Film archives are pulling back the curtain to provide footage of an unfinished Orson Welles piece that he worked on for decades.

Spanish, French, Italian, and German sources are working together to allow the reconstruction of lost works that the "Citizen Kane" writer started production on in 1957.

'Welles' death in 1985 at age 70 meant he could not finish what was more than 30 years of work.'

Welles started the project in the 1950s in Mexico and continued to compile scenes and make changes in 1961 and 1969, Wellesnet reported. This footage was the start of Welles' work on a film adaptation of "Don Quixote," the 17th-century book that is widely credit with more than 500 million sales.

The deaths of multiple actors did not prevent Welles from continuing the project in 1972, then shifting to color footage, as he put together what is believed to be an experimental film format.

Although the movie is believed to have been nearly finished by 1982, Welles' death in 1985 at age 70 meant he could not finish what was more than 30 years of work.

Now, reconstruction of the film is set to commence through the collaboration of film archives across Europe, which will release the footage to be compiled and overseen by author and filmmaker Esteve Riambau.

Riambau published a book about Welles in the year of his death, and the Spaniard has reportedly been petitioning for the last two years to get approvals of the archival footage.

Eduardo Parra/Europa Press/Getty Images

Mass amounts of film reel will be compiled from sources including Oja Kodar, Welles' unwed partner at the time of his death. The Croatian actress won custody of the "Don Quixote" negatives in 2017, which consists of 50,000 meters of film.

From France, the Cinémathèque Française will contribute a reported 80 minutes' worth of 35mm film that was actually screened at the Cannes Film Festival in the mid-1980s, according to citations in a Welles biography.

The Filmoteca Española in Spain has another reported 50,000 or so meters of 16mm film that it acquired in 1991, holding all the rights to the materials under the category of cultural and research purposes.

RELATED: Saving History

Central Press/Getty Images

The Filmmuseum München in Munich will contribute its own prints, negatives, tapes, videos, and other documents from Welles' films, including items that are said to only be "referring" to the "Don Quixote" project.

The intention — for unknown reasons — is that there will be three versions of the film, which will be screened at festivals and archives on a nonprofit basis.

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Amazon drops Sam Altman biopic — and everyone wants to know why

Amazon has walked away from a nearly finished biopic about OpenAI CEO Sam Altman, prompting questions about why a film centered on one of Silicon Valley's most powerful figures suddenly needs a new distributor.

The $40 million film "Artificial," which starred "Spider-Man" actor Andrew Garfield as Altman, was reportedly nearing completion when Amazon struck it from its 2027 release schedule. The project — which also stars "Mad TV" and "Eastbound and Down" alum Ike Barinholtz as Elon Musk — is now being shopped to other studios.

'All I hope is that if he puts me into a gulag, it's one with all of my friends. That way we can have a party.'

Unlikable characters

According to Variety, the film performed well in multiple test screenings, with one viewer telling the outlet that Altman and Musk were the two characters audiences "liked the least."

Some observers have pointed to Amazon's deepening ties to OpenAI as the reason for the change of heart.

In February, OpenAI announced a major collaboration involving SoftBank, NVIDIA, and Amazon.

"Helping AI reach more people requires deep collaboration across the ecosystem," OpenAI said at the time.

'Utmost respect'

Amazon's role in the partnership includes helping Amazon Web Services customers build AI applications and agents using OpenAI technology. The collaboration powers the Stateful Runtime Environment for Agents in Amazon Bedrock, which the company says can be used for customer support, sales operations, IT automation, and financial workflows.

While some observers have connected Amazon's decision to those business ties, neither Amazon nor the filmmakers have suggested that was the reason for the split.

Instead, Amazon framed the move as a decision about the film itself.

"We have the utmost respect and admiration for Luca Guadagnino as an award-winning filmmaker — not to mention a longstanding relationship that we hope to continue," an Amazon spokesman told Variety.

Mondadori/Getty Images

Gulag guy

The company added: "We believe that 'Artificial' will be better served if it were released by a different studio and are working closely with the filmmaking team to find the film a new home."

Some online observers have also pointed to Altman's appearance at Jeff Bezos' wedding last year, though there is no public evidence linking that relationship to Amazon's decision.

