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Source: Marvel Television / Disney+
After largely taking a break from superhero films and shows in 2024, Marvel Studios is looking to get back into the swing of things in 2025 and is already ginning up hype for the highly anticipated return of Matt Murdock aka Daredevil.
Source: Marvel Television / Disney+
ON Wednesday (Jan. 15), Disney+ released their first teaser trailer for Marvel’s upcoming series Daredevil: Born Again, and it seems like it’s going to remain true to the extremely violent nature that made it a fan favorite series on Netflix. Once again, starring Charlie Cox as the Man Without Fear and Vincent D’Onofrio as his archnemesis the Kingpin, the series seemingly picks up where it left off in 2018 with Matt Murdock having retired from the superhero scene and instead fighting crime in a court of law.
Unfortunately, for him, Wilson “The Kingpin” Fisk has become the new mayor of New York City. And if we’ve learned anything about politics the last few years it’s that corruption is no longer hidden and instead on full display. Though Matt is reluctant to return to his bone-breaking ways, something pushes him over the edge and he ultimately throws on the red devil costume and takes it back to the streets.
Featuring appearances from Jon Bernthal’s Frank Castle aka The Punisher and Wilson Bethel’s Benjamin Poindexter aka Bullseye, the trailer promises a helluva rebirth of Daredevil. The trailer also features a shot of new Marvel villain Muse, who’ll no doubt play a big role in the upcoming season.
There’s also rumors that Tom Holland’s Spider-Man may make a surprise cameo at some point, but we’ll have to wait and see if that comes to fruition.
We. Can’t. Wait.
Check out the trailer for Daredevil: Born Again below, and let us know if you’ll be checking for this when it premiers on Disney+ on March 4.
On Sunday (Jan. 5), Netflix’s Emilia Pérez won big at the 2025 Golden Globes. The musical crime comedy – starring Zoe Saldaña, Selena Gomez and Karla Sofía Gascón – took awards for best performance by an actress in a supporting role (Saldaña); best motion picture — non-English language; best original song — motion picture for […]
Joe Alwyn and Taylor Swift‘s years-long relationship, which came to an end in 2023, continues to make headlines in 2025.
The actor, who starred in A24’s The Brutalist and is presumably doing press for the film ahead of Oscar nominations being determined and announced this month, recently spoke with The Guardian about his work on the project — which premiered at Venice, with director Brady Corbet receiving the Silver Lion honor for best direction, and is up for several Golden Globes. An interview about Alwyn’s journey as an actor shifted topics to his experience with fame, and how dating one of the most recognizable pop stars in the world accelerated his ascent into celebrity.
The Guardian asked Alwyn if he worried “his relationship with Swift would overshadow his career.”
“I have tried just to focus on controlling what I can control,” Alwyn said. Looking back to his earliest work in the industry, in the 2016 film Billy Lynn’s Long Halftime Walk, he added, “And right from the beginning, tried to focus on the things that are meaningful for me: friends, family, work, of course. So noise outside of that, I think I’ve done what lots of people who find themselves in the public eye do, which is just try and ignore it. If you don’t, and if you let all of that other stuff in, and if it starts to affect you and your behavior, you’re living from the outside in. And then you’re pretty f—ed.”
When the publication’s reporter pressed that Alwyn “must just want to move on” from the public scrutiny he faced during his time with Swift, Alwyn tactfully made it clear that he has moved on, while pointing out that moving on remains “something for other people to do.”
“We’re talking about something that’s a while ago now in my life,” he replied. “So that’s for other people. That’s what I feel.”
In the article, published Sunday (Jan. 5), Alwyn spoke fondly of his collaborative work with his ex. He received credit as songwriter “William Bowery” on songs from Swift’s pandemic-era sister albums, 2020’s Folklore (“Exile,” “Betty”) and Evermore (“Champagne Problems,” “Coney Island,” “Evermore”), and on one from 2022’s Midnights (“Sweet Nothing”). Alwyn also received credit as a co-producer on several Folklore tracks, which resulted in him being awarded an album of the year Grammy alongside Swift, Jack Antonoff and Aaron Dessner in 2021.
