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From Hormones to Human Optimization: Jay Campbell’s Crusade Against Mediocrity in Modern Health
Hollywood

Jay Campbell’s Crusade Against Mediocrity in Modern Health – Hollywood Life

by jummy84 October 1, 2025
written by jummy84

Image Credit: Jay Campbell

In the current state of contemporary health, people are shifting their focus from treating symptoms to enhancing performance and vitality through factors like data, hormones, and tailored plans. 

A big factor in this conversation is hormones. 

Age-related hormonal decline is linked to chronic disease and frailty, according to the National Library of Medicine. 

Meanwhile, longevity medicine is becoming an evidence-backed preventative discipline that is all about early detection and proactive care.

Peptide therapies are now extremely important in health optimization efforts. 

A 2024 analysis from the American Academy of Anti-Aging Medicine noted there are over 90 FDA-approved peptides, more than 150 in clinical development, and up to 600 undergoing preclinical trials. 

These peptides span everything from digestion and cognitive function to hormone regulation and metabolic balance. 

Because of their targeted mechanisms, peptides are being explored as potential tools for addressing specific aspects of health and performance.

In consumer markets, the demand for optimized health is growing at a rapid rate. 

Euromonitor named longevity the top consumer trend of 2025. 

More than half of consumers expect to be healthier in the next few years, which suggests a growing shift in desire for a longer health span, rather than a long lifespan.

Another important factor fueling this movement is access to health data. 

With wearable devices, genetic testing, and biomarker-based platforms becoming more mainstream, consumers are no longer waiting for traditional healthcare appointments to identify problems. 

Instead, they are looking for proactive solutions that reveal deficiencies and imbalances before they lead to chronic disease. 

Reports indicate a strong majority of U.S. consumers now use at least one health-tracking technology, underscoring the appetite for individualized insights.

This is creating a demand for practitioners and thought leaders who can interpret that information and translate it into actionable protocols.

Within this industry, Jay Campbell has become a specialist in hormone optimization and a disruptor in challenging complacency in modern health culture. 

His stance sees optimization not just as a personal health practice, but also as a cultural approach to wellness.

Campbell brings practical protocols into this movement. 

As an international bestselling author with strong digital reach, he combines credibility and visibility in the field. 

His contributions include peer-facing educational content and accessible protocols via his personal brand sites.

Campbell’s philosophies also extend into leadership and performance culture. 

He argues that optimizing health is not only about living longer but about contributing more effectively to families, communities, and professional environments. 

In interviews, he has spoken about the dangers of distraction and overstimulation in modern society, framing health optimization as a discipline that builds resilience against these forces.

While peptide regulation remains in a gray area, his operations, through BioLongevity Labs and personal brand channels, stress transparency and US-sourced manufacturing quality. 

BioLongevity Labs acknowledges regulatory nuances and defers educational content to personal brand sites to remain compliant.

Campbell’s approach taps into both cultural and scientific currents. 

His messages align with longevity medicine strategies that emphasize a broad integration: hormone panels, peptides, lifestyle, and deep biomarker tracking. 

By rejecting mediocrity, he situates health optimization within a bigger picture of conscious leadership and intentional living.

Research on aging and disease supports the requirement for such intervention. 

Evolutionary insights into aging suggest imbalances in anabolic versus maintenance pathways, such as overactive mTOR or IGF-1, heighten disease risk, and require a “Goldilocks zone” of biological activity for optimal function. 

Some economic analyses further suggest that widespread adoption of these measures could generate significant value globally.

For Campbell, these findings align with his message that living consciously is not only beneficial on a personal level but has societal and economic implications as well.

Campbell frames these protocols as a defense against decline and an affirmation of one’s capacity. 

His focus on hormone balance, peptide tools, and living an optimized lifestyle aligns with a preventive approach aiming to treat root causes while preserving functionality.

As modern health becomes more refined and individualized, hormones and peptides are expected to play an increasingly important role in this evolution.

