Halsey joins forces with Evanescence singer Amy Lee for new song Hand That Feeds
Halsey and Amy Lee have joined forces for a new song.
The 30-year-old singer and Evanescence star. 43, have admired each other "for a long time", and they've collaborated on 'Hand That Feeds' for the new 'John Wick' spin-off movie 'Ballerina'.
Writing on X, Amy said: "So thrilled to be you a new song, 'Hand That Feeds', with @halsey THIS FRIDAY!
"We've been fans of each other's work for a long time and it really feels like the universe pulled us together for this moment."
The song will be out on Friday (09.05.25), just days before the 'Bring Me To Life' rockers open for Halsey at the Hollywood Bowl on May 14.
Amy continued: "We already had the Hollywood Bowl show in place when @Lionsgate invited us to work on a song for the @ballerinamovie together, and it's finally time to serve it UP!
"Cannot wait for you all to hear!! (sic)"
Last year, Halsey dropped her fifth album 'The Great Impersonator', after telling fans she initially thought it could be her final record.
A fan asked: "Is this era like manic and have mixed genres? Or more cohesive??'
Halsey answered: 'All over the place. When I started writing it, I thought it might be the last album I ever got the chance to make. so I tried to do whatever I'd been wanting to do, but hadn't tried yet.'
The pop star has been living with multiple health challenges the past few years, including lupus and endometriosis, and there are songs on the LP which document those challenges.
She continued: "I wrote a lot about what I was going through. I felt like I couldn't tell anyone, though it was mostly my choice to not. But the weight of it all and looking at my life wondering if I was happy with who I was. While simultaneously changing against my will. more on that later lol.'
Meanwhile, Evanescence - who dropped new single 'Afterlife' from Netflix's animated 'Devil May Cry' series in March - will be hitting the road supporting My Chemical Romance and Metallica this year.
Their last album was 2021's 'The Bitter Truth', which Amy previously described as "very cathartic".
Back in 2022, she told NME: "It was so good for our souls. We had so much to say and talk about."
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Man of Many
8 hours ago
- Man of Many
Charlie Vickers on ‘The Survivors', Building Character and Coming Home
By Dean Blake - News Published: 6 June 2025 |Last Updated: 4 June 2025 Share Copy Link Readtime: 10 min Every product is carefully selected by our editors and experts. If you buy from a link, we may earn a commission. Learn more. For more information on how we test products, click here. Charlie Vickers is on the rise. After an impressively devilish rendition of Middle-Earth's Sauron in Rings of Power, the Aussie actor is returning home to star in Netflix's The Survivors: an adaptation of Jane Harper's novel of the same name that focuses on the small, coastal town of Evelyn Bay and a series of deaths that echo through the years. In some ways, The Survivors was a particularly personal project for Vickers, who saw his own echoes in the show—a big-town man returning to his small-town roots—and who connected with the inherent Australianness of it all. Since studying acting at the College of Speech and Drama in London, Vickers has been largely living overseas, and the opportunity to return home, especially for a script he felt excited by, was too good to pass up. We caught up with Vickers ahead of The Survivors launch on Netflix on 6 June to talk though what drew him to the project, how he got started in acting, and what it was like coming back to Australia. Charlie Vickers in 'The Survivors' | Image: Netflix To start with, I wanted to get an idea of what it was about The Survivors that got you excited. What sold you on being a part of it? I love shows that adapt novels, really. The Survivors is a novel that I hadn't read, but I'd read a few other books by Jane Harper and this just sounded like a really fun adventure to be able to go on. So when I had the opportunity to potentially do it, I thought, 'It's in Tasmania, I grew up in Melbourne, but I'd somehow never been to Tasmania,' and being able to work with a whole bunch of new, amazing people and having Tony in charge of the whole project got me really excited. Also, just being able to be part of an Australian story. It's quintessentially Australian. I live in the UK now so I want to do as many Australian projects as possible, and this was such an enticing opportunity, really. The character of the town, although it's fictional, its kind of its own character in this story, and being able to film so much of it on location got me really excited. I also thought the story was interesting, and the way the script adapted the novel made me quite interested. It's quite cool seeing small-town Australia highlighted—I wanted to ask about that. Was that part of the charm for you? Is that something that reminds you of your childhood in Australia? In a way, it is . There are a huge amount of similarities between Tasmania and Victoria, and I grew up in a small coastal town exactly like . It's funny, the character of Kieran is