Hungary fans fought with police in the opening minutes of Tuesday's World Cup qualifier against England at Wembley.

Some of their supporters, totalling almost 1,000, booed as England players took the knee before kick-off.

A Metropolitan Police statement said: "Officers entered the stand to arrest a spectator for a racially aggravated public order offence in relation to comments directed towards a steward.

"As officers made the arrest, minor disorder broke out."

The game ended 1-1 with John Stones levelling for England after Roland Sallai's penalty for Hungary.

The Football Association said it would investigate and report the incident to Fifa.

England boss Gareth Southgate was unaware of the severity of the incidents at the time.

"I'm only hearing this as I'm doing the interviews," he told BBC Radio 5 Live after the game. "I was aware of a disturbance. It sounds like it was not acceptable but I haven't seen the detail."

Hungary fans - many in the black T-shirts of the country's ultras - clashed with stewards soon after the game started and police arrived, hitting supporters with batons.

Many then climbed over a barrier in response and hit security personnel - with police driven back into the concourse.

There was trouble too when the sides met in Budapest with Hungary ordered to play two matches behind closed doors by Fifa following the racism English players experienced.

John Murray, commentating for BBC Radio 5 Live, said: "There are about 1,000 Hungary fans in that section. There was black netting over the seats either side to keep it isolated from England supporters.

"We were told before that they were all Hungary fans based in the UK who have taken the tickets. As soon as the match began there were really disturbing scenes.

"There were people in hi-vis jackets and fighting going on in the stands. There were punches being thrown. It was quite aggressive.

"Lot of the supporters involved were wearing black. There was trouble for most of the first half an hour or so and then things seemed to settle down."

A smoke bomb was also released after Sallai's penalty gave Hungary a 24th-minute lead.

Fewer than 1,000 tickets were sold to Hungary fans for this game, the reverse fixture of last month's meeting at Puskas Arena.

Racist abuse was aimed at England players in that qualifier while Southgate's side were also pelted with objects in the second half and a flare was thrown on the pitch by Hungarian fans. Fifa opened disciplinary proceedings after England's 4-0 win.

Despite Uefa ordering Hungary to play three home games behind closed doors after their supporters' discriminatory behaviour at Euro 2020, fans were allowed in for the World Cup tie as it came under Fifa's jurisdiction.

Football's world governing body then ordered Hungary to play two matches behind closed doors - one suspended for two years - and fined the Hungarian Football Federation £158,400.

There was also trouble at Wembley when England lost to Italy in the Euro 2020 final on 11 July.

England fans fought with stewards and police as they attempted to break through gates before the match.

Afterwards, riot police could be seen breaking through crowds outside the stadium as people departed.

Beer bottles were thrown amid chants against Italy and the Met Police said there had been 45 arrests at the final, with 19 officers injured "while they confronted volatile crowds".

Uefa opened disciplinary proceedings against the FA over the events.

Brooklyn Nets say point guard Kyrie Irving will not play for the team until he is eligible to become "a full participant" under New York City Covid-19 vaccine rules.

Irving is unvaccinated but regulations state all athletes who play or practice in the city have to be vaccinated.

The 29-year-old can play in away games but Brooklyn Nets general manager Sean Marks has ruled that out as an option.

"We respect his individual right to choose," Marks said.

"Currently the choice restricts his ability to be a full-time member of the team, and we will not permit any member of our team to participate with part-time availability."

Marks added: "Given the evolving nature of the situation and after thorough deliberation, we have decided Kyrie Irving will not play or practice with the team until he is eligible to be a full participant."

Irving is a seven-time All-Star who played in 54 regular-season games for the Nets last season.

The NBA said recently that any player who chooses not to comply with local vaccination mandates will not be paid for the games they miss.

Despite opposition from Phil Mickelson, organisers of professional and elite amateur golf competitions are to be given the right to limit the length of golf clubs from next year.

Any club, other than a putter, can be a maximum 48 inches in length, but this would be limited to 46 inches if organisations such as the PGA and European Tours use the option of a new "model local rule" being introduced by the R&A and United States Golf Association.

Mickelson, 51, used a driver that was listed as 47.9 inches long when he won the US PGA Championship at Kiawah Island in May. He branded the proposed rule change as "pathetic" in a tweet two months ago.

Another American star, Bryson DeChambeau, shelved plans to experiment with using a longer shaft on his driver in a bid to generate more length with his tee shots.

The move is part of the R&A and USGA's "distance insights" project aimed at limiting the distances golf balls travel in the modern game.

At the recent Ryder Cup, DeChambeau smashed a drive 417 yards to leave a 72-yard second shot at the par-five fifth hole at Whistling Straits. The 2020 US Open champion, 28, then finished seventh at the Professional Long Drivers Championship in Las Vegas.

He has used a 45.5-inch driver on tour but used a 48-inch version at the long driving competition.

