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Sofia Vergara has been the ‘it girl’ of Hollywood for many years now. Being at the top of her game since she first joined the industry, she worked her way up to becoming one of the highest-paid actresses. Outside of her professional life, someone of her status naturally has a private life that the world wants to snoop into.

Although for many years she had been happily married to Joe Manganiello for almost ten years, the couple divorced last year. With this, there have been many speculations about who Vergara could be involved with now.

Sofia Vergara in Modern Family | Credit: ABC

One name has been making headlines alongside hers, and it could be a cause for conflict in quite an interesting manner.

Sofia Vergara has been sparking rumors about a certain F1 driver

Around a year after her divorce from Joe Manganiello, Sofia Vergara has been sparking rumors about...

Behind every great piece of art, there’s usually a story of struggle, rejection, or, in the case of Modern Family, it was pure, unfiltered frustration. One of the best sitcoms of our times wasn’t just a happy accident, it was born from the simmering rage of its creators.

But from this anger, they struck gold and redefined family comedy. With an unforgettable ensemble that featured Sofia Vergara, Ty Burrell, Julie Bowen, and more, the show turned out to be a cultural phenomenon. So, let’s dive into how the sitcom was born and what made it a game-changer.

Sofia Vergara in Modern Family | ABC How Fox’s comedy graveyard led to Modern Family

As per reports from The Hollywood Reporter, Christopher Lloyd and Steve Levitan were furious after Back to You, a sitcom led by Kelsey Grammer and Patricia Heaton, was canceled in 2008. They had high hopes for...

Ed O’Neill is sitcom royalty—no intro needed. From grumpy dad vibes in Married… with Children to lovable grandpa energy in Modern Family, he’s been making us laugh for decades. But don’t let the punchlines fool you—at 78, O’Neill’s still showing the world he’s not just a comedy king, he’s got serious acting chops too.

Be it raw vulnerability, overwhelming emotions, or bitter anger, he has shown his mastery over all of those elements and more throughout his career. Hence, it is no wonder that an actor like him got to play alongside the likes of Denzel Washington and Angelina Jolie in The Bone Collector.

Ed O’Neill as Jay Pritchett | Credits: ABC

However, it is nothing but a travesty that his film career suffered the consequences of his overwhelming sitcom success to the point of almost getting buried under the weight of it.

Ed...

Paolo Sorrentino’s Parthenope, the director’s sumptuous, occasionally surreal tribute to his hometown of Naples, and Andrea Segre’s The Great Ambition, a political biopic about Italian Communist Party leader Enrico Berlinguer, are the frontrunners for this year’s David Di Donatello awards, Italy’s version of the Oscars.

Parthenope and The Great Ambition picked up 15 nominations each, including for best film and best director. In the best film category, they will face up against Maura Delpero’s Italian WW2 drama Vermiglio and Valeria Golino and Nicolangelo Gelormini’s L’arte della gioia (The Art of Joy), which received 14 nominations each, and the Francesca Comencini-directed drama The Time It Takes, which received four nominations. Other multiple nominees include Margherita Vicario’s debut feature Gloria!, about women musicians at a Church-run establishment in early-1800s Italy, which scored nine nominations, and Francesco Costabile’s crime thriller Familia, with eight.

In the best international film category,...

We’re in an era of entertainment maximalism. Superheroes with larger-than-life powers; cinematic universes with a dozen franchises or more; huge swings with even the unlikeliest IP: all are inescapable. So it’s nearly a miracle that Somebody Somewhere, which seems like an experiment in how small a story can be and still enthrall its audience, has lasted this long. With its third and final season, it ends as it began: portraying the vital necessity of true friendship, especially later in life.

In the first season, Sam (Bridget Everett) has relatively recently returned from New York City to her hometown of Manhattan, Kansas, for her sister Holly’s last days. As the series begins, Holly has died of cancer, and Sam is just trying to maintain baseline functionality. She doesn’t realize that Joel (Jeff Hiller), now her co-worker at her job reading college admission essays, knew her when they were both in high school,...

In one of its major recent scripted pick-ups, Zdf Studios has acquired international distribution rights to “Lume,” an eco thriller set against the building crisis of endemic wildfires on the northern Portugal-Spain border which is devastating its countryside.

The production-distribution powerhouse of one of Europe’s biggest public broadcaster powerhouses, Zdf Studios is bringing “Lume” to market at this week’s Mipcom trade fair.

The Zdf pick-up is just the latest sign of interest from international companies and institutions in “Lume.” Warner Bros. Discovery’s platform Max will stream the series in Spain and Portugal, airing simulcasting with Rtp and Televisión de Galicia (Tvg), the public broadcasters of Portugal and Galicia, Spain’s North-West region.

“Lume” was also one of nine E.U. series which won co-financing this June in the second round of the Council of Europe’s pilot program for Series Co-Production Support. The grants target high-quality productions.

Patt Shea, the Norman Lear regular who co-wrote the 1979 series finale of All in the Family and co-created and worked on two spinoffs of the fabled sitcom, Archie Bunker’s Place and Gloria, has died. She was 93.

Shea died April 12 of natural causes on her birthday at her home in Sherman Oaks, her son Michael Shea, a director and assistant director, told The Hollywood Reporter. The family chose to wait until this week to publicly announce her death.

“Patt Shea was a trailblazer in comedy writing,” Michael noted. “Her success as a writer in groundbreaking sitcoms was only matched by her generosity and compassion for people.”

Jack Shea, her husband of 59 years, died in 2013. He directed dozens of episodes of such Lear-connected sitcoms as The Jeffersons, Silver Spoons and Sanford and Son and served as president of the DGA from 1997-2002, part of a half-century of dedicated service to the guild.

