American screenwriter, playwright, filmmaker known for fast dialogue and walk-and-talk style
Ali G returns in a new Amazon MGM film, Ali G: Who Iz I?, with Cohen pranking real people. The project faces criticism over the character’s cultural resonance, while audiences prepare for a release on October 23.
At TIFF 2026, studios are bypassing fall festivals while markets expand. Major releases skip screenings, while the market and Red Sea Fund-backed projects push Toronto as a hub for sales and international partnerships. TIFF’s evolving role mirrors a broader shift in how studios reach audiences and win awards amid a crowded fall slate.
Meta has launched Muse, an AI agent that can autonomously send emails, book travel and act across apps. The tool is available in the U.S. via a Muse app and WhatsApp, with free and paid tiers. Internal testers have reported mixed results and security concerns even as Meta highlights virtual-machine safeguards and opt-out training options.
The Guardian and The Scotsman critique Aaron Sorkin’s sequel to The Social Network, The Social Reckoning, with Jeremy Strong’s Zuckerberg cast as a calculating, isolated figure. Frances Haugen and Jeff Horwitz drive the whistleblower narrative, while the film channels Sorkin’s signature dialogue and addresses algorithm-driven harms and Capitol riot echoes.
Documentaries and biopics exploring tech leaders are reshaping the fall box office. Openers on Musk and Holmes have drawn attention even as openings vary, with competing narratives about industry power and accountability.
Netflix has announced significant leadership changes and a major round of layoffs as it grapples with slowing engagement and fierce competition. The company has replaced Bela Bajaria with Peter Rice and is restructuring its film unit, while still pursuing a streaming-first strategy and exploring limited theatrical windows for certain titles.
A new documentary about Elizabeth Holmes, You Can See Everything, has opened strongly, blending true-crime tension with media ethics. Viewers are exploring Holmes’s claims, her relationship with Billy Evans, and the documentary’s approach to truth as Fielder and Oppenheim shape two connected films.
The Guardian, Business Insider UK and The Guardian have covered the avant-garde documentary You Can See Everything, which follows Elizabeth Holmes before her 11-year fraud sentence. The film juxtaposes a tense interview dynamic with a broader meditation on truth and manipulation in the age of media spectacle.