Barinholtz appeared less interested than some actors in conducting firsthand research for the role. Asked by Variety in September 2025 whether he had considered meeting Musk, the actor replied, "I'm OK," adding that the Tesla CEO was "famous enough that you get it."

The 49-year-old later joked, "All I hope is that if he puts me into a gulag, it's one with all of my friends. That way we can have a party."

Garfield said he was initially reluctant to take the role after previously portraying Facebook co-founder Eduardo Saverin in the 2010 film "The Social Network."

"I've been very, very gun-shy around other films that deal with the same world," Garfield told Vanity Fair in November 2025. "And yet I wanted to dive into the psyche of a guy who wins — because I played the guy who arguably doesn't win, because he's too touchy-feely."

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Tan-splaining Colbert celebrates 'scandal-free' Obama at new presidential center opening

Say what you will about our president — at least he doesn't eat cats.

Actress Anne Schedeen, best known for playing Kate Tanner on the 1980s sitcom “Alf,” died this week at 77. The news likely stirred fond memories with Gen X fans, but news of her passing featured a very 21st-century nugget.

'[Supergirl] doesn’t live inside the binary of what we think a woman should be, that is what makes it so special and so exciting and so new.'

News outlets reported her passing, complete with a family statement lovingly remembering the mother, wife, aunt, and sister for her wit, creativity, and all-consuming obsession with our current president.

She leaves behind an extraordinary legacy of creative energy, whip-smart humor, delight in her family, adoration for little dogs, burning hatred for Trump, passion for secondhand thrifting, and love for a good story.

Wait … what?

Now, we’re used to stars like Robert De Niro slagging President Trump in every third sentence, but why would any family insist the press share their loved one’s political views in an obituary?

When “Alf’s” adopted parent is against Trump, you know the walls are closing in …

Silly Milly

For all we know, “Supergirl” star Milly Alcock may have the acting chops to be the next Meryl Streep. But for now she seems determined to be the next Rachel Zegler.

Zegler infamously helped crush her “Snow White” reboot with a series of silly, alienating press interviews. She wasn’t solely to blame for the film’s box-office pratfall, but she didn’t inspire audiences to flock to her film.

She became a case study for how not to market a movie. Now, it’s Alcock’s turn.

First, she whined about male viewers judging her as part of the “Game of Thrones” prequel series “House of the Dragon.” Later, she doubled down on that sentiment, singling out Christians in the process.

Now? She’s describing Supergirl as gender-fluid, or something.

“I’ve played a few characters that might have a potential queer through-line. I have many queer friends. So honestly, I’m kind of honored.”

Make it make sense. Alcock tries. Sort of.

“[Supergirl] doesn’t live inside the binary of what we think a woman should be. That is what makes it so special and so exciting and so new.”

Apparently, one of Supergirl’s superpowers is time-traveling back to 2020, the peak woke era …

Damon Packard/spectacletheater.com/Mike Coppola/Getty Images

Card sharp

We all know Whoopi Goldberg can play the race card like few others. Yet when Vice President JD Vance confronted her on the issue, she folded like a deck of, well, cards.

Later in the week, when a sane person like Vance wasn’t around, she went right back to her ... black-and-white thinking.

Goldberg brought up the world champion New York Knicks and the team’s White House rendezvous, which led to this on-brand exchange from the “Sister Act” alum.

“I want all those black men to stand in our house and remind all of those people, as we tried to remind the vice president, that when you try to destroy one part of history, you are destroying all of our histories.”

Goldberg sure talks tough when someone with a functioning cortex isn’t on the panel…

'Powers' boost

“No, baby, no!”

The world’s sexiest spy, albeit with the worst teeth, is heading back to theaters. So says Mike Myers, the mischievous mind behind "Austin Powers: International Man of Mystery."

The character headlined the 1997 comedy smash, and he came back for two diminishing sequels. We haven’t heard much from Myers over the past decade. He has disappeared into smaller character roles, like the record executive in “Bohemian Rhapsody.”

Now, he’s threatening a fourth Austin Powers adventure.

