Elle Fanning to Play Effie in ‘Hunger Games: Sunrise on the Reaping' (Exclusive)
The Emmy-nominated actress has been cast as Effie Trinket in the forthcoming Lionsgate film, The Hollywood Reporter has learned exclusively. Francis Lawrence directs the movie adaptation of Suzanne Collins' best-selling novel that will hit theaters Nov. 20, 2026.
More from The Hollywood Reporter
"You Can't Talk Revolution If There's No Love Involved": 'THR Frontrunners' Q&A With 'Andor' Star Diego Luna
'Hunger Games: Sunrise on the Reaping' Finds Its Louella and Lou Lou (Exclusive)
'Sesame Street' Saved, Inks New Streaming Deal With Netflix
In the feature, Effie serves as the stylist for Haymitch Abernathy (played by Joseph Zada) in the preparation for the 50th Hunger Games. Elizabeth Banks portrayed an older version of Effie in the series' first four films that kicked off with The Hunger Games hitting theaters in 2012.
Previously announced castmembers include Zada, Whitney Peak, Mckenna Grace, Jesse Plemons, Kelvin Harrison Jr., Maya Hawke, Lili Taylor and Ben Wang. THR's exclusive reporting has included the recent news that Ralph Fiennes has been cast as the diabolical President Snow and that Molly McCann and Iona Bell will portray standout book characters Louella and Lou Lou, respectively.
'From the moment Suzanne released the book, one question echoed from fans around the world: Who will play Effie?' says Lionsgate Motion Picture Group co-president Erin Westerman. 'Elizabeth Banks made her iconic — so who could honor that legacy while bringing us back to Effie's early, most formative days? For us, there was only one answer. Elle Fanning's career has been transcendent. She has a rare presence — warm, sparkling and layered with extraordinary depth. She was the undeniable fan favorite from the start, and we're honored she answered the call. The odds, it turns out, were in our favor.'
Lawrence helms the movie from a script by Billy Ray that adapts Collins' book. Nina Jacobson and Brad Simpson produce for Color Force, while Cameron MacConomy executive produces.
Meredith Wieck and Scott O'Brien oversee Sunrise on the Reaping for Lionsgate. Robert Melnik handled the deal on behalf of the studio.
The book Sunrise on the Reaping takes place in Panem on the morning of the reaping for the 50th Hunger Games, 24 years before the events in The Hunger Games, the first novel that published in 2008. The franchise's first five movies have surpassed $3.3 billion at the worldwide box office, with the initial four films led by Jennifer Lawrence as Katniss Everdeen.
Fanning's recent credits include last year's Oscar-nominated feature A Complete Unknown and Joachim Trier's Sentimental Value, premiering at Cannes this week. She can be seen in such forthcoming projects as the Apple TV+ series Margo's Got Money Troubles and 20th Century's fall movie Predator: Badlands.
The actress is represented by UTA, TFC Management and Hansen Jacobson.
Best of The Hollywood Reporter
'The Goonies' Cast, Then and Now
"A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV
The 10 Best Baseball Movies of All Time, Ranked
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New York Post
3 hours ago
- New York Post
Cooked: Celebrated Chef exits new venture after allegedly balking at free food for influencer because she wasn't famous enough
A prominent San Francisco chef threw in the apron at his newly opened cafe after allegedly belittling a TikTok influencer during a tense exchange over her follower count aired out in a viral video. The incident unfolded Wednesday at Kis Cafe in Hayes Valley, when 'micro-influencer' @itskarlabb described how she had pre-arranged a collab with the restaurant's team and showed up early to film content, according to a video she posted to her platform. 3 Influencer @itskarlabb was allegedly belittled by top chef Luke Sung over her supposedly low follower count, leaving her running from his new California restaurant in tears. itskarlabb/tiktok The influencer, known as Karla, claimed that a man — later identified as celebrated James Beard Award-nominated chef and co-owner Luke Sung — questioned her 15,000-follower count and told staff it was a 'mistake' to invite an influencer so small. 'I know they're talking about me, because I can hear them saying 'TikTok, views, followers' ,' she said in a later video, which has racked up more than 20 million views. The influencer said that when she introduced herself, Sung grilled her over whether she had researched the restaurant, a wine bar serving small bites. She insisted she knew the menu and the vibe, but Sung disagreed and began scrolling through her TikTok feed at full volume within earshot, the influencer said. 'After scrolling like, two times, he says to me that he doesn't think my videos are at the level which he wants his restaurant represented,' she recalled. 'It seemed like he was insinuating that my followers would not be able to afford to eat at this restaurant.' 3 Sung couldn't take the heat after the pair's alleged exchange went viral and left his new venture. San Francisco Chronicle via Getty Images Sung then reportedly asked, 'Do you know who I am?' and told Karla he was a two-time James Beard Award finalist and that his daughter is Big Apple vlogger, Isa Sung, who has 600,000 TikTok followers. He also dismissed the influencer's cooking videos she posted to her platform, dissing them as 'homey,' Karla said. The belittling exchange left her in tears, she said. 