Mubi has unveiled their November 2023 lineup, featuring notable new releases such as Ashley McKenzie’s Queens of the Qing Dynasty and Alain Gomis’ Thelonious Monk documentary Rewind & Play. Also in the lineup is three stellar earlier films from Christian Petzold––Yella, Jerichow, and The State I Am In––along with John Cassavetes’ Husbands and Gloria, a Hayao Miyazaki short, and a retrospective dedicated to Argentinian-born, French-educated filmmaker and theorist Nelly Kaplan.

Check out the lineup below and get 30 days free here.

November 1

A Very Curious Girl, directed by Nelly Kaplan | A Mischievous Rebellion: Films by Nelly Kaplan

The Pleasure of Love, directed by Nelly Kaplan | A Mischievous Rebellion: Films by Nelly Kaplan

Charles and Lucie, directed by Nelly Kaplan | A Mischievous Rebellion: Films by Nelly Kaplan

Papa the Little Boats, directed by Nelly Kaplan | A Mischievous Rebellion: Films by Nelly Kaplan

Yella, directed by Christian Petzold | Phantoms Among Us: The Films of Christian Petzold

Jerichow,...

The ever-expanding Charli Xcx musical universe of songs about fast cars and late nights has found a new addition in the Sam Smith-assisted single “In the City.” On their first collaboration together, the two musicians wrap themselves in the safety blanket of hedonism in the dark of the night.

“The song is about finding the people you truly love and connect with through wild nights out and partying in magical places,” Charli Xcx said of the one-off single in a statement. “It’s about feeling accepted, the magnificence of...

Sarah Paulson will return to Broadway in Branden Jacobs-Jenkins’ play, Appropriate.

The play, directed by Lila Neugebauer, will begin previews at Second Stage’s Hayes Theater starting Nov. 28, with an opening set for Dec. 18. Paulson was last on Broadway in the 2010 run of Donald Margulies’ Collected Stories, where she starred opposite Linda Lavin, and most recently on stage in the 2013 off-Broadway run of Lanford Wilson’s Talley’s Folly.

This production is the Broadway debut for Jacobs-Jenkins, whose plays, Gloria and Everybody were both Pulitzer Prize finalists. Appropriate first premiered off Broadway in 2014 and won the Obie Award for best new American play, an honor it shared with An Octoroon, also written by Jacobs-Jenkins. Appropriate transferred to London for a limited run in 2019.

Paulson will play Toni, the eldest daughter in the Lafayette family, who returns home, alongside her brother, Bo, to settle her father’s estate. The two reminisce...

Gena Rowlands is the Ocar-nominated thespian who made a name for herself thanks to a series of manic, high-wire performances in several films, many of them directed by her late husband, indie maverick John Cassavetes. But how many of her titles remain classics? Let’s take a look back at 12 of Rowlands’s greatest films, ranked worst to best.

After making a name for herself with bit parts onstage and onscreen, Rowlands flourished when she became the muse of Cassavetes, who she married in 1954. A fellow performer, Cassavetes would raise money from appearing in movies like “The Dirty Dozen” (1967) and “Rosemary’s Baby” (1968), immediately funneling the funds into his own projects. His wife was usually front and center, as were their family members and friends.

Rowlands’s operatic performances were a perfect match for her husband’s improvisational, energetic films, including “Faces” (1968), “Minnie and Moskowitz” (1971), “Opening Night” (1977) and “Love Streams” (1984). Her...

Signed, sealed and delivered, Book Club: The Next Chapter is an unabashed love letter to four great movie stars. As a vehicle for their talents, it’s less of a sure thing. If you can see past the clunky plot contrivances, strained hijinks and one-liners that don’t land, and focus on the Italy-set comedy’s Mediterranean glow and the dazzling quartet of go-getters at its center, the movie might fit the bill as a celebratory pairing with Mother’s Day brunch.

The tagline on the key art encapsulates the sequel’s problems: “Slightly Scandalous. Totally Fabulous.” That qualifying “slightly” signals the softer cadence of this reunion. In the 2018 hit, Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen transcended the often tepid humor with their rat-a-tat delivery; here, returning director Bill Holderman, again working from a screenplay he wrote with Erin Simms, struggles to find a rhythm, and flat...

Kim Petras marked her win for Best Pop Duo/Group Performance with Sam Smith by reminding folks how she trailblazed her way to the Grammy stage.

“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” she announced from stage to huge applause.

Related Story Grammy Awards Winners List – Updating Live Related Story Trevor Noah Opens Grammys With A Dig At Los Angeles; Introduces The Rock To Big Fan Adele Related Story Viola Davis Now An 'Egot' After Grammy Win

Smith then encouraged folks to keep standing up for his partner on “Unholy.” This is Smith’s first Grammy win as a nonbinary artist (they came out as nonbinary after winning four Grammys in 2015).

Related: Grammy Album Of The Year Winners Through The Years – Photo Gallery

“I just want to thank all the incredible trangender legends before me who kicked these...

Sam Smith has been open about their lifelong struggle with body dysmorphia but the “Stay With Me” singer now appears to have it under control.

In a recent interview with The Sunday Times, Smith admitted it had been a long journey to accept themselves enough to pose shirtless for the cover of their latest album, Gloria.

“Within my industry there is definitely that question of, ‘What should a pop star look like?'” Smith explained, admitting they never fit the “norm.”

Read More: Sam Smith Poses Wearing Heart-Shaped Nipple Covers Amid Music Video Controversy

According to Smith, a change began happening with their self-image after their 2018 Thrill of It All tour.

“When I was 25, I came off tour exhausted. I looked to role models in the body world. Every time I went to the pool, I felt self-conscious, but I forced myself to take my top off,” they said.

“It...

Sam Smith continues to appear to shrug off any controversy surrounding their new music video for “I’m Not Here To Make Friends”.

Smith caused a stir online this week after dropping the sizzling vid, which saw them performing raunchy routines with backing dancers, wearing nipple pasties, getting showered with water and more.