Campbell is both a maverick promoter of the movement, as well as a challenger of complacency. 

He urges intentional optimization in a world dominated by distractions and mechanized allopathic sickcare.

His philosophies and protocols, shared through extensive digital platforms and educational materials, reflect a commitment to human potential grounded in data and transparency.

These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure or prevent any disease. This article is for informational purposes only and does not substitute for professional medical advice. If you are seeking medical advice, diagnosis or treatment, please consult a medical professional or healthcare provider.

October 1, 2025 0 comments
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Noah Baumbach and Adam Sandler at the Venice Film Festival for the world premiere of their movie Jay Kelly
TV & Streaming

Deadline interview with Noah Baumbach and Adam Sandler On ‘Jay Kelly’

by jummy84 September 30, 2025
written by jummy84

Although Adam Sandler has forever been known as a comedic force in movies, most recently in the long-awaited Netflix sequel to Happy Gilmore, his performances in such films as Hustle, Paul Thomas Anderson’s Punch Drunk Love, Noah Baumbach‘s The Meyerowitz Stories and the Safdie Brothers’ Uncut Gems have proven this is a star with serious dramatic acting chops. Now he is getting major Oscar buzz (again) for his role as Ron, the ever-loyal but conflicted manager to George Clooney‘s major movie star going through an existential crisis of identity in Jay Kelly. It has brought Sandler critical raves (and so has the film for Baumbach who directed it) after its Venice and Telluride launches, and now tonight premieres at the New York Film Festival.

While in Telluride I sat down with Sandler and Baumbach to talk about their second teaming together and just what made Sandler perfect for this role.

DEADLINE: So after working with Adam in The Meyerowitz Stories what inspired this reunion on Jay Kelly?

NOAH BAUMBACH: Emily [Mortimer] and I were writing the character, I wanted it to be Adam, because, you know, I’d gotten to know Adam, and we’re very close, and our families are claiming we’re in love.

ADAM SANDLER: Yeah.

BAUMBACH: Adam has such generosity of spirit and such love and such loyalty to the people he works with, you know, the way he takes care of his family, it’s just really remarkable to me. I think we share that, this love of life and movies and having the people you love to be there in the movie, because you love your movie, and you want to love the people in them and I always use my friends, either depending on their abilities or the roles, I use people in my movies who I’ve known my whole life, or you know, I bring my own family into it. But I felt like with Ron, it would be a way for Adam to sort of play something that I feel is actually quite close to him, but in a character that actually isn’t that close to him. Adam obviously, lives Jay Kelly’s life in reality.

SANDLER: At times.

BAUMBACH: I mean in terms of, like, being a worldwide movie star, and so you know, it’s something exciting to me that he would be playing something that was kind of close to him, but in disguise in a way.

DEADLINE: Why did you decide to do this very industry showbiz centric story now?

BAUMBACH: It uses the movie business, the sort of notion of the movie star and all the people around them. All of that’s compelling and fun, and it’s a world I know really well. Making a movie about an actor is making a movie about persona and performance and identity and choices and all the things that are inherent in that. In a way I feel like it’s one of the most universal stories I’ve told, even though it actually takes place in a kind of somewhat rarified world, but it’s rarified only in terms of where Jay Kelly exists in the culture. I mean, as we actually discover Jay Kelly was a kid from Kentucky with no money whose dad worked for the John Deere corporation. And you see Ron is dealing with all the sort of ordinary work-life questions that could be in any profession, right?…The story of success is the same story as the story of failure. It’s like it’s a barrier between you and who you might actually be, and in the case of a movie star, it’s such a specific thing. It’s like his name means something different than what his name meant when he was young. So, it’s like he lost his name, and I think that’s such an interesting way to explore how we all sort of deal with this gap between who we present ourselves as, and who we might actually be, and as we all get older we’re all hopefully getting closer to ourselves.

DEADLINE: Adam it looks like you just slipped into this role, like you knew this guy. So, what do you base it on, besides their script?

