Turner Classic Movies has selected Hollywood actor Leonardo DiCaprio to present ace filmmaker Martin Scorsese with the inaugural Robert Osborne Award as part of the 2018 TCM Classic Film Festival’s opening.

DiCaprio has worked with Scorsese in five of his films, starting off with 2002’s “Gangs of New York” and most recently in 2013, “The Wolf of Wall Street.”

DiCaprio will present the Robert Osborne Award on April 26 in Los Angeles to the filmmaker for his decades-long commitment to the legacy and preservation of classic films.

For those who are unaware, Scorsese established the Film Foundation in 1990, a nonprofit dedicated to protecting and preserving motion picture history. The foundation has funded the restoration of over 800 films till date and its World Cinema Project has restored 31 films from 21 countries worldwide.&nbsp;

The Robert Osborne Award will be given out annually at the TCM Classic Film Festival to a recipient whose work has helped keep the cultural heritage of classic films alive.

In another update, DiCaprio and Scorsese have started work on their<a href="http://www.wionews.com/world/leonardo-dicaprio-to-play-theodore-roosevelt-in-martin-scorseses-next-20798"> next film together, announced in 2017</a>. In the film, DiCaprio will be essaying the role of former US President Theodore Roosevelt who amongst other things, is famous for carrying out the conservation and preservation of national parks in the States.&nbsp;

The actor-director duo is currently working on a project that will have Leonardo playing former US president Theodore Roosevelt whose efforts to conserve and preserve the country's national parks are considered some of his greatest achievements.

Turner Classic Movies has selected Hollywood actor Leonardo DiCaprio to present ace filmmaker Martin Scorsese with the inaugural Robert Osborne Award as part of the 2018 TCM Classic Film Festival’s opening. DiCaprio has worked with Scorsese in five of his films, starting off with 2002’s “Gangs of New York” and most recently in 2013, “The Wolf of Wall Street.” DiCaprio will present the Robert Osborne Award on April 26 in Los Angeles to the filmmaker for his decades-long commitment to the legacy and preservation of classic films. For those who are unaware, Scorsese established the Film Foundation in 1990, a nonprofit dedicated to protecting and preserving motion picture history. The foundation has funded the restoration of over 800 films till date and its World Cinema Project has restored 31 films from 21 countries worldwide. The Robert Osborne Award will be given out annually at the TCM Classic Film Festival to a recipient whose work has helped keep the cultural heritage of classic films alive. In another update, DiCaprio and Scorsese have started work on their next film together, announced in 2017. In the film, DiCaprio will be essaying the role of former US President Theodore Roosevelt who amongst other things, is famous for carrying out the conservation and preservation of national parks in the States.

Leonardo DiCaprio to present ace filmmaker Martin Scorsese with Robert Osborne Award

A new, probably final trailer for upcoming <a href="http://www.wionews.com/world/star-wars-the-last-jedi-tops-1-billion-worldwide-28220">Star Wars</a> movie is out and you must watch it.&nbsp;

<a href="http://www.wionews.com/world/entertainment-new-star-wars-films-on-way-from-tvs-game-of-thrones-creators-32074">Also Read:&nbsp;New 'Star Wars' films on way from TV's 'Game of Thrones' creators</a>

As the date of the movie release comes closer, the trailer release seems a bit late for fans. This happened as there was a director swap last year when Ron Howard took over the reigns in June last year after the film was almost four months into production.&nbsp;

<a href="http://www.wionews.com/india-news/entertainment-aamir-khans-secret-superstar-soars-in-china-beats-star-wars-the-last-jedi-at-the-box-office-31081">Also Read:&nbsp;Aamir Khan's 'Secret Superstar' soars in China, beats 'Star Wars: The Last Jedi' at the box office</a>

The previous directors, Phil Lord and Christopher Miller (who also directed films like The Lego Movie, Cloudy with a Chance of Meatballs, and 21 Jump Street) were taken off the project.&nbsp;

Watch the trailer here:&nbsp;

 
<iframe allow="autoplay encrypted-media" allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/jPEYpryMp2s" width="970"></iframe>&nbsp;

A new, probably final trailer for upcoming Star Wars movie is out and you must watch it. Also Read: New 'Star Wars' films on way from TV's 'Game of Thrones' creators As the date of the movie release comes closer, the trailer release seems a bit late for fans. This happened as there was a director swap last year when Ron Howard took over the reigns in June last year after the film was almost four months into production. Also Read: Aamir Khan's 'Secret Superstar' soars in China, beats 'Star Wars: The Last Jedi' at the box office The previous directors, Phil Lord and Christopher Miller (who also directed films like The Lego Movie, Cloudy with a Chance of Meatballs, and 21 Jump Street) were taken off the project. Watch the trailer here:

Watch the latest trailer for ‘Solo: A Star Wars Story’

The forever-witty celebrity couple Ryan Reynolds and Blake Lively, known to take a jibe at each other on social media&nbsp;are back at it again.&nbsp;

In another classic case of trolling the husband, Blake Lively posted a sweet photo of her husband who longingly looks at her smiling ear to ear with a caption: "If there’s one thing I’m infinitely proud of in this picture, it’s the incredible hair styling that I did on myself."

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<a href="https://www.instagram.com/p/BhUaDarAyzU/" style=" color:#000 font-family:Arial,sans-serif font-size:14px font-style:normal font-weight:normal line-height:17px text-decoration:none word-wrap:break-word" target="_blank">If there’s one thing I’m infinitely proud of in this picture, it’s the incredible hair styling that I did on myself.</a>

<p style=" color:#c9c8cd font-family:Arial,sans-serif font-size:14px line-height:17px margin-bottom:0 margin-top:8px overflow:hidden padding:8px 0 7px text-align:center text-overflow:ellipsis white-space:nowrap">A post shared by <a href="https://www.instagram.com/blakelively/" style=" color:#c9c8cd font-family:Arial,sans-serif font-size:14px font-style:normal font-weight:normal line-height:17px" target="_blank"> Blake Lively</a> (@blakelively) on <time datetime="2018-04-08T18:04:43+00:00" style=" font-family:Arial,sans-serif font-size:14px line-height:17px">Apr 8, 2018 at 11:04am PDT</time>
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But did you think that the Deadpool actor would let it go so easily? Ryan responded on the photo and wrote: "I was so happy back then."

This, in the wake of breakup rumours floating in public as the couple, is said to have a problem spending quality time together. Last week addressing this issue, Ryan playing it Mr cool as always, tweeted: "I wish. I could use a little 'me time.'"

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I wish. I could use a little “me time”. <a href="https://t.co/S6kXFsWaMe">https://t.co/S6kXFsWaMe</a>
— Ryan Reynolds (@VancityReynolds) <a href="https://twitter.com/VancityReynolds/status/980106135226212353?ref_src=twsrc%5Etfw">March 31, 2018</a></blockquote>
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Ryan Reynolds and Blake Lively have been married since 2012 and are parents to two kids. Joking around and trolling one another, the two were seen with their guards down when photographed for the 'Humans of New York'&nbsp;Instagram account.&nbsp;

Talking about Blake, Ryan said,"She always responds with empathy. She meets anger with empathy. She meets hate with empathy. She'll take the time to imagine what happened to a person when they were five or six years old. And she's made me a more empathetic person. I had a very fractured relationship with my father. Before he died, she made me remember things I didn't want to remember. She made me remember the good times."

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<a href="https://www.instagram.com/p/BTkliFqATKt/" style=" color:#000 font-family:Arial,sans-serif font-size:14px font-style:normal font-weight:normal line-height:17px text-decoration:none word-wrap:break-word" target="_blank">“She always responds with empathy. She meets anger with empathy. She meets hate with empathy. She’ll take the time to imagine what happened to a person when they were five or six years old. And she’s made me a more empathetic person. I had a very fractured relationship with my father. Before he died, she made me remember things I didn’t want to remember. She made me remember the good times.”</a>

<p style=" color:#c9c8cd font-family:Arial,sans-serif font-size:14px line-height:17px margin-bottom:0 margin-top:8px overflow:hidden padding:8px 0 7px text-align:center text-overflow:ellipsis white-space:nowrap">A post shared by <a href="https://www.instagram.com/humansofny/" style=" color:#c9c8cd font-family:Arial,sans-serif font-size:14px font-style:normal font-weight:normal line-height:17px" target="_blank"> Humans of New York</a> (@humansofny) on <time datetime="2017-05-02T01:33:21+00:00" style=" font-family:Arial,sans-serif font-size:14px line-height:17px">May 1, 2017 at 6:33pm PDT</time>
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&nbsp;

The two are known to have fun at each other's expense on social media

The forever-witty celebrity couple Ryan Reynolds and Blake Lively, known to take a jibe at each other on social media are back at it again. In another classic case of trolling the husband, Blake Lively posted a sweet photo of her husband who longingly looks at her smiling ear to ear with a caption: "If there’s one thing I’m infinitely proud of in this picture, it’s the incredible hair styling that I did on myself." If there’s one thing I’m infinitely proud of in this picture, it’s the incredible hair styling that I did on myself. A post shared by Blake Lively (@blakelively) on Apr 8, 2018 at 11:04am PDT × But did you think that the Deadpool actor would let it go so easily? Ryan responded on the photo and wrote: "I was so happy back then." This, in the wake of breakup rumours floating in public as the couple, is said to have a problem spending quality time together. Last week addressing this issue, Ryan playing it Mr cool as always, tweeted: "I wish. I could use a little 'me time.'" I wish. I could use a little “me time”. https://t.co/S6kXFsWaMe — Ryan Reynolds (@VancityReynolds) March 31, 2018 × Ryan Reynolds and Blake Lively have been married since 2012 and are parents to two kids. Joking around and trolling one another, the two were seen with their guards down when photographed for the 'Humans of New York' Instagram account. Talking about Blake, Ryan said,"She always responds with empathy. She meets anger with empathy. She meets hate with empathy. She'll take the time to imagine what happened to a person when they were five or six years old. And she's made me a more empathetic person. I had a very fractured relationship with my father. Before he died, she made me remember things I didn't want to remember. She made me remember the good times." “She always responds with empathy. She meets anger with empathy. She meets hate with empathy. She’ll take the time to imagine what happened to a person when they were five or six years old. And she’s made me a more empathetic person. I had a very fractured relationship with my father. Before he died, she made me remember things I didn’t want to remember. She made me remember the good times.” A post shared by Humans of New York (@humansofny) on May 1, 2017 at 6:33pm PDT ×

Blake Lively makes fun of husband Ryan Reynolds, yet again!

Isao Takahata, co-founder of Studio Ghibli who is most famous for having directed “Grave of the Fireflies,” “The Tale of the Princess Kaguya” and other animated features, died Thursday in a Tokyo hospital aged 82.

As reported by local media sources, filmmaker Takahata had been in declining health since last summer owing to a weakened heart.

Takahata made his feature debut as a director with the 1968 “Horus: Prince of the Sun.” He gained fame with TV serial “Heidi, Girl of the Alps,” a 1974 series based on the classic novel that he directed for Nippon Animation.

Takahata after having ventured into television co-founded Studio Ghibli with Miyazaki and producer Toshio Suzuki. His first film for the studio, “Grave of the Fireflies,” was released together with Miyazaki’s “My Neighbor Totoro” in 1988. The two films did modest business but later grew in popularity.&nbsp; 
&nbsp;

His health had declined since last summer owing to a weak heart.

Isao Takahata, co-founder of Studio Ghibli who is most famous for having directed “Grave of the Fireflies,” “The Tale of the Princess Kaguya” and other animated features, died Thursday in a Tokyo hospital aged 82. As reported by local media sources, filmmaker Takahata had been in declining health since last summer owing to a weakened heart. Takahata made his feature debut as a director with the 1968 “Horus: Prince of the Sun.” He gained fame with TV serial “Heidi, Girl of the Alps,” a 1974 series based on the classic novel that he directed for Nippon Animation. Takahata after having ventured into television co-founded Studio Ghibli with Miyazaki and producer Toshio Suzuki. His first film for the studio, “Grave of the Fireflies,” was released together with Miyazaki’s “My Neighbor Totoro” in 1988. The two films did modest business but later grew in popularity.

'Grave of the Fireflies' director and co-founder of Studio Ghibli, Isao Takahata dies at 82

Prominent Hollywood actress Cameron Diaz has made an announcement lately that she has retired from acting, thus putting an end to her cinematic career.

Diaz recently reunited with her co-stars Selma Blair and Christina Applegate of the 2002 American comedy "The Sweetest Thing" for an interview with Entertainment Weekly to reminisce about the film, reported CNN.

The topic of the trio having not reunited was brought up, when Diaz said, "Maybe I should, you know, I mean, I'm down. I'm literally doing nothing."

After Applegate said she was semi-retired from acting to raise her children, Diaz responded, "I'm semi-retired, too, and I am actually retired, so I would love to see you ladies."

Diaz last appeared in the 2014 remake of musical "Annie," in which she starred alongside Jamie Foxx.

Her big break arrived in 1994 with Jim Carrey film The Mask.Diaz has starred in a number of hit films, from "There's Something About Mary" to "Charlie`s Angels" to "My Sister's Keeper" to "Shrek."

Diaz last appeared in the 2014 remake of musical 'Annie,' in which she starred alongside Jamie Foxx

Prominent Hollywood actress Cameron Diaz has made an announcement lately that she has retired from acting, thus putting an end to her cinematic career. Diaz recently reunited with her co-stars Selma Blair and Christina Applegate of the 2002 American comedy "The Sweetest Thing" for an interview with Entertainment Weekly to reminisce about the film, reported CNN. The topic of the trio having not reunited was brought up, when Diaz said, "Maybe I should, you know, I mean, I'm down. I'm literally doing nothing." After Applegate said she was semi-retired from acting to raise her children, Diaz responded, "I'm semi-retired, too, and I am actually retired, so I would love to see you ladies." Diaz last appeared in the 2014 remake of musical "Annie," in which she starred alongside Jamie Foxx. Her big break arrived in 1994 with Jim Carrey film The Mask.Diaz has starred in a number of hit films, from "There's Something About Mary" to "Charlie`s Angels" to "My Sister's Keeper" to "Shrek."

Cameron Diaz calls it quits, confirms retirement

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's "Pather Panchali" and the ace Hollywood director says he is willing to learn more about Indian cinema.

The 47-year-old director, who is in India on a three day trip along with visual artist&nbsp;Tacita Dean to promote the cause of film preservation and restoration, said his aim during his stay is to meet Indian filmmakers and get the better understanding of cinema culture here.

"I have had the pleasure of watching Mr Ray's 'Pather Panchali' recently, which I hadn't seen before. I think it is one of the best films ever made. It is an extraordinary piece of work. I am interested in learning more about Indian film industry and that is the reason why I came.

"Obviously, Tacita and I want to spread our message about reframing the feature films as broadly as possible. And India being the largest film industry in the world is an essential part of that. The other reason why I wanted to come here was from selfish point of view. I wanted to meet Indian filmmakers and learn more about India. I am looking forward to watching more Indian films in future," Nolan said in a group interview.

The director filmed a pivotal sequence of his 2012 film "The Dark Knight Rises" in Jodhpur and he says, "I would love to come back to shoot for longer".

Nolan, who shot his latest release "Dunkirk" on 65mm stock and has been vocal about his fondness for the film as a medium, said it is important to preserve the traditional format for future generation.

"The film culture is always developing in ways we can't predict. The importance of this discussion about films is about preserving it as an option for future filmmakers. We can't say who is going to use or who is not. But one of the things worth pointing out that films as an acquisition medium is still vastly superior to digital imaging technology. Even if you then put out a DCP (Digital Cinema Package)," he said.

The "Inception" helmer met members of the Indian film fraternity today and discussed the various ways of preserving and archiving film as a medium.

Nolan said, "Photochemicals films are a very important cultural medium and it needs to have a place in the future of imaging."

The director believes filmmaking is an emotional process and as he works towards preserving films, he wants people to not analyse cinema on "logical terms".

"Film is a wonderful analogy for how we perceive the world and our dreams. Film is a tool for exploring time and that has always influenced me. It is about the subconscious and the emotional reaction.

"With this conversation of reframing the future of films (we are) trying to get rid of this idea of analysing the film in purely engineering terms or logical terms. The reality is no cinema should be analysed that way. Be it casting or music, these are all emotional decision and they should be that way," he said.

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's 'Pather Panchali' and the ace Hollywood director says he is willing to learn more about Indian cinema

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's "Pather Panchali" and the ace Hollywood director says he is willing to learn more about Indian cinema. The 47-year-old director, who is in India on a three day trip along with visual artist Tacita Dean to promote the cause of film preservation and restoration, said his aim during his stay is to meet Indian filmmakers and get the better understanding of cinema culture here. "I have had the pleasure of watching Mr Ray's 'Pather Panchali' recently, which I hadn't seen before. I think it is one of the best films ever made. It is an extraordinary piece of work. I am interested in learning more about Indian film industry and that is the reason why I came. "Obviously, Tacita and I want to spread our message about reframing the feature films as broadly as possible. And India being the largest film industry in the world is an essential part of that. The other reason why I wanted to come here was from selfish point of view. I wanted to meet Indian filmmakers and learn more about India. I am looking forward to watching more Indian films in future," Nolan said in a group interview. The director filmed a pivotal sequence of his 2012 film "The Dark Knight Rises" in Jodhpur and he says, "I would love to come back to shoot for longer". Nolan, who shot his latest release "Dunkirk" on 65mm stock and has been vocal about his fondness for the film as a medium, said it is important to preserve the traditional format for future generation. "The film culture is always developing in ways we can't predict. The importance of this discussion about films is about preserving it as an option for future filmmakers. We can't say who is going to use or who is not. But one of the things worth pointing out that films as an acquisition medium is still vastly superior to digital imaging technology. Even if you then put out a DCP (Digital Cinema Package)," he said. The "Inception" helmer met members of the Indian film fraternity today and discussed the various ways of preserving and archiving film as a medium. Nolan said, "Photochemicals films are a very important cultural medium and it needs to have a place in the future of imaging." The director believes filmmaking is an emotional process and as he works towards preserving films, he wants people to not analyse cinema on "logical terms". "Film is a wonderful analogy for how we perceive the world and our dreams. Film is a tool for exploring time and that has always influenced me. It is about the subconscious and the emotional reaction. "With this conversation of reframing the future of films (we are) trying to get rid of this idea of analysing the film in purely engineering terms or logical terms. The reality is no cinema should be analysed that way. Be it casting or music, these are all emotional decision and they should be that way," he said.

I am interested in learning more about Indian film industry: Christopher Nolan

By&nbsp;Alease A. Brown*

Black Panther director/co-writer Ryan Coogler has given black people throughout the world an imagined Africa that has been wholeheartedly embraced, earning over USD$1 billion dollars globally so far. This embrace is due, primarily, to the presentation of so many beautiful, black bodies onscreen, including an extravagant representation of fierce, and fashionable, black women.

