I recently spoke with Georgian American writer and director Nika Agiashvili about his latest action film, “Atlas King.”

“Atlas King,” is a gritty action thriller set in the dangerous world of Mixed Martial Arts (MMA), starring former Middleweight Champion and UFC Hall of Famer Michael Bisping as Atlas King, who returns home for his mentor Dutch’s funeral to find Los Angeles’ fight scene controlled by crime boss Clay Emerson (Academy Award Winner Cuba Gooding Jr.). With Tommy (George Finn), Dutch’s son now in the trenches, it has become a battle for the young fighter’s soul. The film also co-stars Sarah Wayne Callies and Penelope and Anne Winters as Collette.

In our interview, we discuss his drive to make high quality action films, what it was like working with the former UFC Middleweight Champion standing in the same frame as an Academy Award winne and how Agiashvili brought an Eastern European sensibility to Los Angeles, CA.

“Atlas King,” is available today on VOD from Saban Films.

For more information about “Atlas King,” visit: https://www.punchitfilms.com/.

The fog is rolling in once again, the monsters are waking up and somewhere in the darkness, something is waiting for you to take the wrong turn.

I spoke with Chef Elvis Wong (interview above) about the new menu for this year’s Knott’s Scary Farm, which takes a different approach from last year’s more exotic offerings. This season, Wong and his team of fellow chefs have leaned into comfort food, creating familiar dishes with a Halloween twist that give guests something warm and satisfying to enjoy before heading back into the fog.

But food is only part of what awaits when Knott’s Scary Farm returns this fall. Along with the new menu, the Southern California Halloween tradition has added new mazes and entertainment while bringing back many of the classic scares that have made the event a yearly ritual for horror fans.

Running from September 17 through October 31, the 2026 season features 10 mazes, five scare zones and two new shows, along with the fan favorite The Hanging. Once the sun goes down, the park takes on a different personality. Familiar paths disappear beneath the fog and the streets become hunting grounds for creatures that seem to know exactly where you are.

One of the biggest new attractions is “Inked,” a twisted journey into the imagination of Mortimer Morbid, a washed up 1930s cartoonist and former head of Morbid Studios. Morbid discovers that blood can become ink and that whatever he draws can become real. Determined to create one final Halloween special, he brings his infamous cartoon characters to life, only to discover that his creations are far more interested in hunting their audience than entertaining them.

“Unearthed,” sends guests in another direction, deep into an excavation site where a search and rescue team arrives at a ravaged mountain base after receiving a distress signal. What begins as a rescue mission quickly turns into something much darker when the discovery of ancient tablets awakens a malevolent force that has been waiting beneath the earth. Some things, it seems, were buried for a reason.

The new entertainment lineup also brings a touch of the supernatural. At the Calico Mine Stage, “Voodoo: Bayou’s Edge,” invites guests into the shadowy world of Marie Laveau, the Voodoo Queen, as she guides them toward the court of Baron Samedi, Lwa of the dead. Drums echo through the mist, flames rise and the cemetery awakens as the dead keep rhythm.

At the Bird Cage Theatre, “Occultum Curated by Magic Castle,” offers a different kind of fright. Magicians from the world famous Magic Castle will take the stage for an evening of mystery and illusion, proving that not everything that disappears is necessarily gone for good.

Returning to the darkness are several familiar nightmares. “Mary: The Haunting of Worth Home,” follows Mary, a woman murdered and buried alive by jealous townspeople who coveted her family and beautiful home. Now she has returned from the grave and brought a legion of creatures with her. Anyone who steps inside her former home may find themselves standing between Mary and the revenge she has waited years to claim.

At “The Zoo,” an abandoned animal park has become something far more disturbing. What was once a showcase of exotic animals is now a laboratory filled with experiments that have blurred the line between human and animal. The creatures have turned against their creators and mutant soldiers now roam the compound.

For those who prefer their nightmares a little more personal, “Eight Fingers Nine: The Boogeyman,” plunges guests into an 18th century colonial township where an inhuman creature stalks the darkness in search of fresh meat. The monster has a particular appetite for fingers and a bite that can leave victims trapped in sleep paralysis as he closes in.

Things become even more unsettling in “Widows,” where a web covered nursing home has become the hunting ground of enormous black widows. The demonic creatures emerge from their tunnels and take over the bodies of the elderly residents, searching for mates and preparing to hatch their eggs before sunrise. The safest place may be anywhere that is not caught in their web.

In “Room 13,” the violence begins at The Blind Tiger, where Prohibition era revelry is interrupted by a series of gruesome murders. A mysterious green cocktail called The Devil’s Elixir appears to be connected to the bloodshed, leading guests to the extravagant Argive Hotel. There, Room 13 has a reputation for swallowing visitors whole. Many have checked in. Few have checked out.

“Cinema Slasher,” invites guests into the Midnight Theater, where the line between audience and movie begins to disappear. Guests travel through the silver screen and into a trilogy of slasher films, becoming characters who must fight their way through a gothic nightmare while trying to escape the Slasher.

The past also comes back to life in “The Chilling Chambers,” where the Crimson Lord guides guests through a collection of monsters and themes from Knott’s Scary Farm’s long history. Each room offers another flavor of terror, taking visitors deeper into decades of nightmares.

Meanwhile, “Origins: The Curse of Calico,” pulls back the veil on the supernatural forces haunting the town. As the evil fog settles over Calico, Sarah Marshall faces accusations of witchcraft while guests uncover the dark paranormal history that helped turn Knott’s Scary Farm into the place it is today.

Of course, the mazes are only the beginning. Once guests step back onto the midway, they may find that the monsters are no longer waiting behind a door. They are already in the streets.

“CarnEVIL,” returns to the Boardwalk with a reimagined vision of horror. Under the watchful eye of the hypnotist Mesmer, the circus has become even more sinister, with clowns, cutthroats and strange curiosities competing for attention. The sideshow is the main event and getting too close could cost more than a ticket.

“Ghost Town Streets,” the original Knott’s Scary Farm scare zone, returns as the fog rolls through the streets. Half human and half animal creatures prowl through the darkness while the infamous Sliders wait for the perfect moment to launch themselves from the fog.

New this year, “The Gore-ing ’20s,” brings a decadent and dangerous 1920s atmosphere to the park. Gangsters move illicit hooch while ghostly revelers dance to the music of the damned. There is even a secret password to get inside. Whether knowing it will help you get back out is another question.

At “Forsaken Lake,” the water beneath Silver Bullet gives up the creatures it has kept hidden. Ravaged by the dark waters, gothic monsters wander from their crypts looking for unsuspecting guests to drag back beneath the surface.

Then there is “The Gauntlet,” where guests enter a realm ruled by a King and Queen surrounded by maniacal jesters, brutal barbarians, wicked wizards and lawless peasants. It is the sort of place where everyone appears to have a role and none of those roles involve making sure you get out safely.

And when it comes to tradition, few things are more anticipated than “The Hanging: Noose Maxxxing,” which returns to Wagon Camp. The town of Calico is once again under siege and the Lawman and Hangman are ready to battle the villains of the past year in an over the top spectacle filled with gore, laughs and plenty of pop culture skewering. The show contains adult themes and is not suitable for children.

