1990 was an unusually big year for crime movies. There are crime films that come out every year, sure, but there was one of the best of all time in 1990: Goodfellas, plus a bunch of other notable ones. Sure, The Godfather Part III wasn’t as good as either of the first two, but it’s still not as bad as some people make it out to be. Then, there was Miller’s Crossing, which has always been an underrated Coen Brothers film, Dick Tracy (which is more of a comedic crime movie), and John Woo’s Bullet in the Head, which gets unfairly buried between The Killer (1989) and Hard Boiled (1992), despite being almost just as good.

So, it was a crowded scene. And in that scene, there was also King of New York, which might well be the most underrated of the bunch, even if it’s not entirely obscure, as it’s become something of a cult classic (or, at least, the kind of movie that’s viewed more favorably nowadays than it was back when it first came out). It’s a take on Robin Hood, but with a gangster in then-contemporary New York City, and it stands as perhaps the best and most approachable movie in Abel Ferrara’s filmography. He’s a sometimes challenging director, and sure, King of New York is a little offbeat, and maybe not for everyone, yet is still worth giving a shot if you’re generally a fan of gangster thrillers.

The Plot of ‘King of New York’

Image via Carolco Pictures

The Robin Hood comparison is fair, honestly. Frank White (Christopher Walken) is that 20th-century Robin Hood, and he’s a powerful crime lord who’s just been released from prison, and he sets his sights on going legitimate. However, before he does that, he also wants to tie up loose ends within the world of crime he formerly operated in, and so that involves going around and taking down his competitors. Then, there are plans to donate the money he’s made through illegitimate means to those who are downtrodden.

In that sense, King of New York is also about redemption, but it explores this tension between doing violent things and possibly still being a net good for society at the same time. There’s certainly stuff to think about here alongside the more visceral and intense moments offered by King of New York. It also utilizes the titular city incredibly well throughout, with the gritty narrative feeling more believable because of how well the movie’s world is fleshed out within a single film. Therein lies a potential comparison to Goodfellas, and the movies of Martin Scorsese, since he’s another director who likes setting plenty of his films in New York (Goodfellas, of course, included).

What ‘King of New York’ Offers as a Gangster Movie

If you’re even a little familiar with Abel Ferrara, you’re probably aware that he tends to make dark and despairing movies, and he’s also not shy about pushing boundaries. So, that goes some way toward explaining why King of New York is as gritty and downbeat as it is. It’s not sugar-coated, feeling dark even by the standards of the gangster genre, and it was even originally rated X, in the U.S., before an appeal successfully got its rating back down to an R (this was right before the introduction of the NC-17 rating, as that happened in 1990, too).

There’s a guy who has a violent past, and his present is also quite dominated by violence, given what he wants to do when he’s fresh out of prison, but he seems to be up against forces that are morally worse than him. And then the fact that many of his adversaries are technically on the “right” side of the law makes things interesting, since King of New York showcases the extreme lengths police can go to when trying to take down violent criminals. There’s an antihero who wants to use his influence (that he got from being a criminal) to do some good, a police force that’s driven to fight fire with fire, and then other criminals who are far more ruthless than either of those other two sides, being the guys the antihero wants to take down. It all gets violent, more than a bit messy, and consistently morally interesting, more than sustaining a film’s worth of conflict.

‘King of New York’ Has One of Christopher Walken’s Very Best Performances

Image via New Line Cinema

Also, at the end of the day, King of New York is incredibly valuable for being one of those rare movies where Christopher Walken gets to be the unambiguous main character. He tends to be the sort of actor who shows up in supporting roles, stealing scenes, or sometimes really only stealing one scene (see Pulp Fiction). He’s an all-time great supporting actor for this reason, but King of New York is a great showcase for his ability to also be a surprisingly strong leading man. His performance here is also a little different from the kinds he’s more famous for giving, since it’s more understated, and the film’s general grimness means he’s by no stretch of the imagination doing anything quirky on screen.

