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European tourists have given Lebanon’s hospitality and hotel sector a badly needed shot in the arm this year in the absence of Arab Gulf visitors, Jean Beiruti, the head of seaside resort operations, said Friday.

Gwyneth Paltrow and Brad Falchuk are enjoying life as newlyweds.

On Friday, almost a week after the pair tied the knot, the actress posted a scenic shot from their honeymoon travels in Italy.

“Umbrian sunset,” Paltrow, 46, captioned the beautiful image of a pink sunset disappearing behind a valley of trees.

View this post on Instagram

Umbrian sunset

A post shared by Gwyneth Paltrow (@gwynethpaltrow) on Oct 5, 2018 at 10:25am PDT


The couple is no stranger to the European country, as they vacationed there together during summer 2015. As they enjoyed their Italian getaway, which included visits to Rome and Positano (on the Amalfi coast), Paltrow documented their trip on Instagram with scenic photos of shorelines and homemade pasta.

She has also previously shared her love for sunsets in the Umbria, which is referred to as Italy’s “green heart” for its abundance of forests.

Last year, the Goop creator shared a photo of herself from the green region, standing in the bright sunlight while holding a bottle of wine. “Last sunset in #umbria,” she wrote in July 2017.

Last sunset in #umbria

— Gwyneth Paltrow (@GwynethPaltrow) July 3, 2017

Their honeymoon trip comes less than a week after Paltrow and Falchuk, 47, said “I do” in front of 75 family and friends at Paltrow’s Hamptons home on Sept. 29.

The wedding, which was “intimate and romantic,” brought in many of their A-list friends, including Jerry Seinfeld — who hosted a rehearsal dinner at their estate with his wife — Cameron Diaz, Benji Madden, Steven Spielberg, Rob Lowe, and Robert Downey Jr.

RELATED: Gwyneth Paltrow Got Wedding Advice from ‘Very Excited’ Cameron Diaz, Says Source

“The whole wedding seemed very intimate and romantic,” a source told PEOPLE. “The friends that attended are all people that love them. Throughout the reception, guests laughed and you could tell everyone had a wonderful time. It was truly a beautiful wedding.”

RELATED: Inside Gwyneth Paltrow and Brad Falchuk’s Private Wedding — Where They Said ‘I Do’ and More!

Just one day after the celebration, the Oscar winner confirmed their nuptials by posting a sweet, captionless photo of the couple holding hands while showing off their matching gold wedding bands.

In the image, Paltrow’s hand rested on top of Falchuk’s, as she tucked her pinky between two of his fingers.

The couple announced the exciting news of their engagement on the cover of Paltrow’s Goop Magazine‘s Sex & Love issue after dating for over three years.

In the spread, Paltrow, who first met Falchuk during a guest appearance on Glee in 2010, called her then-fiancé the “man I was meant to be with.”

RELATED VIDEO: Gwyneth Paltrow Is ‘Excited’ to Start Wedding Planning: ‘I Feel Like a 21-Year-Old!’

“Personally, at midlife, I have tried to accept how complex romantic love can be,” she said on why she was ready to tie the knot with the producer. “I have decided to give it a go again, not only because I believe I have found the man I was meant to be with, but because I have accepted the soul-stretching, pattern-breaking opportunities that (terrifyingly) are made possible by intimacy.”

Despite previously eloping with ex-husband Chris Martin in 2003, Paltrow told PeopleStyle in January that she was giddy thinking about what her nuptials would look like.

“I’m excited about everything!” she said. “I’ve never had a wedding before. So even though I’m 45, I sort of feel like a 21-year-old.” | 10/6/18
WESTERN BUREAU:Tourism Minister Edmund Bartlett said that with more than 100,000 new airline seats secured from North America, South America and Europe, Jamaica should expect a bumper 2018 winter tourist season.Bartlett made the announcement while...
WESTERN BUREAU:Tourism Minister Edmund Bartlett said that commencing this October, several new flights will be making their landing at the Sangster International Airport, in Montego Bay, St James, directly out of Eastern Europe."We are expecting to...
Many tourists are descending on Europe this summer and a growing number are looking beyond the continent’s famous destinations to places like Montenegro. | 8/25/18
Many tourists are descending on Europe this summer and a growing number are looking beyond the continent’s famous destinations to places like Montenegro. | 8/25/18

(Note: This post contains spoilers for “Deadpool 2” and the extended “Super Duper Cut.”)

“Deadpool 2” ends with one of the best post-credits scenes in all of movies, but the home video edition improves on it by taking the time travel joke to its logical conclusion.

The unspoken rule of time travel is that if you can go back in time, you should try to kill Adolf Hitler as a baby, before he can rise to power, start World War II, and commit genocide against millions of Jews and other marginalized peoples in Europe. And in the “Super Duper Cut” of “Deadpool 2,” Mr. Pool takes his time-traveling duties seriously in an extended version of the film’s end-credits scene.

The theatrical cut of “Deadpool 2” ended with end-credit scenes in which Wade Wilson (Ryan Reynolds) travels back in time to stop the deaths of his girlfriend, Vanessa (Morena Baccarin), and X-Force member Peter (Rob Delaney). He also “cleans up the timelines” by killing the version of his alter-ego, Wade Wilson, who appears in “X-Men Origins: Wolverine,” and assassinating Reynolds himself before he has a chance to star in “Green Lantern.”

Also Read: 'Deadpool 2': What Is 'Fridging' and Why Are People Annoyed About It?

But in a deleted scene included in the “Super Duper” cut on the film’s home video release, Deadpool then heads back to 1880, where he stops by the hospital Hitler was born in, where Baby Hitler waits in a crib. After grappling with the situation for a few minutes — it’s way harder than he thought to kill a baby, even if it will grow up to be Hitler — the scene ends with Deadpool reaching into the crib and implies he did the deed.

That’s not the end of Deadpool’s time-traveling meta joke adventure, though. The home video release of “Deadpool 2”  also has an extended version of the Baby Hitler scene — and it reveals that Deadpool isn’t quite the monster as the original version would have fans believe.

