Latest news with #Soul
Pink Villa
2 days ago
- Entertainment
- Pink Villa
Yumi's Cell's Kim Go Eun joins Kang Dong Won in talks to lead When Life Gives You Tangerines director's next
Exciting news for romance series fans, a new K-drama of the genre is on the cards. Kim Go Eun and Kang Dong Won are being considered to lead the new project, Soul (working title), as reported by K-media outlet Xports News on July 21. This fresh pairing has already generated significant interest among fans, who are eagerly awaiting confirmation of the news. Soul promises to deliver a captivating multi-genre storyline and memorable performances by acclaimed actors. Kim Go Eun and Kang Dong Won to lead new K-drama Soul Yumi's Cells fame Kim Go Eun has reportedly been offered to star as the female lead of the upcoming drama Soul, opposite Uprising's Kang Dong Won. The actors are considering their participation in the historical romantic project, which marks the union of two acclaimed figures of the industry– director Kim Won Seok and writer Park Ji Eun. Their agencies are yet to reveal whether or not they said yes to the series. Soul's director Kim Won Seok is known for his works in critically acclaimed dramas like Queen of Tears, Crash Landing on You, My Mister and more. His most recent work was Netflix's When Life Gives You Tangerines. He worked with writer Park Ji Eun in Queen of Tears, and the duo is to reunite for collaboration in the upcoming drama. Their skillful storytelling combined with Kim Go Eun and Kang Dong Won's compelling performances, might make up for an enjoyable watch. The actors are booked a s busy currently, with a slew of projects lined up for them. Kim Go Eun and Kang Dong Won's upcoming projects Kim Go Eun has been confirmed to reprise her role as the titular character in Yumi's Cells season 3. She will be romancing Hierarchy fame Kim Jae Won in the series, which is scheduled to premiere in the first half of 2026 on TVING. The actress is also set to lead two Netflix dramas– You and Everything Else and The Price of Confession. Kang Dong Won will be seen in mystery thriller Tempest opposite Jun Ji Hyun and will also lead rom-com movie Wild Sing with Park Ji Hyun.
See - Sada Elbalad
4 days ago
- Entertainment
- See - Sada Elbalad
"Tron: Ares" Drops Trailer
Yara Sameh Ahead of the movie's big splash at San Diego Comic-Con next week in Hall H, Disney has dropped a new trailer for "Tron: Ares," the third film in the 'Tron' franchise after the 1982 original and the 2010 sequel Tron: Legacy.' Jared Leto leads the film, which includes original star Jeff Bridges back as Kevin Flynn. Leto plays Ares, one of the programs from the digital universe who is tasked to enter the real world. The cast also includes Evan Peters, Greta Lee, Jodie Turner-Smith, Cameron Monaghan, Sarah Desjardins, Hasan Minhaj, Arturo Castro, and Gillian Anderson. Notably, Peters plays Julian Dillinger, who shares a last name with David Warner's Ed Dillinger, the villain from the first film. Nine Inch Nails, the industrial rock and electronica band founded by Trent Reznor and joined in 2016 by frequent collaborator Atticus Ross, are scoring the film. Reznor and Ross have won Oscars for their scores for 2010's 'The Social Network' and 2020's 'Soul.' They also won Grammys for their soundtracks to 'The Girl With the Dragon Tattoo' and 'Soul.' Most recently, they scored Luca Guadagnino's hit tennis film 'Challengers.' 'Tron: Ares' hits theaters on October 10. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Israeli-Linked Hadassah Clinic in Moscow Treats Wounded Iranian IRGC Fighters News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Videos & Features Tragedy Overshadows MC Alger Championship Celebration: One Fan Dead, 11 Injured After Stadium Fall Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Arts & Culture South Korean Actress Kang Seo-ha Dies at 31 after Cancer Battle News "Tensions Escalate: Iran Probes Allegations of Indian Tech Collaboration with Israeli Intelligence" News Flights suspended at Port Sudan Airport after Drone Attacks Sports Get to Know 2025 WWE Evolution Results Arts & Culture Hawass Foundation Launches 1st Course to Teach Ancient Egyptian Language
Time of India
6 days ago
- Entertainment
- Time of India
Soul by Higgsfield Redefines What's Possible in AI-Generated Visual Content
Synopsis Higgsfield Soul is not just another image generator; it's the future of AI-powered creativity. Soul delivers ultra-realistic, editorial-quality visuals from simple prompts. Designed for creators, designers, and brands, this tool offers instant, cinematic photography without the need for gear or prompt engineering.
