Category: 5. Entertainment

The Czech Karlovy Vary International Film Festival is opening its 59th edition, with American actor Peter Sarsgaard and Luxembourg actress Vicky Krieps set to receive a main award during Friday’s opening ceremony

PRAGUE — The Czech Karlovy Vary International Film Festival was kicking off its 59th edition on Friday with honors for American actor Peter Sarsgaard and actress Vicky Krieps from Luxembourg.

Sarsgaard and Krieps are both slated to receive the Festival President’s Award at the opening ceremony.

The festival will screen “Shattered Glass,” a 2003 movie directed by Billy Ray, for which Sarsgaard was nominated for a Golden Globe. To honor Krieps, who received a European Film Award for best actress for her role of the rebellious Empress Sisi in “Corsage” (2022), the movie “Love Me Tender” (2025) will be shown at the festival.

American actress Dakota Johnson, who will receive the same award on Sunday, was set to present her two latest movies, “Splitsville” and “Materialists.”

The festival will close on July 12 with an honor for Swedish actor Stellan Skarsgård recognising his outstanding contribution to world cinema. He will present his new movie, “Sentimental Value” directed by by Joachim Trier, that won the Grand Prix at this year’s Cannes Film Festival.

In an anticipated event, Hollywood actor Michael Douglas arrives at the festival present a newly restored print of the 1975 Oscar-winning movie “ One Flew Over the Cuckoo’s Nest,” which was directed by the late Czech director Miloš Forman and which was produced by Douglas and Saul Zaentz.

The grand jury will consider 12 movies for the top prize, the Crystal Globe.

If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

Year after year, summertime and shark programming go hand in hand, but with 2025 marking Jaws‘ 50th anniversary, the shark-centric content seems to be hitting an all-time high.

On June 15, all four movies in Steven Spielberg’s cult-favorite franchise got their streaming debut exclusively on Peacock: Jaws, Jaws 2 (1978), Jaws 3 (1983) and Jaws: The Revenge (1987). Then, ahead of Discovery Channel premiering its 37th annual Shark Week on July 20, National Geographic is set to kick off its 13th annual SharkFest on Saturday, July 5.

Nat Geo’s television event has over 25 hours of new programming. This includes Jaws @ 50: The Definitive Inside Story, a documentary diving into the film’s lasting impact, featuring rare archival footage plus interviews from Spielberg and other acclaimed Hollywood directors, top shark scientists and conservationists. Additionally, Sharkfest is home to an assortment of multi-part docuseries exploring shark behavior and the ongoing mystery surrounding these creatures.

Sharkfest 2025 kicks off on National Geographic channel on July 5, at 8 p.m. PT/ET, with Sharks Up Close With Bertie Gregory, followed by hours of new content airing over the coming days (see full schedule below). Cord-cutters can watch National Geographic on any live TV streaming service that carries the channel, including Philo, DirecTV, Fubo, Hulu + Live TV and Sling.

Plus, select Sharkfest 2025 series and specials (also listed below) will begin streaming on Sunday, July 6, on both Disney+ and Hulu.

Since select streamers are offering free trials and limited-time discounts, viewers can watch the special programming at no cost; keep reading to learn more about each option.

At a Glance: How to Watch Sharkfest 2025 Online

How to Watch Sharkfest 2025 Online Without Cable

Watch National Geographic for free with a seven-day trial to Philo, one of the most affordable cable alternatives. After the free trial, the Philo base plan is $28 per month.

Nat Geo is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate or Premier. Plus, DirecTV is offering a five-day free trial for its streaming service. Learn more about each plan option, including how to build your own channel lineup (starting at just $34.99 per month), at directv.com.

Watch National Geographic with a subscription to Fubo, which offers a seven-day free trial for new subscribers. After the trial, plans start at $64.99 for the first month and $84.99 monthly afterward.

Watch Nat Geo for free with a three-day trial to Hulu + Live TV, which comes bundled with Disney+ and ESPN+, starting at $82.99 per month.