SANDLER: I base it on conversations with Noah and talking about my own teams, my own people that I’ve seen throughout the years, Noah’s people that he’s seen throughout the years and just that sense of a person who’s so dedicated to one person or all his clients and how much damage that can cause at home, just because of the amount of time that takes to be dedicated to someone, and the arts. 3AM in the morning, things can come to that person’s mind that is very important to them, and you have to be there for them. So, yeah, it’s about kind of giving away any privacy and just being okay with that, and I thought that was fun to be a man like that, to be a guy that said, ‘hey, even though it pains me right now, you guys know the drill. This guy comes first.

BAUMBACH: It’s also like, to be good at your job…But to be good at your job in that instance means that you’re dedicating yourself and your time and your life, If you’re younger and you love it you’re happy to devote all day long to it, but then, as you start to have a life and a family, but you’re still doing it….You know, when I was starting, I would edit seven days a week. I still love editing as much as I ever did, but you know, I want a weekend with my family, and I want to knock off at six and go have dinner with the kids and do all that. Liz (Laura Dern’s publicist character) even says it to Ron. ‘In the beginning, it was fun. You know, he was our baby, and we take care of him, but now we have real babies’.

SANDLER: It’s a heartbreaking scene on the tennis court, just how much my daughter needs me there, how important it is, and just it’s out of my control. Something’s going on with the man I’m dedicated to, and I’m going to Europe with him, and you can’t talk me out of it, because I know what’s best.

BAUMBACH: Ron is like Jay’s shadow. I mean, the opening of the movie, when, you know, we make our way through the set, and Jay actually is a shadow when we first see him in the tent, and Ron and the shadow move together and then kind of converge. It was sort of a way to tell that story right off the bat… Jay’s having a sort of existential dark night of the soul, and Ron’s having the more ordinary version of ‘I’m away from my family. I’m trying to do a good job at work. I’m also trying to be a good parent, and how do I do this? And this is what I chose, or I need to re-choose this or not’.

DEADLINE: This wouldn’t have worked if we didn’t believe the relationship between Ron and Jay. Adam, you and George Clooney go back decades, don’t you?

SANDLER: Yes. We knew each other, George and I were always nice to each other, but we spent a lot of time on and off the set, and I’ll tell you what, no one was pulling for me like George every scene. Every scene, he was so excited about the stuff we’d do together and so excited…he was so quick to, on hearing cut, compliment what I did, and I would say, ‘well, do you just know how great you are and how easy it is to do this with you?’ And he doesn’t like compliments. He’s just like, ‘no, no, no, no, no, it’s okay, thank you, but what you’re doing’. He’s such a nice, giving actor, and we did have a nice time on set. When Noah was setting up a shot, we’d sit with each other, George and I, and just talk and get close and run scenes or just talk about life and talk about our families, and we’re very kind to each other.

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in 'Jay Kelly'

George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick in ‘Jay Kelly’

Peter Mountain/Netflix

DEADLINE: You’re running away with the reviews in this, if you read them.

SANDLER: Just so you know, I don’t read them, but I’ll take it. Thank you.

DEADLINE: There’s major awards buzz around your performance. How does that feel?

SANDLER: It’s really nice, man. I get to talk about it…I don’t know what a right answer to that is, you know, but it’s just all exciting. I do have to say, whatever compliment comes my way goes back to my man Noah. I’m proud to be this man but I know it came from Noah, and I’m really thankful that he gave me this part that had so many different things to do and ways to think.

DEADLINE: And it’s not the first time. Obviously, Uncut Gems and Punch-Drunk Love put you in the conversation, and on and on.

