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TV & Streaming

BBC Plans Apology Over “Dishonest” Trump Edit

by jummy84 November 9, 2025

written by jummy84

The BBC is planning to apologize after being accused of selectively editing Donald Trump‘s January 6 speech to make it appear as if the president was encouraging the 2021 Capitol riot.

On Monday, chair Samir Shah will write to UK Parliament’s Culture, Media and Sport Committee to admit that a 2024 BBC Panorama film should not have altered Trump’s speech in the way it did. The change was attacked as “dishonest” by the White House.

Shah is expected to tell lawmakers that the BBC has reviewed the Trump edit again in light of audience complaints in recent days, Deadline understands. Shah is expected to acknowledge that Panorama could have been clearer that Trump’s speech was changed, but he will say there was no intention to mislead viewers.

The Sunday Times and Sunday Telegraph first reported on Shah’s planned apology, which comes after a week of headlines about the Trump edit and the BBC’s reporting on Gaza and transgender rights.

The concerns originated in an excoriating leaked memo attacking BBC News output. Obtained by The Daily Telegraph, the document was penned by Michael Prescott, who was an external adviser to the BBC board’s Editorial Guidelines and Standards Committee until June.

Lisa Nandy, the UK culture secretary, became the latest voice of disapproval. Appearing on BBC show Sunday with Laura Kuenssberg, Nandy said the edit was “incredibly serious.”

Nandy said she had held “too many” conversations with BBC leaders over the past year regarding editorial standards. The Labour minister said she was confident Shah and BBC director general Tim Davie were gripping the Trump matter, but she questioned why issues keep occurring.

“What tends to happen at the BBC is that decisions about editorial standards, editorial guidelines, the sort of language that is used in reporting, is entirely inconsistent,” she said. “It doesn’t always meet the highest standards. It’s not always well thought through, and often it’s left to individual journalists or news readers to make decisions.”

The Trump edit, which was made in October Films-produced Trump: A Second Chance?, prompted fury in the White House, though the president himself has yet to publicly remark on the issue.

Karoline Leavitt

Karoline Leavitt, Trump’s press secretary, told the Telegraph newspaper: “This purposefully dishonest, selectively edited clip by the BBC is further evidence that they are total, 100% fake news that should no longer be worth the time on the television screens of the great people of the United Kingdom.”

Shah’s apology will be the first time a senior BBC figure speaks out on the issue, though Deadline revealed that BBC News CEO Deborah Turness emailed staff admitting it had been a “difficult” week.

The incident is awkward for Shah, Davie, and Turness because they sit on the Editorial Guidelines and Standards Committee, where Prescott originally raised his concerns months ago. They did not consider the matter serious enough to correct the Panorama documentary, meaning three of the corporation’s most senior figures are complicit in the inaction.

In the Panorama documentary, Trump appears to say: “We’re gonna walk down to the Capitol and I’ll be there with you and we fight. We fight like hell, and if you don’t fight like hell, you’re not gonna have a country anymore.”

He actually said: “We’re gonna walk down, and I’ll be there with you, we’re gonna walk down, we’re gonna walk down any one you want but I think right here, we’re gonna walk down to the Capitol and we’re gonna cheer on our brave senators and congressmen.”

Some 54 minutes later, when Trump was talking about the U.S. election being “corrupt,” he said: “Something’s wrong here, something’s really wrong, can’t have happened, and we fight. We fight like hell, and if you don’t fight like hell, you’re not gonna have a country anymore.”

Nick Robinson, the seasoned presenter of BBC Radio 4’s Today show, referenced the story live on-air on Saturday, telling listeners: “It’s clear that there is a genuine concern about editorial standards and mistakes. There is also a political campaign by people who want to destroy the organisation … Both things are happening at the same time.”

November 9, 2025 0 comments

TV & Streaming

Pete Davidson Makes Surprise ‘SNL’ Appearance, Pokes Fun at Ferry

by jummy84 November 9, 2025

written by jummy84

He’s back!

Pete Davidson made a surprise appearance on Saturday Night Live, where he was introduced by Colin Jost during the “Weekend Update” segment to address a recent article about a ferry they purchased together years ago.

“The New York Times recently ran an article calling the Staten Island Ferry that I purchased with Pete Davidson a ‘money losing fiasco.’ With more on this, is Pete Davidson,” Jost said in between laughs as Davidson rolled into the shot.

“Colin, you’re looking great as ever. [Michael] Che, starting to crack,” Davidson said, before he went on to joke about a few different topics related to himself, including taking part in the Riyadh Comedy Festival this year and that he’s about to become a father.

“So yeah, in case you’re wondering why I had to do a show in Saudi Arabia, we’re losing millions on this ferry,” he joked. “I assume that’s what the article says. I can’t spend $5 on a paywall when I got a kid on the way.”

Jost and Davidson traded jokes about their ferry during the segment. “We even gave the boat a new name, you know. We thought the Staten Island Ferry sounded too depressing, so now it’s called the Titanic 2,” The King of Staten Island star said.

“That’s right, and it’s actually going very well,” Jost continued. “Recently, we got paid by Nike to put an ad on it for the New York City Marathon.”

Davidson then took over the bit, poking fun at none other than Lorne Michaels: “Exactly. If Lorne Michaels has taught us anything, it’s that you never ever give up, even if everyone says the time has come and Tina Fey is ready to take over.”

Earlier on Saturday, The Pickup actor told People he’d “do anything for Lorne,” adding that he would return to show if the SNL boss asked him to.

“I had a great time hosting last time, and anytime you get that call, it’s an honor and a privilege,” he added. “It’s always relevant, it’s a hot show. People look forward to it, and the cast is great.”

Davidson served as an SNL cast member from 2014-2022. He has since returned to host the sketch comedy series, and has made several cameos over the years.

Nikki Glaser hosted Saturday night’s episode, while Sombr joined as musical guest.

