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Deadpool 2: Bill Skarsgård Confirmed as X-Force’s Zeitgeist After weeks of speculation, Bill Skarsgård role in Deadpool 2 has been confirmed as the mutant Zeitgeist. When the first official trailer for Deadpool 2 rolled it, we learned the film was going full force with its comic book characters. Not only that, a number of characters from various teams on the page have been introduced for an early version of the X-Force crew ahead of the film’s release. While Deadpool and Domino were obvious and fans quickly recognized the iconic outfit of Shatterstar, a couple other characters were left in the realm of theory. Thanks to the release of more trailers and TV spots, we know a lot more about the mutants in the movie. The identity of ‘The Kid’ was revealed recently, teasing a fire-powered mutant from the comics named Firefist will be the target of Cable’s mission. Meanwhile, Deadpool will pull a number of C-and-D-list characters from the page to jumpstart his own supergroup. But until today, we still didn’t have confirmation of who exactly IT star Skarsgård is playing in the movie. Deadpool 2 actor Rob Delaney confirmed the identity of Skarsgård’s character today via the the Peter W Twitter account he created for his character from the film. The feed is a great example of both the comedian’s sense of humor and some nice viral marketing that provides an insight into X-Force’s sole human member. Plus, it’s got some informative tidbits from the movie. Watch out for Zeitgeist’s acid breath! It’ll getchya if his kindness doesn’t kill you first! (Seriously. SUCH a nice guy) 1:08 PM - Apr 27, 2018 1,142 272 people are ta As many fans assumed, Skarsgård is playing the acid-spitting mutant Zeitgeist. Though his name hardly fits his power, he’s another great misfit mutant to join the X-Force lineup. In fact, the character premiered in 2001’s X-Force #116 where he joined the titular team. Unfortunately, he died the same issue so his prospects in the XCU may not be good. It’s unclear how many characters from Deadpool 2 will join the actual X-Force film, but it’s been known for awhile that Wade and Cable will make amends someone and combine their skills. Meanwhile, we recently learned Domino will be in X-Force as well, so at least Deadpool 2‘s three biggest mutants will be involved. With Avengers: Infinity War currently dominating theaters, it may be easy to forget that Marvel fans won’t have to wait much longer for the Merc with a Mouth to return. Deadpool 2 may open bigger than the original according to the latest predications, which will be good news for Fox and their efforts to build out the franchise. After all, Deadpool 2 will be their only X-Men film in 2018, so hopefully it satisfies fans. KEY RELEASE DATES Untitled Deadpool Sequel/Deadpool 2 release date: May 18, 2018 X-Men: Dark Phoenix release date: Feb 14, 2019 New Mutants release date: Aug 2, 2019

Michelle Pfeiffer Joins Angelina Jolie in 'Maleficent' Sequel She will play a queen in the film centering on the 'Sleeping Beauty' antagonist. Michelle Pfeiffer is joining Angelina Jolie in Disney's Maleficent sequel. Pfeiffer, who will play a queen in the film, joins fellow franchise newcomer Ed Skrein, known for his work in Deadpool. Elle Fanning is set to return for the follow-up to the 2014 hit that grossed $758 million at the global box office. Plot details are being kept locked away in a tower, and it is currently unclear if the sequel will pick up where the original left off. Pirates of the Caribbean: Dead Men Tell No Tales co-helmer Joachim Ronning will direct the feature that centers on the Sleeping Beauty antagonist. Joe Roth will produce the film, with Jez Butterworth and Linda Woolverton working on the screenplay. Pfeiffer, who is repped by CAA, Management 360 and Hirsch Wallerstein, was last seen in Kenneth Branagh's Murder on the Orient Express and next stars in Marvel's upcoming Ant-Man and the Wasp.

'Annabelle: Creation' Sequel in the Works With Gary Dauberman Directing Dauberman will also write the third installment of the popular horror franchise. Gary Dauberman, the writer behind the Annabelle movies, will make his directorial debut with an untitled Annabelle project, the newest installment of New Line’s horror franchise based on a devil doll from The Conjuring cinematic universe. The project, which Dauberman is also writing, will once again be produced by James Wan’s Atomic Monster and the Peter Safran Co., the banners that produce what has become a billion-dollar franchise and among the most profitable movies ever made. Details are being kept secret but the story will once again focus on the porcelain doll that is possessed by a demonic force. John R. Leonetti directed the first movie, initially a spinoff from Conjuring, while David F. Sandberg, who is now helming Shazam!, directed the prequel, Annabelle: Creation. After the prequel was a hit, it was apparent that New Line had another franchise on its hands. The new Annabelle installment is on the fast track for New Line, which has set the film’s release for July 3, 2019. Dauberman has been a key player in the Conjuring universe. In addition to penning both Annabelle and Creation ($257 million and $306.5 million worldwide with $5 million and $15 million budgets, respectively), he also wrote The Nun, the latest entry that New Line opens Sept. 7. The scribe also worked on It, New Line’s surprise smash hit adaptation of the 1986 Stephen King novel, and is working on the follow-up, It: Chapter 2. Among other projects, he is writing and producing a big-screen take on the horror anthology series Are You Afraid of the Dark? for Paramount. Atomic Monster is in postproduction on Nun and is also producing horror pic The Children, which Dauberman is a producer on. Safran is working with Wan as a producer on Aquaman and is also producing Shazam!. Dauberman is repped by ICM Partners, Lars Theriot of Industry Entertainment and Eric Suddleson of Felker Toczek. Wan is repped by Paradigm, Stacey Testro International and attorney David Fox.

Cinepolis to Open Movie Theaters in Saudi Arabia The Arab nation recently announced it was lifting a 35-year ban on cinemas. Mexico's Cinepolis, the world's fourth largest exhibitor, has announced plans to crack Saudi Arabia's untapped and potentially highly lucrative cinema market. In partnership with Saudi Arabian entertainment and hospitality operator Alhokair Group and Dubai-based luxury and lifestyle retailer Al Tayer Group, Cinepolis will build a cinemas in a range of sizes over the next five years. They will include luxury theaters; kid-friendly auditoriums; and movie houses with 4DX technology, which offers augmented effects such as seat motion, wind and scents. Saudi Arabia's coveted exhibition market is expected to grow to about $1 billion in several years. Cinepolis operates 5,300-plus screens across 14 countries worldwide, including Mexico, the U.S., India and Brazil. In the coming years, the circuit plans to build cinemas in 15 key Saudi Arabian cities. With a country that's home to more than 30 million potential moviegoers, Cinepolis CEO Alejandro Ramirez called the December opening of Saudi Arabia's exhibition sector a "monumental transformation." The lifting of the 35-year movie house ban is part of a long-term reform program aimed to stimulate and diversify the economy. Additionally, Cinepolis is set to launch theaters in the Arab Gulf countries of the United Arab Emirates, Oman and Bahrain, with the first location due to open early next year. Rival chain AMC Theaters, the world's largest exhibitor, announced earlier this month that it had won Saudi Arabia's first license to operate cinemas with a local partner.

