Liam Payne confirmed as judge for Netflix singing competition, ‘Superman' hits hard, and today's other top stories
Gold Derby's for June 11, 2025.
debuts final trailer as tickets go on sale Fans can now grab seats for James Gunn's take on the Man of Steel. The news came along with one last theatrical trailer, which goes into detail about what Superman will do to the dental health of any evil doers out there.
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Carrie Preston on fencing with Matthew Broderick and the heart, humor, and growth of 'Elsbeth': 'She's more than just quirky'
Brian Wilson, Beach Boys co-founder, dead at 82
'Deadpool and Wolverine,' 'Thunderbolts,' 'The Last of Us' lead the 2025 Critics Choice Super Awards nominations
confirms Liam Payne as judge Netflix has offered a first look at its upcoming singing competition, which will feature the late One Direction singer as a judge, alongside recent Tony winner Nicole Scherzinger and Kelly Rowland. AJ McLean from the Backstreet Boys hosts. The series will debut on July 9.
Season 3 trailer A new preview for Apple TV+'s science fiction epic leans hard into a new villain played by Game of Thrones actor Pilou Asbæk. The series returns on July 11.
sequel coming to Prime Video Lars of the Stars will follow the titular space outlaw. The news was revealed at the French animation festival Annecy by creator and executive producer Rebecca Sugar.
Anime based on source material lands at Gkids All You Need Is Kill, the aptly titled manga that served as the basis for the modern action classic starring Tom Cruise and Emily Blunt, has been readapted as an anime, which will be distributed by Studio Ghibli US distributor Gkids.
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'RuPaul's Drag Race': Onya Nurve and Jewels Sparkles dish their 'ride of a lifetime,' stolen jokes, and turning drag 'inside out'
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‘House of the Dragon' director and cinematographer on the ‘spontaneous creativity' of the fan-fave ‘The Red Sowing'
One of the standout episodes of House of the Dragon's second season was "The Red Sowing," from director Loni Peristere and cinematographer Vanja Černjul. In a new Gold Derby interview, the artisans share their insights from the fan-favorite seventh episode, which centered on Queen Rhaenyra Targaryen (Emma D'Arcy) and her urgent quest to acquire more dragon riders. House of the Dragon, the prequel series to HBO's megahit Game of Thrones, was created by Ryan Condal and author George R. R. Martin, with D'Arcy leading the ensemble cast alongside Emmy nominee Matt Smith (The Crown) as Prince Daemon Targaryen and Olivia Cooke as Alicent Hightower. Season 2 is eligible at the 2025 Emmys, and filming for Season 3 is underway right now in England. More from GoldDerby Golden Reel Awards: MPSE bans generative A.I. sound from awards eligibility to 'keep artists at the forefront' Clancy Brown, Joel McHale, and more actors who self-submitted at this year's Emmys Netflix debuts 'In Your Dreams' trailer, Keke Palmer joins 'Spaceballs' sequel,' and more of today's top stories Gold Derby: Vanja, you've been quoted as saying that Season 2 was 'a testament to the marriage of meticulous planning and spontaneous creativity.' Talk us through what that means to you both. Vanja Černjul: What was wonderful about House of the Dragon is that we were given a proper amount of time to really prepare and get ready. Loni's background is in visual effects, so he really knew how to take advantage of all the tools that we had available. We storyboarded a lot of it, and it was just a wonderful process. But then, I had situations where it was raining on location, but we were completely adapted to what was happening. We planned for a sunny summer day in Wales and a couple of times we had mist and clouds, and we learned that it worked even better for the scene that we couldn't plan it better. Loni Peristere: There's a scene with Alicent, as she goes for her wander in the woods. We spent a lot of time growing flowers in this field, and we had this concept of Alicent going out into this ideal space as she tries to escape the Red Keep, maybe for the one last time, and we showed up on location, and it was pouring rain, and somehow it just made that scene a thousand times better to be pouring rain, and when she went into the water it was so much sadder as the water poured down on her. So that's that spontaneous creativity that we just embraced together. Similarly, you know the opening scene on the beach. We spent a meticulous amount of time in prep figuring out the right time to be there, so we could have this beautiful golden morning. And yet here we were again in the rain and the wind, and it just made it angry and it really lent to the scene to have Emma D'Arcy screaming through the wind. It just made it so much more powerful, and that is that spontaneous creativity that Vanja is referencing. HBO What was the most challenging part of the scene where Alicent wades into the Kingswood Lake? Peristere: The best part of our relationship is that we really appreciate the craft of cinema. We were given an episode that had a sequence like this with no dialogue, but we needed to convey Alicent's emotional state — her desire for freedom. I think Vanja and I probably rejected 15 different lakes, to find this space, because what we wanted to feel is that as she comes out of the Kingswood and into this lake, we wanted to 'break out of jail,' with the physical cinematic trees of the Kingswood, and then break out and be faced with this epic baptismal visual. We literally had to do it with a tenth of the crew that House of the Dragon normally has, because it was such a difficult location. Černjul: It was a good lesson in how sometimes the most impressive shot you can get just