Delayed sequels have a choppy history. “Zoolander 2” proved to be a disaster. “Anchorman 2” scored with audiences, but it couldn’t capture the original film’s glory. “Happy Gilmore 2” was pure nostalgia, little else. And the less said about “Blues Brothers 2000,” the better.

Myers looks rather youthful at 63, but some things are better left in the past. But if Austin could strike a death blow to the dying woke mind virus, maybe the time is right for a man whose middle name remains “Danger" …

Man with the tan

He’s been gone for about a month, but he remains his same insufferable self.

Stephen Colbert showed up at the opening of President Barack Obama’s Death Star, er, presidential center. And the former late-night host wore a tan suit to honor the man in question. Remember the media’s narrative that Obama’s tan suit moment proved his only real scandal?

That's true ... if you overlook the Russia collusion hoax, the Obamacare “if you like your health care plan, you can keep it" bait and switch, and the IRS’ targeting of conservative and Tea Party groups seeking tax-exempt status.

It’s all fodder for a great political satirist, which explains why Colbert didn’t go near any of the above.

Never change, Colbert. Never change.

PRATT-RIOTIC DUTY: Chris Pratt to promote American history abroad in government-funded comedy videos

The federal government is getting into comedy; whether that will be supported by the taxpayer remains to be seen.

Government-funded educational videos are stepping into the modern era, tapping versatile actor Chris Pratt to head up a new project.

'Intended to engage international audiences with America's constitutional values.'

Birthday boy

The combined effort between the U.S. Department of State's Office of Public Diplomacy and Bureau of Educational and Cultural Affairs will have the "Guardians of the Galaxy" actor star in a series of comedy shorts for the birthday of the United States.

According to Variety, the America 250 videos will follow Pratt as he hopes to share his passion for American history but realizes he isn't as knowledgeable as he thought he was.

Pratt will get help from historian and Pulitzer Prize winner Doris Kearns Goodwin, who will keep him on track and correct his historical knowledge.

Kym Illman/Getty Images

Showboat diplomacy

The government project, in its entirety, is intended to "inform and engage foreign publics about America through international media engagement, educational and cultural exchange programs, digital communications, and outreach conducted through U.S. embassies and consulates worldwide," an announcement stated.

The series was actually designed as a "public diplomacy initiative intended to engage international audiences with America's constitutional values and history through modern digital storytelling," the producers reportedly said.

These producers are from digital media company ATTN: — out of Los Angeles — and said they are "always looking for new ways to make important topics accessible to broader audiences."

ATTN: co-founder and CEO Matthew Segal said America 250 offers a "unique diplomacy opportunity to reintroduce the stories, principles, and people that shaped the nation."

Dimitrios Kambouris/Getty Images for The HISTORY Channel

'Unhappy' coincidence

The series may have a different mission, but it isn't the only America 250-themed comedy sketch series making noise. "Seinfeld" creator Larry David's "Life, Larry and the Pursuit of Unhappiness" is set for release on HBO at the end of June.

The series stars David, along with guest stars like Jerry Seinfeld and Vince Vaughn, in a stream of outlandish bits centered around American history.

Essentially, David acts as his typical misunderstood and outraged self in different historical settings. Fans can look forward to seeing him get annoyed about the first-ever flight or criticizing the photo of a soldier's wife during trench warfare in WWI.

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'Citizen Vigilante': Outlaw director takes unflinching look at migrant violence

You can’t accuse director Uwe Boll of having thin skin.

Film critics have been brutal to the German filmmaker behind “Rampage,” “House of the Dead,” and “Postal.” He once challenged his harshest critics to a boxing match to settle the score.

‘If I have six neo-Nazis raping a migrant girl, there would be no issues. Unfortunately, the criminal statistics show the [opposite].’

He knows he’ll never be an awards season darling, so when a reviewer dubbed him a “right-wing fascist” over his latest film, he shook it off like a glancing uppercut.

He saw those comments coming a mile away.

Culture war TKO

Even by Boll’s pugnacious standards, “Citizen Vigilante” is a culture war TKO. Armie Hammer, working his way back after personal revelations crushed his career, stars as a man fed up with migrant violence in Europe.

So he decides to do something about it. Think “Death Wish” with an agenda no Hollywood studio would touch.

