Venice Title ‘Argentina 1985’ Sheds Light on the Momentous Trial of Argentina’s Military Junta

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Mummy, is that you? Princess Kate and Prince William’s three children are all too familiar with their parents’ engagement photos — and they had an unexpected reaction to the throwback snaps when they saw them for the first time.

It’s official: Cheyenne Floyd and Zach Davis are married!

Fashion’s biggest night! The 2023 Metropolitan Museum of Art’s Costume Institute Gala will honor an icon.

Football fans are still thinking of Tua Tagovailoa after he was rushed to the hospital during the Miami Dolphins game against the Cincinnati Bengals on Thursday, September 29.

The Tonight Show Starring Jimmy Fallon” on Thursday evening where he recalled the royal faux pas.“They give you full rules of dos and don’ts. There’s a lot of etiquette,” Teller explained. “And I kind of had a sheet, so I wouldn’t mess it up.”The “Divergent” alum was so starstruck that he forgot abut the regulations.

Reflecting on his future. Alex Rodriguez opened up about how he carried himself in relationships in the past — and admitted he wasn’t “the best” partner he could be.

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Amber Heard hasn’t been seen for a while since the conclusion of the highly publicized defamation trial against ex Johnny Depp, but she’s just resurfaced.

Magna also still expects growth for 2023, but with consumer product companies, finance and retail all coming in below average, and a lack of cyclical events weighing down growth.One factor that will be in play is that more states are likely to legalize online gambling, with Ohio likely and the large states of Texas, California and Florida lining up as possibilities.“Finally, there’s hope that the automotive vertical may start to recover in 2023 after two years of decline in car sales and advertising activity,” the report said.

Joshua Alston From the beginning, Scott “Kid Cudi” Mescudi has approached his career as an artist who would sooner toil in obscurity than be renowned for just one thing. Just two years after dropping “A Kid Named Cudi,” the mixtape that launched him into the spotlight, he was cast in “How to Make It in America,” a short-lived HBO-originals deep cut. In the decade since that show ended in 2011, he’s earned a reputation for bouncing willy-nilly between genres, mediums, and disciplines, and the choices that once seemed fickle now seem confidently eclectic.  Never has Mescudi looked more like a polymath than with the debut of “Entergalactic,” an animated Netflix special timed to the release of his new studio album (also dropping on Sept. 30), which bears the same title. “Entergalactic” was initially announced in 2019 as a series to be created by Mescudi and Kenya Barris, but has since been whittled down to a 90-minute special (which Netflix is calling an “event”). In its final form, the special feels like it’s being torn in several artistic directions at once, not unlike Mescudi himself. The length and formal relationship with the album suggest a Beyoncé-style visual companion piece, heavy on style and symbolism but without a narrative throughline. (Halsey’s “If I Can’t Have Love, I Want Power” is a solid non-Bey example.)

Peter Debruge Chief Film Critic A middling movie with a must-see performance at its core, “The Good House” does something interesting with the notion of the unreliable narrator. As the unfortunately named Hildy Good (blame novelist Ann Leary, not married filmmakers Maya Forbes and Wallace Wolodarsky for that decision), Sigourney Weaver brings deceptive self-confidence to the role of a small-town Realtor. We meet Hildy introducing a couple to the fictional New England fishing village of where the Good family has lived for so long, there’s talk of witches in their past. But Hildy can’t be trusted — not because her character is bad (she’s Good, get it?), but because she’s in denial. “I can walk through a house once and know more about its occupants than a psychiatrist … could in a year of sessions,” Hildy boasts, addressing the audience directly. In truth, she’s not talking to us so much as she is rationalizing things to herself. The slyly insightful way Forbes (“Infinitely Polar Bear”) and Wolodarsky (who spent years writing for animation) have constructed “The Good House,” watching Hildy throw down boss energy to clients and the camera is like being inside her head, where the first person she has to convince that she’s in control is herself. We buy it — for a time — but the characters don’t, and that mismatch is the crux of all that follows.

Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. In HBO’s “The Rehearsal,” Nathan Fielder ended up creating one of the most polarizing series on TV when he set out to broadcast a morally precarious social experiment in which he helped prepare willing participants for certain moments in their life by rehearsing them over and over and over again. With the help of paid actors and elaborately designed sets, he acted the part of a master manipulator who was able to convince a rotating cast of real people that one could perfect any future interaction they might have with enough preparation. Fielder’s dry humor in “The Rehearsal” is of the same breed we saw in his previous Comedy Central show “Nathan for You,” if not a bit more sardonic — and for all the people that hate him for it is a legion of fans who have became obsessed with his genius satire, out-of-the-box thinking and “hot dad vibes.” If you are of the latter camp, then a Nathan Fielder Halloween costume might have already crossed your mind. And the best part about it? All you need is one prop that anyone who saw the HBO series will recognize (and it’s one you can actually make use of all year round). While rehearsing his scenes with the participants, Fielder was never without his handy laptop harness, which he buckled around his waist so he could type and direct orders while pacing around the set. Dressing up as Fielder for Halloween? Strap on this laptop harness and pair it with a grey crewneck sweater for a can’t-go-wrong costume this year. Courtesy of Amazon

Ed Meza @edmezavar Attending the Zurich Film Festival for the screening of his latest film, “The Good Nurse,” Eddie Redmayne spoke about his desire to work with director Tobias Lindholm, the joy of watching Jessie Buckley’s performance in “Cabaret” and the disappointment of missing out on “Games of Thrones.” “The Good Nurse,” which Variety’s Tomris Laffly describes as “soulful” and “devastating,” tells the true story of nurse Charles Cullen, who confessed to murdering at least 29 patients but who may have in fact murdered as many as 400 people, and fellow nurse Amy Loughren (Jessica Chastain), who helped solve the case. It’s based on the book “The Good Nurse: A True Story of Medicine, Madness and Murder,” by Charles Graeber.

Marta Balaga “Dalíland” star Ben Kingsley felt the presence of the famous painter when making his latest film, directed by Mary Harron. “Some days [Salvador Dalí] would come, saying: ‘I will just sit here for a while. Put your brush on the canvas and good luck.’ Later on, I really felt he allowed me to make an attempt at portraying him,” he told Variety during an online press conference at Zurich Film Festival. “He was mercurial, deliberately tried to wrong-foot people and quite difficult to pin down apart from the voice, the moustache, the eyes. We actually looked at several versions of his famous moustache. One could think: ‘It’s just a moustache!’ But it was his vigor, his eccentricity. His signature.”

Jem Aswad Senior Music Editor Two decades ago, as the turn-of-the-century NYC indie-rock scene burst out of its East Village and Williamsburg incubators, few probably expected that the Yeah Yeah Yeahs would end up having the most wide-ranging career of the bunch. After all, a trio consisting of a wiz-kid guitarist, powerhouse drummer and a fireball lead singer might have made for explosive shows and a scrappy, deceptively diverse debut EP, but with no shade intended to the Strokes, Interpol, LCD Soundsystem, TV on the Radio and all the others, the multiple musical directions the band would go did not seem to be in the cards. The Yeahs had the first hit single of the pack (2003’s “Maps”) and varied their approach with each successive album, peaking with 2009’s unexpectedly electronic-heavy “It’s Blitz.” That album represented the end of that particular thread: The group released one more, rockier album “Mosquito” in 2013 (which, significantly, fulfilled their major-label contract) and then basically went on hiatus. In the years since, singer Karen O released a stellar collaboration with Danger Mouse, “Lux Prima” and co-composed the score for the animated film “Where Is Anne Frank?,” guitarist Nick Zinner also scored films and worked with Phoebe Bridgers and Songhoy Blues, and drummer Brian Chase started his own label. Such hiatuses are often permanent, but the group reunited for a tour in 2017, and five years and a pandemic later, there’s finally a reunion album — and it continues the group’s evolution with a powerful, more seasoned take on their earlier sounds.

William Earl The Gotham Film & Media Institute (The Gotham) announced today the launch of The Gotham/Variety Audio Honors, presented by Wondery, a groundbreaking initiative dedicated to recognizing the boldest voices in the ever-expanding world of audio storytelling. The honorees have been selected in recognition of their innovations in audio storytelling by a committee of distinguished audio industry professionals, chaired by award-winning podcast creator, producer and new host of NPR’s “It’s Been a Minute,” Brittany Luse. The Gotham/Variety Audio Honors are set to take place in person as a luncheon and a staged presentation in New York City on Friday, Oct. 14. “As an organization dedicated to celebrating and nurturing independent creators, we are proud to recognize these brilliant, innovative, and groundbreaking audio storytellers,” said Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute. “As audio content reaches a pivotal point of engagement and innovation, it is crucial that we launch new platforms of recognition, such as The Gotham/Variety Audio Honors, to celebrate the most daring creators in our industry.”

