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Netflix, Calm, and Train Dreams: Marketing While You Sleep
TV & Streaming

Netflix, Calm, and Train Dreams: Marketing While You Sleep

by jummy84 November 7, 2025
written by jummy84

Points for creativity: Netflix partnered with mental wellness app Calm to create an immersive audio experience inspired by its Oscar-aspiring “Train Dreams.” The collaboration, launching today, represents Netflix’s first venture on the Calm platform and a potential blueprint for how specialty films can cut through the noise by targeting audiences when they’re asleep.

The 20-minute “Sleep Story x Soundscape” hybrid transforms Clint Bentley’s drama into a meditative audio journey, featuring narrator Will Patton alongside the film’s original score and sound design. Adapted from Denis Johnson’s Pulitzer-nominated novella about a railroad laborer in the early 20th century American West, “Train Dreams” explores themes of solitude, loss, and resilience — the kind of contemplative territory where Calm’s 100 million users already spend their time.

IN YOUR DREAMS - In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true... the perfect family. Cr: Netflix © 2025

The Calm team worked with the film’s sound designer, Lee Salevan, and composer Bryce Dessner, utilizing the film’s sound stems and score cues overlaid with sections of dialogue from Bentley and Greg Kwedar’s script. 

The odds are stacked against independent and specialty films capturing audience attention. However, this may represent a new kind of counterprogramming: Rather than shout louder, this collaboration markets while you sleep.

Calm previously collaborated with superhero franchises like “Venom: The Last Dance” (voiced by Tom Hardy as Eddie Brock and Venom), but this is the first film partnership to create one of its Sleep Stories.

Calm has also previously created Sleep Stories from public-domain classics like “Pride and Prejudice” and “The Wizard of Oz,” and enlisted talent like Walton Goggins and Lin-Manuel Miranda to narrate original Sleep Stories like “The Yard Sale” and “Adventures in Puerto Rico.”

The film stars Joel Edgerton, Felicity Jones, and William H. Macy, with Patton’s narration carrying over to the Calm experience. The distribution strategy extends beyond Calm’s app, with Netflix sharing the soundscape across YouTube, Instagram, and X.

November 7, 2025 0 comments
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Jennifer Lawrence Says Male Directors Can Over-Direct Actors
TV & Streaming

Jennifer Lawrence Says Male Directors Can Over-Direct Actors

by jummy84 November 7, 2025
written by jummy84

Jennifer Lawrence recently told Vulture during a post-screening Q&A for “Die My Love” that she feels a noticeable difference when she’s working with a female director compared to a male director. “Die My Love” was helmed by Lynne Ramsay. Other female filmmakers in Lawrence’s filmography include Debra Granik (“Winter’s Bone”), Jodie Foster (“The Beaver”), Susanne Bier (“Serena”) and Lila Neugebauer (“Causeway”).

“I have found a commonality in female directors, which is that they do not do this thing, which is over-direct,” the Oscar winner noted. “There have been some times when I’ve worked with male directors where there’s this need to constantly feel like they’re directing the movie. And it’s not even really getting anything done. It’s just annoying. When I think auteur, my mind kind of goes to controlling and … what’s that word? Neurotic!”

“And Lynne was the opposite,” Lawrence continued. “She really built this world and made sure that we were all on the same page, through music and conversations and the atmosphere and the set. And then she would just kind of slowly walk back. And sometimes, from the discomfort of that, from the lack of her visibility, something interesting would come from it. And then she would come out and be like, ‘That’s great, great, yeah, do it again.’ Or we would accidentally laugh and be like, ‘Oh, sorry.’ And she’d be like, ‘No, it was great. I liked that you laughed. Do it again.’”

“Die My Love,” based on Ariana Harwicz’s 2012 novel of the same name, stars Lawrence as a woman plunged into psychosis amid a loveless marriage following the birth of her child. Robert Pattinson, LaKeith Stanfield, Nick Nolte and Sissy Spacek co-star.

Ramsay told Vulture that her directing style on the movie was born of wanting the actors to feel free on the set.

“I love working with actors. When you really trust each other, something just happens that’s magical,” Ramsay said. “So sometimes I’d let the take run long. There’s a kind of discomfort in that. It’s like, ‘What the hell did we do now?; But then something happens sometimes. I gave them the space in that house to just explore and go in and out of doors. There was one scene where Grace is just bored in the house and there’s that laundry basket, and I didn’t ask her to tip it over with her toe, but there’s a kind of rage in that.”

“Die My Love” opens in theaters Nov. 7 from Mubi.

November 7, 2025 0 comments
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TAICCA & Taiwan's Mirror Fiction Invest $10M In Mirror Entertainment
TV & Streaming

TAICCA & Taiwan’s Mirror Fiction Invest $10M In Mirror Entertainment

by jummy84 November 7, 2025
written by jummy84

Taiwanese IP development company Mirror Fiction Inc has launched a film and TV production company, Mirror Entertainment, with a $10M (NTD310M) co-investment with Taiwan Creative Content Agency (TAICCA). 

The Taipei-based outfit is developing ten films and TV series projects over the next five years, several of which will be produced with international partners.

Eight projects were announced at a launch event at Taiwan Creative Content Fest (TCCF) today, including three inspired by true events or global issues: Godless, adapted from a true story about a female serial killer in Taiwan; Until The Next Appointment, a Switzerland-set comedy about the impact of internet usage on children; and thriller Diamonds And Bread, about a diamond theft linked to an international conspiracy.

Mirror Entertainment will be headed by chairperson Tung Cheng-yu, who is also the CEO of Mirror Fiction. Tung is an established figure in Taiwan’s IP development field with experience across journalism, publishing and film production. She also co-scripted Tsai Ming-liang’s 2013 drama Stray Dogs, which won the Grand Jury Prize at Venice Film Festival, and executive produced award-winning drama series Port Of Lies.

