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Classic 80s sci-fi thriller removed from Disney Plus over 'unacceptable' scene

Classic 80s sci-fi thriller removed from Disney Plus over 'unacceptable' scene

Metro18-06-2025
A 1980s sci-fi movie nominated for four Oscars has been taken down from Disney Plus due to a controversial scene.
Released in 1989, The Abyss was written and directed by James Cameron, who went on to direct blockbusters like Titanic and the Avatar franchise.
The movie followed a US search and recovery team working with an oil platform crew to save people onboard a submarine after it sinks in the Caribbean.
At the same time, they are racing against Soviet vessels to recover the boat, but, deep in the ocean they face an unexpected encounter.
The Abyss starred Ed Harris, Mary Elizabeth Mastrantonio and Michael Biehn. It was met with mixed reviews, but grossed $90million (£66million) and was nominated for four Oscars, winning Best Visual Effects.
In 2023 Cameron announced that a 4K remastered version would return to cinemas for a one-night-only event.
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A DVD version was then rolled out in March last year, however a UK release for the 4K restoration was cancelled due to production company Lightstorm Entertainment's refusal to cut a scene involving a rat.
The scene in question showed the character, Navy SEAL Ensign Monk (Adam Nelson) submerge a rat in a small tub of breathing fluorocarbon liquid, trying to demonstrate how a human might be able to breathe underwater.
The film used five real rats for the scene, with the animal shown in the scene struggling and panicking when it thinks its drowning.
However it eventually calms down and starts breathing the liquid, which contains oxygen.
This scene was banned in the UK by the British Board of Film Classification on animal cruelty grounds. That ruling meant the scene needed to be cut from any theatrical, home video or terrestrial cuts of the film.
However, when the remastered movie version was rolled out on Disney Plus in April, it showed the scene, as streaming services were not bound by the ruling.
A few months on, the movie has now completely disappeared and can't be found on the platform.
Although Disney Plus is yet to comment on why the film has been pulled entirely, the RSPCA has weighed in on what it believes is a wider issue.
In a statement, the RSPCA's head of public affairs David Bowles said: 'The RSPCA is really concerned that a loophole currently exists allowing animal abuse scenes deemed unacceptable elsewhere to be streamed freely and legally into our homes. More Trending
'The Abyss' controversial rat scene has long concerned the RSPCA and has always been deemed unacceptable by BBFC – so it's hard to fathom why Disney Plus decided to broadcast it.
'We need to ensure people are not being exposed to content which promotes or showcases cruelty to animals. As the way millions of households consume entertainment changes, it's vital the legal framework is responsive to that.'
Despite the backlash, The Abyss has been called a 'totally gripping, claustrophobic thriller, complete with an interesting crew of characters' on review site Rotten Tomatoes, where it holds a score of 89%.
Metro has contacted Disney Plus for comment.
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Art and moralising don't mix
Art and moralising don't mix

