She won her first ever Oscar ('Silver Linings Playbook', 2012) at the ripe age of 25, and yet, meeting celebrities from other verticals leave her 'shocked' and struggling for the right words to 'talk'. That's Jennifer Lawrence for you!

 
The heavily pregnant Hollywood megastar, who will&nbsp;be seen in the forthcoming satire 'Don't Look Up', was part of an exclusive, invite-only global press conference--that WION took part in--with the international media where 305 entertainment reporters from around the world got to hear and witness the stellar star cast speak about their film.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-exclusive-leonardo-dicaprio-jonah-hills-a-genius-would-love-to-work-on-100-more-films-with-him-435164">EXCLUSIVE! Leonardo DiCaprio: Jonah Hill's a genius, would love to work on 100 more films with him</a>

 
During the entire conversation, also comprising Meryl Streep, Tyler Perry with director Adam McKay, Jennifer Lawrence spoke about her notorious wig in the movie (no, she didn't take it home!), her banter with Leonardo DiCaprio and Jonah Hill, among other interesting topics pertaining to the upcoming release.&nbsp;

 
One topic that really got her laughing and blushing was when her now-famous quote--of fangirling hard on Ariana Grande--came up.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-exclusive-money-heist-professor-%C3%81lvaro-morte--on-the-last-day-i-couldnt-stop-myself-from-crying-433599" hreflang="en">Exclusive: 'Money Heist' professor Álvaro Morte- On the last day, I couldn't stop myself from crying</a>

JLaw, as she is popularly known as,&nbsp;revealed to us that her first reaction upon meeting Ariana Grande was: "She is so tiny!" "I mean it (the meeting) was shocking. She's so tiny. And I mean I'm a huge fan of her music and Scott's. It's just like, you know, like overwhelming. 'Cause our worlds don't normally collide. I just felt like a radio contest winner. I just didn't know how to talk to her. So I just, you know, did my best. Yeah, she was terrific," Jennifer Lawrence, who plays the character Dr. Kate Dibiasky in 'Don't Look Up', told us.&nbsp;

For the uninitiated, American music sensation Ariana Grande will be seen playing the role of a pop star, Riley Bina, in the science movie.&nbsp;

 
'Don't Look Up' will start streaming on Netflix from December 24.&nbsp; 
&nbsp;

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/RbIxYm3mKzI" title="YouTube video player" width="560"></iframe>

She won her first ever Oscar ('Silver Linings Playbook', 2012) at the ripe age of 25, and yet, meeting celebrities from other verticals leave her 'shocked' and struggling for the right words to 'talk'.

She won her first ever Oscar ('Silver Linings Playbook', 2012) at the ripe age of 25, and yet, meeting celebrities from other verticals leave her 'shocked' and struggling for the right words to 'talk'. That's Jennifer Lawrence for you! The heavily pregnant Hollywood megastar, who will be seen in the forthcoming satire 'Don't Look Up', was part of an exclusive, invite-only global press conference--that WION took part in--with the international media where 305 entertainment reporters from around the world got to hear and witness the stellar star cast speak about their film. Also read: EXCLUSIVE! Leonardo DiCaprio: Jonah Hill's a genius, would love to work on 100 more films with him During the entire conversation, also comprising Meryl Streep, Tyler Perry with director Adam McKay, Jennifer Lawrence spoke about her notorious wig in the movie (no, she didn't take it home!), her banter with Leonardo DiCaprio and Jonah Hill, among other interesting topics pertaining to the upcoming release. One topic that really got her laughing and blushing was when her now-famous quote--of fangirling hard on Ariana Grande--came up. Also read: Exclusive: 'Money Heist' professor Álvaro Morte- On the last day, I couldn't stop myself from crying JLaw, as she is popularly known as, revealed to us that her first reaction upon meeting Ariana Grande was: "She is so tiny!" "I mean it (the meeting) was shocking. She's so tiny. And I mean I'm a huge fan of her music and Scott's. It's just like, you know, like overwhelming. 'Cause our worlds don't normally collide. I just felt like a radio contest winner. I just didn't know how to talk to her. So I just, you know, did my best. Yeah, she was terrific," Jennifer Lawrence, who plays the character Dr. Kate Dibiasky in 'Don't Look Up', told us. For the uninitiated, American music sensation Ariana Grande will be seen playing the role of a pop star, Riley Bina, in the science movie. 'Don't Look Up' will start streaming on Netflix from December 24.

EXCLUSIVE! Jennifer Lawrence: I felt like a radio contest winner when I met Ariana Grande

Early in “The Beatles: Get Back,” Peter Jackson’s nearly eight-hour documentary about the making of the album “Let It Be,” the band forms a tight circle in the corner of a movie soundstage. Inexplicably, Yoko Ono is there.

