Beastie Boys rapper Adam "Ad-Rock" Horovitz had an easy answer Wednesday for a lawyer asking why the hip-hop group refuses to endorse products but licensed its music for a watch company's snowboarding video. "We like sports," Horovitz told the lawyer for beverage-maker Monster Energy Co. He said snowboarding, skateboarding and surfing are all hits with the band he started with two others in the 1980s when he was a teenager. The testimony came at a trial stemming from a lawsuit the band brought against the Corona, California-based Monster. Beastie Boys v. Monster: Ad-Rock Takes Stand, IDs Mike D In a Sailor Suit The company admits it violated the Beastie Boys' copyrights by including its songs in a video that was online for five weeks. But it insists it should owe no more than $125,000, partly because it was viewed fewer than 14,000 times. The band wants over $2 million. On Tuesday, Horovitz testified immediately after opening statements, saying flatly: "We don't license our songs for products." Cross-examined by attorney Dana Michelle Susman on Wednesday, Horovitz agreed that the band had licensed songs for use in a video made by a watch maker. But he said it was because his fellow band mate was friends with the company's owner and because the proceeds were destined for charity. He said it was also natural that the band would support outdoor sports. The music included at least three Beastie Boys songs and accompanied video of snowboarders doing stunts and speaking on camera. Beastie Boy, GoldieBlox Settle Lawsuit Over ‘Girls’ Ad "We come from a community of snowboarders, skateboarders, extreme sports world, so we're enthusiasts of that," he testified. At one point, he tried to steer the conversation back to Monster. "We're here because Monster Energy used our music without a license," Horovitz said. After testifying, Horovitz returned to the first row of the courtroom's spectator section, where he sat with his wife and watched John Silva, his Los Angeles music manager, testify about contracts.

Beyoncé and Oprah Winfrey are among celebrities paying tribute to late poet Maya Angelou. News broke the beloved American author and civil rights activist passed away on Wednesday, prompting thousands to flood social media with messages about her inspiring legacy. Beyoncé shared a photo of Maya early in the day, captioning it simply: "Rest in peace phenomenal woman." Oprah, in a more lengthy statement, remembered Maya as one of her greatest life influences. 'I've been blessed to have Maya Angelou as my mentor, mother/sister, and friend since my 20's. She was there for me always, guiding me through some of the most important years of my life. The world knows her as a poet but at the heart of her, she was a teacher. 'When you learn, teach. When you get, give' is one of my best lessons from her,' Oprah told Variety. 'She won three Grammys, spoke six languages and was the second poet in history to recite a poem at a presidential inauguration. But what stands out to me most about Maya Angelou is not what she has done or written or spoken, it's how she lived her life. She moved through the world with unshakeable calm, confidence and a fierce grace. I loved her and I know she loved me. I will profoundly miss her. She will always be the rainbow in my clouds,' she said. Other stars, including Beyoncé's sister, Solange Knowles, followed with their own messages. "Your words will forever remain deep within the skin, and in the souls of many,' Solange tweeted. "The beautiful Maya Angelou died this morning. A big and radiant soul, at rest at last,' Bette Midler wrote. 'Today the world lost one of it's greatest gifts. I'm sending love to the friends and family of Maya Angelou,' Ellen DeGeneres echoed, while Olivia Wilde remembered Maya as a 'bada** woman who saw the impossible as merely a dare'. 'RIP to one of the greatest women this world has ever known,' Russell Simmons added. 'Thank you Maya Angelou for all of the gifts and knowledge you gave us..."

Geeks around the world were incredibly saddened last week when Edgar Wright parted ways with the live-action Ant-Man adaptation he had been working on, which had been a true passion project of his. Though undoubtedly a bummer, Wright's departure from the project frees him up to do other things, and it looks like he's got Kolchak on the mind. Read on! Deadline reports that Wright is currently developing a feature film adaptation of the 1970s TV series "Kolchak: The Night Stalker" with Johnny Depp attached to star as the title character. The late Darren McGavin made the role famous in both the series and two previous films. Carl Kolchak covered crime for a tabloid, and his cases always led to supernatural perpetrators that included zombies, vampires, werewolves, and aliens. Of course, neither his editor nor anyone else would believe him or allow him to run what seemed like outrageous stories, but he always got close enough to the truth that he was stalked by these great villains and found a way to dispatch them. According to the website the script is looking good, and the fate of the project lies mostly in the hands of Johnny Depp, who is very busy with other films at the moment. If you're bummed about the Ant-Man news, we hope this tasty little tidbit softens that blow just a little bit. It certainly does for us!

