“The Phantom of the Opera” to Serve as Backdrop to Murder Mystery

Andrew Lloyd Webber’s The Phantom of the Opera is getting another life as the backdrop to a darkly comedic murder mystery anthology series. The Show Must Go On hails from Austin Winsberg, Robert Greenblatt, Lloyd Webber, pilot director Richard Shepard, The Tannenbaum Company, and Lionsgate Television, with Universal Television co-producing. Peacock is developing the hour-long anthology.

Season 1 of The Show Must Go On will be set behind the scenes during the making of The Phantom of the Opera Live!, which will be fraught with production problems, warring stars, network pressures, and a gruesome murder. The Phantom of the Opera will not actually be performed in its entirely during the series, as the series follows the musical coming together. Following seasons will feature a new televised event and cast.

Deadline broke the news. 

(Image from 2004′s The Phantom of the Opera)

whyd i add so many tags 2 this omg

who else had their country/movie theater release barbenheimer 2 days early🙋‍♂️🙋‍♂️⁉️

Hollywood and Elm Part 5 - Freddy's Dead: The Final Nightmare (1991)

In today's review, I find that ending often requires facing your fears. As I attempt a #positive review of Freddy's Dead #LisaZane #RobertEnglund #TobeSexton #LezlieDeane #ShonGreenblatt #BreckinMeyer #RickyDeanLogan #YaphetKotto #JohnnyDepp

Thinking about it, there can only be so long that a killer in a slasher film can go on. Soon enough, people would adapt, or they would run out of victims. What would happen if the likes of Freddy, or Jason, got their way? The results wouldn’t be sustainable. In 1991, the final bell tolled as audiences got to grips with Freddy’s Dead: The Final Nightmare. Taking the premise to its logical…

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Freddy's Dead: The Final Nightmare (1991)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

You’ll be happy to see the franchise end after Freddy’s Dead: The Final Nightmare. Actually, no you won’t. The only people seeing this film are those who have sat through the good and the bad, 6 movies which culminate… with this? Though it begins on a promising note, the picture inevitably begins retreading old ground and ends without an ounce of enthusiasm.

By June 2001, Freddy Krueger (Robert Englund) has returned and killed every child in the town of Springwood, Ohio. The last teenager (Shon Greenblatt as “John Doe”) is turned into the killer's pawn and sent forth by Freddy to lead his daughter back to him. Discovered while suffering from amnesia, John is brought back to Springwood by Dr. Maggie Burroughs (Lisa Zane), Tracy (Lezlie Deane), Carlos (Ricky Dean Logan), and Spencer (Breckin Meyer), unaware the town has become the butcher's playground.

The story begins with a spark of excitement. It seems a little weird for it to be set in the then-future but the idea of Krueger’s dreams powers growing strong enough to warp reality is awesome. In Springwood, people don’t age, streets lead nowhere, and the rules of physics no longer apply. The real world has become dream-like. It’s something new that also allows us to indulge in what we came to see: the supernatural kills. There’s a running thread of children resenting or being traumatized by their parents which helps keep everything nice and tidy. It also makes for good fears for Freddy to exploit. Unfortunately, when the kids start dying, the movie becomes as limp and tasteless as a stalk of celery left in the sun.

Firstly, the deaths are not creative - much less scary. A video game-related one, in particular, is so poorly executed it makes you wonder if writer/director Rachel Talalay (who I was hoping would bring some female sensibilities to this 6th chapter) has ever seen a game controller. The body count is relatively low, which would be fine if we got deeply invested in the characters and their demises felt like punches to the soul… but you don’t care. Every character is flat and uninteresting, merely deli meat for Freddy to chop up and serve on a platter of bad puns. The performances certainly don’t help either. The first Nightmare might've had patches of wobbly acting but Lisa Zane is so bad there’s no other word for it: she sucks.

As we dig into the mystery of Freddy’s child, the origin of his powers (like we needed to know that), and what made him tick while alive, you lose all hope. This movie’s got nothing to say and no ideas worth telling. Then, we leave Springwood. Say goodbye to the only promising aspect of this film as the characters re-enact what is essentially the first movie. This film only lasts 89 minutes, meaning the plot moves at break-neck speed so it can get to that Final Nightmare. It’s been ten years since the previous movie and no one from The Dream Child returns. Nonetheless, everyone either simply knows who Freddy Krueger is, or doesn’t care that there's a man who can slaughter you using your dreams. People take huge supernatural concepts in stride - anything to get us moving forward. We know what’s going on but how do they?

