'Ocean's 11' prequel director deep-sixed?



Where would Hollywood be without “creative differences”? It’s like a “Get Out of Jail Free” card with no feelings hurt. At least none that we can see.

Director Lee Isaac Chung (“Minari”) just left the “Ocean’s 11” prequel over that oh-so-Tinsel Town excuse. But why? No, really, why?

'Is California overregulated?' Kimmel asked, presumably a setup for the Democrat to counter his critics.

The film is set to star Margot Robbie and Bradley Cooper, and it’s got money-making IP written all over it. What’s not to love, at least from a director’s point of view?

We may never know. But nothing will stop Hollywood when it’s time to prequel-ize a hit franchise. And we can always drown our sorrows in “Ocean's 14,” starring most of the saga’s original cast. Phew …

Hassle's back?

“The View” hosts ganged up on right-leaning Meghan McCain until she couldn’t take it any longer. That was all the way back in 2021, and the show has been conservative-free ever since. Sorry, anti-Trumper Alyssa Farah Griffin doesn’t remotely count.

This week, the show’s previous token conservative made a rousing comeback. Elisabeth Hasselbeck rejoined the show briefly while Griffin is out on maternity leave. But the show she left in 2013 doesn’t resemble the current version.

Crazy is now the order of the day, the week, and the month. So when Hasselbeck shared a few obvious observations, it didn’t go over well. She noted that Sunny Hostin cheered on President Barack Obama’s Libya bombing but blasted President Donald Trump for the current Iran campaign.

The back-and-forth proved so heated that the far-Left Variety suggested that Hasselbeck come back to the show full-time. It came with a catch, natch. The scribe wants her pro-Trump views to be rebuffed by her fellow “View” hosts.

If leftists need Whoopi and Co. to have their ideological backs, the Democrats are in worse shape than we feared …

RELATED: DB Sweeney: 'Protector' star finds Hollywood longevity without selling his soul

Michael Loccisano/Getty Images | Magenta Light Studios

Keister-kissing Kimmel

No one throws softballs quite like Jimmy Kimmel. “Jimmy Kimmel Live!” is the safest of spaces for the AOCs of the world to push their talking points without a hint of, well, journalism.

Yet Gavin Newsom just flunked that test.

The California governor joined Kimmel to promote his new book, “Sure, I Grew Up Rich, but … Squirrel!” when he admitted an inconvenient truth: The Golden State is drowning in regulations.

“Is California overregulated?” Kimmel asked, presumably a setup for the Democrat to counter his critics.

Except Newsom said “yes” in so many words.

He described those “well-meaning laws” that have handcuffed Californians and sent residents fleeing the state. Except Newsom has a plan, one that apparently hasn’t been introduced to the state he governs yet. Any day now, Captain Vocal Fry. It’s called the “Abundance Agenda,” and it’s exactly the word salad we expected from Newsom.

Maybe the next time he visits Kimmel, he’ll stumble upon a better answer. Or Kimmel will realize Newsom is the 2028 version of Kamala Harris. Keep him in bubble wrap until Election Day …

Catfight

This might be the dumbest reason ever not to vote for an actor. Jessie Buckley’s heart-wrenching turn in “Hamnet” earned her raves and, more recently, a Best Actress nomination.

And she stands a solid chance of winning, or at least she did until she lost the all-important “cat” vote.

The Irish Times published a Pulitzer-level think piece suggesting the actress’ anti-cat comments could hurt her Oscar chances.

Laugh all you want, but is that argument any worse than others we’re hearing this Oscar season? Take Timothee Chalamet, the uber-talented star of “Marty Supreme.” He too is Oscar-nominated, but the word around Hollywood is that the actor is too “arrogant.” His celebrity “swagger” is a problem that could cost him votes.

Maybe the bigger problem is easier to spot. He’s a straight white male actor, and that doesn’t check off a single diversity box.

Better luck next year, kid …

Crack record

Billy Idol could be the worst drug counselor ever. The 1980s rocker, the star of the new documentary “Billy Idol Should Be Dead,” confessed that he kicked his heroin habit with a peculiar medication.

