Join us weekly as Rotten Tomatoes reports on what s opening, expanding, and coming to the specialty box office. From promising releases from new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week in Fresh Indie Finds. This week at the specialty box office we find a pair off-kilter comedies that will have you giggling through the awkward stares and a crowd-pleaser of a musical featuring musician-turned-actress Jessie Buckley. Looking ahead to the fall movie season we see new trailers featuring Lee Pace (Guardians of the Galaxy) and Jason Sudeikis (Booksmart) in a based-on-a-true-story FBI caper surrounding the man who invented the DeLorean, and a moving documentary chronicles the life and tragic death of Star Trek actor Anton Yelchin.Opening This Weekend 《迷你世界枪战精英》是一款多人FPS小游戏。游戏画风Q萌可爱，游戏模式多样精彩。采用成熟的枪战手游的玩法：第一人称视角，自由移动，瞄准射击，枪械与《迷你世界》已有的枪械使用一模一样。游戏上手简单，无需额外学习。迷你世界枪战精英游戏采用了像素的画风，使整个画面变得十分有趣，玩家能更好的体验这款游戏。游戏操作易上手，左右进行控制移动，右手进行瞄准与射击，这样操作起来十分简单。能和小伙伴联机玩耍，不仅可以锻炼自己的射击能力，还能考验和小伙伴之间的配合能力。【迷你世界枪战精英小程序游戏特色】1、枪战场面模拟还原，使用了迷你世界的3D建模模式，需要和迷你星球的人一起并肩作战；
4. 呼朋唤友 随心所欲
The idea of the Purge, the annual night of legal violence that forms the spine of the scarily successful franchise from Blumhouse Productions, has surprising origins: a road-rage incident involving The Purge creator James DeMonaco’s usually more mild-mannered wife. How did a small reaction (and some time the filmmaker spent in Paris) lead to a horror phenomenon? DeMonaco and producer Jason Blum recently spoke to Rotten Tomatoes for an exclusive deep dive on the history of the Purge films, from that inciting incident right through to the series’ new – and rumored to be last – movie, The Forever Purge, which opens in theaters Friday. How have the films managed to so closely mirror real-life events? (Remember 2016’s terrifyingly prescient The Purge: Election Year?) Why do the filmmakers ultimately see these dark cautionary tales as stories of hope? Tune in to find out.Recommended: How to watch the Purge movies in orderThe Forever Purge is in theaters now. On an Apple device? Follow Rotten Tomatoes on Apple News.Thumbnail image: Daniel McFadden, © Universal Pictures
5. HD 画质与高品质音讯
as their new Cleopatra Jones, but it should be noted that Ofordire is also an actress.4. SAUSAGE PARTY DIRECTOR TO REMAKE CHILDREN S FILM THE BORROWERS (Photo by PolyGram Filmed Entertainment courtesy Everett Collection)Sometimes, film development news brings together rather disparate elements. Let s start at the beginning, which was the 1952 children s fantasy novel The Borrowers by English author Mary Norton, about a family of tiny people who secretly live underneath humans from whom they borrow small objects (which are big to them). That book was then adapted in 1997 as a live-action movie (Fresh at 73%) starring John Goodman and Jim Broadbent, and then adapted again by Studio Ghibli as the anime movie The Secret World of Arrietty (Certified Fresh at 95%). Universal Pictures and Working Title are now developing a third adaptation which will again be live-action and be called The Borrowers. The screenplay will be written by Patrick Burleigh (co-writer of Peter Rabbit 2: The Runaway) and will be directed by Conrad Vernon (The Addams Family, Sausage Party). So, to loop back, the same project ties in English fantasy, Japanese anime, and an R-rated animated film. Like we said, disparate. 5. VIGGO MORTENSEN, LEA SEYDOUX, KRISTEN STEWART JOIN DAVID CRONENBERG S NEXT FILM(Photo by Priscilla Grant, Jason Mendez/Everett Collection)Canadian directgor David Cronenberg is well known among horror and science fiction fans for his films from the 1970s (Shivers, Rabid, The Brood) and 1980s (Scanners, Videodrome, The Dead Zone, The Fly, Dead Ringers), but the earliest of those aforementioned films (Shivers) was actually his third after Stereo in 1969 and Crimes of the Future in 1970, both of which are barely over an hour long. That second film seems quite relevant to this week s news, because Cronenberg is making another film called Crimes of the Future, though it s not yet clear if the two are otherwise related. The project is expected to start filming in Greece this summer, and Cronenberg has already found his three leads, who will be Viggo Mortensen, Léa Seydoux, and Kristen Stewart. Mortensen previously starred in both A History of Violence and Eastern Promises, making Crimes of the Future their third project together. Crimes of the Future is billed as Cronenberg s first original science fiction project since 1999 s eXistenZ, which seems to suggest no direct connection between this upcoming film and the 1970 movie.6. GAL GADOT SAYS MEET ME IN ANOTHER LIFE (Photo by RCF/Everett Collection)In Wonder Woman and its recent sequel Wonder Woman 1984, Gal Gadot and Chris Pine played lovers who are brought back together through magic after decades apart (a separation that, for one of them, was also between life and death and then life again). Considering that, one might make the argument that this week s news seems not entirely coincidental, because Gadot is going to produce and star in a film called Meet Me in Another Life. Gadot s production company Pilot Wave snapped up the rights to the recent novel by Catriona Silvey extremely fast; the book was published this week on Tuesday, April 27th, and Gadot had the feature film rights to the book on the next day. Gal Gadot is a speed reader, apparently. As the title suggests, Meet Me in Another Life will tell the story of a romance between a man and a woman who continue to meet each other across time and reality, challenging them to figure out exactly why that keeps happening.7. FLORENCE PUGH TO STAR IN YET ANOTHER MOVIE WITH WONDER IN THE TITLE (Photo by A24)In the last 10 years (or so), we ve had several films whose titles included some variation of the word wonder : To the Wonder (2012), The Incredible Burt Wonderstone (2013), Professor Marston and the Wonder Women (2017), Wonder (2017), Wonder Wheel (2017), Wonder Woman (2017), Wonderstruck (2017), Wonder Park (2019), Wonder Woman: Bloodlines (2019), Wonder Woman 1984 (2020), and Willy s Wonderland (2021). That s an impressive list, but you might notice none of them was THE Wonder, and actress Florence Pugh is about to correct that oversight, as she will star in an adaptation of the novel The Wonder by author Emma Donoghue (who also wrote Room). The film, to be directed by Sebastian Lelio (A Fantastic Woman) will tell the story of an English nurse (Pugh) who is summoned to a tiny Irish village in the 1850s to observe what the locals believe to be a miracle. Sounds wonderful, doesn t it?On an Apple device? Follow Rotten Tomatoes on Apple News.
