I&#8217;ll forever be upset we didn&#8217;t get to see Madge in The Hunger Games.

Joker: Folie à Deux is the

Comics

Ra Ra Boom Is A Heartfelt Take On The Classic Beat-’em-Up Genre

At first glance, Ra Ra Boom looks like an energetic brawler with a badass cast of women unleashing fists, kicks, and bullets on waves of robot baddies, each hit punctuated with rainbow-colored explosions as metal body parts sail across the screen. It is absolutely what it looks like: vibrant, energetic, and full of character. But look a little closer, and right alongside the Lisa Frank color palette and the Saturday-morning-cartoon aesthetic, you’ll find a story about a group of young women not just battling robots, but overcoming their own grief and internal struggles in the process.

During my hands-off preview, I got a little insight into this part beat-’em-up, part run-and-gun game, and the tricky balance studio Gylee Games has had to strike in telling an intimate story of loss and personal growth within a genre that rarely leaves room for emotional resonance. “It’s a constant balancing act,” CEO and writer Chris Bergman told me. During one of the opening levels I had seen, the charismatic characters would banter back and forth in the midst of battling robots that were exploding into nuts and bolts. “We probably cut 40 minutes of cutscenes and dialogue from the first level so we could keep the pacing up, but [kept] just enough to give the player an idea of who these girls are.”

In Ra Ra Boom, the people of Earth have solved climate change with the aid of artificial intelligence. So how did AI solve global warming? Well, by eliminating its most predominant cause: mankind. In an attempt to save the world, humans created an AI that, in turn, created an army of robots that began to wipe out the human race. So in an attempt to survive, humans fled the planet and began to colonize on spaceships. Despite the growing trend of AI tools making constant headlines in our reality of 2023, Bergman assured me that it was purely coincidental, as production began years prior, in 2020. But not all themes were unintentional, specifically grief and personal growth.

Ra Ra Boom

Gallery

Bergman suffered the loss of a vital figure in his life in 2018, so he began to find healing in telling this story. It centers around four girls who were born and raised in a post-Earth setting, never once stepping foot on the planet. To them, it is but a dream–a mythical place now overrun by a sentient race of robots. That is, until one day, things go awry, and the AI species finds its way to space to hunt down the remaining humans. In the process, the four girls suffer a devastating loss that hurls them into a state of mourning, while having to face the looming army of robots ahead.

But for all its story chops, the gameplay appears as frenetic and action-packed as you’d expect from a modern beat-’em-up. I watched as Vee, the shield-wielding heavy-hitter, juggled robots in the air, beating them into a pile of mangled metal pulp; and I saw Saida, the silver armor-adorned fighter, shooting off missiles from her rocket launcher while wielding two daggers. Saida filled a special meter that would unleash a wall of rainbow fire, and Vee would shoot off her machine gun from a distance. While the game supports four players, I only got the chance to see two characters in action at once.

Ra Ra Boom also adds in run-and-gun mechanics, with Bergman noting Contra and Metal Slug as inspirations. In combining the two genres, Gylee gave the levels a lane-based layout. Across the ground of each level, I saw lines designating the space in which a player is standing, making it easier to identify where you’re shooting, which helps keep the pace up (and although I was not actually playing, the lanes seem to quickly blend into the environment and fit naturally into the action).

Contra and Metal Slug aside, Bergman was not shy of listing off its other beat-’em-up influences. Castle Crashers, Scott Pilgrim Vs. the World, and Streets of Rage 4 were all games Gylee Games staff were playing during Ra Ra Boom’s development. While beat-’em-ups of the past decade have served as a guiding path in the genre’s modern era, Bergman also noted that a childhood of hanging out in arcades in the ’90s played a major role, especially with the deliberate Lisa-Frank-esque color palette. Instead of going full-retro-pixel art, the team favored an illustrative, cartoon-like look, with an emphasis on ’90s aesthetics. Menu screens look like Trapper Keepers, and the upgrade screen features crude hand-drawn images right out of a teen’s notebook–even the UI has that black-and-white speckled pattern.

Gylee Games had noticed a gap in the gaming market for “non-sexualized badass women” and had help from writer Ak Fedeau to flesh out that side of the story. But despite the emphasis on a female cast of characters, Bergman emphasized that “this game is for everyone, whether you’re a 12-year-old girl, a mother, or a veteran beat-’em-up fan like me.” Ra Ra Boom is shaping up to be a game about grief and femininity, wrapped up in an action-packed brawler about mankind fighting for its existence against its very own creation. But we’ll have to wait and see how it manages to balance its hefty themes in a modern-day beat-’em-up in Fall 2023 for PC.

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Festivals

‘Killers Of The Flower Moon’ Release Date Ser; Scorsese, DiCaprio, De Niro – Deadline

Apple Original Films today laid out its release plans for Killers of the Flower Moon, the Martin Scorsese-directed adaptation of the David Grann book that pairs the helmer’s two favorite leading men: Leonardo DiCaprio and Robert De Niro.

While the release date is different, the information Apple announced is much the same as when Deadline revealed the plans in July — particularly that Paramount Pictures will earn its place as part of the original deal Deadline also broke and will team with Apple to release the film theatrically worldwide. The film will open limited Friday, October 6, and go wide Friday, October 20, before it moves to streaming globally on Apple TV+.

When Deadline revealed this last summer, the original plan was to closely replicate the release pattern of Quentin Tarantino’s Once Upon A Time…In Hollywood, which premiered at Cannes in May, 2019 and then opened in late July. The unanswered part of this is whether Apple and Paramount launch Killers of the Flower Moon at Cannes, which was part of Deadline’s scoop last summer. That would leave a five month gap between Cannes and its theatrical run. Once Upon A Time…In Hollywood remained Oscar relevant with a slew of nominations and a Best Supporting Actor win for Brad Pitt. Killers of the Flower Moon is expected to be a frontrunner in the next Oscar race, and launching in the Oscar corridor in October can only help that. My bet is it still goes to Cannes.

Directed by Scorsese and written for the screen by Eric Roth and Scorsese from Grann’s fact-based book, Killers of the Flower Moon is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror. The result was the formation of the FBI. Aside from DiCaprio and De Niro, the film stars Lily Gladstone, Jesse Plemons, Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal.

Killers of the Flower Moon was produced by Imperative Entertainment, Sikelia Productions and Appian Way. Producers are Scorsese, Dan Friedkin, Bradley Thomas and Daniel Lupi, with DiCaprio, Rick Yorn, Adam Sommer, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul serving as executive producers.

This is a big one in a loaded slate for Apple, which became the first streamer to win the Best Picture Oscar two years ago with CODA. Also coming is the Ridley Scott-directed Napoleon, which stars Joaquin Phoenix as Napoleon Bonaparte and Vanessa Kirby as Empress Josephine. That film had been rumored as a Cannes possible, but seems more likely for a launch berth at a fall festival like Venice.

Apple Original Films today laid out its

Film

Which "The Hunger Games" Book Plotlines (Or Characters) Are You Sad We Lost In The Adaptations?

I’ll forever be upset we didn’t get to see Madge in The Hunger Games.

View Entire Post ›

I'll forever be upset we didn't get

Kieran Culkin on Jeremy Strong Method Acting, Succession Complaints

Kieran Culkin said in a new Esquire digital cover story that Jeremy Strong’s acting process was never affected by various criticisms made about his Method acting, most notably by his “Succession” cast members in an infamous New Yorker profile published in December 2021.

“It’s hard for me to actually describe his process, because I don’t really see it,” Culkin told The New Yorker at the time. “He puts himself in a bubble….The way Jeremy put it to me is that, like, you get in the ring, you do the scene, and at the end each actor goes to their corner. I’m like, ‘This isn’t a battle. This is a dance.’”

Regarding Strong’s self-isolation process, Culkin added, “That might be something that helps him. I can tell you that it doesn’t help me.”

The New Yorker profile was also the first time Brian Cox expressed worry over Strong’s Method acting process, telling the publication: “I just worry about what he does to himself. I worry about the crises he puts himself through in order to prepare.” Cox would go on to share even harsher words about Method acting. He told Town & Country magazine last month about Strong’s acting process, “Oh, it’s fucking annoying. Don’t get me going on it.”

When asked by Esquire if he ever discussed The New Yorker profile with Strong or “if it affected their working relationship,” Culkin denied that was the case. “We’re professionals,” he said. “We like to go to work and do the thing. I don’t think it affected the way he did his work at all. Wouldn’t have affected mine. I think it was fine.”

Strong himself told GQ magazine in February that criticisms over Method acting has never impacted his approach to playing characters.

“Everyone’s entitled to have their feelings,” Strong said. “I also think Brian Cox, for example, he’s earned the right to say whatever the fuck he wants. There was no need to address that or do damage control… I feel a lot of love for my siblings and my father on the show. And it is like a family in the sense that — and I’m sure they would say this, too — you don’t always like the people that you love. I do always respect them.”

“Am I going to adjust or compromise the way that I’ve worked my whole life and what I believe in? There wasn’t a flicker of doubt about that,” Strong added. “I’m still going to do whatever it takes to serve whatever it is. Which is not to say that that is the same thing as riding roughshod over other people. It has to do with autonomous concentration. It’s a very solitary thing. I think there’s very low impact on others except for what they might want to project onto it and how that might make them feel.”

The fourth and final season of “Succession” airs Sunday nights at 9 p.m. ET on HBO.

Kieran Culkin said in a new Esquire

What to Watch

‘Succession’ Season 4 | Decider

By Meghan O’Keefe

The fourth and final season of Succession is the very definition of “must see TV.” After finding their plan to topple their father fall apart at the end of Season 3, siblings Kendall (Jeremy Strong), Roman (Kieran Culkin), and Shiv Roy (Sarah Snook) are hatching some new plots to launch themselves as media moguls without Logan (Brian Cox). However, in the fourth season premiere, the siblings find themselves tempted to pursue an expensive deal just to foil their estranged father. Elsewhere, Tom (Matthew MacFadyen) and Cousin Greg (Nicholas Braun) are as disgustingly hilarious as ever, Connor (Alan Ruck) is floundering in his Presidential campaign, and Logan seems more contemplative than ever. Succession roars back onto HBO for one last bow and you won’t want to miss a second of this pitch perfect drama.

Photo: HBO

By Meghan O'Keefe The fourth and final season of

Awards

Bob Odenkirk’s ‘Lucky Hank’ Submitted in Emmy Comedy Races by AMC

Bob Odenkirk could find himself in the rare Emmy air this year. AMC will submit Odenkirk’s new series, “Lucky Hank,” in comedy categories for this year’s Emmy competition, Variety has confirmed.

Of course, AMC is also submitting the final episodes of Odenkirk’s “Better Call Saul” in the drama fields. Should Odenkirk be nominated in both the best drama actor and best comedy actor races, he would become the first performer in history to be nominated in both genres in the same year.

Several performers have been nominated and even won Emmys as both drama and comedy leads — but never at the same time. It’s a possibility: Odenkirk has been nominated five times in the best drama actor category for “Better Call Saul,” and this will be his final opportunity to compete in that race for “Saul” (which has received 46 nominations through its run, but has yet to win a single Emmy). Meanwhile, Odenkirk has been known first and foremost as a comedy performer, making him a real contender in the comedy race this year for “Hank.”

“Lucky Hank” will actually mark the first time Odenkirk has been submitted in the lead comedy acting category. He has previously won two Emmys: One in 1989 for writing on “Saturday Night Live,” and one in 1993 for writing on “The Ben Stiller Show.”

The reason behind placing “Lucky Hank” is probably obvious: This avoids putting it in competition with “Better Call Saul,” and forcing voters to choose between two different Odenkirks.

But there’s also plenty of comedy DNA behind the show, which was adapated from the Richard Russo novel “Straight Man.” The show was pitched as a “dark comedy,” the network noted, and besides Odenkirk’s comedy background, it also comes from co-showrunners and exec producers Paul Lieberstein (“The Office”) and Aaron Zelman (“Silicon Valley”), both of whom also have comedy writing backgrounds.

Other submissions for “Lucky Hank” include Mireille Enos for supporting actress in a comedy; Cedric Yarbrough and Diedrich Bader for supporting actor in a comedy; and Kyle MacLachlan for guest actor in a comedy. Also submitting are Peter Farelly (episode 101) and Nicole Holofcender (episode 107) for comedy directing, and Lieberstein and Zelman for comedy writing (episode 102).

For “Better Call Saul,” submissions besides Odenkirk include Jonathan Banks, Giancarlo Esposito and Pat Healy for supporting actor in a drama; AMC is still determining where to place Rhea Seehorn, who was nominated last year for supporting drama actress. Meanwhile, the legendary Carol Burnett will be submitted in supporting drama actress. (Corrected from an earlier post that incorrectly put Burnett in the guest category.)

In the guest categories, “Saul” is fronting “Breaking Bad” alum Betsy Brandt for drama guest actress, and more “Breaking Bad” and “Better Call Saul” alums for drama guest actor, including Bryan Cranston, Tony Dalton, Mark Margolis, Michael McKean and Aaron Paul.

Drama directing submissions include Michael Morris (609), Michelle MacLaren (610), Thomas Schnauz (611) and Peter Gould (613), while drama writing submissions are Gordon Smith (608), Ann Cherkis (609), Alison Tatlock (610), Thomas Schnauz (611) and Peter Gould (613).

AMC’s other drama submissions come from “Anne Rice’s Interview with the Vampire” and “Anne Rice’s Mayfair Witches.”

Bob Odenkirk could find himself in the

Music

Andrew Bird Announces Summer 2023 Tour Dates

Andrew Bird has announced a summer tour, with new dates added in Canada and the United States. Joan Shelley, Madison Cunningham, Ted Poor, and Uwade will join him at various stops, with a spring leg beginning on March 30. See all of the dates below.

Prior to his last year’s Inside Problems, Bird released These 13, a collaboration with the singer-songwriter Jimbo Mathus. The pair had previously worked together in the band Squirrel Nut Zippers, with Bird playing violin on the ensemble’s breakout 1996 album, Hot.

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Andrew Bird: Inside Problems 2023 Tour

Andrew Bird:

03-03 Asheville, NC – The Orange Peel *
03-31 Knoxville, TN – Big Ears Festival
04-01 Charleston, SC – Charleston Music Hall *
04-03 Richmond, VA – The National *
04-04 Louisville, KY – Paristown Hall *%
04-05 Madison, WI – The Sylvee *
04-07 Ann Arbor, MI – Michigan Theater *
04-08 Cleveland, OH – Agora Theater *
04-09 Toronto, Ontario – History *!
04-11 Portland, ME – State Theatre *!
04-12 Newark, NJ – Prudential Hall *!
04-13 Boston, MA – MGM Music Hall *!
07-20 Pioneertown, CA – Pappy and Harriets #
07-21 Los Angeles, CA – Venue TBA #
07-22 Stanford, CA – Frost Amphitheater #
07-23 Napa, CA – Blue Note Summer Sessions at Silverado #
07-25 Bend, OR – Hayden Homes Amphitheater #
07-26 Vancouver, British Columbia – The Centre for Performing Arts #
07-28 Calgary, Alberta – Venue TBA
07-30 Evanston, IL – Out of Space #
08-01 Bozeman, MT – The Elm #
08-02 Sandy, UT – Sandy Amphitheater #
08-03 Beaver Creeek, CO – Vilar Performing Arts Center #
08-04 Boulder, CO – Chautauqua #
08-05 Boulder, CO – Chautauqua #

* with Ted Poor
% with Joan Shelley
! with Madison Cunningham
# with Uwade

Andrew Bird has announced a summer tour,

Docs

I Call On You My Friends

Joshua Charperrin Woodard’s short film, I Call On You My Friends, tells the story of four friends gathering for the first time in seven years by a campfire.