Spectator

time36 minutes ago

  • Spectator

Art and moralising don't mix

Against Morality is not against morality. But it is against moralising. Which is a start. Anti-cancel culture, anti-identity politics, Rosanna McLaughlin's small book of essays is the first insider-artworld publication to condemn the Savonarolan turn within culture. A cause for celebration, you might think. Her argument is perfectly sound. 'Morality has become the central pillar, the justification for art, the bar by which we measure whether something is good or bad', and it's been a disaster. Forcing art to 'communicate clear and approvable messages', cleansing the canon of bad behaviour, conscripting artists as 'empathetic social workers', has impoverished art, flattened it to such an extent that the work of the past has become meaningless, the work of the living 'timid, defensive and rule-bound'. She calls all this 'liberal realism'. Like Mark Fisher's capitalist realism and Soviet social realism before it, the aim of liberal realism is to shut down alternative ways of interpreting the world: Thus, the viewer is told what to think and why, artworks become illustrations for the meta-narrative of biography, and artists and their subjects ciphers for social-justice narratives… to better meet the needs of the present. She ridicules the 'moralistic glow-ups' of dead artists – how Andy Warhol was comically recast as a queer role model by Tate Modern, his Factory a 'safe space'. Warhol's exploitative nature was one of the most fascinating things about him, McLaughlin rightly argues. She winces at how victimhood has been fetishised. How artists 'perform their ethnic or gender identities' for a global elite in an 'identity-political reboot of the National Geographic'. The book reads like one long sigh. And well may you sigh, too – that art is better when it doesn't reiterate what we already know; that it's a bad idea to assess a work of art according to its social usefulness or the moral worth of its creator. There's nothing here to disagree with. But honestly, what a state the arts are in that commonplaces like these need to be aired, argued for, repeated again and again. It was progress of sorts that the pamphlet's launch last month was able to be held at the ICA at all (an enemy stronghold) to a capacity crowd. But on Instagram the gallery was accused of hosting fascists. So we're not out of the woods yet. Much worse, the audience – young and eager to overhaul the status quo as they were – appeared as aesthetically illiterate as the people they're trying to oust. What Against Morality is really against – the enemy that unites the puritans, anti-puritans, McLaughlin, everyone – is form. And yet form is the only way out. The only way to judge whether an artwork has succeeded or failed is not to force it to undertake any kind of moral MOT, but to look at it, look at it long and hard, and examine what's happening formally. Inspect what the artist is doing aesthetically with the materials at hand and the quality of the work will instantly become clear. But form is treacherous, difficult to write about and liable to make you sound unforgivably pretentious. Far safer, more socially acceptable, less work, to retreat into sixth-form debating over Moral Maze-type quandaries. McLaughlin rebukes this tendency, too – then does it herself. She counters salaciously moralising biographical facts about Ana Mendieta and Artemisia Gentileschi not with an aesthetic defence of their work but with her own, more sophisticated biographical facts. She eulogises the film Tár. A giveaway. Tár – a formal nullity, a New Yorker long-read masquerading as a work of art that will disappear as quickly as the discourse that birthed it – could only be confused for a fine film by someone who thinks artworks are ethical puzzles rather than aesthetic objects. It's why McLaughlin retains a crucial role for morality: it can be a useful yardstick for measuring artistic quality, she admits, as long as you privilege the knotty over the simplistic. But I can think of many simple-minded marvels: constructivism's geometric first-fights on behalf of communism; the Byzantine masterpieces that shout their worship of Christ Pantocrator as obnoxiously as any TfL poster. And I can think of many more artworks that remain resolutely amoral. Ignoring form, she neglects the most interesting – and ironic – aspect of the progressive chokehold of the past decade. Namely that it has ushered in one of the most formally conservative periods of art for 200 years. Look at the revival of craft at the last Venice Biennale. Note the way, under the cover of identity, the canon has been reactivated – the black Manets, female Manets, gay Manets, black Rauschenbergs, female Rauschenbergs, even gayer Rauschenbergs, etc. Observe the explosion of bad figurative painting. As the Soviets learnt, the most effective propaganda was not formally experimental but crisply real. The result has been a decade of what Dean Kissick coined, in these pages, 'zombie figuration'. Cultural paleoconservatives – the 'RETVRN' lot on Twitter who swoon over Poundshop Berninis – owe the woke movement an apology. So does anyone who has prayed for the decorative and illustrative to retvrn. Forget liberal realism, GCSE realism is the triumphant style du jour. And identity politics is the midwife to it all. The real problem with McLaughlin's publication is timing. The shows where she first sensed things going badly wrong date from 2016 and 2017. It's now 2025. The whole point of a critic is to say things before anyone else, not once a consensus has formed. Against Morality might seem startlingly fresh within the cossetted world of art. But to the rest of us, it will feel at best hopelessly late, at worst opportunistic.

Emily Atack reveals Rivals nude scene secrets as she vows to go on playing sexy women ‘for as long as they'll have me'
Emily Atack reveals Rivals nude scene secrets as she vows to go on playing sexy women ‘for as long as they'll have me'

The Sun

time4 hours ago

  • The Sun

Emily Atack reveals Rivals nude scene secrets as she vows to go on playing sexy women ‘for as long as they'll have me'