SANDLER: Man, I’m so happy. Noah called me, it was probably two years ago, and said he has an idea, and he wants to include me, and so, right away, you say, well, that’s big, because Noah’s writing, and how serious and how hard he works, you know there’s going to be something there that, as an actor, you say, ‘okay, man, this is the big time’, and you don’t want to waste a word of it. Then I got to read it, and then I said, ‘okay, this is something that I will never forget. I’m diving in deep and trying to be this guy, and I’m going to love being this guy’, and you don’t think of the other stuff. Others have brought stuff up while we were shooting, to me, and I would say, ‘I don’t think I want to talk about anything but how great this movie could be’, and so, that’s where you land. I just love Noah. I know that everything I did in this movie is where he led me. When I make my movies, I work hard on them, and I feel the pride in everybody’s performance, and I have the same feeling about this movie. I know I follow what Noah told me to do, and I would always be happy when Noah would say we got it. On a particular take, I’d say, ‘all right, if Noah’s happy, then we’re doing something right’.

Jay Kelly opens in select theatres November 14 and begins streaming on Netflix December 5.

September 30, 2025 0 comments
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Jay Duplass Directs a Holiday Romance
TV & Streaming

Jay Duplass Directs a Holiday Romance

by jummy84 September 4, 2025
written by jummy84

If you find yourself feeling down on your luck this holiday season, it might be time to ask yourself a simple question. Do you really need all 32 of your teeth? Couldn’t you spare one or two in exchange for a potential lifetime of happiness?

That’s more or less the takeaway from “The Baltimorons,” though Jay Duplass’ bittersweet holiday romance takes a few detours on its way there. Co-writer and star Michael Strassner gives himself a tailor-made breakout role as Cliff, a sad sack Baltimore native who can’t properly celebrate his six month sobriety milestone because he’s mourning an unsuccessful suicide attempt and his depressing (and in all likelihood, depressingly common) improv-comic-to-mortgage-broker career path. His struggles with addiction clearly took a toll on his fiancé Brittany (Olivia Luccardi), and their relationship has evolved into something more resembling a caregiver and patient than a romantic partnership (with all the resentment that accompanies that, of course). And these days, she seems more concerned about him relapsing into comedy than having a drink.

Paul McCartney 'Man on the Run'

It doesn’t take long to ascertain that Cliff is going nowhere in a hurry, but sometimes all you need is a lucky break. His comes in the form of a dental emergency when he absentmindedly walks into a doorframe on his way into Christmas Eve dinner with Brittany’s family, knocking a pearly white out of his mouth and sending him straight to the one dentist in town who’s willing to work on a holiday.

Cliff is the one having needles jabbed into his gums, but Didi (Liz Larsen) might be having the worst day of the two people in this particular dental office. Christmas Eve is her favorite day of the year, but she’s just been informed that her adult children won’t be coming over tonight because her ex-husband has decided to throw an impromptu wedding reception after his impromptu courthouse wedding with his second wife. It doesn’t help that her patient initially comes across as the most insufferable Comedy Guy you’ve ever met — nothing he does in the 101 minutes of this film suggests that he’s remotely problematic, but we all know somebody with the exact same vibe who has posted a Notes App apology on his Instagram story — and the laughing gas turns him into even more of an oversharing mess than he already was.

Cliff makes a few ill-timed passes at her under the plausible deniability of painkillers, and Didi would love nothing more than to cut ties after their appointment. But Cliff’s car gets towed, and Brittany doesn’t seem eager to come pick him up, so a combination of Good Samaritan instincts and a desire to avoid her lack of Christmas Eve plans prompts Didi to drive him to the impound lot. Neither one of them is willing to admit that they’re hanging out because they have nowhere else to go, but one errand gives way to a Christmas Eve odyssey that sees them break the law, feel the first sparks of love (or at least attraction), and commit the ultimate sin: performing improv together.

“The Baltimorons” is an Indie Movie with a capital “I,” and would likely have been branded as such even if it was produced by Paramount or Netflix. When you think of indie film as a genre (as opposed to a statement of financial affiliations), this is the kind of movie that comes to mind. It’s the tale of an unremarkable man who, through the power of cinematic storytelling, overcomes a few of his myriad flaws and is humanized in the eyes of audiences en route to a bit of incremental improvement. But Duplass’ first directorial effort without his brother Mark bears the elegant simplicity of a life spent learning how to make good Indie Movies, and its combination of charismatic leads, smooth shot compositions, and timeless Christmas music ensures that you’ll be rooting for its May-December romance to take hold by the time it ends.