“Lockdown was a whole host of surprises and that was pretty special,” Alwyn said of writing songs with Swift.
He continued, “That was not something I would have foreseen.”
The last time Alwyn, who’s known to stay quiet about his private life, spoke of his past relationship with The Tortured Poets Department hitmaker was in the summer, when The Sunday Times Style Magazine also brought her up in their convo with the actor.
“I would hope that anyone and everyone can empathize and understand the difficulties that come with the end of a long, loving, fully committed relationship of over six and a half years. That is a hard thing to navigate,” said Alwyn, who navigated questions about Swift carefully; he noted they’d agreed to “keep the more private details of our relationship private” during their time together.
Of their split, which made the news on April 8, 2023, he noted to The Sunday Times, “What is unusual and abnormal in this situation is that, one week later, it’s suddenly in the public domain and the outside world is able to weigh in … So you have something very real suddenly thrown into a very unreal space: tabloids, social media, press, where it is then dissected, speculated on, pulled out of shape beyond recognition. And the truth is, to that last point, there is always going to be a gap between what is known and what is said. I have made my peace with that.”
Read The Guardian‘s full feature on Alwyn here. The actor is next reported to appear in two Shakespeare-themed films: Aneil Karia’s adaptation of Hamlet and Chloé Zhao’s Hamnet (yes, Hamnet; not a typo), a story centering on William Shakespeare’s wife, Agnes.
Selena Gomez was photographed on two red carpets, styled in contrasting and confident looks, in Palm Springs, California, on Friday and Saturday (Jan. 3 and 4).
Gomez was in town for the 2025 Palm Springs International Film Festival’s Film Awards Gala, where she accepted the Vanguard Award with the cast of Emilia Pérez and the film’s director, Jacques Audiard.
The singer-actress walked the Palm Springs Film Fest red carpet Friday night in a custom, monochromatic suit by Ralph Lauren. The pearl-white, menswear-inspired ensemble included long-length trousers that covered her shoes, which were paired with a sheer top worn under a vest and an open blazer, all topped off with a matching necktie. Her hair was smoothly pulled back in a bun.
Meanwhile, a Saturday brunch organized by Variety saw Gomez looking demure in a baby pink, tweed Oscar de la Renta minidress with long sleeves, a modest neckline, and a short skirt featuring cherry blossom-embroidered pockets. The dress, from the designer’s pre-fall 2025 collection, was complemented by light pink heels and soft, wavy hair parted in the middle and worn down.
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The brunch was held to recognize the publication’s 10 Directors to Watch and Creative Impact Awards. Emilia Pérez director Audiard was honored with the Creative Impact in Directing Award.
“Your films are not just entertainment, they’re experiences,” Gomez said in tribute to her director. “Emilia Pérez is a powerful and poignant exploration of love, loss and the human condition. It is a true honor ro celebrate your incredible talent.”
Gomez, who’s engaged to marry producer Benny Blanco, wore her marquise-cut diamond engagement ring both days. The couple recently shared sweet photos from their time together over the holidays and celebrating the new year.
See Gomez’s complete red carpet looks, styled by Erin Walsh, from the Palm Springs Film Festival on Friday and Variety‘s brunch on Saturday:
Selena Gomez attends the 36th Annual Palm Springs International Film Awards at Palm Springs Convention Center on Jan. 3, 2025 in Palm Springs, California.
Frazer Harrison/Getty Images for Palm Springs International Film Society
Selena Gomez attends Variety Presents The Creative Impact Awards and 10 Directors to Watch Brunch at Parker Palm Springs on Jan.4 , 2025 in Palm Springs, California.
Kevin Winter/Getty Images
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Now that comic book fans have gotten their first sneak peak at James Gunn’s DC Universe with the release of the trailer for his Superman film, the rebooted films are getting another boost with its latest addition, and fans are rejoicing.