A DOOMED love affair, naked tennis and plenty of sex are just some of the things that Emily Atack's character Sarah Stratton gets up to in telly bonkbuster Rivals. And the actress reckons she is the ideal person to play the blonde bombshell — as she is practically the same person. 6 6 6 Emily, 35, is seen in the Disney+ eight-parter having her heart broken by sexy Lothario Rupert Campbell-Black, which she says she can definitely relate to. She revealed: 'I wasn't afraid to identify with her and I completely, I AM her. 'I'm a very flawed woman. 'I've made terrible decisions in my love life. 'I used all of that — it was completely genuine — and yes, I used the vulnerability, all of it. 'Finally, women are being written about in a certain way. 'These demonised women, they're not being celebrated but they are being understood better. 'Women like Sarah Stratton have never been written with nuance. 'They're always certain types of women — the demonised types of women, you know, the home wreckers and everything. 'Big furry knickers' 'I think people have been quite scared to admit that they identify with characters like Sarah.' In Rivals, Sarah is a wannabe TV host who is married to Deputy Prime Minister Paul Stratton, played by Rufus Jones, and is unquestionably one of the most glamorous characters on the show — which Emily loved. The actress, who shot to fame playing Charlotte 'Big Jugs' Hinchcliffe on Channel 4 sitcom The Inbetweeners, says: 'There are roles that come along and the term 'typecast' is always seen as this negative thing. 'I've been typecast my whole life and I loved every single minute of it. 'I will carry on playing these sexy women for as long as they will have me.' Having been romantically linked to a string of celebrities, ranging from Harry Styles to Jack Grealish, Emily is now in engaged to scientist Dr Alistair Garner, with whom she shares 16-month-old son Barney. Her stint on The Inbetweeners from 2008 to 2010 led to a long line of other work ranging from stand-up comedy to acting. Rivals, which has been a hit around the globe since it came out last year, is arguably her biggest gig to date — and it's one which, arguably, she was destined to play. I just made it my part before they could even make a decision. This particular one I was like, yeah they'd be stupid not to (hire me.) Emily Atack Talking at the Edinburgh TV Festival, Emily revealed how producers specifically had her in mind for the role, which she embraced. She said: 'The breakdown for the characters said, 'Think Emily Atack', so they went, 'Well, let's just get Emily, then.' 'I still had to audition. 'I went in with all the get-up on and they thought I'd dressed up. 'I was actually just going to a bar afterwards. 'They were like, 'Thank you so much for dressing as the role,' I was like, 'No worries.'' 6 6 She added sarcastically: 'I had to dig REAL deep for my character. 'As soon as you read something like that it naturally flows out of you. 'You naturally feel at home with it. 'That's how I felt with Sarah Stratton. 'I just made it my part before they could even make a decision. 'This particular one I was like, yeah they'd be stupid not to (hire me.)'' Now Emily is reprising her role as Sarah, opposite Alex Hassell as Tory MP Rupert, in the second series of Rivals which is halfway through filming and is expected to drop late next year. 'Stick-on muff' She can't emphasise enough how well the cast get on, which is partly down to their 'no d***s on set' policy — meaning no bad behaviour. That rule was also essential when she and Alex had to film their naked tennis match in the grounds of Rupert's grand stately house, which is a key scene in Jilly Cooper's original novel. It has become synonymous with the show, and earlier this year it was even nominated as one of Bafta's TV Moments Of The Year. Well-endowed Rupert was supposed to have a member that he could 'bat bread rolls' with, and the creative team did consider giving him an oversized prosthetic to wear. But while they opted for the actor to go with the 'model's own' option, Emily had something more than a tennis racket and balls to cover herself up — and it was not just for reasons of modesty. She revealed: 'I had a stick-on muff. 6 'I had to have a merkin, it's called, and I had all these fittings for them. 'They were going: 'Oh no, it's too blonde that one,' and it had to be a proper Eighties bush. 'But that actually helped because it actually just felt like I had these big furry knickers on, and I kept looking at the monitor going: 'Oh, do I look alright? Oh God!' 'And seeing yourself naked on camera like that is so weird and jarring but once I'd seen it I was like, oh, fine. 'I couldn't put my clothes back on. 'It was quite liberating. 'They were like, 'Emily, can you put your clothes back on now?'' But she was keen to point out that despite the sexual nature of the scenes and the nudity, she never felt uncomfortable because, like on other dramas, intimacy co-ordinators were on set. 'Safe environment' They were needed on Rivals as there were many sex scenes involving a lot of characters — which, of course, were all based on the sauciness in Jilly's books. Emily said: 'It's a very new profession, the intimacy co-ordinators. 'Everybody is still navigating it and working it out. 'But I'm really proud of Rivals and it is such a massive representation of how far we have come in the industry in terms of taking care of people's needs and emotions. 'It's such a safe environment, and I'm not just saying that because I'm on it.' Filming of series two started in May and will continue until February, with Jilly back, heavily involved in the production. The novelist has even invited all the cast to an enormous party — which means Emily will jet down from Edinburgh to the West Country immediately after her stint at the TV festival. Then she will go direct from partying to filming her next scenes in Rivals. Emily said: 'Yes, I'm going to Jilly Cooper's house tonight. 'My pick-up time is hideous tomorrow, though — they do that to me so I don't stay out too late!' JILLY: MY MEN DO NOT CRY DAME Jilly Cooper is more involved than ever in the second series of Rivals – and she has given her blessing to show chief Dominic Treadwell-Collins, who used to be boss of EastEnders, to create new characters that don't exist in her books. Producers have also hired two genuine Hollywood stars in the form of Mission: impossible actress Hayley Atwell and showbiz veteran Rupert Everett for the cast of the new season. Hayley plays Helen Gordon, former wife of Rupert Campbell-Black and mother of his two children, Marcus and Tabitha, while actor Rupert portrays her current spouse Malise Gordon, who was her ex-husband's show-jumping coach. Dame Jilly, 88, has been a massive influence on the show as one of the exec producers – and the old-school writer is anything but woke. She has been cracking open bottles of champagne for the crew before midday and putting her no-nonsense stamp on the show. Dominic revealed: 'She comes on set and gives wonderful notes. She said to Alex (Hassell, who plays Rupert): 'Come on, butch up!'' Lee Mason, an executive director at Disney+, added: 'One day I was on set and Jilly was there. 'She came down and she gave a note to everyone, which said: 'My men do not cry – my men are macho.' The writer has been taken aback by some of the bonking on the show – but changed her mind when she realised where it came from. Dominics recalls: 'One day she said to me, 'Oh Dominic that was a VERY sexy bit. And I was like: 'Yes, Jilly, you wrote it!'' The creators of the show also said the second series will draw on the vibe of Riders, Jilly's novel set in the world of polo. And her millions of readers could be in for a much bigger telly treat – as Dominic points out that Disney now has the rights to ALL of Jilly's books.