Despite some calling the clip “inappropriate,” Smith doesn’t seem to mind the criticism.

Read More: Sam Smith Gushes About Working With Ed Sheeran On ‘Gloria’: ‘It Was Beautiful’

They took to Instagram to share a snap of themselves posing defiantly while wearing some black, heart-shaped nipple covers, as well as sharing a close-up shot of their chest.

They shared the images with a simple black heart emoji.

View this post on Instagram

A post shared by Sam Smith (@samsmith)

Read More: Sam Smith On Harassment After Changing Pronouns: ‘Someone Spat At Me In The Street...

We watch Sam Smith arrive at an old castle. Within seconds, they’re inside, surrounded by provocatively dressed dancers undulating suggestively. Smith stands at the centre, tassels on their nipples. Streams of water bounce off their face. In a nearby room, leather-clad BDSMers thrust amorously atop beds. I suppose it’s no wonder Smith’s latest music video, for the disco-inflected track “I’m Not Here to Make Friends”, has got people up in arms. It’s a raunchy, unabashed display of sexuality. Some have branded it “pornography” – but they’re wrong. It’s an accusation that reeks of homophobia.

The track itself isn’t the issue. “I’m Not Here to Make Friends” has pretty innocuous lyrics – tamely horny lines about looking to pull in a nightclub. Smith’s video, too, shouldn’t really have raised too many eyebrows: the non-binary English singer was simply embracing the kind of in-your-face,...

We watch Sam Smith arrive at an old castle. Within seconds, they’re inside, surrounded by provocatively dressed dancers undulating suggestively. Smith stands at the centre, tassels on their nipples. Streams of water bounce off their face. In a nearby room, leather-clad BDSMers thrust amorously atop beds. I suppose it’s no wonder Smith’s latest music video, for the disco-inflected track “I’m Not Here to Make Friends”, has got people up in arms. It’s a raunchy, unabashed display of sexuality. Some have branded it “pornography” – but they’re wrong. It’s an accusation that reeks of homophobia.

The track itself isn’t the issue. “I’m Not Here to Make Friends” has pretty innocuous lyrics – tamely horny lines about looking to pull in a nightclub. Smith’s video, too, shouldn’t really have raised too many eyebrows: the non-binary English singer was simply embracing the kind of in-your-face,...

Luz

Hong Kong filmmaker Flora Lau finds her sophomore film Luz headlined by none other than Isabelle Huppert. Produced through Ama Productions, the Chinese-French co-pro also features the work of Chilean Dp Benjamin Echazaretta (who lensed Sebastian Lelio’s Gloria and A Fantastic Woman) with production design from Mila Preli. Few details have been released but Sandrine Pinna and Kung Fu star David Chiang are also in the cast. Lau’s 2013 debut Bends premiered in Un Certain Regard at the Cannes Film Festival.…...

Fall is upon us, and so is Hulu’s list of every title coming and going from the streaming service in November.

Among the list of arriving titles is a new episode of Hulu’s original monthly anthology series, “Into the Dark.” November’s episode is called “Pilgrim,” and claims to be inspired by true events — in which a woman invites a bunch of Pilgrim re-enactors over for Thanksgiving dinner. But things get spooky when the “actors” refuse to break character.

Other new arrivals include Season 5 of “You’re the Worst,” described as a modern look at love, the complete first seasons of “Dollface,” about a young woman re-entering the world of women, “The Accident,” which begins with a deadly explosion at a construction site, and “Love Island: Australia,” an answer to the U.K. and U.S. versions of the beloved reality dating show.

Also Read: Here's Everything New...

Last week, the esteemed record geeks at Numero Group released Basement Beehive: The Girl Group Underground, a compendium of shadow Shangri-Las and rando Ronettes. One of the more revealing tracks is by Belles, a teenage rock rager whose single 7-inch, released in 1966, makes them one of the slew of mysterious, mostly forgotten all-girl beat groups and garage rock crews predating hard rockers and proto-punks like the Shaggs, Fanny and the Runaways.

Formed in Miami Beach, the Belles played dances and an area Air Force Base, garnered a local newspaper feature...

Debuting at the 2018 Toronto International Film Festival Gloria Bell, Writer/Director Sebastian Lelio’s remake of his own 2011 film Gloria, stars Julianne Moore, Alanna Ubach, Tyson Ritter, Sean Astin, Michael Cera, Jeanne Tripplehorn, Rita Wilson and John Turturro. The film was co-written by Alice Johnson Boher.

Coen Brothers regular Turturro talked about working again with Julianne Moore, and how director Sebastian Lelio worked on set, Brad Garrett opens up about wearing no trousers at all, and comes to a critical mass on camera.

Here we present our highlights of the full press conference held in Toronto last week.

Gloria Bell is released in Canada on the 7th of September, 2018.

Plot:

A free-spirited woman in her 50s seeks out love at L.A. dance clubs.

The post Gloria Bell Tiff Premiere – John Turturro on the magic of working with Julianne Moore appeared first on HeyUGuys.

The Toronto International Film Festival is a grab-bag — all fests are, of course — but the 43rd annual edition of what’s arguably the major North American film event of any given year felt like an especially whiplash-inducing, something-for-every-film-nerd get-together this year. You could walk out of a prestige-seeking, Oscar-courting drama about parents dealing with drug-addict kids (there were a few to choose from) and right into a an eight-hour Chinese documentary about Communist “re-education” camps. You had your choice of watching Natalie Portman, Elle Fanning or Lady Gaga play pop...

Carrie Underwood, Cry Pretty

The latest album from American Idol‘s first “country” winner is “the next step, a modern country album pivoting into pop and r&b without going full Taylor, while also showing the kind of character more mega-stars should aspire to,” writes Will Hermes. “The songcraft is grade-a mall soundtracking, and credit Underwood’s mighty mezzo-ish soprano with selling even the lesser ones.”