December ennui is a universal experience, and this film makes no effort to hide the fact that we’re all destined to suffer from the Holiday Blues at one point or another. Human lives inevitably ebb and flow yet the calendar is consistent, ensuring that a few Decembers will always coincide with a few of our lowest points. But tragedy is often the trailer that plays before opportunity, and “The Baltimorons” makes a solid argument that every one of us is only a dental catastrophe away from turning everything around.

Grade: B

An IFC Films release, “The Baltimorons” opens in New York City on Friday, September 5 before expanding on September 12.

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. 

September 4, 2025 0 comments
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Venice 2025: Noah Baumbach's 'Jay Kelly' with Clooney & Sandler
Hollywood

Venice 2025: Noah Baumbach’s ‘Jay Kelly’ with Clooney & Sandler

by jummy84 August 31, 2025
written by jummy84

Venice 2025: Noah Baumbach’s ‘Jay Kelly’ with Clooney & Sandler

by Tamara Khodova
August 31, 2025

For American director Noah Baumbach, returning to the Venice Film Festival must feel like coming back to the scene of a crime. Three years ago, he opened the fest with his apocalyptic drama White Noise, which was savaged by festival crowds. By the director’s own admission, the experience was so traumatic he lost his faith in cinema. He credits two things with restoring it: working on the screenplay for Barbie with his wife, Greta Gerwig, and a new collaboration with actress Emily Mortimer, with whom he co-wrote his new film titled Jay Kelly. The movie follows Hollywood star Jay Kelly (starring George Clooney as the famous actor), who, after an encounter with an old friend, is prompted to reconsider his life choices. He abruptly decides to end his acting career and takes off for Europe, where he hopes to find his younger daughter and mend their relationship, having failed to do so with his older daughter (Riley Keough). So he brings his entire entourage along for the ride, including hairdresser, publicist (Laura Dern), and his loyal manager (Adam Sandler), who follows his beloved client everywhere he goes, even at the expense of his own family.

Baumbach is clearly exorcising some demons, and he’s brought all his friends along. Much like in a Wes Anderson film, Jay Kelly features a cast of the director’s famous acquaintances, with Greta Gerwig, Isla Fisher, and Jim Broadbent all making cameo appearances. The result feels less like a movie and more like a group therapy session. And yet, considering the state of the world—and cinema in particular—perhaps a little mutual support is no bad thing, even if it’s fleeting. Still, one can’t help feel the director has lost his incisive edge, trading his signature blend of pessimism & absurdity for a dose of unchecked sentimentality.

Jay Kelly opens with a gorgeous long take on the set of Kelly’s latest film. A scene buzzing with the focused chaos of a real shoot: the gossip, calls home, endless retakes—everything that comes with the filmmaking process, or at least our idea of it. Baumbach isn’t reinventing the wheel. His new film fits neatly alongside other recent movies about the magic of cinema like: Babylon, The Fabelmans, The Artist, and Hail, Caesar!. The director speaks of that famous movie magic, which, as it turns out, really does exist. Why else would millions of people lose themselves in front of screens, big & small, every single day, falling in love with everyone involved in this mystical process? But as the film shows, the process isn’t mystical at all. It’s dirty work, demanding total commitment, betrayal, lies, and profound loneliness. Again, that’s nothing new, but Baumbach & Mortimer pepper the story with the director’s signature snappy dialogue and comedic timing.

As the film wisely notes, it’s hard these days to get audiences invested in the struggles of an aging white man (though plenty of directors keep trying). George Clooney seems to be playing himself—it’s no coincidence his initials are a phonetic parody of the character’s. But then again, who really knows who George Clooney is? As the film suggests, an actor is never just himself. It’s an image built on another image, masked by many illusions. Sometimes, “playing yourself”—or rather, finding your true self within—is the hardest role of all.

