okay yeah i get the hype around heartbeat hospital now

zach reino saying "maybe we're just a bunch of men that want to be in a big pile" changed me as a person

Another new episode!

Script below the break

Hello and welcome back to The Rewatch Rewind. My name is Jane, and this is the podcast where I count down my top 40 most frequently rewatched movies in a 20-year period. Today I will be talking about number 16 on my list: Castle Rock Entertainment and Warner Bros’ 2003 mockumentary A Mighty Wind, directed by Christopher Guest, written by Christopher Guest and Eugene Levy, and starring Christopher Guest, Eugene Levy, Michael McKean, Harry Shearer, Catherine O’Hara, and a bunch of other fabulous comedians.

After the death of a folk music producer, his children organize a televised memorial concert featuring three of his most famous groups: The New Main Street Singers, the Folksmen, and Mitch and Mickey. The film documents their reunions, rehearsals, and the show, and then catches up with the performers six months later.

My parents saw this movie in theaters, and I remember hearing that my mom really liked it and my dad did not. We got it on VHS soon after it came out, but it took several years for us to actually watch it. I wasn’t familiar with Christopher Guest’s other similar work, and I thought this was going to be a boring biopic about a band I’d never heard of. I can’t remember what finally convinced me to give it a chance, but once I did, I thought it was hilarious and was immediately hooked. I watched it five times in 2007, twice in 2008, twice in 2011, three times in 2012, once in 2013, once in 2014, once in 2017, twice in 2018, twice in 2020, once in 2021, and twice in 2022.  

At some point we got it on DVD as well, and I watched it with commentary by Chris Guest and Eugene Levy, which is how I learned that most of the dialogue is improvised. Guest and Levy came up with the story and characters, and they gave all the actors their backstories and then just let them say whatever they wanted to the camera. And that method works SO. WELL. It has that “authentic but also aware that I’m talking to a camera” feel of a real documentary, while also being just incredibly funny. One of my favorite parts is when the Folksmen, played by Chris Guest, Harry Shearer, and Michael McKean, are talking about how one of their albums was released on an inferior label, and they mention things like how the cover was printed in fewer colors and so forth, and then Guest just casually says, “And they had no hole in the center of the record,” and the other two just add to it, like, “Oh yeah, it would teeter crazily on the spindle” “But they were good records” as if this is a completely normal conversation and not one of the most ridiculously silly things anyone could possibly say. I’m so sad that the DVD didn’t come with bloopers because I would love to see all the fun improvs that didn’t make it into the final cut, and to find out how often they cracked each other up. Although the fact that they could have an earnest conversation about a record that was a good product once you punched a hole in it yourself demonstrates that these actors don’t break easily.

The cast is so packed with brilliant comedic talent that the movie would be worth watching for the laughs alone, but there’s more to it than that. Since this is a mockumentary, it would be reasonable to expect the punchline to be that all the music groups are terrible, but they’re not. The singing is excellent, and most of the songs are actually very catchy and fun to listen to. I’m a huge fan of the soundtrack. The songs were mainly written by various cast members, and as far as I can tell everybody did their own singing. Mitch & Mickey’s hit, A Kiss at the End of the Rainbow, written by Michael McKean and his wife Annette O’Toole and performed by Eugene Levy and Catherine O’Hara, was even nominated for an Oscar. For people making a movie mocking folk music, they sure put a lot of effort into creating fabulous folk music. In a way, A Mighty Wind is kind of similar to Enchanted, in that it’s making fun of something while also celebrating it. And that’s one of my favorite things about it. This movie demonstrates that it’s possible, and even wonderful, to love something both genuinely and ironically at the same time, which is how I feel about several of the movies I’ve talked about on this podcast. A Mighty Wind offers no apology for enjoying folk music, even while expressing that most of it is objectively not good. I read a review that saw this as a flaw, claiming this film lacked the bite of Guest’s other mockumentaries, but I think that’s a big part of why this is my favorite. I enjoy his other films, but they feel a bit more mean-spirited. The writers clearly loved the Mighty Wind characters, even the more obnoxious ones, and therefore made them more likable to the audience than, for example, most of the Best in Show characters. Not that characters always have to be likable, but I find likable characters more fun to revisit.

I also feel like A Mighty Wind has a slightly less raunchy sense of humor than the others. There definitely are sex jokes, but mostly innuendo and double entendres that you can ignore if you’re not into that. For example, Jane Lynch and John Michael Higgins play a married couple whose last name is spelled B-O-H-N-E-R, and you can probably guess how it’s pronounced, and she makes a couple quick references to how she used to be a porn star, so it would be easy to just make sex jokes the main focus of their characters. However, they also started a coven called WINC – witches in nature’s colors – in which they believe, and I quote: “Humankind is simply materialized color operating on the 49th vibration. You would make that conclusion walking down the street or going to the store.” And that, to me, is much funnier. Not that I don’t laugh at a good sex joke, I just feel like I get tired of them faster than most people seem to, so I appreciate that this movie has a good balance of many different types of comedy.

I also appreciate that it’s not very heavily focused on romance; this is a movie about putting on a concert, not people falling in love. There is one main storyline that does involve romance, but in an intriguing and atypical way. Mitch and Mickey were once a couple who apparently had a very messy breakup, and are now reuniting for the first time in decades to perform A Kiss at the End of the Rainbow, which in the past always involved them actually kissing. We see them rehearsing it once, and they just pause and look at each other awkwardly at the kiss part. Then at the concert, Mitch disappears a few minutes before they’re supposed to go on, and Mickey is furious until he returns with a rose for her. And of course then they kiss on stage during their song. In the six months later epilogue section, they each claim that the other took the kiss too seriously, which I feel like could be interpreted in multiple different ways, and I’m honestly not sure if we’re supposed to conclude that they still have feelings for each other or not. But it’s clear that they both felt pressured to kiss because the audience was expecting it, and that’s the part that fascinates me. Because fans do often tend to become overly invested in the love lives of the celebrities they’re following, and I like the way this movie portrays that from the perspective of those celebrities. Of course, in this case, the audience probably just wants them to kiss because they always did and not necessarily because they want them to get back together, but I feel like those two attitudes are still related. The movie doesn’t tell us who decided to make the kiss part of the song in the first place, but knowing how often producers like to exploit relationships between artists to make money, I doubt it was Mitch and Mickey’s idea. But everybody loved it, apparently. A folk music historian who is interviewed claims that the kiss was a great moment not only in the history of folk music, but in the history of humans. When the Folksmen recognize the song at the concert, they make a bet about whether the kiss is going to happen – also, unrelated, but I love that Michael McKean’s character says, “This is that really pretty one” about a song that he wrote in real life. And then later, Mickey says that her sister berated her for leading Mitch on, even though that’s not what she was trying to do at all. There seems to be a weirdly contradictory perception of the kiss – people think it’s both trivial and significant at the same time. It’s just a fun little performative part of the song, and yet it’s seen as indicative of the state of their relationship, even by people who know it’s not. And it feels particularly appropriate that Mitch and Mickey are played by Eugene Levy and Catherine O’Hara, who have played opposite each other so many times that people kind of expect them to be together. I don’t know if anyone actually thinks they’re together in real life, but I imagine they can relate at least a little bit to having a bunch of people they don’t know expecting them to show romantic interest in each other. And I feel like this is a great example of how amatonormativity can harm everybody, regardless of whether they’re aromantic or not. Because everyone is expected to want and need a committed romantic partner, some people become overly invested in the slightest romantic gesture, so that even a kiss between two performers on stage is interpreted as a declaration of their undying love for each other. And I appreciate that they managed to stick that message into this very silly comedy, even as I’m aware that I’m probably reading way more into it than anyone intended.

The main reason I keep rewatching this movie is because most of the jokes are still funny even after you’ve heard them over and over. However, there are a few that feel a little offensive now. For example, Jennifer Coolidge is hilarious as a very clueless character, who talks about having one brain that she shares with Larry Miller, thinks that model trains are where they got the idea for the big trains, and doesn’t know how to hum. But it kind of seems like she’s putting on an accent that might be intended to make fun of a specific group of people. Although I can’t tell what accent she’s trying to do, so maybe she was just talking silly and it’s actually not offensive, I’m not sure. And then there’s the part at the very end, when Harry Shearer’s character comes out as a trans woman, and like…they kind of try to portray it semi-respectfully, but it still feels like the joke is meant to be: look, it’s a man with a deep voice wearing a dress, isn’t that so funny? And I don’t like that. Also there’s very little diversity: I think there’s only one black character, who only has one line, and everybody else is white, and most of the important characters are men. But compared to most comedies from the early 2000s, overall A Mighty Wind holds up surprisingly well. It’s another example of an “everybody was having way too much fun” movie that I love despite its flaws.

I got to see The Folksmen in concert in 2009, when Guest, McKean, and Shearer did their “Unwigged and Unplugged” tour. They also performed songs from This is Spinal Tap, which I think is probably what most people were there for, and it was fun to see them switch between playing rockstars and folk singers. Everybody in this movie is so incredibly talented, and I love that they’ve made a bunch of similar but different projects together to demonstrate their range. I don’t know why Mighty Wind gets talked about so much less than Spinal Tap and Best in Show because if you enjoy those two, I’m pretty sure you’ll also enjoy this one. And if you, like past me, have been avoiding this movie because folk music sounds like it would be boring, I can assure you that it is not.

Before I wrap up this episode, since this is a podcast about movies, I just want to take a moment to talk about the current WGA and SAG-AFTRA strikes. The billionaire CEOs of production companies are trying to convince the public that writers and actors are unreasonable for wanting to get paid for their work, in order to distract us from the fact that the very existence of billionaires in a world where any people – let alone people working for them – are struggling to make ends meet is preposterously unreasonable. I know it will be hard to wait for TV shows to come back and new movies to come out, but there are so many things for us to watch in the meantime. As audience members, we should absolutely be rooting for the actors and writers here. Think of how much better their art will be if they’re paid enough that they don’t have to work a bunch of side jobs to survive! So if you know of any writers or actors who have Patreons or anything like that and you have a little money to spare, now would be an excellent time to start supporting them. I’m also putting a link to the Entertainment Community Fund in the show notes [and here], if you want to support the cause more generally. This podcast wouldn’t exist without screen writers or actors, and I strongly feel that all of them deserve to be fairly compensated for their art. Remember that this strike isn’t about the movie stars making $15 million per movie; this is about the 87% of SAG-AFTRA members who don’t make the $26,000 required to qualify for health insurance each year. And I would like to wish any of my listeners who happen to be in the WGA and/or SAG-AFTRA the best of luck during what I hope is a crucial turning point in the industry.

Whether you’re in the entertainment field or not, thank you for listening to this podcast! Next week, I will be returning to Old Hollywood to talk about another film I watched 22 times that is only one minute longer than A Mighty Wind. As always, I will leave you with a quote from that next movie: “I just said I’d write it, I didn’t say I wouldn’t tear it up! It’s all in little pieces now, and I hope to do the same for you some day!”

Thor: Love and Thunder (2022) Review

Am I the one who thought of that Britain’s Got Talent contestant Stavros Flatley when Russell Crowe popped up in this film? With the accent and the general demeanour? No? Just me? Fair enough.

Plot: Thor's retirement is interrupted by a galactic killer known as Gorr the God Butcher, who seeks the extinction of the gods. To combat the threat, Thor enlists the help of King Valkyrie, Korg and ex-girlfriend Jane Foster, who, to Thor's surprise, inexplicably wields his magical hammer, Mjolnir, as the Mighty Thor. Together, they embark upon a harrowing cosmic adventure to uncover the mystery of the God Butcher's vengeance and stop him before it's too late.

