We use vendors that may also process your information to help provide our services. [Editor's note: This interview contains spoilers for “Zootopia 2.”] When people think of impressively animated film sequences, what immediately comes to mind are large-scale moments: big, explosive action scenes or crowd shots with hundreds of characters. The latest Disney animated feature, “Zootopia 2” has a lot of both, as Nick Wilde (Jason Bateman) and Judy Hopps' (Ginnifer Goodwin) big sequel adventure sees them encounter plenty of villains and explore brand new areas of the titular mammal metropolis never seen before, including one setpiece with around 50,000 unique animals. But for directors Jared Bush and Bryan Howard, one of the most challenging technical moments in the entire film isn't the flashiest or loudest — it's the pivotal scene in the film where Nick and Judy, having struggled to communicate as a crime-fighting duo, finally have a heart-to-heart where they can truly admit how important they are to one another. Related Stories ‘Erupcja' Trailer: Charli XCX Finds Out If It's Brat to Ghost Your Boyfriend A New Burt Reynolds Tell-All Charts His Pre-‘Deliverance' Fame, ‘Boogie Nights' Disdain, and Roles That Got Away “We have this scene where Nick and Judy finally come back together towards the end of the movie. That subtle acting is really hard; it takes people at the very top of their craft to be able to put that tiny bit of subtext, just moving a corner of an eye a pixel. Almost more than anything, those things are incredibly hard.” Bush and Howard joined IndieWire in-studio for an interview to discuss “Zootopia 2,” recently nominated for the Best Animated Feature Oscar. Addressing whether or not the scene should be read as romantic, Howard said they wanted to keep it open to interpretation, but said the scene landed in friendship — or more specifically, “soulmate” — territory. “Over the years, we've fallen on one side of the fence or the other in terms of what their relationship is or where it's going,” Howard said. “That speech between them is so private, and intimate, and personal, to have that kind of conversation with another human being in your life? Seeing these two characters together, there's something wonderful about the fact that it isn't romantic, and our instinct has been to preserve that specialness. Watch the complete video interview with Bush and Howard above. 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.

EXCLUSIVE: Warner Bros. Pictures is reuniting frequent collaborators Mike Flanagan and Stephen King on a new adaptation of The Mist, based on the acclaimed 1980 novella. Flanagan will direct and write the screenplay. He will produce through Red Room alongside Tyler Thompson and Spyglass' Gary Barber and Chris Stone. Alexandra Magistro will also executive produce for Red Room. In The Mist, a small town in Maine is consumed by a thick mysterious fog from which creatures emerge to attack the townsfolk. As often happens with King's fiction, anarchy and societal reordering brings out the best in some, and the absolute worst in others, sparking mob mentality and empowering unhinged extremists who become as dangerous as the horrors outside. The novella originated in the King short story collection Skeleton Crew, and it was previously turned into a 2007 film and a 2017 TV series. Flanagan has kept busy with King's works, directing Gerald's Game, The Shining sequel Doctor Sleep, Life of Chuck. He has been engaged in a new adaptation of King's first published novel, Carrie, as a miniseries for Amazon Prime. Get our Breaking News Alerts and Keep your inbox happy. Once the first promos or trailers come out, everyone will watch the original that's still new enough to give them what they need, and spoil the ending. There are tons of Stephen King stories, why focus on one who had a pretty good adaptation? We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Surveillance photos and videos of a suspect in the disappearance of Savannah Guthrie's mom, Nancy Guthrie, have been released by law enforcement. In the snaps, an unknown, masked individual could be seen outside of Nancy's door at her Arizona home, fully clothed and wearing gloves. “Over the last eight days, the FBI and Pima County Sheriff's Department have been working closely with our private sector partners to continue to recover any images or video footage from Nancy Guthrie‘s home that may have been lost, corrupted, or inaccessible due to a variety of factors, including the removal of recording devices,” read a statement released to the press on Tuesday. “The video was recovered from residual data located in backend systems. Working with our partners — as of this morning, law enforcement has uncovered these previously inaccessible new images showing an armed individual appearing to have tampered with the camera at Nancy Guthrie's front door the morning of her disappearance.” The statement continued, “Anyone with information, please contact 1-800-CALL-FBI, 520-351-4900, 88-CRIME or visit tips.fbi.gov. We do not have any further information to share at this time.” White House Press Secretary Karoline Leavitt said President Donald Trump “encourages any American across the country with any knowledge of this suspect to please call the FBI.” Page Six spoke with longtime private investigator Andy Kay, who told us the surveillance videos came from Nest. As soon as the new images and videos went public on Tuesday, Savannah took to Instagram to share the info with her more than 1.7 million followers. Savannah, 54, and her relatives were instructed to place $6 million into a bitcoin account on Monday without being given any proof that Nancy, 84, was still alive. TMZ reported that the ransom note also included chilling threats and demands. Page Six previously reported that authorities found a trail of blood that belonged to the elder outside her home last week.

We use vendors that may also process your information to help provide our services. Is it “brat” to disappear from your dutiful boyfriend in the middle of the trip he planned for you? Focused around Bethany (Charli XCX), a British girl convinced that a volcano will explode whenever she blows up her life for a biannual fling with flower shop owner Nel (Lena Góra) in Warsaw. Sure enough, Mount Etna erupts soon after the couple settles into their rental flat — and Bethany takes it as a sign to slip away from her almost-fiancé at a party one night, ghosting Rob and his well-planned itinerary in favor of another fiery tryst with Nel. Related Stories A New Burt Reynolds Tell-All Charts His Pre-‘Deliverance' Fame, ‘Boogie Nights' Disdain, and Roles That Got Away Sundance 2026 Movies Sold So Far: Magnolia Hot for Gregg Araki's ‘I Want Your Sex' This is Charli XCX‘s fourth film appearance of the year — and there could well be more we're missing! More from IndieWire's review by David Ehrlich: “‘Erupcja‘ was (clearly) scripted on the fly, to the point that all four of its main actors are credited as co-writers as well. Here, that approach proves a bit more pointed than it did in the Ohs' previous ‘Jethica' and ‘The True Beauty of Being Bitten by a Tick,' as its elevated mumblecore energy suits the unformed and searching nature of a wherever you go, there you are story about the ways that people try to make sense of the world around them in real-time.” Jeremy O. Harris also stars in “Erupcja.” The film premiered at the 2025 Toronto International Film Festival before playing festivals in Leiden, São Paulo, and Thessaloniki We use vendors that may also process your information to help provide our services.

