Robert Duvall, the legendary character actor who specialized in playing rugged, complicated men, died on Sunday. Duvall's wife, Luciana, confirmed the actor's death in a note shared on Duvall's official Facebook page, writing that Duvall “passed away peacefully at home, surrounded by love and comfort.” A cause of death was not given. For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented. In doing so, he leaves something lasting and unforgettable to us all. Thank you for the years of support you showed Bob and for giving us this time and privacy to celebrate the memories he leaves behind.” In a film career that began in the early 1960s, Duvall was a central figure in the New Hollywood of the 1970s, adding grit and soul to legendary works from directors such as George Lucas, Robert Altman, and, most notably, Francis Ford Coppola. An Oscar winner who also proved to be a fine director in his own right — he earned an Academy Award nomination for his lead performance in his superb 1997 drama The Apostle — he lent a steadying presence to movies, proving to be a warm, paternalistic onscreen figure as he grew older. “Directors say actors are difficult to work with — well, what about directors?” he once asked in an Interview profile. Robert Selden Duvall was born Jan. 5, 1931, raised by a father in the Navy. “We lived in San Diego and then Annapolis, Maryland, at the Naval Academy. After several years in theater, Duvall got his film break when he was cast as the kindly, misunderstood outsider Boo Radley in the Oscar-winning 1962 adaptation of To Kill a Mockingbird. (Horton Foote, who wrote the screenplay based on Harper Lee's novel, and his wife had seen Duvall in a stage production about a year earlier; when casting for the film was underway, they suggested the relative unknown.) From there, he continued collecting supporting parts, including in 1969's The Rain People, a film from a young director named Francis Ford Coppola. But Duvall rose to prominence the next decade, first as the ornery Major Frank Burns in the 1970 antiwar comedy M*A*S*H, reuniting with Robert Altman, who'd previously cast him in 1967's Countdown. A year later, he was the imperiled everyman in George Lucas' minimalist dystopian sci-fi drama THX 1138, following it up with The Godfather, where he got to work opposite his hero, Marlon Brando. His co-star James Caan would “crack a joke and it'd take Brando three seconds to get it,” Duvall recalled in a 2021 interview on NPR. Dustin Hoffman, me, and Gene Hackman used to go to Cromwell's Drugstore a couple of times a week in New York City. James Van Der Beek Was the Heart and Soul of ‘Dawson's Creek' Bud Cort, Star of Seventies Cult Classic ‘Harold and Maude,' Dead at 77 James Van Der Beek, ‘Dawson's Creek' and ‘Varsity Blues' Star, Dead at 48 He received his first Oscar nomination for The Godfather, landing his second for playing Kilgore, the surfing and enthusiast and napalm-loving lieutenant colonel in Apocalypse Now. The character was meant to be a critique of America's hawkish behavior in Vietnam, but Duvall the military veteran wanted to be sure he got it right. … So I got with a guy who had been in Vietnam and he told me how to shape it with the Air Cavalry, because I had been in the service in the Army and I knew what special service officers were like. Not that Duvall was shy about illustrating the dark side of military service: He earned his first Best Actor Oscar nomination for his role as the abusive, tortured fighter pilot who can't adjust to life away from active duty in The Great Santini. He'd win the Academy Award three years later as Mac Sledge, a drunken, used-up country singer looking for a second chance in Tender Mercies. It was a reunion between him and Foote, whose original screenplay also won the Oscar, and the film found Duvall essaying one of his most delicate turns, playing a difficult man getting in touch with the vulnerability underneath. But Duvall was never one to court sentimentality in his performances. In a 1991 interview, he noted, “Whenever you see documentaries, people are always trying to put a lid on their emotions, going against what's there. When you go against it, then the colors will come out. He played father figures, curmudgeonly editors-in-chief, various law enforcement officers. No matter the role, that toughness was always there, a desire to push against the artificiality of acting to get at something true and lived-in within his characters. “An actor always looks for challenges, and this was a wonderful challenge, something I felt I could do,” Duvall said in 1997 about The Apostle. It was very challenging in a titillating, alive way. … I didn't wanna come up with an indictment or a critique of these people — I wanted something from their point of view.” Duvall was honored with two more Oscar nominations in his career — as a lawyer representing a company polluting the environment in A Civil Action and an aging judge in The Judge — but he was just as celebrated for being a champion of younger talents, co-starring in Billy Bob Thornton's breakthrough indie Sling Blade. A new generation of filmmakers like James Gray and Steve McQueen cast him, relishing his connection to a halcyon period in American acting. And although peers such as Hackman eventually decided to hang it up, Duvall steadily kept working. “I don't know what there is left,” he told GQ in 2014. “There'll be a few left, I don't know. If they keep sending me stuff that's worthwhile. Alongside his Oscars, he collected one Emmy, a BAFTA, and three Independent Spirit Awards. His starring role in the 1989 Western miniseries Lonesome Dove is as beloved as any of his many hallowed film roles. He never stopped being opinionated, like when he declared that Stanley Kubrick's pictures contained “the worst performances I've ever seen in movies” in a 2010 Hollywood Reporter roundtable. And he famously refused to appear in The Godfather: Part III because he claimed his old buddy Coppola was lowballing him. (“There are two or three other actors in that film being paid more than I was offered,” he told the Los Angles Times at the time. 'America's Next Top Model' Turned Her 'Cheating Scandal' Into National News. Whatever Happened to Jessica Chastain's Show on Domestic Terrorism? But that blunt honesty fed into the terse poetry of his acting, accentuating the sense that his characters were utterly authentic, saying what they felt and unwilling to bend in their beliefs. “It's like play-acting,” he once said of his profession on NPR's Fresh Air. We get paid good money to play house. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

