Portsmouth delivered the chaos. The Kiwis delivered the win.
Wing failures. Penalties. Photo finishes. From France’s dramatic rebuild to New Zealand’s Grand Final charge, we’ve broken down every key moment of the 2025 Portsmouth SailGP. Read.
My Apple TV+ Watchlist: The Good, the Better, and the Delayed
Severance kept me spiraling. Murderbot might just dethrone The Studio. Your Friends & Neighbors is wildly underrated. Apple TV+ is putting in work—here’s what’s worth the stream, what’s still on my list, and what I’m not sure deserves your time. Read more here
Seth Rogen’s Matt Remick: The Studio Head No One Takes Seriously
Seth Rogen stars as Matt Remick, the newly minted head of Continental Studios, navigating backstabbing executives, entitled stars, and corporate pressure to turn childhood toys into cinematic universes. He’s desperate for credibility—so desperate, he even hopes to get name-dropped during an award speech by Zoe, one of his talents. But just as she's about to thank him, the show cuts to commercial. That’s the game. Recognition is fleeting.
The Studio turns executive thanklessness into high comedy, anchoring its narrative in the kind of painful truths only Hollywood insiders are usually privy to.
The Studio on Apple TV, staring Seth Rogan, newly promoted Hollywood Studio Exec, is the reason I’ve been running back to hotel every wednesday evening. This show is hilarious.
At this point, the Brodys could relocate to a mountaintop lake, miles from the nearest coastline, and somehow, a great white would still breach the surface just to settle the score.
Watching teenagers get picked off one by one had me glued to the screen, scream queen moments left and right. The second film ditches the slow suspense of the original and dives headfirst into chaos. It’s louder, bloodier, and packed with “oh my god” moments that feel more like a rollercoaster than a creeping nightmare.
And that girl being swallowed whole by the shark? Completely unrealistic... but then again, I’ve never witnessed a real shark attack, so who’s to say?
It’s messy, over-the-top, and kind of perfect for what it is.
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Hoagie (played by Michael Caine) lost both his monohull, and plane, for a woman that he met two days ago.
Sean Brody, fills his late fathers shoes but unfortunately loses his life in a shark attack moving a log.
Ellen experiences a flashback of her late husband, Martin Brody (portrayed by Roy Scheider in earlier films), shooting at the original shark's dorsal fin, a scene she wasn't present for.
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A Real Pain, 2024.
A Real Pain, felt like walking barefoot through warm grass. The story moves without urgency, letting you find the weight in it slowly. A performance that feels free, yet brushed with something harder to name. Kieran Culkin’s Benji is raw, honest, and never reaching.
Blink Twice, 2024
Blink Twice seduces with aesthetics but leaves viewers troubled and alert. The film’s beauty is not a comfort but a weapon, used to distract from the horrors that follow. Through its layered storytelling, fractured dialogue, and haunting visuals, it exposes how easily memory, our most personal possession, can be rewritten or stolen. Read
Havoc, 2025
HAVOC felt as if I was watching an online gameplay cutaway, turned movie.
RUNWAY FOURTH EDITION
Gen:48 — People's Choice Award Voting Now Open
The top finalists of Gen:48, Runway’s groundbreaking AI film festival, have been selected. Now it’s your turn to decide.
Vote for your favorite entry in the Gen:48 People's Choice Award category.
Voting Deadline: Wednesday, May 7 at 9:00 AM ET
Vote here: https://runwayml.com/gen48
Join us in celebrating the next wave of storytellers redefining cinema with AI.
Mayor Karen Bass Resolves 2026 LA Marathon & Oscars Conflict
Mayor Karen Bass has brokered a deal between the LA Marathon and the Oscars to avoid a 2026 scheduling clash. The Oscars will be held March 15; the Marathon date is TBA. Starting 2027, the race moves to the third Sunday in March. Both events will now cross-promote.
“…The 2026 Oscars will take place on March 15, 2026, and the ASICS Los Angeles Marathon will take place on a date in March 2026 that will be announced in the coming days,” said Murphy Reinschreiber, COO, McCourt Foundation, and Bill Kramer, CEO, Academy of Motion Picture Arts and Sciences in a joint statement.
