Godzilla X Kong sequel titled Supernova, filming begins
The film stars an ensemble cast which includes Kaitlyn Dever, Sam Neill, Jack O'Connell, Matthew Modine, Alycia Debnam-Carey and Delroy Lindo, with Dan Stevens reprising his role as Trapper Beasly from Godzilla x Kong: The New Empire.
In Godzilla X Kong: Supernova, Titans Godzilla and Kong will be facing off against a threat which is world-ending, with the humans beside them. The script for the film has been written by David Callaham and Michael Lloyd Green.
Grant Sputore is known for the 2009 film I Am Mother. David Callaham has written the script for the film. He has also written for films like Shang-Chi and the Legend of the Ten Rings and Spider-Man: Across the Spider-Verse.
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Time of India
28-05-2025
- Time of India
Did you know Kaitlyn Dever faced personal tragedy just days before her powerful scene in 'The Last of Us'
Kaitlyn Dever 's haunting debut as Abby in 'The Last of Us' Season 2 was already emotionally charged — but few knew that the actress was quietly carrying her own devastating grief behind the scenes. In a recent interview with GQ, the rising star revealed that she filmed her first intense scene — discovering her character's father's dead body after he's shot by Pedro Pascal 's Joel — just days after burying her own mother, who had been battling cancer for 14 years. 'Even though death is part of the human experience, we are not meant to be used to grief,' Dever reflected. 'Watching your best friend die… I had just experienced that.' Shooting the emotionally gut-wrenching scene so soon after her real-life loss was, in her words, 'gut-wrenching.' The actress admitted that repeating the lines in a scene that eerily mirrored her own trauma made it all the more painful. 'That was a crazy line to repeat over and over again because I had just seen her. She wasn't alive anymore, and I saw her body in the hospital.' To navigate the overwhelming pain, Dever turned to words that brought her comfort — a heartfelt speech by Andrew Garfield after the loss of his mother. She shared how watching Garfield open up about grief gave her strength. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Buy Brass Idols - Handmade Brass Statues for Home & Gifting Luxeartisanship Buy Now Undo 'I would Google it and watch it often… because I always felt like the worst thing in my life that could happen was losing my best friend. And I always thought that I wouldn't be able to go on. But then I'd look at Andrew and think, well, his life seems to be moving forward.' Despite the emotional toll, Dever channeled her grief into a performance that has already struck a chord with audiences. In a poignant tribute shared publicly after her mother's passing, the Booksmart actress wrote, 'Thank you for fighting so hard for us for so long. I'll be broken forever without you. You were the greatest mom and wife.' She also credited her mother for the unshakable bond she shares with her sisters, Mady and Jane, and their father, writing, 'We'll always have each other to lean on because of you.' As Kaitlyn Dever steps further into the spotlight with one of the most anticipated roles in television, she does so carrying the memory of the woman who shaped her — with strength, vulnerability, and the quiet power of resilience. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Pink Villa
26-05-2025
- Pink Villa
The Last of Us Actress Kaitlyn Dever Reveals How Andrew Garfield Helped Her Get Over Her Mother's Death
The Last of Us star Kaitlyn Dever opened up about her heartbreak before delivering her opening line in the Pedro Pascal-starrer show. The actress played the role of Abby in season 2, and in her first scene, she finds the body of her father lying lifeless on the floor after Pascal's character shoots him in the head. While in a conversation with a media portal, the actress revealed that she shot the scene a couple of days after burying her mother. Dever's mother had been suffering from cancer for the past 14 years and passed away just days before her big break in the popular series. Talking to GQ, Dever shared that her experience of delivering the line and being present on the sets that replicated her mother's death was 'gut-wrenching.' Recalling her first shot, Kaitlyn stated, 'I had just experienced [that]. Even though death is part of the human experience, we are not meant to be used to grief and watching your best friend die.' She added, 'So that was a crazy line to repeat over and over again because I had just seen her. She wasn't alive anymore, and I saw her body in the hospital.' Andrew Garfield's impacting words for Kaitlyn Dever To cope with her mother's death, Dever shared that she would search for Andrew Garfield 's words that he delivered after his mother's demise. Recalling how the We Live in Time star motivated her to move forward in life, the actress shared, 'I would Google it and watch it often, because I always felt like… the worst thing in my life that could happen was losing my best friend. And I always thought that I wouldn't be able to go on.' She further added, 'But then I'd look at Andrew and think, well, his life seems to be moving forward.' Kaitlyn Dever's emotional note for her mother The actress paid an emotional tribute to her late mother following her death from breast cancer. Dever noted, 'Thank you for fighting so hard for us for so long.' Kaitlyn shared that she will be broken forever without her mother and claimed her to be the greatest mom and wife. The actress went on to state, 'I'm grateful that you gave me Mady, Jane, and Dad. We'll always have each other to lean on because of you.'
