A man who was being honored at an award show caused controversy by yelling "n*****" while two black actors were on stage.
A movie about a man with Tourette's syndrome won multiple awards over the weekend at the British Academy of Film and Television Arts Awards, Britain's Oscars equivalent.
'Tourette's makes you say that?'
John Davidson, the inspiration for the film, was in the audience to see "I Swear" take home three trophies, but the event was not without controversy related to his affliction.
As actors Michael B. Jordan and Delroy Lindo were presenting the award for best visual effects — the first award of the night — Davidson was heard yelling the N-word, causing an abrupt pause in the show until Lindo decided to carry on with the presentation.
According to the Mirror, Davidson was also heard shouting phrases like "shut the f**k up" and "boring" during the award show, and even said "f**k you" during the presentation for the best children's and family film.
However, several Hollywood personalities took issue with Davidson's racial slur, with one even saying it was not an accident.
RELATED: With Sundance gone, Utah bets on AI film festival as a force for 'social change'
After writer Jemele Hill asked if "Black people are just supposed to be ok with being disrespected and dehumanized so that other people don't feel bad," actor Wendell Pierce ("The Wire") added that he felt the reason behind the cursing did not matter.
"It's infuriating that the first reaction wasn't complete and full throatted [sic] apologies to Delroy Lindo and Michael B. Jordan," he wrote on X. "The insult to them takes priority. It doesn't matter the reasoning for the racist slur."
Actor and singer Jamie Foxx took his statements one step further and claimed Davidson meant what he said.
"Nah he meant that s**t," Foxx wrote in response to the video on Instagram, the Guardian reported.
Foxx made additional comments, including, "Out of all the words, you could've said Tourette's makes you say that?" Foxx added, followed by, "Unacceptable."
RELATED: 'Looksmaxxing' king Clavicular: Charles Atlas for the TikTok era?
Davidson has been a well-known activist for his syndrome in the U.K. for decades since he appeared in a BBC documentary in 1989 called "John's Not Mad."
He has previously admitted that he yelled, "F**k the Queen," when he met the late monarch.
According to advocacy group Tourette Association of America, the phenomenon is known as coprolalia and affects a small percentage of those with Tourette's.
The inability to control "obscene words or socially inappropriate and derogatory remarks" comes from the "overwhelming urge" to twitch, shout, or swear.
"The particular manifestation of such language may have to do with the individual's stronger emotional content in certain parts of the brain" but is "not indicative of their personal convictions (such as in the context of racial slurs)."
The BBC apologized for the remarks heard on air, with a spokesperson saying, "Some viewers may have heard strong and offensive language during the BAFTA Film Awards 2026. This arose from involuntary verbal tics associated with Tourette's syndrome, and was not intentional. We apologise for any offence caused by the language heard."
Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!
From render farm to red carpet?
No sooner had the lights come up on Utah’s final year hosting the Sundance Film Festival than state officials announced a very different cinematic bet: artificial intelligence.
'Nuovo has presented a forward-thinking approach.'
According to Variety, Utah has approved a $2 million grant for a new initiative called the Nuovo Film Festival, described by the state as a “film ecosystem” built around AI-driven production. Plans reportedly include a filmmaking lab, an AI-powered soundstage, and expanded incentive programs aimed at attracting filmmakers to the state.
Founded in 1981 by Robert Redford, Sundance grew into one of the premier cultural and commercial forces in American film, launching independent directors, shaping awards seasons, and helping define modern indie cinema. As its contract expired and Boulder offered both financial incentives and a cultural climate seen as more aligned with the festival’s direction, Sundance chose to leave Utah after more than four decades.
Nuovo organizers outlined five “pillars” in presentation materials cited by Variety.
The first proposes a lab to “teach new filmmakers how to tell their story using technology and AI.” The second centers on incentive programs. The third focuses on constructing an AI soundstage — one that may require its own dedicated power source.
RELATED: 'Shut the f**k up!' Actor Jamie Kennedy slams Hollywood's hypocrisy over ICE
Your browser does not support the video tag. Footage by Dia Dipasupil/Getty Images
The cost-saving claims are ambitious. Organizers suggested a $200 million film that traditionally takes three years to complete could be produced in nine months for roughly $10 million using AI-assisted workflows. Those figures remain projections, not proven results.
