TheWrap Emmy magazine: “I felt, ‘OK, we’ve got to get a handle on this and do it right’ — and I think we did,” says Chlumsky of her character’s storyline in the final “Veep” season
TheWrap Emmy magazine: “When Norman Lear called me, I felt very touched and honored and tickled, but I also was terrified,” Tomei says
TheWrap Emmy magazine: “The Soviets threatened to write him out of the history because he spoke out, and they very successfully followed through on that threat,” Harris says of the character he played
Both academies have been busy making course corrections this week
TheWrap Emmy magazine: “It was pretty scary and pretty humbling,” says the actress/choreographer who had to create new dances to stand aside Fosse’s classic works
The Academy had flagged block voting as an area of particular concern in this year’s rulebook
We separate fact from fantasy in Martin Scorsese’s deliberate piece of Dylanesque mythmaking disguised as a documentary
TheWrap Emmy magazine: “I enjoy the job more now than I did then, and I like to assume that I’m better at it now,” says the actor who returns as lawman Seth Bullock
The board election increases the number of women on the 54-person board to 24 and the number of people of color to 11
“How do I get nominated for Season 1 of the same series but then not even get on the ballot this year?” asks Melvin Jackson Jr., whose web series was disqualified by the anonymous panels
Lina Wertmüller and Wes Studi will also receive honorary awards on Oct. 27 in the Ray Dolby Ballroom at Hollywood & Highland
Other winners at the inaugural ceremony include “Surviving R. Kelly,” “American Ninja Warrior” and “Jeopardy!”
“These people made a far greater impression on me than I think I gave them credit for,” says the actor who returns in the role of lawman Seth Bullock
Dexter Fletcher’s film abandons the biopic model to freely mix fantasy and reality in an extravagant, fun and frustrating jukebox musical
TheWrap Emmy magazine: The decision to deal with Fisher’s death in the series finale, says Horgan, “helped everything” about that episode
TheWrap Emmy magazine: Actor co-stars with Rosamund Pike in the Nick Hornby series
TheWrap Emmy magazine: Stars discuss the “liberating and sad” feeling as their HBO juggernauts wrap up
Antonio Banderas wins Best Actor award for “Pain and Glory,” while Best Actress prize goes to Emily Beecham for “Little Joe”
Cannes 2019: Other winners included “The Fire Will Come,” “Beanpole,” “On a Magical Night” and “The Climb”
Cannes 2019: Other Critics’ Week winners include “A White, White Day,” “She Runs” and “Our Mothers”
Cannes 2019: The Canadian director has always been a maestro of oversized emotions, but the warmth and restraint of “Matthias & Maxime” is what gives it life
Cannes 2019: The director of “Once Upon a Time … in Hollywood” discusses why people are fascinated by the 1969 murders, and whether he had qualms about portraying the perpetrator and victims on screen
Cannes 2019: Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking
Cannes 2019: The Argentinian maestro of transgression has unleashed another assault on his audience, but it’s almost mesmerizing in its perverse single-mindedness
Cannes 2019: While most of the attention has gone to a pair of major-studio flicks, “Rocketman” and the yet-unseen “Once Upon a Time … in Hollywood,” the festival is also full of dark films for a dark age
Cannes 2019: Anchored in story in a way his last few movies have not been, this World War II drama is the director’s most monumental work since “The Tree of Life”
Cannes 2019: A curious little meditation on the commodification of everything up to and including love, the film is slight but has moments of pure Herzogian rhapsody
Cannes 2019: Corneliu Porumboiu’s film is an oversized, deliciously twisted ride that slips in references to John Wayne and Alfred Hitchcock
Cannes 2019: Danielle Lessovitz’s debut feature is a rough but vital film for the age of “Pose” and “RuPaul’s Drag Race”
Cannes 2019: Almodóvar’s gentle memory piece replaces the youthful provocation of his early films with mature reflection