by being at the right place with just the camera. We decided to shoot the last couple of shots of the scene in the studio, so that beautiful shot of Olivia's hair going through the water; that was in-studio, and the two overhead shots also were in the studio. Peristere: And again, spontaneous creativity, the beautiful shot of the hair underwater that we ran backwards, so it looked like her hair was growing towards the camera. HBO The sequence that everyone wants to talk about is of course Hugh Hammer claiming Vermithor. What was the most difficult part of getting that whole sequence right? Černjul: There were many scenes in this episode where the script offered opportunities for a really cinematic approach, and Loni knew how to take advantage of that, because it's maybe one quarter of the episode that has no dialogue. When there's no dialogue, cinematography and sound really become the main language, the cinematic language that the narrative is communicated through. And that's a dream for a cinematographer. That's why this episode was so special for me, because of that particular sequence. Loni knew from the very beginning that he wanted to do a large section of the action in a oner. The most difficult challenge was orienting ourselves in this large blue screen space. We had a large stage, but the actual imagined space was supposed to be five times larger than the stage that we had, and the only physical things that were built were the plinth that you see in the background, and everything else was blue screen. So, we needed to orient ourselves, like once you determine the light source, for example. Where is that light source now, because you're supposed to be much deeper into the cave. And how large is the dragon in this large space. Orientation in the imagined space was challenging. I remember another challenge was that we really wanted a really raw handheld feel, and we wanted to film the whole sequence handheld. We fortunately had a rehearsal the day before, and Kieran was running so fast that it was really hard to keep up with him with a handheld camera, and the image became too shaky. We had amazing grip support, and our key grip came up with a solution real quick. He built the cable cam that supported the handheld camera. So, the shot ended up being a hybrid between handheld and cable cam, and we came up with that the day before. Peristere: There was a lot of stunt folks that we lit on fire! HBO A highlight sequence is where Ulf is flying over King's Landing, and then Aemond retreats when he sees Rhaenyra at Dragonstone surrounded by dragons. Talk us through shooting the sequence. Peristere: Vanja actually drew that frame himself. He hand drew it himself! Černjul: The composition of all these characters in that frame was so important because it was going to be the last frame of the episode. We were trying for a while, and then I finally drew the characters and played with the composition in Photoshop. Peristere: The idea that Rhaenyra was going to confront Aemond with a wall of dragons, a wall of nuclear weapons, changes the entire power dynamic of this entire series. What made it such a powerful thing was the writing, which gave us the opportunity to develop the visuals to support that. And that's what we really wanted to do when we read it. We knew that this is part of the narrative that is going to carry on for many seasons. HBO Loni, when you're witnessing a really committed performance from an actor, how do you collaborate and provide guidance or guardrails without compromising the intensity and the raw emotion that they're giving you? Peristere: That's a really good question to relate to this particular sequence, because Kieran's communion with the dragon was written as a quiet moment in the script, where Vermithor and Hugh were going to come together slowly, and Rhaenyra was going to watch it. And then Kieran decided to scream at the dragon on his own, and I remember when he did that, I couldn't believe it. I was like, "Wow!" It's giving me shivers just thinking about it, like how that happens with actors that are really good at their craft. That's how you commune with Vermithor, the second biggest dragon in the Westeros universe. That's how you do it. You show that dragon that this little man is bigger than it, and it was mind-blowing. Those moments happen quite a lot. We have an incredible cast that offers these types of moments because they are that good, and no matter how much prep, no matter how much experience Vanja has in photography, or I have in visual effects, nothing can compare with how a great actor can transform the word. HBO You have both just come off a really long day on set, so you're in the thick of Season 3. Obviously, you can't spoil anything, but what can we generally expect? Peristere: It's definitely everything that the fans want. Everything they've read in the book, everything that they know is coming. This season goes to 11. Černjul: The thing that I noticed when I came back, and I was very happy to be back, was that all other key collaborators came back as well, which says a lot about how much we enjoyed this opportunity to be part of building this universe. It's really a family now. But the fact that everybody was happy to come back says a lot about the experience that we have on set. The first two seasons of House of the Dragon are now streaming on HBO Max. This interview has been edited for clarity and length. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Tina Fey on 'The Four Seasons': 'It was a challenge to be restrained about where we put jokes' 'The best job I ever had': 'From 'Supernatural' to 'The Boys,' Eric Kripke talks his biggest hits — and miss (ahem, 'Tarzan') 'Cross' star Aldis Hodge on building an aspirational hero — who's not a superhero Click here to read the full article.
