Category: 5. Entertainment

Hundreds of actors, directors and other film industry professionals have signed a new pledge vowing not to work with Israeli film institutions they say are “implicated in genocide and apartheid against the Palestinian people”.

“As film-makers, actors, film industry workers, and institutions, we recognise the power of cinema to shape perceptions” the pledge reads. “In this urgent moment of crisis, where many of our governments are enabling the carnage in Gaza, we must do everything we can to address complicity in that unrelenting horror.”

Signatories include film-makers Yorgos Lanthimos, Ava DuVernay, Asif Kapadia, Boots Riley and Joshua Oppenheimer; and actors Olivia Colman, Mark Ruffalo, Tilda Swinton, Javier Bardem, Ayo Edebiri, Riz Ahmed, Josh O’Connor, Cynthia Nixon, Julie Christie, Ilana Glazer, Rebecca Hall, Aimee Lou Wood and Debra Winger. The pledge had 1,200 signers as of Sunday night.

The pledge, shared exclusively with the Guardian, claims to draw inspiration from the cultural boycott that contributed to the end of apartheid in South Africa.

It commits signatories not to screen films, appear at or otherwise work with what it considers complicit institutions – including festivals, cinemas, broadcasters and production companies. Examples of complicity include “whitewashing or justifying genocide and apartheid, and/or partnering with the government committing them”.

“We answer the call of Palestinian film-makers, who have urged the international film industry to refuse silence, racism, and dehumanisation, as well as to ‘do everything humanly possible’ to end complicity in their oppression,” the statement reads.

The pledge was published by the group Film Workers for Palestine. Screenwriter David Farr, who is among the signatories, said in a statement: “As the descendant of Holocaust survivors, I am distressed and enraged by the actions of the Israeli state, which has for decades enforced an apartheid system on the Palestinian people whose land they have taken, and which is now perpetuating genocide and ethnic cleansing in Gaza.

“In this context I cannot support my work being published or performed in Israel. The cultural boycott was significant in South Africa. It will be significant this time and in my view should be supported by all artists of conscience.”

An FAQ accompanying the pledge addresses how to determine which film entities are implicated, and states: “Israel’s major film festivals (including but not limited to Jerusalem film festival, Haifa international film festival, Docaviv and TLVFest) continue to partner with the Israeli government while it carries out what leading experts have defined as genocide against Palestinians in Gaza.

“The vast majority of Israeli film production and distribution companies, sales agents, cinemas and other film institutions have never endorsed the full, internationally recognised rights of the Palestinian people,” it adds.

The pledge notes that there are “a few Israeli film entities that are not complicit” and advises following “guidelines set by Palestinian civil society”.

The film industry workers also clarify in the FAQ that the pledge does not prohibit them from working with Israeli individuals.

“The call is for film workers to refuse to work with Israeli institutions that are complicit in Israel’s human rights abuses against the Palestinian people,” the statement reads. “This refusal takes aim at institutional complicity, not identity. There are also 2 million Palestinians with Israeli citizenship, and Palestinian civil society has developed context sensitive guidelines for that community.”

The pledge does not explicitly mention the boycott, divestment, and sanctions (BDS) movement, which is the most prominent civil society effort identifying what it considers complicity with Israel. But it is one of the most prominent cultural boycott efforts announced against Israel since the assault on Gaza started, coming nearly one year after more than 1,000 writers announced a similar pledge.

The effort invokes Filmmakers United Against Apartheid, an initiative founded in 1987 by Jonathan Demme, Martin Scorsese and other prominent film-makers who refused to screen their films in apartheid-era South Africa.

The campaign comes amid a growing number of entertainment industry initiatives to protest Israel’s war in Gaza. Earlier this summer, hundreds of actors and film-makers – including Joaquin Phoenix, Pedro Pascal, Ralph Fiennes and director Guillermo del Toro – signed an open letter condemning what they described as the film industry’s silence over Israel’s deadly military campaign in Gaza.