still quite far away from who I am but he's also returning from a big city, in his case Sydney, to his childhood town, and there was a bit of familiarity there for me. I live overseas in a big city and often find myself coming back to my small, coastal town, and I think my son was about 6 months old when I was filming this, and he has a 4 month old, so there was a lot of 'world's colliding'. Having the opportunity to tell a story set in a coastal town, and you have all the dynamics . I was watching the show with my brother the other day, and he said 'god, some of these characters feel like they could be from our home town', it's crazy. Charlie Vickers in 'The Survivors' | Image: Netflix I wanted to get an idea of what you look for in a role? There's no shared characteristics of any roles , I often look for something that when I read it I get inspired, or I get excited by the idea of doing it. These roles can be completely different, but the thing they share is that I think I can bring something to the project: it has to ignite my imagination, reading it. Those kinds of jobs are few and far between, that make you excited, and this was one of those jobs. I've played quite a lot of villains in my career so far, but that's just coincidental and because of the material I've been given. How do you find your characters? When you're given a script or a treatment, how do you go about turning those words into action? For me, I try to keep it as simple as possible. I don't properly believe in the idea of 'character'. It's useful to use it in terms of referring to the character of Kieran, for example, but his 'character' is just the sum of a whole bunch of little moments. So I try not to look at things through a wide-angle lens, you know? And sometimes I watch the final product of things and find that 'oh wow, he's an entirely different person to how I had imagined him', because I tend to approach it from a moment to moment basis, and react to the circumstances he's in, and try to play to each moment truthfully, and then that paints a bigger picture of this character's life during the time period on screen. The only thing you have to be mindful of, I guess, is to think of the journey of the character throughout the show, but the specificity of each moment we see creates the 'character', I think. Charlie Vickers in 'The Survivors' | Image: Netflix Beyond being able to come back to Australia, what was the highlight of the filming process for The Survivors? There were so many. I loved being able to be in a really special place, Tasmania, that I'd never been to, with a whole bunch of amazing actors and creatives. To be able to work with these people made it an amazing experience: Actors that I've watched since I was a kid on screen. People like Damien or Robyn or Catherine and then there's this whole other amazing generation of actors like Yerin , Jess , Thom and George , and I think that's what I really love about projects. I've been really fortunate in my career in that you can just kind of go somewhere for six months and work on something and be fully immersed in the world of whatever you're doing, and then you get to move on and some of the relationships endure. That's the lasting memory of working in Tasmania : the combination of the location and the people. It was probably really good to have that filming location be somewhere you'd never been but also being very familiar in a way. Exactly, I don't know why I'd never been to Tasmania, but it really does feel different. There's an atmospheric quality to that place that is inherent, just when you're walking around. The energy there can be heavy, and I'm sure that's what Jane was trying to tap into when she wrote the novel. You mentioned earlier that you've enjoyed doing adaptations of novels, and you've done quite a few of them at this point: is there any book adaptations that you'd love to work on? I love Tim Winton's novels, and I read The Shepherds Hut recently, and also The Riders, and Eyrie, which is about a retired climate worker that lives in Freemantle, and I just think his stories are so evocatively written and I'd love to be a part of an adaptation of one of those novels on screen. I think they're pretty rarely adapted, though, and the adaptation process to take a novel to screen is often a really complex one. Those novels, when I read them, I really connected to a few of the characters and thought it'd be really cool to be a part of. I love imagining the world, that's part of the amazing thing about reading books. Charlie Vickers in 'The Survivors' | Image: Netflix You've worked in a few genres so far – is there anything you'd want to do that you haven't been given the chance to yet? It's quite a boring answer, but I'm lucky that I've been given the chance to work on bigger productions and smaller productions and things that are in pretty wildly contrasting genres that I don't really have that itch to do anything in particular. I just kind of want to work on stories that are exciting, the genre could be anything, really. If it's something that creatively inspires me, I'd be keen to do it, but there's no particular world I want to jump into anymore: which is nice, it's a nice place to be. How did you get started in acting? I did a lot of plays at school. I remember being in year 12, and I was playing Richard the 3rd in our school production of it, and it was the same year it was being done by the Melbourne Theatre Company, and Ewen Leslie was playing Richard the 3rd, and I remember going to see it and just thinking 'wow, that's so much better than what I'm doing', and thinking 'I'd love to be able to do that one day'. I remember that moment of 'wouldn't it be cool to be an actor', but then I never found it to be an accessible path. I think I was afraid. I knew you could go and audition for drama school, it just didn't seem to be a thing that was in my world, it didn't feel possible to me: getting in to a drama school and then going on to be an actor, so I didn't do it for a few years after school finished. In those intervening years I was studying a music/business degree, and while I loved uni and being around my mates and that whole period of my life, but I was really just treading water. I had no idea what I was doing, and throughout Uni I was doing amateur theatre productions. Melbourne Uni has this amazing theatre called the Union Theatre, so I did a lot of work there. Eventually, I drummed up the courage to do it, and that changed my life. I thought, maybe I should just have a go at trying for a drama school because I really didn't know what I was doing. The school I went to, the Central School of Speech and Drama in London, they come and do audition weekends in Sydney, and I decided I was going to go to it. I flew up and didn't tell anyone because I was afraid of telling people I auditioned and I didn't get in, so I did the audition over a weekend and then found out six weeks later that I'd got in, and then had to decide whether I wanted to uproot my life or did I want to wait until the end of the year and maybe try some of the Australian schools. But when you get into a drama school, it's so unlikely in the first place that I just thought I have to take this opportunity – it might not happen again. So yeah, I moved to London, and that was really the moment the direction of my life changed. The Survivors launches exclusively on Netflix on 6 June.
Perth Now
9 hours ago
- Perth Now
‘We've got a pretty good story': John Wick director Chad Stahelski teases Chapter 5
Chad Stahelski has a "pretty good story" for John Wick: Chapter 5. After the titular hitman's apparent death in 2023's John Wick: Chapter 4, Lionsgate has greenlit a fifth outing for Keanu Reeves' assassin, and Stahelski, 56, has teased the script he and scribe Mike Finch wrote is coming along nicely - though will only go ahead with the movie if they "crack" the story. Speaking with The Hollywood Reporter about continuing John Wick's story after his supposed end in Chapter 4, the filmmaker said: "I'm not going to lie to you, it's a bit of a conundrum. Me and Mike Finch — the writer on 4 who's also writing 5 — we've got a pretty good story that I think is cool. Once we have a 50-page book, and if we're feeling it, we'll sit with Keanu and shape this thing. "Look, everybody seems to want it. It's a matter of whether we crack it. We're actively working on it. It's just … is it going to be satisfying?" Stahelski added that while Lionsgate wants John Wick: Chapter 5, the sequel isn't locked in just yet. He explained: "The studio would very much will it into existence, I'm sure, at some point. Look, they've been great and they've asked us to really try and we have a really good couple of ideas and we're going to try." The filmmaker added that even if John Wick: Chapter 5 ultimately doesn't come to fruition, he and his creative team will likely discover plenty of other ideas that could be reworked for a spin-off in the process of developing the movie, such as the Ana de Armas-starring Ballerina. Stahelski said: "If we go down the road of John Wick 5 and build this story and decide this isn't right, there are probably going to be 10 other things we'll discover that we'll use for other things. "It's a great creative exercise. It's being in the room riffing with people we love. That's nothing but wins." Ballerina - which also stars Norman Reedus, Ian McShane, Lorenza Izzo, Anjelica Huston and the late Lance Reddick - follows Eve Maccaro, a deadly assassin who seeks vengeance for her family's murder and unleashes her fury against those who wronged her. The film is also set to include John Wick as an adversary of Macarro's, though Stahelski revealed this wasn't always in the plan, and he was initially "kind of against" bringing in Reeves' assassin. He explained: "That wasn't in the original script. To be honest, I was kind of against it. But I do see the benefit and we wanted to help out [director Len Wiseman]. "We had just opened John Wick 4 and it was huge. He couldn't go back to the model of the first John Wick and do a little $18 million indie thing and try to build it up. "In order to stay in the same game, you got to give him a fighting chance. And the easiest way to transfer that over — at least, from the studio point of view — was have Wick in Ballerina in a special timeline."