According to Variety, Jason Momoa has officially been tapped to play Superman villain Lobo in DC’s upcoming Supergirl: Woman of Tomorrow film. For years, rumors have been running rampant that Momoa would be taking on the role once his ill-fated stint as Aquaman was over. Now, it’s coming to fruition, as aesthcallym the man is basically a carbon copy of the DC villain. Starring Milly Alcock (House Of The Dragon) as the titular character, the film is set to release after Gunn’s Superman: Legacy hits theaters in 2025.
Per Variety:
Craig Gillespie is directing the film, which also features Matthias Schoenaerts as villain Krem of the Yellow Hill and Eve Ridley as Ruthye Mary Knolle. Ana Nogueira (“The Vampire Diaries”) wrote the screenplay based on the run of DC comics by Tom King and Bilquis Evely.
Momoa confirmed the casting news on Instagram by sharing a quote from an interview with Fandango during the press tour for “Aquaman 2” where he discussed his longtime fandom of the character — an anithero known for his violent and irreverent personality.
“I collect comics, and I don’t do so much anymore, but he was always my favorite, and I always wanted to play Lobo, because I’m like, ‘Hello? It’s the perfect role,” he said in the interview. “I mean, listen. If they call and ask me to play him, it’s a fuck yeah. I haven’t received that call, so I don’t want to put any fake news out there, but if they ever call me and ask me to play, or ask me to audition, I’m there.”
Supergirl: Woman of Tomorrow is set to release a year after Superman: Legacy, on July 26, 2026. James Gunn promises it’ll be much different than what they have in store for the Man of Steel come July 11, 2025.
“We see the difference between Superman, who was sent to Earth and raised by loving parents from the time he’s an infant, versus Supergirl, who was raised on a rock chip off of Krypton, and watched everyone around her die and be killed in terrible ways for the first 14 years of her life,” Gunn said last year as he and Safran previewed the first 10 film and TV titles for the new DC Universe.
Looks like DC is finally ready to give Marvel a run for their movie money.
What do y’all think of Jason Momoa taking on Lobo in the DC Universe? Let us know in the comments section below.
In the six-and-a-half years since Avicii’s death, many of the late artist’s colleagues, critics, fans and friends have tried making sense of his suicide and legacy.
A new documentary is now letting the artist speak for himself. Out tomorrow (Dec. 31) on Netflix, I’m Tim follows the producer born Tim Bergling from his childhood and adolescence in Stockholm to the global fame he achieved as Avicii, with the film narrated by Bergling himself.
“When I determined that he’d be the one who’d narrate this story, I thought that maybe it was how I could be close to him,” says the film’s director Henrik Burman. “Maybe that’s how I can meet him.”
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Burman began work on the project in 2019 — shortly after the pioneering artist’s death at age 28 earlier that year — where he initially planned to make an hour-long program for Swedish National Television about the final, posthumous Avicii album, 2019’s Tim. A longtime musician and music journalist in Sweden, Burman had completed the 2020 Yung Lean documentary Yung Lean: In My Head and was ready to take on another music-related project.
Working with the blessing of Bergling’s parents, Burman had full access to the sprawling Avicii archives. He found hours of interviews with the producer conducted during different periods of his career, including some in the later part of his life, when he was able to reflect on quitting touring in 2016, his problems with alcohol abuse, his approach to making music and more.
“There were moments in these interviews where he’d say, ‘This really describes me as a person, so if there’s ever a documentary made about me, you should use this to tell the story,” Burman says of the moments he discovered amid the archival footage. “He’d say things like, ‘If there’s a documentary, we need to talk about alcohol; we need to talk about the bad things in my life.’ I’ve been looking for clues like this — I’ve listened to Tim for hours and hours trying to understand him and put together the puzzle of who he was as a person and who Avicii was as this amazing artist.”
Beyond the material culled from the archive, Burman scoured the internet for other Avicii interviews, finding a bounty of clips on YouTube and other platforms “that are like, five or four or three minutes long,” says Burman. He and his team pieced together these tiny segments into the larger puzzle they were “working like maniacs” to construct.