Many of the same figures who have signed the new pledge were also among the hundreds of Screen Actors Guild members who, last year, urged union leadership to protect members from being blacklisted over their views on Palestine. More recently, the Norwegian Actors’ Equity Association recommended its members refuse to work with certain Israeli cultural institutions.

Last summer, Variety reported that more than 65 Palestinian film-makers also signed a letter in which they accused Hollywood of “dehumanising” Palestinians on screen over decades.

In that letter, the film-makers called on their international colleagues “to stand against working with production companies that are deeply complicit in dehumanising Palestinians, or whitewashing and justifying Israel’s crimes against us”.

Last week, The Voice of Hind Rajab, a new film about a five-year-old girl killed by Israeli forces in Gaza last year, received a 23-minute standing ovation after its premiere at the Venice film festival. Brad Pitt, Jonathan Glazer, Joaquin Phoenix, Rooney Mara and Alfonso Cuarón were among the executive producers on the film.

The BBC has announced an all-female presenting team to host MasterChef after the previous judges Gregg Wallace and John Torode were sacked.

Grace Dent, the Guardian’s restaurant critic, will host the show alongside Irish chef Anna Haugh, who has already become a regular on the BBC’s cooking programmes. Both have previous experience as guest judges on the programme.

The BBC has confirmed that Haugh already stood in for Wallace in the final episodes of the current amateur edition of MasterChef, which was filmed at the end of last year. It was only at that point that Wallace stepped back from the programme, when a series of allegations were made about his behaviour.

The BBC has already announced that television host and chef Matt Tebbutt will replace Wallace as a judge on the next series of MasterChef: The Professionals.

Dent, who has been a regular guest critic on MasterChef for more than a decade, said: “I’m over the moon to be coming back to the MasterChef kitchen and unearthing what culinary skills people have been cooking up behind closed doors.

“It’s a joy to be working with Anna, who brings all her incredible experience to the table. I am in for such a treat with this series, I can’t wait to get started.”

Haugh said she had admired Dent’s “writing and wit” for years.

“MasterChef has long inspired and resonated with cooks in home kitchens and of course in my industry,” she said. “I can’t wait to get into the studio for what will be a great competition.”

It comes after Wallace was dropped after an independent report substantiated 45 allegations made against him, including claims of inappropriate sexual language and one incident of unwelcome physical contact. He has apologised “for any distress caused” but said the report cleared him of “the most serious and sensational accusations”.

Torode was also dropped as a presenter after being the subject of a substantiated complaint over the use of racist language.

A BBC spokesperson said in July: “John Torode denies the allegation. He has stated he has no recollection of the alleged incident and does not believe that it happened. He also says that any racial language is wholly unacceptable in any environment.”

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Dent and Haugh’s arrival will mark a new beginning for the series, which will be filmed in new Birmingham studios.

The MasterChef executive editor, David Ambler, said: “Both are enormously respected in the hospitality industry and we can’t wait for them to uncover some more great cooking talent – from home kitchens across the country.”

The BBC chose to air the latest amateur edition of the show despite Wallace and Torode featuring heavily, stating that the decision was taken in consultation with contestants and because of the hard work carried out by the amateur chefs.

However, the Guardian revealed over the summer that a contestant from the latest series of MasterChef had been edited out of the programme. Sarah Shafi said she had told its producers she did not want the show to be broadcast after the allegations made against Wallace and Torode.

Shafi said it would send the wrong message about the treatment of women and the lack of challenge to powerful men behaving inappropriately. It later emerged a second contestant had been edited out.

Maggie O’Farrell’s lauded 2020 novel Hamnet is a dense and lyrical imagining of the lives of William Shakespeare’s family, full of interior thought and lush descriptions of the physical world. It would seem, upon reading, near impossible to adapt into a film. Or, at least, a film worthy of O’Farrell’s so finely woven sensory spell. Film-maker Chloé Zhao has attempted to do so anyway, and the result is a stately, occasionally lugubrious drama whose closing minutes are among the most poignant in recent memory.