'I told him I felt disrespected and didn't want to collaborate anymore,' the influencer said. Karla's follower count has since skyrocketed to more than 350,000 since she shared the story on TikTok. The influencer said she wants to 'be an advocate for micro influencers' who don't receive as many handouts. 'You don't need to have a million followers to be respected or feel like you're making a difference,' she said. 3 Kis Cafe, which opened in May, announced that Sung had left as chef and co-owner. FOX By Friday, Kis Cafe's was getting cooked on Yelp, where its rating plunged from four to five stars to just over two stars, and reviews for 'Isa '– a 'pioneering' Cal-French restaurant that Sung previously opened and named after his influencer daughter — grew with haters lambasting the chef for his behavior. Kis Cafe, which opened in May, soon announced that Sung had left as a chef and co-owner, later clarifying he had done so of his 'own accord' and was not technically fired. 'Our chef's behavior was unacceptable, and he is no longer a part of the team,' Kis Cafe wrote in an Instagram post Thursday. The restaurant said it has now temporarily closed to 'restructure.' 'We want to create a space that's welcoming and respectful to everyone. In this instance, we failed to do so,' Kis Cafe said in a statement.
USA Today
4 hours ago
- USA Today
Just how did 'Wizard of Oz' at Sphere Las Vegas take Dorothy from 2D to 4D?
LAS VEGAS – In a month, the Las Vegas Sphere will be turned into the verdant splendor of Emerald City. And the vibrant mosaic of Munchkinland. And the dusty amber plains of Kansas. It's 'The Wizard of Oz' not just as a film, but an experience. A place where the 160,000 square feet of Sphere screen transports you into Dorothy Gale's world and, through the use of 4D and haptics, immerses you in the feeling of being inside a tornado and makes you cower at the sight of those dastardly flying monkeys heading from the Wicked Witch's lair to your seat. The film, which opens Aug. 28 at the technologically sophisticated venue just off the Las Vegas Strip, was chosen for Sphere-i-fication because of its generation-spanning appeal. 'It's a movie that your mother watched, that you watched with your grandmother or your kids,' says Jane Rosenthal, the Oscar-nominated producer helping helm the production. 'The movie became so beloved because you felt you could go into Munchkinland or the Emerald City even in a traditional TV format. It's a natural for the Sphere because of the elements that can be made immersive.' The Sphere's film has been in development for two years with a team of more than 2,000 filmmakers, technicians, audio experts and AI creatives working to transform Oz from a 2D world into an extraordinary envelopment of sight and sound. Las Vegas Sphere concerts: All the bands that are playing and how to get tickets Why the Sphere's 'Wizard of Oz' is an unparalleled experience Those involved with 'Oz' wouldn't confirm the $80 million price tag alluded to when the project was announced in August 2024. But, from the near-final pieces of the film USA TODAY observed in July, it's evident this has been an exhaustive, finely detailed endeavor. From the clarity of Judy Garland's doe eyes with eyelashes that can be counted to the 16-foot-long helium-filled monkeys steered by drone operators, it's sheer wonderment. And the tornado? You'll find yourself ducking in your seat at what feels like farm equipment and animals flying toward you as 750-horsepower fans built specifically for "Oz" hurl wind and (paper) leaves around the venue. To assume the film is merely glorified IMAX is akin to saying earbuds provide the same sound quality as $16,000 studio headphones. The $104 admission likely seems steep, but not as much after you factor in the cutting-edge experience and the Vegas location. How 'ethical AI' transformed 'The Wizard of Oz' at the Sphere The Sphere team worked closely with Warner Bros. and the Academy of Motion Picture Arts and Sciences to mine the 'Oz' archives from its original 1939 form. Transforming what was filmed for a 4:3 aspect ratio on a standard-sized movie screen to the 16K x 16K LED screen resolution of the Sphere required the use of what Rosenthal calls 'ethical AI.' The time required to convert the film also necessitated editing from its original run time of 102 minutes to 75. The artificial intelligence in 'Oz' was primarily used to extend frames to fill the Sphere screen. Rosenthal gives the example of an early scene when irritable neighbor Miss Gulch wants to take Toto – himself given a furry glow-up – from the Gale home. 'That was originally a three-shot, but as you widen the frame, you now see Uncle Henry standing by the door. You train the AI on Uncle Henry to create him making a move like putting his hand on the door,' she says. 