Other members of Mirror Entertainment’s management team include General Manager Lo Chun-Han; Lily Chen and Patrick Jia, Content Development & Production Department Directors, who will act as producers on Mirror Entertainment projects; and Glenis Tsai, International Business Development Director, who will connect the company’s projects with domestic and international markets.

Mirror Fiction has also brought on board Ruen Tai Shing Co and Field Stone Investment Holding as co-investors in the new venture alongside TAICCA. The TAICCA investment is sourced from Taiwan’s National Development Fund, which has previously invested in local film and TV companies including Mandarin Vision, Damou Entertainment and Screenworks Asia. 

Mirror Fiction is an IP incubation platform which has previously invested in films including A Sun and The Falls, both of which were selected as Taiwan’s submission to the Best International Film category of the Oscars; as well as box office horror hit The Rope Curse 3. The company also produced Port Of Lies, a series about a lawyer defending a migrant worker accused of murder, which won seven prizes at Taiwan’s Golden Bell Awards, as well as Freddy Tang’s feature film April, which recently screened at Tokyo International Film Festival.  

Other projects announced at the launch event today include Gangster Priest, a black comedy about a gangster who has trouble leaving behind his life of crime; and horror film Hopscotch, which explores how family trauma is replicated through new generations. 

Mirror Fiction also plans to adapt its own properties including hit internet novel The Cleaning Guide For Murderers; and Promise To Bring You Home, a story about baseball in Taiwan’s indigenous communities, which picked up the Glory IP award today at TCCF Pitching. 

November 7, 2025 0 comments
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Duffer Brothers Respond to Millie Bobby Brown, David Harbour Claims
TV & Streaming

Duffer Brothers Respond to Millie Bobby Brown, David Harbour Claims

by jummy84 November 7, 2025
written by jummy84

A Stranger Things final season press tour junket has been underway since Monday, but there’s one topic Netflix doesn’t want raised: A viral report alleging star Millie Bobby Brown accused co-star David Harbour of on-set bullying.

Despite the alleged report, Brown and Harbour were all smiles as they posed together at the season five world premiere in Los Angeles Thursday evening.

When asked about the bullying claims on the red carpet, co-creator Ross Duffer told The Hollywood Reporter while standing next to his brother Matt Duffer, “Obviously, you understand I can’t get into personal onset matters, but I will say we’ve been doing this for 10 years with this cast, and at this point they’re family and we deeply care about them. So, you know, nothing matters more than just having a set where everyone feels safe and happy.”

Also at the premiere, THR asked Stranger Things director and executive producer Shawn Levy how production handles a bullying complaint on set and “makes sure everyone feels safe and respected.”

“At the end of the day, that’s the job,” Levy replied. “You have to create a respectful workplace where everyone feels comfortable and safe, and so we did everything to build that environment. And we’re proud of the fact that we did so.”

He continued, “I’ve read a bunch of stories and they range from wildly inaccurate to… there’s so much noise around it. But the truth is that we view this crew and this cast as family, and so we treat each other with respect, and that’s always been bedrock.”

At the finale premiere of #StrangerThings, director and executive producer Shawn Levy calls some of the stories circulating in the news this week — which claim that Millie Bobby Brown accused co-star David Harbour of harassment and bullying — “wildly inaccurate” pic.twitter.com/3RU99THuQm

— The Hollywood Reporter (@THR) November 7, 2025

Neither Netflix nor representatives for Brown and Harbour had replied to queries about the report, which was first posted by UK tabloid The Daily Mail on Saturday, heading into Thursday night’s L.A. premiere of the fifth and final season of the mega-hit series.

The story said the 21-year-old Brown filed a harassment and bullying claim against the 50-year-old Thunderbolts* star before filming began on season five and that there were “pages of pages” of allegations. The claims were not specified, but no sexual impropriety was reportedly alleged. Netflix reportedly investigated the claims “for months.” Also, as a result, Brown was accompanied by a personal representative while on set for the final season. The show wrapped filming in December.

The claims come at a peak awkward moment for the streamer, just as a massive marketing campaign is ramping up for the show’s highly anticipated (and very expensive) fifth and final season.

In the show, the duo have a tender and at times acrimonious father-daughter relationship, with Brown playing the super-powered orphan Eleven and Harbour portraying the gruff small town police chief Jim Hopper.

In 2021, Harbour spoke out about his feelings about his co-star. “Millie and I have always had sort of a special relationship because I knew her when she was so young,” Harbour said on the That Scene with Dan Patrick podcast. “I knew her before any of this big fame hit … I have a real protective feeling for her. I have a real, like, worry. I worry about her and the fame and all that she has to struggle with.”

Brown has previously spoken out about the issue of bullying. In March, she posted an Instagram video while promoting her Netflix movie The Electric State and pushed back on trolls who criticized her appearance online.

“I started in this industry when I was 10 years old,” she said, according to Today. “I grew up in front of the world, and for some reason, people can’t seem to grow with me. Instead, they act like I’m supposed to stay frozen in time, like I should still look the way I did on Stranger Things season one. And because I don’t, I’m now a target.”

Brown read off a few headlines and then continued: “This isn’t journalism. This is bullying. The fact that adult writers are spending their time dissecting my face, my body, my choices, is disturbing. And the fact that some of these articles are written by women makes it even worse. I refuse to apologize for growing up. I refuse to make myself smaller to fit the unrealistic expectations of people who can’t handle seeing a girl become a woman. I will not be shamed for how I look, how I dress or how I present myself … Let’s do better.”

The final season of Stranger Things is rolling out in a three-part holiday-timed release, with the first four episodes in Part 1 releasing on Nov. 26. Part 2’s episodes then release on Dec. 25, with the feature-length series finale hitting both the streaming and select theaters on Dec. 31.

