Monday, November 2, 2026

Tokyo: ‘Diamond Diplomacy’ Doc Tracks the History of Baseball in Japan and Its Impact on U.S. Relations

By leveraging the shared fervor for baseball as a singular lens, Diamond Diplomacy meticulously traces the arc of 150 years in Japan-US relations, seamlessly integrating the chronicle of Japanese yakyu with profound examinations of history, geopolitics, and race.

Directed by Yuriko Gamo Romer, a Tokyo native who was raised in the United States, this documentary chronicles baseball's 1872 introduction to Japan by an American educator, its subsequent assimilation into the national school system, and the evolution of professional leagues that eventually facilitated the migration of Japanese athletes to major league circuits.

The narrative encompasses Babe Ruth's tours of Japan—an endeavor often credited, though perhaps hyperbolically, with averting war between the United States and Japan—as well as the sport's profound significance to Japanese-Americans, culminating in the unparalleled superstar status of Shohei Ohtani.

Romter remarked during a screening preceding the film's official debut at the Tokyo International Film Festival that Major League Baseball officials had credited him with impeccable timing, noting he captured the project precisely when Shohei Ohtani's ascent to prominence began.

"However, this was merely a coincidence," he clarified."I commenced my research into this subject twelve years ago, and the endeavor required years of both generating income and securing additional funding to bring the project to fruition."

Securing a $600,000 grant from the National Endowment for the Humanities, the project faced an abrupt financial collapse when more than half of those funds were rescinded in April 2025 due to the sudden implementation of drastic DOGE budget reductions.

The film's completion was subsequently made possible only through the intervention of former American diplomat Glen S.Fukushima, who provided a $300,000 contribution to bridge the funding gap.

Among the documentary's featured commentators is Robert Whiting, an author whose works significantly brought the distinct nuances of baseball in Japan to international attention.

As Whiting observes in the film, Japanese baseball predates judo; he further posits that the sport's development was profoundly shaped by perfectionist methodologies and obsessive mentalities borrowed from martial arts traditions.

Masanori "Mashi" Murakami holds the distinction of being the inaugural Japanese-born athlete to compete in Major League Baseball, a historic milestone in sports history.

Archival footage from Babe Ruth's 1934 tour captures the fervor of massive crowds gathered to witness an all-star American League squad competing alongside Japanese athletes, a display of camaraderie occurring just before escalating political frictions would ignite into full-scale war.

It is recounted that upon learning of the attack on Pearl Harbor, Ruth discarded all his Japanese memorabilia by throwing them from his apartment window.

In her earlier documentary, *Baseball Behind Barbed Wire*, Romer chronicled the resilience of Japanese-Americans who competed within the confines of World War II internment camps; she revisits these historical events in her latest film while also examining baseball's pivotal role as a shield against the prejudice that persisted in the postwar era.

Diamond Diplomacy further recounts the tours undertaken by Negro League teams to Japan, where the athletes frequently encountered treatment that surpassed the respect afforded to them domestically.

Their Japanese hosts extolled the players' respectfulness, humility, and sportsmanship, qualities they stood in stark contrast to the perceived arrogance often exhibited by visiting white teams.

Masanori "Mashi" Murakami, the pioneering Japanese Major League Baseball player who broke the age barrier at just 19, serves as the central figure of this film.

His historic debut with the San Francisco Giants occurred in September 1964 against the New York Mets at Shea Stadium, where he had the opportunity to play alongside baseball legends such as Willie Mays.

In the film, Murakami recounts his habit of whistling the melody of "Sukiyaki," a chart-topping sensation that also served as the opening selection for this year's Tokyo event, a practice he employed to soothe his nerves prior to competitions.

Following the screening, Murakami reflected that his aspiration to pursue a career in the United States stemmed not from an ambition to play in the major leagues, but rather from his profound affection for the cowboy drama *Rawhide*, which had become a monumental phenomenon in Japan.

Reflecting on an incident in San Francisco, Murakami, his voice trembling with emotion, recalled a moment that would test his resolve: an umpire's egregiously erroneous ruling on a pitch that was undeniably a strike.