Jim (Jordan Dean Foster) is the one who called the meeting and already has a campfire roaring. Soon, Sam (Stephen McIntyre), Dusty (Kenny Cunningham), and Fred (Nick Forkum) arrive. Sam and Dusty are happy to see their old friend once again, but Fred is visibly upset with Jim for disappearing all this time. Finally, after a few pleasantries, Jim gets right to the point. The reason why Jim has not been around is that his friends are dead.

In fear of having said too much already, anything past this point is a spoiler. As a short film, I Call On You My Friends is a basic film of four friends talking by the campfire. Jim’s explanation takes on a science-fiction tone, and when his story is told, the film concludes with Sam, Dusty, and Fred’s reactions.

“he reason why Jim has not been around is that his friends are dead.”

There’s that old adage of “Show. Don’t Tell.” I Call On You My Friends is very much a “Tell” story, as much of the mystery is revealed in Jim’s story. It’s here that, as a critic, my feelings about the short film are primarily about the story told versus any cinematic accomplishments of the overall film.

The story told has interesting sci-fi takes on themes of death and loss. Cinematically speaking, sure, I would have liked to see more lighting used than the campfire. If anything, if you have four friends gathering by the fire, I’d like to see some unique characteristics given to each of the friends. This story primarily focuses on Jim and Fred’s interactions, which leaves Sam and Dusty as throwaway characters. Ask this question, how fundamentally different would the story be if you removed Sam and Dusty?

I Call On You My Friends gets a very baseline score from me. The story is interesting and worth watching, but nothing in the film elevates it from rising above average. It definitely feels like a small part of a much bigger story.

For more information about I Call On You My Friends, visit the Emotions Eye Films Twitter account.

Joshua Charperrin Woodard’s short film, I Call

Global

Police seek vehicle wanted in connection with fatal Mississauga shooting – Toronto

Police are seeking information after a shooting in Mississauga left one man dead.

Peel Regional Police said on March 20 at around 7:36 p.m., officers received a report of a shooting in the Dream Crest Road and Alicante Street area.

Police said the victim — identified as 29-year-old man Bryan Lara-Alvarez from Mississauga — died as a result of his injuries.

According to police, a grey, four-door newer model SUV was seen leaving the scene.

Police seek vehicle wanted in connection with fatal Mississauga shooting - image — Peel Regional Police / handout

Officers have now released a photo and short video of the vehicle.

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Anyone with information or who may have dashcam or other video footage are asked to contact police or Crime Stoppers.

Police are seeking information after a shooting

Tech

Snap Hires Microsoft Advertising Head Rob Wilk as President, Americas

Rob Wilk, most recently global head of advertising at Microsoft, joined Snap as the first president of Americas overseeing the Snapchat parent company’s sales in the region.

Wilk, who is based out of Snap’s New York offices, reports to Snap COO Jerry Hunter. In the new role, Wilk will run sales across the U.S., Canada and Latin America and will be responsible for supporting and managing its largest advertising partners in the region. Wilk steps into the Snap job after the departure last summer of the company’s two top ad sales execs, Jeremi Gorman and Peter Naylor, who joined Netflix.

“We were impressed not only with Rob’s hands-on experience building a large and growing advertising business, but also his approach to leading customer-centric sales teams and developing strong, sustained customer relationships,” Hunter wrote in an internal memo to Snap staff Monday.

Snap’s Americas sales teams will report to Wilk, including VP of U.S. sales Luke Kallis and Canada general manager Matt McGowan.

Wilk spent nearly eight years at Microsoft. As corporate VP and global head of advertising, he was responsible for Microsoft’s search, native and connected-TV advertising business, which represented about $10 billion in revenue annually, with a team of almost 2,000 employees.

Before joining Microsoft in 2015, Wilk was founding VP of sales at Foursquare, responsible for building the sales team and leading sales initiatives across the brand and agency partners. Prior to Foursquare, he worked at Yahoo, leading the field search account management team, the global search account management team, and the search optimization and strategy team.

Rob Wilk, most recently global head of

Video

Trailer & Images For Final Episodes Of Netflix Series – Deadline

“What took you so long?” Kate asks when Tully comes to see her in her house.

The two lifelong friends had been estranged for awhile after Kate (Sarah Chalke) severed ties following the car accident Tully (Katherine Heigl) got into with Kate and Johnny’s daughter Darah in the car. Kate had a change of heart in the Season 2 midseason finale. After getting diagnosed with cancer, she found herself knocking on Tully’s door, only to miss her by a minute as Tully, heartbroken over the dissolution of their friendship, took off to film a documentary in Antarctica.

The Season 2B trailer starts with a glimpse at Tully’s stay in Antarctica and ends with Tully and Kate’s big reunion. The final episodes of the series, which drop April 27, also will fill in some gaps in earlier time periods, including Kate’s relationship with one-time British boyfriend Theo, who proposes to her in the trailer, as well as Johnny’s first wedding to Kate (and possibly his first proposal too). It also provides some “revealing” Tully-Danny updates.

You can watch the trailer above and see more first-look images below.

Firefly Lane, which is ending with the current second season, was created by Maggie Friedman based on the book by Kristin Hannah. Friedman serves as executive producer and showrunner. Heigl and Shawn Williamson also executive produce alongside Michael Spiller and Stephanie Germain.

(L to R) Sarah Chalke as Kate, Katherine Heigl as Tully

Diyah Pera/Netflix

(L to R) Katherine Heigl as Tully, Sarah Chalke as Kate

Netflix

(L to R) Katherine Heigl as Tully, Ignacio Serricchio as Danny

Diyah Pera/Netflix

(L to R) Lauren K. Robek as Carol, Brendan Taylor as Mutt, Katherine Heigl as Tully

Netflix

(L to R) Ben Lawson as Johnny, Sarah Chalke as Kate

Netflix

(L to R) Roan Curtis as Young Kate, Ali Skovbye as Young Tully

Netflix

(L to R) Katherine Heigl as Tully, Yael Yurman as Marah, Ben Lawson as Johnny

Netflix

(L to R) Katherine Heigl as Tully, Ben Lawson as Johnny, Sarah Chalke as Kate, Brendan Taylor as Mutt

Netflix

(L to R) Sarah Chalke as Kate, Katherine Heigl as Tully

Diyah Pera/Netflix

“What took you so long?” Kate asks

Entertaintment

Martin Scorsese’s Killers of the Flower Moon Gets Fall Release – The Hollywood Reporter

Apple Original Films has set a fall theatrical release date for Martin Scorsese’s Killers of the Flower Moon, the Western crime drama starring Leonardo DiCaprio and Lily Gladstone, which the studio is distributing in partnership with Paramount Pictures.

The film, which Scorsese and screenwriter Eric Roth adapted from David Granville’s best-selling 2017 non-fiction book, will open limited on Friday, Oct. 6, and wide on Friday, Oct. 20 before streaming globally on Apple TV+.

The Killers of the Flower Moon story centers on an FBI investigation of a series of murders of the Osage people that took place in Oklahoma in the early 1920s, and became known as the Reign of Terror after oil was discovered on tribal land. DiCaprio, in his sixth teaming with Scorsese, plays Ernest Burkhart, the nephew of cattleman William Hale (Robert De Niro). Gladstone, who is of Blackfeet and Nimíipuu heritage and first broke out in Kelly Reichardt’s 2017 film Certain Women, plays Mollie Kyle, an Osage woman who has inherited an oil fortune. The cast also includes Jesse Plemons as Tom White, a former Texas Ranger investigating the murders, and Cara Jade Myers, JaNae Collins, Jillian Dion and Tantoo Cardinal.

Killers of the Flower Moon was first set up at Paramount in 2019, with Apple coming aboard in May of 2020 to co-finance and co-distribute the film. After a production delay due to the COVID-19 pandemic, principal photography began in April of 2021 in Oklahoma.

Historically, most of Apple’s original movies have either appeared exclusively on the streaming service or have been released in a small number of theaters. But according to Bloomberg, Apple now plans to spend $1 billion a year to produce movies that will be released in theaters, part of a plan to raise its profile in Hollywood and market its streaming service. Despite its newcomer status and smaller number of films than streaming competitors, Apple has already released a best picture winner, 2021’s CODA, which the studio acquired at Sundance for a record $25 million.

Killers of the Flower Moon was produced by Imperative Entertainment, Scorsese’s Sikelia Productions and DiCaprio’s Appian Way.

Apple Original Films has set a fall

Movies

Canadian Film Fest returns with a focus on women and girls

The struggles of women and girls dominate the 2023 Canadian Film Fest, the small but carefully curated Toronto celebration of independent Canuck cinema, which returns in a hybrid form for its 17th edition.

Female-focused skirmishes run the gamut from resisting online shaming to fighting a zombie plague — along with #MeToo confrontations plus racial, sexual, marital and bureaucratic battles — in the slate of nine features and 25 shorts screening Tuesday to Saturday at Scotiabank Theatre and concurrently on Super Channel Fuse.

“We’re always mindful of what we’re programming and we try to represent as many diverse voices in our programming as possible,” festival director Ashleigh Rains said in an interview.

“But this year, 66 per cent of our features are directed by women. So it’s no surprise to me that women-led films feature a female protagonist at the core.”

Nowhere is the fraught nature of female existence more evident than in “Bloom” (screening Friday), Montreal filmmaker Fanie Pelletier’s freewheeling documentary on the increasing encroachment of online toxicity into young lives. The standout of this year’s festival, it’s a film that Rains said “made me scared to be a parent to a daughter.”

With scant context and identification, “Bloom” tracks the interactions of three groups of teenage girls as they struggle to define themselves while engaging with social media platforms such as TikTok, Instagram and the now-defunct Periscope.

“It’s easier to talk to your phone than it is to talk to people,” one teen says, as the camera whirls through a rapid-fire series of online encounters that could induce both euphoria and vertigo in the viewer.

The attempts by the girls to court “likes” on social media, by proudly exhibiting their bodies while also frankly discussing gender identity, eating disorders, alienation and loneliness, are often met with scorn and abuse from unseen online trolls.

No wonder the girls end up sadly stating “I’m sick of guys,” “I’m sick of everything” and “I don’t like anything about myself.” It’s a relief to see some of them later in the film swimming happily at a cottage lake, with nary a screen in sight.

A young girl is also front and centre in “How to Get My Parents to Divorce” (Thursday), a film by Quebec’s Sandrine Brodeur-Desrosiers that is billed as a comedy yet jabs at the heart with its realistic depiction of marital discord and family tragedy.

Twelve-year-old Justine (Charlotte St-Martin) is tired of the constant arguing of her parents (Isabelle Blais and Pierre-Luc Brillant), something they’re good at since they’re both lawyers. Justine decides to take a leaf from their legal playbook and file for divorce on their behalf but without their knowledge or consent.

She conscripts her classmates to help her stage a “youth court” for their end-of-year class project, with predictable hilarity as they conspire to outwit the adults. But behind Justine’s frustrations lies unresolved family sadness that will require more than a mock trial to address.

The sexual reckoning of the #MeToo movement is never far from depictions of current female life and two films address it head on: “Babysitter” (Tuesday) by Quebec actor/director Monia Chokri and “Bystanders” (Wednesday) by Nova Scotia actor/director Koumbie.

Monia Chokri’s #MeToo comedy “Babysitter” opens the 17th edition of the Canadian Film Fest, March 28 to April 1.

The fest’s opening-night film, making its Toronto premiere following its Sundance 2022 unveiling, Chokri’s sophomore feature “Babysitter” is billed as a drama but frequently plays more like French farce.

After drunken doofus Cédric (Patrick Hivon) kisses an unwilling female reporter on live TV, resulting in her fury and his firing, he finds himself housebound with his girlfriend (Chokri) and their baby. Cédric attempts to atone for his sin by co-authoring a confessional book about misogyny. Plans go awry with the arrival of a new babysitter (Nadia Tereszkiewicz), who may be the proverbial devil in disguise.

Koumbie’s “Bystanders,” her feature directing debut, is a raw drama that at first glance looks to be an ensemble sitcom about a group of 20-something friends gathering at a cottage for their annual spring weekend bash.

The group is initially missing its most popular member and dedicated partier, Justin (Taylor Olson), but his sudden arrival — and a drunken “Never Would I Ever” game — unearths secrets and accusations of sexual misconduct that threaten to destroy lifelong bonds. Marlee Sansom’s Ayda mightily impresses as a conflicted woman who, to quote an old Tragically Hip song, may find that “courage … it couldn’t come at a worse time.”

Four of the other five Canadian Film Fest ’23 features are similarly female-centric: “When Time Got Louder” (Connie Cocchia, Wednesday) brings to mind Oscar winner “CODA” in its story of a young woman (Willow Shields) who reluctantly leaves her family and autistic brother to pursue animation studies (and find new love) in California.

A young woman takes a traffic ticket dispute to extremes in the drama "Retrograde," screening at the Canadian Film Fest.

“Retrograde” (Adrian Murray, Friday) bears witness with deadpan amusement as a tightly wound woman (Molly Reisman) wrestles with the law — and also her conscience and her friends — after receiving a traffic ticket she thinks is unfair.

“Polarized” (Shamim Sharif, Saturday) starts as a racial clash between two female farmers (Holly Deveaux and Maxine Denis), one a traditional sower and the other an immigrant high-tech grower, before transforming into a perceptive love story.

And closing-night horror rouser “Wintertide” (John Barnard, Saturday) stars Irish-born Torontonian Niamh Carolan as a zombie tracker in a perpetually dark and snowy town who discovers her dreams may hold answers to the mysterious undead plague.

This leaves the sole male-oriented feature at the film fest: “Golden Delicious” (Jason Karman, Thursday), a coming-of-age saga of an Asian-Canadian high schooler, Jake (Cardi Wong), who joins a basketball team to get closer to a classmate (Chris Carson) who, to Jake’s surprise, has inspired romantic desire in him. This runs contrary to the hoop dreams of Jake’s father and the carnal plans of Jake’s longtime girlfriend.

The film arrives with laurels from last fall’s Reelworld Film Festival, where it won Outstanding Feature Film and also prizes for directing (Karman), acting (Wong) and screenwriting (Gorrman Lee).

This year’s Canadian Film Fest will also for the first time screen, online only Tuesday, a digital series: “Streams Flow From a River,” Christopher Yip’s six-part drama about members of a dysfunctional Chinese-Canadian family confronting their past while snowbound in their rural Alberta hometown.

Prizes are awarded at the end of the fest and the winners will be rescreened on Super Channel Fuse on Sunday.

The Canadian Film Fest is at Scotiabank Theatre, 259 Richmond St. W., and on Super Channel Fuse March 28 to April 1. Click on canfilmfest.ca for more details.

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The struggles of women and girls dominate

Ant-Man & the Wasp Quantumania Leak: Marvel Wants Reddit, Google User Info

Ant-Man 3 Suffers After Huge Box Office Debut. What Happened?

