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BBC News
12-06-2025
- BBC News
Two found guilty of killing Abdul Jalloh as he sat in car
Two teenage drug dealers have been found guilty of fatally attacking a man "in cold blood" while he was sitting in a car in east Jalloh, 23, was stabbed in the neck in a car park on the Isle of Dogs on 5 August last the Old Bailey, Shamiah McKenzie, 18, was found guilty of murder while Codee Godfrey, 19, was convicted of the manslaughter having been acquitted of court heard that after the attack, the pair changed their clothes and then mingled with the police officers who were searching for the killers. McKenzie and Godfrey had been circling the area on their bicycles for more than an hour and were both armed, the trial were disguised in dark clothing and their faces were covered by balaclavas, said prosecutor Caroline Carberry seconds of approaching Mr Jalloh, he was attacked."Abdul Jalloh did not stand a chance. He could offer no resistance. He was outnumbered, unarmed and vulnerable behind the wheel of his car," said Ms Carberry. The defendants rapidly cycled away, throwing a knife and its sheath along with McKenzie's bicycle into the River Thames at Caledonia Wharf and made their way to Godfrey's the pair packed their clothing - some of it bloodstained - into bags and changed into shorts and t-shirts, before disposing of the bags in nearby bushes."Such was their confidence in their changed appearance that they mingled along the Thames Path with police officers who were searching for Abdul's killers," said Ms killers finally handed themselves into police three days later, the court defendants were two young men who had "no qualms about settling a score with the blade of a knife", said Ms Carberry. McKenzie and Godfrey were a drug-dealing team who used Godfrey's home on the Isle of Dogs as a base, the trial the bags found discarded in bushes, police found £3,000 worth of cannabis bagged up and ready for sale and £2,000 in found in the bushes was McKenzie's phone which showed in the two-month period leading up to Mr Jalloh's death, 570 images of knives were saved on the phone, mostly taken during internet browsing. Four days before the killing, a photograph of a row of four Rambo knives and machetes in sheaths was on his phone.A picture of a knife in a sheath with the text "someone's going to get battered today" was uploaded on to the phone two days before the the start of the trial, McKenzie pleaded guilty to possessing a knife and both defendants admitted possessing cannabis with intent to evidence in his defence, McKenzie admitted stabbing Mr Jalloh, but claimed he had been acting in self-defence. Godfrey did not give jury deliberated its verdicts for more than 44 men will be sentenced on 20 June.
Winnipeg Free Press
07-06-2025
- Entertainment
- Winnipeg Free Press
Wes Anderson's Phoenician Scheme falls a little bit flat
Wes Anderson's cinematic obsessions and stylistic quirks are so distinctive, so immediately recognizable that when trailers for his movies are released, it can be hard to figure out whether it's an actual Anderson preview or just another YouTube pastiche. Devotees might see this latest project, his 12th feature film, as Peak Anderson. Doubters, meanwhile, might suggest the 56-year-old auteur has overshot the peak and fallen into self-parody. For those Anderson viewers who find his works alternately brilliant and exasperating — and sometimes both things simultaneously — The Phoenician Scheme will probably end up classified as minor Anderson. Mixing up a mid-20th-century international caper with family dysfunction, the story (co-written with Roman Coppola) is intermittently interesting, and it's underlaid — of course — with exquisite and elaborate visual tableaux. But the charm often feels forced and twee, the artifice frequently hardens into rigidity, and that tricky Andersonian balance of irony and sentiment is way, way off. The Phoenician Scheme seems destined to land near the bottom end of Anderson's up-and-down oeuvre, somewhere around The Darjeeling Limited and Isle of Dogs. Benicio del Toro (who worked with Anderson in The French Dispatch) plays Anatole (Zsa-zsa) Korda, a super-rich plutocrat who made his fortune from various nefarious sources (including but not limited to war profiteering, bribery, theft, tax evasion and possibly murder). Having survived repeated assassination attempts that have him