Latest news with #Mickey17
Perth Now
7 days ago
- Entertainment
- Perth Now
Naomi Ackie 'in early talks for Clayface role'
Naomi Ackie is reportedly in early talks for Clayface. The 32-year-old actress - who has appeared in the likes of Mickey 17 and Blink Twice - is said to be in initial discussions to join Tom Rhys Harries in Mike Flanagan's take on the Batman villain. According to The Hollywood Reporter, several sources have revealed that formal negotiations are set to get underway this week. Ackie is said to have joined in reading sessions in the UK last week, and emerged as a favourite for DCU bosses. Speak No Evil director James Watkins will be at the helm, with Rhys Harries playing the titular role from a script written by The Haunting of Hill House director Flanagan. The body horror thriller is focused on the supervillain and his appearance-altering powers, with comparisons to the feel and structure od 1986 classic The Fly. That film followed a relationship between a scientist (Jeff Goldblum) fused with the DNA of a fly, and the journalist (Geena Davis) writing about the discovery. For Clayface, an B-movie actor's life is changed for ever when his face gets disfigured by a gangster. He desperately seeks out a scientist for help, and while the experiment is initially a success, things take a sinister turn. The film is slated to shoot at Warner Bros. Leavesden studio in the UK later this year as it marches towards its September 2026 release date. According to The Hollywood Reporter, Clayface will be a 'stripped down movie', with a budget of approximately $40 million. DC Studios boss and Superman director James Gunn recently opened up on his vision for the wider cinematic universe, and insisted there can't be a set style or genre across each film. He told CBS Mornings: "We've got Clayface, which is a totally different thing. Although it's in the same universe, it's a complete horror film. "That's one of the things we want to do. There's not a company style. It's not like every movie is going to be like Superman. "The artists — the directors and the writers — each one will bring their own sense to it… "That's what we want to bring to the films because we don't want people to get bored. We want to invigorate people." Meanwhile, fans are eagerly awaiting The Batman Part II from filmmaker Matt Reeves, who recently completed the script for the highly anticipated follow-up. When asked at the Superman world premiere in Los Angeles earlier this month if he has read the script, he simply told ScreenRant: "It's great!" Gunn then made a swift exit from the chat, but was smiling as he walked further down the carpet.
Yahoo
08-07-2025
- Business
- Yahoo
13175 S. River Bend Road in Photos
More from Robb Report The World's First Zero-Emission Sailing Yacht Is Expected to Launch This Year Saks Is Losing Luxury Shoppers in the Wake of Its Neiman Marcus Takeover This $6.7 Million Ultra-Modern U.K. Home Appeared in the Robert Pattinson Sci-Fi Film 'Mickey 17' Best of Robb Report The 10 Priciest Neighborhoods in America (And How They Got to Be That Way) In Pictures: Most Expensive Properties Click here to read the full article. The modern residence spans almost 3,700 square feet. The entrance to the home. A slatted wood screen accents the foyer. The dining room is open to the kitchen. Custom walnut cabinetry is featured throughout the kitchen. Huge windows provide unobstructed views of Wolf Mountain. The butler's pantry includes a full-height wine refrigerator. A three-sided fireplace encased in a metal column separates the living and dining areas. The living room has a walnut-paneled ceiling and open views from picture windows. The primary bedroom. The primary bath includes a steam shower and its own washer and dryer. The covered patio with alfresco dining space for 10. Open spaces give way to dramatic mountains. Lounge seating surrounds a fire pit, next to the hot tub. The toy barn offers space for three car. The property spans 35 acres above the Snake River.