The bigger they are, the harder they fall?

That’s the presiding feeling about the box office performance of “Ant-Man and the Wasp: Quantumania.” Disney’s superhero threequel opened to $106 million domestically in February, eviscerating trilogy records among the “Ant-Man” standalone stories. But ticket sales for Paul Rudd’s latest adventure have cratered in subsequent weeks. At this rate, “Ant-Man 3” may become one of the rare Marvel movies to either fall short of (or barely surpass) the $500 million mark at the global box office.

At this point, it’s earned just $470 million globally after six weeks of release. That’s not much higher than Disney’s pandemic-era Marvel movies, including “Black Widow” ($379 million globally while also debuting day-and-date on Disney+), “Shang-Chi and the Legend of the Ten Rings” ($432 million) and “Eternals” ($402 million), and nowhere near franchise heavyweights like “Doctor Strange in the Multiverse of Madness” ($955 million) and “Thor: Love and Thunder” ($760 million). And sure, Ant-Man may not be on Marvel’s A-list, like the God of Thunder or Sorcerer Supreme, but even worse, it’s unlikely to match the totals of the first two “Ant-Man” movies — which earned $519 million and $622 million, respectively.

With a production budget of $200 million and a marketing spend of at least $100 million, “Ant-Man 3” is expected to fall short of the roughly $600 million needed to break even in its theatrical run. Recent Marvel movies, including “Black Widow” and “Eternals,” were granted amnesty for losing money on the big screen because they were either released simultaneously on Disney+ or were put in theaters at a time when people were more reluctant to go to the movies due to COVID concerns. The dismally reviewed “Quantumania” can’t use the same excuses for losing tens of millions in its theatrical run. The one bright spot is that it could recoup some costs through home entertainment and other ancillary markets.

Disney declined to comment.

“There’s no question, audiences were not satisfied with ‘Ant-Man 3,’” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “Superhero fans are highly in tune with these stories, and that helps when the films connect, which has been almost all of the time. But in this case, it hurt.”

Box office numbers back up that assessment. Marvel may remain critic-proof in terms of opening weekends, but its movies are no longer immune to quickly falling back down to Earth. Word-of-mouth generally dictates a film’s “multiple,” which is industry parlance for the ratio of its total gross from its debut. Most films aim for a three or four multiple. In the case of “Ant-Man 3,” it will barely have a two multiple at the domestic box office, a sign that interest completely evaporated after landing on the big screen. By comparison the first film had a multiple of 3.2 and the sequel had a multiple of 2.9.

“Quantumania” is running out of steam in North America with $209 million, which is higher than the original “Ant-Man” ($180 million) but behind the sequel “Ant-Man and the Wasp” ($216 million). Though it’ll likely catch up to its predecessor at the domestic box office, the third movie should be bringing in much more coinage. After all, it debuted 40% ahead of the second installment.

“For Marvel, there is always such a high bar that anything less than a grand slam box office home run is seen as underwhelming,” says Paul Dergarabedian, a senior Comscore analyst. “With ‘Ant-Man 3,’ the highest grossing movie released this year thus far, it may be that the fans are looking for a bit more of the magic that was a part of the Marvel brand for so many years and through so many great films.”

This year has been rough for comic book adaptations, a genre that’s usually untouchable at the box office. “Shazam: Fury of the Gods” has also crumbled since opening in mid-March, earning a paltry $46 million to date. The $110 million-budgeted sequel, from Warner Bros. and DC, is shaping up to have one of the worst results for a modern superhero movie.

Still, box office analysts aren’t crying superhero fatigue just yet — and Marvel’s “Guardians of the Galaxy Vol. 3” and Sony’s “Spider-Man: Across the Spider-Verse” look to dominate at the summer box office. However, the results signal a near-future in which studios can no longer release just any mega-budgeted comic book adaptation in theaters with the expectation it’ll turn into a box office smash. (In COVID times, Sony and Marvel Studios’ “Spider-Man: No Way Home” is the only superhero movie to cross the coveted $1 billion mark.) Quality, a factor that detractors have complained is missing from “Ant-Man 3,” is more important than ever.

“Audiences are making it known that the Marvel standard itself is set very high,” says Shawn Robbins, chief analyst at BoxOfficePro. “Goodwill is not permanent without occasional reinforcement of why it’s there in the first place.”

Disney’s Marvel Cinematic Universe still remains unrivaled in the current landscape of Hollywood. It’s a franchise that’s cranked out 31 films across 15 years — all of which have opened at No. 1 and many that have surpassed the billion-dollar mark — and now spans across streaming with Disney+ series like “She-Hulk” and “WandaVision.” But since the epic conclusion of 2019’s “Avengers: Endgame,” which stands as the second-highest grossing movie in history, cracks have started to emerge.

“Marvel’s track record has been truly remarkable. I’m willing to give them the benefit of the doubt,” Gross says. “Marvel rarely misses. But it happens regularly with all kinds of movies.”

It may be too early to draw conclusions, but there’s concern because the latest “Ant-Man” had the lofty responsibility of kicking off Phase Five of the Marvel Cinematic Universe, as well as introducing Jonathan Majors’ villainous Kang the Conqueror as the heir apparent to Thanos. Any decline in interest is problematic because Marvel movies have thrived due to their interconnected nature.

Ticket sales for “Guardians 3,” which debuts on May 5, are expected to align more closely with prior adventures led by Star-Lord and company, which were successful with $773 and $863 million globally. But the upcoming threequel, directed by James Gunn, who now presides over the MCU’s rival DC, is the last of Marvel’s legacy tentpoles that has been officially announced.

The responsibility is shifting to newer heroes to pick up the slack. Upcoming installments, like “The Marvels” and “Blade,” center on lesser-known characters compared to Thor, Captain America and Doctor Strange — all of whom became household names in the lead-up to “Avengers: Endgame.” But in order to keep building in the post-“Endgame” era, the movies can’t merely rely on excitement for just what has come before. They will need to be of sufficient quality to keep bringing in ticket buyers beyond opening weekend, introducing them to and getting them invested emotionally in the fates of other vigilantes.

Robbins adds, “That’s what will make Phase 5 so important in the broader context of the MCU and its box office prowess.”

The bigger they are, the harder they

MCU

MPower: Mariel and Cisely Saldaña Talk Their Behind-the-Scenes Work on the Series

The Women of Marvel are coming together in a brand-new documentary series now streaming on Disney+, MPower. The four-part series sheds light on some beloved Marvel Super Heroes alongside the actors that play them and their character’s long-lasting legacy well beyond the movies and TV shows featuring them. Wondering exactly what Elizabeth Olsen has to say about her personal and emotional connection to The Scarlet Witch? MPower dives into all of that and more.

The series is produced by Cinestar Pictures, spearheaded by a familiar MCU name attached to the production company, Zoe Saldaña. Zoe, along with her sisters Mariel and Cisely, run Cinestar Pictures and all served as Executive Producers for MPower. Following the show’s launch, Marvel.com hopped on a video chat with Mariel and Cisley to talk through the episodes, dive further into the characters, and discuss what it’s like to work together as sisters and be a Woman of Marvel.

Marvel.com: I also come from a family of three sisters, so I am truly obsessed with your sisterly dynamic. I want to talk about what it is like working as a unit, as a trio, and who does what in bringing something like this to life.

Mariel Saldaña: When it comes to MPower, our processes — sharing the responsibility of bringing the show to life was very rewarding and challenging. We have to all see the vision and be equally as passionate about something moving forward. With this one, it was a no-brainer.

I think when [Executive Producer] Justin Hochberg came to us with an idea: he wanted to make a show for his teenage daughter about icons that she could look up to in the future. I think that resonated so much with us, that we took it and ran with it.

Cisely Saldaña: As executives, everybody brings their own unique strengths and skills to the creation and creative process. For example, Zoe — she’s such a closer in the room and a force to be dealt with.

And then, Mariel excels in story and character development, and Zoe and I refer to her as the heartbeat of Cinestar. I am more business-oriented, constantly seeking the next opportunities for us, making sure that we’re always in front of the right people, the decision-makers.

Working together just requires exceptional communication and a shared vision. But, on weekends, we’re sisters, we’re mothers, we’re daughters. We’re constantly trying to invade each other’s privacy. We are loud and opinionated with one another — you know, sisters.

Marvel.com: There are only four episodes of MPower, but still dozens of different characters throughout. How did you pick and choose exactly which characters you were shining a light on?

Mariel Saldaña: The Marvel characters represent such important themes and values in their movies, so it was kind of trying to marry that with also the ladies that play these characters — playing that character, how they resonate with you, and eventually, how it’s going to resonate with everybody in the world that’s going to see it.

The themes were right there in our faces. Like, for instance, for the ladies in Black Panther, it was sisterhood, power of community, leadership, and visibility. All that is important. With Captain Marvel, it’s courage and honor. Realizing the power within was so very important because she spoke so much about that.

The same thing with Gamora. Sibling rivalry was a big thing. I know because when Zoe was filming it, we would talk about the scenes that she was shooting with Nebula. It was always a conversation, in the sense that it’s not rivalry with peers or anything like that. It’s a rivalry with a sibling, and what does that look like? And it could be ugly. And I love that we got to cover that.

Ooh, Scarlet Witch! I remember just getting goosebumps every single time we were editing that, or we were giving notes on that episode. The aspect of mental health, the aspect of grief…the fact that we can sit there and talk about these things, these themes, they’re not taboo.

Cisely Saldaña: I think that it just really gives everybody an opportunity to identify, to see which episode they identify more.

Marvel.com: Not only are we talking about so many Marvel Heroes but also just so many creatives behind the scenes. How did you bring everyone together for the series?

Cisely Saldaña: The direct answer to that is it was hard. It was hard. Marvel had several movies filming in different locations, so we had to bring our production to London. We also went to Atlanta. We shot here in Los Angeles. We covered some ground in New York. We were quite worldly with this.

The collaboration was so rewarding. It was beautiful, our production working closely with every leading, powerful lady and their characters, to help tell the right story and make sure the audience connects with it. I think that everyone did an amazing job of humanizing their characters.

But it was very challenging to figure out schedules. We were in London when we had to shoot the Captain Marvel episode because that’s where production was at the time. So, we literally had to chase the talent, and we had to go where they were.

Mariel Saldaña: But to be honest with you, we were fans. Sometimes, there were interviews where all of us would get goosebumps. We were just so grateful for everybody’s time. Everyone was so generous with us with their time, and I think it bled through the episodes. You can tell that they were really putting their passion and heart out for this.

Marvel.com: The animation in the series is phenomenal. Did you assist, at all, in the animation process?

Mariel Saldaña: We had a few animations pitch us ideas and we gravitated towards Future Power Station. They were phenomenal. They were super collaborative. I feel like they went above and beyond because when we would pick what stories we wanted to be animated, we didn’t want a literal depiction of the story. We wanted you to interpret it. They delivered every time.

Cisely Saldaña: Every single time.

Mariel Saldaña: That’s exactly the type of texture that we wanted.

Cisely Saldaña: Every episode has its own style. They catered to every episode to the story. The Black Panther episode is very different than the Gamora episode, very different from the Scarlet Witch episode. I mean, they were all very independent from one another.

Marvel.com: I love that each episode ends with a fan talking about their own personal connection. Can you talk about the far-reaching impact some of these characters have on fans, and especially just incorporating that fan into each episode?

Cisely Saldaña: To not honor the fans in a show like this is a big disservice. The reason why fans are so passionate is that they relate to these characters. And sometimes they’re inspired to do something in their own communities.

It’s important to really focus, highlight, and celebrate those moments. It’s not just about the characters on screen. Let’s talk about that domino effect. How did it really impact that fan’s life, what they did, and what they were able to do in their community because of that inspiration? I mean, that speaks volumes.

Isn’t that what, ultimately, you want, not only to be inspired — you want to continue inspiring people to be actionable in their own lives, in their own communities. So, we felt that it was important. We couldn’t tell this story without highlighting the importance of the impact of the fans and what they’ve done with that knowledge, with that inspiration, what they’ve done with it in their community, in their lives, and with their charities.

Marvel.com: Obviously, you have a firsthand connection to the MCU, with Zoe as Gamora. But beyond that, what do some of these characters mean to you?

Mariel Saldaña: So, I mean, personally, I like Gamora. Not that I’m biased or anything.

No, but Gamora, I think, if you really think about it, people call her the deadliest assassin, but, to me, what resonated is how her journey is a journey of self-discovery, growth, and redemption. There’s that word again. For some reason, I think what resonated with me is the fact that — the redemption part of it. That’s where her sense of justice comes from.

With Captain Marvel, it was her honor and the fact that she discovered the power within. You can show the themes that really resonated with us and beyond by watching the episodes. The mental health, with Scarlet Witch, I mean, obviously, that’s something that was close to our heart because it’s just certain taboos that are not spoken about.

Also, Elizabeth Olsen just blew us away with the openness and security, and safety with that she spoke. You gravitate towards that. That’s why she’s such an amazing Scarlet Witch. Because that’s why she does it. I think they all, in their own way, resonate with us.

Marvel.com: Now, just speaking of Gamora, I will say Nebula and Gamora is one of my favorite relationships in the MCU because, like I said, I have sisters. I see it. I completely get it on screen. Are you ever watching Nebula with Gamora, and think, hmm, this is a little familiar? Like, we’ve had this same interaction before, too.

Cisely Saldaña: Funny enough, I think that in Gamora’s episode, Zoe jokes a little bit about it, too. Yeah, there are moments where they feel a little more nostalgic than others, when you’re like, oh, that’s exactly how I wanted to fight you when we were 13. But that’s something in the past, and a feeling that you can tap into and revisit. And then we all have a laugh over rosé because we’re not there anymore.

Once you get older, you prioritize. You get calmer. It’s almost as if that frontal lobe fully develops, and then you just have a complete understanding of what life is and how to navigate that, right? But you don’t have those tools when you’re younger. Hence, all the aggression and the catfights.

And, but, yes, sometimes when we were watching something and it reminds us, we certainly have a good laugh because that’s not where we are anymore.

Marvel.com: With MPower, both of you are now a Woman of Marvel because you’ve contributed to the overall Marvel Cinematic Universe. What does that mean to you? What kind of legacy does this leave now?

Cisely Saldaña: Oh, man. So, this is very loaded, and I think that it carries a lot of responsibility. Being a Woman of Marvel is an incredible honor and privilege. It means being part of a community of talented, passionate, creative individuals who are dedicated to telling compelling stories and characters. It also means being part of a legacy of trailblazing women who have made their mark in the industry and paved the way for future generations.

I think Cinestar is very, very proud to be a part of a company that values diversity, inclusivity, and representation, both on and off-screen. That has been our mission since we became a company. I believe that our work not only entertains and inspires but also has the power to make a positive impact on the world.

In terms of the legacy that it leaves behind, I think we truly hope that it serves as a source of inspiration and empowerment for young girls and women everywhere. We hope that it shows them that they, too, can pursue their dreams and make a difference in the world, regardless of their gender and background. We also hope that this continues to encourage more women to enter the industry.

Mariel Saldaña: I think the most important thing for us is, oh, we didn’t really realize it at first. Because, initially, when we read the question, we were like, oh, my God. And then, afterward, you’re like, oh, wow.

