Oscar-winner reveals she only goes by Emma professionally and would like fans to call her by her given name

Her films have racked up more than $1bn at the box office and she has won two Oscars under her stage name, but Emma Stone says she would now prefer to be called by her given name – Emily.

Nathan Fielder, her co-star in the surreal TV show The Curse, revealed that actors and crew members she works with call her Emily.

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In the Wes Anderson-produced documentary Uncropped, the acclaimed culture photographer discusses his career and a changing landscape

Former Village Voice and New York Observer photographer James Hamilton lives in a small Manhattan apartment on University Place that also doubles as his studio. There’s a dark room in the corner, where Hamilton develops his images, using chemical ingredients plucked from a wine cooler. His walls are lined with books and stacks of photos, a treasure trove of portraits and reportage he’s shot over the decades, among them BB King in concert, Liza Minelli at home and Muhammed Ali out in the streets.

“This is James Stewart in Rear Window,” says director Wes Anderson, when recalling his first impression of Hamilton, and his apartment, in Uncropped, the documentary he executive produces. Hamilton wouldn’t argue against the comparison. Rear Window – Hitchcock’s classic about an adventurous newspaper photographer taken off the job by a broken leg, abandoned to spy on his neighbours – is a formative film for the cinephile cameraman.

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The Social Network screenwriter is returning to digital chaos for a new film about how ‘divisive material’ led to the 2021 insurrection

Aaron Sorkin is set to write a film about the January 6 insurrection and the involvement of Facebook disinformation.

The Social Network screenwriter is returning to similar territory for an as-yet-untitled look at how social media helped radicalise Donald Trump supporters who went onto storm the US Capitol in 2021.

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The 27-year-old American actor has gone from the Disney channel to new classy arthouse threesome drama Challengers, via a massive blockbuster and a hot-button TV series. So can she convince as an Oscar contender?

Actor-model-producer Zendaya Coleman – universally known mononymously, without her last name – has never been short of attention, but it feels as if the 27-year-old has arrived at a breakthrough moment. With the tennis romance Challengers arriving in cinemas, in which she is the central focus, the sci-fi blockbuster Dune: Part Two still reeling in audiences, and acting as the simultaneous cover star of two separate editions of Vogue magazine – the British and the American – Zendaya appears to have achieved a new level.

Her career has so far specialised in an impressively high number of attention-grabbing moments, including appearing in a spectacularly bizarre metallic silver “robot suit” at the premiere of Dune: Part Two earlier this year, and the Challengers trailer release in June 2023, with its sexually suggestive premise of a threeway love affair.

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The collaboration between the merc with a mouth and the clawed crusader has to work hard to mashup the alternate realities, but it could open portals to a lot of multiversal fun

It is somewhat ironic that just when the Marvel Cinematic Universe is entering its most intriguing phase, with the introduction of the multiverse and superheroes jetting in from all sorts of weird and wonderful corners of the Hollywood studio system, it has also begun to deliver its biggest duds. Chloé Zhao’s Eternals and Nia DaCosta’s The Marvels, Peyton Reed’s Ant-Man and The Wasp: Quantumania all seemed dull and listless compared to the endlessly colourful and imaginative episodes that populated the comic book macro-saga’s earlier phases.

Is it any coincidence that these movies only lightly tinkered around the edges of multiversal goings on, while two of Marvel’s more successful episodes of recent times, Doctor Strange in the Multiverse of Madness and Spider-Man: No Way Home, doubled down on the concept of alternate realities? It is almost as if Marvel has become so enamoured of the creative possibilities introduced by other universes (who could blame them when it’s possible to port in Willem Dafoe’s Green Goblin or Patrick Stewart’s Professor X with just a flick of one’s magical, multiversal wrist?) that its film-makers struggle to get out of first gear when there is only one boring old single reality to play with.

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The Palme d’Or winner takes aim at the fashion world as models have a disastrous time on a luxury yacht, while Anne Hathaway falls for a boyband star in a swoony, steamy romance

Swedish film-maker Ruben Östlund has seemingly made it his life’s work to satirise the bourgeoisie – from the nuclear family in meltdown in Force Majeure to the pretentious art-world crowd of The Square . In this out-there comedy , he takes aim at the fashion industry via two models, Carl (Harris Dickinson) and Yaya (Charlbi Dean). Vain, petty and insecure, the couple go on an Insta-worthy trip on a luxury yacht alongside a group of super-rich types. But they find themselves all at sea – in more ways than one – after a disastrous storm flips the power dynamic between the guests and the put-upon staff. Come for the extended vomiting scene, stay for the class war.
Saturday 27 April, Netflix

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DeBose’s brilliant rookie astronaut navigates this moderately tense thriller about US and Russian crew fighting as Earth blazes below

At first, the crew on board the International Space Station (ISS) mistake the tiny dot of fire on Earth for a volcano. But look: there’s another, and another. In fact, these astronauts have got a bird’s eye view of a nuclear tit-for-tat between the Russian and American governments that by the end of the movie turns the planet into a great glowing ball of fire. But for the six-person crew – three Americans and three Russians – nuclear Armageddon is only the start of their problems.

A lowish-budget, slightly muted survival thriller – moderately tense, with too few ideas to qualify as actively cerebral – what the movie does have is a brilliant performance by West Side Story ’s Ariana DeBose as biologist and rookie astronaut Kira. Like all the characters here, she’s a bit too thinly sketched, but DeBose brings real warmth and likability to the part, making Kira easy to root for. And there are some interesting moments as she adjusts to zero gravity.

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The actor’s feminist credentials, a wholehearted embrace of comedy and being one of the most memed actors on social media has seen Gosling’s auto-satirising alpha male become white-hot box office in 2024

In Hollywood, there are no accidents. Ryan Gosling’s role in stuntman pic The Fall Guy , hard on the heels of his show-stopping Oscars rendition of I’m Just Ken, is perfectly timed to confirm his ascension to the very top tier of stardom. Not only is it a four-quadrant entertainment turbo boost – covering all audience bases with action, romance, a legacy franchise for the oldies, John Wick-slick for the kids – it is shrink-wrapped to his public persona. His role as stunt veteran Colt Seavers, saving the skin of the idiot megastar he doubles for, caps off the stance Gosling has upheld on talkshows and memes over the last decade: stardom and celebrity as a delectable facade, an in-joke between star and audience to be played with the lightest of ironic touches.

But of course Gosling is a bona fide star, one of Hollywood’s most important. His confused, toxic himbo Ken stole the Barbie limelight from Margot Robbie. Tunnelling into classic archetypes of masculinity with modern self-awareness is the on-screen niche he has made his own – giving us a new, uniquely supple male star for the post-#MeToo era. His mainstream roles – getaway drivers, daredevil motorcyclists, venal bankers – have often been ultra-macho, but the actor himself comes with rounded metrosexual edges. Men want to be him, with his debonair cool and inexhaustible supply of swanky jackets (the leather Miami Vice stunt-team number in The Fall Guy being the latest). As far back as 2017, Morwenna Ferrier noted that Gosling clones, sporting a certain “turbo cleanliness”, were now on the loose in cities everywhere.

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