pondering his mortality, Zsa-zsa decides to bequeath his empire to his estranged daughter Liesl (The Buccaneers' Mia Threapleton), a pious novitiate nun. First, Zsa-zsa takes Liesl to visit a massive infrastructure project involving a canal, a tunnel, a railway line and a dam, to be built in the fictional Middle Eastern kingdom of Phoenicia. Zsa-zsa is perhaps hoping to make up for years of paternal neglect, while Liesl wants to ameliorate her father's brand of rapacious capitalism (which includes engineered famines and the use of slave labour). TPS Productions/Focus Features/TNS Benicio del Toro (left) and Mia Threapleton play a formerly estranged father and daughter in Wes Anderson's The Phoenician Scheme. The mismatched father-daughter pair, along with Dr. Bjorn (Michael Cera), a Norwegian tutor who's been drafted as Zsa-zsa's new private secretary after the last one was blown up, then visit the scheme's principal investors. These include two basketball-playing Americans (Tom Hanks and Bryan Cranston); Marseille Bob (Mathieu Amalric), a canned fish aficionado and nightclub owner; Marty (Jeffrey Wright), an easygoing shipping magnate; and stern, uber-wealthy Cousin Hilda (Scarlett Johansson). There are tussles with assassins, secret agents and amiable Marxist revolutionaries (led by Richard Ayoade), as well as conflicts with a consortium of besuited bureaucrats (led by Rupert Friend), who are attempting to scupper Zsa-zsa's business by driving up the price of 'Bashable Rivets.' Threapleton gives a grounded performance as one of Anderson's recurring types — the wise, grave young woman — and Cera is a constant daffy delight, whose pure enjoyment of Andersonian caprice spreads to the audience. Unfortunately, del Toro, who is in almost every scene, is flat — and not just Anderson flat, with that trademark deadpan delivery, but oddly empty. There are many of the usual Andersonian tropes — a distant parent attempting a late-life redemption, excellent luggage, obscure books (Fleas of the Americas), gorgeous tilework and wall coverings, and vintage modes of transport. TPS Productions/Focus Features (From left) Mathieu Amalric, Michael Cera, Benicio Del Toro, Mia Threapleton and Jeffrey Wright get tangled up in The Phoenician Scheme. There's a magpie-like collection of cultural references, from the films of Orson Welles to Boys' Own adventure stories. There are starry cameos, including drop-ins by Willem Dafoe, Charlotte Gainsbourg and Bill Murray as God (or vice-versa). There is lots of symmetrical, head-on framing and a gorgeous pastel colour palette of sand, ochre and aqua (last seen in Asteroid City). But does this elegant, eccentric cinematic style add up to much? The film's themes ostensibly involve a socioeconomic look at unfettered capitalism, a philosophical examination of morality, and perhaps an allegory for the process of filmmaking and film financing, but Anderson's extension of these declared ideas feels perfunctory. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. The tone is uneven. There are scenes of slapstick violence that try for antic comedy but don't always come off. But the real problem is the dramatic hollowness. Even amidst their arch artifice, the best of Anderson's films, such as Fantastic Mr. Fox and The Grand Budapest Hotel, tend to be burnished with gentle melancholy, with laments for lost innocence. There is no affective undertow here, and the final scene, which celebrates the modest pleasures of work and family, doesn't have enough emotional heft to work. Even minor Wes Anderson is worth a look. The Phoenician Scheme is watchable, but it's also, sadly, forgettable. Alison GillmorWriter Studying at the University of Winnipeg and later Toronto's York University, Alison Gillmor planned to become an art historian. She ended up catching the journalism bug when she started as visual arts reviewer at the Winnipeg Free Press in 1992. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Express Tribune
20-05-2025
- Entertainment
- Express Tribune
Johansson's directorial earns praise