Variety is reporting that Brad Pitt is now set to star in the sequel to World War Z. As if there was any doubt! Still, after the well documented troubles on the set of the first one, ya gotta admire his gumption to willingly step back into the world of the undead. Oscar-nominated writer Steven Knight has been tapped to pen the script for Paramount Picture’s sequel. J.A. Bayona (The Orphanage, “Penny Dreadful”) is still attached to direct with Pitt (pictured) officially attached to star in the flick whose plot details are being kept under wraps. Pitt will produce along with Jeremy Kleiner and Dede Gardner for Plan B. Stay tuned, kids!

Are you guys stoked for Greg McLean’s Wolf Creek 2? I know I am, as from what I’ve seen so far this looks set to be pretty damn awesome. So it comes with great pleasure to announce that the film will be making its way to Blu-ray and DVD this June 24th via Image Entertainment. Synopsis: Lured by the promise of an Australian holiday, exchange student Paul visits the notorious Wolf Creek Crater. His dream Outback adventure soon becomes a horrific reality when he encounters the site’s most infamous local, Mick Taylor (John Jarratt). When Paul attempts to flee, Mick pursues him across a hostile wasteland and eventually drags him back to his underground lair. After seeing the true magnitude of Mick’s monstrosity, Paul’s only hope of surviving, where no one has before, will be to use every ounce of cunning to outwit the man behind the monster. Special Features: Creating a Monster: The Making of Wolf Creek 2 Butcher’s Cut: Deleted Scenes

We have ushered in a couple of trailers and most recently the first TV spot for Scott Derrickson’sDeliver Us from Evil. But today, we can finally reveal the official poster for the upcoming flick, and you can check it out below. The film stars Eric Bana, Edgar Ramirez, Sean Harris, and Joel McHale. Synopsis: New York police officer Ralph Sarchie (Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Ramirez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Based upon the book, which details Sarchie’s bone-chilling real-life cases. This one hits theatres this July 2nd.

Godzilla director Gareth Edwards is attached to direct one of the upcoming Star Wars spinoff films, which will feature a screenplay by Gary Whitta and is now set to hit theaters December 16, 2016! The official announcement reads as follows: In addition to the episodes of a new "Star Wars" trilogy, Lucasfilm and Disney have begun development on multiple stand-alone movies that will offer new stories beyond the core Saga. Gareth Edwards will direct the first stand-alone film, with a screenplay by Gary Whitta. The film is due out December 16, 2016. Gareth Edwards blazed into the filmmaking forefront with his acclaimed work on "Monsters," a film he wrote, directed and served on as cinematographer and visual effects artist. The skill and vision readily apparent in "Monsters" earned him the high-profile spot directing this year's smash hit "Godzilla". "Ever since I saw Star Wars I knew exactly what I wanted to do for the rest of my life - join the Rebel Alliance! I could not be more excited & honored to go on this mission with Lucasfilm, said Edwards. Gary Whitta's screenwriting credits include 2010s "The Book of Eli" starring Denzel Washington. He is also well known as a journalist and editor in the video game industry, as well as part of the BAFTA award-winning team on Telltale Games adaptation of "The Walking Dead". Whitta states, "From the moment I first saw the original movie as a wide-eyed kid, "Star Wars" has been the single most profound inspiration to my imagination and to my career as a writer. It is deeply special to me,so to be given the opportunity to contribute to its ongoing legacy, especially in collaboration with a film-maker as talented as Gareth,is literally a dream come true. I'm still pinching myself." Star Wars: Episode VII, meanwhile, is set to star John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, and Max von Sydow in addition to original cast members Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker. It will open in wide release on December 18, 2015.

