Latest news with #Constantine
Perth Now
4 days ago
- Entertainment
- Perth Now
Peter Stormare: Keanu Reeves is ‘not happy' with Constantine 2 scripts
Keanu Reeves is "not happy with the scripts" for 'Constantine 2', Peter Stormare has said. The 60-year-old actor's titular demonologist is set to return in a follow-up to the 2005 horror flick, and Stormare - who played Lucifer in the movie - has revealed Reeves has been disappointed with Warner Bros.' ideas for a more action-packed 'Constantine 2'. Speaking with The Direct, Stormare, 71, said: "It's a lot of back and forth, because ... I think Keanu, which I know pretty good, is not so happy with the scripts and usually what comes out of the studios. "Because the first one wasn't that successful in the beginning, it became a sleeper and became a cult movie, and now it is one of the biggest cult movies ever. But to do a sequel, the studios want to have, you know, cars flying in the air. They want to have people doing flip-flops and fighting action scenes." Stormare added that the 'John Wick' star believed a 'Constantine' sequel should be "spiritual", and was worried the follow-up would diverge from this concept in favour of focusing on action. He explained: "I think Keanu says, 'I've done 'John Wick'. This movie is spiritual. It's about demons and regular people. And I wanted to keep it that way.' "And we talked about that. I want to do God coming down exactly the same way, but in a black suit and looking more or less like Lucifer from the first one. I'm 12 years older, so it's going to be hard to, you know, completely imitate the first movie. "But, I think from Keanu, he wants to do a sequel that is very close to the first one." Even so, Stormare admitted he hasn't seen any of the scripts for 'Constantine 2' yet, and it was all "hearsay" from Reeves. He said: "That is just hearsay from him, you know, and it's trying to be very secretive. As we say, both me and him, just do the first movie again and add some other elements, and you have a sequel. "'The Godfather Part II' was a sequel that was built on number one. They are similar. You can actually see number one and two together, and they stick together. "So, don't do a completely different movie, then it won't hold together. And I think that's where we are, yeah." 'Constantine' tells the story of the titular exorcist and demonologist who helps LAPD policewoman Angela Dodson (Rachel Weisz) investigate her twin sister's mysterious suicide, only to discover that fallen angels from Hell are trying to enter the human world. While Reeves is seemingly apprehensive about the ideas for 'Constantine 2', Stormare insisted the actor was "very proud" of the character. He said: "I think Keanu is very proud of that. He was fighting for it to be a character that he loved and wanted to develop. "And I mean, with Tilda Swinton doing Gabriel, it is a cool character. And even my Lucifer is a cool character that you can relate to as a viewer ... They wanted to dress me up like, you know, like a devil with a tail and a pitchfork and whatever, but we were really fighting for me to have, like, an off-white suit and do it very simple."
Geek Tyrant
18-05-2025
- Entertainment
- Geek Tyrant
Cool CONSTANTINE Poster Art Created By Artist Aurelio Lorenzo — GeekTyrant
Here's a cool poster art print for Keanu Reeve's classic 2005 DC movie Constantine . The art is a private commission created by artist Aurelio Lorenzo. It's a great peice for a great film! Constantine follows cynical exorcist and occult expert John Constantine, who has literally been to Hell and back. Born with the ability to see angels and demons on Earth, Constantine is damned to Hell for a past suicide attempt and spends his life banishing demons in hopes of earning redemption. When a skeptical LAPD detective, Angela Dodson (Rachel Weisz), seeks his help to investigate her twin sister's mysterious suicide, they uncover a supernatural conspiracy involving a plot to unleash Hell on Earth led by the half-demon son of Satan, Mammon. As Constantine digs deeper, he faces off against demonic forces, corrupted angels, and his own impending death from terminal lung cancer. Constantine battles to stop Mammon's rise and Angela's possession while confronting the angel Gabriel ( Tilda Swinton ), who has allied with Hell in a twisted plan to punish humanity. Hopefully, DC Studios get that long awaited sequel off the ground!