Also appealing is the portrayal of an Africa of independent authority, spiritual alertness, respect and veneration of ancestors and relationship with animals and plants. This is a portrayal of Africa that is hungered for, especially by ancestrally orphaned African Americans. It is deeply satisfying to view.

But at the same time, it raises questions alert black viewers would be doing themselves a disservice to avoid posing.

Black Panther appears within a broad Hollywood tradition, with over 100 years of history, that portrays Africa as wild, weirdly exotic, and mysterious, and Africans as tribal savages, backwards and subordinate. The framing of Africa and Africans in this way has served to provide the world, including Africans themselves, with a perception of Africa and African people that justified the “saving” and “civilising” mission of Westerners who desired to maintain a colonising influence over the continent.

Hollywood’s history of racism triggers the question, why was the first black superhero identified as an African and a quasi-animal? When the original Black Panther comic appeared in the sixties, featuring a black person who was not inferiorised was groundbreaking.

However, creating an African black panther was unusual. Unusual because it was the Black Panther alone who was not American, and who was instead assigned an African identity. And also unusual because the sixties Marvel universe of superheroes consisted of human-modified characters – Hulk, Iron Man, Thor – and insect characters – Ant Man, Wasp and Spider Man – but not animal characters, other than Black Panther.

Almost 20 years ago philosopher Achille Mbembe astutely commented on this troubling and recurring phenomenon. He wrote, in On the Postcolony,

discourse on Africa is almost always deployed in the framework (or on the fringes) of a meta-text about the animal — to be exact, about the beast: its experience, its world, and its spectacle.

Whether well-intentioned or malicious, the imagination that intertwines the African and the beast has become so commonplace in our minds that it’s hardly questioned. However, when white supremacy is again being boldly asserted in the world, people of African descent who have historically been dehumanised and relegated to the status of animal, must question this association. Especially instances, as in Black Panther, when the association of the African and the howling gorilla is made so explicitly.&nbsp;

The not so super superhero

It’s also noteworthy that the first black man superhero was curiously un-superhero like. The character T'Challa did not possess the scientific brilliance of Tony Stark, who is Ironman‘s genius creator and alter ego. T'Challa’s essence was not transformed at the genetic level such that his body, his selfness, became superhuman and superpowerful, like Bruce Banner’s does when he is transformed into the Hulk. T'Challa was not born a god, like blue-eyed, blonde-haired Thor, the Asgardian god of thunder who wields an enchanted hammer that enables him to fly.

Despite T'Challa’s imbibing of the purple flower potion, viewers never witnessed his transformation from human to superhero. He only dons a powerful suit. Why was Black Panther not written in such a way as to imbue a black man with true superhero dynamism?

Then there are the villains. In Hollywood, there are certain villains that must always be villains, such as Nazis. Then there are heroes, such as white men, who must always be depicted as, in some way, heroic.

The story of Western neo-imperialist resource extraction from Africa is well known. However, in Black Panther, the CIA, who is often the true enemy of Africa, has been transformed into the imaginary state of Wakanda’s friend. It is Africans themselves who are depicted as those who hoard mineral wealth to the detriment of the world.

Why in a film about the Black Panther, who is a black African man, must an actual enemy of African life, go unnamed and an alternate enemy, Killmonger, be manufactured?

Does T'Challa not encounter disrespect on European streets, or suspicion on entering high-end shops, or threats from police on US soil like his black brethren? If he does, then why must there be the creation of hostilities between Pan Africans, when their real-life interests against regime changing global capital and white supremacy are aligned?

Trojan Horse

In other words, Hollywood will allow the world of the Black Panther to be black, only if that world defers to white fragility and does not hurt white people’s feelings. Blackness is allowed only if that blackness likes and supports the values that white people like and support. And only to the extent that black people, though they look good, also exhibit deep cultural flaws.

Why are global audiences led to associate the power and strength of black men with black-on-black hostility and violence? Why must there be the implicit suggestion to audiences that African governance inexorably leads to African tribal warfare?

Philosopher Frantz Fanon wrote a generation ago that black people must not only be black, but that they “must be black in relation to the white man”. This necessity of avoiding global black reality, in deference to white sensibilities, is the film’s super problem.

Hollywood has historically adhered to a racist narrative that portrays black people as inferior. Black people dare not believe that they are being presented with a film that proves that Hollywood now, suddenly, holds them in high esteem. Though the Black Panther film is sumptuous, it is a Trojan Horse. Black people must be careful lest black joy at the gift of the film, blinds to the destructive ideologies embedded within it.&nbsp;

&nbsp;

*Alease A. Brown is a Ph.D Candidate at Stellenbosch University, Southern Africa.&nbsp;

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

People of African descent who have historically been dehumanised and relegated to the status of animal, must question the instance as in Black Panther, when the association of the African and the howling gorilla is made so explicitly

By Alease A. Brown* Black Panther director/co-writer Ryan Coogler has given black people throughout the world an imagined Africa that has been wholeheartedly embraced, earning over USD$1 billion dollars globally so far. This embrace is due, primarily, to the presentation of so many beautiful, black bodies onscreen, including an extravagant representation of fierce, and fashionable, black women. Also appealing is the portrayal of an Africa of independent authority, spiritual alertness, respect and veneration of ancestors and relationship with animals and plants. This is a portrayal of Africa that is hungered for, especially by ancestrally orphaned African Americans. It is deeply satisfying to view. But at the same time, it raises questions alert black viewers would be doing themselves a disservice to avoid posing. Black Panther appears within a broad Hollywood tradition, with over 100 years of history, that portrays Africa as wild, weirdly exotic, and mysterious, and Africans as tribal savages, backwards and subordinate. The framing of Africa and Africans in this way has served to provide the world, including Africans themselves, with a perception of Africa and African people that justified the “saving” and “civilising” mission of Westerners who desired to maintain a colonising influence over the continent. Hollywood’s history of racism triggers the question, why was the first black superhero identified as an African and a quasi-animal? When the original Black Panther comic appeared in the sixties, featuring a black person who was not inferiorised was groundbreaking. However, creating an African black panther was unusual. Unusual because it was the Black Panther alone who was not American, and who was instead assigned an African identity. And also unusual because the sixties Marvel universe of superheroes consisted of human-modified characters – Hulk, Iron Man, Thor – and insect characters – Ant Man, Wasp and Spider Man – but not animal characters, other than Black Panther. Almost 20 years ago philosopher Achille Mbembe astutely commented on this troubling and recurring phenomenon. He wrote, in On the Postcolony, discourse on Africa is almost always deployed in the framework (or on the fringes) of a meta-text about the animal — to be exact, about the beast: its experience, its world, and its spectacle. Whether well-intentioned or malicious, the imagination that intertwines the African and the beast has become so commonplace in our minds that it’s hardly questioned. However, when white supremacy is again being boldly asserted in the world, people of African descent who have historically been dehumanised and relegated to the status of animal, must question this association. Especially instances, as in Black Panther, when the association of the African and the howling gorilla is made so explicitly. The not so super superhero It’s also noteworthy that the first black man superhero was curiously un-superhero like. The character T'Challa did not possess the scientific brilliance of Tony Stark, who is Ironman‘s genius creator and alter ego. T'Challa’s essence was not transformed at the genetic level such that his body, his selfness, became superhuman and superpowerful, like Bruce Banner’s does when he is transformed into the Hulk. T'Challa was not born a god, like blue-eyed, blonde-haired Thor, the Asgardian god of thunder who wields an enchanted hammer that enables him to fly. Despite T'Challa’s imbibing of the purple flower potion, viewers never witnessed his transformation from human to superhero. He only dons a powerful suit. Why was Black Panther not written in such a way as to imbue a black man with true superhero dynamism? Then there are the villains. In Hollywood, there are certain villains that must always be villains, such as Nazis. Then there are heroes, such as white men, who must always be depicted as, in some way, heroic. The story of Western neo-imperialist resource extraction from Africa is well known. However, in Black Panther, the CIA, who is often the true enemy of Africa, has been transformed into the imaginary state of Wakanda’s friend. It is Africans themselves who are depicted as those who hoard mineral wealth to the detriment of the world. Why in a film about the Black Panther, who is a black African man, must an actual enemy of African life, go unnamed and an alternate enemy, Killmonger, be manufactured? Does T'Challa not encounter disrespect on European streets, or suspicion on entering high-end shops, or threats from police on US soil like his black brethren? If he does, then why must there be the creation of hostilities between Pan Africans, when their real-life interests against regime changing global capital and white supremacy are aligned? Trojan Horse In other words, Hollywood will allow the world of the Black Panther to be black, only if that world defers to white fragility and does not hurt white people’s feelings. Blackness is allowed only if that blackness likes and supports the values that white people like and support. And only to the extent that black people, though they look good, also exhibit deep cultural flaws. Why are global audiences led to associate the power and strength of black men with black-on-black hostility and violence? Why must there be the implicit suggestion to audiences that African governance inexorably leads to African tribal warfare? Philosopher Frantz Fanon wrote a generation ago that black people must not only be black, but that they “must be black in relation to the white man”. This necessity of avoiding global black reality, in deference to white sensibilities, is the film’s super problem. Hollywood has historically adhered to a racist narrative that portrays black people as inferior. Black people dare not believe that they are being presented with a film that proves that Hollywood now, suddenly, holds them in high esteem. Though the Black Panther film is sumptuous, it is a Trojan Horse. Black people must be careful lest black joy at the gift of the film, blinds to the destructive ideologies embedded within it. *Alease A. Brown is a Ph.D Candidate at Stellenbosch University, Southern Africa. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: Don't let Black Panther joy mask Hollywood's racism

After weeks of speculating which film could slow Black Panther`s impressive roll, Pacific Rim Uprising took the top spot at the domestic box office. 
 
Universal and Legendary`s Pacific Rim Uprising landed a respectable $28 million opening weekend at 3,708 locations. The monster battle movie has garnered mixed critical response, with a current 46 percent on Rotten Tomatoes. Though it opened with a softer debut than Guillermo del Toro`s predecessor Pacific Rim, which saw $37 million in July 2013, the sequel was enough to dethrone Black Panther in the superhero tentpole`s sixth weekend. 
 
Steven S. DeKnight co-wrote and directed Pacific Rim Uprising&nbspwith a reported $150 million budget. The original, which starred Idris Elba, Rinko Kikuchi, Charlie Day, Charlie Hunnam, and Robert Kazinsky, went on to gross $411 million at the worldwide box office, thanks to a strong international showing, especially in China, where it made $112 million compared to the U.S.` $101.8 million. 
 
The sequel is set 10 years after the Battle of the Breach with a new generation of Jaeger pilots ready to combat the evolving Kaiju monsters and prevent humanity`s extinction. John Boyega plays Jake Pentecost, the son of Elba`s character Stacker Pentecost, who sacrificed his life in the first film. Scott Eastwood, Jing Tian, Cailee Spaeny, Kikuchi, Burn Gorman, Adria Arjona, and Day also star. 
Still, in its sixth weekend, Black Panther&nbspcontinues to be a powerhouse, nabbing the No. 2 spot with $17 million at 3,370 sites. That number lands Black Panther&nbspone of the seven highest sixth weekends in history. To date, the Marvel film has taken in $631 million, making it the fifth-highest all-time domestic grosses ahead of The Avengers. 
 
"It had to happen at some point, and Universal`s Pacific Rim Uprising&nbspnow holds the distinction of being the film that took over `Black Panther`s` long-standing position as king of the weekend box office mountain," Paul Dergarabedian, a box office analyst at comScore, said. "The latest Disney superhero film has been an absolute marvel, holding onto the top spot for a whopping five weeks, while sprinting its way up the all-time charts and now stands as the fifth highest grossing film of all-time in North America and ranks twelfth globally after just 38 days in theatres. 
 
Meanwhile, Roadside Attraction and Lionsgate`s faith-based I Can Only Imagine&nbspremains a force in its second weekend with $13 million from 2,253 sites. Based on the story behind the best-selling Christian song, "I Can Only Imagine" earned a surprisingly strong $17.1 million at the domestic box office, bringing its total up to $38 million. 
 
Following I Can Only Imagine`s&nbspsuccess, biblical drama Paul, Apostle of Christ&nbspopened in line with estimates with $5 million at 1,473 sites over Palm Sunday weekend. The story follows James Faulkner as Saint Paul in his last days awaiting execution by Emperor Nero in Rome. Directed by Andrew Hyatt, the film also stars Jim Caviezel, Olivier Martinez, Joanne Whalley, and John Lynch.

Also opening this weekend was Paramount Pictures and MGM`s animated comedy Sherlock Gnomes,&nbspwhich saw $10 million at 3,662 locations. That`s significantly lower than initial tracking estimates between $13 million to $18 million. The sequel to 2011`s Gnomeo & Juliet,&nbspwhich reeled in $194 million worldwide, sees the petite pair recruiting detective Sherlock Gnomes and his sidekick, Gnome Watson, to investigate the mysterious disappearance of other garden gnomes. Directed by John Stevenson and executive produced by Elton John, it features the voices of James McAvoy, Emily Blunt, Chiwetel Ejiofor, Mary J. Blige, and Johnny Depp. 
 
The second weekend of Alicia Vikander`s Tomb Raider landed $10 million from 3,854 locations, bringing its grosses up to $41 million, while the second weekend of Love, Simon&nbsptook in $7 million with $23 million to date. 
 
Two smaller releases -- Global Road Entertainment`s Midnight Sun&nbspand Bleecker Street and Fingerprint Releasing`s Unsane&nbsp-- debuted with $4 million and $3.6 million respectively. 
 
Young adult romantic drama Midnight Sun&nbspstars Bella Thorne as a teen who has been sheltered at home since childhood due to a life-threatening sensitivity to sunlight. Steven Soderbergh`s psychological thriller "Unsane" sees Claire Foy as a troubled woman stalked by her ex. Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins, and Amy Irving round out the cast. 
 
Rounding out the weekend, Wes Anderson`s Isle of Dogs&nbspopened with $1.5 million in limited release, with a screen average of over $58 thousand in 27 theatres. The stop-motion animated film boasts a star-studded ensemble voice cast that includes Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, Greta Gerwig, Frances McDormand, and Bob Balaban. Set in a dystopian futuristic Japan, dogs have been quarantined on a remote island due to a canine flu. A boy, Atari, ventures to the island to find his dog, Spots.

Black Panther's dream run at the Box Office has finally been disrupted.

After weeks of speculating which film could slow Black Panther`s impressive roll, Pacific Rim Uprising took the top spot at the domestic box office. Universal and Legendary`s Pacific Rim Uprising landed a respectable $28 million opening weekend at 3,708 locations. The monster battle movie has garnered mixed critical response, with a current 46 percent on Rotten Tomatoes. Though it opened with a softer debut than Guillermo del Toro`s predecessor Pacific Rim, which saw $37 million in July 2013, the sequel was enough to dethrone Black Panther in the superhero tentpole`s sixth weekend. Steven S. DeKnight co-wrote and directed Pacific Rim Uprising&nbspwith a reported $150 million budget. The original, which starred Idris Elba, Rinko Kikuchi, Charlie Day, Charlie Hunnam, and Robert Kazinsky, went on to gross $411 million at the worldwide box office, thanks to a strong international showing, especially in China, where it made $112 million compared to the U.S.` $101.8 million. The sequel is set 10 years after the Battle of the Breach with a new generation of Jaeger pilots ready to combat the evolving Kaiju monsters and prevent humanity`s extinction. John Boyega plays Jake Pentecost, the son of Elba`s character Stacker Pentecost, who sacrificed his life in the first film. Scott Eastwood, Jing Tian, Cailee Spaeny, Kikuchi, Burn Gorman, Adria Arjona, and Day also star. Still, in its sixth weekend, Black Panther&nbspcontinues to be a powerhouse, nabbing the No. 2 spot with $17 million at 3,370 sites. That number lands Black Panther&nbspone of the seven highest sixth weekends in history. To date, the Marvel film has taken in $631 million, making it the fifth-highest all-time domestic grosses ahead of The Avengers. "It had to happen at some point, and Universal`s Pacific Rim Uprising now holds the distinction of being the film that took over `Black Panther`s` long-standing position as king of the weekend box office mountain," Paul Dergarabedian, a box office analyst at comScore, said. "The latest Disney superhero film has been an absolute marvel, holding onto the top spot for a whopping five weeks, while sprinting its way up the all-time charts and now stands as the fifth highest grossing film of all-time in North America and ranks twelfth globally after just 38 days in theatres. Meanwhile, Roadside Attraction and Lionsgate`s faith-based I Can Only Imagine&nbspremains a force in its second weekend with $13 million from 2,253 sites. Based on the story behind the best-selling Christian song, "I Can Only Imagine" earned a surprisingly strong $17.1 million at the domestic box office, bringing its total up to $38 million. Following I Can Only Imagine`s&nbspsuccess, biblical drama Paul, Apostle of Christ&nbspopened in line with estimates with $5 million at 1,473 sites over Palm Sunday weekend. The story follows James Faulkner as Saint Paul in his last days awaiting execution by Emperor Nero in Rome. Directed by Andrew Hyatt, the film also stars Jim Caviezel, Olivier Martinez, Joanne Whalley, and John Lynch. Also opening this weekend was Paramount Pictures and MGM`s animated comedy Sherlock Gnomes,&nbspwhich saw $10 million at 3,662 locations. That`s significantly lower than initial tracking estimates between $13 million to $18 million. The sequel to 2011`s Gnomeo & Juliet,&nbspwhich reeled in $194 million worldwide, sees the petite pair recruiting detective Sherlock Gnomes and his sidekick, Gnome Watson, to investigate the mysterious disappearance of other garden gnomes. Directed by John Stevenson and executive produced by Elton John, it features the voices of James McAvoy, Emily Blunt, Chiwetel Ejiofor, Mary J. Blige, and Johnny Depp. The second weekend of Alicia Vikander`s Tomb Raider landed $10 million from 3,854 locations, bringing its grosses up to $41 million, while the second weekend of Love, Simon&nbsptook in $7 million with $23 million to date. Two smaller releases -- Global Road Entertainment`s Midnight Sun&nbspand Bleecker Street and Fingerprint Releasing`s Unsane -- debuted with $4 million and $3.6 million respectively. Young adult romantic drama Midnight Sun&nbspstars Bella Thorne as a teen who has been sheltered at home since childhood due to a life-threatening sensitivity to sunlight. Steven Soderbergh`s psychological thriller "Unsane" sees Claire Foy as a troubled woman stalked by her ex. Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins, and Amy Irving round out the cast. Rounding out the weekend, Wes Anderson`s Isle of Dogs&nbspopened with $1.5 million in limited release, with a screen average of over $58 thousand in 27 theatres. The stop-motion animated film boasts a star-studded ensemble voice cast that includes Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, Greta Gerwig, Frances McDormand, and Bob Balaban. Set in a dystopian futuristic Japan, dogs have been quarantined on a remote island due to a canine flu. A boy, Atari, ventures to the island to find his dog, Spots.