Crack.

He told Bill Maher on the comic’s “Club Random” podcast about his unique path toward sobriety. Sort of.

“Once you’re trying to get off heroin, what do you go to? You go to something else. I started smoking crack to get off heroin. … It worked. It worked.”

Maybe Keith Richards should have tried that long ago.

The best pub in England might be this Norwich backstreet boozer



Britain once had more pubs than anywhere else in the world. Today, thousands have vanished — closed, converted into flats, or replaced by chain bars selling cocktails in jam jars.

Yet in a quiet residential corner of Norwich, one pub has stubbornly refused to change. Many beer lovers believe it may be the best pub in England.

Hand pumps line the wooden bar, serving real ale directly from the cask — traditional British beer poured without modern carbonation.

Drinking has long been woven into the fabric of British culture. Whether bonding with strangers or catching up with old friends, few leisure pursuits rival the pleasure of enjoying an ice-cold pint by the river on a summer evening. Alcohol is deeply ingrained in our traditions — an essential pastime as iconic as queuing, complaining, or swapping increasingly outrageous stories with friends. It has long served as the social lubricant for first dates and awkward encounters alike.

A pub for every day

Nowhere is this drinking tradition more evident than in a city with a well-known — if possibly apocryphal — saying that it once had a pub for every day of the year and a church for every week. Despite the steady pressures that have forced thousands of British pubs to close in recent years, Norwich still offers plenty of choice.

Yet the modern pub landscape is increasingly dominated by chains and themed bars backed by large capital. They offer cheap drinks but little else — you couldn’t buy a conversation for all the bottomless shots served by young, telegenic, and relentlessly enthusiastic bar staff.

For tourists — or anyone over 25 — finding a proper pint can sometimes feel daunting. But fear not: Nil desperandum. Beyond the blinding neon signs, loud music, and rowdy hen parties, traditional pubs still exist.

In the world of British pubs, “legendary” is a term thrown around with reckless abandon. Yet in a quiet residential corner of Norwich, there is a backstreet boozer that has truly earned the title.

RELATED: God save the English pub

Joseph McKeown/Getty Images

Holy grail of beer

The Fat Cat on West End Street is more than just a great pub. Many real ale enthusiasts consider it the holy grail of beer in England.

In 1991, Colin and Marjie Keatley took charge of a dilapidated, bomb-damaged Victorian pub called the New Inn, marking the beginning of the Fat Cat legend. Deceptively spacious, this pub sits just a mile from the city center in a quiet Norwich neighborhood. With its traditional street-corner exterior, this little slice of British pub life has lasted more than 30 years. In an age of enthusiastic “heritage inflation,” one could easily imagine it claiming three centuries.

With its traditional decor, the Fat Cat feels more like a 19th-century ale house than a modern business. There are no fruit machines, jukeboxes, or pool tables in any of its series of small, winding rooms, each offering a quiet, intimate seating area.

Stained-glass windows celebrating local brewing history add to its Victorian charm. At the heart of the pub, a real fireplace is flanked by church pews, creating a space that feels almost sacred — a warm communal refuge where simple wooden tables and benches invite conversation rather than distraction. The only soundtrack is the low hum of voices and the clinking of glasses.

A simpler tradition

Don’t expect to find a menu on your table. The Fat Cat proudly rejects the modern gastropub craze. There are no elaborate tasting menus or trendy dishes served in theatrical ways. In fact, the pub barely has a kitchen.

Instead, they champion a simpler tradition: Enjoy one of their excellent pork pies or bring your own takeaway — provided you buy a drink.

Alongside antique beer signs, the walls are covered with awards. The Fat Cat is one of the most decorated pubs in Britain, having won National Pub of the Year twice and the "Good Pub Guide" Beer Pub of the Year a record 11 times. In 2025, Lonely Planet even named it the best pub in England.