If you’re watching the movie at home, you probably won’t have the "privilege" to experience the climax's 3D scenes "as intended". You're not missing anything. It’s just further proof that the number-crunchers at New Line Cinema figured they could squeeze a bit more money out of the series’ fans by promising something new. It's not like a film ending with Freddy's defeat is revolutionary. We've seen it several times already.

My advice? Ignore Freddy’s Dead: The Final Nightmare film. If you must sit down with it, at least skip the end credits. On the right side of the screen, you’ll see a montage of some of the series’ “best of” and they’ll just remind you of how cheap and unmemorable this final chapter was. (2D version on Blu-ray, September 13, 2019)

Far-right politicians with an explicit history of antisemitism, such as Marine Le Pen, have been praised in recent months for their support of Israel and virulently anti-Muslim sentiment. On November 15th, Elon Musk tweeted out his support for the “great replacement theory”—the idea that Jewish people are engineering white genocide—leading to condemnations from the White House, and from X advertisers such as Apple and Disney. On November 17th, Musk announced an X ban on pro-Palestinian phrases like “from the river to the sea,” which he characterized as antisemitic hate speech. Minutes after the announcement, Jonathan Greenblatt, Director of the ADL, logged on to express his gratitude to Musk, writing: “I appreciate this leadership in fighting hate.”  In a recent article for the far-right Washington Free Beacon, provocatively titled “What Makes Hamas Worse Than the Nazis,”  bestselling British historian Andrew Roberts mounts a rousing defense of Nazism, ostensibly in the name of condemning antisemitism. Although the Nazi government began systematically murdering disabled and queer people even before the start of the war, Roberts insists that their operations were incidentally rather than deliberately sadistic, and that the majority of German people during the war opposed mass murder. If his aim is clearly to demonize the cause of Palestinian liberation as a whole, his exoneration of European fascism as “just following orders” is no less central of a claim. By conflating “antisemitism,” “genocide,” and even “Nazism” with Palestine, Hamas, and Islam as a whole, this kind of historical revisionism works to redeem the European far-right as inherently civilized even in its most barbaric actions.  Any attempt to adopt a more humanist perspective, to take a longer or wider lens on the annihilation of Europe’s Jewish communities, or to relate their struggles and suffering to the struggles and suffering of others would appear to betray the ethos of post-Holocaust Jewishness. Aimé Césaire and Frantz Fanon both famously argued that the extreme state violence of fascism and the Holocaust was an imperialist backlash, the excesses of colonial violence returning home, only shocking in that it took place on European soil. In his introduction to Modernity and the Holocaust, Zygmunt Bauman describes the insistence on the uniqueness of the Holocaust as a form of historical decontextualization. Or, more plainly, as a refusal to engage in collective self-reflection. “One way is to present the Holocaust as something that happened to the Jews; as an event in Jewish history. This makes the Holocaust unique, comfortably uncharacteristic and sociologically inconsequential.” Bauman asserts that the underlying rationale for this circular logic, by which abstracted antisemitism is both sole cause and sole effect of the Holocaust, is collective exoneration. It works as a shield for modern European civilization, capable of outliving such atrocities.

[...]

It is not incidental then that, in line with right-wing ideological programs, the mainstream current of Holocaust narratives primarily encourage identification with the perpetrators rather than with the victims. They are propelled by the cause of personal enlightenment, encouraging the reader to look within for evil and to root it out rather than ever looking outward at the world surrounding them. Evil, this version of history would have you believe, is a personal problem and not a systemic one. It can crystallize through a mysterious process into mass evil, a spiritual rot. This gives it a kind of mystical aspect. It is easier from this perspective to believe in the innate evil of some, in the innate goodness of others. This moral binary is frequently mobilized in defense of violence and injustice. In a deleted tweet, Netanyahu called Israel’s ongoing genocidal attack on Gaza “a war between the children of light and the children of darkness.” In a December 2023 speech, Joe Biden reaffirmed his condemnation of Hamas, which he implicitly collapsed into a condemnation of Palestinians as a whole, calling them “a brutal, ugly, inhumane people, and they have to be eliminated.” Both were invoking this moral binary, the deformed vocabulary of white supremacy and colonialism. For if the world is made up of people who are “good” and “bad,” “civilized” and “barbaric,” rather than of societies shaped by ideologies, then it is possible to characterize an entire group of people as evil, to dehumanize them, to declare them guilty all the way down to their newborn babies, to justify their mass murder. In broader terms, this is a totalizing story about history; one in which the European perpetrators of wars of aggression, ethnic cleansing, and genocide, can redeem themselves by retelling their crimes but this time as witnesses to horror rather than as active participants. They can atone and wash away the sin of what they have done by giving it a narrative structure with an ending and a moral lesson, one in which the Holocaust finds its silver lining in the creation of the state of Israel, one in which Europe becomes civilized again, one in which blame is shifted from Germany to Palestine, and from fascists to anti-fascists. 