Cisely Saldaña: Honestly, right. We didn’t see ourselves that way.

Mariel Saldaña: It’s so humbling. But I think it’s just the same thing as like Cisley saying, it’s like now we have our voices for good. Because when the show first came out, I had my two daughters sitting with me, watching it. And then I was rushing them off to school, absolutely.

But just that feeling, and that’s what Marvel gets all the time, in the sense that they are leading through example, leading all these fans, to be like, OK, if you see yourself reflected at you, it’s good.

Cisely Saldaña: When Mariel and I read that question, automatically, we were like, “oh, I think that this is a question for Zoe.” We just didn’t see ourselves in it. And then what perfect gift than to have your own show playing in the background and being like, no, they did ask us. Like, we are Women of Marvel. We didn’t realize it. We didn’t notice it.

And then, once we stepped into that question, right, it was like, wait a minute now. This is a big responsibility. We must make sure that we’re saying the right thing because this is insane. Oh, my God, we’re part of the women of Marvel now. This is it.

Anyways, we didn’t see ourselves in that. But we also are learning, ourselves, to start seeing ourselves because not only are we helping open more doors and put more shows and movies with women and people of color that also look like us, but we also must practice that, as well. So that was– not only was it a challenging question for us, but once we understood the assignment, we absorbed it and leaned in. And, yeah, hell yeah, we’re now part of the Women of Marvel. That’s insane.

MPower is directed by Quinn Wilson, and executive produced by Victoria Alonso, Mark Herzog, Andie Beckerman, Zoe Saldaña, Cisely Saldaña, Mariel Saldaña, Justin W. Hochberg, Lauren Moore Morden, Jeff Redmond, Sarah Girgis; Lauren Goralski serves as co-producer. The series comes from production companies Herzog & Co., Cinestar Pictures, and Just Entertainment.

The 4-part original series is now streaming exclusively on Disney+!

The Women of Marvel are coming together

DCU

DC: “Batman: The Wayne Family”, “Vixen NYC,” and “Zatanna” Coming To Webtoon This Fall!

219

DC Entertainment has announced an expansion of the Webtoon line of digital comics into trade paperbacks.

Beginning in the fall, the popular web comics will be released in print with the objective of reaching new audiences for the DC Universe.

“We’re immensely proud of the stories we’ve been able to tell with DC and thrilled to bring these narratives to bookshelves, ” David Lee, Vice President of Webtoon content says. “The creative teams behind these series have given fans fresh takes on legendary DC characters, and we’re excited to give WEBTOON and DC fans a new way to enjoy these titles.”

DC WebToons Comics – What Are They and When Will They Be Released?

This would be a continuation of the collaboration that began in 2021 with Batman: Wayne Family Adventures. The Eisner-nominated web comic focused on Batman’s fatherly role over his young charges, both adopted and biological. Currently it is in its second season. This line was expanded in May 2022 with Vixen: NYC, following the journey of college student Mari Jiwe as she learns her ability to channel the abilities of animals. Rounding out the line in the same month was Zatanna & The Ripper, a period take on DC’s resident mystic in fishnets set in the 1800’s as she pursues the infamous Jack The Ripper.

Anne DePies, DC’s senior vice president and general manager, shares in David’s enthusiasm over the line. “Fans can’t get enough of our DC and WEBTOON [content and] expanding DC’s creative partnership with WEBTOON into print with books like Batman: Wayne Family Adventures reflects this demand. Each page of these new volumes is meticulously reproduced to be read seamlessly in book narrative format. DC’s continuing partnership with WEBTOON combines legendary franchises with new technologies and global fandoms, and we can’t wait to get these new print editions into your hands.”

Here is the release schedules for the aforementioned titles:

Batman: Wayne Family Adventures Vol. 1 (9781779523273, $14.99 US) – August 1
Vixen: NYC Vol. 1 (9781779523280, $14.99 US) – August 15
Zatanna & The Ripper Vol. 1 (9781779523389, $14.99 US) – October 3

Official Source – DC Announces Batman: Wayne Family Adventures Vol. 1, Vixen NYC Vol. 1, and Zatanna & the Ripper Vol. 1 to Be Available in Print Fall 2023 | DC

219 DC Entertainment has announced an expansion of

Comics

Cutiefly May Be Making Its Debut in Pokemon Go

Spring has sprung, and you know what that means! Bugs. Lots and lots of bugs, both in-game and out. And a new one might be joining the list of Pokemon trainers can catch in Pokemon GO.

Cutiefly May Be Making Its Debut in Pokemon Go

On March 27, 2023, Pokemon GO India and Pokemon GO Korea made a tweet displaying a dark silhouette of a tiny insect with the caption, “This Pokémon might be tiny, but get ready for a big debut! #RisingHeroes”

While the shadowed-out image doesn’t offer much in the way of details, trainers were quick to hone in on key details: it’s a bug and it looks like a fly. And with few Pokemon sharing those characteristics, it’s likely that the identity of the next Pokemon GO debut is Cutiefly, the Bug- and Fairy-Type Pokemon that made its first debut in the Alola Region.

Fairy-Type Pokemon are certainly a force to be reckoned with in the Leagues, but Cutiefly’s dual-typing opens it up to a significant number of weaknesses. In mainline games, Ribombee also lacked bulk, making it a glass cannon. But it’s possible that it might find its niche. Failing that, Cutiefly lives up to its name in that it’s adorable, and it growly only more precious with its evolve form Ribombee, which is literally a bee with a scarf.

Trainers have also theorized that the arrival of Cutiefly may mean there are other Bug Pokemon on the way, with hopes being pinned on the debut of Mega- Heracross. Time will tell, but fingers crossed!

While you wait for the official release of the next Pokemon in Pokemon GO, check out this article on how to evolve your favorite dopiest Pokemon: How to Evolve Galarian Slowpoke in Pokemon GO.

Spring has sprung, and you know what

Festivals

Doc10 Unveils Its Lineup, Led by Davis Guggenheim’s ‘Still’

Davis Guggenheim’s “Still: A Michael J. Fox Movie” will open the eighth edition of Chicago’s Doc10 documentary film festival on May 4.

About Fox’s life, career and work as a public advocate for Parkinson’s research, “Still: A Michael J. Fox Movie” debuted at Sundance in January. Guggenheim, the Oscar-winning filmmaker behind “An Inconvenient Truth” will be at Doc10 to participate in a post-screening conversation.

Doc10, a four-day fest running May 4-7, features a selection of 10 of this year’s most acclaimed documentaries and a package of prestigious doc shorts. Dedicated to supporting social-impact documentary films, the fest is hosted by Chicago Media Project, a company that raises funds for and produces docus including “Crip Camp” and “Won’t You Be My Neighbor?”

In addition to “Still: A Michael J. Fox Movie” Doc10 will screen: Penny Lane’s “Confessions of a Good Samaritan,” Nicole Newnham’s “The Disappearance of the Shere Hite,” Joe Brewster and Michèle Stephenson’s “Going to Mars: The Nikki Giovanni Project,” Alexandra Vasquez and Sam Osborn’s “Going Varsity in Mariachi,” Elaine McMillion Sheldon’s “King Coal,” Lisa Cortés’ “Little Richard: I Am Everything,” Luke Lorentzen’s “A Still Small Voice,” Jennifer Tiexiera and Camilla Hall’s “Subject,” plus Heba Khaled, Talal Derki and Ali Wajeeh’s “Under The Sky of Damascus.”

“Years living under catastrophic global conditions, perhaps it’s not a surprise that this year’s lineup is filled with heroes and trailblazers, from past and present, who offer hope for change, empathy, and paths forward, whether it be through icons like Michael J. Fox, Nikki Giovanni, and Little Richard, or kidney donors and spiritual caregivers,” says Doc10 senior programmer Anthony Kaufman. “Even in our films about the climate crisis or the global struggle for women’s rights, you can see stories that yearn for and advocate for a better future.”

Of the 70 films Doc10 has programmed since the fest’s inception in 2016, a total of 23 have been shortlisted or have been nominated for an Academy Award. Last year five out of the 10 docus selected for the fest (“Fire of Love,” “House Made of Splinters,” “The Janes,” “Navalny,” and “The Territory”) made the Oscar documentary shortlist. “Navalny” was the third Doc10 film to win the Oscar for best documentary feature, following “Summer of Soul” (2022) and “American Factory” (2020).

“This year’s Doc10 is very special as CMP celebrates its 10 year anniversary of supporting impactful documentary film and bringing great storytelling to Chicago audiences,” says CMP and Doc10 founders Steve Cohen and Paula Froehle. “We are so proud of the fact that Doc10 has become one of the primary stops for filmmakers on their way to receiving many awards, often including the Oscar.

The 10 docus selected to participate in this year’s fest made their world premieres at either Sundance, Berlin or South by Southwest in 2023. “Subject” is the only docu that was released in 2022. The film about the ethics of nonfiction filmmaking has not found a U.S. distributor and the doc was not among the 144 docs that qualified for an Oscar last year.

“As Senior Programmer (of Doc10), I reserve the right to show something great or important or overlooked, even if it was not eligible for an Oscar, but still deserved recognition,” says Kaufman.

“Little Richard: I Am Everything” will screen prior to the start of Doc10 on April 13th, due to its theatrical and digital release on April 21.

This year’s festival will be presented at two Chicago venues, the Davis Theater and the Gene Siskel Film Center. All directors are scheduled to attend the festival. (The international team behind “Under The Sky of Damascus” has not yet confirmed attendance.)

Fantasy film A Lobster Tale, starring Colm Meaney

The Free Movie of the Day on the JoBlo Movies YouTube channel today is the fantasy film A Lobster Tale, starring Colm Meaney

On the JoBlo Movies YouTube channel, we will be posting one full movie every other day throughout the week, giving viewers the chance to watch them entirely free of charge. The Free Movie of the Day we have for you today is the fantasy film A Lobster Tale, and you can watch it over on the YouTube channel linked above, or you can just watch it in the embed at the top of this article.

Directed by Adam Massey from a screenplay by Court Crandall and Andrew James, A Lobster Tale has the following synopsis: Kind-hearted lobsterman Cody Brewer cannot seem to pay enough attention to his wife or his teenage son. When Cody discovers odd green moss in one of his traps, he learns that the moss has supernatural healing powers. As the townspeople find out about the supernatural moss, Cody becomes the most popular man in town. But, with the option of making a profit, Cody must decide between helping others and helping himself.

The film stars Colm Meaney, Alberta Watson, Graham Greene, Jack Knight, Cliff Saunders, Joe Pingue, Bruce McFee, Keir Gilchrist, Erik Knudsen, Deborah Grover, Chris Benson, Gerry Quigley, Ken James, Jonathan Whittaker, Kevin Jubinville, Mark Lutz, Raffaele Carniato, Darryl Pring, Julian Richings, Dianne Latchford, Nola Augustson, Aron Tager, Bernie Henry, Wendii Fulford, Brendan Price, Kathryn Haggis, Carolyn Aked, Anne Tager Page, and John Nelles.

A Lobster Tale was the feature directorial debut of Massey. Since making this movie, he has also directed the horror films The Intruders and Man Vs., both of which were released in 2015.

So take a look at A Lobster Tale – it’s free! – then let us know what you thought of it by leaving a comment below or on the YouTube page.

The movies that have previously been featured as the Free Movies of the Day can be found at THIS LINK, and also on the JoBlo Movies YouTube channel.

The Free Movie of the Day on

Robin Williams protected Nathan Lane from being outed on Oprah

After starring in the 1996 queer classic, The Birdcage, star Nathan Lane says his on-screen partner Robin Williams helped him avoid the pressures of coming out as gay following the film’s release, even when the heat was coming from Oprah Winfrey.

Lane, then known largely for his Broadway performances, co-starred in The Birdcage as Albert, the more feminine, sensitive counterpart to Williams’ Armand. When their son (Dan Futterman) brings home the woman he wants to marry, the two put on a ruse to earn the approval of her conservative parents (Gene Hackman and Dianne Wiest).

While Lane had been out to friends and family since he was 21, he understandably admits he was not prepared to make this public intel for ‘90s audiences.

“I certainly wasn’t ready to go from table-to-table and tell them all I was gay,” Lane says, but understands the general conversation was “sort of unavoidable because of the nature of the film and the character.”

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After sharing his concerns with Williams ahead of their press appearance on Oprah, his co-star assured Lane he would not have to take this step on the show.

“He said, ‘Oh, it’s alright, don’t worry about—we don’t have to talk about it,” Lane tells Today. “We won’t talk about it.’”

But sure enough, when the two sat down for the show, Oprah was ready to talk about Lane’s personal life in relation to the role (the whole episode is here, with the referenced bit picking up at around minute sixteen). Lane says Williams “sort of swoops in and diverts Oprah, goes off on a tangent and protects me because he was a saint.”

“Are you or are you not? Is he?” Oprah asks. “Is he, honey? I don’t know.”

Williams lunges into the conversation, mimicking the stereotypical accent Oprah began to use when questioning Lane about his sexuality and fear of being typecast. After some neck rolling and back-and-forth between Williams and Oprah, she eventually turns the convo back to Lane, who had just enough time to come up with a neutral answer.

“I just wasn’t ready to do that,” Lane says of coming out on national television. “It’s great that everyone now feels comfortable but homophobia is alive and well and there are plenty of gay people who are still hiding.”

Lane gives Oprah the benefit of the doubt, saying she probably did not intend to put Lane in the hot seat. The next year, the daytime TV giant would help a peer, Ellen, publicly come out on her show in 1997.

Nathan Lane on return to Broadway roots with ‘Pictures from Home’

After starring in the 1996 queer classic,

What to Watch

Adam Levine On Getting Behati Prinsloo And Kids’ Support When Kicking Off Maroon 5’s Vegas Residency

Adam Levine and his wife, model Behati Prinsloo, were rocked by scandal last fall, when a woman posted a video to social media not only saying she’d had an affair with the Maroon 5 frontman, but that he’d asked to use her name for the child Prinsloo was pregnant with at the time. The former Victoria’s Secret Angel chose to stand by her man, and Levine expressed how much it meant to have not just her but his two oldest children as well, when the band kicked off their Las Vegas residency.

The M5LV Las Vegas residency opened Friday, March 24, and when Adam Levine took the stage with his longtime bandmates, he did so with some loved ones in the crowd. As well as his father, Behati Prinsloo was there with daughters 6-year-old Dusty Rose and 4-year-old Gio Grace, and the singer was grateful to have their support, telling People:

It was a big opening night in Vegas. It’s close to home and no one has to deal with, you know, traveling 10 hours with kids and jet lag. It felt right. It felt really, really sweet to have everybody here. I wouldn’t have wanted to do it without them.

It sounds like it was quite a night for the two little ones, with Dusty Rose and Gio Grace getting to see their dad sing more than 20 of Maroon 5’s greatest hits, and the short trip from Los Angeles to Las Vegas meant easy travel for his dad and wife. Not surprisingly, the family’s newest addition was not present. Behati Prinsloo gave birth to her third child with Adam Levine in January, but the couple has not publicly revealed the baby’s gender or name.

Last September, after Sumner Stroh posted her allegations against the singer to TikTok, more women came forward with sexting accusations, and Adam Levine admitted that he “used poor judgment” in his conversations with women other than his wife. However, he denied that he’d had an affair, and it became clear when the two were seen together in public in the following days that Behati Prinsloo was “sticking it out.”