EXCLUSIVE: Ariela Barer (The Last of Us, See You When I See You) has joined the cast of A24‘s Deep Cuts, in a recasting of Odessa A'zion. Deep Cuts, from writer and director Sean Durkin (Iron Claw, The Nest) and based on the debut novel by Holly Brickley, is a love story set in the 2000s about two music-obsessed twentysomethings (to be played by Cailee Spaeny and Drew Starkey) navigating the messy realities of ambition, belonging, and adulthood over the course of an era-defining decade. Barer will play the role of Zoe Gutierrez, who is described in the novel as being half Mexican and half Jewish. The actress is both Mexican American and Jewish. A'zion, who is Jewish, was originally cast as Zoe and was unaware that the character was written as a Jewish Latina, she revealed via social media on January 29. After reading a barrage of messages she was sent on Instagram explaining she was miscast, A'zion agreed to graciously bow out. Additionally, more than 100 Latino artists in Hollywood also signed an open letter asking for more authenticity in casting. Previously, there was also a recasting of the original leads, Saoirse Ronan and Austin Butler, due to scheduling conflicts, with Spaeny and Starkey taking over the roles. Durkin will serve as the film's writer and director. Eli Bush, Ronald Bronstein and Josh Safdie will produce through their Central Pictures banner. Durkin will also produce along with Anthony Katagas, Jordan Tappis and A24. Brickley will serve as an executive producer. Grammy-winning singer, songwriter, and producer Blake Mills will create original music. We understand that Barer's work on HBO's The Last of Us, the hit video game adaptation series she joined in Season 2 as Mel, will not be affected by her participation in Deep Cuts. Additionally, Barer is coming off a whirlwind of promotions for her latest film, See You When I See You, a dramedy written by Adam Cayton-Holland and directed/produced by Jay Duplass. The feature had Sundance abuzz with great reviews following its premiere on January 27. She also recently wrote, produced and starred in Neon's How to Blow Up a Pipeline. Her TV credits include series regular roles in the ABC series Rebel, playing Ziggie, and as Gertrude Yorkes in Marvel's Runaways. She has also appeared in Netflix's One Day at a Time and Atypical, Fox's New Girl, Peacock's Saved By The Bell, ABC's Grey's Anatomy, and Nickelodeon's Yo Gabba Gabba! Barer is repped by OPE Partners, Paradigm, and Felker Toczek Suddleson. On Monday, Deadline revealed exclusively that A'zion had been cast in Cody Fern's as-yet-untitled directorial debut alongside Naomi Watts, Dianne Wiest, and Sarah Paulson. Get our Breaking News Alerts and Keep your inbox happy. That said, this demand for authenticity in casting seems to apply to just about all minorities except large Jewish roles. Take a look: Helen Mirren as Golda Meir, Rachel Brosnahan and Tony Shalhoub in Marvelous Mrs. Maisel, Al Pacino as Shylock, Cillian Murphy as Oppenheimer, even Brendan Frasier in School Ties. Who is stopping the Jewish community from speaking out against it? Shitting in her announcement about other issues with casting is ridiculous. Hope you're inspired to speak up next time there is inaccurate casting in your community. I totally support you on that front. Caught her film at Sundance, this will be an incredible opportunity for Ariela. She was literally right in front of you. 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. Sign up for our breaking news alerts 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.

From sugar cane fields to a live wedding, Billboard decodes all the nods and Easter eggs in his epic 13-minute performance. Bad Bunny transformed the Super Bowl LX halftime show on Sunday (Feb. 8) into a joyous celebration of identity, history and unity, stitching together his Puerto Rican roots with broader themes that resonate across the Americas. Tributes to barber shops, domino tables, piraguas vendors and Nuyorican pride brought to life the everyday traditions and essence of Caribbean culture. Much of the symbolism ran deep: “El Apagón” spotlighted Puerto Rico's ongoing power grid struggles and displacement (more on that below) while a shout-out to every nation in the Americas emphasized a powerful message of connectedness. Amid heartfelt moments such as the Grammy handoff to a young boy dressed as a young Benito and an actual wedding that took place on stage, the hitmaker proved that his halftime show was about much more than entertainment but a celebration of heritage, community and perseverance. Already ranked as one of the most watched halftime performances in Super Bowl history, Bad Bunny's show delivered impact far beyond entertainment More than a 13-minute medley spanning through all of his hits, his performance was a carefully curated display of cultural pride. As the night culminated with his “Together We Are America” message appropriately emblazoned on his football, El Conejo Malo showed the world that halftime shows can be more than extravagant. Let's dive into the references and moments you might have missed. Bad Bunny kicked off his groundbreaking Super Bowl halftime show with an Afro-Latino guitarist wearing a pava (straw) hat, declarating: “Qué rico es ser latino” (or “How wonderful it is to be Latino”). It's also the song that introduces “Tití Me Preguntó” — produced by MAG, who's of Dominican and Puerto Rican descent. As “Tití Me Preguntó” plays, the audience is introduced to a scene of sugar cane fields, with farmers chopping stalks — a nod to Puerto Rico's colonial history. Even after slavery ended, sugar remained central to Puerto Rico's economy, accounting for nearly half of its agricultural production as late as 1964. Fans chuckled when they realized some of the greenery wasn't props — it was 380 performers dressed as blades of grass. Bad Bunny passed by a vendor selling coco frío — fresh, chilled coconut water straight from the shell. A staple in tropical climates like Puerto Rico, it's the ultimate refreshing drink for warm weather vibes — and hangover cure. Fans instantly wondered what the jersey symbolized and what it meant to him — and the answer was far more personal than anyone anticipated. He left for the United States at 17 to work and never returned to live in Puerto Rico, although he always visited us in late January or early February and stayed at our house. I dedicated my performance to him before it began. The next stop in Bad Bunny's opening performance saw a table of abuelos playing dominoes, a beloved tradition often called Puerto Rico's unofficial national pastime. It's a game enjoyed by all generations, and Bad Bunny nods to this cherished activity in his Grammy-winning hit “DtMF” with the lyric: “Ey, hoy vo'a estar con abuelo to el día jugando dominó.” Benito passes by a nail salon table — where style and chisme (gossip) come together. “Vamo' a tirarno' un selfie, say ‘cheese', ey,” he