Read Our Review: Carrie Underwood’s Populist Pop Pivot Cry Pretty

Various Artists, Basement Beehive: The Girl Group Underground

Over the last four years,...

Director Sebastián Lelio’s latest film, “Gloria Bell,” begs the question: Can moviegoers have too much of a good thing? This new picture is a near beat for beat remake of his 2013 critical darling “Gloria” – one of Rotten Tomatoes’s best-reviewed titles of all time. This new movie feels unnecessary. After all, if it ain’t broke? But if there’s one element here to pique viewer’s interest, it’s Lelio’s casting of Julianne Moore as the eponymous heroine.

Continue reading Sebastián Lelio’s ‘Gloria Bell’ Is A Worthy Remake Thanks To The Incredible Julianne Moore [Tiff Review] at The Playlist.

If the word out of Venice and Telluride wasn’t enough, the first four days of the 2018 Toronto International Film Festival has made it very clear: This is a dazzling fall festival season.

Bradley Cooper’s “A Star Is Born” has the look of a big hit and an awards contender. Damien Chazelle’s “First Man,” which premiered in Venice but had a spectacular IMAX debut on Sunday afternoon in Toronto, could be the same. Alfonso Cuaron’s “Roma,” which doesn’t officially bow at Tiff until Monday, is surpassingly intimate and enormously powerful, and seized the conversation on Saturday at Tiff when it won the Golden Lion at the Venice Film Festival.

Throw in a solid batch of other films, including Paul Greengrass’ gripping “22 July,” Dan Fogelman’s surprisingly dark “Life Itself” and Karyn Kusama’s alternately drained and brutal “Destroyer,” and the fact that nothing became an unexpected...

Mark Wahlberg isn’t the only “Boogie Nights” star saddened by the death of Burt Reynolds. Julianne Moore, who also acted alongside the actor in his Oscar-nominated role, tells Variety, “I loved Burt. I loved him” in a new Variety interview occasioned by the Tiff premiere of her new film “Gloria Bell.”

“Not only did I work with him in ‘Boogie Nights’ but he had a TV show in the ‘80s called ‘B.L. Stryker.’ I got a job on it and it was shot in Jupiter, Florida and I came down and shot for two weeks. He was so gracious and so lovely,” the actress says.

Reynolds died on Thursday at age 82. In addition to “Boogie Nights,” he was best known for such films as “Deliverance” and “The Longest Yard.”

“All those years later when we worked on ‘Boogie Nights,’ I went and knocked on his door was like, ‘Hey,...

In Sebastian Lelio’s 2013 drama “Gloria,” Chilean actress Paulina Garcia played a 58-year-old divorcee who mostly enjoys her life, blending nightclub outings with a stable job and cozy family time, until a misguided romance disrupts that careful balance. Much of the acclaim surrounding the Spanish-language movie noted the absence of similarly complex, authentic roles for a middle-aged actresses in American cinema. It should come as no surprise that one of them was not only eager to work with Lelio on a future project, but to play Gloria herself. Julianne Moore hasn’t missed out on playing substantial characters, but Lelio’s English-language remake “Gloria Bell” places her at the center of a fascinating cinematic experiment, as the movie delivers such a faithful shot-for-shot version of the original it’s almost as though Moore has been copied and pasted into every scene.

Some may question the reasoning behind the project, which...

Sebastián Lelio’s “Gloria Bell” is the second film this year to end with the Laura Branigan song “Gloria” — the kind of high-energy empowerment anthem that recasts its leading lady in a different light — the other being Netflix’s recent Gloria Allred docu “Seeing Allred.” Speaking of recasting leading ladies, it also happens to be the second of Lelio’s films to close with that song, although there’s a perfectly good explanation for that: “Gloria Bell” is a nearly scene-for-scene remake of the “A Fantastic Woman” director’s 2013 single-woman drama, this time in English and featuring Julianne Moore in the role that earned Paulina García the Berlin Film Festival’s best actress prize.

Many were skeptical when the project was announced, much as they were to the news that Jack Nicholson might star in an American version of “Toni Erdmann,” and yet Moore insisted in this case that if...

Oscar season just had a delicious appetizer. Now comes the all-you-can-eat buffet.

That’s the role that the Toronto International Film Festival plays in awards season: It’s an abundance of riches, an 11-day blowout in which just about every Oscar contender that isn’t still in the editing room will unveil itself in front of the international press and a bunch of movie fans.

As always, Toronto opens on the Thursday after Labor Day, just a few days after the conclusion of the Telluride Film Festival and a week after the opening of the Venice Film Festival. Those two fests have already showcased a good number of awards movies — and this year, they’ve given fans of quality cinema an unexpectedly rich array of films, to judge from the reactions coming from the canals of Italy and the hills of Colorado.

Also Read: 'First Man' Film Review:...

The less you know about the Temptations, the more you’ll get out of “Ain’t Too Proud,” a finger-snapping, hand-clapping new jukebox musical passing through Los Angeles’ Ahmanson Theatre en route to Broadway, where it is scheduled to open at the Imperial next spring. This nearly-all-black show’s got a lot going for it, between the sheer quality of the beloved R&B vocal group’s catalog and director Des McAnuff’s experience with such material (including the Four Seasons tuner “Jersey Boys” and “Summer: The Donna Summer Musical”), and yet, considering that the Temptations — who are, incredibly enough, still touring — have several SoCal playdates this September, it’s hard to compete with the thrill of seeing the actual group in concert.

Of course, we could debate all day whether today’s Temptations are still the same Temptations that broke through in the ’60s and ’70s with such hits as “My Girl,...

The Toronto International Film Festival has added a lineup of directors that range from Paul Greengrass to Jonah Hill and includes a large contingent of celebrated international auteurs.