New subscribers to Sling’s Blue plan can stream National Geographic at a discount, as the live TV streaming service is currently half off for the first month ($50.99 $25.50).

New customers can also stream select Sharkfest 2025 programming (see list below) for free with a 30-day trial to the Hulu (with Ads). Following the trial period, packages start at $9.99 per month with ads or $18.99 per month without ads.

Finally, cord-cutters can watch select Sharkfest 2025 programming with a subscription to Disney+, starting at $9.99 monthly. Disney has a selection of bundles that include Disney+, Hulu, Max and/or ESPN+ from $10.99 monthly. Learn more about all of Disney’s streaming packages here.

Sharkfest 2025 Release Schedule

Creative Australia chief executive Adrian Collette is facing mounting pressure to resign after the body’s decision to reinstate Khaled Sabsabi as Australia’s 2026 Venice Biennale representative.

Senior arts figures have also criticised the Creative Australia board, as a former chair of the selection panel for the biennale said the board and Collette did not “understand or at least trust the power and complexity of the visual arts”.

An external report, released on Wednesday, recommended a review into Creative Australia’s governance processes, better training for future board members, and the urgent appointment of a board member with deep visual arts expertise, after the protest resignation of artist Lindy Lee shortly after the board voted to withdraw the Sabsabi commission in February.

But Max Bourke, general manager of the Australia Council from 1987 to 1994, said he was “appalled” by Creative Australia’s handling of the controversy and called for Collette’s resignation. A former arts adviser to the federal government also told Guardian Australia that the CEO should step down.

Callum Morton, professor of fine art at Monash University who chaired the selection panel for the 2017 biennale, said he did not believe the current selection process – where the chief executive, informed by a panel of experts, makes the final decision – was flawed.

It was a process that delivered last year’s Archie Moore exhibition at Venice, which won the Golden Lion, he pointed out.

But Morton added that a series of “kneejerk reactions that caved into baseless scaremongering” on the part of the executive and board ultimately betrayed the artist.

“It speaks to a CEO and board who frankly didn’t seem to understand or at least trust the power and complexity of the visual arts,” Morton said.

“I think the conversation should be less about the process and more about how we choose board members, so that the right industry experts are given proper place and a voice to advise on these matters.

“This will help boards avoid these self-inflicted crises that hurt artists and arts workers and embarrass our reputation nationally and internationally.”

The Blackhall & Pearl report also expressed surprise that Creative Australia management had not requested a contentious issue report into the selected artist, given this appeared to be standard practice in the organisation’s other grant and investment decisions.

Another senior arts figure told Guardian Australia that although a panel of experts acting in an advisory capacity recommended Sabsabi for Venice, “either way, it was Adrian Collette, the CEO of Creative Australia, who made the final decision”.

“Firstly, he’s got no visual arts expertise. Secondly, the board doesn’t seem to have been involved in the deliberations at all,” they said.

“This is the most important thing Creative Australia does – it’s the biggest decision they make. You would expect the CEO to have appropriate expertise, and the board to be fully engaged. That simply didn’t happen.”

Prof Jo Caust, a principal fellow at the University of Melbourne’s school of culture and communication, said the Blackhall & Pearl report highlighted serious problems with governance at Creative Australia.

“If you look at the current board, some are arts people, but some clearly are not,” Caust said. “You need people who understand the sector, who can stand up and be counted.”

The Blackhall & Pearl report did not identify a failure of process, governance or decision on the part of the Creative Australia board, but said that “with the benefit of hindsight there are things the Board might have done differently”.

Whether the board erred in its decision to decommission Sabsabi was an assessment outside the scope of its terms of reference, the report said, but added that it believed “the board and Creative Australia are able to learn from this exercise and be better prepared should a similar situation arise in future”.

Guardian Australia has requested comment from Collette and the acting chair of the Creative Australia board, Wesley Enoch.