sings. With women being the sole focus in this scene, we'd like to think that this represented the rebuilding of Puerto Rico following Hurricane Maria in 2018. This also highlights how women spearheaded the recovery efforts where FEMA fell short. The first moments of Bad Bunny's performance wouldn't be complete without a nod to piraguas —shaved ice treats drenched in sweet syrups, served up from colorful street carts. These icy delights are a staple of Puerto Rican culture, bringing refreshing joy to sweltering afternoons, and are tied to the island's street life and traditions. The Los Angeles taqueria, Villa's Tacos, also found itself on the world's biggest stage during Bad Bunny's Super Bowl halftime show. Boxing holds a special place in Puerto Rican culture, arguably producing more world champions per capita. Legends like Félix “Tito” Trinidad, Miguel Cotto, Wilfredo Gómez and Wilfred Benítez have put Puerto Rico on the map, dominating their weight classes and earning global respect. Bad Bunny passes by a stand marked “Compro Oro y Plata” (I buy gold and silver) — a nod to the Caribbean's cultural ties to gold. From colonial times when gold was a driving force behind European exploitation, to modern-day street vendors and jewelers, gold has long held significance in Puerto Rico's identity. Bad Bunny's halftime performance wouldn't be complete without La Casita, his portable replica of traditional Puerto Rican homes that honor the island's architectural charm and cultural roots. This now-iconic spot also served as an additional stage for Benito and the ultimate A-lister hub, featuring cameos from stars like Cardi B, Karol G, Young Miko, Pedro Pascal and Jessica Alba. It's reminiscent of countless moments when my aunts or uncles would nudge me awake for a specific song or to join my cousins, even in the wee hours. As El Conejo Malo transitioned between songs and scenes, plunging through his casita, brief samples of reggaetón classics like Tego Calderón's “Pa' Que Te Lo Gozen,” Don Omar's “Dale Don Dale,” and Daddy Yankee's “Gasolina” pulsed through the stadium. Then, Benito launched into his hard-hitting, Grammy-winning hit “EoO.” “This is the music of Puerto Rico,” he shouted in Spanish, sparking a full-blown reggaetón party and honoring the genre's rich cultural roots of the '00s. While violinists played the gripping intro to “Monaco,” Bad Bunny gave a powerful speech: “Mi nombre es Benito Antonio Martínez Ocasio, y si hoy estoy aquí en el Super Bowl 60, es porque nunca, nunca dejé de creer en mí. Confía en mí.” This translates to: “My name is Benito Antonio Martínez Ocasio, and if I'm here today at Super Bowl 60, it's because I never, ever stopped believing in myself. In one scene, Benito stood atop a vintage 1968 Ford F-250. He may have chosen the classic American pickup truck as a nod to U.S. tradition, weaving it into the fabric of American cultural history. In 2021, The Weeknd opened his show with a modified 2002 Mercedes-Benz SLK 32 AMG, while Dr. Dre and Snoop Dogg showcased vintage Chevrolet Impala lowriders in their 2022 performance. Last year, Kendrick Lamar brought personal meaning to the stage with a 1987 Buick GNX — his dad's car. Another show-stopping moment unfolded during Bad Bunny's halftime performance when a couple was legally married on stage, according to ESPN. The couple had originally invited Bad Bunny to attend their wedding, but Benito took it to another level, gifting them the ultimate honor of getting married during his historic halftime performance, mentions ESPN. After the wedding scene and Lady Gaga, Bad Bunny transitions into a new moment with “NuevaYol” — his love letter to Nuyorican culture. A replica of a barber shop and bodega called La Marqueta stands as the backdrop, embodying the soul of Puerto Rican life in New York. “Un shot de cañita en casa de Toñita y PR se siente cerquita,” he belts out, and none other than the beloved Toñita — owner of Brooklyn's Caribbean Social Club — makes an appearance, serving him a drink behind the bar. Known as one of the last surviving Puerto Rican social clubs in NYC, Toñita's Caribbean Social Club stands as a pillar of community, identity and cultural pride, a perfect centerpiece in Benito's celebration of Nuyorican life. Seconds prior, you see the kid watching a vintage '90s-era TV with his parents. The boy, portrayed by 5-year-old actor Lincoln Fox, wore a striped collared shirt and khaki shorts, channeling Bad Bunny's childhood style. In a striking visual, backup dancers climbed sparking electricity poles — and Bad Bunny later joined them as the lights flickered intermittently — amplifying the song's deeply political message. Beyond unreliable electricity, the song also highlights the displacement of Puerto Rican residents, many of whom have been pushed out due to rising costs driven by predatory corporate interests. With sparks flying and lighting effects mimicking the island's blackouts, Bad Bunny used the highly watched halftime show to bring awareness to Puerto Rico's socioeconomic issues. Bad Bunny closed his Super Bowl halftime performance promoting togetherness — rather than division, like some political parties. “God bless America… sea [be it] Chile, Argentina, Uruguay, Paraguay, Bolivia, Perú, Ecuador, Brazil, Colombia, Venezuela, Guyana, Panama, Costa Rica, Nicaragua, Honduras, El Salvador, Guatemala, Mexico, Cuba, República Dominicana, Jamaica… United States, Canada, and my motherland, mi barrio, Puerto Rico, seguimo aquí [we're still here].”” A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry

Drew Barrymore admitted to being a “mile-high club” member during a playful interview with Kaley Cuoco on her eponymous talk show Monday. The topic came up when the “Flight Attendant” alum was asked during an on-air ping-pong match whether she'd ever hooked up with someone during a plane ride. Barrymore, however, nodded at the question while smiling — which led the “Big Bang Theory” alum to label her a “wild child.” The “Drew Barrymore Show” host, 50, revealed the past hookup took place on an American Airlines flight, claiming it wasn't a “difficult maneuver” and “worked well.” By clicking above you agree to the Terms of Use and Privacy Policy. It kinda morphs to your … I could see that.” Barrymore then clarified that “he was in the bathroom” before covering her face with her paddle and asking, “Did I say that out loud?” She did, notably, open up to Christina Aguilera in a March 2024 interview about why she “can't recommend it more.” If you're curious, like, ‘Why are people doing it?' Aguilera, for her part, copped to getting intimate in the skies “multiple” times. While Barrymore has yet to appear on the raunchy podcast, she often gets real about intimacy on her show — even defending her “boring” sex life in 2022 because she's “done everything.” The “Santa Clarita Diet” alum confessed later that same year to spending “years” celibate without issue.