Critics Choice Awards 2024: Christopher Nolan, Oppenheimer, Barbie, Succession, The Bear lead the wins

The Critics Choice Awards 2024 celebrated cinematic and television excellence on Sunday night, January 14, 2024. Chelsea Handler returned as the host for the evening. Christopher Nolan’s Oppenheimer shone, securing eight wins, including Best Picture and Best Director though Cillian Murphy missed the Best Actor win. Greta Gerwig’s Barbie claimed six awards, winning in categories like Best Comedy and Best Original Screenplay. Emma Stone earned Best Actress for Poor Things. On the TV front, Succession, The Bear, and Beef led the wins.

FILM BEST PICTURE American Fiction Barbie The Color Purple The Holdovers Killers of the Flower Moon Maestro Oppenheimer - WINNER Past Lives Poor Things Saltburn

BEST ACTOR Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Paul Giamatti, The Holdovers - WINNER Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction

BEST ACTRESS Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Margot Robbie, Barbie Emma Stone, Poor Things - WINNER

BEST SUPPORTING ACTOR Sterling K. Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr., Oppenheimer - WINNER Ryan Gosling, Barbie Charles Melton, May December Mark Ruffalo, Poor Things

BEST SUPPORTING ACTRESS Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Julianne Moore, May December Da'Vine Joy Randolph, The Holdovers - WINNER

BEST YOUNG ACTOR/ACTRESS Abby Ryder Fortson, Are You There God? It's Me, Margaret. Ariana Greenblatt, Barbie Calah Lane, Wonka Milo Machado Graner, Anatomy of a Fall Dominic Sessa, The Holdovers - WINNER Madeleine Yuna Voyles, The Creator

BEST ACTING ENSEMBLE Air Barbie The Color Purple The Holdovers Killers of the Flower Moon Oppenheimer - WINNER

BEST DIRECTOR Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer - WINNER Alexander Payne, The Holdovers Martin Scorsese, Killers of the Flower Moon

BEST ADAPTED SCREENPLAY Kelly Fremon Craig, Are You There God? It's Me, Margaret. Andrew Haigh, All of Us Strangers Cord Jefferson, American Fiction - WINNER Tony McNamara, Poor Things Christopher Nolan, Oppenheimer Eric Roth and Martin Scorsese, Killers of the Flower Moon

BEST ORIGINAL SCREENPLAY Samy Burch, May December Alex Convery, Air Bradley Cooper & Josh Singer, Maestro Greta Gerwig & Noah Baumbach, Barbie - WINNER David Hemingson, The Holdovers Celine Song, Past Lives

BEST CINEMATOGRAPHY Matthew Libatique, Maestro Rodrigo Prieto, Barbie Rodrigo Prieto, Killers of the Flower Moon Robbie Ryan, Poor Things Linus Sandgren, Saltburn Hoyte van Hoytema, Oppenheimer - WINNER

BEST PRODUCTION DESIGN Suzie Davies, Charlotte Dirickx, Saltburn Ruth De Jong, Claire Kaufman, Oppenheimer Jack Fisk, Adam Willis, Killers of the Flower Moon Sarah Greenwood, Katie Spencer, Barbie - WINNER James Price, Shona Heath, Szusza Mihalek, Poor Things Adam Stockhausen, Kris Moran, Asteroid City

BEST EDITING William Goldenberg – Air Nick Houy – Barbie Jennifer Lame – Oppenheimer - WINNER Yorgos Mavropsaridis – Poor Things Thelma Schoonmaker – Killers of the Flower Moon Michelle Tesoro – Maestro

BEST COSTUME DESIGN Jacqueline Durran, Barbie - WINNER Lindy Hemming, Wonka Francine Jamison-Tanchuck, The Color Purple Holly Waddington, Poor Things Jacqueline West, Killers of the Flower Moon Janty Yates, David Crossman, Napoleon

BEST HAIR AND MAKEUP Barbie - WINNER The Color Purple Maestro Oppenheimer Poor Things Priscilla

BEST VISUAL EFFECTS The Creator Guardians of the Galaxy Vol. 3 Mission: Impossible – Dead Reckoning Part One Oppenheimer - WINNER Poor Things Spider-Man: Across the Spider-Verse

BEST COMEDY American Fiction Barbie - WINNER Bottoms The Holdovers No Hard Feelings Poor Things

BEST ANIMATED FILM The Boy and the Heron Elemental Nimona Spider-Man: Across the Spider-Verse - WINNER Teenage Mutant Ninja Turtles: Mutant Mayhem Wish

BEST FOREIGN LANGUAGE FILM Anatomy of a Fall - WINNER Godzilla Minus One Perfect Days Society of the Snow The Taste of Things The Zone of Interest

BEST SONG “Dance the Night," Barbie “I’m Just Ken," Barbie - WINNER “Peaches," The Super Mario Bros. Movie “Road to Freedom," Rustin "This Wish," Wish "What Was I Made For," Barbie

BEST SCORE Jerskin Fendrix, Poor Things Michael Giacchino, Society of the Snow Ludwig Göransson, Oppenheimer - WINNER Daniel Pemberton, Spider-Man: Across the Spider-Verse Robbie Robertson, Killers of the Flower Moon Mark Ronson, Andrew Wyatt, Barbie

TELEVISION BEST DRAMA SERIES The Crown The Diplomat The Last of Us Loki The Morning Show Stark Trek: Strange New Worlds Succession - WINNER Winning Time: The Rise of the Lakers Dynasty

BEST ACTOR IN A DRAMA SERIES Kieran Culkin – Succession - WINNER Tom Hiddleston – Loki Timothy Olyphant – Justified: City Primeval Pedro Pascal – The Last of Us Ramón Rodríguez – Will Trent Jeremy Strong – Succession

BEST ACTRESS IN A DRAMA SERIES Jennifer Aniston – The Morning Show Aunjanue Ellis – Justified: City Primeval Bella Ramsey – The Last of Us Keri Russell – The Diplomat Sarah Snook – Succession - WINNER Reese Witherspoon – The Morning Show

BEST SUPPORTING ACTOR IN A DRAMA SERIES Khalid Abdalla – The Crown Billy Crudup – The Morning Show - WINNER Ron Cephas Jones – Truth Be Told Matthew MacFadyen – Succession Ke Huy Quan – Loki Rufus Sewell – The Diplomat

BEST SUPPORTING ACTRESS IN A DRAMA SERIES Nicole Beharie – The Morning Show Elizabeth Debicki – The Crown - WINNER Sophia Di Martino – Loki Celia Rose Gooding – Star Trek: Strange New Worlds Karen Pittman – The Morning Show Christina Ricci – Yellowjackets

BEST COMEDY SERIES Abbott Elementary Barry The Bear - WINNER The Marvelous Mrs. Maisel Poker Face Reservation Dogs Shrinking What We Do in the Shadows

BEST ACTOR IN A COMEDY SERIES Bill Hader – Barry Steve Martin – Only Murders in the Building Kayvan Novak – What We Do in the Shadows Drew Tarver – The Other Two Jeremy Allen White – The Bear - WINNER D’Pharaoh Woon-A-Tai – Reservation Dogs

BEST ACTRESS IN A COMEDY SERIES Rachel Brosnahan – The Marvelous Mrs. Maisel Quinta Brunson – Abbott Elementary Ayo Edebiri – The Bear - WINNER Bridget Everett – Somebody Somewhere Devery Jacobs – Reservation Dogs Natasha Lyonne – Poker Face

BEST SUPPORTING ACTOR IN A COMEDY SERIES Phil Dunster – Ted Lasso Harrison Ford – Shrinking Harvey Guillén – What We Do in the Shadows James Marsden – Jury Duty Ebon Moss-Bachrach – The Bear - WINNER Henry Winkler – Barry

BEST SUPPORTING ACTRESS IN A COMEDY SERIES Paulina Alexis – Reservation Dogs Alex Borstein – The Marvelous Mrs. Maisel Janelle James – Abbott Elementary Sheryl Lee Ralph – Abbott Elementary Meryl Streep – Only Murders in the Building - WINNER Jessica Williams – Shrinking