Zhao is a good fit for the material. She, too, is a close observer of nature and of the many aching, yearning people passing through it. But she has previously not made anything as traditionally tailored and refined as this. The humbler dimensions of her films The Rider and Nomadland are missed here; Hamnet too often gives off the effortful hum of prestige awards-bait.

But Zhao’s hallmark compassion and curiosity remains, qualities necessary to Hamnet, which could easily tilt into the realm of manipulative tearjerkers. Hamnet was, records tell us, Shakespeare’s son, who died at a young age and is thought to have inspired, at the very least, the title of Hamlet, the story of a young prince who meets a tragic end. What O’Farrell and now Zhao imagine is that the writing of Hamlet was an exercise in grieving, a way for Shakespeare to honor his son and bid him adieu.

It’s a persuasive idea, even if it takes some literary contortions to really buy into it. While Zhao sometimes strains to sell the notion – a scene in which a weeping Shakespeare stands on the banks of the Thames and speaks a snippet of the “to be or not to be” soliloquy is perhaps a bit over-egged – she has mostly convinced us by the end. Or, at least, Hamnet has justified the bold speculation, using a leapt-to conclusion to illuminate a fundamental aspect of living. Ultimately, what does it really matter if it actually happened this way?

Hamnet invents many other facets of Shakespeare’s history. It dreams up the courtship of young William (Paul Mescal), then a Latin tutor, and slightly older Agnes Hathaway (Jessie Buckley), an oddball loner about whom the villagers whisper in fearful tones. William is drawn to exactly that strangeness, the individuality that will come to inform so much of the family’s domestic routine. Zhao spends a fair amount of time on these early days, maybe too much. Some of it could be better spent on the years in which Hamnet (Jacobi Jupe) occupied the house alongside his twin, Judith (Olivia Lynes), and their older sister, Susanna (Bodhi Rae Breathnach). One longs to truly know Hamnet before he is so wrenchingly lost to the world, to feel the agony of his absence that much more acutely.

Whatever Zhao doesn’t supply, though, is mostly made up for by the richly felt performances of the film’s two leads. Mescal is able to be far more expressive than he’s been allowed in quieter films such as Aftersun and The History of Sound. It is a pleasure to see the full breadth of his range, from seductive to shattered. It’s Buckley, though, who wholly envelops the film, giving staggering breath and body to Hamnet’s portrait of loss. She is nothing short of a wonder. (She also recorded a new version of the audiobook and does a terrific job at that.) It is on her shoulders that the film’s knockout climax rests. As she rises to the task, it is as if she is no longer acting but instead channeling a whole history of human lamentation.

That may all sound rather grandiose. But the final five minutes of Hamnet really are that striking. So much much so that one can totally forgive the use of composer Max Richter’s On the Nature of Daylight, already used to embody grief over a child so effectively in the film Arrival. In these final moments, Zhao finally makes clear the whole purpose of the film. It has not been merely to show us a prettily shot sad thing, as the film can too often seem. It has, it turns out, been building toward a grand meditation on art’s great capacity. We watch in awe as something so personal to Agnes and her husband becomes, in a transformative instant, universal. It is the power of creation made manifest, a private sorrow blossoming into one of the most enduring works of art the world has ever known.

This sublime finale does not completely absolve the film of all of its problems. There is still its lopsided storytelling, still the persistent feeling that this is all strong-arming us into doleful submission, still the ever so slightly cloying quality of Agnes’s woodsy mysticism. But that Zhao manages even a few minutes of such transcendent catharsis may tip Hamnet into greatness anyway. In that closing, as Agnes both reaches for and says goodbye to the son who slipped away, the tears flow naturally, they need no effortful wringing out. It proves a lovely experience, to sob in a movie theater alongside strangers, mourning for Agnes and William’s loss and for our own, amazed and relieved that a faraway, unknowable person has made something to connect us all.

EXCLUSIVE: Musica filmmaker Rudy Mancuso will helm Disney‘s long-awaited comedy Bob the Musical.

The original musical comedy—long regarded as one of Hollywood’s most intriguing “in-development” projects—has been in the works for over a decade at the studio. The story follows Bob, an ordinary man whose worst nightmare becomes reality when he wakes up to discover that he’s trapped in a full-blown musical. Kristen Burr and Tripp Vinson are producing.