Chappell Roan has left her talent agency after its founder, Casey Wasserman, was named in the Epstein files. “As of today, I am no longer represented by Wasserman, the talent agency led by Casey Wasserman,” the “Pink Pony Club” singer, 27, wrote on her Instagram Stories Monday. Page Six has reached out to the Wasserman Group for comment. The Wasserman Group is a talent agency that represents powerhouse clients like Ed Sheeran, Coldplay, Imagine Dragons, Kasey Musgraves, Lorde and Pharrell. Like Roan, indie rock groups Wednesday, Beach Bunny and Water From Your Eye have cut ties with the agency and called for Wasserman, 51, to step down from the company he's run since 2002. “We are demanding for Wasserman to remove himself and his name from the agency,” Beach Bunny wrote on social media Sunday. “What does that mean when the organization is led by an intimate friend of a convicted human trafficker? Now is the time for LA28 to demonstrate how much they truly value women.” The more than three million Epstein files released by the Department of Justice on Jan. 30 include email correspondence between Wasserman and Jeffrey Epstein's right-hand woman, Ghislaine Maxwell, who is currently serving 20 years for sex trafficking. “I deeply regret my correspondence with Ghislaine Maxwell, which took place over two decades ago, long before her horrific crimes came to light,” the CEO said. He added, “I am terribly sorry for having any association with either of them.”

Stewart himself was full of raves for Bad Bunny's performance, calling it “joyful and infectious and …” — before cutting to a clip of right-wing commentator Benny Johnson declaring it “the single worst halftime show in NFL history.” Mustering fake sympathy, Stewart corrected himself: “I forgot, for a significant portion of Americans, everything that happens must uniformly be filtered through a particular MAGA-centric worldview. And judged on how well it conforms to that traditional vision, which doesn't include knowing where the biblioteca is.” “Did Fox decide they needed an actual Buffalo wing to comment on the game?” All of the Hidden Symbols and Meanings You May Have Missed in Bad Bunny's Super Bowl Set Chappell Roan Exits Wasserman Agency Following Epstein Fallout: ‘I Refuse to Passively Stand By' Charley Crockett Says ‘Country Music Should Be Taking Notes' From Bad Bunny Wait, Why Was Bad Bunny's Super Bowl Halftime Show Controversial? Stewart then mockingly praised TP USA for putting on an “All-American Halftime Show that celebrates this beautiful country in the King's English we all share” — then proceeded to play a clip of headliner Kid Rock lip-synching to his famously comprehensible “Bawitdaba.” Rolling Stone is a part of Penske Media Corporation.

While the concept of infinite parallel realities has been a staple of speculative fiction for a long time, in recent years, pop culture has frequently leaned on this idea for fan service. What if familiar events could be remixed, with old stories repackaged in the guise of something new? It's a setup that seems limitlessly vast, but often ends up curbing any traces of originality while flattening everything on screen with the suggestion that this is just one version in a limitless assortment of similar, slightly different permutations. It very much fits a corporate vision of “storytelling” where well-established intellectual property can be slightly altered without fundamentally changing or challenging anything. Through its opening chapters, Romeo Is A Dead Man, the latest from SUDA51 and Grasshopper Manufacture, is quite self-aware about how much of a drag the multiverse can be. As a result, instead of being diminished by its space-time warping premise, it fully leans into absurdity, contradicting its own logic and throwing out any sense of continuity as it escalates to hilarious extremes; at its best, it understands that the ideal answer to this kind of cosmic convolutedness is to make us laugh. Romeo Stargazer is a conspiracy theorist and sheriff's deputy in the small Pennsylvanian town of Deadford. While that all makes some amount of sense, this intro quickly begins to fold in on itself. The previously mentioned events were all a dream, but also not? A “Previously On” comic book recap tells us that Romeo is in love with Juliet (subtlety is for cowards, as SUDA51 has long believed), a mysterious woman who is also a harbinger of doom; after her appearance, reality was destroyed, leaving shards of specific times and places scattered throughout the cosmos. Our protagonist joins the FBI Space-Time Police to find his (sort of) girlfriend, hunting down her variants and other time criminals while trying to reunite with the “real” Juliet he knew before Deadford was scattered across four-dimensional space. The first 15 minutes play out at such an unhinged pace that it feels like a deliberate parody of confusing interdimensional storytelling. The Game Over screen is an all-timer stop-motion nightmare that may or may not be a reference to a face-melting moment from Raiders of the Lost Ark. Among other things, this base is home to an unusual leveling mechanic where you navigate a little creature through a maze to grab permanent upgrades; what if skill trees were replaced with retro arcade simulacrums? Everything's here, and it's all swirling in an orchestrated chaos punctuated by optional dialogue with your crew, at least one of whom has absolutely no narrative impact outside of talking about Manchester United players (sorry, Liverpool fans). While the act of playing the game isn't quite as strange, it's defined by a baseline competence that is elevated by a general sense of eccentric style—those who've played GrassHopper and SUDA51's other games, especially No More Heroes, will feel quite at home here. In his search for Juliet and other space-time criminals, Romeo travels to fragments of reality from across the decades: at one point, he's in the '70s, investigating a sunny cult, while at another, he's in a shuttered asylum that leads to a horror game sequence. Getting through these areas will also involve crossing into “subspace,” an abstracted world of digital cubes that conveys the game's generally disorienting vibe. Adding to this otherworldiness is an anonymous man on a floating TV set who waxes poetic about North American cryptids and other half-discernible topics, talking to you dozens of times as you cross the border between the real world and this digital one. Admittedly, some of this oddness is eventually blunted repetition—you'll be going through subspace a lot—but the process of working through these areas largely holds up until the closing hours. Along the way, Romeo has to battle “Rotters” (which are basically zombies but with a much more convoluted backstory). These fights start very simple: You can do a light or heavy attack with your melee weapon, aim and shoot your guns, or do an invincible dodge move to get around incoming attacks. There's also Bloody Summer, a damaging, psychedelic strike that builds up after slicing and dicing enemies at close range. You'll also be relying on your guns a lot compared to other games in this style, and instead of using a pair of pistols to keep a combo going like in Devil May Cry, you'll be targeting glowing weak points for