Hi, everyone!
Cate Blanchett will be part of Variety’s Virtual Music for Screens Summit. You can register here.
Variety announced Wednesday that its annual, virtual Music for Screens Summit will take place Nov. 29 – Dec. 1 and feature conversations with Cate Blanchett, Baz Luhrmann, Karen O, Rickey Minor, Danny Elfman and more.
Variety’s Music for Screens Summit celebrates best-in-class creators, musicians and is part of LA3C, Penske Media’s first-ever culture and creativity festival taking place Dec. 10-11 at the Los Angeles State Historic Park. Variety’s Music for Screens event allows VIP ticket holders access to an experience typically reserved for industry executives only.
The summit will cover such topics as strategies for creating a winning live music performance and how recording artists have transitioned to screen composers.
Actor Cate Blanchett, director Todd Field and composer Hildur Guðnadóttir will participate in a keynote conversation about their film “Tar” moderated by Variety’s senior awards editor Clayton Davis.
Source: Variety
Hello, everyone!
There is going to be a special event screening of TÁR in Sydney which will be followed by a Q&A with Cate Blanchett. There is also an encore screening of the movie in Adelaide on November 1st following it’s Australian premiere almost two weeks ago. Check the details below for purchasing tickets.
Adelaide Film Festival has added an encore of screening of TÁR on November 1st at 8:00PM ACDT. It will be screened at Palace Nova Eastend Eximax. Click the image below to book tickets.
Click image to book tickets
Co-presented by Sydney Film Festival, TÁR Special Event Screening – Followed by a live Q&A with Cate Blanchett will be on November 13th at 3:30pm.
You can book tickets here.
TÀR Special Event Screening with Cate Blanchett Q&A live on stage! Sunday November 13. All tickets include a glass of sparkling wine on arrival. “Blanchett gives a colossal tour-de-force performance…” – Associated Press. BOOK NOW! Tickets: https://t.co/SPIsjebLdb pic.twitter.com/lT4tCuRoYH
— Hayden Orpheum Picture Palace (@haydenorpheum) October 31, 2022
Hi, everyone!
TÁR is now playing in theatres across the US, as of today the film has grossed $2.4 million (1,087 theatres).
Costume designer, Bina Daigeler and Cate Blanchett talked about the costumes in the movie.
Holding court onstage in an interview with The New Yorker’s Adam Gopnik, the EGOT-winning conductor and composer Lydia Tár claims that gender was never an issue in her rise to the top of the classical music world. But her outfit—a perfectly tailored black suit and crisp white dress shirt—tells a more complicated story. As played by Cate Blanchett in Tár, the new psychological drama from writer and director Todd Field, Lydia dresses to impress, and often reveals much more than she intends.
Costume designer Bina Daigeler tells Vanity Fair that Lydia Tár’s power dressing—effortlessly chic but meticulously tailored custom suits, wine-colored sweaters, and an occasional scarf—took shape after conversations with Field about the enigmatic conductor’s inner life. Daigeler researched the music world, and the sartorial style of both female and male conductors before making menswear the inspiration for the maestro’s wardrobe—one that eschews most makeup and all jewelry, save for a watch worn inwards.
For her part, Blanchett doesn’t necessarily think of Lydia’s clothes as menswear. “Women also feel comfortable in pants and suiting!” She says via email. “But still, unfortunately, stepping onto the podium as a woman is a political act. And so, to work out what tradition Lydia was bucking or buying into, and how this was reflected in the way she dressed, was an important early conversation. The baseball cap, for instance, [that Lydia wears when casually dressed for travel, is] a defiant venture towards her American-ness in a Eurocentric music culture.”
The film’s most character-defining fashion moment comes early on, when the maestro is measured for a suit by German tailor Egon Brandstetter at his atelier. It began as a simple script description of her assistant Francesca (Noémie Merlant) shopping for Lydia and a couple of jacket fittings, according to Field. The director—who had standing weekly dinners with his costume designer while filming—says in an email that thanks to Daigeler, who arranged Brandstetter’s participation, the scene became “a nuts-and-bolts example of meticulous self-mythology and image creation.”
Ironically, Blanchett is barely seen in Brandstetter’s finished suit, the outfit relegated to a photo of Lydia in the film. In fact, the orchestra leader’s power suits were designed by Daigeler, who Field describes as an “absolute magician [who] is never pointing to the trick.”