BEST LIMITED SERIES Beef - WINNER Daisy Jones & the Six Fargo Fellow Travelers Lessons in Chemistry Love & Death A Murder at the End of the World A Small Light

BEST MOVIE MADE FOR TELEVISION The Caine Mutiny Court-Martial Finestkind Mr. Monk’s Last Case: A Monk Movie No One Will Save You Quiz Lady - WINNER Reality

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Matt Bomer – Fellow Travelers Tom Holland – The Crowded Room David Oyelowo – Lawmen: Bass Reeves Tony Shalhoub – Mr. Monk’s Last Case: A Monk Movie Kiefer Sutherland – The Caine Mutiny Court-Martial Steven Yeun – Beef - WINNER

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Kaitlyn Dever – No One Will Save You Carla Gugino – The Fall of the House of Usher Brie Larson – Lessons in Chemistry Bel Powley – A Small Light Sydney Sweeney – Reality Juno Temple – Fargo Ali Wong – Beef - WINNER

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Jonathan Bailey – Fellow Travelers - WINNER Taylor Kitsch – Painkiller Jesse Plemons – Love & Death Lewis Pullman – Lessons in Chemistry Liev Schreiber – A Small Light Justin Theroux – White House Plumbers

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Maria Bello – Beef - WINNER Billie Boullet – A Small Light Willa Fitzgerald – The Fall of the House of Usher Aja Naomi King – Lessons in Chemistry Mary McDonnell – The Fall of the House of Usher Camila Morrone – Daisy Jones & the Six

BEST FOREIGN LANGUAGE SERIES Bargain The Glory The Good Mothers The Interpreter of Silence Lupin - WINNER Mask Girl Moving

BEST ANIMATED SERIES Bluey Bob’s Burgers Harley Quinn Scott Pilgrim Takes Off - WINNER Star Trek: Lower Decks Young Love

BEST TALK SHOW The Graham Norton Show Jimmy Kimmel Live! The Kelly Clarkson Show Last Week Tonight with John Oliver - WINNER Late Night with Seth Meyers The Late Show with Stephen Colbert

BEST COMEDY SPECIAL Mike Birbiglia: The Old Man and the Pool Alex Borstein: Corsets & Clown Suits John Early: Now More Than Ever John Mulaney: Baby J - Winner Trevor Noah: Where Was I Wanda Sykes – I’m an Entertainer

my loves >:)

fictional characters

ponyboy curtis, john b routledge, steven meeks, stu marcher, gar logan/beast boy, yeah-yeah, edmund pevinse, sirius black, fred weasley, george weasley, tasm! peter parker, james potter, regulus black, richie tozier, mike wheeler, max mayfield, lucas sinclair, augustus waters, charlie conway, guy germaine, adam banks, luis mendoza, kenny wu

celebrities

arianna greenblatt, george harrison, ringo starr, roger taylor, robert smith, kurt cobain, walker scobell, mason thames, this blonde guy i saw on pinterest, carrjond, finn wolfhard, lars ulrich, james iha, steve lacy, frank ocean, tyler the creator, beabadoobee, patti smith, emily dickenson

My 2023 reading list

I'm not sure why I'm sharing this. 40 books is more than double my average number for a year, but I don't really believe in book count as a useful stat. I rolled all the fanfic up into one item, but I counted each reread of my daughter's favorite as one 😁

Anathem is starred because it was my favorite, although it's honestly too hard to choose between that and the Silmarillion.

Anyway. I don't know. I just like keeping track.

Space Raptor Butt Invasion/Turned Gay by the Living Alpha Diner - Chuck Tingle

Richard II - William Shakespeare

Killers of the Flower Moon - David Grann

No Filter - Paulina Porizkova

The Future of Another Timeline - Annalee Newitz

You Look Like A Thing and I Love You - Janelle Shane

One Last Stop - Casey McQuiston

Henry IV part 1 - William Shakespeare

Spare - Prince Harry

Learning the Tarot - Joan Bunning

Clean Architecture - Robert C. Martin

Poetry of Petrarch

Gender Queer - Maia Kobabe

Will in the World - Stephen Greenblatt

Rocannon's World - Ursula K. LeGuin

Planet of Exile - Ursula K. LeGuin

City of Illusions - Ursula K LeGuin

The Three Body Problem - Liu Cixin (reread)