massive damage (most likely using the rocket launcher, which is the clear standout). The bosses fare much better, though, and on top of their gross-out looks, they make for tightly designed showdowns that offer room for very different strategies; in a smart move, there's an optional boss challenge mode that lets you relive these battles and earn some in-game currency if you can clear them in a set time. These guys are creepy humanoid creatures that you can cultivate and bring into battle, beginning as piddly pea shooters before eventually becoming harbingers of destruction. You can also fuse them together to power up existing Bastards and create new variants, which is a bit disturbing considering they're apparently capable of written speech. Reminiscent of something like Yakuza 8's Sujimons, it's dangerously easy to fall face-first into this minigame, obsessively returning to your ship mid-mission so you can tend your garden of nasty, rotting monsters. There's a reward for having this kind of green thumb, because you can eventually craft a lineup of Bastards that positively trivialize even the hardest boss challenges; these guys are fun, bizarre, and at least partially make up for the increasing tedium of the latter levels. After evocatively channeling sensory overload, the final stretch attempts to tie together its fragmented cosmos into an overly tidy picture, a move that diminishes what came before. Frankly, it will probably feel even worse for many longstanding Grasshopper fans who've been trained to expect some kind of eleventh-hour rug pull. Romeo Is A Dead Man lives and dies by its eccentricity, delivering multiversal strangeness and zombie Pokémon before losing steam as it approaches a conclusion it doesn't know what to do with. Romeo Is A Dead Man was developed and published by Grasshopper Manufacture. 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Days after the passing of comedy legend Catherine O'Hara, new details have emerged about the illness she kept largely out of public view. As per TMZ, her death certificate now confirms that the beloved actress died after suffering a pulmonary embolism, while also revealing that she had been privately battling cancer. According to the death certificate from the Los Angeles County Medical Examiner's Office, obtained by TMZ, her primary cause of death was a pulmonary embolism. This clot prevents blood from flowing to an artery in the lungs. It remains unclear how long she had been living with cancer. Following her death on Jan. 30 at age 71, her representatives said only that she died “after a brief illness,” declining to provide further details. Despite her declining health, friends said she remained gracious and discreet in public. According to one source, she was seen at SUR Restaurant in West Hollywood on Jan. 13, just weeks before her death. The venue, owned by Lisa Vanderpump, was hosting an event for Supermodels Unlimited magazine. Despite the high-profile setting, she kept a low profile and avoided photos or attention. “She was in great spirits,” the source added. Friends say that discretion reflected how she and her husband, Bo Welch, lived their lives. She appeared noticeably thin during her final public appearance at the Emmy Awards in September. She was also absent from the Golden Globe Awards earlier this month, despite being nominated. Catherine O'Hara held husband close in final public appearance before her tragic death #catherineohara #celebritydeath #celebritydeaths #tragicdeath #celebritynews Paul Herman, a retired physician who lived next door to her in Brentwood for more than 25 years, told the Daily Mail that he had “no knowledge” of her illness. They were just the kindest, most agreeable neighbors,” he added. Despite more than four decades in Hollywood, she remained deeply protective of her private life. She was married to Welch for over 30 years following their 1992 wedding, and together they raised their two sons, Matthew and Luke, largely outside public view at their Brentwood home, where she later breathed her last. Years earlier, she had shared that she was diagnosed with situs inversus, a rare genetic condition in which major internal organs are positioned as a mirror image of their typical placement. And with a quiet grace that continues to define her legacy. Save my name, email, and website in this browser for the next time I comment.

The Tennessee lawmaker cited sexual content that would be "readily apparent across any language barrier," despite Benito not singing his most controversial lyrics. Tennessee Rep. Andy Ogles lashed out at Bad Bunny‘s history-making Super Bowl LX halftime show on Monday (Feb. 9), calling the singer's record-setting performance “pure smut, brazenly aired on national television for every American family to witness.” The conservative congressman wrote, that “children were forced to endure explicit displays of gay sexual acts, women gyrating provocatively, and Bad Bunny shamelessly grabbing his crotch while dry-humping the air.” Diplo Raves About BTS' 'Arirang' Comeback LP, Calling it Their 'Craziest Album Ever' John Fogerty to Receive Johnny Mercer Award at 2026 Songwriters Hall of Fame Gala The shocked response to what has been reported as the most-watched Super Bowl halftime show in history, with more than 135 million people tuning in, has drawn ire from a number of conservative voices, including Donald Trump. In his post, Ogles claimed that Benito's set “openly glorified sodomy and countless other unspeakable depravities,” saying that such “flagrant, indecent acts are illegal to be displayed on public airways.” Because of his upset, Ogles said he is requesting that the Energy and Commerce Committee launch a formal congressional inquiry into the NFL and NBC for what he described as “their prior knowledge, deliberate approval and facilitation of this indecent broadcast.” Ogles added, “these flagrant, indecent acts are illegal to be displayed on public airways. In addition, a fellow Republican congressman, Florida Rep. Randy Fine, wrote on X on Monday that Benito's “disgusting halftime show was illegal.” He also mused that “had he said these lyrics,” in reference to the original, NSFW lyrics to both in their recorded versions that were not sung, “and all of the other disgusting and pornographic filth in English on live TV, the broadcast would have been pulled down and the fines would have been enormous.” Given the tremendous pushback from some in the MAGAverse who attempted to other Bad Bunny by claiming he was not American — despite Puerto Rico being a U.S. territory and its citizens being American citizens — Fine wrote “Puerto Ricans are Americans and we all live by the same rules,” ending his note with a familiar MAGA refrain: “lock them up.” Conversely, at the MAGA-approved conservative Christian organization Turning Point USA counterprogramming livestream featuring friend of Trump Kid Rock found the rapper-turned-rocker-turned country crooner singing about “topless dancers,” crackheads, his “heroes in the Methadone clinics,” the “bastards at the IRS” and “crooked cops,” in addition to lines about taking shots of Jack and “caps of meth,” as well as “hookers all trickin' out in Hollywood” during his performance of his breakthrough 1999 single “Bawitdaba.”