Consumed by anger, he hurled the ball onto the ground, prompting a tense standoff between himself and the official.Yet, the following evening, while dining at a Japanese restaurant, the chef approached him, clasping his hand in a gesture of profound approval for his conduct.Initially bewildered by this display of admiration, Murakami soon realized the chef's sentiment was rooted in a post-war cultural imperative where Japanese individuals felt compelled to exhibit subservience toward Americans; thus, the chef expressed immense pride in witnessing Murakami assert his own dignity.

The documentary further examines American athletes who transitioned to Japanese professional leagues, highlighting the profound challenges faced by certain individuals as they adapted to grueling training protocols and divergent cultural norms.

Strand Releasing has acquired the North American distribution rights to *Diamond Diplomacy*, while Wondergenic has secured the rights for the Japanese market.

‘The Gilded Age’ Bosses Break Down Season 4 Premiere’s Messy Hookup and the Russells’ Tricky Road Ahead

As "The Gilded Age" resumes its saga of high-society tumult, the latest installment unfolds against a backdrop of a strategic matrimonial alliance, a catastrophic tropical cyclone, and the looming threat of financial and social ruin for several key figures.


The fourth season's premiere, titled "Ring the Bells," brought back the sprawling cast of this narrative set against the opulent backdrop of 1880s New York City, introducing numerous new dynamics and significant twists to prefigure the ensuing chaos.

This unfolding drama commenced with the wedding of Oscar van Rhijn (Blake Ritson) and Enid Winterton (née Turner) (Kelley Curran), an event that solidified their platonic alliance; through this union, he leveraged his social standing while she utilized her resources, enabling the pair to ascend the city's rigid hierarchy and dictate their own terms.


As co-showrunner Sonja Warfield explained to TheWrap, the production team prefers to commence episodes with expansive set pieces that reintroduce the entire ensemble, effectively recalibrating the narrative for the audience.

Leveraging the historical occurrence of a tropical storm coinciding with this period, they strategically employed this meteorological event to amplify both the dramatic tension and the overarching stakes of the storyline.


Consequently, the nuptials precipitated numerous strains that are certain to resonate throughout the season.

While the union appeared a prudent alignment for the newlyweds, grounded in their reciprocal embrace of one another's aspirations, the trajectory shifted when Oscar declined Enid's proposition to consummate their marriage with the explicit aim of securing an heir; this refusal signaled the initial fissures in their otherwise masterfully constructed scheme.Compounding this discord was the revelation that Agnes (Christine Baranski), the groom's mother, discovered her new daughter-in-law had formerly served as a lady's maid.


Series creator Julian Fellowes remarked to TheWrap that the narrative arc of Oscar and Enid serves as a poignant exemplar of the rigid constraints under which they lived—circumstances we are fortunately spared from.

He further expressed admiration for individuals possessing the fortitude to fundamentally reshape their own trajectories, asserting a defiant preference for a life they actively choose to embrace rather than one dictated by external forces.


The most surprising development of the finale involved Marian Brook, portrayed by Louisa Jacobson, and Larry Russell, played by Harry Richardson, the couple whose relationship had long oscillated between reconciliation and separation.

Although they seemed poised to definitively reunite, Marian's commitment was abruptly undermined by renewed anxieties regarding social propriety.


Following the conclusion of a somber reception held in the city center, Marian and Larry discovered themselves adrift after their carriage, compromised by the tempest, could no longer convey them home.

Consequently, they were compelled to seek shelter at a hotel, initially adhering to the rigid dictates of societal propriety by securing separate accommodations.Yet, the chasm between them bridged swiftly when Larry rapped upon Marian's door, and the estranged former fiancés resumed their union, consummating their relationship for the first time.Although the night bore the hallmarks of romance, Marian awoke the following dawn burdened by a profound sense of shame, acutely aware that, within the confines of high society, an unmarried woman's loss of virtue could precipitate the total forfeiture of her standing.

As Fellowes remarked, the production aimed to demonstrate that our ostensibly permissive society was not invariably so, emphasizing the value of recalling the perils that once confronted us, dangers which we are fortunate no longer face.


In the HBO series *The Gilded Age*, the characters of Harry Richardson and Louisa Jacobson are portrayed.