For those planning to brave the Farm more than once, the Scary Farm Pass offers unlimited visits on all event nights. The pass is currently $164 for a limited time, while Knott’s Season Passholders can purchase one for $155. Quantities are limited.

Knott’s Scary Farm has welcomed millions of visitors for more than five decades of never-ending nightmares and has become an institution in the Southern California theme park landscape. This year, the event returns on Sept. 17 and runs Thursdays-Sundays through Oct. 31, excluding Sept. 20. Due to the explicit and frightening nature of the event, it is not recommended for children under 13.

Knott’s Chaperone Policy:

A chaperone policy will remain in effect for all Knott’s Scary Farm event nights. Under this policy, all guests ages 15 years old or younger must be accompanied by a chaperone who is at least 21 years old to be admitted into the park. The chaperone must present a valid government-issued photo identification with date of birth at ticket entry. One chaperone may accompany no more than ten guests ages 15 or younger per day. In addition, the chaperone must accompany their party during entry, remain inside the park during their visit and be available by phone throughout their stay. Guests 16 years of age or older may be asked to present a valid government-issued photo identification (driver’s license, state-issued ID card, passport) with date of birth at entry to verify their age. If unable to verify proof of age, guests may be denied entry into the park. Guests ages 15 years old or younger who are found inside the park unaccompanied by a chaperone will be subject to ejection.

In addition, a bag policy will remain in effect for this year’s Knott’s Scary Farm. Clear plastic bags smaller than 12” x 12” x 6” as well as non-clear wristlets or clutches no larger than 5”x 8”x 2” are allowed at Knott’s Scary Farm. All bags are subject to search prior to entry.

This year, come for the comfort food and stay for the screams. Chef Wong and his team may have something warm waiting for you, but once the sun disappears, there is no telling what might be waiting just beyond the next bite, the next corner or the next darkened doorway.

See you in the fog.

For more information on Knott’s Scary Farm, including admission, parking, park hours, and events, visit knottsscaryfarm.com.

I spoke with Erin Miracle about the Miracle Makers International Film Festival, coming to Big Newport in Newport Beach, CA, September 2 through 6, 2026. The family friendly festival will bring together inspiring films and uplifting media that explore faith, spirituality, hope and meaningful stories that can speak to both faithful audiences and the secular community.

Miracle Makers is an ecumenist (interdenominational), festival welcoming Roman Catholic, Eastern and Oriental Orthodox, Protestant and Evangelical Christians to come together and share in the events. The festival also welcomes people from outside the Christian faith who are drawn to inspiring and uplifting entertainment. There are five different pass tiers along with a family plan for up to four immediate family members for the day, in order to see multiple films and attend various panels.

The program reaches far beyond traditional cinema. Audiences can experience short films, full length features, documentaries, podcasts, music videos and other forms of creative media. The festival recognizes storytelling in both established and emerging formats, creating a broad platform for artists with something meaningful to share.

According to Erin Miracle, the festival was created as a global platform for storytellers whose work inspires people, brings hope and has the potential to create lasting change. With more than 80 award categories, Miracle Makers recognizes a wide range of creative work including feature films, documentaries, podcasts, web series, YouTube productions, music videos, dance, visual arts, books and more.

The festival includes both Faith and Open Divisions, giving creators from different backgrounds an opportunity to participate while maintaining a focus on entertainment that can have a lasting and meaningful impact.

Miracle Makers is also designed to build connections beyond the awards and screenings. The festival brings together filmmakers, nonprofits, businesses and community leaders whose missions share common ground. These connections can lead to partnerships that help meaningful stories reach wider audiences while supporting causes that matter.

With its combination of faith, creativity and community, Miracle Makers International Film Festival offers an opportunity to experience inspiring storytelling in many forms. Its arrival at Big Newport gives audiences in Newport Beach and beyond a chance to discover films and other creative works designed to encourage, uplift and make a difference.

To purchase tickets and see a list of films schedule for Miracle Makers International Film Festival visit: https://miraclemakersiff.eventive.org/pass/buy.

For more information about Miracle Makers International Film Festival and how to become apart of the third season, visit: https://miraclemakersiff.com/.

Follow Miracle Makers International Film Festival on Instagram @miraclemakersiff.

Seeing “Plan 9 From Outer Space,” at Maverick Theater for the first time is a treat. The second time is an experience. By the third, it has become my annual tradition. At this point, I have seen Maverick’s totally bonkers stage adaptation almost as many times as I have seen Ed Wood’s film itself and, naturally, I am already looking forward to seeing it again next year.

This year’s cast of “Plan 9 From Outer Space,” blasted off with even more camp, chaos and cosmic nonsense than anticipated Somehow, the returning cast and new faces managed to top last year’s intergalactic insanity, turning Ed Wood’s cinematic disaster into a live action masterpiece, flying saucers, zombies and actors delivering the dumbest lines imaginable with the absolute seriousness of Chaucer.

This is Maverick Theater, after all, a totally fun, completely authentic, little bunker of creativity in Fullerton, CA, where no piece of cardboard is too humble, no special effect too ridiculous and no Ed Wood line too dangerously stupid to receive the full theatrical treatment.

At the center of this beautifully deranged operation is Brian Newell, who once again serves as producer, director, writer, lighting tech, sound designer, video wizard, miniature model maker and presumably the person who locks the doors so no one can leave. His Staged Cinema Scope remains one of the show’s greatest pleasures, blending live performance with projected miniature sets into something I’ve repeatedly called a blend of “The Twilight Zone,” wandered into “Pee Wee’s Playhouse,” after several questionable cocktails.

The returning team of Special Jackson Newell and Effects Kairi Sanders of Maverick Light & Magic deserves its own ovation. Their miniature sets and projected effects turn tombstones, flying saucers and alien mayhem into wonderfully cheap looking cinematic magic that looks exactly the amount of spending the elder Newell allowed for the budget. It is part fever dream, part Saturday morning cartoons and a third 1950s educational film that has completely lost adult supervision.

The cast embraces every ounce of the madness as we take Jax DiBenedetto for example. She doubles as Tanna and Edith, who is somehow the straightman in all of this. Her Tanna is a more a glitching assistant than the robotic menace of Joanna Lee’s original while while keeping the absurdity together via her microfacial expressions. Her one F-Bomb directed at Jeff Trent for ruining the scene landed like a samurai sword slicing through a bamboo tree.

Jaycob Hunter returns as Criswell and goes even more bonkers than previous years. He turns every ridiculous pronouncement into gospel, delivering gibberish with the conviction of a diabetic let loose in the M&M’s factory.

Hailey Tweter is back as Paula Trent and still make it funnier with her deadpan delivery. Lines such as “Oh, and it won’t be an accident” and “No, not again Jeff!” land beautifully, especially when playing off of Sean Coutu’s Jeff Trent. Their recreating these characters night after night, year after year, feels like they are a creepy married couple hiding their domestic problems with bottles of gin.

Rob Downs once again tackles both the alien Ruler and the U.S. General with a speech impediment, playing each with total commitment as if he was born to play both. His side quest is to break his fellow actors and he succeeds every year.

On the heels of his performance as Bob at No Square’s “Priscilla Queen of the Desert,” Mark Marmont returns as Lieutenant Harper, going from stoic to dimwitted this go around, his blank stares his the characters confusion with silence.