The suits so impressed Blanchett that she took some home. “Bina has such a great eye—for line, color, and embellishment. So whenever I work with her, I covet everything,” she says. “But then you get home, and realize Bina has bewitched you—it’s the character’s taste, not yours!” What matches Blanchett’s taste, however, is the vintage Rolex Lydia wears because it’s her own. The watch was a gift from her husband, Andrew Upton, after the birth of their second child. Blanchett says that she “wanted the face turned inwards for easy access to the watch face for snatched glances at time. After all, it’s a film about time. To wear any other jewelry would have diluted this.”
Full article on Vanity Fair
Hello, folks!
Cate Blanchett and Todd Field’s podcast interview with John Horn is out now. Some interviews were published too. We also have the scans from the booklet that came with TÁR’s concept album.
Beware of spoilers!
If Cate Blanchett remembers correctly, her first meeting with the filmmaker Todd Field could not have gone worse. “I maintain that we met in the foyer of the Four Seasons in Los Angeles,” she says, “and I remember it being one of the most uncomfortable meetings of my entire life. I was meeting a director who clearly didn’t want to meet me, about a project that he was never going to cast me in.”
“He insists that wasn’t him and that I just have early onset dementia,” Blanchett deadpans. “We have a bit of a dispute about this.”
That was 10 years ago, when Field was co-writing a political thriller with Joan Didion which the actress would have starred in. (For what it’s worth, Field recalls his first meeting with Blanchett being “actually really lovely.”) That movie never came to be, but, years later, he sent her a script for another project which he’d written with her in mind. If Blanchett had said no, Field has claimed, he simply wouldn’t have made it. None of which she knew until after they’d wrapped. “That would be an incredibly pressuring thing to hear before you step on set.”
“It was just an undeniable opportunity,” she tells A.frame. “He hasn’t made a film for upward of 15, 16 years. And it’s not because he’s lazy. It’s because he wants to make sure that he can make something which is going to have fully expressed what he wants to say. I think this is definitely that.”
The film is TÁR. It’s about power, its shifting transactional nature, and how it corrupts those in dangerous proximity to systems of power. It’s about culture and cancel culture, celebrity and #MeToo. Blanchett stars as Lydia Tár, a polymath, EGOT winner, renowned composer, and the first woman to conduct the Berlin Philharmonic, considered the world’s greatest orchestra. We meet her at the height of her career. And, over the course of the film, we watch her fall.
“I look for the great noble failure, I think, at this point in my life,” considers Blanchett. “When I began reading the script [for TÁR], I fortunately have a 26-volume edition of the Oxford English Dictionary. And I had to look up every term until, after about the third page, I put it away, and I went, ‘There’s an incredible rhythm happening here. And, in fact, I don’t need to know any of this.’ I found a subterranean connection that I still don’t understand fully. Maybe I don’t ever want to understand it; I just want the reverberations to be with me forever.”
“But I thought, ‘I am going to have to do a lot of work in order to get the audience to feel the same way,’ to understand that this woman knows her onions. Which I found thrilling and terrifying at the same time.”
Blanchett began with a to-do list and started working her way through it: Learn how to play the piano. Learn to speak German. When the film was pushed back a year due to the pandemic, she suddenly had more time to study the skills she would need to embody Lydia Tár. “No one wants to see my homework! Nothing could be less boring,” Blanchett baulks modestly. But she loves the homework. She studied with the conductor Natalie Murray Beale and learned to conduct herself, and then, did so with the Dresdner Philharmonie, the German symphony orchestra that appears in the film.
“I’ve spent many, many decades on stage, so I felt strangely most at home when I was on stage with the orchestra,” she says. “And I said to them in my terrible German, I said, ‘I am not a conductor. And you are not actors. So, somewhere in that liminal space between the two of us, we will find our way together.’ They laughed, and then, we just got on. And I knew I couldn’t apologize for what I needed to do to get there.”
Still, the night before Blanchett would arrive on set and be Lydia Tár for the first time, she couldn’t be sure that she’d gotten there.
“I always ask my husband the night before I start shooting, ‘What’s my process?! What do I— what’s my process?'” she recounts, feigning mock panic. “And he said, ‘Don’t worry.’ He said, ‘You’ll find it. Just stop thinking about yourself and your process and get to work.'” She laughs, “And if the process of preparing this was a slow and steady one, the experience of making the film was an explosion.”