The high priests of speaking out are John Stuart Mill, an English philosopher, and Martin Niemöller, a Lutheran pastor. “Bad men need nothing more to compass their ends,” Mill warned, “than that good men should look on and do nothing.” Niemöller famously ventriloquised the many Germans who kept silent when the Nazis “came for the socialists”, the trade unionists and the Jews: “Then they came for me—and there was no one left to speak for me.”

A row has broken out over restrictions imposed on how newspapers, magazines, TV broadcasters and digital publishers can use pictures taken at Oasis reunion gigs, as the band prepare to play the first night of what is expected to be the most profitable tour in UK history.

Photo agencies and publishers have been told they can use shots of the first concert, which takes place in Cardiff on Friday, for one year and then the rights revert back to the band and management.

The industry norm is that such deals for independent photographers from agencies are struck in perpetuity, so publishers can continue to use shots for pieces such as band retrospectives, tributes and to illustrate future concerts.

The News Media Coalition (NMC) – which represents national newspaper groups including Guardian News & Media, the Telegraph, the Sun and Times publisher News UK and the Mirror and Express owner Reach – has lodged a complaint after 11th-hour negotiations failed to sufficiently improve the terms.

The NMC also represents agencies including Thomson Reuters, Associated Press, PA, Shutterstock, Getty Images, France’s AFP and Spain’s EFE.

“News photography has had a significant role in amplifying interest and telling the visual cultural story of artists such as Oasis, it’s part of the legacy,” said Andrew Moger, the chief executive of the NMC. “And that does not stop after 365 days.”

It is understood that the initial terms proposed were for the right to use images for just one month.

While the one-year permission deal has been agreed for the first gig, the NMC is pushing for better terms for the remaining 40 dates.

It has written on behalf of news agencies and its news publisher members to Oasis’s management about the restrictions imposed.

“Oasis Live 25 will attract editorial coverage throughout the 41-date tour and for years to come,” Moger said. “We invite the concert organisers to withdraw the ‘shelf-life’ of such newsworthy material and not to diminish the copyright work of photographers who are in their own way artists too.”

The NMC said that the “highly unusual” restrictions would hit independent news agencies in the UK and abroad, as well as publishers and broadcasters who use stills to illustrate editorial reports.

The row is the latest issue to beset the highly anticipated tour, which brings brothers Noel and Liam back together for the first time in 16 years.

Earlier this week, it emerged that the UK competition watchdog ha written to Ticketmaster threatening legal action over the way it sold more than 900,000 tickets for the reunion gigs.

In March, the Competition and Markets Authority (CMA) published concerns that Ticketmaster may have misled fans, some of whom paid more than £350 for tickets with a face value of £150, in the way it priced tickets for the band’s comeback gigs when they went on sale last August.

The watchdog said that since then Ticketmaster had failed to provide any undertakings that it found acceptable to resolve the issue of the way it sold the tickets.

The CMA is concerned that the ticketing company may have breached consumer protection law by labelling certain seats as “platinum”, and selling them for almost 2.5 times the price of standard equivalent tickets, without sufficiently explaining that they did not offer any additional benefits and were often located in the same area of a stadium as standard tickets.

The regulator also said fans were not informed that there were two categories of standing tickets at different prices, with many waiting lengthy periods in online queues without understanding they would be paying much higher prices than they expected.

Oasis was approached for comment.

Luca Bernabei is stepping down as CEO of Lux Vide, the Fremantle-owned Italian production powerhouse behind shows such as “Medici,” “Devils” and medical procedural “Doc,” the U.S. remake of which is produced by Fox and Sony Pictures Television.

Bernabei is parting ways with Fremantle three years after the RTL-owned production and distribution giant acquired a 70% stake in the company founded in 1992 by his father Ettore Bernabei. Fremantle has now completed its planned 100% purchase of Lux Vide that has been increasingly pushing into the U.S. and international markets with high-end premium shows. 