Boll tells Blaze Lifestyle the aforementioned reviewer has every right to dislike “Citizen Vigilante,” out in the U.S. today, but he takes issue with that political slam.

“What is right-wing in saying rapists should not get off the hook?” Boll asked. Critics of unfettered illegal immigration point to high-profile cases where violent migrant offenders were spared harsh sentences.

Pardoning predators

The zeitgeist is in Boll’s corner in more ways than one.

“Citizen Vigilante” arrives days after a shocking U.K. rape gang inquiry report detailed chronic abuse across Great Britain. Migrant crime isn’t relegated to the U.K., an issue Boll explores in his violent, politically incorrect film.

For Boll, hearing stories of sexual predators getting slaps on the wrist proved bad enough. Reading reports of judges excusing the violence based on a perpetrator’s brutal youth enraged him.

“Newspapers called them poor, traumatized people who grew up with violence ... but who gives a s**t? ... Maybe they’re traumatized. Why are we importing them?” he asked.

“I have nothing against migrants — if they follow the rules and the law,” he added, accusing European news outlets of diminishing statistics tied to migrant crime.

“I have no words for it. ... It’s the most absurd thing in my lifetime,” the 60-year-old filmmaker said.

swiftboatproject.com/x.com/weekend_bidens

Unflinching violence

“Citizen Vigilante” lets Boll respond to those heartbreaking news stories sans filter. Hammer’s character seeks justice when the courts fail to dole out what he thinks is sufficient punishment.

The on-screen violence is unflinching.

“It’s the only movie out there that shows brutally the situation,” he said, noting that he included a shocking murder in the film’s opening scene to highlight the security concerns citizens face.

He’s also angry that his home country refused to rate his film and, more recently, banned it from theaters for allegedly promoting vigilante behavior. The ratings decision boils down to politics, he alleged.

“If I have six neo-Nazis raping a migrant girl, there would be no issues. Unfortunately, the criminal statistics show the [opposite],” he said.

He said he appealed the ratings decision to three separate guilds — directors, writers, and producers.

“I’m a member for 30 years. ... Nobody even answered. Dead silence,” he said.

As for promoting violence, Boll said the film’s context drew his homeland’s ire, not the on-screen mayhem.

“Any Jason Statham movie would incite violence [too],” he argued, noting the action star’s penchant for heroes who take the law into their own hands.

“If [British Prime Minister] Keir Starmer sees ["Citizen Vigilante"] he will maybe put an arrest warrant out on me,” Boll said, perhaps tongue in cheek. Perhaps not.

Boll’s blacklist

Germany’s banishment wasn’t the only obstacle he faced while preparing “Citizen Vigilante” for its theatrical run. The film’s director of photography refused to be credited on the project, saying it might cost him future jobs.

Boll said Croatian officials offered him tax rebates to shoot “Citizen Vigilante” in the country, but the rebates were rescinded mid-production.

Hollywood has been abuzz with talk of free speech and alleged censorship by the Trump administration. Boll said he hasn’t gotten support from any Hollywood artists, and his fellow citizens aren’t much better.

“In Germany they’re all hanging onto [film] subsidies. ... They’re all very careful,” he said, noting that a few actors reached out privately.

“You’re totally right, but don’t name me,” he recalled of their messages.

Blind casting

Boll isn’t just critical of the migration issue. He’s that rare storyteller who doesn’t pledge allegiance to DEI policies in the arts.

“I cast the way I should cast, not like I need X amount of Asians or X amount of blacks. ... I hire people based on their qualifications, ... not based if you’re a lesbian transgender Asian. ... That’s how it has to be.”

Hammer’s character in “Citizen Vigilante” may reflect a cinematic antihero that dates back to Clint Eastwood’s “Dirty Harry” days in the early 1970s. Boll had little interest in deifying his film’s judge, jury, and executioner.

“He’s not this white knight guy. ... He’s a loner. He’s also able to do the actions he’s doing ... to execute them properly. ... That’s a more realistic approach,” he said. “Audiences should discuss it for themselves. ... Is he going too far?”

