Her web connects them all. 🕸 #MadameWeb is coming soon exclusively to movie theaters.
“Meanwhile, in another universe…” In a switch from the typical genre, Madame Web tells the standalone origin story of one of Marvel publishing’s most enigmatic heroines. The suspense-driven thriller stars Dakota Johnson as Cassandra Webb, a paramedic in Manhattan who may have clairvoyant abilities. Forced to confront revelations about her past, she forges a relationship with three young women destined for powerful futures…if they can all survive a deadly present.
This is the first single from the band’s upcoming album “Hackney Diamonds.”
The Rolling Stones have released “Angry,” the first single off their new album “Hackney Diamonds.”
The song and its accompanying music video, starring “Euphoria” actress Sydney Sweeney and directed by Francois Rousselet, debuted following a press conference featuring members Mick Jagger, Keith Richards and Ronnie Wood on Wednesday from London.
The music video begins with Sweeney riding on the back of a red convertible throughout the streets of Los Angeles while wearing a black leather outfit, as footage of the band from throughout the years, performing along to the song, plays on billboards.
At the press conference, Sweeney said she “freaked out” when The Rolling Stones asked her to be in the music video and called it “the biggest thing ever.”
“I didn’t know it was gonna be the first single, but I loved the song when I heard it,” the “White Lotus” actress added. “It’s been stuck in my head.”
“Hackney Diamonds,” The Rolling Stones’ first album of original songs since their 2005 album, “A Bigger Bang,” will be released Oct. 20.
EXCLUSIVE: HBO Films has closed a deal for U.S. rights to the Berlin Film Festival buzz competition title Reality. Directed by Tina Satter, the docudrama is a breakout turn for Sydney Sweeney as convicted classified document leaker Reality Winner. Sweeney stars in the hit HBO series Euphoria.
Pic hasn’t been dated yet to premiere on HBO, but it will happen in the near future, certainly in time to qualify for Emmy consideration and to capitalize on the momentum from the rave reviews the film just received in Berlin. Sweeney’s performance was singled out for praise in most every review.
Reality Winner (her actual given name) grew up in Texas and went through the Air Force on her way to becoming a translator for the NSA. She was employed by the military contractor Pluribus International Corporation when she was arrested at 25, and eventually convicted of leaking an intelligence report about Russian meddling in the 2016 elections to the news website The Intercept. She was given the longest prison sentence for leaking unauthorized government information to the media, drawing a five year and three months prison stretch.
Using transcripts recorded of Winner’s interrogation by the FBI that became evidence in her subsequent trial, New York director Satter first fashioned this transcript — with zero embellishment — into a critically acclaimed stage play called Is This a Room in 2019. That formed the basis for this docudrama hybrid.
The film is produced by Noah Stahl, Brad Becker-Parton, Riva Marker, and Greg Nobile. Executive producers are Ellyn Daniels, Will O’Connor, Daniel Ginsberg, Andrew Beck, Bill Way, Elliott Whitton, Eva Maria Daniels, Philipp Engelhorn, Caitlin Gold, and Satter. David Duque-Estrada and Rita Walsh co-produced.
The film is a Seaview and 2 SQ FT production in association with Burn These Words, In The Cut, Fit Via Vi, Cinereach, and Tanbark Pictures production.
Deal was negotiated by UTA Independent Film Group and WME Independent.
Financing, production and distribution legal handled by Eugene Pikulin at 3B Law.
EXCLUSIVE: Will Gluck is getting back to his rom-com roots and looks to have landed two of the most sought-after stars in town for his next project. Sources tell Deadline that Sony Pictures has acquired an untitled R-rated romantic comedy, with Sydney Sweeney and Glen Powell set to star and Gluck directing.
While the plot is being kept under wraps, the project is based on Ilana Wolpert’s script, which Gluck is rewriting.
Joe Roth, Jeff Kirschenbaum and Gluck (who with his Olive Bridge Entertainment has a first-look deal at Sony) are producing, with Sweeney exec producing for Fifty-Fifty Films. Natalie Sellers and Alyssa Altman are exec producing for RK Films.
Sony landed the coveted package at the end of last year and after figuring out Sweeney’s schedule with her Euphoria dates. Shooting is expected to start at the end of next month.
Following her Emmy-nominated work on HBO’s Euphoria and The White Lotus, Sweeney has spent her Euphoria hiatus building up an impressive upcoming slate starting with the Sony/Marvel pic Madame Web. That production finished last year and began a new strong relationship with the studio and the budding star, as Sony would then land the rights to the package The Registration that she is attached to star and produce. She is also attached to exec produce and star in a new Barbarella movie at Sony Pictures and has also also recently partnered with Fifth Season to produce a TV adaptation of The Players Table. She also recently wrapped production on National Anthem.
