TIME movies

Pinocchio Continues Disney’s Live-Action Development List

pinocchio-scene
Walt Disney Studios A scene from "Pinocchio," 1940.

The original 'The Adventures of Pinocchio' novel debuted in the late 1800s

Pinocchio may finally get his wish to be a real boyfor real this time.

EW has learned that Disney is in the early process of developing a live-action film inspired by the classic tale of Pinocchio, which Disney famously made into an animated film in 1940.

About a Boy and Dan in Real Life writer Peter Hedges is set to write the script for Disney’s live-action take, which is loosely inspired the Pinocchio story. No other names are attached to the project, which is still very early in its development.

The original The Adventures of Pinocchio novel debuted in the late 1800s. Disney’s animated film told the story of the wood-carver Geppetto and his puppet Pinocchio, who is brought to life and desperately wants to become a real boy.

If the project takes off, it would continue Disney’s recent trend of translating many of its most famous animated properties into live action. Cinderella recently performed well at the box office, and several other live projects are reportedly in the works, including Mulan, Winnie the Pooh, Dumbo, and Beauty in the Beast. All projects are in various forms of development.

No other details about the Pinocchio project are yet known. Deadline originally reported the project.

This article originally appeared on EW.com.

TIME movies

How Kristen Stewart Shook Off Twilight to Become One of the Best Actresses of Her Generation

Carole Bethuel—CG Cinema Kristen Stewart in Clouds of Sils Maria

In her new film Clouds of Sils Maria, she delivers on all the hype—and then some

This Friday, Kristen Stewart’s newest film, Clouds of Sils Maria, opens in select U.S. cities. It’s a film that stretches Stewart’s formidable talents—placing her opposite Juliette Binoche, one of the foremost stars of world cinema—and one has already made waves internationally: For her role as a sly, knowing personal assistant to a diva-ish aging actress, she won an unofficial critics’ poll at the 2014 Cannes Film Festival and was mentioned as a potential Best Actress winner there (Julianne Moore ended up taking the prize). At year’s end, she became the first American actress ever to win the French version of the Oscar.

How did this happen to an actress still best known as Bella Swan? Between 2008 and 2012, Stewart appeared in five Twilight films, rising to megafame for playing a role more catalyst than character. Bella existed to be the pivot point of a love triangle, and the Twilight films demanded little of Stewart but her willingness to bite her lip pensively. (Offscreen, the demands were perhaps higher—she had to participate in a relentless publicity circuit.) The role was star-making, but Stewart seemed not to want to be the sort of star who did a lengthy press junket a year. She came in for frequent and harsh criticism online, as her discomfort with endless press obligations, and with fans who adored her boyfriend/co-star Robert Pattinson, sometimes transmitted as ingratitude for the opportunities Twilight that afforded her.

She’s answered those criticisms, now, elegantly, by bringing her stardom to offbeat productions. What better way to show that she was grateful for Twilight than to use the stardom it gave her to help bring attention to the masterful Clouds?

The film, directed by French auteur Olivier Assayas, places its two lead actresses in a claustrophobically close relationship, wringing tension from the differences in outlook between Binoche’s neurotic perfectionism and Stewart’s more pragmatic sense of what makes contemporary Hollywood tick. Stewart, who is in her real life admirably frank about the obligations of working in movies, brings to the screen a puncturing awareness of Binoche’s delusions. The character is unmistakably a Stewart creation: Clear-eyed, unconcerned with what others think of her. But the viewer could be forgiven for surprise that Stewart, still young and burdened with a certain reputation, manages to go toe-to-toe with one of the world’s great actresses.

But that surprise shouldn’t last much longer. Stewart’s recent creative success is hardly limited to Clouds: In the recent Oscar-winner Still Alice, playing a daughter whose toughness concealed a flawed relationship with her parents and deep fears for the future, Stewart did what the greatest stars do. She used aspects of her public image (in her case, a quintessentially millennial surliness) to create a character who felt as though she might walk off the screen at any moment.