'Time for Ilhan': Film Review | Tribeca 2018 Norah Shapiro's documentary chronicles the political campaign of Somali-American Ilhan Omar. At the beginning of Norah Shapiro's documentary about Ilhan Omar's political run we're informed that no one of Somali descent has ever been elected to legislative office in the United States. By the end of this inspiring film, that fact has (spoiler alert) been movingly put to rest. Time for Ilhan feels like manna from heaven for liberals and progressives who have been in a state of despair since the last presidential election. The film recently received its world premiere at the Tribeca Film Festival. Ilhan, who immigrated to the United States with her father when she was 12 years old, proves a compelling central figure for this documentary, which chronicles her campaign for the Minnesota House of Representatives that began in October 2015. A community organizer who had never before run for office, Ilhan emerges as a charismatic, articulate politician devoted to criminal justice reform and environmental issues. The Minneapolis district in which she's running is racially diverse and has a high unemployment rate. It's also so heavily Democratic that the Republicans don't bother to field a candidate. Ilhan's opponents are the incumbent, Phyllis Kahn, who's held office for no less than 43 years, and, ironically, a fellow Somali, Mohamud Noor, who had been defeated by Kahn in a previous election. Ilhan is the most progressive of the three, but her campaign is slow to gain momentum. The only politician willing to endorse her is Patricia Torres Ray, the first Latina elected to the Minnesota Senate. The film introduces us to Ilhan's three adorable young children (her little girl asks, "Are you president yet?") and her supportive husband, who's taken a leave from his job to take care of the kids while she campaigns. The race is not without its tension and hostility. In an interview, the incumbent Kahn says, "My opponent is younger than me, and prettier than me, and apparently to some people, nicer than me because she kind of agrees with anything that anybody asks her about." Even the large Somali community is divided over which candidate to support, with many supporting Noor because of a long-instilled gender bias. At the convention that will determine which candidate the party will support, Ilhan receives more votes than Noor, who then backs out of the race. But he directs his supporters not to endorse either of his opponents. We see a heated conversation between him and Ilhan in which she accuses him of going against his promise that he would support her if he lost. When no winner is eventually declared, it comes down to the primary in August, when many of Ilhan's college-age supporters won't be in town to vote. As the campaign grinds on, an exhausted Ilhan sighs, "It's a lot, trying to change the world." She and her campaign workers desperately take to the streets urging people to vote and are often dismissed or ignored entirely. Ilhan finally wins the election, in a victory that one television commentator declares a "historic upset." But her troubles don't end there. A right-wing blogger accuses her of immigration fraud, claiming that she married her brother to help him enter the country. She subsequently cancels all her public appearances for two weeks (and doesn't communicate with the filmmakers during that period as well) until she was officially cleared by the U.S. Attorney's office. After the election, Ilhan becomes an instant media sensation, appearing on The Daily Show and contributing to a front-page article in Time magazine. But the joy of her victory is tempered by Donald Trump's ascension to the presidency and the vociferous anti-immigration policies that ensued. The film ends on a wonderful high note with an end-credits montage showing the wave of women running for and being elected to office since the 2016 election. Hillary Clinton may have lost, but it's becoming increasingly evident that women's role in politics will only be getting stronger in the years to come. Production: Time for Ilhan LLC Director: Norah Shapiro Producers: Jennifer Steinman Sternin, Chris Newberry, Norah Shapiro Director of photography: Chris Newberry Editors: Eli Olson, Jen Bradwell Composer: Tom Scott Venue: Tribeca Film Festival 88 min.

Martin Scorsese Honored at TCM Classic Film Festival Opening Night Leonardo DiCaprio presented the auteur with the inaugural Robert Osborne Award in Hollywood on Thursday night. The TCM Classic Film Festival honored Martin Scorsese with the inaugural Robert Osborne Award on Thursday night for his dedication to the preservation of classic and historically significant films. The award was presented by actor and activist Leonardo DiCaprio, a friend of Scorsese’s and a frequent collaborator who's starred in five of the director's films. The classic-movie festival, hosted by Ben Mankiewicz, runs from April 26-29. The fest kicked things off with a screening of the world-premiere restoration of Mel Brooks' satirical comedy The Producers, starring Gene Wilder and Kenneth Mars, which is celebrating its 50th anniversary this year. The 91-year-old Brooks was excited to see his film on the silver screen once again. "I’m so thrilled that we’re seeing The Producers 50 years later on a big screen; we’re not seeing it on a watch or a television — and that’s what scares me," he said from the TCL Chinese Theatre stage. "What’s thrilling is that this is still very relevant, it’s still exciting. We’re celebrating old movies, which I make!" John Martin, CEO of Turner, discussed the mission of the film festival and its dedication to the preservation and value of classic films. “This is about tapping into fans and people’s emotions, tapping into what people like to engage with, where they like to spend their time.” He also shared his thoughts on Scorsese winning the award and the value of the acclaimed director's work in the world of film. "This film festival has been wildly successful for years. We had the idea to raise the game a little bit and honor a filmmaker. Martin Scorsese is one of a kind. You can probably count on one hand the number of filmmakers who’ve had so much of an impact on the world," he said. Comedian Dennis Miller also found no one better suited for the award than Scorsese: “With Scorsese ... nobody does it better, nobody with a more encyclopedic knowledge, nobody does the rough streets better. He’s truly a man of all tricks.” Robert Osborne, the host of Turner Classic Movies who passed away last year, was also honored posthumously. Actress Eva Marie Saint (North by Northwest, On the Waterfront) was a close friend of Osborne's and worked extensively with him throughout her career. "I worked with Robert Osborne a lot, and I just enjoyed him, and it was such a good experience, and [TCM] showing the movies is such a wonderful station," said Saint. "There are movies that I haven’t seen in a long time, and it’s fun to sit there and watch it. They make such a wonderful contribution." The film festival was also dedicated to Osborne and his many years of commitment to TCM.

'Little Woods': Film Review | Tribeca 2018 Rising star Tessa Thompson plays a reluctant drug dealer in Nia DaCosta's debut drama. A young woman scraping out a living in a North Dakota oil boomtown must make hard choices in Nia DaCosta's Little Woods, risking prison in order to keep her sister and nephew with a roof over their heads. Less relentlessly bleak than Winter's Bone, which along with Frozen River is an obvious inspiration here, the life-on-the-margins drama makes a fine, tense vehicle for Tessa Thompson, who in the last few years has stood out in a variety of genres. She and co-star Lily James (as the sister) will attract needed attention on the fest circuit to this winner of Tribeca's juried Nora Ephron award. Thompson's Ollie (short for Oleander) was adopted as a child and grew up with Deb (James); when Deb moved out and had a child with now-estranged boyfriend Ian (James Badge Dale), Ollie stuck around to nurse their mother through a long terminal illness. Somewhere in there, she started making trips across the border to obtain pain pills for their mother through Canada's health care system. That well-intentioned felony grew until she was also supplying to strangers, and she was eventually busted. Now she's near the end of her probation, and nothing says "time to break the law" like hearing your probation officer (Carter, played by Lance Reddick) congratulate you for having only one check-in left before you're officially in the clear. Carter, impressed with Ollie and supportive of her efforts to go straight, has supplied a personal reference for a good job that would take her away from her current environs. Ollie is all ready to make a clean start and let the bank take the family home when she learns that penniless Deb is pregnant. As DaCosta's script points out (in language that sounds a bit too writerly to come out of Deb's mouth), Ollie is a doer, not a hoper. Knowing Deb and her young son will be homeless if she doesn't help, she arranges to keep foreclosure at bay and give Deb the house; but she's going to need to raise $3,000 in a week. Angry that selling pills is her only option (Thompson balances anxiety and resentment persuasively, mustering fresh-faced optimism when Ollie needs to deal with the straight world), she nevertheless puts a plan into gear, contacting oil-field workers who, at least in some cases, are seeking pills not for recreation but to address injuries the U.S. medical system hasn't fixed. The film's working-class crime story is colored by allusions to public policy well before Deb starts to face her personal realities: Even if they get to keep the house, she can hardly afford to have a child. "Being pregnant costs $8,000?," she asks a clinic's receptionist, incredulously. She's ready to terminate the pregnancy, but the nearest safe abortion is hundreds of miles away and would cost hundreds of dollars she doesn't have. Things get worse from there, with Ollie continuously having to go one step further over the line to cope with other people's aggression or screw-ups. She's going to have to make another smuggling run to Canada, something she'd promised herself never to do, this time with her loved ones in tow. (As bad as Deb's situation is, does she really not have a friend who could take care of her kid for one night?) Though shot in Central Texas, the Matt Mitchell-lensed action is persuasively remote-feeling, sending these two women on a mission whose success is far from guaranteed. Somebody's making a tremendous amount of money in Ollie's hometown. She'll be doing very well if she can get back to zero. Production companies: Buffalo Picture House, Extra A Productions Cast: Tessa Thompson, Lily James, James Badge Dale, Lance Reddick, Luke Kirby Director-screenwriter: Nia DaCosta Producers: Rachael Fung, Gabrielle Nadig, Tim Headington Executive producers: Lia Buman, Brian Kavanaugh-Jones, Fred Berger, Tom Dolby, Tessa Thompson Director of photography: Matt Mitchell Production designer: Yvonne Boudreaux Costume designer: Colin Wilkes Editor: Catrin Hedstrom Composer: Brian McOmber Casting director: Vicky Boone Venue: Tribeca Film Festival (US Narrative Competition)