Full 'Disclosure': Steven Spielberg's latest has no signs of intelligent life

Damon Packard's movie diary

Damon Packard is the Los Angeles-based filmmaker behind such underground classics as “Reflections of Evil,” “The Untitled Star Wars Mockumentary,” “Foxfur,” and “Fatal Pulse.” His AI-generated work recently appeared as interstitials for the 18th annual American Cinematheque Horrorthon and can be enjoyed on his YouTube channel. After a long day making movies or otherwise making ends meet, he likes to unwind with late-night excursions to the multiplexes and art house cinemas of greater Los Angeles.

May 20, "Obsession" (d. Curry Barker), AMC Century City 15

This movie is exactly the kind of hollow, dystopian misery porn that brainless contemporary culture keeps walloping with praise. I found it tedious, annoying, and dull.

I know this has nothing whatsoever to do with De Palma’s "Obsession," but at least DePalma's film (and its inspiration, Hitchcock's "Vertigo") knew how to seduce you with mood and atmosphere, mystery and romance. I'll take a single dreamy close-up of Genevieve Bujold in soft diffusion filters over an hour of a possessed, shrieking, creepy, clingy girlfriend.

At some point in the last act, there was a lot of screaming and noise in the theater, and they shut the film off because someone had a seizure or something. So I was spared suffering through the rest.

As I left, I heard Bernard Herrmann's music in my head. I watched the paramedics arrive. They all looked jaded and took their time pushing the gurney into the elevator. I walked past the huge "The Mandalorian and Grogu" forest planet display they have out front of the AMC Century City, and Herrmann's music seemed to keep following me.

And then I saw her. A Geneviève Bujold look-alike drifting silently past the Funko Pop claw machines in a cream-colored coat, soft curls glowing under the multiplex exterior lights. She turned slightly, just enough for me to catch the resemblance, and then vanished onto the escalator like the ending of a forgotten De Palma dream.

May 29, "Backrooms" (d. Kane Parsons), AMC Century City 15

You know you're in trouble when the first two minutes are instant boredom and the rest doesn't get any better. Yeesh, what a waste — ultimately an endurance test to get through. Not a single interesting moment or idea.

I like that actor Chiwetel Ejiofor, but what the hell is he doing in this? Not only is he miscast, but he's above this kind of tripe.

When I hear them praising 'Disclosure Day,' I'm like George C. Scott in 'Hardcore' when he finds out his daughter has been abducted into the porn industry.

I would have hoped a 20-year-old boy-wonder director would bring the reckless energy to make something at least half watchable, but nope, just as horrible, bland, lifeless, dull, and dumb as every other thing the clueless moron masses who wouldn't know what a good film was if their life depended on it flock to.

Sam Raimi was 21 when he made "Evil Dead"; Steven Spielberg 24 when he made "Duel"; Orson Welles 25 when he made "Citizen Kane"; Bernardo Bertolucci 22 when he made "Before the Revolution"; Louis Malle 23 when he made "Elevator to the Gallows." Now THOSE were great films.

Spielberg is now 79, and "Disclosure Day" looks like a bland, generic, insipid pile of direct-to-Tubi junk. But is it really age and vitality, or is it that nobody can write good stories any more? Or that nobody would finance one if it even existed?

Mike Malloy/Damon Packard/Cinerama/Manuel Velasquez/Getty Images

June 2, "Pressure" (d. Anthony Maras), AMC Century City 15

Just when you thought every WW2 story had been exhausted over the last 80 years, along comes this little $5 million production set within a world of dueling weathermen!

What immediately sounds like mundane, made-for-cable fodder turns out to be a surprisingly terrific and engaging little movie, with an interesting perspective and new take.

Mostly due to the things you rarely see in films these days: good writing, good music, good direction, and interesting characters. Superb performances and casting all around, even for the initially perceived as a terribly miscast Brendan Fraser, who gives it his all and wins you over in the end. Special mention to the lovely Irish actress Kerry Condon, who makes a perfect 40s military babe.

Nothing phenomenal, but as far as mainstream theatrical releases, it is one of the best I've seen this year so far and a reminder some people still know how to make proper films (even if they are shot on the Arri Alexa 35 and technically shouldn't be called "films").