Yahoo
6 days ago
- Entertainment
- Yahoo
What Pixar Should Learn From Its Elio Disaster
The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Early last year, Pixar appeared to be on the brink of an existential crisis. The coronavirus pandemic had thrown the business of kids' movies into particular turmoil: Many theatrical features were pushed to streaming, and their success on those platforms left studios wondering whether the appeal of at-home convenience would be impossible to reverse. Disney, Pixar's parent company, premiered the Pixar films Soul, Luca, and Turning Red on Disney+, and each was well received. But they were followed by the theatrically released expected smash Lightyear—a spin-off of the beloved Toy Story franchise—which underwhelmed at the box office. Elemental followed, weathering a low-grossing opening to become a sleeper hit. Discussing the studio's next film, Inside Out 2, the company's chief creative officer, Pete Docter, acknowledged the concerns: 'If this doesn't do well at the theater, I think it just means we're going to have to think even more radically about how we run our business.' He had nothing to worry about: Inside Out 2 was a financial sensation—by far the biggest hit of 2024. Yet here we are, one year later, and the question is bubbling back up: Is Pixar cooked? Its latest film, Elio, made only $20.8 million in its first weekend; the performance marked a record low for the company. (The number is smaller than what the first Toy Story earned 30 years ago.) In the weeks since its mid-June debut, Elio hasn't shown the strong box-office 'legs' that bolstered Elemental or proved that it has the earlier movie's major international appeal. It instead seems likely to earn less than $100 million domestically, based on its current performance. It would be the first Pixar movie not to clear that bar, pandemic releases aside. The debut of the studio's newest film used to be a seismic theatrical event, whether it was a sequel or an original story; the Pixar imprimatur was enough. The company has made icons out of a curmudgeonly old man, a garbage-compacting robot, and a rat obsessed with French cuisine. But its status as an instant star-maker seems to have dimmed; name recognition alone is no longer carrying the day. Elio hit theaters after a tumultuous creative process that saw the director, Adrian Molina, leaving the project and the script getting reworked. The film follows a quirky, outer-space-obsessed preteen who, after the death of his parents, dreams of being abducted by aliens. This goal comes to fruition, leading him on a bunch of wacky adventures with an assemblage of blobby cosmic creatures. While the science-fiction angle was always present, reports suggested that other elements were lost over time: Elio (voiced by Yonas Kibreab) was initially supposed to be more 'queer-coded,' according to The Hollywood Reporter, to reflect Molina's own identity. Elio's mother was still alive, to be voiced by America Ferrera. The character's parents were written out in the reworked script, and Elio's disaffection became primarily rooted in loneliness rather than any sense of feeling 'different.' [Read: What the success of Inside Out 2 means for Hollywood] These creative shifts arose after an initial test screening reportedly ended with zero participants saying they'd want to see it in theaters. The changes didn't leave Elio unwatchable. It's a perfectly serviceable and cute diversion for kids, busy with playfully designed aliens; it's got some laser-blasting action that could appeal to preteens too. The protagonist does, however, come across as a little purposeless. The loss of Elio's parents is barely explained; his relationship with his aunt, Olga (Zoe Saldaña), is pleasant but lightweight. Elio's journey just doesn't have enough motivation to convince the audience that it's worth undertaking: After joining the extraterrestrials, he does little but bounce from quest to quest, pretending to be a high-ranking ambassador from Earth. Writing human characters has never been Pixar's forte, unless they're very cartoonish, and Elio suffers from that weakness. The studio has a rich history of introducing intense creative revisions in the middle of making a film. The original director of Ratatouille left the project, and the veteran hand Brad Bird took over; the end result was an artistic high point for Pixar. Brave was set to be the studio's first movie with both a female protagonist and a female director, Brenda Chapman; Pixar then removed Chapman midway through production, and the final film was a muddled effort. Still, the company's relative success with on-the-fly changes might have convinced higher-ups that Elio could be salvaged. Or maybe Docter, who is also one of Pixar's most