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Tony Todd reflects on mortality in exclusive ‘Final Destination Bloodlines' featurette
Final Destination Bloodlines, the sixth film in the death-defying franchise, brought the series back to life, earning strong reviews and more than a quarter-billion dollars at the global box office. As the film heads to home video—most likely setting off a Rube Goldberg machine that will wind up flinging a disc into your Blu-ray player—Gold Derby has an exclusive look at one of the special features being included on the release. More from GoldDerby 'Feel good about not conforming': Christina Ricci reflects on her iconic roles, from Wednesday Addams to Misty Quigley 'The show is a true fluke': '100 Foot Wave' executive producer on how they chase big waves across the globe How Anna Camp played twins with a twist on 'You' Longtime fans of Final Destination were treated to one of the final on-screen performances by horror icon Tony Todd, who reprised his role as Bludworth in Bloodlines, and some long-withheld details about who he is and why he knows so much about death. On-set, Todd spoke with a behind-the-scenes crew candidly about his own mortality and how he related to Bludworth in one final appearance. "We're acknowledging a passage of time, and I'm not immortal," Todd says in the clip. "I'm struggling with my lifelines just like everybody else. I have to make sense of this character, who he is, where he's coming from, what it is he really wants." The filmmakers strived to make the send-off one worthy of Todd and his character's legacy with the series. "Tony very much appreciated what we have done in Final Destination 6 to give his character a perspective and a grounding in the real world," producer Craig Perry says. Final Destination Bloodlines will be available digitally on June 17 and on 4K UHD, Blu-ray, and DVD on July 22. Best of GoldDerby Stephen King movies: 14 greatest films ranked worst to best 'The Life of Chuck' cast reveal their favorite Stephen King works, including Mark Hamill's love of the 'terrifying' 'Pet Sematary' From 'Hot Rod' to 'Eastbound' to 'Gemstones,' Danny McBride breaks down his most righteous roles: 'It's been an absolute blast' Click here to read the full article.