Simultaneously, Burman and his small team from Stockholm were traveling between the U.S. and Europe to interview many of the key figures in Bergling’s life and career. I’m Tim features Neil Jacobson, who was the A&R for Avicii while president at Geffen Records; Aloe Blacc and Dan Tyminski, who worked on Avicii’s 2013 country crossover album True; Per Sundin, who signed Avicii’s breakout tracks “Seek Bromance” and “Levels” to Universal Music Sweden; Ash Pournouri, the manager who architected Avicii’s rise; fellow EDM pillar David Guetta; Nile Rodgers; Coldplay’s Chris Martin, who worked with Avicii on music including the 2014 hit “Sky Full of Stars”; longtime friend and early collaborator Filip “Philgood” Åkesson; close friend Jesse Waits; and Bergling’s parents, Anki Lidén and Klas Bergling. (Editor’s note: the writer of this article also appears in the documentary.) Burman’s “super long interviews” with each of these subjects allowed him to research his subject at the same time he captured footage for the film.
“We had thousands of hours of video by the end,” he says. But he had a guiding theme in trying to penetrate the superstar DJ world of Avicii and show who Tim Bergling was as a person. “In the material from the early years there’s so much humor and so much warmth. It’s very personal, before it got really big and things got harder for him,” says Burman. “That’s the thing I was really drawn to and how I started thinking about it as ‘Okay, who was Tim as an artist and a musician, and who was Avicii?’”
It took years for Burman and his team to edit down their thousands of hours into the 90-minute film, which debuted at the Tribeca Film Festival in June and is nominated for Guldbagge Award, the biggest Swedish film award, for editing. (Winners will be announced on Jan. 13.)
The non-linear storyline goes from a sonogram image of Bergling in the womb, to lo-fi footage of the artist as a baby dancing with his dad in the family home, to him as a pimply-faced teenager, to his developing an interest in electronic music production and subsequent rise. In one sequence, Universal Music’s Per Sundin tells the story of manager Ash Pournouri asking for €500,000 to sign Avicii’s “Levels,” a number Sundin first balked at, but eventually paid. The song recouped the entire €500,000 within six weeks of its release.
The film also presents loads of studio footage, highlighting Bergling’s approach to making music and his special gift with melody. (Check the look of supreme satisfaction on his face while he and singer Audra Mae are in the studio recording vocals for 2013’s “Addicted to You.”) See additional unreleased footage from I’m Tim focused on Bergling’s studio process below.
But of course, given that viewers know how this story ends, the film is also laced with darkness. Bergling talks about developing a dependance on alcohol, saying the “magical cure of having a few drinks before going on stage” helped him loosen up before performances. His drinking ultimately led to pancreatitis and a general downturn in his health, which is apparent in scenes where he appears gaunt and haunted looking. Other interviews in the film discuss his later opiate addiction.
“I saw complexity from early on,” Burman says of tracing the lines of Bergling’s physical, emotional and spiritual health. “I didn’t want to point fingers or speculate. I wanted to listen in and see layers.”
The film is, of course, stacked with Avicii music, with the documentary being released alongside My Last Show, a 30-minute performance film from Avicii’s final live show at Ushuaïa Ibiza on August 28, 2016 that’s meant to function as a companion piece. “When you’ve seen this film, you want to also feel who Avicii was on stage,” Burman says. “It’s his last show, but it’s such a happy feel around it.”
I’m Tim comes amid a broader shoring up of the Avicii legacy, with the Avicii Experience museum opening in Stockholm in 2022, a biography, Tim― The Official Biography of Avicii, also coming out in 2022, and an official photobook being released earlier this year, around the same time as an auction of Bergling’s personal effects that raised $750,000 for charity. These projects have been done in collaboration with Bergling’s parents and the Tim Bergling Foundation, which his parents founded after their son’s death. The Foundation focuses on suicide prevention among young people, with Bergling’s parents focusing their work on the mental health crisis and the core factors leading to suicide among young people.
Burman says the thought of Bergling’s parents seeing the film was “hard because I was of course so nervous.” But seeing it months after its Tribeca premiere, they texted Burman to say, he recalls, that “they liked the warmth and honest perspectives. They also said it kind of felt like being able to get Tim back for 90 minutes.”