November 9, 2025 0 comments

TV & Streaming

Doctor Who’s Ncuti Gatwa joins Wicked star in animated musical

by jummy84 November 9, 2025

written by jummy84

Ncuti Gatwa’s post-Doctor Who career has just added another major project, with the acclaimed actor taking a voice role in a major new animated film co-starring Wicked icon Cynthia Erivo.

Bad Fairies is a fantastical adventure slated for release in summer 2027, which follows a group of “delightfully subversive” fairies as they “shake up their magical world” (via Deadline).

Erivo was confirmed to star in the animated musical last month, with Gatwa being the latest addition to what looks poised to be an A-list voice cast; details about his character have not yet been disclosed.

Bad Fairies is written by comedian Deborah Frances-White (The Guilty Feminist), with Megan Nicole Dong (Netflix’s Centuarworld) and Oliver Staphylas (Wish Dragon) sharing directing duties.

Tony Award-winning songwriters Toby Marlow and Lucy Moss (best known for King Henry VIII-themed Six: The Musical) are also aboard the project, alongside composer Isabella Summers (a founding member of indie band Florence + The Machine).

For Gatwa, it marks his first major screen booking since a widely publicised exit from Doctor Who, after which the actor returned to the stage for West End runs on The Importance of Being Earnest and Born with Teeth.

Most recently, he was seen alongside Olivia Colman and Benedict Cumberbatch in romcom The Roses, and coming up next he has The Queen of Fashion; a biopic about stylist Isabella Blow, starring Andrea Riseborough (Alice & Jack) in the lead role.

Cynthia Erivo. Taylor Hill/Getty Images

No doubt Bad Fairies will be hoping to draw in Wicked-sized numbers on the strength of Erivo’s musical prowess.

After numerous theatre gigs, including Sister Act and The Colour Purple, the British actor moved into film from 2018 with roles in Bad Times at the El Royale, Widows and Harriet, where she was Oscar-nominated for her portrayal of Harriet Tubman.

However, Erivo’s film career has reached new heights in the past year, following her debut as Elphaba Thropp in the blockbuster film adaptation of Wicked.

The first film made more than $750 million at the global box office, with similarly high expectations for the forthcoming sequel Wicked: For Good, which is set to conclude the Wizard of Oz-inspired story later this month.

Further casting and plot details for Bad Fairies will be announced in due course.

Bad Fairies is coming to cinemas in May 2027.

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November 9, 2025 0 comments

TV & Streaming

Happily Ever After? Reunion With Gino Palazzolo at Tel All

by jummy84 November 9, 2025

written by jummy84

Things have been tense between Jasmine Pineda and estranged husband Gino Palazzolo on 90 Day Fiancé: Happily Ever After? Season 9. The couple decided to open their marriage amid issues in their relationship, but Palazzolo ultimately filed for divorce, even going as far as accusing his wife of marriage fraud.

At the upcoming tell-all, which will play out over four episodes, Pineda will come face-to-face with Palazzolo to discuss the demise of their relationship and more, and she opened up to Swooon about what to expect.

November 9, 2025 0 comments

TV & Streaming

A Fun and Quirky Anime Musical

by jummy84 November 9, 2025

written by jummy84

Prior to a screening of “The Obsessed,” director Takahashi Wataru highlighted what he saw as a lost sense of selflessness and sincerity in being loving to others. That notion colors undergirds the story of his quirky new film, an anime quasi-musical about a man named Giuseppe who throws himself into every “obsession” with myopic, all-consuming abandon.

For example: The character’s interest in grasshoppers leads him to practice hopping, which then sees him become a professional triple-jumper. Each of these new hobbies, lifestyles, and professions are abandoned for the next the moment that inspiration strikes, as we see when Giuseppe leaves behind a burgeoning athletic career because he suddenly feels like being a private detective. And then a sculptor. And then a welder. And so on. Since his first passion is for singing, “The Obsessed” takes on the characteristics of a musical, as our hero expresses his mercurial feelings through song (much to the annoyance of his boss at the restaurant where he works).

"Little Amélie or the Character of Rain"

When Giuseppe turns his fleeting attention to a balloon seller named Pechka, his romantic obsession takes more of a philanthropic turn than anything else: He simply dedicates himself to making her life better in every way possible. Wataru and his team of artists depict this as an odyssey, one which takes Giuseppe to increasingly outrageous extremes as he does everything to please his crush short of actually spending time with her.

The deliberately wonky, angular line-work of Arakawa Masatsugu’s character designs contrasts sharply with the film’s painterly backgrounds, which smudge together generic European geography with specific British architecture so that the Alps seem to exist just north of a town that visibly resembles London. The film’s stylized, childlike drawings not only reflect Giuseppe’s highly mutable nature, but also his innocence and naiveté as well. He can be an incredibly frustrating character to watch, even if sometimes by design; his excitability over new things can make him seem a bit tactless, and audiences can’t help but fear that his obsession with Pechka might disappear as fast as it materialized. Intentional or not, Sano Masaya’s voice performance in the lead role is sometimes a bit too breathless and whimsical for the material at hand.

Giuseppe understands how things work (and even how to communicate with mice, as his rodent friend Cielo sometimes occasionally narrates the film and rides around in Giuseppe’s hair a la “Ratatouille”), but he’s fundamentally disconnected from the world around him. That disconnect can be traced across the character’s interactions Pechka. Algebraic symbols appear when she speaks, but her immediate and material needs are easy puzzles for Giuseppe to solve, whether that’s caring for her hospitalized mother or digging out of debt from the (ridiculous) gangster Mr. Twist, named for how much he likes that style of dance.

