Chris Evans Supports Quentin Tarantino's View on Marvel Films, Emphasizing the Significance of Characters. Chris Evans, recognized for his portrayal of Captain America, has maintained a relatively low-profile existence within the Marvel universe. In a recent GQ feature, Evans graciously shared glimpses of his life post-Marvel era. During the discussion, Evans openly concurs with Quentin Tarantino's unconventional stance that Marvel actors don't conform to conventional "movie star" standards. Reflecting on his time as Captain America, Evans confided in GQ, "That was the beauty of working on Marvel films. You never really had to be front and center. Even in your films sometimes. Quentin Tarantino said it recently, and I was like, he’s right. The character is the star. You’re there, but don’t feel the burden of it.” Contrastingly, Kevin Feige interjected in the conversation, offering an alternate viewpoint. He told the publication, "I think it’s something [Chris] was telling himself, and I think it’s something many of the Avengers, including Robert, would tell themselves, which was very helpful to the process. But it's not entirely true in certain cases, including Chris’.” Evans took on the mantle of Steve Rogers/Captain America in 2011 and departed the franchise in 2019. While bidding farewell, he has previously stated that he won't entirely discount the possibility of a return, stating, “I’ll never say never, just because it was such a wonderful experience. But I’m also very precious with it. It’s something that I am very proud of. And, like I said, sometimes I can’t believe it happened. And I wouldn’t want the black eye if it felt like a cash grab, didn’t live up to expectations, or just felt like it wasn’t connected to that original thing. So, no time soon.” Evans also hinted that reducing acting commitments has empowered him to be more discerning in his roles, focusing on considerations like filming schedules. Having been a part of the Marvel franchise for an impressive 11 years, he is slated to star alongside Emily Blunt in Netflix’s "Pain Hustlers," set to premiere on October 20.

Leslie Jones Reflects on Her 'SNL' Experience: Embracing the Show's Dynamic. In a recent NPR interview, Leslie Jones candidly discussed her time on "Saturday Night Live," acknowledging that the nature of the NBC sketch comedy series inevitably molded her into a more amplified version of herself. From 2014 to 2019, Jones served as both a writer and cast member on the show, earning acclaim with two Emmy nominations for Outstanding Supporting Actress in a Comedy Series. "Comedy has been my craft for so long, and I've come to understand my comedic identity," Jones expressed. "On 'SNL,' they take that essence and amplify it because that's the nature of the beast. So whatever I'm delivering that they find resonant, they amplify it to the nth degree." "It became this sort of caricature of me, you know what I mean?" Jones reflected. "So it boiled down to either I'm showcasing affection for the white guys, or I'm engaging in some lively confrontation with them, or I'm just being outrageously boisterous. I knew this would be the outcome because I comprehend the influence of these portrayals." Jones clarified that she harbors no ill feelings towards "SNL." She recounted a conversation with a former cast member who imparted that this transformative process is par for the course for anyone on the show. "As I look back, it hits me, 'Ah, yes, just like Taran Killam!'" she remarked. "Taran aspired to explore a variety of roles, yet he found himself largely confined to these hyper-masculine characters and musical performances. It was an eye-opener for me. This is a mechanism." Furthermore, Jones emphasized her deep respect and affection for the show's creator, Lorne Michaels. "I always used to say, 'He's the puppet master.' He's got to balance the contentment of the cast, the writers, the Writers Guild of America, NBC, and even a family in Omaha, Nebraska, who's tuning in," she noted. "Imagine the multitude of threads he has to manage? It's a well-oiled machine that needs to function, you know?" Since bidding farewell to "SNL," Jones has taken on hosting duties for "Supermarket Sweep" and graced the screens in notable productions like Prime Video's "Coming 2 America" and the comedic series "Our Flag Means Death" on Max. This month, she's been actively promoting her newly released memoir, "Leslie F*cking Jones," now available for purchase.

Zac Efron and Jeremy Allen White's Film 'Iron Claw' Secures SAG-AFTRA Interim Agreement. In support, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has granted an interim agreement for the forthcoming sports drama, "The Iron Claw," featuring Zac Efron and Jeremy Allen White. This allows the film's stars to engage in promotional activities worldwide ahead of its anticipated holiday season release. "The Iron Claw" delves into the gripping narrative of the Von Erichs, an American wrestling dynasty, and follows the lives of brothers Kevin and Kerry Von Erich, portrayed by Efron and White, who earned their place in the WWE Hall of Fame through their remarkable performances in the wrestling arena during the '80s and '90s. Helmed by Sean Durkin, known for "Martha Marcy May Marlene," the film weaves a tale of extraordinary athleticism intertwined with a series of personal tragedies that befell the family, colloquially known as the "Von Erich curse" during its time. The ensemble cast includes Harris Dickinson, Stanley Simons, Holt McCallany, Maura Tierney, and Lily James. "The Iron Claw," slated for release on December 22, is poised to offer a distinct alternative to Universal and Illumination's animated comedy, "Migration." Subsequently, it will be followed by highly anticipated blockbusters, "Aquaman 2" and the glorious Warner Bros. musical, "The Color Purple." Tessa Ross, Juliette Howell, and Angus Lamont of House Productions are producing this venture, along with Durkin and A24. Derrin Schlesinger, Harrison Huffman, Len Blavatnik, Danny Cohen, and Eva Yates take on the roles of executive producers. The project was nurtured by House Productions, with backing from Access Entertainment and BBC Film, who also joined forces in co-financing. A24 assumes the role of both producer and financier for the film.

WGA and AMPTP Continue Contract Talks Amidst Growing Optimism. The Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers (AMPTP) are set to convene for a third consecutive day of negotiations on Friday, marking a pivotal juncture in Hollywood's labor dispute. While there is increasing hope for a resolution, concerns persist as critical issues remain unresolved in the nearly five-month strike. In a recent update to its members, the WGA confirmed the ongoing negotiations, expressing gratitude for the outpouring of support and solidarity received in recent days. They also urged as many members as possible to participate in picket lines during the upcoming session. Since the strike commenced on May 2, the industry has eagerly anticipated a potential breakthrough in negotiations. Speculation circulated within the creative community on Thursday, suggesting an agreement between the studios and writers could be imminent by early evening. However, reliable sources close to the situation clarified that significant matters and negotiation points are still under discussion. As of Wednesday, the guild had yet to indicate that the current terms were sufficient to bring the strike, which is entering its 144th day on Friday, to a close. Optimism was fueled by the presence of CEOs and senior leaders from major Hollywood studios, including Disney's Bob Iger, Netflix's Ted Sarandos, NBCUniversal's Donna Langley, and Warner Bros. Discovery's David Zaslav. Their participation expedites the exchange between management and labor in resolving the most contentious contract issues. There are indications of progress towards a compromise regarding the WGA's request for a revised minimum staffing formula for writers working on episodic TV programs. Additional topics discussed on Thursday encompassed the intricate matter of regulating the use of generative artificial intelligence in screenwriting and the WGA's advocacy for including in the master film and TV contract the right for its members to support strikes and picket lines of other unions. After a month-long hiatus, negotiations between the WGA and AMPTP resumed on September 20. The presence of executive leaders was intended to underscore their dedication to reaching an agreement. On Thursday evening, sources revealed that some last-minute concerns arose regarding what the management side perceived as new negotiation points raised by the WGA. This led to extended discussions, concluding around 7:30 p.m. Plans for a third day of negotiations were confirmed shortly before the WGA's communication to its members at 9:45 p.m. PT. It remains uncertain whether the CEOs will reconvene at AMPTP headquarters in Sherman Oaks for a third day of bargaining.