The fourth pillar involves collaboration with Harbor Fund, a Utah-based nonprofit. Founded in 2018, Harbor Fund describes its mission as pairing filmmakers with philanthropic capital to support "films that matter." It's website prominently features a quote from movie critic Roger Ebert: “The movies are like a machine that generates empathy."
In effect, Utah’s proposed AI film hub would not only streamline production but also align itself with what organizers describe as “impact-driven filmmaking.”
The fifth pillar calls for certificate programs at high schools and colleges to train students in makeup, set design, sound, staging, and editing — building a workforce tailored to AI-enabled production.
“Utah would have the dedicated and trained workforce to allow filmmakers to come here and use the local workforce instead of bringing them here,” the presentation reportedly stated.
Lance Soffe, director of targeted industries for the Utah Governor’s Office of Economic Development, framed the move as forward-looking.
“Traditional festivals are not generating the same impact they once did,” Soffe said. “Instead of trying to recreate an aging model, Nuovo has presented a forward-thinking approach that builds on Utah’s legacy while embracing where the industry is going.”
The new Utah festival will be led by a board comprised of former MGM Television chief Mark Burnett, advertising moguls, and venture capitalists.The announcement comes as the broader film industry remains unsettled over AI.
On the same day the Utah investment drew attention, AMC Theatres faced backlash over reports it would screen an AI-generated short film before previews. The short “Thanksgiving Day” won the Frame Forward AI Film Festival and was reportedly slated for wide theatrical exposure. After criticism mounted, AMC said its locations would not participate.
While policymakers and investors see efficiency and reduced costs, audiences appear less certain about replacing human-driven filmmaking with algorithmic production.
"In the Name of ... Unlimited Immigration?"
U2, the band that rocketed to fame with songs like the Martin Luther King Jr. tribute “Pride (In the Name of Love),” just put out a surprise EP “Days of Ash.” The stealth release includes a tribute to the late anti-Immigration and Customs Enforcement activist Renee Good. The Irish rockers probably saw Bruce Springsteen getting all that fawning press for his anti-ICE tirades and wanted in on the action.
Goldberg once asked Epstein if she could hitch a ride on his plane. Or she claims someone did so on her behalf.
Still, the legendary band’s choice of martyrs is a mite suspect at this late date. “American Obituary” is the song’s tortured title, and it’s a sad reminder of how the foursome famously toured the U.S. in the Reagan era, a trek captured in the 1988 concert film “U2: Rattle and Hum.”
That documentary and accompanying album saw the Irish rockers luxuriating in American culture. Now, lead singer, Bono, is calling out MAGA and ignoring all the actions that led to Good’s tragic death.
The bright side? The band isn’t force-feeding us their music this time ...
If you mock the left, they will come.
And by “they,” we mean viewers. Paramount Plus’ “Landman” series, starring the mighty Billy Bob Thornton, wrapped its second season with its highest ratings yet.
The show generated 1.62 billion minutes of viewing time during the week of Jan. 19-25, second only to Netflix’s “Stranger Things” for an original streaming series.
This season of “Landman” featured several swipes at the left, including a conversation mocking ABC’s “The View” and an extended assault on pronouns. The latter featured ditzy Ainsley (Michelle Randolph) sparring with her college’s woke administrator and, later, her nonbinary roommate.
Most shows wouldn’t dare broach these subjects, let alone in a farcical fashion, but showrunner Taylor Sheridan isn’t your average TV scribe. The heartland-friendly creator isn’t afraid to ruffle progressive feathers, and he does so while uncorking some elegantly written stories.
That may explain why the industry doesn’t shower him with Emmys, but he’s too busy juggling a half dozen (or more) shows to care ...
RELATED: 'I wasn't his girlfriend': Whoopi Goldberg breaks silence on her presence in the Epstein files
Imagine there’s no virtue signaling at awards shows. It’s easy if you try.
Oscar-winner Matthew McConaughey shared some thoughts on AI during a Variety/CNN town hall interview with fellow star Timothee Chalamet.
McConaughey earned his trophy for 2013’s “Dallas Buyers Club,” and he fears future red carpets may be crowded with computer-generated competition.
“Will we be, in five years, having ‘the best AI film’? ‘The best AI actor?'” he said. “Maybe. I think that might be the thing; it becomes another category. It’s going to be in front of us in ways that we don’t even see. It’s going to get so good we’re not going to know the difference.”