Wataru’s has contributed to a dozen “Crayon Shinchan” feature films across nearly three decades at Shin-Ei Animation, and his experience with absurdist mayhem reveals itself in delightful ways throughout “The Obsessed.” His talent for such things is most clearly expressed through wild digressions, such as the inexplicably action-packed and technically impressive car chase sequence in which the aforementioned Mr Twist floors it across town in his fancy coupé. Sometimes, Wataru’s talents are displayed via small and silly little touches, like a hospital war where everyone is coughing at the same time.

In any case, the film feels as excitingly changeable as its art style, something which pushes into more emotionally fraught territory during its last half hour. Giuseppe begins to take his attempts to fix everything too far as he tries to heal the old wound of a lost love, an effort that’s both selfless and self-centered in equal measure. It’s interesting that the peril of the film’s final stretch is almost entirely self-inflicted, which makes the occasional shrug around Giuseppe’s obsessions feel a little out of step with the rest of what would otherwise be a rather emotionally mature arc. Even so, the project’s visual craft keeps its surprisingly spiritual finale afloat. The background art, which is in flux throughout “The Obsessed”, moves further into abstraction as the once vaguely natural tones of buildings and landscapes are deconstructed into white lines on purple-tinged paintings.

If only the music were able to keep pace with the dynamism of the film’s visual design. Unfortunately, the songs have a tendency to drift towards a very similar sound, which stands out in the context of a project where everything else is so imaginative. Still, there are bright spots in that score: Pechka’s final song brings things home, and leaves Wataru’s film on a high note. And, as with some of the conflicting writing around Giuseppe, it’s very easy to forgive any minor trespasses in “The Obsessed,” a film which flaunts its immense visual creativity at every turn, and finds something new to obsess over wherever Giuseppe happens to look.

Grade: B

“The Obsessed” screened at the 2025 Tokyo International Film Festival. It is currently seeking U.S. distribution.

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November 9, 2025 0 comments

TV & Streaming

Jack White Passes on Meg White’s Regards as White Stripes Enter Rock Hall

by jummy84 November 9, 2025

written by jummy84

The Rock & Roll Hall of Fame inducting the White Stripes did not result in the reunion of the long-dissolved duo, as many had hoped, with Meg White remaining out of the spotlight, as she has been since they announced their split nearly 15 years ago. But if she was absent from the Hall of Fame proceedings at Los Angeles’ Peacock Theatre, her presence was very much felt in remarks from Iggy Pop, who formally inducted the pair, and especially from Jack White, who accepted on both their behalfs and even read a fable he wrote down this week about their origin story.

Following the speeches, here were also salutes offered by two twosomes: Olivia Rodrigo and Feist, who sang “We Are Going to Be Friends” as a tender duet, and Twenty One Pilots, one of the few other true duo acts in the recent history of rock, recreating “Seven Nation Army” as a bass-and-drums-only rocker.

Speaking to his former drummer’s absence, White said: “I spoke with Meg White the other day, and she said that she’s very sorry she couldn’t make it here tonight, but she wanted me to tell you that she’s very grateful. And to all of the folks who supported her in all the years, it really means a lot to her. She also helped me write all this… I sent these things to her. She checked it for me for a lot of punctuation and corrections. She’s pretty good at that.”

He continued by sharing a random thought of Meg’s: “She said, ‘Do you remember, Jack? We used to walk around and animals, for some reason, would stare at us. They would stop and stare at us for some reason. Even at the Detroit Zoo, an elephant did the exact same thing one time.’ She just wanted me to tell you that,” he explained, to crowd laughter.

White gave props to some other iconic duos — representing non-musical disciplines — that preceded the White Stripes onto the national artistic stage.

“There was a duo of songwriters important around the time of the birth of rock ‘n’ roll called Leiber and Stoller, and they wrote a lot of songs that a lot of people probably never heard of, but they also wrote a couple that really connected with folks, like ‘Jailhouse Rock’ and ‘Stand By Me,’ and you for sure heard those songs,” White said. “There was once a duo called Jerry Siegel and Joe Shuster, and they were a comic-book-hero writing team who came up with all kinds of heroes you’d never heard of — Slam Bradley and Dr. Occult and so forth — but they also came up with this character that really connected with people: Superman, I’m sure you heard of. And there was once a comedy duo called Abbott and Costello that I remember hearing from my father as a child that had thousands of jokes kept on white cards in a file cabinet, jokes and routines that nobody had ever heard before and they never got to perform, but they also developed a joke that for some reason really connected with people, and the routine was called ‘Who’s On First?’ I know you’ve heard that one.”

Making the connection, White added: “I myself have been in a lot of bands that you probably never heard of, but for some reason people especially connected with this one two-piece duo project that I was in called the White Stripes. We don’t know why these things connect with people, but when they do, it’s the most beautiful thing you can have.”

White read off a litany of musicians he wanted to thank as influences, including such varied names as Loretta Lynn, Fugazi, the Misfits, Jethro Tull, the Troggs, Emerson Lake & Palmer, Arthur Lee and Love, the Flat Duo Jets, Dick Dale, Ritchie Blackmore’s Rainbow, the Sonics, Pavement, Black Flag, Sleater-Kinney, the Breeders, the Cramps, Merle Haggard, the Hives, Them, the Damned, the Yeah Yeah Yeahs, Minor Threat and Captain Beefheart.

There were other thanks to give. “To the factories and tools and electricity and vacuum tubes, we say thank you. To the Coney Islands of Detroit and the honky-tonks of Nashville and the corner pubs of London, we say thank you. To the homeless and the powerless and the forgotten, we always say thank you.”

As advice, he offered, “To the young artists, I want to say: get your hands dirty and drop the screens and get out of your little room and get obsessed. Get obsessed with something… We all want to share in what you might create.”

Jack White at 2025 Rock & Roll Hall of Fame Induction Ceremony at Peacock Theater on November 8, 2025 in Los Angeles, California.

Gilbert Flores/Variety

And then, a parable, which he said Meg White would be hearing for the first time along with the audience.