Loki Confronts the Lie of FreedomOur current understanding of the TVA puts Loki s journey in a new light. His stated ambition to rule was always to order people away from what calls the lie of freedom. Sure, there are also the sore feelings he carries around for Odin (Anthony Hopkins) and Thor (Chris Hemsworth), but the family squabble underscores the way Loki wanted to organize the universe into a realm under his direction.Curious, then, that a variant of Loki would learn that ambition was never really his and that his life was carefully curated by space lizards to be a villain. One thing actors who play villains always note is that the characters never see themselves as the bad guy. So Loki actually learning he is a villain is a revolutionary moment for the MCU. The antagonists generally have a seemingly reasonable purpose to their actions; whether that be Ego s (Kurt Russell) basic need to procreate or Thanos (Josh Brolin) grim calculus. But for Loki, his mischief no longer serves the burden of glorious purpose he perceived in his life. He is finally exposed to the truth that he is the bad guy.Granted, Loki is such a scamp that we never want to see him reduced to so simple a thing, so the series will likely disprove the determination of the Time-Keepers.Also, Loki fighting against (or giving into) his nature will likely be an ongoing internal conflict for the character. Released from the timeline and unburdened by his purpose, will he attempt to gain control of the TVA or will he be transformed by the experiences he will face? While the Loki of the prime timeline proved to have heroic qualities, will this variant find his way to the same path? Maybe witnessing a truly villainous Loki Laufeyson will push him in that direction.A Variant Darkly: Loki Has Endless Potential — For Now AnywayAlthough Marvel Studios often mentioned the series would feature Loki chasing himself, actually hearing Mobius M. Mobius (Owen Wilson) say Loki is the variant he needs Loki s help to stop tilts everything we presumed about the show.For one thing, we always assumed Loki would cause some chaos with the Tesseract before the TVA caught up with him and forced him to undo his mischief. Now, we see there s a much more dangerous Loki variant running around capable of actually hurting TVA agents. The first question we have to ask about this variant is fairly obvious: From when in the Sacred Timeline did they spring? There are a handful of tantalizing moments in history to consider. One option, this is the Loki who grew up in Jotunheim under the tutelage of his true father, Laufey. Another option: This Loki successfully collected the Infinity Stones for himself and upended all of space of time. It is also possible the dangerous Loki variant is from the multiversal war; predating the Time-Keepers could explain why the variant presents a real threat to the TVA.
