Steve Pond's Blog, page 36

What’s New on Paramount+ in September 2025

Paramount+ is heading into the fall season by bringing TV watchers a whole new round of TV shows and films.

Our hearts were ringin’ in the key that our souls were singin’ for these new titles that are dropping on the streamer this September, just like Earth, Wind and Fire said. And if you love the group, you’ll have to check out the the TV special “A Grammy Salute to Earth, Wind & Fire Live: The 21st Night of September,” which drops on Sept. 21.

But let’s not get ahead of ourselves, because they are some absolute goodies that are landing at the top of the month that you’ll want to be on the lookout for, like “Frida,” “Mommie Dearest,” “Life” and more.

In addition, the third season of “Tulsa King” premieres later this month along with new seasons of “Amazing Race” and “Survivor.” Check everything dropping on Paramount+ below.

Available Sept. 1“A.I. Artificial Intelligence”“Addams Family Values”“Afflicted”“Along Came A Spider”“Angel Heart”“Approaching the Unknown”“April Fool’s Day”“Area 51”“Arrival”“Asylum”“Below”“Beneath”“Blade”“Blade II”“Blade: Trinity”“Body Cam”“Brick Mansions”“Burke & Hare” “Cesar Chavez”“Cloverfield”“Cursed”“Daybreakers”“Disturbia”“Dracula III: Legacy”“Face/Off”“Fatal Attraction”“Frida”“Friday the 13th”“Friday the 13th Part II”“Friday the 13th Part III”“Friday the 13th Part IV: The Final Chapter”“Friday the 13th Part V: A New Beginning”“Friday the 13th Part VI: Jason Lives”“Friday the 13th Part VII: The New Blood”“Friday the 13th Part VIII: Jason Takes Manhattan”“From Dusk Till Dawn”“From Dusk Till Dawn 2: Texas Blood Money”“From Dusk Till Dawn 3: The Hangman’s Daughter”“Galaxy Quest”“Gattaca”“Geostorm”“Hansel & Gretel: Witch Hunters”“How to Lose a Guy in 10 Days”“I Know What You Did Last Summer”“Jacob’s Ladder”“John Carpenter’s Escape from L.A.”“Kiss the Girlsv“La Bamba”“Labor Day”“Life”“Like Water for Chocolate”“Loosies”“Margaux”“Mommie Dearest”“Murder On The Orient Express”“National Lampoon’s Animal House”“Nick of Time”“Nobody’s Fool”“O” (Othello)“Overlord”“Patriot Games”“Perfume: The Story of a Murderer”“Phantoms”“Piñero”“Quinceañera”“Road to Perdition”“Safe”“Scary Movie”“Scary Movie 2”“Scary Movie 3”“Scream 4”“Seven Psychopaths”“Sleepy Hollow”“Small Soldiers”“Spell”“Spontaneous”“Student Bodies”“Super 8”“Sweeney Todd: The Demon Barber of Fleet Street”“Sweet Dreams”“Teaching Mrs. Tingle”“The Addams Family”“The Commuter”“The Crow”“The Crow: City of Angels”“The Crow: Wicked Prayer”“The Devil Inside”“The Faculty”“The Gift”“The Grifters”“The Haunting”“The Hunter”“The Island”“The Last Exorcism Part II”“The Longest Yard”“The Loved Onesv“The Mechanic”“The Monster Squad”“The Night Clerk”“The Parallax View”The Reckoning”“The Relic”“The Ring”“The Stepford Wives”“The Sum of All Fears”“The Terminal”“The Uninvited”“The Woman in Black”“To Catch a Thief”“Twisted”“Universal Soldier”“Up in Smoke”“Vampire in Brooklyn”“Venom”“Vertical Limit”“Virtuosity”“Wes Craven Presents: Dracula 2000”“Wes Craven Presents: They”“Winter Spring Summer or Fall” “Witness”“World War Z”Available Sept. 3“Wolves”Available Sept. 4“NCIS: Tony & Ziva”Available Sept. 5“Old Henry”“Superhero Movie”Available Sept. 72025 Video Music AwardsAvailable Sept. 8“The Wedding Banquet”Available Sept. 9“Thirst Trap: The Fame. The Fantasy. The Fallout”Available Sept. 10“Personal Shopper”
“The Tiny Chef Show” Season 3Available Sept. 12“The Reunion”Available Sept. 14Primetime Emmy Awards Available Sept. 17“Air Disasters ” Season 22“The Adventures of Paddington” Season 3Available Sept. 21“A Grammy Salute to Earth, Wind & Fire Live: The 21st Night of September”“Tulsa King” Season 3Available Sept. 23“Bodyguard of Lies”Available Sept. 24“Survivor” Season 49Available Sept. 25“The Amazing Race” Season 38Available Sept. 28“60 Minutes” Season 58“48 Hours” Season 38

The post What’s New on Paramount+ in September 2025 appeared first on TheWrap.