In a surprise announcement, Marvel Studios and Edgar Wright have revealed that Wright has departed Ant-Man. The official statement on the matter reads as follows: Marvel and Edgar Wright jointly announced today that the studio and director have parted ways on Ant-Man due to differences in their vision of the film. The decision to move on is amicable and does not impact the release date on July 17, 2015. A new director will be announced shortly. Written by Wright and Joe Cornish, Ant-Man is set to star Paul Rudd, Michael Douglas, Evangeline Lilly, Patrick Wilson and Corey Stoll. The film follows a biochemist Dr. Hank Pym using his latest discovery, a group of subatomic particles, to create a size-altering formula. Though his first self-test goes awry, he develops an instrument that helps him communicate with and control insects. Paul Rudd will play Scott Lang/Ant-Man and Michael Douglas stars as Hank Pym.

With Maleficent arriving in theaters this weekend, I can't help thinking that fairy tales really are the gift that keeps on giving. For good or bad (I haven't actually seen Maleficent yet, so I can't vouch for it), stories penned by the likes of the Brothers Grimm, Hans Christian Andersen, Charles Perrault and countless other fairy-tale authors have been popping up on the big screen nearly as long as there's been a “big screen.” And the list of fairy tales that have served as the source material for movies just keeps getting longer every year. Sure, for every heartwarming Hook or The Wizard of Oz, there's a thoroughly disappointing Beastly or 2011's Red Riding Hood, but you have to respect the existence of centuries-old stories that are so compelling that Hollywood – and audiences – can't help revisiting them every few years (or in the case of 2012's Mirror Mirror and Snow White and the Huntsman, sometimes twice in a single year). Over 300 years separates Maleficent and the fairy tale that inspired it, and it seems like a safe bet that Perrault's story “La belle au bois dormant” won't be disappearing from popular culture anytime soon. While that's all well and good, another reason I've been thinking about fairy tales a lot lately is because it occurred to me during a recent backyard barbecue that many of the kids running around the yard will likely grow up seeing the stories of Sleeping Beauty and Peter Pan interpreted in various forms as often as Spider-Man or Batman's origin stories will be told and retold in movies, television or other media. On the big screen, superhero stories have become just another fairy tale to be adapted, reimagined and seen through the eyes of directors with very different visions for their subject. And honestly, I'm okay with that – because not only is it vitally important to keep great stories alive through telling and retelling them over time, but much like Hollywood's track record with superheroes, the hits have been worth the misses when it comes to movies based on fairy tales. Along with all of the animated adaptations of classic fairy tales that Disney and other studios have given us, we've had live-action films like Hook orSplash push fairy tales around the corner from “kid-friendly” to “family-friendly” fare. Films like Ever After and Enchanted have made fairy tales into date-night material, while movies like The NeverEnding Story and The Princess Bride have introduced audiences to lesser known, fantastic stories. On the far end of the spectrum, films like Sleepy Hollow and Black Swan have entirely removed children from the target audience for their interpretations of classic fairy tales with dark, brooding and occasionally quite graphic reimaginings of fables and folklore. Heck, throw in Hansel and Gretel: Witch Hunters and The Matrix (a sci-fi spin on Alice In Wonderland at heart) and we've even had action movies inspired by fairy tales. (And don't even get me started on Ellen Page's ultra-creepy, R-rated spin on Red Riding Hood in 2005's Hard Candy.) Like superhero stories, fairy tales have been a fount of inspiration for filmmakers, and since this column is usually devoted to pondering the former, it seemed acceptable to spend at least one installment celebrating the latter. Classic fairy tales are, after all, what groomed many of us for the weird, wonderful worlds of comic books, video games and high fantasy in all its forms. Of course, movies aren't the only media to benefit from dipping into the waters of fairy-tale nostalgia. Both Once Upon a Time and Grimm have found success on the television side of things and helped usher in a renaissance of sorts for fairy tales on the small screen. While Once Upon a Time relies on a cast of characters that hail from a magical, fairy tale world that existed prior to – and occasionally in parallel with – our own, Grimm follows an agent charged with policing the creatures of fairy tales and legends that have existed all along in our own world, hidden from human eyes. Meanwhile, writer Bill Willingham's award-winning comic book seriesFables will conclude next year after a long run as one of DC's top-selling monthly titles, drawing to a close its chronicle of the lives of “Bigby” Wolf, Snow White, the Frog Prince and the rest of the “fables” who were exiled to a small neighborhood in modern New York City after a brutal war in their magical homeland. Over the course of its 13-year run, the series has found fertile ground in the land of fables, with Willingham mining not just European and American folklore, but also the myths and legends of the Middle East, Africa and various other continents and cultures. Plans for a movie based on the series were announced in June last year, adding yet another project based on classic fairy tales to the upcoming slate of big-screen projects in the works. While it's the most prominent series based on fairy tales, Willingham'sFables is far from alone in tapping into the rich world of fables and folklore. Along with various spin-off series from Fables that have carved out their own continuities – namely, Jack of Fables and Fairest – Zenescope Entertainment's long-running Grimm Fairy Tales has offered up a more mature, darker spin on various tales set within the Brothers Grimm's famous stories. Even Marvel Comics has gotten in on the action with multiple series that cast some of the publisher's famous characters in reimagined fairy tales, such as 2006's X-Men Fairy Tales and its successors, Spider-Man Fairy Tales and Avengers Fairy Tales. If nothing else, all of these projects only serve to further blur the lines between fairy tales and superhero stories – if there ever was a line, that is. Gamers have similarly benefited from drawing on the world of fairy tales, with popular franchises like Disney's Kingdom Hearts bringing players into the world of Alice in Wonderland and other classic stories that have been reinterpreted by the studio over the years. American McGee's Alice put a bloody, mature-audience spin on the famous fairy tale, while the recently released, chapter-based game based on the Fables comic, The Wolf Among Us, offered up yet another angle on fairy tales as gaming fodder. And yet the titles I've mentioned here are only the tip of the iceberg when it comes to the influence of fairy tales on the geekiest corners of the multimedia landscape. While it may be a great time to be a fan of superhero stories right now, it's definitely been a great time to be a fan of fairy tales for a far, far longer span of time – and whether Maleficentsucceeds or fails at the box office, it won't be the last we've heard of the tale of Sleeping Beauty. All things considered, I just can't help wondering if, a few generations from now, there will be any distinction at all between a story about a witch who casts a sleeping spell on a beautiful princess and one about a boy who gets bitten by a radioactive spider.