Atlantic
21-06-2025
- Science
- Atlantic
Three Giants, Talking While Hurtling Through Space
Space is where billionaires dream. Jeff Bezos thinks that we will soon move heavy industry and most humans off-planet onto massive revolving space stations, allowing the Earth to return to a pristine state. Elon Musk has famously argued that in order for humanity to survive all manner of calamities—asteroids, global warming, nuclear war—we must become an interplanetary species. He wants a million people settled on Mars by 2050. Larry Page has described this biosphere 'backup' as a 'philanthropical' act, and has invested in asteroid-mining ventures that will support it. Whatever their motivations—charitable, scientific, certainly commercial—their imaginations have long been fueled by science fiction. In stories such as Isaac Asimov's Foundation series and Star Trek, the genre has positioned outer space as the frontier that humanity must cross in order to transcend earthbound dilemmas. Musk, Bezos, and Mark Zuckerberg are all fans of Iain Banks's Culture series, which imagines a post-scarcity socialist utopia where all of our measly 21st-century problems have been solved by technological advancement. The arch-capitalists aren't deterred from pursuing it, though. They just want to have their hands on the controls. But what if space fails to live up to its billing? The technology for extraplanetary stations large enough to accommodate extensive human life remains theoretical. Martian soil is toxic, the air unbreathable, the atmosphere so thin that anyone who spent even a short time on its surface would be hit with massive doses of radiation. And our prejudices and hierarchies will almost certainly follow us to the stars. If, as seems likely, these planets are first populated by private companies such as SpaceX, then off-planet settlers would be dependent on their corporate sponsors for food, air, and life-sustaining technology. This skepticism has its own science-fiction tradition, in which space exploration follows the patterns of exploitation visible already on Earth. Ursula K. Le Guin's 1972 The Word for World Is Forest envisions space exploration as a recapitulation of earlier colonial conflicts. In Bong Joon Ho's most recent film, Mickey 17, a desperate space colonist volunteers himself to be cloned again and again, exchanging a lethal job for passage to another world. A similar cannon-fodder dynamic appears in Claire Denis' 2018 film, High Life, in which a group of criminals, sentenced to death on Earth, are enlisted in a suicide mission and directed straight into a black hole—space exploration as prison labor. And such fatal bargains are all over the work of the filmmaker Paul Verhoeven, who directed RoboCop and Starship Troopers, movies in which the bodies and souls of regular people are commandeered for the benefit of the powerful. In Pip Adam's extraordinary, humane novel Audition, recently released in the United States, space is both the dystopian place where humanity's worst impulses flourish and a site of uncharted possibility where humans can become something entirely new. The story follows three giants who are hurtling through space. Once, they were all regular-size humans, but then, for unknown reasons, they began to grow until they were at least three times the size of other people. They were feared, and then hated, and then, in their strange way, envied. As a result, they were packed off into spaceships and shot away from Earth—heading, like High Life 's prisoners, for a black hole. Their ship is designed according to a strange, symbiotic principle: It gets its power from the giants' speech, and the giants must speak so that they don't grow even more. Yet something has gone wrong. When the novel begins, Alba, Stanley, and Drew, the remaining crew of the Audition, are trapped throughout the ship—one crammed into a hallway, another wedged between the floor and ceiling of a basketball court. At one time, it seems, the giants had staged a sound strike, refusing to speak with one another or to the ship. Only too late did they realize that their silence made them grow much more rapidly than before, and now they barely fit aboard. So the trio speak with one another from where they're stuck, their voices carrying through the pipes and the walls. Pages and pages of dialogue go nowhere and carry no real meaning. They speak in the plural, almost as a collective, like a sci-fi variation on Virginia Woolf's The Waves. 