Oscar-winning actor Robert Duvall, acclaimed for his iconic performances in The Godfather films, Apocalypse Now, Lonesome Dove, Network and many others, died last night at his home in Middleburg, Virginia. “Yesterday we said goodbye to my beloved husband, cherished friend, and one of the greatest actors of our time,” Luciana Duvall said in a Facebook post today. “Bob passed away peacefully at home, surrounded by love and comfort. For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented. In doing so, he leaves something lasting and unforgettable to us all. Thank you for the years of support you showed Bob and for giving us this time and privacy to celebrate the memories he leaves behind.” A cause of death was not immediately available, though the initial announcement indicated he died peacefully with his wife by his side. Colonel Kilgore, who loved surfing and “the smell of napalm in the morning” in equal measure , and his Oscar-winning performance as washed-up, alcoholic country singer Mac Sledge in Tender Mercies. On television, he played Augustus “Gus” McCrae in the Western miniseries Lonesome Dove. As a director, he made his feature debut in 1997's critically acclaimed The Apostle (he had previously directed the documentaries We're Not The Jet Set (1974) and Angelo My Love (1983). He took the Screen Actors Guild Award for A Civil Action. On the TV side, Duvall won two Primetime Emmy Awards (as a producer and lead actor) for AMC's 2006 limited Western series Broken Trail. He had previously been Emmy-nominated for CBS' 1989 miniseries Lonesome Dove, and for the title role in HBO's 1992 film Stalin. Another Emmy nomination came in 1996 for his dual performance as Adolf Eichmann and Ricardo Klement in TNT's film The Man Who Captured Eichmann. Other milestones in Duvall's career were The Conversation (1974), True Confessions (1981), The Natural (1984), Days of Thunder (1990), Rambling Rose (1991), Falling Down (1993), The Paper (1994), Sling Blade (1996), Gone in 60 Seconds (2000), Open Range (2003), Crazy Heart (2009), Get Low (2010), Jack Reacher (2012), Widows (2018) and Hustle (2022). His classmates there included Dustin Hoffman, Gene Hackman and James Caan, and all four would remain lifelong friends while reaching the pinnacle of success among actors of their generation. Among his credits there were productions of William Inge's Picnic, Arthur Miller's The Crucible (August 1955), William Berney and Howard Richardson's Dark of the Moon (September 1955), Miller's A View from the Bridge (1957) and Tennessee Williams' A Streetcar Named Desire (1959), among others. Duvall made his Off Broadway debut in a 1958 Gate Theater production of George Bernard Shaw's Mrs. Warren's Profession. Other early 1960s Off Broadway credits include Michael Shurtleff's Call Me by My Rightful Name and William Snyder's The Days and Nights of BeeBee Fenstermaker. Duvall won an Obit Award in 1965 for reprising his role at the Sheridan Square Playhouse of Eddie Carbone in Miller's A View from the Bridge, directed again by Ulu Grosbard with Dustin Hoffman as co-director. Duvall made his Broadway debut opposite Lee Remick the following year in Frederick Knott's Wait Until Dark, and he returned to Broadway in 1977 as Walter Cole in David Mamet's American Buffalo costarring Kenneth McMillan and John Savage. Complete information on survivors was not immediately available. In keeping with Duvall's wishes, no formal memorial service will be held. The family “encourages those who wish to honor his memory to do so in a way that reflects the life he lived by watching a great film, telling a good story around a table with friends, or taking a drive in the countryside to appreciate the world's beauty.” Get our Breaking News Alerts and Keep your inbox happy. May your memory forever be a blessing, legend. We have truly lost a national treasure and cinema legend. A remarkable actor in his OWN RIGHT. His acting career was memorable, ,professional,and those characters he brought to life will always be cherished and revered.You captured television and cinema movies alike with your brilliant acting. Hollywood and the viewing public was blessed. 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.

