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‘I Will Find You’: Logan Browning on Sam Worthington Teaching Her How to Reload a Gun and the Show’s Wild Action Scenes: ‘I Can Hop Buildings, Didn’t You Know That?’

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@ 11/07/2026

Logan Browning had just moved from Los Angeles to Atlanta when she was offered the role of FBI agent Sarah Greer in Harlan Coben’s latest Netflix hit series “I Will Find You.”

“Maybe there’s something special in the water in Atlanta because it all worked out,” Browning tells me over Zoom.

And Sarah is not just any FBI agent. Her partner at the Boston bureau happens to be – get this! – her father, Max Williams, played by Chi McBride.

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A father-daughter FBI team is a prime example of what Coben does so binge-worthy well – making the viewer believe the unbelievable is rooted in reality.

“In doing all my research, I was like, ‘This is a big no-go, like this would never happen,’” Browning says, laughing. “They [the producers] were like, ‘They got special privileges because of his tenure.’ So I’m paving the way for father-daughter FBI teams. You’re welcome.”

Chi McBride and Logan Browning in “I Will Find You.” ©Netflix/Courtesy Everett Collection

The eight-episode series sees Sarah and Max on the hunt for David Burroughs (Sam Worthington), a prison escapee who is on the run to prove that he was wrongly accused and sentenced to life for the brutal killing of his young son Matthew. Brit Lower co-stars as David’s former sister-in-law, a journalist who believes David is innocent. Milo Ventimiglia is Rachel’s wildly wealthy ex-boyfriend Hayden and Madeline Stowe plays his seemingly sinister mother.

The cat-and-mouse action thriller features David and Sarah making death-defying leaps from the roof of one Boston building to another. “I can hop buildings, didn’t you know that?” Browning quips.

In the end, Sarah ends up coming to David’s defense and helps clear his name.

“When we did do that roof scene, Sam brought this up. He’s like, ‘They need to lock eyes a couple of times because they are going to team up so fast in the end,’” Browning recalls. “I do think for me there’s a moment when David is about to jump off of the building where it almost seems like a compassionate moment between them.”

While Browning has had experience using firearms, she said Worthington proved to be an invaluable teacher. “Even though Sam’s character doesn’t use guns much, Sam has obviously used guns a lot,” Browning says. “There was one scene where one of our directors Maggie Kiley wanted me to reload. Sam taught me on the spot how to do that, and oh my god, he’s so cool. He really knows what he is doing. That was so cool to watch him do it.”

All eight episodes of “I Will Find You” are available on Netflix.

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Record Industry Proposes Adding Labels to AI-Generated Music

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@ 11/07/2026

Major Labels

"These labels will provide an immediately understandable and easily scalable approach to transparency," RIAA and other companies say of initiative

Over 35 years after the introduction of the Parental Advisory sticker, the record industry is now weighing whether to place labels on music that utilizes AI.

In a joint announcement from the Recording Industry Association of America (RIAA), the Grammys, SAG-AFTRA and other organizations in the music community, the groups declared “a unified approach to voluntary track labeling to give fans clearer information about the use of generative AI (GenAI) in sound recordings.”

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Their proposal is to add digital markers — like those denoting explicit lyrics on streaming services — to songs either entirely created or assisted by AI technology. A black block with large “AI” would signify “AI-Generated” tracks, while a white block with a smaller “ai” would be used for songs that are “AI-assisted.”

“Fans want to know whether and how generative AI has been used in the music to which they listen,” IFPI CEO Vikki Oakley and RIAA Chairman & CEO Mitch Glazier said in a joint statement. “Given how important human artistry and authenticity is to music lovers all over the world, these labels will provide an immediately understandable and easily scalable approach to transparency. We acknowledge the many ways AI is being used creatively, so we expect to offer fans additional information as adoption of generative AI labeling grows and technology evolves.”

The call for “transparency” comes following reports detailing the rampant amount of AI music being uploaded onto streaming services; Deezer reported that AI-generated songs made up 44 percent of all new uploads, while Apple Music that one-third of new music uploaded onto the service is “100% AI.”

“These new labels will help listeners distinguish between wholly AI recordings and those where AI was used by human artists in limited ways,” the companies’ press release added.

‘Moana’ Creatives on Working Closely to Honor Polynesian Culture and Traditions, and Why Representation Matters in the Live-Action Film

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@ 11/07/2026

Dwayne Johnson can finally rejoice. At the premiere of Disney’s live-action “Moana,” the star said that, growing up, he didn’t see himself represented in the media. “‘Indiana Jones’ inspired me. When I was 8 years old watching Harrison Ford, I was like, ‘I want to be that guy,’ but that guy didn’t look like me.” And so, as the film hits screens this weekend, Asian American and Native Hawaiian/Pacific Islander audiences, Johnson, and the film’s cast and creatives are finally finding much to celebrate.

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It’s been a decade since the story about wayfarer Moana first sailed into theaters. The 2016 animation featured cultural touchstones nodding to Polynesian culture and folklore, and those moments resonated with audiences. The live-action feature brings it all to life. Aspects such as traditional Māori tribal tattoos, known as Tā moko, the rich expression of history through dance, and generations of Polynesian traditions are the beating heart of Thomas Kail’s adaptation. That left the film’s cast and creatives feeling a sense of pride at seeing their culture represented on screen.