'We were giant on Earth, and it was terrifying—for everyone,' Alba says, but her thoughts could well be the group's. They describe many things as beautiful, many times, and repeat the meal schedule: Monday is 'vegan superfood buddha bowl day.' Tuesday is 'Greek roasted fish with vegetables.' Whenever they try to tell stories about their own pasts, the events sound awfully like the plots of mediocre rom-coms such as Never Been Kissed and the Jennifer Lopez vehicle Maid in Manhattan. Whenever they approach something like the truth, their words do not seem up to the task of describing it, and they continue speaking in a roundabout, inane manner. Alba believes that she is in space simply because it 'is the biggest room so there is no reason for me to go anywhere else.' All this uninformative talk encourages the giants to attack themselves rather than whoever put them on the Audition. It becomes clear, although they are only intermittently aware of it, that before they took off, the giants were confined in an open-air stadium they call 'the classroom.' There, the giants gradually lost all sense of self. Their days were spent learning dull, repetitive tasks. Their life histories were replaced by those romantic-comedy plots. And they were made to think of themselves as essentially inferior. 'The best thing is to be stupid and we are stupid,' Alba says. 'It is a gift we needed to return to. It is better to be stupid and it is better to not try and work out things.' They repeat, to the point of absurdity, phrases such as I want to say and The story is. All those extra words filling the air don't just fuel the ship; they also prevent its inhabitants from realizing what has been taken from them. Adam is showing how even language, the medium of the novel, can be polluted, corrupted, and transformed into a means of exploitation. Words turn from meaningful communication into pure, distracting noise. In a rare silent moment, the group reflects on how cheeseburgers sound: on the grill, as they're being put together, and especially in the mouth. This inspires another thought: that despite remembering the meal schedule, the giants have not eaten in a very long time, and, incarcerated in the ship, they might well starve to death. But their trained language distracts them. 'They really have nothing to complain about because really a bit of discomfort isn't so much,' their collective thought goes. 'Really. Like not so much.' They cannot be silent long enough to actually think, and they have been transformed into their own hall monitors. They are heading toward the event horizon of a black hole, a natural phenomenon that the Harvard astronomer Avi Loeb, in an epigraph, describes as 'the ultimate prison wall—one can get in but never get out.' Clearly, Adam is investigating what happens to the incarcerated, and as time passes, her main trio's confinement begins to look more purposeful than before. When, about halfway through the book, they pass through the event horizon, time distends, and realization floods through them all about how they knew one another before the classroom—even before becoming giants. They're marked and bonded by shared damage, violence, and shame; this might even, Adam implies, be the source of their growth. This realization reconfigures the entire book, recasting their ongoing dialogue and seemingly cordial relations as an interstellar jail—and the novel itself into an extended, especially cruel prison sentence. Audition can be a caustic, biting book, full of insights into the many cages we construct for the unwanted. But the event horizon, which at first represents their permanent banishment, becomes a frontier of hope when they finally cross it. They find themselves in an endless space beyond, which imposes no limit and seems to shape itself around them and their needs. There, they encounter other life-forms, and are offered some kind of status as visitors. Life in this new world comes with its own struggles and demands and obligations, yet without the divisions and distinctions that trapped them within the ship. After so much speaking, they find themselves deciding on what to do next, then acting together, not as opponents confined within a closed system but as participants in something huge and fluid and vitalizing. 'They're all inside her and she's inside all of them,' Alba thinks, 'although maybe inside and outside are pointless at this stage.' Only through the achievement of some new, unheard-of association can they hope to be free of their past shame, and discover as-yet-unknown pleasures. Like the billionaires and their sci-fi dream weavers, Adam is using outer space to imagine alternative forms of human relation. But with Audition, she wants to escape the gravitational trap of Earth's prejudices and hierarchies, its forms of ownership and exploitation. Rather than making space a lockup for the unworthy, or a new frontier upon which to exert our will, she searches for something far more expansive among the stars. We must move, she suggests, beyond the hard borders that separate, isolate, and constrain life on Earth today. Across the event horizon lies true possibility. But first we must find our way out of the cage.
