Arch Manning and the top-ranked Texas Longhorns play their first official Southeast Conference game on their home court against Mississippi State on Saturday. The game is scheduled to begin at 4:15 p.m. ET (3:15 p.m. CT) and will be televised on SEC Network Streaming on demand.

• How to watch: Live streams of the Texas vs. Mississippi State game are available with offers from FuboTV (free trial), SlingTV (low adoption rate) And DirecTV Stream (Free Trial).
• For a limited time, FuboTV offers $30 off in the first month after the free trial period. With a $30 offer, plans start at $49.99.

Mississippi State (1-3) at No. 1 Texas Longhorns (4-0)

NCAA football matchup at a glance

When: Saturday, September 28, 4:15 p.m. ET (3:15 p.m. CT)

Where: DKR-Texas Memorial Stadium, Austin, Texas

TV channel: SEC Network

Live streams: FuboTV (free trial) | SlingTV (low adoption rate) | DirecTV Stream (Free Trial)

Texas is the heavy favorite in the SEC opener against the Bulldogs with 38.5 points, and as of Thursday afternoon no decision had been made as to whether and in what capacity Quinn Ewers (oblique strain) would return. Former 5-star prospect Arch Manning made the last two starts in his absence, completing 24 of 41 passes for 481 yards, six touchdowns and two interceptions.

Mississippi State has lost three straight games in which the Bulldogs gave up more than 30 points to Arizona State (30-23), Toledo (41-17) and Florida (45-28). Mississippi State is a big underdog against Texas and also faces No. 2 Georgia on the road after a bye in Week 6.

#1 Texas Longhorns vs. Mississippi State Bulldogs: Know your live streaming options

• FuboTV (free trial) – outstanding viewing experience with huge library of live sports content; The length of the free trial varies. The monthly rate after the free trial starts at $49.99 for the duration of the first month’s discount of $30.
• SlingTV (low adoption rate) – The discounted first month is best if you’re out of free trials or looking for more than a month of TV
• DirecTV Stream (Free Trial) – Not the same viewing experience as FuboTV, but the standard 7-day free trial is still the longest in streaming.

The Longhorns and Bulldogs are scheduled to kick off at 4:15 p.m. ET on the SEC Network. Live streams are available at FuboTV (free trial), DirecTV Stream (Free Trial) And SlingTV (low adoption rate).

The Arkansas Razorbacks head to College Station and an SEC showdown with the No. 24 Texas A&M Aggies. The game is scheduled to begin at 3:30 p.m. ET (2:30 p.m. CT), with TV coverage on ESPN and Streaming on demand.

• How to watch: Live streams of the Arkansas vs. Texas A&M game are available with offerings from FuboTV (free trial), SlingTV (low adoption rate) And DirecTV Stream (Free Trial).
• For a limited time, FuboTV offers $30 off in the first month after the free trial period. With a $30 offer, plans start at $49.99.

Arkansas Razorbacks (3-1) at #24 Texas A&M Aggies (3-1)

NCAA football matchup at a glance

When: Saturday, September 28, 3:30 p.m. ET (2:30 p.m. CT)

Where: AT&T Stadium, Arlington, Texas

TV channel: ESPN

Live streams: FuboTV (free trial) | SlingTV (low adoption rate) | DirecTV Stream (Free Trial)

The host Aggies are 4-point favorites in their home game after rattling off three straight wins to climb back into the national rankings. The Aggies lost 23-13 to then-No. 1.7 Notre Dame in their season opener before picking up wins over McNeese (52-10), Florida (33-20) and Bowling Green (26-20).

Arkansas is a solid team in its own right with back-to-back wins over UAB (37-27) and Auburn (24-14) on Saturday. The Razorbacks rank 8th nationally in total offense (524.0 ypg) and convert third downs at the second-highest rate (61.0%) in the country.