“I was gonna send this to Meg, but I didn’t get around to it, so I thought I’d read it to you all tonight,” White began. “One time a girl climbed a tree and in that tree was a boy — her brother, she thought — and the tree looked so glorious and beautiful, but it was just an oak tree. And these two so loved the world that they brought forth a parade float, one they built in their garage behind the oak tree with their own bare hands. And the boy looked at this giant peppermint on the wheels and felt pride. Pride that it was produced in the Motor City, just like in the big factories, but it was just in their garage. He looked at the girl — his sister, he thought — and like the Little Rascals, they said, ‘Let’s put on a show.’ And they paraded this float through the Cass corridor, standing atop the peppermint pulled by white horses, or maybe it was a RedVanLines van. And many of the blocks they traveled were empty, but some had people. And some of those people cheered, and some laughed, and some even threw stones.

“And with their bare hands,” White continued, “the two started to clap and sing and make up songs. And some people kept watching and swaying and moving. And then one person even smiled. And the boy and the girl looked at each other and they also smiled and they both felt the sin of pride, but they kept on smiling. Smiling from a new freedom, knowing that they had shared and made another person feel something. And they felt the person smiling at them was a stranger. So they didn’t even know. But it wasn’t just a stranger, it was God.”

Keeping up the sibling theme to the end, he concluded: “My sister thanks you and I thank you.”

In his intro, fellow Detroit native Iggy Pop said, “The first time I saw them was in a photograph… grinning like they had some kind of fun secret, like they stole some cookies from a cookie jar. Basically I was looking at a 20^th century Adam and Eve who had started a rock ‘n’ roll band… Cute ckids, they’ll probably go places,” he remembered thinking.

Pop saluted “Meg White, who is a timeless beauty. Meg White, who gave her name to the group, was a charismatic, naturally likable person. I met her once and she had the most genuine and charming smile. She gave the drum kit a good whack like Fred Below did for Muddy Waters and Chuck Berry. I think it was Meg’s support that helped launch the rocket of racket that was Jack White.

“Jack could screech like an owl. He could twang like a hillbilly… I hear echoes of the Who, the Small faces, the Beatles, art-rock and country-blues in his playing. He could do it all. And the writing he is capable of was something that was not typical of the great Detroit bands of the ‘60s and ‘70s — this was more melodic, more hooky. After all, it was a new century, and the White Stripes’ music was coming from a foundation of love instead of revolution.”

In the video tribute that the Rock Hall put together for the duo, Rodrigo offered a younger generation’s appreciation of the pair — and the highest possible veneration for “Seven Nation Army” in particular: “Do you hear those seven notes? There’s no question what it is. ‘Seven Nation Army’ is the most iconic song of all time — it’s just so ingrained into who we are as humans.”

November 9, 2025 0 comments

TV & Streaming

Badlands’ Opening to $39M Franchise Record

by jummy84 November 9, 2025

written by jummy84

SATURDAY PM UPDATE: Dan Trachtenberg’s Predator: Badlands is now opening to $39M+ — a record domestic debut for the 20th Century Studios’ 38-year-old Predator franchise.

This comes after a great hold on Saturday of $14M, a mere -10% dip from Friday/previews of $15.6M. Predator: Badlands outstrips the previous series record held by Alien vs. Predator ($38.2M) which was a mid-August 2004 theatrical release. Here’s something we haven’t seen in a while at the box office (arguably going back to Conjuring: Last Rites and Demon Slayer: Infinity Castle in September)– a tentpole with an opening that grows throughout the weekend, while besting its tracking forecast. After a torturous October, finally some optimism at the box office.

In addition, the Trachtenberg, Ben Rosenblatt and John Davis production ranks as the second-best domestic opening ever for actress Elle Fanning after 2014’s Maleficent ($69.4M) and ahead of 2019’s Maleficent: Mistress of Evil ($36.9M).

We’ll have more updates in the morning.

SATURDAY AM UPDATE: 20th Century Studios’ Predator: Badlands is looking good, knock on wood, coursing to a near-record opening for the franchise, around $37M, after a $15.6M Friday/previews. It also has the best CinemaScore a Predator movie has ever seen with A-. As we told you, the previous highs for a Predator movie were the original 1987 installment and 1990 sequel, both of which earned a earned B+. That audience score is further boosted by the Screen Engine/Comscore PostTrak “definite recommend” of 78% and five stars — which is platinum for any movie.

It’s clear that audiences are enjoying this version of Predator from director-producer-writer Dan Trachtenberg and producers Ben Rosenblatt and John Davis, hence the higher-than-expected ticket sales, which were expected to be around the $25M range. The movie’s momentum is in a better position than Disney’s early-October attempted tentpole Tron: Ares, thanks to word of mouth. At the end of the day, no matter how much stunting a studio does in a highly competitive social media-streaming landscape, the movie ultimately sells itself, meaning audiences discover it upon viewing and spread the gospel from there. Both Tron: Ares and Predator: Badlands dazzled Hall H at San Diego Comic-Con with equally memorable stunts; the lead character of the latter, Dek, stepped onstage to scan the audience with his eye vision.

Switching ratings, i.e. from R to PG-13, hasn’t dented the appeal for the alien-killer movie, this particular installment casting the series villain as the protag. That’s the hook as far as distinguishing itself from previous Predator movies. Rather than just a one-sheet with the fleshy, toothy-faced guy in a profile shot, Badlands one-sheets went hardcore sci-fi with epic shots of him battling creatures, etc. The problem with the static opening between 2018’s The Predator and 2010’s Predators opening to around the same number of $25M stemmed from the campaigns being quite similar and not selling anything fresh. There was no one-up.