Another plus? AI actors can’t walk down red carpets wearing those insufferable “ICE Out” pins ...
By George, I think he’s got it.
Comic actor Jamie Kennedy of “Scream” fame added a dollop of common sense to Hollywood’s anti-ICE histrionics. Kennedy shared his views on celebrity activism tied to the illegal immigration enforcers, and he refused to read the preapproved talking points.
Instead, he pointed out the hypocrisy of stars safely sashaying down the red carpet while demonizing law enforcement on the “Trying Not to Die” podcast.
People are protesting ICE, and I understand the situation — but when you have actors from the red carpet of an award show, on there saying all of this stuff about "we’re under a fascist regime, we’re [under] authoritarianism ..." bro ... you’re literally guarded by the most top [security] — it’s insanity, you can’t say you’re under authoritarian rule when you’re literally being authoritarian.
Somewhere, Ricky Gervais is grinning ear to ear ...
“The View” is getting a crash course in Epstein files nuance.
The extreme-left show has pummeled President Donald Trump for being mentioned in the infamous files. But as everyone knows, a “mention” doesn’t mean much if there’s no “there-there.”
And to date, there isn’t, just a revelation that Trump cheered on police for investigating the ghoulish financier.
That hasn’t stopped the left or “The View” from connecting disparate dots. Until now. Turns out some “View” hosts, including Joy Behar and Whoopi Goldberg, are in those files too.
Goldberg once asked Epstein if she could hitch a ride on his plane. Or she claims someone did so on her behalf.
Awkward!
Now, fellow listee Behar is lecturing viewers that she’s totally innocent, and everyone named in the files isn’t a monster. The other embarrassing part? Behar attended Trump’s 1993 wedding to Marla Maples:
"I was at Trump's wedding to Marla. Maybe Epstein was there too. Who knows? So that means I'm not guilty obviously, but these other ones, how are you going to decide who is really guilty and who is not? It’s very tricky!"
Tricky, you say? We say karma on steroids.
Faith-based films have come a long way, baby.
Remember the hardscrabble tales told by the Kendrick Brothers (“Fireproof,” “Facing the Giants”) on shoestring budgets? Think Kirk Cameron and a sea of unfamiliar faces.
'The way that faith shows up in this particular film is around a sense of longing ... I wanted a sense of yearning for something.'
Or the “God’s Not Dead” franchise, a saga that mainstream critics lined up to smite like so many pinatas?
Now faith is more mainstream than ever in pop culture circles. Amazon teamed up with Jon Erwin’s Kingdom Story Company to create the popular “House of David” series for Prime Video. Netflix partnered with Tyler Perry and DeVon Franklin for a line of original faith-based films, including last year’s “Ruth & Boaz.”
Newer, faith-friendly films boast recognizable stars like Oscar-winner Hilary Swank (“Ordinary Angels”), Kelsey Grammer (“Jesus Revolution"), and Dennis Quaid (the “I Can Only Imagine” series).
“Midwinter Break” — which hits theaters Friday — offers something that’s aesthetically different while spiritually profound. The indie drama focuses on an older couple, Stella and Gerry (Lesley Manville, Ciarán Hinds), traveling in Amsterdam.
Their decades-old marriage teeters when Stella recalls a traumatic experience and an unfulfilled spiritual promise. The drama looks nothing like a standard faith-based film, which some critics have derided as sanding too many of life’s rough edges smooth.
The story’s core conflict is deeply religious and handled with care. It defies easy labels but may resonate all the same.
“Midwinter Break” director Polly Findlay treats the marriage and subject matter with a delicacy that belies her status as a first-time filmmaker. It helps that she brought a heady background in live theater to the task at hand.
Another obvious benefit? Having two veteran stars building a credible marriage on the brink of collapse. Manville and Hinds also brought significant stage experience to the film, offering a “shared vocabulary” when the cameras turned on, Findlay tells Align.
That, plus three days of rehearsal, ensured the couple’s on-screen bond appeared like it was decades in the making.
“We were able to read [the script] a lot together and build a shared sense of back history,” Findlay said. “They didn’t want to plan too much in advance. They wanted to feel things in the moment, to riff off each other and improvise.”