Tiffany Taylor contributed to this report.

November 7, 2025 0 comments
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Pluribus review: Vince Gilligan's sci-fi takes you to happy place
TV & Streaming

Pluribus review: Vince Gilligan’s sci-fi takes you to happy place

by jummy84 November 7, 2025
written by jummy84

A star rating of 5 out of 5.

TV titan Vince Gilligan is known for writing bad guys. Think Walter White in Breaking Bad or Saul Goodman in Better Call Saul. But for his highly anticipated follow-up, Gilligan dares to imagine a world where there are no bad guys, where evil has been eradicated in its entirety. And therein lies a very different kind of horror.

Pluribus begins with a scientific discovery gone awry, as is often the case with post-apocalyptic stories of this nature. One simple mistake breaks the world as we know it, unleashing a virus that melds the globe into one collective group mind. The horrific imagery that follows evokes everything from the devastating stillness of 28 Days Later to the chilling paranoia embedded throughout Invasion of the Body Snatchers (in all its incarnations).

So why was Pluribus surrounded by so much secrecy prior to its release? We’ve seen this all before, right? Well no, it turns out that Gilligan’s twist on the genre quickly takes these familiar tropes in wildly unexpected directions that intrigue, unsettle, and might occasionally test your patience at points.

Without spoiling too much, this global shift in thinking isn’t hellbent on domination. The virus has essentially won already, yet that was never its goal. Melding the world’s population into one singular mind was just necessary, a biological imperative akin to breathing. The result is a happy one, creating a utopia on earth where there is no more crime. Discrimination is a thing of the past and every caged animal has been set free.

At its core, this apocalypse brings peace and happiness to everyone on earth except the one woman who can’t stand it.

Rhea Seehorn and Karolina Wydra star in Pluribus Apple TV

Carol Sturka, an unhappy romance novelist who peddles “mindless crap” numbers among the very few people on earth who have retained their minds still, somehow immune to the virus. As such, the collective is keen to draw Carol into their embrace, quite happily informing her that they’re working on ways to push through and infect her somehow.

It’s in this tension that the show’s defiance of straightforward tone and genre is most evident. Much like Carol herself, Pluribus pushes back against notions of good and evil, what’s right and wrong, in a funhouse mirror version of the grey areas Gilligan played with so adeptly in his previous works.

With a placid smile (smiles?) and kind reassurances, the virus wishes to erase Carol’s individuality and assimilate her completely. But would that be so bad? Other survivors reject Carol’s idea of “saving humanity”, believing themselves to be saved already in what could be considered a new utopia on earth.

It would be easy to read this as a push back against group think or conformity, but Pluribus doesn’t offer easy answers. Instead, the writing opens itself up to interpretation on multiple levels (unlike Carol’s own tawdry fantasy series). This idea that the ones who wish you harm will smile at you as they do so also speaks to religious extremism, gay conversion therapy, and even our political reality, while assumptions that the virus is bad also touch on the differences between individualist and collectivist societies.

Rhea Seehorn stars in Pluribus; in this scene, her character is panicked and holding on to a medical worker by his shoulders

Rhea Seehorn stars in Pluribus Apple TV

Pluribus does offer easy answers in another sense, however, as the virus readily gives up information Carol seeks in her attempts to uncover what’s really happening. These tranquil admissions might lack the tension that a puzzlebox mystery show usually provides — with one even going so far as to undercut its own horror almost immediately — but this in itself sets Pluribus further apart as an entirely unique viewing experience.

That’s also true of its scale. Gilligan’s return to TV makes full use of that Apple TV budget with vast settings that ram home the global impact of what’s happened. Jumps back and forth in time expand this even further again, plus international locales beyond Albuquerque, New Mexico (also the setting of both Breaking Bad and Better Call Saul) are just a plane ride away, easily accessible thanks to “The Afflicted” and their endless altruism.

While you’re sometimes left wondering at the implications of this global shift beyond Carol’s perspective, Pluribus constantly finds ingenious new ways to touch on that through dialogue or outlandish scenarios that could only come from a premise this strange. Hearing a child draw on the group mind to discuss the ins and outs of gynaecology is as disconcerting as it sounds, for example, while a politician talking to Carol through her TV delivers one of the premiere’s most shocking moments through what’s essentially exposition.

Pluribus is alien in more ways than one, so it was smart to ground this story through a protagonist like Carol, a cynical grump whose anger is as useful as it can be destructive. Her outrage at what’s become of humanity spikes against the happiness of the collective, creating a push and pull dynamic that grows central to what Pluribus has to say.

Gilligan wrote this story specifically for Rhea Seehorn following their work together on Better Call Saul, and it’s the exact kind of calling card that could nab her an Emmy at last following three previous nominations. Whether she’s seething or yearning, raging or grieving, Seehorn is magnificent, adding dimension upon dimension to Carol against the smoothed-out flatness on the faces of everyone who surrounds her.

Rhea Seehorn in Pluribus on the phone looking shocked

Rhea Seehorn in Pluribus. Apple TV+

Pluribus is essentially a one-woman show in that respect, yet Karolina Wydra also does phenomenal work as Zosia, an avatar for the collective who Carol comes to rely on. Her prominence deliberately complicates our perception of what’s happening while also giving us a face to connect with in this multitude of billions.

Pluribus works as an inverted version of Sense8 in some ways, another marvellously inventive spin on what’s possible within sci-fi. Elements of Lost’s puzzle box enigma, the existentialism of The Leftovers and even the quirkiness of The X-Files — a show Gilligan worked on extensively before Breaking Bad — are also apparent in the DNA of Pluribus (not to mention the influence of seminal sci-fi authors such as John Wyndham or Kurt Vonnegut).