Texas A&M Aggies vs. Arkansas Razorbacks: Know your live streaming options

• FuboTV (free trial) – outstanding viewing experience with huge library of live sports content; The length of the free trial varies. The monthly rate after the free trial starts at $49.99 for the duration of the first month’s discount of $30.
• SlingTV (low adoption rate) – The discounted first month is best if you’re out of free trials or looking for more than a month of TV
• DirecTV Stream (Free Trial) – Not the same viewing experience as FuboTV, but the standard 7-day free trial is still the longest in streaming.

The Razorbacks and Aggies are scheduled to kick off at 3:30 p.m. ET on ESPN. Live streams are available at FuboTV (free trial), DirecTV Stream (Free Trial) And SlingTV (low adoption rate).

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Collier County befindet sich heute (27. September) im Erholungsmodus von den Auswirkungen von Helene. Im gesamten Landkreis kam es zu erheblichen Sturmfluten, vom Naples Pier bis Marco Island, Tin City und Goodland.

Diese Geschichte entwickelt sich weiter und unsere Reporter und Fotografen berichten auch heute wieder von verschiedenen Standorten in Collier County und berichten über die neuesten Informationen zu Überschwemmungen, Schäden, Stromausfällen und was Sie wissen müssen.

Hilfreiche Links

STROMAUSFÄLLE: Die LCEC-Stromkarte finden Sie HIER.

Liverpool will face Wolverhampton in a Premier League match at Molineux Stadium in Wolverhampton, England on Saturday, September 28, 2024 (9/28/24).

WATCH THIS: Fans can watch the game through a Peacock subscription.

Here’s what you need to know:

What: Premier League game

WHO: Liverpool vs Wolves

When: Saturday, September 28, 2024

Time: 12:30 p.m. ET

Where: September 28, 2024 (09/28/24)

TV: N/A

Station finder: Verizon Fios, Comcast Xfinity,Spectrum/Charter,Optimum/Altice,Cox,DIRECTV,Court,Hulu, fuboTV, loop.

Live stream: peacock

AP Soccer History:

MANCHESTER, England (AP) — Pep Guardiola has told elite soccer players that they are the only ones who can force a change in a growing dispute over the number of games they are asked to play.

Manchester City midfielder Rodri says players are on the verge of a strike as the fixture list becomes increasingly congested, coupled with an expansion of the Club World Cup in the United States next year.

City coach Guardiola said on Friday that the game’s stars may need to “raise a voice and do something” if they want to take a stand.

“If something is going to change, it always has to come from the players,” said Guardiola. “This business (football) can be without managers, can be without sports directors, can be without media, can be without owners, but without the players it cannot be played.”

“So they’re the only ones who have the power to do this.”

Players’ unions have challenged FIFA in court over the expansion of the Club World Cup. Next year the Club World Cup will be held for the first time with 32 teams instead of the previous seven. For many major leagues, the offseason is scheduled for June-July.

World players’ union FIFPRO has raised concerns about the increasing physical and mental demands on players, but the competition has been welcomed by the European Club Association, which represents the continent’s top clubs, including City.

Unions in England and France filed a lawsuit against FIFA at the Brussels Commercial Court in June, challenging FIFA’s “decisions to unilaterally set the international match calendar.”

The Champions League was also expanded this season to include two more games in the redesigned group phase.

Spanish international Rodri took part in ten different competitions in the 2022/23 season, when the season was put under additional strain by a mid-season World Cup. Last season he made 64 appearances for club and country, including a run to the European Championship final, which Spain won.

This season ends with the Club World Cup, which could include seven more games if City reach the final.

Rodri, who was nominated for the Ballon d’Or, said strikes may have to take place.

“If this continues, I truly believe there will come a moment when we have no choice,” he said. “It is something that worries us because we are the ones who suffer from it.”

Bayern Munich coach Vincent Kompany believes the number of appearances a player can make per season should be limited, putting the onus on coaches to limit the demands on their top stars.

“It’s not just the strain on the players, but also the travel. “Some of these guys go from playing in the Champions League to a national team game in Korea or something and then back again,” Kompany said. “If you do that for 70, 75, 80 games, there comes a point where it’s no longer realistic, so I can only support the players’ feeling up to that point.”