In the nascent days of smartphones, micro-blogging, and social media, The CW premiered Gossip Girl, a teen soap about rich kids causing havoc under the watchful eye of a mysterious blogger known only as Gossip Girl. It aired for six seasons, starting in 2007, and had an audience so loyal that there are some who are still upset about the finale s reveal of who was behind that account.Well, Gossip Girl (and, therefore, Gossip Girl the character) is getting a makeover for the post-millennial crowd. A sequel to the series, which focuses on another generation of elite New Yorkers, premieres July 8 on streaming service HBO Max.But have things changed that much? Here s what you need to know about the new take on Gossip Girl.XOXO.1. It Boasts a More Diverse Cast(Photo by Karolina Wojtasik / HBO Max)The first Gossip Girl brought up plenty of important issues, such as consent and cyberbullying. But almost all of its leads were white and almost no one was queer (Ed Westwick s Chuck Bass admittance that he s kissed guys aside). Connor Paolo’s Eric van der Woodsen — the younger brother of Blake Lively’s Serena — comes out to Chuck before his family because he knows Chuck won t judge him (their mom, Kelly Rutherford s Lily, did have a hard time with the news).The actors who play the kids at the center of the story in the new version come from a variety of racial and ethnic backgrounds. Lead by Jordan Alexander’s Julien Calloway, they include Emily Alyn Lind’s icy bookworm Audrey Hope; Eli Brown’s white, liberal and guilted Otto Obie Bergmann IV; Thomas Doherty’s party-loving Max Wolfe; Evan Mock’s pretty but sometimes slow-on-the-uptake Akeno Aki Menzies; Zión Moreno’s master of the beauty contour Luna La; and Savannah Smith s burgeoning publicist Monet de Haan. In the story s main season 1 plot point, Whitney Peak’s new girl, Zoya Lott, will infiltrate this group.(Photo by Karolina Wojtasik / HBO Max)Many, like Max and Monet, are openly queer. Max also has openly queer parents, played by John Benjamin Hickey and Todd Almond — as opposed to Leighton Meester’s Blair Waldorf, whose dad Harold (John Shea) was closeted until he left his wife for another man. Any show that you work on is its chance to show how you, yourself, have grown and changed and learned, Joshua Safran, the creator of the new Gossip Girl who also wrote on the original series, told Rotten Tomatoes.Safran, who is openly gay, employed several queer writers and there were many talks about sexuality — both their experiences with it and how it s seen today. It was important to not make it a story worthy of shame or guilt. Eric s sexuality was weaponized by Gossip Girl. And that definitely would never happen now, he said.(Photo by Karolina Wojtasik / HBO Max)Conversely, in this iteration of the show, Aki begins to question his sexuality. We discussed the idea that most television shows these days, posit that it s easy to come out in this world, Safran said. And I think a lot of the world believes that that because the queer community has more rights than we ve ever had before, even if we still don t have all the rights that we should have. For Aki, it s a multiple-season journey for him to gain comfort and clarity about sexuality, Safran said.2. Activism and Influencer Culture Are Main Topics (Photo by Karolina Wojtasik / HBO Max)Meester s Blair, Lively s Serena and other characters from the original series mostly took their wealth for granted. They took private jets, rode in limos and basically schemed and harassed each other until they became adults with jobs and amassed more wealth. So did their parents. When Nate Archibald s (Chace Crawford) family fortune was diminishing, his parents plotted ways to find new investments.The latest installment discusses generational wealth and inherent privilege — which reflects upon the conversations many actual people are having after the coronavirus pandemic and movements like Black Lives Matter brought these topics to the mainstream. Obie supports those picketing his family s real estate development by bringing them donuts and volunteers for a non-profit. He and Zoya bond over discussions of classism. Monet and Luna tell Julian to get over her ex in a conversation that dissects the media s history of bulling newly single female celebrities that includes the line f-k the patriarchy. If you re on Tik Tok, if you are on Instagram, if you spend time actually looking at what s out there, you ll see how socially conscious young people are these days, Safran said, and it doesn t matter whether they are what their, sort of, economic arena that there is, they actually are all talking about it in a way that we definitely didn t talk about it when I was their age. (Photo by Karolina Wojtasik / HBO Max)The scripts were written pre-COVID and before the Black Lives Matter uprisings and similar events from last year, but Safran said the writers did use the time when production was shut down to fine-tune the scripts. In one episode, Obi and Zoya talk about being at a protest and they actually both have a framework to talk about, it s not just like an ideological discussion. It was also unclear how well the original crop of kids were known outside of their Manhattan bubble (and with some folks they met in Los Angeles, Paris, or the Hamptons). They weren t like Paris and Nicky Hilton, who were paparazzi fodder even before one of them got her own reality show. In the current world of being Internet famous versus actually famous and what that means for your brand, the show also discusses influencer culture. Jordan is popular, in part, because she s the face of a blue-checked Instagram account that s largely backed by Luna and Monet.(Photo by Karolina Wojtasik / HBO Max)In a side-eye of a casting choice, Gossip Girl 2.0 also employs former child fashion blogger Tavi Gevinson — but as Kate Keller, an adult teacher at the school with an unhealthy interest in her students. Mock is also a celebrity skateboarder with his own strong social media following (including Safran, who wrote this part for him because he s a fan).However, neither of these two were cast because they have a strong social media following.With Mock, Safran wanted to write about the Murdochs and Wendi Deng and base something on that relationship, he said, adding that his casting director, Cassandra Kulukundis, recommended Gevinson and noting that Tavi s Tavi-ness is what makes Kate so great. 