Jeremy Krasovic returns as Colonel Edwards, providing the necessary straight faced backbone while the universe collapses around him. Krasovic’s Edwards needs to be studied. He barely smirks at Downs’ behavior and believes he’s doing his duties for God and Country.

How Nathan Makaryk as Patrolman Larry and Danny contains the absurdity with earnestness is beyond me, but he still has me laughing out loud. John Castro remains a dependable Captain Clay amid the chaos while Roxy Payne’s Vampira glides across the stage like a gothic fever dream.

And then there is Bela Lugosi, or rather Bela Lugosi on screen, making his familiar appearances through the magic of stock footage. Seeing him woven into this stage production is one of the show’s most wonderfully bizarre touches and a reminder that Ed Wood’s particular brand of cinematic madness remains nearly impossible to improve upon.

Newell continues to joke that the show “doesn’t have a second act because no one would stay for it.” Again, I call absolute phooey as I keep coming back.

At this point, “Plan 9 From Outer Space,” at Maverick Theater is no longer a show I just see. It is an annual pilgrimage into lampooning glorious theatrical trash, where flying saucers wobble, zombies rise, actors commit completely to the ridiculous and every piece of cardboard is treated like Broadway scenery.

“Plan 9 From Outer Space,” at Maverick Theater running now through August 29, 2026.

The Maverick Theater is located across from the Amtrak station at:
110 E. Walnut Ave.
Fullerton, CA 92832

5 out of 5 ⭐️⭐️⭐️⭐️⭐️

I spoke with Director of Photography Sophie Darlington about the four year journey spent with African lions pride for the National Geographic four-part docuseries, “Lion.” The result is an intimate portrait of family, survival, loss and leadership, captured through the challenges and unpredictability of life on the savannah.

From “The Lion King,” director Jon Favreau and BBC Studios executive producer Mike Gunton comes “Lion,” a National Geographic docuseries that follows a lion cub named Kio through the extraordinary journey from vulnerable cub to aspiring king.

The series follows Kio from his early days as a timid cub born to Summer, the queen of a powerful pride. His first encounters with the dangers of the wild begin to shape him as he grows more confident and curious. A close encounter with a buffalo offers an early lesson in just how quickly life can change.

As Kio grows, his relationship with his older brothers becomes central to his survival. The young lions must learn to depend on one another while navigating the shifting dynamics of their family. When tragedy tears the pride apart, Summer is forced to make an extraordinary sacrifice to protect her cub’s future.

Eventually, Kio and his brothers face the challenges of independence. They must survive in territories controlled by rival males while searching for a place of their own. A thriving marsh and a pride of lionesses offer the possibility of a new beginning, but when the reigning kings return, the brothers are forced to confront a new threat.

For Darlington, filming the lions over four years meant witnessing changes that could only be captured through patience, trust and an extraordinary commitment to the animals. Rather than documenting a single chapter in their lives, the production was able to follow Kio and his family through an extended period of growth and transformation.

That passage of time gives “Lion,” its emotional weight. The audience does not simply see a lion cub grow up. We watch relationships develop, families fracture and reform, and young lions learn the skills they need to survive. The series combines cinematic storytelling with natural history filmmaking to tell a complete coming of age story in the wild.

In our conversation Darlington and I spoke about what we can relearn from the animal kingdom, what she learned about herself as a filmmaker and as a person.

“Lion,” premieres August 19, 2026, at 9/8c on National Geographic and streams August 20, 2026, on Disney+ and Hulu.

Follow Sophie Darlington on Instagram @sophiedarlingtondop.

The magic of D23: The Ultimate Disney Fan Event is heading online as Disney Store prepares to bring a selection of this year’s most exciting event merchandise to fans everywhere.

Beginning Monday, August 17 at 8 AM PT, fans can shop select products featured at the D23 2026 show floor, Disney Store booth and D23 Marketplace through DisneyStore.com, while supplies last.

The online assortment offers something for collectors, Disney fans and longtime enthusiasts alike. Among the highlights is Fanniversary Frenzy, a celebration featuring 10 collections inspired by milestone anniversaries of beloved Disney stories. The lineup also includes Collector Must Haves, Disney x Formula 1, Blooms by Disney Store and an assortment of Disney Store exclusive plush.

From the D23 2026 show floor, fans will have another opportunity to pick up a limited number of autographed copies of Floating Mountains: The Art of Imagining the Impossible by Joe Rohde. The debut design from the ongoing Disney and Bobby Kim collaboration will also be available online for one day only. Inspired by Disney’s Fantasia, the Sorcerer’s Apprentice Mickey Disney and Bobby Kim long sleeve shirt for adults will go on sale Monday morning while supplies last.

The Disney Store booth assortment brings a colorful new collection of exclusive plush. These vibrant characters feature soft, fluffy fur and a satin Disney Store label on the foot. Fans can choose between plush figures and plush keychains, offering plenty of ways to display their favorites.

Blooms by Disney Store adds another playful collection to the lineup, featuring adorable plush flowers with bendable stems and Disney character faces at their centers. Designed to create a charming plush garden, the collectibles bring a touch of Disney magic to any display.

Fans can also discover the first to market premium limited time Disney x Formula 1 capsule featuring Mickey and Friends jacket designs.

The D23 Marketplace assortment puts the spotlight on anniversaries and collecting. Fanniversary Frenzy celebrates 10 beloved Disney stories with collections spanning apparel, accessories, dolls, plush and collectibles.

The anniversary lineup includes The Princess Diaries celebrating 25 years, Beauty and the Beast celebrating 35 years, 101 Dalmatians celebrating 65 years, Alice in Wonderland celebrating 75 years and Dumbo celebrating 85 years. Atlantis: The Lost Empire marks 25 years, Darkwing Duck celebrates 35 years, The Hunchback of Notre Dame marks 30 years, The Fox and the Hound celebrates 45 years and The Muppet Show reaches its 50th anniversary.

For collectors, the Marketplace assortment features an extensive selection inspired by Disney Parks, Disney Animation, Star Wars, Marvel and Pixar. Fans can also explore Disney Iconics, Disney Doorables and Disney Trading Beyond the Magic among the many collectibles available.

With products spanning decades of Disney history and some of the most anticipated merchandise from D23 2026, the upcoming Disney Store release gives fans who could not attend the event a chance to bring a piece of the celebration home.

The D23 2026 assortment will be available beginning Monday, August 17, 2026, at 8 AM PT through DisneyStore.com, while supplies last.

Jim Cummings, the beloved, longtime voice of Winnie the Pooh, Tigger, Darkwing Duck, Star Wars’ Hondo Ohnaka and 1,500+ more characters, will take the stage for three panels at D23, the ultimate Disney fan event, this weekend in Anaheim.

That is a lot of characters, a lot of voices and quite possibly enough Disney history to fill several enchanted forests.

Cummings will be featured during the following three star-studded panels, the latter two including singing contributions from popular Disney productions:

On Friday, August 14, Cummings will join “Making Disney Magic with Ron Clements” from 2:45-3:45pm on the Archives Stage. Clements, one of Disney Animations’ true stars of the past four decades, will take fans inside his new book, “Making Disney Magic,” along with very special guests from his prolific legacy of animated films – which includes Cummings’ sweet portrayal of Ray, the Cajun firefly in “The Princess and the Frog,” as well as roles in “Aladdin,” “Hercules” and “Treasure Planet.”