Rivals season 2 adds two major Hollywood stars in surprise cast announcement
Rivals season 2 adds two major Hollywood stars in surprise cast announcement

Metro

time11 hours ago

  • Metro

Rivals season 2 adds two major Hollywood stars in surprise cast announcement

Two major Hollywood stars have been added to the second season of Disney Plus series Rivals. In what is a surprise cast announcement, Hayley Atwell, who is known for Mission Impossible and Agent Carter, and Rupert Everett, from Napoleon and My Policeman, will be joining the stellar cast as guest stars. Atwell will be playing Helen Gordon, Rupert Campbell-Black's ex-wife and mother of his two children, Marcus and Tabitha. Meanwhile, Everett is set to take on the role of her husband Malise Gordon, Campbell Black's former show-jumping coach and mentor. Executive producer Dominic Treadwell-Collins shared the news to eager Rivals Fans. 'We have some new guests. So some new cast, some of them are newly created characters with Jilly's blessing, some famous characters,' Metro heard at the Edinburgh TV Festival. 'And most importantly, we're looking into Rupert more. So we have Rupert's children, Marcus and Tabitha, come into the show, but also with them. 'Anyone who knows Jilly Cooper knows that Rupert's ex wife, Helen, loathes him and she is married to his old show jumping boss who's a bit older than her Malise. 'So we are bringing Helen and Malise Gordon into this series played by Rupert Everett and Hayley Atwell, so they will be joining the cast. For fans of the books, it's great to dig deeper into Rupert.' He added: 'We are utterly thrilled to have Hayley and Rupert join us to play Jilly Cooper's legendary characters Helen and Malise Gordon. 'With further exciting guest stars to be announced, we can't wait for everyone to see what's next for the residents of Rutshire.' Rivals will be returning with an extended season of twelve episodes. Set against the backdrop of the stunning Cotswolds countryside and the glamorous, high-stakes world of 1980s British television, the second instalment will see the return of an all-star cast, which includes David Tennant and Danny Dyer. Lee Mason, another executive producer, said: 'Rivals is a landmark series for Disney+, quickly becoming one of our most beloved British UK Orginal dramas. 'I'm delighted to welcome Hayley and Rupert to our extraordinary family of actors. They are a perfect match for the world of Rutshire, so lovingly created by Dame Jilly and the team at Happy Prince.' This news comes after Rivals star Dyer promised that season 2 will have 'plenty of naughtiness'. More Trending The Mr Bigstuff actor discussed the Dame Jilly Cooper 80s adaptation, saying: 'It's so lavish and lush. I'm very excited about it. I'm concentrating on bringing Freddie back. 'This series is so much better than the first. It's that difficult second album thing other than the writers and producers have absolutely nailed it. I can't wait for people to see it, it's a beautiful job for me. 'If you want a bit of naughtiest in your life, go and watch it. Rivals has plenty of naughtiness.' Rivals will return to Disney Plus. All episodes of season one are available to stream now on Disney Plus. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. View More » MORE: These are the greatest films of all time you need to stream right now MORE: The 20 stars who were on Casualty before they were famous MORE: 9 of the most disgusting body horrors you need to watch after Together

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