Thor: Ragnarök is still to this day my favourite Marvel Cinematic Universe film. It perfectly reinvented the titular character by seamlessly blending Taika Waititi’s energetic comedic timing with the mythology already built by the franchise prior, and truly that movie felt as if it came out straight from a comic book. The many colours and the inclusion Mark Mothersbaugh’s synthetic heavy 80′s techno pimped music score really made this entry a stand-out. So naturally I was looking forward to Thor’s fourth outing, especially since the entire Ragnarök creative team were coming back. Of course there was also concern, as since Avengers: Endgame the MCU has seen a dip in quality, as the lack of narrative direction has made most of the newer films very mediocre at best. But hey, in Taika we believe, so scurried into the cinema I did on opening day, ready for some Thortastic madness! By the way, did anyone know that Ben & Jerry’s now do ice cream shakes at the cinema? B&J SHAKES!? I mean c’mon, I’m trying to budget here and then Ben & Jerry’s come and pull this stunt. They taste rad though, not going to lie. Anyway, with a mighty fine shake in my hand, I sat in the cinema, ready for Thor’s next adventure. What could possibly go wrong?

I’m so glad I had that Ben & Jerry’s shake, at least I got some good out of this cinema outing. It is to my huge disappointment to reveal that Thor: Love and Thunder may just be Taika Waititi’s first real flop. The movie is a rushed mess and a half. It feels similar to Guardians of the Galaxy Vol. 2 where Marvel gave James Gunn full creative freedom after he proved himself with the first Guardians film, now Taika to has been given full creative reign and the result is waaaaayyy too many cringey jokes, a lot of which don’t hit, and a very weak narrative plot, especially as the movie rushes through all the events, instead focusing on trying to fit in as may gags and humanly possible. 

First and foremost, they dumbed down the character of Thor to the point that we behold a bumbling idiot doing stupid things for the sake of jokes. In Ragnarök, yes Chris Hemsworth lent more into the comedic side of the character, with the innocent child-like outlook on certain things, however he was still cool. He still felt like a Norse god who can kick butt and lead an army. In Love and Thunder however, he is just silly to the point that you don’t see him as the hero anymore. What’s worse is that the movie reminds you of the good times, as there are a couple of dramatic scenes between Thor and Natalie Portman’s Jane Foster, where Hemsworth actually shows signs of tender serious emotions, but then within minutes that is lost again in favour of some unfunny gag. And speaking of Portman, her return is actually one of the few highlights. Previously in the franchise Jane Foster didn’t have much purpose other than hey, Thor is a beautiful man, so he needs a beautiful woman to rub his face against. There was no chemistry or care for their relationship. However in Love & Thunder props given where props are due, Natalie Portman’s Jane Foster is utilized really well. Her relationship with Thor felt much more believable, and a certain flashback featuring their love backstory to the accompaniment of ABBA was one of the few successful sparks of humour in the film, and her story in the movie actually tackles some deeper subjects that I do wish were given more time to explore and delve into. 

In regards to other characters, there are a few, but again, due to the rushed plot where the movie seems to be racing against time itself, a lot of characters are heavily under-used. Valkyrie and Korg basically serve no purpose, other than the latter over-staying his welcome by cracking eye-rolling jokes. The Guardians of the Galaxy that are heavily featured in the marketing are in the movie for 5 minutes at best, if that. There are also a bunch of cameos throughout, some of which work, others not so much. I do want to talk about Christian Bale though, who plays the villain Gorr. As expected, Bale brings a powerhouse performance filled with gravitas and depth, however one that also has a bit of whimsy to it, and actually he was one of the best parts of the movie. Again though, not used enough. You have an A-list actor like Christian Bale and give him such a short role, that’s naturally disappointing. But in the moments he’s in he does magic. Metaphorically speaking but also physically, as he has this magical death sword which he spews out shadow monsters from. You know, typical evil bad guy shenanigans. 

Thor: Love and Thunder comes off as a big fat joke. It’s a self parody of itself essentially, opting to act as a 2 hour long stand-up show, only that the comedian didn’t bring any decent material to the stage. Don’t get me wrong, it has a good few entertaining moments, and visually its good to look at, especially if you want to see Thor’s butt cheeks, but all in all it’s an underwhelming experience. Especially if you’re someone like me who is a big fan of Thor, with not just Ragnarök, but the previous films too. I’m sad to say, no matter how much Guns N’ Roses hits Taika sticks in this film, it doesn’t save it from being nothing more that mediocre and forgettable. Ah heck, at least I had that Ben & Jerry’s ice cream shake. That’s the only thing that’s keeping me going right now.

Overall score: 4/10

Kurt Hummel Solos Ranked

Ever since I finished the Kurt Hummel Meta Series - Finding Kurt Hummel - I’ve been wanting to talk about the music a bit.  Well, here we go.  I have four different categories -- Solos, Duets, Small Groups Numbers, and Large Group Numbers, and I’m starting off with Solos.  

Kurt didn’t have a ton of solos on the show, but that made them special when we did get one.  Kurt’s solos are usually integral to his story line, and usually hold a great deal of emotion one way or an other.  And while not all of them are 100% tied to his own plot - I think they all show bits and pieces of his character.  

As a note - there are a few songs on here that may not initially be counted as a solo, but I’m doing so anyway -- either there’s a studio version with just his voice, or the tiny bit of someone else singing I’m kind of ignoring.  For this discussion, I’m counting them as solos. 

There are two songs, however, that I should mention first -- two short solos that didn’t have a studio release -- 

1. Pink Houses (Laryngitis, 1x18)

I still find this number quite hilarious.  Kurt’s attempt at emulating his dad, and therefore singing John Mellencamp, to seem more ‘masculine’ is not only a great comedic spot, but shows us really what the opposite of who Kurt is.  While, clearly, not a great song for Kurt -- we do at least get to hear Chris’s low register for once, and get a rare moment when we get to see Chris be actually comedic during a musical number -- something that didn’t happen all that often because Kurt’s musical numbers were usually serious in nature and involves a lot of crying.  It’s not a great performance - but it’s a damn entertaining one. 

2. Music of the Night (Choke, 3x18)

Another non-studio release for what is an extended comedic moment.  Kurt’s right - his rendition of this is pretty bland, and you can tell he’s not putting forth his best effort.  There’s clearly no emotional connection to the song that is a hallmark of his songs, especially his solos.  That said - the scene itself is pretty entertainingly comedic -- from his ridiculous choreography, to Tina’s bored version of Christine, to the massive amount of candles on stage.  The scene is a lot of fun - even if it’s not meant to be a serious performance. 

So, with those out of the way.... 

Kurt Hummel’s Solos Ranked: 

I should preface this with, these are, obviously, my own objective opinion.  While I am taking into account performances and effectiveness of the song, at the end of the day, these are my own opinions, and everyone will have their own version of the list.  

17. I’ll Remember (Goodbye, 3x22)

I don’t think that there are any bad Kurt solos.  There are ones that I don’t think work all that well, and this is one of them.  First off is the fact that I’m not a big fan of the song, originally done by Madonna.  While the song does fit the moment lyrically, and I do buy Kurt singing it, the song itself isn’t that great.  The performance is fine. Despite all the tears and wistful looks, it’s a bit standard of a performance that doesn’t lend itself to being all that memorable.  Also, there’s the fact that this song is dedicated to all the men in the room.  Ug, Glee your plot points suck sometimes. 

16. Don’t Cry For Me, Argentina (Special Education, 2x09)

This is the first of a few songs on the list that are technically sung by two people, but this has a Kurt-only studio version, so it’s here as a solo.  Kurt does relatively well vocally with this song.  But it’s clear that it’s not his song at all.  This is a Rachel song, which is made clearer as they sing it side by side as a comparison.  While Kurt sings it technically and proficiently fine, he doesn’t embody the song the way Rachel does in the scene.  (And that’s fine - the point is that it doesn’t fit him correctly.)  Kurt is a little stiff and uncomfortable with this song, with a sense of emotion that doesn’t quite connect.  And while fine for the scene that they’re doing - it lands this one low on my list. 

15. I’m Still Here (Bash, 5x15)

This is Kurt’s last solo of the series, and, unfortunately, the only representative of season 5 (and 6), which is why it really pains me to put it so low on the list, but, also unfortunately, there are a lot of issues with it.  First of all, at this point in the series, while old Diva Broadway numbers were his bread and butter - he had been growing past them, and while the song choice works for the story (mostly), the selection feels a little tired.  Vocally, he’s proficient enough, though it lacks some of the grittiness and understanding of, say, an actual old school Broadway Diva.  (I can see Rachel Berry singing this when she’s 80 a la Elaine Stritch.)  The choreography is a little weird at times - but they did let Chris do the choreography of this one nearly by himself, and it shows a little.  

One weird nitpick I have about this number is actually a production thing -- it’s clear that in the close ups Chris is doing better acting and giving more of an effort than he’s doing in the wide shots.  It’s a weird thing to notice but between that and the tepid performance in general, it brings this one way down on the list for me. 

14. Some People (Funeral, 2x21)

This one is a huge step above the others on the list, as the rest of this list is really a bunch of fantastic performances.  Chris really brings it in this one (and fun fact, he helped do the choreography on this one), as Kurt’s energy is high and all of his moves here are quintessential Kurt classics.  It’s like all of standard Kurt Hummel in one song, especially since it’s a classic old diva Broadway standard.  While I don’t have any complaints about the performance, the reason it’s so low is for two reasons.  The first one is the context -- it’s for an audition for a solo and not directly connected to any meaningful Kurt storyline.  And secondly - it’s just not a favorite song of mine.  But, Kurt at least gets to have a peppy and physically entertaining solo, which doesn’t happen very often, so it is worth a watch. 

13. You Are The Sunshine of My Life

Honestly, the only reason this as low as it is, is because I’m not a huge fan of this song.  There’s actually a lot of great things going on here.  For one, this is a really sweet performance for Kurt as he sings a sentimental song for his dad.  The choreography is silly, but it’s intentionally childlike as little Kurt came up with this with his dad.  Kurt sounds really good when he’s in his lower register (I actually love his lower register - which isn’t complimented enough).  And one thing I really like from second half of the series Kurt is that he’s less choreographed Broadway style and more reflective of the quirky weirdo that he is.  And this performance is exactly that. 

12. A House is Not a Home (Home, 1x16)

This is an interesting one, because there are a lot of great things going on here that bring it up the list, but a few things that very much drag it down.  First of all -- it’s the first showcase in the show of something I don’t see Chris get much credit for (outside the fandom bubble).  The fact that he’s able to act while sing.  It’s a difficult thing that Chris does masterfully here -- it’s not easy to make a solo next to a piano visually enticing but he really sells it.  Anyway - the way Kurt’s emotion bleeds through the song is perfect, it’s not too overt or too subdued.  And we really feel everything Kurt is feeling in this moment.  It feels real, in a way that isn’t apparent in a lot of the other characters when they sing songs (coughrachelcough).  This song is a fantastic reflection of Kurt’s emotional stance, and fits into the story wonderfully. 

Bringing it down... first of all, technically, Finn sings a verse of this.  And while I don’t consider this at all a duet (duets, I feel, are sung together), it’s still there, and still a glaring ear-sore.  (Sorry Cory.)  It sticks out like a sore thumb that Finn’s voice is not suited for this material, and while I see what they were doing with the story, it’s cringey when it gets there.  The other thing about this song is that it’s kind of uncomfortable to watch.  Kurt sells all of his emotion, but it’s focus point is an unrequited love, and the discomfort on Finn’s face, as well as a few others, makes it not an easy watch.  Still -- overall, this is a great number and a fantastic performance. 

