James Warburton, MD and CEO of Seven West Media, one among Australia’s largest media conglomerates, has resigned following a sequence of scandals. He was scheduled to depart the corporate in December, however now exits with speedy impact following a board assembly on Thursday.

In a submitting to the Australian Inventory Change, Seven West stated that Jeff Howard, at the moment its chief finance officer, will take over as MD and CEO with impact from Friday. Craig Haskins will act as interim CFO till a successor to Howard is appointed.

Seven West owns the Seven Community and its associates, the 7plus: 7NEWS digital platform and newspapers together with The West Australian and the Sunday Instances. Its proprietor and chairman, Kerry Stokes thanked Warburton for “his contribution over a few years.”

Among the many scandals, one was just lately revealed in a courtroom case that didn’t straight contain Seven, however as an alternative appeared to disclose a lot about it.

Former Liberal Occasion parliamentary aide Bruce Lehrmann sued one other media operation Community 10 for defamation. Lehrmann was tried in courtroom in 2022 over the alleged rape of one other political aide Brittany Higgins in Canberra in 2021. However the case and a retrial had been deserted with no findings towards him.

Lehrmann’s defamation case alleged that Community 10 and its journalist Lisa Wilkinson made false claims that he raped Higgins. Community 10 and Wilkinson stated that they’d defend their reporting as “considerably true.”

The courtroom within the defamation trial, nevertheless, heard testimony from former Seven Community producer Taylor Auerbach that the corporate could have paid for medicine and prostitutes alongside the best way to acquiring an unique interview with Lehrmann that it aired in 2022 as a part of its Highlight program. Auerbach additionally testified that he was supplied a promotion and a pay rise after he used a company bank card to buy Thai massages for himself and Lehrmann.

After the courtroom testimony Seven issued a press release saying, “We don’t condone the behaviors described in these allegations. They don’t mirror the tradition of Seven.” It additionally denied providing a promotion or pay rise to Auerbach and stated that it had not sought the destruction of proof, which Auerbach had additionally claimed.

On Monday this week, the courtroom dominated in favor of Community 10 and Wilkinson’s fact protection. Justice Michael Lee discovered that, on the stability of chances, Lehrmann had raped Higgins.

The revelations about Seven’s reporting practices, together with earlier proof that the community had paid Lehrmann’s lease in Sydney for a yr, precipitated “Highlight’s” “Trial and Error” episode to be disbarred from the celebrated Walkley Awards. “The entry didn’t precisely describe the extent of advantages offered to Mr Lehrmann in change for interviews, info and unique entry,” the Walkley Basis stated in December.

Mark Llewellyn, an government producer on “Highlight,” additionally left Seven Community this week, following the defamation case proof.

Main distribution firm Beta Movie has come on board four-part Norwegian drama “A Higher Man,” created by Thomas Seeberg Torjussen.

The present, which was commissioned by Norwegian broadcaster NRK and German broadcaster ZDF‘s platform ZDFneo, is produced by Synnøve Hørsdal and Christian Fredrik Martin at Norway’s Maipo Movie.

“A Higher Man” facilities on Tom, Norway’s primary web troll. He is a great however indignant and pissed off man with misogynistic tendencies, and an instance of every thing that’s pathetic and fallacious with the lads who didn’t get the memo in regards to the gender equality motion.

When hackers reveal his id to the general public, he’s compelled to decorate as a girl to flee social persecution, and discovers that the world opens as much as him when he clothes in girls’s garments.

Torjussen tells Selection that the thought for the collection was planted “once I began digging into the misogyny of males who’re left behind in what I consider is probably the most progressive, gender-equal area of the world.”

Though the present offers with critical points, it is going to be entertaining, he says. “I cram a number of twists and turns into each episode, which I hope will really feel like a roller-coaster experience. And it’s additionally humorous. It’s not a comedy, however there’s a sense of irony to it: He’s a misogynist in feminine clothes. We take it critically, however I consider that’s going to be humorous.”

Martin provides: “I used to be intrigued by this roller-coaster story of this misogynist having to cover himself in girls’s clothes and being remodeled on the opposite aspect, changing into a greater man, so to talk. It was the mixture of it being a tall story, in a single sense, and in one other an vital and exact reflection of our occasions that struck me.”