RELATED: The Movies That Have Made More Than $1 Billion At The Global Box Office

What’s interesting, though, is that going to PG-13 might not necessarily have brought in a younger audience: Badlands only pulled in 5% for the 13-17 demo. Compared to 2018’s The Predator, it shows that older males still come out for the IP (57% to 45%), as well as older females (about the same between both installments at 22%). However, men under 25 shrunk between The Predator and Badlands (from 21% share to 16%) in addition to women under 25 (11% to 5%). Diversity demos are 44% Caucasian, 26% Latino and Hispanic (bigger than The Predator‘s 23%), 15% Black and 8% Asian American.

Predator: Badlands has nearly all the Imax and premium large-format screens, which are driving 53% of the weekend. The pic is playing best in the South Central and West regions, with the latter seeing 43% of the gross coming from there vs. a norm of 38% for all other titles in the marketplace. The AMC Burbank is Badlands’ best theater in the country with over $59K to date.

With a social media universe of 244M across TikTok, Facebook, YouTube, Instagram and X, Badlands reach is very similar to the reach of last year’s Alien: Romulus before opening, that being 246M. Elle Fanning is promoting to her 6.7M fans.

RELATED: 41 Of The Most Anticipated Movies Of 2025

Social media data corp RelishMix remarks, “Convo runs positive for Predator: Badlands as fans are lit up at the idea of expanding the Yautja universe beyond Earth, praising its young-blood narrative and connections to Prey and Predators (2010). Enthusiasts loved the lore depth and ‘proving hunt’ concept, calling it ‘refreshing’ and ‘bad ass.’ Comments like ‘Looks fantastic — reminds me when people clowned on Prey and it was awesome,’ and ‘Teenage Yautja with something to prove? Sign me up,’ highlight genuine anticipation. Others noted the Monsterverse-style shift toward creature-led storytelling, celebrating it as ‘finally giving us the Predator story we’ve been waiting for.’

As far as the new upscale adult films, oy, nothing is mind-blowing gross wise. See below.

Predator: Badlands (Dis) 3,725 theaters, Fri $15.6M, 3-day $37M/Wk 1

2. Regretting You (Par) 3,196 (-229) theaters, Fri $2.2M (+80%), 3-day $7.3M (-7%), Total $38.7M/Wk 3
The Constantin $30M production brought into Paramount by former Global Marketing and Distribution Boss Marc Weinstock is bound for $100M worldwide. Phenomenal hold here.

3. Black Phone 2 (Uni) 2,943 (-362) theaters, Fri $1.5M (-38%), 3-day $5.2M (-38%), Total $70M/Wk 4

4. Sarah’s Oil (AMZ) 2,410, Fri $1.7M 3-day $4.4M/Wk 1
The best of the adult bunch. Who knew? No surprise when you realize that it’s a Kingdom Story production (their fanbase knows about these faith-based films). A+ CinemaScore which is where faith-based audience scores live. Nothing shocking here: over 55 is 48% of the audience, 66% women. The Zachary Levi movie is playing where these pics play best in the South, South Central and Midwest with 63% of the gross coming from there compared to a norm of 44% for all other titles in the marketplace. The Southlake Pavilion in Atlanta is the movie’s top grossing location with just over $5K.

Rami Malek in ‘Nuremberg’

Sony Pictures Classics

5. Nuremberg (SPC) 1,802 theaters, Fri $1.4M 3 day $3.8M/Wk 1
No CinemaScore, but great PostTrak exits of 5 stars, 76% definite recommend, and 93% positive to overshadow those middling reviews of 69% fresh. The over 55 crowd was prominent at 51% (they gave it an amazing 88% definite recommend), over 45 at 67%, and male leaning at 57% for the WWII drama. Pic is playing on the coasts with 48% of the gross coming from there versus 43% of all films in the marketplace. AMC Grove in LA is the top grossing multiplex with just over $13K. Caucasian 75%, Latino and Hispanic at 10%, 6% Black and 5% Asian American.

6. Bugonia (Foc) 2,043 theaters, Fri $1M (-43%), 3-day $3.7M (-26%), Total $12.5M/Wk 3

7. Chainsaw Man (Sony) 2,285 (-718) theaters, Fri $900K (-31%), 3-day $3.6M (-42%), total $38M/Wk 3

'Die My Love' distribution deal Mubi — ‘Die My Love’
Kimberly French

8. Die My Love (Mubi) 1,983 theaters, Fri $1M, 3-day $2.7M/Wk 1
A huge chasm between critics at 78% on Rotten Tomatoes and audiences who dismissed this Jennifer Lawrence-Robert Pattinson melodrama about a woman’s depression from Lynne Ramsay with a D+. Remember Lawrence’s other big swing from Darren Aronofsky, Mother! got an F back in 2017. Despite the great acting in Die My Love, this is a tough movie about a very sad situation; that’s hard if you want to lasso people off their couches. Can’t write this enough: Mubi paid $24M for domestic and multiple foreign rights on the movie (versus $12.5M they shelled out for The Substance; that hipster horror pic opened to $3.2M and did a 5.5x multiple with a final domestic of $17.5M). A 29% definite recommend on PostTrak is the kiss of death. Male leaning at 51%., 25-34 being the biggest show at 44% with 18-34 at 78%. Diversity demos are 60% Caucasian, 22% Latino and Hispanic, 9% Black, and 6% Asian American. Coastal play, which is what these upscale adult movies do, with 50% coming from the East and West. AMC Lincoln Square in NYC is the top grossing location with $12k.

