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Ayo Edebiri addresses ongoing work of Me Too and Black Lives Matter movements after being excluded from question about them in favour of ‘After The Hunt’ co-stars
Music

Ayo Edebiri addresses ongoing work of Me Too and Black Lives Matter movements after being excluded from question about them in favour of ‘After The Hunt’ co-stars

by jummy84 September 7, 2025
written by jummy84

Ayo Edebiri has addressed the ongoing work of the Me Too and Black Lives Matter movements after being pointedly excluded from a question in favour of her white co-stars.

While in Venice on a press tour for the upcoming Luca Guadagnino film After The Hunt, which is pegged as a post #MeToo psychological thriller, Andrew Garfield, Julia Roberts and Edebiri were asked what was “lost during the politically correct era”.

The reporter also asked what we have to expect in Hollywood, now that “the Me Too movement and Black Lives Matter are done”.

Roberts then asked them to repeat the question, seemingly inviting the reporter to address all the actors, saying, “With your sunglasses on, I can’t tell which of us you’re talking to.” However, they clarified that the question was only for Garfield and Roberts.

Edebiri looked around the room, stunned after being excluded from the question, saying: “Yeah, I know that that’s not for me, and I don’t know if it’s purposeful if it’s not me, but I just am curious.”

Ayo Edebiri eloquently talks about the political state of the hashtag “Me Too” & the Black Lives Matter movement after being deliberately excluded from the question by an interviewer for their ‘After the Hunt’ press tour.

pic.twitter.com/KyoLoLU1lP

— Pop Crave (@PopCrave) September 7, 2025

“I don’t think it’s done,” she continued, to agreement from Roberts. “I don’t think it’s done at all. I think maybe hashtags might not be used as much, but I do think that there’s work being done by activists, by people, every day, that’s beautiful, important work that’s not finished, that’s really, really, really active – for a reason, because this world is really charged.

“And that work isn’t finished at all.”

She said while mainstream coverage of Me Too and Black Lives Matter might not dominate headlines as much as it did at the peak of the respective movements, it didn’t mean that the work was done.

Garfield agreed, and concurred that “the movements are still absolutely alive”, but “maybe not as witnessed or kind of magnified as much in this present moment”.

Fans on social media were shocked she’d been excluded from the question, given not only was she the only Black woman in the room, but her first major acting role had a direct connection to the aftereffects of the BLM movement.

In 2020, Edebiri took over voicing the character Missy in Big Mouth, having been originally voiced by Jenny Slate, a white Jewish actress, who later apologised for playing Missy, a biracial teenager with a white mother and a Black father.

Edebiri spoke to Entertainment Weekly at the time about Slate’s decision, and how broader culture was shifting in order to make space for marginalised actors. “I’ve thinking about a lot about how so much has changed, like even in my lifetime,” The Bear star said.

“Sometimes I’ll watch older movies, and often not even that old, and they’re using slurs that are unbelievable and people are pretending to be people with disabilities and winning Oscars, and you’re like, ‘Huh?’ We discovered that this was wrong and we’ve corrected it.

“I think, to me, this is a faster version of that in a way. It’s like, okay, we realised it, and we’re seeing it happen in real time that what we thought was acceptable maybe isn’t, and we’re learning why and learning to have conversations about it in real time, too.

She later spoke to The New York Times about how the role made her a target of racism online, which she has continued to be as recently as of last year, when Edebiri received “insane death threats and racial slurs” after Elon Musk spread misinformation about her being cast in a “fake reboot” of Pirates of the Caribbean.

September 7, 2025 0 comments
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Chantel Everett on 90 Day: Hunt for Love
TV & Streaming

Chantel on New Girlfriend Ashley, Their Plans After ‘Hunt for Love’ Tell All

by jummy84 September 2, 2025
written by jummy84

During the inaugural season of 90 Day: Hunt for Love, 90 Day Fiancé and The Family Chantel alum Chantel Everett shocked her castmates and viewers alike by confessing feelings for her friend from home, Ashley Bowen, and entering into her first same-sex relationship.