The Advertiser
a day ago
- The Advertiser
Let's dance: John Wick's successor on point as vengeful assassin
From the World of John Wick: Ballerina (MA, 125 minutes) 4 stars Cuban actress Ana De Armas absolutely stole the movie from under the nose of Daniel Craig when she played the Cuban spy in the 2021 James Bond film No Time to Die, and she's been a box office A-lister since. She is spectacular in this action flick that, in case the overly bloated and narratively descriptive film title doesn't give it away, fits somewhere into Keanu Reeves's John Wick films. If I were to guess, I'd say it takes part around the third Wick film, because Keanu does indeed play a small but essential part in Ballerina as his John Wick character, and we learn one of the reasons he might have found himself disavowed by the secret assassin underworld in John Wick: Chapter 4. His presence serves to both connect the new character to that film franchises's universe, but also hands the torch over to a very capable successor, probably studio insurance in case Keanu decides he's too old to pretend to be a karate expert assassin. De Armas also plays a professional assassin and as the film opens we begin with her origin story, as the younger Eve (Victoria Comte) who has her idyllic island life destroyed with the arrival of a mysterious gang of black-clad killers, each carrying a heavy 'X' scar on their arms. Her lighthouse keeper dad is apparently also a retired assassin in hiding, having stolen baby Eve away from this crew that were intending to bring her up as a future killer. Dad once again saves Eve from this crew, particularly its enigmatic leader The Chancellor (Gabriel Byrne), but at the cost of his own life. It seems that killing is to be Eve's destiny anyways, as years later we meet the grown-up Eve (De Armas), placed in the care of The Director (Angelica Huston), who runs an assassin training academy disguised as a professional theatre school. It is here that Eve learns the ballet skills that give the film its name, dance being just a part of the curriculum that teaches these future death machines quick reflexes and incredible strength. And it is here that Eve first meets John Wick, a former student and member of the assassin clan Ruska Roma that The Director is the head of. Eve isn't just any baby killing machine though, she has her own vendetta against her father's killers driving her and vows to stay and continue learning only as a means to find the mysterious crew with the X scar. And she eventually does, and it doesn't go well for anybody. Fans of the John Wick films will get a heap more of the stuff they love: exquisitely choreographed fight sequences and lashings of ultra-violence delivered with a sense of humour. For newcomers, I'll say there's so much to enjoy about this film, as long as you're pre-disposed to liking those things I just mentioned. Among the film's many gifts to viewers is the way director Len Wiseman, his writer Shay Hatten, weapons master Marek Bocek and the very long list of stunt coordinators in the credits work with Ana De Armas to make her a plausible assassin. One of the assassin school coaches (Sharon Duncan-Brewster) orders Eve to "fight like a girl"' by which she means to understand that while she may not match the strength of many male opponents, she should understand where her strengths are. It's a real joy to watch Eve work a room grabbing pots, pans, kitchen knives, and her ballet training to despatch dozens of men, and it is just really lovely team work from the film production crew, such professionalism. I'll enjoy more of these in years to come, I'm sure, as it is just really bloody fun to watch. From the World of John Wick: Ballerina (MA, 125 minutes) 4 stars Cuban actress Ana De Armas absolutely stole the movie from under the nose of Daniel Craig when she played the Cuban spy in the 2021 James Bond film No Time to Die, and she's been a box office A-lister since. She is spectacular in this action flick that, in case the overly bloated and narratively descriptive film title doesn't give it away, fits somewhere into Keanu Reeves's John Wick films. If I were to guess, I'd say it takes part around the third Wick film, because Keanu does indeed play a small but essential part in Ballerina as his John Wick character, and we learn one of the reasons he might have found himself disavowed by the secret assassin underworld in John Wick: Chapter 4. His presence serves to both connect the new character to that film franchises's universe, but also hands the torch over to a very capable successor, probably studio insurance in case Keanu decides he's too old to pretend to be a karate expert assassin. De Armas also plays a professional assassin and as the film opens we begin with her origin story, as the younger