3. Storylines and Dialogue Are More R-Rated(Photo by Karolina Wojtasik / HBO Max)There was plenty of parental pearl-clutching when the first Gossip Girl premiered and promised sex and more on primetime TV. The brilliant marketing minds at The CW and studio Warner Bros. turned these into campaigns with lines like OMFG or (to meet FCC and broadcast standards) simply OMG. Now airing on a paid streaming service and free from these constraints, the new Gossip Girl celebrates with cursing, nudity, and sex acts that aren t PG (and aren t appropriate for the youngest of the Gen Z demographic). A storyline sure to put the Parents Television Council on red alert involves cruising in a bathhouse.Safran noted that the show did have an intimacy coordinator on set and that we never wanted a sex scene to be gratuitous; it always was character-based. An example: in the third season, Aki receives oral stimulation from his girlfriend, Audrey. But Safran said this is a story point. It s actually a sex act to show a sex act. The couple also have a conversation in the first episode about fantasizing during intercourse, which Safran said is a scene that s about having a partner that doesn t feel like they should have any ownership of you; that allows you to experience pleasure the way you want to experience it. (Photo by HBO Max)Doherty s Max is open about his recreational drug use (he takes Xanax at school, for example). But Safran said that the character also talks very clearly about how he s very strong in his boundaries. He only does one line; one drink; one pill. This is the antithesis of Westwick s Chuck, Safran said because that character will go as hard and far on anything. Max actually knows his boundaries and sticks within them until an event in the third episode takes him to a dark place.In an interesting twist, the new episodes of Gossip Girl will air on The CW after they first air on HBO Max. It will be interesting to see what kind of editing occurs.4. Gossip Girl Sounds the Same (Photo by Karolina Wojtasik / HBO Max) But her range has increased.Although the face of the titular narrator and chronicler(s) of all of these escapades still remains a mystery to her targets, readers in both series have decided that she sounds like Veronica Mars star Kristen Bell.There was never a question as to whether the new show would keep Bell around. Safran said that if she didn t want to do it, I don t know if we would have done it. However, her monologue has shifted for this digital age. She no longer addresses just the Upper East Siders, and she s no longer solely focused on Manhattan. With WiFi connections everywhere, (presumably only private school) kids in all the boroughs now have targets on their backs because, Safran said, the new account will also include tips about kids at other schools.Perhaps more important: she no longer talks about the scandalous lives of these people. Safran changed it to lies because she points out the fact that it s the change of the show: It s that social media allows you to get a positive version of yourself. 5. Who She Is Isn t a Secret(Photo by Karolina Wojtasik / HBO Max)The first Gossip Girl dragged out the reveal of who was behind the mysterious posts until the final episode when it was revealed that it was Penn Badgley s Dan Humphrey. In Safran s version, the reveal is quite obvious early on and it s not a usual suspect. The first time around, the audience didn t get to partake in watching Dan be the Gossip Girl and do all the things that he was doing, Safran said. If you went back and sort of re-edited the show to see him posting everything, you d see sort of this much more morally complex, dark antihero. He adds that now that you can actually watch what it means to be Gossip Girl and, sort of, the choices you have to make, the things you do that are complicated and morally suspect, but you re doing it for the right reasons — or so you re telling yourself — that s a fresh take on the story. And it s also something that really make the audience feel complicit in Gossip Girl s journey in a way that they weren t allowed to be, by design, the first time around with it. Gossip Girl premieres on Thursday, July 8 on HBO Max and debuts the next night at 8/7c on The CW.On an Apple device? Follow Rotten Tomatoes on Apple News.
Jumanji: The Next Level arrives on Blu-ray and DVD on March 17 after tearing up the global box office this winter, giving those who missed the movie in theaters a chance to spend a night at home with one of the best buddy-comedy duos in the business, Kevin Hart and Dwayne Johnson. (Those who did see it on the big screen can now go back for seconds.) To celebrate the reuniting of Hart and Johnson, and to pay tribute to an epic and jibe-filled bromance that has leapt from the big screen to Instagram and beyond, we devoted this episode of Vs. to the co-stars of Central Intelligence, Jumanji: Welcome to the Jungle, and – small spoiler alert – Fast Furious Presents: Hobbs Shaw. Who will come out on top when we pit mammoth dose of “franchise Viagra” Dwayne Johnson against the motor-mouthed pocket rocket Kevin Hart? Find out as host Mark “French Tuck” Ellis breaks down the battle by Tomatometer, box office, acting versatility, and a special wildcard category. And as always, if you disagree with the ref’s call, have at us in the comments.Jumanji: The Next Level is available on digital now and on Blu-ray and DVD March 17, 2020.
Jacqueline Coley for Rotten Tomatoes: Tell us about #blackAF. Is this black-ish unleashed?Kenya Barris: Yes, and no. It s a family show about my family, so in that, it is like black-ish, but those were archetypes. This is more accurate — well, except for the mother of my children; she s very different from what Rashida is doing. Rashida is a little bit more of a revolutionist. I ve been doing family shows for a long time, but felt like they needed a reboot. With Netflix, it feels like we re in this new era, in this new dawn, and what better place to try to reboot black-ish into a more authentic family. I made them functionally dysfunctional. And the notion behind it was to take out of my point of view, give the point of view of my daughter, and try and do it in a much more honest way.At ABC, I love those guys, but they were terrified of talking about having any kind of success. They thought it could be ostracizing. I always felt the opposite. I felt like, in the time of Jay-Z and Beyoncé, Barack and Michelle [Obama], or Swizz Beatz and Alicia [Keys], the idea of wish fulfillment and aspirational things really resonates. At the core of it, it s a human story; that was what I m tapping into, or that was what we hoped. But it s also so much scarier, because this was me and much closer to my real family — a rejection of this is a rejection of me in a much bigger way.