In other words, expect a little Disney history, a little movie magic and at least one very good reason to suddenly hear a familiar voice in your head saying something wonderfully animated.

On Friday and Saturday, Cummings will be featured on the “Disney Rewind Concert,” on the Premier Stage. Friday’s concert is slated for 7:00-8:30pm, while Saturday’s concert is set for 6:30-8:00pm. Disney Rewind Cummings is billed as the ultimate throwback event showcasing the very best Disney hits of the ’80s and ’90s, and Cummings was an essential part of the Disney Afternoon slate with roles in virtually every series in that lineup.

Cummings will be spotlighted along with other Disney Animation and Broadway stars like Bill Farmer, Jodi Benson and Susan Egan. For anyone who grew up with the Disney Afternoon, this may be less of a concert and more of a highly organized ambush of childhood nostalgia. Bring tissues. Or at least pretend you remembered to.

It’s been a busy summer for Cummings, who was bestowed a prestigious Inkpot Award by Comic-Con International in late July. Essentially an induction into Comic-Con’s Hall of Fame, the Inkpot Awards are given to individuals for their contributions to the worlds of comics, science fiction/fantasy, film, television, animation, and fandom services.

“I am truly humbled and blessed to receive such an incredible honor, and I proudly share it with my fans – who’ve always been so wonderfully supportive of my work,” Cummings said.

As the instantly recognizable voice of your childhood, Cummings’ award-winning career spans more than four decades as the auditory talent behind numerous landmark animated characters. Cummings has given life to more than 1,500 different animated characters across nearly 200 films, 134 television series (2,500+ episodes), 175 video games and 25 animated shorts.

At this point, Cummings’ résumé is less a résumé and more an animated encyclopedia.

Cummings’ spotlight is even more timely than ever in 2026 as the world celebrates the 100th anniversary of Winnie the Pooh, a role so closely associated with Cummings that he recently stood alongside the Queen of England to hail the Silly Ol’ Bear’s centennial. A two-time Annie Award winner and recipient of the prestigious Winsor McCay Award, Cummings also serves as the host of the incredibly popular “Toon’d In! with Jim Cummings” podcast, where he shares behind-the-scenes stories, interviews industry legends, and offers fans an inside look at the world of animation and voice acting.

Outside of entertainment, Cummings is deeply committed to charitable work, particularly in bringing joy to sick children. He has worked closely with organizations like the Make-A-Wish Foundation and the Children’s Miracle Network Hospitals, often using his iconic voices to uplift young patients. Whether through personal visits, charity events, or recorded messages, Cummings’ generosity and compassion have left a lasting impact on countless lives.

And really, that may be the most fitting part of the story. For decades, Cummings has helped make imaginary worlds feel real, turned animated characters into lifelong friends and given generations of fans voices they never forgot.

Now, with Winnie the Pooh celebrating 100 years and D23 Expo gathering Disney fans from near and far, Cummings gets to do what he has been doing all along: bring a little more magic to the room.

And if Tigger happens to bounce by, well, nobody said D23 Expo had to behave itself.

I proudly call Stephanie Vrettakos my Greek Orthodox Sister, so it was only fitting that our conversation touched on everything from love and friendship to stuffed grape leaves and the unexpected chaos that unfolded in Palm Springs.

As one of the stars of TLC’s “Little Singles,” Vrettakos spent three weeks surrounded by some of her closest friends while navigating the highs and lows of dating, friendship and a very unintentional love triangle. What started with Vrettakos and Sammy Replogle having an existing romantic connection became much more complicated when Sammy developed an interest in Krista Sulaica, who was new to the Little People (LP) community. Vrettakos suddenly found herself trying to understand where she stood while also shutting down why trying to process her feelings towards Sulaica who became caught up in a situation she didn’t ask to be apart of.

Heading into the season finale on Monday, August 17, 2026 on TLC, Vrettakos opened up to me about what really happened in the deser, the challenges of dating in front of the cameras and what it was like spending so much time with the people she considers her adopted family.

We also talked about how “Little Singles,” came about, why John had to pick a GMC Yukon and some of the everyday realities of navigating a world designed primarily for average sized people. And yes, we had to address the dolmades. Why were the grape leaves so dry?

We also joked that production intentionally hid the footstools a few times just to give viewers a glimpse of what it can be like for a little person living in an average sized world. We also share similar struggles in our tradition group dances, where as two steps for me is five for everyone else…and a few more steps for Vrettakos in comparison to the rest of our Mediterranean community.

Vrettakos and I covered all of that and plenty more as we looked back at the moments that made this season so memorable and what she hopes viewers take away as “Little Singles,” heads into the season finale.

The season finale for “Little Singles,” airs on Monday, August 17, 2026, at 9 p.m. on TCL, streaming the next day on HBO Max.

Follow Stephanie Vrettakos on Instagram @stephanievrett.

“Coyote vs. Acme,” the resurrected project distributed by Ketchup Entertainment after being saved from Warner Bros.’ dipping attempt to write off the animated feature as a loss, much like the Mel Brooks classic “The Producers,” is a movie that needs to be seen twice. Its rapid fire one-liners come flying at you so fast that you will miss the second joke while still laughing at the first.

Ian Frazier inspired all of this based on his sketch books from 1990 and 36 years later, it has all come full circle. What once looked destined for the corporate scrap heap has instead become a joyful celebration of Looney Tunes, proving that sometimes the best things in life are the ones that refuse to stay deleted.

Principal photography for “Coyote vs. Acme,” began on March 28, 2022, taking a left turn into Albuquerque, NM. Director Dave Green chose the city that is situated along Route 66 for its dramatic scenery and desert landscapes but also its longstanding connection to Looney Tunes via Bugs Bunny’s 1945 classic, “Herr meets Hare.” The city’s Wile E. Coyote credentials get even better when you consider that New Mexico’s official state bird is Geococcyx californianus, better known as the Greater Roadrunner. If that is not kizmet, I do not know what is.

Those real locations give the film a wonderful texture, allowing Green to make the live action feel embedded within the classic Looney Tunes 2D characters as they bounce right into the world alongside their human co stars. The result is a delightful marriage of old school cartoon magic and modern filmmaking wizardry.

Full disclosure, if “Coyote vs. Acme,” had been released as intended in 2023, it would not have the cultural impact it has now. The campaign became fan and cast driven, especially thanks to Eric Bauza, the voice of Bugs Bunny, Tweety, Daffy Duck and Porky Pig, along with Candi Milo, the voice of Witch Hazel, Granny and Miss Prissy. What destined to have the ending of 1957’s, “Show Biz Bugs” soon became a reminder that the united voice of the masses outweigh corporate dividends.

We go wild for Wile E. as the film walks a wonderfully wobbly line between family comedy and noir mystery. John Cena as Buddy Crane lets his natural heel personality shine, playing the corporate straightman with just the right amount of smugness. His nemesis, the perpetually underachieving and thoroughly battered Kevin Avery, played by Will Forte, teams with his niece Paige Avery, played by Lana Condor, to take on Mr. Coyote’s case as he sues Acme over its faulty equipment in his never ending pursuit of the Roadrunner.