Manville and Hinds aren’t kids anymore. She’s 69 and he’s 73, and it’s rare for films to feature older couples either falling in love or navigating years of complicated romance.
“That was something I was really drawn to ... a grown-up love story,” she said. “It’s not always documented on screen. The relationship is a series of new beginnings. And so, it’s really, really hopeful without being sentimental.”
A key part of the film finds Stella reflecting on a life-changing event in her younger years, a time when she was with child. What flowed from that pivotal moment got lost over the years, but the Amsterdam journey finds it rushing back to the present.
RELATED: ‘The Case for Miracles’: A stirring road trip into the heart of faith
“For Stella, her faith is very, very real of course, and very specific. The way in which that faith manifests itself in her is a product of the country that she’s from, the moment in time from which she’s from ... and the things that happened to her in the past,” the director says.
“The thing that she’s carrying with her in a more macro way, is ... a thing we can all related to, a sense of a life unlived.”
Manville captures that challenging arc.
“As she gets older ... there’s a whole different Stella that could have been if she made choices differently,” she says.
For the director, bringing faith to the screen meant different layers of storytelling.
“The way that faith shows up in this particular film is around a sense of longing ... I wanted a sense of yearning for something running underneath it,” she says, adding the Amsterdam setting enhances that with its beauty and “sense of melancholy.”
“Midwinter Break” can be heavy, and audiences won’t know if this relationship can survive the couple’s marital chasm. That reflects both Stella’s faith and the harsh realities of any long-term relationship.
It’s a duality that spikes the film’s waning moments.
Some couples can loathe each other in the morning and, later, realize what they’ve built is both precious and vital, she notes.
“Sometimes your emotion toward somebody is red, and sometimes it’s blue ... you can just go from red to blue without necessarily having to go through purple, because that’s how we are,” she says. “It felt important for those moments of despair and doubt to feel 100% and that somehow the kind of hope you then arrive at is dependent on going through that 100%.”
"Boy Meets World" and "Mrs. Doubtfire" actor Matthew Lawrence has some knowledge to drop: Hollywood's superficial obsession with "inclusion" and "compassion" masks one of the most ruthless businesses in the world — especially if you're a child star.
As Lawrence's brother Joey might say, "Whoa!"
Matthew made the comments in a recent conversation with older brother Joey and younger brother Andrew on the thespian trio's "Brotherly Love Podcast."
'They just literally toss them to the wolves, taking no responsibility.'
Lawrence noted that the pressure of sudden fame and wealth is harder for child actors, for whom success comes "before you actually know who you are." How to navigate that is something the industry "quietly stopped teaching" its youngest employees, Lawrence claimed.
Lawrence, who landed his first recurring television role at age 4, said the industry had a certain "responsibility" to child actors. His brothers, both of whom entered showbiz before they were 6, seemed to agree.
RELATED: 'Silence of the Lambs' star sorry for vilifying transgenderism: 'It's f**king wrong'
- YouTube
Speaking of the highly publicized drug problems of troubled celebs like former Nickelodeon child star Tylor Chase, Lawrence put some of the onus on an industry that discards them once they're no longer useful.
"I feel like they haven't failed. I feel like the business has failed them," he said, while observing the disconnect between such callousness and the image the business likes to project:
Hollywood always talks about how they're the most compassionate, inclusive, amazing community, and they eat their own. Literally eat their own. They put these kids in movies. They build them up and talk about how incredible they are and throw money their way, [only] to pull the rug from them as soon as something doesn't work or as soon as they have outgrown that moment, and they just literally toss them to the wolves, taking no responsibility.
RELATED: James Van Der Beek's message about finding God resurfaces after death: 'I am worthy of God's love'
As for Hollywood activism, Lawrence suggested it's mostly motivated by guilt.
"They do have this inherent thing where they feel bad that they are sitting on top of a mountain of cash and fame."
This doesn't always translate into a good grasp of the issues, Lawrence noted.
"They always seem to pick and choose, like, the 'in' topic, when all this crap is going wrong with the world that they just look right over."
Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!
Duvall's career spanned a period of incredible transition in the United States from the 1950s to his last roles in 2022. His is a legacy few can ever hope to match.
www.theblaze.com
thefederalist.com
Unpacking the MASSIVE Stakes for Trump’s 2026 State of the Union | Ep 1193