Much like the virus does to everyone except Carol, Pluribus twists familiar storytelling beats into something new and otherworldly. The result is one of this year’s most inventive stories across any medium, making Gilligan’s return to TV a bonafide rarity in a sea of recycled ideas we’ve seen countless times before.

Beyond the premiere — a truly perfect hour of television — you’ll need to be open to seeing the bigger picture at points, and patience is vital if you’re to go along with some of the wilder swings this show takes. But if you’re up for it, prepare yourself for what could eventually turn out to be a genuine masterpiece on the same level as Breaking Bad or Better Call Saul.

All it took was for Gilligan to make everyone and no-one the bad guy all at once.

Pluribus is now available on Apple TV.

Check out more of our Sci-fi 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.

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

November 7, 2025 0 comments
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Ivan Hernandez as Alec Bloom, Sarah Steele as Marissa Gold and Carrie Preston as Elsbeth Tascioni in
TV & Streaming

How ‘Elsbeth’ Season 3 Episode 5 Just Set up Recurring Arc for ‘The Good Fight’s Sarah Steele

by jummy84 November 7, 2025
written by jummy84

What To Know

  • Elsbeth Season 3 Episode 5 introduces a new recurring arc with The Good Fight‘s Marissa Gold (Sarah Steele) running a mayoral campaign.
  • After sparks flew between Elsbeth and the candidate, Marissa hatched a scheme.
  • The episode features a murder case involving a poetry journal head (William Jackson Harper) who kills his donor.

[Warning: The following contains MAJOR spoilers for Elsbeth Season 3 Episode 5, “Poetic Justice.”]

Elsbeth has great timing. The same week New York City elected Zohran Mamdani as its next mayor, the NYC-set CBS procedural introduced its own charismatic mayoral candidate — one whom Elsbeth Tascioni (Carrie Preston) is now unwittingly connected to, thanks to a political scheme hatched by The Good Fight‘s Marissa Gold (Sarah Steele), who’s now following in her father, Eli Gold’s (Alan Cumming), footsteps with a career pivot into politics.

Elsbeth Season 3 Episode 5, “Poetic Justice,” starred William Jackson Harper as the killer of the week. He played Gary Pidgeon, the head of a prestigious poetry journal that was desperately struggling for funds (“The arts are under attack!” Harper’s Gary kept repeating). He killed his biggest donor to ensure that she didn’t rewrite her will to divert funds away from his journal and towards another. He likely would have gotten away with it had it not been for his sharing oddly specific details about the gas tank explosion during his chance first meeting with Elsbeth, who was attending a fundraising event for unhoused people with her friend, Dr. Yablonsky (Daniel Davis). Yablonsky served on Pidgeon Print’s board.

Before the run-in with the soon-to-be-revealed murderer, Elsbeth ran into her old pal, Sarah. She’s now running the mayoral campaign for Alec Bloom (Ivan Hernandez). Elsbeth and Alec shared a cute rapport that made Marissa ask, “Am I crazy, or am I sensing a vibe here?” They denied it, but the spark was there. Later, Marissa came to Elsbeth’s precinct to pitch an idea.

“I think Alec may have a woman problem, electorally speaking,” she said. “I think you two should have dinner.” She wanted to set up a date for publicity to make Alec seem more appealing to women voters. That, and, as Marissa described, “Your consent decree is kind of a magic bullet to position him well on policing for the electorate. He wants to see how the system can be changed from within.” With that, the date was set.

Michael Parmelee / CBS

The three of them met for a drink later on in the episode, and Elsbeth was moved by Alec’s story about being unhoused when he was younger and how it motivates him to want to take care of New Yorkers through public office. They shared a lot of interests as well, such as a love of musical theater and NYC tourist attractions.

Word got out to the press that Alec was seen on what looked like a date with a “mysterious redhead,” and the story went wide. When the three of them met up again, Elsbeth asked Alec and Marissa to inform the press that they weren’t an item because she didn’t want to feel like a “pawn” in their campaign, for personal reasons and because she has “serious work to do” in New York, so being painted as just a pretty love interest in the press isn’t a desirable look for her. Marissa agreed she would kill the story, but she didn’t.

The episode ended with Marissa back at the precinct and revealed that she “won’t let” Alec issue a statement saying that he and “the mysterious redhead” are just friends.

“Don’t tell Alec, but I’m the one who leaked the photos in the first place,” she revealed. “I said I didn’t want to be that person. Turns out, I am that person. I need you to listen to me carefully. It’s super important that you don’t make any moves or talk to anyone about this unless I tell you to. Elsbeth Tascioni, the future of New York is in your hands.” No pressure!

This tees up Marissa and Alec’s returns in Elsbeth Season 3 Episode 7, airing on Thursday, November 20. In the episode, Teddy (Elsbeth’s son, played by Ben Levi Ross) digs into Alec’s past for a feature he is working on. How will this be impacted by Elsbeth’s PR relationship with the mayoral candidate? Or will it help his chances? And could a real romance bloom out of this PR stunt? However it shakes down, Marissa is going to be pulling the strings.

Before Episode 7, Tony Hale, Dianne Wiest (as a nun!), and Henny Russell will guest star in Episode 6 (airing on Thursday, November 13). Russell plays Judge Milton Crawford’s (Michael Emerson) widow. Her meeting with Elsbeth is bound to cause a stir, according to Preston herself.

Elsbeth, Thursdays, 10/9c, CBS

November 7, 2025 0 comments
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Fire and Water: The Making of the Avatar Films Review: Pandora Is Real
TV & Streaming

Fire and Water: The Making of the Avatar Films Review: Pandora Is Real

by jummy84 November 7, 2025
written by jummy84

In what now feels like a humbling admission of my own naiveté, I sat down to watch “Fire and Water: Making the Avatar Films” under the baseless impression that Disney+’s new streaming documentary was a legitimate creative exercise in its own right, and therefore worthy of review. My bad. 