11. I’m The Greatest Star (I Am Unicorn, 3x02)

This is kind of an interesting one to talk about because there are a lot of conflicting things going on.  It’s one helluva performance, it’s a terrible interpretation of the song, and it’s not a great choice of audition song for West Side Story (all of which was the point), but that doesn’t mean I don’t agree with Coach Beiste, that Kurt made the song his prison bitch.  If nothing else -- this really showcases just how talented Kurt is -- not only can he act while he’s singing, he has other talents as well, such as climbing scaffolding and using sai swords.  The comedic/tragic element of this song, for me, is the fact that Kurt’s trying to show off everything he’s able to do in one song -- and in effect, while being an incredible spectacle, kind of backfires for him.  (If he had done this one for his NYADA audition - I would have bought Carmen Tibideaux’s remarks.) I think this is often an underrated Kurt solo due to the high level of proficiency that’s needed to pull this off -- but it’s also not the best Kurt has to offer.

10. Bring Him Home (Diva, 4x13)

This is another one of those Kurt/Rachel comparison numbers that I count as a solo because there’s Kurt-only studio version and because it’s not really sung together but side by side.  What I really love about this number is that subtle delicacy that Kurt brings to the number.  It’s sung with a restrained emotion that’s perfect for the number that is a pleasure to listen to when compared to the over-emoting mess that Rachel is doing next to it.  The other fascinating thing I’m learning, as I do this list, is that there’s a sense of maturity about Kurt’s voice that I’m finding in the later seasons - which is really neat to listen for. My only real reason it’s as low on the list as it is - is because there’s the song holds no real weight for Kurt’s story.  I kind of wish the Midnight Madness song had not been the popular number of the year thanks to Les Mis, but something more meaningful to their friendship - but ah well, for Kurt, it’s still masterfully done. 

9. Le Jazz Hot (Duets, 2x04)

This is a fun number that really showcases Kurt’s talents and ability.  I really love the moment at the end when he sings his entire range.  Like I’m The Greatest Star and Some People, it’s a showoff number, but I think more so than those other two, Kurt really brings it extra in this one as the choreography and costume additions are incredibly inspired.  It’s not his greatest vocal solo, or the most meaningful, which is why it’s a little lower on the list, but it’s quite entertaining to see Kurt push in so much on himself, especially when forced to do so by the story, and thus makes it a memorable solo. 

8. I Want to Hold Your Hand (Grilled Cheesus, 2x03)

I believe with this one we’re getting into the iconic Kurt-solo territory.  The show already knew that Chris was a great pretty crier, and that was used to great affect in this entire episode.  The one really great thing that Kurt (and Chris in his acting) does is not over emote.  He sings songs with great emotion, but it’s usually controlled and right under the surface, making it incredible compelling.  (By contrast - Rachel is always over-emoting, and always giving the same kind of over emoting that feels bland the more you see it.)  The fascinating thing is that Kurt draws you into his world and his pain with song, and while he’s not doing much but standing there, he is letting you get a glimpse of what is behind the guarded shield he uses so much.  This is why Kurt solos are special, because they’re rare, and a rare glimpse of what’s going on in a character who blocks himself off so much from the outside world -- especially in the early years.  While I just happen to like the other solos on the list more, I believe this is one of the best performances on the show. 

7. Defying Gravity (Wheels, 1x09)

So.  This is the last of the side-by-side comparisons that I have on the solo list.  And I want to start by saying that vocally, even minus the intentionally botched note, it’s not very good.  Honestly - go listen to the season 5 version, and you hear how much better a vocalist Chris became, and it’s really a treat to hear him grow into his voice.  And I do think Rachel won this competition.  However...  there is something magical about this performance.  First of all, the song is deeply resonant for Kurt (and for Chris) and that comes through clearly in the song.  He embodies the emotion of the song in a way that Rachel (and I’ll argue Lea) doesn’t.  The lyrics are meaningful, and are acted out superbly.  And on top of that is a layer where Kurt is debating with himself as to whether or not he’s going to throw the song.  The vocals might not be there, but the acting is, and the emotion is, and on that alone brings this song so high on the list.  This is a character defining song if there ever was one.  

6. Blackbird (Original Song, 2x16)

Do yourself a favor - go on Netflix and watch this one, the youtube version cuts off Kurt’s head, which really is a disservice to the song and the performance, but it’s the only link I could find. 

First of all, I’m biased, because I really love this song.  Kurt sings it beautifully, too, which helps.  But really -- I think it’s an incredible story element on multiple levels.  Kurt’s singing a eulogy for a dead bird, which is bizarre when written out.  But this moment is perfect.  It’s a moment where Kurt’s restrained emotion is channeled beautifully through song, and we see, again, an element of Kurt himself, who has been caged throughout the whole Dalton arc.  So, it’s not only about the death of Pavarotti, but about the death of Kurt trying to be something he’s not - and the freedom that comes with allowing yourself to be you.  

On top of that, it’s a pivotal moment in the Klaine story, where Blaine finally gets to see the raw emotion of who Kurt is, and realizes he’s in love with him.  The fact that this song is so multilayered on top of a great and beautiful performance is really what makes it one of my favorites.  

5. I Have Nothing (Dance With Somebody, 3x17)

This might be the most controversial choice on this list, but I’ll stand by it because it is one of my favorites.  Yes, Kurt is straining to get to some of those high notes, vocally it’s a bit raw and forced.  But my god, it’s one of the most stunning displays of emotion that he ever gets to do.  Not only is this song about him, and the type of person he is, it’s also about love, and how Kurt expresses love.  

Like so many of his best performances, there are a lot of layers going on here.  Not only does it have the emotional intensity that A House is Not a Home did, but it has a razor sharp, singular focus that the other song lacks.  Kurt is expressing himself, the best way that he can, to communicate to Blaine -- and the two of them have an unspoken dialogue during the song, which is really incredible.  (The acting chops for both Chris and Darren here are really remarkable.)  It is the most romantic performance on the list, and one of my favorite moments on the show. 

4. The Boy Next Door (Choke, 3x18)

Believe it or not, this is one time I’d actually recommend the studio recording over the show performance.  Despite lacking the Gold Lame Pants of Infamy, the studio version really showcases just how amazing this performance is.  But anyway - unlike Carmen Tibideaux, who clearly doesn’t know our Kurt Hummel, there is nothing surface level about this performance.  And unlike I’m The Greatest Star - this isn’t Kurt trying to shove everything he can do into one performance, it’s showcasing who he is as a person and a performer.  Vocally, it’s fantastic, and I’m glad the later seasons allow Kurt to do more songs settled in lower registers - as that part of his vocal range is really quite beautiful.  Visually, this is Kurt emulating a bit of Hugh Jackman while retaining some of his own, unique elements.  This performance is truly special because it’s a time when Kurt realizes that it’s okay for him to be himself, and lets that shine through song. 

3. Rose’s Turn (Laryngitis, 1x18)

Kurt’s first real big solo in the show, and it’s absolutely stunning.  The fascinating thing about this one is, again, just how much is going on here.  Kurt slowly gets to unravel, shaking off the expectations that he thinks society is putting on him, and blossoming into who he really is.  This song is perfect for him as a character in this moment.  While the vocals are a little shaky at times (I’m noticing that a lot about season 1 Kurt) the performance is not.  We never really get to see Kurt be angry and gritty through song again, but I’m glad we do have this moment to show how it would go.  I love everything this number chooses to be, and everything that it says about Kurt, which is why I feel it’s one of his best numbers. 

2. Being Alive (Swan Song, 4x09)

There is something kind of magical about this song.  And this is the reason that I find it tragic we don’t get an emotionally powerful song from Kurt after this point.  (Though - after this point, we don’t get a long going individual Kurt arc either, so I suppose it makes sense.)  But here’s the thing about this song... It is Kurt going inside himself, and reflecting on all the pain and heartache that his life has given him, and all the struggles he’s had in the change from child to adult, and almost unknowingly, as the song continues on, getting lost on that emotion as he reflects.  It’s very hard for, I believe, for a musical number such as this to work on TV -- that relies on more action and visuals than other mediums.  But as I’ve stated in all of these other entries -- Kurt (and Chris, really) is the master of reflecting all these different, conflicting emotions on his face, and making it visually compelling, even if it’s one person in a room, and nothing else going on.  The emotion, the complexity, the story is all there in a performance much more mature than anything that had come before it.  This is really one of the most beautiful and richly developed performances on the show, and truly one of the best that Kurt has to offer. 

1. As If We Never Said Goodbye (Born This Way, 2x18)

I debated for a while which would take the top spot, and what I kept coming back around to was that while Being Alive is the most technically proficient, and deeply profound of Kurt’s solos... As If We Never Said Goodbye is the epitome Kurt’s character and story all wrapped up in one.  It is his most iconic solo, and for a reason.  It’s all of the emotion, vulnerability, and deeply layered story telling we get so often from Kurt Solos.  It perfectly describes the journey this character has been on and where it’s going, as well as just being a fantastic performative piece.  It’s helped by the fact that the show allows the whole five minute song to be sung, where we get to follow Kurt as he moves from one stage of his life to the next, again another song about coming out of his shell to reveal his true identity and what is buried in his heart.  This song is why I love the character, and why I love his story.  The fact that it’s subtle and refined, but having so many layers if you’re willing to look.  It’s beautiful and imperfectly perfect, just like Kurt Hummel.  

Recasting Shitty Men For Fun And Profit

So we all know that some of Hollywood’s biggest names are, in one way or another, just terrible. So here are a few of my suggestions on who can replace them in big upcoming films (disclaimer: I know that it’s far too late to make any of this changes, this is just a fun little hypothetical).

1. Chris Pratt in Guardians of the Galaxy Volume 3, replaced by: Sarah Swire 

An unconventional pick, but I think that she certainly has the comedic energy required and can definitely handle herself in an action scene. Music is also a key part of the Guardians franchise, and Swire is an excellent singer, dancer and choreographer. While the role I’m most familiar with her from is a bit more stoic about her angst than these films tend to be, I do feel confident that she’s got the dramatic chops for the part.

2. Liam Neeson in Men In Black: International, replaced by: Ben Schnetzer 

He’s probably a bit young for what I suspect they’ll do with this part, but that’s a small hurdle to overcome with the wonders of modern technology. More importantly, Schnetzer is a hugely charismatic performer, who, while I haven’t really seen him do action, can bring the sort of intensity that seems to be Neeson’s main selling point. I also have a good feeling about his chemistry with Chris Hemsworth and (if they end up sharing scenes together) Tessa Thompson.

3. Bryan Singer directing X-Men: Dark Phoenix, replaced by Greg Berlanti  

He’s got experience directing superhero action without being a part of the big superhero film clique, I think he also has a talent for some of the core themes of the franchise; I firmly believe that any great high-school film is already half of an excellent X-Men film, and he directed one of my all time favourite high school films.

The Mosley Review: Bad Times at the El Royale

Its one of the oldest story and plot devices in film history and somehow it still stays fresh. Take a small number of characters and place them in a motel or hotel inn, none of them know each other and all of their secrets get revealed in a twisted number of events. I love those type of mystery thrillers because they end up being the most fun, violent and amazing. This film takes that premise and adds its own fun spin on it and I enjoyed every bit. The pacing of the story was great and the amount of intrigue behind each character was genuine and I cared for them all. The film had a touch of Tarantino esque story structure and I thought that was great. There were moments that I predicted, but I was actually surprised for the majority of the story.

The cast in the film was truly a talented group that were having the most fun. Thanks to this film, I have become a fan of Cynthia Erivo. As Darlene Sweet, she was outstanding and all of her talents are on display. She nailed the more emotional moments and her characters' evolution by the films' end was truly earned. Jeff Bridges was great as Father Daniel Flynn and he has a number of great moments of vulnerability. The chemistry between him and Darlene was fun. Jon Hamm was stellar as always as Laramie Seymour Sullivan and once his secret was revealed, it moved the story to the next level. Dakota Johnson gives an excellent performance as Emily Summerspring and I thought her sister in the film Rose, played by newcomer Cailee Spaeny, was equally excellent. Lewis Pullman was fantastic as Miles Miller and I loved that he was pivotal to the much darker secrets of the El Royale. Chris Hemsworth has shown his comedic side before and as Billy Lee, he brings together his natural charm, comedic timing and intimidating nature to make a new memorable character. Aside from his fun and weird gyrating, it was great to see him play a villain and I found it ironic that he was a cult leader given the his huge fan base.