'Pacific Rim Uprising' upstages 'Black Panther' at the box office

Veteran actor Michael Caine has once again said he will not work with filmmaker Woody Allen as child abuse for him is the "greatest crime". 
 
The 82-year-old actor previously won an Oscar for his work on Allen's Hannah and Her Sisters but is unsure if he would work with the director again after he was accused of abuse by his daughter Dylan Farrow. 
 
Allen has long denied the allegations made by Dylan, who is one of the star's three children with ex Mia Farrow. Dylan publicly claimed in 2014 that Allen molested her as a child. 
 
"Would I work with Woody Allen again? I see that he's been accused of child abuse. If that's true, I wouldn't. No. But I mean, I read it, but there doesn't seem to be any trials or anything. 
 
"For me, the greatest crime in the world is child abuse. That is worse than anything. I was ill-treated when I was evacuated (from London during World War II) so I am a recipient of child abuse. So I am very, very, very, very critical of anyone who abuses a child," Caine told the Total Film magazine. 
 
The actor had earlier said that he was "stunned" to hear about the claims against Allen. 
 
"I loved Woody, I thought he was a great guy. And I'm stunned. Absolutely stunned," Caine had said.

A number of celebrities have recently come out and expressed regret for working with the Annie Hall&nbspdirector, including Colin Firth, Timothee Chalamet, Mira Sorvino and Peter Sarsgaard.&nbsp

The actor was a victim of abuse as a child.

Veteran actor Michael Caine has once again said he will not work with filmmaker Woody Allen as child abuse for him is the "greatest crime". The 82-year-old actor previously won an Oscar for his work on Allen's Hannah and Her Sisters but is unsure if he would work with the director again after he was accused of abuse by his daughter Dylan Farrow. Allen has long denied the allegations made by Dylan, who is one of the star's three children with ex Mia Farrow. Dylan publicly claimed in 2014 that Allen molested her as a child. "Would I work with Woody Allen again? I see that he's been accused of child abuse. If that's true, I wouldn't. No. But I mean, I read it, but there doesn't seem to be any trials or anything. "For me, the greatest crime in the world is child abuse. That is worse than anything. I was ill-treated when I was evacuated (from London during World War II) so I am a recipient of child abuse. So I am very, very, very, very critical of anyone who abuses a child," Caine told the Total Film magazine. The actor had earlier said that he was "stunned" to hear about the claims against Allen. "I loved Woody, I thought he was a great guy. And I'm stunned. Absolutely stunned," Caine had said. A number of celebrities have recently come out and expressed regret for working with the Annie Hall&nbspdirector, including Colin Firth, Timothee Chalamet, Mira Sorvino and Peter Sarsgaard.

Michael Caine reveals why he does not want to work with Woody Allen anymore

Earlier this week, we came across Ms. Bhattacharyya&#39;s emotionally charged essay, &#39;Why an Indian girl chose to become an American woman&#39; (published in Quartz) on her challenging journey to become a naturalised American citizen. She describes the alienation and disaffection she felt from her home country and how this largely stemmed from the fact that India had failed its women (and by extension her) due to the widespread sexual violence within our society. Finally, this disaffection led her to pursue a strategy of extending her stay in the United States (or literally anywhere else) in an attempt to escape the horrifically morbid fate Indian women are preordained. While we largely share her concerns about widespread violence against women, we find her characterisation of India&#39;s society misinformed, laced with generalities and therefore incredibly problematic.

As Indians studying and working in the United States, we are confronted by a similar array of choices as Ms. Bhattacharyya. The US is inarguably a melting pot of diversity - a country that prides itself as the land of immigrants; attracting the best and brightest from every corner of the world. And yet, this fantastical &#39;land of the free&#39; too suffers its own set of major issues ranging from mass gun violence to racism. The insidious culture of sexual harassment and assault is ubiquitous in the US too, spanning Wall Street, Hollywood and college campuses across the country. It is misleading to suggest that a woman can leave her house and drive for a 100 miles without a single care in the world. If one is to believe economist Amartya Sen, even if we multiply the instances of reported rape by 10 (to account for underreporting), estimates of its occurrence would still be substantially lower than in the UK, US, Sweden or South Africa.

The fight for gender inequality and violence against women has miles to go in India as it does in the rest of the world, but despair and a defeatist attitude is not the way to win any battle, least of all this one. In her essay, Bhattacharyya laments that even change would be unable to undo the damage done by our history of oppression. It seems as if she hasn&#39;t examined the history of the very country she holds in such high regards. If India has a history for regressive practices, Western history is also replete with similar repression of women&#39;s rights right up to the early twentieth century. It was only after a long struggle that women were able to win the right to vote. And yet, if, as the writer herself argues, she feels safe enough to drive across the country at 3am, it is clear that things have changed. India on the other hand, being a relatively younger democracy and several years behind the United States in economic development cannot be dismissed as incapable of change or progress. We may be the world&#39;s &#39;smelliest&#39; and most &#39;interesting&#39; melting pot as frivolously put by Ms Bhattacharyya, but at least we broke the glass ceiling long before any of us even called it that with the reign of Indira Gandhi. As of 2018, this feat is yet to be accomplished by the world&#39;s oldest democracy, a country where she feels safer and more empowered in.

The inscrutable Americans-esque analysis of her personal experience in the United States of feeling &#39;poor&#39; and like an &#39;outsider&#39; goes against the very spirit of why we moved to the US - a country that thrives on its immigrants&#39; confidence and relentless will to stand out. She not only perpetuates the Indian stereotype of being secondary in America, but also reaffirms the superiority of someone up in the West determining just how hipster you had to be to be considered cool, or how much of your intellectual prowess authors like Hegel determine. While it may make for a catchy statement to call India a country that doesn&#39;t know what to do with its women, it&#39;s utterly careless to do so because of how dangerously wrong this narrative is. For starters, the Indian government through one of its landmark schemes MUDRA Yojana, provides small businesses across the country with seed capital in the form of loans, and almost 75 per cent of its beneficiaries are female entrepreneurs, thereby not making India a country that &quot;doesn&#39;t know what to do with its women&quot; as claimed by Ms. Bhattacharya. We are also the first country in the region to have a purely women-led railway station in Rajasthan affirming public female confidence in a state that is traditionally known for nothing but its textiles and rates of child marriage. Further initiatives to boost women participation have also been kickstarted by the private sector. While there are several challenges we need to scale in order to become the country we deserve to be, we are eternally optimistic about our ability to surmount them.

The overall comparison of a global super power with one of the oldest civilisations in the world is not only irresponsible but also blatantly ignorant. Our nation stands at the cusp of awakening and ever growing polarisation, much like the United States. We use our rather fantastical, emotionally charged and inspiring films to inculcate a culture of openness and make big budget movies about periods, homosexuality, and religious tolerance. In her 70 young years, India has kept one finger on the pulse of social change. The transactional approach she has adopted when assessing her loyalty to any country, be it the United States or India, is disheartening and just the kind of spirit a nation that thrives on unconditional patriotism-fueled progress does not need. As Indians living in the United States, the only parting advice we can give her is to continue texting friends and family while being out and about on American streets at 3 in the morning; for these roads too are rife with thorns, some much sharper than the ones in India.

(Mansi has written the piece along with her fellow NYU graduate Abhishek Dalal)

(Disclaimer: The opinions expressed above are the personal views of the authors and do not reflect the views of ZMCL)

The insidious culture of sexual harassment and assault is ubiquitous in the US too, spanning Wall Street, Hollywood and college campuses across the country.

Earlier this week, we came across Ms. Bhattacharyya's emotionally charged essay, 'Why an Indian girl chose to become an American woman' (published in Quartz) on her challenging journey to become a naturalised American citizen. She describes the alienation and disaffection she felt from her home country and how this largely stemmed from the fact that India had failed its women (and by extension her) due to the widespread sexual violence within our society. Finally, this disaffection led her to pursue a strategy of extending her stay in the United States (or literally anywhere else) in an attempt to escape the horrifically morbid fate Indian women are preordained. While we largely share her concerns about widespread violence against women, we find her characterisation of India's society misinformed, laced with generalities and therefore incredibly problematic. As Indians studying and working in the United States, we are confronted by a similar array of choices as Ms. Bhattacharyya. The US is inarguably a melting pot of diversity - a country that prides itself as the land of immigrants; attracting the best and brightest from every corner of the world. And yet, this fantastical 'land of the free' too suffers its own set of major issues ranging from mass gun violence to racism. The insidious culture of sexual harassment and assault is ubiquitous in the US too, spanning Wall Street, Hollywood and college campuses across the country. It is misleading to suggest that a woman can leave her house and drive for a 100 miles without a single care in the world. If one is to believe economist Amartya Sen, even if we multiply the instances of reported rape by 10 (to account for underreporting), estimates of its occurrence would still be substantially lower than in the UK, US, Sweden or South Africa. The fight for gender inequality and violence against women has miles to go in India as it does in the rest of the world, but despair and a defeatist attitude is not the way to win any battle, least of all this one. In her essay, Bhattacharyya laments that even change would be unable to undo the damage done by our history of oppression. It seems as if she hasn't examined the history of the very country she holds in such high regards. If India has a history for regressive practices, Western history is also replete with similar repression of women's rights right up to the early twentieth century. It was only after a long struggle that women were able to win the right to vote. And yet, if, as the writer herself argues, she feels safe enough to drive across the country at 3am, it is clear that things have changed. India on the other hand, being a relatively younger democracy and several years behind the United States in economic development cannot be dismissed as incapable of change or progress. We may be the world's 'smelliest' and most 'interesting' melting pot as frivolously put by Ms Bhattacharyya, but at least we broke the glass ceiling long before any of us even called it that with the reign of Indira Gandhi. As of 2018, this feat is yet to be accomplished by the world's oldest democracy, a country where she feels safer and more empowered in. The inscrutable Americans-esque analysis of her personal experience in the United States of feeling 'poor' and like an 'outsider' goes against the very spirit of why we moved to the US - a country that thrives on its immigrants' confidence and relentless will to stand out. She not only perpetuates the Indian stereotype of being secondary in America, but also reaffirms the superiority of someone up in the West determining just how hipster you had to be to be considered cool, or how much of your intellectual prowess authors like Hegel determine. While it may make for a catchy statement to call India a country that doesn't know what to do with its women, it's utterly careless to do so because of how dangerously wrong this narrative is. For starters, the Indian government through one of its landmark schemes MUDRA Yojana, provides small businesses across the country with seed capital in the form of loans, and almost 75 per cent of its beneficiaries are female entrepreneurs, thereby not making India a country that "doesn't know what to do with its women" as claimed by Ms. Bhattacharya. We are also the first country in the region to have a purely women-led railway station in Rajasthan affirming public female confidence in a state that is traditionally known for nothing but its textiles and rates of child marriage. Further initiatives to boost women participation have also been kickstarted by the private sector. While there are several challenges we need to scale in order to become the country we deserve to be, we are eternally optimistic about our ability to surmount them. The overall comparison of a global super power with one of the oldest civilisations in the world is not only irresponsible but also blatantly ignorant. Our nation stands at the cusp of awakening and ever growing polarisation, much like the United States. We use our rather fantastical, emotionally charged and inspiring films to inculcate a culture of openness and make big budget movies about periods, homosexuality, and religious tolerance. In her 70 young years, India has kept one finger on the pulse of social change. The transactional approach she has adopted when assessing her loyalty to any country, be it the United States or India, is disheartening and just the kind of spirit a nation that thrives on unconditional patriotism-fueled progress does not need. As Indians living in the United States, the only parting advice we can give her is to continue texting friends and family while being out and about on American streets at 3 in the morning; for these roads too are rife with thorns, some much sharper than the ones in India. (Mansi has written the piece along with her fellow NYU graduate Abhishek Dalal) (Disclaimer: The opinions expressed above are the personal views of the authors and do not reflect the views of ZMCL)

Opinion: India hasn't failed you, you failed India

Disney-Marvel&rsquo;s &ldquo;Black Panther&rdquo; continued to dominate the&nbsp;domestic box office in the United States, retaining its position for the&nbsp;fifth consecutive weekend with $27 million from 3,834 locations.

Alicia Vikander&rsquo;s action-drama &ldquo;Tomb Raider&rdquo; finished second in its opening weekend in line with expectations with $23.5 million from 3,854 sites for Warner Bros. and MGM. Lionsgate-Roadside Attractions&rsquo; faith-based drama &ldquo;I Can Only Imagine&rdquo; outperformed forecasts with $17.1 million at 1,629 venues.

Disney&rsquo;s second weekend of time-travel adventure &ldquo;A Wrinkle in Time&rdquo; followed in fourth with $16.6 million at 3,980 locations, lifting its 10-day total to $61.1 million. Fox&rsquo;s launch of gay teen comedy-drama &ldquo;Love, Simon&rdquo; took fifth with $11.5 million at 2,402 venues.

&ldquo;Black Panther&rdquo; has become only the seventh title to pass the $600 million milestone at the North American box office, and is the second-fastest film to do so. Among other things, the film also earned the fourth-highest fifth weekend of all time while becoming the first film to earn the top spot for five weekends in a row since 2009&rsquo;s &ldquo;Avatar.&rdquo;

The overall box office took in about $130 million, down 50 percent from the same weekend last year when Disney&rsquo;s &ldquo;Beauty and the Beast&rdquo; opened with $174.5 million.&nbsp;

With &quot;Black Panther&quot;&nbsp;going strong, the year-to-date box office is up 2 percent over the same period a year ago at $2.5 billion, according to comScore.

&nbsp;

It has retained its position for the fifth consecutive weekend with $27 million from different location in the US

Disney-Marvel’s “Black Panther” continued to dominate the domestic box office in the United States, retaining its position for the fifth consecutive weekend with $27 million from 3,834 locations. Alicia Vikander’s action-drama “Tomb Raider” finished second in its opening weekend in line with expectations with $23.5 million from 3,854 sites for Warner Bros. and MGM. Lionsgate-Roadside Attractions’ faith-based drama “I Can Only Imagine” outperformed forecasts with $17.1 million at 1,629 venues. Disney’s second weekend of time-travel adventure “A Wrinkle in Time” followed in fourth with $16.6 million at 3,980 locations, lifting its 10-day total to $61.1 million. Fox’s launch of gay teen comedy-drama “Love, Simon” took fifth with $11.5 million at 2,402 venues. “Black Panther” has become only the seventh title to pass the $600 million milestone at the North American box office, and is the second-fastest film to do so. Among other things, the film also earned the fourth-highest fifth weekend of all time while becoming the first film to earn the top spot for five weekends in a row since 2009’s “Avatar.” The overall box office took in about $130 million, down 50 percent from the same weekend last year when Disney’s “Beauty and the Beast” opened with $174.5 million. With "Black Panther" going strong, the year-to-date box office is up 2 percent over the same period a year ago at $2.5 billion, according to comScore.

'Black Panther' surpasses 'Tomb Raider' for fifth box office crown

By&nbsp;Alease A. Brown*

Black Panther director/co-writer Ryan Coogler has given black people throughout the world an imagined Africa that has been wholeheartedly embraced, earning over USD$1 billion dollars globally so far. This embrace is due, primarily, to the presentation of so many beautiful, black bodies onscreen, including an extravagant representation of fierce, and fashionable, black women.

Also appealing is the portrayal of an Africa of independent authority, spiritual alertness, respect and veneration of ancestors and relationship with animals and plants. This is a portrayal of Africa that is hungered for, especially by ancestrally orphaned African Americans. It is deeply satisfying to view.

But at the same time, it raises questions alert black viewers would be doing themselves a disservice to avoid posing.

Black Panther appears within a broad Hollywood tradition, with over 100 years of history, that portrays Africa as wild, weirdly exotic, and mysterious, and Africans as tribal savages, backwards and subordinate. The framing of Africa and Africans in this way has served to provide the world, including Africans themselves, with a perception of Africa and African people that justified the &ldquo;saving&rdquo; and &ldquo;civilising&rdquo; mission of Westerners who desired to maintain a colonising influence over the continent.

Hollywood&rsquo;s history of racism triggers the question, why was the first black superhero identified as an African and a quasi-animal? When the original Black Panther comic appeared in the sixties, featuring a black person who was not inferiorised was groundbreaking.

However, creating an African black panther was unusual. Unusual because it was the Black Panther alone who was not American, and who was instead assigned an African identity. And also unusual because the sixties Marvel universe of superheroes consisted of human-modified characters &ndash; Hulk, Iron Man, Thor &ndash; and insect characters &ndash; Ant Man, Wasp and Spider Man &ndash; but not animal characters, other than Black Panther.

Almost 20 years ago philosopher Achille Mbembe astutely commented on this troubling and recurring phenomenon. He wrote, in On the Postcolony,

discourse on Africa is almost always deployed in the framework (or on the fringes) of a meta-text about the animal &mdash; to be exact, about the beast: its experience, its world, and its spectacle.

Whether well-intentioned or malicious, the imagination that intertwines the African and the beast has become so commonplace in our minds that it&rsquo;s hardly questioned. However, when white supremacy is again being boldly asserted in the world, people of African descent who have historically been dehumanised and relegated to the status of animal, must question this association. Especially instances, as in Black Panther, when the association of the African and the howling gorilla is made so explicitly.&nbsp;

The not so super superhero

It&rsquo;s also noteworthy that the first black man superhero was curiously un-superhero like. The character T&#39;Challa did not possess the scientific brilliance of Tony Stark, who is Ironman&lsquo;s genius creator and alter ego. T&#39;Challa&rsquo;s essence was not transformed at the genetic level such that his body, his selfness, became superhuman and superpowerful, like Bruce Banner&rsquo;s does when he is transformed into the Hulk. T&#39;Challa was not born a god, like blue-eyed, blonde-haired Thor, the Asgardian god of thunder who wields an enchanted hammer that enables him to fly.

Despite T&#39;Challa&rsquo;s imbibing of the purple flower potion, viewers never witnessed his transformation from human to superhero. He only dons a powerful suit. Why was Black Panther not written in such a way as to imbue a black man with true superhero dynamism?

Then there are the villains. In Hollywood, there are certain villains that must always be villains, such as Nazis. Then there are heroes, such as white men, who must always be depicted as, in some way, heroic.

The story of Western neo-imperialist resource extraction from Africa is well known. However, in Black Panther, the CIA, who is often the true enemy of Africa, has been transformed into the imaginary state of Wakanda&rsquo;s friend. It is Africans themselves who are depicted as those who hoard mineral wealth to the detriment of the world.

Why in a film about the Black Panther, who is a black African man, must an actual enemy of African life, go unnamed and an alternate enemy, Killmonger, be manufactured?

Does T&#39;Challa not encounter disrespect on European streets, or suspicion on entering high-end shops, or threats from police on US soil like his black brethren? If he does, then why must there be the creation of hostilities between Pan Africans, when their real-life interests against regime changing global capital and white supremacy are aligned?