The more than 100 additions to the Toronto lineup include Greengrass’ “22 July,” about 2011 terrorist attacks in Norway; Hill’s feature directorial debut, “Mid90s,” with Katherine Waterston and Lucas Hedges in a story of a Southern California teen who discovers skateboarding; “Green Book,” from “There’s Something About Mary” and “Dumb and Dumber” director Peter Farrelly; and Joel Edgerton’s “Boy Erased,” a coming-of-age drama written and directed by Edgerton and starring Nicole Kidman, Russell Crowe, and Lucas Hedges as a teen who is put in a gay conversion program.

The new films span five different sections of the festival: Galas, Special Presentations, Masters, Contemporary World Cinema and Wavelengths.

Also Read: 'Beautiful Boy,' 'A Star Is Born' Highlight Toronto Film...

One of the best pictures to come out of Hollywood in the late 1960s, Sydney Pollack’s screen version of Horace McCoy’s hardboiled novel is a harrowing experience guaranteed to elicit extreme responses. Jane Fonda performs (!) at the top of an ensemble of stars suffering in a Depression-Era circle of Hell – it’s an Annihilating Drama with a high polish. And this CineSavant review ends with a fact-bomb that ought to start Barbara Steele fans off on a new vault search.

They Shoot Horses, Don’t They?

Blu-ray

Kl Studio Classics

1969 / Color / 2:35 widescreen 1:37 flat Academy / 120 min. / Street Date September 5, 2017 / available through Kino Lorber / 29.95

Starring: Jane Fonda, Michael Sarrazin, Susannah York, Gig Young, Red Buttons, Bonnie Bedelia, Bruce Dern, Allyn Ann McLerie.

Cinematography: Philip H. Lathrop

Production Designer: Harry Horner

Film Editor: Fredric Steinkamp

Written by James Poe, Robert E. Thompson from the novel They Shoot Horses, Don’t They?...

For an hour that so drastically limited the focus to one single storyline, Fargo Season 3 Episode 3 was a remarkably compelling installment of the series.

"The Law of Non-Contradiction" found Gloria Burgle leaving behind the Minnesota chill for sunny California to investigate her murdered stepdad's secret past. It also provided an incredible showcase for the unbelievably talented Carrie Coon.

The action was split between flashback sequences to Thaddeus Mobley in California in 1975 and Gloria Burgle essentially retracing his steps 35 years later.

In my review of Fargo Season 3 Episode 2, I wasn't fully clear on whether Ennis was definitely Thaddeus Mobley, but that was cleared up quickly.

Ennis was once an award-winning sci-fi writer on the verge of the big time, but a series of bad choices (and a whole lot of cocaine) derailed his life and his career, sending him into a life of drunken curmodgeonliness in Minnesota.

The flashbacks revealed that...

Need to catch up? Check out our previous Fargo recap here.

Ewan McGregor, take the week off! Wednesday’s Fargo was a Carrie Coon solo showcase, as Gloria traveled to sunny L.A. to dig into her stepdad Ennis’ murky Hollywood past.

First, a super ’70s flashback to the younger days of Ennis, aka sci-fi author Thaddeus Mobley: He’s approached by sleazy film producer Howard Zimmerman, who wants to put his latest book on the big screen. Soon, Thad is caught up in the Hollywood lifestyle, sniffing coke and hooking up with a young actress named Vivian — and handing...

Rob Leane Kirsten Howard Jun 1, 2017

Enjoying Fargo's third season and fancy a peek at what's to come in episode 8? Here's your chance...

Here's the official promo for episode 8 of Fargo's third season, entitled 'Who Rules The Land Of Denial?'

See related Class episode 8 review: The Lost Doctor Who Christmas special: another trailer arrives Doctor Who series 10: trailers, pics, synopsis & clip tease episode 8

The synopsis for 'Who Rules The Land Of Denial?' tells us that Gloria will hit some road blocks while Varga hatches a new scheme:

"Nikki struggles to survive, Emmit gets spooked and Sy joins Varga for tea. Written by Noah Hawley and Monica Beletsky; Directed by Mike Barker."

We'll bring you all the latest on Fargo season 3 as we hear it, of course.

Fargo season 3 air date

Season 3 of the award-winning show, which spun off from the 1996 Coen brothers' film of the same name,...

Brian De Palma has become the directorial litmus test of cinephiles everywhere. To supporters, he stands as a startling visual genius with a penchant for set pieces and lurid subject matter. To naysayers, he remains a lowbrow imitator who spends his studio budgets chasing the ghosts of Alfred Hitchcock and Jean-Luc Godard. Great director or high class hack? Inconsistent misogynist or Master of the Macabre? Much like his fractured narratives, the answer is never an easy one to attain.

Both sides provide ample support for their case. De Palma’s resume is riddled with enough hollow imitations (Sisters [1973], Raising Cain [1992]) and bloated commercial flops (The Bonfire of the Vanities [1990], The Black Dahlia [2006]) to sink any director. But even in misfires such as these, an undeniable attention to detail remains.

The split screen cover-up of Sisters or the heartbreaking screen tests of The Black Dahlia are breathtaking in scope and execution,...

I recently sat down with director Isabel Coixet, and actors Patricia Clarkson and Sarita Choudhury at the Crosby Hotel in New York City, to discuss their new film "Learning to Drive." The film, written by Sarah Kernochan, is based on the autobiographical New Yorker short story by Katha Pollit, a long-time political columnist for the Nation.

Wendy is a fiery Manhattan author whose husband has just left her for a younger woman; Darwan is a soft-spoken taxi driver from India on the verge of an arranged marriage. As Wendy sets out to reclaim her independence, she runs into a barrier common to many lifelong New Yorkers: she’s never learned to drive. When Wendy hires Darwan to teach her, her unraveling life and his calm restraint seem like an awkward fit. But as he shows her how to take control of the wheel, and she coaches him on how to impress a woman, their unlikely friendship awakens them to the joy, humor, and love in starting life anew.