Brian Steinberg Senior TV Editor People who want to watch ABC News’ “Nightline” no longer have to stay up past 12:30 in the morning. The venerable late-night news show, perhaps the last weekday word in the daily broadcast news cycle, is taking a step into streaming video, with a weekly newsmagazine counterpart that aims to burnish new storytelling tactics for subscribers to Hulu. The first half-hour broadcast of “Impact x Nightline” debuts Thursday, Oct. 6. The new series, produced by the same ABC News team that makes daily “Nightline,” will home in on streaming viewers and the things that will keep them interested, says Eman Varoqua, the program’s executive producer. If you’re looking to see an ABC News anchor sitting behind a desk, you won’t see it here, she vows: “You’ll see them on the ground, in the field, really conducting the interviews, and taking you to the heart of the story,” she says. “It’s very much a ‘journey’ style of reporting, and they will be right there, taking the viewers through the story and all its complexities.”

Andrew Barker Senior Features Writer In September 1963, the first ever New York Film Festival was held in Manhattan’s Lincoln Center, and it counted as something of an experiment, an early test case as to whether the sort of serious, artistically inclined fests that were quickly becoming established in Europe could find real purchase stateside. The inaugural lineup included Luis Buñuel’s “Exterminating Angel,” Roman Polanski’s debut, “Knife in the Water,” and Yasujirō Ozu’s swan song “An Autumn Afternoon.” According to a Film Comment report at the time, the inaugural fest sold more than 20,000 tickets before a single film had unspooled. Not bad for a first time out.

Selome Hailu Media Res has pre-empted the rights to “Luminous,” the debut sci-fi novel from Silvia Park, which the studio will adapt into a drama series. “Luminous” tells the story of three estranged siblings living in a recently re-unified Korea, where sentient, sensitive, very-nearly-human robots are a part of daily life. One sibling working for the lowly robot crimes unit and is tasked with investigating the disappearance of an older woman’s service bot in Seoul. His investigation brings him to reconnect with his sister, a prominent robot designer working for a top manufacturing firm, who is, embarrassingly, dating one of her creations as well. The investigation sparks an epic journey through future Seoul, where the dark truths of this tech future are uncovered while the characters rediscover their humanity, even if not all of them are actually quite human.

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announced he would be leaving after hosting for seven years, he was spotted in New York City with on a possible date. I don't know what sort of era we would call this, but I'm happy for him!Photos published in show Noah and Lipa having dinner at the downtown Jamaican cafe Miss Lily's before apparently saying goodnight with a hug and a kiss on the street outside the restaurant.

is getting ready to start a busy fall promoting : Master Gardener, The Good House, Call Jane, and Avatar 2. “It's funny that they're all coming out at the same time because they're all so different," she says.

When the colonels enter the courtroom, they clearly think they are in the clear. A military court has spent a year deciding that whatever excesses the Argentinian police, army and whoever else might have committed, these gentlemen were not down in the muck where these things happened, whatever “these things” were. One by one, they rise to announce that, as military men, they do not recognize the authority of the civil court. They are holding back smirks. Perhaps they think they will be free of this nonsense by lunchtime.

Guy Lodge Film Critic Rather like the arc of the moral universe, “Argentina, 1985” is long, but bends toward justice. Effectively dramatizing the country’s landmark Trial of the Juntas, history’s first instance of a civilian justice system convicting a military dictatorship, Santiago Mitre’s broad, sprawling, heart-on-sleeve courtroom saga may draw from the same nightmarish period of history that has informed much of Argentine cinema’s most essential, haunting works — from 1985’s Oscar-winning “The Official Story” to last year’s “Azor” — but eschews any subtle arthouse stylings for a storytelling sensibility as robustly populist as anything by Sorkin or Spielberg. Small wonder, then, that Amazon Studios has boarded a film clearly aiming to be both a domestic smash and an international crossover hit — buoyed by the reliable star power of Ricardo Darín, his signature suaveness tempered by a walrus mustache and boxy ‘80s frames as Julio Strassera, the dogged prosecutor who took on this charged, against-the-odds case. Though a warmly received premiere in competition at Venice will set it on the right path, “Argentina, 1985” is, appropriately enough, a people’s film about people’s justice, balancing tear-jerking historical catharsis with touches of droll domestic comedy, and set to draw crowds on enthusiastic word of mouth.