Trojan Horse

In other words, Hollywood will allow the world of the Black Panther to be black, only if that world defers to white fragility and does not hurt white people&rsquo;s feelings. Blackness is allowed only if that blackness likes and supports the values that white people like and support. And only to the extent that black people, though they look good, also exhibit deep cultural flaws.

Why are global audiences led to associate the power and strength of black men with black-on-black hostility and violence? Why must there be the implicit suggestion to audiences that African governance inexorably leads to African tribal warfare?

Philosopher Frantz Fanon wrote a generation ago that black people must not only be black, but that they &ldquo;must be black in relation to the white man&rdquo;. This necessity of avoiding global black reality, in deference to white sensibilities, is the film&rsquo;s super problem.

Hollywood has historically adhered to a racist narrative that portrays black people as inferior. Black people dare not believe that they are being presented with a film that proves that Hollywood now, suddenly, holds them in high esteem. Though the Black Panther film is sumptuous, it is a Trojan Horse. Black people must be careful lest black joy at the gift of the film, blinds to the destructive ideologies embedded within it.&nbsp;

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*Alease A. Brown is a Ph.D Candidate at Stellenbosch University, Southern Africa.&nbsp;

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

People of African descent who have historically been dehumanised and relegated to the status of animal, must question the instance as in Black Panther, when the association of the African and the howling gorilla is made so explicitly.

Taking a swipe at the Hollywood, Veteran actress Susan Sarandon said that it is `mediocrity` which is rewarded in the industry.

According to Hollywood reporter, Susan made this remark, while she was in London for promoting her new documentary, &quot;Bombshell: The Hedy Lamarr Story&quot;, which tells the story of silver screen legend Hedy Lamarr.

Talking about Lamarr, Sarandon said, &quot;it`s certainly not a requirement to be smart in my business.&quot;Mediocrity is rewarded time and time again. A lot of the time you`re hired because you don`t ask questions. It takes more time to ask questions, it takes more time to fight for something with integrity,&quot; she added.

Sarandon is an acclaimed actress, who won an Academy Award for her performance in &quot;Dead Man Walking&quot; in 1995.She was also vocal on the MeToo movement and addressed the &quot;tricky&quot; nature of films and how they portray sexuality.&quot;It`s very complicated, in my business especially, because it`s all about your sexual currency,&quot; she said. 
 
&quot;Whether you actually deliver to anyone in charge to get a job that way - people hire women they want to be with and men they want to be. And anyone that falls in between is a character actor,&quot; she added.

Adding to the issue, the actress said that it is incorrect to `slut-shame somebody for embracing their seductiveness`.&quot;But, at the same time, you want to have enough power and economic stability to able to say no, to not be in a Harvey Weinstein situation where your work is held hostage and you`re forced to do things you don`t want to do,&quot; Sarandon said 
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"Mediocrity is rewarded time and time again. A lot of the time you`re hired because you don`t ask questions,'said the actress

Taking a swipe at the Hollywood, Veteran actress Susan Sarandon said that it is `mediocrity` which is rewarded in the industry. According to Hollywood reporter, Susan made this remark, while she was in London for promoting her new documentary, "Bombshell: The Hedy Lamarr Story", which tells the story of silver screen legend Hedy Lamarr. Talking about Lamarr, Sarandon said, "it`s certainly not a requirement to be smart in my business."Mediocrity is rewarded time and time again. A lot of the time you`re hired because you don`t ask questions. It takes more time to ask questions, it takes more time to fight for something with integrity," she added. Sarandon is an acclaimed actress, who won an Academy Award for her performance in "Dead Man Walking" in 1995.She was also vocal on the MeToo movement and addressed the "tricky" nature of films and how they portray sexuality."It`s very complicated, in my business especially, because it`s all about your sexual currency," she said. "Whether you actually deliver to anyone in charge to get a job that way - people hire women they want to be with and men they want to be. And anyone that falls in between is a character actor," she added. Adding to the issue, the actress said that it is incorrect to `slut-shame somebody for embracing their seductiveness`."But, at the same time, you want to have enough power and economic stability to able to say no, to not be in a Harvey Weinstein situation where your work is held hostage and you`re forced to do things you don`t want to do," Sarandon said

Hollywood rewards 'mediocrity', feels Susan Sarandon

Four-time Grammy winner Lionel Richie was honoured Wednesday as he plunged his feet and hands into a wet paving slab at the forecourt of TCL Chinese Theatre as part of a time-honoured tradition since the 1920s at Hollywood Boulevard.&nbsp;

The 68-year-old R&amp;B singer, a former frontman for Motown legends &#39;The Commodores&#39;, cemented his legacy after having sold more than 100 million records over a career spanning six decades. Speaking to AFP on this, Lionel said,&nbsp;&quot;This is almost beyond the childhood dream. When I first came to this town, the Holiday Inn was back there, right behind me, and the first thing I did was ran out the room, came downstairs and put my feet in all the hands and feet on the ground. Now, my hands and feet are going into this thing, it&#39;s almost beyond belief.&quot;

The ceremony was presented by Oscars host Jimmy Kimmel while veteran actor&nbsp;Samuel L. Jackson was on hand to support Richie, who told the crowd the honour was an &quot;out of body experience.&quot; &nbsp;

Born as Lionel Brockman Richie Jr. on June 20, 1949, Lionel was raised on&nbsp;the private, Tuskegee Institute university campus in Alabama, where his family had worked for generations. As he gained interest in music, he joined the famed band and belted out hits for them including&nbsp;&quot;Still,&quot; &quot;Sail On,&quot; &quot;Easy&quot; and &quot;Three Times a Lady,&quot; which earned a 1979 American Music Award and a People&#39;s Choice Award.

He later wrote &quot;Lady&quot; for Kenny Rogers and had a huge hit alongside Diana Ross with &quot;Endless Love,&quot; which became the most successful single in Motown history, topping the US charts for nine weeks. Alongside Michael Jackson and Prince, he was one of the most successful male solo artists of the 1980s, with a run of 13 consecutive top ten hits in the US Billboard charts, five of them number ones.&nbsp;

He scored a major hit with &quot;All Night Long,&quot; and won an Oscar for &quot;Say You, Say Me,&quot; written for the film &quot;White Nights.&quot; His Grammys include the 1985 Song of the Year prize for &quot;We Are the World,&quot; co-written with Jackson.

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The R&B singer, a former frontman for 'The Commodores', has sold more than 100 million records over a career spanning six decades

Four-time Grammy winner Lionel Richie was honoured Wednesday as he plunged his feet and hands into a wet paving slab at the forecourt of TCL Chinese Theatre as part of a time-honoured tradition since the 1920s at Hollywood Boulevard. The 68-year-old R&B singer, a former frontman for Motown legends 'The Commodores', cemented his legacy after having sold more than 100 million records over a career spanning six decades. Speaking to AFP on this, Lionel said, "This is almost beyond the childhood dream. When I first came to this town, the Holiday Inn was back there, right behind me, and the first thing I did was ran out the room, came downstairs and put my feet in all the hands and feet on the ground. Now, my hands and feet are going into this thing, it's almost beyond belief." The ceremony was presented by Oscars host Jimmy Kimmel while veteran actor Samuel L. Jackson was on hand to support Richie, who told the crowd the honour was an "out of body experience." Born as Lionel Brockman Richie Jr. on June 20, 1949, Lionel was raised on the private, Tuskegee Institute university campus in Alabama, where his family had worked for generations. As he gained interest in music, he joined the famed band and belted out hits for them including "Still," "Sail On," "Easy" and "Three Times a Lady," which earned a 1979 American Music Award and a People's Choice Award. He later wrote "Lady" for Kenny Rogers and had a huge hit alongside Diana Ross with "Endless Love," which became the most successful single in Motown history, topping the US charts for nine weeks. Alongside Michael Jackson and Prince, he was one of the most successful male solo artists of the 1980s, with a run of 13 consecutive top ten hits in the US Billboard charts, five of them number ones. He scored a major hit with "All Night Long," and won an Oscar for "Say You, Say Me," written for the film "White Nights." His Grammys include the 1985 Song of the Year prize for "We Are the World," co-written with Jackson.

Grammy winner Lionel Richie honoured at Hollywood handprints ceremony

Retired basketball superstar Kobe Bryant-- once the toast of Los Angeles for the Lakers -- is now a Hollywood A-lister with an Oscar.&nbsp;

Yes, you read that correctly.

Nearly two years after leaving the NBA, the 39-year-old Bryant&nbsp;won the Academy Award for best animated short on Sunday for &quot;Dear Basketball,&quot; a collaboration with artist Glen Keane and legendary composer John Williams.

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Sport takes us beyond the lines. Congrats, <a href="https://twitter.com/kobebryant?ref_src=twsrc%5Etfw">@kobebryant</a> for your award for <a href="https://twitter.com/hashtag/DearBasketball?src=hash&amp;ref_src=twsrc%5Etfw">#DearBasketball</a> ???????????????????????? <a href="https://t.co/ljeOqzSuBM">pic.twitter.com/ljeOqzSuBM</a>
&mdash; Nike Basketball (@nikebasketball) <a href="https://twitter.com/nikebasketball/status/970506515936194561?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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&quot;Thank you, Academy, for this amazing honour. Thank you, John Williams, for a wonderful piece of music,&quot;&nbsp;Bryant said.

In a sardonic reference to an attack by Fox News presenter Laura Ingraham against basketballers expressing their political opinions, he said he thought NBA stars were &quot;really supposed to shut up and dribble.&quot;&nbsp;

&quot;I&#39;m glad we do a little bit more than that,&quot; he added.

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Salute <a href="https://twitter.com/kobebryant?ref_src=twsrc%5Etfw">@kobebryant</a> on that Oscar!! <a href="https://twitter.com/hashtag/WeAreMoreThanShutUpDribble?src=hash&amp;ref_src=twsrc%5Etfw">#WeAreMoreThanShutUpDribble</a> <a href="https://twitter.com/hashtag/UJustContinueToSitBackAndWatch?src=hash&amp;ref_src=twsrc%5Etfw">#UJustContinueToSitBackAndWatch</a>
&mdash; LeBron James (@KingJames) <a href="https://twitter.com/KingJames/status/970500221875736576?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Awards prediction website Gold Derby had&nbsp;Bryant as the odds-on favourite to win the Oscar for best animated short, but his triumph is unlikely to please everyone.&nbsp;

In the wake of the Harvey Weinstein scandal, it will be a reminder that&nbsp;Bryant was arrested&nbsp;over the suspected rape of a 19-year-old hotel worker in Colorado in 2003.&nbsp;

Bryant admitted to a sexual encounter but insisted it was consensual. The criminal case was dropped when the accuser refused to testify, but&nbsp;Bryant faced a civil suit.&nbsp;

As part of an out-of-court settlement, he publicly apologized to his accuser but admitted no guilt.

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<a href="https://twitter.com/hashtag/MambaMentality?src=hash&amp;ref_src=twsrc%5Etfw">#MambaMentality</a> meets the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a>. Congrats on last night&#39;s win, <a href="https://twitter.com/kobebryant?ref_src=twsrc%5Etfw">@kobebryant</a>!<a href="https://twitter.com/hashtag/FlyEaglesFly?src=hash&amp;ref_src=twsrc%5Etfw">#FlyEaglesFly</a> <a href="https://t.co/zc8b3jxMcd">pic.twitter.com/zc8b3jxMcd</a>
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Kobe Bryant was recognised for a five-minute film produced in collaboration with artist Glen Keane and composer John Williams for the short 'Dear Basketball'

Retired basketball superstar Kobe Bryant-- once the toast of Los Angeles for the Lakers -- is now a Hollywood A-lister with an Oscar. Yes, you read that correctly. Nearly two years after leaving the NBA, the 39-year-old Bryant won the Academy Award for best animated short on Sunday for "Dear Basketball," a collaboration with artist Glen Keane and legendary composer John Williams. Sport takes us beyond the lines. Congrats, @kobebryant for your award for #DearBasketball ???????????????????????? pic.twitter.com/ljeOqzSuBM — Nike Basketball (@nikebasketball) March 5, 2018 × "Thank you, Academy, for this amazing honour. Thank you, John Williams, for a wonderful piece of music," Bryant said. In a sardonic reference to an attack by Fox News presenter Laura Ingraham against basketballers expressing their political opinions, he said he thought NBA stars were "really supposed to shut up and dribble." "I'm glad we do a little bit more than that," he added. Salute @kobebryant on that Oscar!! #WeAreMoreThanShutUpDribble #UJustContinueToSitBackAndWatch — LeBron James (@KingJames) March 5, 2018 × Awards prediction website Gold Derby had Bryant as the odds-on favourite to win the Oscar for best animated short, but his triumph is unlikely to please everyone. In the wake of the Harvey Weinstein scandal, it will be a reminder that Bryant was arrested over the suspected rape of a 19-year-old hotel worker in Colorado in 2003. Bryant admitted to a sexual encounter but insisted it was consensual. The criminal case was dropped when the accuser refused to testify, but Bryant faced a civil suit. As part of an out-of-court settlement, he publicly apologized to his accuser but admitted no guilt. #MambaMentality meets the #Oscars. Congrats on last night's win, @kobebryant!#FlyEaglesFly pic.twitter.com/zc8b3jxMcd — Philadelphia Eagles (@Eagles) March 5, 2018 ×

NBA legend Kobe Bryant wins Oscar for best animated short

The biggest night in Hollywood is finally here.&nbsp;The Oscars turns 90 this year and aims to not just honour films but also show its support to some pertinent issues that is plaguing America this year.&nbsp;

Celebrities&nbsp;rocked the red carpet with their glamorous attires. The backstage was lit as the stars fun shared moments with each other, grabbed some food and drinks...and also did some dancing.&nbsp;

Take a look at what they got upto&nbsp;behind the scenes!

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Backstage at the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a> with <a href="https://twitter.com/kumailn?ref_src=twsrc%5Etfw">@kumailn</a> and @ lupita_nyongo <a href="https://t.co/GOQGReTVCS">pic.twitter.com/GOQGReTVCS</a>
&mdash; The Academy (@TheAcademy) <a href="https://twitter.com/TheAcademy/status/970476961217757185?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Backstage at the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a> with <a href="https://twitter.com/lakeithlakeith?ref_src=twsrc%5Etfw">@lakeithlakeith</a> and <a href="https://twitter.com/hashtag/STARK?src=hash&amp;ref_src=twsrc%5Etfw">#STARK</a> <a href="https://t.co/cdyf1DKoEQ">pic.twitter.com/cdyf1DKoEQ</a>
&mdash; The Academy (@TheAcademy) <a href="https://twitter.com/TheAcademy/status/970457003309936640?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Backstage at the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a> with <a href="https://twitter.com/hashtag/SamRockwell?src=hash&amp;ref_src=twsrc%5Etfw">#SamRockwell</a>, <a href="https://twitter.com/hashtag/ChrisMessina?src=hash&amp;ref_src=twsrc%5Etfw">#ChrisMessina</a>, <a href="https://twitter.com/hashtag/MattRoss?src=hash&amp;ref_src=twsrc%5Etfw">#MattRoss</a> and pals <a href="https://t.co/sFDei3JeHJ">pic.twitter.com/sFDei3JeHJ</a>
&mdash; The Academy (@TheAcademy) <a href="https://twitter.com/TheAcademy/status/970459802907258881?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Backstage at the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a> with <a href="https://twitter.com/TherealTaraji?ref_src=twsrc%5Etfw">@therealtaraji</a> <a href="https://t.co/5NezQlPgR0">pic.twitter.com/5NezQlPgR0</a>
&mdash; The Academy (@TheAcademy) <a href="https://twitter.com/TheAcademy/status/970460401857998848?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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&mdash; The Academy (@TheAcademy) <a href="https://twitter.com/TheAcademy/status/970464384626520065?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Read my lips????. Tonight is the night! Good luck to all the nominees! I&rsquo;m so excited to be up on stage to honor tonight&rsquo;s winners.<a href="https://twitter.com/hashtag/ReadMyLips?src=hash&amp;ref_src=twsrc%5Etfw">#ReadMyLips</a> <a href="https://twitter.com/hashtag/RevlonGal?src=hash&amp;ref_src=twsrc%5Etfw">#RevlonGal</a> <a href="https://twitter.com/hashtag/Revlon?src=hash&amp;ref_src=twsrc%5Etfw">#Revlon</a> <a href="https://twitter.com/hashtag/wonderful?src=hash&amp;ref_src=twsrc%5Etfw">#wonderful</a> <a href="https://twitter.com/hashtag/LiveBoldly?src=hash&amp;ref_src=twsrc%5Etfw">#LiveBoldly</a> <a href="https://twitter.com/hashtag/SuperLustrous?src=hash&amp;ref_src=twsrc%5Etfw">#SuperLustrous</a> <a href="https://t.co/XRM7F051ol">pic.twitter.com/XRM7F051ol</a>
&mdash; Gal Gadot (@GalGadot) <a href="https://twitter.com/GalGadot/status/970466566058868736?ref_src=twsrc%5Etfw">March 5, 2018</a></blockquote>
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Backstage at the <a href="https://twitter.com/hashtag/Oscars?src=hash&amp;ref_src=twsrc%5Etfw">#Oscars</a> with <a href="https://twitter.com/hashtag/HelenMirren?src=hash&amp;ref_src=twsrc%5Etfw">#HelenMirren</a> <a href="https://t.co/MurBuKEPMC">pic.twitter.com/MurBuKEPMC</a>
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The biggest night in Hollywood is finally here

The biggest night in Hollywood is finally here. The Oscars turns 90 this year and aims to not just honour films but also show its support to some pertinent issues that is plaguing America this year. Celebrities rocked the red carpet with their glamorous attires. The backstage was lit as the stars fun shared moments with each other, grabbed some food and drinks...and also did some dancing. Take a look at what they got upto behind the scenes! Backstage at the #Oscars with @kumailn and @ lupita_nyongo pic.twitter.com/GOQGReTVCS — The Academy (@TheAcademy) March 5, 2018 × Backstage at the #Oscars with @lakeithlakeith and #STARK pic.twitter.com/cdyf1DKoEQ — The Academy (@TheAcademy) March 5, 2018 × Backstage at the #Oscars with #SamRockwell, #ChrisMessina, #MattRoss and pals pic.twitter.com/sFDei3JeHJ — The Academy (@TheAcademy) March 5, 2018 × Backstage at the #Oscars with @therealtaraji pic.twitter.com/5NezQlPgR0 — The Academy (@TheAcademy) March 5, 2018 × Backstage at the #Oscars with @violadavis pic.twitter.com/P7qRNgO8R7 — The Academy (@TheAcademy) March 5, 2018 × Read my lips????. Tonight is the night! Good luck to all the nominees! I’m so excited to be up on stage to honor tonight’s winners.#ReadMyLips #RevlonGal #Revlon #wonderful #LiveBoldly #SuperLustrous pic.twitter.com/XRM7F051ol — Gal Gadot (@GalGadot) March 5, 2018 × Backstage at the #Oscars with #HelenMirren pic.twitter.com/MurBuKEPMC — The Academy (@TheAcademy) March 5, 2018 ×

Oscars 2018: Take a look at what's happening backstage!