Stepping inside can feel like entering a miniature beer festival. A long chalkboard lists an impressive rotating selection of British ales, inviting visitors to try something new. Hand pumps line the wooden bar, serving real ale directly from the cask — traditional British beer poured without modern carbonation.

Whether it’s one of the pub’s award-winning house favourites — such as Tom Cat or Marmalade Cat — or a rare Belgian import, the knowledgeable staff treat every pint with care. Here, beer is valued not as a commodity but as an old friend.

Ask for a lager and lime, however, and the barman is likely to tell you that they don’t do cocktails.

Rule, Britannia!

In an era when thousands of pubs are closing or being converted into generic chains, the Fat Cat stands as a reminder of what makes the British pub special. Serve excellent beer in a beautiful, no-nonsense setting, and people will travel from across the country to experience it.

Indeed, the Fat Cat has become something of a pilgrimage site for beer lovers.

Yet despite its international reputation, the pub remains quintessentially local. Its relaxed atmosphere draws people from every walk of life. Truck drivers and retired professors sit side by side. Strangers strike up conversations with ease.

It’s usually best to avoid politics — Norwich, after all, leans rather left-wing — but that hardly matters once the conversation turns to beer, football, or the weather.

Whether you are a dedicated ale enthusiast or simply someone looking for a warm fireplace and a friendly face, the Fat Cat represents the gold standard.

It is not merely one of the best pubs in Norwich.

It may well be the best pub in England.

'A form of art': NBA star Draymond Green defends strip-club night at Hawks game as 'inclusive' promotion



NBA player Draymond Green has come out in defense of stripping as "art" and says a strip club is part of Atlanta's culture.

The statements stem from controversy over the NBA's Atlanta Hawks hosting a "Magic City Monday" game on March 16 against the Orlando Magic. Magic City is a famous strip club in Atlanta.

'It's actually a form of art that some choose to indulge in and some choose not to indulge in.'

Following the team's announcement of the celebration — which includes music, wings, and podcasts — San Antonio Spurs center Luke Kornet condemned the promotion and said it denigrates women.

"The NBA should desire to protect and esteem women. ... We should promote an atmosphere that is protective and respectful of the daughters, wives, sisters, mothers, and partners that we know and love," Kornet wrote. His sentiment was shared by Golden State Warriors veteran Al Horford.

However, Horford's teammate Green had a much different view, stating on his podcast that he objects to Kornet's remarks, despite having daughters.

"I object to what Luke Kornet is saying. ... As a man with a wife, as a man with daughters, as a man with sisters, and as a man with an amazing mother and an amazing grandmother and incredible aunts and nieces," Green began.

The 36-year-old then described Magic City as an extremely successful business that simply has "an option for females to work there."

When it came to directly addressing Kornet's remarks, Green first mentioned that it is entirely optional for anyone to visit the strip club. He then took issue with Kornet condemning stripping as a job, describing it as one would a regular profession.

"I think to point out that they have esteem issues because that's the line of work they chose, I actually think is less protective of women because you're condemning something as if — it's actually an art," Green claimed. "I don't know if you've ever been, but like, if you see it in action, it's actually a form of art that some choose to indulge in and some choose not to indulge in."

RELATED: Atlanta Hawks strip club promotion called out by Catholic NBA player: 'Protect and esteem women'

Green went into a further defense of strippers and said that "because a woman decides that that's the art that they want to partake in and that the customer wants to take in," it is "reflective on society's thoughts and how they once viewed things."

"I don't necessarily think it's a hit on the esteem of women," he added.

Green then cited rapper Cardi B as a former stripper who does not appear to have "esteem issues," because she has a successful music career. He also claimed that the reason the NBA is allowing the event to happen is because "the NBA as a community is a very inclusive community."

Echoing Hawks ownership and staff, Green then described Magic City as part of Atlanta's culture.

For example, Jami Gertz, an owner of the Hawks, said last week, "The iconic Atlanta institution has made such an incredible impact on our city and its unique culture."