Yahoo
17-06-2025
- Entertainment
- Yahoo
‘The Batman 2' Is ‘Still Really Important Despite Stories to the Contrary,' Says James Gunn Amid Rumors of Sequel Being Axed: ‘We're Supposed to See the Script Shortly'
DC Studios co-chief James Gunn said in a recent Entertainment Weekly interview that Matt Reeves and Robert Pattinson's 'The Batman Part II' remains an 'important' tentpole for the company, contrary to reports that Gunn cares more about launching the new DC Universe with films like this July's 'Superman.' Reeves' Caped Crusader movies exist in the 'Batman Epic Crime Saga,' which exists outside of Gunn's DCU and includes properties like the hit series 'The Penguin' 'What Matt's doing is still really important, despite all stories to the contrary,' Gunn said. 'We're supposed to see that script shortly, and I can't wait.' More from Variety James Gunn Told Marvel He Would Not Put Thor in 'Guardians Vol. 3' Despite 'Avengers: Endgame' Finale: 'I Don't Understand the Character That Much' New 'Wonder Woman' Movie Is 'Being Written Right Now,' James Gunn Confirms James Gunn Says There Is 'Zero Truth' to Warner Bros. Making Him Shorten 'Superman' Runtime: 'They Couldn't Even if That's Something That They Wanted' It's been a long development road for 'The Batman' sequel, which Warner Bros. delayed late year from Oct. 2, 2026 to Oct. 1, 2027. The first movie, which introduced Pattinson as the new Dark Knight, opened in theaters in 2022 and grossed $772 million at the worldwide box office. Pattinson said on his 'Mickey 17' press tour earlier this year that he was more than ready to get back in costume. 'I fucking hope so,' Pattinson answered when co-star Naomi Ackie asked if he would be playing Batman again soon. 'I started out as young Batman and I'm going to be fucking old Batman by the sequel.. I'm 38, I'm old.' Pattinson spoke to Variety at the 'Mickey 17' premiere in London and said he expected to be filming 'The Batman Part II' by the end of 2025. 'And I know what it's about but I can't tell anyone,' he added, 'but it's like, it's very cool. It's very exciting.' While 'The Batman' sequel will now open more than five years after the original, Gunn has defended the delay on social media by writing: 'To be fair, a 5-year gap or more is fairly common in sequels. 7 years between 'Alien' and 'Aliens.' 14 years between 'Incredibles.' 7 years between the first two 'Terminators.' 13 years between 'Avatars.' 36 years between 'Top Guns.' And, of course, 6 years between 'Guardians Vol 2' and 'Vol 3.'' 'Matt [Reeves] 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,' Gunn added in a separate post. 'Once there is a finished script, there is around two years for pre-production, shooting and post-production on big films.' Gunn has stressed repeatedly that no movie will go into production under the DC Studios banner without a completed script. His DC Universe kicks off this summer with 'Superman,' in theaters July 11. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
Time of India
13-06-2025
- Entertainment
- Time of India
"We're supposed to see that script," says James Gunn about 'The Batman 2'; reveals the sequel is really important in the trilogy
'The Batman' sequel release might have gotten delayed by a year, but it's only for the good. James Gunn stated that 'The Batman II' is really important in the trilogy, contrary to what the rumours might say. 'The Batman II' is important... In a recent interview with Entertainment Weekly, DC Studios Co-Chief dismissed the rumours that he cares about launching the David Corenswet-starrer new franchise 'Superman,' and not the established franchise to release the sequels. 'What Matt's doing is still really important, despite all stories to the contrary,' he said, before adding, 'We're supposed to see that script shortly, and I can't wait.' Robert Pattinson opened up about the sequel... Previously, 'The Batman' star Robert Pattinson opened up about him being eager to get back in the black costume. While promoting his film 'Mickey 17' earlier this year, his co-star Naomi Ackie asked whether he was playing the role soon. 'I f—king hope so. I started out as young Batman, and I'm going to be f—king old Batman by the sequel. … I'm 38. I'm old,' he said. During the London premiere of the aforementioned film, Pattinson revealed that they would start the filming process by the end of 2025. 'And I know what it's about, but I can't tell anyone. But it's very cool. It's very exciting,' he said, according to Variety. James Gunn defends the 5-year gap... About the five-year delay for the sequel, James Gunn previously defended the actions on social media. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Memperdagangkan CFD Emas dengan salah satu spread terendah? IC Markets Mendaftar Undo He said, 'To be fair, a 5-year gap or more is fairly common in sequels. 7 years between 'Alien' and 'Aliens.' 14 years between 'Incredibles.' 7 years between the first two 'Terminators.' 13 years between 'Avatars.' 36 years between 'Top Guns.' And, of course, 6 years between 'Guardians Vol 2' and 'Vol 3.'' 'Matt [Reeves] 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,' Gunn said in the separate post.