My conversation began with Isabel Coixet and Sarita Choudhury

Isabel Coixet’s award-winning film credits include "Demaisiado viejo para morir joven," "Things I Never Told You,""My Life Without Me," "The Secret Life of Words," "Paris, je t’aime," "Elegy," "Map of the Sounds of Tokyo," "Yesterday Never Ends," "Another Me," "Nobody Wants the Night," as well as documentaries, including "Invisibles."

Currently, Sarita Choudhury can be seen on Showtime’s "Homeland." Her film credits include "Admission," "Gayby," "Midnight’s Children," "Generation Um…," "Entre Nos," "The Accidental Husband," "Lady in the Water," "The War Within," "Mississippi Masala," "Kama Sutra: A Tale of Love," "She Hate Me," "Just a Kiss," "Wild West," "High Art," "The House of the Spirits," "Gloria," and "A Perfect Murder."

Susan Kouguell: Tell me about the process of how "Learning to Drive" came about.

Isabel Coixet: We started talking about making this film with Patricia and Ben Kingsley when we were making "Elegy" (directed by Coixet, starring Clarkson and Kingsley) and we got along very well and we wanted to make another film together. Patricia discovered the short story by Katha Pollit, and she gave it to me and I thought it was wonderful. And then we got the screenwriter Sarah Kernocha involved. The film is a comedy but not a classical comedy. It was a very difficult film to pitch because you know financiers and producers want something they can put in one box and you can’t with this film. It was a long process. It took nine years.

Some Words Unspoken and the Intimacy of the Camera

Isabel Coixet: There is always this romantic feeling underneath [subtext], I think there is that possibility. You have to be true to your words. If they are true, you will have to stick to your words.

Sarita Choudhury: That’s what happens with people you meet. No you were my inspiration don’t make me your inspiration.

Isabel Coixet: I love Henry James. There is a possibility of romance in the air. My romantic side is always excited when I see something like this.

Sarita Choudhury: I had so few words in the film. In a way, I kept the words because I had to know not to say them. For us the script -- the situational was also in the script; the languidness. It was because Isabel holds the camera. There was a pace created to it. When you’re acting you can feel where the camera is, but when the camera is at the end of Isabel’s hand and she’s moving it, it almost creates an intimacy between you and the camera, and you and the actor. There’s a pace you normally don’t get in film. You didn’t know when she was on your face; you had to keep acting like acting in the theatre.

On The Lack of Women Directors

Isabel Coixet: There are so many articles about it. I’m always afraid to play the victim, to complain too much. I know there is an inequity with men and women directors. This is an issue in the world. I always say, (Coixet smiles) we have to ask for more salary to make up for all these years and maybe if we ask for more they’ll give us the same as a man.

I want to put my words where my mouth is by producing female directors; they are amazing talented people. I’m producing three short films and a feature documentary. That’s what I do.

Sarita Choudhury: I just did a young woman’s short film; there is something about her that’s brilliant. I’ve done two short films. I can’t change the caste system and I can’t do the voluntary work I need to be doing. Film is no different from the world, like Isabel said. That’s our work, to get every woman involved. And if a man is brilliant, let him in too.

I then asked Patricia Clarkson about her involvement with "Learning to Drive."

Academy Award® nominee and Emmy Award-winning actress, Patricia Clarkson, has worked extensively in independent films. The National Board of Review and the National Society of Film Critics named her Best Supporting Actress of the Year for "Pieces of April" and "The Station Agent." Her many film credits include "The Maze Runner," "Last Weekend," "Friends With Benefits," "One Day," "Easy A," "Shutter Island," "Vicky Christina Barcelona," "Elegy," "No Reservations," "All the Kings’ Men," "Lars and the Real Girl, and "Good Night, and Good Luck."

Susan Kouguell: What attracted you to the project?

Patricia Clarkson: I loved the Katha Pollit story in The New Yorker; it serendipitously came to me. I love Wendy, I love this character. I was nine years younger at the time, but I still felt I knew her. I was relentless trying to get this film made with producer Dana Friedman. I found it an equal dose of funny and tragic. I liked the almost commedia dell'arte aspect; this absurd situation and finding the tragic comedy. A woman who is brilliant who lives a great life -- she has everything, but “forgets to look up,” and then meets a man who has experienced tragic loss. They have disparate worlds. I found it a quintessential New York story, but it’s also universal. It’s an independent film, but it’s not independently-minded.

Some Final Words

The disparate worlds about which Clarkson refers to in regard to her character, Wendy’s relationship with Darwan [Ben Kingsley] -- the life of a financially successful New Yorker compared to the immigrant’s struggle, was a thematic element that I further discussed with Coixet and Choudhury. As Choudhury said to me, Coixet’s visual choices of her character, such as the moment when she watches feet walk by her basement apartment window, feeling trapped, underscore the poignancy of this fish-out-of-water situation. Coixet captures these elements with a delicate balance of both drama and comedy.

It was an inspiring morning to speak with these three powerful and talented women, who are committed to sharing their knowledge with the next generation of female filmmakers.

Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog...

The performance of an actor playing a villainous role can sometimes be the most interesting part of the film. This is an in-depth look at some of those performances which were awarded with an Oscar.

To get a good character in film, you have to develop that character. The audience needs to see the world through their eyes in order to understand their perspective and motivations. This is especially true with villains, which are arguably more difficult to develop than a traditional protagonist. Often times villains are given the short end of the characterization stick in any given film, which makes sense. It’s not easy making an action that could hurt or harm other people seem logical, so many films don’t put much effort into it. The audience recognizes a villain when they see one, and they know he is bad because of his actions, no matter how questionable they may be.