Hosting the Club World Cup in 2025 means top players will have to play major competitions for three consecutive years in the usual off-season, as the European Championships and Copa America took place this year and the next World Cup is in 2026.

Bayer Leverkusen coach Xabi Alonso said the players needed to be asked about the demands placed on them.

• Ole Miss vs. Kentucky FREE LIVE STREAM (9/28/24): Watch College Football Week 5 Online | Time, TV, channel
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With Jujutsu Kaisen Since the book is slowly losing momentum and is almost coming to an end, the leaks for the final chapter have already caused a stir. The biggest mistake Jujutsu Kaisen Slowly, the serious lack of focus on the characters and the unanswered mysteries became apparent. Despite spending so much time with them, we know little to nothing about them and their characters are not fleshed out enough.

Yuji Itadori, the beloved protagonist, had been through a lot since the Shibuya arc, but that was about it. Fans are confused about where or what his domain extension is or what he might end up doing. Likewise, the famous Gojo Satoru, who is also known to non-anime fans, died far too early. So if the fan favorites couldn’t get the spotlight Jujutsu Kaisenthen who did it? Unfortunately the answer is Sukuna.

The main characters are great but irrelevant

The majority of the characters Jujutsu Kaisen have been well received by the masses. From their eccentric personalities to their attractive looks, Gege Akutami nailed most aspects. Yuji Itadori is a charming protagonist who later suffers a lot and we see him become the hardened protagonist he is now.

Gojo Satoru isn’t just an all-powerful mentor; The pressure to be the strongest is enormous and he has lost too much. Megumi Fushiguro, the boy with so much potential, struggles to find his place in the world of jujutsu sorcery. Maki has suffered so much abuse and oppression at the hands of the elitist, misogynistic Zenin clan. However, in the long run, none of this matters.

After the Shinjuku Showdown arc, the plot started to fall apart. After Gojo Satoru’s tragic death, everyone else was left to pick up the pieces. Sukuna was essentially invincible and it was impossible to give him an advantage after taking over Megumi’s body.

Fans witnessed the deaths of several characters, some of which were incredibly unnecessary, before Yuji finally defeated him. In the end, surprisingly, it was Sukuna who developed the most. He admitted defeat and was a comforting figure to Uraume, something we never thought possible. But why did Gege lose focus on her main characters and elevate Sukuna?

The flaw in Gege Akutami’s character writing

Fans were rightly excited about the return of fan favorite Gojo Satoru, but the strongest wizard was killed off in a disappointing way. It almost felt disrespectful to his character and we all know Akutami notoriously dislikes him. Still, this isn’t a good excuse for how incomplete the author left the storylines of several other major characters. Instead, Akutami gave Sukuna a very powerful conclusion, even though fans were looking forward to his demise for several chapters as he gleefully murdered many.

Sukuna’s conclusion is excellent. He accepts his flaws and lets his soul go through the cycle, refusing to wallow like Mahito. He had paths to follow, but rejected the “curse” and the association that came with it because he feared they would destroy him. #jjk271 pic.twitter.com/UoqnxNkNPj

— Sigmatic (@sigmatic_) September 26, 2024

Sukuna’s conclusion in the manga is undeniably quite interesting. The King of Curses has always been a fascinating character that you love to hate after a while. Unlike Mahito, he learns what loss and defeat are and accepts them. However, it doesn’t really explain why the main characters are incomplete and their development is almost nil. The main trio is largely reduced to the ambitious “power of friendship” trope. Sukuna Ryomen is essentially treated as the main character in the end, despite the lack of Heian-era lore and the hasty defeat.

Jujutsu Kaisen is available on VIZ Media.

Two hours before kickoff between Michigan and Minnesota, the Wolverines have good news on the injury front.

Tight end starts Colston Lovelandwho missed last week’s showdown with USC, is eligible to play for Michigan today against the Golden Gophers. The junior, who leads UM in receptions (19) and receiving yards (187), was injured late in the first and early second half of the Wolverines’ 28-18 win over Arkansas State in Week 3 after landing hard on his shoulder .