9. Springsteen…(20th) 2,200 (-1260) theaters, Fri $637K (-24%) 3-day $2.2M (-39%)/Total $20.4M/Wk 3

10. Tron: Ares (Dis) 1,970 (-605) theaters, Fri $477K (-21%), 3-day $1.9M (-37%), Total $71.3M/Wk 5

Sydney Sweeney on the set of 'Christy' — Sydney Sweeney on the set of ‘Christy’
TIFF

11. Christy (Black) 2,184 theaters, Fri $600K, 3-day $1.25M/Wk 1
The biopic about female boxer Christy Martin, Black Bear finance’s foray into domestic theatrical distribution, gets a B+ CinemaScore better than A24’s MMA movie Smashing Machine which landed an B-. PostTraks are better with a solid 84% positive and a 59% definite recommend. Maybe this builds more momentum today off that and breaks into the top 10. Sydney Sweeney championed the movie all the way through including appearances last night at the AMC Century City with director David Michod. Black Bear put this theatrical release together quite quickly, taking their own movie off the table from domestic buyers and positioning it for an asap theatrical release post its TIFF world premiere. The town says we need more theatrical distributors in an environment where major studios like Paramount and Warner Bros could potentially collapse into each other. Let’s see where Black Bear winds up in the long run. It took a while for A24 to build-up its brand; Bling Ring with Emma Watson was one of its early releases and only grossed $5.8M before we got to the Hereditary, Uncut Gems, Everything Everywhere All at Once, etc.

FRIDAY AFTERNOON UPDATE: 20th Century Studios’ Predator: Badlands is creeping toward the second-best Friday start ever for the franchise at $14M, which would get the Dan Trachtenberg-directed movie to the second-best opening ever for a Predator movie at $33M. The John Davis-produced feature is booked at 3,725 theaters.

The best Friday and opening for a Predator movie belongs to 2004’s Alien v. Predator with $16.4M and $38.2M, respectively. Friday ticket sales of $14M includes the combined previews from Wednesday and Thursday of $4.8M.

Some might say, “Oh, well, this looks like Tron: Ares,” given how that movie a month ago posted a $14.4M Friday and a $33.2M start. But Predator: Badlands has some of the best reviews and audience scores for its franchise, plus it cost 52% less than the $220M pricetag of the Jared Leto movie.

RELATED: ‘Regretting You’ Review: True Love Inevitably Prevails In A Ridiculous Romantic Drama

Second place goes to Paramount’s Colleen Hoover adaptation Regretting You with a third Friday of $1.9M and third weekend of $6.5M, -17%, at 3,196 theaters for a running total by Sunday of $37.9M.

At 2,943 theaters, it’s the fourth frame of Universal/Blumhouse’s The Black Phone 2 with $4.2M, -50%, after a $1.2M Friday and running cume through Sunday of $69M.

Fourth is Amazon MGM Studios/Kingdom Story/Wonder Project’s Sarah’s Oil is the best of the original adult bunch with $1.6M today, and $4.1M for the weekend at 2,410 theaters.

Focus Features’ third weekend (second wide) of Yorgos Lanthimos’ Bugonia is looking at $1.1M today at 2,043 theaters, $3.7M for the frame, -26%, for a total by EOD Sunday of $12.5M.

RELATED: ‘Nuremberg’ Review: Russell Crowe And Rami Malek In Thrilling And Urgent Nazi Drama More Relevant Than Ever – Toronto Film Festival

Sony Pictures Classics’ Nuremberg starring Russell Crowe, Rami Malek, Michael Shannon, John Slattery and more is seeing $1.4M today for a $3.5M opening at 1,802 theaters.

FRIDAY AM: The Dan Trachtenberg-directed Predator: Badlands speared $4.8 million in previews, which includes both Wednesday fan and Thursday night shows.

The preview number is less than that of another sci-fi genre title, Alien: Romulus‘ $6.5M, which also was a franchise reboot for the revived 20th Century Studios under new owner Disney. That Fede Alvarez-directed revival went on to open to $42M stateside. But keep in mind that movie was R-rated and had a mid-August release in 2024. Also, Predator: Badlands, with its female-action-hero sensibility, also is getting comped by Disney sources to Ballerina, which did $3.8M in previews before a $24.5M opening in June. Badlands previews are also ahead of 2017’s Blade Runner 2049, which did $3.5M before a $12.5M Friday, and 3-day of $32.7M.

Also good news for Badlands at this point in time: Total previews here are ahead of The Predator, which did $2.5M in Thursday previews back in September 2018. That pic posted a $10.3M Friday on its way to a $24.6M start.

The 2004 crossover title Alien vs. Predator owns the franchise-record opening at the domestic B.O. with $38.2M. 2010’s Predators from director Nimród Antal and produced by Robert Rodriguez follows as the second-best U.S./Canada opening for the series at $24.7M. The forecast going into the weekend for Badlands was $25M+, hopefully the second-best start in the Predator franchise.

1987’s Predator and 1990’s Predator 2 own the best CinemaScores for the series conceived by Jim and John Thomas with a B+.

Predator: Badlands cost $105M net before marketing, shot in New Zealand with tax credits. Trachtenberg breathed new life into the Predator movies in August 2022 with the direct-to-Hulu Prey, which was the streamer’s most-watched premiere ever at the time. Critics believed the movie should have been booked in theaters, hence, here we are with Badlands.

RELATED: The 2026 Oscars: Everything We Know About The Ceremony, Host, Date & More So Far

On the Rotten Tomatoes audience scale, Badlands is the fan favorite of the franchise with 96%, ahead of the original 1987 Arnold Schwarzenegger movie at 87%. Prey remains the most critically acclaimed in the alien series at 94%.

PREVIOUSLY: Amazon MGM Studios release of Kingdom Story’s Sarah’s Oil posted $460K in previews. The
Cyrus Nowrasteh-directed faith-based movie starring Zachary Levi, Sonequa Martin-Green and Garrett Dillahunt follows the true story of 11-year old Sarah Rector, an African American girl born in Oklahoma Indian Territory in the early 1900s who believes there is oil beneath the barren land she’s allotted and whose faith is proven right. No RT or audience scores.

Katy O'Brian as Lisa Holewyne and Sydney Sweeney as Christy Martin in 'Christy' (2025) — Black Bear Pictures

RELATED: ‘Christy’ Review: Sydney Sweeney Is A Coal Miner’s Boxer In This By-The-Numbers Biopic That Goes Very Dark – Toronto Film Festival

Black Bear Finance’s first domestic theatrical release under its new arm, Christy, starring Sydney Sweeney as boxer Christy Martin, posted $400K in previews last night. RT reviews stand at 67% fresh. The pic is going wide in north of 2,000.