June 6, "The Doors" (1991, d. Oliver Stone), Vista Theater Hollywood

Caught a late show in 70mm last night. Which looked beautiful but seemed to be missing the subwoofer channel or something. The sound was all high and mid frequencies, zero low end. Not sure what the deal was there, a print issue or something not switched on? A projectionist might know the answer.

I really like this film, and it always brings back certain feelings and memories of sneaking onto the set with my friend Chad and joining the background actors at 3 a.m. at the Whiskey back in 1990. The cult worship of Morrison is not dead; there were girls screaming in the theater. The Vista still has a bag-checking policy; therefore I always make it a point to sneak in food and drink just on principle

June 12, "Disclosure Day" (d. Steven Spielberg), AMC Burbank 16

Caught a nice and empty 11:30 p.m. showing of "Disclosure Day" last night. Talk about a moronic, bland snoozefest. The latest major mega-embarrassment from an aging cine-Boomer. So incredibly dumb, dull, and out of touch that you just sit there half awake in a stunned stupor, taking it all in while trying to stay awake.

How anyone can actually defend this is beyond me. It never ceases to amaze: No matter how awful some new mainstream pile of garbage is, there are plenty of defenders — people (clueless, brain-dead walking software programs) who have zero proper film knowledge or education or interest and wouldn't know one way or the other.

When I hear them praising something like "Disclosure Day," I'm like George C Scott in "Hardcore" when he finds out his daughter has been abducted into the porn industry. Oh, never mind, that's another film and actor you've probably never heard of.

The John Williams score is good. Spielberg may not have it any more, but Williams still does.

June 17, "The Furious" (d. Kenji Tanigaki), AMC Marina Marketplace 6

Caught a late show of this this mostly pretty darned awesome and entertaining Hong Kong action film.

It feels very much like the kind of creative (and at times goofy and hilarious) Hong Kong martial arts exploitation films we were getting in the 1980s. With a lot more blood and violence.

Top-notch fight scenes, even if they get a little overlong in the third act (which is typical). American action movies that borrow from Hong Kong can never come close to the real deal, and this here is seventh-generation Asian action fight choreography done right.

The AI lip sync is a completely flawless and amazing tool, for those who have never seen it. (I'm pretty sure with all the idiotic knee-jerk AI hatred right now, they don't want people to know they're using it, even though it's impossible to tell.)

Only wish I saw this in a better theater instead one of the few non-upgraded multiplexes in this area, with muddy images and weak sound. It's stuff like THIS that should be dominating the premium screens.

Still, I'm grateful we get little surprises like this in an otherwise predictable world.

Amanda Seyfried: It was 'factual' to call Charlie Kirk 'hateful' days after death — why the backlash?

Actress Amanda Seyfried had an interesting reason for why she thinks people took issue with her comments about Charlie Kirk.

The then-39 year old commented on Kirk shortly after his assassination and now says the backlash she faced was because people wanted to bash her and tear her down.

'I commented on one thing.'

Hateful plateful

In the days after Kirk was murdered at a campus speaking tour stop in Utah, Seyfried responded to a compilation video of the political commentator — purporting to showcase his rhetoric — and said, "He was hateful."

Seyfried later justified her comments, writing on Instagram that she was "angry about misogyny and racist rhetoric."

In a recent interview with GQ Magazine, Seyfried stood firm while being described as still in disbelief over the discomfort she brought people with her remarks.

"A, I'm allowed to f**king voice my feelings, and B, do it in a way that's not unkind necessarily," she told the U.K. outlet.

Seyfried then chalked up the counterbalance of anger toward her as a societal impulse to bring people down.

"There's just an outsized fear and hatred and impulse to bash and to tear down. And I experienced a very small fraction of that."

The actress added, "I want my kids to be able to feel safe to voice their opinions as long as they're not harmful."

The Allentown, Pennsylvania, native still found herself confused, asking what to do and what to say. "And then all of a sudden I find myself with a f**king bodyguard at the airport, and I'm like, 'This is crazy.'"

See on Instagram

Fuel fool

Seyfried seemingly found no issues with describing Kirk as hateful so soon after his killing, and on September 17 — just seven days after his death — she called for "spirited discourse," exactly what Kirk was known for at the time of his murder.