“I don’t want to sound too mauve, but I feel very changed by it,” she smiles. “Because I felt in a really brave — I hate the word ‘brave’ — in a really potent way, shall we say, that we knew where we needed to get. But the process of making it shifted both of us somewhere slightly unexpected. Which was really, really exciting. In a way, no matter what the outcome was, I felt so grateful for that, because I felt shifted as a performer, which doesn’t happen all the time.”
So, how does Blanchett ultimately measure the success of a film like TÁR for herself?
“In the end, it’s how it connects with an audience. I mean, that is everything, right? I learnt a lot as an actor, and I’m grateful for that, but who cares about that, apart from me?!” she guffaws. “My mother, maybe.”
“I look to be in dialogue with people who are able to move the needle,” states Blanchett. “Whether it ultimately works or not — you always hope it does — the process, I know, will be really fascinating. So, I can’t be objective about myself — who cares? — but from that perspective, I think it’s a success.”
Full article on AFrame
Some cast members came to TÁR fully baptized into music (Kauer, who is a cellist, and Allan Corduner, a jazz and classical pianist who plays Tár’s assistant conductor, Sebastian), whereas Hoss and Blanchett both learned their respective violin and conducting skills for the job. As befitting her character’s illustrious reputation and desire for the spotlight, Blanchett brings a dramatic lust to Tár’s conducting style.
“Holy guacamole!” the actress exclaims when I ask what she learned about herself from the intensely physical work (that really is her leading the orchestra on the soundtrack). “I feel shifted off my axis by the experience of making this film. I’m not being disingenuous, but I don’t quite… I haven’t fully processed the experience yet, even though we finished shooting a year ago. I don’t know yet, to be honest.”
Processing requires time, and time is both the enemy and the accomplice in TÁR: the time it has taken Field and his artists to bring the film to the screen, and the times that it has been released into. The snail’s pace at which the classical world moves, and the quickness of a tweet. The way Lydia Tár has only a minute for one person, and a whole night for another.
It’s the chronos and the kairos of the strangely wonderful gift that is any immersive, ephemeral artwork—a film, a concert, a play, a dance—where life outside the theater carries on at pace for, in this case, 158 minutes while inside, time slows as Tár’s ambitiously crafted world unravels over several months. And the weeks that follow, when our synapses start tickling, connecting a seemingly small detail in one section to a line of dialogue in another; the work of a production designer connecting to a costume detail connecting to a composer’s refrain, all the instruments of this filmmaking orchestra playing their part.
What Blanchett does know: “The process of actually bringing music back into my life and the encounter with the Dresdner Philharmonie, I feel profoundly changed by it. And, I hope, for the better. It’s been very rich, and very deep.”
Full article on Letterboxd
Cate Blanchett on processing the experience of making @tarmovie ? @TheNYFF #TarMovie#CateBlanchett #NYFF60 https://t.co/V4f89gnHyC pic.twitter.com/kd0vqJwRME
— Lé-terror-boxd (@letterboxd) October 15, 2022
Hello, Cate Blanchett fans! We have a great week!
Cate Blanchett’s episode on Hot Ones is out now and you can watch Cate eat spicy chicken wings while she talks about TÁR and her career. The day Cate did the Hot Ones interview is also the day she visited the Criterion closet with Todd Field earlier this month while they are doing press tour in New York. You may also remember that blue blazer she wore during radio interview with WNYC that same day.
Now that TÁR is out everywhere in the US, more interviews are being released and you can watch or read them below.
Documentary Now’s Two Hairdressers in Bagglyport has already aired on IFC and you can stream it on AMC+.
Click image for higher resolution
Cate and Todd Field stopped by the Criterion’s office while they were in New York for the premiere of TÁR at New York Film Festival.
Closet picks:
Like so many people during the pandemic, Cate Blanchett used the time to nurture some new skills. She took piano lessons. She picked up some German. She learned how to conduct a top-tier symphony orchestra in Mahler’s Symphony No. 5.
The two-time Oscar winner developed these chops for her performance in the new film “Tár,” which has the actress in virtually every scene. It’s a portrait of the fictional Lydia Tár, a highflying orchestra leader whose hubris and manipulative ways lead to career meltdown. The conductor’s need for control, over everything from her bespoke suits to the secrets around her entanglement with a former protégé, is central to the film’s examination of power.