Old Babes in the Wood - Margaret Atwood (read most)

The Left Hand of Darkness - Ursula K LeGuin

Fugitive Telemetry (Murderbot #6) - Martha Wells

Circe - Madeline Miller

A Study in Scarlet - Arthur Conan Doyle

The Sign of the Four - Arthur Conan Doyle

Anathem - Neal Stephenson *

This Is How You Lose the Time War - Amal El-Mohtar and Max Gladstone

Exhalation - Ted Chiang

Camp Damascus - Chuck Tingle

Hamlet - William Shakespeare (reread)

Women Who Run With the Wolves - Clarissa Pinkola Estés

Best Wishes - Sarah Mlynowski (aloud to P****)

Frankenstein - Mary Shelley

More stories and poetry of Poe

The Lion, the Witch, and the Wardrobe - C. S. Lewis (aloud to P****)

The Lion, the Witch, and the Wardrobe - C. S. Lewis (yes, again lol, aloud)

Winter's Heart - Robert Jordan (WoT 9)

The Silmarillion - J.R.R. Tolkien

Rebecca - Daphne du Maurier (reread)

The Lion, the Witch, and the Wardrobe - C. S. Lewis (yes, again lol, aloud)

Hella fanfic

THE AARONS 2023 - Worst Film

It’s a marvel this category isn’t filled up with superhero films after the year they’ve had. Here are The Aarons for Worst Film:

#10. 65

A Quiet Place screenwriters Scott Beck and Bryan Woods don’t knock it out of the (Jurassic) park with their subsequent Spielberg homage. 65 will have viewers counting down the seconds until they can go home. The science-fiction tale strands stars Adam Driver and Ariana Greenblatt in a B-movie bereft of a reason to see it. The fusion of futuristic tech and ferocious animals should have been easy fodder for frivolous entertainment. Instead, the sluggish pace of the film’s imminent extinction event suggests it wasn’t a meteor or da ice age that killed the dinosaurs; it was extreme boredom. 

#9. Rebel Moon - Part One: A Child of Fire

Director Zack Snyder likes to paint himself as a rebel against a restrictive studio system while being constantly given new opportunities without cause. His latest big-budget misfire is a childish mash-up of Star Wars and Seven Samurai. Par for the course, the prosaic director copies his inspirations while completely misunderstanding their objectives. Already, the film’s awkward and abruptly-ended parade of thinly-sketched characters is being billed as another incomplete vision, requiring not just two parts but two cuts of each part to truly fulfill Snyder’s intentions. Maybe his hardcore fans will be pleased at the end of the prolonged journey; everyone else will be over the Moon long before then.

#8. The Exorcist: Believer

From the beginning, the involvement of David Gordon Green inspired little faith in Believer. Sure enough, the director of Halloween kills interest in his proposed trilogy one film sooner than his last. It’s unclear what exactly led the studio to release a sequel fifty years later that’s tamer than a TV edit of the original. It surely couldn’t have been the return of Ellen Burstyn in her Oscar-nominated role of Chris MacNeil given how quickly the film disfigures and discards the character. That said, it may be for the best that she could excise herself from the proceedings before its embarrassing ending. The franchise is no stranger to desecration but, even at its worst, it was never before this uncompelling.

#7. Five Nights At Freddy’s

Topping the box-office may have demonstrated audiences’ appetite for the haunted pizzeria franchise but, make no mistake, the film adaptation of Freddy’s is as run-down as its central establishment. The animatronic mascots at center stage only manage the most pedestrian of jump-scares; they’re far from the only ones just going through the motions. The script, written in part by franchise creator Scott Cawthon, stretches out its thin premise with banal characters and a bizarre child-custody B-plot. It might have been entertaining if it had been any more cheesy. Instead, Freddy’s only serves up an interminable runtime; five nights has never felt so long.

#6. Hypnotic

Hypnotic is aptly named; the thriller from Spy Kids director Robert Rodriguez certainly commands one’s attention. The plot, which revolves around Ben Affleck sleepwalking through a conspiracy involving dueling factions of psychics, is simply too inane to ignore. Rodriguez wrote his initial script back in 2002 but was clearly susceptible to outside influences; the film rips off several works that were released before and since, including the dream-like architecture of Inception. Although the director may pride himself on his low-budget prowess, even he can’t make those knock-off sequences look good (though they’re not the silliest instance of replicating elaborate scenery on a miniscule budget here). The film fulfills its intentions on one front: once it’s all over, audiences will have a hard time believing any of it was real.