Scarlett Johansson won praise from veteran filmmaker Wes Anderson as she nervously prepared to unveil her debut feature as a director at the Cannes film festival on Tuesday, reported AFP. Actors behind the camera are something of a trend in Cannes this year, with Twilight star Kristen Stewart and British actor Harris Dickinson both unveiling their first features. Johansson's film Eleanor the Great recounts the story of a grief-stricken elderly woman who moves to New York after the death of her best friend and will be screened on Tuesday evening. One of Hollywood's most bankable stars missed the red carpet premiere of The Phoenician Scheme on Sunday evening, in which she has a cameo, but she won enthusiastic backing from director Anderson. "I saw the movie, which I loved," Anderson said of Johansson's debut. He added that he had not offered any tips to the actor who has appeared in three of his films, including Isle of Dogs and Asteroid City. "I don't think Scarlett even said anything to me (about her film)," the 56-year-old said. "Scarlett's been doing movies possibly longer than I have. She's about 20 years younger, but I think she was in a movie when she was around nine." Nonetheless, the Oscar-nominated star of Lost in Translation, 40, admitted to some nerves while bringing a script to life that made her cry when she first read it. She spoke to Deadline magazine in the run-up to Cannes about how the spotlight on the director's seat is brighter than the one beamed on the actors when it comes to finally unveiling a film. "It's different. When you're acting in something, it's out of your hands," she said. In competition Cannes tends to draw sympathetic audiences, with film lovers and industry insiders enthusiastically giving films standing ovations that can last for minutes. But the competition is fierce. And Johansson's film is in the running for prizes in the 'Certain Regard' secondary section for up-and-coming directors that also includes Stewart's and Dickinson's films this year. Dickinson, the 28-year-old star of Babygirl, asked the press to be "gentle" as he unveiled Urchin, a touching film about a rough sleeper in London. "It's my first film so if you don't like it, break it to me nicely," he said before the premiere. Initial reviews have been positive. Film bible Variety said that "you can learn a lot about an actor when they make their directorial debut. For better or worse, it reveals how they see themselves as an artist." In Dickinson's case, his social-realist debut that has echoes of veteran British director Mike Leigh's work was "starkly effective", Variety said. Hollywood has a long record of A-list male actors turning to directing from Oscar-winning Clint Eastwood to Mel Gibson and George Clooney. Greta Gerwig, who broke through as an actor before hitting the directorial big time with 2023 hit Barbie, is one of relatively few women actors to make the transition, however. Australian screen great Nicole Kidman lamented on Sunday how the number of women directing major box office successes is still "incredibly low". Speaking to Variety, Stewart was honest about her struggles to find financing for her film The Chronology of Water, which is a searing examination of child sex abuse. She said it was "near impossible" to raise money for a film that was an original idea and not based on a proven genre or an existing franchise. Denzel Washington wins award Meanwhile, as per Reuters, US actor Denzel Washington received a surprise honorary Palme d'Or award at the Cannes Film Festival on Monday evening in recognition of his outstanding career, according to organisers. Washington, 70, was in southern France for the premiere of US director Spike Lee's latest film Highest 2 Lowest, an adaptation of legendary Japanese filmmaker Akira Kurosawa's High and Low, which also celebrated its premiere on Monday. Washington, who was joined by co-stars A$AP Rocky and Jeffrey Wright on the red carpet, stars as David King in the crime thriller that marks the fifth time he and Lee have worked together. The two-time Oscar winner's film roles have ranged from black activist Malcolm X, to a drunk but heroic pilot in Flight. His turn as a rogue detective in Training Day earned him his second Oscar in 2002 following his first win in 1990 for Glory. He also directed and starred in the 2007 film The Great Debaters about a professor who coached a debate team from a black US college to national glory, and produced and starred in the drama Antwone Fisher. Robert De Niro received a Palme d'Or honorary award for lifetime achievement, announced in advance, at the festival's opening ceremony last week, where he used his acceptance speech to call for protests against US President Donald Trump. Highest 2 Lowest is set to hit theatres in the United States on August 22.