RELATED: Whitlock: The REAL reason LeBron James won’t let his daughter join the WNBA

Photo by Allen Berezovsky/Getty Images

Former NBA player Lou Williams, who had a pair of two-year stints with the Hawks, was far more impartial on the matter than Green was.

"Everybody won't be happy about everything," he told TMZ. "I think it's an opportunity for everybody to be educated on things that they agree with and things that they don't agree with."

The Hawks have remained steadfast, though, telling the New York Post that the event will go on as planned.

In a separate statement to TMZ, Magic City manager JuJu Barney said, "There will be no nudity whatsoever, at all" at the event. He added, "There will be no signs of nudity. There will be no nudity at all. It's strictly just wings and music and people having a good time."

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DB Sweeney: 'Protector' star finds Hollywood longevity without selling his soul



A young D.B. Sweeney circled a juicy role in the 1989 miniseries “Lonesome Dove,” based on the best-seller by Larry McMurtry.

Sweeney later demurred, opting for a somewhat smaller part. Why? Playing “Dish” Boggett meant sharing scenes with Robert Duvall. And that, he figured, would be priceless.

'There’s so much desperation. People want to be famous so bad, that energy leads to some dark pathways.'

Good call.

Lessons from a master

“He was my hero,” Sweeney tells Align of the legendary actor, who passed away at 95 last month. “I learned more from film acting from him than anybody else.”

Sweeney marveled at Duvall’s meticulous approach to his craft, like hiring a real-life tracker at his own expense so that he could better capture that skill set for a single scene. Duvall also called in a “quick-draw specialist” to hone his skills with a firearm.

“He wasn’t just being thorough or method-y,” Sweeney says. “It was all very specific to what his character is going to do in the movie.”

And, Sweeney adds, Duvall had fun along the way. Always.

Those lessons hit home for the rising star, who landed key roles early in his career with films like “Gardens of Stone” (1987), “Eight Men Out” (1988), and “The Cutting Edge” (1992).

Troubling subject

He’s been working ever since, including a part in 2024’s “Megalopolis,” Francis Ford Coppola’s return to filmmaking after a 13-year pause.

Now, he’s co-starring in “Protector,” an action yarn hitting theaters today in which a military veteran (Milla Jovovich) is forced to use her skills to save her daughter from human traffickers. Sweeney describes his role as like the corrupt cop Brian Dennehy played in 1982’s “First Blood.”

He says the new film has some of that Sylvester Stallone hit in its creative DNA, along with the 2008 smash “Taken.” The troubling subject matter hit home for Sweeney, from the unending Epstein files saga to his own experience around major cultural events.

“It’s a huge problem,” he says of sex trafficking.

“Protector” casts Jovovich as a heroine who uses her military background for good. It’s a far cry from how Hollywood depicted soldiers during the 2000s, a time when many films showed the darkest side of the U.S. military.

Think “Redacted” (2007), “Lions for Lambs” (2007), and “Green Zone” (2010).

Nailing the details

More recent films like “Thank You for Your Service” (2017) and “American Sniper” (2014) showed a more balanced side to the modern soldier. Sweeney credits part of that shift to studios leaning on military veterans as advisers. That not only helps nail the smaller details but influences storytelling in general.

That has impacted him, too.

He worked on the CBS series “Jericho,” a postapocalyptic thriller that relied on military veterans for military accuracy. Sweeney bonded with the veterans advising the show along the way.

At 64, Sweeney is still working in an industry that’s convulsing under the weight of new technologies and streaming wars. AI fears aren’t make-believe, he warns.

“I’m worried about actors being replaced with digital avatars. That’s a real thing,” he says. It helps that “Protector” relied on old-school stunt work over CGI trickery. He says that’s what could help his fellow artists: a reliance on authenticity over digital ones and zeroes.

“It’s one thing AI can’t master,” he says.

Mega moviemaking

His time on the set of “Megalopolis” reminded him how hard it can be to shoot a film, above and beyond the standard-issue struggles like budget constraints and evasive sunlight. The film endured brutal headlines tied to sexual harassment allegations against the 80-something Coppola.

