Entertainment

Review: ‘Matrix Resurrections’ rewires its programming

Published

4 years ago

December 21, 2021

How deep does the rabbit hole go? Deep enough, it turns out, to accommodate at least four movies, several videogames, a comic and countless pairs of sunglasses.

In the 22 years since the “The Matrix” debuted, it has never left us — or depending on your pill of choice, we have never left it. Despite two largely disappointing sequels, “The Matrix” still hasn’t quite gone out of style — neither its long leather jackets nor its sci-fi vision of an illusive reality beyond what’s in front of us. It’s gotten easier and easier to think maybe Morpheus really was onto something about that whole simulation business.

So when green lines of code again rain down across the screen in the opening of “The Matrix Resurrections,” it’s a little like a warm bath. If we’re going to be stuck inside a simulation, at least we have one with Keanu Reeves.

But much has also changed in the 18 years since the last big-screen chapter, “Matrix: Resolutions.” This is the first one directed solely by Lana Wachowski, without her sister Lilly. They both had long resisted the idea of another “Matrix” movie, but the death of their parents left Lana craving the comfort of Neo (Reeves) and Trinity (Carrie-Anne Moss), she has said. The movie is dedicated to mom and dad.

And for a long time, “Resurrections” seems to be arguing with itself. Neo is now a dispirited videogame designer, famed for creating the “Matrix” game and struggling to make anything that will capture the same cultural connection. This is maybe not so different for the Wachowskis, visionary filmmakers whose dense, elaborate fantasies (“Jupiter Ascending,” “Cloud Atlas”) have sometimes sagged under the weight of their baroque architectures and muddled metaphysics. Even the legacy of “The Matrix” is up for debate in this very self-analytical sequel.

“We kept some kids entertained,” shrugs Neo, no longer sounding much like “the one.” He’s now going by his old identity, Thomas A. Anderson.

A sequel to the game, though, is ordered up by the parent company: Warner Bros., which is the studio behind these movies, too. The meta boardroom scene in which this is discussed isn’t nearly as fresh as the filmmakers seem to think. It’s part of the movie’s overwrought first half where new levels of reality are opened and occasionally loop back to the first “Matrix.” Familiar scenes are spied again, but this time from a different, unclear vantage point. There’s a blue-haired hacker shifting between realms named Bugs (Jessica Henwick, a fine addition) and a kind of Morpheus stand-in played by Yahya Abdul-Mateen II. Laurence Fishburne isn’t in this one, and it’s not hard to spend the film’s 148-minute running time lamenting his colossal absence.

There’s a lot to process in the movie’s first half but a few basic points: Thomas/Neo is living quietly, dourly in a simulation where he and Trinity (Moss) are strangers to one another. But Neo sees her at a coffee shop (“Simulatte”), and there’s a powerful, hard-to-explain connection. Reeves and Moss still have a potent chemistry, and one of the movie’s chief charms is the resurrection of the less-seen Moss. But in this warped world, Trinity goes by Tiffany and is married with kids. Her husband, cruelly, is even named Chad. Whatever Neo’s disquietude, he’s pacified by his therapist (Neil Patrick Harris). This “Matrix” movie isn’t feverish with newness like the innovative original but pulls from a later chapter in life: the midlife malaise of feeling like you took a wrong turn somewhere long ago.

Realigning all the layers of truth and illusion takes quite some time in “Resurrections,” which Wachowski wrote with David Mitchell and Aleksandar Hemon. The first 90 minutes or so are so overloaded with exposition and explanation that by the time Jada Pinkett Smith’s underground rebel leader Niobe pops up and tells Neo, “We have to talk” — you may find yourself murmuring “Please no” and reaching for the nearest blue pill. A lot of sequels and reboots can be criticized for being undercooked; “Resurrections” suffers more from being overthought.

And yet it’s often compelling to watch Wachowski interrogate and reconsider her most beloved creation. This is a kind of personal blockbuster-making seldom made and that, flaws and all, I would take over many more slickly composed, more blatantly corporate products.