Irish Times
18-05-2025
- Politics
- Irish Times
This year is the 1,700th anniversary of a great church controversy
From time to time, great controversies of doctrine and practice arise in the church. The first such one concerned the need for Gentile converts to Christianity to observe the rules of the law of Moses. It was resolved by the Council of Jerusalem, recorded at Acts 15, which decided in favour of not burdening them with the regulations, except for abstaining 'from food polluted by idols, from sexual immorality, from the meat of strangled animals and from blood'. There was an element of compromise in this decision, but the main thrust of it was definitely on the liberal side. READ MORE Another major controversy was resolved 1,700 years ago this year by the first Council of Nicaea, which was held in the year 325. This striking anniversary is being observed in church circles around the world. The controversy dealt with at Nicaea concerned the views of Arius, a priest in North Africa, as developed in Arianism. Arianism taught that Jesus was not coeternal with God, having been created by God, but nonetheless having been created before time began. Arianism's understanding that Jesus had been created, as opposed to begotten, involved subordinationism within the Trinity and was a matter of widespread and passionate dispute within the early church. The Emperor Constantine – who ruled from 306 to 337, had converted to Christianity and legalised its practice by the Edict of Milan in 313 – was deeply concerned about the depth of this division of opinion and convened the council which was held in Nicaea, which is now Iznik in Turkey , in summer 325 to establish a definitive position. The council adopted the first version of the Nicene creed, referring to 'one Lord, Jesus Christ, the Son of God, begotten from the Father, only-begotten, that is, from the substance of the Father, God from God, light from light, true God from true God, begotten not made, of one substance with the Father'. While some may think there was an element of compromise in the wording 'begotten, not made', nonetheless the creed is a clear repudiation of Arianism, categorically anathematising any view of Jesus as of 'a different hypostasis or substance' from God, or as 'created'. Christian teaching distinguishes between begetting and creating. This difference was helpfully explained in a nutshell by CS Lewis in his book, Mere Christianity, thus: 'When you beget, you beget something of the same kind as yourself ... But when you make, you make something of a different kind from yourself.' Although there understandably are differing views of the precise course of ancient history, it is widely viewed that the first form of the Nicene creed was amended in 381 by the Council of Constantinople (now Istanbul) into the present-day form, except for the Filioque clause (that the Holy Spirit proceeds from the Father 'and the Son'), which was added in 1014 and was an important factor in the 1054 schism between the western and eastern church. The 381 version of the Nicene creed is also known as the Niceno-Constantinopolitan creed. What is crucially important about the Nicene creed from its original 325 form is that it firmly establishes the trinitarian understanding of God. Perhaps all of this may seem rather esoteric in today's church, but the importance of Trinitarianism is seen in that when one tampers with it then all sorts of theological trouble is inclined to ensue. In terms of the today's church, Trinitarianism can be seen as underscoring certain particularly contemporary concerns. These include respect for human diversity and the value of unity-in-diversity in church relationships, given that the trinitarian God is both one and diverse in nature; the importance of human equality, the three divine people being coequal; and the fundamentally relational nature of human life – embracing personal, societal and political life – given that harmonious relationship is at the heart of the life of the triune God, Father, Son and Holy Spirit. No doubt there are many other ways in which the trinitarian understanding of God can be seen as a standard and goal for the church and for human society in general. Given the priority of the scriptural witness, some question the authority of creeds such as the Nicene creed in establishing orthodox doctrine. Nonetheless, the church does have to organise itself – and ecumenical councils, such as were those of Nicaea and Constantinople, can rightly assert what is the common and received understanding of the mysteries of God. Canon Ian Ellis is former editor of The Church of Ireland Gazette
Indianapolis Star
13-05-2025
- Entertainment
- Indianapolis Star
'Visual language': A look inside the Indigenous Australian art at Newfields' Lume