EXCLUSIVE: Tyrese Gibson (Fast & Furious franchise), Billy Zane (Titanic), Jake Busey (Stranger Things) and Armie Hammer (Call Me By Your Name) are among cast for indie genre-bender Mascotland. Writer-director Kerry Mondragon's dark comedy coming-of-age thriller, previously announced as Mascots, has undergone casting changes since it was first announced last year. Filming recently began in Los Angeles and surrounding desert. Salomé Breziner produces and cinematographer is Ben Braham Ziryab. The young adult brothers, played by Oliver Hibbs Wyman (Toad) and Blaine Kern III, struggle to adjust after a lifetime in captivity. Their story transforms into a redemptive one after they're taken in by Gibson's character. Busey will play the role originally planned for Udo Kier, who passed away late last year. Billy Zane, Danielle Bisutti & Henry Ian Cusick To Star In Horror-Comedy 'Blood Rush' Also starring are Leo Fitzpatrick, James Paxton, Lin Shaye and Felicia ‘Snoop' Pearson of The Wire fame. Executive producers are Ben Lewin and Bryan Anderson, Matt Karol, Gabrielle Almagor, Samuel J Pauling, Jijo Reed, Sugar Studios, Maritime Artists, and Akashic Studios. Gibson is represented by IAG, Monami Management and Pearlman & Tishbi. Kern is repped by the Alexander Gordon White Agency. Get our Breaking News Alerts and Keep your inbox happy. Thought the headline was a joke at first 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.

Mexico unveils a series of incentives to support local cinema and attract international productions, just as the Trump government is threatening tariffs. Oscar-nominated Mexican star Salma Hayek Pinault (Frida, Tale of Tales) joined Mexican President Claudia Sheinbaum Pardo this week to announce a new tax incentive aimed at boosting the local film industry and drawing big production south of the border. Hayek attended a presidential briefing where Mexican authorities outlined the incentive, which will apply for live action or animated feature films and TV series episodes that spend a minimum of 40 million pesos ($2.3 million) in country; documentary feature films and series with a minimum expenditure of 20 million pesos ($1.2 million); and animation, visual effects, or post-production processes with a minimum expenditure of 5 million pesos ($290,000). "Infrastructure of Truth" Under Political Pressure and AI Disruption in Focus at Copenhagen Doc Fest's Industry Strand Hayek Pinault noted that the incentive supporting Mexican cinema would foster national pride through authentic and meaningful storytelling. There is no country in the world with such ecological diversity and beauty—here we have it all. Trump has repeatedly proposed such tariffs, arguing that foreign subsidies and tax incentives are hurting Hollywood. He has yet to clarify how such system could work, given that films are non-material goods, but the threats have had unsettling effects on both Hollywood and global production hubs. Many have suggested the U.S. instead implement its own federal tax incentives to bring production back home. Sign up for THR news straight to your inbox every day

Fans of the movie think it delivers style over substance in a good way, while detractors think it prioritizes style over substance in a bad one. In fact, there's actually an underappreciated core to Fennell's loose adaptation. Her Wuthering Heights may market itself as a dark and steamy Valentine's Day romance, but at its heart it's actually a story of childhood trauma bonds run amok. It's a theme that emerges thanks to one of the bigger changes Fennell makes to her exploration of the doomed love story between Cathy Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi). In the novel, Cathy's father is a minor supporting character who adopts an orphaned Heathcliff as his favorite child but then dies relatively early into the story. It's then Cathy's older brother Hindley (a character the film cuts entirely) who inherits the Wuthering Heights estate and proceeds to jealously mistreat Heathcliff—forcing him to live and work as a servant, thus setting up the class/social stratification that keeps Cathy and Heathcliff apart. In the movie, however, we simply have Cathy's alcoholic father Mr. Earnshaw (Martin Clunes), who brings Heathcliff home to save him, but then proceeds to mistreat him as well. That simple act of character condensing shifts the entire story. While Brontë's Wuthering Heights begins with a stable family that's slowly corrupted by jealousy and grief, Fennell begins with a version that's hollow from the start. Instead of a big house with characters coming and going, Wuthering Heights is more like an island prison lorded over by a capricious man who seems to be collecting children he can keep under his thumb—including Cathy's servant-companion Nelly (Hong Chau), whom Fennell reimagines as the illegitimate daughter of a nobleman. From the first moments we meet young Cathy (Charlotte Mellington) and Nelly (Vy Nguyen), it's clear that Wuthering Heights isn't a safe place to grow up. And without any kind of positive parental figure in their life, they've both developed maladaptive personalities. Once young Heathcliff (Owen Cooper) enters the story, however, that bond gets upended. Nelly, meanwhile, is left seething with jealousy over how Heathcliff has supplanted her role in Cathy's life. All the love they're denied from their father figure gets transposed onto one another in increasingly thorny, complex, psychosexual ways. It's a sentiment Fennell captures with equal parts satire and horror. While Fennell has sympathy for Cathy as a victim, she also has a keen eye for how hilariously petulant and annoying she can be. Her arrested development is cause for a whole lot of unnecessary drama in its own way. Though there is something sweet and genuine going on between Heathcliff and Cathy, it stems from a place of survival as much as anything else. They have no one around to save them but themselves. Because a landed man is considered the highest authority, there's no social or child protective services to call when he's misusing that power. Wuthering Heights deploys a lot of dollhouse imagery, and Cathy, Heathcliff, and Nelly might as well be dolls Mr. Earnshaw is playing with as he shouts “I am the kindest man alive!” into the void. In Brontë's original story, the saga continues on after Cathy's death with a second generation of characters who find themselves living under Heathcliff's isolated, abusive thumb. Hindley's strapping heir, Cathy's strong-willed daughter, and Heathcliff's own sickly son are left to build complicated bonds with one another while Heathcliff lures them all to Wuthering Heights and tries his best to emotionally destroy their lives as revenge for his own suffering. Though she reimagines Heathcliff as a far kinder, more sympathetic figure than he is in the novel, her dark take on Mr. Earnshaw gets at some of the patriarchal abuse that Brontë is interested in too. It's like Fennell has collapsed the two generations into her Cathy/Heathcliff/Nelly dynamic, which is a clever way to engage with the novel's core ideas without adapting its plot beat-for-beat. And Fennell's exploration of Cathy, Heathcliff, and Nelly's fraught bond reaches its climax in a scene where Nelly actively manipulates a miscommunication between her “siblings.” In the novel, Heathcliff accidentally overhears Cathy say she could never marry him. After that, Fennell seems less sure what to do with the themes she's set up. Once Cathy marries her neighbor Edgar Linton (Shazad Latif) and Heathcliff disappears and returns a rich, dashing man, Wuthering Heights devolves into a style-over-substance fantasia. There are fun montages showing off the over-the-top production design of the Linton family home and some “provocative” adaptation changes—like making Heathcliff's relationship with Isabella Linton (Alison Oliver) a consensual BDSM one, rather than an abusive marriage. There are still sharp moments here and there, like when Cathy tells Nelly, “You like to see me cry,” and Nelly counters, “Not half as much as you like crying.” Or the way Cathy responds to her father's eventual death with both grief and violent relief. Fennell effectively renders her central trio as people too stunted by their childhood traumas to ever really mature into adulthood. Instead, Wuthering Heights devolves into a more basic Romeo And Juliet-style tragedy. In some ways, it's a soft choice to make Heathcliff a more sympathetic romantic lead rather than the complicated, cruel figure he is in the novel. But given that Brontë ultimately ends with a sense of hope about children being able to break the cycles of abuse set by their parents, amping up Mr. Earnshaw as an antagonist and giving that hopeful arc to Heathcliff instead still (sort of) tracks with what the novel is trying to explore.