Since the film was set in 1970, I expected an impressive soundtrack and I was not disappointed. The score Michael Giacchino was great and thrilling as the story started getting to its tension filled peaks. On another note of music, Cynthia Erivo sang almost all of her songs acapella in the film and her voice had so much passion and soul that it was truly intoxicating. As far as location mystery thrillers go, this was a good and fun film that has many characters that you'll like. I really did like this film and its worth checking out in theaters, but if you miss it then I would put this at the top of a Netflix rental.

"Tuck Everlasting" show #768

TheatreWorks Silicon Valley is closing out 2018 with a sterling production of Broadway’s short-lived musical, Tuck Everlasting. Chris Miller’s music paired with Nathan Tysen’s lyrics brings an elegant beauty to the musicalizing of this, literally, timeless tale. The songs soar, harness a folk feel, and have a few dance turns to truly diversify the audience’s interest. Adapting Natalie Babbit’s novel of the same name, book writers Claudia Shear and Tim Federle ensure the literary rhythm and gravitas is well-represented and dramatized in their script. Working in TheatreWorks’ favor is Robert Kelley’s sensitively intimate direction pairing well with Alex Perez’s appropriate and well-accenting choreography to make this Tuck Everlasting a perfect choice for the family this holiday season.

(Katie Maupin (Winnie Foster); Photo credit: Kevin Berne)

The central figure is young Winnie Foster who decides to run away from home in search of adventure. Played by Katie Maupin the night I attended, (the role is alternated by Ms. Foster and Natalie Schroeder) I couldn’t help but be swept into Winnie’s world when Ms. Maupin belts out her lyrics in the opening “Live Like This.” Not just your typical Annie, Dorothy, or Tiny Tim, this child role has depth, subtext, and layers that can be likened to that of Mary Lennox in The Secret Garden. It is no easy task to carry the show as Winnie; however, Ms. Maupin’s young maturity and incredibly smart use of her vocal talents are synced perfectly as part of Mr. Kelley’s direction. Once Winnie runs into Jesse, and subsequently the rest of the immortal Tuck family, her immediate chemistry with the family, and more pointedly Jesse, is believable and develops well through the course of the play. The drama of whether Winnie will or will not drink from the special spring may be the main plot of importance, but it is through the relationships and journey for Winnie, and those in the Tuck family, that it is successfully developed through Mr. Kelley’s staging .

(L to R: Eddie Grey (Jesse Tuck), Kristine Reese (Mae Tuck), Travis Leland (Miles Tuck), Jonathan Rhys Williams (Angus Tuck); Photo credit: Kevin Berne)

Eddie Grey delivers an energetic, sincere performance as the 102-year-old youngest member of the Tuck family, Jesse. Appearing to be 17 years old, Mr. Grey couples the wit of a youth with the tenacity of an experienced, secretive traveler effectively well. Mr. Grey’s voice is tops, especially in the dance-y duet with Ms. Maupin, “Partner in Crime,” a choreographic highlight for Mr. Perez. Mr. Grey creates an alluring family dynamic when in the presence of his parents, Angus and Mae, and especially with his older brother, Miles. Taking on the head of the household is Jonathan Rhys Williams as Tuck father, Angus. Mr. Williams’ genial demeanor as the ever-giving father and understanding voice-of-reason is genuine in his delivery, and culminates in a serenely staged “The Wheel.” Playing the mama Mae is a fantastic Kristine Reese. Her timbre is that of a young mother with every care in the world regarding her sons’ safety and her family’s survival. Ms. Reese endows Mae with a backbone, quick wit, and motherly strength that are approachable and respectfully intimidating, making her journey a delicious track to follow. Ms. Reese blesses the Lucie Stern Theater with a gloriously tuned duet of “My Most Beautiful Day” opposite Mr. Williams. Rounding out the Tucks is older brother Miles, played with depth and well-motivated acting chops by Travis Leland. Mr. Leland has the long game to play when it comes to depicting the drama surrounding the Tuck family curse of never aging. He makes it worth it when he delivers the emotional monologue leading up to the heartbreaking tale of his son in the front half of “Time,” a solo-turned-quartet with the rest of the family that serves as a harmonious triumph in Act Two.

(Jonathan Rhys Williams (Angus Tuck) and Katie Maupin (Winnie Foster); Photo credit: Kevin Berne)

Featured standouts come at the hands of David Crane as deputy-in-training, Hugo, and Colin Thomson as Constable Joe. Mr. Crane shines in his quirky, introductory solo, “Hugo’s First Case.” Mr. Crane and Mr. Thomson steal the show in the second act with a much-welcomed song-and-dance turn in “You Can’t Trust a Man.” Mr. Thomson’s infallible comedic chops are on fine display leading up to this song, and pay off magnificently during, and after, the duet. Matching the comedic timing skill is Lucinda Hitchcock Cone as Nana. A spitfire-written character, Ms. Cone handles the timing and delivery with expertise and strength. Michael Gene Sullivan does well as the Man in the Yellow Suit, a true show stopping role when performed right. Mr. Sullivan certainly has the villainous charm permeating his performance, but is vocally lacking in the song-and-dance department when it comes to the Act Two romp, “Everything’s Golden.”

(Standing: David Crane (Hugo), Kneeling: Colin Thomson (Constable Joe); Photo credit: Kevin Berne)

The designs for Tuck Everlasting truly make the difference in communicating the magic and whim of this tale, and the team at TheatreWorks is more than up to the job. Joe Ragey’s tree-filled, woodsy scenic design creates an environment that serves as a comfy home for the audience to live in for the two hour production. It’s decorated nicely and cozily while still giving the impression of being a vast forest. Fumiko Bielefeldt’s costume design is great across the board of characters, endowing a palette of colors and frocks which complement the 1893 New Hampshire period and location, while still adding pop and color to each character, especially that (appropriately so) ghastly Yellow Suit. And what would this story look like if it weren’t for a splendid, mood-setting lighting design? Not good, that’s what. However, Pamila Z. Gray is the right designer for the job, as the musical never lacks in properly illuminating the action, emotion, and story.

(L to R: Marissa Rudd, Michael Gene Sullican (Man in the Yellow Suit), Giana Gambardella; Photo credit: Kevin Berne)

As I said at the beginning, Tuck Everlasting didn’t last long on Broadway, and truly, I don’t know why. I went into the Wednesday night performance completely in the dark as to plot and music. By intermission, I became a huge fan of this story. Do yourself and your family a huge favor and purchase your tickets to this musical, because it’s not often stories this good are staged this well. Go see this show!

Details:

Tuck Everlasting runs through December 30th

TheatreWorks Silicon Valley at the Lucie Stern Theater, Palo Alto

www.theatreworks.org

Day Seven of the 30 Day Writing Challenge

Today’s prompt is: “List 10 songs you’re loving right now.”

I know I keep stressing that I am more fond of older generations of things, but you guys are really gonna see what I mean with this one. Not many of these songs are gonna be younger than 30 years-old, because I genuinely don’t know many modern songs. Again, I’m not trying to be the “I’m not like other girls” type of person, I’m just being open and writing honestly. I’m going to do this one in actual list format, so here we go. These are in no particular order, because I can’t choose a favorite.

1. “The Show Must Go On” by Queen - I love this one for so many reasons. It is a very empowering song with a very optomistic beat, but it is also very sad to me. I can’t help but to think of how many times Freddie Mercury was absolutely drained from his illness, and yet, he stood strong and carried on with the show. It also doesn’t help that the song was also used in a very sad scene of a TV show that I adore. It was used in season 2 episode 6, I think, of “Cobra Kai” the Netflix series. Hey! A modern reference! I adore this show and it isn’t difficult to guess why. I mean it is a VERY well done spin-off of one of the best movie series from the 80s. I am just not a huge fan of “reboots” and “spin-offs” because a lot of the time they don’t capture the same vibe or magic of whatever the original may be, but since many of the original people are working on this series, they are making sure that the true “Karate Kid” magic stays the same. But you all didn’t come here for my review of a show. 

2. “I Am Not Afraid” by Charley Crockett - I am a sucker for good love songs. I am such a romantic, and good love songs just hit me directly in the heart. Whether I’m in love or not. This is just a simple love song about a person confessing to their love that they are not afraid of the good, the bad, and the ugly that is a relationship. It has a very relaxed mood that makes me feel like I’m in a rocking chair on a back porch somewhere. Crockett is a very talented artist. I just keep on finding new favorite songs of his. He is a modern artist, but he has a skill for making his songs fit into the same genre as the classic country that I grew up listening to. It is refreshing to me when I find an artist who is able to bring the older, more classic sounds back through genuine talent and not through computer generated sound and marketing. 

3. “Sittin’ on the Dock of the Bay” by Otis Redding - This song is so legendary! Listening to Otis Redding brings back many memories of me listening to my dad sing while he worked on things either around the house or outside. I had no idea what the songs were, but I just knew that if he was singing them then everything was going his way and nothing was frustrating him. I interpret this song as being the story of a young person being told by everyone around him what to do with his life. I feel like lots of people my age can relate to that message, because we are in the time of our lives where everyone else seems to know what is best for us. The only thing we can really do is sit (on the dock of the bay) and take life in as it comes to us. 

4. “I Don’t Want to be Alone” by Billy Joel - My mom is such a Billy Joel fan, and from a young age she got me hooked. I’ve known every word to “We Didn’t Start the Fire” since I was 12. This song, to me, feels like a real love story. Like one that could happen in reality. I interpret it as a woman giving a guy who had hurt her in the past another shot. She understands that she loves him, and he shows up because he loves her. She realizes that she is lonely without him. Joel has a way of making the stories in his songs seem so much more real. 

5. “Tennessee” by Johnny Cash - I have grown into such a Cash fan. I love how his voice always sounds so down to earth. Like you’re listening to an old friend tell a story. Songs about being happy with the path your life is on always bring me joy. Sad songs about hardship are wonderful and necessary, but I love the pure happiness that proud songs give off. Being from Tennessee myself, I am also always happy to hear a song about my home state. Tennessee pride is strong in this song. 

6. “Hard to Say I’m Sorry” by Chicago - I have been listening to a lot of Chicago recently. I haven’t found a song by them that I didn’t like. This song, in particular, tells me the story of a person who is very reserved and maybe finds it difficult to show emotion. I am a very shy and reserved person myself, and often times I find it very hard to show emotions to people I genuinely care for. Personally, I find this song very relatable and it tugs on my heart strings.

7. “The Long Way Home” by John Paul White - I am at an age where it feels like everyone is expecting so much greatness from me, including myself. I sometimes get far too caught up in trying to keep up with my “social clock” that It drives me batty. With my interpretation of this song, I am reminded that it is okay to take a different path in life, as long as I stay on the same journey. It reminds me that it is okay if I take my time and do things based on my own priorities. 

8. “Don’t Tell Me What Love Can Do” by Van Halen - This is another band that my mom got me hooked on from a very young age. I was so upset when I heard about our tragic loss of the legendary Eddie Van Halen. My interpretation of this song is a bit more comedic, and not nearly as deep as the other ones. I am the perpetually single friend in each of my friend groups. Being the single one gets strenuous when everyone is talking about how great their relationships are going, or everything their partners add to their lives. This song is kind of like a “stop rubbing my nose in it” sort of song for me. I find it kind of funny, because of course I support my friends and all of their happy relationships, but I also tease them all the time by telling them to quit bragging. 

9. “Somebody Up There Likes You” by Jackie Wilson - This is such a “feel good” song. A lot of Wilson’s songs just put a little more pep in your step, but this one never ceases to make me feel great. Recently, I have been rediscovering my own religion, and the religious references in this song just bring me joy. Whenever I am feeling down or like I need some religious encouragment, I listen to this song and dance things out. 