Naturally, things get a little more complicated. Conspiracies unfold, a prominent scientist goes missing and suddenly the case is about much more than a coyote getting bonked by one Acme product after another. The mystery adds just enough intrigue without ever losing the wonderfully goofy spirit at the heart of the story.

David Green pays tremendous respect to Chuck Jones, Tex Avery and the animators who came before him while bringing their storytelling sensibilities into the 21st century…especially when all the character surnames belong to influential animators of the early days (Martha Kelly as Dottie Jones and Tone Bell as Sam Maltese, as added proof). The technology has evolved but the soul remains wonderfully old fashioned. “Coyote vs. Acme,” visual storytelling outshines 2003’s “Looney Tunes: Back in Action” and “Space Jam: A New Legacy,” by remembering that the characters themselves are the stars while the humans are the window dressing.

Academy Award nominated Samy Burch proves that a good writer can tell any story when the vision is clear. The screenplay understands that Wile E. Coyote can be mo than the punchline. He can be funny, sympathetic, determined and surprisingly heartfelt while still being the same wonderfully stubborn genius who refuses to admit that perhaps the Roadrunner has the upper hand.

“Coyote vs. Acme,” might not be, “Who Framed Roger Rabbit?” when it comes to a beloved classic, but it is definitely a strong second. It is humorous, visually inventive and full of genuine affection for the characters. Most importantly, it is a Looney Tunes movie made by people who understand why generations continue to love these Warner Bros. characters, even if Warner Bros. themselves have forgotten why.

So go wild for Wile E. Coyote. Go wild for Acme. And see “Coyote vs. Acme,” twice because somewhere between the first laugh and the second joke, there is probably another joke waiting to bonk you on the head.

“Coyote vs. Acme,” comes to theaters from Ketchup Entertainment on Friday, August, 28, 2026.

4.25 out of 5 ⭐️⭐️⭐️⭐️¼

I spoke with Liam James Collins and Scott Vickers about “King of the Iron Will,” their new 13 minute medieval short making its world premiere at the HollyShorts Film Festival on Monday, August 17, 2026, at 2:30 p.m. during the Period Piece block the the TCL Chinese 6 Theater. After our conversation, I am excited to see the film and even more intrigued by the possibility of a full length feature.

Written by Collins and Vickers and directed by Vickers, King of the Iron Will follows King Baron as he confronts the defeated tyrant King Draven, the man responsible for the massacre that shaped his life. Their encounter becomes a battle of words and wills exploring revenge, power, legacy and the danger of becoming what you fought to destroy.

Set in a brutal medieval kingdom and written entirely in Shakespearean language, the film uses its heightened dialogue to explore timeless questions about leadership, justice and power while keeping the emotional stakes immediate.

Collins wrote, produced, executive produced, financed and stars in the film. Raised in a working class family in South East London with no family connections to the arts, he created the project as a personal artistic statement and an opportunity to make ambitious, performance driven cinema. He filmed inside two historic Scottish castles and trained extensively in horse riding and sword fighting for the role.

Vickers, the award winning filmmaker behind Matriarch and a former actor, brings a performance focused approach to the material. Together, he and Collins shaped the story into an intimate confrontation with the scale and atmosphere of historical epic.

Charlie Creed Miles stars as King Draven opposite Collins as King Baron. With performances spanning more than three decades, including Nil by Mouth, The Fifth Element, Wild Bill, Harry Brown and Peaky Blinders, Creed Miles brings gravitas and complexity to the fallen ruler.

The creative team includes cinematographer Robbie Jones, editor T.W. Leshner and art director Ellen De Faux. Angels Costumes supplied the period wardrobe, with music by Lady Maisery, Jimmy Aldridge and Sid Goldsmith.

At just 13 minutes, “King of the Iron Will,” packs considerable ambition into a compact story. Its themes of revenge, power, class and oppression feel substantial enough to support a much larger narrative.

“King of the Iron Will,” makes its world premiere at HollyShorts on Monday, August 17, 2026, at at 2:30 p.m. during the Period Piece block the the TCL Chinese 6 Theater.

To purchase tickets for the world premiere of “King of the Iron Will,” at HollyShorts visit: https://hollyshorts2026.eventive.org/schedule/6a4c4c72062e6fa204991c8a.

Follow “King of the Iron Will,” on Instagram @kingoftheironwill.

“Uncanny Alley: A New Day,” and Emmy nominated immersive live virtual reality theater production created by Rick Treweek of Virtual Worlds Company and Ferryman Collective. The cyberpunk story follows a group of escaped detainees racing to freedom before Adaptive Learning Industries can erase their memories through experimental Radio Frequency technology. The corporation controls the city and is preparing to launch its New Day update through legislation that has received little public support.

Ferryman Collective’s founder, Stephen ButchkoI was able to was able to guide me through a virtual experience of the production, which allowed me to step directly inside its digital world rather than simply watching the performance from the outside. The experience combines VR, live acting and audience interaction, making participants part of the story. Two actors portray 15 different characters and respond to the audience in real time, allowing decisions and interactions to influence how the experience unfolds.

The virtual world takes audiences through locations including underground tunnels, hackerspaces, nightclubs and the ALI government penthouse. These environments create a strong sense of movement and urgency while making the audience feel like they are actually inside the narrative.

The production grew out of Treweek’s original “Uncanny Alley: A New Day,” universe in VRChat, a collection of immersive worlds featuring his original environments and avatars. After years of development, the virtual world was transformed into live theater through a collaboration between Virtual Worlds Company and Ferryman Collective.

“Uncanny Alley: A New Day,” premiered at the 81st Venice International Film Festival, where it received the Fanheart3 XR Experience Award. It later appeared at festivals including the Imagine Fantastic Film Festival, Tempo Dokumentärfestival, SXSW, Raindance Immersive and FIVARS. It was also nominated for an Auggie Award for Best Art or Film and received XR Must 2024 recognition for Best Interactivity and Performance as well as second place for Best Sound Design.

The production has also been presented in creative formats outside traditional VR theater. At SXSW, audience members experienced the production through VR headsets while international performers appeared remotely on a large screen. At NoHo Cinefest, the virtual performance was projected for theater audiences while a limited number of participants experienced the production live in the lobby.

What makes “Uncanny Alley: A New Day,” stand out is its ability to turn virtual reality into a theatrical stage. My virtual experience demonstrated how the production removes the traditional separation between audience and performer. Instead of simply watching a story, participants enter the world, interact with characters and experience the narrative from within.

“Uncanny Alley: A New Day,” shows how virtual reality can expand live theater by combining storytelling, technology, performance and audience participation into one immersive experience.

For more information about Ferryman Collective and their work visit: https://www.ferrymancollective.com/.

For more information about Virtual Worlds Company and their work visit: https://www.virtualworldscompany.com/.

I am embarrassed that I did not know about the Anchorage International Film Festival (AIFF) sooner, especially as AIFF heads into its 26th anniversary. Founded in 2001, the festival has grown into a destination for independent cinema, bringing more than 100 films and filmmakers from around the world to Anchorage each year.

To rectify that, I spoke with filmmakers and festival directors Pat McGee and Adam Linkenhelt about what makes AIFF special and what sets it apart for both filmmakers and film lovers.

AIFF has built its identity around creating a filmmaker first experience while celebrating bold independent voices from Alaska and around the world. The festival offers filmmakers more than a screening. It creates opportunities for meaningful conversations, audience engagement, collaboration and community in a setting unlike any other festival.