successful filmmakers, saw Elio's box-office potential as a minor consideration after the sensation that was Inside Out 2. The company now has three more giant sequels on the horizon: Toy Story 5, Incredibles 3, and Coco 2, the last co-directed by Molina. Despite returning to its familiar franchises, the company isn't giving up on original storytelling. Several projects not based on preexisting properties are in the works; each one is animal-centric, a more typical mode for Pixar. But the fact that Elio underwent such extensive tweaks does suggest internal trepidation—and that Pixar could be shying away from more novel, personal works in favor of safer material. [Read: Pixar's talking blobs are becoming more and more unsatisfying] Elio's failure to resonate with audiences likely won't help matters. Would the movie have ever worked, however? I somehow doubt it. Pixar movies tend to thrive on the basis of their worlds; the galactic landscape—which emerged unscathed from all the tweaking—felt far too thinly sketched to me, even setting aside the low-stakes adventure taking place within it. Then again, my favorite Pixar film in recent years shares more in common with Elio than with Inside Out. Turning Red is a relatively grounded coming-of-age piece about a teenage girl. (She later turns into a giant red panda.) The director of Turning Red, Domee Shi, was brought in to salvage Elio after Molina stepped aside. But the latter film's rudderlessness emphasizes how crucial Shi's intimate connection to Turning Red was in making it so special—just as Molina's personal touch could have helped Elio feel more purposeful. The executives at Disney are likely pleased with the seeming priority shift. Big sequels and tales about cute animals tend to be an easy bet, as evidenced by Disney's own animated-movie track record. Pixar won't get by forever reheating its leftovers, though: It needs to foster filmmakers with specific points of view, such as Shi, to become the creative bedrock of its next generation. So much of the animation world is tilting toward adapting recognizable brands over inventive storytelling, with rivals such as Illumination finding success with Super Mario Bros.; Warner Bros. is threatening audiences with a ghastly looking update of The Cat in the Hat. Pixar has long stood out by bringing something less trifling to theatergoing families. Elio's failure in theaters may sting, but hopefully it won't entirely deter that mission. Article originally published at The Atlantic
Atlantic
15-07-2025
- Entertainment
- Atlantic
Pixar's Must-See Era Is Over
Early last year, Pixar appeared to be on the brink of an existential crisis. The coronavirus pandemic had thrown the business of kids' movies into particular turmoil: Many theatrical features were pushed to streaming, and their success on those platforms left studios wondering whether the appeal of at-home convenience would be impossible to reverse. Disney, Pixar's parent company, premiered the Pixar films Soul, Luca, and Turning Red on Disney+, and each was well received. But they were followed by the theatrically released expected smash Lightyear —a spin-off of the beloved Toy Story franchise—which underwhelmed at the box office. Elemental followed, weathering a low-grossing opening to become a sleeper hit. Discussing the studio's next film, Inside Out 2, the company's chief creative officer, Pete Docter, acknowledged the concerns: 'If this doesn't do well at the theater, I think it just means we're going to have to think even more radically about how we run our business.' He had nothing to worry about: Inside Out 2 was a financial sensation —by far the biggest hit of 2024. Yet here we are, one year later, and the question is bubbling back up: Is Pixar cooked? Its latest film, Elio, made only $20.8 million in its first weekend; the performance marked a record low for the company. (The number is smaller than what the first Toy Story earned 30 years ago.) In the weeks since its mid-June debut, Elio hasn't shown the strong box-office 'legs' that bolstered Elemental or proved that it has the earlier movie's major international appeal. It instead seems likely to earn less than $100 million domestically, based on its current performance. It would be the first Pixar movie not to clear that bar, pandemic releases aside. The debut of the studio's newest film used to be a seismic theatrical event, whether it was a sequel or an original story; the Pixar imprimatur was enough. The company has made icons out of a curmudgeonly old man, a garbage-compacting robot, and a rat obsessed with French cuisine. But its status as an instant star-maker seems to have dimmed; name recognition alone is no longer carrying the day. Elio hit theaters after a tumultuous creative process that