If you or anyone you know is in distress or experiencing suicidal thoughts, call the National Suicide Prevention Lifeline at 1-800-273-8255. Free confidential support is available 24/7.
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Source: Jonathan Olley™ & © DC Comics / The Batman
Bad news for The Batman fans as it seems like we’ll have to wait an extra year for the follow-up to Matt Reeves’ surprisingly pleasant 2022 film.
According to USA Today, DC Studios show runner, James Gunn took to Threads to break the news to the comic book world that The Batman 2 will now be releasing in 2027 instead of 2026 as director/writer, Matt Reeves fights off a vicious bout with writers block. Yes, writers block. Taking to the social media website, Gunn confirmed a report that the film was being pushed back writing “Sure. Yes, it is true. The only reason for the delay is there isn’t a full script (those of you who follow me here probably know that already). Matt is committed to making the best film he possibly can, and no one can accurately guess exactly how long a script will take to write. Once there is a finished script, there is around two years for pre-production, shooting and post-production on big films. TheBatman2.”
With the way HBO Max’s The Penguin series had Batman fans amped up for what was next in Matt Reeve’s Batman universe, this is a big step back.
News of the pushback comes weeks after it was confirmed that DC Studios was moving forward with a Clayface film which would serve to expand Reeve’s Batman rogue of villains and possibly make The Batman 2 (or 3) that much more epic.
As for what we already know about what’s going on in the current Gotham City that Robert Pattinson’s Dark Knight oversees, it’s pretty darn interesting.
Per USA Today:
Paul Dano’s Riddler is locked away in Arkham Prison after the first movie. But Gotham has not recovered from the catastrophic flood The Riddler brought on the city’s ravaged seawall, according to Reeves.
“There’s a lot of unrest and there’s a lot of clamoring because of the revelations of what we find out at the end of the movie,” Reeves said in a Dec. 25 interview with Digital Spy. “As we enter into the next movie, there’s a lot more grey. There are more people at odds and more division in the city. It’s a lot more like our world is now; there’s a lot of turmoil because people are in their camps and not communicating.”
We’re still not feeling Barry Keoghan’s iteration of The Joker though. Just sayin.’
What do y’all think about The Batman 2 being pushed back to 2027? Too far away? Let us know in the comments section below.
When Cuban actor Héctor Medina read the script for Los Frikis, he immediately knew he wanted the leading role of Paco. Initially contacted as a sort of consultant for the film, Medina was familiar with the story about a group of punk rockers in early ’90s Cuba who, in search of freedom, deliberately injected themselves with HIV to live in a government-administered rural treatment retreat and create their own utopia.
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“I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis,” explains the actor in an interview with Billboard Español. Additionally, it was forbidden to listen to rock and roll and having long hair could get you arrested, he adds. “So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.”
Written and directed by American filmmakers Tyler Nilson and Michael Schwartz, Los Frikis, an independent film inspired by true events, arrives this week in theaters in the United States after making the rounds in the festival circuit, where it has received a variety of awards.
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Medina, who left the island about eight years ago and lives in Miami with his wife and two children, not only ended up landing his dream role, but also a credit as a co-producer thanks to his contributions to the film, which was shot in the Dominican Republic (as it could not be done in Cuba).
The movie also stars Eros de la Puente as Gustavo, Paco’s younger brother; and Adria Arjona (daughter of Guatemalan singer-songwriter Ricardo Arjona) as María, the sweet caretaker at the retreat. The cast also includes Luis Alberto García and Jorge Perugorría, among others.
Produced by Academy Award winners Phil Lord and Christopher Miller, Los Frikis received an R rating from the Motion Picture Association of America for language, sexual content, some graphic nudity and drug use. It premieres on Friday, Dec. 20 in New York and Los Angeles, and on Dec. 25 in markets including Atlanta, Boston, Chicago, San Francisco and Miami.
Below, Medina details his rigorous physical and emotional transformation process to bring Paco to life, the role music plays in the film and the reception this work has had so far.