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‘Andor' star Genevieve O'Reilly on Mon Mothma's big speech and wedding dance: ‘Star Wars' always reaches for ‘the universal and the intimate'
Since Andor Season 2 is split into groups of three episodes, each taking place one year after the last, viewers see the characters in several different modes and periods of their lives. In particular, Mon Mothma (Genevieve O'Reilly) plays quite a spectrum of emotions. In the first arc of the season, written by Andor creator Tony Gilroy, viewers see her navigate her daughter's wedding. It involves coaching her young daughter Leida (Bronte Carmichael) through bridal feelings and making covert political decisions with her fellow rebel leader Luthen Rael (Stellan Skarsgård). 'It's such an extraordinary thing that Tony and the writers did, to allow for such an arc this season starting with that wedding,' O'Reilly tells Gold Derby. 'There was an exploration of politics within the family home in Season 1, especially with her husband, so it's personal and political all at once, but the fact that the writers gave time to complex, nuanced mother-daughter scenes and husband-wife scenes within this massive umbrella of Star Wars allows for such an exploration of this woman.' More from GoldDerby Reality TV roundtable panel: 'American Idol,' 'Queer Eye,' 'The Secret Lives of Mormon Wives,' 'The Traitors' 'The Traitors' producer Sam Rees-Jones on the 'messiest group' ever and why the turret was pure 'chaos' 'The Secret Lives of Mormon Wives' producer Jeff Jenkins on how Taylor is an 'absolute unscripted superstar' Ledia's marriage to the son of oligarch Davo Sculdun (Richard Dillane) was arranged by Mon's childhood friend Tay Kolma (Ben Miles) back in Season 2, to help cover up Mon's financing of the nascent Rebellion. But Tay didn't understand the full extent of Mon's political activities, and starts to have second thoughts about getting involved with rebels as the wedding looms. Mon believes they can pay 'a number' to assuage Tay. Still, Luthen knows otherwise, and arranges to have Tay discreetly killed offscreen before he can incriminate Mon — the kind of difficult choice that revolutionaries sometimes have to make. Mon gets to process all of her emotions about that, as well as the wedding, the Rebellion, and everything else, in a kinetic, instantly meme-able dance scene in the third episode of Season 2. 'There's that scene with Luthen where she tacitly agrees to her friend being murdered. So then the chaos that is within her emerges through this big dance number,' O'Reilly says. 'I'm able to wrestle Mon Mothma out of what we've seen before, and give her all of this humanity. I feel like we all see ourselves in that dance. At different times in our lives, we've all done that dance for many different reasons. It's something we can really connect to, because I recognize her in that moment. I recognize myself in that moment.' On the other end of the Andor spectrum, the third arc of Season 2 finally depicts a crucial moment in Star Wars lore when Mon Mothma publicly denounces the Ghorman Massacre and then flees the Senate before the Empire's stormtroopers can arrest and/or kill her. This event was hinted at in O'Reilly's previous appearance as Mon on the animated series Star Wars Rebels. Still, now viewers get to see and hear Mon's dramatic speech denouncing the Emperor and calling the Ghorman repression a 'genocide.' O'Reilly has been looking forward to playing that scene for years, and it helped her play the other aspects of Mon Mothma. 'It felt deeply important to me. I felt that that was the crux of who this woman really is within the 20-year arc that I have had within this woman,' O'Reilly says. 'I did know it was coming, so it was something I was very much looking forward to as a performer and as an actor, and for us to be able to see her voice have a massive impact and to see the courage it took to have that voice. We also see the complexity around speeches. You don't just stand and give a speech. What is the straw that breaks the camel's back before it? What happens to make you actually be willing to set fire to your life? How afraid are you in that moment? What words can you put together? Dan Gilroy wrote that episode, and I know Tony was working with him in it, but what they did to really carve an understanding of what it is to have to give a speech like that was very important to me.' O'Reilly continues, 'As an actor, it felt like the centerpiece of that woman, and perhaps because I knew that was the centerpiece, it allowed for me to work backwards. It allows for the dance sequence and the mother-daughter scenes. You can spread your wings a bit if you know where you're going.' Andor's depiction of the Ghorman Massacre and Mon's fiery speech denouncing it fills an essential gap in Star Wars lore. But there's more than just fictional world-building going on. By so thoroughly fleshing out Mon Mothma's character and her stakes, O'Reilly and the Gilroys help viewers see connections between her struggles and political crises in our real world. 'The narrative is really driven by the individual characters. And so when we come to that speech in episode nine, we understand her cost,' O'Reilly says. 'We understand that she's not just a senator standing and giving a speech, that she is all of these things: A wife, a mother, a friend, a confidante. You understand that there is a fragile human at the center of these stories, and it does allow for us to recognize ourselves in it.' O'Reilly continues, 'I think Star Wars is always reaching for the universal and the intimate at once. The very first story was about starfighters, but it was also about family.' Best of GoldDerby Reality TV roundtable panel: 'American Idol,' 'Queer Eye,' 'The Secret Lives of Mormon Wives,' 'The Traitors' 'The Traitors' producer Sam Rees-Jones on the 'messiest group' ever and why the turret was pure 'chaos' 'The Secret Lives of Mormon Wives' producer Jeff Jenkins on how Taylor is an 'absolute unscripted superstar' Click here to read the full article.