Adam Levine fought for his family through that scandal, and he acknowledged how important they were during opening night of the residency, telling the crowd (via People):

I used to do this for myself, and now I do this for them.

Fans have continued to share their opinions in the months following Adam Levine’s sexting scandal, and some of that feedback has been pretty intense. But the couple — who started dating in 2012 and were married in 2014 — have navigated their situation mostly privately. Behati Prinsloo returned to social media with a sassy middle finger photo, and she even laughed off a Call Her Daddy prank that referenced the former Voice coach’s scandal.

Adam Levine and Behati Prinsloo undoubtedly had some tough ground to cover in the aftermath of those accusations, but it is nice to see the longtime couple banding together through it and continuing to show love and support for each other.

Adam Levine and his wife, model Behati

Awards

Jason Katims and Connie Britton Explain How Last Grief Group Session ‘Connects the Dots’

“Dear Edward” builds to an emotional pitch with the last grief group session in the finale episode when Edward finally meets all the adults grieving losses like his.

Jason Katims (Friday Night Lights,” “Parenthood”) adapted the ten-episode Apple TV+ show from Ann Napolitano’s best-selling novel of the same name, which follows a young boy Edward Adler (Colin O’Brien) as he navigates the loss of his parents and brother in a plane crash that kills every passenger but him. His Aunt Lacey (Taylor Schilling) and her husband John (Carter Hudson) take Edward in, and Lacey attends the grief counseling set up in New York City by the airline, where she meets many others who lost loved ones in the crash.

“I always thought of Lacey (Taylor Schilling) as the connective tissue, the character that connected everybody,” Katims told TheWrap. “Lacey was obviously very closely connected with Edward, but she was also very closely connected and tied to everybody in the grief group and she was the sort of character that brought everybody together.”

Another character who pulls people together in the group and outside of it is Connie Britton’s Dee Dee, who undergoes a transformative experience in learning to be there for others when she has previously lived a superficial life. It’s Dee Dee who decides to throw the party at the end of grief group to have a celebration with closure before the members go their separate ways.

“I know how Dee Dee feels at the end. Dee Dee feels like she’s lost everything, but then she found this family so I think she feels sad like she’s like she’s losing something,” Britton told TheWrap. “But still, she is in charge. She wants to make it great for everybody. She wants to celebrate this thing. Celebrate life, but it was funny when we were shooting the scene. We realized how infrequently we had all worked together because our stories are all so separate.”

Dee Dee and her daughter Zoe (Audrey Corsa) move to Los Angeles at the end of the show due to financial strain after Dee Dee’s husband and Zoe’s father Charles dies in the plane crash. Showrunner Jason Katims suggests that the show could continue without the physical location of grief group because of the bonds forged in Season 1.

How Connie Britton Brought Her ‘Dear Edward’ Character Dee Dee to Life

“There was actually something really joyful about shooting that scene and being able to all be together. Each character had had their individual journey, but then we got to be together in this real kind of cohesive way that, for me is emblematic of this kind of support that we as human beings can give each other when we’re going through grief and loss. And I think that that was very remarkable about what that ending suggests.”

Edward also connects people as the idea of the Miracle Boy who survived the flight, and his reputation precedes him when he attends the grief group party.

“We felt like, moving toward the finale, that it would be very powerful to see Edward walk into that space,” Katims said. “You had sort of known about him, and learn about him through Lacey, [but] to actually meet him felt like something that was a way to connect the dots in the first season of the show.”

How Carter Hudson Channeled The Loss of His Dad to COVID in That ‘Dear Edward’ Episode 5 Scene

Katims suggested the nonlinear process of grieving lends itself to more seasons of the series.

“What we really wanted to try to do is give everybody a satisfying journey in the first season because people go through a lot in the show, and so we really wanted to get our characters somewhere, but we also wanted to leave room for more storytelling and leave some questions,” Katims told TheWrap. Because, you know, when you go through something like this, grieving doesn’t end after that. It’s not like oh, I’ve grieved and now I’m moving on. It’s an ongoing process and evolves.”

The ”Dear Edward” creator also hinted at how the letters addressed to Edward, which were a major part of the book, will factor into potential future seasons of the television adaptation. Edward doesn’t discover the letters until the final episodes, but he and Shay stumble upon a pretty big one that suggests he has an uncle out there somewhere.

“[It’s] kind of hinted at when in the finale, Edward starts to go through these letters and sees a letter from somebody who, is actually connected to him, a family member that he never knew about,” Katims said. “So the fun of moving forward would be to continue to tell stories about the character, the community that we’ve fought that we’ve already seen form, but also start to expand that community with new characters.”

How the Pandemic Inspired ‘Dear Edward’ Showrunner Jason Katims’ New Series: ‘I’m Moved by the Power to Move on’

“Dear Edward” builds to an emotional pitch

Music

Harry Styles Seen Kissing Emily Ratajkowski: Fans React – Billboard

Harry Styles is doing some late-night talking with someone new, apparently. The pop star was just spotted getting up close and personal with model, actress and author Emily Ratajkowski on a recent trip to Japan, and naturally, the internet is undergoing a volcanic eruption of emotions in response.

It’s not unlike the deluge of reactions that flooded Twitter more than two years ago, when Styles was first confirmed to be dating his Don’t Worry Darling director and costar, Olivia Wilde. The two were together up until just a few months ago, when it was revealed in November that the pair had gone their separate ways.

Now, it looks like the “As It Was” singer is moving on. He and Ratajkowski — who was linked to comedian Eric André as recently as last month — were filmed kissing against the side of a car during a rainy day in Tokyo, where Styles just closed out the Asian leg of his ongoing Love on Tour with two shows at Ariake Arena Friday (March 24) and Saturday (March 25).

By strange coincidence, the footage surfaced on the exact date — March 25 — that Zayn Malik broke hearts across the globe by announcing his departure from One Direction

Reactions to footage of the new romance ranged from happy for the potential new couple to heartbroken that Styles may once again be off the market. But overall, the unifying feeling was one of pure shock. “Just saw harry styles passionately making out with emily ratajkowski… i can’t breathe,” one fan tweeted.

“harry are you dating emily ratajkowski? it’s not really my business i’m only 14 and stuff but i have always thought that we were going to get married,” joked another.

Some were excited for the new pairing, with one fan tweeting, “emrata and harry styles honestly power couple.”

See some of the best fan reactions below:

if I was emily ratajkowski and I was the most beautiful woman perhaps ever invented, I too would make out with all of my celebrity crushes. she’s simply living the dream and I respect her

— ellie schnitt (@holy_schnitt) March 26, 2023

harry styles and emrata kissing made me have a full blown mental breakdown at 3 am be very fucking careful how u speak to me from now on

— tara (@teamedvvard) March 26, 2023

the fact that the video of harry styles making out with emrata leaked on the anniversary of Zayn leaving One Direction was a hard blow i won’t lie

— lexi ?? (@lexiicara) March 27, 2023

zayn malik and selena gomez??? HARRY STYLES AND EMRATA??? 2013 me would have k!lled themselves

— frenkie ✰ (@tolovethedamned) March 26, 2023

emrata and harry styles honestly power couple

— rachel (@rachnvm) March 26, 2023

harry are you dating emily ratajkowski? it’s not really my business i’m only 14 and stuff but i have always thought that we were going to get married

— olivia ?️ (@ceilingsrry) March 26, 2023

WHAT DO YOU MEAN HARRY STYLES AND EMrata WERE MAKINGNOUT

— na (@yamamalover) March 26, 2023

Harry Styles is doing some late-night talking

Global

TIME Announces Editorial Leadership Transition

Sam Jacobs is Named Interim Editor in Chief; Edward Felsenthal Remains Executive Chairman and Becomes a Contributing Editor

TIME CEO Jessica Sibley sent the following note to staff on Monday:

Team,

Today, I am sharing the news that Edward Felsenthal has decided to step down as Editor in Chief. Edward will remain at TIME in his current capacity as Executive Chairman and will become a Contributing Editor. He has led TIME’s global expansion over the last ten years—including six years as Editor in Chief and four years as Editor in Chief and CEO—by producing high-impact, agenda-setting and award-winning journalism while pushing TIME into new editorial verticals including business, health and climate, expanding TIME’s globally-renowned franchises and events with the TIME100 Summit, TIME100 Next and TIME100 Impact Awards and growing TIME’s global audience to more than 105 million, the largest in our history.

Beginning today, Sam Jacobs becomes Interim Editor in Chief. During a decade at TIME, including the past four years as Deputy Editor, Sam has worked with Edward and senior leadership on driving the strategic direction of the editorial team and leading TIME’s trusted journalism across all platforms. In addition to expanding TIME’s global events and live journalism, creating and launching The Leadership Brief, building a sustainability vertical for TIME CO2, which will launch this April with the Earth Awards, and establishing a strong partnership between TIME Studios and the newsroom, Sam has been instrumental in the recruitment, hiring and management of editorial staff across the world. I look forward to working with Sam as we continue our focus on TIME’s digital transformation and the growth of our storied brand.

I have had the privilege of working with Edward since the early ’00s at The Wall Street Journal and am pleased TIME’s long-standing relationship with him will continue. In his new role, Edward will manage new projects, write for TIME, represent TIME, lead interviews on-stage at our events, and executive produce specials with TIME Studios, among other responsibilities.

As TIME enters its second century, our journalism remains at the core of the company’s global impact and broader mission. Please join me in thanking Edward for supporting that mission and in welcoming Sam into his new position.

Best,

Jess

Edward Felsenthal sent the following note to staff on Monday:

Dear all,

TIME as we often say is a study in leadership, and one of the themes from the opportunity to cover and meet many leaders over my years here is recognizing the right time to make a change. After 10 years at TIME, six as Editor in Chief, four of those as CEO—and with our centennial birthday behind us and a great new chapter for TIME underway—this feels like the right time for me.

I’m excited for my own next chapter—more about that to come—and also thrilled to continue as part of the TIME family. I’ll be on staff until June 1, and then as Jess shared, will remain Executive Chairman and become a contributing editor, writing, working with our Events and Studios teams and supporting our company and our journalism in every way I can.

In my first Editor’s letter to readers in 2017, I wrote about the obligation that all of us feel to ensure an extraordinary Second Century for this institution. TIME couldn’t be in better hands with Jess leading our company, Sam steering our journalism, and all of you who further our mission every day. I am grateful for the work you do and for the opportunity to be a part of it.

Best,

Edward

More Must-Reads From TIME

Contact us at letters@time.com.

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Trending

Bode Miller & His Kids Attend His Ski & Snowboarding HOF Induction – Hollywood Life

US skier Bode Miller announces his comeback in the next season during a press conference at the FIS Alpine Skiing World Cup in Kitzbuehel, Austria, 20 January 2017.
FIS Alpine Skiing World Cup in Kitzbuehel, Austria - 20 Jan 2017 — Image Credit: Gpa/Imagespace/Shutterstock

Bode Miller
45th Annual Kentucky Derby, Arrivals, Churchill Downs, Louisville, Kentucky, USA - 04 May 2019 — Image Credit: Gpa/Imagespace/Shutterstock

“Having a difficult time expressing my feelings about being inducted into the US Ski & Snowboard Hall of Fame last night. But I keep coming back to honor and gratitude,” Bode Miller posted on Mar. 25, sharing highlights from his induction ceremony. Along with photos and videos of him giving his speech during Saturday’s event, Bode, 45, shared snaps of himself alongside his children – sons Nate, 10, and Nash, 8 – and his wife, Morgan Beck Miller, as she held their 4-year-old Easton. In the gallery’s last slide. Bode shared a photo of him with six of his children – Nash, Nate, Easton, 3-year-old twins Asher and Askel, and his 15-month-old daughter, Scarlett Olivia.

Bode wrote that it was a huge “honor” to be “included among some of the greatest names in the sport. People I have looked up to my entire life. Honored to be recognized by an organization that I hold in the highest regard. But at the same time so deeply grateful for all the people that helped bring me to this point. My career would not be possible without my parents, my grandparents, siblings, and of course, my beautiful wife.”

“Beyond my family, I am grateful for the army of people from my community growing up who took my dreams seriously and supported me long before accolades,” he added. “To coaches, sponsors, teammates, mentors, and friends who supported me in my good moments and my bad, I am so grateful, and I wouldn’t be where I am today without you.”

Bode shares a son, Samuel, with his ex, Sarah McKenna. He also has a daughter, Neesyn, with ex Chanel Johnson. Bode and Morgan, 35, are proud parents of Scarlett Olivia, Asher, Askel, Nash, and Easton. Sadly, their 19-month-old daughter Emmy passed away in June 2018 after a drowning accident.

“We had Easton, and Morgan was heavily pregnant with him when Emmy passed away. So, you know, we had that sort of immediate distraction that you just couldn’t ignore,” said Bode when speaking EXCLUSIVELY with HollywoodLife in 2019. ” Morgan really wanted to do right by Easton, and she had to take care of herself, which was, I think, a challenge because any traumatic thing like that you’re just like — you go into like a weird shock, really. You stop eating, and there are all these other things that are really hard to manage.”

“We’re just kind of trying to figure out how to continue. It’s been challenging, obviously, but in terms of the family unit, it couldn’t have gone any better,” he added. ” It’s in a sense where you’re kind of happy that you got forced to deal with things more quickly and like progress forward. Because it, I can see that, you know, we talk to families all the time actually who go through this type of thing, and they just can’t move forward. It’s just brutal.”

View gallery Image Credit: Gpa/Imagespace/Shutterstock “Having a difficult time

Tech

The new Dead Island 2 cinematic isn’t making the same mistakes as the original

A new cinematic title sequence has been revealed for Dead Island 2 and offers a wild departure from the original trailer.

Dead Island 2 was originally first announced all the way back in 2014 with luscious palm trees, a bright and upbeat tone complete with some fun music. Despite swapping developers a number of times in the nine-year wait for the game, the team over at Dambuster Studios appears to be honoring the original vision.

Cut to the new cinematic and we see everything from eyeballs inside of martini glasses, bloodstained swimming pools, chemtrails over the (abandoned) country club, and a diner that’s seen better days. While somber in its lyricism, Danger Mouse and Karen O’s Drown sets the scene wonderfully as the post-apocalyptic Los Angeles is revealed.

L.A. Condemned

It’s a far cry from the missteps taken when marketing the original Dead Island which built up an obscene level of hype through the release of one of the best trailers ever made. Cue the slow and sad piano ostinato which scores a family being tragically taken out by a zombie infection while on holiday played entirely in reverse. Even well over a decade since the reveal, the stark visuals have stayed with me. If only the game that followed was of the same quality.

From what I’ve seen of Dead Island 2, it looks like a title that still understands itself despite the years spent in limbo. Much like the original game, it looks like this long-awaited sequel is better placed with friends. As you might expect, there is safety in numbers when taking o n the zombocalypse. By no means does Dambuster Studios’ upcoming release look like high art, but as someone who adores old-school zombie action, leaning more into the grindhouse schlock isn’t necessarily a bad thing.

Dead Island 2 is set to launch on April 21 for PS5, Xbox Series X, PC, and last-generation consoles. Though my expectations have been tempered, I’m still looking forward to playing this zombie co-op game, and I certainly appreciate a more honest look at what we can expect when the game releases next month.