 
She perches in reach of John Lennon, her bemused face oriented toward him like a plant growing to the light. When Paul McCartney starts to play “I’ve Got a Feeling,” Ono is there, stitching a furry object in her lap. When the band starts into “Don’t Let Me Down,” Ono is there, reading a newspaper. Lennon slips behind the piano, and Ono is there, her head hovering above his shoulder. Later, when the group squeezes into a recording booth, Ono is there, wedged between Lennon and Ringo Starr, wordlessly unwrapping a piece of chewing gum and working it between Lennon’s fingers. When George Harrison walks off, briefly quitting the band, there is Ono, wailing inchoately into his microphone.

 
At first I found Ono’s omnipresence in the documentary bizarre, even unnerving. The vast set only emphasizes the ludicrousness of her proximity.&nbsp;Why is she there? I pleaded with my television set.

 
But as the hours passed and Ono remained — painting at an easel, chewing a pastry, paging through a Lennon fan magazine — I found myself impressed by her stamina, then entranced by the provocation of her existence and ultimately dazzled by her performance.

 
My attention kept drifting toward her corner of the frame. I was seeing intimate, long-lost footage of the world’s most famous band preparing for its final performance, and I couldn’t stop watching Yoko Ono sitting around, doing nothing.

 
“The Beatles: Get Back” is being read by some as an exculpatory document — proof that Ono was not responsible for destroying the Beatles.

 
“She never has opinions about the stuff they’re doing,” Jackson, who crafted the series out of more than 60 hours of footage, told “60 Minutes.” “She’s a very benign presence, and she doesn’t interfere in the slightest.”

 
Ono, also a producer on the series, tweeted an article without comment that claims she is merely performing “mundane tasks” as the band gets to work. In the series, McCartney himself — from the vantage of January 1969, more than a year before the band’s public dissolution — pokes fun at the idea that the Beatles would end “because Yoko sat on an amp.”

 
Her presence has been described as gentle, quiet and unimposing. Indeed, she is not the set’s most meddlesome interloper: That is Michael Lindsay-Hogg, the hapless director of the original documentary “Let It Be,” who keeps urging the band to stage a concert in an ancient amphitheater in Libya or perhaps at a hospital for children suffering from reassuringly minor ailments.

 
And yet there is something depressing about the recasting of Ono as a quiet, inconspicuous lump of a person. Of course her appearance in the studio is obtrusive. The fact that she is not there to directly influence the band’s recordings only makes her behavior more ridiculous. To deny this is to sap her of her power.

 
From the beginning, Ono’s presence feels intentional. Her gauzy black outfit and flowing, center-parted hair lend her a tentlike appearance; it is as if she is setting up camp, carving out space in the band’s environment. A “mundane” task becomes peculiar when you choose to perform it in front of McCartney’s face as he tries to write “Let It Be.” When you repeat this for 21 days, it becomes astonishing.

 
The documentary’s shaggy run time reveals Ono’s provocation in all its intensity. It’s as if she is staging a marathon performance piece, and in a way, she is.

 
Jackson has called his series “a documentary about a documentary,” and we are constantly reminded that we are watching the band produce its image for the camera.

 
Ono was, of course, already an accomplished performance artist when she encountered Lennon, seven years her junior, at a gallery show in 1966. She was a pioneer of participatory artwork, a collaborator of experimental musicians like John Cage and a master at coyly appearing in spaces where she was not supposed to belong. In 1971, she would stage an imaginary exhibition of ephemeral works at the Museum of Modern Art in New York. In the catalog, she is photographed in front of the museum holding a sign that says “F,” recasting it as the “Museum of Modern [F]art.”

 
The idea that Ono doomed the band was always a canard that smacked of misogyny and racism. She was cast as the groupie from hell, a sexually domineering “dragon lady” and a witch who hypnotized Lennon into spurning the lads for some woman. (In 1970, Esquire published an article titled “John Rennon’s Excrusive Gloupie” that promised to reveal “the Yoko nobody Onos,” featuring an illustration of Ono looming over Lennon, who is rendered as a cockroach on her leash.)

 
These slurs would spiral into an indefatigable pop culture meme that has haunted generations of women accused of intruding on male genius.

 
Ono did not “break up the Beatles.” (If Lennon’s distancing from the band was influenced by his desire to explore other pursuits, including his personal and creative relationship with Ono, that was his call.) But she did intrude.

 
In the documentary, McCartney politely complains that his songwriting with Lennon is disrupted by Ono’s omnipresence. For her part, she was vigilant about escaping the typical role of the artist’s wife. In a 1997 interview, she commented on the status of women in rock in the 1960s.

 
“My first impression was that they were all wives, kind of sitting in the next room while the guys were talking,” she said. “I was afraid of being something like that.”

 
Later, she would dedicate her barbed 1973 song, “Potbelly Rocker,” to the “wives of rockers who are nameless.”

 
In her 1964 text project “Grapefruit,” a kind of recipe book for staging art experiences, she instructs her audience “not to look at Rock Hudson but only Doris Day,” and in “The Beatles: Get Back,” she skillfully redirects the eye away from the band and toward herself.