'That stuff was difficult to do.' The Sphere team, with the aid of Warner Bros., found props and set designs from the original movie so objects such as photos on the wall in Professor Marvel's caravan could be generated onto the screen. Every frame of the film takes 300 hours (12.5 days) to render. An edit of a few seconds might take days to fix. And then there is the equilibrium between respecting a classic and elevating it to immersive heights. Award-winning technician Glenn Derry, the executive vice president of MSG Ventures, spent thousands of hours refining minutiae such as the breathtaking moment when Dorothy awakens in her sepia-toned heartland and steps into Technicolor Munchkinland, the yellow brick road seemingly stretching into space. 'We're trying to be tasteful with these things,' Derry says. 'I don't want to distract from the film because it's one of the great masterpieces. You want people to be part of it, but balance that with not being distracting.' Emotion and revelations and nostalgia, oh my So while the cranky apple tree will hurl featherweight red orbs at Sphere "Oz" viewers, and seats will vibrate with ominous warnings of the Wicked Witch or hopeful spasms when Glinda the Good Witch soars inside her pink bubble, the heart of 'Oz' – as the Tin Man would appreciate – is intact. Derry says his favorite effect is the hulking Wizard head, which almost sneaks in from the side of the screen while pyro is dispatched in front of it. 'It's a nostalgic thing for me,' Derry, whose father worked in the industry as a machinist and physical effects expert, says. 'I love the elements that you don't notice and then you turn and are surprised.' The revelations will begin as soon as moviegoers step into the atrium of the venue, which will be converted to an Oz-like atmosphere with interactive elements (that Wizard head might have another role along with booming on screen). It's an experience that simply cannot be duplicated. 'With the emotion of 'there's no place like home' and 'Over the Rainbow,' I feel fortunate to bring this movie to life,' Rosenthal says. 'A venue like Sphere makes you want to keep going to the movies.'
Yahoo
7 hours ago
- Yahoo
Frankie Muniz latest actor-turned-driver out to prove he can compete in high-level racing
Frankie Muniz may be the only actor who has been nominated for an Emmy award and driven in a NASCAR event at Daytona. But if Muniz had been old enough to get a driver's license before he moved to Hollywood, there may never have been a "Malcolm in the Middle." 'When I'm in that race car and I put my visor down and I drive out of that pit lane, I feel like I'm exactly where I'm supposed to be,' he said. 'That's what I'm supposed to do and that's what I'm doing.' And acting? 'I don't feel like I'm a good actor,' he said. 'I know I can act. But when I look at good acting, I go 'dang, I could never do that'.' That's not true, of course. Muniz, who started acting when he was 12, has been credited in 26 films and 37 TV shows, including the title role in 'Malcolm in the Middle,' which earned him two Golden Globe nominations and one Emmy nod during its seven-year run on Fox. But acting was a profession. Racing is a passion. 'Excitement and all the emotions. That's what I love about racing,' he said. 'The highs are so high and the lows are unbelievably low. It's awesome.' Muniz placed 28th in the NASCAR Craftsman Truck Series race at Indianapolis Raceway Park on Friday. He is 23rd among the 64 drivers listed in the series points standings, with his one top-10 finish coming in the season opener at Daytona. Muniz, 39, isn't the first actor to try racing. Paul Newman was a four-time SCCA national champion who finished second in the 24 Hours of Le Mans in 1979 while Patrick Dempsey ('Grey's Anatomy,' 'Can't Buy Me Love') has driven sports cars at Le Mans and in the Rolex 24 at Daytona, in addition to other series. But driving isn't a side hustle for Muniz, who last October signed with North Carolina-based Reaume Brothers Racing to be the full-time driver of the team's No. 33 Ford in the truck series. Muniz also raced twice last year in the NASCAR Xfinity Series. 'When I originally started racing, I was kind of at the height of my [acting] career. I had tons of offers to do movies and shows and all that,' said Muniz, who made his stock-car debut in the fall of 2021 in Bakersfield, then accepted an offer to drive full time in the ARCA Menards Series in 2023. 'Very easily could have stayed in that business. But I wanted to give racing a try. And to compete at the top level, you have to put in the time and effort that professional race car drivers are doing, right? You can't do it halfway.' Muniz was into racing before he even thought about acting. Growing up in North Carolina, he remembers waking early on the weekend to watch IndyCar and NASCAR races on TV. No one else in his family shared his interest in motorsports, so when his parents divorced shortly after Muniz was discovered acting in a talent show at age 8, his mother moved to Burbank, where he made his film debut alongside Louis Gossett Jr. in 1997's 'To Dance With Olivia.' Two years later he was cast as the gifted middle child of a dysfunctional working-class family in the successful sitcom 'Malcolm in the Middle.' Motorsports continued to tug at him so after running in a few celebrity events, Muniz twice put his acting career on hold to race, first in 2007 — shortly after 'Malcolm' ended after seven seasons and 151 episodes — when he started a three-season run in the open-wheel Atlantic Championship series. Read more: NASCAR announces race on U.S. Navy base in Coronado scheduled for 2026 Still, Muniz, who lives with his wife Paige and 4-year-old son Mauz in Scottsdale, Ariz., is dogged by criticism he is little more than a weekend warrior who is using his substantial Hollywood reputation and earnings to live out his racing fantasies. 