A new cinematic title sequence has been

Video

Adam Sandler Credits Loved Ones For Making Him Doubt Bad Reviews

Adam Sandler hasn’t always been the recipient of glowing reviews for his work, but thanks to his family and friends, those reviews have never made him feel bad. In fact, he’s simply never believed them, because those same family and friends have turned him into “a delusional psychotic man.”

At least, that’s how Sandler himself explained it on Sunday night, as he accepted his Mark Twain Prize for American Humor. After several of those loved ones took the stage at the Kennedy Center to celebrate and honor him — including Drew Barrymore, Jennifer Aniston, Ben Stiller, and more — Sandler himself took the stage.

According to the actor and comedian, he’s always had infallible confidence, which began with the support of his family. Sandler recalled that his older brother was the one who said he should be an actor, and assured him that he was “as funny as Rodney Dangerfield and Eddie Murphy.” And, as the years went on, Sandler said, the people he surrounded himself with kept his confidence up.

“People always would ask me, ‘Those bad reviews you get, how does that make you feel? Make you feel like f—in’ s—?’ And I’d say, no, it really doesn’t,” Sandler said with a laugh. “I think the reason I get to say that didn’t hurt me is ’cause so many of you guys in this room made me feel great about what we’ve done together.”

He continued: “And all my fellow comedians, actors, writers, collaborators, crew members, people on the streets, my family, my kids, my forever girl Jackie, all make me feel like the critics didn’t know what the hell they were talking about. So thank you for all that. Thank you. Thank you for creating a delusional psychotic man.”

As always, Sandler finished his speech with a punchline, joking that he won the 2023 Mark Twain award for athleticism, rather than comedy.

You can watch Sandler’s full acceptance speech in the video above.

Jennifer Aniston Reveals Mark Strong Punched Adam Sandler for Real on ‘Murder Mystery 2': ‘I Saw It, He Cried’ (Video)

Adam Sandler hasn’t always been the recipient

Entertaintment

Realscreen » Archive » Roku ups Originals execs, confirms Brian Tannenbaum promotion

About The Author

Andrew Jeffrey joined Realscreen in 2021 as its news editor. Here, he helps to oversee assignment, reporting and editing for Realscreen’s daily newsletter. Prior to his work covering documentary and non-fiction film and TV, he worked as a reporter and associate producer for CBC Edmonton, and as a reporter for The Star Calgary, where he covered daily news on beats such as local and provincial politics, health care and harm reduction, sports and education. His work has appeared in other Canadian news outlets such as TVO, the Edmonton Journal and Avenue Magazine.

Movies

Choose A Bunch Of Words And We'll Tell You Which Disney Princess You Are Really

This is science.

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This is science.View Entire Post › Source link

Connie Ferguson and Rapulana Seiphemo to make guest appearance on ‘Generations: The Legacy’

Connie Ferguson and Rapulana Seiphemo to make

MCU

Daredevil Actress Breaks Silence on Her Recasting for MCU Reboot

After having her role recast for the MCU‘s upcoming Disney+ show, Daredevil: Born Again, one of the stars from the original Daredevil Netflix series broke her silence on the move.

While Charlie Cox and Vincent D’Onofrio are both in line to reprise their roles as Daredevil and Kingpin from Netflix’s Defenders Saga, Marvel Studios has made it clear that there will be plenty of roles recast for the new Disney+ entry.

News about casting for the show picked up in early March with news that Deborah Ann Woll and Elden Henson weren’t on the call sheet for Born Again, indicating that both Karen Page and Foggy Nelson will be played by new actors in this MCU series.

This has a number of fans upset and curious about what this means for other roles in Daredevil: Born Again, bringing up plenty of questions about how the story will fit both into the larger MCU and potentially with its Netflix counterpart as well.

Daredevil Star Speaks Out on Born Again Recast

Netflix

Actress Ayelet Zurer, who portrayed Wilson Fisk‘s love interest and eventual wife, Vanessa, in Netflix’s Daredevil, took to Instagram to finally address being recast for Marvel Studios’ Daredevil: Born Again series.

This comes after Sandrine Holt was cast as Vanessa Fisk for the new MCU series, making her the first known character to be publicly recast from the Netflix show.

Zurer shared an article looking back on her Daredevil character, highlighting her best moments from her original three-season run.

Daredevil, Amulet Zurer, Instagram — Instagram

In the second part of her Instagram Story, she expressed her sadness to not continue on in the Disney+ show while sharing how big of a fan she still is of Vincent D’Onofrio as Kingpin:

“Sad to not take part. But I will always be Vincent D’Onofrio’s biggest fan”

When Will Daredevil: Born Again Finish Casting?

Daredevil: Born Again‘s casting has been quite the intriguing topic with no confirmation regarding its connection to or separation from its Netflix counterpart. And while this round of recasting will disappoint many, including those being recast themselves, the hope is that it will all be for the benefit of Marvel making a show that will speak to the entire MCU fandom.

Born Again has been incredibly busy on the casting front by bringing more than half a dozen new stars into the series, although most of the roles haven’t been revealed yet outside of Cox, D’Onofrio, Holt, and Jon Bernthal‘s returning Punisher.

But with filming taking place for almost the entire rest of this year, there is still a great deal of time for these roles to reveal themselves, particularly if Daredevil ends up facing the delays that have plagued the MCU recently.

Daredevil: Born Again is currently filming, and the series is set to release on Disney+ in Spring 2024.

DCU

Review: Black Adam #9 – DC Comics News

139

**Review: Black Adam #9**

[Editor’s Note: This review may contain spoilers]

Writer: Priest
Artists: Eddy Barrows, Eber Ferreira
Color Artist: Matt Herms
Letterer: Willie Schubert

Reviewed by: Bryant Lucas

Summary

Teth Adam tells of his banishment, as malicious forces plot against the Wizard’s first champion in this month’s Black Adam #9.

Last time, Teth Adam began telling a story about his early days as the Wizard’s champion (then called “The Mighty Adam”) to Malik who is suffering from a cosmic space virus. This issue picks up the tale, The Mighty Adam having usurped and murdered Pharoh Teti. The burden of leadership weighed heavy upon the liberator-turned-king, so he does what any god-like ruler would do in his situation: The Mighty Adam builds a giant monument to himself in the desert and uses it as a retreat.

However, he was unaware that he’d been followed to this secret refuge by Ibac, and when Adam transformed back into his human form, he was muzzled and stabbed by the villain. Suddenly, a man by the name of Mereruka appears and says he speaks for the Circle of Crows (supposed enemies of the Wizard Mamaragan and his Eternity Council). Mereruka demands that Mighty Adam abdicate the throne and swear allegiance to him as Pharaoh, lest Teth Adam bleeds out from his stab wound. Teth Adam manages to unmuzzle himself and transform into Mighty Adam. He escapes in search of Ibac but fails to find him.

Later, Adam receives a visit from the Wizard Mamaragan. Ibac had found the Wizard and told him that Teth Adam was responsible for Aman’s death, Teth Adam’s nephew who Mamaragan originally chose to be his champion. Angry with the Mighty Adam, Mamaragan transformed him into Black Adam and banished him to the outer reaches of space.

Meanwhile, in the present, Teth Adam receives a visit from a woman named Oni Grace, who tells him that she knows how to locate Ibac.

Positives

One of the better parts of this issue is Priest’s treatment of Black Adam’s “other origin.” The story of Aman and Black Adam was established during Geoff Johns’ Justice League run during the New 52 era. However, we never knew when or how Black Adam’s tenure as the Wizard’s champion ended. Priest picks up where Johns left off and ran with his ideas. He also managed to weave in some traditional Shazam lore with Ibac: a nice touch for old-school fans. It’s apparent that Priest wants to both honor the character’s history while also trying to pioneer a new story. Overall, Priest’s version of the origin is both telling and thoughtful, as it gives insight into one of DC’s more complicated villains.

In many ways, Black Adam #9 is an exploration of Nietzsche’s “will to power” thereby adding depth to a supervillain story. Through sheer, brut force, Teth became The Mighty Adam and then Pharaoh. He seized power simply because he could, and he paid the price when someone more powerful came along to punish him. Fast forward four thousand years and Black Adam once again has once again declared himself ruler. I suspect by issue twelve, we’ll learn if Black Adam has learned his lesson.

Negatives

I have been banging this drum since this book began, but I’m going to say it again: Priest’s storytelling is frustratingly choppy and overwhelming. He’s introduced a swathe of new characters while writing a ton of subplots. If you’re lost, then you’d better learn to roll with the punches, because he does very little hand-holding in this book.

For example, Malik has a friend/love interest that was introduced briefly in an earlier issue. She appears in this issue again, briefly, and for the life of me, I cannot remember her name. Not once in the issue does Priest state this character’s name. She’s fairly minor overall, but Priest has made a big deal of her bringing Malik Black Adam’s signet, which he left in the US. There are times I wish that Priest would provide a title page with character names and recaps. This would help readers keep track of everything.

Conclusion

As per usual, Black Adam #9 is another installment in a bloated yet brilliant title. When it comes to industry writers, Priest is an intellectual powerhouse. He’s well-read and unafraid to take this title to places usually untread by comic writers. However, this strength is also a frustration, as it’s hard to follow the writing when serialized. I look forward to rereading this run once it’s released in trade format. It’ll undoubtedly be easier to digest.

Images Courtesy of DC Entertainment

139 Review: Black Adam #9 [Editor’s Note: This review

Comics

Can the PS5 Outsell the PS4?

It’s not as easy as it might look, but probably.

It's not as easy as it might

Festivals

Subvert Apocalyptic Tropes like Netflix’s ‘Sweet Tooth’

There’s hope for the future in a post-apocalyptic world.

The rise in popularity of post-apocalyptic stories in recent years has led to a saturation of tropes and themes within the genre. However, the Netflix series Sweet Tooth manages to subvert these tropes in several refreshing and unexpected ways.

With its hopeful tone, complex characters, and emphasis on relationships and nature, Sweet Tooth provides a unique and engaging take on the post-apocalyptic world.

In this article, we will explore how Sweet Tooth breaks away from apocalyptic storytelling tropes of the genre, and examine how these subversions elevate the show into a must-watch for fans of the genre.

Let’s dive in.

How Does the TV Show Sweet Tooth Subvert Apocalyptic Tropes?

Sweet Tooth is a Netflix original series based on the DC Comics series of the same name, created by Jeff Lemire. The show is set in a post-apocalyptic world where a mysterious virus has wiped out much of the human population and caused the birth of hybrid children who are part human and part animal.

The story follows Gus (Christian Convery), a young hybrid boy who embarks on a dangerous journey to find his mother with the help of a loner named Jepperd (Nonso Anozie). The show is a unique and refreshing take on the post-apocalyptic genre, with a hopeful tone, complex characters, and an emphasis on relationships and nature.

This is what sets it apart from other stories in a similar genre.

Hopeful tone: Unlike most apocalyptic stories that have a bleak and hopeless tone, Sweet Tooth is surprisingly hopeful. It presents a world where despite the devastation caused by the virus and the emergence of hybrid children, there is still kindness, love, and hope.
The hybrid children: The hybrid children, who are half-human and half-animal, are the central characters of the show. Instead of being portrayed as monsters or abominations, they are shown as innocent and pure beings who are just trying to survive. This subverts the common trope of humans fearing and hating anything different.
Complex characters: The show also subverts the common apocalyptic trope of black-and-white morality. The characters are complex, and their motivations are not always clear-cut. Even the villains have their reasons for doing what they do, which makes them more nuanced and interesting.
Focus on relationships: The show also subverts the trope of survival at all costs. While survival is certainly a major theme, the show also emphasizes the importance of human connections and relationships. The characters form bonds and relationships that are just as important as their survival.
Emphasis on nature: Another way the show subverts apocalyptic tropes is by emphasizing the importance of nature. In most post-apocalyptic stories, nature is portrayed as a dangerous and hostile force. However, in Sweet Tooth, nature is shown as something beautiful and restorative. The characters often find solace and healing in nature, and it plays a significant role in the story.

‘Sweet Tooth’ from DC Comics and Jeff Lemire Credit: DC Comics

Summing Up How Sweet Tooth Subverts Apocalyptic Tropes?

Sweet Tooth offers a refreshing and unique take on the post-apocalyptic genre. By subverting traditional tropes and themes, the show manages to provide a hopeful and inspiring story that is both engaging and thought-provoking.

Its complex characters, emphasis on relationships and nature, and nuanced storytelling make it a standout among the many post-apocalyptic stories available today.

It not only provides entertainment, but it also challenges our preconceptions and beliefs about the end of the world and reminds us that even in the bleakest of times, there is still hope to be found.

Let me know what you think in the comments.

There's hope for the future in

Film

Chris Pine Reacts to ‘Princess Diaries 3’ Development With Anne Hathaway (Exclusive)

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What to Watch

Disney+ Schedule March 27-April 2: New TV & Movies

Doogie Kamealoha, M.D. is back as part of the Disney+ schedule for March 27-April 2.

On Friday, March 31, the streaming service will release the sophomore season of Doogie Kamealoha, M.D. The series stars Peyton Elizabeth Lee, Kathleen Rose Perkins, Jason Scott Lee, Matthew Sato, Wes Tian, Emma Meisel, Mapuana Makia, Jeffrey Bowyer-Chapman, Ronny Chieng, Alex Aiono. Joining the cast is Milo Manheim as Nico.

“When Lahela’s (Peyton Elizabeth Lee) first love, Walter (Alex Aiono) returns from the World Surf Tour, he’s not the same boyfriend she said good-bye to months before. But she’s not the same girl either. That becomes clear when she meets a bad boy on a dirt bike, Nico (Milo Manheim.) She’s faced with a decision: fight for what she knows is true, or give new love a chance. It’s all complicated by the pressures of being a teenage doctor. Luckily, she has her family, coworkers and best friend Steph (Emma Meisel) to support her along the way.”

Kourtney Kang created and executive produced Doogie Kamealoha, M.D. Melvin Mar, Jake Kasdan, Dayna Bochco, Jesse Bochco, Matt Kuhn, and Justin McEwen serve as executive producers. The Disney Branded Television series is produced by 20th Television.

Disney+ Schedule March 27-April 2 | New TV & Movie Additions

Wednesday, March 29

Crimes Against Nature (Season 2)
Mickey Mouse Funhouse (Season 2, 4 Episodes)
Incredibly Small World (Season 1)
Star Wars: The Bad Batch (Episode 215: “The Summit”) (Episode 216: “Plan 99” – Season 2 Finale)
Star Wars: The Mandalorian (Episode: “Chapter 21”)

Friday, March 31

Doogie Kamealoha, M.D. (Season 2 Premiere) (All Episodes Streaming)
Prom Pact
Worst Weather Ever?

Sunday, April 2

The Ghost and Molly McGee (S2, 5 episodes)
Spring Shorts-Tacular with the Ghost and Molly McGee

Doogie Kamealoha, M.D. is back as part of

Music

‘American Idol’: Single Mom Fire Returns for Second Chance Audition After Heartbreaking Moment With Daughter

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Docs

Adventurados | Film Threat

Blue-collar science fiction is a time-honored tradition from the ’70s. Trumbull’s Silent Runnings, Carpenter’s Dark Star, Hyam’s Outland, and Duncan Jones’ Moon all demonstrate a conceit wherein corporate overlords screw over the working man. Oftentimes, these films take place either around the orbit of the Moon or somewhere we haven’t yet been in the solar system. With Berton Pierce’s Adventurados we will see a film that’s devoted to truckers in space or cargo pilots; Irish ones at that.

