Latest news with #Billions
RTÉ News
21 hours ago
- Entertainment
- RTÉ News
Andrew Scott joins Daisy Edgar-Jones in legal thriller
Andrew Scott is to star opposite Daisy Edgar-Jones and Michelle Williams in the legal thriller A Place in Hell. US entertainment trade publication Deadline, which first reported Scott's casting, says the film is written and directed by Chloe Domont (Billions, Ballers, Suits) and follows "two women at a high-profile criminal law firm". There are no details on Scott's character. A Place in Hell is currently in production and also includes Danny Huston among the cast. Dubliner Scott will next be seen in Netflix's , which premieres on 12 December.
New York Post
19-05-2025
- Business
- New York Post
SAG-AFTRA head Fran Drescher working with Trump on a tax break deal for Hollywood
Seeking homegrown 'action' SAG-AFTRA President Fran Drescher was in discussion with President D. Trump's administration re: his proposed 100% tariffs on films made overseas. As explained through p.r. man Jesse Nash, SAG wants tax abatements for movies made here, in lieu of 100% tariff on foreign films. Drescher: 'Tax abatements make sure our industry gets what's needed to compete with other countries. Difficult to discourage business from going overseas if it's not economically affordable here. We won't need tariffs. It's the bottom line — people don't want to take a production overseas. Tax abatements create an environment in the USA that makes it as appealing as in other nations to produce. The problem is then solved.' The talks are ongoing. Celeb road show In the Stone Age, Frank Sinatra gave Ava Gardner headaches, jewelry and something called a 1957 Dual-Ghia car. A convertible. Who knows where the thing was made. I never heard of it before. Only 117 got made. Celebrities gobbled them up. Dean Martin had one. So the chassis must've had room for booze. Now someone named Schmitt owns it in someplace called St. Louis. A classic car dealer, looking to finally unload it, their ask is $349,000. Gas is extra. Navy blue, two-tone interior. Comes without Jerry Lewis in it. South Fork steaks Besides rings, watches and perfectly manicured nails, rich bitches have a lot of time on their hands. So June 27 something called Uncharted is grabbing a Southampton gala. Michael Loeb's house. Same one used on show 'Billions.' Get opinions and commentary from our columnists Subscribe to our daily Post Opinion newsletter! Thanks for signing up! Enter your email address Please provide a valid email address. By clicking above you agree to the Terms of Use and Privacy Policy. Never miss a story. Check out more newsletters Six hundred attendees can rub cashmere shoulders with Stock Exchange President Lynn Martin, test simulators and nosh Tomahawk steaks and sushi. Tickets are $1,200. Me, I wasn't invited. I'm away. Too busy testing Dean Martin's jalopy. Leaping to the screen Listen, be nice to me. I'm already helping you fill up your drab coming weekend: Twirling around is Amazon's 'Étoile.' It pirouettes an imaginary NYC Ballet troupe with a Paris group. They swap lead dancers. One, Lou de Laâge, from Woody Allen's 'Coup de Chance' didn't even parlez English off-screen. De Laâge: 'I did ballet as a kid. But had to relearn it. Took nine months. Scenes were in New York but comedy has different rhythms.' Show's from creators of 'Marvelous Mrs. Maisel.' Luke Kirby, who was Lenny Bruce in that, now heads this new New York Ballet and says: 'I'm putting on my 'Red Shoes' and working in New York City. Living and working in my hometown is the greatest.' So, listen, sew up your tutu and turn the Philco dial to Amazon. Shrinking America Americans have more food to eat than any other nation on earth — plus more diets to keep us from eating it. An Ozempic specialist to a chunky patient: 'Follow this exact regimen I am now giving you. I want to see you back in my office for a checkup in two months. But I only want to see three-fourths of you.' Alright already with AI. It now doesn't need a bathroom break, rest period, time to take care of the kid, no day off to do hair or nails, doesn't need the doctor appointments, answer the phone, erase its mistakes, employers don't have to worry it'll turn state's evidence, won't play with your husband, won't stiff your in-laws and is not so smart that it'll defect to Miami. Only on Earth, kids, only on Earth.
