Category: 5. Entertainment

“Madame Web” star Dakota Johnson, attending the Karlovy Vary Film Festival where she is set to receive the event’s prestigious President’s Award, is close to locking in final details for her directorial feature debut.

Speaking with Variety in the Czech spa town, the actor says her debut is a project “very close to her heart.” The film is one she is working on alongside “Cha Cha Real Smooth” co-star Vanessa Burghardt, who she calls “an incredible autistic actress.” 

“I’ve always felt that I’m not ready to direct a feature,” she continues. “I don’t have the confidence, but, with her, I feel very protective and I know her very well. I can see this world, so I just won’t let anybody else do it. That’s the real answer.”

On top of receiving the award, the “50 Shades of Grey” alum is at the festival with two films: Celine Song’s three-hander romance “Materialists,” in which she stars alongside Chris Evans and Pedro Pascal, and Michael Angelo Covino’s Cannes sensation “Splitsville,” which she also produced under her TeaTime Pictures banner.

Johnson plays a matchmaker in Song’s sophomore effort and, when asked about the matchmaking qualities required of a producer, the actor says she “cares a lot about how people get along on a set and how people collaborate.” “If there’s not a healthy collaboration, if it’s not a good match, then it’s not a good match. And we really don’t move forward if it’s not a good match,” she emphasizes. “I can’t waste time on toxic sets anymore, or in situations that are not fun or fulfilling or healthy. That’s one of the perks of [producing], because I get to put amazing people together and make something.” 

Speaking about what she considers a toxic set to be, the actor says that she doesn’t want to face “anybody who’s mean or condescending or unkind.”

“I don’t want to face people who are not willing to collaborate,” she continues. “And then there are obvious things. We all know what a toxic set is by now. We’re artists, so there’s room for expansive personalities, and we’re working with emotions. I love a healthy argument on a set, and I also believe that the most excellent idea wins. It’s not a fight. It’s not a race. It’s a collaboration.” 

When it comes to standing up for herself when such toxic situations arise, Johnson says she feels she was “pretty vocal” about her feelings from a very young age. “I think now, just being in the position of being a producer and developing my own films, I can choose all the people who are in it, and that makes a huge difference.”

As someone who has navigated a wide gamut of films within the industry, from producing and starring in indie productions like “Am I Ok?” to major studio projects like “Madame Web,” how does Johnson perceive the idea of success when it comes to filmmaking? “I think that the barometer for that is shifting right now,” she answers. 

“It’s hard to measure success based on box office numbers now because it’s so all over the place,” she adds. “[‘Jurassic World Rebirth’] slayed, and of course, they knew that it was going to do really well, but it did so well. I feel so excited that people are going to the movie theater. Even ‘Materialists’ did so well for a tiny little movie, and that’s really, really exciting.”

She continues by saying that success, to her, is measured by “people who felt something” when watching a film or films that are meaningful to audiences. “Honestly, it’s a success just getting a movie finished. It’s really hard to make movies right now and to get people to believe in what you want to say. I don’t think movies will save the world, by no means, but I do think it’s nice to have them around,” she concludes.

Talking about the roles she would still love to play, the actor says she’s itching to play a “psychopath” and “would love to do an action film.” “I’m open to anything. Certain things [just have] to align.”

As for her next acting project, Johnson just wrapped shooting Amazon MGM Studios’ film adaptation of Colleen Hoover’s best-selling psychological thriller “Verity,” directed by Michael Showalter and also starring Josh Hartnett and Anne Hathaway. Of taking on another wildly beloved book adaptation over a decade after the “50 Shades” series, the actor says adaptations can be hard because “sometimes a book doesn’t exactly translate to the screen.”

Johnson brought up Maggie Gyllenhaal’s “The Lost Daughter,” an adaptation of Elena Ferrante’s eponymous novel, saying the actor-turned-director “was able to really go into her imagination and soul and put her taste on everything. When that can happen, it’s great, and I think it makes the fan base feel both inspired and maybe divided, and that’s also great.”

“Books are hard,” she goes on. “Everybody has their own image of what the story is. I hope people feel inspired in one direction or another.” When asked about what’s next after “Verity,” Johnson teased a very exciting project she already has lined up but can’t disclose further details for now. Watch this space. 

