscar and Tony since competing on “American Idol.” Many fans pointed that out to Samone after the show, including one who wrote, “You are our American Idol… Your gift is unmatched. Some of Samone's fellow contestants also weighed in, including top 5 contender Slater Nalley, who wrote, “I love you more than words can describe. Keep crushing it and this is NOT THE END for you WHATSOEVER. Platinum ticket winner Filo, who made it to the top 12, commented, “GABBY!!! Just wait, God has something so special waiting around the corner for you. Samone, like her fellow contestants, sang two songs during the live May 11 episode. First, she worked with Broadway star and composer Lin-Manuel Miranda on mastering a song he wrote, “How Far I'll Go” from the movie “Moana.” Miranda noted that it was a very difficult song to sing with tricky lyrics, but the judges loved her delivery, with Underwood telling her, “Your voice was made for songs like that.” For the portion of the show dedicated to Mother's Day, Samone got teary-eyed talking about how her mom Charoletta raised eight kids and still had room in her heart to help anyone else who needed it. Samone performed “Home” from “The Wiz” in honor of her mom, a song that Bryan said “may be my favorite performance you've done of the year,” blown away by her confidence. It was clear the judges thought she was safe, and viewers did too — with many so shocked by her elimination that they declared a boycott after the show. The top 5 will perform again on another two-hour live show on May 12, starting at 8 p.m. Eastern time, to determine the top 3 who will get to go visit their hometowns.

The temporary venue will only be open for a few months. Namely, attendees can expect a number of high-energy sets from various DJs — who hopefully aren't afraid of heights — throughout the temporary venue's run, starting with a sneak peek performance by Carlita on May 16. The kickoff show on May 31 will be headlined by Maceo Plex. “With Marquee Skydeck, we're merging nightlife and spectacle,” says Tao Group Co-CEO Noah Tepperberg in a statement. “There's nowhere else in the world where you can party at this altitude, with this view, and with the Marquee energy our guests love.” Ticket information for the pop-up is available on Marquee's website. Opening its doors in 2020, the Edge at Hudson Yards has quickly become one of NYC's most thrilling attractions. “As one of the most recognizable features of the New York City skyline, Edge is proud to partner with Tao Group to bring an entirely new after-hours experience to the city that never sleeps,” adds Andrew Lustgarten, executive chairman at Hudson Yards Experience. “Marquee Skydeck at Edge is for the most discerning New Yorkers—you haven't seen it all until you've seen how Edge does nightlife.” A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter In my standup days, an early closer was a joke about a family winning like $1,200 on Family Feud, and then having to split it five ways. The punchline: “Why didn't you just go to work that day?” Though he does not do standup, Greg Gutfeld fancies himself a comic (and he's certainly a more-successful one than I ever was). He's got a hit late-night-adjacent Fox News talk show — Gutfeld! is technically in primetime now — and a new game show on sister streaming service Fox Nation. Camryn Kinsey Is "Doing Well" After Fainting Live on Fox News Channel placed five people “in complete isolation in upstate New York, with no contact to the outside world — no phones, internet, television or social media,” per the logline. A scant 90 days (January 20 through April 13 of this year) later, the four remaining contestants are transported to Gutfeld's Fox News studio to play an elongated game of True or False about the events of Donald Trump's first three months back in the White House. The premise and payoff of What Did I Miss? goes like this: five contestants, 90 days, no contact, one winner, $25,000. In the 1970s, which is not considered modern history, the grand prize on CBS' primetime Pyramid game show was up to $25,000. ”I got them an extra 5k — it'll pay for the Uber back home.” To be fair, as every cable news channel except maybe Fox News will tell you, we're likely headed for a recession. “You probably know that I'm a pretty big deal around here, and sometimes I do keep my word,” the host says. “Not only did we get your prize raised from an insulting 25 grand to 30 grand, but I managed to go further. After more than one strongly-worded email…and two or three yelled phone calls, I got you a total prize fund tonight of $50,000.” Gutfeld then quips that it's “pennies” to someone like him, after which one contestant suggests he “add another zero.” Pass. But the “higher-ups” at Fox added a parting gift: one final question for $1,000. Ninety days is a bit less than 13 weeks. Putting in 40 hours per week at the New York (state) minimum wage of $15.50 per hour (New York City is $16.50/hour), any full-time worker walks away from the same three-month period with $8,000 — and that's not even considering the other 128 hours each week that nine-to-fivers do not monetize but the isolationists must live out in, well, isolation. I feel like I just spent 90 days of my life for no reason at all,” the first departing contestant says in an exit interview at the end of the first episode. “Greg Gutfeld's What Did I Miss?” premiered on Fox Nation today, May 12. Sign up for THR news straight to your inbox every day Inside the business of TV with breaking news, expert analysis and showrunner interviews Subscribe for full access to The Hollywood Reporter Send us a tip using our anonymous form.