The movie was flawed, but Stewart transcended thin material, something she hadn’t been able to do in the past. That’s because in Twilight and in the would-be franchise film Snow White and the Huntsman, she seemed so focused on just getting through the film alive that she was uncomfortable playing against her own persona. Stewart’s history in the public eye is now an asset she deploys artfully, as when her Clouds character deflates her employer’s fantasies about young Hollywood. It’s not labored or overwrought, somehow—it’s just proof of Stewart’s underheralded powers.

Stewart can’t seem to change the conversation around her: Recent coverage of the actress in the run-up to her film’s release have included what she thinks about Pattinson’s engagement (she’s doing okay!) and what she thinks of the celebrity-gossip industry (she’s against it!). Because of the manner in which she came to prominence, Stewart will always have people who are more interested in her fame than her work, both zealous friends and detractors. (And she may find that it would be better not to acknowledge the tabloid press at all, rather than validating it with constant mentions in interviews.)

But by choosing roles in which she’s able to spin variations on an edgy young woman with deep, almost scarily intense passions, Stewart is making the absolute most of her fame. More young stars should be as savvy, and as willing to tempt the haters, as is Stewart in her pursuit of new shades and dimensions of Bella Swan-ish angst. She’s doing the same thing as Jennifer Lawrence, who finds roles in which she’s able to be outspoken and relatable. In temperament, Lawrence is Stewart’s opposite. Yet their talents are comparable, and Stewart is making her mark by creating work out of the uncomfortable, strange world of modern fame.

TIME Music

Selena in Hologram Could Go on Tour in 2018

Selena
Arlene Richie/Media Sources—The LIFE Images Collection/Getty Images Selena performing in concert one month before she was killed, in February of 1995

A company is hoping to raise $500,000 to support the project

Selena Quintanilla, the iconic Tejano singer whose life was cut short by a deranged gunman, may experience a bit of a rebirth. A company is in the process of developing a “walking, talking, singing, and dancing” hologram of the singer that will release new songs and tour as soon as 2018.

Nevada-based company Acrovirt, LLC is leading the development of “Selena The One,” in collaboration with her immediate family and scientists to bring the a digital likeness of the late singer back to life on stage, according to her official Facebook fan page.

Quintanilla’s sister Suzette confirmed the news to Billboard. Selena would be joining the likes of Tupac Shakur and Michael Jackson who also have been digitalized after death.

Read next: Decades After Selena’s Death, Case Continues to Make News

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TIME Television

Review: The Comedians in Search of a Punch Line

THE COMEDIANS -- Pictured: Billy Crystal, Josh Gad. CR: Ray Mickshaw/FX
FX

FX's inside-Hollywood comedy gets Billy Crystal, Josh Gad and a slew of cameos, but is less than the sum of its parts.

As a general rule, bad TV shows make for better TV than good TV shows do. 30 Rock was hilarious; TGS, from the glimpses we got, was mostly so unintentionally. (OK, I do still laugh at “Someone put too many farts in this engine!”) The Mary Tyler Moore Show was a landmark of ’70s television in a way that it’s safe to say Ted Baxter’s newscast was not. The Comeback, The Larry Sanders Show and The Dick Van Dyke Show each made magic from the process of making, at least, highly challenged productions.

FX’s The Comedians, starring Billy Crystal and Josh Gad as FX stars Billy Crystal and Josh Gad, is an unfortunate exception to this rule. The show-within-the-show is bad, intentionally so (I think). The show itself is worse, if only because there’s more of it.

The Comedians purports to be a making-of documentary about The Billy and Josh Show, a sketch comedy born after Crystal unsuccessfully pitches a solo show to FX president Denis Grant (Denis O’Hare, doing what I believe is a capable impression of actual FX honcho John Landgraf). The pilot tests badly; as Grant puts it, “We’re worried that we run the risk of too much… you.”

He offers to buy the show if the comedy vet takes on a younger partner: Gad, whom you may know from The Book of Mormon, 1600 Penn, Frozen, or thinking he was Jonah Hill. (The pilot makes a gag out of that latter mistake.) Neither comic wants to do it, but Crystal wants to get back on TV and Gad is burning through his savings. The resulting arranged marriage becomes a generational war of egos, a Nashville of comedy, a Smash of schtick.