That spirit is especially evident in AIFF’s Icy Road to the Oscars positioning. The festival takes place in December, close to the Academy Awards season, giving independent films an opportunity to build visibility at a critical point in the awards calendar. Its impact was underscored in 2025 when AIFF’s Best Live Action Short winner continued its festival run, reached the Academy shortlist and ultimately won the Academy Award for Best Live Action Short Film.

For its 26th edition, AIFF is strengthening its commitment to filmmakers with expanded support from the Ellsworth Foundation and the Atwood Foundation. The funding will provide free airfare for every selected Feature Narrative and Feature Documentary filmmaker attending the festival, making it easier for artists to experience Anchorage and become part of the community AIFF has worked to cultivate.

McGee and Linkenhelt bring a filmmaker’s perspective to that mission. McGee is an acclaimed documentary director and producer whose character driven work focuses on finding common ground within complex and often polarizing subjects. Linkenhelt is a filmmaker, director, editor and producer whose work spans documentary storytelling, shorts and television. Together, they bring extensive experience on the independent film circuit to their leadership of AIFF.

As AIFF approaches its 26th anniversary, the festival is positioning Anchorage as more than a stop on the festival circuit. It is a place where filmmakers can connect with audiences, discover new work, build relationships and experience a film community shaped by Alaska itself.

And perhaps that is what I was missing all along. AIFF is not simply a festival where films are screened. It is an experience built around the people who make, watch and celebrate independent cinema.

Submissions for the Anchorage International Film Festival close on September 1, 2026. To make your submission visit FilmFreeway: Anchorage International Film Festival.

To purchase tickets and find host hotels for Anchorage International Film Festival visit: https://anchoragefilmfestival.org/.

The Anchorage International Film Festival runs December 4 through 13, 2026, in Anchorage, AK.

Follow the Anchorage International Film Festival on Instagram @anchoragefilmfestival and on Facebook at Anchorage International Film Festival.

Starring Jeff Daniels, J.K. Simmons and Jared Harris, "The Brink of War," is a beautifully written, acted and directed feature from Angel Studios. Unfortunately, its slow burn never ignites into an inferno of intensity. It simply smolders until the credits roll. Watching it is like having dramatic music swell over a Senate vote airing on C SPAN.

“The Brink of War,” is one of those films where you can appreciate the craftsmanship far more than you actually enjoy the experience of watching it.

Set during the 1986 Reykjavík Summit, the film puts Ronald Reagan, Mikhail Gorbachev and their respective advisers in a high stakes attempt to negotiate an agreement that could dramatically reduce the world’s nuclear arsenals or push the Cold War toward catastrophe. It is an inherently fascinating piece of history and writer director Michael Russell Gunn clearly did his homework. The years of research, including interviews with George Shultz and access to transcripts from the summit, are evident in the film’s attention to detail.

Jeff Daniels, Jared Harris and J.K. Simmons are all magnanimous towards the subject matter and the political figures they portray. Daniels gives Reagan a thoughtful, vulnerable, yet firm persona while Harris brings considerable weight to Gorbachev, a man who’s god has become the party, yet wants to protect his citizens without compromising their values. Simmons is particularly good as Shultz, who writer/director Michael Russell Gunn spent years researching these events and spent time with the George Shultz before his passing in 2021. John Ross Bowie is also wonderful as Ken Adelman, the director of the Arms Control and Disarmament Agency. The running joke about Reagan repeatedly forgetting that Adelman was also a Republican is one of the film’s better bits of humor.

There is also some amusing cattiness between Nancy Reagan and Raisa Gorbacheva, showing that feminine competition doesn’t necessarily disappear with age. It just finds a different arena.

Unfortunately, for all its strong performances and beautiful production, “The Brink of War,” never quite captures the urgency of its subject. The Reykjavík Summit was an extraordinarily important moment in late 20th century geopolitics, yet the film rarely made me feel that importance. We are constantly reminded that the stakes are enormous through the gorgeous score and Reagan’s recurring night terrors stemming from the 1981 assassination attempt, but the tension never fully translates into genuine suspense.

That’s the biggest problem. I understood that history was being made, but I didn’t feel like I was watching history being made. The potential consequences for Europe, the Soviet Union and the eventual end of the Cold War seem almost secondary when they should be the emotional core of the story.

“The Brink of War,” feels like a fascinating historical event that would make for a terrific documentary but struggles to work as a gripping feature film. If you’re looking for beautifully produced historical drama with excellent acting and cinematography, there’s plenty to admire here. But if you’re expecting a white knuckle political thriller about the world standing on the edge of nuclear annihilation, this doesn’t deliver.

“The Brink of War,” comes to theaters on Friday, August 14, 2026.

A special screening via the Orange County Film Society will be held at 7 p.m. on Thursday, August 13, 2026 at The Lido Theater in Newport Beach, CA, followed by a Q&A with special guest Jared Harris.

If you are are in Orange County, CA, and interesting in attending you can join the Orange County Film Society at https://www.ocfilmsociety.com/memberships for this film and future screenings.

3 out of 5 ⭐️⭐️⭐️

“The Big Bang Theory,” universe has expanded beyond the walls of Cal Tech in Pasadena, CA, with “Stuart Fails to Save the Universe,” the new HBO Max spinoff that has made a tremendous impression since its debut. The summer series brings back familiar faces while opening the door to entirely new worlds, blending comedy, fantasy, science fiction, romance and action as each episode takes viewers somewhere different.

John Ross Bowie is one of the series leads, reprising his role as quantum physicist Barry Kripke from “The Big Bang Theory.” This time around, Kripke is more fully developed and Bowie gets even more room to explore the character that audiences love to hate. Stuart Fails to Save the Universe also marks the first Chuck Lorre comedy to incorporate special effects on this scale, creating a very different playground for its characters.

Bowie has been a familiar face in television and comedy for years. He began his career performing improv at the Upright Citizens Brigade in New York and has since appeared in countless television series and films. He is also a published author. His 2022 memoir, “No Job for a Man,” published by Simon & Schuster, explores his childhood in Hell’s Kitchen and his experiences growing up while grappling with a father who did not approve of his artistic ambitions.

In addition to “Stuart Fails to Save the Universe,” Bowie can be seen opposite Jeff Daniels and J.K. Simmons in “The Brink of War,” a historical drama from Angel Studios opening nationwide August 14, 2026. The film centers on the 1986 meeting between Ronald Reagan and Mikhail Gorbachev as they discussed nuclear disarmament. Bowie portrays Ken Adelman, the director of the Arms Control and Disarmament Agency…one spoiler, the running joke of the film is President Reagan continuously forgets Adelman was also a Republican.

In our conversation, Bowie and I talk about why everyone loves to hate Barry Kripke, what it is like returning to a character he first played on “The Big Bang Theory,” and the ambitious world of “Stuart Fails to Save the Universe.” We also talk about his time on “Speechless,” his work in comedy and my hope that Hulu gives Speechless another two seasons.

“Stuart Fails to Save the Universe,” streams Thursdays on HBO Max.

Follow John Ross Bowie on Instagram @johnrossbowie.