Eve (Victoria Comte) who has her idyllic island life destroyed with the arrival of a mysterious gang of black-clad killers, each carrying a heavy 'X' scar on their arms. Her lighthouse keeper dad is apparently also a retired assassin in hiding, having stolen baby Eve away from this crew that were intending to bring her up as a future killer. Dad once again saves Eve from this crew, particularly its enigmatic leader The Chancellor (Gabriel Byrne), but at the cost of his own life. It seems that killing is to be Eve's destiny anyways, as years later we meet the grown-up Eve (De Armas), placed in the care of The Director (Angelica Huston), who runs an assassin training academy disguised as a professional theatre school. It is here that Eve learns the ballet skills that give the film its name, dance being just a part of the curriculum that teaches these future death machines quick reflexes and incredible strength. And it is here that Eve first meets John Wick, a former student and member of the assassin clan Ruska Roma that The Director is the head of. Eve isn't just any baby killing machine though, she has her own vendetta against her father's killers driving her and vows to stay and continue learning only as a means to find the mysterious crew with the X scar. And she eventually does, and it doesn't go well for anybody. Fans of the John Wick films will get a heap more of the stuff they love: exquisitely choreographed fight sequences and lashings of ultra-violence delivered with a sense of humour. For newcomers, I'll say there's so much to enjoy about this film, as long as you're pre-disposed to liking those things I just mentioned. Among the film's many gifts to viewers is the way director Len Wiseman, his writer Shay Hatten, weapons master Marek Bocek and the very long list of stunt coordinators in the credits work with Ana De Armas to make her a plausible assassin. One of the assassin school coaches (Sharon Duncan-Brewster) orders Eve to "fight like a girl"' by which she means to understand that while she may not match the strength of many male opponents, she should understand where her strengths are. It's a real joy to watch Eve work a room grabbing pots, pans, kitchen knives, and her ballet training to despatch dozens of men, and it is just really lovely team work from the film production crew, such professionalism. I'll enjoy more of these in years to come, I'm sure, as it is just really bloody fun to watch. From the World of John Wick: Ballerina (MA, 125 minutes) 4 stars Cuban actress Ana De Armas absolutely stole the movie from under the nose of Daniel Craig when she played the Cuban spy in the 2021 James Bond film No Time to Die, and she's been a box office A-lister since. She is spectacular in this action flick that, in case the overly bloated and narratively descriptive film title doesn't give it away, fits somewhere into Keanu Reeves's John Wick films. If I were to guess, I'd say it takes part around the third Wick film, because Keanu does indeed play a small but essential part in Ballerina as his John Wick character, and we learn one of the reasons he might have found himself disavowed by the secret assassin underworld in John Wick: Chapter 4. His presence serves to both connect the new character to that film franchises's universe, but also hands the torch over to a very capable successor, probably studio insurance in case Keanu decides he's too old to pretend to be a karate expert assassin. De Armas also plays a professional assassin and as the film opens we begin with her origin story, as the younger Eve (Victoria Comte) who has her idyllic island life destroyed with the arrival of a mysterious gang of black-clad killers, each carrying a heavy 'X' scar on their arms. Her lighthouse keeper dad is apparently also a retired assassin in hiding, having stolen baby Eve away from this crew that were intending to bring her up as a future killer. Dad once again saves Eve from this crew, particularly its enigmatic leader The Chancellor (Gabriel Byrne), but at the cost of his own life. It seems that killing is to be Eve's destiny anyways, as years later we meet the grown-up Eve (De Armas), placed in the care of The Director (Angelica Huston), who runs an assassin training academy disguised as a professional theatre school. It is here that Eve learns the ballet skills that give the film its name, dance being just a part of the curriculum that teaches these future death machines quick reflexes and incredible strength. And it is here that Eve first meets John Wick, a former student and member of the assassin clan Ruska Roma that The Director is the head of. Eve isn't just any baby killing machine though, she has her own vendetta against her father's killers driving her and vows to stay and continue learning only as