Meanwhile, Michigan starts at cornerback Will Johnson is listed as “questionable” for today’s game. According to CBS’ television broadcast, Johnson left last week’s game in the second half and went to the locker room to get an X-ray and did not return. Head coach Sherrone Moore said this week that the junior corner could have returned against USC if needed, but Johnson was held back out of an abundance of caution.

In addition to Johnson, two other starters and another key rotation player are listed as “questionable” for Michigan: the starting wide receiver Semaj Morganstarting defensive end Josaiah Stewart and center Greg Crippinwho has a time difference with starter Dominick Giudice at the position. Rotation security Wesley Walkerwho has played a role in the Wolverines’ secondary through the first four weeks, is listed as out for today’s game.

In total, Michigan lists nine players as “Out” in addition to the four “Questionable” listed above. This includes defensive backs Jaden Mangam, Micah Pollard, Rod Moore And Jaden McBurrows; Running backs Jordan Marshall And Leon Franklin; and special teamers Bryson Kuzdzal And Jason Hewlett.

Kickoff between the Wolverines and Golden Gophers is scheduled for noon ET, with FOX carrying the broadcast. Minnesota’s availability report for today’s game can be viewed below:

– Enjoy more Michigan Wolverines coverage on Michigan Wolverines On SI –

Match Predictions: No. 12 Michigan vs. Minnesota

3 things to watch: No. 12 Michigan vs. Minnesota

Three keys to a Michigan football win over Minnesota

For additional coverage of University of Michigan athletics:

The New York Giants are 1-3 after a shaky start to the regular season, including their most recent primetime loss to the Dallas Cowboys on Thursday night. The team’s problems also included the inconsistent play of starting quarterback Daniel Jones.

With Jones now in his sixth season as the Giants’ starter, some fans are fed up with the inconsistencies and disappointing performances in prime time. Franchise legend running back Tikit Barber appears to be among those who have had enough.

Giants legend Tiki Barber says Daniel Jones is ‘not that guy’

While Jones played well Thursday night, completing 29 of 40 passes for 281 yards, he failed to capitalize on the moments that mattered most to Barber and many of the fans. These moments are explosive play and clutch opportunities.

Football is a game that depends on inches and is decided by a few key moments. Jones failed to deliver in these moments, as Barber pointed out:

“When everyone’s watching, all eyes are on you, show up, dude, go enjoy your day,” Barber said on WFAN Sports Radio (h/t Sports Illustrated). “He can’t get through.

“There are moments when you have to improve. When the world, the sports world, or your teammates, your fan base, or your coaching staff are just waiting for you to become that star. And you don’t always get those opportunities.”

If you don’t take advantage of them, trust me, they won’t come because you won’t be the guy. … And my problem with Daniel Jones is that I don’t think he’s that guy.”

This season, Jones has attempted 15 deep passes for 20 yards downfield. He only completed three of them for 92 yards. According to Pro Football Focus, he has two great throws on deep passes paired with two turnover plays. His adjusted completion rate is 26.7 percent.

Jones has left a lot of meat on his bones this season. If he could make those explosive plays more quickly, the Giants could have a few more wins and the season could take a completely different turn. However, as this has been a trend for seasons, Jones has difficulty converting in these big moments and the team is losing games as a result.

Francis Ford Coppola is known for his cinematic masterworks such as Apocalypse Now and The Godfather trilogy. Now, at age 85, the indie filmmaker has created Megalopolis, a mega-ambitious Roman epic set in a futuristic New York City.

The all-star cast features Adam Driver as an architect named Cesar Catilina who envisions a utopia. He’s pitted against Franklyn Cicero, played by Giancarlo Esposito, who seems content to keep the status quo as the mayor of “New Rome.”

As in the Roman Republic, the society is plagued with greed, political division,and special interests. Coppola told NPR he sees the fall of the Roman Republic as a cautionary tale for our times.