For Powell, the film returns him to his rom-com roots as well after his career was launched in Netflix’s Set It Up opposite Zoey Deutch. He is coming off a big 2022 starting with Top Gun: Maverick. He also recently co-starred with Jonathan Majors and executive produced the historical war epic Devotion for Sony. Additionally, he will team with Chris Morgan in the sci-fi action thriller Deputy X for Universal and has signed on to the buddy comedy Foreign Relations, where he will star alongside Nick Jonas.
Best known for his comedies Easy A and Friends With Benefits, Gluck is currently developing End of the World, an action comedy he wrote with Chris Bremner and which Gluck will direct, and Just Dance for Ubisoft which Gluck wrote with AC Bradley and will direct. On the TV side, Gluck is adapting Chameleon: Hollywood Con Queen with Noah Pink for Peacock, which he will direct and produce. He is also producing the Black List-topping Move On, a sci-fi romance by Ken Kobayashi, for Sony, and the live-action adaptation of Aristocats for Disney.
Wolpert is the executive story editor on Season 4 of High School Musical: The Musical: The Series at Disney+. She is developing her original series Turn of the Century Teenage Bitch with Animal Pictures (Maya Rudolph & Natasha Lyonne), Paulilu (Paul Downs & Lucia Aniello) and 3 Arts. Previously, Wolpert sold and developed her original pilot I’m In Love With the Dancer From My Bat Mitzvah at the CW with Rachel Bloom.
Sweeney is repped by Paradigm and Hansen, Jacobson, Teller. Powell is repped by CAA and Johnson Shapiro. Gluck is repped by UTA. Wolpert is repped by UTA, 3 Arts and Ginsburg Daniels Kallis.
EXCLUSIVE: Sydney Sweeney isn’t done staying busy with Sony Pictures, as sources tell Deadline the Emmy-nominated Euphoria and The White Lotus actress is attached to star in a new Barbarella movie for the studio. The film is based on Jean-Claude Forest’s French comic book series that was turned into a 1968 movie starring Jane Fonda.
Insiders add that the new movie is still in development with no writer or director attached, but say that Sweeney is expected to executive produce.
Not much is known about this version, but the 1968 pic directed by Roger Vadim follows an astronaut from the 41st century who sets out to find and stop the evil scientist Durand Durand, whose Positronic Ray threatens to bring evil back into the galaxy. The film wasn’t a massive box office hit but has since become a cult classic, and in 2020 the Forest estate announced plans for a new film.
Sweeney has become a fan favorite with Sony. The studio not only tapped her to co-star in its Marvel pic Madame Webb opposite Dakota Johnson but also recently acquired the package The Registration with Sweeney on board to produce and star.
Sweeney has quickly become one of the more sought after young stars following her breakout roles in the first season of HBO’s The White Lotus and the second season of Euphoria, both scoring her Emmy noms. Besides Madame Webb, she also recently wrapped production on the Tony Tost film National Anthem, which also stars Simon Rex and Halsey, as well as Reality.
She also recently launched a production company and has become hands-on in that part of the process. Besides The Registration, Sweeney also recently partnered with Endeavor Content to produce a TV adaptation of The Players Table.
She is repped by Paradigm and Hansen, Jacobson and Teller.
‘Euphoria,’ starring Sydney Sweeney, has an intimacy coordinator on set to make sure the actress is supported and comfortable throughout filming any scenes
Celebrities have varying degrees of comfort in front of the camera, especially when it comes to filming a scene where partial or full nudity is required.
“White Lotus” actress Sydney Sweeney has vowed to continue doing nude scenes as they have given her confidence to love her body just as it is, while “The Dropout” star Amanda Seyfried admitted earlier this month that she used to feel pressured into getting undressed at the beginning of her career.
For Sweeney, who has filmed many intimate scenes as Cassie Howard on Sam Levinson’s “Euphoria,” an intimacy coordinator would be on set to make sure the actress was supported and comfortable throughout filming any scenes.
Dr. Jessica Steinrock, a certified Intimacy Coordinator registered with SAG-AFTRA, exclusively told Fox News Digital that the need for intimacy coordinators in the industry is only going to continue to grow as viewers embrace the range of storytelling offered on streaming networks versus cable television.
“This is a relatively new role. It really hit its stride kind of in 2018 when HBO made their commitment to having an intimacy coordinator on all their film sets,” she said. “An intimacy coordinator is there to provide safety and framework for scenes of intimacy. Those are scenes of simulated sex, simulated genital contact, or scenes of nudity.”
In the wake of the #MeToo and Time’s Up movements, safety of actors on set was recognized and intimacy coordinators have become a part of a production, according to Steinrock, who noted that intimacy coordinators “have always been necessary” for cast and crews.
In July, Sweeney spoke on the many nude scenes she’s filmed for the HBO show, telling The Hollywood Reporter, “People forget that I’m playing a character, they think, ‘Oh, she gets naked onscreen, she’s a sex symbol.'”
“And I can’t get past that. I have no problems with those scenes, and I won’t stop doing them, but I wish there was an easier way to have an open conversation about what we’re assuming about actors in the industry.”
