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Love in the Villa review – a Netflix rom-com that is immediately forgettable

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The Netflix confection Love in the Villa summons two deeply grounded customs. There’s the general romcom equation – two characters in conflict, a meet-charming, a duplicity/uncover, a revelation, a rehashed inside joke, somebody running some place in a period crunch. And afterward there’s the made kinds of Netflix solace food: unmistakable B-to-C-list ability, messy area, trite Twitter-arched jokes, particularly modest looking creation, acceptable yet not especially empowering science. Composed and coordinated by Mark Steven Johnson, Love in the Villa joins both into one more fleeting sugary treat off the streaming mechanical production system – harmless and standard pleasurable yet promptly forgettable.

The snare here is that the focal couple, played by The Vampire Diaries’ Kat Graham and Umbrella Academy’s Tom Hopper, meet in beautiful Verona – as cheesy a heartfelt area as it gets yet brilliant gorgeous sight during the dusk of a late spring in which apparently every superstar visited Italy. Verona is, obviously, the setting of Romeo and Juliet or, as Graham’s Julie tells her homeroom of 3rd grade understudies, “the most heartfelt and heartbreaking romantic tale ever”. Exactly as expected, Julie is a sad overachieving heartfelt dialed up to 11 – she fantasies about seeing Juliet’s gallery in Verona, she overlays her itinerary items and assigns 7% of downtime for “spontaneity”.

At the point when Brandon (Raymond Ablack), her sweetheart of four years who some way or another appears to be astounded by her neuroticism, dumps her just before their Verona occasion, Julie continues solo. She gets through a departure from heck, lost baggage and a wild taxi driver who almost crashes while attempting to pass out his mother’s cannoli from the front seat (this film is maybe somewhat inconsiderate to Italians). Evidently to top it all off, Julie enters her confidential estate to find a tall, shirtless, extremely fit British man drinking red wine; the estate has been inadvertently twofold reserved. Container’s Charlie, a wine merchant, demands remaining in “la estate romantica” for the course of Vinitaly, a genuine meeting for wine experts, causing Julie a deep sense of’s mortification, however it’s muddled the way in which this improvement could be viewed as something besides serendipitous for her.

Subsequently starts a senseless conflict over the manor, in which the deception that these two exceptionally appealing individuals can’t stand each other never gets the bar free from persuading. (On the note of deceptions, it’s great that for a respectable stretch of the film, the outfit creators make the brilliant Graham look unattractive in gift-shop clothing.) Julie is obstinate and savors struggle. Charlie is pompous and cut off – “I’m British, so I don’t do plain shows of feeling, OK?” he says, empowering Julie to secure her sentiments in a case.

Love in the Villa appears to hold back nothing Mrs Smith levels of sexual disdain, yet notwithstanding Hooper and Graham’s obligation to appearing to be truly disenthralled, the contention scarcely arrives at a stew. What you really do get is a humbly engaging heightening of disturbed intentions for a close more bizarre – delivering felines on somebody with a serious sensitivity, calling the police, a food battle that serves as a reason to name-drop some Italian cheddar. (Container and Graham, in any event, seem to have played around with tossing pasta.)

The leads’ gameness converts into engaging exhibitions, which accomplish sufficient appeal to bring through a few pointless postponements to the unavoidable (there is no great explanation for why Love in the Villa is more like 2 hours than 90min). Graham, specifically, pervades Julie with an astonishing combo of healthy midwestern pleasantness (she’s from Minnesota) and shrewd seriousness. It’s fairly reviving to see an exemplary sort A romcom courageous woman like Julie not fall into the generalization of the over-aggressive girlboss; she’s entirely blissful training grade school and empowering small kids to become hopelessly enamored with books, which she reasonably sees as a satisfying profession.