Los Frikis
Courtesy of Wayward/Range
How did this project come to you?
The project came to me through producer Rebecca Karch Tomlinson, who contacted me to ask some questions about the dialogues and some events that happen in the script. It was more or less something like a review. Of course, I read the script and I [was] totally impressed by how two Americans have written a script about Cuba, such a believable story about my country, and how they want[ed] to do it — and also want to do it with Cubans. And of course, I also fell in love with the story and my character, Paco. From there, I said: “I want to be here, and I want to be Paco.”
Did you have to audition for the role?
Well, yes. They told me, “If you want to be Paco, you have to fight like everyone else and do the casting.” I remember that I did the last scene in the movie, and as soon as they saw the scene, they called me and said, “Are you ready? You’re going to be Paco.” From there began a very tough process of character construction and transformation that was truly a most beautiful experience, because Michael and Taylor have a very particular and very strong method of working with the actors and creating this atmosphere, and get to the point that you are not trying to play the character, but you are the character. And that allows you, once you are on set, to feel confident, to be able to improvise, because they also give you that freedom. It is a very substantial work process; there are many scenes in the film that were not in the script.
You completely disappear into the role, to the point that at the beginning of the film I was looking for you, I didn’t recognize you. How was your transformation, physically and emotionally, into this character? I know you lost weight, you have the mohawk, you lose a tooth in a scene…
It was a very intense, rigorous process. From the first day I had to give up everything gluten and sugar; I only had seltzer water as a reward and one meal a day, which was a little bit of chicken and a little bit of spinach. It included heavy training, running and walking more than four or five miles a day. Then came the process of learning to play music. Mike and Taylor are so specific that they knew every detail. For example, at that time in Cuba there were no American electric guitars, there were only Japanese guitars, Russian amplifiers, Russian basses, and the drums were made with what was found, sometimes even drawers, and they had those specific types of instruments sent to us so we [could] learn how to play them. We got to a point where we even started playing our own music and putting lyrics to it and giving concerts, like in the movie.
Music plays a fundamental role in this story, with Paco as the guitarist in his rock band. Did you play before or did you have to learn for the film?
I played acoustic guitar, but I remembered like two or three chords that they taught me in my neighborhood, back in Cuba, when I was a child, so I didn’t remember very well. In other words, working with the guitar was the most difficult for me, because on top of that, I have no musical ear, I admit. What I do have is a rock and roller spirit and being bold. And also this thing [where] I don’t like to give up, I like obstacles and I like to transform and work hard. I like a challenge.
Did you know about the real Frikis story before getting involved in this project?
Yes, I knew vaguely. I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis. There were shortages of all types of products. In addition, there were also prohibitions: listening to rock and roll music was frowned upon, and for having long hair you could be imprisoned. So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.
I had an uncle who was a rock and roll lover, and when I was a teenager he took me to a place called Pista Rita, where they played exclusively rock and roll. Going to those places with him at 13, 14 years old, I was able to see Nelson, who was like an urban legend that we had in that town, of course with the spiked mohawk, black boots, tattoos — a very transgressive image. And yet, when I got to know him well, I remember that he handed me a cigarette and he had a great sense of protection with all the boys there. In other words, he greatly encouraged that family spirit, not a gang spirit, but music and family spirit. There was nothing illicit or illegal. It was a feeling that united us with a passion for music, for rock and roll.
From what you say, he sounds a lot like Paco, doesn’t he?
Yes. Paco’s character is not specifically based on a real character, but on several, like all the characters in the film. Paco has a lot of Papo La Bala, one of the leaders and singers of the punk rock band Eskoria in Cuba, who has since died; and he has a lot of that from my personal side, having known him [Papo La Bala].
What made you say “this role has to be mine” when you read the script?
First, the transformation I had to undergo. Second, that he was a difficult character and had a lot of energy; I wanted to do something like that, different. And also, perhaps most importantly, that as a Cuban artist I wanted to say many things that Paco also says — and feels. Feeling that almost kamikaze spirit of freedom above all else, I wanted to share that. I think that was what drove me the most.