Yahoo
19-05-2025
- Entertainment
- Yahoo
‘The Phoenician Scheme' Review: A Brilliant Benicio del Toro Leads Wes Anderson's Poignant Narrative Jigsaw Puzzle
It's been a challenging few years to be a fan of Wes Anderson (not that it's ever really been easy). Since the commercial and critical success of The Grand Budapest Hotel, the filmmaker has released works that have doubled down on the quirkiness of his visual style and grown more intellectually meta-textual. One sparked minor controversy (Isle of Dogs) and another inspired more confusion than admiration (The French Dispatch). His most recent feature-length project instigated some eye-rolls (Asteroid City) and a 39-minute short released later that year was mostly ignored (The Wonderful Story of Henry Sugar, an underrated gem). In general, Anderson's movies have been criticized for being so insular and indulgent of the auteur's trademark aesthetics that they distance everyone except the stans and the stars. More from The Hollywood Reporter Nicole Kidman Gives Update on 'Practical Magic' Sequel With Sandra Bullock: "It's Fun and Witchy" Alexander Skarsgard Kisses Pedro Pascal on Cheek During Ravenous Standing Ovation for 'Pillion' 'The Phoenician Scheme' Break-Out Mia Threapleton on Joining the Wes Anderson Acting Troupe The Phoenician Scheme, Anderson's latest film, won't have true haters reconsidering their options, but it will entice those who've been feeling alienated to rejoin rank. The espionage comedy flaunts an excellent Benecio del Toro as Zsa-zsa Korda, a serpentine 1950s industrialist, who, after surviving another assassination attempt on his life, begins to consider his legacy. In a well-meaning but poorly executed attempt at redemption, Zsa-zsa names his estranged daughter Liesl (an equally fine Mia Threapleton) as heir to his empire. The only problem is Liesl, on the verge of taking her oath to become a nun, doesn't want the job. She's still mad at her father for her mother's death. Their relationship is strained and, quite frankly, she wants nothing to do with a man so unabashedly sinful. But the two manage to strike a deal with Liesl agreeing to a trial period, in which Zsa-zsa will review the complex processes he uses to manipulate the market, scam his allies and cheat his competitors, and Liesl can decide if she wants to be heir. Premiering at Cannes in competition before Focus releases it widely on June 6, The Phoenician Scheme marks a return for Anderson to the emotionally grounded and intimate narratives that made his more accessible works (like Rushmore, The Royal Tenenbaums and Moonrise Kingdom) so popular. Part of the film is inspired by Anderson's late father-in-law Fouad Malouf (to whom the project is dedicated), and in recent interviews the director has suggested that having his own daughter likely influenced thematic elements of the film. Indeed, there's a sense that Anderson is considering a deeper set of questions here. The Phoenician Scheme tethers the filmmaker's existential interests (the unfettered power of the billionaire class, unchecked greed and environmentalism) to the kind of poignant humanistic narrative that's been missing from his latest offerings. The relationship between Zsa-zsa and Liesl unspools with humor, insightful revelations and a bit of surprise. Del toro and Threapleton make a winning pair as a father and daughter learning to relate to one another. Anderson built del Toro's role around the actor, who repays him with a beauty of a performance, embodying the detached charisma of a morally dubious tycoon with cool ease. From the moment we meet Zsa-zsa, the depth of his ruthlessness is apparent, but he becomes disarmed in the face of his equally forceful daughter. Del Toro and Threapleton play their characters in a way that allows these two people, who initially seem diametrically opposed, to start to resemble one another. Most of this happens on a micro level, with facial expressions and an almost mirroring physicality. As with all Anderson films, The Phoenician Scheme boasts an enchanting world in which viewers can get lost. The director shows off his meticulous attention to detail and symmetrical composition, as well as a muted and moody color grading that serves as a steady reminder of the film's darker themes. Collaborating again with Roman Coppola (Asteroid City) on the story, Anderson constructs one of his most complicated narratives yet. After Liesl agrees to the trial run, Zsa-zsa retrieves six show boxes that contain blueprints for three complex infrastructure projects across the fictional Modern Greater Independent Phoenicia. Each part of the plan requires Zsa-zsa and now Liesl to persuade a number of industrial barons and powerful bankers to help finance the project. Just before they embark on their journey, though, Zsa-zsa realizes that his enemies have fixed the price of a key tool, which has increased the