That’s what Ms. Blanchett wants audiences to ponder—not how much prep work the lead actress did to seem natural when playing her piano parts in the film.
“It’s a little bit like spinning plates, isn’t it?” Ms. Blanchett said of the various skills she practiced for the role, including some stunt driving. “You spin two plates, so you think, ‘I’m going to see if I can spin three. Let me spin four! Oh, my God, there’s seven!’ And as soon as you think, ‘I’ve got seven plates in the air,’ they all crash.”
“So you just can’t count plates, and hopefully the audience doesn’t count them either.”
When movie stars go to school for a role (training as a cowboy, dancer, boxer), or transform their bodies (packing on muscle, adding or shedding pounds), or disappear themselves in method acting, it draws attention because it helps explain the trick they’re attempting to pull off on camera.
“Tár” is a tantalizing example: an elite acting talent taking on a rarefied slice of the classical music world. The preparations Ms. Blanchett and her collaborators did behind the scenes mirrored aspects of the story, which involves the painstaking work of creation and rehearsal.
“It’s a process film,” Ms. Blanchett said.
She began her own preparation with the basics. She studied video recordings of master classes led by Ilya Musin, a Russian conductor more influential as a teacher than on the podium.
She rehearsed the fundamental hand gestures for keeping time in Zoom sessions with friend and conductor Natalie Murray Beale. She developed more expressive movements: borrowing from her own experience as a stage actor and from choreography, such as a Mikhail Baryshnikov piece that highlighted his hands. She practiced “wherever I was. In the bathroom, on a train, in this room,” she said during a video interview from her home office.
Ms. Blanchett’s character is the first woman ever to helm a major orchestra in Berlin. It includes Tár’s wife, the concertmaster (played by Nina Hoss) and a new Russian cellist (Sophie Kauer) whom the conductor appears to be grooming. As Tár prepares to launch a memoir and chips away at a new composition on a piano, she’s also preparing the orchestra for a recording of Mahler’s Fifth Symphony.
The live recording represents a crowning moment in a career as calculated as the portrait photo she plans for the album cover. The symbolism of the music suggests otherwise. The Fifth, created after a near-death experience for the Austrian composer and conductor in 1901, opens with a funeral march.
Ms. Blanchett wields a baton in only a handful of scenes in “Tár.” Instead of showing the conductor presiding over her orchestra in concert, Mr. Field used rehearsal scenes to get inside the power dynamics between maestro and musicians.
The real-life Dresden Philharmonic stood in for Tár’s Berlin orchestra in the film. Members of the Dresden ensemble were cast to play musicians involved in Tár’s workplace politics.
“I was lucky in that everyone was outside their comfort zone. The musicians had to act and I had to conduct, and in the middle we met,” Ms. Blanchett said.
Instead of using dramatic camera swoops to match the majesty of the Fifth, Mr. Field shot the rehearsals at floor level, in the ranks of the musicians. Tár controls them with sweeping arms and a squeezing hand. She chastises and coaxes them with phrases in German and lines such as, “It’s got to be like one person singing their heart out.”
“It’s like a sex scene in a way. What is the purpose or the psychology behind it?” Ms. Blanchett said. “I wanted to progress the narrative through those scenes, rather than, ‘Here I do a bit of conducting.’”
Ms. Blanchett’s piano-playing (dormant since her youth in Australia) served a similar purpose. In a scene where Tár leads a conducting seminar at Juilliard, she flays a student (played by Zethphan Smith-Gneist) who rejects Bach as a misogynist symbol of the white-European-male hegemony.
To make a point Tár squeezes next to him at a piano and plays the first prelude from Bach’s “The Well-Tempered Clavier.” The piece is a staple for piano students, but Ms. Blanchett plays it in shifting styles while delivering a monologue, with references to the Peanuts character Schroeder, Glenn Gould and the “humility” of Bach’s compositions.
The movie’s soundtrack is a concept album. It features recordings of Ms. Guðnadóttir’s music sketches and Ms. Blanchett’s rehearsal scenes in character. The album was released by Deutsche Grammophon, the same classical record label that Tár is gearing up to record for in the film.