MSNBC’s Ali Velshi Says Democrats Are Letting America Down: ‘Time for Some of Those Leaders to Step Aside’ | Video

As President Donald Trump’s administration grows more controversial, MSNBC’s Ali Velshi is calling out the Democratic Party for letting the country down with lax leadership.

“Avoiding hard truths is not how you save democracy,” Velshi said Saturday on “Velshi on MSNBC.” “America has been badly let down by the leadership of the Democratic Party, and in my view, it’s time for some of those leaders to step aside and let people who are prepared to fight, fight. Fight so hard that they might break something.”

As Trump’s legislative efforts and executive orders bring forth more contention among legislators in both the Republican and Democratic parties, Velshi states now is the time for someone to step up, especially if current Democratic leadership won’t.

“Right now it’s in dire need of defense and it needs defenders who are willing to do whatever it takes,” Velshi said. “True, democracy also requires the competition of ideas. When that does not exist, political parties stop functioning properly. And when even one of our two main parties stops functioning, democracy itself is put at risk.”

He continued: “We all know by now that the Republican party is no longer a functioning political party in America. It is a fully captured vessel of authoritarianism, which makes it even more vital that the Democratic Party rise to this moment defense of our democracy. But whether national Democratic leadership is unwilling or some simple unable to do so, they are largely not rising to this moment.”

As Velshi started to close up his thoughts, he pointed out there are figures in the Democratic Party who ready to rise to the occasion as a glimmer of hope against Trump.

“Let the fighters step in and take over because I see the light. I see the energy and the will out there,” Velshi said. “I see it in Gavin Newsom and J.B. Pritzker, who are taking on Trump and the Republican Party in ways the Democratic leadership in Washington seems unwilling to do. I see it in Bernie Sanders drawing crowds of tens of thousands in his full-throated fight against oligarchy. I see it in Alexandria Cortez, who from the moment she was elected to the House in 2018, has never shied away from loudly speaking her mind and shaking things up.”

On Friday, a federal appeals court in Washington, D.C. ruled that Trump illegally went beyond his powers as president as it relates to his tariff policies.

In a 7-4 ruling, the court said U.S. law “bestows significant authority on the president to undertake a number of actions in response to a declared national emergency, but none of these actions explicitly include the power to impose tariffs, duties, or the like, or the power to tax.”

Despite the decision, Trump took to social media to state that the “tariffs are still in effect.”

If allowed to stand, this Decision would literally destroy the United States of America,” Trump said. “At the start of this Labor Day weekend, we should all remember that TARIFFS are the best tool to help our Workers, and support Companies that produce great MADE IN AMERICA products.”

The post MSNBC’s Ali Velshi Says Democrats Are Letting America Down: ‘Time for Some of Those Leaders to Step Aside’ | Video appeared first on TheWrap.

5 Movies to Watch Before They Leave Hulu in September

Like most streaming services, Hulu adds new movies to its platform every month. The streamer usually ends up saying goodbye to more than a few great films every month as well, and that is certainly the case in September. A handful of noteworthy movies are set to vanish from the streaming service in the coming month, including one of the most underrated box office bombs of the 2020s and a contemporary cult classic.

Here are five movies you need to watch before they leave Hulu in September.

“Petite Maman” (Pyramide Distribution)“Petite Maman” (2021)

An understated, near-perfect gem from “Portrait of a Lady on Fire” writer-director Céline Sciamma, “Petite Maman” is set to leave Hulu on Sept. 6. A quiet, 72-minute exploration of love, connection and family, the film follows Nelly (Joséphine Sanz), a young girl who travels with her mother (Nina Meurisse) and father (Stéphane Varupenne) to empty out her mother’s childhood home after her grandmother passes away. Once there, Nelly discovers her mother’s younger self playing in the surrounding woods and ends up forming a cross-generational connection with her.