Reed Shannon is an emerging actor in film, television and animation known for grounded performances and a distinct onscreen presence. His work includes the Primetime Emmy Award winning Netflix series “Arcane” as well as Amazon’s “The Wilds,” introducing him to audiences worldwide and establishing him as a versatile performer with a strong instinct for character driven storytelling.

In “Splash City,” now available from Lionsgate, Reed stars as Julian “Juju” Johnson, a young man navigating the unforgiving streets of San Francisco while struggling to find his own identity. The film follows Juju and his brother Elijah “Slim” Johnson (Zach Sowers), two siblings raised by a single mother in a low income neighborhood who take very different paths in their pursuit of a better life.

While Slim sees basketball as an opportunity to uplift his family and community, Juju searches for recognition and independence on the streets. He becomes immersed in bipping, the Bay Area’s fast paced smash and grab culture, where quick money and instant validation come with serious consequences.

In our interview, Reed discusses what drew him to Juju and the experience of taking on a character shaped by anger, ambition and the need to be seen. He also shares what he learned about San Francisco’s underground culture and what he enjoyed about immersing himself in the city while preparing for the role.

Reed also addresses one of the film’s most distinctive details, the San Francisco accent. He reveals who he believes learned to capture it better, himself or North Philadelphia native Francisco Garcia, who plays TJ Atoms, and discusses the effort that went into making their performances feel authentic to the Bay Area.

The conversation offers insight into Reed’s approach to Juju, “Splash City,” love letter to San Francisco’s subculture and the experience of stepping into a story centered on brotherhood, survival, identity and the choices that shape a person’s future.

“Splash City,” now available from Lionsgate.

I spoke with Berner about his new film “Splash City,” now out from Lionsgate. A San Francisco native, Berner is a Billboard charting rapper, filmmaker, cultural ambassador and entrepreneur. He is the cofounder and CEO of Cookies, the San Francisco born cannabis brand, founder and CEO of Cookies SF and an independent artist with 47 albums.

Berner and I are both San Francisco kids from the Sunset District, giving us a shared connection to the city and the places that shaped us. That made “Splash City,” a natural entry point for a conversation about San Francisco and the culture that continues to influence his work.

Set in San Francisco, “Splash City,” follows brothers Elijah “Slim” Johnson (Zach Sowers) and Julian “Juju” Johnson (Reed Shannon) as they take very different paths while growing up in a low income household with their single mother.

Slim is a talented high school basketball player who sees the sport as a way to build a better future for his family and community. Juju, frustrated by living in his brother’s shadow, turns to bipping, the Bay Area’s smash and grab car culture, where quick money and status lead him deeper into crime and violence.

As the brothers move in opposite directions, their bond is tested by the pressures of family, poverty and street life. “Splash City,” explores loyalty, ambition and survival through the realities of San Francisco.

For Berner, the film is another way to tell stories rooted in the city that shaped him.

“Splash City,” is out now from Lionsgate

What’s better than battling a Los Angeles heatwave? Sitting in the air conditioning of the James Armstrong Theatre with Torrance Theatre Company’s production of “Disney’s Frozen the Broadway Musical.”

Based on the hit Disney animated feature, “Disney’s Frozen the Broadway Musical,” is a joyful, energetic and thoroughly entertaining production. And before getting into the performances, it is worth recognizing just how much work goes into making this show happen. This production features an all volunteer 40 person cast as well as an all volunteer 22 piece orchestra. Again, 40 performers onstage with 22 musicians in the pit, all volunteering their time and talent to bring this performance to life. That is an impressive labor of love and it shows.

“Disney’s Frozen the Broadway Musical,” features Book by Jennifer Lee, Music and Lyrics by Kristen Anderson Lopez & Robert Lopez. Directed by Jim Hormel, with Choreography and Stage Managing by Sjaan Z. Trowbridge and Vocal Direction, Musical Direction and Conducting by Bradley Hampton, the production moves with plenty of energy and gives its large cast and orchestra room to shine.

Nico Fisher as Anna puts her entire self into the performance. She is as fiery as her natural red hair and a huge ball of energy from the moment she hits the stage. This is the first time I have called a lead the showstopper instead of the ensemble member. And make no mistake, the ensemble is terrific, but when Fisher is onstage, all eyes are on her. She has that kind of stage presence. Anna may be looking for a lot of love and adventure, but Fisher has already found the spotlight.

Anna’s cantankerous love interest Kristoff, Christopher Tiernan is fantastic. He charming instead of stuffy and his natural personality to the role along with a great second tenor voice. He makes Kristoff easy to root for and his scenes with Fisher are a lot of fun.

From ice queen to warm and fuzzy, Chase Klein pulls it all together as Elsa with all the strength and emotional weight the role requires. Elsa has a lot on her shoulders and Klein carries it beautifully.

I am, however, slightly miffed at Anna when it comes to Charles Keppler’s Hans. I mean, Anna, come on...did you not see the ponytail? That was enough information to know he was the villain! Keppler does a terrific job playing Hans that if you are unfamiliar with the movie, you are shocked by how quickly he turns on Anna to rule the kingdom.

Steve Flowers as the Duke of Weselton is hilarious. Every time he appears, you know you are going to get a laugh. He clearly understands that sometimes the best way to play a character is to lean all the way into the ridiculousness.

Now one can never forget, Olaf played and puppeteered by Kyle Wilson. Unlike other productions where the performer does a bad Josh Gad impression, Wilson make the character his own and quite funny.

There are also a couple of serious scene stealers in the ensemble. Jammie Hampton as Bulda is an absolute delight. She is a very doting and loving character, even for a forest creature, even her poses are mesmerizing.

That bring us to the second scene stealer, dancer Lauren Oseas. Oseas is having so much fun that you might assume she paid to be in the show instead of being cast. Her enthusiasm is completely infectious. You cannot watch her without smiling because she looks like she is having the time of her life.

That really sums up what makes this production work. There is a genuine sense of joy coming from the stage. You can feel the dedication of the 40 person volunteer cast and the 22 piece volunteer orchestra and it makes the whole experience feel like a celebration of what community theater can accomplish when a lot of talented people decide to make some magic together. Especially with Bradley Allen Lock’s costuming, Gia and Cary Jordahl’s scene designs and Steve Giltner and Streetlite’s lighting designs putting their magical touches on it.

I wish I could give everyone a personal shoutout but that would take longer than seeing the production. So, everyone that went unmentioned, you are work has been scene and loved.

If you are looking for a way to survive the Los Angeles heat, forget the ice bath. Head to the James Armstrong Theatre, sit back and let Torrance Theatre Company’s “Disney’s Frozen the Broadway Musical,” cool you down.

“Disney’s Frozen the Broadway Musical,” runs at the Torrance Theatre Company from now through August 22, 2026.

To purchase tickets for “Disney’s Frozen the Broadway Musical,” at the Torrance Theatre Company visit: https://torrancetheatrecompany.com/.

Torrance Theatre Company at the James Armstrong Theatre is located at:
3330 Civic Center Dr.
Torrance, CA 90503

4.25 out of 5 ⭐️⭐️⭐️⭐️¼

I was unfamiliar with Olio Theatre Works before seeing the world premiere of “Mourning Sunset.” After last night, I will not be sleeping on them again.