Former President Barack Obama sat down with influencer Brian Tyler Cohen for a friendly conversation that centered on the political divisions roiling the country, but there was one exchange that seemed to unite disparate factions, at least temporarily, in a shared excitement: the moment Obama seemed to confirm the existence of aliens. “Are aliens real?” Cohen asked the former president point-blank. “They're real,” Obama replied, before adding, “But I haven't seen them and they're not being kept in Area 51. The YouTube video of the one-on-one conversation has attracted more than 4 million views since it was posted on Saturday. Obama posted the alien clip to his own Instagram account on Sunday evening, but tamped down enthusiasm for his comments in the caption. “I was trying to stick with the spirit of the speed round, but since it's gotten attention let me clarify. “But the distances between solar systems are so great that the chances we've been visited by aliens is low, and I saw no evidence during my presidency that extraterrestrials have made contact with us. Whatever Happened to Jessica Chastain's Show on Domestic Terrorism? 'America's Next Top Model' Turned Her 'Cheating Scandal' Into National News. With those numbers, the odds are heavily in favor of the possibility that life is out there — just very far away. The absolute closest galaxy to ours, the Andromeda Galaxy, is roughly 2.5 million lightyears away; the 100,000 galaxies that make up our next closest neighbors exist in a “cosmic suburb” that spans roughly 520 million lightyears of outer space. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

The “Stranger Things” star were friends and collaborators long before going public with their romance in 2023. While Ethan Hawke and Uma Thurman's daughter has primarily kept her relationship private, she did gush about her fellow musician on “The Zach Sang Show” in 2024. “I cannot recommend highly enough dating your friends,” she said at the time. “They really know you as a person who has feelings … not just a piece of paper for them to project their image of [the] perfect girlfriend onto. It's the best to feel seen in that way.” By clicking above you agree to the Terms of Use and Privacy Policy. Hutson was born in Kansas City, Miss., relocating to California at age 5 when his mother remarried. The family lived in Santa Monica, according to Hutson's May 2020 Under the Radar profile, and he attended a fundamentalist Christian elementary school. When Hutson's mom tried to make him a “well-rounded student” with guitar lessons at 12, her plan “backfired” because he “became so obsessed with playing guitar that [he] started failing all of [his] classes and dropped out of school altogether three years later.” Since breaking out as a solo artist, he has released five albums, three of which — “Beginners,” “Quitters” and “Paradise Pop” — were co-produced by Phoebe Bridgers. He called the “Little Women” star “an unstoppable force” in one upload. Silva, however, praised Hutson in a 2015 Instagram post, writing, “I am so proud of you. Maya and Hutson were spotted kissing in 2023, one year after working together on her “Moss” album. Hutson referred to the “Fear Street” star as his “fiancée” on the “SoCal Sound” in March 2025, with Maya subsequently photographed rocking a diamond ring on that finger.