(Photo by Netflix)You ve mostly worked in linear television. How was the switch to streaming?Barris: It was terrifying. It honestly was. No ad breaks? Just streaming? I m a fan of telling stories where in Act 1, you set the problem up, really explore it in the second, and resolve it in the third. And this was a completely different way of telling those stories. I really enjoyed it, to be honest with you. I enjoyed not having to focus on act breaks and commercials.But at the same time, one of the things that I missed was, Netflix is an unbelievably free, creative environment. As much s t as I used to talk about getting notes, there s something to having a partner give you notes, even if you disagree with them. The freedom to make what you want is a place you want to be as creative person. But if it bombs, you can t blame anybody else. [Laughs] I was like, Be careful what you wish for. But, it was a really, really good experience. I don t know what s going to happen with the show, but we re proud of what we did. They let me do something that I ve never done before. I m so proud of the actors and the family that we put together and the kids and Rashida. But it was terrifying.As your first show on a new deal with Netflix, this is a big swing as far as subject matter and tone. Was that a choice? Barris: I wanted to be noisy. [Netflix] is doing 400 series this year. Not 400 episodes of television, 400 series. To stand out in that crowd was really important to me. I would like to say I don t care what people think, but I care about the critics. In network television, you have your morning-after scorecard. You have ratings that was like basically getting your grade on your test.Netflix doesn t really have that. All you really have is critics, and they ll tell you if you make it or not. So for that, I knew I wanted to be loud. I wanted to try to be noisy and let it be authentic and personal. And know your lane — this is as close to my lane as I possibly can get. I let myself hang out there, but it makes it a lot scarier.(Photo by Netflix)Let s talk about episode 5. It talks about criticism and Rotten Tomatoes in general, but the first thing we have to know is, are you surprised by anything else besides Space Jam, which is discussed in the episode, being rated Rotten on the Tomatometer?Barris: [Laughs] Not to be controversial, but — f k it — I m just gonna say it: I m a huge Boots Riley fan. I think Sorry To Bother You got a 90-something percent. I m like, Really? I m with you until horse people. [Laughs] But my daughter argues with me about it, because she was like, That s the beauty of it. We don t get to do that often in our business We [Black creatives] are not allowed to be open and fluid, have weird endings, and get those kinds of ratings. But still, I check the score.At RT, we argue about scores all the time if that makes you feel any better. Will you be checking the score for #blackAF when it drops? Do you still care?Barris: Absolutely. I care. Tyler thinks I m crazy for caring, but I care. I care what white people are saying. I care what gay people think. I care what Black people think. I care what Rotten Tomatoes thinks. I care. Steven Spielberg put this article out, and he said if you believe any of it, you have to believe all of it, so he doesn t read reviews. Good for him. I m neurotic. I want to be liked, probably too much, but I definitely care. I think we need commercial success. There s room for If Beale Street Could Talk and Moonlight, but there was also something special about Cosby. We have learned the whole story about the man now, but at the time it was special that he became what he did. The Cosby Show changed the trajectory of what we were in this world. That was the first time I ever saw my white friends want the same father that I had.It s one of the things that I was really always happy about with black-ish is that when we first came on, we beat or came close to beating Modern Family. And, that was a huge statement to the powers that be. A lot of things that came after were because of black-ish in some aspect. Not to toot my own horn, but they were kind of derivative of what we did. Other creators said, Oh, why can t I talk about my family? I could talk about my family, and I can be more specific. People started seeing themselves reflected in things and that became the mainstream.(Photo by Emily V. Aragones/Netflix)You brought in Tyler Perry for this episode to talk about the Rotten Tomatoes, and he doesn t share your opinion.Barris: I love that Tyler was like, Oh, I don t f k with them Tomatoes. I have people in my family, they enjoy his films, particularly my mom, my aunt, and some of my relatives. They get so much enjoyment from his movies — honest enjoyment, not just ironic or so-bad-it s-good, just honest enjoyment. He opens up at box offices and does business, too. So why are those people s opinion not as important as someone else s opinion. Their opinion counts, too. Tyler puts a movie out that people enjoy. And because people or certain critics might not feel like it s the most elevated form of comedy, he s destroyed Black culture. There are people who really enjoy him, just as there are people who love Adam Sandler.Tyler Perry opens up doors for Shonda [Rhimes] and me, for Barry Jenkins, and so many others. The only color Hollywood really cares about is green. And, he has the greenest story in Hollywood. He deserves to do his movies and be celebrated just as much as Adam Sandler. He knows his audience. He entertains them, and he s opened so many doors for people of color. Why take away his success? Why marginalize his success because it s not for you. That s where Rotten Tomatoes and those other aggregators have a hard time accurately evaluating our work. It s hard because I feel like many white male reviewers are afraid. They feel like if a female-driven movie or an LGBTQ movie or a Black movie comes out, they can t rip on it. They think, I m not going to be the guy who says something bad about this. Then at the same time, because Tyler Perry s the whipping boy, he s the one guy that they re comfortable taking a swipe at, and I have a problem with that.