Lux Vide currently has two big English-language series – “Hotel Costiera” toplining Jesse Williams, a Prime Video original in several territories, and Italian state broadcaster RAI’s “Sandokan” with Turkish megastar Can Yaman slated for play later this year.

News that Bernabei is stepping down was provided by a Fremantle statement on Friday announcing a new Lux Vide management board. No reason was provided for Luca Bernabei’s departure.

Luca Bernabei’s sister Matilde Bernabei, who co-founded Lux Vide with her father and has been instrumental to the company’s success in past decades, remains on the board in a stronger role than before, having been appointed Lux Vide president. She was previously the company’s honorary president.

The new Lux Vide management board will be made up by Valerio Fiorespino who is interim COO and CEO of Fremantle Italy Group; Elena Bucaccio, head of drama, Lux Vide; Corrado Trionfera, head of production Lux Vide; Manuela Monterossi, who is general counsel of Fremantle Italy Group; Valentina Monaca, who is CFO of Fremantle Italy Group; and Barbara Pavone who is Lux Vide’s chief marketing and sales officer.

“We are happy to present our new management team,” Matilde Bernabei said in the statement.

“They are highly experienced professionals and recognized leaders. I am happy to be able to work with them to take Lux Vide to new heights, also thanks to our solid relationship with Fremantle,” she added.

“Since day one, Fremantle has fully supported the company, the team and the projects,” Matilde Bernabei went on to point out.

“Series such as ‘Hotel Costiera’ and ‘Sandokan’ are proof of this: international productions that we could not have made without their involvement,” she concluded.

The apple doesn’t fall far from the tree, and the energy of Gwyneth Paltrow at the peak of her ’90s cool girl powers continue to permeate today—case in point, her daughter Apple Martin.

Photographed on a casual dog walk through the Hamptons yesterday (July 3), Apple Martin went for a relaxed look: She wore a white cable knit sweater over a white tank top, with navy adidas shorts, and black ballerina pumps with eyelet-studded straps. While the wired headphones (Apple Martin, an surprising certified wired-it girl) add that first layer of nostalgia, it’s the up-do and the circular black sunglasses that give her the ’90s stylings of her mother.

It’s a look that almost exactly reflects her mother at the 1996 premiere of her film The Pallbearer. Here, Paltrow was photographed with her then-partner Brad Pitt at the Tribeca Film Center in New York City, where she wore a white, lightly floral patterned shirt, her long blonde hair in a relaxed off-center up-do, and a pair of small, dark sunglasses.

Photo: Getty Images

‘Adam’s last words were ‘I’ll be there with you’’published at 14:43 British Summer Time

14:43 BST

Kris Bramwell
BBC News

Image source, Sam Randall

Sam Randall, 41, in Maidenhead, Berkshire, is going to the gig tonight with his old school friends Rollo and Pete. They went to secondary school together and “collectively all got into Oasis around the same time in 1995”.

However, there is one person missing from the group – Adam Conrad Pratt.

“In 1997, after plenty of pleading with our mums (we were barely aged 14 or 15), we managed to get tickets to see Oasis on their Be Here Now tour at Earls Court. Later that year, Adam and I saw them again at Wembley Arena. Oasis became our band! The soundtrack to our youth.

“In 2020, Adam was diagnosed with colon cancer. He faced it with courage and determination, undergoing multiple surgeries and treatments.”

So when the reunion tour was announced, the friends were “beyond excited”. Then Adam’s cancer returned aggressively around Christmas 2024.

“After a brave fight, Adam passed away at home in California in February surrounded by his family.

“I was lucky enough to have one final call with him just days before. Though weak, he still managed to joke and laugh. I’ll never forget him saying, ‘I’ll be there down the front with you boys at the gig’.

“In honour of Adam, we’ll be wearing custom t-shirts I designed for the concert. He may not be there in person, but he’ll be with us in every word we sing!”