 
Her image stands in contrast to that of other Beatles partners — modelesque white women in chic outfits who occasionally swoop in with kisses, nod encouragingly and slip unobtrusively away. Linda Eastman, McCartney’s future wife, lingers a little longer, occasionally circulating and photographing the band.

Eastman was a rock portraitist, and one of the film’s most fascinating moments shows her in deep conversation with Ono; as if to prove Ono’s point, it is a rare on-set interaction with no recovered audio. 
Ono simply never leaves. She refuses to decamp to the sidelines, but she also resists acting out stereotypes; she appears as neither a doting naif nor a needling busybody. Instead, she seems engaged in a kind of passive resistance, defying all expectations of women who enter the realm of rock genius. 
The Barenaked Ladies song “Be My Yoko Ono” compares Ono to a ball and chain (for the record, Ono said of the song, “I liked it”), but as the sessions go on, she assumes a weightless quality. She seems to orbit Lennon, eclipsing his bandmates and becoming a physical manifestation of his psychological distance from his old artistic center of gravity.

 
Later, her performance would grow in intensity. The “Let It Be” sessions were followed by the recording of “Abbey Road,” and according to the studio’s engineer, when Ono was injured in a car accident, Lennon arranged for a bed to be delivered to the studio; Ono tucked herself in, commandeered a microphone and invited friends to visit her bedside.

 
This is a lot of things: grotesquely codependent, terribly rude and iconic. The more that Ono’s presence is challenged, the more her performance escalates.

 
All of this was used to crudely fashion Ono into a cultural villain, but it would also later establish her as a kind of folk hero.

 
“It all comes down to YOKO ONO,” drummer Tobi Vail wrote in a zine connected to her riot grrrl band Bikini Kill in 1991. “Part of what your boyfriend teaches you is that Yoko Ono broke up the Beatles,” she writes. That story “makes you into the opposite of his band.”

 
It relegates women to the audience and ridicules them for attempting to make their own music. In Hole’s 1997 song “20 Years in the Dakota,” Courtney Love summons Ono’s powers against a new generation of whining fanboys and says that riot grrrl is “forever in her debt.” Vail called Ono “the first punk rock girl singer ever.”

 
In Jackson’s film, you can see the seeds of this generational shift. One day, Eastman’s young daughter, Heather, a bob-haired munchkin, whirls aimlessly about the studio. Then she spies Ono singing. 
Heather observes her with scrunch-faced intensity, steps up to the microphone and wails.

Early in “The Beatles: Get Back,” Peter Jackson’s nearly eight-hour documentary about the making of the album “Let It Be,” the band forms a tight circle in the corner of a movie soundstage.