Sweeney, who first worked with the legendary director on “Gardens of Stone,” has the auteur’s back.

“I was there almost every day. He’s a hugger,” he says of Coppola. “He doesn’t have a pervy bone in his body.”

Those salacious reports, plus talk of the film’s massive budget ($120 million), hurt the film’s box office tally.

“The movie got put into a box before anyone has seen it,” he says.

RELATED: EXCLUSIVE: DB Sweeney on surviving Hollywood and moving to 'Megalopolis'

Michael Loccisano/Getty Images

Staying in the light

Some actors who came of age alongside Sweeney saw Hollywood’s seedy side. Think Charlie Sheen, his co-star in “Eight Men Out.” Sheen is currently on a comeback of sorts after years of hard living and outlandish behavior.

Sweeney didn’t follow that path, but he saw it all the same.

“I was invited to all the biggest parties, a dark underbelly with drugs and sex. … I couldn’t put my finger on it, but I knew this is not for me,” he says. “I gravitated toward using my celebrity for sports tickets. That’s a much more wholesome world to me.”

Others weren’t so fortunate, and he understands why.

“There’s so much desperation. People want to be famous so bad, that energy leads to some dark pathways. You’ll do anything to get that fame,” he says. “People talk about selling their soul to Satan for fame. It’s figuratively true.”

Why You Should Probably Be More Prejudiced

Prejudice is an inescapable concept. We all have prejudices. The question is, are they the right ones?

Always in Front of the Servants

Paul Burrell was a footman to Queen Elizabeth II from 1976 to 1987, and then an eyewitness to the marriage of Prince Charles, who is now King Charles III, and the late Diana, Princess of Wales, who is now beatified as a human sacrifice to the House of Windsor. The Royal Insider is a cattily camp, tittle-tattling tell-all in the finest traditions of royal biography. It is also an autobiography, self-serving in its shameless autotherapy. Serious scholars of Windsor whispering may be tempted to skim the story of Burrell’s lonely childhood and troublesome prostate, the faster to gorge on his generous dollops of behind-the-scenes gossip. That would be a mistake. The Royal Insider is a study in the psychology of service.

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Crime and the Criminologists

Since its inception as an academic discipline, criminology has concerned itself first and foremost with the question of why people commit crime. Beginning with their earliest research, criminologists gathered extensive data on large groups of people to try to disentangle which variables predicted offending. With sufficiently large samples and adequate measurements, these criminologists thought, they could determine why some people commit lots of crime, while others commit none at all.

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A Lexicon for the Linguistically Curious

Ever wonder what the six teeth on all Venetian gondolas signify? (The six districts of Venice.) Or why and how chicken wing flats are stripped out to form a "meat umbrella" during competitive eating contests? (Much easier to consumer them faster.) Or why some movie stars are credited as "with" or "and"? (They indicate a major star playing a small but significant role.) Or where the "V for Victory" originated? (Occupied Belgium in 1941, as a warning to the Nazis.) Then Ben Schott's Significa is just the book for you.

The post A Lexicon for the Linguistically Curious appeared first on .

Robert Duvall: Hollywood 'Apostle' who took Jesus seriously



When Robert Duvall died earlier this month, Hollywood lost a legend. Christians lost something rarer: a fellow traveler who gave faith dignity on screen and never apologized for it.

That alone deserves a moment of silence.

'Preaching is one of the great American art forms,' he once said. 'The rhythm, the cadence. And nobody knows about it except the preachers themselves.'

Duvall came from solid stock. His father was a Navy rear admiral; his mother practiced a quiet, practical faith — the kind that had her on her knees at 3 a.m. while her husband dodged U-boats. One morning she mentioned a dark feeling at breakfast. Later they learned that a German torpedo had narrowly missed his father’s ship that same night. For the young Duvall, faith was not a Sunday habit. It was the difference between his father walking through the door and a stranger delivering bad news in an envelope.

