Documentary Producers Alliance Launches Ethics Resource Library

Documentary Producers Alliance Launches Ethics Resource Library

Documentary Producers Alliance Launches Ethics Resource Library

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.

Ariel Winter’s Friends Start to Vanish in Trailer for Thriller ‘Don’t Log Off’ (Exclusive)

Ariel Winter’s Friends Start to Vanish in Trailer for Thriller ‘Don’t Log Off’ (Exclusive)

Ariel Winter’s Friends Start to Vanish in Trailer for Thriller ‘Don’t Log Off’ (Exclusive)

Ariel Winter is part of a birthday celebration gone wrong in the trailer for screen-life thriller movie Don’t Log Off.

The feature from writer-director brothers Brandon Baer and Garrett Baer hits select theaters July 11 ahead of its VOD release July 15. Brielle Barbusca (Scandal), Luke Benward (Criminal Minds), Sterling Beaumon (Law & Order True Crime), Jack Griffo (The Thundermans Return), Kara Royster (Pretty Little Liars), Ashley Argota (All American) and Khylin Rhambo (47 Meters Down: Uncaged) also star in the film that landed distribution from Epic Pictures’ horror banner Dread.

Don’t Log Off follows Annie (Modern Family star Winter), who scrambles to help rescue her best friend after she goes missing during a surprise birthday video call. Annie and her pals attempt to analyze their friend’s disappearance as more of them begin to vanish.

“I think she might have been lying,” Brian (Rhambo) says about one friend in the below trailer.

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Brandon and Garrett Baer helmed the film from their own script. The pair produced the movie alongside Winter, Beaumon, Benward, Nicole Smolen and Austin Seltzer. Todd Slater also produced for Brick Lane Entertainment.

“The fear in this film isn’t just about what you see on the screen — it’s about what happens when the lines between virtual and reality start to blur,” Winter said in a previously released statement. “We’re excited to partner with Epic and Dread, and for audiences to experience the thrills, the chills and the very real uncertainty we all felt during that time. Don’t Log Off is a terrifying reminder that sometimes, logging off might be the scariest thing you can do!”

TV & Beyond on 2025-06-11 15:00:00

TV & Beyond on 2025-06-11 15:00:00

as was the case with “Moon Knight”), lest audiences find themselves having to do endless amounts of homework just to understand the plot. It also doesn’t help that the MCU has left several loose ends dangling for years, only to eventually tie them off in an underwhelming fashion (like what happened in “Captain America: Brave New World”).

But a franchise that requires viewers to watch dozens of movies just to understand a new one is not the same as a successful expanded universe. There are better ways to do interconnectivity. Take “Thunderbolts,*” a film that acts as the MCU’s answer to “DC’s Legends of Tomorrow” in that they both focus on superhero teams composed of characters who were introduced in other projects. As with that Arrowverse show, it’s useful but not wholly necessary to understand where the heroes in “Thunderbolts*” are coming from — because it’s not really their past that matters in the story at hand so much as who they are when they’re together.

Now, it appears Marvel has another ace up its sleeve (one that shows a better path to achieving interconnectivity) in the form of “Eyes of Wakanda,” an animated TV show that offers phenomenal world-building without requiring lots of homework. Those attending the Annecy International Animation Film Festival got a chance to watch the very first episode of the series, and it’s shaping up to be something pretty special … as well as, hopefully, a sign of things to come for the MCU.

Marvel’s Eyes of Wakanda is a Wakandan history lesson

“Eyes of Wakanda” is an anthology series about Wakanda’s attempts to retrieve stolen artifacts throughout history. The first episode, titled “Into the Lion’s Den,” starts out in Crete in 1260 B.C. and follows a disgraced former member of the Dora Milaje as they pursue the “Lion,” a man who defected from the Wakandan guard in order to run his own band of pirates, using stolen Wakandan technology to power his kingdom. The whole thing takes inspiration from the real-life hypothesized tribe known as the Sea Peoples, which terrorized Egypt and the Eastern Mediterranean region in the Late Bronze Age. (The Sea Peoples also played a prominent role in the excellent second season of Genndy Tartakovsky’s “Primal.”)