Here are the nominees in key categories for the 90th Academy Awards, to be handed out on Sunday in Hollywood.

&quot;The Shape of Water&quot; leads the nominations with 13, followed by &quot;Dunkirk&quot; with eight:

&nbsp;

Best picture:

&quot;Call Me By Your Name&quot;

&quot;Darkest Hour&quot;

&quot;Dunkirk&quot;

&quot;Get Out&quot;

&quot;Lady Bird&quot;

&quot;Phantom Thread&quot;

&quot;The Post&quot;

&quot;The Shape of Water&quot;

&quot;Three Billboards Outside Ebbing, Missouri&quot;

&nbsp;

Best director:

Christopher Nolan, &quot;Dunkirk&quot;

Jordan Peele, &quot;Get Out&quot;

Greta Gerwig, &quot;Lady Bird&quot;

Paul Thomas Anderson, &quot;Phantom Thread&quot;

Guillermo del Toro, &quot;The Shape of Water&quot;

&nbsp;

Best actor:

Timothee Chalamet, &quot;Call Me by Your Name&quot;

Daniel Day-Lewis, &quot;Phantom Thread&quot;

Daniel Kaluuya, &quot;Get Out&quot;

Gary Oldman, &quot;Darkest Hour&quot;

Denzel Washington, &quot;Roman J. Israel, Esq.&quot;

&nbsp;

Best actress:

Sally Hawkins, &quot;The Shape of Water&quot;

Frances McDormand, &quot;Three Billboards Outside Ebbing, Missouri&quot;

Margot Robbie, &quot;I, Tonya&quot;

Saoirse Ronan, &quot;Lady Bird&quot;

Meryl Streep, &quot;The Post&quot;

&nbsp;

Best supporting actor:

Willem Dafoe, &quot;The Florida Project&quot;

Woody Harrelson, &quot;Three Billboards Outside Ebbing, Missouri&quot;

Richard Jenkins, &quot;The Shape of Water&quot;

Christopher Plummer, &quot;All the Money in the World&quot;

Sam Rockwell, &quot;Three Billboards Outside Ebbing, Missouri&quot;

&nbsp;

Best supporting actress:

Mary J. Blige, &quot;Mudbound&quot;

Allison Janney, &quot;I, Tonya&quot;

Lesley Manville, &quot;Phantom Thread&quot;

Laurie Metcalf, &quot;Lady Bird&quot;

Octavia Spencer, &quot;The Shape of Water&quot;

&nbsp;

Best Live Action Short Film:

DeKalb Elementary - Reed Van Dyk

The Eleven O&rsquo;Clock&nbsp;Derin Seale -&nbsp;Josh Lawson

My Nephew Emmett -&nbsp; Kevin Wilson, Jr.

The Silent Child - Chris Overton, Rachel Shenton

Watu Wote/All of Us -&nbsp; Katja Benrath, Tobias Rosen

&nbsp;

Best foreign language film:

&quot;A Fantastic Woman&quot; (Chile)

&quot;The Insult&quot; (Lebanon)

&quot;Loveless&quot; (Russia)

&quot;On Body and Soul&quot; (Hungary)

&quot;The Square&quot; (Sweden)

&nbsp;

Best animated feature:

The Boss Baby

The Breadwinner

Coco

Ferdinand

Loving Vincent

&nbsp;

Animated Short:

Dear Basketball -&nbsp; Glen Keane, Kobe Bryant

Garden Party -&nbsp;Victor Caire, Gabriel Grapperon

Lou - Dave Mullins - Dana Murray

Negative Space -&nbsp; Max Porter, Ru Kuwahata

Revolting Rhymes - Jakob Schuh, Jan Lachauer

&nbsp;

Best documentary feature:

&quot;Abacus: Small Enough to Jail&quot;

&quot;Faces Places&quot;

&quot;Icarus&quot;

&quot;Last Men in Aleppo&quot;

&quot;Strong Island&quot;

&nbsp;

Best Documentary Short Subject:

Edith+Eddie - Laura Checkoway - Thomas Lee Wright

Heaven is a Traffic Jam on the 405 -&nbsp;Frank Stiefel

Heroin(e) - Elaine McMillion Sheldon, Kerrin Sheldon

Knife Skills - Thomas Lennon

Traffic Stop - Kate Davis, David Heilbroner

&nbsp;

Best original screenplay:

&quot;The Big Sick&quot; - Emily V. Gordon and Kumail Nanjiani

&quot;Get Out&quot; - Jordan Peele

&quot;Lady Bird&quot; - Greta Gerwig

&quot;The Shape of Water&quot; - Guillermo del Toro and Vanessa Taylor

&quot;Three Billboards Outside Ebbing, Missouri&quot; - Martin McDonagh

&nbsp;

Best adapted screenplay:

&quot;Call Me By Your Name&quot; - James Ivory

&quot;The Disaster Artist&quot; - Scott Neustadter and Michael H. Weber

&quot;Logan&quot; - Scott Frank, James Mangold and Michael Green

&quot;Molly&#39;s Game&quot; - Aaron Sorkin

&quot;Mudbound&quot; - Virgil Williams and Dee Rees

&nbsp;

Cinematography:

Blade Runner 2049 - Roger Deakins

Darkest Hour - Bruno Delbonnel

Dunkirk -&nbsp; Hoyte van Hoytema

Mudbound&nbsp;- Rachel Morrison

The Shape of Water -&nbsp; Dan Laustsen

&nbsp;

Best original score:

&quot;Dunkirk&quot; - Hans Zimmer

&quot;Phantom Thread&quot; - Jonny Greenwood

&quot;The Shape of Water&quot; - Alexandre Desplat

&quot;Star Wars: The Last Jedi&quot; - John Williams

&quot;Three Billboards Outside Ebbing, Missouri&quot; - Carter Burwell

&nbsp;

Best original song:

&quot;Mighty River&quot; from &quot;Mudbound&quot;

&quot;Mystery of Love&quot; from &quot;Call Me By Your Name&quot;

&quot;Remember Me&quot; from &quot;Coco&quot;

&quot;Stand Up for Something&quot; from &quot;Marshall&quot;

&quot;This Is Me&quot; from &quot;The Greatest Showman&quot;

&nbsp;

Makeup and Hair:

Darkest Hour -&nbsp;Kazuhiro Tsuji, David Malinowski, Lucy Sibbick

Victoria and Abdul - Daniel Phillips and Lou Sheppard

Wonder - Arjen Tuiten

&nbsp;

Costume Design:

Beauty and the Beast - Jacqueline Durran

Darkest Hour - Jacqueline Durran

Phantom Thread - Mark Bridges

The Shape of Water - Luis Sequeira

Victoria and Abdul - Consolata Boyle

&nbsp;

Visual Effects:

Blade Runner 2049 - John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer

Guardians of the Galaxy Vol. 2 - Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick

Kong: Skull Island - Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus

Star Wars: The Last Jedi -&nbsp; Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan

War for the Planet of the Apes - Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist

&nbsp;

Film Editing:

Baby Driver - Jonathan Amos, Paul Machliss

Dunkirk - Lee Smith

I, Tonya - Tatiana S. Riegel

The Shape of Water - Sidney Wolinsky

Three Billboards Outside Ebbing, Missouri - Jon Gregory

&nbsp;

Sound Editing:

Baby Driver - Julian Slater

Blade Runner - 2049&nbsp;Mark Mangini, Theo Green

Dunkirk&nbsp;Alex Gibson - Richard King

The Shape of Water&nbsp;Nathan Robitaille - Nelson Ferreira

Star Wars: The Last Jedi - Ren Klyce, Matthew Wood

&nbsp;

Sound Mixing:

Baby Driver&nbsp;Mary H. Ellis - Julian Slater, Tim Cavagin

Blade Runner 2049 - Mac Ruth, Ron Bartlett, Doug Hephill

Dunkirk - Mark Weingarten, Gregg Landaker, Gary A. Rizzo

The Shape of Water - Glen Gauthier, Christian Cooke, Brad Zoern

Star Wars: The Last Jedi - Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

&nbsp;

Production Design:

Beauty and the Beast - Sarah Greenwood; Katie Spencer

Blade Runner 2049 - Dennis Gassner, Alessandra Querzola

Darkest Hour - Sarah Greenwood, Katie Spencer

Dunkirk - Nathan Crowley, Gary Fettis

The Shape of Water - Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau

&nbsp;

Number of nominations for films with four or more nods:

&quot;The Shape of Water&quot; - 13

&quot;Dunkirk&quot; - 8

&quot;Three Billboards Outside Ebbing, Missouri&quot; - 7

&quot;Darkest Hour&quot; - 6

&quot;Phantom Thread&quot; - 6

&quot;Lady Bird&quot; - 5

&quot;Blade Runner 2049&quot; - 5

&quot;Call Me By Your Name&quot; - 4

&quot;Get Out&quot; - 4

&quot;Mudbound&quot; - 4

&quot;Star Wars: The Last Jedi&quot; - 4&nbsp;

'The Shape of Water' leads the nominations with 13, followed by 'Dunkirk' with eight

Here are the nominees in key categories for the 90th Academy Awards, to be handed out on Sunday in Hollywood. "The Shape of Water" leads the nominations with 13, followed by "Dunkirk" with eight: Best picture: "Call Me By Your Name" "Darkest Hour" "Dunkirk" "Get Out" "Lady Bird" "Phantom Thread" "The Post" "The Shape of Water" "Three Billboards Outside Ebbing, Missouri" Best director: Christopher Nolan, "Dunkirk" Jordan Peele, "Get Out" Greta Gerwig, "Lady Bird" Paul Thomas Anderson, "Phantom Thread" Guillermo del Toro, "The Shape of Water" Best actor: Timothee Chalamet, "Call Me by Your Name" Daniel Day-Lewis, "Phantom Thread" Daniel Kaluuya, "Get Out" Gary Oldman, "Darkest Hour" Denzel Washington, "Roman J. Israel, Esq." Best actress: Sally Hawkins, "The Shape of Water" Frances McDormand, "Three Billboards Outside Ebbing, Missouri" Margot Robbie, "I, Tonya" Saoirse Ronan, "Lady Bird" Meryl Streep, "The Post" Best supporting actor: Willem Dafoe, "The Florida Project" Woody Harrelson, "Three Billboards Outside Ebbing, Missouri" Richard Jenkins, "The Shape of Water" Christopher Plummer, "All the Money in the World" Sam Rockwell, "Three Billboards Outside Ebbing, Missouri" Best supporting actress: Mary J. Blige, "Mudbound" Allison Janney, "I, Tonya" Lesley Manville, "Phantom Thread" Laurie Metcalf, "Lady Bird" Octavia Spencer, "The Shape of Water" Best Live Action Short Film: DeKalb Elementary - Reed Van Dyk The Eleven O’Clock Derin Seale - Josh Lawson My Nephew Emmett - Kevin Wilson, Jr. The Silent Child - Chris Overton, Rachel Shenton Watu Wote/All of Us - Katja Benrath, Tobias Rosen Best foreign language film: "A Fantastic Woman" (Chile) "The Insult" (Lebanon) "Loveless" (Russia) "On Body and Soul" (Hungary) "The Square" (Sweden) Best animated feature: The Boss Baby The Breadwinner Coco Ferdinand Loving Vincent Animated Short: Dear Basketball - Glen Keane, Kobe Bryant Garden Party - Victor Caire, Gabriel Grapperon Lou - Dave Mullins - Dana Murray Negative Space - Max Porter, Ru Kuwahata Revolting Rhymes - Jakob Schuh, Jan Lachauer Best documentary feature: "Abacus: Small Enough to Jail" "Faces Places" "Icarus" "Last Men in Aleppo" "Strong Island" Best Documentary Short Subject: Edith+Eddie - Laura Checkoway - Thomas Lee Wright Heaven is a Traffic Jam on the 405 - Frank Stiefel Heroin(e) - Elaine McMillion Sheldon, Kerrin Sheldon Knife Skills - Thomas Lennon Traffic Stop - Kate Davis, David Heilbroner Best original screenplay: "The Big Sick" - Emily V. Gordon and Kumail Nanjiani "Get Out" - Jordan Peele "Lady Bird" - Greta Gerwig "The Shape of Water" - Guillermo del Toro and Vanessa Taylor "Three Billboards Outside Ebbing, Missouri" - Martin McDonagh Best adapted screenplay: "Call Me By Your Name" - James Ivory "The Disaster Artist" - Scott Neustadter and Michael H. Weber "Logan" - Scott Frank, James Mangold and Michael Green "Molly's Game" - Aaron Sorkin "Mudbound" - Virgil Williams and Dee Rees Cinematography: Blade Runner 2049 - Roger Deakins Darkest Hour - Bruno Delbonnel Dunkirk - Hoyte van Hoytema Mudbound - Rachel Morrison The Shape of Water - Dan Laustsen Best original score: "Dunkirk" - Hans Zimmer "Phantom Thread" - Jonny Greenwood "The Shape of Water" - Alexandre Desplat "Star Wars: The Last Jedi" - John Williams "Three Billboards Outside Ebbing, Missouri" - Carter Burwell Best original song: "Mighty River" from "Mudbound" "Mystery of Love" from "Call Me By Your Name" "Remember Me" from "Coco" "Stand Up for Something" from "Marshall" "This Is Me" from "The Greatest Showman" Makeup and Hair: Darkest Hour - Kazuhiro Tsuji, David Malinowski, Lucy Sibbick Victoria and Abdul - Daniel Phillips and Lou Sheppard Wonder - Arjen Tuiten Costume Design: Beauty and the Beast - Jacqueline Durran Darkest Hour - Jacqueline Durran Phantom Thread - Mark Bridges The Shape of Water - Luis Sequeira Victoria and Abdul - Consolata Boyle Visual Effects: Blade Runner 2049 - John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer Guardians of the Galaxy Vol. 2 - Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick Kong: Skull Island - Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus Star Wars: The Last Jedi - Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan War for the Planet of the Apes - Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist Film Editing: Baby Driver - Jonathan Amos, Paul Machliss Dunkirk - Lee Smith I, Tonya - Tatiana S. Riegel The Shape of Water - Sidney Wolinsky Three Billboards Outside Ebbing, Missouri - Jon Gregory Sound Editing: Baby Driver - Julian Slater Blade Runner - 2049 Mark Mangini, Theo Green Dunkirk Alex Gibson - Richard King The Shape of Water Nathan Robitaille - Nelson Ferreira Star Wars: The Last Jedi - Ren Klyce, Matthew Wood Sound Mixing: Baby Driver Mary H. Ellis - Julian Slater, Tim Cavagin Blade Runner 2049 - Mac Ruth, Ron Bartlett, Doug Hephill Dunkirk - Mark Weingarten, Gregg Landaker, Gary A. Rizzo The Shape of Water - Glen Gauthier, Christian Cooke, Brad Zoern Star Wars: The Last Jedi - Stuart Wilson, Ren Klyce, David Parker, Michael Semanick Production Design: Beauty and the Beast - Sarah Greenwood; Katie Spencer Blade Runner 2049 - Dennis Gassner, Alessandra Querzola Darkest Hour - Sarah Greenwood, Katie Spencer Dunkirk - Nathan Crowley, Gary Fettis The Shape of Water - Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau Number of nominations for films with four or more nods: "The Shape of Water" - 13 "Dunkirk" - 8 "Three Billboards Outside Ebbing, Missouri" - 7 "Darkest Hour" - 6 "Phantom Thread" - 6 "Lady Bird" - 5 "Blade Runner 2049" - 5 "Call Me By Your Name" - 4 "Get Out" - 4 "Mudbound" - 4 "Star Wars: The Last Jedi" - 4

Oscar nominees: Full list

Bill Cosby&rsquo;s 44-year-old daughter, Ensa Cosby, died in Massachusetts on Friday, a family spokesman confirmed on Monday.&nbsp;

Ensa, Bill&#39;s third child with his wife Camille Olivia Hanks died on Friday night, February 23, from a chronic kidney ailment.&nbsp;&ldquo;The Cosby family thanks many people for their prayers for their beloved and beautiful Ensa,&rdquo; the spokesman said in a statement.

Ensa, last year, came to her father&#39;s defense after he was accused of sexually assaulting numerous women over the years.&nbsp;

In May 2017 when she released a statement with her older sister, Erinn, on the popular radio show, &ldquo;The Breakfast Club,&rdquo; proclaiming their father&rsquo;s innocence against the multiple rape allegations lodged against him as he was about to go on trial.

&ldquo;The accusations against my father have been one-sided since the beginning,&rdquo; Ensa said in an audio statement aired during the morning show. &ldquo;I strongly believe my father is innocent of the crimes alleged against him and I believe that racism has played a big role in all aspects of this scandal.&rdquo;

&ldquo;My father has been publicly lynched in the media,&rdquo; she added.

Cosby, 80, is scheduled to appear in a Pennsylvania court next week for a hearing on pretrial motions ahead of his scheduled retrial on April 2. He faces criminal charges that he drugged and sexually assaulted a former administrator of the women&rsquo;s basketball team at his alma mater, Temple University, in 2004.

His first trial ended in a hung jury. Cosby has denied all wrongdoing, saying that any sexual encounters with his accusers were consensual.

Bill Cosby lost another of his five children in 1997 when his 27-year-old son, Ennis, a graduate student at Columbia University, was shot to death while changing a flat tire near a freeway off ramp in Los Angeles. A 22-year-old man was later convicted and sentenced to life in prison without&nbsp;

Ensa, Bill's third child with his wife Camille Olivia Hanks died on Friday night, February 23, died from a chronic kidney ailment

Bill Cosby’s 44-year-old daughter, Ensa Cosby, died in Massachusetts on Friday, a family spokesman confirmed on Monday. Ensa, Bill's third child with his wife Camille Olivia Hanks died on Friday night, February 23, from a chronic kidney ailment. “The Cosby family thanks many people for their prayers for their beloved and beautiful Ensa,” the spokesman said in a statement. Ensa, last year, came to her father's defense after he was accused of sexually assaulting numerous women over the years. In May 2017 when she released a statement with her older sister, Erinn, on the popular radio show, “The Breakfast Club,” proclaiming their father’s innocence against the multiple rape allegations lodged against him as he was about to go on trial. “The accusations against my father have been one-sided since the beginning,” Ensa said in an audio statement aired during the morning show. “I strongly believe my father is innocent of the crimes alleged against him and I believe that racism has played a big role in all aspects of this scandal.” “My father has been publicly lynched in the media,” she added. Cosby, 80, is scheduled to appear in a Pennsylvania court next week for a hearing on pretrial motions ahead of his scheduled retrial on April 2. He faces criminal charges that he drugged and sexually assaulted a former administrator of the women’s basketball team at his alma mater, Temple University, in 2004. His first trial ended in a hung jury. Cosby has denied all wrongdoing, saying that any sexual encounters with his accusers were consensual. Bill Cosby lost another of his five children in 1997 when his 27-year-old son, Ennis, a graduate student at Columbia University, was shot to death while changing a flat tire near a freeway off ramp in Los Angeles. A 22-year-old man was later convicted and sentenced to life in prison without

Bill Cosby's daughter, Ensa, dies at 44

Actor Natalie Portman regrets signing a letter demanding the release of Roman Polanski when he was arrested in Switzerland in 2009. 
 