Read more here
Subservience
Did this guy just fuck an android?! 🤖🔥
Anticipates an uprising of self-hacked droids taking over a little incorp town, a guy gets a handy from an android. Read more here
From Island Escape to Gritty Streets: Zoë Kravitz's Cinematic Shift
While Blink Twice captivated with its visual storytelling and exploration of psychological themes, Caught Stealing is poised to deliver a raw, character-driven narrative under Aronofsky's direction. The film's ensemble cast, including Regina King, Matt Smith, Liev Schreiber, and Bad Bunny, further elevates its potential.
OPUS: A Satire of Stardom and the Sacrifices We Make
Opus is a case study in the brutal paradox of modern fame. The celebrity must dominate the media, but also seduce it. He needs the media to need him. And when that dependency grows, he becomes violent. He's not killing for relevance. He's murdering his reflection. Read more here
Robert De Niro to Receive Honorary Palme d'Or at Cannes Film Festival Opening Ceremony.
Photograph by Richard Burbridge for The New Yorker
Boiler Room's Silent Exit:
The Erasure of Tel Aviv's Beats
In a striking juxtaposition, Boiler Room has taken a definitive stance by removing all Tel Aviv performances from its platforms, aligning with the Boycott, Divestment, Sanctions (BDS) movement in response to the Gaza conflict.
This move has drawn criticism from Israeli artists and observers who question the consistency of Boiler Room's actions, noting that while Israeli content has been scrubbed, performances from other contentious regions remain accessible. The decision also places KKR in a complex position, given the firm's historical support for Israeli cultural causes.
The unfolding situation underscores the challenges that arise when cultural entities with strong political convictions become part of larger corporate structures with diverse interests.
Read more here
New Oscar Category:
Best Stunt Design
The Academy is officially recognizing the art of stunt work with a brand-new category: Best Stunt Design. This competitive award will debut at the 100th Academy Awards in 2028, honoring films released in 2027.
Director and producer David Leitch (The Fall Guy, Bullet Train, Deadpool 2) championed the new category, which marks a historic win for the stunt community and decades of behind-the-scenes excellence.
Argylle, 2024
Argylle is what happens when a spy thriller raids a crayon box and crashes headfirst into its own twisty imagination. Bryce Dallas Howard dazzles in a role that’s equal parts novelist, sleeper agent, and confused amnesiac with a flair for chaos.
🎬 Read the full review → Arygylle, 2024
Cate Blanchett is, as always, striking, but this time, I saw her acting. From the moment she’s introduced in the boudoir, mid-dress, there’s a disconnect. It doesn’t feel like we’re peeking into a spy’s private moment; it feels like Blanchett prepping for a scene.
The opening dinner scene is chopped into oblivion. Jump cuts slice through the conversation, undercutting tension before it can settle. Freddy vanishes from the table and then he's back again like a glitch.
It steadies later once the dialogue gets its rhythm, but the damage is already done. That early chaos feels less like intentional disorientation and more like rushed editing.
Visually, there’s this hazy, dreamlike overlay, a cigarette smoke haze without the cigarette. While the aesthetic leans stylish, the brightness and blur bleed into distraction. I caught myself rubbing my eyes more than once.
There’s a scene of Blanchett walking through Zurich, The ambition is there, but the execution trips over itself.
Calling this a spy thriller feels generous. Black Bag flirts with espionage but commits to melodrama. This isn’t a story about spycraft. It’s a story about spies being dramatic, with only the occasional trace of adrenaline.
Not a bad watch. Just not quite the film it thinks it is.
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Most Anticipated 2025 Releases
Just watched Miley Cyrus’s new music video for End of the World—I’m guessing that’s her new boyfriend on drums in the background?
The whole thing has this dreamy, ethereal vibe I really enjoyed. I was hoping for a bit more theatrical flair, but honestly, it’s still mesmerizing start to finish.
Shonda Rhimes’ new limited series The Residence on Netflix, felt like a Clue set in the White House. From the start, Detective Cupp (Uzo Aduba), a bird enthusiast with a sharp eye for detail, stood out as one of the most intriguing characters I’ve seen in a while
Aduba's performance is a standout, commanding the screen with ease and delivering humour that keeps viewers engaged
The story revolves around the mysterious death of White House Chief Usher A.B. Wynter (Giancarlo Esposito) during a state dinner for Australia at the White House. The story itself pays homage to Agatha Christie’s classics and the more modern mysteries from Rian Johnson, Knives Out and Poker Face.