At the Tell All Part 2, Chantel was thrilled to introduce Ashley to her Hunt for Love castmates. However, the 90 Day alum was shocked when her mother, Karen, took the stage beside Ashley, in what she described as a “really confrontational” and “uncomfortable” conversation.

September 2, 2025 0 comments
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Pedro Jimeno, Vanja Grbic, and Larissa Lima in 90 Day Hunt for Love Season 2 Dream Cast
TV & Streaming

’90 Day: Hunt for Love’ Season 2 Dream Cast: Pedro Jimeno, Larissa Lima & More

by jummy84 September 1, 2025
written by jummy84


Of course, we had to throw Big Ed in there!

September 1, 2025 0 comments
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Venice 2025: Guadagnino's 'After the Hunt' is Brilliant Tale of Denial
Hollywood

Venice 2025: Guadagnino’s ‘After the Hunt’ is Brilliant Tale of Denial

by jummy84 August 30, 2025
written by jummy84

Venice 2025: Guadagnino’s ‘After the Hunt’ is Brilliant Tale of Denial

by Alex Billington
August 30, 2025

“He crossed the line.” “But what actually happened?” The truth is out there, but no one really likes the truth anymore, because the truth can be destructive. That’s just the truth. Not every film is meant to make you feel all warm & fuzzy when you watch. In fact, some of the best films ever made are films that make viewers feel uncomfortable (like Tar at Venice 2022), and make them question their own views and thoughts and feelings. This is the case with After the Hunt, the 10th feature film from the acclaimed Italian filmmaker Luca Guadagnino. The film just premiered at the 2025 Venice Film Festival to many negative reviews from critics right off the bat. But I’m here to set the record straight – After the Hunt is a brilliant thriller, Luca Guadanigno’s best film after Call Me By Your Name. It may not as exciting or upbeat as Challengers or Queer, but that doesn’t make it any less masterful. The film features an exceptionally dense, philosophically / intellectually complex script that directly address sexual assault denialism. It’s also meticulously crafted, entrancing and harrowing to watch. And it hasn’t left my mind at all since the end of the screening days ago.

After the Hunt is a sensitive story about sexual assault and women, however it is directed by a man – Luca Guadanigno. Though the screenplay is written by a woman – American writer Nora Garrett with her first produced screenplay. The film is set at Yale and literally opens with a title card saying “it happened at Yale.” Clearly inspired by and/or based on a real incident, but that’s besides the point because what it shows is still sadly happening in so many places. Julia Roberts stars as professor Alma Olsson, on the verge of tenure at Yale. One of her friends / colleagues is Hank Gibson, played by Andrew Garfield, a beloved, outspoken, bearded young professor. Ayo Edebiri co-stars as Maggie Price, a PhD student in Alma’s program. After a late night party at Alma’s fancy home where everyone was drunk, Hank walks Maggie home and something happens. The next day a broken down Maggie comes to Alma and tells her something bad happened that night, hoping she might help her through this horrible situation. Alas, Alma increasingly becomes resistant, and the situation explodes – mainly because Hank and Alma start to realize this is going to mess with their hopes and dreams of tenure climbing up the career ladder in academia. It’s not actually a “he said, she said” situation – it’s much more about why won’t others believe what she said & refuse to deal with abusive men.

The filmmaking is entirely on point as it’s a very sensitive subject dealing with major issues of our time and generational differences. This film has some serious depth to what it’s getting at and implying about society – and it’s actually very specifically making an uncomfortable point. It’s not “fun” to watch by any means, but it is compelling and extremely fascinating. Michael Stuhlbarg also co-stars as Alma’s husband Frederik, an arrogant philosopher therapist who loves to argue and debate about heady topics. Much of the dialogue throughout he film is exceptionally complex, and I think it will take multiple viewings for those interested to dig into what is being said, what is being debated, and what each scene means. It’s hard for anyone to pick up on everything in the first viewing. Yes it’s a very talky film, but almost all of Luca Guadanigno’s films are about dialogue and conversations. Even Call Me By Your Name – they’re attracted to each other because of their conversations. “You know what things…” After the Hunt is actually quite similar to CMBYN but plays out entirely opposite. At the start, Alma and Maggie do sort of love each other (in a respectful professor / student way) however as the story goes on they split and get further & further from each other. I love how Guadanigno crafts this dynamic and builds a narrative around an intellectual understanding of the dialogue.