a means to find the mysterious crew with the X scar. And she eventually does, and it doesn't go well for anybody. Fans of the John Wick films will get a heap more of the stuff they love: exquisitely choreographed fight sequences and lashings of ultra-violence delivered with a sense of humour. For newcomers, I'll say there's so much to enjoy about this film, as long as you're pre-disposed to liking those things I just mentioned. Among the film's many gifts to viewers is the way director Len Wiseman, his writer Shay Hatten, weapons master Marek Bocek and the very long list of stunt coordinators in the credits work with Ana De Armas to make her a plausible assassin. One of the assassin school coaches (Sharon Duncan-Brewster) orders Eve to "fight like a girl"' by which she means to understand that while she may not match the strength of many male opponents, she should understand where her strengths are. It's a real joy to watch Eve work a room grabbing pots, pans, kitchen knives, and her ballet training to despatch dozens of men, and it is just really lovely team work from the film production crew, such professionalism. I'll enjoy more of these in years to come, I'm sure, as it is just really bloody fun to watch. From the World of John Wick: Ballerina (MA, 125 minutes) 4 stars Cuban actress Ana De Armas absolutely stole the movie from under the nose of Daniel Craig when she played the Cuban spy in the 2021 James Bond film No Time to Die, and she's been a box office A-lister since. She is spectacular in this action flick that, in case the overly bloated and narratively descriptive film title doesn't give it away, fits somewhere into Keanu Reeves's John Wick films. If I were to guess, I'd say it takes part around the third Wick film, because Keanu does indeed play a small but essential part in Ballerina as his John Wick character, and we learn one of the reasons he might have found himself disavowed by the secret assassin underworld in John Wick: Chapter 4. His presence serves to both connect the new character to that film franchises's universe, but also hands the torch over to a very capable successor, probably studio insurance in case Keanu decides he's too old to pretend to be a karate expert assassin. De Armas also plays a professional assassin and as the film opens we begin with her origin story, as the younger Eve (Victoria Comte) who has her idyllic island life destroyed with the arrival of a mysterious gang of black-clad killers, each carrying a heavy 'X' scar on their arms. Her lighthouse keeper dad is apparently also a retired assassin in hiding, having stolen baby Eve away from this crew that were intending to bring her up as a future killer. Dad once again saves Eve from this crew, particularly its enigmatic leader The Chancellor (Gabriel Byrne), but at the cost of his own life. It seems that killing is to be Eve's destiny anyways, as years later we meet the grown-up Eve (De Armas), placed in the care of The Director (Angelica Huston), who runs an assassin training academy disguised as a professional theatre school. It is here that Eve learns the ballet skills that give the film its name, dance being just a part of the curriculum that teaches these future death machines quick reflexes and incredible strength. And it is here that Eve first meets John Wick, a former student and member of the assassin clan Ruska Roma that The Director is the head of. Eve isn't just any baby killing machine though, she has her own vendetta against her father's killers driving her and vows to stay and continue learning only as a means to find the mysterious crew with the X scar. And she eventually does, and it doesn't go well for anybody. Fans of the John Wick films will get a heap more of the stuff they love: exquisitely choreographed fight sequences and lashings of ultra-violence delivered with a sense of humour. For newcomers, I'll say there's so much to enjoy about this film, as long as you're pre-disposed to liking those things I just mentioned. Among the film's many gifts to viewers is the way director Len Wiseman, his writer Shay Hatten, weapons master Marek Bocek and the very long list of stunt coordinators in the credits work with Ana De Armas to make her a plausible assassin. One of the assassin school coaches (Sharon Duncan-Brewster) orders Eve to "fight like a girl"' by which she means to understand that while she may not match the strength of many male opponents, she should understand where her strengths are. It's a real joy to watch Eve work a room grabbing pots, pans, kitchen knives, and her ballet training to despatch dozens of men, and it is just really lovely team work from the film production crew, such professionalism. I'll enjoy more of these in years to come, I'm sure, as it is just really bloody fun to watch.