With Maleficent, Disney reexamines one of its most iconic animated characters in the live-action realm, taking the familiar and turning it on its head. It's not the first time it's tackled a live-action redo of an iconic film -- the studio made updated versions of 101 Dalmatians and Alice in Wonderland in the past. Since there's no way Disney is going to stop returning to its animated well to find inspiration for its big tentpole films (Cinderella is in the works for next year), all we can do is help push the studio in the right direction. Here are a few Disney classics that could actually use a live-action follow-up. Pinocchio Have you watched Pinocchio recently? For a film that's become such an iconic part of the Disney landscape, it's pretty weird. Scratch that -- it's completely and totally bonkers, the kind of whimsical fantasy that feels more like a Terry Gilliam-in-his-prime experiment than a mainstream family movie. So let's forget about the turgid live-action version from the '90s and imagine a fresh take on the material that embraces the fact that this is a fantastical adventure about a living puppet and his cricket friend, kids who get transformed into donkeys and sold into slavery, and a giant, evil whale with an amazing name (Monstro!). Give a live-action take to a mad man in the Gore Verbinski mold and watch the next great baffling blockbuster get made. The Sword in the Stone Hollywood has a bad habit of botching King Arthur. Seriously. Heck, Disney is guilty of it, too. Its 2004 film King Arthur is a monstrosity. Still, we like to think it's learned a thing or two in the past decade about live-action fantasy filmmaking and the best way to approach the material is to draw from its animated film The Sword in the Stone, which melded Arthurian legend with classical Disney tropes (Silly comedy! Talking animals!). In the right hands, this is the next Harry Potter or Lord of the Rings. There are few fictional characters who lend themselves to a great movie franchise like King Arthur and his band of allies and enemies, and Disney is one of the few that has even approached getting it right in the past. It's time to try again. You're sitting on a gold mine, Disney. A gold mine! The Jungle Book Back in the early '90s, Disney produced a live-action version of The Jungle Book and the results were underwhelming to say the least. It should have taken a page from its 1967 animated version of Rudyard Kipling's book, which transformed a fairly straightforward jungle adventure into a breezy, cool and utterly weird musical. With several new versions ofThe Jungle Book in the works and all of them sounding like very serious productions, Disney needs to throw its hat into the ring and hire Seth Rogen and Evan Goldberg to write the all-singing, all-dancing, marijuana-fueled stoner version of this story. Imagine the ultimate hang-out movie, except that instead of chubby comedians it's a kid raised in the jungle, his lazy bear buddy and their disapproving panther friend. Beauty and the Beast The fact that it's one of the untouchable jewels in Disney animation's crown suggests that Beauty and the Beast shouldn't be tampered with in the slightest, but it's inevitable. It's going to happen. Someone, someday is going to make a live-action retelling of this iconic story and all we can do is throw out a few suggestions on how to do it right and make a movie worth seeing. First, keep the focus on the romance between Belle and the Beast -- this is a fantasy drama, not an action spectacle. Second, give the directing job to someone who truly loves monsters. Can you imagine Guillermo del Toro taking on this material? In the wrong hands, this is Twilight. In the right hands, it's the greatest love story of all time, complete with an awesome, brooding Beast monster who will win the hearts of every lady in the audience. The Hunchback of Notre Dame Victor Hugo's The Hunchback of Notre Dame is one of the most left-field choices for a Disney movie. The original novel is long, brooding and depressing, a tragedy that will sap your spirits and leave you depressed for days. So why is the animated take so cheery and colorful, complete with a forced happy ending? There's a happy medium here. There are actually plenty of pulpy elements in Hugo's story, but to abandon the darkness of it is to miss the point. With the Pirates of the Caribbeanmovies getting away with some pretty dark and dreary stuff, the time has come for Disney to take another swing at this material and redeem itself. Sure, whatever the studio makes won't be Hugo's novel, but an adaptation that sticks a little closer to the text would certainly prove fascinating. Mulan No film on this list is more ready-made for live action than Mulan, which is just the kind of female-centric action adventure that the modern cinematic landscape demands. While the animated version leans heavily on the fantastical, imagine a live-action movie that takes the concept of a young woman going to war disguised as a man completely seriously. As The Hunger Games and Frozen have proven, girl power is a huge box office draw. House that girl power in battle armor and put a sword in its hand and watch the bext big thing happen. What other animated Disney movies do you want to see get a live-action follow-up?