Also Read: 'Deadpool 2' Is Right: That 'Frozen' Song Does Sound Like 'Yentl'

In that version of the scene, Deadpool reaches into the crib and the shot ends on a fade to black. A second later, though, it finds Deadpool holding Baby Hitler.

“You just never had anyone give a s–t about you, did ya?” Deadpool asks as he bounces the baby. “That’s the real problem here isn’t it.”

In another shot, Deadpool realizes Baby Hitler issue is that he needs changing — badly.

Also Read: 'Deadpool 2' Perfectly Mocks the Worst Moment in 'Batman v. Superman'

“That’s why you’re such a little bastard, no one’s ever changed you!” Deadpool says. “Kind of smells like Hitler’s anus — which would make sense, wouldn’t it.”

Deadpool winds up changing Baby Hitler, but just because can’t bring himself to hurt a baby doesn’t mean he doesn’t use time travel for the good of all mankind. As Deadpool notes, he knows someone who’s perfectly fine with the concept of traveling back in time to kill bad guys as children: Cable. After all, that’s the entire plot of “Deadpool 2.”

“I don’t have what it takes to do this, so I’m just going to change your diaper real quick, and I’m going to come back with my friend Cable,” Deadpool tells Baby Hitler. “He has a real way with kids.”

Related stories from TheWrap:

'Deadpool 2': What Is 'Fridging' and Why Are People Annoyed About It?

'Deadpool 2' Is Right: That 'Frozen' Song Does Sound Like 'Yentl'

'Deadpool 2': Every Joke Dunking on the DC Movie Universe

'Deadpool 2' Perfectly Mocks the Worst Moment in 'Batman v. Superman'

Yes, Stan Lee Did Have a Very Brief Cameo in 'Deadpool 2' | 8/8/18
The campaign for Vilnius features a woman lying on a bed sheet printed with a map of Europe. The text reads: 'Vilnius, the G-spot of Europe. Nobody knows where it is, but when you find it, it's amazing.'

Lauren Geoghegan and Jay Austin were living out their dream of traveling the world by bicycle.

Tragically, while out doing what they loved with five other cyclists, their quest was cut short when they were run over and stabbed to death by armed men in Tajikistan on Sunday.

Geoghegan’s parents confirmed in a statement to CBS News that the couple, who were both 29-years-old, were killed in the attack.

ISIS has claimed responsibility for the attack. Two other tourists, Dutch and Swiss national, were killed while three riders survived, NPR reports.

Geoghegan and Austin started their journey in 2017. They first biked through Africa, Europe, and Central Asia before finding themselves in Tajikistan, using all of their life savings to fund their trip. The couple also documented their travels on their blog SimplyCycling.

“The yearlong bicycle adventure Lauren and her partner, Jay Austin, were enjoying was typical of her enthusiasm embrace of life’s opportunities, her openness to new people and places, and her quest for a better understanding of the world,” her parents, Robert and Elvira Geoghegan, said in a statement given to CBS.

Before setting off, Geoghegan worked in the admissions office at Georgetown University, where she was also a graduate.

Austin, who was originally from New York, was also a graduate of Georgetown University where he received his master’s degree, according to The Washington Post. He earned his bachelor’s degree from the University of Delaware.

He worked with the Department of Housing and Urban Development for seven years, his mother Jeanne Santovasco told The Post.

“He was a gentle soul who cared about the world and not leaving any footprint and leaving it a better place,” Santovasco said during an interview on Tuesday, The Washington Post reported.

RELATED NEWS: ISIS Supporter Who Pushed for Attacks on Prince George’s School Pleads Guilty

Austin’s blog entries reflected exactly that. In April, the 29-year-old dedicated a post to discussing how the people of this world are inherently good despite all the horror stories you hear on the news.

“You watch the news and you read the papers and you’re led to believe that the world is a big, scary place. People, the narrative goes, are not to be trusted. People are bad. People are evil. People are axe murderers and monsters and worse,” he wrote from Morrocco.

“Badness exists, sure, but even that’s quite rare. By and large, humans are kind. Self-interested sometimes, myopic sometimes, but kind. Generous and wonderful and kind. No greater revelation has come from our journey than this.”

Austin and Geoghegan wrote on their blog that they had plans to continue biking for, “maybe another year or two or three. But only if we’re enjoying it.” | 8/2/18
On Thursday, July 26, many Russians could see the phantom of the good old iron curtain falling between Russia and the West. The news came from the press secretary of the Russian Union of Travel Industry, Irina Tyurina. Last week, United Russia MPs proposed amending the federal law about the procedure to leave and enter the territory of the Russian Federation. In accordance with these amendments, the Russian Ministry for Foreign Affairs should hold mandatory accreditation of all companies rendering intermediary visa registration services to Russian citizens. In order to obtain accreditation, a visa issuance company is supposed to have representative offices in at least 20 regions of the Russian Federation, whereas the share of foreign participation in the authorized capital of the company should not exceed 20 percent. In addition, applicants should have certified technical means to process confidential information (including biometric personal data). The amendments also require at least three years of experience in collecting and processing documents for obtaining visas on behalf of diplomatic missions and consular missions.According to the press secretary of the Russian Union of Travel Industry, Irina Tyurina, none of  existing operators can meet the criteria proposed in the draft law. For example, it is unclear how they should comply with the requirement of foreign participation. Presently, there are six companies that run visa service centers in Russia: VFS Global, GVCW - Greece, VMS - Italy, BLS - Spain, India, TLS - Great Britain, Switzerland, Belgium and Pony Express. The information on each of these companies is available to the public in the state register of legal entities.It is unlikely that these companies can be replaced with Russian ones: even if they meet all other requirements, Russian companies will not have three years of experience in rendering visa services. Needless to say that the adoption of amendments will trigger a mirror response from other countries. In this case, big plans to attract foreign tourists to Russia, especially after the World Cup, may not materialize.To make matters worse, residents of Russians regions will have to come to Moscow to get a visa to a foreign country. They will also have to spend many hours standing in long lines to visa departments of foreign embassies, as it was practiced during the 2000s. In a nutshell, all this is nothing but bad news that, if it becomes real, will complicate the lives of all Russian travelers. The news triggered countless "iron curtain" discussions in social media in Russia. The "iron curtain" has many holes in it as Russia has visa-free regime with many countries. Yet, the curtain would be very strong when it comes to a trip to Europe or to the States. Deputy Chairman of the State Duma Committee for Physical Culture, Sport, Tourism and Youth Affairs, Sergei Krivonosov, (United Russia) said that the Russian authorities, on the contrary, seek to minimize visa restrictions."At the initiative of the president, we are currently preparing proposals to simplify visa procedures. There are a number of countries that have already simplified the procedure to issue visas for Russian citizens. I haven't heard of the initiative that you're talking about. The State Duma's Subcommittee on Tourism (Sergei Krivonosov heads it - ed.) works to simplify visa procedures," the MP told Pravda.Ru. "We do want to make the procedure simpler, because we've had problems with bankruptcies of tour operators. We believe that an electronic visa can help. I am sure that there is no iron curtain of any type involved," Sergei Krivonosov added. Oleg ArtyukovPravda.Ru Read article on the Russian version of Pravda.Ru