Warfield remarked that Louisa performs her duties with exceptional competence, noting that upon her return in the morning, the perspective shifts through the eyes of Ada (portrayed by Cynthia Nixon) and Agnes, who express relief that she chose to return via carriage alone.

They articulate their concern by stating, "It is fortunate you did not venture out with him; we could not even tolerate the faintest suggestion of impropriety arising from your being out with him," Warfield continued.


Amid the festivities of the wedding, both Ada and Agnes were informed that the New York Heritage Society had appointed Agnes to host President Grover Cleveland at their residence, a decision that inevitably sowed discord between the sisters, given that Ada would be compelled to underwrite the extravagance of the event.

Furthermore, it must be noted that the Van Rhijn household remains in pursuit of a new footman.


Warfield described the season as a volatile roller coaster, noting that the outcome of this particular dinner remains to be seen, while offering high praise for comedian Jim Gaffigan, who is set to assume the role of president later in the campaign.

Christine Baranski and Cynthia Nixon in The Gilded Age. (HBO)

According to Fellowes, Agnes and Ada are currently adapting to the restructuring of their power dynamics.

He further noted that Agnes's resilience depends on her being granted an autonomous domain for performance.

However, she cannot simply abdicate her influence entirely and recede into obscurity while Ada ascends to the throne; consequently, their relationship necessitates a dynamic interplay of negotiation as much as open confrontation.

They must meticulously recalibrate their respective roles within this shifting power structure.

Our previous encounter with George (Morgan Spector) and Bertha Russell (Carrie Coon) occurred across the street, depicting their divergent paths following a recent gunshot wound to George, which precipitated his decision to sever ties with his wife after she engineered the marriage of their daughter, Gladys (Taissa Farmiga), to the Duke of Buckingham (Ben Lamb).

The narrative resumed with the couple estranged.

George was grappling with President Cleveland's escalating advocacy for anti-monopoly legislation, a development that imperiled his commercial empire, even as he pursued the identity of the assailant who had shot him.Meanwhile, Bertha had traveled to England, where she attended to Gladys during the birth of her son; however, complications arising from the delivery rendered any future pregnancies impossible for Gladys.


Warfield and Fellowes observed that although the arrival of a grandchild would undoubtedly infuse the family with joy, the challenges lying ahead would prove arduous to navigate.


As Warfield observed, a formidable array of obstacles confronts the situation, pushing George's business to the precipice and leaving his marriage equally on the brink of collapse, while George himself endures significant suffering.

Fellowes emphasized that while George and Bertha remain inherently well-suited as a couple, it is imperative never to overlook the inevitable fluctuations inherent in any marriage.

Furthermore, we must not overlook the forthcoming nuptials of Peggy (Denée Benton) and Dr.

Kirkland (Jordan Donica), which are poised to unfold later in the season.As "The Gilded Age" embarks on its second installment, a wealth of narrative developments awaits, promising further engagement for viewers.

The series "The Gilded Age" is scheduled to broadcast on Sundays via HBO and HBO Max.

China Box Office: ‘Resident Evil’ Holds Top Spot for Fourth Straight Frame as 2014’s ‘John Wick’ Debuts in Third

 According to figures from Artisan Gateway, Constantin Film and Sony Pictures' horror reboot "Resident Evil" maintained its dominance at the box office in mainland China for a fourth successive weekend, securing the number one spot.During the October 30–November 1 reporting period, the film accumulated RMB28.5 million (approximately $4.3 million) in gross revenue.

Since its debut on October 5 within the Golden Week period, the video game adaptation has accumulated a total revenue of $71.3 million.

New Classics Pictures' crime procedural "Traces of Justice" secured its second-place position, generating $3.9 million during its fifth weekend.

This period investigation epic, helmed by Chen Sicheng (known for "Detective Chinatown") and co-written by Zhang Ji and Yan Zijie, has amassed a cumulative gross of $98.5 million since its October 1 release.Featuring Zhang Yi, Ma Li, and Chen Minghao in leading roles alongside guest performances from Karry Wang, Fan Chengcheng, and Chen Feiyu, the film spans multiple decades and chronicles an elite public security detective as he unravels intricate historical cases rooted in true events.