Hallmark star Julie Gonzalo shared a beautiful photo on February 14, 2026, as she awaits the arrival of her second child with “When Calls The Heart” star Chris McNally. Gonzalo, 44, wrote in the caption, “Happy Valentines Day ❤️ Almost complete. Many of Gonzalo and McNally's Hallmark friends commented on her rare post, including WCTH series lead Erin Krakow, who's also expecting. Fellow WCTH star Andrea Brooks chimed in, “Most beautiful mama!!!! Gonzalo's “Cut, Color, Murder” co-star Ryan McPartlin left a red heart emoji and “Time for Me to Come Home for Christmas” Josh Henderson — who also co-starred with Gonzalo in the 2012 “Dallas” reboot, wrote, “Ohhhhh my goodness ❤️😍🙏🏽” Fans were equally smitten with Gonzalo's post, including someone who wrote, “❤️❤️ so awesome Julie. Although the last photo on Gonzalo's Instagram account is from 2024, this isn't the first time she's shared a pic of her baby bump. On February 6, the “Pumpkin Pie Wars” star posted before-and-after pics on X (formerly known as Twitter) of her in a bathroom mirror, first when she was newly pregnant and second with her growing baby bump. Gonzalo, who last appeared in 2025's “My Argentine Heart,” noted in her caption that the photo was taken by “CWM,” which are McNally's initials. McNally announced their happy news during a panel at the Hallmark Christmas Experience in December, pulling a series of ultrasound images out of his pocket. Joking that it must have been something in the on-set catering, he revealed that their due date is within six weeks of two other WCTH couples currently expecting. Save my name, email, and website in this browser for the next time I comment.

We use vendors that may also process your information to help provide our services. A moving tableau vivant of a few years in the lives of a fractured but ultimately compassionate Singaporean working-class family, filmmaker Anthony Chen (“Ilo Ilo,” “Wet Season”) returns with a fifth feature that's as emotionally generous as it is frothily melodramatic — in ways that are addictively entertaining, frustrating, and ultimately too empathetic to shun. We know what cold feels like at a festival like Berlin, replete with arch, chilly European exercises in nihilism; it's a cold that invites us to appreciate the sheer warmth of Chen's touch, with the first Singaporean film ever to play in the event's main competition. The arthouse references might sound arcane, but this is Chen's most accessible and borderline commercial effort to date. Where military service is compulsory, and may only disappoint our best or even worst men, but can be interrupted, thank god, by life's hairpin turns. Boon Kiat (Andi Lim, a gentle performance with a light touch) has for years run a noodle stand in the bustling Singapore capital city, serving up wok-fried prawns to daytime and late-night customers. At the stand to his left, Bee Hwa (Chen regular Yeo Yann Yann, disarmingly funny and wounding often in the same scene) serves beer to drunken patrons, working for tips while living with her brother and his small child. Zooming out, Boon Kiat's son Junyang (Koh Jia Ler, now more than 10 years older than he was in “Ilo Ilo”) is headed for life in the Singapore army even as his girlfriend Lydia (Regene Lim) must watch him go. While Junyang and Lydia's relationship curdles under the weight of adult responsibility, Boon Kiat and Bee Hwa strike up a romance late in life. Chen's openhearted movie makes great use of the Singapore setting, showing for example, how with a public transportation meet-cute, a connection with someone can bend the structure of your environment around you. Bee Hwa, of course, eventually becomes Junyang's stepmother, which is how we learn that both he and Lydia come from single-parent families where the other parent has been missing (for different, pained reasons) for a long time. “We Are All Strangers” keeps driving back toward this point about found family, which are often the people right in front of you. Boon Kiat, Bee Hwa, Junyang, and Lydia are soon all shacked up in a cramped flat with only one bathroom, and barely a partition to separate other people from your business. And so the harsher realities of life start to float inward, though early on, Chen punctuates the anticipation of possible misery with a glorious sequence that turns out to be a fantasy: Junyang imagines being in a luxury hotel with Lydia, her family credit card footing the bill, a weekend of dancing and swimming ahead of them. “Some people are terrible husbands, but at least they're better fathers,” Lydia tells him during a moment of particularly sharpened crisis. “We Are All Strangers” caps a “growing up” trilogy Chen started with “Ilo Ilo” and “Wet Season.” When the characters are forced to grow up, and the circumstances grow increasingly tragic, is when the melodrama starts to bubble up at its sudsiest. Due to yet another life change, Junyang and Bee Hwa must stoop to — well, it feels low at first, until then it becomes quite a giddy high — peddling over-the-border OTC medicine on social media, Bee Hwa baiting live-streamers with her life story. And with multiple fake tears placed in the eye just out of frame. There's, in fact, a lot of narrative chaos in the movie's last third, from a pyramid scheme that ruins Junyang's professional ego to the fact that Lydia, once she's given birth, is basically cut out of the picture. But Chen keeps it moving smoothly, even as the film teeters on the edge of sentimentality — but why shouldn't it? The takeaways here, other than this movie should play very well around the world and could even emerge as Singapore's Oscar contender, include that among the converging and careening characters, Yeo Yann Yann is the heart of “We Are All Strangers.” She's a woman desperate for a connection she doesn't realize she wants, and then must take command of a family as a stepmother and caretaker to a frankly lazy, entitled kid (who does eventually grow up). Just as Junyang may be holding onto that earlier vision of a gleaming hotel. But this is a wholehearted, emotional rush of a movie that holds you in the palm of its hand throughout. “We Are All Strangers” premiered at the 2026 Berlin Film Festival. Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. We use vendors that may also process your information to help provide our services.