Chinese toymaker Pop Mart’s Labubu monster dolls have become a global craze. They bare their teeth from the handbags of Rihanna and Dua Lipa and have driven fans to break-ins and brawls as shoppers scramble to get hold of them – breaking new ground for Chinese pop culture.

In 2022, the Financial Times asked Camille Gaujacq, a specialist in Chinese market research, whether the Beijing-based company Pop Mart, which had recently set up shop in London, could meet its goal of making more than 50 percent of its revenue abroad within five years.

Gaujacq was cautious, saying it was hard to know “to what extent a growth model based on stimulating a consumer trend” would work in the West.

Three years on, customers around the world are queuing overnight – and in some cases coming to blows – to buy a Pop Mart-exclusive product: the Labubu.

These half-cute, half-sinister monsters with pointed teeth and bunny ears were created by Hong Kong designer Kasing Lung and inspired by Norwegian folklore. Sold as plush toys, bag charms and figurines, they have become a global hit – along with the chaos that surrounds them.

UK retailer suspends Labubu toy sales amid safety fears

In Singapore late last year, CCTV footage showed a family stealing Labubu dolls from a vending machine, according to online media outlet AsiaOne, while The Sun newspaper reported that in California a car was broken into and three Labubu toys that had been on display taken.

Read more on RFI English

A new part of the PHOTOS series. Today, we explore the now-discontinued products from the workshops of the Foreign Legion Institution for Disabled Veterans (IILE), which were prominently showcased in vibrant, regular color advertisements in Képi Blanc, the French Foreign Legion’s magazine, from the mid-1970s to the early 1990s.

Since its founding in 1947, Képi Blanc, the official magazine of the French Foreign Legion, has relied on advertisements to support its publication, primarily promoting local products or beer producers. A significant change came in early 1975 when the magazine featured its first black-and-white advertisement for products from the Institution for Disabled Veterans, a home for disabled and retired legionnaires established in Puyloubier, southern France, in 1954. These ads highlighted mainly ceramic products handcrafted by IILE veterans, which provided meaningful activity, a sense of purpose, and financial support for the institution while promoting the Legion’s identity and traditions.

For the record, the Legion’s involvement in ceramics predates the founding of the IILE. The first ceramic workshop was set up in 1950 in Sidi Bel Abbès, Algeria, the Legion’s then-headquarters. It operated alongside other craft workshops like bookbinding. After the creation of the IILE, these workshops were transferred there.

By the mid-1970s, the ceramic workshop in Puyloubier employed around 25 veterans, becoming the institution’s most important component. A second workshop was opened in 1975, confirming the popularity and success of the ceramics program. The same year the aforementioned first advertisement for IILE products was published in Képi Blanc. The ad featured irregularly inside the magazine for over a year.

In October 1976, the first color IILE advertisement appeared on the back of the magazine, still intended for the promotion of commercial products. This reflected the beginning of what we can call the “golden age” of the IILE workshops and the artisanal products of the Foreign Legion, lasting until the first half of the 1990s. These colorful ads ran continuously for over 15 years, drawing attention to the veterans’ craftsmanship.

However, the global market began to shift after the fall of the Eastern Bloc in 1991. Globalization and the influx of inexpensive goods from Asia made it hard for the IILE workshops to remain financially competitive. Thus, ads for handcrafted products disappeared from the magazine’s back cover in November 1992. Since that time, wine production has become the institution’s primary source of income.

The IILE’s workshops, however, were not originally intended just to generate profit. As Major Le Roch, the institution’s first director, said in 1958: “We are not here for the numbers. We are here for the pensioners. We have to give back morale to people who were broken by life, often before joining the Legion, and who were subsequently wounded and traumatized by the war.” His words reflected the IILE’s initial mission: to support former legionnaires who had served honorably but suffered lasting physical or psychological injuries, and to help them rebuild their spirit and sense of purpose through meaningful, creative work within a community, and thus reintegrate them into society.

Even so, the workshops never fully disappeared. They still exist today, producing custom pieces – though only on demand and with less visibility due to minimal promotion. After the end of the Algerian War in 1962, the IILE gradually shifted its focus from war-disabled veterans to aging legionnaires. But the importance of meaningful, creative work as a source of morale and renewed spirit has remained just as vital. The handcrafted ceramics from this “golden age,” showcased in Képi Blanc, stand as a testament to the skill and creativity of the veterans in Puyloubier. At the same time, it’s reasonable to believe that such high-quality, original artisanal products could still attract buyers nowadays if they were properly promoted.