The “Black Panther” spin-off is visually stunning and unlike anything else we’ve seen from Marvel Animation so far. Gone is the 2.5D look of “What If…?,” with Axis Animation creating a graphic 3D style full of 2D visual effects and exaggerated designs that make it feel like a comic book. Being animated, “Eyes of Wakanda” only further bolsters “Black Panther” director Ryan Coogler and his team’s efforts to infuse Wakanda with a sense of cultural specificity, from its attire and buildings all the way down to its residents’ body shapes and skin tones.

In terms of the story, “Eyes of Wakanda” manages to be self-contained even as it explores the long history of the fictional eponymous nation and expands on the prologue from Coogler’s first “Black Panther” movie, revealing in greater detail just how Wakandan society became so advanced. As “Into the Lion’s Den” director Todd Harris explained after the episode screening, “Eyes of Wakanda” is meant to explore how the tactics and the culture of Wakanda have evolved over time and the means by which the country has stayed preserved for as long as it has in the MCU.

As each episode moves to a new time period and focuses on different artifacts stolen from the country (but with a sense of connection between them, as they each explore the ramifications of the episodes before them), this feels like the perfect way to expand the Marvel universe. Sure, there will be some familiar MCU characters making appearances (as Harris confirmed we’ll see Iron First at one point, though not the version you might expect), but what makes this all the more appealing is that the show also functions as a history lesson about the MCU at large.

Eyes of Wakanda is doing the same thing Star Wars excels at

As Nick Fury (Samuel L. Jackson) put it at the end of the original “Iron Man” movie when he showed up at Tony Stark’s (Robert Downey Jr.) mansion, “You think you’re the only superhero in the world?” We’ve gotten glimpses of the MCU’s long history before, including flashbacks featuring the original Ant-Man and the Wasp. Still, we’ve never gotten something like “Eyes of Wakanda,” i.e. an expanded history lesson that shows how the MCU has evolved and changed over the centuries.

This is something the “Star Wars” franchise excels at — exploring different corners of its universe, expanding on certain time periods, and painting an overall more complete picture of its fictional setting. Even after so many MCU films and shows, including all those limited series that function specifically as world-building, the property is still strangely lacking in comparison.

That is what makes “Eyes of Wakanda” feel so special. It’s a show that seems to fulfill the promise of the MCU by recreating the experience of reading a comic book and following a single character, only to discover there’s a special one-shot exploring their past and ancestry. It helps that Wakanda is already the most fleshed-out place in the MCU, a country with a sense of history, tradition, and culture that viewers are eager to see more of (as opposed to, say, all those same-y alien planets we’ve barely had time to explore in the “Guardians of the Galaxy” movies).

“Eyes of Wakanda” will begin streaming on August 6, 2025, on Disney+.

Elio Has Screened, And People Have Strong Opinions About The ‘Out-Of-This-World Pixar Adventure’

Elio Has Screened, And People Have Strong Opinions About The ‘Out-Of-This-World Pixar Adventure’

It’s summertime, and that often means there are plenty of family-friendly options at the theater. One of the fun flicks hitting the 2025 movie calendar is Elio, the newest animated film from Pixar. Early screenings have given some people a chance to see the movie before its release on June 20, and the first reactions are featuring some pretty strong opinions.

Pixar’s Elio will take moviegoers on a sci-fi space adventure. Our eye patch-sporting main character has an active imagination and is obsessed with aliens, but he gets more than he bargained for after being beamed up and is mistakenly thought to be Earth’s leader. Adventures ensue and, like all the best Pixar movies, this sounds like it has the potential to emotionally wreck audiences. According to Henry Raviolli, we’re in for an emotionally rich story about self-discovery. He writes on social media:

Justin Lawrence of Geekcentric also feels strongly about the coming-of-age tale, describing it as “weird” in the best way. Lawrence posts:

Joaquin Teodoro says this original story feels important, especially with so many sequels and remakes, writing:

According to Jonathan Sim, audience members young and old will fall in love with Elio, Glordon and all of the other characters in the upcoming Pixar flick. Sim says:

Voice actor Remy Edgerly is the voice Glordon, a toothy, wormlike alien who befriends Elio, and the above critic isn’t the only person singling out this character. Carla Renata posts:

Russ Milhelm of The Direct agrees that Glordon is a show-stealer but says audiences will enjoy the entire cast as Elio explores universal themes in this out-of-this-world adventure. Milhelm continues:

Michael J. Lee and others who caught an early screening of the movie are marveling at the animation as well as the emotional storytelling and, of course, some laughs along the way. This critic says:

Anthony Gagliardi of The Movie Podcast says audiences are in for a treat with this new film by Domee Shi, the writer/director of 2022’s Turning Red. In Gagliardi’s words:

It sounds like Elio hits all the beats we’ve come to expect from Pixar — great vocal performances, stunning animation and an emotional story that will connect with audience members of all ages. We’ll get even more details in the coming days as critics are allowed to expand on their first reactions ahead of Elio’s release to theaters on Friday, June 20.

TV & Beyond on 2025-06-11 14:19:33

TV & Beyond on 2025-06-11 14:19:33

confirmed to Entertainment Weekly that a new “Wonder Woman” movie is being written right now. But fans shouldn’t expect to see Gal Gadot back as Diana, because while this is the third live-action “Wonder Woman” film, it is almost certainly going to be a reboot, not a sequel to “Wonder Woman 1984.” (Sorry, Connie Nielsen.)

The previous silver screen Wonder Woman movies were part of the now-dead DC Extended Universe. We’re about a month out from seeing if Gunn’s DC Universe Take Two can soar with “Superman.” So far, of the DC Trinity (Superman, Batman, and Wonder Woman), we only have David Corenswet cast as Superman. But Gunn does have plans for the other two. 

Batman (specifically, the Batman who cameoed in Gunn’s animated “Creature Commandos”) is set to star in “The Brave and the Bold.” Directed by Andy Muschietti, this film will see Bruce Wayne partnered with his son, Damian Wayne/Robin. How will this work with “The Batman Part II” starring Robert Pattinson due in 2027? TBD!

Until now, we didn’t know that DC Studios was going to make a “Wonder Woman” movie, but the hints were there. One of the earliest projects the studios announced was a TV series focusing on the origins of the Amazons — the all-women Greek tribe that Diana belongs to. One of the villains of “Creature Commandos” was the Amazon witch Circe (typically a foe of Diana), and Wonder Woman herself cameoed in a vision sequence. 

With the “Wonder Woman” reboot, hopefully the mistakes of past films can be corrected. (None of the “Diana is the daughter of Zeus” nonsense this time, please.) Even better, Wonder Woman will no longer endure the indignity of having only been played on the silver screen by the actress Gal Gadot! 

Which actress out there should take up Wonder Woman’s lasso next?

5. Monica Barbaro

In 2023, Monica Barbaro appeared in the romantic comedy “At Midnight.” She played Sophie Wilder, a Hollywood actress appearing in a superhero film (and she spoke to /Film about her “At Midnight” experience.) So, why not get her for the real thing, specifically the greatest female superhero ever?

Barbaro showed action star potential in 2022’s “Top Gun: Maverick.” There, she played Natasha Trace, one of the next generation of fighter pilots (callsign: Phoenix). To play Phoenix, Barbaro got as ripped as any of her male co-stars and the film wasn’t shy to show it. But she’s more than just a physical presence.

Monica Barbaro is also now an Oscar-nominated actress thanks to her performance as folk singer legend Joan Baez in “A Complete Unknown,” director James Mangold’s Bob Dylan biopic. Barbaro’s scenes as Baez are mostly shared with Timothée Chalamet as Dylan; they’ve got chemistry aplenty, but you can feel her star power shining even brighter than his. “Wonder Woman” would (ideally) let Barbaro be a star who no man can measure up to.

Superficially, Monica Barbaro has just got the right gorgeous look for Wonder Woman too.

4. Naomi Scott

Gunn’s DC Universe should definitely look for rising stars. One who’s got no previous superhero baggage is Naomi Scott. She began her onscreen acting at the Disney Channel, appearing in the underrated “Lemonade Mouth” (basically “the Breakfast Club forms a band”).

Now, Scott’s movie star take off took a bit of a stumble thanks to 2017’s “Power Rangers” and 2019’s “Charlie’s Angels.” But Scott came roaring back to remind us of her talent in 2024’s “Smile 2.” That was a sequel that totally surpassed the original and a lot of its strength rests on Scott as Skye Riley, a pop star and recovering addict. She starts being stalked by something much worse than an obsessed fan; no matter how self-destructive Skye gets, Scott keeps her character grounded and the audience rooting for her.