You’re not only the leading actor, you are also credited as co-producer. What was your role in that regard?
I think what I did the most was contribute. I mean, I wanted this movie to happen so badly, I wanted this dream to come true so much, that without realizing it I began to contribute to the casting, to writing the lyrics of the songs, changing them and a little bit [of] the scenes. I got involved a lot. In fact, I even designed the logo that appears at the beginning, the Lord Miller logo. I have done so many things. And I feel so grateful and so good that I have always done that. Every time I go into a project I give my all, but the truth is that it is the first time that they have recognized me not only for doing my job as an actor. I think it says a lot about the producers and directors of this film. I am very grateful to them.
Now that Los Frikis will reach a wider audience after its festival run, what do you hope people take away from it?
I really don’t expect anything. I have a very nice feeling about this film through the different screenings we have been to. It is a tremendous delight to turn around and see people’s faces. I believe that it is not an educational film or one that has a specific verbal message for people, but rather a management of a bundle of emotions, a journey of various emotions that in the end stirs your soul and leaves you thinking and perhaps doing what I call the movie after the movie. I think that is the greatest achievement of this film. More important than a verbal message, is that of an emotion, and it shows.
Héctor Medina
Carlos Eric Lopez
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When it comes to superhero flicks and the DCEU, their track record is spotty. But the teaser trailer for James Gunn’s highly anticipated turn at the helm of’ Superman is going to get the fanboys salivating.
Krypto, Superman’s pet dog of Kryptonian ancestry, makes an early appearance, so you already know it’s going to be lit. Besides Kal-El (portrayed by David Corenswet) being bloodied after catching a fade, we get images of Clark Kent, Lois Lane (Rachel Brosnahan) Lex Luthor (Nicholas Hoult) and even Mr. Terrific (Edi Gathegi). It’s not like DC ever lacked in characters, it’s about getting the most out of them on the big screen.
Did we mention Jimmy Olsen makes an appearance, too.
Gunn directed Marvel’s Guardians of the Galaxy trilogy and the same sense style looks, at least initially, like it will translate well for the Big Blue Boy Scout. Here’s hoping. And yeah, that’s electric guitar version of John Williams’ classic “Superman Theme” heard throughout,
Superman is due in theaters July 11, 2025. Watch the teaser trailer below.
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The legendary “Iron” Mike Tyson might’ve taken a weird loss to Jake Paul this past November, but that hasn’t diminished interest in the boxing legend’s life story a single bit.
With all the biopic films and series centered around the iconic fighter, the hits just keep on coming, as Netflix has announced it is currently working on a docuseries based on the life and times of one Mike Tyson. According to Deadline, Netflix is prepping to drop a three-part hourlong docuseries that promises to take a deep dive into the highs and lows of Mike Tyson’s life and boxing career. And if you know anything about Mike, you know he’s had quite the eventful life before, during, and after his illustrious boxing career.
Luckily for us, Mike Tyson himself will be a part of the creation of the series and seems more excited than nervous about getting into the nitty-gritty aspects of his personal life for all to indulge in.
Per Deadline:
“Having an opportunity to share my story through the reflective lens of my growth and maturity in a multi-part documentary on Netflix will be a challenging journey, yet a very welcoming one,” said Tyson. “Most people are too scared to look at their lives objectively, wanting to paint themselves as the hero of their own story. But if we are truly objective, we know we can never be the hero in our own story. We have to be able to face the man in the mirror, taking the good with the bad to give a full account of our contributions in this life. Netflix is the perfect platform to tell my story because of their global reach.”
We imagine that the “big fight” with Jake Paul will be a part of the series, so we’ll be interested to hear Mike’s take on what was going through his mind while going toe-to-toe with someone decades his junior. It wasn’t pretty, man.
The untitled Mike Tyson docuseries will be directed and executive produced by Floyd Russ and has yet to be given a release date, but we’ll be waiting.
Will you be checking out Netflix’s docuseries on The Champ? Let us know in the comments section below.