There was a time long ago when it would have been brave for two real comics to play themselves in this light, but the inside-the-funny-business-business premise has been tackled many ways by now. And in its first four episodes, The Comedians will repeat nearly every one of those ways, not to its advantage.

Every supporting character here is a toothless type: the basket-case producer (Stephnie Weir), the nebbishy writer (Matt Oberg), the entitled Millennial assistant (Megan Ferguson). Next to this, Showtime’s Episodes (the broad inside-Hollywood comedy with Matt LeBlanc as Matt LeBlanc) is practically Robert Altman’s The Player. And The Comedians‘ departures from formula are worse: there’s a truly awful subplot involving a transgender character that’s essentially a “the guy’s a broad!” joke. (Ironic, since Crystal’s TV history includes the LGBT landmark of playing the first gay regular character in a sitcom on ABC’s Soap.)

The teaming of Crystal and Gad seems like it should work on paper. They each have an old-vaudeville sensibility, and each feels committed to making his “character” as unlikeable as the show requires. But the series falls into a pattern–they try to connect, Billy gets defensive and passive-aggressive, Josh tries too hard and ends up saying or doing something excruciating–that it repeats so often you know when every beat will come. Gad ends up seeming like he’s laboring in the role, Crystal like he’s sleepwalking. The whole thing goes down like a cold Nate’n Al’s matzo ball.

There are moments in The Comedians that hint at greater potential. A subplot in the fourth episode, with Gad’s Frozen songwriters Robert Lopez and Kristin Anderson-Lopez, pays off, and there are promising moments where Gad and Crystal connect in a way that suggests their characters are really at odds because they’re so much alike. But The Comedians always returns to seltzer-down-your-pants mode, like it doesn’t want to challenge itself, or us.

In the end, I’m left watching The Comedians like the chagrinned FX executives watching the development of The Billy and Josh Show, looking at a project that had every advantage–the stars, the behind-the-scenes talent (including director Larry Charles), numerous celebrity cameos–but somehow never managed to gel. In that way, at least, life imitates the art that’s imitating life.

TIME Television

Review: Game of Thrones Explores Uncharted Territory in Season 5

HBO

A power vacuum in Westeros--and the series' catching up with the source books--makes the future uncertain and exciting

This article contains spoilers. Click here to reveal them.

Early in the fifth season of Game of Thrones, Daenerys Targaryen, conqueror of Meereen and aspirant to the Iron Throne of Westeros, has to deal with a family problem. Her dragons–her “children”–are getting too big, and she can’t control them anymore. Two of them are locked up, for their safety or everyone else’s, beneath the pyramid city. The biggest, Drogon, has been AWOL in the countryside for weeks. Damn kids! Once they grow up and learn how to drive, there’s no controlling them!

In the story, the dragons are a metaphor for Dany’s power. As it grows greater, it becomes more difficult to control–as she’s learned in Meereen, where effectively governing the city of former slave masters has proved harder than liberating it. It’s a typical message for Game of Thrones, which has always balanced its fantasy thrills with realpolitik. An awesome champion, it argues, is not necessarily a great ruler; and you are only a leader to the extent you can prove yourself worth following. Or as the season premiere puts it: “A dragon queen without dragons is not a queen.”

But the dragons could also be a metaphor for Game of Thrones itself, which is the offspring of the incomplete A Song of Ice and Fire novel series by George R.R. Martin. In its first episodes, it was newly hatched and wobbly, dependent on its mother novels. Gradually it grew, became confident, got its own voice, experimented with going its own way.

By season 5 (premieres April 12), it’s started to outgrow its parents; several storylines are approaching or passing what Martin has written in five novels. (It’s anybody’s guess when the projected final two books come out, though the previous two took about five years each.) The adapters, David Benioff and D.B. Weiss, say they’ve consulted with Martin on his master plan, but they’re not waiting for him. As the series moves past the book on some storylines and changes others to better suit the screen, for the first time readers are as likely to be surprised by what happens as non-readers. Like it or not, this critter’s gotta fly solo now.