“It’s very impressionistic. It’s poetic,” says actress Aubrey Plaza, who plays a journalist known as “Wow Platinum.” She told NPR that while she admired Coppola’s creativity and passion, she found Megalopolis hard to grasp at first: “It’s a beautiful nightmare. It’s beautiful. But it is scary, also.”

Coppola began working on Megalopolis in the 1980’s, and eventually self-financed it with much of his own fortune – $120 million from his wine business.

Sam Wasson, author of a book about Coppola, The Path to Paradise, says the filmmaker has often been misunderstood. A movie about utopia, he says, filled with ideas and artistic experimentation, is not the easiest sell.

“It’s very hard for people to understand why or how an artist could spend so much money on creativity,” Wasson told NPR. “That has made him a maligned Quixote figure in the press.”

Once filming began, Megalopolis’ production made headlines. Early in the process, according to The Hollywood Reporter, the visual effects crew was fired and the art department quit. (Plaza told NPR she believed it was “an intense work environment, but it never seemed to be like, ‘Oh, you know, we’re on a sinking ship.’”) Earlier this year, The Guardian and Variety cited sources claiming Coppola tried to touch and kiss background actresses in a nightclub scene without their consent.

Other cast and crew members denied Coppola had been inappropriate. But online, Variety posted videos reportedly of the party scene. And one of the extras, Lauren Pagone, filed a lawsuit against the director for civil battery and assault. She also alleges negligence by Coppola, his production company Zoetrope and two casting agencies.

Coppola is now suing Variety for $15 million dollars for libel. (In response, a spokesperson for Variety owner Penske Media Corporation told NPR in a statement, “While we will not comment on active litigation, we stand by our reporters.”)

As Coppola told NPR, he has “no intention of litigating this in the media.” In an interview this week, he shared his hopes for Hollywood – and for humanity.

This interview has been edited for length and clarity. 

---

Mandalit del Barco: I want to talk to you about Megalopolis. I know it’s been your passion project for decades. What do you want audiences to take away from this conversation? 

Francis Ford Coppola: Well, first of all, there are a lot of phrases in the movie business. They always want to attach phrases. You referred to it as my passion project. Every movie I make involves passion. All movies are passion projects. There’s not…one that’s more [of a] passion project than the other…My earlier films all were different styles. The Godfather is very classical. Apocalypse Now is very wild. One From the Heart was very theatrical. So I began to wonder what my style was. And of course my style is based on whatever theme that the movie is about. And in my wanting to learn what my style would be, I came upon the idea that it would be fun and I would enjoy doing the Roman epic.

In the course of my research, it was very clear that America…based itself on Rome, when it left the English and didn’t want a king. And if you know your history, you know the Roman Republic was invented because they didn’t want a king…And [then], ironically, Rome was repeating what the ancient counterpart did, and its senators were more concerned with their own power and their own money. And that’s how Rome lost its republic. And there was the possibility that we, the modern Rome – which is America – [were] going to repeat [that] historical counterpart. And I thought that was very, very interesting and very prescient.

del Barco: I know you’re asking the audiences to have this conversation about these ideas of what a utopia would look like.

Coppola: I mean, this could be a very long conversation. It could be a very short conversation. Let’s make it short, which is to say that our system seems to be based on a population of people who are unfulfilled – or said another way, people who are unhappy, and are kept that way deliberately, because our major activity is to sell them a little piece of happiness…And it’s clear that if the people were happy, they wouldn’t be interested and there would be good customers. But…I believe that they’re deliberately kept unhappy through various means so that they’ll be good customers. And that’s sort of what’s going on in the world today, which is very troublesome.

del Barco: Wow. And so with this film, you’re challenging the audiences to think about how to reshape that?

Coppola: All I ask them is to have a discussion, which is a simple sentence, which is, is this is the society we have the only one available to us? I believe if people just talk together, people all over the world…we will come up with that. That is, basically a utopia.

del Barco: Has your vision for the film changed over the years? 