10. “Cold” by Chris Stapleton - I love Stapleton’s sound. Each of his songs sound like classic rock meets classic country and I really dig that. My dad loves him too, and anytime I hear him I think of my dad seranading me. Sometimes I need that, when I can’t visit him or when our family luck looks bleak. I also appreciate good piano and the riff in the beginning of this song makes me weak in the knees. I love it so much!  

There you have it, the ten songs that I am loving the most right now. I listen to a lot of music and my favorite songs change from week to week. I also have such a broad taste that spans over all genres, so those favorites vary even more. But at least I always have song recommendations for every occasion.

“Wonder Woman” Movie Review

Wonder Woman is the 4th and most recent entry into the DCEU following the likes of Man of Steel, Batman v Superman, and Suicide Squad, and stars Gal Gadot as Diana Prince/Wonder Woman as well as Chris Pine, Robin Wright, Connie Nielsen, Danny Huston, and David Thewlis. This movie was directed by Patty Jenkins and although it is part of the same DCEU as the other films, it is set way before, during WWI. After Steve Trevor (Chris Pine) crashes his plane in the waters of Themiscyra, an island of all and only female Amazonian warriors, Diana rescues him from drowning, and learns from him of a great and terrible war to end all wars. Suspecting an ancient and sinister presence is at play, Diana makes the decision to leave her home and goes off to fight, attempting to save the world from this looming threat and perhaps even itself.

I had fairly high hopes going into this film, and for good reason. There was a lot riding on the first big-budget female-lead superhero movie since Elektra (we all know how that turned out), but there was also a lot riding on this for DC’s cinematic universe. This was the first film in the DCEU that was set far enough apart from the other stories that it could actually feel like its own film, and the team behind it (particularly director Patty Jenkins) had all shown that they knew their stuff. The trailers were all pretty cool (minus the music choice in that last one), the film had been properly marketed, and once the review embargo lifted, the scores for the film grew staggeringly high.) So, yeah, I had my hopes up. Did it deliver? I’m happy to report that yes, it absolutely did…for the most part (we’ll get to that later).

Wonder Woman is a really good movie. Not only does is have far more narrative focus, drive, and depth than the other 3 DCEU entries, it’s also a lot of fun. Watching this film felt like a huge step forward not just for DC, but for women superheroes and women-directed superhero flicks. That of course is thanks in very large part to the extremely talented Patty Jenkins, who puts you right alongside Diana from the very beginning, allowing you to empathize with the character and see the sort of optimistic yet eternally fierce person that she is. This film spends a good deal of time on Themiscyra in its beginnings and the island is just as beautiful and lush as one would expect a paradise such as this to be. I’m not super knowledgeable about the Amazons, their mythology, or their way of life but I found myself intrigued by and relating to, in some senses, the lives they lead and how they interacted with each other, especially our central protagonist. Diana feels just foreign enough in our world to recognizably not be from there but relatable enough that it feels good just to have her take us along for the ride. And boy, what a ride it is.

DC is known for having pretty sweet action sequences regardless of their films’ qualities, but when you add action like this on top of an already pretty solid effort, it just adds a sort of memorability and enjoyment to it that wasn’t there before. And yes, that “No Man’s Land” sequence you saw in the trailer is just as sweet as you hoped it would be, if not more. The other action set-pieces (such as a battle on the sands of Themiscyra) also stack up really well. The Amazons are extremely adept warriors and show off their stuff as much as they can. There’s a lot of slow-motion during much of the action, and it does get a little tired as an effect after time, but it in no way compromises the action scenes as a whole.

Action isn’t all there is to this film, though. It takes some time here and there to have some quieter moments with its main characters. There are genuinely touching scenes that give it a sense of charm and optimism not often seen lately in the DCEU, like Steve teaching Diana how to dance, as well as some that lend of a sense of tragedy to the whole ordeal such as a soldier experiencing some PTSD dreams. When Diana interacts with Steve, both in their own sort of “fish-out-of-water” scenarios, it is an absolute treat to watch, providing a lot of the comedic punch this film has. And yes, people, this film has comedy, and not just comedy in that Man of Steel way where you recognize it but it doesn’t really work. A lot, in fact just about all, of the jokes in this film are genuinely funny.

The performances in this film are all extremely good, in particular Gal Gadot and Chris Pine. These two have fantastic chemistry and play off of each other in an incredibly charming way that doesn’t feel forced or unnatural. Gadot handles the physicality of Wonder Woman beautifully, taking command of every action sequence she’s in, completely making us believe she could wield that sword, swing that lasso, and use that shield with absolutely no problem. And although I wouldn’t have necessarily called it a standout, her performance as the character Diana Prince, when the action isn’t going down is good enough that it works for this film and what this film wants to do with her. Chris Pine, while I wouldn’t say it’s one of his more impressive performances, does manage to steal the spotlight a lot of the time by bringing a lot to both his humor and the conflict his character feels in contrast to Diana’s ideals. He doesn’t outshine Wonder Woman, but Diana Prince might still have just a bit of work to do.

This film is very good and should be looked at happily by both DC and their audience at large; but, it is not perfect. In fact, there are a number of opportunities it misses to explore the deeper implications of what a war like this really does to people, as well as where a war like this can spring from. The third act of this movie also has a sort of mix between that of Marvel-syndrome where the villains are not really that well developed and that DC-syndrome where the final battle is really just a massive fest of action, CGI, and saturated colors a lot of the time. I would’ve liked to have seen more of a subversion of that DC trope, just as the rest of the film is a sort of subversion of the entire idea that all these DC films have to be “dark” now. There’s just somewhat of a break between narrative focus and action focus in the third act, and while it doesn’t necessarily compromise the film as a whole, it does take it down a few pegs.

Still, this is a really solid effort on the part of DC, director Patty Jenkins, and the entire cast to bring Wonder Woman to life on the big screen which pays off a lot. Wonder Woman is a fun, optimistic, action-packed but also character-centric film that shines as easily the best among its DCEU counter-parts and is well worth the price of admission even without those to shine against, proving that not only female-lead superhero flicks can completely work, but female-directed big-budget superhero films should not have taken this long to greenlight. Patty Jenkins, I salute you. Go support this film, guys, seriously.

I’m giving “Wonder Woman” an 8.2/10.

Sheeesh!!! It's happening again. All these huge news came out just a day after I posted the last Random-News-Digest. I could've included them in that post instead!!! Personal ranting aside, let's get right through the news then... PS: Yeah, this one arrives a little early than usual, because I have to go off the grid for a while. At least until I return from embarking another exploration to the far off galaxy this week... ;D

Disney Live Action

Guy Ritchie is doing the live action adaptation for "Aladdin"? I'm sure you've already heard about that. The movie is going to be an action musical with Middle Eastern leads who have natural talents in singing and dancing? You've heard this before early last month? Well, it's a first for me, but of course... hell yes! That's GREAT news. But did you know which actor Ritchie is currently approaching to play the magical Genie? The answer is... much to everyone's surprise: Will Smith!

Okay, this casting? I'm not too sure about. The last time we had an African-American as a geenie was Shaquille O'Neal in "Kazaam", and that was... uhm, how do I put it? ODD? Not saying I don't like the idea, or that Smith's a bad actor, nor that I'm being racist or anything. I guess I just can't see the "Fresh Prince of Bel Air" in this role. And if we're indeed going about race, why couldn't we get another Middle Eastern actor, or at least an Indian for the job? Someone who's more 'racially appropriate'. Of course Smith's appeal is understandable. He's an actual singer so he'll nail the musical part nicely, a natural Oscar-darling for dramatic moments, and has comedic chops that might rival the late Robin Williams. Even if I feel Williams is pretty much irreplacable in this role.

The problem with Smith however, is that he has turned down Tim Burton's "Dumbo" before. That was due to scheduling issue with "Bad Boys 3". That Michael Bay movie had just lost its director, thus putting it on an uncertain delay, yet Smith hasn't walked back to "Dumbo". Thus suggesting that he's probably just not 'keen on' the project. If that's any indication, could we even expect Smith to take a higher coveted role like the Genie instead? Many seems to doubt it. Beside, the current situation is, he's just in "early talks" for this role, and we know that in Hollywood, that means 'nothing is yet set in stone'. Or legal papers, if you prefer to be more modernly accurate. LOL.

If I have a voice in this movie's production, I say just let Genie become a fully CG character. You know, like those household members in "Beauty and the Beast"? Thus they can get practically anyone who's NOT Will Smith to voice the role. Someone who has strong comedic timing, and is equally masterful at singing. Hmmm... why am I suddenly reminded of Seth McFarlane? Perhaps, because he was a standout in Illumination's "Sing!" last year? He can even be a prolific Broadway actor. What about Jamie Fox, Hugh Jackman, Nathan Lane, or... LIN-MANUEL MIRANDA? I think those names are much better choices than Smith. Here's a completely random suggestion though: Timothy Omundson, or Ben Presley from "Galavant"!!! They live in UK, have worked with Alan Menken before, for a Disney's ABC series, and CAN totally sing. Anyway, we can expect confirmation to this pretty soon, because apparently the casting call explicitly stated that: "Rehearsals begin April 2017. Shooting July 2017-January 2018 in the UK.". And April is about to end pretty soon! LOL.

DC Films

Here's a quick one from Warner Bros and DC! Because as we all should understand by now, they won't ever let Marvel take the whole week of spotlight onto themselves, right? They just need to sneak a completely random news of development here and there. This time, it's from Joss Whedon, whose name has been kindly talked about recently thanks to Kevin Feige kindly mentioning him during Marvel Studios' open house. And this news came from a very ironic place too: The red carpet premiere of the new Guardians movie! LOL to that.

The news was, well, Whedon is NOT looking for a big name to fill in her lead actress for "Batgirl". He said clearly, "I don’t have my eye on anyone. I’m creating this character, I’m in a dialogue with her, and then we’ll see who joins that later on. I doubt it’ll be a name.", which means she can be anyone. Whedon had a soft spot for Oscar-nominee Saoirse Ronan before ended up going with Elizabeth Olsen for Wanda Maximoff in "Avengers: Age of Ultron". And his TV works have always involved a strong female lead, like Sarah Michelle-Gellar in "Buffy the Vampire Slayer". So he can practically choose any actress for the character, including a relatively unknown. The big question though, how does WB feel about this? And considering the studio's really BAD habbit of pointlessly putting reference, will this actress debuted in "The Batman" before her solo movie? Which means she needs to be cast right away. We'll have to wait and see how this develops.

Wait a sec... turns out this news didn't really come from WB after all. But due to Variety asking Whedon about the project, when they bumped into him at the premiere. So not WB's intentional spotlight-hogging trick this time around. LOL. Sorry WB, my bad. This is why you shouldn't do that to other studios, as people would easily assume you're doing it again and again eventhough you're guilty of charge. Ahahahaha... *sigh*.

Fast and Furious

"The Fate of the Furious", which is a dumb title albeit a nice little twist on 'F8', raced through the box office and conquered the winning lane ever since it debuted. It has even amassed a record breaking global opening of all time, beating 2015's "Star Wars: The Force Awakens"! But with the franchise started getting a little... tiring, the question is, for how much longer it has the engine to keep on running? If the latest statement by producer Neal Moritz is to be believed, we're going to see this drug race-inspired movie - at least - up to "Fast and Furious 10". Which might be dumbly named "Fasten Your Seatbelt". Get it? LOL. That's already one more than the previously reported "Fast and Furious 9" by the way. Remember when Lucas Black was approached to do it until 9, but ended up a no-show in 8?