Spyre (David Masterson) and Frug (Stephen Patrick Hanna) are nearing the end of their careers. Facing the prospect of a subpar retirement package, the two business partners and friends agree to an off-the-book shipping job for a massive interstellar corporation, Blackburton. Promised a payday ten times the fee for this hush-hush mission, Spyre and Frug accept with some trepidation. As far as they know, they’re both 3^rd generation clones, the most expendable and useless generation of clones. For this mission, they will be joined by Dru (Gabrielle Miller), who is safeguarding Blackburton’s cargo.

Spyre and Frug will have comedic run-ins with Canadian Russian highwaymen, Union Pilots, and a computer interface that only speaks Spanish. Nevertheless, they are determined to prevail, as the fee, they will receive upon successful completion, will enable them to find somewhere quiet to live and flirt with the pretty local girls. As you may surmise, they plan on retiring somewhere tropical.

“Facing the prospect of a subpar retirement package, the two business partners and friends agree to an off-the-book shipping job…”

Existing most of your life in the vacuum of space requires you to develop some coping mechanisms. For Spyre, this is watching the interspace television offerings. For Frug, he likes to spacewalk and meditate on the cruelty of fate that nothing on his cargo vessel ever works. There are many cute bits that are observed as the erstwhile crew shleps their cargo to Earth Station. Overall, being an Irish approach to comedy, I would have you know Adventurados will achieve more grins and awkward giggle moments than belly laughs.

This is not to say it’s funny; it is. The sense of humor is that of the dark and down Irish sensibility. The sort of comedy you could expect to see in Beckett’s Waiting for Godot. It’s humorous without being gut-bustlingly funny. But, of course, the actors performing the comedy bring their energies to the fore, and with Masterson and Hanna, you have two veterans who are quite funny in their domestic market but may not translate so well across the world.

The direction, writing, and visual effects are all spot on. I love Pierce’s use of models. From what I could tell, there was little to no CGI in this film. I expect the whole thing to be practical. For that, it wins itself back a few points. I enjoyed Pierce’s scenario, and the director brings the right amount of high stakes blended with sheer utter boredom.

Seek out Adventurados, if you like Irish films or you want to experience a blue-collar comedy in space.

Blue-collar science fiction is a time-honored tradition

Jonathan Jacob Meijer (pictured), 41, has misled hundreds of women all over the world and may have fathered nearly 550 children, claimed the Donorkind foundation, which is suing him

Global

Dutch musician faces court bid to halt his ‘obsessive’ sperm donation

Dutch musician, 41, faces court bid to halt his ‘obsessive’ sperm donation amid claims he has misled women on his way to fathering 550 children around the world

Jonathan Jacob Meijer, 41, may have fathered nearly 550 children, claim lawyers
Mr Meijer is accused of misleading hundreds of women and acting ‘unlawfully’

By Alexander Butler

Published: 06:34 EDT, 27 March 2023 | Updated: 06:57 EDT, 27 March 2023

A Dutch musician is facing court in a bid to get him to stop his ‘obsessive’ sperm donating amid claims he has fathered hundreds of children around the world.

Jonathan Jacob Meijer, 41, has misled hundreds of women all over the world and may have fathered nearly 550 children, claimed the Donorkind foundation, which is suing him.

Mr Meijer, from the Hague, Netherlands, was blacklisted in 2017 after the Dutch Society of Obstetrics and Gynaecology warned he had fathered 102 children via ten different clinics in the Netherlands.

But he continued to donate abroad in Denmark and Ukraine and offered his services through websites and social media, according the Dutch news website AD.

Eva, the Dutch woman at the centre of the court case, had a child by Meijer in 2018 and said it made her feel ‘sick to her stomach’ that he had fathered so many children.

Jonathan Jacob Meijer (pictured), 41, has misled hundreds of women all over the world and may have fathered nearly 550 children, claimed the Donorkind foundation, which is suing him

He continued to donate abroad in Denmark and Ukraine and offered his services through websites, according the Dutch news website AD. Stock image of liquid nitrogen cyrogenic tank used for sperm donation process

She said: ‘If I had known he had already fathered more than 100 children I would never have chosen him.

‘If I think about the consequences this could have for my child I am sick to my stomach.

‘Many mothers have told him he needs to stop but nothing helps. So going to court is the only option I have to protect my child.’

Eva and the Donorkind foundation want to stop Mr Meijer donating and to find out exactly which clinics he has donated sperm to.

They have accused Mr Meijer of ‘lying’ to hundreds of women about the number of children he has fathered.

Eva also wants all his sperm still in storage to be destroyed, unless it has been reserved for a woman who already has one of his children.

They have accused Mr Meijer of ‘lying’ to hundreds of women about the number of children he has fathered

The foundation’s chairman Ties van der Meer said: ‘We are taking action against this man because national government is doing nothing.

‘He has a global reach via internet and he does business with large, international sperm banks.’

Donorkind’s lawyer Mark de Hek said: ‘This behavior is dangerous for the mental well-being and health of donor children. By preferring his reproductive urge, the donor is acting unlawfully.

‘In addition, he violates the agreements with the clinics and with the prospective parents, because they trusted his promise that he would father a maximum of 25 children.’

Trending

Jen Shah’s Prison Sentence Was Reduced By 1 Year

Courtesy of Jen Shah/Instagram

Jen Shah‘s prison release date has seemingly been moved up from 2029 to 2028, cutting a year off of her sentence.

The Federal Bureau of Prisons’ inmate database lists the Real Housewives of Salt Lake City star’s release date as August 30, 2028. That reduces her 78-month sentence to 66 months. Us Weekly has reached out to her attorney for comment.

Shah, 49, requested to serve her sentence at Federal Prison Camp, Bryan (FPC Bryan) in Texas and surrendered herself on February 17.

The Bravo star was arrested in March 2021 — during the production of season 2 of RHOSLC — and charged with conspiracy to commit wire fraud and conspiracy to commit money laundering. She maintained her innocence until July 2022 when she pleaded guilty to conspiracy to commit wire fraud. She was sentenced in January 2023 to six and a half years behind bars.

In addition to her incarceration, her sentence — which also includes five years of supervised release — requires Shah to pay $6,645,251 in restitution and forfeit $6,500,000, 30 luxury items and 78 counterfeit luxury items.

“With today’s sentence, Jennifer Shah finally faces the consequences of the many years she spent targeting vulnerable, elderly victims,” U.S. Attorney Damian Williams said in a January press release. “These individuals were lured in by false promises of financial security, but in reality, Shah and her co-conspirators defrauded them out of their savings and left them with nothing to show for it. This conviction and sentence demonstrate once again that we will continue to vigorously protect victims of financial fraud and hold accountable those who engage in fraudulent schemes.”

One day before her surrender, Shah recorded a video interview in which she shared how emotional she felt prior to entering FPC Bryan.

“There’s so many emotions that I’m feeling right at this moment and getting ready to surrender is emotional,” Shah said at the time. “You know I’d be lying if I said I wasn’t nervous and scared. Because to be away from my family, that’s what I fear the most is you know that transition of not being able to hug and kiss my boys and my husband every day and my mom and but at the same time, all of those emotions I also feel hopeful and am motivated to do a good job, you know, and make the most of my time away.”

Since reporting to prison, Shah has been keeping the world updated on her time in the big house through her online diary. She recounted reporting to the federal facility with husband Sharrieff Shah, who she married in August 1994, and son Omar, 19, by her side. (Jen and Sharrieff also share son Sharrieff Jr., 29.)

“I keep thinking this is insane, completely ridiculous. Why am I here? I mean, I know why I’m here, but this just feels like someone like me doesn’t belong here. I’ve never been in trouble before,” she wrote earlier this month. “Then I instantly stop myself from going down this self-destructive path of thinking. I am here because of my bad decisions. I am here because I did this to myself and there is no one to blame but me.”

Courtesy of Jen Shah/Instagram Jen Shah‘s prison release

Tech

The 7 Best New Movies on HBO Max in March 2023

“Those Who Wish Me Dead” (2021)

Angelina Jolie stars as Hannah Faber, a smokejumper who becomes tasked with protecting a boy from contract killers, in this 2021 film written and directed by “Yellowstone” mastermind Taylor Sheridan. She uses her firefighting training and forest expertise to elude the killers. “Those Who Wish Me Dead” drops March 29.

"Those Who Wish Me Dead" (2021) Angelina Jolie

the-lord-of-the-rings-the-rings-of-power-PETA

Video

PETA Slams Rings of Power Producers After Horse’s Death on Set

A horse’s death on the set of Amazon’s “The Lord of the Rings: The Rings of Power” has prompted the animal rights organization People for the Ethical Treatment of Animals (PETA) to reassert its call for Hollywood to end the use of animals in productions.

“It seems that living underground with the orcs is par for the course for the producers of ‘The Rings of Power,’ because they have the option to use CGI, mechanical rigs and other humane methods that wouldn’t run vulnerable horses to death on set,” PETA senior vice president Lisa Lange wrote in a statement.

PETA also noted that this isn’t the only time in the past year that it has protested the abuse of horses on Hollywood productions. Last summer, members of the organization held a protest outside the set of HBO’s “The Gilded Age” after a horse died on set. Whistleblowers also accused the production of forcing horses to work in extreme heat without water breaks, leading to an incident when a stressed horse broke away from its wrangler and trampled an actor.

“PETA is calling on the show’s creators — and all other producers — to take on a new quest without using any real horses. If they can’t avoid exploiting animals for their art, they should find a new medium, because no one wants to see a spinoff for TV with torment as the theme,” Lange continued.

A spokesperson for Amazon confirmed the horse’s death, saying that it occurred on March 21 “whilst the horse was being exercised prior to rehearsals” alongside 20 other horses and before shooting had begun. A veterinarian and an American Humane Association representative were present at the time, and heart failure was determined to be the cause of death after an independent necropsy.

The spokesperson also said that the horse’s death was the first in the history of The Devil’s Horsemen, the European vendor that supplied the horses for “The Rings of Power,” and that the horse had shown no signs of health problems prior to the incident.

CeeLo Green Falls Off Horse at Party, Chalks It Up to ‘Another Day at the Office Being… Me’

For years, PETA has argued that horses and other animals should not be used on film and television productions and that replacing them with CGI should become industry standard. The organization has pointed to Disney/20th Century’s 2020 film “Call of the Wild” as an example that Hollywood should follow, as the film used CGI in lieu of actual dogs for its adaptation of Jack London’s sled dog adventure novel.

In 2012, PETA condemned Warner Bros./New Line’s adaptation of “The Hobbit” after whistleblowers reported the deaths of more than two dozen animals used in its production at a farm where they were housed, including three horses and several goats, sheep and chickens.

Jonathan Majors to Present Video Evidence He Is ‘Completely Innocent’ of Assault Charges, Attorney Says

A horse’s death on the set of

Entertaintment

Bam Margera Gets Son’s Name Tattooed On His Face In Arabic

Instagram / @graywaketattoo

Bam Margera is the proud owner of some new ink, this time it’s in honor of his son — and the guy put it right on his face for all to see.

Gray Wake, Bam’s tattoo artist, tells TMZ … the former “Jackass” star came with a friend into Tribal Roots Tattoo Studio last week in Escondido, CA — looking to grab a new tat.

He says he recognized Bam instantly because he grew up watching the series, but didn’t know ahead of time he was coming in. Gray tells us Bam wanted his son’s name, Phoenix, above his eyebrow, and he wanted it written in Arabic.

We’re told Bam already had the design on his phone, Gray helped him out with the placement, and then they just went for it. He also got a small tattoo on his hand.

As you know, Bam’s been dealing with problems lately on multiple fronts … his wife Nikki Boyd filed for legal separation in February, calling it quits after she claimed Bam had a non-sober visit with Phoenix.

He was also arrested earlier this month for domestic violence after allegedly kicking a woman. Law enforcement said the victim referred to Bam as her “husband” — although our sources told us it was NOT Nikki, but rather his current girlfriend. The D.A. told us he would likely not be charged.

Waiting for your permission to load the Instagram Media.

BTW — looks like Bam also got a matching stomach tattoo with a fan after his face and hand ink … so he’s apparently on a tat spree right now.

Movies

Alia Bhatt Takes a Romantic Walk With Ranbir Kapoor, Goes Baby Clothes Shopping for Raha in London

Last Updated: March 27, 2023, 15:14 IST

Alia Bhatt’s London photo dump

Alia Bhatt’s London photo dump consists of a romantic walk with Ranbir Kapoor and a cute photo with Shaheen Bhatt among many other things.

Alia Bhatt celebrated her 30th birthday in London with her husband Ranbir Kapoor, daughter Raha and sister Shaheen Bhatt. Recently, she took to Instagram to give a glimpse of her London diaries and it is all things adorable. Her London photo dump consists of a romantic walk with Ranbir and cute photos with Shaheen among many other things.

In the first photo, Ranbir and Alia can be seen holding each other close as they walk down the streets of London. The couple is twinning in black and facing their back to the camera. In the second photo, Alia poses solo in a cute white top. She also posed with her sister Shaheen in one of the photos. Sharing the snaps, she wrote, “LDN 2023 ?”

Take a look:

On her birthday earlier this month, Alia shared a series of photos giving a glimpse of her celebrations. The actress turned 30 on March 15.

On the work front, Alia Bhatt recently wrapped the shooting of her highly anticipated romantic comedy Rocky Aur Rani Ki Prem Kahani. For the same, she was in Kashmir with her daughter Raha. Helmed by Karan Johar, the film also stars Ranveer Singh, Jaya Bachchan, Dharmendra and Shabana Azmi. She will also make her Hollywood debut with Heart of Stone.

Ranbir Kapoor, on the other hand, has been receiving rave reviews for his latest release Tu Jhoothi Main Makkaar with Shraddha Kapoor. The film has become a massive hit earning positive reviews from fans and critics alike.

Read all the Latest Movies News here

Srijita Sen

Srijita Sen is constantly curious about figuring out the meaning of films, music, life and everything in between. With a great love for 2000s Bollywoo…Read More

Last Updated: March 27, 2023, 15:14 ISTAlia

Jeremy Renner walking in video after snowplow accident

Jeremy Renner shared a video of himself walking on a treadmill nearly three months after he was severely injured in a snowplow accident.

On Sunday, the “Hawkeye” star posted a clip on Instagram captioned, “Now is the time for my body to rest and recover from my will.” In the video, Renner walks slowly on the treadmill and explains to someone that using the machine is like “having a cane” that supports 60% of his weight.

Multiple outlets have reported that the exercise equipment in the clip is an “anti-gravity treadmill” — a device used in physical therapy to help patients regain their ability to walk.

On Jan. 17, Renner announced that he had been released from the hospital after he was crushed by his own snowplow near his home in the Lake Tahoe area on New Year’s Day. The 52-year-old Marvel actor previously said he broke more than 30 bones in the accident.

“Morning workouts, resolutions all changed this particular new years …. Spawned from tragedy for my entire family, and quickly focused into uniting actionable love,” Renner wrote Jan. 21 on Instagram.