Whatever the current situation is, here are examples from the golden era of IILE unique handcrafted items, proudly advertised on the back pages of Képi Blanc from the mid-1970s to the early 1990s. Enjoy.

 
Click on the images to enlarge them:

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Related posts:
2022 Foreign Legion Veterans’ Institution
PHOTOS: 100th Anniversary of the Battle of Camerone in Aubagne in 1963
PHOTOS: Algerian War 1954-1962
GRLE: 2025 Support Mission to IILE

Kylie Jenner is no stranger to one-of-a-kind pieces of fashion. She’s been known to wear custom dresses at runway shows in Paris, lean into a throwback accessory, or coordinate with her boyfriend Timothée Chalamet at the Golden Globes. So it was no surprise to see that she casually owns two rare Hermès purses.

The reality TV star turned makeup mogul has been spending time in Europe this summer, from Venice for Jeff Bezos’ wedding, to the South of France with her girlfriends. Jenner recently shared photos from her friend trip in Saint Tropez, France — alongside sister Kendall Jenner, bestie Stas Karanikolaou, and more. While most people probably think of a cheap tote bag to bring to the beach, Kylie Jenner brings a Birkin.

In a carousel of photos shared to Instagram, Jenner showcased her two Hermès bags. The first, was the Kelly Doll Picto Bag. The teeny tiny handbag has the signature shape of any other Kelly bag, but this one features a pixelated face and what appear to be hands as the front straps. The original Kelly Doll bag was released in 2000, and the brand has since created many versions of the iconic bag — including the Picto bag in 2022. The bag initially retailed for $15,600 but has since been auctioned off for up to $74,000, according to Sotheby’s.

Jenner paired the little bag with a white cutout bathing suit, a short bubble skirt, and kitten heel flip flops.

The second Hermès bag that Jenner brought on her French vacation (makes sense, as it’s a French designer) was a Faubourg Birkin. For those who have been around since the King Kylie days, you’d know that Jenner has a collection of Birkins and Kelly bags lining her closet. But this one is one of our favorites.

Enter the buzzing showfloor at this year’s Anime Expo, and you’ll be met with the towering exhibitor presences of MAPPA, SEGA, Netflix, TOHO Animation, HULU, Viz Media, Aniplex, and more major players in a rapidly popularizing (and globalizing) anime industry. But even among the industry’s recognizable players, Crunchyroll — and its series of showfloor experiences, merchandising, and photo-ops — calls back to the heyday of the convention circuit in a way few others do. 

The massive booth features a mass of large screens that deliver trailer takeovers and anime ambiance sequences that act as an environmental backdrop alongside an “Anime Forecast,” a series on interactive screens where fans can browse the company’s catalog of upcoming titles. There’s of course a merch store to pick up collectables, manga, vinyls, clothing, and more, but there’s also the “trash to treasure” dumpster dive experience that introduces you to the characters and story of its upcoming graffiti-infused anime Gachiakuta as well as the Demon Slayer – Infinity Castle activation setting up the film trilogy’s release.

Inside, attendees move through an immersive set deco recreation of the Infinity Castle before interacting with a motion sensor experience that soars through the alternate dimension via the Crow, and a 3D photo-op that uses swords to simulate the breathing techniques (Water, Flame, Wind, Stone and Thunder) of key characters. This immersive activation helps make Crunchyroll’s floor presence one of the Expo’s biggest and most technologically advanced booths, and it’s every bit a part of the company’s strategy, says president Rahul Purini. 

Like the day-long pop-up convention hub Crunchyroll Stage and the Crunchyroll Lounge where onsite deals are made, the booth is a must-have — even if some of Crunchyroll’s competitors have pulled back in certain corners of the convention circuit after launching their own events. “Fans love experiences, and this [booth], that’s what we are creating here. It’s not just some of our store. It is a small amusement park. You can go interact with the characters, or touch the stories and find yourself immersed in that. And we’re trying to do that in places where the fans are already gathered,” he explains. 

Crunchyroll’s ongoing lean into the fan space doesn’t stop at the showfloor. Across the July 4 holiday weekend, the media and entertainment company featured a number of panels and screenings, and on Saturday, shared a steady stream of acquisition and trailer announcements. Among them, exclusive footage of Studio KAI’s dark fantasy Sentenced to Be a Hero, which sees criminals sentenced to heroism/service in a penal military unit waging war against a demon king’s army, and the news that Studio Pierrot’s Black Clover will return for an all-new season only on Crunchyroll, alongside a teaser trailer, key visual, a message from the manga’s creator Yuki Tabata celebrating the anime’s return and manga’s 10th anniversary. 