To ensure that the representation was done with respect and authenticity, countless artisans, consultants, experts, advisors, and department heads worked closely with the Cultural Trust. Among those experts were Dr. Grant Muāgututiʻa (Lead Consultant, Cultural Trust), Tiana Nonosina Liufau (Choreographer, Associate Producer, Cultural Trust) and Opetaia Foaʻi (Songwriter).

Drawing from her cultural background, Liufau aimed to create movement that felt unique and authentic. She worked with dancers from across the Pacific Islands, embedding traditional moves from the Samoan and Tongan regions, such as the Ori Tahiti (a Tahitian dance), the Siva Samoa (the traditional dance of Samoa), and much more to represent the early foundations of Polynesian dance. “It wasn’t that we were looking for one specialized island form,” she says. It was about incorporating song and dance from all the islands and fusing those movements effortlessly into the musical numbers.

Another important element for her was crafting choreography so that the dancers’ faces could be seen. “There are so many Polynesian dancers throughout the world. I wanted to make sure that our community and people saw themselves on the screen.”

Lead consultant Muāgututiʻa, who spearheaded the team, wanted to ensure the tradition of respect within the culture was accurately reflected. The village sequences were discussed in detail. How people spoke and interacted — especially within the council of the chiefs — mattered. Moana’s mannerisms were also important to get right. Muāgututiʻa says, “With Moana, it was about how she walks in, addresses her father, how she serves her elders; we wanted to make sure we got it right so when people watch the film, they can say, ‘Yes, that’s exactly how we would do it,’ and that it would resonate with them.”

Grant also found the moments when the cast spoke Samoan important to cultural representation. “That was very meaningful for me to make sure that they got the pronunciation spot-on. The words were simple yet meaningful in the siva tau (a traditional Samoan war dance or challenge). That scene, and when they were on top of the mountain citing lyrics that and then that, that on the mountain top, when they were citing lyrics that Opetaia wrote, they’re saying it in the right way, and all of that coming together was, was pretty special.”

Foaʻi is no stranger to the world of “Moana,” having written music for “Moana,” “Moana 2” and now the live-action Moana. Songwriter Lin-Manuel Miranda calls the Tokelauan-Tuvaluan composer, musician, and singer the “secret sauce” to the authenticity of the film’s music.

Aside from translating and re-orchestrating Miranda’s original song, “Along the Way” in Tokelauan, he explains, the film’s first song needed to have a punch, so he wrote “Tulou Tagaloa.” “I knew it had to be in Samoan to punch it home. That’s my work. My work is trying to respect the history of our ancestors and match the songs to those times as a respect for them.”

And while critics of the film debate the live-action coming too soon, the cast of the film feel otherwise, and that this has been a longtime coming for Polynesian representation.

Like the film’s heroine, who ventures beyond her island to forge her own path, Owen, who worked as a member of the Maori Theater Company and starred in the Kevin Costner-produced film “Rapa Nui,” finally saw herself and her people in “Moana.” She points out, “Every single person on that screen is of Polynesian descent.”

Among the people Owen credits are Kail and Johnson. She says, “We all know that this legacy would not exist without a megastar. Dwayne is so passionate about his Samoan heritage and has taken this on board to open that big door for all of us to come through. I acknowledge Dwayne and, of course, our star, Catherine. We all rode on her wings.”

Frankie Adams, who plays Sina, also saw herself and her culture through the film. The Pacific Islander dance moves made her emotional. Adams says, “My mom was a big part of the cultural groups growing up. My sisters and I did Samoan dances throughout our childhood, so that was quite nostalgic for me to revisit that.”

Tui reprises his role as Moana’s headstrong father, Chief Tui. He admits he was nervous about translating the film to live-action. “We had so much riding on our shoulders,” he says. But once he saw the island, the casting, and heard the music, he felt an immense sense of pride. “We gave it a crack, and that our fight, our families, and the shoulders of ancestors that we’ve stood on are proud of that.” He adds, “I feel like I’m with some really good storytellers and powerful women and men, and we all come together to tell our stories.”

Grant reflects on the premiere, which kicked off with a troupe of Polynesian dancers onstage at the Hollywood Bowl. He says, “I think that’s just so powerful and something that I didn’t have growing up, and so I hope that our young Pacific Islanders and Polynesian kids will feel that walking away from the film, inspired, empowered, and open to embracing their language and their culture and their music and just who they are.” %!s()

Karlovy Vary Film Fest Awards Go to ‘Fruit Gathering,’ ‘The Guest,’ ‘Lover, Not a Fighter’ and ‘Incinerator’

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@ 11/07/2026

Aung Phyoe’s Fruit Gathering won the Grand Prix — Crystal Globe, the top award, at the closing ceremony of the 60th edition of the Karlovy Vary International Film Festival (KVIFF).

The Special Jury Prize went to Mads Mengel’s The Guest, starring Trine Dyrholm (The Girl With the Needle, Poison), Simon Bennebjerg (The Pact, Promised Land) and Josephine Park (The Nurse, Oxen).