‘Avengers: Infinity War’ Skyrockets to $225 Million Opening Weekend Disney-Marvel’s “Avengers: Infinity War” is heading for a massive $225 million in its opening weekend in North America, early estimates showed Friday. Should estimates hold, it will be the second-largest domestic launch weekend ever, trailing only the $248 million opening for “Star Wars: The Force Awakens” in 2015 but finishing ahead of “Star Wars: The Last Jedi” at $220 million. The superhero saga launched with $39 million in Thursday night previews — the fourth-highest preview total in history, trailing only “Star Wars: The Force Awakens,” “Star Wars: The Last Jedi,” and “Harry Potter and the Deathly Hallows — Part 2.” That number is included in the opening day total, which was heading for the $95 million to $100 million range. “Avengers: Infinity War” opened Friday in 4,474 North American venues in the second-widest domestic release ever, behind only “Despicable Me 3” at 4,529 locations. It’s been forecast to open between $225 million and $245 million, with a possibility of crossing the $250 million mark. “Infinity War” has also been performing strongly in overseas markets with $95 million in its first two days from 43 territories. The hefty launches should go a long way to justify its reported $300 million-plus price tag. “Avengers: Infinity War” appears certain to become the sixth film in history to top the $200 million mark in their domestic debut weekends, joining “The Force Awakens,” “Star Wars: The Last Jedi,” “Jurassic World,” “The Avengers” and “Black Panther.” “Infinity War” has a relatively lengthy run time of two hours and 36 minutes, which limits the number of showings each day. The story picks up two years after the events of “Captain America: Civil War” with the Avengers teaming up with the Guardians of the Galaxy to stop the evil Thanos from inter-galactic dominance. The massive cast includes Robert Downey Jr.’s Iron Man, Chris Hemsworth’s Thor, Chris Evans’ Captain America, Scarlett Johansson’s Black Widow, Chadwick Boseman’s Black Panther, Chris Pratt’s Star-Lord, Benedict Cumberbatch’s Doctor Strange, and Mark Ruffalo’s Hulk. Joe and Anthony Russo directed from a script by Christopher Markus and Stephen McFeely. “Infinity War” is the 19th film in the Marvel Cinematic Universe. The original “Avengers” had the highest opening to date for a Marvel film, debuting with $207.4 million in 2012. Its sequel, “Avengers: Age of Ultron,” launched with $191 million. “Infinity War” arrives two months and two weeks after Disney-Marvel’s “Black Panther” opened to a sensational $202 million domestically. “Black Panther” has topped $683 million in North America to become the third-highest domestic grosser of all time, behind only “Star Wars: The Force Awakens” and “Avatar.” A trio of holdovers will be in a battle for second place with the fourth weekend of John Krasinski’s “A Quiet Place” likely to take in the best number at about $12 million. The second weekend of Amy Schumer’s “I Feel Pretty” and the third weekend of Dwayne Johnson’s “Rampage” should finish with about $10 million each. “Black Panther” has generated nearly 20% of 2018’s overall domestic business of $3.52 billion, as of April 25. That figure is down 2.8% over the same period in 2017, according to comScore. That gap should be closed somewhat this weekend, as the same frame last year generated a moderate $100.9 million, led by $19.9 million for the third session of “Fate of the Furious.”

Film Review: Adam Sandler in ‘The Week Of’ Adam Sandler's tired 'Father of the Bride' riff is another lazy, overlong comedy Netflix subscribers can half-ignore while doing the dishes. Adam Sandler and Chris Rock, together again? When it comes to combined star power, Netflix’s “The Week Of” can hardly compete with “The Avengers” (heck, it’s not even as glitzy as Sandler’s recent “Grown Ups” movies), and yet this latest reteaming of the two former “Saturday Night Live” comedians should earn its share of eyeballs this weekend, at least among those who weren’t clever enough to get their “Avengers: Infinity War” tickets in advance. Meanwhile, it allows Sandler to cross off yet another commitment in his eight-picture deal with Netflix — a steady source of mediocrity briefly interrupted by the release of Noah Baumbach’s “The Meyerowitz Stories (New and Selected)” last year, in which the actor reminded everyone of his actual potential. Back in autopilot mode, Sandler phones in what may qualify as the lowest-concept comedy of his career — which, thankfully, is not the same as the lowest point in his career (that would be “Jack and Jill,” the cross-dressing debacle that began the downward slide that landed him at Netflix in the first place). He and his “Longest Yard” co-star play fathers of the bride and groom scrambling to plan a lower-middle-class, Long Island wedding: Sandler’s Kenny is poor/cheap, looking for the most affordable way to make the wedding a day his daughter will never forget, while Rock plays Kirby, a wildly successful heart surgeon who’s never really been there for his family but is more than willing to pick up the tab for a much fancier event. Before you rush to envision “My Big Fat Black-and-Jewish Wedding,” let it be said that Sandler (who shares screenwriting credit with Robert Smigel, the “SNL” writer responsible for the vintage “TV Funhouse” segments, here making his feature directing debut) forgoes the kind of race-based, culture-clash comedy one might expect when bringing these two families together — apart from one running joke, in which Sandler’s character welcomes complete strangers in off the street, mistaking them for members of the groom’s entourage simply because they’re black. So, rather than stooping to easy-target, mixed-marriage humor (some might call that a missed opportunity), Sandler and Smigel focus on the class discrepancy between the families, treating Kenny’s clan as one notch above white trash, while the groom’s side politely (and repeatedly) offers to pay its own way. Kenny will hear none of it. Compared with Kirby, whose glamorous job has made him an absentee father and a negligent husband at best, Sandler’s character dotes on his wife (Rachel Dratch) and kids, even going so far as to drag the entire guest list to his son Isaac’s little league game. Though Kenny’s stinginess is making everyone miserable, no one wants to offend him, so all do their best to go along with his penny-pinching schemes — which include enlisting a nephew to DJ in lieu of booking a band and putting up the relatives in a budget motel (Kenny’s contracting company was responsible for helping upgrade it to a “two-diamond” establishment, though last-minute fixes to impress Kirby lead to leaks, fires, and other hazardous situations). Kenny’s ideas may be horrible, but he has a big heart, and that makes him considerably less abrasive than does the usual Sandler shtick — although, weirdly enough, he never quite commits to a single persona, playing the character every which way from one scene to the next (whether shouty, screechy, or soft-spoken, his voice and personality fluctuate without any rhyme or reason). Sandler doesn’t mind serving as the punchline for a fair amount of the movie, and some of those bits prove to be reasonably amusing, even endearing, as we come to realize that Kenny’s cost-cutting measures are, in their own strange way, a form of emotional generosity. So, while Kenny goes to great lengths to accommodate every guest’s special needs — including ornery double amputee Uncle Seymour (Jim Barone) and emotionally unstable Noah (Noah Robbins), a fresh-from-rehab teen with a laundry list of “triggers” to be avoided — the movie betrays that spirit of unconditional acceptance by treating them as freaks and weirdos. It’s one thing to poke fun at eccentricity, as the movie does with Kenny’s pervy cousin (Steve Buscemi) and observational bits involving various extras, but beyond distasteful to rely on a legless old man for a running series of paraplegic jokes. While some gags are funny the first time around, practically everything in “The Week Of” overstays its welcome. Instead of spanning a full seven days of prenuptial shenanigans, the movie easily could have crammed the best stuff into a tight 24 hours (although we should be grateful that Sandler spared us the “Groundhog Day”-style infinite-loop conceit of last summer’s “Naked,” an even-more-tedious Netflix comedy in which Marlon Wayans is stuck repeating his wedding day until he gets it right). Still, with the exception of “The Meyerowitz Stories,” Sandler’s Netflix projects share a dashed-off, first-draft feel. I blame Judd Apatow. Before “Funny People,” the average Adam Sandler movie ran right around 90 minutes, and though no one would accuse films like “Billy Madison” and “Happy Gilmore” of being high art, they felt relatively focused by comparison. By contrast, his Netflix projects tend to be sprawling and overlong (this one runs 116 minutes), as if the comedian assumes his audience is folding laundry or otherwise distracted when watching, and therefore can’t be bothered to give his work its full attention. He’s not wrong. Production: A Netflix release and presentation of a Happy Madison, Netflix Original Film production. Producers: Adam Sandler, Allen Covert. Executive producers: Barry Bernardi, Tim Herlihy, Kevin Grady. Crew: Director: Robert Smigel. Screenplay: Adam Sandler, Smigel. Camera (color): Federico Cesca. Editor: Tom Costain. Music: Rupert Gregson-Williams. With: Adam Sandler, Chris Rock, Rachel Dratch, Steve Buscemi, Allison Strong, Roland Buck III ,Jackie Sandler, Jim Barone, Patricia Belcher, Suzanne Shepherd, Germar Terrell Gardner, Rob Morgan, Noah Robbins.