Coppola: Oh, absolutely. Because – let me explain that when you know exactly how to make a movie, you set about making it according to what you think the rules are. But when you don’t know how to make a movie, which, for example, I didn’t with Apocalypse Now, you listen and the movie tells you how to make it. And that’s what happened with Megalopolis. My wonderful collaborators, the actors, many of the creative personnel, we sort of were collaborating together. We were listening to what the movie was and the movie was saying – do more of this, do less of that, do more of this, do less of that. And that’s how the movie came about and shaped itself. So when you see it, you know, it’s a big production. It’s very spectacular. You haven’t seen it, I take it?

del Barco: I have seen it. 

Coppola: Okay. Well…it’s not boring, but your reaction may very well be – wow, what did I just see? What the hell is that? And the best thing to do is to see it again. It’s like Apocalypse [Now]. The more times you see it, the more [it] changes. And that’s exactly what happened with Apocalypse Now. It’s been showing in theaters for more than 40, 50 years, and people are still going to see it. And I think the same thing will happen to Megalopolis.

del Barco: I’m sorry to hear [about] the passing of your wife. I know she was probably very integral to this film as well. And I’m wondering if that, you know, that changed the creative process of this.

Coppola: Thank you for your condolences. My wife – the last thing she said to me was, you’re the most courageous man I’ve ever met, because you do what you feel is right. And, you know, nowadays the movie business, like the fast food business, they’ll spend $100 million to develop a potato chip that you find addictive and habit forming. And that’s the way they want movies to be. They want you to think there’s only one kind of movie. But the cinema is always changing. And, you know, I don’t know if you have children, but your grandchildren’s cinema will be totally different than anything we’re doing today. Cinema doesn’t remain the same, even if it’s more convenient to sell it if it does. There’s a line in my film which is – when you jump into the unknown, you prove you are free. And that’s what artists must do. You know, lawyers and businessmen can be ruled by time and convention and what the rules are. But artists don’t have to. Artists control time. I know in my story you see that that happens. But artists, moviemakers, painters, even architects, freeze time. Moviemakers move time backwards and forwards…

My film Megalopolis tells people that they’re extraordinary. There’s nothing we can’t do if we apply our creativity to it. So my vote is that we apply our human genius to the issues of saving this beautiful Earth. And since you’ve seen [the movie], you know, it ends on a very hopeful, celebratory note. It’s joyous at the end.

del Barco: Absolutely. And you don’t always see something like that – on the … grand scale of humanity. Another thing that was extraordinary to me in this film was that amazing interactive moment – with somebody in real life in the theater and the character on screen. I was wondering if you could talk about that idea of live cinema.

Coppola: Well, of course, that’s something I’ve always been interested in. When I made my movie, which was not very successful, One From the Heart, my idea was to make it as a live movie, that actually would be performed live…As I said, I come from theater, and even now I have one foot in the theater and one foot in the cinema. It’s my desire to merge those two.

del Barco:  I know you recently filed a lawsuit against Variety for publishing allegations that were anonymous about you on set. And they spoke to people who said that you —

Coppola: Basically basically basically, next question. You know, I know why you’re asking. There’s a lawsuit. Anyway. Next question.

del Barco: Okay. Because there’s another lawsuit, you know, against you. 

Coppola: I’m the one suing.

del Barco: You’re suing, and then there’s another suit that’s against you.

Coppola: Mine is the suit. But whatever you think, that’s not a question that’s of any interest.

del Barco: Yeah. I just didn’t know if you were worried that this would affect this film. 

Coppola: No.

[Following the interview with NPR, Coppola’s team sent the following statement from the director: “Nothing in my 60+ years career can equal the painstakingly difficult, yet artistically triumphant journey of bringing Megalopolis to the screen. It was a collaboration of hundreds of artists, from extras to box office stars, to whom I consistently displayed the utmost respect and my deepest gratitude.

To see our collective efforts tainted by false, reckless and irresponsible reporting is devastating. No publication, especially a legacy industry outlet, should be enabled to use surreptitious video and unnamed sources in pursuit of their own financial gain. 

While I have no intention of litigating this in the media, I will vigorously defend my reputation and have trust in the courts to hold them accountable.]

del Barco: Okay.  I know that even in the early marketing, they were saying that you’ve always been misunderstood and ahead of your time. I don’t know if that has anything to do with what’s going on?