Tom is a nuanced, three-dimensional character, Torjussen says. “He’s not an fool, so he’s not fallacious about every thing. I’ve taken the neatest, most bitter man on the market, and on some factors he’s proper.”

Tom’s pet hate is a humorist referred to as Stay. To Tom, she is the manifestation of what he calls the “vaginal state of Norway.”

“On the subject of the feminine comic that he harasses, he’s fatter than her, however she talks about physique points and physique disgrace as if it have been a feminine solely factor and in addition one thing that males have imposed on girls, and it enrages him.

“A variety of the ladies who’ve learn the script have change into intrigued by his arguments towards them, and, to some extent, agreed with them, however then, after all, you possibly can’t defend his actions.

“He blames every thing round him. It’s not girls, however [in his opinion] it’s the feminist state that made him a wuss. And that’s why he doesn’t have any buddies and since he doesn’t have any buddies, he can’t get ladies after which that sucks. He’s made a political scapegoat for his entire distress, in a means.”

Stay is used to getting a number of hate, and when Tom turns into a goal for on-line harassment after which disappears, she is worried for his security.

“From having the expertise of getting a number of hate and mock, she will be able to see that this should kill him in a means, after which she actually thinks when he disappears with no hint, he has killed himself, and she or he believes he would have been alive if it wasn’t for her. After which she feels that nobody cares, not even his mother, and feels lonely in her fear for him.”

One other key character is Audun, Tom’s neighbor, who’s “just like the poster metrosexual,” Torjussen says, however has a hidden aspect to him. “He’s the man who’s made it. He has a pleasant girlfriend. He has a child. He has buddies of each sexes. However he has this incel man inside him. He says himself that he’s the unique incel. The male sexuality is tamed in him, and he feels very lonely in his frustration, so he acknowledges one thing of himself in Tom. He’s a form of a mirror. So, we don’t inform a narrative that these males are solely lonely, chubby males with their computer systems. We present one other facet of it.”

“A Higher Man” is filming in Lithuania till the tip of Could and can be delivered to consumers in late December. It is going to be formally launched available in the market in October at Mipcom, the place the primary trailer can be launched.

In a press release, Anaïs de Neergaard, VP worldwide gross sales and acquisitions at Beta Movie, mentioned: “Becoming a member of ‘A Higher Man’ showcases our dedication to bringing content material that’s each compelling and fascinating to the market. This restricted collection presents a recent tackle id and connection within the digital age, mixing humor with critical modern subjects. Selling empathy and private progress, ‘A Higher Man’ completely aligns with our aim of delivering tales that basically matter to our viewers.”

The one centesimal episode of “9-1-1,” which visitor starred Joey Graziadei and Jesse Palmer as a crossover with “The Bachelor,” reached a score of 0.91 amongst adults age 18-49 in accordance after one week of delayed viewing.

Up from a 0.59 based on same-day knowledge, that marks present’s finest Stay + 7 score in the important thing demo for the reason that Season 6 finale in Could 2023, per Nielsen. And after incorporating Disney’s proprietary knowledge through streams on Hulu and different digital platforms, the 18-49 score comes out to a 2.2, up from the two.18 achieved the week earlier than when “9-1-1” hit a season excessive of 10.7 million viewers based on Multiplatform + 7 knowledge.

In complete viewers, the crossover noticed just below 4.8 million viewers when it aired on April 4 earlier than growing by 111% to 10 million viewers, not far behind the document set by the March 28 episode.

In accordance with Nielsen’s most present knowledge, “9-1-1” is the top-rated primetime drama of the season amongst adults 18-49.

“9-1-1” was renewed for an eighth season simply earlier than the crossover aired. Together with appearances by Graziadei and Palmer, the one centesimal episode drew buzz for revealing that Buck, performed by Oliver Stark, was bisexual. “I believe it’s deserved and I believe it’s earned — and I’m excited to to get the possibility to inform it,” Stark mentioned in an interview with Selection, later including on his personal social media that he “couldn’t be prouder” of the storyline.