Early in “The Beatles: Get Back,” Peter Jackson’s nearly eight-hour documentary about the making of the album “Let It Be,” the band forms a tight circle in the corner of a movie soundstage. Inexplicably, Yoko Ono is there. She perches in reach of John Lennon, her bemused face oriented toward him like a plant growing to the light. When Paul McCartney starts to play “I’ve Got a Feeling,” Ono is there, stitching a furry object in her lap. When the band starts into “Don’t Let Me Down,” Ono is there, reading a newspaper. Lennon slips behind the piano, and Ono is there, her head hovering above his shoulder. Later, when the group squeezes into a recording booth, Ono is there, wedged between Lennon and Ringo Starr, wordlessly unwrapping a piece of chewing gum and working it between Lennon’s fingers. When George Harrison walks off, briefly quitting the band, there is Ono, wailing inchoately into his microphone. At first I found Ono’s omnipresence in the documentary bizarre, even unnerving. The vast set only emphasizes the ludicrousness of her proximity. Why is she there? I pleaded with my television set. But as the hours passed and Ono remained — painting at an easel, chewing a pastry, paging through a Lennon fan magazine — I found myself impressed by her stamina, then entranced by the provocation of her existence and ultimately dazzled by her performance. My attention kept drifting toward her corner of the frame. I was seeing intimate, long-lost footage of the world’s most famous band preparing for its final performance, and I couldn’t stop watching Yoko Ono sitting around, doing nothing. “The Beatles: Get Back” is being read by some as an exculpatory document — proof that Ono was not responsible for destroying the Beatles. “She never has opinions about the stuff they’re doing,” Jackson, who crafted the series out of more than 60 hours of footage, told “60 Minutes.” “She’s a very benign presence, and she doesn’t interfere in the slightest.” Ono, also a producer on the series, tweeted an article without comment that claims she is merely performing “mundane tasks” as the band gets to work. In the series, McCartney himself — from the vantage of January 1969, more than a year before the band’s public dissolution — pokes fun at the idea that the Beatles would end “because Yoko sat on an amp.” Her presence has been described as gentle, quiet and unimposing. Indeed, she is not the set’s most meddlesome interloper: That is Michael Lindsay-Hogg, the hapless director of the original documentary “Let It Be,” who keeps urging the band to stage a concert in an ancient amphitheater in Libya or perhaps at a hospital for children suffering from reassuringly minor ailments. And yet there is something depressing about the recasting of Ono as a quiet, inconspicuous lump of a person. Of course her appearance in the studio is obtrusive. The fact that she is not there to directly influence the band’s recordings only makes her behavior more ridiculous. To deny this is to sap her of her power. From the beginning, Ono’s presence feels intentional. Her gauzy black outfit and flowing, center-parted hair lend her a tentlike appearance; it is as if she is setting up camp, carving out space in the band’s environment. A “mundane” task becomes peculiar when you choose to perform it in front of McCartney’s face as he tries to write “Let It Be.” When you repeat this for 21 days, it becomes astonishing. The documentary’s shaggy run time reveals Ono’s provocation in all its intensity. It’s as if she is staging a marathon performance piece, and in a way, she is. Jackson has called his series “a documentary about a documentary,” and we are constantly reminded that we are watching the band produce its image for the camera. Ono was, of course, already an accomplished performance artist when she encountered Lennon, seven years her junior, at a gallery show in 1966. She was a pioneer of participatory artwork, a collaborator of experimental musicians like John Cage and a master at coyly appearing in spaces where she was not supposed to belong. In 1971, she would stage an imaginary exhibition of ephemeral works at the Museum of Modern Art in New York. In the catalog, she is photographed in front of the museum holding a sign that says “F,” recasting it as the “Museum of Modern [F]art.” The idea that Ono doomed the band was always a canard that smacked of misogyny and racism. She was cast as the groupie from hell, a sexually domineering “dragon lady” and a witch who hypnotized Lennon into spurning the lads for some woman. (In 1970, Esquire published an article titled “John Rennon’s Excrusive Gloupie” that promised to reveal “the Yoko nobody Onos,” featuring an illustration of Ono looming over Lennon, who is rendered as a cockroach on her leash.) These slurs would spiral into an indefatigable pop culture meme that has haunted generations of women accused of intruding on male genius. Ono did not “break up the Beatles.” (If Lennon’s distancing from the band was influenced by his desire to explore other pursuits, including his personal and creative relationship with Ono, that was his call.) But she did intrude. In the documentary, McCartney politely complains that his songwriting with Lennon is disrupted by Ono’s omnipresence. For her part, she was vigilant about escaping the typical role of the artist’s wife. In a 1997 interview, she commented on the status of women in rock in the 1960s. “My first impression was that they were all wives, kind of sitting in the next room while the guys were talking,” she said. “I was afraid of being something like that.” Later, she would dedicate her barbed 1973 song, “Potbelly Rocker,” to the “wives of rockers who are nameless.” In her 1964 text project “Grapefruit,” a kind of recipe book for staging art experiences, she instructs her audience “not to look at Rock Hudson but only Doris Day,” and in “The Beatles: Get Back,” she skillfully redirects the eye away from the band and toward herself. Her image stands in contrast to that of other Beatles partners — modelesque white women in chic outfits who occasionally swoop in with kisses, nod encouragingly and slip unobtrusively away. Linda Eastman, McCartney’s future wife, lingers a little longer, occasionally circulating and photographing the band. Eastman was a rock portraitist, and one of the film’s most fascinating moments shows her in deep conversation with Ono; as if to prove Ono’s point, it is a rare on-set interaction with no recovered audio. Ono simply never leaves. She refuses to decamp to the sidelines, but she also resists acting out stereotypes; she appears as neither a doting naif nor a needling busybody. Instead, she seems engaged in a kind of passive resistance, defying all expectations of women who enter the realm of rock genius. The Barenaked Ladies song “Be My Yoko Ono” compares Ono to a ball and chain (for the record, Ono said of the song, “I liked it”), but as the sessions go on, she assumes a weightless quality. She seems to orbit Lennon, eclipsing his bandmates and becoming a physical manifestation of his psychological distance from his old artistic center of gravity. Later, her performance would grow in intensity. The “Let It Be” sessions were followed by the recording of “Abbey Road,” and according to the studio’s engineer, when Ono was injured in a car accident, Lennon arranged for a bed to be delivered to the studio; Ono tucked herself in, commandeered a microphone and invited friends to visit her bedside. This is a lot of things: grotesquely codependent, terribly rude and iconic. The more that Ono’s presence is challenged, the more her performance escalates. All of this was used to crudely fashion Ono into a cultural villain, but it would also later establish her as a kind of folk hero. “It all comes down to YOKO ONO,” drummer Tobi Vail wrote in a zine connected to her riot grrrl band Bikini Kill in 1991. “Part of what your boyfriend teaches you is that Yoko Ono broke up the Beatles,” she writes. That story “makes you into the opposite of his band.” It relegates women to the audience and ridicules them for attempting to make their own music. In Hole’s 1997 song “20 Years in the Dakota,” Courtney Love summons Ono’s powers against a new generation of whining fanboys and says that riot grrrl is “forever in her debt.” Vail called Ono “the first punk rock girl singer ever.” In Jackson’s film, you can see the seeds of this generational shift. One day, Eastman’s young daughter, Heather, a bob-haired munchkin, whirls aimlessly about the studio. Then she spies Ono singing. Heather observes her with scrunch-faced intensity, steps up to the microphone and wails.