Chicago Tribune
15-05-2025
- Entertainment
- Chicago Tribune
Column: Eva Victor turned a wrenching personal story into a 2025 film highlight, coming soon
Four months ago at the Sundance Film Festival, a terrific debut film called 'Sorry, Baby' made its world premiere and won the screenwriting award and led, quickly — surprisingly so, in this post-pandemic realm of diminished moviegoing and movie-buying expectations — to very good things. It led to a rumored $8 million distribution deal with A24, with a release planned for late June and early July. More broadly, 'Sorry, Baby' sparked the feeling among festival audiences, most recently at the Chicago Critics Film Festival in early May, that screenwriter-actor-director Eva Victor had truly taken care of business with their directorial feature debut. Victor's film is many things, plus one overriding and quite rare thing: a calm, confident and dead-serious dark comedy, risking a lot right there, about a young woman's coping mechanisms in the emotionally muddy aftermath of sexual assault. Victor, who made some of the funniest pandemic micro-films in existence and is best known for their role as Rian in the long-running 'Billions,' plays budding academic Agnes. We meet Agnes several years after what happened with her professor, inside the professor's house. None of 'Sorry, Baby' works the way many will expect. It's a movie about 'how time moves in the aftermath of this kind of trauma, and the way memory works,' Victor told me. It's also a story of female friendship, the drama and wormy comedy inherent in academia and petty academic jealousies — and the difficulty of moving on with the work-in-progress and tangled psychic wiring that is every human life. Now 31, Victor was born in Paris, raised in San Francisco and attended Northwestern University, where they were drawn, like a moth to the flame of probable career disaster, to comic improvisation as well as acting training. Victor then moved to New York, with life experiences both harsh and emboldening along for the ride. Our conversation is edited for clarity and length. Q: You wrote the script for 'Sorry, Baby' early in the pandemic. This was after you'd dealt with the inciting incident from your own life in some of your other work, your other writing. How did you arrive at the right form for what is clearly a personal work of fiction? A: I went up to Maine for a couple of months in early 2021. My cousin's cottage. Mid-coast, Camden. Have you been? Very beautiful. Almost unbelievable. So idyllic. In the summer, you take a dip in cold water, it's warm outside, the sun is shining, the flowers are blooming. In the winter, when I was there, it's just this grey and blue. The winter was good for writing. It matched my mood. Sometimes it's sad to be somewhere sunny, you know. If you're working. I don't have an issue with discipline, but I wanted to write it in a monk-like way, I guess. And I had this opportunity that got me out of my Brooklyn apartment, and be in a space where it felt like I could be alone but not completely isolated. It's a gift, that kind of privacy.Q: How you managed to find so much humor, gallows or otherwise, in 'Sorry, Baby' is something I want a second viewing to figure out for myself. Before you wrote it, you'd already been encouraged by filmmaker Barry Jenkins ('Moonlight' 'If Beale Street Could Talk') and his production company, Pastel, is that right? A: Barry had seen my videos online and told me if I had a script I wanted them to read, they'd read it. Then we did a general meeting and he was very supportive. He said, 'You haven't directed a feature, but you're directing your videos. Directing is making choices. You're already doing that.' So I went off and wrote this and sent it to them, and said: What do you think? Does it make sense?' That led to two years of conversations and then we made it a year later, in February 2024. Q: In the movie, what you show us of what happens with Agnes and her professor is really striking, and so unusual for movies in general. The camera stays outside the house for a long time. No music, no 'indicating,' though we fear what's going on. And then Agnes kind of stumble-rushes past the front door on the way out. None of it's spelled out in the usual melodramatic or movie-stupid way. A: Thanks. That decision to let the moment take its time, to build tension that way, is really why I wrote the film. I was searching for a film that didn't really exist, to my knowledge, one that didn't show the violence but spoke to the experience, and the loneliness of that experience. That was why I wrote it. It's a very personal story, and emotionally it needed to feel truthful. The beautiful thing about making a film is you get to make something that's true to your emotions, but you're inventing and transporting and taking that story somewhere else. Obviously, the film lives in a tender place for me. My (autobiographical) truths are hidden in it throughout. I'm in there in ways that aren't completely discernible but hopefully it feels true. Q: It hardly needs saying, unfortunately, but it's just a maddening percentage of people in the world who've found themselves somewhere in, or near, the circumstances Agnes finds herself. A: Yeah. It's weird to be showing this film to more and more people at festivals, and feel the presence of this sad community (laughs). Let me put that another way: to feel a connection to people because they've had this sort of experience, which is devastating. You write a film, at least I did, because you're kind of screaming inside: And then you find out there are people out here with you. It's sad to realize. But it's also a relief. And a privilege to connect.
Korea Herald
13-05-2025
- Entertainment
- Korea Herald
Ex-Wanna One member Yoon Jisung to drop single
Yoon Jisung, formerly of Wanna One, will release 'Voyage' on May 20, agency Billions announced on Monday. He performed the single ahead of its release at his fan meetup tour, 'Letter from Yooniverse,' which began in Seoul in February and took him to Taipei and Tokyo the following month. The tour took place more than a year after he visited fans during 'The Special Christmas: Prom Party.' He debuted as a solo singer in 2019 with EP 'Aside' after his stint as the leader of project group Wanna One. In 2021, he branched into acting, taking a lead role in the series 'Let Me Be Your Knight.' Yoon also wrapped up the musical 'Happy Oh! Happy' in late January and will appear in short-form series 'Adieu Solo in Pattaya' alongside Baek Juho of SF9.
Axios
30-04-2025
- Entertainment
- Axios
"Outerlands" chronicles a queer journey in a changing San Francisco
San Francisco's Richmond District gets an intimate closeup in the new indie drama " Outerlands," which touches on themes of gender identity, loneliness and childhood trauma. The big picture: The film explores a non-binary character's emotional and financial struggles upon moving to San Francisco. It follows Cass, a non-binary newcomer to San Francisco played by "Billions" alum Asia Kate Dillon, who is juggling three jobs and whose new love interest leads them to confront deep-seated feelings of abandonment. Between the lines: Filming, which initially began in 2016, took place at more than 36 locations across the city, including neighborhood favorites like Hamburger Haven, a longtime diner on Clement Street and well-known dive bar The Bitter End. Other scenes on the city's west side honed in on parts of the Sunset District and Haight Street. The beautifully-captured shots of this often sleepy, moody and fog-drenched part of the city evokes a sense of nostalgia and longing, particularly evident in scenes where the characters are illuminated under the glare of the neighborhood's vintage neon signs. The film "embodies the spirit and uniqueness of the Bay Area and reflects our collective pride and love for San Francisco neighborhoods," SFFILM executive director Anne Lai said. What they're saying: Though the film wasn't intentionally timed to be released in response to the current political climate, director Elena Oxman told Axios she's glad it's coming out now since "there's something extremely affirmative and important about making art" that increases trans and non-binary representation in cinema at a time when trans rights are under attack. Including details in the story about the character's transition helped create a film "where the main character's queerness isn't the focal point of the story and yet, queerness infuses every frame," Oxman, who moved to the city in 2011, said. What's next: The film, which premiered on the closing night of the SFFILM festival this past weekend, is still currently on a festival tour as Oxman seeks distribution.