Coppola: Oh, that’s a different matter. That’s like when you’re making a movie that’s not like any movie that’s ever been made before, you run into occasionally conflict with people who want to make it the regular way, you know, and want to do things the way they’re used to doing things. And, you know, my feeling is – I like a movie of mine, I like it to feel a little handmade, like the special effects are not just…like every movie’s special effects. Like if you saw my film Dracula, the special effects look as though they’re made with mirrors and by hand.

All of Megalopolis, as big as it is, it’s really handmade – it’s not it doesn’t look like it’s a factory-made movie. And that causes sometimes disagreements with the people who are used to – who have been trained to working in a system that basically, you know… I’ve been around longer than they have. And I know what the cinema used to be like. And it’s not like it is today. Today it’s like the army. You know, if you go to one of the five art directors and say, ‘Oh, I want you to do this,’ then she’ll say, ‘Oh, you can’t step on my toes.’ You have to go to the chief art director. And that’s not the way the cinema was for the 60 years that I was in it.

del Barco: Do you worry that Hollywood is dead now?

Coppola: Well, I’ll tell you in truth. Two wonderful institutions that I love dearly with all my heart – journalism and the Hollywood system – are dying. And what we’re seeing, you know, with journalism making quotes from unknown sources, I mean – you can’t run journalism and just make all your… just to get clicks for people to subscribe and then refer to unknown sources. At the same token, you can’t make motion pictures if your only goal is to make your debt payment. Because, you know, art has a degree of risk to it. And if they’re afraid of risk, then…making art without risk is like making babies without sex.

del Barco: Well, when you are making a film, who are you making your films for? Who [do] you imagine going to the movies to see your films? 

Coppola: Well, it’s my audience. I love my audience, but my audience is more like me. I mean… if I’m going to see a movie about the Roman Empire, I like to know a little bit about it. I mean, most people don’t know why Rome invented a republic or why America…why was it that all our founders … who wrote the American Declaration of Independence – why was it they were so aware of Rome?

It’s because they were all educated, and in those days, that meant they spoke Latin, so they had to read Caesar’s Gallic wars and they had to read about Cicero and his contests with Catilina. They knew philosophers like Epicurus…Because they all spoke Latin…that was what an education in those days included. So we were blessed [to] have founders that were so well-educated and were so aware of history that they created a country that has worked effectively for more than 200 years, you know… But, you know, our country is a shining example of the republic concept. And if we lose it in this election, it will be a heartbreak – but yet Rome did lose it 2000 years ago plus.

del Barco: This film is coming out at a very politically charged time… we’re in the middle of an election. And these ideas about what is a republic, what is our society about – 

Coppola: What it really comes down to…is there any creature, any intelligent creature – be it an octopus or a dolphin or a parrot or anything – that comes even one percent of… our genius? We are a species that can chart and change the human genome, who can send a spacecraft to photograph Mars, who can move icebergs with particle physics…So, I mean, how can you be told by [a politician], ‘Oh, those people are just animals’? There’s no human being that isn’t part of the human family – that’s our cousin, you know? I mean, they put people down so they can control them.

del Barco: You’re probably referring specifically at this time [to] certain politicians.

Coppola: Well, I mean, I think whatever politician denigrates people and puts them down and insults them when I know they’re geniuses. I mean…there’s no creature like the human being. And Megalopolis says that right to your face.

del Barco: You refinanced your winery for, what, $120 million to get this movie made? And not every filmmaker can do that. I mean, how sustainable is this system of financing in Hollywood today?

Coppola: Well, I mean…most companies have been bought recently by another company, which was recently bought by another company. So there’s so much debt racked up.

What’s worse is that they don’t even know everything they’ve bought. I know more about Paramount Pictures than the current owners do. That’s a danger, because since they buy it, their lawyers say, well, ‘What is that part? We don’t need that,’ and they just get rid of it. But that might be a vital part.