Listen: The Sports Desk - Does golf need to rein in the big hitters?

How DeChambeau bulked up to 'challenge the norm'

It will be up to the main tours and organisers of leading amateur events to choose whether to introduce the new regulation.

"We believe this is the right thing for the game at this time," said R&A chief executive Martin Slumbers.

"It will provide tournament organisers with the flexibility to choose for themselves within the framework of the rules."

The change was initially considered in 2016, two years after research began into the impact that clubs longer than 48 inches had on distance.

"Word is USGA is soon rolling back driver length to 46 inches," Mickelson tweeted in August.

"This is pathetic. First it promotes a shorter more violent swing [injury prone], doesn't allow for length of arc to create speed, and during our first golf boom in 40 years, our amateur [governing] body keeps trying to make it less fun."

The six-time major winner later added: "What data was there to say the driver length should be capped at 48 inches? What data suggests it should go to 46 inches? We're addressing the wrong problem and we're misreading the data yet again."

DeChambeau flattered and welcomes proposed rule changes

R&A proposals set to restrict DeChambeau's quest to hit ball further

Announcing the rule change, Slumbers said: "We have taken time to consult fully with the golf industry, including players, the main professional tours and equipment manufacturers, and have considered their feedback carefully.

"We are working hard to maintain an open, collaborative and considered dialogue with these key stakeholders as we continue to evolve the equipment standards rules to ensure they reflect the modern game."

Mike Whan, chief executive officer of the USGA, said: "Admittedly, this is not the 'answer' to the overall distance debate/issue but rather a simple option for competitive events.

"It's important to note that it is not a 'Rule of Golf,' and as such, it is not mandated for the average, recreational golfer. Rather, this is an available tool for those running competitive events."

Raheem Sterling and Marcus Rashford have changed how black footballers are viewed, says Ian Wright.

England forwards Rashford and Sterling received MBEs for services to children and equality respectively.

Wright praised them but added that they can't fight the racism battle alone.

"It's people like Marcus Rashford, he changed the course of how people write about black players, and Raheem Sterling - that's power," said the former Arsenal and England striker.

"They're not only magnificent footballers, they've got social conscience and they've got massive platforms where when they say something, people listen, and that's what happens nowadays," he told the Press Association.

"And what you see is everybody comes together when this happens now and this is how things change. Things are moving, not as quickly as they should be, but they are moving.

"Things only change when white people get involved. If it was down to black people, we would still be (constantly) being racially abused. We can't change it alone."

Manchester United's Rashford has campaigned to end child food poverty in the UK, with his work for the provision of free school meals in England during holidays and other support to low-income families prompting major changes in government policy.

Manchester City's Sterling has spoken about the racial abuse he has had to face, on and off the pitch, and campaigned for racial equality.

Match of the Day pundit Wright, 57, wants to see greater black representation but points out the impact of "white allies", and cited Rangers boss Steven Gerrard and Burnley captain Ben Mee, who have both spoken out on racism.

"We still need black people to get into certain offices high up to make change - and that's still not happening because if it was we wouldn't be going through certain things that we're going through now," Wright continued.

"But at the same time, people like Steven Gerrard and Ben Mee and white allies who speak up and speak up passionately about the wrongs of racism and inequality is how things change, how things move.

"That's how people change what they feel, that's how you make them think, their conscience."

As part of Black History Month, Wright has produced a short film with son and former Manchester City winger Shaun Wright-Phillips, 39, and grandson D'Margio, 20, who plays for Stoke City, celebrating three generations of footballing excellence.

"To have three generations playing football is amazing, I'm very proud of that, I'm very proud of them," Wright added.

"(But) one of the things I think about all the time is the racism side of it. Three generations, are we all going to have it?"

James Gunn says Dave Bautista defended a stand-in at the filming wrap party for Guardians of the Galaxy. The writer and director's vision of the MCU's Guardians of the Galaxy films brought the obscure team to the forefront of the MCU. Bautista starred alongside Chris Pratt, Zoe Saldaña, Vin Diesel, and Gunn's brother Sean in the original film and its sequel. The film propelled the cast to stardom and solidified the galactic arm of the Marvel Cinematic Universe.

Former wrestler Bautista stars as Drax the Destroyer in Gunn's popular MCU series, while the director's younger brother Sean Gunn has a comparatively smaller role, portraying the well-intentioned Ravager Kraglin Obfonteri. The next installment of the franchise, Guardians of the Galaxy Vol. 3, is expected to begin principal photography soon after Gunn's time away from the MCU, working on The Suicide Squad and its upcoming spin-off TV series Peacemaker. Once filming is finished, most productions throw a wrap party to celebrate, inviting all the cast and crew to party hard after completing principal photography. While a wrap party is still a ways off for Guardians of the Galaxy Vol 3, Gunn recently remembered an incident at the first film's party.