As Wonder Woman, Scott probably wouldn’t get to use her singing skills (unless the Music Meister shows up). But I’ll point to another of her Disney roles as Wonder Woman-esque: Princess Jasmine in the live-action “Aladdin.” That’s not a good movie, don’t get me wrong, but Scott is pretty good in it! The movie’s reinvention of Jasmine, a princess who wants to use her power to help people, gives a taste of how Naomi Scott could play Wonder Woman.

One (the only?) problem with Scott as Wonder Woman is that she’s on the short side (reportedly 5 ‘4). Wonder Woman is generally depicted as tall, almost or just as tall as Superman and Batman. (Compare past Wonder Women: Lynda Carter is 5 ‘9 and Gal Gadot is 5 ’10). That’s not disqualifying by any stretch, but still something to consider as DC Studios weigh options for its new Diana.

3. Courtney Eaton

Long ago, “Mad Max” director George Miller was set to make a Justice League movie that got shelved just before it was to start filming. But Miller still got to work with his pick for Wonder Woman — Megan Gale — when he cast her in his 2015 opus, “Mad Max: Fury Road.” That picture, starring the Wonder Woman who never was, also features an actor who would kill as the next Wonder Woman: Courtney Eaton.

Eaton (who was 16 when “Fury Road” shot in 2012) played Cheedo the Fragile, one of the hostage wives of warlord Immortan Joe (Hugh Keays-Byrne). These days, she’s more known for the Showtime series “Yellowjackets,” about a girls’ soccer team that crash lands in the Canadian wilderness and struggles to survive. Eaton plays Lottie Matthews, the unstable prophet convinced there’s a higher power guiding her and her friends. “Yellowjackets” is a show about women, stranded away from civilization, tearing each other down, unlike the Amazons who build each other and a utopia up.

Part of the fun of “Yellowjackets” is that it’s a showcase for some of the best young actresses working — Courtney Eaton is no exception. She plays Lottie as sad and tormented but also very creepy. Lottie is also a character of strong conviction; Eaton could channel that side into Wonder Woman and play a stronger, fiercer, and more resolved character, one who truly helps people the way Lottie tries and fails to. Eaton has got a kind smile, one that Diana would give back to a young girl looking up to her. In general, Eaton ticks off so many boxes for the traditional Wonder Woman look.

2. Katy O’Brian

Wonder Woman preaches a message of love and peace, but she’s also a person of action. She should look like and carry herself as someone who could beat you up, because spoiler alert, she can!

Actress Katy O’Brian would easily fit Wonder Woman and not just because she already has the muscles for the part. O’Brian appeared in a small part in 2023’s “Ant-Man and the Wasp: Quantumania” as Jentorra, an alien warrior in the Quantum Realm. If Marvel Studios isn’t going to give Katy O’Brian a huge role, then DC Studios should.

The part that got people paying attention to Katy O’Brian was in 2024’s “Love Lies Bleeding,” an essential addition to the buff women film canon. She played Jackie Cleaver, a body builder who becomes involved with the manager of her gym, Lou Langston (Kristen Stewart). Jackie, taking steroids to prepare for a competition, murders JJ (Dave Franco), the abusive husband of Lou’s sister Beth (Jena Malone). The lovers go through some hellish blowback, but ultimately get their happy ending. (Another reason to cast O’Brian — let Wonder Woman be queer, as she’s supposed to be.)

As Jackie, O’Brian’s curly hair and huge muscles make her the spitting image of George Pérez’s Wonder Woman. Katy O’Brian is an action movie star just waiting for the perfect part and Wonder Woman could be it.

1. Adria Arjona

The running favorite to play Wonder Woman next is Adria Arjona. She has been on a roll recently, from her roles in both television (Bix Caleen in “Star Wars: Andor”) and film (Richard Linklater’s “Hit Man”). Arjona has been helped a lot by her comedy skills, but her performance as Bix especially shows how she might approach a more serious and action-heavy role like a superhero. While Bix has to make compromises in a morally grey universe, Diana would let Arjona play a beacon of hope.