What might upset people the most is that the film has a very strong point to make about all the characters. Essentially it’s a film about generational differences, and specifically it’s about how the older generation is entirely wrong about the younger generation. Yes this is brought up in a few conversations, but the point of the script is digging really painfully into why someone like Alma gets so obsessed with denying and rejecting Maggie and what happened. Accusations are thrown about, conversations descend into yelling matches, and philosophy is used to excuse complaints. All because way too many people are afraid of losing their power, their career, all that they’ve worked for, because they don’t want to deal with the truth about sexual assault and rape, and how poorly it is handled in places like prestigious universities. The script and this film really want to remind us that older generations might not be right about everything and really do need to defer to the younger generations – even if this pisses them off. The writing is very, very heavy with intricate scenes and subtle reveals aplenty. I really think most are missing the point. But this is all too common nowadays – even the final revelations are going to piss people off because it’s not what they want to hear from anyone…

Aside from the narrative, this new Trent Reznor & Atticus Ross score is again superb though much more haunting, enhancing the unease of watching this story about accusations and truth. Of course everything is different from Guadanigno’s past films because this is not a topic that warrants any kind of playful, upbeat filmmaking. The lead performances are all exceptional & layered. Their characters are not underdeveloped at all, any claim of such is incorrect. There’s so much going on within each one of them, but of course they’re people in academia and that means their entire existence is wrapped up in the philosophy & intellectualism of academia, which is precisely what it is like on these campuses. The film will grow on people with time and will be appreciated properly with time. The best summation of how reflective it is comes from Garfield at the press conference in Venice: “If we don’t make the unconscious conscious, things will happen in our lives and we will call them fate. When our motivations are invisible even to ourselves, we become unreliable narrators – especially in a culture where survival is paramount. It’s fascinating that, in these characters, their wants and needs are invisible to themselves, so each of them believes they’re the hero of the story.” And in the end there is no hero, there is no one to celebrate in this story. But it’s still an important story told so brilliantly.

Alex’s Venice 2025 Rating: 9.5 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

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August 30, 2025 0 comments
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After the Hunt review: Julia Roberts academia drama doesn't make the grade
TV & Streaming

After the Hunt review: Julia Roberts academia drama doesn’t make the grade

by jummy84 August 29, 2025
written by jummy84

At the outset, she and her husband Fredrik (Michael Stuhlbarg) are hosting drinks. Maggie, who is gay and in a relationship, is escorted home by Hank. But before long, she is back on Alma’s doorstep, sobbing. She explains: Hank came up for a drink, while Maggie’s partner was absent. They kissed, but it went further than she wanted. “He assaulted me,” she says. But did he?

When Alma confronts Hank, he claims it all stems from a discovery he made about Maggie, that she plagiarised her dissertation. With her parents billionaire donors to the university, Maggie comes from a background of wealth and entitlement. That she is also Black adds to the complex dynamic, with Maggie operating in a world largely dominated by straight white cis men.

As tempers flare, Maggie decides to press charges against Hank, while Alma tries to steer clear, fearful of her own position. Scripted by actress Nora Garrett, making her debut as a screenwriter here, what follows is a battle of wills. Suffering from an illness that’s causing her to vomit, Alma starts to unravel as relations between her and Maggie morphs into something more pernicious.

Directing this is Luca Guadagnino, the Italian filmmaker behind the more plainly enjoyable Call Me by Your Name (which featured Stuhlbarg) and Challengers. But After the Hunt feels like a muddled film that gets away from him, too often filled with characters mired in academic debates about morals and ethics that will likely go over most viewers’ heads, unless you happen to be a philosophy graduate.