Made with the most delicate and gentlest of hands, “Petite Maman” is not a film that grabs and shakes you by your shoulders but wraps you up in the softest of hugs. Sciemma frequently cited the work of Japanese animator Hayao Miyazaki as a major influence on the film, and it is not hard to see why. The “Spirited Away” filmmaker’s fingerprints are all over “Petite Maman,” and they are present in not only its heartfelt exploration of familial trauma but also in its belief in the capacity for magic to find its way into our everyday lives — no matter how mundane or lonely they may seem.

“Babylon” (Paramount Pictures)“Babylon” (2022)

A box office bomb that was widely misunderstood when it was released, director Damien Chazelle’s “Babylon” is a 3-hour epic about Hollywood’s transition from its initial silent era into the age of the talkies. Featuring a star-studded cast headlined by Brad Pitt, Margot Robbie, Diego Calva, Jean Smart and Li Jun Li, the film follows an assortment of actors and creatives who come up in Hollywood in the late 1920s only to find their morals tested and their futures thrown into question by the industry-changing arrival of sound. As a filmmaker, Chazelle made a name for himself with the romantic, endlessly optimistic “La La Land.”

But if that film was about celebrating the idea of Hollywood, then “Babylon” is the uncut, unfiltered B-side alternative to it — one about all the people the entertainment industry has chewed up and spit out over the years due to its prioritization of technological advancement over human artistry. It’s messy, crude, purposefully inelegant and simply bursting at the seams, and yet none of that ultimately matters. “Babylon” is an operatic, over-the-top epic that feels like both a love letter to Hollywood and a molotov cocktail thrown right in its face. It is one of the best films of the decade so far, and you should watch it before it leaves Hulu on Sept. 7.

“Corsage” (IFC Films)“Corsage” (2022)

“Corsage” is a historical drama determined to buck its own genre’s conventions. Written and directed by Marie Kreutzer, the film is a fictionalized account of one year in the life of Empress Elisabeth of Austria (“Phantom Thread” Vicky Krieps). It follows its heroine when she turns 40 and subsequently finds her public image threatened and her royal role reduced to a purely performative one. Facing an increasingly restrictive life, Elisabeth chooses to travel and rebel against societal norms — creating a new legacy for herself in the process.

“Corsage” is, consequently, a period drama unlike any other. It is a delightfully anachronistic, frequently fourth-wall-breaking middle finger to the suffocatingly stately way powerful women are often portrayed throughout history. Electrified at every turn by Krieps’ endearing, charismatic lead performance, “Corsage” is a subversive alternative to most of the big-screen historical dramas that have been and continue to be made both in and outside of Hollywood. It is leaving Hulu on Sept. 9.

“Bad Axe” (IFC Films)“Bad Axe” (2022)

Here is a documentary that felt vital in the moment and, unfortunately, still does. Director David Siev’s film follows his Asian-American family’s struggles to keep their local restaurant in Bad Axe, Michigan, open — and their immigrant dreams alive — as the COVID-19 pandemic forces them to close their doors and escalating racial tensions in Michigan make them reconsider their place in their community.

Rife with contemporary political and cultural concerns, “Bad Axe” offers a striking portrait of not only the immigrant experience, but also the difficult-to-hold belief that anyone — no matter who they are or where they come from — actually has the ability to build a better life for themselves. It is a must-see documentary, and it is set to leave Hulu on Sept. 17.

“Dinner in America” (Best & Final Releasing)“Dinner in America” (2022)

“Dinner in America” flew under practically everyone’s radar when it was self-released in May 2022 (after struggling for two years before that to find distribution). The film developed a cult following online, thanks in no small part to TikTok users’ discovery of it, which led to it becoming a modern cult classic and even earning a second theatrical release. It’s not hard to see why “Dinner in America” has endeared itself to so many over the years, either.

Directed with idiosyncratic, rambunctious style by writer-director Adam Rehmeier, the film follows an anarchistic underground hardcore singer (Kyle Gallner) who goes on the run and ends up shacking up with a young woman (Emily Skeggs) who is obsessed with him and his band. The resulting film is a hyped-up coming-of-age black comedy that does not just glorify a punk-rock lifestyle but adopts it itself. It is one of the best hidden gems that Hulu has to offer — until it leaves the platform on Sept. 23, at least.

The post 5 Movies to Watch Before They Leave Hulu in September appeared first on TheWrap.

‘Gutfeld!’ Spends 7 Minutes Talking About Gavin Newsom’s Hands: ‘Ugh, It’s Like He’s Molesting a Ghost’ | Video

Greg Gutfeld and his late-night crew – who have been calling out Gavin Newsom’s theatrical hand movements since time immemorial – spent seven whole minutes of Fox News airtime on the California Governor’s expressive gesticulations, even claiming that he’s tried (“violently!”) to tone them down since the show made it a thing.