It helps that Clooney is the quintessential movie star, with his dazzling smile, deep voice, and sharp suits. He’s in constant performance mode, effortlessly charming the world while alienating those closest to him. But the film’s emotional core isn’t the selfish, albeit lost, Kelly. It’s his manager, played by a heartbreakingly sad Adam Sandler. We haven’t seen the actor this melancholy since Paul Thomas Anderson’s Punch-Drunk Love. He’s the one truly trapped in a toxic relationship, the kind you need to flee without a second thought.

Perhaps judging Jay Kelly as a film is missing the point entirely. It’s less a movie, much more of a public conversation Baumbach is having with himself. Even if you fall under its spell, all the allure vanishes the moment the lights come up. Throughout the film, Baumbach seems to be wrestling with the very question that haunts so many artists: why endure the agony of creation? After all, filmmakers and actors are famous for threatening retirement, only to inevitably return to the craft they can’t escape. The climax sees Kelly accepting a lifetime achievement award as a montage of his work—which is to say, Clooney’s actual films—lights up the screen. Watching it, mesmerized by that silver glow, the protagonist realizes that the magic is real. And in that moment, the “how”—all the sweat, blood, and compromise that went into creating all of this art—simply doesn’t matter, the magic is what lasts.

Tamara’s Venice 2025 Rating: 2.5 out of 5
Follow Tamara on Telegram – @shortfilm_aboutlove

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August 31, 2025 0 comments
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bitchy | Amal Clooney tried to out-dazzle her sick husband at the Venice ‘Jay Kelly’ premiere
Celebrity News

bitchy | Amal Clooney tried to out-dazzle her sick husband at the Venice ‘Jay Kelly’ premiere

by jummy84 August 30, 2025
written by jummy84

George Clooney arrived in Venice earlier this week, where he was set to promote and premiere his new film, Jay Kelly. On Thursday, George was supposed to do the press conference and some individual interviews, but he ended up pulling out of all of it because he was feeling under the weather. They’re saying it’s a sinus infection, but I kind of wonder if he was suffering from the Don’t-Ask-Me-Political-Questions virus. His ratf–king with Jake Tapper blew up in his face, and while the international media might not care or ask, the American media might. Still, George “rallied” in time to walk the red carpet with Amal. He apparently told reporters that he can’t hear anything (convenient) and he was seen clutching his sore throat at times.

Amal looked… okay. While I love this vivid violet shade, I’ve never been into Amal’s love of mullet dresses. The train was very dramatic though, and the whole ensemble photographed very well, even if it’s a dated, button-covered disaster once you look at the details. In George and Amal’s early years, I loved her hair, and she regularly got really great blowouts back in the day. But in recent years, she’s been having a lot of bad hair days. Her hair is too long and it looks damaged and in need of some good conditioning treatments. Her colorist is also doing a terrible job! Update: I just saw the ID for Amal’s dress, it’s a vintage Jean-Louis Scherrer by Erik Mortensen. I honestly thought it was a custom Giambattista Valli.

Meanwhile, I was fully prepared to hate on this movie because of George Clooney, little did I know that my nemesis Laura Dern is also in Jay Kelly! LMAO, I hope this sh-t bombs so hard. Her bangs are trash!! (Her Armani is okay-ish although it looks unfinished.)

Eve Hewson in Schiaparelli – I kind of like this, and I usually roll my eyes at Schiaparelli.

Riley Keough in Chloé – it looks like something she would wear.

And finally, Greta Gerwig (her husband/partner Noah Baumbach directed Jay Kelly). This is custom Rodarte. Not bad.

Photos courtesy of Avalon Red, Cover Images.

Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142546, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142562, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142567, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon


Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142581, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142592, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142633, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon


Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142651, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Venice Biennale, 82nd Venice International Film Festival, red carpet for the film Jey Kelly. Pictured: George Clooney and his wife Amal Clooney. Venice, Italy 28 Agust 2025,Image: 1032142658, License: Rights-managed, Restrictions: , Model Release: no, Credit line: Maria Laura Antonelli/AGF Foto/Avalon
Celebrities attend the red carpet film ‘Jay Kelly’ on day 2 of the 82nd Venice International Film Festival

Featuring: Laura Dern
Where: Venice, Italy
When: 28 Aug 2025
Credit: IPA/INSTARimages

**UK, USA AND AUSTRALIA RIGHTS ONLY**


Celebrities attend the red carpet film ‘Jay Kelly’ on day 2 of the 82nd Venice International Film Festival

Featuring: Eve Hewson
Where: Venice, Italy
When: 28 Aug 2025
Credit: IPA/INSTARimages

**UK, USA AND AUSTRALIA RIGHTS ONLY**

Celebrities attend the red carpet film ‘Jay Kelly’ on day 2 of the 82nd Venice International Film Festival

Featuring: Riley Keough
Where: Venice, Italy
When: 28 Aug 2025
Credit: IPA/INSTARimages

**UK, USA AND AUSTRALIA RIGHTS ONLY**

Celebrities attend the red carpet film ‘Jay Kelly’ on day 2 of the 82nd Venice International Film Festival

Featuring: Greta Gerwig
Where: Venice, Italy
When: 28 Aug 2025
Credit: IPA/INSTARimages

**UK, USA AND AUSTRALIA RIGHTS ONLY**


August 30, 2025 0 comments
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Jay Kelly review: George Clooney's latest is glossy and navel-gazing
TV & Streaming

Jay Kelly review: George Clooney’s latest is glossy and navel-gazing

by jummy84 August 28, 2025
written by jummy84

Clooney pays the titular star, just wrapping up his latest movie, a corny-looking thriller called Eight Men from Now. A multiple divorcee, he’s got two weeks before his next opus rolls, and he wants to spend it with younger daughter Daisy (Grace Edwards), only to discover she’s heading to Europe for the summer.

Then two things happen to give him pause for thought. Peter Schneider (Jim Broadbent), the director who gave him his big break as a young actor, dies. And, at the funeral, he meets Tim (Billy Crudup), an old acting class buddy.

As they catch up over a beer, it becomes clear Tim holds a grudge that Jay ‘stole’ his role at an audition way back when and they fight in the car park. The next day, and now sporting a black eye, Jay decides to ditch the new movie and fly to Paris to intercept Daisy.

And so he takes a private plane with his entourage, including long-time manager Ron (Adam Sandler) and publicist Liz (Laura Dern), as well as his hair stylist (Emily Mortimer) and other assorted hangers-on. His excuse? That he’s going to attend a career tribute in Tuscany, one he previously rejected.

Greta Gerwig as Lois Sukenick and Adam Sandler as Ron Sukenick in Jay Kelly. Netflix

The film’s central sequence, and its most amusing, sees Jay and his team on board a public train to Italy. With no first class, he has to sit with the “plebs”, as Stath Lets Flats’ Jamie Demetriou – one of the passengers – puts it. Amazed to see such a mega-star in the wild, they flock around him.

“When I see you, I see my whole life,” cries one man, delighted, like something out of Fellini’s 8½. Behind the scenes, Ron and Liz are trying to firefight an escalating situation, as Tim looks to sue Jay for the injuries he suffered in their bar fight.

Increasingly, Jay starts to reflect on his own life, especially his poor relationship with older daughter Jessica (Riley Keough). It doesn’t help when Ron’s other actor client Ben (Patrick Wilson) turns up to accept another tribute, with his lovely family in tow.

Nor when his “working stiff” father (Stacy Keach) arrives, gently berating his son where possible. By this point, though, Baumbach’s movie is starting to wallow in cliché, especially with Alba Rohrwacher’s over-the-top ‘Eye-talian’ handler.

