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“There is a reason I will not post anything about the adaptation of my work. That’s all,” Adeyemi wrote in DMs she shared on TikTok.

“And lastly since someone asked – I have not seen the film, and I will not watch it,” added Adeyemi, who also co-wrote the film with Prince-Bythewood. “It’s been painful holding this back from you all. … And I’m sorry if any of you thought I didn’t care about US. More than any glitter.”

Adeyemi also shared a screenshot of a DM she apparently sent to Amandla Stenberg, who plays Princess Amari in the film adaptation. “Do not ever use my name in an interview or video again. Do not text me. Do not call me,” she wrote to Stenberg. Deadline has reached out to Stenberg’s rep.

The message was dated in late February, shortly after Stenberg responded to accusations of “stealing roles from dark-skinned women,” as many fans noted the character is described in the book as having “dark copper skin.”

“I had the opportunity to meet Tomi, the novelist, for the first time,” said Stenberg at the time. “Then, she goes, ‘Amandla, I want you to know that when you were a little girl and were cast as Rue in The Hunger Games, and you had these racist remarks thrown at you because people said that Rue’s death wouldn’t be as sad because you’re a Black girl — that inspired me to write this series, so that Black girls like you and Black girls of all shades could have a story written about them.’ We just started crying, and I said to myself, ‘God wants me here!'”

Juice is set in a fractured and ravaged world following a climate-change disaster. A young husband and father is recruited into a top-secret resistance organization, to join the ranks of militia men tasked with targeting the isolated and wealthy culprits responsible for this global catastrophe.  When a mission goes wrong, he finds himself on the run, having to fight to the end to survive in this hostile world.  

The film tells the untold story of the iconic ‘90s “Got Milk?” campaign and its impact on farmers, consumers, and public policy. Using interviews and archival footage, it moves from farms to the White House, diving into America’s love/hate relationship with milk, as well as the dairy industry’s grip on pop culture, politics, and food.

The series opens by examining how “Got Milk?” became a pop-culture phenomenon in the 1990s, deploying everyone from Frankie Muniz to Britney Spears, Beyoncé, and SpongeBob Square Pants to generate attention for all things dairy. However, the campaign became a boondoggle that never reversed declining milk consumption. Following the money, the series uncovers a dairy industry working with the U.S. government to fight the tides of America’s changing tastes.

Lola Tung (The Summer I Turned Pretty) has inked a deal to join Please, A24‘s new film from Babygirl and Bodies Bodies Bodies helmer Halina Reijn.

Tung’s role is being kept under wraps, as all have been. No word yet on the story being told here. Tung joins the previously announced Gracie Abrams, Tom Burke, Connor Storrie, and David Jonsson.

Directed by Joanne Hock (When We Last Spoke), Disconnected “centers around the Walker family as they navigate personal loss and the consequences of online manipulation. Set against the backdrop of a school system heavily reliant on technology, the Walker’s and a group of courageous students challenge a corrupt administration as they fight to reclaim their community and their lives.”

A deputada federal Erika Hilton (PSOL-SP) afirmou, na manhã desta terça-feira (30), que pediu aos órgãos competentes a ampliação da fiscalização sobre a publicidade de casas de apostas nas transmissões esportivas. Após a investigação aberta contra a CazéTV, a parlamentar defendeu que Globo, SBT, canais pagos e as próprias operadoras de bets também sejam analisados para verificar se cumprem a legislação e as normas de publicidade em vigor.

Em publicação nas redes sociais, Erika afirmou que a investigação não deve se restringir ao canal de Casimiro Miguel. Segundo ela, embora a CazéTV tenha "ultrapassado limites", é necessário verificar se os demais veículos de comunicação e empresas do setor também respeitam as regras.

"Queremos saber se Globo, SBT, canais por assinatura e as próprias bets também estão respeitando a legislação vigente, a regulamentação da publicidade de bets e o Código de Defesa do Consumidor", escreveu a deputada.

Na avaliação da parlamentar, a presença das casas de apostas se tornou generalizada nas transmissões esportivas brasileiras, o que torna improvável que eventuais irregularidades estejam restritas a um único veículo.