‘The Commuter,’ ‘The Post’ Bow in Top 5 on DVD, Blu-ray Disc Sales Charts The musical “The Greatest Showman,” from 20th Century Fox, and “Star Wars: The Last Jedi,” from Walt Disney Studios, repeated as the No. 1 and No. 2 titles, respectively, on the national home video sales charts the week ended April 21. Two newcomers took the next two spots on both the NPD VideoScan First Alert sales chart, which tracks combined DVD and Blu-ray Disc unit sales, and the dedicated Blu-ray Disc sales chart. Lionsgate’s “The Commuter,” an action-thriller with Liam Neeson confronting a conspiracy on a New York passenger train, took the third spot after a $36.3 million box office run in U.S. theaters. At No. 4 was Fox’s “The Post,” a Steven Spielberg-directed docu-drama about the dilemmas facing The Washington Post newspaper around the time of the publication of the controversial Pentagon Papers in the 1970s. Starring Tom Hanks and Meryl Streep, the film earned $81.9 million at the domestic box office. No. 5 on both charts went to Sony Pictures’ “Jumanji: Welcome to the Jungle” in its fifth week on disc. The only other top 10 debut was Warner’s direct-to-video sequel “Deep Blue Sea 2,” which landed at No. 8 overall and No. 11 on the Blu-ray chart. Blu-ray Disc accounted for 50% of ‘Commuter” unit sales, 48% for “The Post” and 35% for “Deep Blue Sea 2.” On the Media Play News rental chart for the week ended April 22, “The Commuter” debuted at No. 1. “Greatest Showman” moved up to No. 2 after the end of its week-long delay at Redbox kiosks. “Jumanji: Welcome to the Jungle” dropped to No. 3 after four weeks in the top spot. Rounding out the top five were “The Post” at No. 4 (skipping its week-long holdback) and Warner’s “Father Figures” at No. 5. John Latchem is executive editor of Media Play News. Top 20 NPD VideoScan First Alert chart for the week ended 4/21/18: 1. The Greatest Showman 2. Star Wars: Episode VIII — The Last Jedi 3. The Commuter (New) 4. The Post (New) 5. Jumanji: Welcome to the Jungle 6. Thor: Ragnarok 7. Coco 8. Deep Blue Sea 2 (new) 9. Justice League 10. Ferdinand 11. Suicide Squad: Hell to Pay 12. Proud Mary 13. Pitch Perfect 3 14. Jumanji 15. Cloudy With a Chance of Meatballs 2 16. Outlander: Season Three 17. Insidious: The Last Key 18. Safe House 19. Deadpool 20. Barnyard Top 10 Media Play News rental chart for the week ended 4/22/18: 1. The Commuter (New) 2. The Greatest Showman 3. Jumanji: Welcome to the Jungle 4. The Post (New) 5. Father Figures 6. Proud Mary 7. Ferdinand 8. Justice League 9. Thor: Ragnarok 10. All the Money in the World For complete sales and rental charts, visit MediaPlayNews.com.

Peter Dinklage’s Avengers: Infinity War Character Explained Warning: SPOILERS ahead for Avengers: Infinity War Avengers: Infinity War sees Peter Dinklage make his Marvel Cinematic Universe debut as Eitri, the dwarf leader of Nidavellir. The Game of Thrones star’s role was carefully kept secret, with fans still trying to guess who he might be playing right up until the last minute. Throughout all that time, Eitri was one of the more popular suggestions, since Thor lost his beloved hammer Mjolnir in Thor: Ragnarok, making it likely that he would be searching for a new weapon – and who better to turn to than the weapons forger who originally crafted Mjolnir? Despite the fact that Eitri’s involvement in Avengers: Infinity War was kept under wraps, Dinklage actually has a significant amount of screen time and plays a vital role in Thor’s storyline. While Ragnarok‘s final act proved that Thor is still incredibly powerful without Mjolnir, Infinity War opens with him being easily defeated by Thanos and left to drift in space until the Guardians of the Galaxy come along to rescue him. Because of this, Thor decides that he needs a weapon powerful enough to kill the Mad Titan, and travels with Rocket and Groot to Nidavellir, one of the Nine Realms and the home of the dwarfs. Before we get into Dinklage’s portrayal of Eitri, however, let’s first recap the character’s role in the comics. EITRI IN MARVEL COMICS Like many of the characters in Thor’s corner of the Marvel universe, Eitri is taken from Norse mythology. Eitri and his brother Brokkr (Brokk, in the comics) are known for forging three magical items: Gullinbursti, a living golden boar; Draupnir, a gold ring capable of producing copies of itself; and, of course, Thor’s mighty hammer, Mjöllnir. This story was first retold in Thor Annual #11, right down to the amusing detail of Loki appearing as a bug and trying to distract the dwarfs so that they mess up their masterpieces. Eitri isn’t a major character, but he popped up occasionally in Marvel Comics over the years, with later comics clarifying his status as the leader of the dwarfs of Nidavellir. He made a noteworthy appearance in The New Mutants during a story arc that saw the mutants face off against Hela and her minions, and he also forged a mighty weapon for Beta Ray Bill – a hammer called Stormbreaker. Because Eitri doesn’t have a great deal of backstory in the comics, most of what he does have makes it into Avengers: Infinity War. But the movie also expands the character by revealing that he crafted one of the most powerful and dangerous artifacts in the universe. That’s right – in the MCU, Eitri was responsible for forging Thanos’ Infinity Gauntlet. EITRI IN AVENGERS: INFINITY WAR Perhaps the biggest departure from the comic book version of Eitri in Avengers: Infinity War is his size. Dinklage’s Eitri has dwarf proportions, but is actually a giant compared to Thor – standing at around twice his height. When Thor, Rocket and Groot arrive at Nidavellir, they find the star that powers the forge is cold and the rings that surround it are frozen. Even worse, all of the dwarfs have been killed except for Eitri, who himself is a bit of a wreck. He’s wracked with grief, angry that Asgard didn’t protect Nidavellir (until Thor explains that Asgard has been destroyed), and Thanos has cruelly turned his hands to metal, robbing him of his craftsmanship abilities. However, the mold for Stormbreaker (which has been forged before) is still in his workshop. Thor and co. also find a mold for the Infinity Gauntlet, and Eitri explains that he agreed to make the artifact in the hope that Thanos would spare the lives of the dwarfs he hadn’t already killed. Thanos isn’t known for being a nice guy, however, so he spared only Eitri and left him alone with a cold forge and useless hands. Eitri agrees to forge Stormbreaker in the hope that Thor can kill Thanos before he manages to collect all the Infinity Stones. The iris mechanism that feeds the heat of the star into Eitri’s forge is broken, so Thor has to open the iris manually – exposing himself to the lethal heat of the star. He very nearly dies in the effort to forge Stormbreaker; even when the hammer’s head is forged, Eitri shouts that it needs a handle in order for Thor to actually wield it. Fortunately, Thor brought along sulky teenage Groot for the ride, and so Groot wraps his arm around the hammer head and then slices it off, creating a handle out of his severed arm. Thor is then able to call Stormbreaker to his hand and restore his strength. WILL EITRI RETURN IN AVENGERS 4? We don’t see whether or not Eitri survives Thanos’ devastating finger snap at the end of Avengers: Infinity War (like everyone else, he has a fifty-fifty chance of vanishing into dust), but even if he is spared it’s unlikely that we’ll see him again in Avengers 4. The character had a very specific purpose in Infinity War: creating a weapon that could be used to kill Thanos before he completed the Infinity Gauntlet and carried out his plan. Since Thor’s attempt to kill Thanos failed (he really should have aimed for the head), it will now take a lot more than a magic hammer to undo the damage that Thanos has done. While it would be cool to see Eitri again, the upcoming sequel will almost certainly focus on more abstract ways of defeating him, like time travel, rather than physical weapons. With that said, Eitri could easily return in Phase 4 of the MCU – perhaps in the next Thor movie, or Guardians of the Galaxy 3, or another cosmic adventure. Now that the character is established, there are any number of ways that he could be brought back. After all, there will always be bad guys around, and weapons needed to fight them. KEY RELEASE DATES Avengers: Infinity War / The Avengers 3 release date: Apr 27, 2018 Ant-Man & The Wasp release date: Jul 6, 2018 Captain Marvel release date: Mar 8, 2019 The Avengers 4 / Untitled Avengers Movie release date: May 3, 2019 Untitled Spider-Man: Homecoming Sequel release date: Jul 5, 2019