It certainly ain't stopping anytime soon though. Why? Because already, a plan is in motion for a... spinoff. Yikes! Yes, because apparently, due to the much publicized rift (is it real or fake? That has been settled though, I think... *sigh*) between lead actor Vin Diesel, and new regular Dwayne Johnson, it seems fans are now shipping Johnson's Luke Hobbs with Jason Statham's Deckard Shaw. Yep, the bad guy who killed Sung Kang's Han Seoul-Oh. Seriously, will Han's death ever be avenged? I haven't seen the eighth movie yet, but it sounded like Hobbs and big bro Shaw (while lil bro Shaw was singing his way in "Beauty and the Beast") actually had... great chemistry together?

It's currently 'in talks' stage for now, but I can already see it happening. Particularly considering The Rock would do any film, while Statham is in need of another franchise after his participation in "The Expendables 4" is put into question. Chris Morgan is expected to write, and the timeline would put it between the 8th and 9th movie. I'm not too sure about this idea, but perhaps, somewhere along the line we might be seeing a Han and Gal Gadot's Giselle "Mr & Mrs Smith"-esque movie along the way? Especially after Gadot's profile will get another significant boost following this year's "Wonder Woman". I'd certainly would watch that.

X-Men Universe

Now here's what I consider a rather 'dumb' report serving the headlines for "Deadpool 2". Actress Leslie Uggams is set to reprise her role as Blind Al in the sequel. Why is that dumb? Duh... because she's an important element of the first movie, stealing scene every single time she showed up. It would be a crime to not have her back! Not to mention, he's Wade's roommate. What I'm curious to know however, is whether Morena Baccarin will indeed reprise her role as Vanessa as well. I sure hope she will, otherwise it would mess up continuity... not that FOX have actually cared about it. Then again, Deadpool could've gotten away with it by turning it as a mockery excuse towards FOX. While at the same time, punching jabs towards Marvel Studios' case of Pepper Potts and Jane Foster. Ain't that a good idea, right?

Oh yeah, by the way, FOX has announced the official release date for the movie! Eventhough the first movie opened in February, its success has apparently warranted this sequel to change gears into a Summer movie. Yes, it will now open in June 1st, 2018. Which is a rather crowded spot, since Disney has "Han Solo: A Star Wars Movie" to open in the previous week, and the following week has WB's all-female "Ocean's 8" and Paramount's "Bumblebee" movie. Is this a wise move, then? I doubt. That's the way it is with FOX though, they don't give a damn about things like this. They've also set up Josh Boone's "New Mutants" to arrive on April 13th, 2018. Which is, a few months... AHEAD. Huh?

And a little movie called "X-Men: Dark Phoenix" that will arrive in November 2nd, 2018. Squaring off directly against Disney's "Mulan" live action revisit, this news just came in several hours ago (thank Jesus I can add it before this post goes up *sigh*)! Nope, don't be mistaken, it's not "X-Men: The Last Stand" that practically ruined the franchise the first time. It's a... reboot of said movie? Meaning it has the ultimate potential (same story, same WRITER) to do the same? LOL. Need I remind you, these are 3 different movies, set in an entirely 3 different timeline/universe, right? Once again, LOL to that.

Aaaaanyway. With the uncertainty of WB to produce any DC Films earlier than December's "Aquaman", looks like FOX is snatching all the empty superhero slots, eh? The only empty space is in January, March, and August to October, with SONY's "Venom" already dated in the last one. So NICE move to FOX....!!! I guess? *sigh*

Avatar

This is a direct follow up to the above paragraph. Remember the James Cameron's sequel that was supposed to open on December 2018, but got delayed and thus became occupied by "Aquaman"? Yep, I know what you're thinking. This whole release date business already sounds like a confusing game of chess! Well, brace yourself, because "Avatar 2", the sequel we never even asked, will now open on December 18th, 2020. Eeeeh? Not kidding. But what took Cameron so long to get one done? The answer is, because he's doing all FOUR sequels altogether. Yes, "Avatar 3" has been scheduled to open on December 17th, 2021, while "Avatar 4" and "Avatar 5" are coming in December 20th, 2024 and December 19th, 2025 respectively. Ain't that a mouthful to write! Those, if there's any among you, who are waiting for these... sequels, should be really happy to hear this news. You have 5 years of Avatar-time! You've got to hand it to Cameron though. This here is risky business. VERY risky. I can't even imagine what would happen if the 2nd movie is a bomb.

Marvel Studios

Let's start with the juiciest part! Just last week, I speculated that Marvel Studios will announce the female director for "Captain Marvel" when they return to Hall H of this year's San Diego Comic Con. Well, this is Marvel Studios, a studio known for catching people off guard, and they've done it again. Not just for one, but a double surprise at the same time.

Yes, the director for their first female-led female-centric movie has indeed been selected. And it's not one, but TWO of them! Marvel Studios officially announced (first reported by Variety) that Anna Boden and Ryan Fleck have been assigned to helm the project. So to you who wanted a female director, you get one. And those who prefer a male director, also get one. Fair and square!!! Intriguingly, their names weren't even part of the frontrunners list, so it certainly caught almost everyone by surprise. According to The Hollywood Reporter, apparently Marvel Studios met with several female directors since last summer; from Niki Caro (who has been hired to do "Mulan" instead), Lesli Linka Glatter, Lorene Scafaria, to Lucia Aniello, and Quicksilver's real life wife Sam Taylor-Johnson, with Jennifer Kent and Jennifer Yuh also in the early mix; before ultimately settling in on this "Mississippi Grind" duo. Turns out, they've managed to impress the studio with their vision for the movie, which put focus on elevating character's journey beneath all the spectacle. Sounds like something right up on Marvel Studios' alley, huh?

Just like the Russo Brothers, Boden and Fleck have done more TV based project, instead of big features. Does the similarity to Anthony and Joe feels more than mere coincidence? Clearly Marvel is taking their first female-led superhero VERY seriously. I wouldn't be surprised if Carol Danvers will be taking Steve Rogers' important role in the Marvel Cinematic Universe going forward. To be honest, I'm not at all familiar with the duo's work, not on movies ("It's Kind of a Funny Story", "Sugar", "Half Nelson"), nor TV ("The Affair", "Billions"). But I'm hearing good things about them, and considering Marvel Studios has a powerful knack in choosing who they partnered with (particularly ever since they no longer serve under Ike Perlmutter), I've completely put my trust in their decision. Lest we forget, people doubted that Joss Whedon, James Gunn, and also the Russos would deliver before. And now their movies are considered among MCU's best. With the smart and loveable Oscar-winner Brie Larson more than excited to front, a script currently in progress by Nicole Perlman and Meg LeFauve, and an official production targetting a February 2018 start, "Captain Marvel" will arrive on March 8th, 2019.

After debuting their first worldwide tour in Tokyo, Japan, the Los Angeles Red Carpet Premiere for "Guardians of the Galaxy Vol. 2" has been held on Friday. As always, the glamorous event took place at the El Capitan Theatre. Unlike previous movies, I couldn't catch the live stream of this premiere, because I'm running out of data charge on my internet! After all, when you're saving up money to watch the movie (tickets' pre-ordered by the way, yaaaay! XD), you have no choice but to wait until early next month to get it reinvigorated. Whoops, let's get back on track. Most of the cast attended the celebration. Marvel Studios head Kevin Feige, co-president Louis D'Esposito, VFX producer Victoria Alonso, and director James Gunn were obviously leading the pack. They were joined by returning actors Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Karen Gillan, Michael Rooker, and Sean Gunn, as well as new cast members Pom Klementieff, Chris Sullivan, Elizabeth Debicki, and Tommy Flanagan. Veteran actors Kurt Russel and Sylvester Stallone were also in attendance, with a surprise appearance of one David Hasselfhoff! Okay, I didn't even know he has a part in this movie. I thought his name in the recently released Original Soundtrack was just pure coincidence. By the way, said album's tracklist could potentially be considered spoilerish, so you might want to avoid it the way I do.

Another press junket was held following the premiere, and the folks behind this movie has been spilling additional details here and there. The kind of information that you would want to steer away and avoid, if like me, you don't want to be spoiled ahead of the game. This could range from the simplest bit like: - Various critics' reviews as well as the first accumulated RottenTomatoes score can be expected to arrive very soon. So check your favorite entertainment sites in the next 24 hours or more, to see what their journalists have to say about this movie. I'm personally avoiding the internet after this to avoid spoilers, and will get back once I've seen the movie. 3 days from now! YAAASSS!!! \(^o^)/ - The fact that the movie's core theme is about family. Sean Gerber of Modern Myth Media, even said that the movie was "pure love", and something that should be watched together with their family. Gunn even dedicated this movie to his parents during the LA premiere. - That baby Groot is the star of the movie! Even fellow Marvel Studios director Peyton Reed thought he could win an Oscar! - New official images released on Entertainment Weekly that hinted towards various plot points. - A supposed Nathan Fillion's cameo that got edited out. Complete with proof by the actor himself, that turned out to nothing but a... prank? LOL. Though it's possible he's indeed the actor that Gunn openly admitted had to cut during post production. - About "the collector’s museum"-level Easter-Eggs-filled scene that went out in the cutting room... and might not be available as the Deleted Scenes. - About a surprise pop star cameo. - To the more complex one, like the removal of one character by the name of... *drumrolls* Adam Warlock!

Yes, turns out the Warlock was originally a major part of "Vol. 2"! Confirming that it was indeed his cocoon we saw in the first movie, but was decided to be saved for later movies. Once again, Gunn has been pretty open about this before, as he said that the script originally had 'one other' member of the team that he unfortunately had to let go. Yes, he WAS talking about Warlock, as the decision to omit him was because "it was one character too many and I didn’t want to lose Mantis and Mantis was more organically part of the movie anyway. So I decided to save him for later.". Gunn expressed his love for him though, eventhough we also shouldn't expect to see Warlock in "Avengers: Infinity War" as well, much to fans dismay. Nevertheless, Feige gave assurance that we will definitely see this important cosmic being in future movies.

By future, I believe we can expect this important character to show up later in "Guardians of the Galaxy Vol. 3", or even earlier in the UNTITLED 2019's Avengers movie. As I've always said, Adam Warlock is an amazing character because he's basically serving as both protagonist and antagonist due to his alter-ego Magus. And the prospect of having him playing a crucial role in future Marvel cosmic universe is enough as an excuse for me. Gunn stated to EW, that the "the three movies work together as a whole, they’re going to tell one story,". Which is exactly the reason why he agreed and excited to continue with "Vol. 3". Don't forget, we're getting Warlock's comic-book's 'sister' Ayesha and her golden-skinned race in this second movie. It would be very obvious, if Warlock will indeed take the follow up spotlight on "Vol. 3". One more thing, Gunn's collaboration with Marvel Studios won't be stopping after "Vol. 3". Birth.Movies.Death speculated, that Gunn is basically the architect of Marvel Studios' future cosmic universe, and I'm inclined to agree on that. Which his role important going forward. After all, Feige himself stated that Gunn "could easily oversee additional stories beyond Vol. 3.". I honestly can't wait to see what we can expect next in the massive galactic side of MCU, considering some of its more popular properties like Galactus, or Silver Surfer, are owned by FOX.

With one movie of 2017 out of the way, when can we expect the 2nd one then? The Los Angeles premiere for "Spider-Man: Homecoming" has been set for June 28th, 2017. Similar to the case of "Vol. 2", we can expect first screening reactions, critics reviews, and all the information dump related to Tom Holland's solo movie, beginning on early June. Or perhaps, much earlier? Yep, L.A. Times shared a new official photo of Spidey inside a pipe, accompanied by a breakdown of what his VERY convenient suit can do. After all, it's Tony Stark's creation! LOL. There's another one from EW, included in an article that focused on director Jon Watts' and Holland's experience with the production, considering the two "were in the same boat". In case you forget, "Homecoming" is the only MCU movie this year that takes place on Earth! So in that sense, it could be considered an important movie, because it's one of two that will directly lead up towards "Infinity War".