The Phoenix Suns player revealed during a press conference, which went viral over the weekend, that he “didn't watch” his on-again, off-again girlfriend Kendall Jenner's ex-boyfriend‘s Super Bowl 2026 halftime show. The athlete, 29, noted that he was just being “completely honest.” Devin Booker had a very interesting response on Bad Bunny's halftime show:“I'm Mexican, I didn't watch to be completely honest.” pic.twitter.com/7hFoBRcS8p He went on to correct the reporter who asked “for the fans of Puerto Rico” how it “felt to be a part of” Bad Bunny's milestone, clarifying, “I'm Mexican.” Booker began dating Jenner, 30, in 2020, with the former couple breaking up and reuniting before calling it quits for good in 2022. By clicking above you agree to the Terms of Use and Privacy Policy. Booker seemingly clapped back via Instagram at the time, writing, “He's worried about another man again.” The NBA star and Jenner set tongues wagging in January with a flirty online exchange about the reality star's “Kardashian Curse” Super Bowl LX commercial. When Jenner replied by asking, “@dbook 🙄 how's the ankle?” he requested she “come rub it.” The duo was filmed holding hands during Bad Bunny's record-breaking performance on Feb. 8 as Jenner awkwardly swayed from side to side.

When it comes to folk horror, the Brits stand in a class of their own; a Wicker Man-like figurehead for the subgenre. The change of setting and culture could even be to The Dreadful‘s benefit if it only engaged with them specifically. Sophie Turner stars as Anne, a young commoner in 15th-century England. The War Of The Roses has called her husband, Seamus, off to war, so Anne is living with her mother-in-law, Morwen (Marcia Gay Harden). It's a meager existence scraping together a paltry amount of potatoes for dinner, but the pair have faith that he'll return safe and sound. So, when a childhood friend who went off to war with Seamus returns without him, informing the women that the man who connected them has died, it throws their relationship into question. It's a Game Of Thrones reunion, as Kit Harington plays the returning Jago, and it's clear he has eyes for Anne. And that's not even mentioning the knight, clad head-to-toe in imposing armor, who she's spotted lurking in the woods around their cabin. (Though if ever there was a show where qualms about incest were unfounded, it'd be that one.) Harrington's Jago is really just a wedge getting between Anne and Morwen, the crucial relationship in the tale. Turner feels too innately savvy to be in the situation necessary for this strange dynamic to truly be effective. Turner reads as a protagonist with her own agency and destiny rather than a woman caught between impossible circumstances of the personal and supernatural sort. Harden has something of the opposite problem; she admirably embodies the look of a peasant woman worn down by the struggles of life and loss, but her Morwen is too sinister from the jump as she plots to keep Anne in her life. But to that end, The Dreadful doesn't feel especially folky or especially horrific despite the obligatory overhead shots of foggy fields and occasional dream-sequence scares—a familiar crutch for horror movies, and a sign that Kermani knows her film's atmospheric haunts aren't enough to sustain it. The Dreadful isn't openly billing itself as an Onibaba remake, though Turner has described it as such in interviews. In any case, it's an especially egregious missed opportunity. Willem Dafoe counts Kaneto Shindō's 1964 horror as one of his favorite films, and during a visit to the Criterion Closet, he explained that he'd once acquired the rights in the hopes of remaking it. However, he eventually decided against it, understanding that Onibaba was “so specific to its time.” Yet, watching The Dreadful, it doesn't seem like Onibaba is unadaptable so much as The Dreadful fails to rise to the challenge. Onibaba is shot in black and white, in a seemingly endless field of swamp grass; the monochrome lending the tall reeds a sense of nightmarish unreality. The characters are sweaty and often half-dressed, making them seem like flesh-and-blood people navigating this dark place. The Dreadful, meanwhile, has Julia Swain's crisp color cinematography without any sense of mood or mystery, a comparatively bland knight's helmet, and layers of drab clothes. Some of this difference is the unavoidable consequence of being set in England rather than Japan, but The Dreadful doesn't take advantage of this rich setting either, as so many British folk horror movies have. Sadly, even that's more of a feint than an actual exploration; The Dreadful doesn't explore much of anything. Director: Natasha Kermani Writer: Natasha Kermani Starring: Kit Harington, Sophie Turner, Marcia Gay Harden, Laurence O'Fuarain, Jonathan Howard Release Date: February 20, 2026 Recommended for You1Let's find out how weird techbros can be in this exclusive teaser for AMC's The Audacity2Deadpool & Wolverine writer thinks Hollywood's "over" after seeing another crappy AI video3Whether or not you speak Spanish, there's no misunderstanding what Bad Bunny meant4It's time to lower the curtain: The Muppet shows that weren't5Wonder Man nods to the MCU without feeling like homework