More than ever, “The Matrix” plays as an allegory not for analog and digital worlds but something more intimate revolving around despondency and self-realization. In its cocktail of pills, therapy and flights off rooftops, “Resurrections” makes an elaborate science-fiction tapestry of medication, depression and suicide. While Neo and Trinity’s heterosexual romance drives the franchise (yes, along with those cool, slow-mo bullets), “The Matrix” is about stepping out of normative existence — saying goodbye to old code, to “Chad” — and being reborn in a rule-less, decidedly queer universe. It’s a fitting irony that the climax of “Resurrections” features a menacing speech about “sheeple” from Neil Patrick Harris.

But if defying one’s heteronormative programming and entering the Matrix was once a balletic finesse, in “Resurrections” the battle is blunter and the tone less exultant. Personal freedom here requires mounting a defense from an alarming onslaught. In the grim culmination of “Resurrections,” Neo and Trinity (no longer Tiffany) flee beneath a chilling deluge of bodies robotically controlled to swarm any anomaly. “The Matrix Resurrections” may be a bumpy ride but it’s still a trip.

“The Matrix Resurrections,” a Warner Bros. release, is rated PG-13 by the Motion Picture Association of America for violence and some language. Running time: 148 minutes. Two and a half stars out of four.

Related Topics:Keanu Reeves Matrix Resurrections Trinity

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160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

Published

2 days ago

April 15, 2026

Willie David

160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

DAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.

Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.

HEADLINERS AND DAILY LINEUP

This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.

Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard

FESTIVAL EXPANSION AND NEW FEATURES

Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.

In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.

SPECIAL EVENTS AND EXPERIENCES

Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.

A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.

TICKETS, ACCESS AND ATTENDANCE

Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.

With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.

Entertainment

Orlando International Fashion Week Partners with Orlando Fringe Festival for 35th Anniversary Avant-Garde Showcase

Published

5 days ago

April 12, 2026

FNN NEWS

Orlando International Fashion Week

ORLANDO, Fla. (FNN) — Orlando International Fashion Week (OIFW) has announced a new creative partnership with the Orlando International Fringe Theatre Festival as the festival celebrates its 35th anniversary this May.

As part of the collaboration, OIFW will present a special avant-garde fashion showcase on Saturday, May 16, 2026, from 5:30 p.m. to 6:30 p.m., during the two-week festival. The curated runway will feature bold, experimental designs that reflect Fringe’s spirit of artistic freedom, individuality and innovation.

PARTNERSHIP CELEBRATES CREATIVE COLLABORATION

Organizers say the partnership reflects a natural alignment between two nonprofit organizations committed to supporting artists and expanding access to creative spaces.

“Fringe and OIFW share a commitment to creating platforms where artists can take risks and express themselves freely,” said Rob Henlon, executive director and co-founder of OIFW. “This collaboration allows fashion to exist within a broader artistic conversation.”

John Payne-Rios, an OIFW advisory board member, added that the partnership strengthens Orlando’s creative ecosystem by bringing together fashion, theater and community engagement.

Festival organizers echoed that sentiment, noting the addition of fashion enhances the Outdoor Stage experience and introduces new artistic energy to the event.

DESIGNER CALL AND MODEL CASTING UNDERWAY

In conjunction with the partnership, OIFW has opened its designer registration call for creatives interested in participating in the Fringe showcase.

Designers are encouraged to submit collections that emphasize:

Avant-garde concepts
Artistic storytelling
Bold, experimental design

Models can also audition for both the Fringe showcase and upcoming OIFW runway shows. Casting calls are scheduled for April 12 and April 19 at CityArts Gallery in downtown Orlando from 11 a.m. to 3 p.m. The casting is open to ages 4 and up, with no prior experience required.

FRINGE FESTIVAL MARKS 35 YEARS OF ARTISTIC FREEDOM

For 35 years, the Orlando International Fringe Theatre Festival has provided an inclusive platform for artists to present original work in an unjuried and uncensored environment. The festival is the longest-running Fringe festival in the United States and returns 100% of ticket sales directly to artists.

Each May, the festival transforms Orlando into a hub of live performances, visual art, music and interactive experiences that celebrate diverse voices and creative expression.

What’s Next for OIFW?

The Fringe collaboration serves as a lead-in to OIFW’s signature summer event, Orlando International Fashion Week Presents: 626 Euphoria, scheduled for June 6, 2026, at the Winter Park Events Center.