Tremors TV Series Starring Kevin Bacon Isn’t Moving Forward Those looking forward to Syfy’s new Tremors TV series starring Kevin Bacon have reason to be sad, as the series has been axed before it even aired. While Hollywood is bursting full of long-running franchises – after all, if it works once, it’ll probably work again – a bit rarer are the franchises that quickly abandon their original protagonist. Tremors is one such franchise, as the 1990 film’s clear lead hero Valentine “Val” McKee (Bacon), hasn’t returned for any of the five sequel movies. Instead, star duties first went to McKee’s buddy Earl Bassett (Fred Ward) in Tremors 2, before shifting over fully to Perfection’s lovable survivalist Burt Gummer (Michael Gross) for Tremors 3 and beyond. Gummer also served as the lead in 2003’s short-lived Tremors TV series, broadcast on the then Sci-Fi Channel. When it was announced last year that Tremors was set to return to the small screen, the big draw for most was that the series would feature the return of Bacon to the Val McKee role. Unfortunately, Tremors fans may now never get to see Bacon head back to Perfection, NV, as the since re-branded Syfy has decided not to move forward with the new series. The bad news comes via Bacon himself, who revealed the disappointing info via an Instagram post earlier tonight. According to Bacon, Syfy has axed the project, despite filming on the pilot episode having already been completed. The fairly surprising news that Tremors’ new TV series won’t move forward comes not too long after recent rumors that Bacon’s original co-star Ward would be returning to his role for the pilot as well. While Ward’s involvement was never officially confirmed, if he did participate, that gives fans even more reason to be bummed about the fact that they’ll likely never see the two characters back fighting Graboids together again. While Syfy could theoretically opt to release the pilot episode in some form, it’s pretty rare that such a thing happens when a series doesn’t get picked up. In a best case scenario, maybe Syfy will end up releasing the pilot digitally, or including it as an extra on Tremors 7’s DVD release, should another film in the Burt Gummer saga be made. In the meantime, Graboid watchers at least have Tremors 6: A Cold Day in Hell to look forward to soon, which hits DVD, Blu-Ray, and digital HD on May 1. Still, it’ll be quite a shame if fans never get to see Bacon’s attempt at returning to the franchise he helped start.

HBO’s Watchmen Pilot Casting Breakdowns Tease New Details New casting details for the pilot episode of HBO’s Watchmen has been released. Based on the DC Comics limited series by Alan Moore and Dave Gibbons of the same name, it revolves around a group of mainly retired American superheroes who exist in an alternate history during the height of the Cold War. The team investigates the dubious death of one of their own not knowing that they’re basically opening up a Pandora’s box of conspiracies that would challenge their personal morals. Spearheaded by Damon Lindelof, the new adaptation will veer away from Zack Snyder’s cult favorite film from 2009, and even differ from the Watchmen comics at some points. But, while it’s still unclear what the narrative gist is of the upcoming TV series, the new project promises to dive deep into the source material’s extremely dense themes. Courtesy from ThatHashTagShow is a list of pilot casting calls for the forthcoming HBO project. Interestingly, while the character descriptions gives enough details, they’re vague enough to pinpoint which Watchmen roles they would be. Check out the descriptions below: Angela Abraham: African-American female cop. Independent and intelligent, she’s also a realist. She’s married to Cal, with whom she has a daughter and is fiercely protective of them both. Cal Abraham: African-American male who is the stay-at-home husband of Angela. While he seems at home as the king of his castle and being a loving husband and father, it’s clear his past has a different story to tell. Looking Glass: A good looking cop, the native Oklahoman isn’t simple as his rural accent makes him appear to be. A top interrogator and behavioral scientist, he may also be a bit of a sociopath. Panda: An ethnic desk cop, he’s cynical and tough and puts his job first. Not a friend to many, he uses comedy to keep people at bay. Red Scare: Mafioso, track suit wearing cop. His Russian accent lends to his abrasiveness. Pirate Jenny: An androgynous and lustful bisexual cop, Jenny is an anarchist at heart. Jane Crawford: The wife of the police chief, Judd, Jane is a veterinarian who’s sharper than her guarded persona lets on. Old Man: A former cop who is still an imposing figure despite his age. The key word to look at in this information is that this casting is for the pilot of the series, which will be directed by The Leftover‘s Nicole Kassell, so there’s a chance that these characters are only key players at the start of the story and not necessarily going to be the titular heroes. The information suggests that these roles are going to be members of the Oklahoma police department who, in the comics, openly antagonized the rise to fame of vigilante as they take away their jobs of protecting the city known as the Pilot Strike of 1977. Perhaps, this is going to be the launching point of Lindelof’s adaptation. Having said that, fakeout casting calls are not unusual in Hollywood, especially in a high profile project like HBO’s Watchmen. So, it’s difficult to fully presume that these character breakdowns aren’t for the principal cast. Whatever they are, though, with the series slowly taking shape, it’s only a matter of time before official announcements roll out. HBO’s Watchmen TV series has yet to get an official release date.