“I want to thank EVERYONE for their messages and thoughtfulness for my family and I …. Much love and appreciation to you all. These … bones will mend , grow stronger, just like the love and bond with family and friends deepens . Love and blessings to you all.”

Jeremy Renner shared a video of

MCU

THOR READING ORDER: Eric Masterson (1991-1993)

Giving major characters makeovers or outright replacing them was all the rage in the ’90s. Sure we’d already seen Steve Rogers switched out for John Walker as Captain America and James Rhodes replace Tony Stark as Iron Man in the ’80s, but it was a theme that hit big in the era that fashion forgot. Thor would be no exception. Architect Eric Masterson had befriended Thor, but the two were merged when Eric – who had already proven his worthiness by lifting Mjolnir – was merged with the God of Thunder to save his life, mimicking the Thor/Donald Blake dynamic from years earlier.

Now, Thor is about to be pushed to the edge of reason in a deadly battle with Loki that will leave the universe without the Asgardian god’s protection. Can Eric Masterson prove himself worthy one final time?

I put this one together for my good buddy Eric Anthony – the other half the the Omniverse Comics Guide and host of the Cave of Solitude podcast! The Marvel Comics Guide will jump to the new Omniverse Comics Guide website soon, where you’ll find reading orders for characters, teams, storylines and events from Marvel, DC and independent comic companies. More news to follow!

MCG Notes:

Issue listings in blue & black: The must-read Thor stories from this time period, along with any key related stories and often-forgotten tales that are worth a read.
Issue listings in grey: Cameo appearances or stories of note that are non-essential, not as strong or no longer considered ‘required reading’.
Chronology: Every appearance of Thor from this period is included in chronological order, mapping out their timeline rather than just the order the issues were released.
Spoilers: The issue/story overviews may include spoilers, so be warned!
WANT TO KEEP IT SIMPLE? Scroll down to THE CORE LIST to see a version of this reading order without story descriptions, page-by-page breakdowns or the less-important appearances – just a list of core stories.

See previous entries in the Thor reading order:

1983-1987 – Doom!
1987-1991 – War of the Pantheons

Thor #431, 432[1/2], 433-435 (1991)

First appearance of Eric Masterson as Thor; first appearance of Bobby Steele; Amora the Enchantress kidnaps Eric Masterson’s son for Loki; Loki offers Kevin Masterson in return for Thor‘s hammer, Mjolnir; the Enchantress turns against Loki; left with no choice, Thor kills Loki; Thor is banished as punishment, but insists that his power is passed to Eric Masterson; as Thor, Eric battles Ulik, reveals his true identity to Captain America at Avengers Mansion and travels to Asgard to find out what happened to the real Thor; as Thor, Eric and the Asgardians rescue the sleeping Odin from Annihilus.

Iron Man #275 (1991)

Thor cameo; Thor senses the power unleashed by the Mandarin.

Infinity Gauntlet #2-3(pp.1-10) (1991)

Silver Surfer #52 (1991)

Infinity Gauntlet #3(pp.11-12) (1991) / Silver Surfer #54 (1991)

Infinity Gauntlet #3(pp.12-40)-4(pp.1-3) (1991)

Doctor Strange: Sorcerer Supreme #33[1/2] (1991)

Infinity Gauntlet #4(pp.4-40) (1991)

Doctor Strange: Sorcerer Supreme #35 (1991)

Infinity Gauntlet #5(pp.6-32) (1991)

Silver Surfer #59 (1991)

Infinity Gauntlet #5(pp.33-40)-6(pp.1-35) (1991)

Silver Surfer #60 (1991)

Infinity Gauntlet #6(pp.35-40) (1991)

Thanos has wiped out 50% of all life in the universe using the Infinity Gauntlet; Thor is among the handful of Avengers who still exist and joins the attack on Thanos’ space shrine to Death; narrowly surviving the initial assault, Thor is part of the small band of heroes who face Nebula during THE INFINITY GAUNTLET.

Impossible Man Summer Vacation Spectacular #2[5/7] (1991)

The Impossible Man meets Thor which prompts him to journey to Asgard.

Thor #436-437[1/2] (pp.1-3) (1991)

The Absorbing Man reconstitutes himself and immediately faces Thor who let shim go free so he can reunite with Titania; when Eric Masterson tells Hercules about Thor’s banishment, Hercules thinks the worst…

Avengers #343-344 (1992)

First appearance of the Gatherers (Magdalene of Earth-9201, Proctor/Dane Whitman of Earth-374 & Swordsman/Philip Javert of Earth-921) and Marilla; Crystal joins the Avengers as Thor/Eric Masterson is officially recognised as a member; the Avengers battle the Swordsman and Magdalene, unsure how one of their deceased former-members is somehow alive.

Thor #437[1/2] (pp.4-17) (1991)

First appearance of Gary Paretsky; Hercules puts the new Thor to the test by tricking him and Quasar into a fight; Amora the Enchantress actually subverts Quasar’s will, leaving it up to Thor to free him so the duo can have their sweet revenge on Hercules.

Captain America #395[1/2] (pp.1-9) (1992)

Captain America #395[1/2] (pp.9) (1992) / Quasar #28(pp.13) (1991)

Captain America assesses the new Thor‘s abilities and recent judgements, offering him the role of ‘member-in-training’ with the Avengers.

Thor #438[1/2]-442[1/3] (1991-1992)

Thor #442[3/3] (1992)

Thor #443-444 (1992)

First appearance of Demonstaff/Hallan Gorko, Shatterfist, the Thor Corps and New Korbin; Zarrko the Tomorrow Man tricks Dargo Ktor (Thor of Earth-8710) into travelling to present day Earth-616, telling him Eric/Thor is responsible for the true Thor’s disappearance; Stellaris returns looking for revenge on Thor; Beta Ray Bill reveals Zarrko’s true intentions and the three Thors – as the Thor Corps – face Zarrko and a number of villains plucked from the timestream, including Loki; Bobby Steele tells Eric Masterson he intends adopting Kevin Masterson; ‘Donald Blake’ returns; Eric Masterson, Doctor Strange and the Silver Surfer venture into Mephisto‘s realm to retrieve Mjolnir; Thor battles the mutant Groonk.

Slapstick #4 (1993)

Thor cameo; Slapstick defeats Neutron Bum on his own, while other heroes can only watch.

Death’s Head II #4 (1992)

Thor cameo; Thor is among the Avengers who give chance when the new Death’s Head arrives on Earth-616 and steals a truck.

Captain America #395(pp.9-17)-397 (1992)

First appearance of Jack O’Lantern/Steve Levins; Thor accompanies Captain America on a mission to find the Red Skrull; Thor clashes with Doughboy.

Avengers #345 (1992)

Thor #445 (1992)

Quasar #33 (1992)

Wonder Man #8 (1992)

Thor #446 (1992)

Avengers West Coast #82 (1992)

Wonder Man #9 (1992)

Avengers #347 (1992)

Captain America #401 (1992)

First appearance of Deathweb (Anthro/Hashi Noto, Arachne/Sylvie Yaqua & Therak/Theodore Davros), Hardball, Moondancer/Myla, Solar Wind, Voyager/Divad & the Nega-Bomb; the Avengers are caught up in the war between the Shi’ar and Kree races; Thor is part of the team dedicated to Shi’ar space and battles the Gladiator of the Imperial Guard; Thor is instrumental in saving his fellow Avengers when a Nega-Bomb is detonated during OPERATION: GALACTIC STORM.

Infinity War #2 (1992) / Fantastic Four #367 / Marc Spector: Moon Knight #41(pp.1-12) / Wonder Man #13(pp.1-3) (1992)

Infinity War #3 (1992) / Fantastic Four #368 / Marc Spector: Moon Knight #41(pp.12) / New Warriors #27 / Quasar #38(pp.5-10) / Warlock and the Infinity Watch #8 / Wonder Man #13(pp.4-22) (1992)

Infinity War #4 (1992) / Fantastic Four #369 / Quasar #39(pp.1-2) / Silver Sable & the Wild Pack #5 / Wonder Man #14 (1992)

Quasar #39(pp.2-22) (1992)

Infinity War #5 (1992) / Quasar #40 (1992)

Infinity War #6 (1992) / Fantastic Four #370 (1992)

First appearance of the Goddess; Thor is among the many heroes manipulated by the Magus into fighting amongst themselves; Thor is part of the team assigned to taking down Thanos and the Infinity Watch, believing them to be responsible for the coming cosmic catastrophe during THE INFINITY WAR.

Thor Annual #17[1/4] (1992)

Avengers Annual #21[1/5] (1992)

While investigating the disappearance of Captain America and the Vision, Thor is hurtled back into time to fight Prester John; returned to the present, Thor and his fellow Avengers tackle Kang, Terminatrix and the Anachronauts during CITIZEN KANG.

Thor Annual #17[2/4] (1992)

Thor and Hercules weigh up the God of Thunder’s ten toughest foes.

Iron Man #284

Thor cameo; Thor is present when Captain America waves the flag to mark the death of Tony Stark.

Thor #447[1/2]-449[1/2] (1992)

Thor #450[1/4] (1992)

Thor #451[1/2]-456[1/2] (pp.1-16) (1992)

First appearance of Jackie Lukus as Bloodaxe; Thor tries to help the Absorbing Man convince Titania to turn away from a life of crime, leading to a misunderstanding with Spider-Man; Odin wakes from the Odinsleep, demanding to know where the true Thor is; the Asgardians face betrayal by one of their own; Thor and Code: Blue storm Asgard, returning ‘Odin’ to the throne; someone lays claim to the Executioner‘s Bloodaxe, transforming them into the magically-enhanced murderous vigilante Bloodaxe who soon battles Thor; Sif makes a deal with Mephisto, turning her against Thor when he tries to rescue her from Mephisto’s realm; Thor goes up against ‘Odin’ and prepares to rescue the true Thor by facing the Gauntlet of the Grim Guardian…

Avengers #349 (1992)

First appearance of Taylor Madison; Thor falls under the influence of Hera and Ares and attacks Hercules.

Quasar #41-42 (1992-1993)

The Blue Marvel – a construct of Marvel Boy/Thelius created by Thanos – tries to join the Avengers; Thor and his teammates become suspicious of the Blue Marvel, stepping in when he tries to kill Captain Marvel (Monica Rambeau).

Avengers #350[1/2]-351 (1992)

The Avengers come to the Black Knight’s defence when the Starjammers are sent to apprehend him.

Avengers #355-356 (1992)

First appearance of Cassandra & Sloth; the reality-hopping Gatherers invade Avengers Mansion, then take the Coal Tiger of Earth-355 to Wakanda to save his life by killing the Black Panther; the Avengers help defend Wakanda from the Gatherers.

Mys-Tech Wars #1-3 (1993)

Thor and his fellow Avengers assist the UK heroes against Mys-Tech to stop them subverting the Earth using the UnEarth; Thor is killed by Psycho-Warriors (though isw later restored off-panel when the events of the war on Mys-Tech are undone) during MYS-TECH WARS.

Marc Spector: Moon Knight #50 (1993)

Thor assists the Avengers when they visit Marc Spector’s mansion to revoke Moon Knight’s Avengers membership during THE LEGACY QUEST.

Thor #456(p.17) (1992)

Eric Masterson finally decides to risk his life to save Thor and run the Gauntlet of the Grim Guardian…

Thor #457[1/2]-459 (1992-1993)

First appearance of Thunderstrike (mace); Thor/Eric Masterson runs the Gauntlet of the Grim Guardian, defeating past foes and the Guardian himself before freeing Thor’s spirit from within himself; Thor gives Eric Mjolnir and asks him to protect Earth while he stays on Asgard; Thor asks Sif to marry him, but she’s confused by her feelings for Eric; Amora the Enchantress manipulates Eric while disguised as Sif, provoking him into attacking Thor; Odin has an enchanted mace called Thunderstrike forged on his behalf; Odin breaks the Enchantress’ control over Eric; Thor returns him to Earth and gives him a cane which transforms into the Thunderstrike mace, allowing him to return to his ‘Thor’ form during THE FINAL GAUNTLET.

A version of this reading order without story descriptions, page-by-page breakdowns or less non-essential guest appearances – just the primary Thor/Eric Masterson stories:

Thor #431-435
Infinity Gauntlet #2-6
Thor #436-436
Avengers #343-344
Thor #437-444
Avengers #345
Thor #445
Quasar #33
Wonder Man #8
Thor #446
Avengers West Coast #82
Wonder Man #9
Avengers #347
Thor #447-456
Avengers #349, 355-356
Thor #456-459

Reading order entries featuring Thor will continue:

THOR: Worldengine (1993-1997)

Follow Eric Masterson‘s next transformation with this reading order:

THUNDERSTRIKE: Eric Masterson (1993-1998)

Notable alternate universe versions of Thor/Eric Masterson:

EARTH-93165

What If #55-56 (1993)

The Avengers‘ role in Operation: Galactic Storm results in failure and the Avengers are taken captive by the Kree; Thor leads the Asgardians into Kree space to rescue the Avengers.

EARTH-93549

What If? #49 (1993)

The Silver Surfer obtains the Infinity Gauntlet, rather than Nebula; the Surfer transports Thor back to Earth.

Other reading orders that feature Thor from this period:

Giving major characters makeovers or outright replacing

DCU

The Flash Shows New Suits for its Titular Hero and Villain

The release of The Flash is finally getting closer. After a long wait, fans of the Scarlet Speedster will finally be able to see the film adaptation of Flashpoint in theaters, with Ezra Miller starring as Barry Allen once again under the direction of Argentinian Andy Muschietti. Unfortunately, however, this character’s first solo adventure could also be his last.

More than a month after the first announcements about the next version of the DCU by James Gunn and Peter Safran, it seems that the only movie from the slot that will hit theaters this year within the franchise with a chance of surviving is Blue Beetle since the hero by Xolo Mariduena had not been introduced until now. It could be easier to make him fit into what is coming.

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

At the moment, only a few heroes from the comic book company have already confirmed their appearance in the new extended universe, including Superman, Batman, and Supergirl, who will arrive with Superman Legacy, The Brave and the Bold, and Woman of Tomorrow.

Meanwhile, Gunn will introduce some familiar faces like Viola Davis’ Amanda Waller in her The Suicide Squad spin-off series and introduce new groups like the Creature Commandos, who will debut in an animated series but could appear in live-action form in the future.

New Looks at The Flash and Dark Flash

Warner Bros.

The Flash, which hits theaters in July, will work as a small reboot for the current universe, which suits it very well considering the story it will present. In the film, Barry travels back in time using the Speed Force to save his mother, but it completely alters his own reality, creating one where metahumans don’t exist, and there’s no one to protect the world from General Zod’s invasion.

However, Michael Shannon’s character will not be the only villain in the film. Barry will also have to face Dark Flash, and thanks to new merchandising for the movie by Funko Pop! (courtesy of user Flashpointsaber), we have a new look at the costumes of the titular hero and his nemesis:

Created by Grant Morrison, Mark Millar, and artist Ron Wagner, Dark Flash first appeared in a brief cameo in The Flash (vol. 2) #138 before being definitively introduced in The Flash #141 in September 1998. Essentially, the character fills the same role as Death for those who possess super speed in the DC Universe, returning the speedster to his power source: the Speed Force.