Ever since Call Me by Your Name director Luca Guadagnino signed on in October to remake American Psycho, fans and industry insiders have been casting the role like it’s 1999 all over again. Oscar nominee Austin Butler briefly emerged as a rumored frontrunner, but he was never in serious talks. The name that keeps bubbling up? Patrick Schwarzenegger.
Yes, that Patrick Schwarzenegger, aka Saxon Ratliff.
The White Lotus season-three scene-stealer has not only been name-checked online for the part — he’s endorsed it. “I’d love nothing more,” he posted on X in April, responding to a fan suggestion that he take a stab at the character Christian Bale made famous in the 2000 adaptation of Bret Easton Ellis’ best-selling Wall Street slasher novel.
Informed sources tell us Schwarzenegger is very much on the radar of the film’s producers, though some involved in the Lionsgate production fret that he hasn’t yet toplined a major feature. Then again, neither had Bale when he was cast — this was pre-Batman, when his résumé leaned to more art house fare like Velvet Goldmine. That could change soon, with Schwarzenegger joining Margaret Qualley in Love of Your Life, a romantic drama from Amazon MGM Studios. Meanwhile, rumors plant him in the role of Cyclops in Marvel’s planned X-Men reboot, and still others suggest he might team with dad Arnold for a remake of Twins (well, Patrick’s been suggesting it, anyway). In any case, with Guadagnino now sidetracked by other projects — including the Amazon sci-fi flick Artificial — there may be just enough time for Schwarzenegger to prove himself and come back Psycho-ready.
Asked by THR whether American Psycho was on his list of career goals, Schwarzenegger didn’t name the film but did name-drop the director. “What’s on the very top of it is to work with a person like that, like Luca.”
The Clambake’s Off. A Summer Slump in the Hamptons
The good news? There’ll be plenty of legroom on the jitney. The bad? That’s because nobody appears to be renting in the Hamptons this summer.
According to Rambling’s East Coast sources, the usually bustling Long Island clambake enclave — where everyone from Steven Spielberg to Paul McCartney to Brooke Shields owns sprawling properties — is suffering from its sleepiest season in recent memory. Some reports have rentals down as much as 30 percent, even more at the high end in the coveted dunes. Local real estate insiders blame the usual suspect — economic uncertainty — but other factors may be compounding the sluggishness, like fewer European vacationers willing to set foot on U.S. soil (or sand) since Donald Trump returned to office, as well as a lingering chill from the county’s Airbnb crackdown two summers ago (though by now, most rental homes are compliant).
Still, some island brokers insist the season will swing back — provided property owners adjust their expectations from pandemic era rates. “Those homes still sitting on the sidelines are more often than not priced for a market that no longer exists,” notes Rylan Jacka, managing director at The Agency in East Hampton. “Landlords who remain rigid on pricing may find themselves with a beautifully staged rental home — and no one in it.” — NANCY KANE
Beeple’s Trump Taco Too Spicy for Insta
While Trump and Elon Musk were busy trading jabs across Truth Social and X last week in their billionaire slap fest, a weirder, more surrealist skirmish was playing out lower on the feed: Beeple vs. Instagram. The brawl began with the infamous digital artist’s latest post — an eye-catching (and, honestly, kind of stomach-turning) image of a giant, nude Trump with a fully loaded taco where his genitals should be. Within hours, Instagram took down the picture. But it’s the platform’s explanation for the censorship that has Beeple and his 2 million followers scratching their heads.
“They said it violated Instagram’s anti- bullying and harassment policies,” says the artist, whose real name is Mike Winkelmann. “That’s absurd! The idea that my picture could bully President Trump is insane.”
This isn’t the first time Beeple — who, a few years back, famously sold a collection of his NFT art for $69 million at Christie’s — has allegedly bullied a commander in chief. In December, Instagram removed another of his images, this one depicting a naked Joe Biden posing with a machine gun discreetly covering his presidential bits. Same policy violation. Same silence from Meta.
Instagram didn’t respond to Rambling’s request for comment, but odds are this feud will outlast the Trump-Musk one — though the latter still might inspire a future Beeple post. A reconciliation cuddle, perhaps, hopefully not involving tacos.
This story appeared in the June 11 issue of The Hollywood Reporter magazine. Click here to subscribe.
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The fairest one of all has arrived on Disney+.
The live-action Snow White starring Rachel Zegler and Gal Gadot is now available on the streaming service, and subscribers can now watch the remake of the classic Walt Disney Animation film.
At a Glance: How to watch Snow White Online
Don’t have a Disney+ subscription? Keep reading for more details on other ways to stream Snow White online, plus the best deals on Disney+ right now.