I knew, of course, that its release was timed to stoke interest in next month’s “Avatar: Fire and Ash” (my interest in which requires no further stoking, I assure you), just as I knew better than to expect the most corporate of movie studios to serve up a candid, “Megadoc”-like glimpse behind the scenes of a James Cameron set just a few short weeks before the headstrong auteur’s latest blockbuster is set to open in every multiplex on planet earth.

IN YOUR DREAMS - In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true... the perfect family. Cr: Netflix © 2025

And yet, if only because the “Avatar” franchise is so deserving of more serious examination, it never occurred to me that a feature-length window into the intricacies of its creation would settle for being a transparent piece of sponsored content. Or that, even worse, it would be arbitrarily divided into episodes in order to inflate the view count and/or pander to short attention spans (Eywa wept). 

Directed by Thomas C. Grane, “Fire and Water: Making the Avatar Films” is so unabashedly a glorified EPK that it opens with Cameron imploring viewers to stick around till the end for a sneak peak at the next installment of the franchise (spoiler alert: While the eventual clip promises to be a crucial scene in the actual movie, it’s a bit whatever out of context). Back when America was a real country and physical media was still a multi-billion dollar industry, this kind of thing would be automatically packaged on every Blu-ray from “Avatar” to “Zack and Miri Make a Porno.”

In fact, some — or even most? — of the footage in “Making the Avatar Films” was included on the collector’s edition disc that Disney released for “The Way of Water” two years ago. I’d be all for offering subscribers “free” access to that content, but for a service that provides so little original programming, it feels somewhat disingenuous to frame this as a major event. 

And yet, for all of those complaints, it’s undeniably fascinating to watch how Cameron and his team put these marvels together, and there is at least some value to seeing a more fully collated look at how the very blue sausage gets made. That value stems from the other thing that Cameron announces directly to camera at the start of the doc: “I want to let you in on a little secret,” he says. “‘Avatar’ films are not made by computers. They’re made by people.” 

True enough, while the documentary that follows has a heavy emphasis on the bespoke technology behind the franchise’s living alien world (specifically as it pertains to the subaquatic challenges invited by “The Way of Water”), every instance of on-set problem-solving — every detail of how that technology was leveraged towards creating a singularly immersive sense of wonder — is visibly grounded in the work of brilliant artists and engineers. Clear as that already was to anyone who’s sifted through the various featurettes that have been made about these films, the 75-minute running time of Grane’s whatever this is allows him to hammer the point home with greater emphasis than ever before.

While Cameron has been a bit more bullish about incorporating AI into his workflow than you might expect from the man who invented Skynet (to say nothing of the hideous AI upscaling he recently inflicted upon several of his greatest films), “Making the Avatar Films” is nothing if not a testament to the fact that the most sophisticated motion pictures ever created are indivisibly human at heart. 

Indeed, “Making the Avatar Films” is nothing but a testament to that fact, but it’s totally enjoyable to watch so far as such testaments go. The project has the hodgepodge structure of a dozen Blu-ray bonus features cut together, but it adheres to the general chronology of Cameron and co. figuring out how to shoot performance capture underwater. While the director is a militant visionary who refuses to take “no” for an answer, there’s something enjoyably childlike to his process of trial-and-error. 

We don’t get to see him ideating about the characters or the story beats (this entire documentary takes place on one of two soundstages, save for a brief excursion to the Bahamas in the middle), so our entire sense of his creative drive is focused on figuring out how to make the movie’s aquatic stunts feel believable to the naked eye. As a result, that challenge reads as less of an obstacle than an excuse — a manufactured invitation to do things that had never been done before. As Cameron puts it, a mischievous smile on his face: “The second you decide to make a movie underwater, you’ve just opened a gigantic can of whoop-ass on yourself.”

We watch as Cameron and his team come to the realization that dry-for-wet wire work isn’t convincing enough to get the job done, which gives them permission to “think of it like the space program” and model the “Way of Water” soundstage after NASA’s training facilities, complete with massive water tanks. But every solution brings another five problems along with it, as the crew soon realizes that the infrared lighting scheme they used on the first “Avatar” won’t work in an environment that’s 800 times denser than air. Oh no, I guess they’ll just have to shoot with infrared and ultraviolet light at the same time and invent a program that allows them to synthesize the two camera feeds in real-time. 

Subsequent headaches inspire a similar creative giddiness, to a degree that left me wondering if Cameron was as fulfilled by writing the movie’s script as he was by figuring out that he could address a crucial lighting issue by coating the surface of the water tank in tiny white ping-pong balls. The wave machine someone invented to simulate the oceans of Pandora risks crushing the actors to death under eight pounds of steel? I guess the boys will just have to put their heads together and design an elaborate, jail-like structure to keep people safe from the device. Shooting “wet for wet” requires the cast to hold their breath for several minutes at a time? That sounds like a great excuse to hang out with underwater parkour expert Kirk Krack for several weeks on end — freediving lessons for everyone! It’s basically just billionaire summer camp for nerds.

Having said that, the most compelling aspect of this doc isn’t the tech itself, but rather how these newfangled tools allow Cameron to reinforce the most basic aspects of cinematic storytelling. For all of the toys at his disposal, Cameron never loses sight of — and is always driven by — the simple fact that Pandora will never feel real to audiences if it doesn’t feel real to his actors. “Acting is truth in imagined circumstances,” Sam Worthington pops up to remind us, but the “Avatar” movies wouldn’t be able to engineer a fraction of their emotionality if not for how far Cameron went to make its circumstances easier for his cast to imagine. 