Harry Styles is set to helm one of the U.K.'s most storied live music events this summer. The global superstar has been announced as curator of Meltdown Festival for 2026, which will see him craft an eclectic bill of music, art and workshops across 11 days (June 11-21). Now in its 31st edition, Meltdown Festival is held annually at London's Southbank Centre and is billed as “the world's longest-running artist-curated music festival.” The multi-arts event spans the venue's entire site, which comprises multiple performance spaces and galleries. Zara Larsson Upgrades Australia 'Midnight Sun' Tour Dates, Adds New Zealand Brandy Performs the U.S. National Anthem With June's Diary at 2026 NBA All-Star Game Styles joins a prestigious list of previous curators including David Bowie, Yoko Ono, Patti Smith, The Cure's Robert Smith, David Byrne, Grace Jones, Nick Cave, Jarvis Cocker and most recently, Little Simz. In addition to crafting the lineup, Styles is set to headline a marquee gig for Meltdown Festival at Southbank Centre's Royal Festival Hall, for which further details are set to be announced. I'm incredibly grateful to Southbank for having me, it's really exciting for me to have this opportunity in such an iconic venue.” Jane Beese, head of contemporary music at the Southbank Centre, added: “It's a real privilege to welcome an artist with the cultural impact and presence of Harry Styles as curator of Meltdown in our 75th anniversary year at the Southbank Centre. “We're excited to see Styles' vision play out across the whole site, creating space for connection, discovery and joy, and inviting audiences into a Meltdown that reflects the breadth, playfulness and generosity of his artistic world.” The 2026 bill will also feature free public events designed to engage younger audiences. Last year's edition of Meltdown featured a wide-ranging mix of established and emerging artists, from The Streets to Jon Batiste and sets from R&B, jazz and pop talents including Mahalia and Lola Young, with curator Little Simz closing the festival alongside the Chineke! Styles' fourth studio album, Kiss All the Time. His 2026 Together, Together tour is set to span seven major global cities and over 50 shows, including 30 nights at Madison Square Garden this fall. A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry

Set in 1870 Wisconsin, Dara Van Dusen's Berlin-bowing first feature is a revisionist Western based on Stewart O'Nan's novella. Close enough to make you wonder if there's something in the air, a conspiracy afoot, or just great minds thinking alike and taking inspiration from fine literary works. Director Clint Bentley's Train Dreams, adapted from Denis Johnson's novel of the same name, premiered at Sundance in 2025, but didn't really build up a critical wind behind it until last fall, as awards season heated up, which is why it feels so recent. This year, A Prayer for the Dying, similar to Train Dreams in all the ways listed above and just as good a film, debuts at Berlin in the newish Perspectives showcase, where it's created a substantial buzz. Berlin Hidden Gem: Indonesian Auteur Edwin Takes a Cue from Jordan Peele for Anti-Capitalist Horror-Comedy 'Sleep No More' Venue: Berlin Film Festival (Perspectives)Cast: Johnny Flynn, John C. Reilly, Kristine Kujath Thorp, Gustav Lindh, Andrew Whipp, Hilton Pelser, Christopher John-Slater, Daniel Weyman, David Ganly, Tadhg Murphy, Christopher RyghDirector/screenwriter: Dara Van Dusen, based on the novel by Stewart O'Nan That goes especially for writer-director Dara Van Dusen, a New Yorker who trained at the Polish National Film School in Lodz and now lives in Norway. Following some well-received shorts, she makes her fearsomely confident debut with this mostly faithful adaptation of Stewart O'Nan's elegant novella. A more known quantity on the other hand, Johnny Flynn (Emma, Operation Mincemeat) knocks it out of the park playing Norwegian immigrant and Civil War veteran Jacob Hansen, who also serves as the Wisconsin town of Friendship's local constable, undertaker and preacher. Present in nearly every frame, Flynn's Jacob is a Victorian Job on a bicycle, constantly in motion as he tries to deal with not just an outbreak of diphtheria that threatens the lives of his loved ones, neighbors and everyone in town, but also wildfire getting nearer to Friendship by the minute. But kudos are due also to John C. Reilly, serious as a grave after a long run of comic turns (you could say he fills a slot similar to that occupied by William H. Macy in Train Dreams, although Reilly's role is more substantial); up-and-coming Norwegian actor Kristine Kujath Thorp, who plays Jacob's fragile wife Marta; and an international cast of supporting players, who bring surprising, layered depths to the smallest roles. Where Train Dreams was, for some, a little too under the ponderous spell of Terrence Malick, with all those wind-ruffled landscapes and figures backlit by magic-hour sunsets, A Prayer for the Dying appears to draw inspiration from grubbier, more gothic visions of the American West. Meanwhile, Van Dusen is upfront about how the sui generis compendium of photograph and news stories Wisconsin Death Trip, compiled by Michael Lesy and later made into a film by James Marsh, is also a touchstone here, with its portrait of Midwestern despair and madness in the wake of economic hardship and high mortality rates from diphtheria and other maladies of the time. Their possessions are meager and modest but thoughtfully arranged, the floors meticulously swept, which makes it all the more shocking when vomit starts puddling up everywhere. The camera pans slowly around or inches closer to tableaux of horror as if on railroad tracks, suddenly revealing a hanged figure or a dioramic arrangement of dead women, all dressed in the same ivory-colored gowns, the corpses and their still-living mourners stacked like firewood. Through it all, Jacob struggles not just to endure and protect those he can, but also to keep the faith with his God. Often he kneels to pray, and this marks one of those very rare period films made these days that acknowledges, even celebrates, how profoundly central religion was to nearly everyone only a few generations ago. But true to its Old Testament inspiration and underlying theology, there's no knowing why God has sent these torments to Jacob and his town. He works in mysterious ways, and A Prayer for the Dying stitches that mystery into every frame. Sign up for THR news straight to your inbox every day