Kylie Jenner is back with her bub!

The Keeping Up with the Kardashians reality star was reunited with her 5-month-old daughter Stormi after enjoying a parents-only weekend getaway to Paris with boyfriend and father of her child, Travis Scott.

On Monday, Jenner, 20, shared a cute video of her baby girl laying on her stomach and adorably squirming. “Tummy time,” the new mom captioned the footage on Snapchat.

The mother-daughter pair was matching in coordinated white shirts while little Stormi was dressed in a patterned pair of shorts and white socks.

Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and more in the PEOPLE Babies newsletter.

The Kylie Cosmetics mogul and rapper Scott had some quality time together in the City of Love, where he was performing at the 2018 Lollapalooza music festival.

“Kylie joined Travis for his short European tour. She left Stormi at home with a nanny and Kris ,” a source told PEOPLE.

The new mom, who welcomed Stormi in February, “usually travels with Stormi, too,” the source said. But this time, “the trip was too short and too far away for her to come.”

Having grandma help out meant Jenner and Scott “got to enjoy Paris together” and have been “doing really well and seem happy,” the source added.

RELATED: Cuddle Up! Kylie Jenner and Travis Scott Pack on the PDA in Affectionate Couple Photo

RELATED: See All the Too-Cute Pics of Kylie Jenner’s ‘Angel Baby’ Stormi

Also on Monday, Jenner shared a mirror selfie video of her post-baby body during an outing. In the footage, she showed off her toned stomach as she wore her white crop top and black leggings with a sweater tied around her waist. | 7/24/18
Comprised of archival footage from his father’s travels across Europe. | 7/20/18
Donald Trump and Melania are in Europe now for the NATO summit and trip to Britain and Russia and more. Honestly, it’s too painful to pay attention to this mess. It’s bad enough that we have to deal with Trump within America, but whenever he travels, it feels like we, as a nation, are responsible […] | 7/12/18
Tracey Jewel appears to have left her woes Down Under as she continues her European sojourn with wealthy boyfriend Patrick Kedemos this week.
She has been enjoying a lavish European getaway over the past few weeks, making sure to document her travels with envy-inducing Instagram snaps. 

Personal and national identity reverberate through “Crystal Swan,” a tough but irresistible debut from Belarusian director Darya Zhuk.

Set in the director’s native Eastern European nation in the mid-1990s, Zhuk co-wrote the story of an aspiring DJ hustling big time to flee her country for a life spinning house music in Chicago. Co-produced by Vice Films, “Swan” premiered at the Czech Republic’s Karlovy Vary International Film Festival on Saturday.

Featuring a breakout performance from star Alina Nasibullina and boasting a rare female cinematographer in Carolina Costa, the drama marks a progressive re-entry into the awards race for Belarus, as the country will submit “Swan” for the Best Foreign Language Oscar after a 22-year dry spell.

Also Read: Karlovy Vary Film Festival to Honor Tim Robbins

Nasibullina plays Velya, a club kid and serious DJ desperate to escape the squalor of her “liberated” homeland — which won its independence from the Soviet Union in 1994 only to elect an autocratic president who still rules to this day — for the promise of America.

Donning a blue wig and stomping around in Doc Martens, Velya flies in the face of a country mid-identity crisis. She has a law degree, but spends her days asleep and her nights raging in dank nightclubs. Her Walkman (shout out to cassette tapes) is the only company she cares to keep, as she manipulates her loved ones in the singular pursuit of her dream.

Velya steals from her mom, sells her clothes and hits up her tweaker boyfriend (a brief, amazing turn from Russian actor Yuriy Borisov) to scrape together the cash for a tourist visa and her ticket out. She forges employment by falsifying a letter from a crystal factory outside her capital city of Minsk, but it blows up in her face when the American embassy says they’ll call the phone number she gave to verify her gig.

She then travels to the remote crystal factory town in attempts to sway the owner of the phone number on the forged letter to lie for her and seal the deal on her visa. What she finds on arrival is a gruff and tight-knit family preparing for the wedding of their son, horrified by her request to sit beside their phone for a call that will implicate them in a lie.

Also Read: 'Black Panther' Cinematographer Rachel Morrison on Hollywood's Lame 'Excuse' for Not Hiring Women

But they don’t resist. Velya is swept into the bustle of wedding day prep, while the eldest son of the house (also the groom) teases her for her American ambitions and bristles at her criticism of their antiquated, controlled culture.

It’s here that Zhuk’s film takes a hard left, as Veyla is raped by the groom the night before his wedding. It’s a crushing and vile defeat that comes as a direct response to her laser focus on getting what she wants, a cruel reminder that women are rarely supported or rewarded when a man feels threatened by their power.