We don’t get to see much in the way of the director helping Sigourney Weaver or Zoe Saldaña to better understand their motivation or whatnot, but perhaps that’s because he didn’t really have to do that. The freediving, the man-made waves, the specific PSI that Neytiri would require to pull open a half-submerged door on a sinking ship, and the rest of the solved problems that Cameron assigned himself allow the swimming pool to function as a portal to another world, as primordial emotion and newfangled technology are braided together as organically as Na’vi dreadlocks into the roots of the Hometree in order to make both sides of the equation seem as real as the back of your hand.

To a less rewarding but even more lucid degree than the “Avatar” movies themselves, this slapdash making-of documentary serves as an all too necessary reminder that digital film technology — including but not limited to AI — is little more than a parlor trick, if not for the presence of a human soul behind it. 

“Fire and Water: Making the Avatar Films” is now available to stream on Disney+.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? 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.

November 7, 2025 0 comments
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Forbidden Sex' Among IFFR V-Cinema Titles
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Forbidden Sex’ Among IFFR V-Cinema Titles

by jummy84 November 7, 2025
written by jummy84

The International Film Festival Rotterdam (IFFR) has unveiled its second Focus program for the 55th edition, turning the spotlight on Japan’s V-Cinema — the direct-to-video movement that exploded in the late 1980s and profoundly shaped the country’s contemporary film culture.

The section, curated by Tom Mes, will run as part of the festival’s 2026 edition from Jan. 29 to Feb. 8.

Originating with Toei’s “Crime Hunter: Bullets of Rage” (1989), V-Cinema responded to Japan’s booming home video market by producing films that bypassed theaters entirely. The low-budget, high-speed production model gave directors unprecedented creative freedom, birthing a generation of filmmakers who went on to define modern Japanese cinema — including Miike Takashi, Nakata Hideo, Kurosawa Kiyoshi and Aoyama Shinji.

IFFR’s V-Cinema Focus will showcase a range of Toei titles, among them the “Crime Hunter” trilogy — “Crime Hunter: Bullets of Rage,” “Crime Hunter 2: Bullets of Betrayal” and “Crime Hunter 3: Killing Bullet.” The lineup also features Nakata’s debut feature “Female Teacher: Forbidden Sex,” the psychological noir “Betrayal Tomorrow,” and the cult action thriller “XX Beautiful Weapon.”

The program expands beyond Toei to highlight the anarchic spirit and genre experimentation that defined the movement. Among the selections are the ghostly anthology “Scary True Stories: Second Night,” the eerie found-footage investigation “Psychic Vision: Jaganrei,” and Miike’s hyperviolent “Fudoh: The New Generation.” Other highlights include the surreal gangland fable “Tuff: Part I,” Kurosawa’s deadpan yakuza comedy “Suit Yourself or Shoot Yourself!! VI: The Hero,” Aoyama’s archetypal action drama “A Weapon in My Heart,” and “The King of Minami,” about a loan shark aiding small business owners.

“V-Cinema offered filmmakers the space to take risks, move fast and work with a freedom rarely possible within the traditional studio system,” said IFFR festival director Vanja Kaludjercic. “What emerged was a wild and inventive cinema embracing everything from anarchic yakuza tales and psycho-horror experiments to surreal hybrid pieces — work that still feels electric today.”

IFFR’s full 2026 program will be unveiled on Dec. 16.

November 7, 2025 0 comments
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Jennifer Lawrence Says 'Miss Piggy' Film Inspired By Cancel Culture
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Jennifer Lawrence Says ‘Miss Piggy’ Film Inspired By Cancel Culture

by jummy84 November 7, 2025
written by jummy84

After spilling the beans that she’s producing a Miss Piggy movie in development with pal Emma Stone, Jennifer Lawrence is teasing what might be in store for the beloved swine.

The Oscar winner recently revealed what sparked the idea for her Muppets offshoot about the “feminist icon,” which Tony winner Cole Escola is penning, marking the character’s first solo outing since Jim Henson debuted her on The Muppet Show in 1976.

“So, during lockdown, one of my good friends who is not in the industry—it was also kind of around cancel culture,” she recalled on The Tonight Show. “It was like both things were kind of happening at once. We were all locked up in our rooms, naughty people were being locked up in prison.”

Lawrence explained, “Miss Piggy is a feminist icon, and she said it would be so funny if Miss Piggy got canceled. Now, that is not the plot, necessarily, but it got the wheels turning.”

Noting “there hasn’t actually been” a solo project about Miss Piggy, Lawrence added, “So, I started kind of producing it. But Emma Stone is the Muppet-head. Also, Emma Stone is a shark … I’m, just like, the ideas guy. So, I went to her to be like, ‘What do we do?’ So, now Cole is writing it, and they’re perfect.”

The Die My Love star previously revealed the news on the Las Culturistas podcast, noting she and Stone also hope to appear in the film.

Starting as a chorus pig on The Muppet Show in the mid-1970s, Miss Piggy gradually became a bigger part of the series, before becoming an icon in the late ’70s and early ’80s. Despite Kermit being the star, she’s long hogged the spotlight from her froggy beau.

Recently marking their milestone 70th birthday, The Muppets have had a year of celebrations leading up to the news last month that The Muppet Show is getting a refresh from Seth Rogen and Evan Goldberg’s Point Grey Pictures. Deadline reported that Disney+ has ordered a TV event featuring special guest star Sabrina Carpenter to premiere in 2026, coinciding with the 50th anniversary of the classic original series.