Organizers say the upcoming season will continue to focus on:

Expanding fashion as a cultural platform
Strengthening cross-industry partnerships
Elevating emerging and diverse designers

Entertainment

Trick Daddy Threatens Tiffany Moore Russell Mayoral Race After AKA Show Shut Down

Published

1 week ago

April 9, 2026

Willie David

ORLANDO, Fla. (FNN) — A performance by Miami street legend rapper Trick Daddy ended abruptly Friday night during the 73rd South Atlantic Regional Conference of Alpha Kappa Alpha Sorority, Incorporated after event organizers said the artist ignored agreed-upon performance guidelines.

The incident, which occurred after the conference’s Step and Stroll competition, has sparked debate online about event vetting, audience expectations, and artistic responsibility.

The event was overseen by South Atlantic Regional Director Tiffany Moore Russell, who also serves as the elected Clerk of Courts for Orange County, Florida and is currently a candidate for Orange County mayor.

Conference Performance Ends Early

Conference attendees from across the South Atlantic region gathered in Orlando for the sorority’s five-day leadership and networking event.

Friday evening’s program featured step teams and strolling performances before transitioning to live entertainment. Organizers booked Trick Daddy, the Miami rapper known for hits including “Nann” and “Thug Matrimony,” to perform a curated list of songs.

However, the performance ended mid-set after organizers said the rapper used language and lyrics that violated previously discussed guidelines.

Russell addressed the incident in a statement distributed to conference attendees.

“We met several times with him and his team to detail our requirements, including attire, language, and specific songs,” Russell said. “Unfortunately, our requirements were ignored. The language, lyrics, and comments made by the artist were not acceptable. I ended the performance because of the disrespect for our organization and our brand.”

Trick Daddy’s performance during an Alpha Kappa Alpha conference was shut down early due to “disrespect for our organization and our brand” pic.twitter.com/AX8xsELyP4
— philip lewis (@Phil_Lewis_) April 4, 2026

Viral Video Fuels Online Debate

Videos posted on social media showed audience members reacting with surprise and discomfort during the performance.

In one clip, attendees could be seen leaving the room as the rapper used explicit language and interacted with the crowd in a manner some attendees described as inappropriate for the event.

The video quickly spread online, fueling debate over whether the performer or the event organizers were responsible for the mismatch between the artist and the audience.

Some critics argued the booking itself raised questions about vetting.

Questions About Booking and Vetting

The controversy has prompted broader discussion about event planning and audience expectations.

Alpha Kappa Alpha Sorority, Incorporated is one of the nation’s oldest historically Black sororities, known for its emphasis on scholarship, leadership, and community service.

Critics on social media questioned why an artist known for explicit hip-hop lyrics was booked for a conference audience largely composed of professional women and long-time sorority members.

Supporters of the organizers say the issue was not the booking itself but whether the performer honored the agreed-upon content guidelines.

Russell emphasized that the step teams and conference participants represented “creativity, discipline, and excellence,” adding that she regretted the performance overshadowed their work.

Trick Daddy Responds: “They Booked Me, Trick Daddy Dollars” [VIDEO]

Following the incident, Trick Daddy posted a video response denying that he violated the agreement and accusing organizers of damaging his reputation.

Trick Daddy video responding to AKA Director statement telling her not to give him a playlist, this isn’t her wedding and not to defame his characte, according to the video.

the video further that he states that anybody in there that was saddity and sanctified should not have been in there once I grabbed the MF’in mic.

He also referenced Russell’s political ambitions, saying: “I heard you’re running for some type of office or something. I’ll get on you every day until you don’t win. Don’t play with me.”

The comments intensified the controversy as the incident shifted from a performance dispute to a potential political crisis for Russell’s Orange County mayoral campaign.

What Happens Next? Reputation, Politics and Public Reaction

For Trick Daddy, the dispute raises questions about how the controversy could affect his public image and performance bookings.

For Tiffany Moore Russell, the issue arrives as she prepares for a campaign for mayor in Orange County, Florida, potentially drawing political scrutiny to the situation.

Whether the rapper follows through on his pledge to publicly attrack Russell’s mayoral campaign remains unclear.

For now, the moment stands as a cautionary tale about entertainment programming at professional events—where audience expectations, artist identity, and brand reputation must align.