Mancuso is a multi-hyphenate filmmaker. Musica, which he starred in with Camila Mendes, made its world premiere at 2024’s SXSW and was named one of the New York Time‘s Critics Picks and is Certified Fresh on Rotten Tomatoes with a 96% score. Mancuso directed, co-wrote, starred, and composed the music for the film, which Wonderland produced. A self-taught musician, Mancuso has released five singles, opened for Justin Bieber in his native Brazil on the Purpose World Tour, performed at the Hollywood Bowl for Disney Pixar’s Coco Live-To-Film Concert Experience while also incorporating song and instrumentation into his YouTube videos. As a director, he’s created two stunning single-take music videos for Lele Pons’ “Celoso” and “Bloqueo” as well as “Stories From Our Future,” a collaboration with Netflix. Mancuso is repped by WME, Range and Hansen, Jacobson, Teller.

Gabriel Mascaro’s “The Blue Trail” has had quite a stellar run: the winner of the Silver Bear at this year’s Berlin Film Festival, the film continued to rack up awards in its festival journey well into the fall season as it arrives in Toronto this week.

The film also has much to celebrate domestically, having just become the biggest national arthouse release of the year in Brazil with 57,000 admissions on the first weekend and having just hit a landmark 100,000 this week as it expands nationwide from 71 to 89 cities. 

Lucky Number handles sales on “The Blue Trail,” which has sold to 66 territories so far. The film arrives in Toronto having just landed Canadian distribution by Films We Like. The president of the distribution label, Ron Mann, told Variety they are “proud to bring this award-winning film to Canadian audiences,” highlighting the film as a “powerful protest against ageism.”

“The trajectory since Berlin has been incredible,” producer Rachel Daisy Ellis of Desvia told Variety. “It was the most sold film out of the festival, and we have continued to have many sales since, working with distributors committed to screening the film in cinemas.”

“The Blue Trail” takes place in a near-future Brazil where the government relocates the elderly to senior housing colonies so the younger generations can fully focus on productivity and growth. Tereza (Denise Weinberg), nearing 80, refuses to accept her fate, embarking instead on a journey through the Amazon to realize one last wish before losing her freedom. 

The producer attributed part of the film’s success to its messaging: “It’s a film that speaks to ageism and resilience. It’s a super important story at a time when our global population is getting older, and we still believe that happiness and adventure are reserved only for the young. Coming-of-age stories are always tied to the young, but in this film, we watch the coming-of-age of a 72-year-old woman. The film brings with it a much-needed hope, and it has been received with such warmth by audiences.”

“The Blue Trail” had its Brazilian premiere at the prestigious Gramado Film Festival in August, going on to sell out preview screenings, including a special screening for cast and crew in the Northern city of Manaus. Ellis highlighted the importance of having a film establish such a strong alliance between the North and Northeast of Brazil, especially considering the longstanding focus on the Southeast and cities like Rio de Janeiro and São Paulo. Brazil’s Northeastern cinema comes with a great tradition, and its exports such as Mascaro, Kleber Mendonça Filho, and Karim Aïnouz have become prominent staples in prestigious festivals such as Cannes and Berlin. 

“‘The Blue Trail’ builds a very strategic bridge between two regions, mixing the cinema of the North with that of the Northeast, Pernambuco and Amazonas,” Mascaro told Variety. “The beautiful thing about it is to realize we have made a Brazilian film, set in the Amazon, that also speaks to the universal in its approach of freedom, dreams, and desires, all embodied by an elderly character.” 

For Ellis, it is “super important” to see a film like “The Blue Trail” do well box-office-wise because “it proves Brazilian arthouse cinema can reach larger audiences and is not only for cinephiles. Longtime fans of Gabriel’s work are going to the cinemas, but also new audiences who are becoming acquainted with his work through the film, which we think is beautiful.” 