There’s a strong supporting cast here, too, as the likes of Laurence Fishburne, David Caruso, Wesley Snipes, Giancarlo Esposito, and Steve Buscemi all show up throughout King of New York, too. It’s an easy enough movie to watch nowadays, too, since it can be streamed on Amazon Prime (for now, maybe not forever). If you’re a fan of Christopher Walken, or in the mood for something a little offbeat and underrated, as far as gangster/crime/thriller movies go, then King of New York is certainly worth a shot.

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King of New York

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Release Date

July 18, 1990

Runtime

103 minutes

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Director

Abel Ferrara

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Writers

Nicholas St. John

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What do a comedian, a fashion entrepreneur, a podcast star, a pair of celebrity chefs, and a room full of creators have in common? At Chronicle‘s “Emerging Icons at Tribeca” celebration, they all found themselves under the same roof.

Held during Tribeca Festival‘s 25th anniversary festivities, the event brought together a collection of personalities whose careers likely wouldn’t have existed in the same way a decade ago. Some built audiences through comedy sketches. Others through podcasts, social media, fashion brands or food content. Together, they represented a new generation of influence that is reshaping the entertainment business.

Among those attending were comedian Delaney Rowe, media personality Tinx, creator and interviewer Davis Burleson, fashion entrepreneur Jessica Wang and celebrity chefs Clinton Kelly and Michael Symon, stars of “Chewed Up.” While their backgrounds differ, they all share one thing: direct connections with audiences who follow them across multiple platforms.

That’s part of what made the gathering feel different from a traditional Hollywood event.

The Red Carpet Reflected Entertainment’s Changing Landscape

The event’s guest list was not the only thing signaling a shift in entertainment, but the fashion reflected it, too. Guests arrived in everything from sleek black eveningwear to bold, fashion-forward statement looks, creating an atmosphere that felt somewhere between a Hollywood premiere, creator summit, and fashion event.

Unlike traditional red carpets centered solely around actors or studio-backed celebrities, Chronicle’s gathering highlighted personalities who built influence across industries. Some arrived as creators-turned-entrepreneurs, while others balanced careers spanning television, fashion, podcasting, food media and brand partnerships.

The result was a crowd that looked less like old Hollywood and more like a snapshot of where entertainment is headed.

How The Creator Economy Is Reshaping Celebrity

The lines separating celebrities, entrepreneurs and creators have become increasingly blurred. Today’s most recognizable personalities aren’t necessarily discovered through television networks or movie studios. Many build audiences independently before expanding into podcasts, live events, products, books, television projects and businesses of their own.

That evolution is exactly why Chronicle has become a growing name in creator circles. Founded by Aaron Sisto, Scott Greenberg and Ollie Lewis, the company works at the intersection of technology, media and audience growth, helping creators and brands better understand how people engage with content online.

Throughout the evening, conversations weren’t centered solely on movies or television. Guests discussed brand launches, content strategies, audience trends and emerging opportunities across digital media. It reflected an industry where influence increasingly travels between platforms rather than living on just one.

Speaking about the growing role of AI in Hollywood, Chronicle co-founder and CEO Aaron Sisto pushed back on the idea that technology alone will replace traditional storytelling.

“I hear a lot of folks in San Francisco talking about AI as a way to disrupt traditional Hollywood,” Sisto explained. “That’s sort of the mentality up here – the idea that the next Pixar is going to be completely AI automated top to bottom. But after being in this world, investing in it and seeing the technology, I don’t buy it.”

Instead, Sisto argued the entertainment industry’s biggest problem is not necessarily creating content, but getting it in front of the right people. “Content isn’t actually the pain point or the bottleneck,” he said. “It’s marketing and distribution.”

According to Sisto, audiences no longer live exclusively inside traditional studio ecosystems, making discoverability one of the biggest shifts in modern media. “Audiences now live in completely different places,” he explained. “They live on these social platforms that the studios don’t control, and because of that, the studios are no longer the gatekeepers. The platforms and algorithms are.”