While Pima County Sheriff Chris Nanos has since made it clear that “no suspects” have been identified in the case, Cioni seems to be keeping a low profile. “He hasn't been seen since I think it was Tuesday of last week. We got some photos of him outside the house here. He was outside with his wife, Savannah's sister Annie. They were in the car together,” reporter Brian Entin, who has been on the ground in Tucson, Arizona, told Megyn Kelly on Monday, February 9. Ashleigh Banfield, the former host of News Nation's “Banfield,” claimed on February 4 that a “highly regarded” law enforcement source with knowledge of the investigation informed her that Cioni “may be the prime suspect” in this case. Shortly after Banfield's report, however, Nanos took to social media to reveal, “At this point, investigators have not identified a suspect or person of interest in this case.” “It's not close to Nancy's house,” he told Kelly on Monday. “It's right around the corner from Annie's house. While not much is known about Cioni, the couple reportedly resides near Nancy in Tucson, Arizona. Cioni also plays bass for a local band called Early Black. He is a great manifester; he writes poetry with his lifestyle,” Annie gushed in a May 2013 interview. In junior high I always hid in the library at lunch time to avoid the other kids. I think writing is just what young readers begin to do. Go here and check the boxnext to EntertainmentNow Save my name, email, and website in this browser for the next time I comment.

'The Daily Show' host expertly picked apart the performative outrage on the right during a particularly busy weekend in America's ongoing culture wars. The right-wing meltdown over Bad Bunny‘s Super Bowl Halftime Show performance had Jon Stewart fired up more than usual on Monday's episode of The Daily Show. Stewart then jump cut to Kid Rock performing his song “Bawitdaba” which boasts a chorus of pure gibberish. How Bad Bunny Became the Liberal Celebrity That Finally Broke Trump Lady Gaga and Ricky Martin Are in Their Feels After Performing During Bad Bunny's Halftime Show: "I Am So Humbled" Focusing in on Kid Rock, and the TPUSA alternative, and very anti-woke, halftime show that was staged at the same time as Bad Bunny was performing on Sunday, Stewart also highlighted the performance of Lee Brice and his new song, “It Ain't Easy Being Country” taking great delight in the unintentional absurdity of the lyrics (choice snippets include “I just wanna catch my fish/drive my truck/drink my beer” and “I just wanna cut my grass/feed my dog/wear my boots”). Later in Brice's song he touches on trans issues and being cancelled for his gender critical views, which provoked an eye-roll and “here we go” from Stewart. People throw the word ‘hero' around, but this is a bold opinion to hold in your genre. You're really risking it all going up against country music's trans cartel.” “Another unifying tip might be to tell your guy to stop tweeting out racist slop during Black History Month,” Stewart added helpfully. Next Stewart moved on to the Winter Olympics, and the right wing meltdown over freestyle skier Hunter Hess' incredibly mild comments during a press conference (For reference here are Hess' actual words: “It brings up mixed emotions to represent the U.S. right now I think. There's obviously a lot going on that I'm not the biggest fan of and I think a lot of people aren't. “When did the right become such fucking pussies? Perpetually offended, safe spaces, censoring free speech, culture of victimhood. ‘Oh, I can't go 15 minutes without listening to country music. Not the best imitation, but you know what I'm going for. These people who control every branch of government are so triggered by someone singing in Spanish for 20 minutes, they need to create their own safe space alternative halftime show, where Trad Bunny over here is singing songs about how he can't even enjoy sitting in a truck and drinking beer because he knows that somewhere out there, there's a trans person. If you didn't actually have the power to do so much damage in our country, I think we all dismiss it as a weak and pathetic pity party.” Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

A federal judge ruled Monday that some of Lil Durk's rap lyrics will be off-limits as evidence at his upcoming murder-for-hire trial. Durk's defense lawyers want to exclude all lyrics from trial, arguing they're hyperbolic “poetry” that carry an “extraordinary risk” of being misunderstood by jurors. Prosecutors, meanwhile, hope to admit lyrics from 12 songs as they allege Durk “used his money for violence” as the alleged leader of a “gang” dubbed OTF. (Durk's Chicago-based rap collective and record label, Only the Family, is also known as OTF.) After hearing arguments from both sides in a Los Angeles courtroom, U.S. District Judge Michael W. Fitzgerald ruled that specific lyrics from the song “Hanging With Wolves” would be barred. Banks, 33, was indicted on charges alleging he hired a group of hit men to travel to Los Angeles and carry out an execution-style killing in broad daylight on Aug. 19, 2022. Prosecutors claim the alleged assassins stalked Bennett in Los Angeles and ambushed him at a gas station near the Beverly Center shopping mall, firing at least 18 rounds from multiple guns, including a machine gun. Banks was arrested in October 2024 near a Miami airport on the same day authorities detained his alleged co-conspirators. Banks' lawyers have said he planned to travel for “business and spiritual reasons” in the Middle East. Fitzgerald said he would rule soon on Banks's broader request to exclude all lyrics and music videos. Arguing for their admission on Monday, Assistant U.S. Attorney Ian V. Yanniello said the material was necessary to illustrate the “core members of the alleged conspiracy,” contending that it showed certain individuals were part of a subgroup of OTF engaged in criminal activity. I'm like, ‘Fuck it, you trippin', go get your gun.' “The lyrics in isolation are potentially ambiguous at times,” he said. Defense lawyer Marissa Goldberg pushed back, telling the court she and her co-counsel, Drew Findling, regularly represent rap artists and that this was “by far the most amount of rap lyrics we've ever seen proffered” in a criminal case. Chappell Roan Exits Wasserman Agency Following Epstein Fallout: ‘I Refuse to Passively Stand By' This Trial Could Hold Big Tech Accountable for Kids' Social Media Addiction Michael Bay Fires Off $1.5 Million Lawsuit, Claims Cadillac F1 Super Bowl Commercial Stole His Ideas Jack White Slams Trump's Racist Post About the Obamas: 'Arrest This Man' And the government wants to use it in extraordinary abundance.” She accused prosecutors of “cherry-picking” inflammatory material while ignoring the video for Banks' Grammy-winning song “All My Life,” where “he's surrounded by children.” All of the Hidden Symbols and Meanings You May Have Missed in Bad Bunny's Super Bowl Set Chappell Roan Exits Wasserman Agency Following Epstein Fallout: ‘I Refuse to Passively Stand By' Charley Crockett Says ‘Country Music Should Be Taking Notes' From Bad Bunny Wait, Why Was Bad Bunny's Super Bowl Halftime Show Controversial? Banks' trial is scheduled to begin April 21, though scheduling issues involving co-defendants and their lawyers could delay the start again. As he was led away in custody on Monday, Banks acknowledged his large group of supporters in the gallery, including his father, Dontay Banks.