The other one is of course, Ryan Coogler's "Black Panther" that will arrive February 16th next year. A movie that had just wrapped production in Atlanta, but already sounds stunningly promising in many delicate ways: first female cinematographer in Rachel Morrison, dashing 'tribal-modern fusion' costumes by Oscar nominee Ruth E. Carter, fully imaginative high-tech metropolitan Wakanda, and stellar supporting cast, among others. Both Holland's Peter Parker and Chadwick Boseman's T'Challa debuted in "Captain America: Civil War" to critical acclaimed last year. We know that the two has officially joined the MCU's shirtless club, that even the bigwigs at Marvel Studios thought as something brag-worthy (LOL!!!). Yet the biggest question for them, is whether their stand-alone features will perform as good, or even better as the hype. Whether the directorial visions of Watts and Coogler are the right ones to catapult each solo title into their own franchises. Because if they are, then they will be joining the likes of Peyton Reed and Scott Derrickson who are moving forward with their second MCU movie.

Meanwhile, production for "Infinity War" is still ongoing in Scotland. And the latest sighting will make fans of the comics glee with joy. Why? Actor Paul Bettany was seen filming a romantic scene with Elizabeth Olsen, confirming that the relationship of his Victor Sha... I mean Vision and her Wanda Maximoff actually have progressed significantly since their encounter in "Avengers: Age of Ultron". There's something more to the scene though, because Bettany is NOT in his thick Vision makeup! Thus many have been assuming this could be either a dream-scene, or an alternate reality caused by one of the Infinity Stones. In fact, it makes sense to be the movie's happy ending too.

Speaking of 'happy ending', don't assume that this scene is part of the 2019's UNTITLED Avengers movie. Why? Eventhough the Russos DID plan to film both movies concurrently, apparently what might have sounded possible in theory, didn't work out so well in practice. Feige revealed to Collider, that the studio has decided to change course, and film both movies as back-to-back but entirely separate productions. "It became too complicated to cross-board them like that, and we found ourselves—again, something would always pay the price", he admitted, which might point out various issues like technical requirements of making sure both movie would be different from one another, actor's scheduling, and others. Which means, every behind the scenes candid images we've seen so far, are all part of "Infinity War". Feige then confirmed that they expect filming for the first movie to wrap in July, before moving on with the next one in August. Think of it like how Peter Jackson worked on his "The Lord of the Rings" or "The Hobbit" trilogies.

Last but not least, Feige also teased that while they are focusing on the seven ongoing tasks at hand, the MCU might be 'evolving' into a different form/route beginning in Phase 4. If... it can even be called that way, of course. "Certainly as we get to Infinity War there is a sense of a climax if not a conclusion to, by the time we’re at untitled Avengers 4, the 22 movies that will have encompassed the first three phases of the MCU. And what happens after that will be very different. I don’t know if it’s Phase 4, it might be a new thing.", he openly said to Collider. Intriguing, because if we observe closer, two of the confirmed titles ("Vol. 3" and "Homecoming 2") have their own separate and unique timelines; one probably mere months apart, while the other taking the "Harry Potter" yearly approach. A third that has been unofficially confirmed, the next chapter to "Doctor Strange", isn't likely to be bound by time and space either. Feige summed up that after 2019's Avengers movie, the MCU is "gonna be very, very different.". Hmmm... let's just say, I won't be at all surprised if the official title for Avengers 4 is called... "AVENGERS: SECRET WARS"! *wink*

Marvel TV

As Marvel's "Agents of S.H.I.E.L.D." closing in on its 4th season finale, the fate of this ABC network series remains a huge question. Will it be renewed for a 5th year? And will it serve as the final season, as Entertainment Weekly has predicted before? Fans of the show, however small and numbered it might be, are anxious to find out. But while we're waiting for the answer, Marvel TV isn't stopping anytime soon. Instead, they are moving forward with their two Freeform projects.

The first one is Marvel's "New Warriors", as the former ABC family network officially announced its main roster! As speculated, it's a combination of actual "New Warriors" members from the comics, as well as ones from "Great Lake Avengers". The characters were revealed last week, complete with a catchy comic book art to accompany the announcement. They are (in list, because I love one): - Doreen Green, or Squirrel Girl. Well, duh? Obviously she's part of the show! Because it's the character that Freeform has always wanted to get from the beginning. According to Freeform, Doreen is an empowered girl, and a natural leader. Fitting to her power of acrobatic, and as such, she is bouncy and energetic. She will be accompanied by her pet squirrel Tippy Toe, everywhere she goes. - Craig Hollis, or Mister Immortal. True to his superhero alias, he's practically unable to die. Problem is, the lazy guy hasn't made use of this ability at all, and tends to be cocky and grumpy instead. Freeform calls him as the team's troublemaker. Or as I would see it... the jerk whom I would easily hate. - Dwayne Taylor, or Night Thrasher. He doesn't have any super ability, but he's a... Youtube artist? Huh? Ain't that something that the millenials would dig, right? He's rich kid who's pretending he's not, because he's a local celebrity 'hero' who is... shamelessly full of himself. Wow, our first two guys both sound annoying already. - Robbie Baldwin, or Speedball. His ability is to launch kinetic balls of energy, which of course would require CG work. His character description is kind of important, because it confirms that the show takes place in the MCU. Yes, because he's a fan of the Avengers Tower. Unfortunately, he's "impulsive and immature people-pleaser with a misplaced sense of confidence". My oh my, why do all the guys are characterized like this? - Zack Smith, or Microbe. This guy might already be my favorite, because he's a shy and sweet big guy who... talks to germs? Huh? Yep, his ability practically turns him into some kind of telepath, as he can tell everything from the millions germs scattering in the planet. Considering the MCU has very few people who can be categorized as an actual telepath (Scarlet Witch, and Mantis?), this is a good excuse to make Zack be another one. Judging from the character design, it seems like an Asian-American is going to be cast for this character. - Deborah Fields, or Debrii. This lesbian African-American is proud, and has a sharp tongue. Always unafraid to say what she thinks, and calls out people on their BS. Sounds like an amazing frenemy to either Craig, Dwayne, or Robbie, right? She has the power of telekinesis, and also acts as some sort of trickster.

If you ask me, I think these characters are good, and also wise choices because they represent diversity. No actor has been announced just yet because the casting process is said to commence very soon. But considering how fast this show is moving forward since it was greenlit, I wouldn't be surprised if we're getting cast announcement next week! I'm still not sure if I can see this show, considering it's airing on Freeform, but the idea of a 30-minutes 10-episodes only live-action comedy is too good for me to miss out. Obviously, if there's one main concern I have for it, is whether they can nail the VFX for show or not. And how much practical effects that will be utilized. Like the case of Tippy Toe, will an actual squirrel plays the rodent? Or a completely CG character? Of course, having characters like Mister Immortal, Night Thrasher, and Microbe is a beneficial cheat, considering their abilities can all be done practically. Even Debrii's power can also be done through simple camera tricks. The biggest challenge would be Speedball's, and the appearance of Squirrel Girl. Let's hope showrunner Kevin Biegel, and Marvel TV can work these out. Marvel's "New Warriors" is expected to arrive in 2018, which means, plenty of time to get the VFX done.

The first trailer for Marvel's "Cloak and Dagger" has been released! I did NOT see this coming. After all, the series won't premiere until Winter 2018, right? Unless, that literally means January or February, since both months are still regarded as winter. Hmmmm. Anyway, as soon as I'm done with the trailer, I'm 100% certain that this show is NOT for me. Not saying it's bad, because the whole teenage romance thing is, well, certainly new for Marvel. So a 'good job' for them is at hand? I don't know why, it just doesn't work for me. The lack of special effects, perhaps (that practical one looks... weak, and fake)? Too soap-opera for my taste, probably? Or is it because a conservative soul like me and some others just couldn't get the charm of it. Maaaaan, I feel old *sigh*. As I said before, as much as I liked the characters in the comics, I'm going to give this series a pass. It's definitely a no go for me. The only thing I liked about this is the logo... and that's saying much.

I can't help but wonder if these lovers would somehow, in some way, have a crossover with the "New Warriors". Both are running in the same network, and the age gap between their characters aren't too big. Of course, we must not forget that "Cloak and Dagger" takes place in New Orleans, while "New Warriors" will be in... hold on, they haven't mentioned where the setting will be, huh? Character description for Speedball mentioned 'Avengers Tower' though, so it likely takes place in New York. If that's the case, now I'm wondering if Squirrel Girl and her friends will bump into any of the Defenders, or Doctor Strange, or even Spider-Man? Aaargh.... this whole #itsallconnected thing is confusing.

Netflix

Would you look at that! Marvel's "Luke Cage" has... begun production for its 2nd season? Wowzers... Marvel is certainly firing on all cylinders, attacking on all front last week, huh? However, just like Marvel's "Jessica Jones", this report didn't arrive from Marvel, who usually posted an official announcement for a start of production. Instead, this silently came into public's attention through some keen-eyed fans who spotted the working title of "Luke Cage" being set up in Port Washington, New York. Add to that, Simone Missick's tweet about her training for the new season, and many can easily come into the same deduction.

Intriguingly, assuming this report IS true, "Luke Cage" going into production at the same time as "Jessica Jones" feels a little suspicious, eh? If I recall correctly, "Jessica Jones" showrunner Melissa Rosenberg did teased about Mike Colter's Luke's appearance in the series. So I'm secretly wishing this is the case, because his presence did wonder in the 1st season. Don't forget, Colter was cast due to his chemistry with Krysten Ritter! As for "Luke Cage", we need to remember that showrunner Cheo Hodari Coker actually wanted to do a "Heroes for Hire" show. But we all know how it turned out right? He was hired to do the solo series instead. With Scott Buck being occupied with Marvel's "The Inhumans", and the uncertainty of his Marvel's "Iron Fist" getting another season (sad to say, it's Netflix and Marvel TV's worst-reviewed show so far), could we be seeing Finn Jones' Danny Rand and Jessica Henwick's Colleen Wing entering the world of Luke Cage instead? I certainly hope so, because that would be the WISEST decision for both series. Coker would get what he have always wanted, and Marvel fans can finally see these two lead characters turning into that charming best buddies we've always seen in various other medias. Not to mention, Missick's Misty Knight can pair up with Henwick's Colleen as well. Once again, just like in the comics! To be honest, I don't have any interest to see new season for both series at this moment, but a pleasant twist like that would totally alter said plan completely... XD

Of course, that's merely a random speculation on my part. And a wishful thinking too. If the recent exclusive on MCU Exchange is also true, then well, such fantastic crossover already sounds unlikely. Which means, there goes my excitement level...

As for Marvel's "The Punisher", Tyler Bates who has done work for James Gunn's MCU movies, will be lending his hand to score the series. Possibly hinting towards a more rock and roll, or heavy metal vibe to the music. One more thing, actress Rosario Dawson had openly stated that she won't be showing in the series. Not really a surprise, because her Claire Temple never really interacted with Jon Bernthal's Frank Castle before. I think her role will specifically be taken over by Deborah Ann Woll's Karen Page this time. She did remark that she would love to be in it, but scheduling conflict somehow prevented her from doing so. Marvel's "The Punisher" is expected to premiere this Fall.

Kamen Rider Shally

Tokusatsu scooper Dukemon, posted some reports regarding the next Kamen Rider season following "Kamen Rider Ex-Aid". According to him, the rumored title will be "Kamen Rider Shally", and as previously hinted before, is a SUSHI-themed. Shally will be using the Shally Driver, and Neta Units to transform. He added that Shally will have three forms, obtained through the Neta units: Maguro, Ika, and Tamago. These are all obviously named after variants of Sushi that uses tuna, squid, and roll-egg respectively. For now, we need to consider this rumor with a huge grain of salt. But Dukemon is reliable, as many report he posted ended up becoming a fact. So I guess we'll just have to wait and see.