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Showrunner Nic Pizzolatto hopes to capture "a certain psychosphere ambience" with the new season True Detective creator Nic Pizzolatto has provided a few more details about the series' second season. Now that the story concerning Matthew McConaughey and Woody Harrelson's characters has ended, the next season will focus on a different set of characters. "Right now, we’re working with three leads," he told To the Best of Our Knowledge, via Uproxx. "It takes place in California – not Los Angeles, but some of the lesser known venues of California and we're going to try to capture a certain psychosphere ambience of the place, much like we did with Season One." 5 things We Learned From 'True Detective' Pizzolatto said he was "deeply in love" with his three new characters and that he has already broken down the season. Despite rumors of actors attached to the show (notably Jessica Chastain), he hopes to begin casting in the coming month. In March, the showrunner told HitFix that the second season would be about "hard women, bad men and the secret occult history of the United States transportation system." At the time, he added, "I need to keep being strange – don't play the next one straight." In his interview with To the Best of Our Knowledge, he explained his philosophy behind the show as a whole. "In True Detective, the world itself is the crime," he said, as reported by Vulture. "The world itself is poison; there's something ruinous at work here. The poison at the root of the world is humanity." When True Detective's first season came to a close in March, the show proved to be so popular that it caused the streaming service HBO Go to crash. At the time, it was estimated that around 38 percent of all HBO Go subscribers had logged in, hoping to watch the episode.