“Apparently, our commentary has gotten inside his head and Gavin now is desperately trying to control himself,” Gutfeld said on Friday night’s show.

After playing a highlight reel of Newsom’s past ten-fingered flourishes – “Ugh, it’s like he’s molesting a ghost,” Gutfeld gagged – they rolled a recent clip of the governor sitting at his desk with his hands folded and firmly planted on his desk – with one opposable exception: his thumb couldn’t stay still.

“Watch as his errant thumb valiantly, violently resists,” Gutfeld guffawed. “It needs to get out! It is trapped, poor little thumb. I haven’t seen a finger that excited since my last prostate exam,” Gutfeld said.

Guest panelist and comedian Sherrod Small compared Newsom’s constant hand jive to “a third-base coach.”

“Like you’re telling me to steal, or bunt?” Small said. “Like if somebody talked to you like that on the subway as soon as you walk away, you’re like, ‘I think he got my watch.”

Panelist Kat Timpf was a bit more judicious, admitting that “I talk with my hands a lot” (while talking with her hands).

“I think my hands are always doing weird stuff,” Timpf said. “I got other problems with the guy, like his policies, but his hands no. His wife probably has problems with some things his hands have done but I don’t personally.”

Panelist Tyrus suggested a new theory for the reason behind Newsom’s phalangical phrasings.

“I thought it had something to do with the California budget cuts since they didn’t have a hearing impaired [translator] anymore,” he said. “‘I’m not paying the money for that – I’ll do it myself!'”

Watch the entire, seven-minute dissertation on Newsom’s demonstrative digits in the video clip above.

The post ‘Gutfeld!’ Spends 7 Minutes Talking About Gavin Newsom’s Hands: ‘Ugh, It’s Like He’s Molesting a Ghost’ | Video appeared first on TheWrap.

‘Calle Malaga’ Review: Spanish Legend Carmen Maura Charms Her Way Through Moroccan Crowd-Pleaser

When it comes to the Oscars’ Best International Feature Film category, Moroccan writer-director Maryam Touzani has a remarkable track record. Over the last eight years, she has directed two of Morocco’s Oscar submissions, the first woman to direct the country’s entry in that race; she’s written three of the other five entries, all directed by her husband, Nabil Ayouch; and she’s also starred in one of them, Ayouch’s 2017 drama “Razzia.”

So even before Touzani’s new film, “Calle Malaga,” premiered at the Venice Film Festival on Friday, you’d be hard-pressed to bet against her landing another movie in the Oscar race. And once “Calle Malaga” screened in Venice, those odds probably got even better. The film takes a situation that could be milked for wrenching drama and outrage, an elderly woman whose daughter tries to sell her mother’s longtime home out from under her, and treats it with lightness and charm.

With the essential help of legendary Spanish actress Carmen Maura (“Women on the Verge of a Nervous Breakdown,” “Volver”), Touzani creates an indelible character, has a lot of fun with her and makes a genuinely crowd-pleasing movie that somehow pulls back before it gets too cheery or too cheesy.

It’s lighter than you’d expect from the director whose last two films dealt with a terminally-ill woman facing the fact that her husband was gay (“The Blue Caftan”) and a widowed baker who takes in an unmarried pregnant woman (“Adam”). But Maura is close to irresistible, helping “Calle Malaga” to float when it could cloy.

Maura plays Maria Angeles, a Spanish-Moroccan widow living in Tangier in the home that her late husband bought for them years ago. An opening scene of her making her morning shopping rounds shows Maria as an integral part of a lively community, many of whose residents slip easily between Arabic and Spanish. (Touzani herself grew up there and is of Moroccan and Spanish descent.)

When her daughter arrives for a rare visit while in the midst of a nasty divorce, the young woman seems ill-at-ease until she finally drops the bomb. “I need some money, mama,” she says. “I’m going to sell the flat.”

“I thought it was a rental,” says Maria.

“I mean this flat.”

“You’re going to sell my house?”

And yes, that’s the plan, because the flat was put in the daughter’s name by Maria’s late husband, who wanted to make it easier on his wife in the event of his death. The daughter has two options for Maria: move to Madrid and live with her, or enter a retirement community in Tangier that has a single opening available if she moves right away.