The sublime spectacle of Yoko Ono disrupting the Beatles

Priyanka Chopra just upped the bring-your-puppy-to-work game by a massive margin. The global star, who is currently in London shooting for her upcoming Russo Brothers' series 'Citadel', shared some uber cool photos from the set.

Priyanka Chopra just upped the bring-your-puppy-to-work game by a massive margin. The global star, who is currently in London shooting for her upcoming Russo Brothers' series 'Citadel', shared some uber cool photos from the set. On Wednesday, Priyanka Chopra shared a few snaps while shooting at the iconic Hyde Park in London and was accompanied by her pet family: Gino, Diana and Panda. The actress posted pictures from her time with these beloved pets and wrote on her Instagram caption, "Bring-your-pups-to-work day," and added the hashtag #Citadel to it. View this post on Instagram A post shared by Priyanka (@priyankachopra) × 'Citadel' has its production spread across India, Italy and Mexico and stars Richard Madden and is being directed by the Russo Brothers. This series also marks Priyanka's second collaboration with Amazon Prime Video, her first one being the Sangeet Project. Also read: EXCLUSIVE! Leonardo DiCaprio: Jonah Hill's a genius, would love to work on 100 more films with him Recently, Priyanka Chopra and Nick Jonas completed three years of togetherness. The star couple celebrated their third wedding anniversary in London, UK. The couple who got married in a glitzy ceremony in 2018, took to their Instagram handle to share a glimpse of their romantic candlelight dinner. Sharing a glimpse of the same, Nick dropped a video featuring PeeCee and the beautiful decor, which included a neon sign that spelt out “FOREVER” along with floral arrangements, wine and petals on the floor. He captioned it, “3 years” followed by a heart emoji. Also read: Power to Britney Spears! Judge allows her to sign paperwork, handle finances The actress looked stunning as she sat in a royal blue chair wearing a neutral-coloured sleeveless turtleneck dress. View this post on Instagram A post shared by Priyanka (@priyankachopra) × Meanwhile, Priyanka also gave a small insight into her romantic date night. She shared a picture of her dinner table set up featuring red candles, flowers and even a card that read, “Found you, married you, keeping you.” In the back, we can see a white feathery wall with the words ‘always and forever’. Chopra shared the picture with a caption, “Living the dream @nickjonas.” The couple tied the knot in December 2018, in Jodhpur's Umaid Bhawan Palace. The festivities lasted over three days with two wedding ceremonies- one Christian and one Hindu- keeping in mind both their heritage. Also read: RRR trailer: SS Rajamouli's period film is high on action and grandeur View this post on Instagram A post shared by Nick Jonas (@nickjonas) ×

Citadel set: Priyanka Chopra is a total boss babe in these new pictures!

Clinking of silverware in an expansive ranch, thudding of cowboy boots and an overbearing presence of a hyper-macho Phil (Benedict Cumberbatch) casts a foreboding shadow on the Burbank household. The setting is 1925 and the mood, perpetually, of forbidden desires and suppressed emotions. In Phil's complex world, a man exhibiting even a shred of vulnerability gets labelled as 'half-cooked Miss Nancy'. Perhaps, this is why his brother George (Jesse Plemons) despises his tough, foul mouthed elder brother so much so that he doesn't pass up on the chance to marry the 'cheap schemer' widow, Rose (Kirsten Dunst), Phil ungracefully loathes.&nbsp;

<img alt="Benedict Cumberbatch is a menacing presence in 'The Power of the Dog'" data-entity-type="file" data-entity-uuid="a279b438-4624-4c0e-90cf-11ebf9fd397a" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-12-02T151530.262.jpg" /> 
For the world outside, Phil embodies 1920s machismo typical of the Western stretch during that era: where pianists tremble with fear upon his single glare, maids hurdle up in one corner on&nbsp;his arrival and nobody, not even the 'fatso' younger brother he seems to love, challenges his rugged and hillbilly habits.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-tick-tick-boom-review-andrew-garfields-ode-to-musical-genius-is-heart-wrenching-430496" hreflang="en">'Tick, Tick... Boom!' review: Andrew Garfield's ode to musical genius is heart-wrenching</a>

 
Through mere body language, Jane Campion (director) makes the demarcation clear to her viewers: Phil is the epitome&nbsp;of masculinity and George, a prop for Phil to impose his twisted ideologies on. The ones&nbsp;that were introduced to him at a tender age by 'friend and greatest cowboy of all time', Bronco Henry: a character we never meet in person but know of his grip over the brothers--for various reasons--only through dialogues.&nbsp;

 
Jane Campion's slowburner is a house of secrets, with heightened drama rendered by a stupendous Jonny Greenwood's background score.