Yet, similarly as with any movement relationship, the moderate spell breaks with the interruption of ordinariness, as their previous old flames (Charlie’s is played by Hopper’s genuine spouse, Laura). Their absence to Charlie and Julie’s association is so ridiculous as to empty any leftover pressure. By then, better to jump to the too-extended goal with its various summons of Romeo and Juliet, which wink at the triteness while completely humoring it.

Charlie might attempt to cut it with dry asides, yet that sincerity is direct and straightforward. Love in the Villa is feel-better, not make a solid attempt. Nothing at any point ascends to the degree of unwatchable, however nothing has any unmistakable fortitude, either – you might get the whiff of sentiment to a great extent, such as passing by a pastry kitchen customer facing facade, which comprise the most charming shots of the film. Regardless, the film is a compelling mass-market promotion for Italian the travel industry – new produce, a consistent progression of wine, rose-gold daylight on earthenware rooftops, two seconds of Venchi promotion. In a real sense and metaphorically, Love in the Villa catches a traveler gift shop – a thing to examine, perhaps appreciate (unexpectedly or sincerely, frequently both) and afterward continue on.

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David Schwimmer Remembers Rejecting “Men in Black”: ‘That Would Have Made Me a Hollywood Star’

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Although David Schwimmer admits his “career would have taken a very different trajectory” if he had been the lead in the 1997 movie, he doesn’t regret declining Men in Black.

The actor said, “That’s not why I turned it down,” in response to a question on a recent episode of the podcast Origins With Cush Jumbo regarding whether he rejected down the successful franchise because it conflicted with his Friends filming schedule. Rather, he decided to become a feature film director.

Schwimmer said, “[It] was a brutal decision.” the actor chuckles. “I had just finished filming The Pallbearer, my first film with Gwyneth Paltrow, and there were high expectations of that, which didn’t come true (Laughs). It was kind of a bomb, but there were high expectations, and the studio, which was Miramax, wanted to lock me into a three-picture deal at a fixed price, and I said I would do that if I got to direct my first movie.”

After months of talks, the intelligence actor said that they had come to an agreement whereby he “would act in three more movies for them” in exchange for allowing him to “direct my entire theater company in the first film,” Since You’ve Been Gone from 1998. The film was told through the perspective of a doctor who was severely beaten up by a fellow graduate on graduation day, humiliating him and setting the stage for a ten-year class reunion.

“All these unknown actors but I was going to put them on the map, basically. I was going to let everyone discover the talent of this amazing company,” Schwimmer said, “We found this amazing script, and we were developing it. We started pre-production. All my best friends in the world in my theater company quit their jobs so they could be in this film over the summer, which was going to be a six-week shoot in Chicago.”

However, Schwimmer had to make a tough decision about his career because the production for his directing debut happened to coincide with the filming of Men in Black.

The Six Days Seven Nights actor recalls, “We’re in pre-production, hired the whole crew, everything’s going and that’s when I was offered Men in Black.” “It was a direct conflict with this. My summer window from Friends was four months. I had a four-month hiatus and Men in Black was going to shoot exactly when I was going to direct this film with my company. And of course, it was an amazing opportunity. However, my theater company and that relationship with all those people would probably have ended. I don’t think it would have recovered.”

Schwimmer stated that he is unsure if “he made the right choice,” but he firmly feels that in these kinds of circumstances “you have to follow your gut, you have to follow your heart.”

“Look, I’m really aware, whatever 20 years later maybe more, [Men in Black] would have made me a movie star,” he continued. “If you look at the success of that film and that franchise, my career would have taken a very different trajectory.”

In the end, Tommy Lee Jones and Will Smith played the key parts in the Men in Black franchise.

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The Role of Vulnerability in Success: Hannah Love’s Guide to Embracing Your True Self

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In a world that often celebrates strength and success, vulnerability might seem like a weakness—but for Hannah Love, it’s a cornerstone of true personal growth and success. Throughout her journey, Hannah has discovered that embracing vulnerability isn’t just about being open with others; it’s about being honest with yourself. It’s through this honesty that real transformation begins.