"When I first heard 'Royals' it was sandwiched between all of that other stripper pop," he says. "I was so relieved" Lorde performs in Indio, California. C Flanigan/FilmMagic Dave Grohl vividly remembers the first time he heard Lorde. "I was driving," he says. "My two daughters, Violet and Harper, who are eight and five years old, started singing along. I was so happy and relieved that my two girls were singing a popular song on the radio that had some substance and depth, which I considered to be healthy for them as kids. I know that sounds kind of parent-ish." The Inside Story Of Nirvana's One-Night-Only Reunion The Foo Fighters frontman isn't a fan of most Top 40 music. "When I first heard 'Royals' it was sandwiched between all of that other stripper pop," he says. "I was so fucking relieved. I thought, 'Hey, this might be another revolution.' When I met her I said, 'When I first heard your song on the radio and my kids sang along I felt like there was hope for my kids to grow up in an environment which is more than just superficial.'" When he decided to bring in a group of female singers to front Nirvana at the Hall of Fame, he had little doubt that Lorde would fit in perfectly. "There's something about her that represented or resembled the Nirvana aesthetic," he says. "She has an incredible future ahead of her as a writer, performer and vocalist."

Future: How Hip-Hop's Paranoid Android Became a Robocroon SuperstarHe's sung hooks for everyone from Miley Cyrus to Rick Ross. Now he's blasting off on his own. Inside the reclusive studio hustle of rap's most wanted voice Future Dustin Cohen "Man, this shit's too pretty, I can't record in here. I like my shit to be gritty," says Future, catching a whiff of sugary-sweet coconut candles as he walks into Larrabee Studios in North Hollywood. The Atlanta singer-rapper is hiding behind sunglasses, dressed in black from his hoodie to his shoes, save some gold padlocks on his Buscemi sneakers. Blasting tracks off his long-delayed, highly anticipated, second album Honest, he begins puffing on a blunt full of what he calls "the forefather of the father in herb world" and elaborates. "There's so many of these candles, man. You can't even smell the weed... I need to smell weed when I smoke weed." Future Says He 'Relived the Eighties' on New Track 'Move That Dope' If you're a Future fan, it's a little rare to hear his everyday speaking voice. He's become famous for his Auto-Tuned man-machine croon, a weird, emotive, gargle-groan that has become one of the most ubiquitous sounds in pop. That voice has powered songs for everyone from Miley Cyrus to Rihanna to Justin Bieber to his fiancée Ciara, and it's the not-so-secret weapon behind recent hip-hop smashes like Lil Wayne's "Love Me" and Ace Hood's "Bugatti." Combining his throat's organic gurgle with a light dusting of Auto-Tune, he connected the hard-edged underground raps of Gucci Mane's Atlanta with the melodic weirdness of OutKast's Atlanta – all filtered through the modern version of Zapp's talkbox or Stevie Wonder's vocoder. Following Future's example, hip-hop radio has turned into a cyborg parade – you can hear his influence on young MCs like Rich Homie Quan, Ty Dolla $ign, Kid Ink, and Young Thug. "He found his own lane," says rapper/producer Big K.R.I.T., who collaborated with Future on "Just Last Week." "The way he flows on records, the way he writes his hooks. People wanna duplicate it – people wanna create that kind of sound." But the album blasting at Larabee is something else from that signature sound. Whereas Future's 2012 debut, Pluto, was full of spacey love songs, Honest (original title: Future Hendrix) bristles with confessional lyrics, and a raw, hard-edged, unpolished energy