Red Hot Chili Peppers frontman Anthony Kiedis is launching his own coffee brand, and he's turning to Live Nation for help getting it in front of coffee drinkers. Today, Kiedis and longtime friend Shane Powers are debuting their coffee in a can consumer brand JOLENE along with a marketing campaign, which a press release says is “built to move with the rhythm of live entertainment and meet the ambition of those living life to the fullest.” The global concert promoter will carry the coffee brand at its festivals and 40 amphitheaters owned or operated by Live Nation, including the Gorge Amphitheater in Washington, Northwell at Jones Beach Theater in New York and Allianz Amphitheater at Riverfront in Richmond, Virginia. Live Nation is an equity investor in JOLENE as is consumer spirits company Global Brand Equities and h.wood Group founder John Terzian. The agreement is similar to one Live Nation struck with water company Liquid Death in 2021 and its celebrity ownership group that included Wiz Khalifa, Machine Gun Kelly, Steve Aoki and Tony Hawk. That agreement had Live Nation selling Liquid Death at its 120 owned-and-operated venues as part of a larger sustainability effort to phase out the sale of single-use plastics at all owned and operated venues and events. JOLENE comes in two flavors: Black (cold brew) and White (oat milk latte) and will be used to make four signature cocktails at Live Nation-owned venues. According to a press release, JOLENE is sourced through an all-female co-op in Peru, “ensuring high-quality beans while directly supporting the women growers and their communities,” the release reads. The product is also available for purchase online at retailers in Los Angeles and New York. “Shane shouted at me down the sidewalk ‘Let's do something!' Russell Wallach, Live Nation's global president of Media & Sponsorship added “Fans want options that fit the pace and energy of live music,” noting, “Cold brew has come up again and again, and JOLENE delivers — it's high quality, easy to enjoy, and adds something new to the fan experience. It's one more way we're evolving to meet what fans are asking for.” A daily briefing on what matters in the music industry

On Friday, the office noted its support of licensing copyrighted material for "commercial" AI models. Copyright Office released a report examining copyrights and generative AI training, which supported the idea of licensing copyrights when they are used in commercial AI training. On Saturday (May 10), the nation's top copyright official – Register of Copyrights, Shira Perlmutter – was terminated by President Donald Trump. In response, Rep. Joe Morelle (D-NY) of the House Administration Committee, which oversees the Copyright Office and the Library of Congress, said that he feels it is “no coincidence [Trump] acted less than a day after [Perlmutter] refused to rubber-stamp Elon Musk's efforts to mine troves of copyrighted works to train AI models.” This report was largely seen as a win among copyright owners in the music industry, and it noted three key stances: the Office's support for licensing copyrighted material when a “commercial” AI model uses it for training, its dismissal of compulsory licensing as the correct framework for a future licensing model, and its rejection of “the idea of any opt-out approach.” The Office affirms that in “commercial” cases, licensing copyrights for training is a “practical solution” and that using copyrights without a license “[go] beyond established fair use boundaries.” It also notes that some commercial AI models “compete with [copyright owners] in existing markets.” However, if an AI model has been created for “purposes such as analysis or research – the types of uses that are critical to international competitiveness,” the Office says “the outputs are unlikely to substitute” for the works by which they were trained, and the model's training methods are more likely to be considered a form of fair use. “In our view, American leadership in the AI space would best be furthered by supporting both of these world-class industries that contribute so much to our economic and cultural advancement. Effective licensing options can ensure that innovation continues to advance without undermining intellectual property rights,” the report reads. The report is supportive of licensing efforts between copyright owners and AI firms, and it recognizes that most stakeholders do not hold support “for any statutory change” or “government intervention” in this area. Later, it adds “we agree with commenters that a compulsory licensing regime for AI training would have significant disadvantages. Premature adoption also risks stifling the development of flexible and creative market-based solutions. Moreover, compulsory licenses can take years to develop, often requiring painstaking negotiation of numerous operational details.” “Those representing copyright owners and creators argued that the compulsory licensing of works for use in AI training would be detrimental to their ability to control uses of their works, and asserted that there is no market failure that would justify it. A2IM and RIAA described compulsory licensing as entailing ‘below-market royalty rates, additional administrative costs, and… restrictions on innovation'… and NMPA saw it as ‘an extreme remedy that deprives copyright owners of their right to contract freely in the market, and takes away their ability to choose whom they do business with, how their works are used, and how much they are paid. ECL, which is employed in some European countries, would allow a collective management organization (CMO) to issue and administer blanket licenses for “all copyrighted works within a particular class,” much like the music industry is already accustomed to with organizations like The MLC (The Mechanical Licensing Collective) and performing rights organizations (PROs) like ASCAP and BMI. The difference between an ECL and a traditional CMO, however, is that under an ECL system, the CMO can license for those who have not affirmatively joined it yet. While some AI firms have expressed concerns that blanket licensing by copyright holders would lead to antitrust issues, the Copyright Office sided with copyright holders on this matter too, saying “[the] courts have found that there is nothing intrinsically anticompetitive about the collective, or even blanket, licensing of copyrighted works, as long as certain safeguards are incorporated— such as ensuring that licensees can still obtain direct licenses from copyright owners as an alternative.” This is a “pre-publication” version of a forthcoming final report, which will be published in the “near future without any substantive changes expected,” according to the Copyright Office. The Office noted that this “pre-publication” was pushed out early in an attempt to address inquiries from Congress and key stakeholders.