And it is still a magnificent beast: bold, confident and venturing off in new directions. It’s continuing to expand to new destinations on the map that springs to life in the title sequence. In Dorne, we meet the Sand Snakes–the bastard daughters of Oberyn Martell, preparing vengeance for their father’s death last season in trial-by-combat against the Lannisters’ champion The Mountain. Arya Stark (Maisie Williams) pursues her own payback plot by traveling a continent away to Braavos, apprenticing with the mystic society of the Faceless Men to learn the skills of an assassin.

But the new episodes also have old characters re-cross paths, and move to bring some long-separated characters together. One of the most fruitful new scenarios is a departure from the books, but a well-publicized one: spymaster Varys (Conleth Hill) and fugitive patricide lord Tyrion (Peter Dinklage) are on the eastern continent headed to Dany, whom Varys believes is Westeros’ savior.

Giving the silver-tongued pair their own road movie is a treat, and it returns to one of the series’ longtime themes: what makes a good ruler? An honest-but-weak monarch can mean chaos, a strong-but-cruel one terror. When Varys hopes that Dany can deliver “a land where the powerful do not prey on the powerless,” Tyrion scoffs: “That’s how they became powerful in the first place.”

“Perhaps,” Varys says. “Or perhaps we have become so used to horror that we assume there is no other way.”

At times you might have said that about Game of Thrones itself, whose fourth season seemed determined to outdo itself in shock: rapes, cannibalism, head smashing. Season 5 hasn’t exactly become pacifist, but it’s also exploring the ideas and politics behind the battles. At The Wall, a newly responsible Jon Snow (Kit Harington) is balancing the needs of the neutral Night’s Watch against the demands of Stannis Baratheon (Stephen Dillane). In King’s Landing, the power vacuum after Joffrey and Tywin Lannister’s deaths has left Cersei (Lena Headey) competing with daughter-in-law Margaery (Natalie Dormer), while war has led to a surge in religious fundamentalism led by holy ascetic the High Sparrow (Jonathan Pryce). Even bloodthirsty Roose Bolton is advising his sadistic son Ramsay, “The best way to forge an alliance isn’t by peeling a man’s skin off,” which is practically “Give peace a chance” in Bolton-speak.

That’s a hell of a lot of story, and I’ve barely colored in the map–yet this is actually an efficiently streamlined version of the teeming, digression-filled story Martin has built after five books–especially the last two, A Feast for Crows and A Dance With Dragons, which this season draws from. (Skip the following section if you haven’t read the books and don’t want to know about them, or if you have and don’t want to know how the new season departs from them.)

Benioff’s and Weiss’ strategy seems to be: don’t reach for a new tool when you can use one you have in hand. Where Martin introduced plot after plot, face after face, Game of Thrones uses already established characters. So Varys and Tyrion’s aforementioned Essos adventure comes in place of Tyrion’s river journey from ADWD–which means no Young Griff, the rival Targaryen claimant, at least for now. Jaime Lannister is not fighting in the Riverlands but on a mission to Dorne to retrieve Princess Myrcella, setting off various changes in that storyline (for one, the story of Arianne is assumed in part by Ellaria Sand). In the North, there’s no fake “Arya Stark” to be married off to Ramsay Bolton; meanwhile, the stories of Sansa and Littlefinger and Brienne (who no longer has Lady Stoneheart to encounter) intersect. (Even under the cloak of spoiler blurring, I won’t tell you how.)

The Iron Islands, meanwhile, have disappeared into the mist; AFFC’s Oldtown prologue is gone; and–maybe happiest of all–there’s no sign of Quentyn, sent in the books on a shaggy-dog mission from Dorne to become a dragon kebab in Meereen. (Disclaimer: I’ve seen four episodes of the season; there’s no telling what might come up later.) But there are also a few elements I’m pleasantly surprised the show has retained–including info dumps about Rheagar and Lyanna, Maester Qyburn’s weird-science research, and a nod to popular theories about Jon Snow’s parentage. Nuances will be lost, threads snipped, mythology glossed over, but that’s why we have the books (if Martin ever finishes). Benioff and Weiss are, mostly, remaking the story to work for the screen, where the lifting needs to be done by dialogue, visuals and emotional connection to people we’ve known for four seasons now.