Sony Pictures Classics and Walden Media’s WWII drama Nuremberg, booked at 1,700 theaters this weekend, started off with $210K last night in previews. The movie directed and co-written by James Vanderbilt stands at 71% fresh on Rotten Tomatoes from 76 reviews.

Mubi’s $24 million global acquisition Die My Love starring Robert Pattinson and Jennifer Lawrence is opening wide this weekend as well.

Top 5 for the week; note that Netflix’s Kpop Demon Hunters, which made $5.9M over the weekend, didn’t play the weekdays, we’re told.

Regretting You (Par) 3,425 theaters, Wk $12M (-38%) Total $31.4M/Wk 2
The Black Phone 2 (Uni) 3,305 theaters, Wk $11.3M (-35%), Total $64.8M/Wk 3
Chainsaw Man – The Movie: Reze Arc (Sony) 3,003 theaters Wk $9.67M (-61%), Total $34.4M/Wk 2
Bugonia (Foc) 2,043 theaters, Wk $7.8M (+6800%), Total $8.8M/Wk 2
Back to the Future (re) 2,290 theaters, Wk $6.4M, Lifetime total $221M/Wk 1 (re)

November 9, 2025 0 comments

TV & Streaming

Sarah Snook, Dakota Fanning Tease ‘All Her Fault’ Plot Twists

by jummy84 November 9, 2025

written by jummy84

The Sarah Snook-led Peacock thriller All Her Fault quickly drops viewers into a parent’s nightmare, kicking off with a mother discovering that her 5-year-old child is missing.

Though the search for this child drives the plot, the storyline takes a number of dramatic twists and turns, with dark secrets revealed about the show’s adult characters, including central couple and parents of the missing child, Marissa (Snook) and Peter Irvine (Jake Lacy).

And the team behind the show, speaking to The Hollywood Reporter at Monday’s New York premiere, teased that the audience will not be able to predict what happens.

“You will never guess. Not only will you never guess, but you’ll never guess what happens after you find out what happens,” Jay Ellis, who plays Marissa’s best friend Colin Dobbs told THR of the show’s multiple twists. “There’s a giant turn in the penultimate, and then there’s a giant turn in the finale and like we all read it and were like, ‘What the?’ Every single one of us. None of us saw it coming.”

Snook adds, “It’s a big ride. The family dynamics reveal so much, and there’s so much there to mine, which was so great as an actor to really get into the meat of the show and the story. It’s not just about a kid that goes missing. I have friends who have kids who are like, ‘Oh can I watch a show about a missing kid? I don’t know if I can handle it.’ And I’m like, ‘Trust me, you can handle it; it’ll be OK.’ And there’s a great twist.”

Dakota Fanning, who plays Marissa’s friend and a fellow mom, Jenny Kaminski, and recently revealed that she likes to spoil things for herself, was told early on what happens — “because I wanted to know as I always do,” she said. But she was still “very surprised.”

“I really didn’t see that coming,” she said. “I was really shocked by the twists and turns that are revealed.”

Minkie Spiro, who directed the first half of the season and serves as an executive producer, insisted that “people are going to be blindsided.”

“For somebody that has worked in TV for a while. I’m always like, if I read a book that I’m adapting, I think, ‘I kind of saw that coming, but we can massage that in the script.’ This, when I read the book, I wasn’t expecting that,” she said, urging audiences to go in “open minded” but inquisitive.

She added, “It’s great when you go into a show and you start to think, ‘Oh, maybe it’s him. Maybe it’s her. Or maybe that’s what happened there.’ Like, I want the audience to have those thoughts and ideas so that then they can see whether or not they saw it coming.”

Though, as Spiro indicates, viewers do have a hack to discover what happens: the book of the same name on which the series was based.

While some things have been changed from the book to the series, including the setting switching from Dublin to Chicago, both kick off with a missing child, specifically with Marissa showing up to pick up her son from a playdate only to be told by the woman who answers the door that she has never heard of the kid.

Marissa’s frantic initial attempts to find him and figure out what happened create a suspenseful, frightening opening.

And executive producer Gareth Neame wouldn’t have it any other way.

“The number of scripts that we work on that we have difficulties getting a show airborne, I can’t think of another show that we’ve done to this degree where you really are in from the first shot, from the doorbell ringing on that front door and that front scene,” he told THR at Monday’s premiere. “It’s not only the cliche that it’s any mother’s worst nightmare, it’s actually any member of the audience’s nightmare. Within seconds, it hooks you in. So I think it’s a fantastic, bold arresting opening of the show. And I wish we could find openings like this more often.”

Showrunner Megan Gallagher said there was “no hesitation” about starting the series with such an unsettling development, mirroring the beginning of the book.

“It was a no-brainer from the get-go,” she said. “And now that it’s on screen, it’s a great way to open the show.”

It was that opening that helped attract Ellis to the project.

“The writing was so gripping and fast. I have a child, and in the first four minutes of this thing you find out that Marissa’s child is missing and my mind immediately exploded because I think I read it and my daughter might’ve been on a playdate at the time. That immediately gripped me,” he said. “And then as you go through and you meet all of these characters and hear their backstory, I think all of them are so layered for so many different reasons, and you want to root for all of them but you also kind of think one of them is the culprit as well, which is what a thriller does so well and makes you love somebody and then look at them with a side eye at the same time.”

And Spiro, though she didn’t direct the entire season, hinted that she included some clues to later developments in the first half.