It’s a very serious incident that the film moves on from quickly (and Nasibullina shines in her character’s one vulnerable moment, warning her rapist’s younger brother that when he has sex in the future it must be consensual). Some may see it as a brash hit-and-run narrative device, but it’s supported by the context of a character who won’t be deterred no matter the circumstances.

Zhuk and Nasibullina create a character that harkens back to the enterprising, unapologetic heroines of ’80s films like “Desperately Seeking Susan,” “Working Girl” and Madonna’s underrated “Who’s That Girl?”

But Nasibullina’s Veyla is something new. You can dance to her beat or get the f— out of the way.

“Crystal Swan” was co-written with noted Russian poet and filmmaker Helga Landauer. It was supported by grants from the New York State Council, Hessen Film Fund and the Tribeca Film Institutive. Loco Films is handling domestic sales.

Related stories from TheWrap:

Karlovy Vary Film Festival to Honor Tim Robbins

Karlovy Vary Film Festival Delivers Cinema and Glamour, With a Side of Goulash

Karlovy Vary Film Festival to Give Awards to Jeremy Renner, Uma Thurman | 7/1/18
[Botswana Daily News] Gaborone -The Italian government on Friday night bestowed the Ordine Della Stella D'Italia (Order of the Star of Italy), a prestigious national honour from the European Union state, upon the Minister of Environment, Natural Resources Concervation and Tourism, Mr Tshekedi Khama. | 6/11/18
Cyprus' president says a new casino resort that's described as Europe's biggest will be the centerpiece of the east Mediterranean island's strategy to become a luxury tourism destination. | 6/8/18
[New Zimbabwe] ZIMBABWE will fork out ?1,95 million (US$2.3m) to host a group of high profile European soccer legends in the country as part of the sports tourism initiative to market the country as a safe destination. | 6/4/18
Composer Ramin Djawadi will use local orchestras alongside his own soloists as he travels across Europe | 5/25/18

Terry Gilliam has tried to make his film “The Man Who Killed Don Quixote” for two decades, and it finally screened on the closing night of this year’s Cannes Film Festival.

It’s the quintessential production from hell, complete with on-set injuries, lost funding, natural disasters and outsize ambitions worthy of the hero of Cervantes’ classic novel. Even after it wrapped, a lawsuit threatened to derail the film from screening at Cannes, and Amazon Studios pulled out of a deal to distribute the film in the U.S.

So the irony isn’t lost on anyone that Gilliam’s quest to make a movie about Don Quixote has been nothing if not quixotic. Here’s a not-so-brief timeline of every step on the road to Gilliam getting his film made.

Also Read: 'The Man Who Killed Don Quixote' Film Review: Terry Gilliam Finally Delivers Messy Fun


Gilliam started thinking about an adaptation of Cervantes’ 1615 novel “Don Quixote” in the early ’90s, and in a 1997 interview with Neon Magazine, he revealed “Don Quixote” as one of the “10 movies they wouldn’t let me make.”

“The years I wasted on this one,” he lamented, hardly realizing how quaint that now sounds. He originally asked for $20 million in funding from Europe and found that still wasn’t enough for his vision.

Gilliam also revealed that the studio wanted Sean Connery for the title role, but the actor left the project to make “The Defective Detective” (another movie that never came to pass). The director was replaced by Fred Schepesi, with John Cleese and Robin Williams in the lead roles, though that version never panned out either. “That really hurts, that I let a project I’m convinced I’m the best director on the planet to do, slip by,” Gilliam said.

Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as US Distributor, Wins Court Fight to Screen as Cannes Closer


After the U.K. premiere of “Fear and Loathing in Las Vegas” in 1998, Gilliam said that “The Man Who Killed Don Quixote” would be his next film. He had secured a $32 million budget and planned to begin production in Spain in September 2000.

In this version, Quixote would be played by French actor Jean Rochefort, who had learned English for the role, with the director’s “Fear and Loathing” star Johnny Depp as the Sancho Panza figure.

The script he wrote with Tony Grisoni was about a 21st-century ad executive (Depp) who travels back in time to the 17th century and gets mistaken for Sancho Panza. The story also drew inspiration from Mark Twain’s “A Connecticut Yankee in King Arthur’s Court,” another of the 10 movies Gilliam said he hoped to adapt for the screen in that Neon interview.

Also Read: Monty Python Lost 'Holy Grail' Animation Reveals Rectal Trumpeting (Video)

IFC Films

September 2000

The production appeared cursed from day one. As documented in the 2002 documentary “Lost in La Mancha,” production began north of Madrid near a Spanish military base and fighter planes flying overhead drowned out the sound recording.

On the second day of shooting, a flood washed through the area, causing the crew to lose equipment and for the landscape to be changed so drastically that it affected continuity. And after feeling pain from riding a horse, Rochefort was then sent to a doctor in Paris and was found to have a back issue.

He would not return, and production was canceled altogether in November. Nicola Pecorini, the film’s director of photography, said in the documentary, “Never in 22 years of being in this business have I seen such a sum of bad luck.”

Also Read: Terry Gilliam Finally Wraps Production on 'The Man Who Killed Don Quixote' After Nearly 2 Decades

September 2005

Gilliam’s interest in “Don Quixote” perked up again in 2005, when “Tideland” producer Jeremy Thomas came on board the project and Gilliam hinted that he wanted Gerard Depardieu to play the lead role.

June 2009

Johnny Depp breathed new life into the project when he told Ain’t It Cool News that he loved Gilliam and was still on board — though he hedged about whether he would be available given his commitment to the “Pirates of the Caribbean” movies.

“I’d hate to put him in a position — or ask to be in a position — where he’d have to wait for me. That would be wrong,” Depp said. “But also… I feel like we went there and tried something, and, whatever it was — the elements and all the things that got up underneath us – -were there and happened and were documented well in that film ‘Lost in La Mancha.’ So I don’t know if it’s right for me to go back there. I don’t know if it’s right for Terry to, but if he wants to…”

Also Read: Terry Gilliam's 'The Man Who Killed Don Quixote' Delayed Again Over Money Issues

December 2009

Collider reported that Gilliam wanted Robert Duvall for the lead role of Don Quixote, but only “if they get the money,” Duvall said.

May 2010

With Depp tied up, Gilliam turned to Ewan McGregor to play the Sancho Panza role opposite Duvall. He also said that he slashed the budget to a mere $20 million.

September 2010

Funding falls apart again for Gilliam’s film, despite having Robert Duvall and Ewan McGregor attached. “I shouldn’t be here. The plan was to be shooting ‘Quixote’ right now,” Gilliam told Variety.

Also Read: Cannes Confirms 'Don Quixote' for Closing Night, Praises Court Win: 'Cinema Has Regained Its Rights'

November 2013

Shortly after releasing his sci-fi “The Zero Theorem,” Gilliam confirmed to that he had begun preproduction on a seventh version of on “The Man Who Killed Don Quixote.”

“Lucky seven, maybe,” he said. “We’ll see if it happens. This is kind of my default position, going back to that. I actually just want to make it and get rid of it. Get it out of my life.”

August 2014

Gilliam told TheWrap that he secured funding for “Don Quixote” and planned to shoot it in early 2015 — with the film now set in the present day and revolving around a movie being made about Quixote. “I keep incorporating my own life into it and shifting it,” Gilliam said. “I’ve done it so many times — or not done it so many times — I’ll believe it when I see it.”

Also Read: Terry Gilliam Blasts 'Mob Rule' of #MeToo Movement in Hollywood: 'It Is a World of Victims'

September-November 2014

After another casting “hiccup” that Gilliam described to Rolling Stone as a “Sisyphean rock,” John Hurt was confirmed to play the role of Don Quixote, with Jack O’Connell as Sancho Panza. He even sparked a renewed excitement by releasing concept art for the film on his Facebook page.

September 2015

Another major setback suspended production when star Hurt was diagnosed with pancreatic cancer. He eventually passed away in 2017, a sad reality Gilliam knew all too well after Heath Ledger passed away during production of “The Imaginarium of Dr. Parnassus.”

May 2016

Teaming with Portuguese producer Paulo Branco, Gilliam got “Don Quixote” back on track yet again with a new cast that this time includes Gilliam’s “Monty Python” co-hort Michael Palin, Adam Driver and Olga Kurylenko as the female lead.

Also Read: Monty Python Stars Reuniting for 'Absolutely Anything'

September 2016

Branco failed to get together funds that he promised, stalling its planned production date in October. Branco clashed with Gilliam, demanded creative control over the film, slashed the budget, dramatically reduced the fee for Palin and even threatened legal action over the film.

“I was moving with caution,” Branco said in Le Monde. “In most of Gilliam’s films, budgets had exploded. But I quickly realized that he had a deep hatred towards producers. I started to have doubts even though I had a lot of funding.” 

But Gilliam persevered, telling BBC Radio 2, “We are still marching forward. It is not dead. I will be dead before the film is.”

June 2017

Production finally wrapped on “The Man Who Killed Don Quixote” — this time with Jonathan Pryce as Quixote and Driver as Toby, a modern ad executive mistaken for Sancho Panza. The cast also included Stellan Skarsgard, Kurylenko, Joana Ribeiro, Jordi Molla, Sergi Lopez and Rossy de Palma.

Also Read: Terry Gilliam's 'Don Quixote' Movie Will Shoot After Christmas With Modernized Plot (Exclusive)

April 2018

At long last, a trailer is released for “The Man Who Killed Don Quixote.” The film tells the story of a 21st-century marketing executive named Toby (Driver) who time jumps between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.

Then the film landed the closing-night slot at the 2018 Cannes Film Festival, with a gala screening on May 19.

Within days, though, former producer Branco filed a lawsuit seeking an injunction to prevent Cannes from screening the film and claiming that Gilliam needs Branco’s permission to screen the film. Cannes organizers stood by Gilliam and defends the right to screen it, even taking a swipe at Branco.

May 2018

A Paris court dismissed Branco’s lawsuit, allowing the film to screen at Cannes’ closing night as planned.

But the troubles didn’t end. Gilliam suffered a minor stroke just days before the court ruling and Amazon Studios pulled out of its deal to release “Don Quixote” in North America, telling TheWrap they pulled out because producers failed to deliver it.

The film finally did screen and won affectionate reviews from critics, including TheWrap’s Ben Croll, who called it “an awful lot of fun”: “The director hasn’t lost an inch of his Monty Python irreverence, gleefully poking holes in the narrative by breaking the fourth wall and calling attention to all the artifice.”

Related stories from TheWrap:

Cannes Stands by Terry Gilliam's 'Don Quixote' Despite Producer's Lawsuit to Block Screening

Cannes Adds Terry Gilliam's 'Don Quixote,' Lars von Trier's 'The House That Jack Built'

Terry Gilliam Blasts 'Mob Rule' of #MeToo Movement in Hollywood: 'It Is a World of Victims' | 5/20/18
Edinburgh councillors have put forward proposals for a tourism tax. Who else in Europe imposes them? | 5/19/18
Dark Sky Alqueva in Portugal has been nominated for the World Travel Awards in the category Europe's Leading Tourist Attraction.

Four years after his film “Ida” won the foreign-language Oscar, Polish director Pawel Pawlikowski has returned to the look of that film and to the unsettled arena of Europe in the decades after World War II. “Cold War,” which had its world premiere on Thursday night at the Cannes Film Festival’s Grand Theatre Lumiere, shares some strengths with its predecessor, but this is a movie of the flesh, not the spirit.

In the director’s last film, a young woman on the verge of becoming a nun travels through a sparse countryside still haunted by the ghosts of World War II. “Ida” is an austere film, but one that plumbed the depths of postwar guilt and tragedy and made its characters fight for their faith.

This time around, his characters move in a landscape that was formed by the war: a divided Europe, with Poland under the sway of Stalin’s Soviet Union and suspicious of Western influences. And this time, his lead characters, Zula and Wiktor, are fighting for love, meeting in different cities at different times to reclaim a bond that began when Zula was a young music student and Wiktor was her instructor.

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Europe in the 1940s and ’50s has been a fertile setting for doomed love since “Casablanca,” and “Cold War” gives us another of those. But Pawlikowski is a lyrical, mysterious filmmaker with a ravishing visual sense; if we’ve seen lovers pulled together and torn apart in Paris and Berlin before, we haven’t seen them look and feel like this.

In “Ida,” Pawlikowski shot in lustrous black and white and used an almost square 4:3 aspect ratio, which almost feels square to the viewer; it disconcerted his original cinematographer, and often made his characters feel isolated with a large amount of space above their heads.

He does the same thing on “Cold War,” often to similar effect, but he also finds other astonishing shots: a gorgeous sequence where Zula floats down a river on her back with all but her face and hands submerged, and a final scene where the couple stages their own ceremony in a derelict, haunted church.

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But then, all of “Cold War” is haunted – partly by the conflict that tore a continent apart and put it back together with a fault line down the middle, and partly by matters of the heart. But its characters only glancingly face their ghosts; most of the time, they sing and play their songs (Polish folk tunes, then anthems to Stalin, then ’50s jazz and pop), fall in and out of other relationships and try to pretend that they can each live without their soulmate.

They can’t, of course, but they can’t really live with their soulmates, either. Joanna Kulig makes Zula impetuous and daring, Tomasz Kot gives Wiktor deep reserves of longing and sorrow, and together they make their way through a landscape that would be inhospitable even to less tortured and less complicated lovers.

If it doesn’t feel as fresh and bracing as “Ida” did, that film may have been the perfect combination of form and content. “Cold War,” which is Pawlikowski’s first entry in Cannes main competition, is in some ways more familiar, but the spin he puts on it is distinctly and beautifully his own creation.

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Israeli singer Netta Barzilai gives a cluck about empowering women.

Barzilai is favored to win the Eurovision Song Contest, a massive phenomenon overseas, with a #MeToo anthem of sorts that incorporates chicken sounds.

“People are really connecting with the clucking,” Barzilai told TheWrap. “It’s uplifting.”

Hundreds of millions of viewers around the world follow the Eurovision contest. Barzilai qualified for it by winning “HaKokhav HaBa L’Eurovision” (The Next Star for Eurovision), an Israeli reality singing competition. When it came time to record her entry, “Toy,” Barzilai decided to wing it (sorry) with the chicken sounds.

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The song includes lyrics like: “I’m not your toy, you stupid boy,” and “Barbie got something to say.”

“We knew we were creating something special,” Barzilai said. “But we never thought it would be this crazy.”

“We’ve been getting fan mail from the U.S. and even Arab countries, places that have nothing to do with Europe,” the song’s co-writer, Doron Medalie, told TheWrap. “The Eurovision usually has the same cliche-ridden themes about peace and love. There aren’t a lot of songs using toys as metaphors for men.”

The winner of the Eurovision contest will be named May 12.

Since its March release, the tune has garnered 18 million views on YouTube and another 4.5 million on Facebook.

Betting sites have Barzilai as the odds-on favorite to win, with “Toy” taking up the No. 1 spot with bookmakers according to ESC Daily, a site dedicated to covering the Eurovision contest “as the Olympic Games of music.”

“She’s light years ahead of of anyone else,” said Gal Uchovsky, who served as a judge on the show “Kokhav Nolad(A Star Is Born) for five seasons. “It’s a great song and it’s very current.”

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Estonia’s “La Forza,” which bookies rank second-most likely to win the contest, has 2 million views. The Czech Republic’s entry, “Lie to Me,” another favorite to win, has 3.7 million YouTube views.

According to the Israeli newspaper Haaretz, it came in 17th on the list of the most listened-to songs on iTunes in Spain, 36th place in Poland, and 46th in the Netherlands.

Started in 1956, the Eurovision Song Contest is the longest-running international singing competition, with more than 200 million viewers, according to organizers. It’s largely considered the precursor for singing contests like “American Idol” and “The Voice.”

The event, held in Lisbon, Portugal, also airs in the U.S. For the third consecutive year, the show will be broadcast on Logo. The Viacom network will carry the live finale on May 12.

The internet has made Eurovision popular well outside Europe. Last month, a Ugandan dance group, Spoon Youth, choreographed dance to “Toy.” It has more than a quarter of a million views.

It also got a super-Jewish Yiddish spoof by a singer calling herself  “The Kosher Diva.”

The winning Eurovision country also gets to host the following year’s competition. The honor doesn’t come cheap — Ukraine forked over about $24 million for last year’s event, according to the Kyiv Post.

But hosting the live event can boost a county’s image and tourism. Stockholm, which hosted the Eurovision in 2016, saw a boom in international visitors and generated about $30.5 million in revenue, according to the city, which it said was the equivalent to 175 full-time jobs.

Israel has won three times —  in 1978, 1979 and 1998. But there are no guarantees the 2019 Eurovision contest will be held in Jerusalem. Last year, the Italian song was favored to win, but ended up sixth after the final tally came in.

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Facebook has deleted 70 user accounts and 138 pages, as well as 65 Instagram accounts it says were controlled by a Kremlin-funded network specializing in fake news, the company announced Tuesday.

The pages were linked to the Internet Research Agency, a Russian troll farm known for pushing ads aimed at American voters with divisive messages about social and political issues during the 2016 election cycle.

However, according to Facebook Chief Security Officer Alex Stamo, the latest batch of IRA-created accounts and pages were intended for a more home-grown audience. The vast majority of the deleted pages — 95 percent — were in Russian and intended to for Russian-speaking users around the world, Stamos explained in a blog post.

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“We removed this latest set of Pages and accounts solely because they were controlled by the IRA — not based on the content,” Stamos wrote. “This included commentary on domestic and international political issues, the promotion of Russian culture and tourism as well as debate on more everyday issues.” Stamos.

Around 1.08 million unique users followed at least one of the deleted Facebook accounts, while 493K unique users followed at least one of the Instagram accounts.