Maria protests vehemently and then suddenly submits meekly; her daughter apparently doesn’t  know her mom well enough to realize that’s something’s up, but even this early in the movie, we in the audience know it. Maria lives in the retirement community for a few days and then tells them that she’s decided to move to Madrid to be with her daughter. She signs herself out and her friend Mbarek comes to pick her up.

“Airport?” he asks when she puts her bags in the car.

“Are you pulling my leg?” she snaps. “You’re taking me home.”

And surprisingly, she pulls it off easily. The flat hasn’t sold yet, and Maria manages to get back in, buy back some of her furniture from the surly antiques dealer who gave her daughter a rock-bottom price for all of it. (She also blackmails the real-estate agent from revealing what she’s doing, but we won’t spoil the details of that one.)

The film sketches the vibrant life of the community, and Maria charms the audience as well as she charms the people around her. Even if we know that she can’t get away with it indefinitely, Touzani’s insistence on downplaying the trauma and emphasizing the joy (and even the romance, as that antiques dealer turns out to be not such a bastard after all) feels like a real statement: She’s going to take a 79-year-old woman in a desperate situation and turn her into a cheerful hero.  

The role of a feisty elderly woman could easily become a mawkish cliché, but Maura underplays it and makes her touching but never maudlin. So the sweet moments come one after another, as Maria figures out a (not entirely legal) way to make money, overshares her sexual adventures with her best friend, who happens to be a nun, and to all appearances ignores the reckoning that must be coming when the apartment sells.

Of course she’s not really ignoring it, and neither is the audience. And even then, Touzani finds a way out of the story that is ambiguous but satisfying, and one that doesn’t betray either the character we love or the situation she’s in.  

“Calle Malaga” is a delicate film to pull off, but Touzani and Maura find the right balance from the start. You don’t know that everything’s going to be OK at the end of the movie, but you know that everything’s been more than OK for the two hours you’ve been watching.

The post ‘Calle Malaga’ Review: Spanish Legend Carmen Maura Charms Her Way Through Moroccan Crowd-Pleaser appeared first on TheWrap.

‘Motor City’ Review: Shut Up, We’ve Got an Action Flick Goin’ On Here

In Park Chan-wook’s “No Other Choice,” which premiered Friday at the Venice Film Festival, a character who works in the paper manufacturing industry is very proud of how he won that industry’s 2019 Pulp Man of the Year award. 

Well, in Venice one day later, I’m ready to suggest that the 2025 Pulp Man of the Year should be Potsy Ponciroli, director of “Motor City.” That film, which premiered on Saturday, is a hyper-adrenalized revenge thriller that isn’t satisfied with splattering blood for about an hour and 40 minutes; it also wants to see if it can do that without talking.

You’ve heard of silent movies? This is a loud movie, except that it does away with words. That leaves room for lots of quiet glowering and for a bunch of grunts, groans, thuds, thwacks, oofs, crunches, screams, explosions and assorted nasty sounds.

It shouldn’t work but it pretty much does, at least for those who are big enough pulp fans to go along with this wacky thrill ride. (For others, it’s safe to say that your mileage may vary.)

Ponciroli has put twists on genre films before: His wonderful 2021 western “Old Henry” slyly played with the Billy the Kid legend by letting the outlaw get old, placid and sick of bloodshed.

John Miller, the central character in “Motor City,” has no such qualms. Embodied by Alan Ritchson (“Reacher”) with John Cena’s musculature, Dog the Bounty Hunter’s hair and the Hulk’s jawline, he’s thrown a guy off a building, shotgunned a couple of people, clung to the hood of a speeding car and fired another blast while hurtling backwards off the hood of that car after the driver slammed on the brakes … all under garish neon lights on rain-slicked streets, and all before the opening credits.

It’s one of those dialogue-free, hyperkinetic pre-credits scenes that typically set the stage for what’s to come, but most of the time those are followed by a bit of, you know, exposition. Like, people talking to each other. 

Except that in this case, every time you think somebody is about to say something, the camera will move to another room and observe the conversation through a window, or a song will come blasting on the soundtrack to drown them out, or (and this is not a hypothetical example) Jack White will show up as a loud restaurant pianist playing Christmas carols at a volume that obscures what the characters are saying.

For a while, you think this is a test to see how long the film can extend the trick. But by the half hour mark, you realize that it’s not a trick, it’s the whole damn movie, which relies on the fact that action heroes like John should mostly shut up and that viewers know the beats of these films well enough to do without non-visual exposition. 

