He had a solution for everything. There was no problem he couldn’t tackle. Whether it was forcing open a lock by melting ice, building a defibrillator out of two candlesticks and a microphone cable, making a bomb with a stick of chewing gum or defusing one with a paper clip. He could even stop a sulfuric acid leak with milk chocolate bars. As a popular Spanish saying inspired by the character goes: “You’re more dangerous than MacGyver in a hardware store.”

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“He’s here, he’s there, he’s every fucking where: Roy Kent, Roy Kent!” chants the loyal Richmond crowd in tribute to the captain of the struggling English football club at the heart of the TV series Ted Lasso. It seemed almost prophetic of what awaited Brett Goldstein, the 46-year-old actor who plays the gruff Kent. Since joining the hit Apple TV comedy’s main cast, having originally been hired only as a writer, he has gone from being virtually unknown outside the United Kingdom to starring in a romantic comedy with Jennifer Lopez, appearing alongside Harrison Ford in a television series, and becoming Marvel’s new Hercules.

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Tom Cruise's new climate film Digger is turning into the "biggest flop of his career" and could lose $150m in a "historic disaster", leading Warner Bros to try a bold new marketing strategy: implying Americans are dumb.

The post Tom Cruise Climate Film Digger is “Biggest Flop of His Career” and Could Lose $150m in “Historic Disaster” appeared first on The Daily Sceptic.

It is Sylvester Stallone’s fourth interview of the day. Is he tired of talking yet? “No, because this is the first one about my memoirs,” he replies from a hotel room in New York, his hometown, overlooking Central Park, where he is meeting with EL PAÍS.

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There is a generation of filmviewers that cannot separate Vincent Cassel, 59, from the 1995 movie La Haine (Hate), where he dominated the screen. Although more than three decades have passed, Mathieu Kassovitz’s film was already exposing the seams of modern France. A Jewish kid from the Parisian suburbs, inflamed by frustration, resentment, the poison of social exclusion, a constant sense of injustice and a desire for revenge after a friend gets killed by the police. Vince, but also Saïd and Hubert, his closest friends, formed a trio that would be unlikely today in the banlieues of the Paris periphery. An Arab, a Black man and a Jew united by that prescient smell of fracture, exclusion and identity conflicts that began to feed the hatred and stoke the fire of the far right.

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Production: Nono Vázquez. Photography assistants: Emilio Azevedo and Adrián Wong. Production assistants: Laura Gimenez and Isabel Orozco. Makeup and hair: Anne Bochon. Movement direction: Pauline Gudet. Video: Daniele Vaia. Studio: Paul Le Cacheux Photographer.

Lili Reinhart isn’t interested in being a celebrity… and the 30-year-old actress has proven this throughout her career. The moment her name started making headlines for her starring role as Betty Cooper in the TV series Riverdale (2017-2023), control over what she wanted (and didn’t want) in her life seemed to slip from her grasp. And, as her fame grew, she also had to confront her insecurities: subjected to constant media exposure, her life suddenly belonged to the public.

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Although Tom Cruise has maintained his star status on the big screen, the 64-year-old has avoided giving interviews to mainstream media for the past 20 years. Instead, he has focused on being an actor exclusively associated with his roles, someone who only generates conversation for his spectacular stunts in the sequels to Mission Impossible, done without doubles, or for his commitment to the seventh art, to theaters, and to Hollywood.

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Digger is like a mango. It’s an acidic film, but also a bit sweet; outwardly it seems one thing but inside it contains surprises, and it needs time to ripen. Like a mango, its flavor can’t be explained. In fact, it’s better not to even try, says its director, Alejandro González Iñárritu: “The only way to know what a mango tastes like is to put it in your mouth. And you have to put this film in your eyes to understand it, because if I explain it to you, you won’t get it.”

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There is nothing a good plate of lechón (piglet) can’t achieve. So can a story that has been in the works for a decade and speaks of friendship, migration, change, roots and food (yes, lechón too), one that is animated and aimed primarily at children, yet carries a message not only for kids. It was over dishes like that and other traditional Filipino foods that Forgotten Island was cooked up for years. Joel Crawford and Januel Mercado, who are friends, colleagues and something like compatriots, have been passionately shaping the story all these years, and finally on September 25, 2026, it is opening in movie theaters worldwide.

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Lena Dunham — the child prodigy who wrote the HBO series Girls (the millennial version of Sex and the City) and later became the fallen star of her generation — published her second memoir this past April. And it reads quite differently now, after she recently announced that she has become a mother via surrogacy.

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Thirty years ago, Leonardo DiCaprio, at just 21, won the hearts of half the world starring opposite Claire Danes in Romeo + Juliet, a modern adaptation of William Shakespeare’s classic directed and adapted by Baz Luhrmann.

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No matter how skeptical we may be about the American dream, Arnold Schwarzenegger’s personal story strains the limits of credibility as much as any of his most over-the-top films. That the destiny of Hollywood—not to mention California, the world’s fourth-largest economy all by itself—should be shaped for decades by an Austrian villager raised among the ruins of World War II would seem highly unlikely, were it not for the fact that the actor and former governor is so firmly ensconced in our collective imagination, his name pronounced by everyone with the same startling ease. Schwarzenegger, 79, is one of those individuals for whom the phrase “larger than life” seems to have been invented: for the scale of his achievements, his film career and his physical presence — 6ft 2in (1.88 meters) of chiselled muscle like a Greek statue.

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Consciously, in what he himself calls “a healthily obsessive way,” Dublin-born Andrew Scott has built a career across film, television and theater by gravitating toward complex characters. In his hands, no role is ever banal or simple.

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Kevin Dupzyk’s profile of Sam Rockwell, a “legendary scene-stealer” now in his fourth decade of work, is a crisp and entertaining one-act, with journalist and actor holed up in a spare Manhattan greenroom. Dupzyk studies Rockwell while Rockwell studies the room, testing the durability of his own idiosyncratic observations—about Red Bull and loss and rain—to see what they might yield in a conversation with a stranger. Dupzyk had wanted to “gin up some action for this story,” but it’s strangely compelling to watch Rockwell’s gaze prowl the room, to see what lodges in the filter of his creative process.

Rockwell is a good tennis player. And like any good athlete, he trains. For as much as he appears to get by on natural charm and charisma, he is an actor’s actor, a true believer, in his words, an “acting nerd.” Research. Running lines. Exerci—

“Do you know what a gibbon is?” Rockwell asks.

“Like, a monkey?” I say, confused.