Wonder Woman fans aren’t pitching Arjona as Diana just because she’s a popping and very talented actress. She’s also worked with the man in charge before.

Arjona’s first feature film role, 2016’s “The Belko Experiment,” was written by James Gunn. Gunn likes to reuse actors; Nathan Fillion shows up in almost all of his movies, for instance. So if he’s (presumably) going to play a part in casting the new Wonder Woman, he might want someone he’s worked with before. It wouldn’t be a nepotism hire, though, since Arjona has kept proving why she deserves her roles with each new one she takes.

During the “Andor” season 2 press tour, CinemaBlend asked Arjona about the speculation of her playing Wonder Woman. She obviously didn’t confirm anything, or if Gunn has even talked with her about being in the DC Universe, but she did say “I love James Gunn” and crossed her fingers in hope.

As Diana, Adria Arjona would be charming, funny, and capable Wonder Woman we need and deserve.

TV & Beyond on 2025-06-11 14:00:00

TV & Beyond on 2025-06-11 14:00:00

“Super Mario Bros. Movie,” or “A Minecraft Movie,” or an “Assassin’s Creed” movie, there was “Halo: The Movie.” Or at least, there was supposed to be. As the Xbox’s premiere video game franchise and one of the 2000s’ most revolutionary first-person shooters thanks to its evolved take on shooting combat, rich lore, and expressive world design, “Halo: Combat Evolved” was an immediate smash. The game featured tons of cinematic gameplay, with awe-inspiring vistas and a unique take on the classic “space marines versus aliens” genre, and it became an obvious candidate to bring to Hollywood.

At this point, video game adaptations were mostly a joke. They were seen as mostly low-budget schlock that barely resembled their source material. With “Halo,” Microsoft hoped to change that, and their first step was to bring Alex Garland, who would later go on to direct projects such as 2014’s “Ex Machina.” At that point, he was most famous for writing Danny Boyle’s modern horror classic “28 Days Later,” and he was tasked to write the “Halo” script for a whopping seven-figure payday. But the world of film development is never a straight line, and with the stakes so high, the pressure was on.

The long and winding road to Halo eventually led to a dead end

Garland’s script, which you can read here, leans into the war movie aesthetic of the original game, dropping audiences directly into the middle of the battle against the intergalactic religious zealots known as the Covenant. The script itself has a spartan efficiency with its prose, but for anyone not even a little familiar with the universe of “Halo,” it practically needs a glossary to understand. Without an explanation of what a “warthog vehicle” is, it’s easy to imagine some confused studio head asking their intern why this soldier is riding into battle on a giant feral hog.

Microsoft, for its part, was optimistic about the film’s prospects. The company’s offer to the studios for the project was $10 million against 15% of the film’s gross, meaning the studio producing the film would receive a relatively small share of any actual profits. Most studios balked, except for 20th Century Fox and Universal Pictures, which came together to shoulder the burden. Peter Jackson then joined as a producer, with Guillermo Del Toro circling the project before newcomer Neill Blomkamp signed on as the film’s director.

With such a high sticker price on the project, the studios offered the team an ultimatum: Drop their “first-dollar” revenue deal, or the project was over. They refused, and “Halo: The Movie” was dead. But just like in “Halo,” the team respawned to continue the fight.

With Halo gone, we got ‘District 9,’ ‘Sunshine’, and ‘Ex Machina’

Peter Jackson and Neill Blomkamp went on to make the surprise hit “District 9”, which would go on to be nominated for four Oscars, while Alex Garland built up his impressive career as a writer, first by continuing to work in the science fiction space by penning Danny Boyle’s criminally misunderstood “Sunshine.” Then, while he was on set for his adaptation of “Dredd,” Garland reportedly got his first taste as a film director, and would from that point on continue to direct, helming a string of science fiction marvels, including “Ex Machina” and “Annihilation.”

For their part, Microsoft continued to push to make something out of its flagship video game, producing a handful of direct-to-video live-action and animated “Halo” projects before eventually releasing its much-touted premium streaming series for Paramount+. The show’s two seasons attempted to differentiate themselves from the games, but only received mixed reviews before getting cancelled in 2024, almost 20 years after Garland wrote his original script.

It just goes to show that even if the Master Chief could take on the Covenant all by himself, he’s still no match for Hollywood producers.