(Photo by Netflix)In that same episode, you had a Zoom call with a fictional Ava DuVernay, Tim Story, Lena Waithe, Will Packer, and Issa Rae — a.k.a. some of the biggest names in Black Hollywood. How did that come about? Did they have input in their characters ?Barris: I wrote it, and I gave them a little bit of a pitch when I sent it. My pitch was Michael Bay and Jerry Bruckheimer could be on a show together. And, Jerry could joke, Sorry I didn t blow something up, Michael. No one would think any less of Michael Bay or Jerry Bruckheimer for that. They d say, They re bosses and that s how they talk in real life. They can be self-deprecating with their work and never think less about each other. Why can t we do that? Here s the exact group of people responsible for a lot of entertainment on television right now. Especially, in a cultural sense. Why do all our calls have to be something that s like, Between you and me Why can t people see us actually have the conversations that we have and know that we re critiquing our work, too, just the same way everyone else is critiquing our work.How honest do you think creatives are with each other, publicly or privately, if you could give them a grade?Barris: I think it s probably a B. The one thing that I really appreciate about us is that we show up for each other. Black Panther is a great example of us showing up for each other. Black Panther was an amazing movie. Ryan Coogler is going to go down as one of the best filmmakers in the history of cinema. But, one of the things that helped that movie is that we showed up for him. In addition to everyone else showing up, because it was a great movie, we showed up for him. And it was the same thing with Girls Trip. That first weekend, in droves, and our people showed up with their girlfriends. And then boom, next thing we see is white girlfriends showing up doing the same thing. When things cross over and become mainstream, and it allows everyone else to be a part of it. It doesn t feel so niche.That s something that we do, and it s important that we continue to do it. As far as celebrating sort of publicly, actually, I think we get an A. I think that privately the conversations are always a little bit scarier. You can have them with your close peers, and sometimes it s a little bit harder to sit through, because you don t want to have say something that makes someone feel like you re not being supportive. But we re getting better. The calls, that episode, the willingness of people who have active careers to do things like this shows that we re getting better. I m a huge Jordan [Peele], but after Jordan did Us, I was seeing articles saying like, He s Hitchcock. And I was like, I think even Jordan would be like, That s a little bit quick. There s a positiveness to us being embraced like that, but we have to put in the work. We have to be respected in terms of the general notion of what it takes to really put those 10,000 hours in.I just watched Unorthodox on Netflix, and I m like, Why can t we [Black people] have this? Black people get, like, four stories to tell. White people have like a million options. With [Unorthodox], that story was such a niche story, but it was told so well, someone bought it and people support it. I m like, Why can t we tell more of those stories? Why can t we get stories that feel outside of what people are used to hearing from us?, because that s how we actually grow culturally and within the industry.Since you do read reviews, do you have a favorite critic? Barris: Emily Nussbaum did a great New Yorker article on me, and she kind of changed my career. She embedded with us for a few days and she really got it. She s also like a TV fanatic. I am always interested in what people like her have to say. I get it. Some people don t like what I do, and I am OK with that, but I am also not going to pretend it doesn t bother me. I get it: I m not for them. But that s that needy part of me, because I want so badly for them to like my stuff.Many creatives feel that way. Quentin Tarantino was awarded Best Original Screenplay last year by New York Film Critics Circle, and he spent half his acceptance speech talking about one of the members who has hated every movie he s made, but Tarantino loves his writing. And this is a man with multiple Oscars and nothing to prove. Barris: And, that s part of why Tarantino s a good writer. How do you say that you don t care? How could you not care? It s you. You ve put years of your time, energy, and life-blood into this thing, to say you don t care? It s like you re either a sociopath or a liar.#blackAF premieres April 17 on Netflix.
Now, the culprit is revealed and the scheme is in motion. But does Loki (Tom Hiddleston) truly see himself in it? Or is he as lost as the rest of us? The second episode of Loki continues to build the satisfying double act of Loki and Mobius (Owen Wilson) while offering a greater understanding of the Sacred Timeline. But it also adds a few more questions as the timeline itself is imperiled.Let s take a look at what we now know about Loki to see if we can gain some clarity on The Variant s plan.Spoiler Alert: The following reveals details of Loki season 1, episode 2. Stop here if you have not watched The Variant. The Variant Appears To Be a Lady Loki(Photo by Marvel Studios)Let s start with The Variant herself — she/her are the pronouns we ll use until the series offers greater clarification. As many suspected, Sophia Di Martino is the dangerous variant of Loki the TVA has been hunting. The clues have been there for a while, from Disney refusing to identify Di Martino s part to various outlets noting the established Lady Loki of Marvel Comics. Even Loki s own publicity materials seeded the notion that the God of Mischief is gender-fluid. Then there was the delightful touch of The Variant first speaking via the voice of Hunter B-15 (Wunmi Mosaku), all but confirming the later reveal.But even with The Variant seemingly presenting as female, there is always the possibility of misdirection — right down to her even being a variant Loki. For the moment, we re going to assume she is, in fact, a version of him. During the first mission briefing, Mobius and B-15 went out of their way to note Loki variants present with various forms and powersets. And, as we suggested last week, every choice from Loki s birth to Odin adopting him to his action through the first Avengers film (at least) offers a wide array of Lokis for the TVA to deal with. In fact, Loki variants are a constant part of their caseload.The Variant is peculiar, though, because she cannot be brought to book the way most variants or even our Loki has. Why is that?One option: The Variant is really the Loki who seemingly died in Avengers: Infinity War. If that s the case, her/their actions are meant to happen even if they seem to have a detrimental effect on the Sacred Timeline. It also means she is as much a prisoner of fate as the title variant; something we hope she is raging against. Another option, which we touched upon last week, is that she s a Loki from the Multiversal war who is somehow beyond the Time-Keepers awareness. Marvel Comics stories are filled with remnants of old mutliverses, from Galactus to He Who Remains — the consciousness who devised the Time-Keepers to begin with. The Variant could originate from the chaos before the Sacred Timeline. Restoring that chaos also seems like a good motivation for her actions.The Determinism of the Timeline(Photo by Chuck Zlotnick. ©Marvel Studios 2021. All Rights Reserved.)Before we look at The Variant s possibly motives, though, let s focus on the TVA itself for a moment. The determinism of the Sacred Timeline — and the way it seemingly has a religious pull on its staff — is important to one of the series key themes. Throughout the episode, Loki is reminded that he is a villain. The TVA s position on The Variant comes from the belief that her actions can only be motivated by evil. And although no one says it too loudly, the Sacred Timeline suggests a lack of free will in the universe.But is that the case? Last week, we mentioned that in a meta-narrative sense, the characters free will is an illusion because they are, ultimately, characters on a television show. Within the show s reality, though, the question of free will is seemingly answered by the very possibility of variance. If people are able to choose actions beyond the Time-Keeper s perception of the timeline, than free will is real. It also means someone like Loki can grow beyond their predetermined role. Considering the Loki of Marvel Comics lore has raged against the idea that he must be the villain, it seems likely the title character of this series and The Variant might be trying some other possibility than being the bad guy.Also, the seeming religious certainty the Sacred Timeline offers means TVA staff do not question their own origins. Like Loki, we have to wonder if it is true. Are they all creations of the Time-Keepers or are they variants themselves held over to function in an elaborate bureaucracy meant to preserve the purity of time? This is Marvel after all; mind-wipes and installing new personas are far from difficult.Hunter C-20 s (Sasha Lane) freak-out in the Roxxcart store gave us the impression she started to remember who she really was before the TVA, but her repeating of phrases may just be an after effect of whatever the Variant did to learn the location of the Time-Keepers. Also, Loki s questioning of Mobius interest in the jet skis also leaves us wondering if, perhaps, Mobius had a conventional existence as a jet ski retailer in some multiversal 1990s.Granted, we could easily be wrong here. Time travel shows allow for a lot of possibilities and this is just one we re entertaining as it ties into the thematic conflict between a deterministic universe and a Multiverse of options.Loki Within the Scheme(Photo by Marvel Studios)We are on Loki s side here. At least to the extent that we d like to believe our actions are our own and not the dictates of a trio of space lizards. And it seems The Variant s scheme is to destabilize the Sacred Timeline beyond repair using the TVA s own reset charges. The effect of the literal time-bomb is yet to be seen, but we imagine it is, at least in part, a distraction while The Variant pays the Time-Keepers a visit.And, oddly enough, isn t that exactly what Loki s been trying to do since he gave up on the Tesseract last week? But why reach their location? This is where The Variant s motive gets cloudy. She told Loki she has no interest in controlling the TVA. But then again, Loki lies, so overseeing the Sacred Timeline and running everything could be her objective. That would make her predictable, though, and therefore part of the Time-Keepers grand design.Simply killing them would, at the very least, allow for branching timelines going forward even the time-bomb seems to be attacking all of the Sacred Timeline. Then again, removing the Time-Keepers ability to perceive the correctness of the timeline would have tremendous tactical advantage. The Variant could win against the Avengers and rule Midgard, for example. But that still casts her in the villain s role; doomed to play antagonist even outside conventional time.Curiously, the Time-Keepers have occupied an antagonistic role in the comics from time to time, so their intentions here are always suspect. Their motive in these clashes with the Avengers and other protagonist is often just simple survival — they alter time to keep themselves in a position of power. That may be the case here. We only have the TVA s delightful Miss Minutes (Tara Strong) to go by, so her account of the Multiversal War may be highly skewed. If that s the case, is The Variant actually heroic here? For the moment, let s assume this is true. It is possible The Variant knows something about the war we ve yet to discover and that could be the reason for her attacks on the TVA?Since next week s episode will be the half-way mark, we expect some sort of pivot to occur and for Loki s understanding of the wider universe to change again. At that point, will he even be interested in ruling anything? Will The Variant be willing to ally with him at that point?Spoiler Alert: The following reveals details from the Marvel comics that some may consider spoilers for how the series may unfold. Stop here if you don t want to read possible future plot points.The Kang Connection(Photo by Marvel Studios)Speaking of the wider universe, it s time to talk about Kang the Conqueror (to be played by Jonathan Majors in Ant-Man and The Wasp: Quantumania) as this week s potential call to other parts of the Marvel Cinematic Universe. Last week, the episode closed with hunters identifying a 31st-century artifact as the branching anachronism — Kang originally hailed from that century. Then there is the resemblance of one of the Time-Keepers to Kang s best known visage. In the comics, he has a long association with Ravonna Renslayer (played by Gugu Mbatha-Raw on Loki). He is also a well-known time traveler, despite his despotic rule of 41st-century Earth, whose journeys led to variant Kangs polluting the timeline. He also has one other fantastic connection to an upcoming Marvel Studios project, but is his presence already being felt in this series?One possibility: Kang is one of the other operatives Ravonna mentioned while grilling Mobius about the failure of Loki s first field mission. He may even be the one who gave Ravonna that Franklin D. Roosevelt High School pen. Then again, that resemblance to one of the Time-Keepers may see him revealed as part of the trio, if not the sole Time-Keeper. Ruling the entire timeline may appeal to this version of Kang even if the Kang of the comics prefers to be out in the open. And as this is a time travel show, it is also possible the Kang we might see here is at the end of his journey and trying something more altruistic.Then again, Kang could just be Loki s Mephisto and another red herring generated by Internet speculation. But as Ravonna presents one solid connection to him — via the comics, anyway — it is possible he will matter before the end.And like Kang, the second episode of Loki gave us a lot of possibilities to ponder. Hopefully, more clarity will come as The Variant and Loki make their way to the Time-Keepers and they get their chance to offer testimony. In the meantime, we ll continue to wonder if any Loki can escape their seeming destiny as the villain.Loki episodes debut each Wednesday on Disney+.