However, Phil's authority is questioned by a lanky, sensitive sissy Peter (Kodi Smit-McPhee, Rose's son) who is everything he&nbsp;is not: kind, artistic and a visionary of sorts.&nbsp;

<img alt="A revelation: Kodi Smit-McPhee as kind and sensitive Peter" data-entity-type="file" data-entity-uuid="eb0b0773-d70c-46bb-87c5-60b88e7b43d4" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-12-02T151640.725.jpg" /> 
Campion, who has always&nbsp;been pro-female protagonist, makes an exception with this namesake adaptation of Thomas Savage’s 1967 novel: instead of a female character learning to find her feet in a male-dominated world, Campion lets Cumberbatch sweep us all with his toxic bravado while the layers of sentimentality are saved up for his most private moments. Campion juxtaposes Phil's persona against Peter's, with sexual tension galore and emotional baggage serving as the common component for them to bond over. 'The Power of the Dog' personifies unrealized dreams: Phil, like Bronco, wanted to be a mentor to a rather disappointing George. In Peter, he sees a glimmer of hope for the revival of that mentor-mentee relationship that he has always hankered after. Little did he know, Peter would crack open an array of emotions within him.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-chhorii-review-nushrratt-bharuccha-takes-one-for-the-team-431971" hreflang="en">'Chhorii' review: Nushrratt Bharuccha takes one for the team</a>

 
'The Power of the Dog' is 2021's visual masterpiece--with Campion winning the Venice Film Festival's Silver Lion for Best Director--as&nbsp;cinematographer Ari Wegner captures the anger, loneliness and complexity of the characters in her camera that leaves one gasping for breath. The ranch life, too, never looked so glamourous and tempting: every flip of a horse's tail is a story in itself.&nbsp;

<img alt="Kirsten Dunst evokes empathy as troubled Rose" data-entity-type="file" data-entity-uuid="40f3e6c1-7644-4318-b901-00da1dd43198" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-12-02T151605.090.jpg" /> 
Kirsten Dunst, as Rose, is drowning in alcoholism and unresolved issues and the actor internalizes her trauma with mastery. Her on-as-well-as-off-screen partner Jesse Plemons displays a plethora of emotions solely through his expressions: a quality Plemons has forever been appreciated for. The secret weapon in this sinister Western saga, however, is Kodi Smit-McPhee. You don't know what hits you once he is on frame. Like Phil, Kodi&nbsp;wraps his audience around his finger and there one stays till the very end.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-tiger-king-2-review-joe-exotics-life-is-now-a-reality-show-with-more-drama-than-the-kardashians-430587" hreflang="en">'Tiger King 2' review: Joe Exotic's life is now a reality show with more drama than the Kardashians</a>

 
Dark, desolate, disturbing and ominous are some of the apt adjectives for delineating Jane Campion's comeback film--yes, this is her first directorial venture after a hiatus of 12 years--and she unleashes ruthlessness of the central figure through an actor we did not know could do mean so exquisitely: Benedict 'marvelous' Cumberbatch.&nbsp; 
&nbsp;

'The Power of the Dog' is now streaming on Netflix.

&nbsp;

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Clinking of silverware in an expansive ranch, thudding of cowboy boots and an overbearing presence of a hyper-macho Phil (Benedict Cumberbatch) casts a foreboding shadow on the Burbank household.