saw the director, Adrian Molina, leaving the project and the script getting reworked. The filmfollows a quirky, outer-space-obsessed preteen who, after the death of his parents, dreams of being abducted by aliens. This goal comes to fruition, leading him on a bunch of wacky adventures with an assemblage of blobby cosmic creatures. While the science-fiction angle was always present, reports suggested that other elements were lost over time: Elio (voiced by Yonas Kibreab) was initially supposed to be more 'queer-coded,' according to The Hollywood Reporter, to reflect Molina's own identity. Elio's mother was still alive, to be voiced by America Ferrera. The character's parents were written out in the reworked script, and Elio's disaffection became primarily rooted in loneliness rather than any sense of feeling 'different.' These creative shifts arose after an initial test screening reportedly ended with zero participants saying they'd want to see it in theaters. The changes didn't leave Elio unwatchable. It's a perfectly serviceable and cute diversion for kids, busy with playfully designed aliens; it's got some laser-blasting action that could appeal to preteens too. The protagonist does, however, come across as a little purposeless. The loss of Elio's parents is barely explained; his relationship with his aunt, Olga (Zoe Saldaña), is pleasant but lightweight. Elio's journey just doesn't have enough motivation to convince the audience that it's worth undertaking: After joining the extraterrestrials, he does little but bounce from quest to quest, pretending to be a high-ranking ambassador from Earth. Writing human characters has never been Pixar's forte, unless they're very cartoonish, and Elio suffers from that weakness. The studio has a rich history of introducing intense creative revisions in the middle of making a film. The original director of Ratatouille left the project, and the veteran hand Brad Bird took over; the end result was an artistic high point for Pixar. Brave was set to be the studio's first movie with both a female protagonist and a female director, Brenda Chapman; Pixar then removed Chapman midway through production, and the final film was a muddled effort. Still, the company's relative success with on-the-fly changes might have convinced higher-ups that Elio could be salvaged. Or maybe Docter, who is also one of Pixar's most successful filmmakers, saw Elio 's box-office potential as a minor consideration after the sensation that was Inside Out 2. The company now has three more giant sequels on the horizon: Toy Story 5, Incredibles 3, and Coco 2, the last co-directed by Molina. Despite returning to its familiar franchises, the company isn't giving up on original storytelling. Several projects not based on preexisting properties are in the works; each one is animal-centric, a more typical mode for Pixar. But the fact that Elio underwent such extensive tweaks does suggest internal trepidation—and that Pixar could be shying away from more novel, personal works in favor of safer material. Elio 's failure to resonate with audiences likely won't help matters. Would the movie have ever worked, however? I somehow doubt it. Pixar movies tend to thrive on the basis of their worlds; the galactic landscape—which emerged unscathed from all the tweaking—felt far too thinly sketched to me, even setting aside the low-stakes adventure taking place within it. Then again, my favorite Pixar film in recent years shares more in common with Elio than with Inside Out. Turning Red is a relatively grounded coming-of-age piece about a teenage girl. (She later turns into a giant red panda.) The director of Turning Red, Domee Shi, was brought in to salvage Elio after Molina stepped aside. But the latter film's rudderlessness emphasizes how crucial Shi's intimate connection to Turning Red was in making it so special—just as Molina's personal touch could have helped Elio feel more purposeful. The executives at Disney are likely pleased with the seeming priority shift. Big sequels and tales about cute animals tend to be an easy bet, as evidenced by Disney's own animated-movie track record. Pixar won't get by forever reheating its leftovers, though: It needs to foster filmmakers with specific points of view, such as Shi, to become the creative bedrock of its next generation. So much of the animation world is tilting toward adapting recognizable brands over inventive storytelling, with rivals such as Illumination finding success with Super Mario Bros.; Warner Bros. is threatening audiences with a ghastly looking update of The Cat in the Hat. Pixar has long stood out by bringing something less trifling to theatergoing families. Elio 's failure in theaters may sting, but hopefully it won't entirely deter that mission.