"Pois a realidade é que as bets estão impregnadas no futebol e na televisão. E, tendo em vista a quantia de anúncios veiculada todo santo dia, acho improvável que apenas a CazéTV tenha praticado alguma forma de publicidade abusiva", afirmou.

Erika ainda defendeu que a fiscalização seja aplicada de maneira uniforme a todo o mercado. "A lei tem que valer pra todos. Tem que valer pra CazéTV, pra Globo, pro SBT, pras bets, pros canais abertos, por assinatura e pros canais da internet. E, pra isso, precisamos de fiscalização", concluiu.

The synopsis for the film adaptation reads: “With his shimmering scales, the Rainbow Fish is the most beautiful fish in the entire ocean. But he is also vain and proud, which alienates the other fish. As a result, he becomes increasingly lonely. When he eventually loses one of his beloved glittering scales, it is none other than the Little Blue fish who accompanies him on the search into the deepest parts of the ocean. An adventurous journey begins – and the Rainbow Fish learns that together we are much braver than alone, and that true friendship is more precious than the most magnificent coat of scales.”

Writer Pfister has said the story is ultimately about the beauty of sharing, but recent detractors have said it sends out mixed messages about individuality, acceptance, coercion and boundaries, in turn sparking debates over cancel culture.

This has not stopped Studiocanal putting their heft behind the animated adaptation.

“The Rainbow Fish carries a universal message that is understood and loved all over the world. It is a great joy for us to reinterpret this special story together with our partners as a major cinematic experience for audiences of all ages,” said Studiocanal Germany co-heads Hooman Afshari and Lutz Rippe.

The creative team also took on board some of the recent conversations to put the original book’s intended core message more clearly to the forefront. This resulted in a deliberate shifting of certain emphases, new characters being introduced, and other adjustments.

The film’s feature-length duration also allowed the team to explore the message of the original book in more depth.

Written by and starring Valerie Jane Parker (The Bikeriders) and directed by Mila Vilaplana, the movie follows Becca, “a successful but emotionally isolated young woman whose unresolved trauma begins haunting her from inside her own body”.

Cast also includes Kym Jackson (We Bury the Dead), Armando Rivera (Untitled Onyx/Hulu), Lilian Rebelo (Only Murders in the Building), Audrey Venable (Marbles), Taylor Novak (Where the Bullets Go), Liz Atwater (Hellcat), and Ronnie Meek.

According to the lot details by Wax Poetics, the recording of “The World is Not Enough” was “written for but understood never to have been submitted” for the 1999 Bond film of the same name starring Pierce Brosnan, and is sung by Martin with an acoustic backing. “Unheard and unreleased,” it’s being sold as a single recording on a cassette tape.

Martin has previously claimed that Coldplay — self-described 007 fans — made a number of unsuccessful attempts at writing a theme for the spy franchise.

“We kept trying to write one for 20 years, but never submitted them,” Martin told NME in 2021. “We have Bond themes for about five movies, but they’re not very good, to be honest.”

Martin added: “Also I don’t know if we’re spiritually on the same trip as James. As much as I like the films, I don’t know if us singing would do it for him. He’d be like, ‘That’s not what I’m into at all, fellas. I like guns and shit. All this hippie stuff just isn’t going to work’.”

The comedy centers on Lex (O’Brien), a disgraced former reality star who accidentally films a murder in the background of a $20 Cameo video, and finds himself at the center of a global conspiracy — and on the run from powerful forces who want him dead. Using the skills he acquired navigating reality TV’s toxic social dynamics, Lex must fight to not get killed, to expose the truth, and most importantly… to get back on TV.

Talbott’s film centers on Taylor (Kay), who lives on his own in the house where he was raised, his parents both gone. He travels far out of New Orleans each week to care for his wayward older brother Cody — their family, a tightly closed island of two. When his brother makes a decision that breaks open his life and leaves Taylor utterly alone, he emerges from the smallness of his existence and ventures into the chaos and swirl of the French Quarter and greater New Orleans, whose eclectic inhabitants, lost souls, and fellow travelers will either drown him or help him toward some new shore of possibility.