A particularly hard type of film about which to write critically is the comedy of modest ambition that achieves its aim with an acceptable amount of appeal in playing, gags, plot, and outlook, but little more. One does not wish to criticize for not being more (not least as so many are so less), nor to overpraise its slight achievements, leaving one mostly in the territory of reportage, rather than critical appraisal. Which is a way of saying that such a film is Puerto Ricans in Paris, a perfectly inoffensive, oftentimes smile-raising fish-out-of-water/culture-clash comedy that does what it aims to do pretty much without fault.

The Puerto Ricans in question are Luis (Luis Guzmán) and Eddie (Edgar Garcia, like Guzmán, a regular on director Ian Edelman’s HBO series “How To Make It In America), and they play well together – Guzmán furrows his brow a lot, and Garcia is like a nice,...

With my first Siff now in the books, I can say that I’ve learned some valuable lessons. The first being what a remarkable festival and diverse program the organizers came up with for the 41st edition. From the venues to the volunteers, everything was top notch. Like most festivals, it was a bit front-loaded with premieres, but there were also notable premieres later in the program, including Max Landis’ Me Him Her on the closing weekend. From top to bottom, this was a great line-up with very few thin spots.

The other major lesson I learned is that it’s impossible to adequately cover a film festival in the city in which you live. Family, friends, and full-time jobs don’t simply disappear just because you want to have some fun. I come away feeling disappointed that time constraints kept me from seeing a lot of great films, as...

His films don't necessarily have the hip reputations of some of his contemporaries, he wasn't as precious about the work as some other auteurs, and he never won a Best Director Oscar (though he received an honorary one in 2005). But there can be no question that Sidney Lumet was one of American cinema's finest filmmakers, as anyone who has read his seminal book "Making Movies," or just seen one of his many great films, can attest. Over a 50-year career, and almost as many movies (here's our retrospective of his work), Lumet undeniably made some duff films ("The Wiz," "A Price Above Rubies" and "Gloria"), but for every questionable picture, there were two solid classics. Read More: Watch: Sidney Lumet's 1955 Rejected TV Pilot 'The Challenge' Starting with his 1957 debut "12 Angry Men," and ending with the brutal, powerful "Before The Devil Knows You're Dead," with works like "Fail-Safe,...

South by Southwest, the multi-faceted film, music and technology festival held annually in Austin, TX will feature such upcoming films as Paul Feig’s Spy, David Gordon Green’s Manglehorn, Alex Gibney’s documentary Steve Jobs: The Man in the Machine, and Ondi Timoner’s Russell Brand profile Brand: A Second Coming as headliners in this year’s film festival lineup.

SXSW runs from March 13 to 21 in Austin and is now in its 22nd year. Variety has details of the 145 films and 100 world premieres bowing at this year’s festival. Brand, as previously reported, will be the festival’s opening night film.

Other notable titles on the list are the Will Ferrell/Kevin Hart comedy Get Hard, a rough cut of Judd Apatow’s Trainwreck, the directorial debut of 28 Days Later screenwriter Alex Garland, Ex Machina, and a new comedy by Michael Showalter, Hello, My Name is Doris.

On the small screen,...

Sneak Peek more footage, plus images from the 4th episode of "Marvel's Agent Carter", titled "The Blitzkrieg Button", written by Brant Englestein and directed by Stephen Cragg, with a Stan Lee cameo appearance, airing January 27, 2015:

"...'Peggy' may be in more trouble than usual when fugitive 'Howard Stark' suddenly returns for mysterious reasons. 

"Then 'Chief Dooley' chases a new clue all the way to Europe that threatens to destroy the future of 'Peggy' at the Ssr..."

Regular cast includes Hayley Atwell as 'Agent Peggy Carter', James D'Arcy as 'Edwin Jarvis', Chad Michael Murray as 'Agent Jack Thompson', Enver Gjokaj as 'Agent Daniel Sousa' and Shea Whigham as 'Chief Roger Dooley'.

Guest cast includes Lyndsy Fonseca as 'Angie Martinelli', Alexander Carroll as 'Agent Yauch', Dominic Cooper as 'Howard Stark', Bridget Regan as 'Dottie Underwood', Benita Robledo as 'Carol', Meagan Holder as 'Vera', Joanna Strepp as 'Gloria',...

The Screen Actors Guild handed out the 21st annual SAG Awards Sunday night live from the Shrine Auditorium in Los Angeles. Here is a rundown of all the nominees and winners as they are announced. And be sure to re-live our live blog of the show here! Theatrical Motion Pictures Outstanding Performance by a Male Actor in a Leading Role Steve Carell / John du Pont – "Foxcatcher" (Sony Pictures Classics) Benedict Cumberbatch / Alan Turing – "The Imitation Game" (The Weinstein Company) Jake Gyllenhaal / Louis Bloom – "Nightcrawler" (Open Road Films) Michael Keaton / Riggan – "Birdman" (Fox Searchlight Pictures) **Eddie Redmayne / Stephen Hawking – "The Theory Of Everything" (Focus Features)** - Winner Outstanding Performance by a Female Actor in a Leading Role Jennifer Aniston / Claire Bennett – "Cake" (Cinelou Films) Felicity Jones / Jane Hawking – "The Theory Of Everything" (Focus Features) **Julianne Moore / Alice Howland-Jones – "Still Alice" (Sony Pictures Classics)** - Winner Rosamund Pike / Amy Dunne – "Gone Girl...

Sneak Peek footage, plus images from the 4th episode of "Marvel's Agent Carter", titled "The Blitzkrieg Button", written by Brant Englestein and directed by Stephen Cragg, with a Stan Lee cameo appearance, airing January 27, 2015:

"...'Peggy' may be in more trouble than usual when fugitive 'Howard Stark' suddenly returns for mysterious reasons. 

"Then 'Chief Dooley' chases a new clue all the way to Europe that threatens to destroy the future of 'Peggy' at the Ssr..."