Kate Constantine incorporates influences into her art from lived experiences that she describes as two different worlds. Growing up in Sydney, she was influenced by Western technology, education and societal norms. But as she became an adult and developed her art practice, she delved deeper into her heritage as a descendant of the Gadigal people of the Eora nation, the first people to live in the area that is today Sydney. "We're a water culture; our clan totem is a whale. Everything that we do circulates around the harbor and the sea," Constantine, who is a cultural advisor to Newfields, told IndyStar. Known by her artist name Konstantina, Constantine explores water as part of her identity in her work, which appears in the latest exhibit at Newfields' Lume, "Connection: Land, Water, Sky — Art & Music from Indigenous Australians." The installation depicts how the continent's First Peoples interact with the natural world as they navigate seasons, carry on traditions and pass down stories. The new cinematic installation shows more than 100 contemporary artists who draw on the traditions and cultural stories from myriad communities. About 120 projectors will beam images of their work as a soundtrack by legendary and modern Australian musicians plays. "Connection" began as a smaller-scale show between Grande Experiences, Newfields' longtime Lume partner, and the National Museum of Australia, Constantine said. She joined the project about five years ago and has seen it grow with each installation, watching more and more people learn about Indigenous artforms that date back at least 65,000 years. "People understand visual language," Constantine said during a tour of the Lume. "This is the one thing that connects all of us, regardless of our race, regardless of our language, regardless of our social status. We can all visually story-tell from a really authentic and sincere way. And that's something that Aboriginal Australian culture has been doing since time immemorial." At Newfields, Constantine has created art for a collaborative, interactive piece. Patrons can color in her drawings of a platypus, kangaroo and kookaburra and then scan them into a larger mural, where they'll live with others' creations on the wall in the activities room. "Connection," which opened May 10, will continue through early 2026. In late June, the Lume will change over the accompanying featurettes to creations by students at the Herron School of Art & Design. Here's a look at some of the highlights. Newfields unveils new plans: Canal bridge, Monday hours and new board chair In 1989, art collector Harrison Eiteljorg, known for launching the eponymous Eiteljorg Museum, gifted the Indianapolis Museum of Art several mid-20th-century bark paintings created by Indigenous artists in Arnhem Land, an area in the northern part of Australia. The institution has kept the pieces in storage — until now, when they were unveiled in the Lume's gallery that's reserved for physical art. Using natural pigments and eucalyptus bark, Bob Bopani, Dawidi Birritjama and others painted creation stories, spiritual beings and animals. To explain the iconography for the works' museum debut, Newfields curators worked with Henry Skerritt, an assistant professor in art history at the University of Virginia. "The pattern making that we see in these artworks (is) part of body paints or scarification or sacred practices within these communities," said Robin Cooper, Newfields' manager of curatorial affairs. "A lot of that knowledge is not known beyond the elder system or initiation system." Among the works are "suitcase" paintings, which artists created on smaller, hardier canvases so that visiting collectors could more easily transport them. Two such works at Newfields show mimihs — tall, thin, live spirits from community folklore that jump around Arnhem Land's rocks, Cooper said. Nearby is 2018's "Maruwa" by Warlimpirrnga Tjapaltjarri, a member of the Pintupi nine nomadic group that lived without contact with Europeans on the continent until 1984. The artist's acrylic on linen — on loan from Amsterdam's SmithDavidson Gallery — depicts the religious cycle of ancestral travel while embedding some secrets only recognized by those who know the culture's full origin story. "He creates very circular patterns ... that relate to his community's tale of of creation and how they walked in a circular motion and kind of ended up where they began, and that is home; that is what their country is," Cooper said. "The entirety of the tale, of their creation story, is only known to those that are initiated." About halfway through the Lume experience sits Cafe Ngura, where several recognizable treats use ingredients common in Australia. The goal, Executive Chef Patrick Russ said, was to source foods from the continent but not attempt to mimic traditional Indigenous food. "How do we take these ingredients and how do we not appropriate a culture?" Russ said. So the culinary team concocted treats that would allow the ingredients to shine, he said. Across dishes like tea cookies, power bars, beet salad, sausage rolls, cocktails and pavlova, Russ used macadamia nuts, ironbark honey, finger limes, wattleseed and lemon myrtle and other ingredients they were able to source from Australia. "They're all very, very unique and kind of fun to play around with," Russ said. The IndianapoLIST newsletter has the best shows, art and eats — and the stories behind them What: "Connection: Land, Water Sky — Art & Music from the Indigenous Australians" When and where: Open May 10, 2025-early 2026. The Lume at the Indianapolis Museum of Art at Newfields, 4000 Michigan Road Tickets: $29 adults, $25 ages 55 and up, $20 ages 6-17 and free ages 5 and under. Members receive discounts. Tickets include admission to museum and grounds.