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Where to Stream Snow White (2025) Online
Distributed by Walt Disney Studios Motion Pictures, Snow White is available to stream on Disney+ starting on June 11. A subscription is required to access the live-action film on the streaming service, which starts at $9.99 per month with ads.
Disney+ is home to Marvel Studios films and TV series, including the entire Captain America and Avengers franchises, TV series such as Daredevil: Born Again, Ms. Marvel, Loki, Agatha All Along, Hawkeye and more multiverse content alongside hit original shows Andor, Percy Jackson and the Olympians, Doctor Who, American-Born Chinese, The Mandalorian and much more. Learn more about what Disney+ offers, including pricing, catalog and special deals and bundles here.
Not ready to sign up for Disney+? Snow White is also available in 4K Ultra HD to rent on digital for $24.99 or to buy for $29.99 on Prime Video, Apple TV and other video-on-demand platforms.
The Best Deals on Disney+ Subscriptions
Verizon customers can get six months of the ad-free Disney+ Premium plan for free when switching to select unlimited plans. After the trial period, the subscription auto-renews through your mobile service at $15.99 per account; learn more at Verizon here.
Other Disney+ deals with the Disney Bundle Duo or Trio plans that also include Hulu and/or ESPN+ starting at $10.99 per month; or the Disney+, Hulu and Max bundle starting at $16.99 monthly with ads. Learn more about what Disney+ offers, including pricing, catalog and special deals and bundles here.
The bundle plans lets you stream everything under the Disney umbrella, including films and movies from Marvel, Star Wars and other franchises; everything from Pixar (including Toy Story and Up); National Geographic documentaries; and more alongside Hulu’s content library of series from FX, Fox, ABC and other networks. That includes Emmy-winning series such as The Bear, Devil in the Family: The Fall of Ruby Franke and Handmaid’s Tale on Hulu; and The Last of Us and The White Lotus on Max.
Snow White (2025): Plot, Cast, Run Time
Directed by Marc Webb, Snow White follows Snow White (Rachel Zegler), a princess who flees her home after her stepmother orders a huntsman to kill her. She finds refuge in the middle of a forest with seven dwarves as they plan to liberate the kingdom from the Evil Queen (Gal Gadot).
The film also stars Andrew Burnap, Andrew Burnap, Andrew Barth Feldman, Tituss Burgess, Martin Klebba, Jason Kravits, George Salazar, Jeremy Swift, Andy Grotelueschen, Ansu Kabia, Patrick Page and others. It runs one hour and 49 minutes.
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The final trailer for James Gunn‘s Superman isn’t afraid to rattle a few teeth.
Warner Bros. released the latest trailer for the DC Studios movie that hits theaters July 11. Superman stars David Corenswet as Superman, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor.
The new film focuses on the titular superhero, who made his way to Earth from the planet Krypton and grapples with his powers while blending in as journalist Clark Kent.
This trailer shows Superman being warned to “stop messing around,” to which the superhero replies, “I’m not messing around. I’m doing important stuff.” The footage also shows a punch from Superman knocking out some teeth, which appear to hit the camera.
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Additionally, the trailer includes Guy Gardner (played by Nathan Fillion) telling Superman menacingly, “Make a move, Big Blue.”
Superman’s release marks a pivotal and high-stakes moment for Warner Bros., in addition to DC Studios bosses Gunn and Peter Safran, who produce this project. The film co-stars Skyler Gisondo (Jimmy Olsen), Sara Sampaio (Eve Teschmacher), Edi Gathegi (Mister Terrific), Terence Rosemore (Otis), Anthony Carrigan (Metamorpho), Isabela Merced (Hawkgirl) and María Gabriela de Faría (The Engineer).
Previously released footage showed an injured Superman getting rescued when his trusty dog, Krypto, drags him to the Fortress of Solitude. After Superman thanks a robot crew for their help, one of them replies, “No need to thank us, sir, as we will not appreciate it.”
Gunn joined his stars on the CinemaCon stage earlier this year, where Corenswet discussed how he felt to portray the Man of Steel. “It’s a great honor to play a role that exists so clearly in the public consciousness,” the star said.
There have been a lot of updates about the “Harry Potter” TV series recently. The biggest piece of news is probably that the main trio — Harry Potter, Ron Weasley, and Hermione Granger, who were played by Daniel Radcliffe, Rupert Grint, and Emma Watson in the film franchise — has been cast and three newcomers will portray the three best friends. Dominic McLaughlin, Alastair Stout, and Arabella Stanton will take the reins from Radcliffe, Grint, and Watson, respectively, and potentially spend the next decade or so playing these beloved characters. (The show is intended to adapt a book a season for seven seasons, which, based on production time, will presumably take at least 10 years).