Related: The Suicide Squad Actors Could Appear In GotG 3, Says James Gunn

On Twitter, Gunn described how the wrap party for the first film turned violent after a crew member's unacceptable behavior. According to Gunn, the offending crew member became physical with Sean Gunn, and upon seeing this, Bautista reacted and sent the crew member flying "ACROSS THE ROOM!" In a subsequent tweet, Gunn added more detail, recalling how the crew member instigated the incident by picking up a stand-in inappropriately and aggressively, with Sean Gunn stepping in to protect her. Read James Gunn's full description of the events below:

Gunn's description of the wrap party certainly makes for shocking reading. While some won't be surprised to hear an account of inappropriate and sexist behavior during the production of a high-profile Hollywood film, Disney's MCU properties have largely managed to avoid this type of negative press. Unlike some recent DCEU films, the cast and production team of MCU films most often describe filming and production as mostly or entirely positive. Gunn's comments, therefore, raise some awkward questions for Disney, asking whether these types of incidents occur less frequently on MCU productions or if Disney is just more adept at making sure they aren't talked about when they do happen. What's also unclear is whether or not the event has had any deserved repercussions on the career of the crew member in question.

While the incident described by Gunn should have never occurred in the first place, it's positive to hear of big-name cast members stepping in to unequivocally call out inappropriate behavior and defend other members of the filming team. The intervention shouldn't have been necessary, and the crew member should have been able to manage their own behavior, whether in the presence of two of the Guardians of the Galaxy or not.

Spider-Man: No Way Home star, Zendaya has revealed that she once went to see Andrew Garfield's The Amazing Spider-Man on a first date. The Emmy winner has had a busy year so far after voicing Lola Bunny in the Space Jam sequel and starring alongside John David Washington in Malcolm and Marie, and it looks set to continue as she will appear in Denis Villeneuve's upcoming adaptation of Dune when it hits theatres in a few weeks. The star is also set to reprise her role as MJ in Spider-Man: No Way Home later this year, alongside a slew of exciting additions to the cast, including Alfred Molina who will return to his role from Sam Raimi's Spider-Man 2 as Doc Ock.

Zendaya stars alongside Tom Holland's Peter Parker/Spider-Man in the latest iteration of the classic web-slinging hero. Audiences have certainly become well-acquainted with the story of Peter Parker over the years, with Holland's Parker being the third live-action adaption of the character, following in the footsteps of Tobey Maguire and Andrew Garfield, who both previously starred on the big screen as the superhero. Garfield appeared as Peter Parker in both The Amazing Spider-Man 1 & 2, released in 2012 and 2014 respectively, alongside Emma Stone as Gwen Stacey and Sally Field as Aunt May.

RELATED: What Does Venom’s Future Mean For Tom Holland’s Spider-Man?

Now, Zendaya has revealed that she actually went to see The Amazing Spider-Man on a first date when she was younger. Speaking to InStyle, the star was asked if she ever thought she would be a part of the Spider-Man franchise, to which she responded "definitely not." The star then divulged that she saw the Andrew Garfield movie in theatres, on a date when she was 16 years old. Check out Zendaya's full quote below.

No, definitely not. I had no idea that was coming. I actually went to see Spider-Man on my first date when I was 16. The version with Andrew Garfield and Emma Stone.

While Zendaya didn't share what she thought of the movie, there is often a lot of debate surrounding which of the three iterations takes the top spot when it comes to telling the story of Spider-Man, and Garfield's two films often rank considerably lower than both Maguire and Holland's appearances. Garfield himself even recently revealed that he thinks Holland is the perfect Peter Parker and that he prefers to see the films from a fan perspective, rather than donning the iconic suit.

Zendaya had a considerably larger role within Spider-Man: Far From Home than she did in Spider-Man: Homecoming and fans are certainly hoping to see even more of MJ in this upcoming release. With rumors swirling of a possible appearance from Garfield's Parker in Spider-Man: No Way Home, this potential crossover could be a true full-circle moment for the star. Whether Zendaya and Garfield cross paths in the MCU remains to be seen, but all will be revealed when Spider-Man: No Way Home releases later this year.

No Time To Die's stunt coordinator reveals the torrid conditions the crew had to endure during the filming of the opening action sequence in the film. The 25th entry in the Bond franchise went through several delays initially due to Danny Boyle's departure from the director's chair in 2018 and subsequent delays due to the COVID-19 pandemic. However, the film was finally released in cinema halls worldwide and in U.S. theaters on October 8th with positive reviews including a certified fresh Rotten Tomatoes score of 84%.

Daniel Craig returns for his swan song as the charismatic 007 agent, James Bond, and he is joined by recurring actors Ralph Fiennes, Ben Whishaw, Jeffrey Wright, Naomie Harris, Lea Seydoux and Christoph Waltz. The film, directed by Cary Joji Fukunaga (True Detective, Maniac), also features newcomers to the franchise. Lashana Lynch, Ana De Armas and Rami Malek, who plays Bond's nemesis Lyutsifer Safin. The plot revolves around Bond, who is forced to come out of retirement from his retreat in Jamaica to help an old friend find a kidnapped scientist, which leads Bond on yet another fateful mission.