“Most of our actions against the IRA to date have been to prevent them from interfering in foreign elections. This update is about taking down their pages targeting people living in Russia,” Facebook CEO Mark Zuckerberg said in a separate post. “This Russian agency has repeatedly acted deceptively and tried to manipulate people in the US, Europe, and Russia — and we don’t want them on Facebook anywhere in the world.”

Facebook has been heavily criticized for its slow response to the IRA’s activities before and after the 2016 election. Notably, Zuckerberg was initially dismissive of the claim that the company’s ads played a role in the election. However, he eventually changed his tune, saying last fall he was “dead serious” about the issue.

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The company has since added thousands of content moderators and beefed up tools to weed out troll content in the aftermath and according to Zuckerberg, will release a tool within the “next few weeks” that allows users to check if they’ve followed IRA-linked pages.

The company had initially planned on releasing that tool by the end of 2017.

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When international man of cake-tossing and crowd surfing, Steve Aoki, popped up from inside his traveling entourage’s huddle to become the first DJ to appear on the decks at Omnia Dayclub in Cabo San Lucas, Mexico, he greeted an invited crowd of 600 VIP’s with a bilingual salute: “I’m Esteban Aoki!”

While nothing was lost in translation from the “Just Hold On” producer, the opening weekend festivities (Feb. 23-24) were a transformation for Hakkasan Group.

The titan of Vegas daylife and nightlife familiar to Los Angeles billboard observers (Omnia, Jewel, the titular Hakkasan) did not export their party model to Mexico as a verbatim copy of its Nevada temples of EDM.

Zedd playing the first daytime set ever at the new Omnia Dayclub on Saturday, Feb 24. He blew through his allotted time to go longer. (Joe Janet)

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Unlike Vegas’ festival style arena, Omnia Dayclub at the Vidanta Los Cabos is a beachside complex of two-story cabanas, private plunge pools, a bonfire on the sand stretching as wide as a UFC octagon, and scaled back production aimed at entertaining during daylight hours.

Think “Burning Man on Baja” or “Mykonos via Mexico.”

Calvin Harris spun for nearly four hours on his first visit. (Conor Mcdonnell)

A food menu as large as the vodka bottle menu sets the tone. If Zedd, Calvin Harris and Aoki were not rocking the pool — and though they were on opening weekend, they won’t on a regular basis — you can squint and imagine that you could read-a-book or dip into siesta mode here.

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The project came about via a hospitality and development partnership with Grupo Vidanta, a developer that holds the pole position in luxury tourism across Mexico and Central America.

Michel Beuffe (President of Operations, Vidanta) and Nick McCabe (CEO, Hakkasan) celebrate the opening of their four joint venues. (Joe Janet)

While operators told The Party Report that this is not intended to be a 3 a.m. alternative to wild nights in Vegas, nobody told Calvin Harris. The super producer arrived for a Saturday night set and played for nearly four hours. (For reference, the default contractual unit of “DJ headliner sets” is half that.)  When fireworks erupted over the beach, (top photo), Harris dialed up Katy Perry’s “Firework” and continued to spin into the early morning.

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“Is he mad at somebody?” one of his lighting crew guys later asked rhetorically. We doubt it.

Calvin’s always been a crowd pleaser. When he plays “This Is What You Came For,” he knows what a private event crowd toasting the opening of a luxury venue on the beach in Mexico came for.

Squad goals 2018 ??”?

A post shared by Emily Zupan (@em_zoops) on Feb 24, 2018 at 11:49pm PST

Beyond Calvin fans and media, invites must have said: “Send us your most beautiful, most Instagrammable and most connected.” That’s who else showed up for a first look.

The crowd included social media stars Chantel Jeffries, Stassie Karanikolaou, Kelsey Calemine and Zedd. The “Stay” producer halted his globetrotting to spend two days at the Vidanta before spinning the inaugural afternoon party.

Mano a Mano: Chefs Brian Malarkey (inset) and Alex Branch were running food and waiting on tables themselves.

Fresh off an appearance on “Beat Bobby Flay” that aired days earlier, celeb chef Brian Malarkey (above, right) was also on scene to open a Herringbone on the property. On the first night of service, it was so packed with Vegas cocktail models that The Party Report couldn’t see the walls. We have no idea who was tending to customers back in Las Vegas.

Zedd and Steve Aoki (Joe Janet)

Malarkey was personally slinging bluefin tuna poke and grilled seafood tostadas, “touching” (greeting) every table. How often will the San Diego-based Malarkey be in Cabo? “As often as they’ll let me,” he told The Party Report.

Casa Calavera, the new “Dia De Los Muertos” themed Mexican eatery on the beach  (TOMO)

Omnia and Herringbone join a new SHOREBar and Casa Calavera as a four-venue entertainment district. It’s located at Vidanta Los Cabos, a resort about 30 minutes away from the downtown Cabo party scene in the more refined San Jose del Cabo.

John Terzian and Brian Toll (the h.wood Group guys behind Poppy, The Nice Guy and Delilah) came down to open the new SHOREbar, a cousin of L.A.’s sleek cocktail haunt on the beach. This one floats in a pool and has high end rec room games (ping pong, foosball) to go with a permanent taco truck churning out quesadillas and guacamole at all hours of the day.  Continuing their partnership with Hakkasan group, they smartly positioned SHOREBar as a launch pad on the path in to Omnia and as the place to regroup for more cocktails on the way out.  Casa Calavera, a dia-de-los-muertos Mexican restaurant and lounge rounds out the district. It serves as both a backstage area for the DJ’s at Omnia, an entry point to the beach, and the site of many future boozy brunches.

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With muscular opening ceremonies now in the past, the venues will settle in to less bombastic year-round operations. In L.A., it’s nearly impossible to sustain the buzz of an industry launch. Tourist markets are different. When Club LIV first opened in Miami, it was a relatively far taxi ride from the heart of South Beach’s nightlife. In Mykonos and other luxury beachclub destinations in Europe, everything is a trek yet the right clientele still gets there and crowds it full.  In the current “daylife era,” many party people go out only during the day, not at night.

For that sector of Hakkasan’s brand, this is what they’ll come for.