亚博手机在线登录 Expanding to wide release this week is a film industry-adjacent biopic that opened in just a few theaters a few weeks ago at the end of 2018. Steve Coogan and John C. Reilly star in Stan Ollie, a look back at the twilight years of the famous comedy duo Laurel and Hardy. Set in the 1950s, the story follows the pair as they embark on a British music hall tour and attempt to put together their final film. Along the way, old resentments resurface and drive a wedge between them, even as they commit themselves to their public obligations on the tour. Critics say Stan Ollie is a worthy tribute to the legendary comedians, bolstered by strong performances from Coogan and Reilly and a script that treats the movie s core relationship thoughtfully and with tenderness.
Laura Moon (Emily Browning) approaches Liam Doyle (Iwan Rheon) for help retrieving an item from a leprechaun horde in this scene from American Gods season 3, episode 8. Her choice of hired help is ironic, though, since Liam is familiar with her name.American Gods season 3 episode The Rapture of the Burning airs Sunday, March 7 at 8 p.m. on Starz.
亚博手机在线登录 (Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)The X-Wing s pilot turns out to be the Jedi who Grogu contacted back on Tython and his superior skills make quick work of the Dark Troopers (much to Gideon s dismay). Arriving on the bridge, the Jedi is revealed to be Luke Skywalker (Mark Hamill), who agrees to protect the child and train him.The bond between Grogu and Djarin is strong and the two have an emotional goodbye, complete with Djarin taking his helmet off so the child can see the face of his father. The Jedi departs with the child.Sometime later, Fett and Fennec make their way to Jabba s palace on Tatooine. There, they find Bib Fortuna in charge of the Hutt s former holdings. Fett dispatches the Twi lek and, presumably, assumes command of the criminal empire.Luke Skywalker s Arrival Forever Changes the Path of The Mandalorian, Removing Grogu(Photo by © 2020 Lucasfilm Ltd. ™. All Rights Reserved.)While we always had Luke on our list of available Jedi, we never really expected Djarin s path to cross with his; in fact, we ve always said we were more than happy to keep the Skywalkers out of The Mandalorian s quadrant of space. Nevertheless, it was thrilling to see the Jedi at the height of his powers undoing the menace of the Dark Troopers so ably realized by Reed. And since we re heaping praise on his directing chops, he also gave Luke an incredibly heroic fight scene.Then there s Luke s reveal itself. While many fans online had hoped to see Sebastian Stan take Hamill s place in this era of Star Wars, a de-aged Hamill appeared for the conversation with Djarin. Although, it is unclear if Hamill was ever on set. It is possible they used an updated version of the same techniques used in Rogue One: A Star Wars Story to feature the late Peter Cushing as Grand Moff Tarkin and a de-aged Carrie Fisher — a credited body double for the Jedi indicates this the case. It is also possible Marvel s de-aging techniques were used, allowing Hamill to play the part for the key conversation. Either way, we got to see Luke as he appeared nearly 40 years ago and as a full Jedi Master. It makes us wish we could see Hamill and Luke in this period more often.Just not on The Mandalorian.It is easy to see this as the conclusion to the story creator Jon Favreau first developed before the series proved to be a massive success. While Dave Filoni s part of the galaxy offered alternative tutors like Ahsoka Tano (Rosario Dawson), Ezra Bridger, and even, as we speculated, Jedi Master Yaddle, delivering Grogu to Luke brings the series back to its initial tone: a program made in the spirit of Return of the Jedi and inspired by kids playing with Star Wars action figures. If The Mandalorian had ever been positioned as a limited series like the upcoming Marvel Studios program WandaVision, this would definitely be a satisfying place to end things — even if Djarin is left alone at the end. Going back to the westerns and samurai films that inspired Star Wars to begin with, it s thematically consistent for the Mandalorian to go back to his solitary wandering.But this is no longer the Way for him. In his quest to deliver Grogu to the Jedi, he saw alternative paths and despite his best efforts to be a side character in his own story, Din Djarin will have to face the facts: he is the star with a seemingly unavoidable destiny.Always Questions Are the FutureDebbie DayDjarin s destiny lead us to a number of questions. As does that incredible tease of Boba Fett s future at the end of the episode. With the program s initial premise seemingly resolved, its third season is wide open with possibilities.Is this the end of Lone Mando and Cub? A constant criticism of the show has been its wandering nature. Inspired by Kazuo Koike and Goseki Kojima s manga series Lone Wolf and Cub, the format allowed the show to take episode-length detours like Chapter 10 s Frog Lady charter or Chapter 6 s prison break. It meant the directors could come on to the show and essentially make large-budget Star Wars fan films while Favreau moved the overall plot along. Nonetheless, Chapter 10 was criticized as filler, and even we wondered how much longer the show could do episodes like it as its own mythology built up. The