November 7, 2025 0 comments
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Nate Moore Talks Elimination Blindside, Marvel Secret
TV & Streaming

Nate Moore Talks Elimination Blindside, Marvel Secret

by jummy84 November 7, 2025
written by jummy84

Superheroes couldn’t save Nate Moore on Survivor. The veteran Marvel producer, whose credits include Black Panther and Captain America: Civil War, saw his game snapped out of existence this week when season 49’s former Uli tribemates Jawan Pitts and Sage Ahrens-Nichols blindsided him at tribal council. Despite Uli appearing to hold the numbers after the merge, the duo flipped, sending Moore to the jury in a move worthy of a Marvel-style heel turn.

For someone used to orchestrating cinematic shocks behind the scenes, Moore suddenly found himself on the receiving end of one, and fans were left stunned as the season’s power balance shifted. 

Did Moore ever tell anyone about his Marvel history? What was his reaction when host Jeff Probst mentioned that Survivor 50 spots were “still up for grabs?” In an exclusive conversation with The Hollywood Reporter below, Moore discusses his experience and what it’s like to get blindsided on Survivor.

***

Nate, what happened? I thought the vibes were fire, but your exit was cinema and not in a good way. 

Not in a good way. Look, we knew this was the pivotal vote. We knew there was a chance this would happen because when we merged, I had a conversation with Sage that you didn’t see where she told me Shannon told her they were outside the four. I knew if Sage knew that Jawan knew, and we had some work to do. We tried to rebuild that Uli bond, and my pitch to them was about numbers: “We have a solid six. If you come with us, we will get top six. If you flip, you’re going to be in a seven alliance of a lot of different people. I was closer to Sage than I was with Jawan and I knew that Rizo, Savannah and Sophie had gotten closer. There’s a chance you could work together as we get down the line.”

I thought that would hold them. I knew Alex was never going to vote for us, but I thought we’d have won six to five. Before tribal, the last conversation I had was with Savannah. I said to her, “Either me or you are going to catch some votes,” because we both knew they weren’t going to vote for Rizo. They were so scared of that idol and any blowback.

If you watch the show, you see that for the first four votes I wasn’t surprised, because I knew we were going to get votes. The fifth vote was a confirmation that Alex had flipped, which I kind of knew. Six, I realized six means seven. Six means I lost Sage and Jawan. And it was a choice they made that I understand. Do I agree with it? Obviously not. I’m here. But I didn’t feel betrayed emotionally because I understood what they were thinking.

Whose flip were you more surprised by: Jawan or Sage?

We knew they were a tight two. They’re both eccentric characters, and I do think even though we never said there was a core four, they felt the vibes. I knew my relationship with Sage was probably better than with Jawan, which I think surprised some people, but Sage and I are not dissimilar. Large groups make us nervous, we bonded over that. And because we’d had that conversation, I guess I would be more surprised about Sage.

Survivor fans love a good blindside. What’s it feel like for someone who experiences it? 

It feels a little out-of-body. I’ve seen every episode of the show and every episode of the Australian version so many times. You go, “If that were to happen, here’s what I would do.” Instead I was like, “Where’s my torch?” You’re thinking about it almost as if you’re controlling an avatar in a video game. “I have to go get my torch. I have to walk over here. I have kids. I can’t say anything crazy. I have to just take it on the chin and be a good sport.” But the emotional part of your head is like, “F— these guys.” Sorry. “Screw these guys. I’m so mad.”

Then you walk down this really long path and have to give your final words, and you’re so exhausted. It feels like you were on a rollercoaster, and it didn’t just pull in. It just stopped halfway. Then you’re like, “What do I do now?” You don’t know what to do with yourself. It’s incredibly surreal, and I’m not sure I was 100 percent there. Then you go shower and get some food, and it doesn’t feel all that bad, to be honest.

Nate Moore with Savannah Louie on Survivor season 49.

Robert Voets/CBS ©2025 CBS Broadcasting, Inc.

Let’s go back to the beginning of what happened last episode. Did you buy the story Jawan and Sage were selling about Shannon “losing her mind?”

Not 100 percent. My experience with Shannon on Uli was even different than a lot of viewers experienced watching the show. She was certainly not as hippie-dippy yoga. My relationship with her was actually really personal and lovely. I thought, she’s a great kid. I really liked talking to her. I had assumed when they went to Hina in that first tribe swap, that Shannon and Sage would stick together because we always intended to stick together on our side, even with Jawan.

I didn’t quite buy the version of Shannon they were pitching who was incredibly paranoid, who wouldn’t let them talk to each other, which is not Shannon’s MO. Did I think it was possible she would vote against Jawan? Sure. I thought there was a chance she, Sage and Steven would vote Jawan out because they’d spent so much time with him, but I didn’t quite buy the way they described how Shannon was acting.

Once the merge happens and you’re at the challenge, Jeff drops a bomb and says, “spots on Survivor 50 are still up for grabs.” What’s going through your mind after he says that? Was it a surprise?

It wasn’t a surprise. We all had been talking about it since we got on the beach. It was so hot, we were so low energy and Jeff was like a coach trying to pep you up by saying, “The big game’s coming.” But we all know what that means. I don’t think it’s the reason Sage and Jawan flipped, but the notion of doing the big move feels good when everybody loves Jeff Probst and he goes, “You should be doing big moves,” and they go, “Absolutely we should.” It makes the safe move less interesting. But you could see it on my face. I was like, “Hey, bro, let’s talk about 49. Let me get through this day.” We were dying. Physically, I was dying.

Before tribal, we see Sage wanting Savannah, Jawan wanting Rizo, and Kristina and Sophie viewed you as the “safest option.” How did you think the votes eventually ended up on you? Were you the safest option?

To a degree. I think they rightfully saw that Savannah and Rizo were tight. Savannah and Rizo played every day of the game together. There was a fear that if Rizo didn’t play it (his idol) for him, he’d play it for Savannah first. That makes sense from what they saw.