Together with Stark, “9-1-1” stars Angela Bassett, Peter Krause, Jennifer Love Hewitt, Kenneth Choi, Aisha Hinds, Ryan Guzman and Gavin McHugh. The sequence hails from creators Ryan Murphy, Brad Falchuk and showrunner Tim Minear. twentieth Tv produces in affiliation with Ryan Murphy Tv and Brad Falchuk Teley-Imaginative and prescient. Govt producers embrace Bassett, Krause, John J. Grey, Brad Buecker, Kristen Reidel, Juan Carlos Coto and Lyndsey Beaulieu.

From the second the movie was introduced a 12 months in the past, “Abigail” has been marketed as a remake of “Dracula’s Daughter,” the 1936 Common Photos curio. So it’s no spoiler to say that the title character of “Abigail” is…Dracula’s daughter. But when you went in not figuring out that, it may be the one actual shock within the film, other than what a brutally monotonous blood-vomiting style mashup it’s.  

For some time, we predict we’re watching a typical kidnap thriller. It opens with Abigail (Alisha Weir), who’s 12, on the ballet stage rehearsing “Swan Lake,” a most particular vampire homage, since Tchaikovsky’s beautiful heart-swelling rating is similar music that performed over the opening credit of the 1931 Bela Lugosi “Dracula.” That lyrical entré ends in about three minutes, as the abductors, all overstated profane artificial crudeness, jam themselves right into a van and abscond with Abigail, who they take to a hideaway mansion and stash in one of many bedrooms.

If the crime goes off as deliberate, every of them will get $7 million in ransom cash. However with their pretend names and bumptious bickering, which begins in scene one and infrequently lets up, they’re like characters in a bargain-basement gloss on “The Determined Hours” crossed with “Reservoir Canines” crossed with the worst A24 house-party horror movie you may think about.

“Dracula’s Daughter,” made to money in on the unique “Dracula’s” success (although it had not one of the identical actors), was a reasonably stodgy London-fog monster film starring Gloria Holden, who performs the title character like Greta Garbo as an aristocratic mesmerist. But the movie has a cult dimension; there’s a scene with Holden and the lady she fastens on to mannequin for a portray that has homoerotic overtones (at the very least, for 1936). I hadn’t seen the film in a long time, nevertheless it jogged my memory of one thing I’ve at all times preferred about studio-system horror movies — that there’s a dramatic lightness to them, even after they’re all in regards to the darkness. Whereas “Abigail” is so heavy and extreme that if Sam Peckinpah noticed it he may say, “Jesus! Tone it down.”

Abigail’s father, we study early on, is Kristof Lazar (Matthew Goode), a demonically vicious and all-powerful underworld boss who has a means of slashing his enemies to ribbons. (He can get into locations the place there’s no rationalization for it.) And Abigail, although she apparently doesn’t like her father very a lot, is a chip off the outdated ripper. Earlier than lengthy, she sprouts razory enamel and turns right into a feral youngster, going on the kidnappers, one after the other. She’s toying with them as a sort of recreation, and some of them get was vampires (which has the outstanding impact of adjusting their personalities with out making them any much less boring). One or two…explode, kind of like John Cassavetes on the finish of “The Fury” although with extra splatter and fewer apocalyptic magnificence.

As performed by Dan Stevens, who italicizes every thing, Frank, the chief of the gang (although even he’s only a thug for rent), is probably the most tedious. He’s an embattled yuppie nerd, testy and rancorous, and he by no means stops yelling. The opposite characters yell again. I make some extent of this as a result of there’s a lot oppositional power in “Abigail” that it tamps down our impulse to establish with anybody. Sammy (Kathryn Newton) the Catholic punk, Peter (Kevin Durand) the sullen hulk who’s like Elon Musk performed by Arnold Schwarzenegger, Frank the dick — these are characters who appear programmed to bother us. Angus Cloud, in his remaining efficiency, performs Dean, who’s blitzed however mellow, an actual Cloud mixture — you are feeling the presence that was misplaced. And Melissa Barrera, from “Within the Heights” and the final two “Scream” movies, grows extra forceful because the film goes on. She performs Joey, a druggie who’s given a maudlin and ineffective backstory (in regards to the son she deserted), however she’s the one actor readily available who appears to know the worth of firming down the noise.