RELATED:Every Location In No Time To Die Explained

No Time To Die stunt coordinator, Lee Morrison, recently sat down with Variety to discuss the difficulty in shooting the stunts for the film, particularly the jaw-dropping motorcycle sequence that takes place in the early scenes of the film at Matera, Italy. The scene in question shows Craig's Bond rushing back to Madeleine Swann (Seydoux), who is at the hotel, after members from the evil organization Spectre try to kill him. The sequence involves him driving a motorcycle on the cobblestone streets of the small Italian town, and he eventually leads the bike up a steep platform on the side of a building and jumps over a wall onto a crowded street. Morrison mentioned that the roads were "the worst I’ve ever shot on," labelling the surface as "ancient." He also discussed how they found a workaround to the rough conditions, which can be read below:

"It was Daniel driving for a certain amount of sequence but the surface in Matera, Italy is the worst I’ve ever shot on. The stone is ancient so we thought it would be bad to shoot in winter, so we shot there during the summer. I put road burners on the road, but we found it to be really dry and the surface was worst. The polished sandstone was treacherous and slippery. We also had to get permission to shoot on the footpaths and stairs so we could ride at high speed."

Morrison, who was also Craig's stunt double in some of the previous Bond films, stated that the motorcycle jump scene "took three days to shoot," and cited the impact of wind and rain on the surface as massive factors while filming the stunt. He worked very closely with Fukunaga and Craig on creating the set piece and stressed the importance of making the scene "story-driven" and not just "do action for the sake of action." It is worth noting that the scene is also reminiscent of another thrilling motorcycle sequence from The Bourne Ultimatum (which Morrison also worked on), where Matt Damon's Jason Bourne rides a bike under similar conditions through and across the narrow streets of Tangier in Morocco, so it's quite clear where Morrison got his inspiration from.

Practical adrenaline-fueled stunts have become a staple of the Bond franchise in the post-Pierce Brosnan era, and having worked in the stunt department on all four of Daniel Craig's previous 007 films right from 2006's Casino Royale to No Time To Die, Morrison has established himself as one of the best in the business when it comes to designing stunts. The fact that he has constantly worked on the iconic film series for each of the last five Bond entries is a testament to his love for the craft and his level of expertise. Audiences can finally treat themselves to some of the brilliantly choreographed stunts in Craig's well-deserved sendoff now that No Time To Die is out in theaters.

Scream 4 star, Marley Shelton, recalled her first interaction with Wes Craven, discussing the spooky experience she had in a call with the director. Shelton starred in the 2011 sequel in the long-running slasher horror series, which Craven directed. Shelton played Deputy Judy Hicks, who works under original film survivor Dwight "Dewey" Riley, portrayed by David Arquette and had then become the sheriff of the town of Woodsboro.

Shelton joined the franchise in Scream 4 as Judy Hicks, a young deputy in Woodsboro who idolized Dewey following the events of previous films, Judy is drawn into the events of the film when a new wave of Ghostface Killer-esque murders begin in Woodsboro on the 15th anniversary of the original massacre. Judy joins Dewey, Sidney (Neve Campbell), and Gale Weathers (Courteney Cox) to track down the new culprit and put an end to the terror. Shelton will return in 2022's Scream, as seen in recently released trailers for the fifth installment, but has also opened up about her first days as part of the series.

RELATED:Scream 2022 Trailer Breakdown: 21 Story Reveals & Easter Eggs

When speaking to Bloody Disgusting about her return to the franchise, Shelton recalled the first interaction she ever had with Craven. Shelton stated she was a fan of the franchise and was humbled to be working on the film. She remembered that the first day she joined the project, she was jet-lagged following a flight from Europe. Shelton received a call saying "Hello, Marley," with the voice sounding ghostly to her and scaring her, with Shelton then comparing the call to Ghostface's in the film series. Ultimately, it was Craven just checking up on her, and Shelton praised Craven as cool and brilliant, with an interesting philosophy on horror. Check out Shelton's full response below:

"I was such a huge fan of his going into it that I was just incredibly humbled and excited to get to work with him. I remember the first day I got there, I had been traveling from Europe, and I was jet-lagged. I was in the hotel room, it was dark, and I got this phone call. I answered my phone, and the voice was, ‘Hello, Marley.’ It honestly sounded like a ghost. It was Wes Craven calling just to check in and see how I was doing. But it sounded like Ghostface to me, and I was like, ‘Oh, my gosh. I have Ghostface on the line.’ It just felt so real. Like life imitating art. Anyway. He was the coolest. He’s so brilliant and personable. He has such a philosophy about the value of horror films. Psychologically, for audiences, he really believes that they’re a cathartic healthy thing for our psyche. It was just awesome to participate in his vision, of course. I was a huge fan of the Scream franchise, so I just felt honored.”