With No Star Wars, 4 Movies Are Fighting For The Same December 2018 Release Date Four movies – a DCEU entry, a Transformers spinoff, an anime adaptation and a Sherlock Holmes reimagining – are currently competing for the same December 2018 release weekend. Since Star Wars returned to the big screen in 2015 with Star Wars: The Force Awakens, the franchise has dominated the Christmas window. However, with three massive end-of-year hits behind them, Disney/Lucasfilm is approaching 2018 a little bit differently. They’re taking a gamble on a May release date, and leaving multiple other films fighting over the increasingly crowded weekend of December 21. Solo: A Star Wars Story is the next anthology flick from the Disney/Lucasfilm team, and is set for release on May 25, breaking the usual December pattern and taking a gamble that the popularity of the franchise will guarantee a hit even with a Memorial Day weekend release. Last year saw the slowest Memorial Day weekend in nearly twenty years, which doesn’t bode well for this one, although it is worth noting that Disney still managed to top the box office that weekend with Pirates of the Caribbean: Dead Men Tell No Tales. It seems that the studio may be banking on the same kind of franchise draw that Pirates had for Solo, and there is every chance it will be another box office smash. Whether Disney’s gamble pays off or not, the decision to move 2018’s Star Wars installment to May means that the December box office is getting crowded, as multiple other films aim for a release date on the weekend of December 21. The only DCEU offering of the year, Aquaman, hits screens this weekend, but it’s attempt to conjure up another Wonder Woman level hit for DC and Warner Bros. is Transformers spin-off, Bumblebee. And these two aren’t the only ones competing over the same weekend: Holmes and Watson, a comedic take on the classic Sherlock Holmes stories (starring Will Ferrell and John C. Reilly) joined December 21 club from an August slot, and now live-action manga adaptation Alita: Battle Angel has also just moved to the same weekend, from an original release date in July. Not only are these four major movies competing over a single opening weekend, but both weekends on either side come with their own major releases. December 14 sees the release of Mortal Engines (the highly anticipated adaptation of the novel of the same name), as well as the animated Spider-Man: Into The Spider-Verse. Christmas Day, meantwhile welcomes both Bohemian Rhapsody (a biopic of Queen and Freddie Mercury) and Disney’s Mary Poppins Returns. There’s no doubt that Mary Poppins will be a massive hit with the Christmas crowds (and is presumably why Disney chose to move the Star Wars release date – the magical nanny is arguably better suited to a Christmas holiday audience), while Spider-Man and Mortal Engines are likely to draw a crowd from its existing fandom; that’s a lot of competition in one month, let alone the one week. Given how overcrowded the latter half of December currently is, it’s likely that at least some of these films may move in order to avoid being lost amidst the heavy hitters. Alita: Battle Angel and Holmes and Watson are the biggest candidates given they’ve already moved once, although after Jumanji‘s success against The Last Jedi, is possible that they’ll choose to stand and do battle with the combined might of Transformers, Disney and the DCEU. At the moment, the final weekend of November and the first of December are currently empty of any major releases, making either a wise choice for any of these two smaller films to shift to. Of course, it’s also possible that one of the bigger names could choose to shift, giving themselves a better chance at a big opening, as well as an extra couple of weeks before the traditional January box office slump. At the moment, though, this is all speculative, as all four films seem to be taking a stand in the absence of Star Wars. KEY RELEASE DATES Solo: A Star Wars Story release date: May 25, 2018 Aquaman release date: Dec 21, 2018 Alita Battle Angel release date: Dec 21, 2018 Bumblebee release date: Dec 21, 2018

Ron Livingston is an American actor. He is most known for his roles as Rob in Swingers, Peter Gibbons in Office Space, Capt. Lewis Nixon in Band of Brothers and Roy Phillips in Boardwalk Empire. Mark Duplass is a film director, film producer, actor, musician, and screenwriter. He is most known for his comedic works like FX’s The League, HBO’s Togetherness, and Jeff, Who Lives at Home. Both appear in the upcoming film Tully, which releases in theaters on May 4, 2018. Screen Rant got a chance to chat with Ron Livingston and Mark Duplass on press day, where we discussed where they pulled inspiration from for the film, the balancing act of making their characters likable and realistic, and what they learned working with Jason Reitman. SR: Great job on this film. It totally touches on a lot of real world parenting issues. Was there any inspiration that you guys drew from either as a mentor, or a parent yourself for this film? Ron Livingston: Yeah, you know, uh, I guess Drew, who I’m playing is sort of clueless and checked out. So I drew on that. I have a lot of experience with that and I tried to, I tried to draw in as much as I could. SR: How about yourself, Mark? Mark Duplass: Yeah, I have two kids and uh, I think the touchstone for me was a watching a character like Marlo played by Charlize Theron really have a vision of who she thought she was going to be as a mother and feeling insecure and bad that she’s falling short of it. And, and uh, you know, my wife, my friends who are mothers have all experienced a lot of that and I think that it was a nice character to sort of touch base with and kind of make a whole movie out of. SR: Drew is very well meaning, but he doesn’t necessarily handle a Marlo’s struggles quite adequately, right? How was it balancing that, but also making Drew still likable? Ron Livingston: That was the, I mean, the kind of main device. The main question I felt like I had to answer was how can this guy, you know, how can this guy be there and not see what’s going on? And if he doesn’t see what’s going on, how can we forgive him for that? Um, but I think the truth is, is that there’s a lot about, uh, you know, a mother’s experience that traditionally dad’s have been taught to just sort of take for granted. She’s doing it, she’s on that. I guess she knows what she’s doing there and if she needs something she’ll ask me and then I’ll do it once and then I’ll wait until she asks me again to do it twice. And, you know, and it’s um, it’s true that, you know, men have responsibilities too and jobs and something. They could say, well, I’m off doing this thing, but if that is terrible and it’s soul draining and killing them, they can always quit and go find another job. It’s not quite… it’s harder to do that. You can’t really trade your kid in for, you know, another kid or one kid… Mark Duplass: I mean, you can. It’s just generally frowned upon. SR: You described Craig as a rich dick. Was there anybody that you base that performance on? Mark Duplass: I don’t really kind of choose people to emulate a character, you know, but when I saw Jason Reitman and Charlize interacting and they’re sort of deep love and candor with each other, having already made Young Adult together, that was really inspiring to me. It felt like a brother, sister combination. I took some bits and pieces of that and put it into the character. SR: Jason’s known as an actor’s director. Is there anything you guys learned from him or learned on this project specifically? Mark Duplass: Ron knows everything. So… Ron Livingston: You know, I learned something from him in press the other day when he was talking. You know, because you always get the question about the big screen versus the small screen and my stock answer is the camera’s the same size, so I don’t know what the difference is, but he really made a great point about the communal experience of seeing something in a theater, you know, not with people that you’ve invited into your living room, but with, with a bunch of strangers and the sort of community that makes you a part of. So I learned that right away, Mark Duplass: Jason produced one of the early films that I direct with my brother, called Jeff, Who Lives At Home, and he said something to me back then and he, he’s, he says it to this day, which is, if a movie is successful, it will make you feel a little bit less alone. And I think when you watch Tully, I think there’s a connection point to a person who experiences a struggle. They go inward, they’re scared to ask for help. Whether you’re a young mom at home or anyone else in that position. I think that’s really the most relatable element of the film.

CinemaScore gives Avengers: Infinity War an A rating. Just days since it hit cinemas around the globe, the movie has already earned $39 million from Thursday night screenings alone. This set a new Marvel record easily eclipsing Avengers: Age of Ultron‘s previous record of $27.6 million. This also puts the film on track to score at least the second biggest opening weekend ever, behind 2015’s Star Wars: The Force Awaken‘s $248 million record. Moreover, Avengers 3 is also performing well thanks to a Certified Fresh rating on Rotten Tomatoes. Directed by Anthony and Joe Russo, with a story by Captain America scribes Christopher Markus and Stephen McFeely, Infinity War marks the culmination of the past decade of storytelling within the Marvel Cinematic Universe. It brings together virtually every key player from across the franchise for a standoff with the Mad Titan Thanos. The blockbuster film also sets the stage for the conclusion of the MCU’s first saga with 2019’s still-untitled Avengers 4, before Marvel Studios tackles a new chapter in Phase 4. After its theatrical debut in North America, Avengers: Infinity War now officially has an A grade from CinemaScore. The site’s assessment is a better gauge of a film’s mass reception given its procedure. CinemaScore randomly selects people from several theaters after they’ve seen a movie and notes their opinion using a standard A+ to F grading. This ensures that all survey participants have seen the flick – a significant part of the process that makes it more trustworthy compared to online aggregated reviews where anyone can sign up and participate. Despite getting half a score below its Marvel predecessor, Black Panther, which is only the second superhero movie to have ever landed an A+ rating (the other being 2012’s The Avengers), the mark is still impressive considering what the film set out to do. With a cast as massive as Infinity War‘s, the film could’ve easily become a disjointed mess, but the Russos, as well as Markus and McFeely, were able to pull off something that audiences seem to love. Having said that, arguably its biggest win is their ability to also introduce a high-stakes villain, Thanos. If his debut didn’t stick the landing, the whole movie would’ve been pointless. The MCU hasn’t been known for having spectacular villains, but things seems to be changing with the consecutive introduction of two great antagonists: Erik Killmonger and the Mad Titan, not to mention Hela. Avengers: Infinity War‘s A CinemaScore also gives Marvel Studios its 15th consecutive movie to land either an A or A+ grade from the site, an impressive run and proof of the company’s commitment to making sure that their films, albeit a few misses, are always a worthwhile movie-going experience for their fans. This, paired up with an unblemished Certified Fresh on Rotten Tomatoes record, and a substantial global haul at the box office, solidifies its place as one of the most successful film franchises ever.