“We are undergoing a beautiful moment for Brazilian cinema, with films like ‘I’m Still Here’ and ‘Baby’ performing so well, and upcoming films like ‘The Secret Agent’ getting audiences interested,” adds the producer. “We were also moved to be able to show ‘The Blue Trail’ to President Lula, a highlight of the film’s trajectory as it reinforced the role of cinema as a vital element of Brazil’s cultural output.”

“I think it’s a beautiful year for Brazilian cinema,” echoed Mascaro. “We had a history-making moment with ‘I’m Still Here’ earning Brazil its first Oscar, a much-awaited event for our national cinema. Within the same year, we had ‘The Blue Trail’ winning the Silver Bear in Berlin and ‘The Secret Agent’ winning two awards in Cannes. I think it’s beautiful to know it wasn’t an isolated episode. We’re living in a moment where Brazil is reaping the fruits of public policies, realizing the strength of its talent and promoting a decentralization of public resources, allowing other regions in the country to build their very own cinematographic legacy, like Pernambuco.”

Ellis also pointed out how “The Blue Trail” still has a strong journey ahead, especially as it eyes possible selection as Brazil’s Oscar contender, though Filho’s Cannes-winner “The Secret Agent” is the favorite to land the nomination.

“We are a strong candidate to represent Brazil at the Oscars, as well as possibly landing Goya and Golden Globes nominations within the next few months,” she says. “Again, it’s a unique moment for Brazil, having two very strong films as possible Oscar contenders. It would be beautiful to see two Brazilian films represented at the Oscars in different categories.”

Chilean producer Giancarlo Nasi of Quijote Films also highlighted how Mascaro has recently become a member of the Academy of Motion Picture Arts and Sciences, calling him “one of the most influential filmmakers of our generation.” “The Blue Trail’ confirms his standing — a work as urgent as it is moving, as relevant for audiences as it is for professionals and critics, and unquestionably one of the films to watch this Awards season.”

The British Royal Family is preparing for a funeral unlike any in modern royal history. Katharine, Duchess of Kent, who died peacefully at age 92 on September 4, 2025 at Kensington Palace, will receive a Catholic Requiem Mass on September 16. This service will mark the first royal Catholic funeral in the United Kingdom in modern history.

Katharine Worsley married Prince Edward, Duke of Kent, in 1961 at York Minster. Despite her royal status, she later chose to drop her HRH style, preferring to be known as Mrs. Kent, and spent 13 years teaching music at a primary school.

The Duchess converted to Roman Catholicism in 1994, becoming the first senior member of the British Royal Family to embrace the faith in more than 300 years. Her final farewell will honor that conversion in an unprecedented way for the monarchy.

Prince Edward, Duke of Kent, and Katharine, Duchess of Kent, at the state banquet given by Former Polish President Lech Walesa on April 25, 1991 in London.

The Service Details

Buckingham Palace has confirmed arrangements that break from centuries of Anglican protocol. The Duchess’s coffin will rest in the private chapel at Kensington Palace before being transferred to Westminster Cathedral on the evening of September 15. This cathedral was the Duchess’s personal choice for the funeral location.

The Rite of Reception and Vespers—traditional Catholic ceremonies where the coffin is blessed with holy water and evening prayers are offered—will be observed that evening, followed by an overnight vigil in the Lady Chapel. The formal Requiem Mass will begin at 2 p.m. on September 16. The Cardinal Archbishop of Westminster will conduct the service, while Bishop James Curry will oversee the preliminary rites. King Charles III and Queen Camilla will lead royal attendance, joining the Duke of Kent and the Duchess’s family.

Unlike many royal funerals, this service will be private rather than televised, attended primarily by family, close friends, and representatives from the Duchess’s charitable organizations. Following the service, she will be laid to rest at the Royal Burial Ground at Frogmore, Windsor.

Julia Cancilla is the engagement editor (and resident witch) at ELLE Decor, where she oversees the brand’s social media platforms and writes the monthly ELLE Decoroscope column. She covers design trends, pop culture, and lifestyle through storytelling to explore how our homes reflect who we are. Her work has also appeared in Inked magazine, House Beautiful, Marie Claire, and more. 

Keanu Reeves’ latest flick is garnering some heavenly praise from critics. Written and directed by Aziz Ansari — who also played a role in the film — Good Fortune follows Gabriel (Reeves), a “well-meaning but rather inept angel” who sets off a chain of events after he “meddles in the lives of a struggling gig worker (Ansari) and a wealthy venture capitalist (Seth Rogen),” according to the official synopsis. The flick also stars Keke Palmer and Sandra Oh. It’s set for wide release in theaters on October 17.

Good Fortune scored 80% on Rotten Tomatoes following its September 6 premiere at the Toronto International Film Festival. Screen International critic Robert Daniels dubbed the movie a “surprising gift” composed of a “blistering barrage of jokes backed by immense heart.” While Brian Tallerico of rogerebert.com didn’t shy away from criticism of the weaker notes of the film, overall, he called it a “really tough flick to hate” due to its stellar cast, and Awards Radar‘s Joey Magidson said it had “rough edges but pointed humor and an on-point Keanu Reeves.”

Aziz Ansari Called It ‘Mind-Blowing’ to Work With Keanu Reeves on ‘Good Fortune’

Reeves explored comedy in the earlier days of his acting career with memorable projects like Bill & Ted’s Excellent Adventure in 1989 and its sequel, Bill & Ted’s Bogus Journey, in 1991, but over the past three decades, he’s become well known as one of Hollywood’s greatest action stars. He has been praised for his work in The Matrix movies, the John Wick franchise, Speed, and more. However, according to Ansari, the 61-year-old can still kick it with the best of them as a funnyman.

Speaking with People at TIFF for the world premiere of Good Fortune, the Parks and Rec alum recalled talking with Rogen about how they’d be so “uncomfortable” and need to ask Reeves for a lot of direction if they were taking on an action role in a movie, while the Ballerina actor had been “such a pro” and “so down to play with us” when it came to comedy. Ansari went so far as to call him the “soul of the movie” and gushed that he did a “wonderful job” as Gabriel.

“You know, when you meet him it’s intimidating, because he’s an icon of the screen and I grew up watching him and all his films, so it was pretty mind-blowing to get to meet him and then, on top of that, then work with him. He’s now a great friend and collaborator … I didn’t really know what to expect because he’s pretty mysterious, you know? But he was just so game.” – Aziz Ansari

Couch, couch, couch will have to wait, as HUNTR/X works its way to a fourth week at No. 1 on the Billboard Hot 100 with “Golden,” from the soundtrack to the smash animated Netflix film KPop Demon Hunters.

Upon the original ascent to No. 1 for “Golden,” HUNTR/X — the singing trio of EJAE, Audrey Nuna and REI AMI (in the roles of the film’s characters Rumi, Mira and Zoey) — became the first female group associated with Korean pop to crown the Hot 100.

KPop Demon Hunters has also become the first soundtrack to generate four simultaneous Hot 100 top 10s over the chart’s 67-year history. The songs place in the bracket for a third week, with Saja Boys’ “Your Idol” and “Soda Pop” each down a spot from their respective Nos. 4 and 5 bests and HUNTR/X’s “How It’s Done” holding at its No. 9 high.

Also in the Hot 100’s top 10, Sabrina Carpenter charts two songs: “Tears” launches at No. 3 and former leader “Manchild” climbs 7-4. Both tracks are from her new album, Man’s Best Friend, which blasts in as her second No. 1 on the Billboard 200 chart.

Browse the full rundown of this week’s top 10 below.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Sept. 13, 2025) will update on Billboard.com tomorrow, Sept. 9. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

• ‘Golden’ Streams, Airplay & Sales

  “Golden,” on Visva/Republic Records, tallied 34.5 million official streams (down 2% week-over-week), 22.1 million radio airplay audience impressions (up 13%) and 9,000 sold (up 4%) in the United States Aug. 29-Sept. 4.

  The track secures a seventh week at No. 1 on the Streaming Songs chart; rises 29-24 on Radio Songs — as it hits the top 10, lifting two spots to No. 10, on the Pop Airplay chart; and adds a second week at No. 1 on Digital Song Sales.

• 4 Weeks at No. 1 for ‘KPop’

  “Golden” is the ninth song associated with Korean pop to rule the Hot 100, and the first by female lead vocalists with ties to the genre. (HUNTR/X singers EJAE and REI AMI were born in Seoul, South Korea; Nuna is from New Jersey.)

  “Golden” becomes just the second such song to post at least four weeks at No. 1 on the Hot 100. Here’s a recap:

  • 10 weeks, BTS, “Butter,” beginning June 5, 2021
  • 4, HUNTR/X: EJAE, Audrey Nuna & REI AMI, “Golden,” beginning Aug. 16, 2025
  • 3, BTS, “Dynamite,” beginning Sept. 5, 2020
  • 1, Jung Kook, “Seven” (featuring Latto), July 29, 2023
  • 1, Jimin, “Like Crazy,” April 8, 2023
  • 1, BTS, “My Universe” (with Coldplay), Oct. 9, 2021
  • 1, BTS, “Permission To Dance,” July 24, 2021
  • 1, BTS, “Life Goes On,” Dec. 5, 2020
  • 1, BTS, “Savage Love (Laxed – Siren Beat)” (with Jawsh 685 and Jason Derulo), Oct. 17, 2020

  Plus, “Golden” ties for the fourth-longest Hot 100 command for a song by an all-female group of three or more members, dating to the first four-week No. 1 in the category in 1963:

  • 11 weeks, Destiny’s Child, “Independent Women Part 1,” beginning Nov. 18, 2000
  • 7, TLC, “Waterfalls,” beginning July 8, 1995
  • 5, The Emotions, “Best of My Love,” beginning Aug. 20, 1977
  • 4, HUNTR/X: EJAE, Audrey Nuna & REI AMI, “Golden,” beginning Aug. 16, 2025
  • 4, TLC, “No Scrubs,” beginning April 10, 1999
  • 4, TLC, “Creep,” beginning Jan. 28, 1995
  • 4, Bangles, “Walk Like an Egyptian,” beginning Dec. 20, 1986
  • 4, The Supremes, “Baby Love,” beginning Oct. 31, 1964
  • 4, The Chiffons, “He’s So Fine,” beginning March 30, 1963

• Carpenter Be-‘Friend’s Top 5

  

  Sabrina Carpenter scores two songs in the Hot 100’s top five: “Tears” debuts at No. 3 and former chart-topper “Manchild,” which led in its debut week in June, surges 7-4. Both cuts are from her new album, Man’s Best Friend, which arrives atop the Billboard 200.

  “Tears” starts with 26.3 million streams (good for a No. 2 premiere on Streaming Songs), 11.9 million in airplay audience and 2,000 sold. Carpenter collects her fifth Hot 100 top 10, all since April of last year.

  “Manchild” drew 19.5 million streams (up 86%) and 49.3 million in radio reach (up 2%) and sold 2,000 (up 129%). It charges 25-5 on Streaming Songs, which it led for one week, and climbs 5-3 for a new high on Radio Songs.

• Rest of Top 10: ‘Ordinary’ & More

  Elsewhere in the Hot 100’s top 10, Alex Warren’s “Ordinary” holds at No. 2, after 10 nonconsecutive weeks at No. 1 beginning in June. It tallies a 12th week at No. 1 on Radio Songs (73 million, down 1%).

  Below Carpenter and Saja Boys’ two Hot 100 top 10s apiece, Morgan Wallen’s “What I Want,” featuring Tate McRae, slides 3-7, after it debuted in May as Wallen’s fourth No. 1 and McRae’s first. It posts a 16th week at No. 1 on the multimetric Hot Country Songs chart.

  Ravyn Lenae’s “Love Me Not” falls 6-8 on the Hot 100, after reaching No. 5.

  Below HUNTR/X’s “How It’s Done,” which concurrently adds a 10th week at No. 1 on the Hot Dance/Pop Songs chart, Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March 2024, and went on to become the year’s No. 1 song, drops 8-10. It logs a record-extending 107th week on the chart overall and a record-furthering 77th week in the top 10.

  It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here.

In the days immediately following the end of World War II in Europe, a U.S. Supreme Court justice grappled with the best way to ensure those surviving members of Hitler’s Nazi regime were held accountable for the atrocities committed under their watch. While Congress was pushing for an expedited execution rather than a trial, chief U.S. prosecutor Robert H. Jackson instead argued for an international tribunal, despite there being no legal precedent for proceedings against a country that never attacked the U.S.

Jackson’s dogged determination — leading to the first courtroom trial to address crimes against the peace of the world — and the ensuing psychiatric assessment of the accused, most notably former Reichsmarschall Hermann Goring, set the stage for what was to become known as the Nuremberg trials.

Eighty years later, those historical events have been lent a chilling relevance in the hands of writer-director James Vanderbilt, whose compelling depiction of what historian Hannah Arendt would later call “the banality of evil” resonates in the face of more recent developments around the world.

Backed by a roster of powerhouse performances led by Russell Crowe, Rami Malek and Michael Shannon, the commanding production looks like it could be an award-season contender; the rapt TIFF audience at its world premiere screening rewarded it with a rare, sustained standing ovation. Expect that buzz to grow in the weeks leading up to the Nov. 7 Sony Pictures Classics release.

Taking his inspiration from the 2013 Jack El-Hai book, The Nazi and the Psychiatrist, which explored the complex relationship between American Army psychiatrist Douglas Kelley and his 22 patients awaiting trial as war criminals, Vanderbilt crafts a particularly cunning game of cat-and-mouse between the most notorious of those patients, Goring (Crowe), and the intrepid shrink (Malek). While Jackson (Shannon) assembles the pieces of an international tribunal involving the U.S., England, France and the Soviet Union, Kelley is charged with assessing the mental state of Goring and his fellow prisoners, in a bid to sniff out potential suicides ahead of their being brought to justice.

As Kelley devises his plan to build an element of trust with his star patient, in a groundbreaking effort to “psychologically define evil,” Goring proves equally calculating. Kelley notes his “inflated sense of self,” an evident narcissism doesn’t prevent Goring from launching his own charm offensive. In Crowe’s capable hands, there isn’t a word of dialogue that doesn’t carry its own carefully measured weight.

Unburdened by a conventional three-act structure, Vanderbilt is free to build the escalating tensions between Goring and Kelley much in the compelling way sparring characters interacted in his acclaimed script for David Fincher’s Zodiac. Crowe and Malek uniformly deliver what are among their best performances, captured by cinematographer Dariusz Wolski’s tight, constantly probing close-ups, which allow for precious little wiggle room.

The always reliable Shannon is equally effective in the role of the steadfast lead prosecutor, and the supporting performances are uniformly powerful — especially Leo Woodall (best known for the second season of The White Lotus) in the role of Sgt. Howie Triest, an American soldier who served as a German interpreter for Kelley’s interactions, and whose own backstory is later delivered in a poignant monologue that will unlikely leave a dry eye in the house.

Also effective are Richard E. Grant in the role of calm, cool and collected British chief prosecutor David Maxwell-Fyfe and John Slattery as the U.S. Army colonel and Nuremberg prison commandant Burton Andrus, tasked with, ironically, keeping his prisoners alive until they could be sentenced to death.

Where the 1961 Stanley Kramer classic Judgment at Nuremberg concerned itself with a different aspect of the trials, Vanderbilt’s film doesn’t actually arrive at the courtroom until much later in the proceedings. Still, it doesn’t shy away from the inclusion of extensive, horrific archival footage taken in concentration camps offered into evidence by Jackson. Although familiar to many, those disturbing images are certain to bring the Holocaust into sharper focus for those who appear to have forgotten the lessons about the atrocities that the world had once vowed never again to repeat. Vanderbilt’s commanding Nuremberg couldn’t have arrived at a more consequential time.