Scottish Sun
10-05-2025
- General
- Scottish Sun
Secret ancient papal palace where Popes lived before the Vatican is unearthed in Rome
The grand basilica was designed in the 4th century AD HOLY PAD Secret ancient papal palace where Popes lived before the Vatican is unearthed in Rome Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) ARCHAEOLOGISTS have unearthed ruins from a hidden ancient palace which housed popes for centuries before the Vatican was established. The discoveries give a rare glimpse into the dangers faced by the papacy in Rome's medieval times. Sign up for Scottish Sun newsletter Sign up 5 Archaeologists have uncovered the ruins of the first residence of popes Credit: Italian Ministry of Culture 5 Defensive walls were excavated in the Piazza San Giovanni in Laterano, the square outside the Archbasilica of St. John Lateran Credit: Italian Ministry of Culture 5 These walls date as far back as the 9th century AD Credit: Italian Ministry of Culture Archaeologists stumbled upon complex architecture beneath the square outside the Archbasilica of St. John Lateran in Rome while making renovations for Jubilee 2025 (the Catholic Holy Year). They unearthed large walled structures made of volcanic rock bricks, known as tuff, that date back to the 9th through the 13th centuries AD. Some of these bricks had been reused from earlier buildings, and signs of restoration were visible in some of the walls. This structure is believed to be part of the Patriarchio - the ancient palace which served as the popes' official residence from the 4th century until the early 14th century. This monumental basilica was designed by Emperor Constantine in the 4th century after the famous Edict of Milan (313 AD) legalised Christianity in the Roman Empire. The palace complex was expanded and renovated during the Middle Ages, according to the Italian Ministry of Culture. These walled structures are said to have acted as a defensive barrier, shielding the papacy from power struggles among Rome's aristocratic families and raids by Saracens. The Italian ministry said: 'The construction of the structure just described took place during a long period in which Rome was the object of the raids of the Saracens, and inside it there were continuous struggles, sometimes violent, between the aristocratic families." 'Saracens' was the term used for various Arab groups that launched coastal raids in Italy during the 9th and 10th centuries and later clashed with European armies during the Crusades. 'Hence the hypothesis that this mighty wall, also due to its shape, had the function of a defensive wall around the complex of the Basilica and the annexed buildings," the ministry explained. New Pope Leo XIV accused of 'looking the other way' over sex abuse allegations against priests in Chicago & Peru It said this discovery is 'of extraordinary importance' to Rome's history, as these are the most extensive archaeological excavations of the square to have taken place. Gennaro Sangiuliano, the Italian Minister of Culture, said: 'The discoveries of Piazza San Giovanni in Laterano are yet another demonstration of the richness of the territory of Rome, an inexhaustible mine of archaeological treasures.' Sangiuliano added: 'Every single stone speaks to us and tells its story: thanks to these important finds, archaeologists will be able to know more about our past. The Vatican officially became the permanent papal seat in 1377. This was after Pope Gregory XI moved the papacy back to Rome from Avignon, France, where it had been located for nearly 70 years. From thereon, a defensive structure was no longer necessary and the area was abandoned. This discovery coincides with Cardinal Robert Prevost's election as the new leader of the Catholic Church - making him the first-ever American pope. The new pope stepped out onto the balcony of St. Peter's Basilica in the Vatican on Thursday to greet cheering crowds. Prevost was born in Chicago in 1955 to immigrant parents of French, Italian and Spanish descent. After graduating from Villanova University in Pennsylvania with a degree in maths, the future pontiff joined the Order of St Augustine, taking his vows in 1978. Ordained as a priest in 1982, he joined a mission in Peru where he spent many years leading a seminary. While he is seen as more traditional than Francis, he is not the conservative hardliner that some in the church had hoped for after his predecessor's efforts to make the faith more progressive. 5 Pope Leo XIV (formerly Robert Francis Prevost) made his first trip outside the Vatican on Saturday Credit: Getty