Craven stated that Scream's 5 installments would happen following Scream 4's release, with the director committed to direct the fifth and sixth installment depending on the fourth film's performance. The project remained in production hell for many years following the release of Scream 4 due to multiple issues, starting with the fourth film underperforming by The Weinstein Company's expectations. Despite executives pushing for a sequel, the project remained in limbo for many years, with screenwriter Kevin Williamson leaving the project, The Weinstein Company closing in the wake of revelations regarding Harvey Weinstein, and the unfortunate passing of Craven in 2015. The franchise would be revived by Spyglass Media Group, with Williamson serving as an executive producer, and Campbell, Cox, Arquette, and Shelton returning to reprise their roles for 2022's Scream.

Shelton's story is a good example of both what made Scream a unique film at the time, and why Craven is a beloved figure in horror history. With the film celebrating its 25th anniversary, Scream has become widely beloved for its satirical takes on the at-the-time long-overplayed and cliched slasher genre, bringing new life into the genre with smart characters aware of the conventions audiences had come to expect, who would comment on many moments of the film. It is a series built on fan appreciation for the genre by one of its pioneers, so Shelton's story of going from a fan to starring in Scream 4 and working alongside Craven feels like a fitting behind-the-scenes story of a dream come true.

Eternals star Kumail Nanjiani recently explained why he is jealous of his character in the upcoming MCU film. Nanjiani, known for his roles in Silicon Valley and The Big Sick (2017), was brought onto Marvel’s Eternals by director Chloé Zhao in December 2019. As a result of being brought into a massive project like a Marvel film, where it is difficult to find a leading man without a set of washboard abs, Nanjiani made the personal decision to transform himself to fit the part of a 7,000-year-old protector of Earth.

With the legacy of other Marvel transformations of comedic actors such as Chris Pratt, Nanjiani bulked up to fit the role, and as a result, initial reactions to Nanjiani’s drastic shift from relatable nerd to superhuman was well-received. His new appearance even garnered love from Hugh Jackman of X-Men after Nanjiani recreated a photoshoot as Wolverine. Yet, the popular opinion shifted, and criticism about Nanjiani’s transformation suggested he may have gotten too muscular for the role.

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In an interview with Vulture, Nanjiani reflects on his fitness journey and how the lifestyle he’s adapted to has changed how he views himself, particularly in comparison to his character, Kingo. As an insecure teenager, he found his confidence in making people laugh, but still felt he fell short when it came to his appearance. When he accepted the Eternals role, he saw the chance to get the ideal body he always wanted, and in doing so, would become the person he always wanted to be. However, in achieving the physical goal of becoming Kingo, he realized that what is admirable about Kingo are intangible characteristics like confidence, self-assurance, joy, and being free of body-image issues rather than only his physique. Read Nanjiani’s comment below:

“Kingo really is a better version of me. He doesn’t have the inner saboteur, which literally just makes me jealous of a character I play. Weird feeling.”

In the upcoming film, Nanjiani’s character Kingo is a Bollywood star which offers a strange meta moment between the actor and the character. Nanjiani realizes the potential impact of his choices on others and is open and honest about his journey while offering advice to those who find his journey inspirational. He states that Kingo is aspirational because he seems to have both a good body and a good mind, something that is harder to develop and maintain in a world dominated by constant criticism.

Nanjiani’s frank discussion about his public transformation and private struggles with insecurities reinforces the long-held notion that nobody is perfect. There is often a twisted desire that celebrities are above self-doubt or insecurity, and that they do not feel the criticism about them that is published daily. The reality, though, is that they may be dealing with the same vulnerabilities as many of their audiences. Even in becoming a superhero, Nanjiani still struggles with issues he assumed would disappear with the right body. Despite the criticism, the Eternals star has continued to keep his fitness regimen and pursue what makes him feel good in his own body.

Nicole Holofcener, co-writer and producer of The Last Duel, discusses the film's feminist perspective and how she tackled the story's controversial subject matter. The film, directed by Ridley Scott and based on a 2004 book of the same name, tells the story of the last judicially recognized duel ever fought in France. The duel comes about after Marguerite (Jodie Comer) alleges that, while her husband Jean (Matt Damon) was away, Jacques (Adam Driver) raped her. The film explores each of the three main characters' unique points of view on the allegation that precipitated the titular "last duel" with the promise that, should Marguerite's husband lose the duel, she will be burned alive for spreading misinformation.

Holofcener is best known for her writing and directing work on smaller films, including Enough Said, Friends With Money, Can You Ever Forgive Me?, and Please Give. Outside of film, Holofcener is also experienced in TV directing, having directed episodes of Orange Is The New Black, Inside Amy Schumer, Unbreakable Kimmy Schmidt, and Parks and Recreation. The screenplay for The Last Duel was co-written by Ben Affleck, who also stars in the film, and Damon.