Sweeney has previously pushed Levinson to cut unnecessary nude scenes, to which he willingly obliged.
“There are moments were [my character] Cassie was supposed to be shirtless and I would tell Sam, ‘I don’t really think that’s necessary here,’” the 24-year-old explained. “He was like, ‘OK, we don’t need it.’ I’ve never felt like Sam has pushed it on me or was trying to get a nude scene into an HBO show. When I didn’t want to do it, he didn’t make me.”
“Euphoria” has intimacy coordinators on set, however, Sweeney said in a January interview with The Independent that she’s had terrible experiences with other acting roles and wanted to “scrub myself raw” and felt “disgusting” after filming a difficult scene.
“I didn’t feel comfortable with my castmate or the crew, and I just didn’t feel like my character would be doing it. That made me even more self-conscious. I didn’t feel like I was able to speak up,” Sweeney said.
Seyfried also recently shared a similar statement, saying she felt obligated to do nude scenes at a young age just to keep working in the entertainment industry.
“Being 19, walking around without my underwear on — like, are you kidding me? How did I let that happen?” Seyfried told Porter in August. “Oh, I know why: I was 19, and I didn’t want to upset anybody, and I wanted to keep my job. That’s why.”
The Emmy Award-nominated actress said she came out of the #MeToo era “pretty unscathed” despite having to deal with harsh male attention, especially from her role in “Mean Girls” when she was 18 years old and her character, Karen, could forecast changes in the weather through her chest.
“I always felt really grossed out by that,” she told Marie Clare in May of the attention she received from men. “I was like 18 years old. It was just gross.”
As a rule, Sydney Sweeney is drawn to characters that are nothing like her. “I find that challenge interesting,” she says. But playing Cassie Howard, the LA teen who wears her emotions on her sleeve in Sam Levinson’s Euphoria was a welcome exception for the 24-year-old. “Cassie is one of the most relatable characters to me, because I search for love and acceptance, and I’m scared of being alone.” Deadline talked to Sweeney about embodying the intensity of her character, showing real depth to Cassie and what makes her character Olivia on Mike White’s black comedy The White Lotus so terrifying.
DEADLINE: Going into Season 2 of Euphoria, how was it different for you?
SYDNEY SWEENEY: It’s the first time that I’m able to revisit a character. I was really excited because it was the longest time I’ve ever spent with another character — another person. So being able to go back into her shoes and learn more about her and grow was truly an experience that I’ve always dreamt of.
DEADLINE: How did Sam prepare you for the intense arc that was coming?
SWEENEY: He gave me a heads up of Cassie and Nate’s love affair in between Season 1 and Season 2. But other than that, I was just along for the crazy rollercoaster ride.
DEADLINE: This girl is so alive. What is Cassie like to live in?
SWEENEY: I truly feel everything Cassie feels. I like to look at it as if I am living and breathing that character’s life, and the moments that are happening are truly affecting her. I’m just allowing whatever hits her to hit me. It’s quite a process, but it’s why I fell into acting.
DEADLINE: From the affair that begins in the first episode of Season 2 until Cassie’s unraveling in the finale, do you have a sense of the season’s arc, or do you get the story script by script?
SWEENEY: We will do a chunk of episodes at the same time. We filmed the first four episodes all at once. The first scene that we did was the scene of me in the bathroom going, “I’ve never, ever been happier.” But everything is out of order, and you have to keep track of where you came from and where you’re going, and follow that path that your character’s on. I had no idea what was happening after Episode 4, until we got towards the end of that block. You just have to let go. It’s like this beautiful feeling of, yes, you know your character, but you also have to be open enough to whatever happens next.
DEADLINE: The bathroom scene is so powerful. If you are not actually building up to that chronologically, how do you get to that level of intensity?
SWEENEY: It goes back to me being able to allow a character to just affect me. I truly believe when they call action, I am now Cassie. And when they call cut, I’m Sydney. Anything that is happening [in between], whether it’s the scene partners, the atmosphere, anything in a moment — like a conversation you are having, I just truly listen and feel what Cassie is experiencing. I don’t like to plan it. I don’t do line reads. I just truly allow myself to live in my characters.
DEADLINE: Which is interesting, because sometimes that means that the body doesn’t know the difference between reality and fiction. Do you find that it affects you afterwards? Is she hard to shake off?
SWEENEY: No. Before I even come to set, I am able to flesh her out so much as her own individual that I know her memories, the way that she moves and the way she talks, to the point where what you see on screen is Cassie. I don’t put my own memories and my own life experiences into a character. So, I’m able to separate myself as completely as I need to.
Pippa and Thomas move into their dream apartment, they notice that their windows look directly into the apartment opposite - inviting them to witness the volatile relationship of the attractive couple across the street. But when they attempt to anonymously intercede in their lives, they unwittingly set in motion a chain of events that will lead to disaster.
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