Why The Future Of Entertainment May Already Be Here

In many ways, the recent event felt less like a party and more like a glimpse into where entertainment is headed. The creators in attendance aren’t waiting for gatekeepers to decide who gets a platform. They’ve already built their own.

And if the crowd at Chronicle’s Tribeca gathering was any indication, the next chapter of entertainment may belong to people who started with nothing more than a camera, an idea, and an internet connection.

By TeeJay Small
| Updated 30 seconds ago

If you’ve got your finger on the pulse of the latest comedy outings, you’ve probably already seen trailers for Focker-In-Law. The film, which stars Ben Stiller, Robert De Niro, and Ariana Grande, is the fourth entrant into the Meet The Parents franchise, which launched all the way back in the year 2000. The original Meet The Parents is an iconic comedy which still holds up to this day, and the 2004 follow-up Meet The Fockers is a fun, quirky film that has some solid moments. 

Unfortunately, the fun sort of stopped in 2010 when Stiller and De Niro reunited for a third time with Little Fockers. This movie is a pale replica of its predecessors, offering little more than a tepid retread of jokes that were funnier the first time around. Despite the film being a bit of a slog, and Ben Stiller literally assuring fans that they don’t need to rewatch the trilogy to understand the upcoming sequel (he even claims that he doesn’t stand by the third film, per X), I decided to revisit Little Fockers on Netflix.

Move Along, Nothing To See Here!

I recall catching Little Fockers in theaters with my family upon release, and thinking little of it. In the years since, I’ve basically forgotten the entire plot, other than the fact that Gaylord ‘Greg’ Focker (Stiller) and his wife Pam now have children. In the movie, the Fockers are preparing a fifth birthday bash for their twins, when De Niro’s domineering Jack Byrnes drops in for a surprise visit.

Operating in his capacity as a hard-ass father-in-law, as well as a CIA retiree, Jack continually gives Greg a hard time. Jack has never approved of Greg, though extenuating circumstances have forced his hand in anointing him the new family patriarch and the arbiter of the coveted “circle of trust.” This is set in motion because Jack’s other daughter is in the process of getting a divorce, thus ousting the son-in-law that Jack actually enjoys.

Unfortunately, this passing of the torch is interrupted by a series of contrived, awkward situations that mistakenly lead Jack and others to believe Greg is unfaithful. If the plot sounds bare bones, that’s because it exists primarily to be a joke delivery system. If the jokes sound bare bones, it’s because the writers didn’t care about this movie at all when they were working on it.

Disappointing Lack Of Little Fockers

The primary source of comedy in this film stems from the fact that Focker sounds a lot like the F-bomb. If that joke blows your mind, you’ll probably be rolling on the floor by the time the film cuts to credits. If not, you’ll probably be half asleep by the fifth time Robert De Niro drops terms like “The god-Focker” and pauses for raucous applause. There are a few solid comedic beats on occasion, but it really feels like the script could have benefited from an extra draft or two.

If this film has anything going for it, it’s the stacked cast of side characters. Notable performers include Owen Wilson, Dustin Hoffman, Barbara Streisand, and Jessica Alba, but numerous top-notch comedians appear in small bit parts as well. Kevin Hart, Rob Huebel, John DiMaggio, Jordan Peele, and Nick Kroll comprise a few faces that wouldn’t have stood out in 2010, but make for a real DiCaprio-pointing-at-the-TV moment today.

At the end of the day, Little Fockers really doesn’t hold up. As it turns out, that Ben Stiller tweet and the 10 percent Rotten Tomatoes score really weren’t lying to me. This is a minor gripe, but I take umbrage with the fact that the movie doesn’t even focus on the kids all that much. For a film literally titled Little Fockers, I’d expect to see more of those little Fockers running around.

I guess I’m happy that I panned for any flecks of comedy gold within this sludge, if only to ensure that I won’t miss a beat when I queue up to see this comedic team remake the same comedy for the fourth time this November. Even still, you’d be better off brushing up on the first two films and letting your imagination fill in the blanks if and when you watch Focker-In-Law. At least Ariana Grande’s front-and-center billing on the poster implies that the new film will actually deliver on its title.