"I didn't even know I was going to be in my relationship, to be honest," the Houston rapper revealed. In a new exclusive interview with PEOPLE, the three-time Grammy winner reflected on her relationship with Dallas Mavericks star Klay Thompson and how focusing on her own healing helped open the door to love. Brandy Performs the U.S. National Anthem With June's Diary at 2026 NBA All-Star Game Maya Hawke and Christian Lee Hutson Marry in Surprise Valentine's Day Wedding Megan and Thompson made their red carpet debut in July 2025. “I think that because finally I started being in a better mind space about myself and my life, and I had already been doing a lot of work to heal me,” she said. “I had been going to therapy, I had a bunch of activities that I started doing for myself; maybe God just opened up that space for me to have somebody that loved me right.” “This is one of the first times that I've ever been just overly comfortable,” Megan said with a laugh: “I'm comfy, babe!” The pair first sent fans into a frenzy in July 2025, when Megan posted a vacation IG photo featuring Klay Thompson in the background. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Billboard is a part of Penske Media Corporation.

We use vendors that may also process your information to help provide our services. Although we are in deep on watching Curling, Figure Skating, and Skeleton races in Milan, Italy, the city of Los Angeles is already preparing to host the summer games — and that impeded on Film Independent's ability to host its show on the beaches of Santa Monica. The shift also represented a more subdued awards show. A “Saturday Night Live” alumni hosted — as it did with Aidy Bryant — this year the event hired Ego Nwodim fresh off her NBC exit. She played off her standup persona, Miss Eggy. It garnered her a lot of laughs in her final season; here, the character did not play as well. Related Stories ‘We Are All Strangers' Review: Anthony Chen's Immensely Entertaining Singaporean Family Drama Wears Its Heart Earnestly ‘Industry': Inside Eric's Shocking Turn and What to Make of That Last Shot Kudos to the ceremony for finishing exactly on time, but no-shows were one reason Film Independent pulled it off. Every once in a while, the Film Independent Spirit Awards has been an Oscar precursor. Two years prior, “Everything Everywhere All at Once” took the same trifecta. Both films would go on to win similar categories at the Oscars. The Gotham Awards, which long had similar nominees to the Film Independent Spirit Awards until it got rid of its budget cap, was more on the nose in giving its Best Film award to “One Battle After Another.” Worth noting too that “Song Sung Blue” star Kate Hudson handed her fellow Best Actress nominee Rose Byrne the Independent Spirit Award for Best Lead Performance. That may have served as the best indication that the event could still maintain the vibes that let them bring together film and TV contenders behind all backgrounds and budgets. We use vendors that may also process your information to help provide our services.

The search for Nancy Guthrie is entering its third week, with new information continuing to come out. And with that, there was a new report released by the Arizona Family on Sunday, Feb. 15, in which a source says that investigators are looking into whether her disappearance was a burglary that went wrong. However, Pima County Sheriff Chris Nanos has responded to this, clearing things up. No idea, and even though that is one of many possibilities, we would never speculate such a thing. We will let the evidence take us to motive,” Nanos told Fox News' Matt Finn. In a video posted on February 15, the beloved “Today” anchor spoke out, pleading for her mother's safe return. “And I wanted to say to whoever has her or knows where she is that it's never too late and you're not lost or alone and it is never too late to do the right thing,” she added. Many left comments under the video, showing their support. “We are with you in this valley @savannahguthrie 🙏🏾🙏🏾❤️❤️,” ABC News' Deborah Roberts commented. According to the outlet, authorities found approximately 16 gloves during their search. Still, the spokesperson said, “most of them were searchers' gloves that they discarded in various areas when they searched the vicinity.” Save my name, email, and website in this browser for the next time I comment.