Hindustan Times
24-05-2025
- Hindustan Times
New ear resolution: Sanjoy Narayan on the iconic Sennheiser HD 600 headphones
There's something humbling about stumbling onto greatness way after the hype train has left the station. Like binge-watching The Wire in 2024 (I did this!) and cracking open Dune with everyone else already quoting it (I'm on it!), my late discovery of the Sennheiser HD 600 headphones feels like I've unearthed a gem that's been chilling in plain sight for nearly 30 years. For years, I have been a bit of an audio wanderer. I've vibed with budget-friendly Chi-fi (or Chinese hi-fi) earbuds, grappled with the surgical precision of Audio-Technica's ATH series, geeked out over AKG's studio-grade clarity, admired Shure's obsessive craftsmanship, and even dabbled in HiFiMan's planar magnetic magic. I've scrolled through endless Reddit threads where audiophiles argue about soundstage depth like it's a matter of life and death. Yet, somehow, the iconic HD 600, launched in 1997 and basically unaltered since, slipped under my radar. When I finally plugged them in, these understated headphones had me sceptical. Then I hit play. The opening piano chords of Bill Evans's Peace Piece didn't just play; they breathed. Each note carried the creak of the piano's wood, the air of the recording room, even Evans's subtle exhales. The HD 600's famed midrange peeled back layers I'd missed all these years — not by hyping the sound, but by stripping away the haze I hadn't even known was there. These aren't headphones that scream for attention with booming bass or glittery treble spikes. They're a slow burn that makes one rethink what 'neutral' means, over hours of listening. My digital rip of Led Zeppelin's Ten Years Gone suddenly felt like a 3D soundscape. Jimmy Page's layered guitars weren't just stacked, they were having a conversation across space. John Paul Jones's bass didn't just hold it down; it told its own story. Robert Plant's vocals revealed raw emotion and technical finesse I'd missed in countless spins. I became a Led Zep head. Again. The magic kept unfolding across genres. Herbie Hancock's Maiden Voyage floated like it was recorded on a cloud. D'Angelo's Voodoo hit like a masterclass in production, Questlove's drums pulsing with life. Even Burial's Untrue, usually a dreamy sonic haze, broke into distinct layers without losing its moody soul. The HD 600's clarity is a double-edged sword. Kendrick Lamar's To Pimp a Butterfly showcased the headphones' knack for untangling dense, jazz-infused mixes. But some of my favourite '90s hip-hop tracks? Yikes. These cans exposed mastering flaws I had happily been oblivious to. These headphones don't sugarcoat; they just tell it like it is. Doesn't such precision feel sterile? No way. Nina Simone's gut-wrenching Strange Fruit hit even harder, the raw edges of her vocal break cutting deeper. Not because the HD 600 added drama, but because it let her pain shine through unfiltered. Miles Davis's Kind of Blue felt brand-new. I found myself discovering new notes in Coltrane's sax tone and Bill Evans's subtle comping. And to think these details had always been there, just waiting for gear honest enough to let them shine through. What's wild about the HD 600 is how it has stayed relevant in a world obsessed with the shiny and new. While brands churn out 'game-changing' drivers every year, this 28-year-old design is still the gold standard. There's a quiet confidence in that. In a world of planned obsolescence, Sennheiser's loyalty to this design feels like a middle finger to the hype cycle. One can replace every part of the Huh Duh Six Hungeos (as they're known in audiophile circles) oneself: the drivers, the earpads, even the headband. It's no surprise that the model has spawned a cult following. Hop onto any audiophile subreddit and one will see 'HD 600 lifers', people who have tested $3,000 electrostatics but keep coming back to these humble German cans that can be bought for about $270. They're the audiophile's equivalent of a beat-up Fender guitar: a tool that melts into the art instead of stealing the spotlight. The HD 600 isn't flawless. Today's headphone models might boast wider soundstages or deeper bass. But none I've tried nail the vibe quite like these do, whether I'm sinking into Tom Waits's gravelly vocal experiments or getting lost in Radiohead's melancholic brilliance. What these headphones deliver is the deeper satisfaction of knowing one is hearing music as it was meant to be heard; no filter, no fluff. They essentially just get out of the way. This shines brightest with live recordings. Jeff Buckley's Live at Sin-é puts the listener right there in that tiny NYC café. John Coltrane's Live at Birdland doesn't just play notes, it captures the room, the moment, with Elvin Jones's drums resonating like they're alive. In a world of endless gear upgrades, there's something real about finding a tool that doesn't demand one's attention but points it where it belongs: to the music. The HD 600's real superpower isn't what it adds; it's what it takes away: the techy noise between the listener and the artist. Sometimes the best finds are the ones right under your nose, waiting for you to catch up. Almost three decades late, I've finally shown up — and the music's never felt more real. (To write in with feedback, email