cost of construction around the region. Now, he must manipulate all these people to give more money so they can shrink the deficit. It's a challenging jigsaw and there's a bit of math involved, but fully grasping it isn't a requirement for enjoying The Phoenician Scheme. What's important to keep in mind are the key players, who include Anderson regulars and a few newcomers. Joining Zsa-zsa and Liesl on their journey is Bjorn (Michael Cera, hilarious), an entomologist from Oslo whom Zsa-zsa hires to teach him about insects. He's a strange figure, who slowly falls for and tries to woo Liesl. There's also Prince Farouk (Riz Ahmed), Leland (Tom Hanks) and Reagan (Bryan Cranston), with whom Zsa-zsa must play basketball in order to get their blessing for constructing a railway (and also for more money). Other people the pair must deal with include the American shipping magnate Marty (Jeffrey Wright, ripe to lead an Anderson film one day); Zsa-zsa's second cousin Hilda (Scarlett Johansson); and Zsa-zsa's shadowy and somehow even more morally dubious brother, Uncle Nubar (Benedict Cumberbatch). As Zsa-zsa and Liesl race across the region in their private jet, a radical militia led by a man named Sergio (Richard Ayode) trails them. They aren't Zsa-zsa's only problem: Everywhere he goes, the tycoon must watch out for assassination attempts. As with all Anderson films, the actors commit to the weird and zany rules of the director's world. People talk fast, dispensing information with efficiency, and there are some wonderful (and explosive) set pieces. Working again with Adam Stockhausen in production design and Milena Canonero in costuming, Anderson constructs the world of Zsa-zsa and all his shady dealings as one of gluttonous consumption. It's hard not to think about the current cadre of tech moguls — Jeff Bezos and Mark Zuckerberg among many others — when you watch the unscrupulous scheming. In one of my favorite gags, Zsa-zsa succinctly sums up what feels like a motto for the one percent: 'I am not a citizen at all. I don't need my human rights.' The Phoenician Scheme moves so briskly that its tenderness sneaks up on you. One minute Zsa-zsa and Liesl are fighting about what really happened to her mother (an ongoing mystery), and the next the two seem like they might be finding common ground. It's within this narrative thread that The Phoenician Scheme reveals its optimistic core. Before Zsa-zsa survived his sixth assassination attempt, he briefly died and entered a kind of liminal, heaven-as-fever-dream space. (These interludes are in black-and-white and pop up frequently throughout the film). This confrontation with mortality and God doesn't make the atheist billionaire more religious, but it does push him to re-evaluate what's important to him and reach out to his daughter. It's that specific brush with death that propels the first real, and most honest, deal of his life. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
19-05-2025
- Entertainment
- Yahoo
‘The Phoenician Scheme' Review: Benicio Del Toro Hilariously Dominates Wes Anderson's Latest All-Star Wes Anderson Movie
Like Jacques Tati, Woody Allen and Luis Buñuel, there can be no mistaking a movie directed and written by Wes Anderson. An auteur in the truest sense of the word, he is as much a painter with words and visuals that put us unquestionably into part of a brain that sees the world the way he wants to see it. There's his Oscar-winning masterpiece The Grand Budapest Hotel; animated gems Isle of Dogs and my favorite Wes movie, Fantastic Mr. Fox; and a string of beloved film comedies including The Royal Tannenbaums, The Darjeeling Limited, Moonrise Kingdom and so many more including his 2024 Oscar-winning short The Wonderful Story of Henry Sugar. It is good to report that the filmmaker is back in style with his latest, The Phoenician Scheme, after stumbling a bit through the overly narrated and artificial (even for Anderson) Asteroid City, the most recent of his films to debut in Cannes, just as his latest world builder, The Phoenician Scheme, did Sunday night in Competition. This one is particularly refreshing in that, instead of focusing on a number of characters, here it is Benicio Del Toro's Zsa-Zsa Korda, a shady, uber-wealthy industrialist who dominates the proceedings much the way we saw in other Anderson riffs like The Life Aquatic with Steve Zissou. Sure, there are the usual starry cameos running through the story, but it is all in the service of Zsa-zsa, a man who dominated the business world and global economy in Europe in the early 1950s in much the same way we see Elon Musk now, an equally shady rich guy whose track record is spotty at best. In fact, there also are sly comparisons we could make even to Donald Trump with this man, whose enemies are doing everything to bring down his empire where he is accused of swindling banks, skipping tariffs, filing