“Any time I take on a show and I’m doing the pilot, I actually create the entire arc of the show, which I then talk through to the next director so that there is a vision. So there are a lot of a lot of things visually we set up that wouldn’t pay off unless the director that does the episodes after me follows through,” Spiro said. “So that was very much an important part of the deal when we brought another director on was to make sure that they honor the visual arc of the show. So when I create a show, I’m always looking at top to tail. So it’s a show where there were some various specific visual clues, which obviously I don’t want to give away at this point, but they were very specific things that subtly adjusted as twists and toes and the characters true colors start to unfold.”

Spiro, though she wanted the audience to “lean in” to wondering what happened to this child, said she was also trying to tease out the series’ look at gender dynamics in parenting.

“There is something that we try to inject as a sub layer, which all about what it’s like, primarily in heterosexual relationships, where the woman is often expected to do the heavy lifting of the child business,” Spiro said. “And so there is a social commentary underneath this thriller.”

Neame adds, “The title itself is really speaking to how a couple, both holding down professional jobs, somehow it’s the woman who still has to do domestic duties as well as professional work and the husband or the father invariably doesn’t. It’s kind of using the [hook] of the thriller to really look deeply at contemporary relationships.”

All eight episodes of All Her Fault are now streaming on Peacock.

November 9, 2025 0 comments

TV & Streaming

Who is Lewis Cope? Meet Strictly Come Dancing 2025 contestant and actor

by jummy84 November 9, 2025

written by jummy84

Emmerdale star Lewis Cope and pro partner Katya Jones have performed another brilliant routine on Strictly Come Dancing 2025, leaving fans hopeful that they’ll make it to week 8 of the contest.

The duo were joint third on the Strictly Come Dancing leaderboard after tonight’s show, tying with Karen Carney and Carlos Gu, with their energetic Cha Cha to I Like It Like That by Pete Rodriguez.

Just prior to the scores coming in, Katya made reference to how Lewis had worked up quite a sweat in the fast-paced routine, letting slip one “disgusting” detail that took Claudia Winkleman by surprise.

Although the couple came out with another highly commendable score, it did mark a decline on last week’s perfect 40, which was awarded for a superb Couple’s Choice dance to Creep by Radiohead on Halloween week.

If Cope has caught your attention, read on for more about the actor as his Strictly Come Dancing 2025 journey continues.

Who is Lewis Cope?

Katya Jones and Lewis Cope. Elisabeth Hoff

Age: 30

Job: Actor

Instagram: @lewiscope

Partner: Katya Jones

Lewis Cope is an actor who is best known for his role in ITV’s Emmerdale, in which he played series regular Nicky Miligan.

He was nominated for the Rising Star Award at the 2023 National Television Awards for the role. Away from the Dales, Cope has also starred in Vera, Mrs Sidhu Investigates and Hetty Feather.

Cope has been acting for quite some time, having made his stage debut at 11 years old, taking on the role of Michael in the West End hit Billy Elliot: The Musical.

Lewis Cope’s Strictly journey so far

Scoreboard

Week 1: Jive (7+7+7+7) = 28

Week 2: Viennese Waltz (7+7+6+7) = 27

Week 3: Paso Doble (9+10+9+9) = 37

Week 4: Foxtrot (8+9+9+8) = 34

Week 5: Quickstep (9+9+8+8) = 34

Week 6: Couple’s Choice (10+10+10+10) = 40

Week 7: Cha Cha (8+9+9+9) = 35

What is Lewis Cope dancing to in Week 7 on Strictly?

Lewis and his dance partner Katya danced a Cha Cha to I Like It Like That by Pete Rodriguez.

What TV shows has Lewis Cope acted in?

Caleb and Nicky conspire together in Emmerdale — **William Ash as Caleb and Lewis Cope as Nicky in Emmerdale. ITV**

Most notably, Lewis Cope starred in Emmerdale for over 100 episodes from 2022 to 2024.

His other credits include Vera, Mrs Sidhu Investigates, Doctors and Hetty Feather. Lewis appeared in just one episode of Vera as Marcus Hynde in 2021.

As per his IMDb, Lewis has one upcoming project called Kazzy. Though details on his character are yet to be unveiled.

Who are Lewis Cope’s siblings?

Little is known on who Lewis Cope’s siblings are, though it was revealed that Lewis is one of 14!

During an episode of Strictly Come Dancing, it was revealed that Lewis has three brothers who are professional boxers, ranging from professional, ex-professional and amateur.

Lewis previously opened up about his family during an appearance on Lorraine, telling the host that Christmas time is “lovely”.

What did Lewis Cope say about joining Strictly Come Dancing?

On joining Strictly Come Dancing, Cope said in a statement: “I’m so excited to be swapping the Dales for the dance floor and joining this year’s Strictly Come Dancing.”

He continued: “I’ve always been a fan of the show and cannot wait to get started!”

The news of his casting was announced on The One Show, where he admitted he wasn’t initially in the running to take part in the series.

“If anything, it’s probably helped me,” he said on the programme. “Because I haven’t really had time to think about it or anything.

“So now the excitement has kind of just taken over, and I’m just like all inside.”

Strictly Come Dancing continues on BBC One and iPlayer on Saturday 1st November at 6:35pm.

Add Strictly Come Dancing to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.

Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

November 9, 2025 0 comments

TV & Streaming

Where to Watch the Biggest Adaptations

by jummy84 November 9, 2025

written by jummy84

We all know Romeo and Juliet to some extent, aka Shakespeare’s ultimate tale of forbidden love, star-crossed swoons, and tragic heartbreak. Over the decades, filmmakers and storytellers have brought this story to life in ways big, small, musical, animated, and sometimes… totally wild. From classic Hollywood glamour to gang wars in 1950s New York, zombies, garden gnomes, and even pizza-fueled Italian rom-coms, there’s a version for every taste.

We’ve rounded up all the notable adaptations, from Leonardo DiCaprio‘s iconic modern Romeo to Hailee Steinfeld‘s red-cheeked Juliet.

November 9, 2025 0 comments

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