The Oscar-winner was among the high profiled Hollywood personalities, which also included Martin Scorsese, Woody Allen, and Emma Thompson, to sign the petition calling Polanski&#39;s release following his arrest and detention while in Switzerland at the request of US authorities in a case related to unlawful sexual intercourse with a minor in 1977. 
 
&quot;I very much regret it. I take responsibility for not thinking about it enough. Someone I respected gave it to me, and said, &#39;I signed this. Will you too?&#39; And I was like, sure. It was a mistake,&quot; Portman told Buzzfeed. 
&quot;The thing I feel like I gained from it is empathy towards people who have made mistakes. We lived in a different world, and that doesn&#39;t excuse anything. But you can have your eyes opened and completely change the way you want to live. My eyes were not open,&quot; she added. 
 
The &quot;Annihilation&quot; actor, however, sidestepped questions about Woody Allen, who has been accused of sexual abuse by his step-daughter Dylan Farrow. 
 
When asked whether the multiple Oscar-winning director&#39;s career is over in the wake of massive sexual harassment scandal, Portman said, &quot;I don&#39;t think that&#39;s what the conversation should be about. I think it should be about: Why didn&#39;t Elaine May make a movie every year? Why didn&#39;t Nora Ephron make a movie every year? Where&#39;s the female version of Bill Cosby? Why don&#39;t we see any Asian women in films? There&#39;s so much art that&#39;s being lost by not giving opportunities to women and people of colour.&quot; 
 
&quot;Let&#39;s not talk about what man&#39;s career is over. Let&#39;s talk about the vast art trove we&#39;ve lost by not giving women, people of colour, people with disabilities, and the LGBTQ+ community opportunities &mdash; let&#39;s talk about that loss for all of us in art. Let&#39;s talk about that huge hole in our culture. I don&#39;t want talk about &#39;Isn&#39;t it sad that this person who&#39;s made 500 movies can&#39;t make movies anymore?&#39; That&#39;s not for me to decide. And it&#39;s also not what I&#39;m upset about,&quot; she added

The Oscar-winner was among the high profiled Hollywood personalities, which also included Martin Scorsese, Woody Allen, and Emma Thompson, to sign the petition calling Polanski's release following his arrest.

Actor Natalie Portman regrets signing a letter demanding the release of Roman Polanski when he was arrested in Switzerland in 2009. The Oscar-winner was among the high profiled Hollywood personalities, which also included Martin Scorsese, Woody Allen, and Emma Thompson, to sign the petition calling Polanski's release following his arrest and detention while in Switzerland at the request of US authorities in a case related to unlawful sexual intercourse with a minor in 1977. "I very much regret it. I take responsibility for not thinking about it enough. Someone I respected gave it to me, and said, 'I signed this. Will you too?' And I was like, sure. It was a mistake," Portman told Buzzfeed. "The thing I feel like I gained from it is empathy towards people who have made mistakes. We lived in a different world, and that doesn't excuse anything. But you can have your eyes opened and completely change the way you want to live. My eyes were not open," she added. The "Annihilation" actor, however, sidestepped questions about Woody Allen, who has been accused of sexual abuse by his step-daughter Dylan Farrow. When asked whether the multiple Oscar-winning director's career is over in the wake of massive sexual harassment scandal, Portman said, "I don't think that's what the conversation should be about. I think it should be about: Why didn't Elaine May make a movie every year? Why didn't Nora Ephron make a movie every year? Where's the female version of Bill Cosby? Why don't we see any Asian women in films? There's so much art that's being lost by not giving opportunities to women and people of colour." "Let's not talk about what man's career is over. Let's talk about the vast art trove we've lost by not giving women, people of colour, people with disabilities, and the LGBTQ+ community opportunities — let's talk about that loss for all of us in art. Let's talk about that huge hole in our culture. I don't want talk about 'Isn't it sad that this person who's made 500 movies can't make movies anymore?' That's not for me to decide. And it's also not what I'm upset about," she added

Natalie Portman regrets signing petition in support of Roman Polanski

Los Angeles: Actor Chadwick Boseman believes the success of &quot;Black Panther&quot; has led to a moment of reckoning in the entertainment industry as it has forced people to change their attitudes towards black people and their stories.

The 41-year-old actor, who portrays Marvel&#39;s first black superhero, channelled the character&#39;s spirit on the Rolling Stone cover for which he went shirtless. 
 
&quot;It&#39;s a sea-change moment,&quot; Boseman told the magazine. 
 
&quot;I still remember the excitement people had seeing Malcolm X. And this is greater, because it includes other people, too,&quot; he added. 
 
Boseman also talked about the Hollywood double-standards where the producers would go to great lengths to find an immensely talented white actor but do not make the same commitment to find an equally talented black actor. 
&quot;Every year, agents fly to Australia to find the next great white actor. But where are they taking 14-hour flights to find the next black person?&quot; Boseman said. 
 
&quot;There&#39;s a lot of great things happening. If you think about Barry (Jenkins), Ava (DuVernay), Ryan (Coogler) &ndash; it&#39;s a renaissance of black film. But it&#39;s still not enough. It&#39;s a numbers thing. If you have 15 shots, I got three. If you have nine chances to mess up, I have one. Each one of us knows that if you mess up, your career is done. I see the intensity. I see how Ryan is. If you have a dud, you&#39;ll never work in this town again,&quot; he added. 
 
He believes the black culture has an abundance of stories that can be showed on-screen, yet are still untouched. 
 
&quot;There&#39;s a plethora of stories in our culture that haven&#39;t been told because Hollywood didn&#39;t believe they were viable. It would be cool to see slices of history that you haven&#39;t seen with African figures. 
 
&quot;Like Africans in Europe - the Moors in Spain. Or if you go to Portugal, they have statues of black people all over the place. So not only have we been here. But we&#39;ve directly affected everything that you think is European,&quot; Boseman said. 
 
He also acknowledged the budget and manpower that went into the making of the film given it has a virtually all-black star cast. 
 
&quot;The money and manpower it takes to create this entire African world -- it&#39;s a huge production. But this is not Star Wars --this is a black superhero movie!&quot; he said. 
 
Boseman said what appealed to him in the film was that it had predominately black actors and was set in Africa. 
 
&quot;Some (black) actors will say, &#39;I don&#39;t want to play a character just because he&#39;s black.&#39; And that&#39;s great, I&#39;m not saying they&#39;re wrong. But that&#39;s missing all the richness that&#39;s been whitewashed,&quot; he added. PTI RB SHD BK 20021329

He believes the black culture has an abundance of stories that can be showed on-screen, yet are still untouched.

Los Angeles: Actor Chadwick Boseman believes the success of "Black Panther" has led to a moment of reckoning in the entertainment industry as it has forced people to change their attitudes towards black people and their stories. The 41-year-old actor, who portrays Marvel's first black superhero, channelled the character's spirit on the Rolling Stone cover for which he went shirtless. "It's a sea-change moment," Boseman told the magazine. "I still remember the excitement people had seeing Malcolm X. And this is greater, because it includes other people, too," he added. Boseman also talked about the Hollywood double-standards where the producers would go to great lengths to find an immensely talented white actor but do not make the same commitment to find an equally talented black actor. "Every year, agents fly to Australia to find the next great white actor. But where are they taking 14-hour flights to find the next black person?" Boseman said. "There's a lot of great things happening. If you think about Barry (Jenkins), Ava (DuVernay), Ryan (Coogler) – it's a renaissance of black film. But it's still not enough. It's a numbers thing. If you have 15 shots, I got three. If you have nine chances to mess up, I have one. Each one of us knows that if you mess up, your career is done. I see the intensity. I see how Ryan is. If you have a dud, you'll never work in this town again," he added. He believes the black culture has an abundance of stories that can be showed on-screen, yet are still untouched. "There's a plethora of stories in our culture that haven't been told because Hollywood didn't believe they were viable. It would be cool to see slices of history that you haven't seen with African figures. "Like Africans in Europe - the Moors in Spain. Or if you go to Portugal, they have statues of black people all over the place. So not only have we been here. But we've directly affected everything that you think is European," Boseman said. He also acknowledged the budget and manpower that went into the making of the film given it has a virtually all-black star cast. "The money and manpower it takes to create this entire African world -- it's a huge production. But this is not Star Wars --this is a black superhero movie!" he said. Boseman said what appealed to him in the film was that it had predominately black actors and was set in Africa. "Some (black) actors will say, 'I don't want to play a character just because he's black.' And that's great, I'm not saying they're wrong. But that's missing all the richness that's been whitewashed," he added. PTI RB SHD BK 20021329

Sea-change moment: Chadwick Boseman on 'Black Panther' success

Earning great reviews for its storyline, acting and presentation, Marvel&#39;s Black Panther also proves itself at the box office.&nbsp;

With actor Chadwick Boseman in the lead role, the Disney-Marvel movie has become the highest opening Hollywood debut superhero film in India.&nbsp;The film has opened to approximately Rs 15 crore weekend at the Indian box office. This is also the biggest opening for any Hollywood film in India in 2018.&nbsp;

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<a href="https://twitter.com/hashtag/BlackPanther?src=hash&amp;ref_src=twsrc%5Etfw">#BlackPanther</a> emerged the first choice of moviegoers... Fared well in its opening weekend... Thu previews + Fri 5.60 cr, Sat 6.65 cr, Sun 7.10 cr. Total: ₹ 19.35 cr Nett BOC&hellip; Gross BOC: ₹ 24.81 cr. India biz... Note: Hindi + English.
&mdash; taran adarsh (@taran_adarsh) <a href="https://twitter.com/taran_adarsh/status/965520017293901824?ref_src=twsrc%5Etfw">February 19, 2018</a></blockquote>
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In the United States, the film has received&nbsp;the fifth-biggest opening of all time by raking in a whopping $192 million (Rs 1239.45 crore) in the first weekend.

Black Panther directed by&nbsp;African-American Ryan Coogler has broken all previous records.&nbsp;

Interestingly, the film&nbsp;Black Panther is the first Marvel film to be led by a person of colour -- Chadwick Boseman -- and featuring a virtually all-black cast with Michael B Jordan, Lupita Nyong&rsquo;o and Danai Gurira, with Andy Serkis and Martin Freeman being a few exceptions.

&nbsp;

Marvel superhero flick Black Panther has become the highest opening Hollywood debut superhero film in India

Earning great reviews for its storyline, acting and presentation, Marvel's Black Panther also proves itself at the box office. With actor Chadwick Boseman in the lead role, the Disney-Marvel movie has become the highest opening Hollywood debut superhero film in India. The film has opened to approximately Rs 15 crore weekend at the Indian box office. This is also the biggest opening for any Hollywood film in India in 2018. #BlackPanther emerged the first choice of moviegoers... Fared well in its opening weekend... Thu previews + Fri 5.60 cr, Sat 6.65 cr, Sun 7.10 cr. Total: ₹ 19.35 cr Nett BOC… Gross BOC: ₹ 24.81 cr. India biz... Note: Hindi + English. — taran adarsh (@taran_adarsh) February 19, 2018 × In the United States, the film has received the fifth-biggest opening of all time by raking in a whopping $192 million (Rs 1239.45 crore) in the first weekend. Black Panther directed by African-American Ryan Coogler has broken all previous records. Interestingly, the film Black Panther is the first Marvel film to be led by a person of colour -- Chadwick Boseman -- and featuring a virtually all-black cast with Michael B Jordan, Lupita Nyong’o and Danai Gurira, with Andy Serkis and Martin Freeman being a few exceptions.

Marvel's 'Black Panther' collects record Rs 1240 cr in opening weekend worldwide

The Red Sparrow star Jennifer Lawrence announced today&nbsp;to take a year off from acting and focus her attention towards motivating young people to actively join politics.&nbsp;

The actress who was seen yesterday walking the red carpet at BAFTAs said that the year of &#39;2019&#39;&nbsp;will be about &#39;stepping away from the spotlight&#39;&nbsp;to focus all energy on working with a charity called &#39;Represent Us&#39;.&nbsp;

The 27-year-old actress said, &quot;I&#39;m going to take the next year off. I&#39;m going to be working with this organisation as a part of Represent Us... trying to get young people engaged politically on a local level. It doesn&#39;t have anything to do with partisan (politics). It&#39;s just anti-corruption and stuff trying to pass state by state laws that can help prevent corruption, fix our democracy.&quot;

The Hunger Games actress is currently working with the anti-corruption charity, and recently surprised a group of high school students at Cleveland Heights High School in Cleveland, Ohio with a talk about politics in association with the charity.

She said,&nbsp;&ldquo;This last year has been a trying and challenging time in our world and our industry specifically. Every day, we wake up to a myriad of headlines that deeply impact us, from around the globe.&rdquo;

&nbsp;

She will not be seen in movies in 2019, according to an interview at BAFTAs

The Red Sparrow star Jennifer Lawrence announced today to take a year off from acting and focus her attention towards motivating young people to actively join politics. The actress who was seen yesterday walking the red carpet at BAFTAs said that the year of '2019' will be about 'stepping away from the spotlight' to focus all energy on working with a charity called 'Represent Us'. The 27-year-old actress said, "I'm going to take the next year off. I'm going to be working with this organisation as a part of Represent Us... trying to get young people engaged politically on a local level. It doesn't have anything to do with partisan (politics). It's just anti-corruption and stuff trying to pass state by state laws that can help prevent corruption, fix our democracy." The Hunger Games actress is currently working with the anti-corruption charity, and recently surprised a group of high school students at Cleveland Heights High School in Cleveland, Ohio with a talk about politics in association with the charity. She said, “This last year has been a trying and challenging time in our world and our industry specifically. Every day, we wake up to a myriad of headlines that deeply impact us, from around the globe.”

'Red Sparrow' star Jennifer Lawrence is taking a break from movies

Thank God for the Americans! Strange words to be uttering at this time, and yet within the space of three years their mighty image-making machine, Hollywood, has produced two masterpieces sheeting home to us all the indispensability of a free press.

In an age of so-called &ldquo;fake news&rdquo; and &ldquo;alternative facts&rdquo;, these stand as a signal reminder of what true news looks like, and how it can &ndash; must &ndash; be produced in the teeth of opposition from vested interests and government power.

The first of these was Spotlight, the story of how The Boston Globe ripped the lid off a decades-long cover-up by the Boston Catholic diocese of child sexual abuse by its priests. It won the Oscar for best picture in 2016.

The second, recently released in Australia, is The Post. It is the story of how The Washington Post came to publish the Pentagon Papers, the highly classified secret documents that showed successive US presidents from Truman to Nixon lying to the people about American policy in Indo-China and the disastrous course of the Vietnam War.

<figure><iframe allowfullscreen="" frameborder="0" height="260" src="https://www.youtube.com/embed/nrXlY6gzTTM?wmode=transparent&amp;start=0" width="440"></iframe></figure>

&nbsp;

It is also the story of how Katharine Graham, widow of the Post&rsquo;s publisher, Phil Graham, was forced to grow into the role of a publisher prepared to run the story in the face of serious legal threats, possible financial ruin and loss of old friendships with rich and powerful people.

It was not a role that came easily to Kay Graham (played by Meryl Streep). In her Pulitzer Prize-winning memoirs, published in 1997, she wrote frankly of how unprepared she was for the role forced upon her by her husband&rsquo;s suicide.

She was the daughter of a wealthy New York businessman who had bought the Post at a bankruptcy auction in 1933. When she married the brilliant but later seriously ill Phil Graham, her father devolved the role of publisher upon him, not her. Her job was to bring up the children and add lustre to the family&rsquo;s social position. The film conveys this background economically and convincingly.

It is equally convincing in its depiction of power: newspaper power, legal power and government power. Richard Nixon is in the White House. In an early scene, H.R. Haldeman, Nixon&rsquo;s chief of staff and notorious bully, rings Graham to try to have a particular Post reporter banned from covering the wedding of one of Nixon&rsquo;s daughters because the president didn&rsquo;t like her portrayal of the daughter in an earlier article.

Graham, still finding her feet, looks for ways to accommodate this. She asks the editor, Ben Bradlee (Tom Hanks), if perhaps another reporter could be assigned. But all this is swamped when, on the morning the Post runs a front-page picture of the wedding, it has the pants scooped off it by The New York Times, which has splashed the initial tranche of the Pentagon Papers.

In the flurry to catch up, a Post reporter, Ben Bagdikian (Bob Odenkirk), who was to have a distinguished career on the paper and later at the Berkeley Graduate School of Journalism, tracks down the Times&rsquo; source, Daniel Ellsberg.

<figure class="align-center zoomable"><a href="https://images.theconversation.com/files/202527/original/file-20180118-80165-8kheml.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img alt="" src="https://images.theconversation.com/files/202527/original/file-20180118-80165-8kheml.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" /></a>

<figcaption>Editors at The Washington Post contemplate what to do with the explosive Pentagon Papers. IMDB</figcaption>
</figure>

&nbsp;

In circumstances of confidentiality and anonymity, Ellsberg hands him more than 4,000 additional pages from the Pentagon Papers. This confronts Bagdikian, Bradlee, Graham and The Washington Post Company itself with a series of acute ethical, legal and financial dilemmas.

The White House has obtained a court order restraining The New York Times from publishing any more of the papers. The Post&rsquo;s lawyers advise that if the source for both newspapers is the same, the Post would be in contempt of court should it publish the new material.

At this stage it seems that no one at the Post except Bagdikian knows Ellsberg&rsquo;s identity, and it is a cardinal principle of journalism that the identity of a confidential source must be protected in all circumstances. One of the lawyers pressures Bagdikian to reveal his source. He refuses to name names but concedes that it is &ldquo;very likely&rdquo; to be the same as the Times&rsquo;.

Graham and Bradlee then face the prospect of being imprisoned for contempt. To make matters worse, the company has just been floated on the stock exchange, and the jailing of the publisher and editor might provide grounds on which the bankers behind the float could withdraw. The company&rsquo;s future and that of the newspaper and all the staff are on the line.

For Graham there is a personal complication. She is a close friend of Robert McNamara who, as defence secretary, had commissioned the writing of the Pentagon Papers for historical purposes. This friendship now threatens to compromise her. She goes to McNamara and tells him she has a difficult decision to make concerning the papers. She does not tell him what it is because at that stage she does not know herself.

The money men and board members advising Graham urge her not to publish because of the possible impact on the float. Bradlee urges the opposite, saying if the Post caves in to government pressure over this, it will betray its role of holding governments to account.

When Graham makes the decision to &ldquo;go&rdquo;, she quietly confronts the condescension of her board &ndash; all male grandees &ndash; by reminding them that it is her company. Her metamorphosis into a courageous publisher is complete.