RELATED:Every Upcoming Adam Driver Movie

In a recent interview with Vanity Fair, Holofcener addresses the initial backlash to the announcement of The Last Duel and explains that, although the film was always written with a feminist perspective in mind, the production went to great lengths to ensure the heavy subject matter was dealt with appropriately. After the controversy started, the production worked with #MeToo groups and the Geena Davis Institute on Gender in Media to iron out some of the film's "tricky parts." Ultimately, Holofcener says, the film is about Marguerite and her struggles. Read Holofcener's full comment below:

"It’s a really sensitive time. I think people didn’t know the angle we were going to be coming from with this movie—that it actually is a very feminist movie. We immediately engaged some #MeToo groups and Geena Davis’s group to advise us, to listen to us. We listened to them; they saw screenings; they pointed out some tricky parts. We addressed them. We really wanted to get it right. We don’t want controversy. We just want people to watch this wonderful movie and be moved by it and be excited by it. It’s a huge sword-fight movie, but it does have, in the end, a really important story about this woman that we wanted to tell."

While some of the film's marketing may focus more on the medieval warfare aspects of the story, Holofcener's comments clarify that Marguerite's unique perspective and the allegations she makes are at the center of The Last Duel. Since the film deals with sensitive subject matter, engaging with #MeToo groups and the Geena Davis Institute seems like the right move. The Geena Davis Institute, a non-profit research organization, has completed several significant studies that analyze how women are portrayed in movies and TV, down to how many lines of dialogue and how much screen time they have compared to their male counterparts, with the ultimate goal of creating equal representation for women in media.

Early reviews for The Last Duel have been mostly positive thus far, suggesting the film's feminist perspective and the work that went into ensuring that weighty issues like rape and systemic misogyny are dealt with appropriately have paid off. While some audiences criticize films for heavy-handed messaging or overt social commentary taking precedence over pure entertainment, perhaps The Last Duel is proof that the two values are not mutually exclusive. The film has not yet been officially released and has thus not been exposed to the general movie-going public. Still, it will be interesting to see where The Last Duel falls in Ridley Scott's legendary filmography and whether or not audiences will respond to the film's unique feminist perspective.

Nicole Holofcener, co-writer and producer of The Last Duel, discusses the film's feminist perspective and how she tackled the story's controversial subject matter. The film, directed by Ridley Scott and based on a 2004 book of the same name, tells the story of the last judicially recognized duel ever fought in France. The duel comes about after Marguerite (Jodie Comer) alleges that, while her husband Jean (Matt Damon) was away, Jacques (Adam Driver) raped her. The film explores each of the three main characters' unique points of view on the allegation that precipitated the titular "last duel" with the promise that, should Marguerite's husband lose the duel, she will be burned alive for spreading misinformation.

Holofcener is best known for her writing and directing work on smaller films, including Enough Said, Friends With Money, Can You Ever Forgive Me?, and Please Give. Outside of film, Holofcener is also experienced in TV directing, having directed episodes of Orange Is The New Black, Inside Amy Schumer, Unbreakable Kimmy Schmidt, and Parks and Recreation. The screenplay for The Last Duel was co-written by Ben Affleck, who also stars in the film, and Damon.

RELATED:Every Upcoming Adam Driver Movie

In a recent interview with Vanity Fair, Holofcener addresses the initial backlash to the announcement of The Last Duel and explains that, although the film was always written with a feminist perspective in mind, the production went to great lengths to ensure the heavy subject matter was dealt with appropriately. After the controversy started, the production worked with #MeToo groups and the Geena Davis Institute on Gender in Media to iron out some of the film's "tricky parts." Ultimately, Holofcener says, the film is about Marguerite and her struggles. Read Holofcener's full comment below:

"It’s a really sensitive time. I think people didn’t know the angle we were going to be coming from with this movie—that it actually is a very feminist movie. We immediately engaged some #MeToo groups and Geena Davis’s group to advise us, to listen to us. We listened to them; they saw screenings; they pointed out some tricky parts. We addressed them. We really wanted to get it right. We don’t want controversy. We just want people to watch this wonderful movie and be moved by it and be excited by it. It’s a huge sword-fight movie, but it does have, in the end, a really important story about this woman that we wanted to tell."

While some of the film's marketing may focus more on the medieval warfare aspects of the story, Holofcener's comments clarify that Marguerite's unique perspective and the allegations she makes are at the center of The Last Duel. Since the film deals with sensitive subject matter, engaging with #MeToo groups and the Geena Davis Institute seems like the right move. The Geena Davis Institute, a non-profit research organization, has completed several significant studies that analyze how women are portrayed in movies and TV, down to how many lines of dialogue and how much screen time they have compared to their male counterparts, with the ultimate goal of creating equal representation for women in media.