In the episode prior, Sophie and Kristina clearly saw through my bulls — excuse of the Jason and Matt votes. They knew I probably wasn’t going to flip on Uli anytime soon. Alex had separately talked about how much he feared me in challenges. I think it was a combination of, “Hey, Rizo and Savannah are tight,” to, “Nate’s sort of the third. Here’s a guy physically who seemed to be doing pretty well in the challenges. Let’s just get him out.”

It’s also interesting because Matt had a similar reaction where he thought I was the head of the Uli tribe, which I wasn’t, but I am the oldest. He’s like, “Get the old guy out of here.” Maybe cut the head off the snake. But I was not the head of anything. It was a collective. You never want to hear yourself being the safe one. I will say that. When she said that, I was like, “Boo!” But I get it. I understand what they were thinking.

Nate Moore on Survivor season 49.

Robert Voets/CBS ©2025 CBS Broadcasting, Inc.

You mentioned in your Final Words that the game was harder than you expected and you made it farther than you expected. What were your expectations before the game began? 

I worried I wouldn’t be able to overcome a generational gap. I’d seen Jon Lovett get killed that way and it’s funny because I don’t think I’m old. But in the game, the next oldest person on my tribe was Savannah who’s 16 years younger, and nobody on my tribe was married or had kids. It was from a life experience perspective. If you look historically, had I won, which clearly I didn’t, I would’ve been the third-oldest winner of all time. Old people struggle on the show because it’s harder to make connections, I think, sometimes. I was worried that a bunch of young kids would be like, “Get out of here, old man.”

And it was harder in that, more than the not eating. I didn’t sleep well on the show. Bamboo is not comfortable, which you kind of know, but you don’t know until you sleep 14 days on it. I am a relatively high-energy guy in my life, and by the end, I was no fun. I was like, “I’m bumming these people out,” because I would just kind of shamble around camp.

It does make you think about how you relate to people because all you have time to do is think. I was like, “Why am I not connecting? Should I be doing this? I don’t want to have this conversation. Is this something I do in my normal life? Do I avoid conflict?” You start to psychoanalyze yourself through the lens of the show, and that you don’t think about because you think about backstabbing and challenges and rewards, and the bulk of your day is none of that. It’s like, “Hey, who am I? Who am I in the context of this game?” That was surprising to me.

We saw you tell people you were a stay-at-home dad. Did you ever tell anyone about your Marvel background?

I didn’t, not in the game. My thinking was that I did not think anybody would give me $1 million if I told them my job. To be quite honest, whenever I say I’m a producer, part of me goes, “Ugh,” because there can be such a negative connotation. So I didn’t. And honestly, in hindsight, part of me goes, “Hey, would it have been different if I just was honest? Would that have been free connective tissue for the Rizos and the Jawans and the Stevens of the world who loved Marvel movies, since I made a bunch of them?”

Especially because I did struggle to find connective points with a lot of people, part of me is kicking myself. But everybody plays Tuesday morning quarterbacking of “woulda, shoulda, coulda.” But I didn’t tell anybody until well after the game.

Let’s do some revisionist history. Let’s say Sage and Jawan stay Uli strong and Steven goes home. Who are you sitting with at the final three?

It’s a good question. I wanted to work with MC. I told her before tribal not to play her idol. I said, “Trust me. We can go far together if you don’t play your idol. Just let’s make it through this vote.” I thought we could get to a final seven of Rizo, Savannah, Sophie, Sage, Jawan, me and MC. Then at some point, I would have the option at four to either go, “Hey, the Rizo, Savannah, Sophie still feels good,” or, “hey, I’m at the bottom of that four. Maybe I can build a four with MC, Jawan and Sage and see what happens.” I wanted to at least have that option. As much as I truly really, really like Sophie, Savannah and Rizo, I started to feel a little bit like that was a threesome and I was the fourth leg, so I wanted to have the option.

I was hoping to get into the individual phase of the game because I did feel in challenges, if it’s a puzzle or physical, I was always in the mix. Obviously, it did not balance incredibly well. That was my plan: let’s get to seven and then see how it goes, and see which of those two sets of three I wanted to go with.

Is there anything viewers didn’t get to see that you wish made it onto this season? 

A lot of people asked why I was so salty about Matt. The truth was, in that first tribe swap with Hina, he was the first person I sought out because I really wanted to try and build an alliance with him. I was just starved for somebody who was of my generation. We spent a good couple hours together looking for crabs and stuff.

I was like, “I’m making inroads. This guy seems pretty cool.” Then he went fishing with Jawan, and Jawan comes back and immediately says, “Hey, Matt’s starting to throw out your name on the boat.” I was like, “Bro, I’ve been here for five minutes. What happened to the Old Guy Alliance?” People were like, “Why were you so mad at him?” I was like, “Because I felt betrayed.”

But feel like I am who I am. That’s me on the show. We had more fun than you get to see, but you don’t want to see that as a viewer. You want to see the back stabs. I feel pretty good about what you got to see.

I related to you really well because of the whole “fire,” “cinema” thing. I’m 54 and watch these younger players talk and I’m like, “Huh? What? These words aren’t being used properly.” Have you rolled any of this into your vocabulary now?

No, sir. I just go, “Okay, and that’s not for me.” It really surprised me. You seem like a young-at-heart kind of guy. I am too. I didn’t realize how far removed I was from popular slang. I was like, “Oh, my God. I’m on a different planet. This is wild.” It was really interesting. I still have not watched a mukbang. I don’t think I’m going to.

What’s more cutthroat, being a producer in Hollywood or being on Survivor? 

A producer in Hollywood, for sure. Survivor is fun, but it’s a pretend game for $1 million. Hollywood’s a whole different ball of wax.

***

Survivor airs new episodes Wednesdays at 8 p.m. on CBS.

November 7, 2025 0 comments
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