Persona

"Persona 5" is still taking the main attention of many Persona-fans until now, but it seems Atlus is already moving forward with new projects for the franchise. According to Gematsu, Ryu's Office, the company who worked with Atlus to register domain names, has submited several Persona-related ones on April 18th. These names include: P3D, P5AG, P5D, P5R, P5U, Persona-Dance, PQ2. Three more were submitted on April 4: Persona8, Persona9, and Persona10.

Since they have created a crossover title between "Persona 4" and "Persona 3" before in form of "Persona 4 Arena", it seems likely that one of said domain might be a continuation to said title. Perhaps, the P5U one stands for "Persona 5 Ultimax/Arena"? I hope that's the case, because the possibility of the Phantom Thieves of Heart crossing path with the Inaba Investigation Team is too good to ignore. The notion of a Persona title from 8 to 10 is also intriguing. I don't recall we have heard any rumble of a "Persona 6" just yet, but they already book the spot up to 10! That's... WOW, right? Nevertheless, if Atlus can continue building better and better game like what they have done with P5, I don't see why there can't be a "Persona 10" somewhere in the franchise's bright future...

36 Hours in Indianapolis – The New York Times

Naptown. India-No-Place. My hometown had a lot of nicknames when I was growing up there in the ’80s and ’90s, few of them charitable. Even more generous ones, like “Crossroads of America,” seemed to say that Indianapolis was a place one merely passed through. But things have changed since then. These days, I’m playing catch-up each time I return home, overwhelmed by the new restaurants, galleries, venues and boutiques bringing youth and energy to its streets. A new public transportation system called the Red Line, opened in September, connects the mid-size city’s most vital cultural areas, making it easier and safer than ever to bounce from one hip dive or farm-to-table restaurant to the next. And for all the new places to eat, browse or catch a show, Indy stays true to its Midwestern roots: short on pretension, heavy on pork and still, for the most part, incomprehensibly cheap.

Friday

1) 3 p.m. Museums of all kinds

The Indiana Central Canal was dug in the 1830s as a way to transport goods, but was never completed. Today, the downtown portion is flanked with museums and parks as it makes its way toward the White River. Start at the Eiteljorg Museum just a few blocks west of Monument Circle. Dedicated to the American West, it is brimming with a world-class Native American art and artifacts collection, including works by contemporary artists like the painter Kay WalkingStick and the multimedia artist Joe Feddersen. For sports fans, a pleasant stroll along the canal, past the Indiana State Museum, leads to the N.C.A.A. Hall of Champions, which showcases talent in all 24 N.C.A.A. sports. And this month, the Kurt Vonnegut Museum and Library, dedicated to the city’s favorite literary son, is scheduled to reopen in its new location on Indiana Avenue, just a few blocks north of the Eiteljorg. Included in the collection are his drawings and an array of rejection letters, including one from The Atlantic Monthly that said his account of the Allied bombing of Dresden, Germany, during World War II wasn’t “compelling enough” to publish.

2) 6 p.m. Moonshine and shrimp cocktail

Opened in 2013, the Alexander hotel was developed as a joint venture with the Indianapolis Museum of Art. Art-themed hotels weren’t new, but the collaboration set it apart, as did the collection. Its crown jewel, however, may be the bar, Plat 99, designed by the Cuban-born artist Jorge Pardo, hung with 99 colorful, hand-molded acrylic lamps. The menu includes pick-me-ups like a latte made with doughnut milk for $6 (that’s milk in which doughnuts have been soaked) and a cocktail made with two kinds of local moonshine for $12. From there, grab a bar seat at nearby St. Elmo Steak House, which most locals agree is the city’s best steakhouse, dating to 1902. Stay for a dry-aged rib-eye, or just do what I did: Pop by for a dirty martini and its rightfully famous shrimp cocktail ($15.95). The sauce is made daily and not for the faint of heart: It’s at least three-quarters horseradish, edible with a fork.

3) 8 p.m. Dinner …

Just southeast is the hottest area in town, Fountain Square and the adjacent Fletcher Place neighborhood, where many restaurants have opened in the past decade, some of them quite good. Bluebeard, a James Beard Award semifinalist, is one of the best in town, with an ever-changing menu of locally sourced New American cuisine. Small plates might include chicken liver pate with pepperoncinis and candied pepitas ($14), while a regional staple like the pork chop comes with European accents like grilled focaccia, gremolata and smoked Coppa ($46). Looking for something more low-key? Iaria’s has been dishing out traditional Italian food in a family-style setting a few blocks away since 1933. Fill up on a huge plate of traditional spaghetti and meatballs for about $14, or fettuccine with spicy clam sauce for $21.

4) 10 p.m. … And a show

After dinner, head to one of the many music and entertainment venues clustered in Fountain Square. Hi-Fi and Radio Radio are intimate spaces for local and smaller national musical acts — mostly indie, folk, rock and hip-hop. Pioneer is the place for experimental, jazz, hip-hop, electronic music and late-night themed dance parties. The White Rabbit Cabaret hosts small musical acts, comedy, storytelling nights and rowdy burlesque shows. Nightcap? Stop by the deco-styled Brass Ring Lounge to mingle with the beautiful and tattooed.

Saturday

5) 10 a.m. Midwest heavy

A few years ago, Bon Appétit published a lengthy article in which the writer wondered “whether this city can hit all those Brooklyn notes and still feel distinctively like Indianapolis.” The answer was mostly “yes,” thanks in part to Milktooth, in Fletcher Place. Its strength lies partly in its razor-sharp focus: A self-confidently downscale, daytime-only joint, it goes all-in on heavy, classic fare in ways that feel new. The Dutch baby pancake comes with ham or shiitake mushrooms and Swiss cheese, cranberry mostarda and grapes ($14). The grilled cheese is made with cranberry walnut bread and black truffle honey, topped with a duck egg ($17).

6) 11 a.m. Vintage everything

I always hit the vintage stores back home because unlike in New York, that perfectly faded ’70s concert tee hasn’t been marked up to 10 times what it’s worth. Burn off that sourdough brioche doughnut from Milktooth by walking down Virginia Avenue to Vintage Vogue and its neighbor Zodiac Vintage, which specializes in vintage designer clothing, band T-shirts and American work wear. On the same block is Square Cat Vinyl, which has old records, but also a lot of new ones, along with a bar that serves coffee and beer. The neighborhood owes its vintage soul largely to the restored Fountain Square Theater building, first opened in 1928, which hosts swing dance nights and has two duckpin bowling alleys. (The 1930s-style alley on the fourth-floor, Action Duckpin Bowl, costs $40 an hour per lane.) For the uninitiated, the sport involves balls that can be palmed (no holes), like a cross between regular bowling and Skee-Ball. Like those sports, it can also involve beer.

7) 1 p.m. A deeply Hoosier sandwich

The closest thing Indiana has to a state food is the pork tenderloin sandwich: a tenderloin medallion, pounded until it is as broad and flat as an Indiana cornfield, then breaded and deep-fried. In its most authentic form, it’s a comedic sandwich: The meat can run 8 to 12 inches wide but is often served on a regular-size bun, meaning you can’t actually eat it with your hands. Hoosiers have strong and varied opinions about who does it best, but the tenderloin at Aristocrat, just south of the Broad Ripple neighborhood (in the area commonly referred to as South Broad Ripple), a wood-paneled pub and restaurant established in 1933, always ranks among the city’s best ($11.55). Aristocrat also offers a grilled, non-breaded (sacrilegious) version for (slightly) more health-conscious customers.

8) 3 p.m. Art and gardens

Head west to the elaborate grounds of the former Eli Lilly estate, home to the Indianapolis Museum of Art. The whole complex was inexplicably rebranded Newfields, but the art and botanic gardens are as world-class as ever (personal favorites include the extensive Asian art section and works by J.M.W. Turner and James Turrell), and the seasonal beer garden is delightful in warmer months. Across the canal is a 100-acre nature and sculpture park; like Storm King Art Center in upstate New York, it is especially lovely when the leaves are turning each fall. (The park is free; all-access admission to the museum and gardens is $18.)

9) 6 p.m. Broad Ripple ramble

Broad Ripple has had many identities over the decades — these days, it’s where the clubbing and sports-bar crowd parties on weekends — but the neighborhood never completely lost its bohemian roots, as evidenced by its many vintage stores, cafes, brew pubs and locally owned restaurants — my favorite being Public Greens, a cafeteria with a healthy, locally sourced menu (when I went, it included a strawberry salad with kohlrabi for $6 and a blackened trout bowl with quinoa, veggies and ranch dressing for $16) that donates 100 percent of its profits to charity. While you’re in Broad Ripple, stop by the Monon Coffee Co. for coffee or one of many teas — pu-erh ginger, sencha fukujya, blue jasmine with pea flower. (Full disclosure: I used to sling lattes there.) The area is also home to my two favorite Indianapolis record stores, both of which host in-store concerts: Indy CD & Vinyl, on the main strip, and Luna Music, just south on College Avenue. The Monon Trail, a wooded walking and biking trail paved over an old railway line, is just a few blocks out of the way and the nicest way to wander south before sundown.

10) 9 p.m. Beer, burgers, Benny Goodman

Across the street from Luna, make time for drinks at the Red Key Tavern, a quiet haunt for local artists and literary types since 1933. The secret to its conversation-friendly vibe is the rules, including no loud swearing and no standing at the bar. It doesn’t hurt that the drinks are unpretentious and cheap (a Manhattan with a maraschino cherry is $5.25; bottles of Miller Hi-Life are $3.25), the antique jukebox is loaded with Big Band 45s, and the cheeseburger ($5.50) is regularly voted best in town. (The kitchen closes at 10 p.m.)

Sunday

11) 10 a.m. Brunch insanity

“You can kind of, like, do stuff in Indianapolis, and it’s cheap enough where you can get away with whatever.” So sayeth Chef Chris Benedyk, of the appropriately named Love Handle on Massachusetts Avenue, the heart of the local gay scene and another bustling strip for restaurants, bars and boutique shopping. At Love Handle, that means getting away with putting things in your breakfast that confuse the brain but somehow make sense to the mouth. The fluid menu may offer fried oysters with your grits ($9). Waffles may come with braised beef tongue and a duck egg ($13). And if biscuits and gravy weren’t rich enough per usual, here they might include butternut squash and pork belly ($15.25).

12) Noon. Local goods

On the same block, stroll over to Homespun: Modern Handmade, which sells work by more than 400 artists and artisans, about half from Indiana. A few doors down, Boomerang Boutique also spotlights local designers, emphasizing diversity and women’s clothing and accessories. But it’s afternoon now, so head over to the tasting room at Sun King Brewery to sample the roughly 25 beers on tap. An in-house lunch counter run by Goose the Market, an upscale local deli that smokes and cures its own meats, has you covered if you get hungry again.

Lodging

Many hotels have art, but the art at the 209-room Alexander — made by local, national and international artists — is installed museum-style, with identifying wall texts. The downtown location puts you right in the city’s heart and close to Fountain Square, and the bar, designed by the MacArthur “genius grant” winner Jorge Pardo, is one of Indy’s most fashionable spots come nightfall (333 South Delaware Street; thealexander.com; doubles from $159).

A block from trendy Massachusetts Avenue, the six-room Nestle Inn offers a cozy bed-and-breakfast-style experience in a 19th-century building. The inn emphasizes its modernity: self check-in, private bathrooms and, instead of serving breakfast on-site, the inn provides breakfast vouchers for partnering Massachusetts Avenue restaurants. It also offers chef-led cooking classes Friday through Sunday. (637 North East Street; nestleindy.com, doubles from $159.)

Once you leave the clubs and sports bars of Broad Ripple Avenue, the surrounding neighborhoods are full of eclectic cottages, ranch homes and bungalows on quiet streets lined with old trees. The swath just east of College Avenue, roughly between 56th and 49th Streets, is great for Airbnbs, with entire bungalows starting around $60. Wooded jogging trails and dozens of bars and restaurants are within walking distance.

Sahred From Source link Travel

from WordPress http://bit.ly/32OLrnl via IFTTT