And now the power of the press is arrestingly depicted. It is 1971. Linotype machines clatter away setting the body type; banner headlines are set by hand in a Ludlow stick. In the press room, the towering press units are webbed up waiting for the word. Finally Bradlee rings through. The huge presses begin to roll and in a half-darkened newsroom Bagdikian can hear their hammering rhythm.

In the White House next morning an enraged Nixon orders that the Post is to be banned from the premises. It will avail him little. The film closes with shadowy figures moving about the Democratic Party campaign headquarters in a hotel called Watergate, hinting at the scandal that would ultimately lead to Nixon&rsquo;s resignation.

<img alt="The Conversation" height="1" src="https://counter.theconversation.com/content/90379/count.gif?distributor=republish-lightbox-basic" width="1" />For people interested in the workings of democracy, in the ethical dilemmas of journalism, in a dramatic historical event that reinvigorated the ideal of a free press, or in drawing parallels with recent events surrounding the Trump White House, this is a film not to be missed.

&nbsp;

This article was originally published on <a href="http://theconversation.com" rel="nofollow" target="blank">The Conversation</a>. Read the <a href="https://theconversation.com/in-the-post-hollywood-reminds-us-what-true-news-should-look-like-90379" rel="nofollow" target="blank">original article</a>.

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)&nbsp;&nbsp;

The Post is the story of how The Washington Post came to publish the Pentagon Papers, the highly classified secret documents that showed successive US presidents from Truman to Nixon lying to the people about American policy in Indo-China and the disastrous course of the Vietnam War.

Thank God for the Americans! Strange words to be uttering at this time, and yet within the space of three years their mighty image-making machine, Hollywood, has produced two masterpieces sheeting home to us all the indispensability of a free press. In an age of so-called “fake news” and “alternative facts”, these stand as a signal reminder of what true news looks like, and how it can – must – be produced in the teeth of opposition from vested interests and government power. The first of these was Spotlight, the story of how The Boston Globe ripped the lid off a decades-long cover-up by the Boston Catholic diocese of child sexual abuse by its priests. It won the Oscar for best picture in 2016. The second, recently released in Australia, is The Post. It is the story of how The Washington Post came to publish the Pentagon Papers, the highly classified secret documents that showed successive US presidents from Truman to Nixon lying to the people about American policy in Indo-China and the disastrous course of the Vietnam War. It is also the story of how Katharine Graham, widow of the Post’s publisher, Phil Graham, was forced to grow into the role of a publisher prepared to run the story in the face of serious legal threats, possible financial ruin and loss of old friendships with rich and powerful people. It was not a role that came easily to Kay Graham (played by Meryl Streep). In her Pulitzer Prize-winning memoirs, published in 1997, she wrote frankly of how unprepared she was for the role forced upon her by her husband’s suicide. She was the daughter of a wealthy New York businessman who had bought the Post at a bankruptcy auction in 1933. When she married the brilliant but later seriously ill Phil Graham, her father devolved the role of publisher upon him, not her. Her job was to bring up the children and add lustre to the family’s social position. The film conveys this background economically and convincingly. It is equally convincing in its depiction of power: newspaper power, legal power and government power. Richard Nixon is in the White House. In an early scene, H.R. Haldeman, Nixon’s chief of staff and notorious bully, rings Graham to try to have a particular Post reporter banned from covering the wedding of one of Nixon’s daughters because the president didn’t like her portrayal of the daughter in an earlier article. Graham, still finding her feet, looks for ways to accommodate this. She asks the editor, Ben Bradlee (Tom Hanks), if perhaps another reporter could be assigned. But all this is swamped when, on the morning the Post runs a front-page picture of the wedding, it has the pants scooped off it by The New York Times, which has splashed the initial tranche of the Pentagon Papers. In the flurry to catch up, a Post reporter, Ben Bagdikian (Bob Odenkirk), who was to have a distinguished career on the paper and later at the Berkeley Graduate School of Journalism, tracks down the Times’ source, Daniel Ellsberg. Editors at The Washington Post contemplate what to do with the explosive Pentagon Papers. IMDB In circumstances of confidentiality and anonymity, Ellsberg hands him more than 4,000 additional pages from the Pentagon Papers. This confronts Bagdikian, Bradlee, Graham and The Washington Post Company itself with a series of acute ethical, legal and financial dilemmas. The White House has obtained a court order restraining The New York Times from publishing any more of the papers. The Post’s lawyers advise that if the source for both newspapers is the same, the Post would be in contempt of court should it publish the new material. At this stage it seems that no one at the Post except Bagdikian knows Ellsberg’s identity, and it is a cardinal principle of journalism that the identity of a confidential source must be protected in all circumstances. One of the lawyers pressures Bagdikian to reveal his source. He refuses to name names but concedes that it is “very likely” to be the same as the Times’. Graham and Bradlee then face the prospect of being imprisoned for contempt. To make matters worse, the company has just been floated on the stock exchange, and the jailing of the publisher and editor might provide grounds on which the bankers behind the float could withdraw. The company’s future and that of the newspaper and all the staff are on the line. For Graham there is a personal complication. She is a close friend of Robert McNamara who, as defence secretary, had commissioned the writing of the Pentagon Papers for historical purposes. This friendship now threatens to compromise her. She goes to McNamara and tells him she has a difficult decision to make concerning the papers. She does not tell him what it is because at that stage she does not know herself. The money men and board members advising Graham urge her not to publish because of the possible impact on the float. Bradlee urges the opposite, saying if the Post caves in to government pressure over this, it will betray its role of holding governments to account. When Graham makes the decision to “go”, she quietly confronts the condescension of her board – all male grandees – by reminding them that it is her company. Her metamorphosis into a courageous publisher is complete. And now the power of the press is arrestingly depicted. It is 1971. Linotype machines clatter away setting the body type; banner headlines are set by hand in a Ludlow stick. In the press room, the towering press units are webbed up waiting for the word. Finally Bradlee rings through. The huge presses begin to roll and in a half-darkened newsroom Bagdikian can hear their hammering rhythm. In the White House next morning an enraged Nixon orders that the Post is to be banned from the premises. It will avail him little. The film closes with shadowy figures moving about the Democratic Party campaign headquarters in a hotel called Watergate, hinting at the scandal that would ultimately lead to Nixon’s resignation. For people interested in the workings of democracy, in the ethical dilemmas of journalism, in a dramatic historical event that reinvigorated the ideal of a free press, or in drawing parallels with recent events surrounding the Trump White House, this is a film not to be missed. This article was originally published on The Conversation. Read the original article. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: In The Post, Hollywood reminds us what true news should look like

Naomi Watts paid tribute to her late ex-boyfriend Heath Ledger on his&nbsp;10th death anniversary.&nbsp;

The &quot;Brokeback Mountain&quot;&nbsp;star passed away on January 22, 2008, after suffering from cardiac arrest brought on by prescription drug intoxication at the age of 28.

His former partner Naomi - who dated the actor from 2002 to 2004 -&nbsp;remembered him in a touching social media post.

Posting a professional picture of Heath - who went on to date Michelle Williams, with whom he had a daughter named Matilda, now 12 - Naomi wrote: &quot;Thinking about this beautiful soul today. 10 years ago he left this world. He was a true original. Heart always on his sleeve, with the most powerful charisma, strength, humour and talent. I will never forget his gentle spirit. (sic)&quot;

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<div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div>
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<a href="https://www.instagram.com/p/BeQYK8ShuS4/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Thinking about this beautiful soul today. 10 years ago he left this world. He was a true original. Heart always on his sleeve, with the most powerful charisma, strength, humor and talent. I will never forget his gentle spirit. ❤️ #heathledger ???? @wattsupphoto</a>

<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/naomiwatts/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Naomi Watts</a> (@naomiwatts) on <time datetime="2018-01-22T14:57:08+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">Jan 22, 2018 at 6:57am PST</time>
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It comes after Michelle Williams&#39; longtime best friend Busy Phillips posted videos on her own Instagram account where she broke down in tears in her car whilst listening to MGMT&#39;s hit single &#39;Time To Pretend&#39;, as it reminds her of the &quot;Dark Knight&quot;&nbsp;star.

She said in the videos: &quot;I was just driving and I was thinking about my friends Heath who died 10 years ago and this song came on, &#39;Time to Pretend&#39;. It came out after he passed away and I remember when it came out, because [I thought] it made me think of him. I just thought he would have liked this song. And for some reason, every time I hear this song ... it&#39;s weird.&quot;

Previously, Michelle insisted it &quot;won&#39;t ever be right&quot; for her to raise Matilda - who was just two at the time of Heath&#39;s passing - without her father.

She said: &quot;In all honesty, for pretty much everything else, I feel like I&#39;m a believer in not fighting circumstances, accepting where you are and where you&#39;ve been.&nbsp;

&quot;In pretty much all senses but one, I would be able to go totally down that line of thinking were it not for Matilda not have her dad.&nbsp;

&quot;You know, that&#39;s just that something doesn&#39;t ... I mean, it just won&#39;t ever be right.&quot;

Credit: BANG Showbiz

She paid a tribute to the late actor on his 10th death anniversary via a social media post

Naomi Watts paid tribute to her late ex-boyfriend Heath Ledger on his 10th death anniversary. The "Brokeback Mountain" star passed away on January 22, 2008, after suffering from cardiac arrest brought on by prescription drug intoxication at the age of 28. His former partner Naomi - who dated the actor from 2002 to 2004 - remembered him in a touching social media post. Posting a professional picture of Heath - who went on to date Michelle Williams, with whom he had a daughter named Matilda, now 12 - Naomi wrote: "Thinking about this beautiful soul today. 10 years ago he left this world. He was a true original. Heart always on his sleeve, with the most powerful charisma, strength, humour and talent. I will never forget his gentle spirit. (sic)" Thinking about this beautiful soul today. 10 years ago he left this world. He was a true original. Heart always on his sleeve, with the most powerful charisma, strength, humor and talent. I will never forget his gentle spirit. ❤️ #heathledger ???? @wattsupphoto A post shared by Naomi Watts (@naomiwatts) on Jan 22, 2018 at 6:57am PST × It comes after Michelle Williams' longtime best friend Busy Phillips posted videos on her own Instagram account where she broke down in tears in her car whilst listening to MGMT's hit single 'Time To Pretend', as it reminds her of the "Dark Knight" star. She said in the videos: "I was just driving and I was thinking about my friends Heath who died 10 years ago and this song came on, 'Time to Pretend'. It came out after he passed away and I remember when it came out, because [I thought] it made me think of him. I just thought he would have liked this song. And for some reason, every time I hear this song ... it's weird." Previously, Michelle insisted it "won't ever be right" for her to raise Matilda - who was just two at the time of Heath's passing - without her father. She said: "In all honesty, for pretty much everything else, I feel like I'm a believer in not fighting circumstances, accepting where you are and where you've been. "In pretty much all senses but one, I would be able to go totally down that line of thinking were it not for Matilda not have her dad. "You know, that's just that something doesn't ... I mean, it just won't ever be right." Credit: BANG Showbiz

Naomi Watts pays tribute to ex-lover Heath Ledger

Harvey Weinstein&#39;s former assistant is seeking legal action against the producer, claiming she was forced to clean up after his &quot;sexual encounters&quot;.

The 65-year-old disgraced producer has faced several allegations of historic sexual harassment over the past few months, and now his former assistant Sandeep Rehal is suing Weinstein for allegedly being &quot;forced to work in a pervasive and severe sexually hostile work environment.&quot;

According to documents obtained by The Hollywood Reporter, Sandeep is seeking action against Weinstein, his brother Bob, The Weinstein Company and the company&#39;s head of human resources Frank Gil.

Sandeep started working for Weinstein in 2013 when she was 26, and according to the documents, she quit two years later in 2015 when she reached &quot;an emotional breaking point.&quot;

The documents claim that Sandeep was involved in &quot;catering to Harvey Weinstein&#39;s sexual appetites and activities&quot;, including being involved in both the &quot;preparations&quot; and the &quot;clean up&quot; of Weinstein&#39;s &quot;extremely prolific sexual encounters.&quot;

Sandeep also alleges that part of her duties included cleaning up &quot;the semen on the couch in Harvey Weinstein&#39;s office,&quot; which she claimed, &quot;happened on a regular basis, three or so times a week when Harvey Weinstein was in New York.&quot;

The assistant also alleges that Weinstein &quot;used sexist and sexual language&quot; when speaking to her, as well as claiming the producer made advances on her as he would allegedly &quot;touch her thighs&quot; when she took car rides with him.

Weinstein has already responded to the claims made against him by Sandeep, saying he &quot;categorically denies&quot; the allegations.

A spokesperson for the producer said in a statement: &quot; Mr Weinstein categorically denies these claims and his lawyers will respond in the appropriate legal forum with evidence proving they are untrue, a spokesperson.&quot;

Credit: BANG Showbiz

The former assistant claims that she was forced to clean up after his 'sexual encounters'

Harvey Weinstein's former assistant is seeking legal action against the producer, claiming she was forced to clean up after his "sexual encounters". The 65-year-old disgraced producer has faced several allegations of historic sexual harassment over the past few months, and now his former assistant Sandeep Rehal is suing Weinstein for allegedly being "forced to work in a pervasive and severe sexually hostile work environment." According to documents obtained by The Hollywood Reporter, Sandeep is seeking action against Weinstein, his brother Bob, The Weinstein Company and the company's head of human resources Frank Gil. Sandeep started working for Weinstein in 2013 when she was 26, and according to the documents, she quit two years later in 2015 when she reached "an emotional breaking point." The documents claim that Sandeep was involved in "catering to Harvey Weinstein's sexual appetites and activities", including being involved in both the "preparations" and the "clean up" of Weinstein's "extremely prolific sexual encounters." Sandeep also alleges that part of her duties included cleaning up "the semen on the couch in Harvey Weinstein's office," which she claimed, "happened on a regular basis, three or so times a week when Harvey Weinstein was in New York." The assistant also alleges that Weinstein "used sexist and sexual language" when speaking to her, as well as claiming the producer made advances on her as he would allegedly "touch her thighs" when she took car rides with him. Weinstein has already responded to the claims made against him by Sandeep, saying he "categorically denies" the allegations. A spokesperson for the producer said in a statement: " Mr Weinstein categorically denies these claims and his lawyers will respond in the appropriate legal forum with evidence proving they are untrue, a spokesperson." Credit: BANG Showbiz

Former assistant sues Hollywood mogul Harvey Weinstein

James Franco may have given an interview to Vanity Fair for their latest Hollywood edition and posed for their cover even, but the magazine decided to digitally remove him from the cover owing to the various allegations that have been levied on him of sexual misconduct.&nbsp; 
 
The allegations against the actor cropped up soon after he won the Best Actor award at Golden Globes recently. The allegations prompted Vanity Fair to drop his interview from their latest issue which celebrates Hollywood stars talking about Me Too and Times Up Movement.&nbsp; 
 
&ldquo;We made a decision not to include James Franco on the Hollywood cover once we learned of the misconduct allegations against him,&rdquo; a Vanity Fair spokesperson was quoted as saying in The Hollywood Reporter.&nbsp;

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Hollywood stars grace the cover of Vanity Fair magazine for the current issue. (Twitter)
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Among those <a href="http://www.wionews.com/world/entertainment-reese-witherspoon-has-3-legs-while-oprah-has-three-hands-in-latest-cover-of-vanity-fair-30808">who feature on the cover of the magazine are Oprah Winfrey</a>, Tom Hanks, Reese Witherspoon, Nicole Kidman, Gal Gadot and Claire Foy.&nbsp;

The allegations against the actor cropped up soon after he won the Best Actor award at Golden Globes recently.

James Franco may have given an interview to Vanity Fair for their latest Hollywood edition and posed for their cover even, but the magazine decided to digitally remove him from the cover owing to the various allegations that have been levied on him of sexual misconduct. The allegations against the actor cropped up soon after he won the Best Actor award at Golden Globes recently. The allegations prompted Vanity Fair to drop his interview from their latest issue which celebrates Hollywood stars talking about Me Too and Times Up Movement. “We made a decision not to include James Franco on the Hollywood cover once we learned of the misconduct allegations against him,” a Vanity Fair spokesperson was quoted as saying in The Hollywood Reporter. Hollywood stars grace the cover of Vanity Fair magazine for the current issue. (Twitter) × Among those who feature on the cover of the magazine are Oprah Winfrey, Tom Hanks, Reese Witherspoon, Nicole Kidman, Gal Gadot and Claire Foy.

James Franco digitally removed from Vanity Fair's cover over allegations of sexual misconduct

&quot;Bodak Yellow&quot;&nbsp;singer who reached the top of the ladder with her hit single, now claims she is a feminist and that she can do anything that a man can.&nbsp;

In an interview, the rapper was quoted:&nbsp;&quot;I can finesse. I can hustle.&quot;

Also Watch:<a href="http://www.wionews.com/world/entertainment-watch-bruno-mars-cardi-b-remix-a-finesse-video-together-28567">&nbsp;Bruno Mars, Cardi B remix a &#39;Finesse&#39; video together</a>

She said, &quot;Being a feminist is such a great thing and some people feel like someone like me can&rsquo;t be as great as that. But then some people are smart but they don&rsquo;t have no common sense. They think feminism is great and only a woman that can speak properly, that has a degree, who is a boss, a businessperson&hellip; they think only Michelle Obama can be a feminist.&quot;

She continued:&nbsp;&quot;But being a feminist is really simple; it&rsquo;s that a woman can do things the same as a man. I&rsquo;m equal to an ----. Anything a man can do, I can do. I can finesse, I can hustle. We have the same freedom. I was top of the charts. I&rsquo;m a woman and I did that. I do feel equal to a man.&rdquo;

Also Read:&nbsp;<a href="http://www.wionews.com/world/entertainment-cardi-b-says-leaked-sex-video-with-fiance-offset-was-just-a-joke-27815" target="_blank">Cardi B says leaked sex video with fiance Offset was just a joke</a>

The rapper also revealed her struggle to become a singer from a&nbsp;stripper. Cardi B said,&nbsp;&ldquo;The first time I stripped I was really embarrassed. I felt like I could hear my parents in the back of my mind.&nbsp;When I gave my first lap dance all the girls were looking at me to see if I was doing something wrong &#39;cause I ain&rsquo;t know how to do a lap dance. But I felt so disgusted. They can&rsquo;t touch you in your private parts and they&rsquo;re not supposed to touch you at all, but sometimes a man would caress me on my arm and I would hear them breathe so heavy in my ear. It just disgusted me.&nbsp;

She added:&nbsp;&ldquo;After a while, I didn&rsquo;t even care anymore,&quot; she continued. &quot;I was seeing the money that I feel like I would&rsquo;ve never seen ever. At first, I started off making $200 or $300, sometimes not making money at all because you&rsquo;ve gotta pay your house fee and my house fees were very expensive. But after I got good at it there were nights where I would leave with $2,000 or $3,000. When I was 21 I had $20,000 saved up. When I was 22 I already had $35,000 saved &mdash; in singles.&quot;

&nbsp;

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In an interview, the hit star revealed what it felt like to be a stripper, her take on feminism and more

"Bodak Yellow" singer who reached the top of the ladder with her hit single, now claims she is a feminist and that she can do anything that a man can. In an interview, the rapper was quoted: "I can finesse. I can hustle." Also Watch: Bruno Mars, Cardi B remix a 'Finesse' video together She said, "Being a feminist is such a great thing and some people feel like someone like me can’t be as great as that. But then some people are smart but they don’t have no common sense. They think feminism is great and only a woman that can speak properly, that has a degree, who is a boss, a businessperson… they think only Michelle Obama can be a feminist." She continued: "But being a feminist is really simple; it’s that a woman can do things the same as a man. I’m equal to an ----. Anything a man can do, I can do. I can finesse, I can hustle. We have the same freedom. I was top of the charts. I’m a woman and I did that. I do feel equal to a man.” Also Read: Cardi B says leaked sex video with fiance Offset was just a joke The rapper also revealed her struggle to become a singer from a stripper. Cardi B said, “The first time I stripped I was really embarrassed. I felt like I could hear my parents in the back of my mind. When I gave my first lap dance all the girls were looking at me to see if I was doing something wrong 'cause I ain’t know how to do a lap dance. But I felt so disgusted. They can’t touch you in your private parts and they’re not supposed to touch you at all, but sometimes a man would caress me on my arm and I would hear them breathe so heavy in my ear. It just disgusted me. She added: “After a while, I didn’t even care anymore," she continued. "I was seeing the money that I feel like I would’ve never seen ever. At first, I started off making $200 or $300, sometimes not making money at all because you’ve gotta pay your house fee and my house fees were very expensive. But after I got good at it there were nights where I would leave with $2,000 or $3,000. When I was 21 I had $20,000 saved up. When I was 22 I already had $35,000 saved — in singles."