Other news included a trailer for the newly announced anime adaptation of Daemons of the Shadow Realm based on a manga created by Hiromu Arakawa (Fullmetal Alchemist); confirmation of Re:ZERO – Starting Life in Another World season four streaming exclusively on Crunchyroll in 2026; and a two-minute first-look at the upcoming third season of Studio Bind’s Mushoku Tensei: Jobless Reincarnation; the October 2025 premiere of action comedy Tojima Wants to Be a Kamen Rider and January 2026 drop of romantic comedy You and I Are Polar Opposites. Classroom of the Elite fans will get a follow-up to season three, titled Classroom of the Elite 2nd Year, and the game Classroom of the Elite – Merge Puzzle Special Exam, playable for the first time outside of Japan via Crunchyroll’s Game Vault, with Hiroyuki SAWANO LIVE [nZk]008 set to join Crunchyroll’s library of over 100 full-length concerts later this summer.

Ahead of Saturday’s panel, The Hollywood Reporter spoke to Purini about the company’s presence at the con and its current season, what he’s most excited about in this moment of anime expansion, what challenges remain for those bringing the medium to western audiences, and key growth areas for the company. 

You’ve brought so much to the convention this weekend. What are you most excited about in terms of your slate? 

Our July season is among one of the biggest seasons that we’ve ever had. The volume, the breadth and the depth of content that we are able to bring to fans around the world, and the diversity of the content, is one thing we’re really excited about. There are shows for every kind of anime fan. There’s a show that premiered over the weekend, Lord of Mysteries, which is a Chinese animation show — there’s not a lot of that. But the biggest anime show in Japan, Gachiakuta, which we are featuring here, is a show that I’m really excited about. It is from our partners at [Japanese publisher] Kodansha, and it is one of those shows where, if you watch the trailer, you’re hooked. This kind of breadth and depth of show not only makes this season really, really compelling, it also talks to where we Crunchyroll are as a company. We have the single largest library of anime content anywhere. We have something for every fan, every genre, and we are adding a ton every quarter. That speaks to the value proposition for the anime fan when they come to Crunchyroll.

You worked at Funimation before heading up Crunchyroll, so you understand what the lift of making anime accessible to U.S. audiences was in those early days before places like Hulu and Netflix were also doing it. What was the biggest challenge then and what’s the biggest challenge now in terms of bringing this content to audiences? 

Early on, the biggest challenge Crunchyroll and other companies that were serving this fan base solved was accessibility. There was anime fandom around the world, but it was hard to get your hands on it, even as your peers in Japan were watching and enjoying it [sooner]. That was the biggest thing that most companies, including Crunchyroll and Funimation, solved. When the shows are happening in Japan, bring them globally, subtitle them so it becomes accessible. In the case of Funimation, innovate to even dub it during the season. We call it the simuldub, where now dubs are available one episode at a time within two to four weeks. But those were the initial challenges: accessibility, getting the shows from Japan and making them available to fans so they weren’t waiting for 15 to 18 months for a DVD release or for some TV channel to pick up a show. 

The challenges now are somewhat similar, except it’s a global audience. The audience is growing, and when the audience is growing, you need a diverse slate of content to serve that audience. So making sure we have that diverse slate for the audience that’s global, and making it accessible to them — that we’re on all the devices that they want to watch, we have all the payments that they want to use to sign up for it, all the languages that they want to watch it in whether it’s subtitled or dubbed, and making it available when they want to watch it. The second part of that is, given the volume of content, how do we make sure that we find the right content for the right fan at the right time. That discovery piece is the biggest thing that we are trying to solve because there’s so much new content. How do we make fans aware of what’s available, and serve as that connection. 

Platforms and streamers who more recently entered the anime market have increasingly found ways to blend it with Western animation or use American audience influences a little more in the visuals and storytelling. Can you talk about how your approach to your content slate is different, and how you tap into this medium that is outside the realm of Western storytelling to deliver for audiences? 