“Abigail” was directed by Matt Bettinelli-Olpin and Tyler Gillett, who made these final two “Scream” movies, and although I used to be impressed, to a level, by what they introduced off there, this film appears like a step backward into overwrought generic schlock. Why does a vampire film have to be so relentlessly bodily, with whacked limbs and decapitations and our bodies slammed into partitions? Dracula, amongst different issues, is probably the most metaphorical character in horror-film historical past, and I assume his daughter could possibly be too, however not in a movie that turns bloodsucking right into a type of skilled wrestling.

Joseph Quinn is becoming a member of the Marvel Cinematic Universe as Johnny Storm/Human Torch within the upcoming tentpole “The Improbable 4,” starring reverse Pedro Pascal (Reed Richards/Mr. Improbable), Vanessa Kirby (Sue Storm/The Invisible Lady), Ebon Moss-Bachrach (Ben Grimm/The Factor) and Julia Garner (the Silver Surfer named Shalla-Bal). It’s a pivotal time for the MCU as debates over “superhero fatigue” rage on following the onslaught of 2023 comedian e-book film flops, which included Marvel’s personal “Ant-Man and the Wasp: Quantumania” and “The Marvels.”

Is Quinn frightened about Marvel superhero fatigue as he gears as much as shoot “The Improbable 4” and enter the MCU? He shrugged off any issues in an interview with Leisure Weekly.

“I feel that with the story of the Improbable 4, it appears like we need to get this proper,” Quinn stated about superhero fatigue issues. “There are features of it which are very totally different to different Marvel movies. That felt very compelling to me. And once more, going again to who’s concerned, Matt [Shakman], in fact, the director, I feel is sensible, and the forged, and I’ve learn it, and the script is sensible. It’s actually sensible. I’m delighted to have this chance.”

“Superhero films are films about folks,” he continued. “And if we’re invested within the folks and the characters and the peril and the spectacle, then that’s why folks go to the theaters to observe movies. We’re not simply in a penny; we’re in for a pound with this one. We’re going to go for it.” 

Quinn is the newest actor to take a stab at Johnny Storm on the massive display screen following Chris Evans and Michael B. Jordan. The “Stranger Issues” breakout stated he remembered “actually having fun with Chris Evans’ efficiency as Johnny within the earlier movies, and it felt like this might be a very thrilling alternative.”

However Evans wasn’t on Quinn’s thoughts when he went into the audition room. “No. I imply, you’re going to make it your personal,” the actor stated, including “it’s large boots [to fill].”

“I knew that they’d been speaking about making the Improbable 4 within the Marvel Universe for some time,” Quinn informed Leisure Weekly. “I had a chat with [director] Matt [Shakman], and it was very clear with the sort of people that they had been attaching to it what they had been making an attempt to do with it. There are features of it which are very a lot a singular factor and its personal factor.”

As issues about superhero fatigue proceed to be mentioned within the comedian e-book film world, “The Batman” villain Paul Dano just lately made headlines for telling The Impartial that maybe it’s factor.

“It’s an fascinating second the place everyone has to go like, ‘OK – what now?’ Hopefully from that, any individual both breathes new life into [comic book movies], or one thing else blossoms which isn’t superheroes,” Dano stated. “I’m certain there’ll nonetheless be some good ones but to come back, however I feel it’s sort of a welcome second.”

Whereas selling “The Marvels” final fall, director Nia DaCosta informed Complete Movie journal that “superhero fatigue completely exists.” “Guardians of the Galaxy” director and upcoming “Superman” helmer James Gunn additionally informed Rolling Stone that “I feel there is such a factor as superhero fatigue.” Each filmmakers agreed that the style has to maintain being freshened as much as keep worthwhile or else audiences will simply get bored.

“I feel it doesn’t have something to do with superheroes,” Gunn stated. “It has to do with the sort of tales that get to be informed, and if you happen to lose your eye on the ball, which is character. We love Superman. We love Batman. We love Iron Man. As a result of they’re these unimaginable characters that now we have in our hearts. And if it turns into only a bunch of nonsense onscreen, it will get actually boring.”