Can 'Avengers: Infinity War' Deliver a Record Opening Weekend?(updated) SATURDAY AM UPDATE: With an estimated $105.9 million on Friday, Disney and Marvel's Avengers: Infinity War is currently looking at an opening weekend that could top $240 million, which would make it the second largest domestic debut all-time behind only Star Wars: The Force Awakens ($247.9m). The film's Friday performance already ranks as the second largest opening day and single day of all-time, behind Force Awakens, and by end of day today it will hold the largest April opening ever before even counting Sunday's grosses. Infinity War scored an "A" CinemaScore from opening day audiences. The film's opening day helps push Disney over the $1 billion mark domestically after just 117 days, breaking the studio's own record of 128 days set in 2016. Internationally, Infinity War's overseas gross has now grown to an estimated $178.5 million after three days in release. At the same time, while most every film is dropping significantly this weekend in the face of Infinity War, fellow Marvel film Black Panther is looking to play evenly or perhaps even improve on last weekend's performance after an estimated $1.27 million on Friday, looking at a weekend around $4.7 million.

How 'Avengers: Infinity War' Transcends Its Comic Book Origins Marvel Studios has been criticized for cramming the Infinity Stones into its movies for years, but the latest film shows it was a worthwhile endeavor. [This story contains spoilers for Avengers: Infinity War"] “Two down. Four to go,” Josh Brolin's Thanos says standing amid the wreckage caused in his securing of the space stone, formally known as the Tesseract. His satisfaction equals the audiences own as they finally witness the payoff of a plot element first introduced in 2011’s Captain America: The First Avenger. There is no denying the sheer thrill and satisfaction in seeing Thanos collect the Infinity Stones throughout Avengers: Infinity War. These stones not only carry the weight of this latest chapter in the Marvel Cinematic Universe, but the expectations of those who have followed the entirety of this franchise and recognize these artifacts in terms of both the physical threats they present and the emotional connections they have to many of the characters that populate this universe. Despite that, in the lead-up to the Russo Bros.' epic Avengers film, the stones have been one of the most criticized aspects of the MCU. These stones have been seen as MacGuffins that take away from each filmmaker’s ability to tell stories unrestrained by future plans, and have perhaps impeded on some films’ ability to put characters in front of plot, particularly on the villain front. But unified as they are in Avengers: Infinity War, we’re left to wonder whether the sheer power of the whole smooths out the jagged edges of some of Marvel’s narrative flaws. While the idea that the Tesseract and the stone in Loki’s staff were Infinity Gems were presiding theories following The Avengers (2012), given credibility through post-credit scenes, it wasn’t until 2014’s Guardians of the Galaxy that the truth behind these artifacts was fully revealed. These gems, for the purposes of Marvel’s cinematic universe, were rebranded from the comics as stones, and were explained by The Collector (Benicio Del Toro) to be perfect, and all powerful aspects of the universe. The Orb in question within that film, sought by the zealot Ronan (Lee Pace), is revealed as the Power Ttone, while the space, mind, and reality stones are tied to the objects in Captain America: The First Avenger, The Avengers, and Thor: The Dark World (2013) respectively. Peter Quill (Chris Pratt) even makes note of the fact that the Orb is a MacGuffin, in one of the few times the MCU has displayed self-awareness. But even before audiences are given context for these objects and teased about the future, it’s difficult to make a case that these Infinity Stones hampered the narrative and emotional arcs for Captain America and The Avengers. To be fair, much of Marvel Comics’ overarching narratives have revolved around items of power. The same could be said for the movies that shaped and redefined the blockbuster: Indiana Jones, The Lord of the Rings, Star Wars: The Force Awakens. In the case of the Tesseract, or Cosmic Cube, it has always played into Red Skull’s schemes throughout his comic appearances, and Joe Johnson’s Raiders of the Lost Ark-inspired Captain America film makes good use of it. As the first Marvel film chronologically, the Tesseract creates the necessary threat for the creation of a super-soldier, and thus superheroes, to be a logical answer to this level of villainy. While the Tesseract, when used again in The Avengers, does play into the modern blockbuster trope of a world-ending beam or signal on a very tall building, it also creates a solid reason for the culmination of what had until this point been separate franchises, at least by general audience standards. At the same time, it provided a means for an alien invasion and opened up a whole other side of the MCU. In the three Infinity Stone-centric films preceding Guardians of the Galaxy, only Thor: The Dark World made poor use of this plot thread, with the Aether adding nothing of merit to the character arcs, while serving to make Malekith the MCU’s blandest villain. Now with the power of each Infinity Stone fully exposed by Avengers: Infinity War, the use of the Aether, the reality stone, in this Thor sequel makes even less sense in hindsight. The aftermath of Thor: The Dark World caused a number of groans to be elicited from some circles when the plot element of the Infinity Stones was followed up with in Guardians of the Galaxy, Avengers: Age of Ultron (2015), and Doctor Strange (2016). But the use of them in these three films feels more original than what came before in that their properties allowed for more than energy blasts and another reason for heroes to reunite. The weirder side of the MCU was created through the use of the stones: artificial intelligence (in Age of Ultron's The Vision), Celestials (the Guardians of the Galaxy movies), time travel (Doctor Strange). Also, some of the MCU’s most emotional beats come from Vision, Peter Quill, and Stephen Strange, in their relation to the Infinity Stones and how it changes how they see themselves and those around them. Arguably, this is what allowed these films to be seen as more than just superhero films, but part of a cosmic epic. For as much talk as there has been about the stones getting in the way, Marvel Studios did display an awareness of where these elements would fit. No Soul Stone was shoved into Spider-Man: Homecoming (2017) to impede Peter Parker’s maturation, or in this year's Black Panther, which was allowed to succeed on the strength of its diversity and carefully crafted characters, rather than its place in the next Avengers movies. The Infinity Stones have consistently shown up in the realms they belonged, and while they were not always handled consistently, seeing them in the places we did made more sense than not. And without these prior films shouldering the burden of these so-called MacGuffins, Avengers: Infinity War would not be the rousing success that it is. The introduction of the majority of the Infinity Stones before Infinity War helps immensely with the pacing of Marvel’s latest film. Thanos’ collection of the stones in comics preceded The Infinity Gauntlet (1991) in the storyline Thanos Quest (1990), in which none of the stones was held by characters central to that latter storyline. The Russos deftly tie Thanos’ collection of the stones to the central heroes of Infinity War, diminishing doubts that Thanos’ quest would be too much to cram into an already packed story. Infinity War works in a way the comics don’t because it does put the characters ahead of the stones. Thanos’ collection of each form the necessary emotional beats of the film in an increasingly devastating manner. Thanos’ quest becomes personal, not for Thanos himself, but for the characters he encounters and the audiences who play witness. But placing the stones with these characters in the previous films, rather than with cosmic beings as in the source material, Avengers: Infinity War makes good on the promise that “destiny still arrives” and leaves us with the sobering reality that our heroes’ prior successes were only delays. This calls back to the Mind Stone-powered Vision’s line in Age of Ultron: “Humans are odd. They think order and chaos are somehow opposites and try to control what won’t be. But there is grace in their failings.” The same sentiment could be extended to all the creatives who have made the Marvel Cinematic Universe, the grand, messy, beautiful entity that it is. When taken as a whole, the MCU's connective tissue by way of the Infinity Stones isn’t all suitably explained. The questions of why Thanos waited so long to act, and why he lent out the stones he would ultimately have to struggle to re-collect are never addressed, proving to be a flaw in this massive collection of visions. Despite not being seamless, the MCU, which to borrow studio head Kevin Feige’s line, is “unprecedented” on a holistic level, and for the most part, on an individual level as well. While this act of the MCU once concluded will remain imperfect, Marvel Studios’ future installments will have a tough task in finding something more threatening, more emotionally engaging, and more graceful than this saga of Infinity Stones.