Early reviews for The Last Duel have been mostly positive thus far, suggesting the film's feminist perspective and the work that went into ensuring that weighty issues like rape and systemic misogyny are dealt with appropriately have paid off. While some audiences criticize films for heavy-handed messaging or overt social commentary taking precedence over pure entertainment, perhaps The Last Duel is proof that the two values are not mutually exclusive. The film has not yet been officially released and has thus not been exposed to the general movie-going public. Still, it will be interesting to see where The Last Duel falls in Ridley Scott's legendary filmography and whether or not audiences will respond to the film's unique feminist perspective.

Scream star Matthew Lillard believes that horror icon Wes Craven was miserable making the Scream sequels. Lillard appeared in the first film in the series as Stu, one of the movie’s two Ghostface killers, alongside Skeet Ulrich’s Billy Loomis. The Scream series is set to return to cinemas when the fifth installment hits theaters in January.

Scream redefined the horror genre when it debuted back in 1996. The Scream franchise’s original film played a major role not only in launching careers of actors like Neve Campbell and Matthew Lillard, but it also helped revitalize Wes Craven’s career and the slasher genre as a whole. A near-perfect dissection of slasher tropes, Scream’s success saw the release of three sequels, all of which pushed the franchise in new directions and provided commentary on the horror genre and Hollywood as a whole. Craven served as one of the guiding creative forces behind the series until his death in 2015, and the franchise will soon transfer to the hands of Ready or Not co-directors Matt Bettinelli-Olpin and Tyler Gillett for 2022’s Scream.

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Looking back on his time working with Wes Craven, Matthew Lillard thinks the director felt increasingly hamstrung by the pressure associated with the sequels. In a recent interview with Bloody Disgusting, the actor noted that Craven seemed the most at-ease while working on Scream due to the lack of pressure against the film and that each passing sequel brought new challenges to add more iconography to the genre. Lillard said:

I think that [Craven] loved [Scream]. I believe that he enjoyed that. There was no pressure on that movie to be something special. It ended up being something iconic, but at the moment, there wasn’t the pressure. I think the other three movies, certainly four now, must’ve felt [pressure] during the production, which is interesting. Right? I mean, he went from sort of this carefree moment to, by the end, I think he was miserable. I don’t think it was a secret. He was really miserable by the time he did four, in terms of the pressure to produce an iconic film.

At the time of Scream’s release, Wes Craven had arguably entered a somewhat fallow period in his career. Twelve years removed from the creation of Freddy Krueger and almost twenty years from the debut of The Hills Have Eyes, Craven arguably had far fewer expectations on him while making Scream than any other time in his career. Matthew Lillard appeared as Stu in Scream, but also had uncredited cameo roles in Scream 2 and Scream 3, and clearly seems to think that the pressure of the Scream sequels impacted Craven.

For all of the pressure that Wes Craven may or may not have felt during his time working on the Scream franchise, it’s worth remembering that he was largely successful in his endeavors. Though many fans do agree that the quality of the Scream films varies from movie to movie, the franchise has generally maintained a level of consistency not often seen in long-running horror franchises. That means Scream remains, pound for pound, one of the strongest and most consistent slasher franchises — with much of that success rooted in Wes Craven’s continued stewardship of the series and commitment to subversion. Now, with the 2022 iteration of Scream on the way, it’s a matter of waiting to see if the franchise can keep that trend alive.

X-Men comics writer Chris Claremont opens up about changes he would make to X-Men: Apocalypse and Dark Phoenix to fix the poorly received films. The sixth mainline installment in Fox's X-Men franchise acted as a sequel to 2014's X-Men: Days of Future Past, in which the worlds of the prequel and present day films were bridged together. The 2016 film would return the story to the past in 1983 as the ancient mutant En Sabah Nur, better known as Apocalypse, would accidentally be revived and enact plans to wipe out modern civilization.

Dark Phoenix would serve as a follow-up to X-Men: Apocalypse, with Sophie Turner's Jean Grey fully transforming into the titular being after it was first hinted at in the 2016 film. Hitting theaters in 2019, Dark Phoenix would serve as the seventh and final mainline installment in the X-Men franchise following the Disney-Fox merger as well as the worst-received entry. It would also become the second-lowest grossing installment behind the pandemic-era-released The New Mutants, only bringing in $252 million against a $200 million budget and losing the studio an estimated $133 million, effectively killing all sequel plans.

RELATED: Every Marvel Movie That Isn't Part Of The MCU

While attending this year's New York Comic-Con (via AIPT Comics), Claremont opened up about his ideas for changing X-Men: Apocalypse and Dark Phoenix to fix the films. The writer stated he would start by going back to X-Men: Days of Future Past to introduce Jean and Scott's daughter Rachel Summers, who would be portrayed by Sophie Turner, and would subsequently keep Apocalypse set in the present day with Patrick Stewart continuing the role of Charles Xavier and James McAvoy instead appearing as Charles' mental image. Famke Janssen's Jean would have nightmares of the Phoenix after having seen Logan's mind from the future in Days of Future Past, though the Phoenix flames would instead possess Rachel, leading to Apocalypse setting his sights on possessing Rachel's body.