The technical demands behind the role “gave me a sense of the stakes, of what a musician stands to lose when their instrument is taken away. It also gave me a real way into [Tár’s] rhythm and her inner life, and her compulsion to escape into the music,” Ms. Blanchett said, before trying to steer the interview elsewhere.
“I just want people to fall into the film, not how much homework I did.”
Full article on The Wall Street Journal
Two-time Oscar winner Cate Blanchett is back in the Best Actress conversation for her performance as a powerful orchestra conductor in 'TÁR' pic.twitter.com/897MyJpo6v
— CNN (@CNN) October 26, 2022
Great day, everyone!
Cate Blanchett has been nominated for Outstanding Leading Performance for her role as Lydia Tár at 2022 2022 Gotham Awards. TÁR has been nominated in an total of five categories: Best Feature Film, Best Screenplay for Todd Field, and Best Supporting Performance for both Nina Hoss and Noémie Merlant. The movie will have wide release in the US this Friday.
The latest issue of International Piano magazine is out now and you can read the interview with Cate.
Two Hairdressers in Bagglyport airs on IFC tonight and is now available to stream on AMC+.
Sublimate yourself, your ego, and your identity. #TÁR pic.twitter.com/nX1t73EKI9
— TÁR (@tarmovie) October 24, 2022
Outstanding Lead Performance Nominee: CATE BLANCHETT in TÁR #GothamAwards2022 pic.twitter.com/H8Pb9dAJIY
— The Gotham Film & Media Institute (@weare_thegotham) October 25, 2022
Best Feature Nominee: TÁR #GothamAwards2022 pic.twitter.com/XNLIvqbWxZ
— The Gotham Film & Media Institute (@weare_thegotham) October 25, 2022
A heartwarming tale that will stay with you long after your first viewing. #DocumentaryNow's "Two Hairdressers in Bagglyport" premieres Wed 10P on @IFC and @AMCPlus. pic.twitter.com/Hp5VUXYSB3
— Documentary Now! (@DocumentaryNow) October 25, 2022
Witness a hair salon as it approaches its defining hour. #DocumentaryNow's "Two Hairdressers in Bagglyport" premieres tomorrow 10P on @IFC and @AMCPlus. pic.twitter.com/a5v6699GCR
— Documentary Now! (@DocumentaryNow) October 25, 2022
Ciao, everyone!
TÁR (MUSIC FROM AND INSPIRED BY THE MOTION PICTURE TÁR) album is out on streaming platforms and CD version of the album is available to be purchased, while the LP version is available for pre-order on Deutsche Grammophon. Cate Blanchett participated in a Q&A after the screening of TÁR at Adelaide Film Festival. She also attended the 50th anniversary of South Australian Film Corporation with Warwick Thornton, who will be directing her in The New Boy. She talked to The Advertiser about the upcoming film.
Starring Cate Blanchett in the title role, Todd Field’s TÁR received a six-minute standing ovation when it was premiered at the Venice Film Festival on 1 September. Deutsche Grammophon’s groundbreaking concept album, released today digitally and on CD, captures the process of music-making that lies at the heart of the film. The tracklist ranges from extracts from the Elgar Cello Concerto and Mahler’s Fifth Symphony to a series of stunning new works by Hildur Guðnadóttir. A video for one of these, “Mortar”, will be released by DG on 11 November. Having opened in select US cinemas earlier this month, the film will open wide in the US on 28 October, with international release dates to follow in early 2023. A vinyl edition of the concept album will be issued on 20 January 2023.
Written and directed by three-time Oscar-nominated filmmaker Todd Field, and starring two-time Oscar winner Cate Blanchett (“utterly magnetic … a colossal performance” The Guardian) TÁR tells the story of high-powered composer-conductor Lydia Tár. DG’s concept album complements the film by inviting listeners to experience what Field refers to as “the messiness” of the work involved in preparing classical music for performance, via a combination of audio glimpses from real-life recording sessions, sequences from fictional rehearsals, music listened to by the film’s characters, and completed versions of the music on which we see Lydia working.
Blanchett can be heard on the album conducting rehearsals of Mahler’s Fifth Symphony (as Lydia Tár) with great skill. She describes her collaboration with the Dresdner Philharmonie and its concertmaster Wolfgang Hentrich as “a great, and life-changing, privilege”. “How truly blessed I am,” adds Blanchett, “to have my name appear anywhere near this ridiculously talented assembly of musicians.” Her skill as a pianist is on evidence here too, as she performs a Prelude from Bach’s Well-tempered Clavier as part of one of Tár’s teaching sessions.
Cate Blanchett is enchanted by South Australia’s “extraordinary” film industry and her latest “powerful” project. The Oscar-winning Australian actor was the guest of honor at the Capri Theatre at a sold-out special screening of TÁR, in which she stars and is also executive producer, as part of the Adelaide Film Festival. Blanchett also took part in a Q&A for the 700-strong audience after the screening on Friday night.
Blanchett was also excited about the reason she is in SA — The New Boy, written and directed by Indigenous filmmaker Warwick Thornton. “We got talking over the pandemic and we just kept chatting and he said ‘Sis, I’ve got this story’,” she said. With Blanchett again starring and co-producing, The New Boy is set in an outback monastery in the 1940s, during the Second World War.
“This young Indigenous orphan arrives to the monastery and just throws everyone’s spirituality out the window,” Blanchett said. “It is a really, really interesting, powerful story about Indigenous and Western spirituality.”
The New Boy marks her third time filming in South Australia. “I applaud the South Australian Film Corporation,” she said. “They have been extraordinary partners with filmmakers, not only in Australia but internationally. And the locations – you can’t find them anywhere else in the world. I think that’s why people are coming here and will continue to come here.”
Good day, Blanchett fans!
Cate is back in Australia for filming of The New Boy and while she is down under she attended the Australian premiere of TÁR which is part of Adelaide Film Festival special presentation lineup. It will be followed by a Q&A. Check out the first photos, and the red carpet interviews.
Hollywood royalty has arrived in Adelaide for the opening night of the Film Festival.
Australian Actress Cate Blanchett just moments ago walked the red carpet. @9keziahsullivan #9News pic.twitter.com/vA9UM8P4VC
— 9News Adelaide (@9NewsAdel) October 21, 2022
Oscar-winner Cate Blanchett has told @AmeliaMulcahy7 she is in Adelaide to produce and star in a new film. The latest from the red carpet in 7NEWS Adelaide at 6pm | https://t.co/8ftPfFYTVQ #7NEWS pic.twitter.com/loUbEMMyb4
— 7NEWS Adelaide (@7NewsAdelaide) October 21, 2022
The red carpet is being rolled out for Hollywood royalty tonight at the Adelaide Film Festival. Australian all-star actress Cate Blanchett joins 10 News First's Joshua Webster ahead of the screening of her new film. @joshuacwebster pic.twitter.com/pfGu3aVxpu
— 10 News First Adelaide (@10NewsFirstAdl) October 21, 2022
Good day, Blanchett fans!
TÁR expands to 100 theatres in the US this Friday, October 21st, so please go see the movie in a theatre near your area. Cate Blanchett will be attending the Australian premiere at Adelaide Film Festival this Friday too. An almost hour interview with Zane Lowe has been released. We have updated the gallery with magazine scans, HQs from interviews, and additional photos from TÁR photo session with Todd Field from New York promo.
Time is the thing.
You cannot start without me.
I start the clock.#TÁR pic.twitter.com/IzYMKU3g59— TÁR (@tarmovie) October 18, 2022
The interview is available to watch on Youtube but you can also listen to it on Apple Music.
Click this image for more
Australian actor Cate Blanchett sits down with Zane Lowe to reflect on her experience embodying renowned composer Lydia Tár in the film TÁR. Though she is not a musician in her real life, Cate Blanchett molds herself to fit into the role of one of the greatest living composer-conductors for the film. Cate explains how she experienced major imposter syndrome while acting as the first-ever female music director of a major German orchestra. She and Zane also discuss more broadly the impact of music and humanity’s relationship with sound.
Todd Field’s TÁR features incredible performances from a dynamic cast that includes Cate Blanchett, Nina Hoss, and newcomer Sophie Kauer. pic.twitter.com/NAPw4KNuvH
— AMC Artisan Films (@AMCArtisanFilms) October 18, 2022
Cate Blanchett and Todd Field can't agree on when they met, but we're SO happy they agreed to work together on #TAR, which is now playing in select theaters!
?'s —> https://t.co/FBrcJn638l pic.twitter.com/DCAXX8rmtQ— Fandango (@Fandango) October 14, 2022