Crackling with the Spirit

He grew up moving between bases and coastlines, went to New York, and became an actor. He got good at it, then very good, then extraordinary. Boo Radley. Tom Hagen. Bill Kilgore. He built a filmography that made other actors seem industrious rather than indispensable. He disappeared so completely into characters that finding his way back felt beside the point.

Then came a search that changed everything.

In 1962, preparing for an off-Broadway role set in the rural South, Duvall traveled to Hughes, Arkansas. He wandered the streets, drank coffee in diners, listened to how people talked and moved. One Sunday morning, out of curiosity, he followed a crowd into a small white clapboard Pentecostal church.

What he found stopped him cold.

People were on their feet, singing at full volume — faces lit, clapping, shouting. Tambourines. Snare drums. Joy so physical, so unselfconscious, so utterly unashamed. Duvall, the measured craftsman and trained observer, wanted to join in. “The air crackled with the Spirit,” he would later say. He never forgot it.

Churchgoing

He filed the experience away. Career called. Decades passed. He made masterpieces. In 1983 he won an Oscar for "Tender Mercies," playing a broken country singer stumbling toward grace — a role that resonated because broken men reaching for something better was the only story he ever really seemed drawn to tell.

Through the 1980s and into the 1990s, Duvall kept researching. He visited small churches across the heartland, listened to preachers, filled legal pads with notes. He took his idea to Hollywood and was told — politely at first, then less politely — that no one wanted to watch a movie about religion. The studios passed. Then passed again.

He was frustrated but not defeated.

He used his own money. Seven weeks of filming in Louisiana, casting real preachers and congregants because, as he put it, “true faith is something that’s hard to duplicate.” The result was "The Apostle" (1997), a portrait of a Pentecostal preacher named Sonny — genuinely called by God and genuinely capable of terrible things. A sinner and a servant. Broken and burning. It earned Duvall another Oscar nomination. More importantly, it earned something Hollywood rarely grants religious subjects: respect.

RELATED: James Van Der Beek's message about finding God resurfaces after death: 'I am worthy of God's love'

Photo by Matt Winkelmeyer/Getty Images

Living faith

Duvall held his own faith privately. Christian Science by background, contemplative by temperament, he kept his beliefs close and his explanations brief. That was typical for a man of his generation.

What was not typical was the depth of his hunger for the real thing — his insistence on portraying faith as actual, embodied, dangerous, alive.

“Preaching is one of the great American art forms,” he once said. “The rhythm, the cadence. And nobody knows about it except the preachers themselves.”

He knew. And he made sure the rest of us could see it.

Kin through Jesus

Near the end of his long struggle to get "The Apostle" made, Duvall visited six churches in a single Sunday in New York, finishing at the Abyssinian Baptist Church in Harlem. Standing in that packed sanctuary, surrounded by a vast choir, he sang “What a Friend We Have in Jesus.” Something broke open in him.

“We’re all kin through Jesus,” he thought — not a concept to analyze, but the living Christ present in the full-throated roar of a Sunday choir. He called it the greatest discovery he ever made.

Robert Duvall was no saint. Neither was Sonny. Neither are we, most of us. But he understood, with the bone-deep instinct of a great artist, that flawed people reaching toward something holy is not a contradiction but a confession.

He told that story beautifully. We should be grateful he bothered. One of America’s finest actors is gone. For 60 years, he proved that the truth about faith is more compelling than anything Hollywood tried to invent in its place.

Tourette advocate's BAFTA slur gets no empathy from stars



It was a perfect Hollywood moment. Perfectly revealing, that is.

John Davidson, the inspiration behind the film “I Swear,” earned an invitation to the recent BAFTA awards gala. The film chronicles the life of a man suffering from Tourette syndrome, a condition that finds the sufferer sharing cruel, involuntary outbursts.

We don’t want to spoil the film, but it’s likely China and India won’t be name-checked enough in the screenplay.

They. Can’t. Help. Themselves.

Sadly, Davidson’s inability to control his tongue tainted the early moments of the ceremony. His swears could be heard in the venue, even though he wasn’t on the stage at the time.