Lionsgate's action thriller *John Wick* secured the third spot in the rankings, generating $2.3 million during its three-day opening weekend, twelve years following its initial global launch in 2014.

The distribution rights were originally managed by China Film Group, which informed the film's initial rights holder, Huayi Bros., in 2014 that the movie's graphic violence rendered it unsuitable for the Chinese market; consequently, regulatory authorities formally rejected the film in 2015.Furthermore, Keanu Reeves' involvement was subsequently withdrawn from Chinese streaming services after his participation in a 2022 benefit concert organized by Tibet House U.S.While *John Wick: Chapter 4* and its spinoff *Ballerina* finally arrived in Chinese theaters in 2025, neither *Chapter 2* nor *Chapter 3* have yet been permitted for release in the country.

Beijing Joy Fun Pictures' family-oriented comedy "Mr.

& Mrs.Pardon" ascended to the fourth position, securing $2 million in box office revenue over the weekend and elevating its cumulative gross to $59 million.Directed by Shen Chunyang and penned by Ma Duo, this satirical feature brings together the real-life comedic duo of Shen Chunyang and Xiao Shenyang, alongside Jia Bing and Yu Yang, in the portrayal of a quarrelsome middle-aged couple compelled to confront the complexities of marriage and domestic discord following a physical exchange of bodies.

Dirty Monkeys' war comedy-drama, "Once Upon a Time in the Middle East," secured its position within the top five for its twelfth consecutive weekend at the box office, generating $900,000 in revenue.

Under the direction of Wen Muye, known for "Dying to Survive," and featuring an ensemble cast including Shen Teng, Jiang Qiming, Aarif Rahman, and Omar Sherif, this resilient summer blockbuster has accumulated a cumulative total of $356.9 million since its premiere on August 11.

Mainland China's weekend box office revenue plummeted to $18.2 million, reflecting the market's stagnation within a subdued post-holiday autumnal trajectory.

Cumulative figures for 2026 have now totaled $4.73 billion, representing a precipitous 29.0% decline when compared to the corresponding period in 2025.

Sunday, November 1, 2026

Tovah Feldshuh Shuts Down ‘Nobody Wants This’ Cast Tension Rumors Amid Adam Brody “Free Palestine” Support


Regarding the production of *Nobody Wants This*, actress Tovah Feldshuh has firmly rejected reports suggesting escalating discord within the ensemble following remarks by Adam Brody expressing his support for "a free Palestine."

In her response to a Threads post by AzatTV alleging that tensions were emerging on the set of the Netflix series *Nobody Wants This*, she clarified that while profound differences of opinion exist, actual tensions are not rising.
She emphasized the necessity of distinguishing between these two concepts and assured that none of the discord would be brought to the set.

Feldshuh further remarked, "I derive profound satisfaction from filming [Nobody Wants This] and harbor the aspiration that our endeavor be selected for a fourth season."

In an interview with GQ, Brody stated unequivocally regarding the war in Gaza, "I stand by the position that this is a Genocide.
I also stand by the conviction that a free Palestine must be achieved." He further remarked, "While it is profoundly distressing that such an immense toll of death and suffering has been endured, the situation undeniably feels as though it has arrived at a breaking point that should have been acknowledged long ago."

Feldshuh, who portrays the mother of Brody's character Noah in the Netflix series, addressed the actor's remarks to The New York Post, stating, "To accuse the Jewish people of Genocide is wild." She further elaborated, "It is a tactic straight out of Hitler's playbook; you take the victim and invert their narrative to cast them as the perpetrator."

When questioned by the Post regarding whether accusations of Genocide carry greater weight when voiced by members of the Jewish community themselves, the actress affirmed that such statements indeed make a difference to the community.


Feldshuh asserted that the continued existence of the State of Israel is indispensable to the prosperity of both the democratic and free worlds.
He emphasized the reciprocal nature of this relationship, stating that while Israel undoubtedly requires the United States, the United States equally depends on Israel.

As stated to the outlet, Feldshuh remarked, "Whether in the role of Bina or Tovah, my vocation demands that I cherish the individuals working on set and extend kindness to them."