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter The 23-year-old Australian singer breaks down how he came to produce on Enhypen's latest album: “Producing a song sparked something inside me that I didn't really know that I had.” Enhypen, the powerhouse boy group hailing from Hybe sub-label Belift Lab, is finding a new stride, according to member Jake. I've found Jake on a rare off day, joining the Zoom call himself instead of at his company. Enhypen is as solid as ever, and Jake's found himself finding joy in producing for the group for the first time. “Producing a song sparked something inside me that I didn't really know that I had because being a K-pop idol, sometimes, it gets very repetitive,” he explains. Carter Faith Is Bringing Whimsy and Heartbreak to Country Music Netflix to Air Special BTS Comeback Performance and New Documentary We end our schedule at this [time]. I used to enjoy that,” he continues. But sometimes, without even me knowing, that gets very tiring, but producing and making music makes you think different and makes you think creatively.” Jake not only says he learned something new about himself, but he's just had plain fun doing it as well. The singer is quick to add that he plans to do more of it in the future. Below, Jake breaks down how he came to produce songs on Enhypen's latest album, the thing he thinks K-pop artists know but are wary to speak about and how the global audience, including Korea, helped build Enhypen into the group it is today. Can you tell me a bit about Enhypen's recent album, The Sin : Vanish? I listened to it yesterday with you and the group, obviously, but how are you feeling about it? First of all, it's a concept album. Our last album was about the desire to be with their loved ones, but on this album, we're talking about how we're on the run, away from society almost or… It's up to interpretation, but we're running away with our loved ones. What about it being a concept album makes the experience different? We planned it, and we put the songs in that particular order because it tells a story. We couldn't really talk about the Korean version [in the group's media listening session] yesterday, but the Korean version narration is done by a very famous actor called Park Jeong-min. Also, we have a very famous voice actor from Japan for the [Japanese] version, and also the Chinese version. We put a lot of work into this album, and I hope all the people that listen to it really feel and acknowledge all the little details that we have on this album. You produced on this album for the first time. Was it something you went to the label and asked about, or was it just something that organically happened? Right at the start of 2025, my personal goal was to be more active or work on my producing skills. My goal was to put [put] or make two or more songs this year — that was kind of my personal goal for 2025. Can you tell me about the narration track? The first track, the narration track, I started working on it almost a day after our promotions ended for our last album. [When] the promotion for our last album ended, I just went to the studio [and] talked about how it went. I was talking about what things could have been better, and started talking about how I wanted to maybe [produce on] the next album. There was nothing really planned at that stage because we still had a tour left [to do]. But I was just thinking about it. I was thinking about how our concept film was based on the movie called Late Night with the Devil. It's not an old movie, but the film style and the concept is sort of a really '90s kind of film. I just thought, why not continue this sort of theme of this interview, and how we are being interviewed as a vampire. The society or the people might not understand everything about us, but we still want to live this way and tell people about how we are or how we feel. That was sort of the main idea behind this album. I would usually just work on the melodies or the topline on a song, but it's the first time that I really just started working on it from scratch. A very close producer that I always worked with, he told me that I might be better at doing the track instead of the top melody. It just all came along together very smoothly, which is kind of surprising because it's the first time for me to really work on a song on an album. That's how it went for the narration track. The song that I put out, “Sleep Tight,” I started working on that song on the same day. It was the last 30 minutes, I had finished the narration track, and just decided to work on something else, see what I was feeling. It just layered into each other, and kind of just kept building, and it came out with this final product, which I'm very happy about. I think it is at the moment, or it was when you're a trainee at maybe BigHit Entertainment, which is Hybe now, but it was called BigHit Entertainment. Jungwon, Jay, Sunghoon and Heeseung, they were all training at BigHit for a long time. Even if you're not doing the actual production, I feel like it's a good learning step to just be in the room and just see what people are doing. K-pop as an industry moves at a rapid pace. It's very trend-heavy and things change really quickly. Companies are now debuting more groups than they ever have in shorter amounts of time. I feel like the fact about K-pop that every K-pop artist knows but does't want to talk about is that [the] K-pop industry is very competitive, right? I feel like everyone knows in the back of their mind that it is very competitive, and there's a lot of groups that come out with so many different concepts, and it's always changing. I feel like, compared to any other music industry, it's very up-to-date, like you said, and it's always changing a lot. You have to be on top of everything. I feel like we're confident in that way. The members and our team, or people at HYBE, everyone that we work with, focus on doing something different. We all try to be the first to do something and be the first to do something different, and I think we definitely did that for this album. Can you tell me more about that? I think that's very rare in this K-pop industry. We always tend to wait until the last minute, almost. We don't do it now, but we used to hide our hair colors until the very last day. We used to always do that, but we decided every single song in this album is too good to hide. When we put out an album, it's always the title song or the B-side track that gets the main spotlight or the focus, but we were always almost not happy about that because our songs are all good equally, I feel like, and they all have different styles. It's all attractive in a different way, and we wanted to showcase that, so we decided to have a short film for each song. We don't have the time to make a music video for each song, so we decided to do a short film with the concept and the storyline. These narration tracks are different than a lot of albums, too, because you're doing them in four languages. I know you grew up