Daniel Blake: Last News

Super Bowl LVI ad takes the reins on all of our emotions.Titled “A Clydesdale’s Journey,” it’s the minute-long story of a wounded horse who finds the will to run in a tale more hard-hitting than a 12-pack of the brand’s lagers.Directed by Oscar winner Chloé Zhao of “Nomadland,” the horse is shown enduring a painful fall into barbed wire along with the crushing sadness the hurt equine felt while confined to its stable, unable to run.After what appeared to be a long and hard winter, the horse — with motivation from Budweiser’s iconic retriever dog — manages a heartfelt recovery to a slowed-down tune of the “Star-Spangled Banner” as its owners look on in awe as the Clydesdale takes off at full speed through their ranch.“This Super Bowl we have one message for America: In the home of the brave, down never means out,” the beer brand captioned the commercial.The inspirational tale that follows one of the brand’s beloved Clydesdales is meant to be a metaphor for what the nation has been enduring, said Daniel Blake, Budweiser’s vice president of marketing.“The Clydesdales are, for many people, a symbol of America, a symbol of hope, of strength, of resilience,” Blake told USA TODAY Sports of the “comeback story.”The move to pull on the nation’s heartstrings comes after Budweiser opted to not run any ads during last year’s Super Bowl, instead putting the money toward vaccine education.“For us to come back, with a symbol of America but also a story of injury, the road to recovery and ultimately, this triumph, I think is a really important message for the country to hear right now and one that really, only Budweiser can tell in this way,” Blake added, predicting the spot will hit people “kind of deep in their core.”The moving

Jazz saxophonist and legend Kenny G plays a part in a 2022 Super Bowl commercial.

Guy Lodge Film CriticAwards season can often feel like a months-long echo chamber in which the same handful of films and names are discussed to death. So when BAFTA threw in a number of left-field contenders who had hitherto been largely absent from the conversation, it was both a refreshing change of pace for jaded awards pundits — and a welcome pointer for film fans seeking new recommendations.It’s rare for BAFTA to shine a major spotlight on work that isn’t being equivalently championed across the Atlantic: In 2016, it took a surge of public conversation and political debate to get Ken Loach’s resonant British welfare drama “I, Daniel Blake” into the best film category, despite no U.S.

Dave Johns laid bare benefits system injustices in hit movie I, Daniel Blake – but now he is baring all as a lover in his 60s.

By Tom Grater

For Kahleen Crawford, casting director for BBC and HBO series “His Dark Materials,” being successful at her job requires a gut instinct mixed with a bit of magic. “A lot of it is psychology,” she says. “You have to apply different parts of your skill set to different people in different projects.”