Clinking of silverware in an expansive ranch, thudding of cowboy boots and an overbearing presence of a hyper-macho Phil (Benedict Cumberbatch) casts a foreboding shadow on the Burbank household. The setting is 1925 and the mood, perpetually, of forbidden desires and suppressed emotions. In Phil's complex world, a man exhibiting even a shred of vulnerability gets labelled as 'half-cooked Miss Nancy'. Perhaps, this is why his brother George (Jesse Plemons) despises his tough, foul mouthed elder brother so much so that he doesn't pass up on the chance to marry the 'cheap schemer' widow, Rose (Kirsten Dunst), Phil ungracefully loathes. For the world outside, Phil embodies 1920s machismo typical of the Western stretch during that era: where pianists tremble with fear upon his single glare, maids hurdle up in one corner on his arrival and nobody, not even the 'fatso' younger brother he seems to love, challenges his rugged and hillbilly habits. Also read: 'Tick, Tick... Boom!' review: Andrew Garfield's ode to musical genius is heart-wrenching Through mere body language, Jane Campion (director) makes the demarcation clear to her viewers: Phil is the epitome of masculinity and George, a prop for Phil to impose his twisted ideologies on. The ones that were introduced to him at a tender age by 'friend and greatest cowboy of all time', Bronco Henry: a character we never meet in person but know of his grip over the brothers--for various reasons--only through dialogues. Jane Campion's slowburner is a house of secrets, with heightened drama rendered by a stupendous Jonny Greenwood's background score. However, Phil's authority is questioned by a lanky, sensitive sissy Peter (Kodi Smit-McPhee, Rose's son) who is everything he is not: kind, artistic and a visionary of sorts. Campion, who has always been pro-female protagonist, makes an exception with this namesake adaptation of Thomas Savage’s 1967 novel: instead of a female character learning to find her feet in a male-dominated world, Campion lets Cumberbatch sweep us all with his toxic bravado while the layers of sentimentality are saved up for his most private moments. Campion juxtaposes Phil's persona against Peter's, with sexual tension galore and emotional baggage serving as the common component for them to bond over. 'The Power of the Dog' personifies unrealized dreams: Phil, like Bronco, wanted to be a mentor to a rather disappointing George. In Peter, he sees a glimmer of hope for the revival of that mentor-mentee relationship that he has always hankered after. Little did he know, Peter would crack open an array of emotions within him. Also read: 'Chhorii' review: Nushrratt Bharuccha takes one for the team 'The Power of the Dog' is 2021's visual masterpiece--with Campion winning the Venice Film Festival's Silver Lion for Best Director--as cinematographer Ari Wegner captures the anger, loneliness and complexity of the characters in her camera that leaves one gasping for breath. The ranch life, too, never looked so glamourous and tempting: every flip of a horse's tail is a story in itself. Kirsten Dunst, as Rose, is drowning in alcoholism and unresolved issues and the actor internalizes her trauma with mastery. Her on-as-well-as-off-screen partner Jesse Plemons displays a plethora of emotions solely through his expressions: a quality Plemons has forever been appreciated for. The secret weapon in this sinister Western saga, however, is Kodi Smit-McPhee. You don't know what hits you once he is on frame. Like Phil, Kodi wraps his audience around his finger and there one stays till the very end. Also read: 'Tiger King 2' review: Joe Exotic's life is now a reality show with more drama than the Kardashians Dark, desolate, disturbing and ominous are some of the apt adjectives for delineating Jane Campion's comeback film--yes, this is her first directorial venture after a hiatus of 12 years--and she unleashes ruthlessness of the central figure through an actor we did not know could do mean so exquisitely: Benedict 'marvelous' Cumberbatch. 'The Power of the Dog' is now streaming on Netflix.

The Power of the Dog review: Benedict Cumberbatch's a marvelous old, lonely ranch man

Critically acclaimed Korean film 'Parasite' has been impressing moviegoers across the world since the past year. After winning several accolades at various film festivals, including top honour at Cannes and bagging 6 nominations at Oscars, filmmaker Bong Joon- ho's film is all set to release in India.&nbsp; 
 
Not just 'Parasite' - 'Game of Thrones' prequel titled 'House of the Dragon' has also got a release date.&nbsp; 
 
Meanwhile, Priyanka Chopra is all set to star in a new music video with her husband Nick Jonas. The song is by Jonas Brothers but the video will only feature Nick and Priyanka. Here are the top Hollywood news of the day.

Curious to watch 'Parasite'? Here's when it is releasing in India 
 
South Korean film 'Parasite' which has earned multiple nods at the upcoming Oscars is all set to release in India on January 31. Written and directed by South Korean auteur Bong Joon Ho- the film has earned 6 nominations at Oscars 2020. 
 
Read more: <a href="https://www.wionews.com/entertainment/oscar-nominated-film-parasite-to-release-in-india-on-this-date-274685">https://www.wionews.com/entertainment/oscar-nominated-film-parasite-to-release-in-india-on-this-date-274685</a> 
 
Priyanka Chopra, Nick Jonas to feature in Jonas Brothers' 'What A Man Gotta Do' music video

There is now a new poster featuring the two lovebirds and this time it's for a music video. Priyanka and Nick can be seen having a good time with each other on the poster of a music video for the song titled 'What A Man Gotta Do'. &nbsp;The Bollywood actress took to her Instagram page to share the poster for Jonas Brothers' album. 
 
Read more: <a href="https://www.wionews.com/entertainment/priyanka-chopra-nick-jonas-to-feature-in-jonas-brothers-what-a-man-gotta-do-music-video-274660">https://www.wionews.com/entertainment/priyanka-chopra-nick-jonas-to-feature-in-jonas-brothers-what-a-man-gotta-do-music-video-274660</a>

'Game of Thrones' prequel 'House of the Dragon' finally has a release date 
 
Great news for ‘Game of Thrones’ lovers as the makers of HBO hit series have finally revealed the release date for their upcoming sequel titled ‘House of the Dragon’. &nbsp;The much-awaited sequel to the fantasy series ‘Game of Thrones’ is set to air in 2022. 
 