#5. Children of the Corn

The latest offspring of the rotten franchise at least had a kernel of a good idea: the remake roots its characters’ motivations in righteous fury at environmental recklessness rather than strictly religious fervor. However, Children never develops this into any kind of sustenance. The horror here is as, ahem, corny as can be, particularly its stale translation of demonic entity He Who Walks Behind the Rows. Director Kurt Wimmer shows no growth as a director since his last film in 2006, the infamous Ultraviolet; the wooden child actors at least have their youth as an excuse. Sadly though, if ranked within the rest of the series, this one would still land in the middle of the row.

#4. Haunted Mansion

2023 was home to many failures for The Walt Disney Company, but none quite as ghastly as the new Haunted Mansion. It’s baffling how a film this overstuffed with actors (including Rosario Dawson, Owen Wilson, and Danny DeVito among many others) could end up this vacant. Indeed, the biggest throughline of the theme-park adaptation is not its attempted reflection on grief but its pervasive and perverse product placement (One character’s tearful monologue about his dead wife comes complete with a prominent Baskin Robbins namedrop). It’s definitely haunting, just not in the way they hoped for.

#3. My Big Fat Greek Wedding 3

The Big Fat franchise became even more bloated last year with a picture that can most charitably be described as ‘an all-expenses paid trip to Greece for its cast’. There’s certainly no storytelling reason why audiences are still following the adventures of this extended family, which haphazardly include a last-minute wedding of two very minor characters to justify its title. Nia Vardalos finally receives the director’s chair in addition to her regular writing work just in time for there to be no fresh direction to take things in. If she tries to reunite everyone for a fourth go-round, they would be wise to divorce themselves from it as quickly as possible.

#2. Pet Sematary: Bloodlines

Bloodlines resurrects the series last seen in 2019; if this was how it was going to come back, it should have stayed buried. While Stephen King is an imaginative writer, trying to stretch a single chapter of any novel into a feature-length film is like getting blood from a stone. The zombie prequel stumbles its way from scene to scene in search of life, but Bloodlines has nothing for audiences to relate to. Even screen icons like David Duchovny and Pam Grier can’t rouse any interest. Exploiting known franchises may be easy, but, sometimes, making anything else instead is better.

AND THE WORST FILM OF 2023 IS…

#1. Winnie the Pooh: Blood and Honey 

Disney slowly losing their stranglehold on intellectual property is a bit bittersweet; Honey is bad enough to sour anyone on the idea of a public domain. The shoddy slasher film, which blustered its way onto the marketplace as soon as the filmmakers could profit from it, is barely recognizable as Pooh but unmistakable as crap. Making the lovable animal into a feral murderer may be legal now, but writer/director Rhys Frake-Waterfield didn’t think, think, think up any other ideas beyond just stirring the pot. Winnie is hoping to prey on one’s curiosity with its premise alone. Word of advice? Don’t bother.

NEXT UP: THE 2023 AARON FOR BEST DIRECTOR!

Now showing on DuranDuranTulsa's Horror Show...Freddy's Dead: The Final Nightmare (1991) on glorious vintage VHS 📼! #movie #movies #horror #anightmareonelmstreet #freddysdead #TheFinalNightmare #freddysdeadthefinalnightmare #ANightmareonElmStreet6 #WesCraven #RIPWesCraven #freddy #freddykrueger #robertenglund #lisazane #ShonGreenblatt #lezliedeane #rickeydeanlogan #BreckinMeyer #YaphetKotto #elinordonahue #RoseanneBarr #TomArnold #alicecooper #johnnydepp #robertshaye #tobesexton #cassandrarachelfriel #chasonschirmer #racheltalalay #brianmay #vintage #vhs #90s #newlinecinema #durandurantulsa #durandurantulsashorrorshow

'Smash' Musical Headed to Broadway - Variety

Finally I can't wait to see it!!!!

Craig Erwich Overseeing Development And Current Works At Disney Television Animation, Disney Junior Educational Resource Group And Disney Europe Animation In Dana Walden Promotions

Craig Erwich CEO of ABC Entertaiment,Hulu Originals & Disney Branded Television Streaming Originals Craig Erwich will expand his role at Disney Entertaiment with overseeing development and current work for Disney Channel And Disney Junior alongside Ayo Davis,Meredith Roberts and Alyssa Sapire.