Little Fockers is currently streaming on Netflix, just in case you’re not willing to take my word for it. The first two films are on there as well, for those interested in turning a trilogy watch-through into a drinking game. Take a shot every time you hear De Niro drop Greg’s name in a silly way, and call it “getting Focked up.”

For years, Idris Elba was one of the most popular names floated as a potential James Bond. However, the actor is once again distancing himself from the speculation, insisting that he isn’t going to play the iconic British spy, nor was he ever in the running to do so, despite multiple reports to the contrary.

Amazon MGM Studios recently started setting up auditions for the role, and weighed in on what he believes the future of the James Bond franchise should and shouldn’t be.

In an interview with British GQ, Idris Elba doubled down on his previous statements and set the record straight about speculations that he’s in the running to be the next James Bond. “It was never legit. It was always just a rumour,” the actor said, adding that he always thought the possibility of him stepping into the iconic role was “not a realistic thing.”

The rumor began sometime in 2008, after Barack Obama’s historic presidential election victory. Daniel Craig told reporters during a press conference for “Quantum of Solace, “If we can have a Black U.S. president, we can have a Black James Bond.” While Craig didn’t specifically mention Elba by name, he was at the top of his career at that time.

“I think, in realistic terms, some markets just don’t go for that. Bond is big all over the world. And [audiences] won’t [all] go for a Black male, and African male, playing Bond. That’s not what they like in their culture. Period,” Elba explained.

The Actor Doesn’t Want A ‘Woke’ James Bond

Elba also opined that there’s no need to change James Bond, saying that the character is “so unrealistic.”

“A hint of reality is good, but let’s not try and make it woke. I think you’ve got to be pure to what it is: escapism. Don’t try and answer the world’s taste. Just be Bond,” he added.

Since 1962, six actors have played James Bond, the latest being Craig, who stepped into the role in 2006. Despite starring in five Bond films, Craig has repeatedly expressed how he wanted out of the role, and even once said he’d “rather break this glass and slash my wrists” in 2015.

Craig’s last Bond movie was in 2021’s “No Time to Die.”

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Rumors Were Fueled Over The Years

Speculation about Elba was further fueled in late 2014 when an email from Sony Pictures Entertainment Chairman Amy Pascal was leaked. In it, she reportedly wrote, “Idris should be the next Bond.”

In a Reddit AMA that same year, one user asked Elba whether he’d take the James Bond role if it was offered to him, to which the actor responded, “Yes, if it was offered to me, absolutely.”

Elba further fueled the fire in 2018 when he tweeted, “My name’s Elba, Idris Elba.” Hours later, however, he told his followers, “Don’t believe the HYPE.” The tweet has since been deleted.

Idris Elba Has Repeatedly Refuted The Speculations

This isn’t the first time Elba shut down James Bond rumors. As previously reported by The Blast, the 53-year-old “The Wire” actor said he was in no way in the running to be James Bond. He said he was never an option, ever, and the studio will be going for a younger actor. “I wish them all the luck of the world, I can’t wait — it’s going to be amazing,” he said.

In 2023, Elba touched on the topic on the “SmartLess” podcast, saying that while he felt “complimented” by the rumors at first, he was later turned off by the idea because of the public’s reaction. While some liked the idea, others took issue with the possibility that James Bond might be played by a Black man.

“Those that weren’t happy about the idea made the whole thing disgusting and off-putting, because it became about race. It became about nonsense, and I got the brunt of it,” Elba shared.

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The Next James Bond

Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig were the six mainline actors who portrayed James Bond on the big screen.

In Mid-May, Amazon MGM Studios announced that it had begun auditioning actors for the next James Bond, but didn’t provide any other details. “While we don’t plan to comment on specific details during the casting process, we’re excited to share more news with 007 fans as soon as the time is right,” they stated.

By Steven Nelson
| Published 1 hour ago

Delving into the shadowy world of online identity, Cam made waves on Netflix in 2018 as a psychological horror thriller that fuses modern technology’s allure with the age-old dangers of doppelgangers and obsession. 

Directed by Daniel Goldhaber, with a script by former webcam model Isa Mazzei, the movie taps into the eerie facets of the digital age, offering a chilling look at how easily our online personas can be ripped from our control.

For those seeking a heart-pounding ride that also pushes them to reflect on the implications of life in a digitized world, Cam beckons with its siren call. Dive into a tale where the line between reality and the virtual realm blurs with every click.

Cam Girls Gonna Cam

Set in the competitive world of cam girls, Cam introduces us to Alice, known online as “Lola.” Portrayed by Madeline Brewer, Alice is an ambitious cam girl seeking to break into the top ranks on her streaming platform, FreeGirlsLive. Every day, she stages creative shows, some intense and others downright bizarre, to climb the leaderboard, pushing the boundaries of her performances to attract more viewers and tips.

However, her relentless pursuit to rank higher takes a nightmarish turn when she unexpectedly finds herself locked out of her account. That’s puzzling enough, but the real shock comes when she realizes “Lola” is still online, streaming away. Only, it isn’t Alice behind Lola’s sessions anymore. A mysterious doppelganger, identical in appearance and mirroring her previous shows perfectly, has taken over her channel.

Desperate to reclaim her identity, Alice dives deep into the underworld of the camming industry. She encounters other models, shady figures, and obsessive fans as she tries to uncover the truth behind her digital twin.

Throughout her journey, Cam intelligently weaves themes of identity theft, the personal cost of online fame, and the dangers of exposing oneself in the vast, anonymous terrain of the internet.

Supporting Alice’s story is an array of characters, including her mother, Lynne (Melora Walters), and younger brother, Jordan (Devin Druid). There’s also Tinker (Patch Darragh), an obsessed fan who might know more than he lets on. Together, these characters enhance the layered narrative of Cam, reflecting different facets of Alice’s life as it spirals out of control.

Cam Started As An Idea For A Documentary

The intriguing narrative of Cam finds its origins not in the realm of fiction, but from real-life experiences. Before it was a psychological thriller, the idea for the film emerged from the actual experiences of its screenwriter, Isa Mazzei.

Mazzei herself was a former cam girl and initially considered making a documentary about the world of online camming based on her personal experiences. The realm of camming, with its blurred lines between the digital and the real, personal and public, seemed ripe for exploration.

The industry’s nuances, combined with its vast audience yet marginal mainstream understanding, made it a subject of potential intrigue for viewers.

However, as Mazzei collaborated with director Daniel Goldhaber (a close friend from college), the duo felt that a fictional narrative could dive deeper into the emotional and psychological experiences of a cam girl, particularly the dissociation and identity challenges one might face. 

By shifting gears from a documentary to a thriller, they hoped to capture a broader audience and convey the complexities and perils of the camming world more viscerally. This decision gave birth to Cam, a movie that, while fictional, carries the genuine imprint of Mazzei’s lived experiences, adding an extra layer of authenticity to its story.

Cam is more than just a standard psychological thriller; it’s a riveting exploration of identity, digital duality, and the lengths one might go to reclaim a stolen life in the age of the internet. While some might brush it off as another by-the-numbers suspense flick, the film is a testament to the very real challenges and threats that individuals face in the online world.

Drawing inspiration from real-life experiences, it serves as a cautionary tale, reminding viewers of the fragile balance between our digital personas and our real selves.  If you’re in the mood for a film that seamlessly blends suspense with societal reflection, you can stream Cam for free on director Daniel Goldhaber’s website for free as of this writing.

Sean “Diddy” Combs is facing yet another legal challenge as a new lawsuit adds to the growing list of allegations surrounding the music mogul.

The latest filing comes while Combs remains behind bars and continues efforts to overturn his federal conviction.

With another accuser stepping forward, renewed attention is being placed on both past claims and ongoing investigations.

A man identified in court documents as John Doe has filed a lawsuit accusing Diddy of sexually assaulting him when he was a minor.