Read more: <a href="wionews.com/entertainment/game-of-thrones-prequel-house-of-the-dragon-finally-has-a-release-date-274604">https://www.wionews.com/entertainment/game-of-thrones-prequel-house-of-the-dragon-finally-has-a-release-date-274604</a>

Harvey Weinstein urges court to delay rape trial, move it out of Manhattan 
 
Harvey Weinstein has now asked a New York state appeals court to delay his rape trial. He also wants it to be moved out of Manhattan.The former media mogul is currently undergoing trial for alleged rape, levied by more than one woman. 
 
Read more: <a href="https://www.wionews.com/entertainment/harvey-weinstein-urges-court-to-delay-rape-trial-move-it-out-of-manhattan-274522">https://www.wionews.com/entertainment/harvey-weinstein-urges-court-to-delay-rape-trial-move-it-out-of-manhattan-274522</a>

Jamie Foxx on lack of diversity at Oscars: We don't start these movies to win awards 
 
Jamie Foxx stayed out of the Oscars diversity debate at the London premiere of his new movie 'Just Mercy' on Wednesday. The film, which tackles the subjects of wrongful convictions and racism, was snubbed by the Academy when nominations were revealed on Monday. 
 
Read more: <a href="https://www.wionews.com/entertainment/jamie-foxx-on-lack-of-diversity-at-oscars-we-dont-start-these-movies-to-win-awards-274519">https://www.wionews.com/entertainment/jamie-foxx-on-lack-of-diversity-at-oscars-we-dont-start-these-movies-to-win-awards-274519</a>

Critically acclaimed Korean film 'Parasite' has been impressing moviegoers across the world since the past year. After winning several accolades at various film festivals, including top honour at Cannes and bagging 6 nominations at Oscars, filmmaker Bong Joon- ho's film is all set to release in India.

Critically acclaimed Korean film 'Parasite' has been impressing moviegoers across the world since the past year. After winning several accolades at various film festivals, including top honour at Cannes and bagging 6 nominations at Oscars, filmmaker Bong Joon- ho's film is all set to release in India. Not just 'Parasite' - 'Game of Thrones' prequel titled 'House of the Dragon' has also got a release date. Meanwhile, Priyanka Chopra is all set to star in a new music video with her husband Nick Jonas. The song is by Jonas Brothers but the video will only feature Nick and Priyanka. Here are the top Hollywood news of the day. Curious to watch 'Parasite'? Here's when it is releasing in India South Korean film 'Parasite' which has earned multiple nods at the upcoming Oscars is all set to release in India on January 31. Written and directed by South Korean auteur Bong Joon Ho- the film has earned 6 nominations at Oscars 2020. Read more: https://www.wionews.com/entertainment/oscar-nominated-film-parasite-to-release-in-india-on-this-date-274685 Priyanka Chopra, Nick Jonas to feature in Jonas Brothers' 'What A Man Gotta Do' music video There is now a new poster featuring the two lovebirds and this time it's for a music video. Priyanka and Nick can be seen having a good time with each other on the poster of a music video for the song titled 'What A Man Gotta Do'. The Bollywood actress took to her Instagram page to share the poster for Jonas Brothers' album. Read more: https://www.wionews.com/entertainment/priyanka-chopra-nick-jonas-to-feature-in-jonas-brothers-what-a-man-gotta-do-music-video-274660 'Game of Thrones' prequel 'House of the Dragon' finally has a release date Great news for ‘Game of Thrones’ lovers as the makers of HBO hit series have finally revealed the release date for their upcoming sequel titled ‘House of the Dragon’. The much-awaited sequel to the fantasy series ‘Game of Thrones’ is set to air in 2022. Read more: https://www.wionews.com/entertainment/game-of-thrones-prequel-house-of-the-dragon-finally-has-a-release-date-274604 Harvey Weinstein urges court to delay rape trial, move it out of Manhattan Harvey Weinstein has now asked a New York state appeals court to delay his rape trial. He also wants it to be moved out of Manhattan.The former media mogul is currently undergoing trial for alleged rape, levied by more than one woman. Read more: https://www.wionews.com/entertainment/harvey-weinstein-urges-court-to-delay-rape-trial-move-it-out-of-manhattan-274522 Jamie Foxx on lack of diversity at Oscars: We don't start these movies to win awards Jamie Foxx stayed out of the Oscars diversity debate at the London premiere of his new movie 'Just Mercy' on Wednesday. The film, which tackles the subjects of wrongful convictions and racism, was snubbed by the Academy when nominations were revealed on Monday. Read more: https://www.wionews.com/entertainment/jamie-foxx-on-lack-of-diversity-at-oscars-we-dont-start-these-movies-to-win-awards-274519

Top 5 Hollywood news today: 'Parasite' to release in India, Priyanka Chopra, Nick Jonas to feature in new music video