Cate Blanchett Wants You to Laugh at Politics in ‘Rumours’

Cate Blanchett poses for photographers upon arrival at the premiere of the film "Rumours" during the London Film Festival on Sunday, Oct. 13, 2024, in London. (AP)
Cate Blanchett poses for photographers upon arrival at the premiere of the film "Rumours" during the London Film Festival on Sunday, Oct. 13, 2024, in London. (AP)
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Cate Blanchett Wants You to Laugh at Politics in ‘Rumours’

Cate Blanchett poses for photographers upon arrival at the premiere of the film "Rumours" during the London Film Festival on Sunday, Oct. 13, 2024, in London. (AP)
Cate Blanchett poses for photographers upon arrival at the premiere of the film "Rumours" during the London Film Festival on Sunday, Oct. 13, 2024, in London. (AP)

You’d be hard pressed to find an upcoming film weirder than “Rumours.”

The biting commentary on the emptiness of political statements and the performances politicians put on starts off as a straight political satire focusing on the G7 world leaders, but then slips into a world of slow-yet-terrifying zombies; a mysterious, giant brain found in the middle of a forest with unexplained origins; and an AI chatbot bent on entrapment.

It goes from provocative to absurd within a few short scenes, with the G7 leaders no longer the subject of criticism, but the butt of the joke.

And that’s kind of the whole point, according to its star and executive producer, Cate Blanchett.

“We’re all in such a state of heightened anxiety and fear with what’s going on with climate, what’s going on with the global political situation. We feel like we’re on the precipice of a world war and there’s a lot of people in positions of power who seem to be relishing that moment,” Blanchett told The Associated Press.

She plays a fictional chancellor of Germany named Hilda Orlmann, the host of the conference who's more focused on optics than action.

“I think the audience will come to it with a need for some kind of catharsis. And because the film is ridiculous and terrifying ... I think they’ll be able to laugh at the absurdity of the situation we found ourselves in. I think it’s a very generous film in that way,” she said.

The three directors, Guy Maddin and brothers Evan and Galen Johnson, said they wanted the film to feel like it had a “generic wash of political disrespect” and to include some resonant critiques, but they didn’t want viewers to feel like they were leaving a lecture hall as they walked out of the theater.

“I’m preachy enough when I talk to people. I don’t want to make a movie that’s preachy, you know? I just favor movies that aren’t that. That just hit me with a little mystery of ... ‘What are you doing or seeing? What am I experiencing?’” Evan Johnson, who wrote the script, as well as co-directed, said.

As for the more absurd plotlines, Maddin said he and his collaborators share “a compulsion to come up with an original recipe.”

And original it certainly is. In its straightforward opening act, leaders from the Group of 7 meet for their annual summit and try to draft a provisional statement for an unnamed crisis. Then, as the evening goes on and they struggle to string together a couple, meaningful sentences, they find themselves abandoned and subject to attack from “bog people,” or well-preserved mummified bodies from thousands of years ago. Hijinks — and hilarity — ensue from there.

Nikki Amuka-Bird, who plays the fictionalized British Prime Minister Cardosa Dewindt, said that while reading the script, she kept asking herself, “What’s happening?” But the ridiculous plotline — including the apocalyptic invasion of zombie-like “bog people” — was only part of the reason why she took on the project.

“This kind of total courage to genre splice in this way takes away any kind of apprehension or fear you might have about it because their (the directors’) tongues are firmly in their cheeks the whole time,” Amuka-Bird said. “It’s a really imaginative exercise and it’s just fantastic to work with directors who can be that bold and take chances like that.”

The cast is rounded out by a starry ensemble: Roy Dupuis is a melodramatic Canadian prime minister, Charles Dance is an American president with an inexplicable British accent, Denis Ménochet is a paranoid French president and Alicia Vikander makes an appearance as a frenetic leader from the European Commission.

The title of the movie, Blanchett said, is meant to invoke the revered Fleetwood Mac album of the same name, which was made at a time when the bandmembers were reportedly “all sleeping together and bickering and breaking up,” she said.

“What was surprising about it is you think, ‘OK, this is a film about the G7,’ but it’s like a sort of a daytime soap opera with these sort of trysts and liaisons and petty squabbles,” Blanchett said. “It was such an unusual way to look at the mess we’re all in and the leadership that’s led us here.”



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."