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Bizarrely, the film also starts exactly like a Woody Allen film: the jazzy score, over black-and-white titles, with the cast listed in alphabetical order, a tradition that Allen employed for years across his canon. Is it an homage to Allen? Or a subtle nod to the personal issues that have blighted his life in later years? According to Guadagnino, it could be a bit of both.

It’s not the only time the director borrows from other, better works. Todd Field’s cancel culture tale Tár, set in the similarly cloistered world of classical music, tackled the subject with much greater complexity. And then, Justine Triet’s Oscar-winning Anatomy of a Fall, with its prickly use of loud music interrupting a conversation, gets a nod, in a grating dinner scene involving Maggie, Fredrik and Alma.

With a whiny score by the usually on-point Trent Reznor and Atticus Ross, at least it has Julia Roberts in full swing. The actress relishes shouldering such a wannabe watercooler film, and there’s something pleasurable in watching her character gradually lose it (including her shocking abuse of Maggie’s non-binary partner). But this isn’t an easy film to digest, perhaps because it’s filled with “privileged, coddled hypocrites”, as one person says. Still, as a portrait set on the frontlines of ‘woke-dom’, it gives a hornets’ nest a real kicking.

After the Hunt arrives in UK cinemas on 20th October 2025.

Check out more of our Film 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.

August 29, 2025 0 comments
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Luca Guadagnino on Woody Allen Influence on 'After the Hunt'
TV & Streaming

Luca Guadagnino on Woody Allen Influence on ‘After the Hunt’

by jummy84 August 29, 2025
written by jummy84

Luca Guadagnino‘s academia cancel-culture thriller “After the Hunt” (Amazon/MGM Studios) is the Italian filmmaker’s latest work to premiere at the Venice Film Festival. It stars Julia Roberts as a Yale philosophy professor, who’s unraveling amid a sexual-assault accusation made by her student (Ayo Edebiri) against her colleague (Andrew Garfield).

From a script by first-time feature writer Nora Garrett, Guadagnino’s third feature in three years plays out of competition in Venice, with the director joined by Roberts, Michael Stuhlbarg, Garfield, Edebiri, and Chloë Sevigny on the Lido. During Friday’s press conference in the Palazzo del Casino, the actors tangled with the film’s thorny topics, which deal not only with assault but also race relations in the academic world and the ideological divide between generations.

George Clooney in Jay Kelly

Given the film’s cancel-culture overtures, it’s noteworthy and not by accident that the film’s opening credits are in the style of a Woody Allen movie: in the Windsor typeface and white text against a black screen, in alphabetical order, and acknowledging said alphabetical order. Eagle-eyed audiences will ponder the connection between an artist who’s become persona non grata in American culture and Roberts as a professor who is facing accusations and persecution of her own.

During the Friday morning press conference, IndieWire asked Luca Guadagnino why those opening credits share an aesthetic with a Woody Allen movie. “The crass answer would be why not?” the “Call Me By Your Name” filmmaker said. “There is a canon that I grew up with, and why I started thinking about this movie with my collaborators, in front of the camera and behind the camera, we couldn’t stop thinking of ‘Crimes and Misdemeanors’ or ‘Another Woman’ or even ‘Hannah and Her Sisters,’ and there was an infrastructure to the story that felt linked to the great oeuvre of Woody Allen between 1985 and 1991.”

He added, “I played with that a few times before this, a couple of times used that kind of graphic and font, and I felt it was also interesting thinking of an artist who has been, in a way, facing some sort of problems about his being and what is our responsibility in looking at the work of an artist that we love, like Woody Allen. And by the way, it’s a classic font, that kind of font. It goes beyond Woody.”

Roberts said it’s “not so much that we’re making a statement” with the hot-button film. “We’re sharing these lives for this moment and want everyone to go talk to each other after… we are kind of losing the art of conversation in humanity right now, and if making this movie does everything, getting everyone to talk to each other is the most exciting thing we can accomplish.

August 29, 2025 0 comments
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