She further remarked, "Amidst the rising tide of global antisemitism, I feel profound honor and privilege in being cast as a Jewish matriarch; I am exhilarated and deeply proud, sentiments that shall endure unchanged."

Erin Foster, the creator of *Nobody Wants This*, has responded to Brody's remarks by describing the situation as complex on the *Not Skinny But Not Fat* podcast.

According to Foster, our working environment functions much like dining tables across the globe, serving as venues for spirited debate, thoughtful discussion, and constructive disagreement.
He noted that while he holds affection for Adam, their occasional discord is entirely acceptable.

She further remarked, "As the show's creator, my sole objective is to assure our Jewish audience that they are seen, heard, and that their sentiments are fully comprehended." She emphasized that the series has consistently functioned, and will perpetually function, as a tribute to Judaism, a purpose that drove its inception.
This commitment stems from the profound joy she experienced in embracing the Jewish faith and living as a Jewish individual.It is particularly vital to introduce such representation in the current global climate, where the depiction of Jewish people is virtually nonexistent.

Nevertheless, I acknowledge that others are entitled to divergent perspectives; I have merely articulated the genesis of this series and its underlying intent, as Foster concluded.

Friday, October 30, 2026

‘American Horror Story 13’ Finale Recap: Who Won, the Witches or the Devil?

 "American Horror Story: 13" ended with a big fight between the witches and the devil, ending in a quiet way that still had some wild surprises.


This long-awaited season brought back favorite characters from the FX series, including all of Jessica Lange's roles from the first four seasons.

The story centered on Satan (Paul Anthony Kelly) and his team trying to finish a deal with God that would let him take over the world through his son Ben (Joey Pollari).The witches, led by Cordelia Goode (Sarah Paulson) and the rising leader Mallory (Billie Lourd), were trying to stop him.But the final episode, titled "Devil of a Good Time," showed that the real challenge was Satan himself.


Here are the key moments from the finale.

The episode before the last one ended with Mr.

Phibes (John Waters) and the Rubber Man killing Cordelia and Queenie, making it look like the witches had no chance left.The finale started with a group of bad guys at Satan's New York penthouse, where Phibes planned to use them as final sacrifices to decide Earth's future.


Phibes gave the criminals cookies with meth to kill them, but Satan showed up and stopped the plan.

He had saved one of the men from death, which prevented him from completing the bet with only one kill left.Phibes was upset but Satan promised he would get what he wanted in hell before killing him.


The action then moved to hell, where Cordelia was working at a shelter with assistant Nan (Jamie Brewer).

Before she killed another puppy, Satan showed up and helped her.She refused to join him, saying she'd rather be miserable forever than bow to him.Impressed by her courage, Satan took them back to New York for a chat in a park.


Satan told Cordelia that winning the bet meant giving up what he loved about being the devil — the temptation of people to do bad.

Without that, being evil wouldn't be fun.He said, "You can keep your Earth.I don't want it anymore." 


Light, dark and a baby

Even though he gave up Earth, Satan claimed he'd won the game, saying Cordelia's latest resurrection was his doing.

Cordelia refused to give up and vowed to find a way to end his life, calling it like killing a metaphor.


Satan revealed Cordelia was his granddaughter, and said he'd enjoy watching her struggle with her own dark side.

He offered her the keys to his penthouse, calling it her inheritance.He warned her to stay alert, because he could come back anytime.


Cordelia then met Queenie, who Ben had saved from hell again.

Cordelia shared the outcome of the battle, trying to calm Queenie's fears, saying the danger was over.But Mallory cast a spell to stop the devil for good, and disappeared before Cordelia could stop her.


In New Orleans, Ben and Madison (Emma Roberts) were together during the chaos, but Ben realized the condom had broken.

Madison started feeling bad and her stomach grew — she was pregnant and about to give birth.


The baby was born unconscious, and Satan appeared and brought her back to life.

He praised his son and the witch for creating a beautiful baby girl.He said, "This baby has star power."


A close-up shot of a blonde woman with straight, smooth hair, dark eyeliner, and orange lipstick.