There are a few things that are really core to us, what we call our guiding principles. We believe anime is intrinsically connected back to Japan. For anime to be authentically anime, it has to be conceived and created by Japan, and we take that to heart. There is other animation that might be anime-inspired, but it’s not anime unless it has the connection. Second is that anime is a medium. It’s not a genre. There is anime for various kinds of people — there’s action, romance, slice-of-life, sci-fi, fantasy. It’s an art form, and that’s important to understand. One of the ways that I think we have operated and we believe we can successfully serve the anime fan is being singularly focused on that. This is not one genre that we serve the fan. This is our entire existence. So that focus and that clarity of what is authentically anime, and that relationship with partners, that relationship with the fans, and understanding why fans connect with anime, all of those things allow us to be able to serve those creators and fans in the best way. 

Crunchryoll is now many things, but first it was largely a content library. Many streamers started that way as well, and then expanded. Where is Crunchyroll in that conversation? How much do you want original content? How do you want to do it?

First, we do not consider ourselves to be a streamer. We consider ourselves to be a media and entertainment company focused on serving the anime fan. The video content is a big part of that fandom but this is much bigger than that. It’s everything from the real-world experiences, the community, the connection, the games, the merchandise, the manga, the music. We’re not interested in being something for everyone. We want to be everything for someone. So that’s number one. In terms of how we think about content, I go back to the amazing storytellers and partners in Japan. We want to work with them all, we want all of their content to be available to consumers, and we will continue to do that. Having said that, the audience around the globe is expanding. To serve them, we need more funding and more diverse content. So we’re doing co-productions, where we go to Japanese partners and help them fund shows by investing in them. This is not distributing, not licensing. We’re actually part of the production committee that’s making these shows. 

In addition to that, when we find stories around the world that we think are going to be great, we’re now starting to take the stories back to the Japanese creators and are asking if they’re interested in making anime from this story. Ghost of Tsushima  [based on the Sony PlayStation game] is a great example. Solo Leveling is a great example. We took this Korean [title based on the web novel-turned-webtoon], and went back to Japan and said we would love to make an anime. And we got partners like Aniplex and A-1 Pictures excited about it. That’s the third piece. Licensed content will always be the majority of our content because there’s so many great Japanese viewers. We will co-produce content with our Japanese partners to invest and bring shows. But we will also commission shows because we have stories that we think will be great in anime, and we’re taking them back to Japan. 

Anime has done some interesting things as it relates to theatrical releases, an area Hollywood has really been having a conversation about the last few years. The recent Dan Da Dan: Evil Eye experience, which put the first three episodes of season two together and screened them like a movie, is one example. Is there anything you think Hollywood can learn about the theatrical space from the anime industry in this current moment?

I’m not sure we’re at a place where we can tell Hollywood what it can learn. They’ve been doing this for a long time. (Laughs) What we have found and learned is that fans like experiences. They want to be able to go sit in a dark theater with friends and family and experience their stories on a big screen and feel that sense of community. So for them, it doesn’t matter if it’s a 90-minute or 120-minute movie, or it’s three episodes put together. To them, it is great stories told in an amazing, creative way on a big screen. That is an interesting insight for us.

What are other growth areas you’re focusing on right now that are represented at AX? 

Games. About 18 months ago, we announced this initiative called Crunchyroll Game Vault. If you’re a subscriber of Crunchyroll’s higher tiers — mega or ultimate tier — you get access to games for free. We initially started with a handful of games, and now we’ve scaled that to over 60 that fans and subscribers have access to, to play for free. We’re seeing a lot of traction. Fans come in to play a game and then watch something, and we are seeing a lot of subscribers that have been members for years dive in and play games telling us that they want to upgrade to be able to get access to the games. That is an area where we are really excited because there’s a big overlap between gamers and anime fans. 

And we recently announced that we’re going to be bringing a digital manga app to our fans in the U.S. One of the things that fans ask us most is for access to manga, so we see a lot of opportunity to be able to serve fans through it. And obviously, merchandise. Fans are collectors. They want to show off their fandom, and we want to be able to bring these unique collector items — whether it is apparel, figures, home accessories — that they can buy. Another area that we see is theatrical. Demon Slayer is coming up, we are part of Sony Pictures and they’ve been bringing movies to the world for 100-plus years. So we’re really excited about being able to bring movies to fans who want to watch in theaters. We know fans love that. 

You mentioned experiences and the exhibitor booth is one giant experience. Why is this such an important corner for Crunchyrull to occupy and are you thinking about ways to go bigger? 