that recalls a mixtape hustler, not an android crooner. In between appearances by Kanye West, Drake, and Andre 3000, it explodes with voice cracks, peak-outs, shouts, one-take wonders, and not nearly as much AutoTune. In other words: Honest. Future's 'Honest' Makes Rolling Stone's Must-Hear Spring Albums "That's art," Future says, talking about the moment when his voice cracks in ferocious punk-hop rant called "Sh!t." "There's no way I could make my voice crack the same exact way... It's about that moment, you know what I'm saying? So every time I go in the studio, I'm trying to get that moment… When I'm in the studio, I stay in the studio, like, sometimes 20 hours out the day." Future walks past the rock ponds and bamboo shoots and pictures of Jimi Hendrix and John Lennon to another one of Larrabee's rooms, where two other engineers are waiting. If it feels like he lives at the studio, it's because he practically does. In 2013 alone he released two mixtapes and nearly four dozen guest spots. He says he has "thousands" of songs that haven't seen the light of day, including unreleased mixtapes with names like Super Future and Fire Marshall Future. Tonight, after working on the clean version of his single "Move That Dope," he'll hop to an entirely different studio and work until 2 or 3 a.m. "The most calmest place I can be is the studio. And like, I stay in there 'cause I know when I come out it's back to reality. Man, if you're angry all day, man, stay in the studio." He doesn't get into specifics, but the old axiom "mo money, mo problems" still carries weight in the Fame Monster era. He tells a story about narrowly missing a 5 o'clock flight at JFK Airport because someone wanted to snap a photo: "Man, I wanna be there for everybody," he says. "I wanna make everybody happy and I can't… That's why I stay in the studio. If I go outside and I'm hanging with my homeboys and if there's a hundred of them, and something happens, out of a hundred people, shit, nigga, I'm automatically responsible for anything that go on. You can do that 'cause I got a name." Before he had a name, Future, age 30, had a life full of trouble. Born Nayvadius Wilburn, he grew in the Kirkwood neighborhood of Atlanta, one of the cities hardest hit by the crack epidemic of the Eighties; its murder rate practically doubling by the time he was seven. Around this age, he says, he started visiting his uncle twice a month in prison. However, getting Future to remember details of his past can be difficult: "When I was in the streets, I ain't never think about that, man, fuck tomorrow, nigga, let's do this shit today," he says. "I'm a fucking rock star, dogg. I'm enjoying this shit, I ain't trying to remember yesterday." Future's dad left when he was 10, and his mom, who worked as a 911 operator, would often leave him at his great-aunt's – which happened to be a dope house. I had multiple aunties, I had multiple uncles, that was on drugs," he says. "When you grow up in something, you don't even know if it's bad or good. You just know that's how it is." An uncle had exposed Future to hip-hop, but it didn't click until he heard a classmate rap Too $hort's gleefully explicit "Freaky Tales" around third grade. He gravitated to melodies that were simple, yet deep and affecting. His grandmother sang "Amazing Grace" around the house, and he loved Club Nouveau's 1987 cover of "Lean on Me"; even the "tomahawk chop" song beloved by Atlanta Braves fans intrigued him. "I know the essence of this shit, I studied melody… Songs like 'Amazing Grace' and just the pain of it," he says before humming the chorus. "It just feel like pain. It feel like struggle. I recognize pain through melody and it just naturally come out me at times."