In other words, when you’re buying something that you don’t really know a lot about, some lawyers and accountants will tend to want to get rid of the parts that they don’t know what it was for. But there are many parts of movie studios. Thank God people like George Lucas and Martin Scorsese know, and put lots of pressure on them to keep and restore things that came with their purchase, if you know what I’m saying.

del Barco: What do you want to do next?

Coppola: I know I’m finished with Megalopolis because I’ve written a new project. I’m going to go do it in London, because London is the only city that I have never lived in, which means I never lived shoulder to shoulder with my wife, who I miss every morning because I have no one to talk to about…even now when all this is happening, I keep thinking, ‘Oh, I’ve got to tell Ellie what just happened. I got to tell her.’

I thought if I lived in a place where I never lived with her, I’ll still think about her all the time. But it won’t be quite as…. I would like to just live in another place and work on another movie and work with English actors. It’s a musical film. It’ll have a lot of incredible dancing. So it will be fun. I always say it’ll be fun.

del Barco: Do you go into every film thinking, this is going to be fun, it’s going to be a blast?

Coppola: . Yeah, absolutely. I read a great quote that George Lucas gave. He said, ‘You know, when you make a movie, you try to make it go as well as you can, given the circumstances.’ And that that thing – given the circumstances – that’s a big few words, because every movie has a certain circumstance that is not in harmony with what you’re doing. And you have to decide either to change what you’re doing to be in harmony with that circumstance, or you have to change the circumstance to be in harmony [with] the movie… I had to face that in Apocalypse Now and I had to face that in Megalopolis.

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MADISON, Wis. –

The University of Wisconsin Board of Regents voted unanimously Friday to fire a communications professor who wanted to keep his job after he was fired as chancellor of one of the system’s campuses for producing pornographic films.

Joe Gow, who served as UW-La Crosse’s chancellor for nearly 17 years, argued last week that he should retain a teaching position on campus. But the university’s lawyers argued that he behaved unethically, violated the terms of his employment contract, damaged the university’s reputation and compromised its mission.

The regents met in closed session Friday morning before publicly voting to fire Gow. There was no public discussion before the board vote.

Gow said he is considering filing a lawsuit to keep his teaching job. He did not immediately respond to a message Friday morning.

Gow has been on paid leave from his faculty position since the regents fired him as chancellor in 2023, shortly after university leadership became aware of the videos posted on pornographic websites.

The case has drawn national attention both for the salaciousness of a high-ranking university official making and speaking publicly about pornographic films and for the questions it raises about free speech rights.

Gow argued that his videos and two e-books that he and his wife Carmen published about their experiences in adult films were protected by the First Amendment. The university’s attorney argued that Gow’s videos themselves were legal, but that they were not protected by his employment contract.

Zach Greenberg, an attorney with the free speech advocacy group Foundation for Individual Rights and Expression, called the regents’ decision “a major blow to academic freedom and the right to free expression.”

“FIRE has said time and time again: Public universities cannot sacrifice the First Amendment to protect their reputations,” Greenberg said. “We are disappointed that the UW has caved to donors and politicians by alienating a tenured professor.”

Republican lawmakers already view Wisconsin’s university system as a liberal incubator. Last year they forced the company to scale back its diversity initiatives. System President Jay Rothman has tried to avoid further angering conservatives as he seeks approval for an $855 million increase in the next state budget.

Gow’s hope of teaching in the classroom again was rejected by his department head, Linda Dickmeyer. She said that because Gow had not taught in 20 years, he would be assigned general education courses, but she declined to allow him to return to teaching in any capacity.

Gow was criticized in 2018 for inviting porn actress Nina Hartley to speak on campus. She received $5,000 from tuition fees for her performance. The university said he came up with the idea of ​​bringing her to campus after filming a pornographic video with her.

Gow and his wife’s e-books were written under the pseudonyms “Monogamy with Benefits: How Porn Enhances Our Relationships” and “Married with Benefits – Our Real Adventures in the Adult Industry.” But they also star in a YouTube channel called “Sexy Healthy Cooking,” in which the couple cooks meals with porn actors.