At its best, Jay Kelly offers an understated performance from Sandler, reuniting here with Baumbach after 2017’s The Meyerowitz Stories. It’s a tender, heartfelt turn from Sandler, far removed from his comedic man-child schtick, as he plays a man who comes to realise he needs to support his own family (including his wife, played by Baumbach’s partner and Barbie co-writer Greta Gerwig), rather than devote his life to Kelly’s stardom.

As for Baumbach, this glossy first team-up with Clooney feels far removed from the edgy indies he made with Gerwig like Frances Ha and Mistress America. In some ways, it feels like a tribute to Clooney (see the concluding montage, featuring clips of Clooney in Syriana, Leatherheads, The Thin Red Line and others).

The trouble is, everyone knows Clooney’s life is not as empty as Jay Kelly’s; quite the opposite in fact. The desired effect, for us to feel for his character mid-crisis, never quite works.

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Jay Kelly arrives on Netflix on 5th December 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 28, 2025 0 comments
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At 'Jay Kelly' Venice Press Conference, Adam Sandler Enters Oscar Race
TV & Streaming

At ‘Jay Kelly’ Venice Press Conference, Adam Sandler Enters Oscar Race

by jummy84 August 28, 2025
written by jummy84

In the absence of George Clooney at some of the events of this year’s Venice Film Festival (he is recovering from a sinus infection), it’s fitting that one of co-star Adam Sandler’s favorite lines in “Jay Kelly,” his third film working with director Noah Baumbach is “You’re Jay Kelly, but I’m Jay Kelly, too.”

While it is said in a wildly different context in the film, the line does speak to the already fast-moving awards narrative surrounding “Jay Kelly,” even before the film first screened at the 82nd Venice Film Festival. It may be Clooney who stars as the titular “Jay Kelly,” but it is Sandler who is already getting the most Oscar buzz for his supporting role as Ron, Kelly’s longtime manager and friend.

Star Wars: Starfighter

While the film sees the fictional Jay Kelly, an A-list actor and major Hollywood icon, try to process why he did not initially feel very conflicted about choosing his career over his family, Sandler’s Ron is having a lot more of a struggle not being around for his children, in a way that mirrors how the actor functions in real life.

“Adam does have such grace and such loyalty and generosity of heart around people. He works with his family. He really does make an effort to involve [them] that’s different from Jay Kelly. He really has found a way to successfully navigate this whole thing and do it so beautifully,” said Baumbach during the film’s Venice press conference on Thursday. “To have him play somebody that, to me, represents Adam and that generosity of spirit, and also that loyalty and love that I see that comes from him, that the character feels for Jay.”

Though the role is not totally against type, as Sandler has played plenty of family men over the past decade, it does allow the comedian to lead from love instead of anger, in a way that likely will tug on Academy voters’ heartstrings more than “Uncut Gems” ever could.

And “Jay Kelly” is really an actors’ film, shedding a positive light on Oscar winners Clooney and Laura Dern as well, who said, “Noah Baumbach had me at hello, so I’ll go wherever he asks.” The Netflix film is her first collaboration with Baumbach since she won Best Supporting Actress for her role in his 2019 film “Marriage Story.”

The most likely prospect for “Jay Kelly” is for Sandler to follow suit, with a big Best Supporting Actor push, though Best Actor and Best Supporting Actress nominations for Clooney and Dern are not out of the cards.

“I could not be more proud. … The feeling it gives you. You lock in. You’re invested. Your heart is broken. You get relief,” said Sandler of working with Baumbach. “He knows how to do everything, and he finds places to make you laugh. And all our characters have ways of you if you watch them, to laugh at any new moment, to feel pain. And as an actor, all of us, you read a script like this, you say, ‘Holy shit, I can’t believe that I’m getting this gift.’”

Netflix will release “Jay Kelly” in theaters on Friday, November 14 with a streaming release to follow on Friday, December 5. 

August 28, 2025 0 comments
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