Performed at Irvine United Congregational Church, “Mourning Sunset,” follows James Wright (Dylan Vessel) as he faces the impending loss of his wife Katherine (Savannah Moffat) to ovarian cancer. His estranged mother Amanda (Terra Taylor Knudson) suddenly arrives to “help” as James is rebuilding his relationship with his father Doug (John Sturgeon), who was absent for much of his childhood. Trapped together while agonizing over doomsday clock countdown, the family has nowhere left to hide. Unhealed wounds have salt poured in them as decades-old poor decision making are brought to light. Everyone must stare death in the face as they come to terms with that reconciliation could be impossible.

Casting two real-life couples gives this production a genuine reality that hits hard. Moffat makes Katherine’s suffering almost unbearable to watch. Her physical deterioration and vocal strain are so real that a woman seated a row over could be heard (not-so-quietly) whispering, “It’s so real. I’m tearing up.”

Vessel’s James watches the woman he loves in real life deteriorate in front of him while she refuses medication, carries the terrifying weight of imagining what that loss would actually feel like. God willing, he and Moffat will never have to live that reality as none of the emotions are manufactured.

Knudson and Sturgeon bring a different kind of truth to Amanda and Doug. Their arguments cut deep because love still sits underneath the anger. Knudson’s nervous movements and tightly wound delivery reveal a woman barely holding herself together, hiding enough skeletons in her closet to fill a graveyard. Sturgeon meets her with equal amounts of resentment and affection. Their dynamic is a broken marriage caught between, “I still have love for you, but dammit I’m angry with you.”

If you have lost someone, survived a brutal breakup or watched a relationship you thought was permanent disappear, you will recognize the reality within the staging. The script layers its reveals carefully, planting its foreshadowing and trusts the audience to keep up.

Knudson, who also wrote the play, makes sure every word delivered is intentional. Directed by Carl DaSilva, the production delivers dialogue that is smart, witty, sharp and at times, biting. Most importantly, the characters actually react. They don’t stop to manufacture the perfect response or sanitize their emotions. They speak, interrupt, hurt and defend themselves like real people.

Jill Prout steps off stage and heads to the sound booth for this production that was sound designed by Caleb Leal. Violet Hesslein’s costumes look straight out of the actors’ closets, capturing the urgency of every final moment.

What I would be interested in seeing is “Mourning Sunset,” being set in the mid-to-late 1970s. Shift the setting back 50 years, with a couple of line adjustments and this will be a technical knockout as the story already carries a timeless quality.

I often say that when a show doesn’t work, the actors played the notes but didn’t make music; with these four performers and this beautifully crafted script, they turned “Mourning Sunset,” into chamber music: intimate, precise, painful and beautiful.

Olio Theatre Works rang the bell and audiences will answer the call.

Olio Theatre Works’ “Mourning Sunset,” runs from now through August 15, 2026, at Irvine United Congregational Church.

To purchase tickets for “Mourning Sunset,” visit: http://www.oliotheatreworks.org/coming-up.html.

Irvine United Congregational Church is located at:
4915 Alton Pkwy
Irvine, CA 92604

4.25 out of 5 ⭐️⭐️⭐️⭐️¼

I chatted with Andi Orendain, Director of Advancement and Community Partnerships for the inaugural Long Beach Film Festival, it quickly became clear that this isn’t simply another film festival looking to fill theater seats. For Orendain, cinema is another avenue for building community, amplifying unheard voices and creating meaningful conversations that extend well beyond the closing credits.

That perspective comes naturally. Outside of her role with the festival, Orendain is a full-time volunteer and advocate serving some of Orange County’s most vulnerable homeless communities. Her work spans emergency family shelters, after-school programs for children experiencing homelessness, and community development initiatives that focus on delivering practical, long-term solutions. It’s a commitment that informs the festival’s broader vision—one where storytelling has the power to foster empathy, inspire action, and strengthen connections throughout the region.

Those ideals take center stage as the Long Beach Film Festival makes its debut August 29-30, 2026, with the Opening Night Party aboard the historic Queen Mary on Friday, August 28, 2026, which is celebrating its 90th birthday. Centered at the iconic Art Theatre Long Beach, also celebrating its 101st anniversary after a recent renovation, the two-day festival promises to turn the city into a vibrant destination for filmmakers and audiences alike under the festival’s guiding philosophy: “Big enough to move the world, small enough to feel connected.”

Produced in partnership with the Arts Council for Long Beach and Visit Long Beach, the inaugural festival is designed as a filmmaker-led celebration of independent cinema while serving as a platform for local artists alongside an international lineup of feature films, documentaries, and short films. Organizers also hope the event will strengthen Long Beach’s cultural identity, support independent visual artists, and generate regional tourism through a weekend dedicated to creative storytelling.

One film that embodies those goals is “Rescued,” the feature debut from filmmaker DJ Hale. Shot throughout Long Beach, the heartfelt drama follows a man experiencing homelessness whose life changes after adopting a stray dog, while highlighting familiar landmarks including Rosie’s Dog Beach. For Orendain, whose advocacy work places her in daily contact with individuals and families facing homelessness, the film presents an honest and compassionate portrayal of a reality too often misunderstood. Hale will be in attendance for a Q&A following the 1:30 screening on Sunday, sharing the inspiration behind the film.

Festival attendees can choose from several ticket options, including a VIP Pass offering access to every screening, panel, party, special event, the Filmmaker Lounge, and the Queen Mary Opening Night celebration. An All-Festival Pass provides admission to every screening at the Art Theatre on August 29 and 30, while individual tickets will also be available for each film block, making the inaugural Long Beach Film Festival accessible to cinephiles, casual moviegoers, and supporters of independent filmmaking alike.

To purchase tickets for the inaugural Long Beach Film Festival visit: https://www.longbeachfilmfestival.org/tickets.

The Historic Art Theatre Long Beach is located at:
2025 E. 4th St.
Long Beach, CA 90814

I recently spoke with Emmy Award–nominated supervising sound editor and sound designer Luke Gibleon about the art and craft of cinematic sound exploring how he discovers, records, manipulates and creates the sounds that bring fantastical worlds and unforgettable moments to life.

As Co-Supervising Sound Editor and Sound Designer on Netflix’s “Avatar: The Last Airbender,” Gibleon earned a 2024 Primetime Emmy Award nomination for Outstanding Sound Editing for creating the immersive soundscape behind the series’ elemental bending, creatures, and expansive fantasy world.

A four-time Motion Picture Sound Editors (MPSE) Golden Reel Award winner, Gibleon’s honors recognize his contributions to “El Camino: A Breaking Bad Movie” (Outstanding Achievement in Sound Editing for Single Presentation Broadcast Media), “Togo” (Outstanding Achievement in Sound Editing for Non-Theatrical Feature Film Broadcast Media), “Greyhound” (Outstanding Achievement in Sound Editing – Feature Effects/Foley), and “The Underground Railroad” (Outstanding Achievement in Sound Editing – Limited Series or Anthology).

Across a career spanning acclaimed productions including “Masters of the Air”, “John Wick: Chapter 4”, “Twin Peaks”, “Bullet Train” and “The Continental,” Gibleon has earned a reputation for blending technical precision with cinematic storytelling through sound, transforming everything from subtle environmental textures to larger-than-life action into immersive auditory experiences.

Seasons one and two of “Avatar: The Last Airbender,” are streaming now on Netflix.