"I don't want to add fuel to a fire. I just want to be able to give clarity to something so irresponsibly (but understandably) taken out of context. Spirited discourse — isn't that what we should be having?" Seyfried wrote as a caption for an Instagram post.

In a text image, the actress added, "We're forgetting the nuance of humanity. I can get angry about misogyny and racist rhetoric and ALSO very much agree that Charlie Kirk's murder was absolutely disturbing and deplorable in every way imaginable."

Jeff Vespa/Getty Images

No apologies

By December, Seyfried had apparently soured on her previous proposal of having actual discourse when she told outlet Who What Wear, "I'm not f**king apologizing."

She then downplayed the fact that she commented on the popular debater's murder so quickly after it had happened:

"I mean, for f**k's sake, I commented on one thing. I said something that was based on actual reality and actual footage and actual quotes," she claimed about Kirk.

"What I said was pretty damn factual, and I'm free to have an opinion, of course. Thank God for Instagram. I was able to give some clarity, and it was about getting my voice back because I felt like it had been stolen and recontextualized — which is what people do, of course."

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'Top Gear' host Jeremy Clarkson reveals devastating medical diagnosis on new show: 'Really early'

Former "Top Gear" star Jeremy Clarkson had heartbreaking news for his friends during the season finale of his new show.

After leading "Top Gear" to fantastic ratings over 33 seasons between 2002 and 2022, Clarkson moved on to "Clarkson's Farm," a show about him running a farm in West England.

'Where it is of no concern of anybody.'

Difficult conversation

In the final two episodes of Season 5, Clarkson revealed to his friends and co-stars Charlie Ireland and Kaleb Cooper that his recent disappearance was because he was getting tests done.

The show aired Clarkson having a difficult conversation with his mates, revealing his diagnosis: "I've got cancer," Clarkson said.

Cooper appeared shocked, replying, "No."

Clarkson offered a shrug and a "yep." Cooper asked, "Where?"

"Where is of no concern of anybody," Clarkson firmly stated. "I've known since May."

In the later episode, however, Clarkson confirmed to his co-stars that he has prostate cancer.

'Fingers crossed'

As reported by Variety, Clarkson said he had "disappeared off the other week," had had a biopsy done, and that the cancer is "aggressive," but it's "really early."

He added, "I'll have to go and have an operation, and then — the operation is in and out in no time — but your body's out of action for a little while."

By the final episode, Clarkson had already gone through the procedure, seemingly telling his friend that part of his prostate had been removed.

"10% of it is dead, the 10% where the cancer is," Clarkson explained, per the BBC.

"I had the op, and just fingers crossed it's worked; we don't know yet."

Wiktor Szymanowicz/Future Publishing/Getty Images

Carry on

Clarkson took to his Instagram page on Tuesday to say that the Season 5 finale was "really, really difficult," but it was his words in the show's last episode that displayed Clarkson's true perseverance and classic English attitude.

The season started "with me in a hospital bed and we are at the end of Season 5 and I'm back in a hospital bed," the 66-year-old said. He noted that if his treatment is "successful, I'll see you for Season 6, and if it isn't, I won't."

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Stu Breaks Down the Elections in Georgia, Oklahoma and Alabama LIVE!

Unlikable characters

'Utmost respect'

Gulag guy

Silly Milly

Card sharp

'Powers' boost

Man with the tan

Birthday boy

Showboat diplomacy

'Unhappy' coincidence

Culture war TKO

Pardoning predators

Unflinching violence

Boll’s blacklist

Blind casting

Damon Packard's movie diary

May 20, "Obsession" (d. Curry Barker), AMC Century City 15

May 29, "Backrooms" (d. Kane Parsons), AMC Century City 15

June 2, "Pressure" (d. Anthony Maras), AMC Century City 15

June 6, "The Doors" (1991, d. Oliver Stone), Vista Theater Hollywood

June 12, "Disclosure Day" (d. Steven Spielberg), AMC Burbank 16

June 17, "The Furious" (d. Kenji Tanigaki), AMC Marina Marketplace 6

Hateful plateful

Fuel fool

No apologies

Difficult conversation

'Fingers crossed'

Carry on

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