The story is pretty simple, as these often are. John gets off parole and proposes to his waitress girlfriend, Sophia (Shailene Woodley, who does say a few words). His nemesis, drug dealer Reynolds (Ben Foster in full creepy mode), frames him in a giant drug bust set up with the help of some crooked cops, to use a phrase that’s almost redundant in this movie. John goes to prison, Reynolds marries Sophia and gets her strung out. John wants payback and has some muscular and pyrotechnically inventive friends who can help him get it.

This is all happening in Detroit in 1977, which is curiously introduced with a David Bowie song from 1983, although who’s gonna nitpick music cues in a flick in which people who should have been dead an hour ago keep on kicking? (Me, that’s who.) Other top-volume music cues from Fleetwood Mac, Donna Summer, Bill Withers, Al Stewart, Sniff N the Tears (good call!) are more era-appropriate, and it’s a kick that a bloody and fiery prison-break scene ends with the orchestral flourish at the end of the Moody Blues’ “Nights in White Satin.”

Like much of the film, that breakout takes place mostly in the dark, which you might think was done so you wouldn’t see how ridiculously gruesome this all is — until the gruesomest scene of them all takes place inside a brightly-lit elevator, so never mind. But kudos to the makeup department for wrangling enough blood for a season of “The Pitt.”

In a way, the homestretch of the movie provides proof of concept, because by the time you get into the 13th or 14th hour of the final battle (or maybe the 13th or 14th minute; I may have lost track), you kind of forget all about the conceit of no dialogue. And that’s when you actually get a few lines — though before that you get some old-age makeup that makes Alan Ritchson look awful lot like Keir Dullea at the end of “2001: A Space Odyssey,” another movie that didn’t have much use for dialogue.

I mean, who the hell needs words anyway, except maybe movie reviewers? 

The post ‘Motor City’ Review: Shut Up, We’ve Got an Action Flick Goin’ On Here appeared first on TheWrap.

Jacob Elordi, Mia Goth and More ‘Frakenstein’ Stars Liven Up the Red Carpet for World Premiere | Photos

It’s alive! And so was the crowd that welcomed the cast of Guillermo del Toro’s upcoming film “Frankenstein” at the 82nd Venice International Film Festival.

Jacob Elordi, Mia Goth, Oscar Isaac and more hit red carpet for the film’s world premiere on Saturday, where the cast stopped to photograph the moment as a group.

VENICE, ITALY – AUGUST 30: Jacob Elordi is seen during the “Frankenstein” red carpet during the 82nd Venice International Film Festival on August 30, 2025 in Venice, Italy. (Photo by Ernesto Ruscio/Getty Images)

Elordi even went to the side to snap a few selfie shots with fans and attendees who were there for the festival.

“Frakenstein,” which is del Toro’s take on the Mary Shelly classic, hit select theaters on October 17 and Netflix November 7. Like the monster we all heard about growing up, del Toro’s film was center in on a brilliant but egotistical scientist who brings terrifying human-like monster to life as part of an experiment.

In a review for the film, TheWrap’s Steve Pond says del Toro “hijacks the flagship story of the horror genre and turns it into a stunning tale of forgiveness.”

Check images of the red carpet event below.

(Photo by Pascal Le Segretain/Getty Images)

Oscar Isaac attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Ernesto Ruscio/Getty Images)

Oscar Isaac attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Mia Goth attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Pascal Le Segretain/Getty Images)

Mia Goth attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Aaron Taylor-Johnson attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Jacob Elordi attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Vittorio Zunino Celotto/Getty Images)

Jacob Elordi attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by TIZIANA FABI/AFP via Getty Images)

Paris Jackson attends the red carpet for the movie “Frankenstein” presented in competition at the 82nd International Venice Film Festival.

(Photo by TIZIANA FABI/AFP via Getty Images)

Director and producer Guillermo Del Toro and guests attend the red carpet for the movie “Frankenstein” presented in competition at the 82nd International Venice Film Festival.

(Photo by Andreas Rentz/Getty Images)

Callum Turner attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Leslie Bibb attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

VENICE, ITALY – AUGUST 30: Christoph Waltz attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Gemma Chan attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Taras Romanov attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Jessica Williams attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Paris Jackson attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Jesse Williams attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Eugenia Silva attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Molly Sims attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Rosie Huntington-Whiteley attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Madisin Rian attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Sofia Carson attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Nathalie Emmanuel attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Hiromi Ueda attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Andreas Rentz/Getty Images)

Clara Galle attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Clara Luciani attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Lorena Rae attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Daniele Venturelli/WireImage)

Emilia Jones attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Pascal Le Segretain/Getty Images)

Oscar Isaac attends the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Ernesto Ruscio/Getty Images)

Jacob Elordi is seen during the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

(Photo by Pascal Le Segretain/Getty Images)

Oscar Isaac, Marisa del Toro, Guillermo del Toro and Kim Morgan attend the “Frankenstein” red carpet during the 82nd Venice International Film Festival.