Some other newcomers have been cast as Hogwarts students Draco Malfoy, Seamus Finnegan, Parvati Patil, and Lavender Brown — they’ll be portrayed by Lox Pratt, Leo Earley, Alessia Leoni, and Sienna Moosah — and a handful of recognizable older actors are rounding out the adult cast. John Lithgow is Hogwarts headmaster Dumbledore, Nick Frost will play Hogwarts groundskeeper Rubeus Hagrid, Paapa Essiedu is set to play Potions master Severus Snape, and parents like Lucius Malfoy and Molly Weasley (Johnny Flynn and Katherine Parkinson) have also been cast, though they’ve all been considerably aged down from their predecessors in the “Harry Potter” movies (which, to be fair, is more in line with the original books themselves).
Things are moving fast, which makes sense; as of this writing, the “Harry Potter” series is set to premiere on HBO sometime in 2027. Still, things aren’t going completely smoothly; it’s hard to talk about this new “Harry Potter” project without mentioning the controversy surrounding Wizarding World creator Joanne “J.K.” Rowling, who has taken a firm stance against transgender women and is putting her considerable financial weight behind efforts to restrict the freedom of transgender people in the United Kingdom. Rowling’s views have understandably disappointed and alienated a large swath of the franchise’s fans, but the fact of the matter is that “Harry Potter” is still undeniably popular. It is, however, still vital to keep Rowling’s views in mind as we watch this project continue to take shape.
If you miss Radcliffe, Grint, and Watson wandering through the sets in the original “Harry Potter” films, those movies are streaming on Peacock now.
It’s taken over a decade, but Andy Serkis has finally brought his long-gestating adaptation of George Orwell’s Animal Farm to the screen. The animated adaptation of George Orwell’s 1945 classic premiered Monday night at the Annecy International Animation Film Festival.
Introducing the film ahead of the screening, Serkis reflected on the project’s turbulent journey from conception to completion. “We’ve been trying to create a version of George Orwell’s extraordinary fable for well over a decade, and it’s been an incredibly challenging conundrum with many twists and turns along the way,” he said.
The idea for the film was born during the filming of Rise of the Planet of the Apes in 2011, when Serkis, who plays Caesar, the leader of a rebellious army of simians overthrowing their the human masters, thought the time was right for a “retelling, a modern retelling,” of Orwell’s 1945 classic. “It was around the time my friend and producing partner Jonathan Cavendish and I were forming [animation studio] The Imaginarium,” he recalled. “We thought it would be our first movie. We were wrong, very wrong.”
The project was shopped to several studios, eventually landing at Netflix in 2018. But the streamer ditched the film a few years later. It was only with the help of U.K. partners Cinesite and Aniventure that Animal Farm, now transformed from Imaginarium’s motion capture style to a fully animated CGI movie, made it to the screen.
Serkis keeps the spine of Orwell’s novella, about a group of oppressed farm animals who rebel against their human oppressors, only to repeat the humans’ mistakes, but his version takes a few liberties. The original was a political allegory for Soviet Russia in the 1920s and ’30s. The targets of Serkis’ Animal Farm are more contemporary. Napoleon, the pig who takes despotic control of the farm following the revolution — voiced with haughty gusto by Seth Rogen — bears an uncanny resemblance to the current occupant of the White House. Glenn Close, in full Cruella de Vil mode as a billionaire agro-magnate who wants to take over Animal Farm for her own nefarious ends, drives a Cybertruck-esque SUV.
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The references, says Serkis, were unintentional. “We started years before some of these events occurred,” he notes, adding that “there are enough despots around the world using the same divisive techniques — misinformation, disinformation — to control people. That’s what we wrote about years ago.”
The single-biggest change from Orwell is the addition of Lucky, a young pig and audience surrogate, voiced by Gaten Matarazzo, who is caught between Snowball (Laverne Cox), the progressive pragmatist, who started the Animal Farm revolution, and Napoleon’s seductive charisma. “That was my invention,” said Serkis. “I thought if we put kids in the driver’s seat of the moral conundrum, it would land more powerfully.”
Animal Farm is currently seeking distribution. Goodfellas Animation is selling the film worldwide.
Serkis spoke to The Hollywood Reporter at Annecy about the film’s decade-long gestation, adapting Orwell for today’s fractured world, and the risks of making a politically charged animated film: “We’re not listening to any algorithms—we wanted to begin a debate while entertaining animals and humans of all ages.”
You’ve made a lot of changes in this adaptation. Do you see this as a version of Animal Farm, an adaptation, or something only inspired by the original?
I think that’s a fair question. We worked very closely with the Orwell estate. We told them from the start that we wanted to do a version where, if George Orwell were writing it today — and this was more than ten years ago — what would his targets be? What would he be talking about? It’s an eternally relevant book, always about the corruption of innocence. Orwell wrote it to explain authoritarianism to children, or rather, to young, inquisitive minds — to show how adults aren’t always trustworthy.