We’re very fan-centric, very fan-first in our thinking. The fan sits at the center of everything we do. So we are here to serve this fanbase, and the best way for us to do that is to understand what they want, talk to them, connect with them, build a relationship with them. We don’t know any other way to do this. Our teams put on 100-plus shows worldwide. This is not a few things a year that we do. We are constantly spending time with our fans. In terms of experiences, do we want to do something bigger? Yes, if the opportunity shows up the right way and we can create that authentic experience for fans, we will do that. We’re doing that with videos. We’re doing that with music festivals. At San Diego Comic-Con, we’re going to have an anime music festival. Do we have a ride at a theme park? No. But are we creating experiences that excite? Absolutely.

A hugely popular right-wing Croatian singer and hundreds of thousands of his fans performed a pro-Nazi World War II salute at a massive concert in Zagreb, drawing criticism.

One of Marko Perkovic’s most popular songs, played in the late Saturday concert, starts with the dreaded “For the homeland — Ready!” salute, used by Croatia’s Nazi-era puppet Ustasha regime that ran concentration camps at the time.

Perkovic, whose stage name is Thompson after a U.S.-made machine gun, had previously said both the song and the salute focus on the 1991-95 ethnic war in Croatia, in which he fought using the American firearm, after the country declared independence from the former Yugoslavia. He says his controversial song is “a witness of an era.”

The 1990s conflict erupted when rebel minority Serbs, backed by neighboring Serbia, took up guns, intending to split from Croatia and unite with Serbia.

Perkovic’s immense popularity in Croatia reflects prevailing nationalist sentiments in the country 30 years after the war ended.

The WWII Ustasha troops in Croatia brutally killed tens of thousands of Serbs, Jews, Roma and antifascist Croats in a string of concentration camps in the country. Despite documented atrocities, some nationalists still view the Ustasha regime leaders as founders of the independent Croatian state.

Organizers said that half a million people attended Perkovic’s concert in the Croatian capital. Video footage aired by Croatian media showed many fans displaying pro-Nazi salutes earlier in the day.

The salute is punishable by law in Croatia, but courts have ruled Perkovic can use it as part of his song, the Croatian state television HRT said.

Perkovic has been banned from performing in some European cities over frequent pro-Nazi references and displays at his gigs.

Croatia’s Vecernji List daily wrote that the concert’s “supreme organization” has been overshadowed by the use of the salute of a regime that signed off on “mass executions of people.”

Regional N1 television noted that whatever the modern interpretations of the salute may be its roots are “undoubtedly” in the Ustasha regime era.

N1 said that while “Germans have made a clear cut” from anything Nazi-related “to prevent crooked interpretations and the return to a dark past … Croatia is nowhere near that in 2025.”

In neighboring Serbia, populist President Aleksandar Vucic criticized Perkovic’s concerts as a display “of support for pro-Nazi values.” Former Serbian liberal leader Boris Tadic said it was a “great shame for Croatia” and “the European Union” because the concert “glorifies the killing of members of one nation, in this case Serbian.”

Croatia joined the EU in 2013.

Croatian police said Perkovic’s concert was the biggest ever in the country and an unseen security challenge, deploying thousands of officers.

No major incidents were reported.

David Corenswet recently revealed who he approached for a piece of advice on playing the role of Superman in the forthcoming film.

While giving an interview to Heart at the red-carpet premiere of James Gunn’s Superman in London, the 32-year-old American actor reflected on reaching out to Henry Cavill and Tyler Hoechlin for guidance, as they both have played the DC icon in Man of Steel and Superman & Lois, respectively.

Notably, Cavill and Hoechlin were “encouraging” but refrained from influencing Corenswet’s performance by sharing their words of wisdom.

He said, “Both of them, interestingly, sort of said in their own words, ‘I’m not gonna try and give you any tips.’ And I think that’s a very Superman thing. Superman’s not so much for giving advice or dictating how other people should be.”

The Twisters star added, “They really just conveyed to me an encouragement and a sense of ‘have fun with it’, which I think is Superman’s way of doing it too.”

Corenswet remarked, “They were very encouraging and we had a lovely experience. I’m excited to meet them one day. It’ll be great when we can all get in a room together.”

Before concluding, it is noteworthy to mention that the upcoming Superman movie is scheduled to hit theatres on July 11, 2025.