According to the complaint obtained by the Daily Mail, the alleged incident took place in 2007 after the then-child actor attended a networking event in the Hollywood Hills.

The lawsuit claims Diddy invited him to a private conversation about potential career opportunities. During the meeting, the accuser alleges that the rapper engaged in inappropriate conduct before an alleged sexual encounter took place.

The man claims he expressed discomfort before the alleged act occurred. According to the filing, Diddy later told him he would “keep him in mind for possible opportunities” before leaving him alone.

The claimant says he departed the event shortly afterward.

Diddy’s legal team has strongly denied the accusations.

Responding to the lawsuit, Diddy representative Juda Engelmayer told the Daily Mail, “The allegations from this so-called nameless child actor are false and ridiculous. He’s just another hater in a long list of people trying to get in on the money gravy train encouraged by personal injury lawyers.”

Engelmayer continued, “Mr Combs has never sexually assaulted anyone – and that includes any child! These allegations will be disproved like all the rest.”

California Investigation Continues To Draw Attention

The new lawsuit comes as Diddy faces scrutiny from California authorities.

Earlier this month, the Los Angeles County District Attorney’s Office confirmed that investigators had submitted information related to another alleged victim for review.

According to officials, both the Los Angeles Police Department and the Los Angeles County Sheriff’s Department presented separate findings connected to allegations made against Combs.

The matter remains under review, and prosecutors have not announced whether additional charges will be pursued.

The ongoing review has become another major legal hurdle for the rapper as he continues to fight multiple allegations in various jurisdictions.

Diddy Linked To Separate Claims From Publicist Jonathan Hay

Another figure connected to Diddy’s legal troubles is celebrity publicist Jonathan Hay.

Hay filed a lawsuit against the rapper last year, alleging sexual battery stemming from incidents he claims occurred in 2020 and 2021.

According to court filings, Hay alleged that one encounter took place while he was involved in a remix project connected to the legacy of Christopher Wallace, better known as The Notorious B.I.G.

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Hay claims Combs later brought him to a warehouse containing memorabilia connected to Wallace. The lawsuit alleges inappropriate conduct occurred during that meeting and during a second encounter in March 2021.

Hay has said the alleged incidents had a devastating impact on his mental health.

CJ Wallace, the son of The Notorious B.I.G., was also named in the lawsuit. Wallace has denied the allegations and filed a defamation lawsuit against Hay. Hay has denied Wallace’s claims.

Jonathan Hay Speaks Out About Pursuing Accountability

As legal proceedings continue, Hay has publicly discussed his reasons for pursuing action.

In a statement to the Daily Mail on June 1, he described himself as a “survivor” of Diddy and said that “having my painful experiences heard and validated by the LAPD and the Los Angeles County District Attorney’s Office is an undeniable turning point.”

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He added, “This progress marks a significant victory in my fight for total accountability.”

Hay continued, “I am certain that justice will be achieved and that full responsibility will be enforced.”

According to reports, Hay first contacted an attorney about his claims in 2023. He later filed his lawsuit after other allegations against Diddy became public.

Hay told CNN he had been reluctant to come forward at first and described himself as “terrified” about speaking publicly.

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Diddy Continues Fight As Prison Sentence Looms

The latest allegations come during a turbulent period for Diddy.

Last year, he was convicted on two counts of transportation for the purposes of prostitution. However, he was acquitted of racketeering conspiracy and sex trafficking charges.

The music executive was later sentenced to four years in prison, with credit for time already served, followed by five years of supervised release. He is currently expected to be released in February 2028.

Meanwhile, Hay has made clear what outcome he hopes to see regarding the California investigation.

Speaking to CNN, he said, “I’m hoping that when [Diddy] gets out of jail that he is taken straight to jail in California, or to go through the court proceedings in California, and that he spends the rest of his life in jail.”

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With a new lawsuit now added to a growing list of legal battles, Diddy remains at the center of ongoing controversy as courts, investigators, and accusers continue to pursue claims against the once-dominant music mogul.