'I don't spend any of my money going racing,' he said. 'I made a promise to my wife that I would not do that. So I can kill that rumor right there.' But those whispers persist partly because Muniz hasn't completely cut ties with acting. Because the truck series doesn't run every weekend, racing 25 times between Valentine's Day and Halloween, Muniz had time to tape a 'Malcolm in the Middle' reunion miniseries that is scheduled to air on Disney+ in December. He has also appeared in two other TV projects and two films since turning to racing full time. But his focus, he insists, is on driving. 'If I wanted to go racing for fun,' he said, 'I would not be racing in the truck series. I'd be racing at my local track or I'd be racing some SCCA club events. I want to be one of the top drivers there are. I want to make it as high up in NASCAR as I can. And I'm doing everything I can to do that.' Fame outside of racing can be a double-edged sword in the high-cost world of NASCAR. It can open doors to a ride and sponsorships others can't get, but it can also cause jealousy in the garage, with drivers crediting that fame and not talent for a rival's success. And Muniz isn't the only rookie driver who has had to deal with that. Toni Breidinger, who finished 27th in Friday's race and is one place and eight points ahead of Muniz in the season standings with nine races left, is a model who has posed for Victoria's Secret and been featured in the pages of Glamour, GQ and Sports Illustrated's swimsuit edition. She's also a good driver who has been going fast on a racetrack far longer than she's been walking slowly down a catwalk. 'I was definitely a racer before anything. That was definitely my passion,' said Breidinger, who started driving go-karts in Northern California when she was 9. 'I've been lucky enough to be able to do modeling to help support that passion. But at the end of the day, I definitely consider myself a racer. That's what I grew up doing and that's the career I've always wanted do to.' Still, she sees the two pursuits as being complementary. When Breidinger appears on a red carpet, as she did before this month's ESPY Awards in Los Angeles, it helps her modeling career while at the same time giving the sponsors of her racing team — which includes 818 Tequila, Dave & Buster's and the fashion brand Coach — added value. 'It's all part of the business. It all goes back into my racing,' said Breidinger, 26, who is of German and Lebanese descent. 'The side hustles, I like to call them. I don't think that takes away from me being a race car driver.' Breidinger, who won the USAC western asphalt midget series title as a teenager, raced in the ARCA Menards Series for five years before stepping up to truck series in 2021, making NASCAR history in 2023 when she finished 15th in her first race, the best-ever debut by a female driver. That helped her land a full-time ride this season with Tricon Garage, Toyota's flagship team in the truck series. Like Muniz, Breidinger sees the truck series, the third tier of NASCAR's national racing series, as a steppingstone to a seat in a Cup car. 'I want to climb the national ladder. That's what I'm here to do,' she said. 'I wouldn't be doing this if I didn't have long-term plans and long-term goals. I'm a very competitive person, especially with myself.' Kyle Larson, who climbed to the top of that ladder, running his first NASCAR national series race in a truck in 2012, then winning the 2021 Cup championship nine years later, said the path he took — and the one Muniz and Breidinger are following — is a well-worn one. Read more: NASCAR figuring out if building new track in Fontana is the 'right thing to do' 'Anybody racing in any of the three series has talent and ability enough to be there,' he said. Funding, Larson said, and not talent and ability, often determines how fast a driver can make that climb and that might be a problem for Muniz since Josh Reaume, the owner of the small three-truck team Muniz drives for, has complained about the price of racing. It can cost more than $3.5 million a year to field one competitive truck in the 25-race series — and that cost is rising, threatening to price many out of the sport. But having drivers like Muniz and Breidinger in NASCAR will help everyone in the series, Larson said, because it will bring in fans and sponsors that might not have been attracted to the sport otherwise. 'I just hope that he can get into a situation someday where you can really see his talent from being in a car or a truck that is better equipped to go run towards the front,' Larson said of Muniz. 'You want to see him succeed because if he does succeed, it's only going to do good things for our sport.' And if it works out the way Muniz hopes, perhaps he'll someday be the answer to another trivia question: Name the NASCAR champion who once worked in Hollywood. Get the best, most interesting and strangest stories of the day from the L.A. sports scene and beyond from our newsletter The Sports Report. This story originally appeared in Los Angeles Times.