Cardi B: 'Anything a Man Can Do, I Can Do'

Released during the weekend, &quot;Fifty Shades Freed&rdquo; is currently dominating North American moviegoing weekend with a solid $38.8 million at 3,678 locations.&nbsp;

While the theatre owners wait for &quot;Black Panther&quot;&nbsp;release, Sony&#39;s launch of family comedy &quot;Peter Rabbit&quot; looks in a good position with numbers. Meanwhile,&nbsp; Clint Eastwood&rsquo;s thriller &ldquo;The 15:17 to Paris&rdquo; from Warner Bros. has raked in $12.6 million at 3,042 venues.&nbsp;

Completing the list of top five films at the box office, Sony&#39;s Jumanji: Welcome to the Jungle finishes with&nbsp;$9.8 million.&nbsp;

The finale of the &ldquo;Fifty Shades&rdquo; trilogy &mdash; Fifty Shades Freed launched also in 57 international markets. All this is pegged at about $1.09 billion.

The film stars&nbsp;Jamie Dornan and Dakota Johnson&nbsp;as Christian Grey and Anastasia Steele reprising their roles from the previous movies.

Projected as the climax to the series, this is the finale of the “Fifty Shades” trilogy

Released during the weekend, "Fifty Shades Freed” is currently dominating North American moviegoing weekend with a solid $38.8 million at 3,678 locations. While the theatre owners wait for "Black Panther" release, Sony's launch of family comedy "Peter Rabbit" looks in a good position with numbers. Meanwhile, Clint Eastwood’s thriller “The 15:17 to Paris” from Warner Bros. has raked in $12.6 million at 3,042 venues. Completing the list of top five films at the box office, Sony's Jumanji: Welcome to the Jungle finishes with $9.8 million. The finale of the “Fifty Shades” trilogy — Fifty Shades Freed launched also in 57 international markets. All this is pegged at about $1.09 billion. The film stars Jamie Dornan and Dakota Johnson as Christian Grey and Anastasia Steele reprising their roles from the previous movies.

'Fifty Shades Freed' collection soars with $38.8 Million on first weekend

New York state sued Harvey Weinstein, his brother and their production company on Sunday for failing to protect employees from years of his alleged sexual misconduct despite multiple complaints from staff.

The lawsuit comes four months after the Hollywood mogul&#39;s downfall over allegations of sexual harassment, assault and rape now leveled against the producer by more than 100 women over 40 years.

State prosecutors said the legal action, the result of an ongoing four-month investigation, was filed Sunday out of fear that an imminent sale of The Weinstein Company, now on the verge of bankruptcy, could leave victims without adequate redress.

The lawsuit, which could delay the sale, accuses the company&#39;s board and executives of repeatedly failing to take adequate steps to protect staff or curb Weinstein&#39;s behavior, despite multiple complaints to human resources.

It alleges that female assistants were required to facilitate Weinstein&#39;s sex life as a condition of employment and had copies of a manual, known as a &quot;Bible,&quot; that included directions on how to do so.

Prosecutors said Weinstein made verbal threats to &quot;kill&quot; several staff or their families and touted his connection to political figures and alleged Secret Service contacts that could &quot;take care of problems.&quot;

They said one employee was flown from London to New York to teach his assistants &quot;how to dress and smell more attractive&quot; to Weinstein.

They also alleged that Weinstein&#39;s drivers in New York and Los Angeles were required to keep condoms and erectile dysfunction injections in the car at all times.

Prosecutors said Weinstein made a female employee take dictation while leering at her as he lay naked on his bed in 2014-15. He also put his hand on her upper thigh and buttocks near her genitalia to rub her without consent in the back of cars.

Largely female assistants allegedly contacted prospective sexual partners via text message or phone at his direction, and maintained space on his calendar for sexual activity.

Vicious mistreatment

Female executives also allegedly had to meet prospective sexual conquests and follow through on promised job offers, which prosecutors said demeaned and humiliated them, fueling a hostile work environment.

The New York state attorney&#39;s office said that despite multiple complaints to the human resources department, there was no meaningful investigation or relief for victims, or consequences for Weinstein.

It said the company&#39;s toxic work environment was shrouded in secrecy because of a practice of reaching non-disclosure agreements -- a policy that has come under renewed scrutiny in the wake of the sexual harassment watershed that has followed Weinstein&#39;s downfall.

State attorney general Eric Schneiderman said the lawsuit, filed in the State Supreme Court in New York, included new allegations about Weinstein&#39;s &quot;vicious and exploitative mistreatment&quot; of employees.

&quot;As alleged in our complaint, The Weinstein Company repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation and discrimination,&quot; said Schneiderman.

&quot;Any sale of The Weinstein Company must ensure that victims will be compensated, employees will be protected going forward and that neither perpetrators nor enablers will be unjustly enriched.&quot;

Weinstein is reportedly in treatment for sex addiction and is under investigation by British and US police, although he has not been charged with any crime. He denies having non-consensual sex.

Last week, the district attorney&#39;s office in Los Angeles said police had submitted three Weinstein sexual assault cases to prosecutors.

A group of investors led by a former official who served in president Barack Obama&#39;s administration is understood to be in advanced talks to buy The Weinstein Company.

Deadline, the Hollywood insider website that first reported the advanced talks, said a roughly $500 million bid by the group led by Maria Contreras-Sweet included a fund to compensate victims.

Prosecutors said Weinstein made verbal threats to "kill" several staff or their families and touted his connection to political figures and alleged Secret Service contacts that could 'take care of problems'

New York state sued Harvey Weinstein, his brother and their production company on Sunday for failing to protect employees from years of his alleged sexual misconduct despite multiple complaints from staff. The lawsuit comes four months after the Hollywood mogul's downfall over allegations of sexual harassment, assault and rape now leveled against the producer by more than 100 women over 40 years. State prosecutors said the legal action, the result of an ongoing four-month investigation, was filed Sunday out of fear that an imminent sale of The Weinstein Company, now on the verge of bankruptcy, could leave victims without adequate redress. The lawsuit, which could delay the sale, accuses the company's board and executives of repeatedly failing to take adequate steps to protect staff or curb Weinstein's behavior, despite multiple complaints to human resources. It alleges that female assistants were required to facilitate Weinstein's sex life as a condition of employment and had copies of a manual, known as a "Bible," that included directions on how to do so. Prosecutors said Weinstein made verbal threats to "kill" several staff or their families and touted his connection to political figures and alleged Secret Service contacts that could "take care of problems." They said one employee was flown from London to New York to teach his assistants "how to dress and smell more attractive" to Weinstein. They also alleged that Weinstein's drivers in New York and Los Angeles were required to keep condoms and erectile dysfunction injections in the car at all times. Prosecutors said Weinstein made a female employee take dictation while leering at her as he lay naked on his bed in 2014-15. He also put his hand on her upper thigh and buttocks near her genitalia to rub her without consent in the back of cars. Largely female assistants allegedly contacted prospective sexual partners via text message or phone at his direction, and maintained space on his calendar for sexual activity. Vicious mistreatment Female executives also allegedly had to meet prospective sexual conquests and follow through on promised job offers, which prosecutors said demeaned and humiliated them, fueling a hostile work environment. The New York state attorney's office said that despite multiple complaints to the human resources department, there was no meaningful investigation or relief for victims, or consequences for Weinstein. It said the company's toxic work environment was shrouded in secrecy because of a practice of reaching non-disclosure agreements -- a policy that has come under renewed scrutiny in the wake of the sexual harassment watershed that has followed Weinstein's downfall. State attorney general Eric Schneiderman said the lawsuit, filed in the State Supreme Court in New York, included new allegations about Weinstein's "vicious and exploitative mistreatment" of employees. "As alleged in our complaint, The Weinstein Company repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation and discrimination," said Schneiderman. "Any sale of The Weinstein Company must ensure that victims will be compensated, employees will be protected going forward and that neither perpetrators nor enablers will be unjustly enriched." Weinstein is reportedly in treatment for sex addiction and is under investigation by British and US police, although he has not been charged with any crime. He denies having non-consensual sex. Last week, the district attorney's office in Los Angeles said police had submitted three Weinstein sexual assault cases to prosecutors. A group of investors led by a former official who served in president Barack Obama's administration is understood to be in advanced talks to buy The Weinstein Company. Deadline, the Hollywood insider website that first reported the advanced talks, said a roughly $500 million bid by the group led by Maria Contreras-Sweet included a fund to compensate victims.

Hollywood mogul's downfall continues, New York state sues Weinstein and Company for failing to protect staff

Actor Idris Elba is engaged to his girlfriend Sabrina Dhowre. The two were attending a&nbsp;screening of his new film &quot;Yardie&quot; in Dalston, East London.

The celebration took a turn, however, when the&nbsp;45-year-old actor got down on one knee&nbsp;to pop the question and asked for Sabrina&#39;s hand in marriage. A shocked Dhowre said yes in front of a cheering crowd.

<div class="ui-state-default" contenteditable="false">
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<blockquote class="twitter-tweet" data-lang="en">
When you turn up to watch the <a href="https://twitter.com/hashtag/Yardie?src=hash&amp;ref_src=twsrc%5Etfw">#Yardie</a> screening with <a href="https://twitter.com/Sainou?ref_src=twsrc%5Etfw">@Sainou</a> clients <a href="https://twitter.com/adnanmust_?ref_src=twsrc%5Etfw">@adnanmust_</a> &amp; <a href="https://twitter.com/AkinGazi?ref_src=twsrc%5Etfw">@AkinGazi</a> and the director <a href="https://twitter.com/idriselba?ref_src=twsrc%5Etfw">@idriselba</a> steals the show... <a href="https://twitter.com/hashtag/marriagepropsal?src=hash&amp;ref_src=twsrc%5Etfw">#marriagepropsal</a> <a href="https://t.co/aLYsnMNbzA">pic.twitter.com/aLYsnMNbzA</a>
&mdash; David Marsden-Sainou (@AgentMarsden) <a href="https://twitter.com/AgentMarsden/status/962338965327171586?ref_src=twsrc%5Etfw">February 10, 2018</a></blockquote>
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The Rio Cinema, where the film was being shown, took to Twitter to make the announcement.

&quot;Another @riocinema first! Still five days to Valentine&#39;s Day but @idriselba went down on one knee and proposed to his girlfriend live on stage this morning before a preview of his film #Yardie... She said yes and there was much clapping and cheering. (sic)&quot; the tweet read.

<div class="ui-state-default" contenteditable="false">
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Another <a href="https://twitter.com/riocinema?ref_src=twsrc%5Etfw">@riocinema</a> first! Still 5 days to Valentines Day but <a href="https://twitter.com/idriselba?ref_src=twsrc%5Etfw">@idriselba</a> went down on one knee and proposed to his girlfriend live on stage this morning before a preview of his film <a href="https://twitter.com/hashtag/Yardie?src=hash&amp;ref_src=twsrc%5Etfw">#Yardie</a> <a href="https://t.co/XRtca1xcv0">pic.twitter.com/XRtca1xcv0</a>
&mdash; Rio Cinema (@riocinema) <a href="https://twitter.com/riocinema/status/962291370495967233?ref_src=twsrc%5Etfw">February 10, 2018</a></blockquote>
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Back in September of 2017, Idris and former Miss Vancouver made their red carpet debut at the Toronto International Film Festival.&nbsp;And while the two tried to keep their romance private, some may be surprised to find out Idris made such a big step in the relationship.

The news comes after the &quot;Luther&quot; star had said that he had no plans of getting married.&nbsp;

Elba has been divorced twice first from Kim Norgaard and Sonya Nicole Hamlin and has daughter Isan, aged 15, with Norgaard and little Winston, aged three, with former girlfriend Naiyana Garth.

The 45-year-old actor got on one knee and asked for Sabrina's hand in marriage during a packed screening of his new film 'Yardie' in Dalston, East London

Actor Idris Elba is engaged to his girlfriend Sabrina Dhowre. The two were attending a screening of his new film "Yardie" in Dalston, East London. The celebration took a turn, however, when the 45-year-old actor got down on one knee to pop the question and asked for Sabrina's hand in marriage. A shocked Dhowre said yes in front of a cheering crowd. When you turn up to watch the #Yardie screening with @Sainou clients @adnanmust_ & @AkinGazi and the director @idriselba steals the show... #marriagepropsal pic.twitter.com/aLYsnMNbzA — David Marsden-Sainou (@AgentMarsden) February 10, 2018 × The Rio Cinema, where the film was being shown, took to Twitter to make the announcement. "Another @riocinema first! Still five days to Valentine's Day but @idriselba went down on one knee and proposed to his girlfriend live on stage this morning before a preview of his film #Yardie... She said yes and there was much clapping and cheering. (sic)" the tweet read. Another @riocinema first! Still 5 days to Valentines Day but @idriselba went down on one knee and proposed to his girlfriend live on stage this morning before a preview of his film #Yardie pic.twitter.com/XRtca1xcv0 — Rio Cinema (@riocinema) February 10, 2018 × Back in September of 2017, Idris and former Miss Vancouver made their red carpet debut at the Toronto International Film Festival. And while the two tried to keep their romance private, some may be surprised to find out Idris made such a big step in the relationship. The news comes after the "Luther" star had said that he had no plans of getting married. Elba has been divorced twice first from Kim Norgaard and Sonya Nicole Hamlin and has daughter Isan, aged 15, with Norgaard and little Winston, aged three, with former girlfriend Naiyana Garth.

Watch: Idris Elba proposes to Sabrina Dhowre during screening of his movie

Actor John Mahoney, who portrayed the no-nonsense father in the TV sitcom &quot;Frasier,&quot; has died in Chicago at the age of 77, his longtime theater company said Monday.

Mahoney played the iconic role of Martin Crane for all 11 seasons of the popular sitcom until 2004. He won numerous acting accolades including nominations for Emmys and Golden Globes.&nbsp;

His manager Paul Martino told the industry trade publication Variety that the actor died Sunday in hospice care in Chicago. His longtime Chicago theatrical home Steppenwolf Theatre Company confirmed Mahoney&#39;s death.&nbsp;

The character actor was born in England, but moved to the United States at the age of 19 to teach English at a college in Illinois, according to Variety.&nbsp;

Chicago was his longtime home, and he had said he felt happiest when in the Windy City.

&quot;John Mahoney was a fixture on the Chicago stage,&quot; Mayor Rahm Emanuel said in remembrance. &quot;Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago.

&quot;Though he will be missed, his work and impact will endure for generations to come.&quot;

Mahoney got his acting start in Chicago relatively lately, when he was 40 in the late 1970s, after fellow actors John Malkovich and Gary Sinise invited him to join the then-nascent Steppenwolf, according to the Chicago Tribune.&nbsp;

He appeared in more than 30 productions at the prestigious theater, according to the company&#39;s biography.&nbsp;

Mahoney appeared in numerous films and TV shows, and continued to appear on television as recently as 2015 in the TV series &quot;Foyle&#39;s War.&quot;

His more than three decades-long career in film saw him appear in movies such as &quot;The American President,&quot; &quot;Moonstruck&quot; and &quot;Say Anything.&quot;

&quot;Rest In Peace, John Mahoney. &#39;Say Anything&#39; is one of my favorite films of all time,&quot; said actor Ken Jeong.&nbsp;

Mahoney won a number of acting awards, including Tony and Screen Actors Guild trophies.&nbsp;

Actor John Mahoney played the iconic role of Martin Crane for all 11 seasons of the popular sitcom until 2004

Actor John Mahoney, who portrayed the no-nonsense father in the TV sitcom "Frasier," has died in Chicago at the age of 77, his longtime theater company said Monday. Mahoney played the iconic role of Martin Crane for all 11 seasons of the popular sitcom until 2004. He won numerous acting accolades including nominations for Emmys and Golden Globes. His manager Paul Martino told the industry trade publication Variety that the actor died Sunday in hospice care in Chicago. His longtime Chicago theatrical home Steppenwolf Theatre Company confirmed Mahoney's death. The character actor was born in England, but moved to the United States at the age of 19 to teach English at a college in Illinois, according to Variety. Chicago was his longtime home, and he had said he felt happiest when in the Windy City. "John Mahoney was a fixture on the Chicago stage," Mayor Rahm Emanuel said in remembrance. "Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago. "Though he will be missed, his work and impact will endure for generations to come." Mahoney got his acting start in Chicago relatively lately, when he was 40 in the late 1970s, after fellow actors John Malkovich and Gary Sinise invited him to join the then-nascent Steppenwolf, according to the Chicago Tribune. He appeared in more than 30 productions at the prestigious theater, according to the company's biography. Mahoney appeared in numerous films and TV shows, and continued to appear on television as recently as 2015 in the TV series "Foyle's War." His more than three decades-long career in film saw him appear in movies such as "The American President," "Moonstruck" and "Say Anything." "Rest In Peace, John Mahoney. 'Say Anything' is one of my favorite films of all time," said actor Ken Jeong. Mahoney won a number of acting awards, including Tony and Screen Actors Guild trophies.

'Frasier' dad John Mahoney dies at 77

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