Hannah’s life has been shaped by challenges that tested her resilience and forced her to confront deep-seated fears and insecurities. From childhood trauma to the emotional struggles of her twenties, she faced moments where vulnerability was not an option but a necessity. “For a long time, I saw vulnerability as a sign of weakness,” Hannah recalls. “I thought that if I let people see my pain, they would see me as less capable, less strong.”

However, as Hannah began to open up about her experiences, she realized that vulnerability was not her enemy—it was her greatest ally. It allowed her to connect with others on a deeper level, to share her struggles without shame, and to find strength in the very parts of herself that she had once tried to hide. “Vulnerability isn’t about being weak,” she explains. “It’s about being real. It’s about showing up as your true self, no matter how imperfect that self might be.”

One of the most significant lessons Hannah learned is that vulnerability is essential to building meaningful relationships. When we allow ourselves to be vulnerable, we create space for others to do the same. This mutual openness fosters trust and deepens connections, both personally and professionally. “The more I shared my story, the more I realized that others were going through similar struggles,” Hannah says. “By being vulnerable, I wasn’t just helping myself—I was helping others feel less alone.”

In her work as a mental health advocate, Hannah emphasizes the power of vulnerability in healing and personal development. She encourages others to embrace their imperfections, to share their stories, and to see vulnerability as a pathway to growth rather than a hurdle to overcome. “When we hide our true selves, we limit our potential,” she explains. “But when we embrace who we are, flaws and all, we open ourselves up to new possibilities.”

Hannah’s journey also taught her that vulnerability is closely linked to authenticity. For years, she tried to fit into societal molds, hiding her true feelings behind a mask of perfection. But this only led to more pain and disconnection. It was only when she started living authentically—when she stopped trying to be what others expected and started being herself—that she found true success. “Living authentically means embracing your vulnerabilities and showing up as your whole self,” she says. “It’s about being honest with yourself and others, even when it’s hard.”

Through her platform, Hannah continues to advocate for vulnerability as a key to personal and professional success. She believes that when we embrace our vulnerabilities, we not only empower ourselves but also inspire others to do the same. “Success isn’t just about what you achieve,” she explains. “It’s about how you achieve it—by being true to yourself and allowing others to see the real you.”

As Hannah prepares for her TEDx Miami talk, she is eager to share her insights on vulnerability and authenticity with a broader audience. She hopes to inspire others to embrace their true selves and to see vulnerability not as a weakness, but as a source of strength and connection. Her message is clear: in a world that often values perfection, it’s our imperfections—and our willingness to share them—that truly make us successful.

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HBO Unveils First Looks at “Knight of the Seven Kingdoms” and “Last of Us” Season 2

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HBO debuted teasers for a number of highly anticipated new and returning shows, such as The Last of Us’ second season and A Knight of the Seven Kingdoms, the first season of the Game of Thrones prequel.

Aside from clips from The White Lotus season 3 and IT spin-off series It: Welcome to Derry, the trailer (below) featured new superhero parodies The Franchise, upcoming seasons of The Gilded Age and And Just Like That, and more. It aired before the second-season finale of House of the Dragon.

The third season of Industry, the fourth and last season of My Brilliant Friend, the adult animation DC Universe series Creature Commandos, the drama spin-off Dune: Prophecy, and the Batman spin-off series The Penguin are a few of the other programs included in the mix.

Aside from the new Max originals The Pitt, starring Noah Wyle, and the J.J. Abrams drama Duster, starring Rachel Hilson and Josh Holloway, there is footage from the documentaries Wise Guy David Chase and The Sopranos, which examine the life and career of The Sopranos creator.

A number of the “big” titles, such as Knight of the Seven Kingdoms, Welcome to Derry, The Last of Us season two, and others, will launch in 2025.Season three of And Just Like That.

However, a few of the series, such as Industry (which returns on August 11), The Franchise (which returns later this year), and The Penguin (which returns on September 19), are quickly approaching.

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