As Detective Cupp and FBI Special Agent Edwin Park (Randall Park) investigate, they encounter a colourful cast of suspects, including a disgruntled pastry chef, the president's slovenly brother, and a shifty presidential advisor
How Anora Stole the Show While The Substance Floundered Like a Barbie Knockoff
How Anora Stole the Show While The Substance Floundered Like a Barbie Knockoff
If there was any doubt about the Oscars favoring substance over style, this year’s results put that debate to rest. While Anora delivered a raw, unapologetic vision that cemented its place as an instant indie classic, The Substance felt like a Mattel-branded fever dream—high on shock value, low on resonance.
On one hand, Anora swept the major categories, winning Best Picture, Best Director (Sean Baker), and Best Actress (Mikey Madison). The film's gritty storytelling, indie spirit, and fearless performances proved that passion and craftsmanship can still triumph over spectacle
Meanwhile, The Substance, which promised to be a provocative body-horror masterpiece, ended up feeling like an R-rated Barbie movie gone rogue. Sure, it had its fair share of grotesque imagery and audacious themes, but in the end, it lacked the depth and staying power of Anora. Critics had hyped it up as a game-changer, but Oscar night proved otherwise.
This was Anora’s year, and rightfully so. It's not just a film, it's a statement. If the Academy keeps rewarding films of this caliber, maybe the Oscars aren’t dead after all.
This year’s Oscars were dominated by Anora, which not only led with the most nominations but also took home some of the night’s biggest awards. The film won Best Picture, and its director, Sean Baker, secured the Best Director award. Additionally, Mikey Madison won Best Actress for her performance in the film, making it a standout success of the night
Adrien Brody took home the Best Actor award, while the night also featured a touching tribute to Los Angeles in light of recent wildfires, with a charitable component to support affected communities
Last weekend’s SailGP regatta in Sydney didn’t just start with intense racing—it started with intense penalties. Even before the first official race, teams were collecting costly infractions. Team USA took an eight-point season deduction before even hitting the water after their F50 capsized during towing en route to a practice session. Germany, meanwhile, seemed to be struggling with control, first getting caught in a minor collision with Italy, resulting in an initial season point deduction, then later colliding with Brazil in a more severe incident that further penalized Germany while leaving Brazil with a broken bowsprit and a four-point season deduction and Germany with a twelve-point season deduction.
The drama wasn’t just unfolding on the water. During one of the weekend’s race cutaways, a clip aired of the Brazilian team captain venting her frustration over the points system: “Why do we have to collect points if it’s their fault?” Her frustration echoed a broader sentiment, perhaps tensions may be brewing behind the scenes this season. Germany took a twelve-point hit…. Read More
Chaos on the Harbour:
My Wife
by: Tyler R Letren Feb 11, 2025
Disclaimer: This is fiction.
"Stop."
Penelope kept rambling, barely taking a breath; until Josie immediately cut her off "Stop! I told you to stop!” she said as she turned to her, “I told you not to do something, and you did it anyway."
The room fell into a suffocating silence. Josie stood rigid, arms crossed so tightly her knuckles paled. Her voice was low, clipped…calm in a way that made it worse.
"Give me all your money. Everything. Zelle it to me." She held out her hand, fingers flexing once before tightening into a fist. "I want every penny in your account and any cash you have."
Pen’s mouth opened, then closed. Her shoulders shrank inward as she hesitated, fingers tightening around her phone. She glanced at me—eyes wide, searching—but I had nothing. Nothing to offer, nothing to say.
"Are you serious?" she murmured, voice thin, almost breathless. Still, she handed over her phone and wallet, fingers stiff as if she were touching something scalding.
As Penelope turned to walk away, Josie’s voice cut through the kitchen like a whip.
"And any money you have in your locker at school or your gym bag. I want it all. Bring it to me."
Pen flinched but didn’t turn back.
I just stood there, staring. Josie has never looked like this before.