Host Alan Cumming apologized for Davidson’s comments early in the show, noting the cruel nature of the incurable condition. But when Davidson’s racially charged comments bled into the audio feed while black performers Michael B. Jordan and Delroy Lindo took the stage, the reaction was hyperbolic.

Yes, the “N-word” remains a vile reminder of our bigoted past, an awful word that has earned its toxic brand. But Davidson didn’t mean to utter the foul word. He literally couldn’t help himself.

Yet the same artistic community that pleads for empathy and understanding recoiled at the moment. The story has lingered for days in the legacy media. Jamie Foxx publicly called out Davidson, while one BAFTA judge quit after the incident.

They ignored the facts of his condition and embraced their victim status, even though Davidson is the ultimate victim. The real villain is the person in charge of the show’s feed who didn’t bleep out the offending words.

May he or she never work an awards broadcast again.

The kerfuffle punished poor Davidson all over again. And instead of basking in a personal triumph — a movie that asked people to understand and forgive his tragic condition — he got a nightmare he’ll never forget ...

RELATED: 'He meant that s**t': Actors rage after man with Tourette's yells N-word during award show

Photos by David M. Benett/Dave Benett/WireImage (L), Dominic Lipinski/Getty Images (R)

Pine-ing away

Imagine watching your Oscar-winning wife star in a rom-com alongside a handsome leading man. That’s the reality Dave McCary faces, and it’s all his fault.

McCary is married to “Bugonia” star Emma Stone, and he’s agreed to direct her in the upcoming romance “The Catch.” Her co-star? None other than Captain Kirk himself, Chris Pine.

It’s unclear if the film will have an “intimacy coordinator” on set, but we image Pine will be more than a little nervous when he goes in for a buss. Hope he sets his phaser on, “Hey, it’s in the script” …

Inconvenient Truth 2: Electric Boogaloo

Remember when “An Inconvenient Truth” forced America to do everything possible to stop global war — we mean climate change? Or when “The Day After Tomorrow” and “Don’t Look Up” did the job? Or the dozen-plus documentaries pleading with U.S. voters to do something, anything, about global apocalypse, economic fallout be darned?

No? That’s OK. Turns out we were all waiting for this movie to change everything.

The project, based on the book “Losing Earth,” is set in 1980 and shows climate expects warning the world that something must be done, or else. Filming is set to begin shortly under director Tom McCarthy (“Spotlight,” “Win Win”).

The cast and crew are a who’s who of Hollywood, including Paul Rudd, John Turturro, Paul Giamatti, Jason Clarke, Tatiana Maslany, Matt Damon, and Ben Affleck. The latter two superstars are executive producers on the project.

We don’t want to spoil the film, but it’s likely China and India won’t be name-checked enough in the screenplay, nor any of Al Gore’s “Inconvenient” predictions ...

'View' boo-boo

“The View” wants to be sued oh, so badly.

The dumber-than-dumb ABC show routinely creeps up to the line, only to read a few “legal notes” later to save its skin. And sadly, their collective TDS appears incurable.

The latest example?

Sunny Hostin read an alleged excerpt from the Epstein files that said President Donald Trump had once sexually assaulted a 13-year-old girl. The claim is part of the more preposterous side of the files, wild allegations that have no credibility. Otherwise legacy media outlets would be covering it 24-7 and/or the Biden administration would have leaked it years ago.

How do we know? Later in the show, legal scholar Joy Behar coaxed Hostin to clarify her earlier comments:

I want to be very careful here because these are allegations, and President Trump has consistently — they're unverified allegations, and President Trump has consistently denied all the allegations and any wrongdoing. BUT there was a presentation made by the FBI, and the witness stated that Jeffrey Epstein introduced her to Trump, who subsequently forced her head down and punched her in the head in response to something that she did.

Imagine if Hostin had been “very careful” in the first place.

It’s just a matter of time before someone on “The View” gets a tap on the shoulder to find legal documents in their face.