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It’s impossible to say how tragic the situation might have been on Thalys train 9364 on August 21, 2015, had three Americans — Anthony Sadler, Alek Skarlatos, and Spencer Stone — not stepped in to intercept a terrorist sporting enough will and ammunition to cause countless deaths. But a few minutes of nail-biting, recreated heroism isn’t enough to justify the other 90-or-so minutes in Clint Eastwood’s dry salute of a movie, “The 15:17 to Paris,” which struggles to mix patriotism, friendship, God, and destiny into something meaningful.

Unlike the weighty punch of the director’s last couple of true bravery stories, “American Sniper” and “Sully,” the primary impression this effort leaves is that of an expensive memento.

The keepsake vibe stems from the fact that Eastwood daringly cast the three heroes as themselves, a bid for Harold Russell/Haing S. Ngor non-professional naturalism as admirable as it was mistaken, since one mostly watches these close friends as stunt performers (Can they pull it off?) rather than blended-in parts of a strong narrative. Hoping they do well from scene to scene — for Anthony’s casual insouciance to spice things up, for Spencer’s polite intensity to disarm, for Alek’s quiet macho charm to land — doesn’t exactly put one in the right frame of mind to get swept up in a movie.

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After an opening that follows the would-be criminal as he walks his roller toward the fated train, Anthony narrates an introduction to him and his friends, seen riding in a convertible like the stars of a music video, as the movie travels back in time to show how a pair of earnest white boys and a wisecracking black kid became friends at a Christian middle school in Sacramento in 2005.

The bond was of the marginalized and mischievous: young Spencer (William Jennings) and Alek (Bryce Gheisar) favoring camo-wear, war games, and pranks to any overt “coolness,” while Anthony (Paul-Mikel Williams) is the smooth-talker they run into on trips to see the principal (Thomas Lennon).

Spencer’s mom Joyce (Judy Greer) and Alek’s mother Heidi (Jenna Fischer) battle their religious community’s stigmatization of single moms. Joyce worries that her kid isn’t focused enough to succeed at anything, which leads to one of the more ham-fisted moments in Dorothy Blyskal’s screenplay: the young, military-obsessed Spencer kneeling at his bed, praying to God, “Make me an instrument of your peace.”

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Though circumstance splits the trio up as children, they stay in touch over the next decade. Spencer, who transforms his youthful pudginess into a warrior-like frame, pursues his dream of becoming an Air Force pararescueman, carrying an eagerness to save the day that causes one instructor to roll her eyes. Alek joins the National Guard, learns about weapons, and briefly sees service in Afghanistan. Anthony’s goals, meanwhile, outside of scenes watching sports and teasing his friends, are mysteriously ignored.

But when they all decide to convene in Europe on a holiday — sightseeing in Italy, biking in Germany, clubbing and beers in Amsterdam — Eastwood flirts disastrously with vacation slide-show boredom in his attempt to portray the ordinary before the extraordinary. Crammed in are clunky teases to what lies ahead: Spencer musing aloud about life catapulting you toward a purpose, and a German tour guide barking, “You Americans can’t take credit every time evil is defeated.”

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We get the fact that Hollywood usually makes everybody it dramatizes into hopelessly wittier and more interesting people than the real-life versions, and how sometimes correcting that glamorization is worthwhile, but these sequences take adherence to mundanity to a pulse-deadening extreme. I already assumed heroes ate gelato and used selfie sticks, but these drawn-out details don’t do much to set the scene.

By the time we reach the attack sequence, its realistic nerviness — from “Sully” vets Tom Stern’s fleet camerawork and Blu Murray’s editing — comes almost as a mood-altering relief: artfulness has arrived. There’s a casually physical authenticity to the quickness, the fear, the brutality, and the attention given a wounded passenger, that gives these tense minutes a heart-stopping believability.

It’s here that Eastwood the veteran flexes his muscles as a director not just of action, but also of people of action, and burnishes his status as a chronicler of the humanity surrounding such necessary violence. Whether you believe God put these (military-trained) regular Joes there (an idea the movie gently nudges) or subscribe to a faith in the sacrifice of good people whenever confronted with stopping harm, the depiction of the men’s clear-eyed reactions is a gripping account of unthinking valor.

But it’s a meander until then. If you’re looking for the type of curtain pullback on a harrowing event that Paul Greengrass crafted with “United 93” or “Captain Phillips,” or a philosophical character study along the lines of Eastwood’s “Sniper” and “Sully,” then “The 15:17 to Paris” is regrettably more a wading pool than an immersive dunk.

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BELGRADE, Serbia — Japan's prime minister says his country is seeking to strengthen relations with Serbia and other Balkan countries.

Shinzo Abe visited Belgrade Monday as part of a six-country European tour. He has already visited Estonia, Latvia, Lithuania and Bulgaria and travels to Romania on Tuesday.

Abe has described Western Balkan countries as important for international stability and said that Serbia is a "key country" for the stability of the region.

America is keeping Jim Jefferies around for a little longer. Comedy Central has renewed “The Jim Jefferies Show” for a 20-episode second season, the Viacom cable channel’s chief Kent Alterman said on Monday.

“You’d think I’d stop being surprised at how smart and funny Jim is about everything,” the Comedy Central president said at the Television Critics Association press tour. “I’m just glad we’re still giving visas to people from whatever s—hole country he comes from.”

That would be Australia, Kent.

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“I’m very happy that ‘The Jim Jefferies Show’ will be coming back for a second season,” added Jefferies. “Thank you so much to Kent Alterman and everyone else at Comedy Central that makes this show possible. We have great things planned for this season including field pieces in Europe and Israel that I’m recording right now. I have missed being on-air during the hiatus but luckily the President hasn’t said or done anything stupid worth talking about.”

Each week, Jefferies tackles the week’s top stories from behind his desk and travels the globe to far-off locations to provide an eye-opening look at hypocrisy around the world, per the show’s official description.

Jefferies, Scott Zabielski, Jason Reich, Alex Murray and Tim Sarkes are executive producers.

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