Marvel’s “The Improbable 4” opens in theaters July 25, 2025.

A flight of creativeness born of the trippy Nineteen Seventies, “The Wiz” can shoulder a variety of interpretation. Sidney Lumet’s shadowy movie, starring Diana Ross and Michael Jackson, units the Black spin on L. Frank Baum’s youngsters’s story “The Great Wizard of Oz” in a blighted, practically bombed-out New York Metropolis. Excessive faculties and group theaters have absolutely lengthy made do with their prop closets, because the musical by William F. Brown (guide) and Charlie Smalls (music and lyrics) is a vibes-based automobile for a well-recognized plot and foolproof hits like “House” and “You Can’t Win.”

However the maximalist revival that opened on the Marquis Theater on Broadway tonight, following a 13-city nationwide tour, diminishes a few of the present’s dependable pleasures with unmitigated, candy-colored exuberance. This family-friendly strategy — vibrant, broad, unironic — aligns with the musical’s legacy as a VHS favourite, however even youngsters might use assist understanding the place to look. Dizzying visuals and overamplification too typically swallow each actors and storytelling in a swirling sensory overload.   

Directed by Schele Williams, the manufacturing begins promisingly with an intimate trade between Dorothy (newcomer Nichelle Lewis) and Aunt Em (Melody A. Betts), comforting her city-girl niece who’s being bullied at her Kansas college. Rendered in grayscale as an homage to the Judy Garland movie, the scene invitations tender emotional engagement with the reluctant, soon-to-be heroine. 

However that chance for connection swiftly will get swept away within the one-way tornado to Oz, the place a hypercolor surge of stimulation competes for viewers consideration. Extra is the defining trait of a fantastical realm in any other case missing a unified look: storybook surroundings (by “Black Panther” designer Hannah Beachler) contrasts with uncanny projections (by Daniel Brodie) that resemble Roku Metropolis crossed with Center Earth; costumes (by Sheren Davis) burst with elaborations in yellow, orange, turquoise and pink. The already itinerant plot feels all of the extra disjointed when every scene seems to happen in a unique CGI-augmented world. 

That just about each floor appears overworked presents not simply an aesthetic hurdle however a dramatic one, as Dorothy and the companions she collects whereas easing down the street — Scarecrow (“The Voice” alum Avery Wilson), Tinman (Phillip Johnson Richardson) and Lion (Kyle Ramar Freeman) — recede from the busyness even once they’re meant to pop.  

A part of the issue could also be technical; it’s typically troublesome to listen to Smalls’ lyrics over the orchestra’s wall of sound besides when the actors are belting over it. That features Deborah Cox, whose instrument is unmistakable however overpowered in her first look as Glinda. Lewis, who has an interesting, delicate voice and a modest presence, involves really feel like a background participant in her personal journey (maybe ditching Toto from the script doesn’t assist). Among the many principals, Richardson is a standout along with his liquid, riffy tackle “What Would I Do if I Might Really feel” and joint-swiveling means with JaQuel Knight’s invigorating choreography.

Hip-hop strikes present the manufacturing’s most electrifying moments, significantly in “The Emerald Metropolis” sequence, which additionally contains soulful steps within the spirit of the ‘70s supply materials. Because the title character, figured right here as a suave charmer, Wayne Brady additionally demonstrates a formidable, hip-popping dexterity.

Revisions to the guide, by comic Amber Ruffin, elaborate the backstories of Dorothy’s buddies, although attempting to make extra sense of the head-scratching plot might be futile. Sustained makes an attempt at up to date humor are intermittently profitable; they ask for a level of understanding side-eye from a manufacturing that’s unwaveringly earnest and cheerful. Even the arrival of the Poppies, a clear metaphor for vice, is oddly staged on a set of cubby cabinets that seem lifted from a faculty classroom.

With out the darkish, threatening corners, this Oz comes throughout extra like a playground than a coming-of-age purgatory (the final depraved witch standing, Betts’ Evillene, registers as mildly menacing and is defeated with a small splash). Why does this Dorothy wish to go house and what has she discovered? If she was in search of someplace to belong, she appears to have discovered simply the place. However possibly her senses might use a break.