All these tweaks make for a story that’s expanding–the new setting in Dorne is particularly breathtaking–but not quite metastasizing. We don’t know how much longer the series has (HBO has recently hinted at something longer than the bruited-about seven seasons), but even as it expands, it feels like it’s driving toward a point. And for once, readers and non-readers will be approach the story on something closer to equal footing. Readers can look forward to being genuinely surprised (pleasantly or not). Non-readers can share readers’ experience of wondering when Dany will stop moping around that freaking pyramid and get back to Westeros.

Answer: not quite yet, but in the second episode, as she stands on one of its high parapets, she has a visitor: Drogon, who lands his massive frame behind her. She reaches to caress his massive head, half in love, half in fear. Then he takes off again. Game of Thrones is flying, full tilt, toward a destination off the edge of our map of the known world. I can’t wait to see what it finds there.

Read next: Everything to Know About Game of Thrones Before Season 5 Starts

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TIME celebrities

Barry Manilow Has Married His Manager Garry Kief

Barry Manilow In Concert - Chicago, Illinios
Daniel Boczarski—Getty Images Barry Manilow performs on stage during the One Last Time Tour at United Center in Chicago on Feb. 14, 2015

Looks like they made it.

Barry Manilow and his longtime manager Garry Kief tied the knot last year in a private ceremony, multiple sources confirm to PEOPLE.

“It was a surprise,” a friend of the couple says of the wedding, which was held at Manilow’s Palm Springs, California, home and attended by “20 to 30 guests” who had been told they were attending a “lunch.”

Though the couple chose to keep the wedding completely private and did not sign any official paperwork, Manilow and Kief both wear wedding bands and “are committed to one another and have been for a very long time,” a Manilow source says. “They have a great relationship. Garry has always been there for Barry.”

News of the nuptials may come as a surprise to some Manilow fans, but the source says the “Copacabana” singer has never tried to hide his sexual orientation.

“He’s at a point now where he’s got his career and personal life in a great place and he really doesn’t care what people think,” the source says. “He’s in love and happy.”

Manilow’s rep is not commenting on the marriage. The National Enquirer was first to report the news.

This article originally appeared on PEOPLE.com

TIME Music

Kurt Cobain’s Daughter Isn’t a Nirvana Fan

Artist Frances Bean Cobain attends the HBO documentary films Kurt Cobain: Montage of Heck Sundance premiere on Jan. 24, 2015 in Park City, Utah.
Tommaso Boddi—Getty Images for HBO Artist Frances Bean Cobain attends the HBO documentary films Kurt Cobain: Montage of Heck Sundance premiere on Jan. 24, 2015, in Park City, Utah

"I don't really like Nirvana that much"

Twenty-one years after Kurt Cobain‘s suicide, his daughter is opening up about his impact – and whether she listens to Nirvana.

In an interview with Rolling Stone released Wednesday, Frances Bean Cobain spoke about her father, her mother Courtney Love and the upcoming Kurt Cobain documentary, for which she is an executive producer.

MORE: Nirvana: Personal Snapshots in the Unmistakable 90s

In the interview, Frances reveals with a grin that she’s not the biggest fan of her dad’s music: “I don’t really like Nirvana that much.”

As for her father’s suicide, “If he had lived, I would have had a dad. And that would have been an incredible experience,” Cobain says, adding that her late father “abandoned his family in the most awful way possible.”

Nirvana fan or not, Cobain, 22, does respect her father’s work and ambition.

“I cry every time I hear that song,” she says of “Dumb.” “It’s a stripped-down version of Kurt’s perception of himself – of himself on drugs, off drugs, feeling inadequate to be titled the voice of a generation.”

The upcoming HBO documentary about Kurt’s life, Kurt Cobain: Montage of Heck, will air May 4 and will feature home movies of Kurt, Love and Cobain.

This article originally appeared on People.com

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