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Benedict Cumberbatch isn't keeping secrets on 'Avengers: Doomsday' (because he's not going to be in the movie)

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Benedict Cumberbatch isn't keeping secrets on 'Avengers: Doomsday' (because he's not going to be in the movie)

Doctor Strange is going on hiatus in the next Marvel sequel, “Avengers: Doomsday,” according to a spoiler-happy, secret-spilling Benedict Cumberbatch.

“Is that a spoiler?” the actor asked Variety in a recent interview. “F— it!”

Speaking of no effs to give, the Oscar-nominated “The Imitation Game” and “The Power of the Dog” star also helped explain a “good WTF,” thanks to Marvel and Robert Downey Jr.’s surprise announcement at Comic-Con last summer that Downey would be returning to the Marvel Cinematic Universe as someone other than Iron Man.

Cumberbatch found out about Downey’s Marvel homecoming while watching live coverage of the 2024 Comic-Con presentation. So, according to Variety, he immediately grabbed his phone and sent a message to Marvel Studios chief Kevin Feige.

“I texted, ‘What the f—?’ and then quickly added, ‘Good what-the-f—. I mean, good what-the-f—,’” the 48-year-old star told the outlet.

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For Cumberbatch, Downey’s return is a good WTF that would keep things light on set, despite the pressure of making the multimillion-dollar movies, he said. The British actor, whose parents also were thespians, told Variety that Downey would refer to him as “Mr. Shakespeare” and make quips about them both playing literary detective Sherlock Holmes onscreen. (Unfortunately, a meta line about their past roles didn’t make it into the film, he said.)

The “Sherlock” and “Star Trek Into Darkness” star, who joined the MCU with 2016’s “Doctor Strange,” said watching Downey play billionaire playboy Tony Stark and hearing his banter with Spider-Man Tom Holland in 2017’s “Spider-Man: Homecoming” helped him take a looser approach to his character, whom he believes he played too stiffly in early appearances.

“I learned a lot by seeing how at ease and improvisatory they are,” Cumberbatch said. “It’s hard because you have this huge apparatus around you, but it’s so important.”  

Cumberbatch, along with his SunnyMarch production company, has been leaning slightly toward “European sort of world cinema” with his latest projects, including “The Thing With Feathers, which premieres at this week’s Sundance Film Festival, and Netflix’s “Eric” and “Roses.” Although the Marvel films take time away from his auteur-driven projects, Cumberbatch describes the franchise — with its 34 films and counting — as “the modern myths of our times” and appreciates how the epics “transport” audiences to different worlds.

“Yes, it’s huge and unwieldy, but Marvel is so committed to getting it right,” Cumberbatch said. “Even when we make one of these Avengers films and it gets exponentially huger, we’re still just kids playing in the sand pit. We’re still just making s— up and having fun with it.”

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Oscar winner Downey famously launched the blockbuster MCU when he starred as the title superhero in the 2008 comic-book adaptation “Iron Man.” He concluded his run as the lead Avenger when his character sacrificed himself to save the universe in 2019’s “Avengers: Endgame.” Downey is set to take on the role of the villainous Victor von Doom, a.k.a. “Doctor Doom,” a character who originated in Marvel’s “Fantastic Four” comic books. The new villain in “Doomsday” is believed to be a variant of Stark, according to reports.

Alas, with all that groundwork to lay, rebooted “Fantastic Four” characters to introduce this summer and a reported return of Chris Evans to the MCU, “Doomsday” is getting awfully crowded. So, it appears, Cumberbatch’s neurosurgeon-turned-Sorcerer Supreme will not return in the May 2026 film. Although “momentarily horrified by his candor” about that plot point, Cumberbatch proceeded to spill the beans about the ultra-secretive studio’s plans for the next phase of Marvel movies.

The actor explained that much had to change when Jonathan Majors was fired last year after being convicted of assault. Majors, who played the enigmatic villain Kang the Conqueror, was lined up to be the main antagonist in the upcoming installments, but the studio had to pivot after letting him go.

Enter: Downey’s big bad Doctor Doom. With that reshuffle, Cumberbatch, whose character last appeared in 2022’s “Doctor Strange in the Multiverse of Madness,” said he won’t be in “Doomsday” because his character is “not aligning with this part of the story.”

Again acknowledging that he probably shouldn’t be saying it, Cumberbatch revealed that his Doctor Strange is “in a lot” of the “Doomsday” sequel “Avengers: Secret Wars,” which is slated for theatrical release in 2027. Both films will be directed by Anthony and Joe Russo, who co-directed the climactic “Infinity War” and “Endgame” installments.

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“[Doctor Strange is] quite central to where things might go,” Cumberbatch said, hinting that the character will appear in a third stand-alone film.

He also praised the Disney-owned studio for being collaborative, saying that it was open to discussing where Doctor Strange goes next, who he would want to write and direct the forthcoming film, and what part of the character’s comic lore he would want to explore “so that Strange can keep evolving.”

“He’s a very rich character to play. He’s a complex, contradictory, troubled human who’s got these extraordinary abilities, so there’s potent stuff to mess about with,” Cumberbatch said.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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