frivolous lawsuits — you name it, he's done it. But is it all bad? More from Deadline 'The Phoenician Scheme' Cannes Red Carpet Photos: Wes Anderson, Mia Threapleton, Benicio del Toro, Bill Murray, Michael Cera, & More Wes Anderson's 'The Phoenician Scheme' Scores 7½-Minute Ovation After Cannes Premiere, Leaving One Star In Tears Palestinian Producer Hanna Atallah & Lebanese Filmmaker Darine Hotait Launch Development & Production Company Route 243 - Cannes Market RELATED: Zsa-zsa, who has survived six airplane crashes including the latest one that opens the film on a note of excitement, is even starting to see God, or at least a group of religious leaders who act as therapists in a way in fantasy sequences where he thinks he has died. Somehow he never does, even with a price on his head by any number of would-be assassins. His latest plan, with the lofty name of the Korda Land and Sea Phoenician Infrastructure Scheme, has him enlisting his 20-year-old daughter Liesl (Mia Threapleton), who is in training to become a nun but whom he thinks could be better suited to ultimately take over his company and complicated financial dealings. Why not his nine — count 'em — nine sons (another Musk comparison)? He wants to give Liesl a shot. The idea is to create an infrastructure scheme for an unused area of Earth that can be mined for a potentially rich region that doesn't exist yet. In return, his business takes in 5% of the newfound riches in perpetuity. To do this he also has to enlist a number of wealthy donors from the worlds of shipping, mining, railroad, banking, real estate and the black market. Their identities all are contained in a set of shoeboxes, each with a particular specialty. RELATED: First up is a visit to Prince Farouk (Riz Ahmed), who has proven savvy with his kingdom's natural wealth, then to an underground tunnel for a meeting with railroad barons Leland (Tom Hanks) and Reagan (Bryan Cranston). Another box introduces us to Marseilles Bob (Mathieu Amalric), a gangster and nightclub owner who wants terrorists to stop shooting up his place. There alsois the shipping magnate (Jeffrey Wright) who could be crucial; a second cousin named Hilda (Scarlett Johansson, in briefly) who could be new wife material; and finally leading up to his brother, the conniving Uncle Nubar (a very amusing Benedict Cumberbatch), who is big trouble in the family. With Liesl just as interested in trying to solve her mother's murder (could it be Nubar?) as in closing the gap of Zsa-zsa's vast finances, they are on dueling paths, joined by the other major character to complete this triangle, that of Norwegian tutor Bjorn (Michael Cera), who also studies insects. Of course he does! As Anderson explains the mindset of Zsa-zsa, 'he is a certain type of businessman who can always pivot. He has no obligation to the truth.' The director cites all sorts of real-life figures from the past as inspirations for this man, people only a Jeopardy! contestant might be able to reel off instantly, but you can certainly see the Trump/Musk influence creeping in, even though this was written long before their partnership got into the picture. At least that is what I sniff here, proving Anderson's wholly fictional creation has some odd relation to our current reality. Can you imagine Zsa-zsa living in these times? RELATED: Full List Of Cannes Palme d'Or Winners Through The Years: Photo Gallery As with all Anderson films, the production values are spectacular. This one was shot almost exclusively on soundstages at Studio Babelsberg in Germany. Bruno Delbonnel's lush cinematography (first time working on a feature with Anderson, who usually goes back to the same well of artisans) and Adam Stockhausen's production design are exquisite as are Milena Canonero's costumes and Alexandre Desplat's score. The film belongs lock, stock and barrel to Del Toro, playing this Onassis-style billionaire who proves again to be so adept to the rhythms of Anderson's dialogue and delivers flawlessly here. So do newcomer Threapleton as Liesl and Cera, a first-timer in Anderson's stock company who undoubtedly will be asked back. Ahmed and Cumberbatch also are welcome additions, as is regular Richard Ayoade as a terrorist leader. Look for Willem Dafoe and F. Murray Abraham as pop-ups along the way, with Hanks, Cranston, Johansson and others in for a fun day's work. Anderson, Jeremy Dawson, John Peet and Steven Rales are producers. Title: The Phoenician SchemeFestival: Cannes (Competition)Distributor: Focus FeaturesRelease Date: June 6, 2025Director-screenwriter: Wes Anderson (story by Roman Coppola and Anderson)Cast: Benicio Del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, Richard Ayoade, Willem Dafoe , F. Murray AbrahamRating: PG-13Running time: 1 hr 41 mins Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? Everything We Know About Ari Aster's 'Eddington' So Far
