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Vincent D'Onofrio breaks down the 'Daredevil: Born Again' reunion we've all been waiting for

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Vincent D'Onofrio breaks down the 'Daredevil: Born Again' reunion we've all been waiting for

This story contains spoilers for “Daredevil: Born Again” Episodes 1 and 2.

It’s been nearly seven years since audiences saw Wilson Fisk and Matt Murdock come to blows for the last time in Netflix’s “Daredevil.” The bloody brawl concluded with the crime lord heading back to prison after losing the fight to the Man Without Fear.

These longtime adversaries are reunited in “Daredevil: Born Again,” out now on Disney+, which continues their tangled story. And while the show starts with both men having seemingly given up their darker alter egos, it’s also clear that there has been no love lost between them.

“Fisk is on a journey,” says Vincent D’Onofrio, who portrays the man also known as Kingpin, during a recent phone interview. “He wants to expand his reach. … He’s going to get more control, and it’s going to be dangerous. It’s not going to be good for anybody.”

Since the conclusion of “Daredevil” in 2018, the mob boss has appeared in Marvel television shows “Hawkeye” (2021) and “Echo” (2024) as a mentor and father figure to Maya Lopez (Alaqua Cox), also known as Echo. But in “Born Again,” which picks up after the events of the two series, Fisk insists that his life of crime is behind him as he becomes the newly elected mayor of New York.

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Murdock (Charlie Cox), meanwhile, also has hung up his horns, choosing to seek justice as a lawyer instead of as the masked vigilante Daredevil. (Murdock’s previous MCU appearances include 2021’s “Spider-Man: No Way Home” and the TV shows “She-Hulk: Attorney at Law” and “Echo.”)

During “Born Again’s” first season, audiences will be “reminded how cunning [Fisk is] and how much of a team Vanessa and him make,” says D’Onofrio. “There’s no stopping this guy. He’s a broken man with a lot of power; he’s not gonna stop.”

D’Onofrio discusses Fisk and Murdock’s reunion and Fisk’s marriage woes in the conversation (edited for clarity and length) below.

Matt Murdock (Charlie Cox), left, and Wilson Fisk (Vincent D’Onofrio) have seemingly given up their darker alter egos in the premiere of “Daredevil: Born Again.”

(Marvel Television)

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What was it like shooting that diner scene and being opposite Matt Murdock again?

We were well prepared for that scene because we were involved in the writing of it with [showrunner] Dario [Scardapane]. Charlie and I, we work together on a lot of our notes — just overall notes for every episode kind of thing — and then we narrow in on our own parts. But mostly we collaborate on story, and then we take it to them together, to the writer and to everybody else. So we went into that scene with a big dialogue with Justin [Benson] and Aaron [Moorhead], the two directors, and Dario, and kind of just worked it out for a few hours and changed a bit of it here and there. We liked the levity in it. The fact that these two could have a weird laugh together and almost seem like friends, but there’s this underlying feeling that they’re not friends at all.

What about Fisk’s journey this season has been most interesting to you?

The most interesting thing for me as an actor — not just playing Kingpin but as an actor — is to take a character, a character written as well [as] they’ve written him in the past and up to now who’s just bats— crazy, a character that’s that broken and that narcissistic, and put him in typical domestic situations like a marriage, marriage therapy even. The metaphor would be a vampire trying to live in the daylight. It’s a struggle. It’s a really interesting situation to have a character like [Fisk] and put him in domestic situations where he has to struggle, because the only way that he can expand his reach is to participate in the world. It’s the most fun I’m having when we’ve tried to put this guy in domestic situations.

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Speaking of domestic situations and marriage therapy, what can you say about Fisk and Vanessa’s relationship this season?

I think that he has a lot of explaining to do. The other shows that I did, “Hawkeye” and then “Echo,” led to an absence in my marriage. I disappeared without telling the character of Vanessa anything about where I was and what happened. So when he arrives back, he has some explaining to do, and she has some things to say.

The marriage therapy stuff is really fun. I’ve known Ayelet Zurer for a long time now. We’re like brother and sister. We’re both Cancers. We’ve always gotten along from the moment we met 10 years ago, and we’ve just remained really close. She’s so brilliant. I just think that she holds herself the way a modern woman should — she’s just so powerful and so smart, and the character that she’s playing is the same.

We trust each other a lot, so when she’s talking to me in a scene, all I have to do is just stay open and receive her, and I get emotional, like you would with a friend. It’s an intense marriage, this thing that they’ve written, so we have to play it as honest as we can, otherwise nobody will buy it. It’s a really intense, emotional time, and there’s a lot of tears and a lot of emotional reactions to each other. There were times when the cameras were rolling that I felt like I was in therapy with somebody that I cared about a lot, and I had some explaining to do.

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Movie Reviews

‘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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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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