But you don’t think you’ve diverged far from Orwell’s intention?
No, not at all. Most of the major plot points are intact. Sure, it’s not a windmill in our version — it’s a watermill — but that’s symbolic. The ending, too: In the book, the animals look through the window and can’t tell the pigs from the men. We have that moment, but we also live in such a bleak world, and we didn’t want to end on a fake, upbeat note. At the same time, we didn’t want to leave people feeling hopeless. So, within an Orwellian context, we asked: what now? After history repeats itself, how do we break the cycle next time?
This film has been in the works for over a decade. Did the story change as it went through different studios and production phases?
The core story — Lucky’s journey — was always there. That was my invention. I thought if we put kids in the driver’s seat of the moral conundrum, it would land more powerfully. Lucky is caught between Snowball, who’s a pragmatic idealist working for the greater good, and Napoleon, who’s charismatic and fun at first. Like A Bronx Tale, you’ve got someone caught between a figure of responsibility and one who’s dangerous but alluring. When the innocent makes the wrong choice, that’s where the tension and humor come from. We always planned Napoleon’s descent into tyranny to be gradual — charming at first, then darker. Nick Stoller helped shape the script and added a lot of humor, and we’ve made only minor adjustments since then.
The film feels very current, even futuristic at times — like the appearance of what looks like a Tesla Cybertruck. Were those modern elements added later?
That Cybertruck-like design was done three or four years ago, before those trucks were really on the road. We’re not saying this is about Trump — that would be absurd. Orwell’s ideas are far bigger. Trump will be gone in a few years. We want this film to last, to be watched in 10 or 15 years and still feel relevant. That’s why we set it slightly in the future.
Did the real world influence your tone or themes as the project progressed?
It wasn’t partisan. There are enough despots around the world using the same divisive techniques — misinformation, disinformation — to control people. That’s what we wrote about years ago. We’ve become siloed individuals who don’t look beyond ourselves. That’s the societal condition we were responding to. People everywhere should be able to see their own oppressors in this story.
Were there moments during the writing or production when you saw world events unfolding and thought, “This is straight out of our film”?
Absolutely. When we watch the film now, it sometimes feels like we were directly referencing things that happened later — but we couldn’t have been. We started years before some of those events occurred.
Why was it so hard to get this film made? You had a classic novel, a socially relevant message, and a phenomenal cast. What were the roadblocks?
Marketing fear, really. People didn’t know who this was for. There’s this perception of Animal Farm as this porridgey, medicinal school text. Some were afraid it was too political, or that it might corrupt young minds. Others questioned whether it was a four-quadrant family film. And we’ve never seen it as a family film in that traditional sense. It’s a film for people of all ages. There’s a difference. We’re not dumbing things down for kids or throwing in jokes just to amuse adults. It’s a cohesive vision. Thankfully, our partners at Aniventure let us make the film we wanted. They respected the integrity of the script and the design from the very beginning.
Does the film have distribution lined up yet?
Not yet — it’s still wide open at the moment. So, it’s a very interesting time for us. The journey isn’t over.
Would you consider doing more Orwell adaptations? Maybe an animated version of 1984?
Not necessarily. But I would love to make more animated films. I didn’t think I would, especially midway through this — because animation takes forever. The production process is glacial. But I’ve learned so much and really love the final result. I’ve always loved animation, and I’m thrilled to have had the chance to make this one.
As non-fiction filmmakers face challenging circumstances, the Documentary Producers Alliance has launched the Ethics Resource Library, an online tool meant to help filmmakers make “ethical choices in all aspects of their work.”
The searchable database includes articles, video presentations, keynote addresses, guidelines, courses, and podcasts, among other sources on subjects that range from minimum wage laws to the filmmaker-participant relationship to on set safety.
Thr resource, which is free and will continue to be updated with new information, was established by DPA members Charles Box Jr., Chantal Encalada, Simon Mendes, Dawn Mikkelson, Risé Sanders-Weir, Steffie van Rhee, and Sarah Rachael Wainio, and is based on real life experiences by established producers and content creators.
The library has been endorsed by DocuMentality, Film Fatales, Brown Girls Doc Mafia, Columbia College Chicago, and Jewish Film Institute, among other organizations. The program will be announced at the Tribeca Festival on June 11th at Spring Studios.
The Documentary Producers Alliance is a nonprofit organization made up of 500 independent documentary producers. In the pats, the group has released guides and best practices — such as “Guide to Best Practices in Documentary Crediting” and “Negotiating Contracts for Independent Documentary Producers” — to assist filmmakers in all aspects of the changing non-fiction landscape.