Regular cast includes Hayley Atwell as 'Agent Peggy Carter', James D'Arcy as 'Edwin Jarvis', Chad Michael Murray as 'Agent Jack Thompson', Enver Gjokaj as 'Agent Daniel Sousa' and Shea Whigham as 'Chief Roger Dooley'.

Guest cast includes Lyndsy Fonseca as 'Angie Martinelli', Alexander Carroll as 'Agent Yauch', Dominic Cooper as 'Howard Stark', Bridget Regan as 'Dottie Underwood', Benita Robledo as 'Carol', Meagan Holder as 'Vera', Joanna Strepp as 'Gloria',...

"The Blitzkrieg Button" - Peggy may be in more trouble than usual when fugitive Howard Stark suddenly returns for mysterious reasons. And Chief Dooley chases a new clue all the way to Europe that threatens to destroy Peggy's future at the Ssr, on "Marvel's Agent Carter," Tuesday, January 27 (9:00-10:00 p.m., Et) on the ABC Television Network. "Marvel's Agent Carter" stars Hayley Atwell as Agent Peggy Carter, James D'Arcy as Edwin Jarvis, Chad Michael Murray as Agent Jack Thompson, Enver Gjokaj as Agent Daniel Sousa and Shea Whigham as Chief Roger Dooley. Guest starring are Lyndsy Fonseca as Angie Martinelli, Alexander Carroll as Agent Yauch, Dominic Cooper as Howard Stark, Bridget Regan as Dottie Underwood, Benita Robledo as Carol, Meagan Holder as Vera, Joanna Strepp as Gloria, John Bishop as Frank, Tim Dezarn as George, Billy Malone as "large" smuggler, Jeremy Timmins as "larger" smuggler, Chad Danshaw as thug,...

Sneak Peek footage from the 4th episode of "Marvel's Agent Carter", titled "The Blitzkrieg Button", written by Brant Englestein and directed by Stephen Cragg, with a Stan Lee cameo appearance, airing January 27, 2015:

"...'Peggy' may be in more trouble than usual when fugitive 'Howard Stark' suddenly returns for mysterious reasons. 

"Then 'Chief Dooley' chases a new clue all the way to Europe that threatens to destroy the future of 'Peggy' at the Ssr..."

Regular cast includes Hayley Atwell as 'Agent Peggy Carter', James D'Arcy as 'Edwin Jarvis', Chad Michael Murray as 'Agent Jack Thompson', Enver Gjokaj as 'Agent Daniel Sousa' and Shea Whigham as 'Chief Roger Dooley'.

Guest cast includes Lyndsy Fonseca as 'Angie Martinelli', Alexander Carroll as 'Agent Yauch', Dominic Cooper as 'Howard Stark', Bridget Regan as 'Dottie Underwood', Benita Robledo as 'Carol', Meagan Holder as 'Vera', Joanna Strepp as 'Gloria', John Bishop as 'Frank',...

"The Blitzkrieg Button" - Peggy may be in more trouble than usual when fugitive Howard Stark suddenly returns for mysterious reasons. And Chief Dooley chases a new clue all the way to Europe that threatens to destroy Peggy's future at the Ssr, on "Marvel's Agent Carter," Tuesday, January 27 (9:00-10:00 p.m., Et) on the ABC Television Network.   "Marvel's Agent Carter" stars Hayley Atwell as Agent Peggy Carter, James D'Arcy as Edwin Jarvis, Chad Michael Murray as Agent Jack Thompson, Enver Gjokaj as Agent Daniel Sousa and Shea Whigham as Chief Roger Dooley.   Guest starring are Lyndsy Fonseca as Angie Martinelli, Alexander Carroll as Agent Yauch, Dominic Cooper as Howard Stark, Bridget Regan as Dottie Underwood, Benita Robledo as Carol, Meagan Holder as Vera, Joanna Strepp as Gloria, John Bishop as Frank, Tim Dezarn as George, Billy Malone as "large" smuggler, Jeremy Timmins as "larger" smuggler, Chad Danshaw as thug,...

Nominees for the 21st Annual Screen Actors Guild Awards for outstanding performances in 2014 in five film and eight television categories, as well as the SAG Awards honors for outstanding action performances by film and television stunt ensembles were announced this morning in Los Angeles at the Pacific Design Center’s SilverScreen Theater in West Hollywood.

SAG-AFTRA President Ken Howard introduced Ansel Elgort (“The Fault in Our Stars,” “Divergent”) and actress/director/producer and SAG Award recipient Eva Longoria, who announced the nominees for this year’s Actors. SAG Awards Committee Chair JoBeth Williams and Vice Chair Daryl Anderson announced the stunt ensemble nominees.

The 21st Annual Screen Actors Guild Awards will be simulcast live nationally on TNT and TBS on Sunday, Jan. 25, 2015 at 8 p.m. (Et) / 5 p.m. (Pt) from the Los Angeles Shrine Exposition Center. An encore performance will air immediately following on TNT. The SAG Awards can...

The 21st Annual Screen Actors Guild Awards Nominations were revealed Wednesday morning, serving as yet another precursor on the long road to the Oscars.

In the film categories, Birdman was the big winner, scoring four nominations, including for Michael Keaton, Edward Norton and Emma Stone, as well as the collective ensemble cast. Boyhood followed right in its footsteps with three nods for Ethan Hawke, Patricia Arquette and another ensemble nomination.

The big surprises of the morning’s nominations started with Jake Gyllenhaal for Nightcrawler, a bubble contender in a crowded Best Actor race, Jennifer Aniston for Cake, a bubble contender in a disappointingly less crowded Best Actress race, Robert Duvall in the poorly reviewed The Judge and Naomi Watts for St. Vincent (Watts was in Birdman as well, but that must’ve slipped SAG’s minds).

Rounding out the prize for Outstanding Cast, The Grand Budapest Hotel, The Imitation Game,...