She is wearing a black top with a high collar and is looking up with a serious face.

Read Next  

Emma Roberts Reflects on Madison's Return in 'American Horror Story' Season 13  

Final showdown(?)

Some time passed, and Cordelia wrote a letter to Mallory revealing that the Coven moved to New York, using a penthouse as their main base.

Fiona (Lange) and Constance (Lange) stayed in New Orleans, working on their magic and helping teach the next generation of witches.The rest of them worked to combine the powers of light and dark into a new magical order, which allowed new witches to appear all over the world.

"Every day I pray you come home," Paulson wrote to the younger Supreme.

Soon after, Cordelia cast a spell to bring Mallory back, and she arrived with good news.

Mallory had been in the Salem witch trials period, stopping a massacre and helping the witches get justice.

She also found out about an old spell that could end the devil forever.This spell was famously used by the aristocrat Dorian Gray to move his soul into a painting to avoid aging.However, the spell needed a huge sacrifice from an unwilling person to work.

The witches called Ben in, and he was still shining because he had just become a father.They told him that to trap his father, he had to give his life.They explained that before him, there had been 12 other Antichrists — some big names like Napoleon Bonaparte, Hitler, and Mussolini — whose bodies had been taken and ruined earlier in the season.But Ben, as the 13th Antichrist, was the strongest, and his death would lock his father's fate forever.


Ben was very sad and tried to argue for a different way, but in the end, he accepted what had to happen — after Cordelia told him that Madison would be proud of his choice.

Just in time, Satan showed up again, curious about what his family was up to.Cordelia and Mallory quickly tied Ben down to a couch in the penthouse's big hall — the one with a real copy of Da Vinci's "The Last Supper."


Ben used a serious-looking dagger to cut himself, and right away, he turned into dust.

This gave the two Supremes enough power to team up and trap the devil's soul inside the famous painting.They changed him with Judas in "The Last Supper," making him stay as the 13th person at the table forever.Mallory seemed to understand that the coven would now have to watch the painting for the rest of their lives, but Cordelia said they wouldn't need to.Evil might be gone for good.


But it wasn't that simple.

The final scenes at the penthouse showed dust from Ben’s body rising and going into a nearby fireplace.After all, evil is never really gone.The season ended back in hell, where Mr.Phibes enjoyed his own personal punishment — directing a scene from a smut film that would never work.


He says with a laugh, "I could do this forever," as the credits roll.

See you next season, maybe!


"American Horror Story: 13" is now streaming on Hulu.

The King of Cannabis Movie

The King of Cannabis

The King of Cannabis Movie poster

2026 | 2h 10m

Genre: Action

Director

Sixx King

Writer

Sixx King

Stars

Luis Guzmán

Alimi Ballard

Charles Malik Whitfield


Producers

Ebony Burns

producer

Sixx King

producer

Kevin Weisberg

co-executive producer

Composer

Sixx King

composer

Cinematographer

Roland Smith

Editor

Sixx King

editor

Casting Director

Nina Roland

Costume Designer

Tommy Hilfiger

designer

Release date
October 30, 2026 (United States)

Country of origin
United States

Filming locations
Miami Florida, USA

Production company
Sixx Degrees Media L.L.C.

The Canvas Movie

The Canvas Movie 2026 Poster

The Canvas

2026 | 1h 20m

Genre: Horror

Director
John Real

Writers
Adriana Marzagalli
John Real

Cast
Angus Macfadyen
John Real
Nicolette McKeown

Producers
Adriana Marzagalli
producer
John Real
producer
Rossella Di Bella
executive producer
Emanuele Leone
line producer

Composer
Francesco Marchetti
music composed by

Cinematographer
John Real

Set Decorators
Maria Marzagalli
set decorator
Salvatore Ragonesi
decorator

Costume Designer
Guendalina Finocchiaro
costume designer

Camera and Electrical Department
Giuseppe Di Blasi
camera operator
Simone Logozzo
assistant camera
Alessio Tomarchio
camera operator

Release date
October 30, 2026 (United States)

Countries of origin
United States
Italy

Language
English

Production companies
Real Dreams Entertainment
Cinematica Service