The main competition jury lauded Fruit Gathering as “a lush and meditative portrait of work and friendship before morphing, unexpectedly and organically, into a harrowing drama of obsession and queer desire.” It also said that The Guest is “a squirmingly funny yet precisely modulated drama that subtly raises questions about motherhood, filial duty and mental illness.”

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Mengel also won best director for The Guest, with the jury lauding him “for giving us a seat at the table with a superb ensemble of actors, orchestrated with great intelligence and tonal assurance.”

The Hollywood Reporter’s review of The Guest noted that “Trine Dyrholm gives a scorcher of a performance in a gutsy Danish party-gone-wrong drama,” also highlighting: “The most audacious move here may be Mengel and co-screenwriter Christian Bengtson’s choice to write something that will inevitably invite comparisons with Festen (The Celebration), arguably the most notorious Danish-language film of the last 30 years, which similarly revolved around a bougie gathering disrupted by angry revelations.

Meanwhile, the best actress honor went to Anna Schinz for her role in the Swiss social drama A Happy Family from director Jan-Eric Mack. And the best actor award was bestowed upon Ghassan Saad for his role in Lebanese director Karim Kassem’s Pipes. And Bára — Diary of a Rockstar, directed by Helena Třeštíková, won the Právo Audience Award.

The fifth edition of Karlovy Vary’s Proxima competition, which focuses on bold works by young filmmakers and renowned auteurs alike, saw Slovak director Martina Buchelová’s Lover, Not  a Fighter crowned the Grand Prix winner, while the Special Jury Prize was awarded to Japanese director Shuntaro Uchida’s Incinerator.

“In a world of cinema where grandiose ambitions, particularly the masculine kind, are overvalued, this beautiful film arrives tenderly,  gathering the quotidian moments and relationships that make up the substance of life into a film at once thrillingly familiar and original,” the Proxima jury said about Lover, Not  a Fighter. “The director understands what it’s like to be young — she pulls off the Gen Z style without making it gimmicky, a rare feat! — and that one never stops growing up, change is constant, bringing both wonder and loss.”

About Incinerator, the jury said: “Here is a film of deceptive simplicity — its subtlety and lightness belie layers of poetry and profundity. The director beautifully adopts the perspective of an unusual young girl who says little, but senses everything; like a Richter scale, her face records the unspoken tensions and tremulations of everyone around her.”

The best director honor in the Proxima competition went to Efthimis Kosemund-Sanidis’ A Whole Person Almost. And a Proxima Special Mention went to Anna and Šimon Domček’s 33 Steps.

Meanwhile, the Grand Prize of the Ecumenical Jury went to Tonia Mishiali’s The Lion at My Back. The FIPRESCI prize for the best film in the Crystal Globe Competition was awarded to Ivan Ostrochovský’s Only Beautiful Things to Look at, while the FIPRESCI honor for the best film in the Proxima Competition went to Mate Ugrin’s Petty Thieves.

The double anniversary edition of the fest in the Czech spa town, which also celebrated its 80th year in existence, wrapped on Saturday with more star power. Juliette Binoche was honored with the KVIFF Crystal Globe Award for her “outstanding artistic contribution to world cinema,” while Jeffrey Wright, who had on Friday met the press, received the President’s Award.

KVIFF 2026 brought a parade of stars to the picturesque Czech spa town, including Jesse Eisenberg (The Social Network, A Real Pain), Kevin Bacon, Kyra Sedgwick and son Travis, Maggie Gyllenhaal (The Bride!, The Lost Daughter), Harvey Keitel (Mean Streets, Reservoir Dogs), legendary cinematographer Robert Richardson and Dustin Hoffman (The Graduate, Rain Man).
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Myanmar-Set ‘Fruit Gathering’ Wins at Karlovy Vary: ‘Harrowing Drama of Obsession and Queer Desire’

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@ 11/07/2026

“Fruit Gathering” won the Crystal Globe at Karlovy Vary Film Festival on Saturday.

Directed by Aung Phyoe, it “begins as a lush and meditative portrait of work and friendship before morphing, unexpectedly and organically, into a harrowing drama of obsession and queer desire.”

Set in contemporary Myanmar, it follows the friendship and connection that forms between two young women working at a textile factory.

“I wanted to make a film that was very atmospheric, maybe, and also very restrained because it was a world I knew,” he told Variety.

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‘I Will Find You’: Logan Browning on Sam Worthington Teaching Her How to Reload a Gun and the Show’s Wild Action Scenes: ‘I Can Hop Buildings, Didn’t You Know That?’

Record Industry Proposes Adding Labels to AI-Generated Music

Trending Stories

‘Moana’ Creatives on Working Closely to Honor Polynesian Culture and Traditions, and Why Representation Matters in the Live-Action Film

Karlovy Vary Film Fest Awards Go to ‘Fruit Gathering,’ ‘The Guest,’ ‘Lover, Not a Fighter’ and ‘Incinerator’

Myanmar-Set ‘Fruit Gathering’ Wins at Karlovy Vary: ‘Harrowing Drama of Obsession and Queer Desire’