The post Jacob Elordi, Mia Goth and More ‘Frakenstein’ Stars Liven Up the Red Carpet for World Premiere | Photos appeared first on TheWrap.

‘Ice Age 6’ Gets New Title, Sets February 2027 Release Date

“Ice Age 6” has officially cracked the surface with an official title. “Ice Age: Boiling Point,” which will welcome back actors Ray Romano, Queen Latifah and John Leguizamo, was announced at Disney’s 2025 Destination D23.

The new title was revealed during Disney’s presentation on Saturday at the Coronado Springs Resort, where the studio also updated fans on the film’s release date. The animated movie’s next chapter will land in theaters on Feb. 5, 2027.

Ice Age: Boiling Point was just announced at Destination @DisneyD23! Coming to theaters on February 5, 2027, the newest adventure takes the herd to visit never-before-seen corners of the treacherous Lost World! #DestinationD23 pic.twitter.com/ZfyeUa5if9

— Walt Disney Studios (@DisneyStudios) August 30, 2025

The film is described as “a dinosaur-and-lava-filled madcap adventure that takes Manny, Sid, Diego, Ellie, Scrat and the rest of the herd to visit never-before-seen corners of the treacherous Lost World,” according to the film’s official logline.

Disney first shared the news that the sixth film was on its way back in November 2024 at D23 Brazil. Initially, it was set to hit theaters in December 2026.

One of the most successful animated franchises in history, the series has amassed more than $6 billion for the original five movies. The last film “Ice Age: Collision Course” premiered nearly 10 years ago on July 22, 2016.

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Gordon Ramsay Reveals Skin Cancer Diagnosis and Removal Surgery: ‘Please Don’t Forget to Wear Your Sunscreen’

Gordon Ramsay revealed that he was diagnosed with skin cancer and has since had it removed. The British celebrity chef and restaurateur took to social media to show his surgery scars – and promised they weren’t the elective kind.

“Grateful and so appreciative for the incredible team at The Skin Associates and their fast reactive work on removing this Basal Cell Carcinoma thank you!” Ramsay, who is best know for creating and hosting the cooking reality show “Hell’s Kitchen,” said in an Instagram post on Friday. “Please don’t forget your sunscreen this weekend.”

The post was coupled with images of his surgery removal site, which was made near his ear and jawline.

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A post shared by Gordon Ramsay (@gordongram)

“I promise you it’s not a face lift! I’d need a refund,” he jokingly added.

According to the Mayo Clinic, Basal cell carcinoma is a form of skin cancer that starts in the basal cells, which are responsible for producing new skin cells as old ones die off. The cancer typically appears on areas of the skin that are exposed to the sun.

“Avoiding the sun and using sunscreen may help protect against basal cell carcinoma,” the Mayo Clinic says.

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6 Shows to Binge-Watch Before They Leave Netflix

If you’re planning to put in some major TV time this Labor Day weekend, Netflix obviously has plenty to offer, but you might want to take note of some last-call series that are leaving the service in September. The churn of licensing and syndication never stops, which means, as usual, a few binge-worthy shows are leaving Netflix soon. This month, there’s a soapy OWN original, two iconic HBO Max war dramas and a mythical animated comedy from the creator of “Rick & Morty.”

Here’s everything to know about the shows leaving Netflix in August, how long you have left to watch them and how many seasons you’ll need to speed through before the expiration date. Or, if you’d rather watch a movie after all, here are the must-watch movies leaving soon.

“Greenleaf”

Leaving Netflix on Sept. 9

If you’re in the mood for something soapy, Netflix has a long-running Oprah Winfrey Network series that should fit the bill — but you’d better get a move on, because the first binge-worthy show leaving Netflix this month is also the longest! The 60-episode OWN original (which also features the occasional appearance from Oprah herself) follows the Greenleaf family, who own, operate, preach and praise at the Memphis megachurch Calvary Fellowship World Ministries.

Through the perspective of the prodigal daughter, Grace (Merle Dandridge), who returns home after 20 years following the death of her sister, “Greenleaf” peels back the veneer of prestige and piousness to reveal the ever-juicy hypocrisy, rivalry, adultry and plenty of good old-fashioned family drama. Extremely watchable, full of dishy moments and thinly veiled insults, “Greenleaf” also stars Keith David, Lynn Whitfield, Kim Hawthorne, Desiree Ross, Lamman Rucker, Tye White and Lovie Simone.