Under the role Erwic will report to Ayo Davis on the development for upcoming and current Disney Channel and Disney Junior shows with renewals and greenlights, This will include upcoming and current Disney TVA work for Disney Channel and Disney Junior

Shows on development for Disney Channel from the following creative members “Cheyenne Curtis,C.H Greenblatt,Nic Smal,Lucy Heavens,Amy Hudkins,Monica Ray,Latoya Raveneau,Noah Z Jones,Ryan W Quincy,Raj Brueggemann,Dave Cooper & Thurop Van Orman” and shows on development for Disney Junior from the following creative members “Jose Zelaya”.

Over the past six months, Ayo Davis and Craig have worked together very successfully on Disney Branded Television streaming originals. Ayo will continue to report to Craig for streaming, and now that structure will expand to also include the development and programming of Disney Channel and Disney Junior.

Craig greenlight live action series like “King Kong,The Spiderwick Chronicles,Percy Jackson and The Olympians,Eragon,House Of Secrets, Paola Santiago and the River of Tears,Witch Mountain,Sal & Gabi Break the Universe,El Zorro and Swiss Family Robinson” in terms of animation Erwich greenlight animated Disney TVA young adult serialized series “Rhona Who Lives By The River and The Witchverse”,animated young adult workplace comedy “Intercats” and a reboot of the popular 1991 series “Darkwing Duck” from Point Grey Pictures all these projects are set to release on Disney+ all under the leadership of Disney Branded Television CEO Ayo Davis.

‘Phantom Of the Opera’ To Serve As Backdrop Of Murder Mystery Anthology Series In Works At Peacock From Austin Winsberg, Robert Greenblatt, Andrew Lloyd Webber & Lionsgate

EXCLUSIVE: In a competitive situation, Peacock has landed for development, The Show Must Go On, an hourlong murder mystery anthology, which would mark the first time Andrew Lloyd Webber’s The Phantom of the Opera musical is used as part of a TV series.

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The Show That Never Was

In 2018, one year before Thrones was set to air its series finale, HBO announced a pilot order for a potential successor series: a show with the working title of Bloodmoon, taking place years before the events in Thrones, during the fabled Age of Heroes and the wintry apocalypse known as The Long Night. Its showrunner, Jane Goldman, had considerable success making acclaimed R-rated genre hits, with credits like Kick-Ass and Kingsman: The Golden Circle.

According to Orsi, Bloodmoon won the bake-off on merit. “Bloodmoon really stood out as different, with unique world-building,” Orsi says. “Tonally it felt very adult, sophisticated and intelligent, and there was a thematic conversation at the center of it about disenfranchisement in the face of colonialism and religious extremism.”

Except Martin had published only about eight lines of text about the time period of the show, leaving Goldman little to build from. “Bloodmoon was a very difficult assignment,” Martin says. “We’re dealing with a much more primitive people. There were no dragons yet. A lot of the pilot revolved around a wedding of a Southern house to a Northern house and it got into the whole history of the White Walkers.”

Martin made his worries clear to HBO and one insider admits, “Having a show that’s pure invention and had George scratching his head at various moments was troubling at times.”

A cast headed by Naomi Watts was assembled. Massive new sets were built. A Bloodmoon pilot was shot for a whopping $30 million to $35 million.

And the result was locked away in a dungeon so deep that even Martin has never been allowed to see it.

“It required a lot more invention; it was higher risk, higher reward,” Bloys says. “There wasn’t anything glaringly wrong with it. Development and pilots are hard.”

Agrees Robert Greenblatt, who was then chairman of HBO’s parent company WarnerMedia: “It wasn’t unwatchable or horrible or anything. It was very well produced and looked extraordinary. But it didn’t take me to the same place as the original series. It didn’t have that depth and richness that the original series’ pilot did.”

For Goldman, sources say HBO’s verdict came as a “total shock.” She was appearing confident of a series order, had assembled a writers room to break the first season and was in the middle of making changes to the pilot based on network notes when she learned of Bloodmoon’s fate. Goldman has never spoken publicly HBO’s decision, but she quickly rebounded to write Disney’s upcoming live-action The Little Mermaid.

In a bit of PR savvy, HBO’s admission that Bloodmoon was not moving forward was coupled with a far more positive announcement: a series order for an entirely different Thrones prequel.

[Source]

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