Rachel would unleash the power of the Phoenix to destroy Apocalypse, though without any proper control it would also consume a star off in the galaxy, killing millions of beings, as happened in Claremont's iconic comic story. Dark Phoenix would see Rachel traumatized and under Jean's training, though wouldn't have much time to recover as the alien Shi'ar race would arrive seeking revenge for those killed in X-Men: Apocalypse. This would all culminate in a drastic event known as the Winchester Incident, a mysterious tragedy alluded to in Logan in which Xavier's debilitating health resulted in the death of hundreds, including the X-Men.

Claremont's ideas for how to fix the final X-Men mainline installments would have put the franchise back on a comics-accurate path as well as a more linear one audiences could follow easier. Setting the films in the present day rather than the past would have allowed for fewer plot holes than those created by the final products, namely the drastic age differences between the actors in Dark Phoenix and those of the original X-Men set just a decade later. Claremont's path would also offer a better path of character development for Phoenix and a subversion of expectations for comic book fans by focusing on Rachel rather than Jean.

The only flaw some fans will see in Claremont's more linear plan for X-Men: Apocalypse and Dark Phoenix is the ripple effect it would cause for other films in the franchise. Though it appears as if Logan would still eventually come to be in the franchise, Ryan Reynolds' Deadpool films would not be able to get away with the confusing timeline jokes in the same vein as they were, given the film largely existed outside any crystal clear one. With the X-Men property now in the hands of Marvel Studios, only time will tell if or how the Disney-owned studio elects to tackle Claremont's iconic storyline or address Fox's timelines as a third Deadpool film set in the Marvel Cinematic Universe is in the works with Reynolds returning.

The Many Saints of Newark's final shot was added much later during reshoots, according to the film's cinematographer, Kramer Morgenthau. Written by the original series creator David Chase and helmed by frequent director Alan Taylor, The Sopranos prequel film was released in theaters and on HBO Max on the first of the month. Though it underperformed at the box office, which is still recovering from the COVID-19 pandemic, Many Saints of Newark was huge streaming success that also resulted in a record-breaking spike in viewership for the series that inspired it.

Set decades before The Sopranos, Many Saints follows a young Tony Soprano (Michael Gandolfini) and his mobster mentor, Dickie Moltisanti (Alessandro Nivola). The prequel film also brings back Livia (Vera Farmiga), Johnny Boy (Jon Bernthal), Junior (Corey Stoll), Paulie (Billy Magnussen), and Silvio (John Magaro), all characters who were introduced in The Sopranos and now played by younger actors. Frequent mob movie star, Ray Liotta, turns heads in a dual role as Hollywood Dick and Sally Moltisanti, along with Leslie Odom Jr. as Harold McBrayer, the film's primary antagonist.

RELATED:Many Saints Of Newark: Dickie's Uncle Sal Isn't Real - Theory Explained

Now, in an exclusive from SlashFilm, cinematographer Kramer Morgenthau reveals that The Many Saints of Newark's final shot was actually added much later during reshoots. Morgenthau explains that the final scene was originally shot on location at a real funeral home, but then almost a year later, they decided to add the pinky swear, which was then filmed on a sound stage against a green screen. Read Morgenthau's explanation below:

It was added almost a year later. Due to global pandemics and things like that, it was much, much later. The conversations about the mood and the lighting were established already in the first shoot, so we're rebuilding it for the reshoot. And it's a funeral home and it had a very Gordon Willis Godfather-y minimalist single source vibe. Once Alan saw what I was doing, that was end of conversation. It was build an atmosphere where it's a mob funeral in New Jersey in 1967. Go press that button and build that, come on. Make it happen. It was just instinctual, and it was a location, a real funeral home that we shot at originally. And then, the pinky rebuild was against green screen on a sound stage.

Since Dickie's murder was mentioned numerous times throughout The Sopranos, it wasn't surprising that fans got to see it unfold in Many Saints, though the manner in which it happened certainly was. The film's final scene takes place at his funeral ,and as Tony is viewing his body, he imagines Dickie raising his hand up for one last pinky swear, a callback to an earlier moment which takes on greater significance as his place in the DiMeo crime family is solidified.

It would be difficult to know this final shot was filmed entirely in front of a green screen just by looking at it, a testament to Taylor, Morgenthau, and the VFX team's work. It would also be difficult to imagine the ending if the pinky swear wasn't added later on, as it acts as a brilliant bookend to The Many Saints of Newark. Furthermore, it also leaves the door open for a Many Saints sequel if Chase decides to go that route, though he is very protective of The Sopranos property.

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