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Some new details have emerged regarding Universal's plans to finish Fast & Furious 7 in the absence of the late Paul Walker, with the studio having drafted in WETA to assist with his remaining scenes. According to THR, WETA is using three cameras to film stand-ins Cody and Caleb Walker (Paul's brothers), in order to capture body movements, with face-replacement technology then used to complete the effect. "They are finishing the film more or less as scripted," reports a source. "There is a massive amount of gear. Everything they want with Paul gets done three times over." Needless to say, this is not coming cheap, with the film's budget now estimated at around the $250 million mark. However, what can't be questioned is the studio's dedication to ensuring Walker's work is completed to the highest possible standards. Hopefully they should be left with a fitting tribute to the man. Directed by James Wan, Fast & Furious 7 will open in the UK on 10 April 2015.

Reaction to Edgar Wright’s abrupt departure from Ant-Man has, not surprisingly, produced a lot of polarized reactions and rumors. If one camp is to be believed, Marvel is a faceless, overbearing and villainous studio hellbent on ruining Edgar Wright’s creative vision by passing the script on to other writers and meddling at every turn. If the other camp is to be believed, Edgar Wright is an incompetent, self-absorbed buffoon who can’t take direction and can’t adhere to any deadlines. In just 24 hours, the battle lines have been drawn, but if Guardians Of The Galaxy director James Gunn is to be believed, there’s no reason why any of us have to choose a side. He’s convinced there’s not a single villain in the mix. Speaking in a touching and unexpected Facebook post, Gunn compared the disintegration of Wright and Marvel’s relationship to watching two friends try and be together who clearly don’t belong together. He desperately wanted them to make it work, but in the end, it was very clear that it couldn’t possibly work. You can read the entire statement in its entirety below… Sometimes you have friends in a relationship. You love each of them dearly as individuals and think they're amazing people. When they talk to you about their troubles, you do everything you can to support them, to keep them together, because if you love them both so much doesn't it make sense they should love each other? But little by little you realize, at heart, they aren't meant to be together - not because there's anything wrong with either of them, but they just don't have personalities that mesh in a comfortable way. They don't make each other happy. Although it's sad to see them split, when they do, you're surprisingly relieved, and excited to see where their lives take them next. It's easy to try to make one party "right" and another party "wrong" when a breakup happens, but it often isn't that simple. Or perhaps it's even more simple than that - not everyone belongs in a relationship together. It doesn't mean they're not wonderful people. And that's true of both Edgar Wright and Marvel. One of them isn't a person, but I think you get what I mean. This is the second incredibly elegant statement delivered by a Marvel director in response to Wright’s depressing departure. This morning, Joss Whedon took theperfect picture to salute his departing co-worker, and now we have Gunn’s short little Facebook post. Both of them are so complimentary of Wright; yet, cleverly, neither one of them accuses Marvel of doing anything wrong or acting in poor faith. Together, they’re a great reminder to fans that it’s Okay to still be excited about Marvel movies, even if you love Edgar Wright and vice versa. As James Gunn implied, sometimes life just doesn’t work out. Sometimes people aren’t meant to be together, and it’s better they depart on at least reasonably good terms than drag it out for as long as possible and implode in epic fashion. Every single person in the world wants to see Ant-Man done correctly, and if Marvel was unwilling to let Wright execute his vision or couldn’t because of continuity problems or other concerns, it’s better for everyone that this ended now.

Marvel fans continued to reel with the news on Saturday that Cabin in the Woodsdirector Drew Goddard was exiting Marvel’s Netflix series based on Daredevil, with a new showrunner taking over. The initial belief was that Goddard’s departure meant trouble for the television program. But maybe this means production is ramping up on Sony’s Sinister Six movie, instead. That bit of new was buried in the THR report on Goddard’s exit, saying that he would transition from Marvel over to Sony, and start prepping the Sinister Six film, for which he has been hired. The trade says Goddard will stay on as a consultant on Daredevil, suggesting less of a "split" and more of a rearranging. In fact, Marvel moved formerBuffy the Vampire Slayer alum Steven S. DeKnight as the new showrunner for DD, leaving Drew Goddard room to move on to his Spider-Man duties. And with good reason. We have written at length about Sony’s need to shake up the stasis surrounding the current Amazing Spider-Man franchise. Though the latest installment of Marc Webb’s series has banked an impressive $640 million worldwide, it is stalling out around $179 million domestically, and reviews (outside of this Web site) have been unkind. When we spoke with Marc Webb on the Amazing Spider-Man 2press circuit, he made it known that he was unsure if The Amazing Spider-Man 3would arrive before Drew Goddard’s Sinister Six movie. Goddard’s exit from Daredevilseems to imply that this will be the next Spider-Man movie up to bat for Sony. Back in April, we reported that Drew Goddard’s Sinister Six was circling the idea of shooting in January. At the time, it was suggested that the Sinister Six team would consist of Doc Ock, the Vulture, the Green Goblin, the Rhino, Kraven the Hunter and Mysterio. Marc Webb later came out and said that he’d like Kraven for his third Spider-Man movie. Maybe that goes on the backburner. Here’s what I think – and keep in mind, this is all off the cuff (but coming from an informed location). I think the end of The Amazing Spider-Man 2 did just enough to give Drew Goddard a launch pad for his Sinister Six. We have Harry Osborn (Dane DeHaan) assembling a small team. We saw Paul Giamatti’s Rhino in action. I think we’ll see a group forming in Goddard’s movie, and then Kraven will show up in Webb’s thirdSpider-Man movie to "hunt" the OsCorp creations. That is a storyline being played out in the video game adaptation of The Amazing Spider-Man 2, and it makes too much sense not to follow it on screen. Maybe Drew Goddard’s exit from Daredevil doesn’t suggest problems with Daredevil. Maybe it means a massive greenlight over at Sony. Maybe the June 10, 2016 release date reserved for The Amazing Spider-Man 3 goes to Drew Goddard’s Sinister Six, instead. Maybe Spider-Man’s super group may be coming together sooner rather than later.

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