‘To Dust,’ ‘United Skates’ Win Audience Awards at Tribeca Film Festival “To Dust,” Shawn Snyder’s comedy starring Matthew Broderick, and roller-rink documentary “United Skates” have won the top audience awards at the 2018 Tribeca Film Festival. The naming of audience favorites marks the end of this year’s Tribeca fest, which will screen the two winning films April 29 along with runners-up “Mapplethorpe” and “Momentum Generation.” Earlier in the week, juried awards went to features including Kent Jones’ “Diane.“ In “To Dust,” the winner of the audience award for narrative feature, Broderick and Geza Rohrig star in the story of a grieving Hasidic cantor who seeks out a local biology teacher to learn the specifics of how his recently deceased wife’s body will decay. Winning documentary “United Skates,” directed and produced by Dyana Winkler and Tina Brown, traces the influence of roller rinks on African American culture, and the fight to save the rinks that are still standing. Runner-up “Mapplethorpe” stars Matt Smith in Ondi Timoner’s bio of the controversial photographer and artist Robert Mapplethorpe, while the documentary runner-up, Jeff Zimbalist and Michael Zimbalist’s “Momentum Generation,” follows the rise of a group of pro surfers in Oahu in the 1990s. The winners of the fest’s juried awards will also screen on April 29, the final day of the festival.

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2018 tv premiere dates calendar It might be chilly outside, but that’s all the more reason to stay in and watch TV! Plenty of your favorite midseason series are returning (that means: American Crime Story, The Bachelor, and Ash vs. Evil Dead), along with the fall shows that are coming back from hiatus (This Is Us, Chicago Fire, all of Shondaland). Plus, the winter months mark the debuts of highly anticipated new series including Showtime’s The Chi, Starz’s Counterpart, TNT’s The Alienist, and more. Check out the calendar below to find out when your favorites premiere. Recently added: Ricky Gervais: Humanity (March 13), The Mechanism (March 23). January Monday, Jan. 1 Lovesick: Season 3 (2018) Netflix True Conviction, 5 p.m., Investigation Discovery (moves to Tuesdays at 10 p.m.) The Bachelor: Season 22 (2018) 8 p.m., ABC Lucifer: Season 3 (2017) 100% 8 p.m., Fox Valor: Season 1 (2017) 24% 9 p.m., The CW Better Late than Never: Season 2 (2017) 9 p.m., NBC The Gifted: Season 1 (2017) 70% 9 p.m., Fox Love & Hip Hop Miami, 9 p.m., VH1 Tuesday, Jan. 2 Ellen’s Game of Games (2018), 8 p.m., NBC Lethal Weapon: Season 2 (2017) 8 p.m., Fox The Middle: Season 9 (2017) 8 p.m., ABC NCIS: Season 15 (2017) 8 p.m., CBS My Big Fat Fabulous Life: Season 5, 8 p.m., TLC Fresh Off the Boat: Season 4 (2017) 8:30 p.m., ABC LA to Vegas: Season 1 (2017) 56% 9 p.m., Fox black-ish: Season 4 (2017) 100% 9 p.m., ABC Bull: Season 2 (2017) 9 p.m., CBS The Challenge: When Worlds Collide (2018), 9 p.m., MTV The Mick: Season 2 (2017) 9:30 p.m., Fox Chicago Med: Season 3 (2017) 10 p.m., NBC Kevin (Probably) Saves the World: Season 1 (2017) 63% 10 p.m., ABC NCIS: New Orleans: Season 4 (2017) 10 p.m., CBS I Am Jazz: Season 4, 10 p.m., TLC Hack My Life, 10 p.m., truTV Wednesday, Jan. 3 grown-ish: Season 1 (2018) 91% 8 p.m., Freeform The Amazing Race 30: Season 30 (2018) 8 p.m., CBS The Blacklist: Season 4 (2016) 86% 8 p.m., NBC The X-Files: Season 11 (2018) 80% 8 p.m., Fox The Goldbergs: Season 5 (2017) 8 p.m., ABC Speechless: Season 2 (2017) 8:30 p.m., ABC Law & Order: Special Victims Unit: Season 19 (2017) 9 p.m., NBC 9-1-1: Season 1 (2018) 67% 9 p.m., Fox Modern Family: Season 9 (2017) 9 p.m., ABC SEAL Team: Season 1 (2017) 68% 9 p.m., CBS American Housewife: Season 2 (2017) 9:30 p.m., ABC Chicago P.D.: Season 5 (2017) 10 p.m., NBC Criminal Minds: Season 13 (2017) 10 p.m., CBS Match Game: Season 3 (2018) 10 p.m., ABC Catfish: The TV Show: Season 7 (2018) 10 p.m., MTV Billion Dollar Buyer, 10 p.m., CNBC WAGS Atlanta (2018), 10 p.m., E! Laff Mobb’s Laff Tracks (2018), 11 p.m., truTV Thursday, Jan. 4 Superstore: Season 3 (2017) 8 p.m., NBC The Big Bang Theory: Season 11 (2017) 8 p.m., CBS The Four: Battle for Stardom: Season 1 (2018) 17% 8 p.m., Fox The Good Place: Season 2 (2017) 100% 8:30 p.m., NBC Young Sheldon: Season 1 (2017) 75% 8:30 p.m., CBS Will & Grace: Season 9 (2017) 88% 9 p.m., NBC Nashville: Season 6 (2017) 9 p.m., CMT Mom: Season 5 (2017) 9 p.m., CBS Great News: Season 2 (2018) 90% 9:30 p.m., NBC Life in Pieces: Season 3 (2017) 9:30 p.m., CBS Chicago Fire: Season 6 (2017) 10 p.m., NBC S.W.A.T.: Season 1 (2017) 45% 10 p.m., CBS Jay Leno’s Garage, 10 p.m., CNBC Friday, Jan. 5 Before I Wake (2018) 58% Netflix Rotten: Season 1 (2018) 80% Netflix Comedians in Cars Getting Coffee Collections, Netflix Devilman Crybaby: Season 1 (2018) 80% Netflix The End of the F***ing World: Series 1 (2018) 97% Netflix Crazy Ex-Girlfriend: Season 3 (2017) 100% 8 p.m., The CW MacGyver: Season 2 (2017) 8 p.m., CBS Hawaii Five-0: Season 8 (2017) 9 p.m., CBS Marvel's Agents of S.H.I.E.L.D.: Season 5 (2017) 100% 9 p.m., ABC Blue Bloods: Season 8 (2017) 10 p.m., CBS Saturday, Jan. 6 Say Yes to the Dress, 8 p.m., TLC Falling Water: Season 2 (2017) 10 p.m, USA Sunday, Jan. 7 75th Annual Golden Globe Awards, 8 p.m., NBC The Simpsons: Season 29 (2017) 8 p.m., Fox Wisdom of the Crowd: Season 1 (2017) 28% 8 p.m., CBS Sister Wives: Season 8, 8 p.m., TLC Star Trek: Discovery: Chapters 1 & 2 (2017) 82% 8:30 p.m., CBS All Access Ghosted: Season 1 (2017) 64% 8:30 p.m., Fox Family Guy: Season 15 (2016) 9 p.m., Fox NCIS: Los Angeles: Season 9 (2017) 9 p.m., CBS The Chi: Season 1 (2018) 84% 10 p.m, Showtime Madam Secretary: Season 4 (2017) 10 p.m., CBS Watch What Happens Live With Andy Cohen: Season 15 (2018) 11 p.m., