
Sophie Thatcher in ‘Her Private Hell’
NEON
As Nicolas Winding Refn teams with NEON Rated for his Cannes return, the film marks an important collaboration ahead of the indie banner’s 10th anniversary.
The co-writer and director of Her Private Hell, debuting May 18 at Cannes before its July 24 U.S. premiere, recently explained how his 2016 film The Neon Demon inspired the name of Tom Quinn and Tim League’s production and distribution company.
“Well, Neon is called Neon because of Neon Demon,” Refn told IndieWire of the hyper-stylized fashion noir film starring Elle Fanning, which he co-wrote with Mary Laws and Polly Stenham.
Following the movie’s 2016 Cannes premiere, a mysterious Chinese buyer that turned out to be NEON debuted, buying Nacho Vigalondo’s Colossal out of TIFF.
“Tom Quinn has been very instrumental in my life. Because he brought the Pusher trilogy to the U.S., and we did Only God Forgives together, which was a very, in a way, pivotal point in my own creative endeavor,” he explained. “We have always remained very close over the years, and so when I wanted to make a movie again, he was the one and only that I reached out to … he’s just amazing, and he was like, ‘What do you need?’ And I explained what I needed, and he was like, ‘I’m in.’”

Sophie Thatcher in ‘Her Private Hell’
NEON
Refn continued, “That kind of reminded me of the experience with Pusher One, where I was like, ‘What do I need? Well, I need this.’ And the government just gave it to me. [Pulls up blank paper] My CV was as blank as this piece of paper. I had no prior anything. And with Tom, it was like, ‘What do I need? This is my CV.’ It has a few little things on it, but he was still, you know, ‘I’m in.’ And that kind of gave me a re-evaluation of everything around me, but also an incredible amount of joy and pleasure in wanting to make a movie in how I see movies are for me now.”
Co-written by Refn and Esti Giordani, Her Private Hell stars Sophie Thatcher as Elle, a troubled young women searching for her father in a futuristic metropolis that’s been taken over by a deadly mist, crossing paths with Private K (Charles Melton), an American GI trying to rescue his daughter from Hell.
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It took Saturday Night Live UK seven episodes to take on Donald Trump’s good pal Nigel Farage but we finally have it from British comic Peter Serafinowicz.
Making a cold open cameo depicting the Reform UK leader, Serafinowicz played Farage in a sketch set in 2046 when he is Prime Minister and the monarch is ‘King Trump’.
He kicked off by downing a pint, a notorious Farage move, before the Sky One audience was introduced to his deputy, Conservative leader Kemi Badenoch, played by Ayoade Bamgboye. In the sketch, the two parties had combined.
The pair walked the audience through jokes about mass deportations in London, hantavirus and a “straight pride march.”
“King Trump assures us he has almost negotiated a ceasfire over the Strait of Hormuz,” joked Badenoch later on.
Current Prime Minister Keir Starmer, once again played with aplomb by George Fouracres, then appeared with his former deputy Angela Rayner (Celeste Dring), as they delivered gags about how long Starmer can possibly stay in charge after a disastrous set of local elections for his Labour Party.
This week’s ep of SNL UK is hosted by Ted Lasso star Hannah Waddingham, who joked in her opening monologue about her Apple TV comedy and how much it has in common with SNL UK.
“Rich Americans working together, team spirit, and communal showers,” she said. “Yes that was surprising and excellent. Brett Goldstein is a very hairy man.”
Tonight’s show comes with the mood positive in SNL UK HQ after the series was renewed with an extended 12-episode order before the current one is even finished.
The cold open, which was set 20 years in the future, poked fun at the renewal when Starmer examined a newspaper that read “SNL UK Renewed… For Series 3.”
“Wow a big delay,” said Rayner. “Series 2 must have been rough.”
Poking fun at Daniel Day-Lewis
Later, a separate SNL UK sketch poked fun at the method acting methods of Daniel Day-Lewis.
A sketch which appeared to be about an ordinary British couple played by Fouracres and Emma Sidi saw Sidi’s character take a mask off to reveal that she had in fact been Day-Lewis all along, getting into character of a part by pretending to be a British woman for a full 18 years.
Day-Lewis was played by Larry Dean. The triple-Oscar winner joked: “Didn’t you find my six month comas strange, or what about the time I was obsessed with Abraham Lincoln,” the latter remark being about one of his Oscar-winning roles playing the U.S. President.
After being passed over for the part he had been preparing for in favor of Reese Witherspoon, Day-Lewis turned back into Sidi’s character at the end of the sketch.
There is one episode left of SNL UK Season 1, which will be hosted next week by Ncuti Gatwa.
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Blake Lively and Justin Baldoni averted a legal battle royale with the surprise settlement of a Lively’s It Ends With Us sexual harassment suit against him earlier this week.
But even avoiding an ugly trial and now dealing with legal and punitive damages, the actress and actor-director now face a trial of a different sort. Namely that of rebuilding their Hollywood careers.
“They’re in in jail. Both of them,” says one high ranking studio executive.
It was a sentiment echoed over and over again by many agents, producers, studio executives and casting directors informally surveyed by The Hollywood Reporter over the question of what was next for the two’s careers. It should be noted that the insights expressed did not diminish the talent of either, which can be seen in their body of work, but did assess the damage both have suffered from a protracted legal and public relations fight in which pyrrhic victories were the best outcomes.
Lively led and produced 2024’s It Ends With Us, a drama that Baldoni directed, produced and also starred in. The movie was money-making hit, grossing $351 globally on a budget of $25 million. The fight between the two wasn’t over profits or credits, but the shooting and public relations machinations behind the movie, among them accusations of sexual harassment and smear campaigns, with both sides lobbing lawsuits and countersuits.
“Who wants to work with people that go this far?” says the high ranking studio executive.
And notes casting director Matthew Barry, known for such features as The Notebook and Rush Hour: “They’re both in for a tough time.” Barry points out that negative headlines around their contentious split led to a lengthy hiatus from studio work for Johnny Depp and Amber Heard, although the former stars in Paramount’s forthcoming Ebenezer: A Christmas Carol, marking his first major studio film since 2018.
Most sources THR surveyed agree that a good chunk of Hollywood will be reticent to work with Lively and Baldoni, although most concede that Lively will have an easier way back.
Many believe that Lively should take a break from the public eye and “be thoughtful about what part she chooses next,” says another executive who has worked with controversy-mired talent before.
“If I were her, I would do a villain role and lean into the baggage,” quips one producer.
Regardless of any comeback, Lively’s brand has taken a hit. One studio exec believes the actress could have garnered $12 million paydays post It Ends With Us. “Today, she’s worth $3 million,” this person says.
That estimation falls in line with court filings in which Lively estimated the reputational fallout as a result of the alleged smear campaign to have cost her over $100 million. And she noted she was on track to secure roles in movies that would have included paydays between $10 million to $15 million each.
Most agree that Baldoni, meanwhile, faces a tougher road back.
“The allegations of an unsafe set, it’s hard to imagine he could cast a movie,” says one of the studio executives.
One casting director predicts that rather than direct, Baldoni could return to his roots as a TV player, where he came up as a romantic interest on The CW’s Jane the Virgin. This person does not believe he will direct any time soon.
Another casting director, Jen Rudin, believes that Baldoni will work again, but that being associated with running a contentious set could present a mark against him, at least in the short term.
“We’re at risk with anybody that we hire for anything,” says Rudlin, author of HarperCollins’ Confessions of a Casting Director, of any casting process. She adds about her general hiring philosophy: “I just want to work with great people, on and off set. Now more than ever, we really need to just be good, kind human beings to each other.”
Still, Baldoni’s return path may be eased thanks his company Wayfarer, which has the backing of billionaire Steve Sarowitz, meaning perhaps he could self-finance his own movies. “He could bring his own career back, but no one will hire him right now,” says a studio executive.
And one agent notes that Hollywood is harder on women than men in these situations, pointing to Depp’s return in Ebenezer: A Christmas Carol after his acrimonious divorce from Heard. “You don’t ever hear Amber’s name,” when people discuss that movie, this agent notes. “It’s easier for men.”
Then there is the Ryan Reynolds question. Reynolds, who is married to Lively, was named in Baldoni’s now-dismissed countersuit and has hovered over the proceedings as he supported his partner. Along the way, his reputation has also taken a hit as collateral damage. Several sources say Apple hesitated in dating the Ryan Reynolds action comedy Mayday for several months before finally committing to a Sept. 4 date in early February.
Reynolds, one of the highest-paid actors in town, could be staring down a pay cut for the immediate future, although a new outing as Deadpool would be an asterisk.
One agency partner notes that Reynolds could regain good will and cred by doing something leaner and scrappier as his next movie rather than a big studio production.
“He should do a Van Wilder movie for scale and regain his coolness,” says the agency partner, only half-jokingly.
—Ryan Gajewski, Mia Galuppo and Aaron Couch contributed reporting.
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With Eric Kripke‘s depiction of an all-powerful fascist in The Boys, its been impossible not to find parallels in certain current events, and the latest episode continues to serve as an eery prediction.
Following the unveiling of a gold Donald Trump statue during last month’s Cadillac Championship at Trump National Doral Golf Club, the creator and fans of the Prime Video series reacted to Homelander (Antony Starr) getting his own gilded likeness in this week’s sixth episode ‘Through the Heavens Fall’.
“You can’t make this shit up,” wrote one fan on X in reaction to a video of the statue being dedicated and blessed in a ceremony at Mar-a-Lago.
On Saturday, Kripke acknowledged the creepy parallel, sharing a side-by-side of the statues on his Instagram. “Seriously what the fuck?” read the meme.
Last month, Kripke reacted to Trump’s Truth Social post of an AI-generated image depicting him as Jesus Christ after Homelander chillingly claimed in the episode ‘Every One of You Sons of Bitches’ that he is God.
“I am really tired and weary of the world reflecting the show before we get a chance to do it,” he told Polygon. “I appreciate the marketing. I’m just like, can you just please give us a chance to put some absurd satire out there before you prove that it’s more realistic than we ever intended?”
Kripke added, “This is the episode where Homelander decides he’s going to be God and 48 hours before it, Trump releases an image of himself as God. A month ago when we were talking about marketing, I was like, Homelander saying he’s God is so out there. We have to be careful about how we even introduce the idea to the public because they’ll say he’s gone too far and here we are. It’s just really hard to out-satire this world.”
Trump deleted the AI-generated image of him as Jesus following backlash from both sides of the aisle. “I thought it was me as a doctor and had to do with Red Cross,” he claimed to press. “It’s supposed to be me as a doctor making people better. And I do make people better.”
Kripke previously noted that the current fifth and final season of The Boys was written before the 2024 presidential election, expressing it’s “really fucking unsettling” that an upcoming plot point in next week’s seventh episode ‘The Frenchman, the Female, and the Man Called Mother’s Milk’ has “already happened” in real life.
Given the violent nature of the fifth and final season of The Boys, and Kripke’s admitted use of Homelander as a Trump surrogate character, let’s hope the parallels don’t get too accurate leading up to the May 19 4DX theatrical finale, followed by its Prime Video debut the next day.
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