in Korea and Australia and maybe have an interesting opinion on the fact that K-pop as a whole now is very confronted with the fact that you have to have this global appeal. You're trying to hit all these different markets. I'm wondering why you feel it's important? I think if I'm being 100 percent honest, the base of Enhypen… I feel like the reason Enhypen was able to come to this world was because of our global fans, and that includes Korea, as well, when I say global. I'm saying that it wasn't just in Korea that we were able to start almost because we had I-Land, which was a global program and the voting was global, as well. But at the time, because of COVID, we couldn't really see with our own eyes. As time went on — and we were able to go overseas and perform and interact with fans all over the world — we realized that K-pop is not Korean pop. It's this whole genre that is loved globally. There's things like that, but we never plan to target a certain group of people. I think that's what I really like about Enhypen or this company is that we don't put stuff out to almost… we don't put out albums just because of our fans. You need to create a vision for yourself more than just that. I think it's a very thin line. You can't really tilt towards one side. The people that work with us or this company are very good at staying on that really thin line. Even if they don't know much about Enhypen or this concept or this storyline that we have, they would still listen to it because it's such a good song. I don't know, this album is the most confident that I've been throughout the five years. It seems to have been helpful, but what do you do then to take care of yourself in this situation? I assume you're finding your own way that's more than just doing a face mask. What does taking care of yourself look like? I feel like K-pop idols are very different to normal people — you can't really expect to have a normal life, so I feel like it's important to talk to other K-pop artists or other K-pop seniors that have been doing this for longer than me. They all went through the same thing. I feel like it's important to share what you're feeling because if you want to ask advice for anything related to your life or my life as a K-pop artist, there's no one that can relate to it other than the same people that are doing it. I don't really know a lot of people, to be honest. There's people like Felix, who I'm close to, and Chris from Stray Kids. They can relate to it very easily and give me advice. I feel like that helps me cope with everything. Just the thought of putting this album out and singing this song in front of our fans is what helps us get through the few months. Do you find it a bit harder to deal with the fact that most of the K-pop industry is structured in a way that most groups are putting out two albums a year? Do you come to cherish that downtime more or is it just something you get used to? I don't know how K-pop artists put out so many albums. [The other members and I], but also our company, sometimes talk about how the other groups do it. How they put out so many albums, because we know how long it takes to make an album. But I feel like every single K-pop artist usually don't have downtime. It's a positive pressure, if you know what I mean. Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

Chappell Roan has dropped her talent agency, Wasserman, citing a misalignment in values with the firm founded and led by Casey Wasserman, whose communications with notorious child sex trafficker Ghislaine Maxwell were made public in the recent Epstein files release. “No artists, agent, or employee should ever be expected to defend or overlook the actions that conflict so deeply with their own moral values.” Though Wasserman “deeply regrets” his previous correspondence with the world's most infamous pedophiles, the CEO and sports agent is receiving some of the most, and perhaps only, backlash over Epstein ties. The messages include Wasserman flirting with Maxwell, who tells him she could offer him a massage that can “drive a man wild.” Flight records also place Wasserman on Epstein's plane, and a photograph of Wasserman with Maxwell and Epstein was made public in the latest release. “I deeply regret my correspondence with Ghislaine Maxwell which took place over two decades ago, long before her horrific crimes came to light,” Wassermaan said in a statement. “I never had a personal or business relationship with Jeffrey Epstein. As is well documented, I went on a humanitarian trip as part of a delegation with the Clinton Foundation in 2002 on the Epstein plane. I am terribly sorry for having any association with either of them.” Last week, Best Coast's Bethany Cosentino, who has been represented by Wasserman Music since 2021, called on Wasserman to resign, amounting to more accountability than pretty much anyone else in Epstein's newly published orbit, which includes Elon Musk, Mark Zuckerberg, Bill Gates, Woody Allen, Steve Bannon, Larry Summers, and Peter Thiel. Yesterday, The Wrap reported that a group of music agents, including those who represent Joni Mitchell, OK Go, and Coldplay, called upon Wasserman to resign. Other artists have also announced upcoming departures from the agency. Recommended for You1Melania is a case study in how not to sell a fascist regime2Heavily censored trailer for Cliff Booth movie debuts during Super Bowl LX3Bridgerton spotlights its older female characters for once4What if they held a Kid Rock country music festival and no one came?5Explaining the timelines and Targaryens of that Knight Of The Seven Kingdoms twist

The pop star explained her decision in an Instagram story this evening (February 9), citing a need to keep her team safe. “As of today, I am no longer represented by Wasserman, the talent agency led by Casey Wasserman,” wrote Roan. No artist, agent or employee should ever be expected to defend or overlook actions that conflict so deeply with our own moral values. This decision reflects my belief that meaningful change in our industry requires accountability and leadership that earns trust.” Roan was formerly represented by Jackie Nalpant, Kiely Mosiman, Adele Slater, and Anna Bewers at Wasserman. Wasserman is one of the largest talent agencies in the music business, with a roster boasting hundreds of artists, including Kendrick Lamar, Lorde, Phish, SZA, Ed Sheeran, Coldplay, Childish Gambino, Janelle Monae, Animal Collective, Geese, and Tyler, the Creator. Over the weekend, Wasserman's artist roster was removed from its website. Earlier today, Wednesday openly parted ways with the agency. Their move followed a handful of other public statements by artists who are also on Wasserman. Beach Bunny, Water From Your Eyes, Salute, and a group of music agents at the company all called for Casey Wasserman to step down and threatened to resign. Last week, Best Coast frontwoman Bethany Cosentino shared an open letter to Wasserman, urging him to exit the company. Because people in power can't keep skating by,” she wrote. Many of us, myself included, are survivors. We deserve systems that let us work without asking us to compromise our values in exchange for opportunity.” Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.