“Change Days” (Netflix)“Change Days”

Leaving Netflix on Sept. 14

Keeping with the dramatic, Netflix will lose Season 2 of the Korean reality dating series “Change Days” in September (Season 1 is streaming on Viki). Perhaps a good fit for fans of “The Ultimatum,” “Change Days” Season 2 brings together four couples who are all questioning their relationships and sends them off for a two-week trip, where they date each other’s partners and have to make a choice. At the end of the show, they can stay together, couple up with their new date or choose to leave alone.

The 16-episode series takes its time exploring each relationship and potential new spark, following the couples through hash-outs and in-depth heart-to-hearts, while a panel of judges offers insight and commentary into the dynamics between the budding or bifurcating pairs. Just make sure you’ve got enough time, you’ll want to know how it turns out, and the episodes are lengthy, often more than an hour in runtime.

“Band of Brothers”

Leaving Netflix on Sept. 15

You’d be hard-pressed to find a limited series more acclaimed than “Band of Brothers,” HBO’s 2001 war drama created and executive-produced by Steven Spielberg and Tom Hanks. Over the course of 10 episodes (some of which are nearly feature-length), the series follows the “Easy” Company, 2nd Battalion, 506th Parachute Infantry Regiment of the 101st Airborne Division through World War II, from training to D-Day to the liberation of a concentration camp.

It’s a stunning piece of essential television, and as you might expect, shares a lot of DNA with Spielberg and Hanks’ 1998 WWII film “Saving Private Ryan,” particularly in its rich treatment of each soldier’s character. But “Band of Brothers” is even richer, based on true stories and benefits from the long-format storytelling.

“The Pacific” (HBO)“The Pacific”

Leaving Netflix on Sept. 15

Nearly a decade later, Spielberg and Hanks returned to HBO for another war drama, the also excellent “The Pacific.” While it’s not quite considered the piece of TV perfection of “Band of Brothers,” the 10-episode 2010 miniseries is still one of the best war dramas ever put on TV, with another knockout ensemble (especially early-career Rami Malek as the unforgettable ‘Snafu’) and thoughtful exploration of men at war.

This time, they set their sights on the Pacific War through the stories of three marines in different regiments. That structure gives “The Pacific” a very different texture feel than “Band of Brothers,” as does the drastically different jungle setting, and even more gruesome, brutal depiction of warfare.

If you watch both “Band of Brothers” and “The Pacific” and you’re craving more of Hanks and Spielberg’s approach to war dramas, you’ll have to head over to AppleTV+ next, where you’ll find their 2024 series “Masters of the Air.”

A still from “Krapopolis.” (Fox)“Krapopolis”

Leaving Netflix on Sept. 15

If you’re in the mood for something a bit lighter, “Krapopolis” makes for much easier watching than some other entries on this month’s list. Fox’s adult animated comedy, from “Rick & Morty” and “Community” creator Dan Harmon, is set among the gods and monsters of mythical Ancient Greece. The series follows Tyrannis, king of Krapopolis and son of a Mantitaur (part centaur, part manticore) and the goddess of self-destruction.

It’s every bit as silly as it sounds — sillier even, and though it’s yet to reach the heights of Harmon’s comedy greats, it’s an easy binge-watch if you’re looking for a laugh. Not to mention the hilarious voice cast, which includes Richard Ayoade, Matt Berry and Hannah Waddingham. Netflix has the 23-episode Season 1 through mid-September (and if you’re in the mood for more, you’ll find Season 2 on Hulu).

NBCThe Good Place

Leaving Netflix on Sept. 26

One of the most exceptional comedies of the 2010s is leaving Netflix in September, so if you haven’t seen “The Good Place,” do yourself a favor and watch all four seasons before it’s gone. Created by “Parks and Recreation” and “Brooklyn Nine-Nine” co-creator Michael Schur, “The Good Place” follows Kristen Bell’s Eleanor Shellstrop to the afterlife, where nothing is what you’d expect.

Anchored by an all-time great ensemble that puts Bell alongside Ted Danson, D’Arcy Carden, William Jackson Harper, Jameela Jamil and Manny Jacinto, “The Good Place” is an endless font of laughs, creativity and surprisingly cathartic existential musings on friendship and what it means to be a good person.

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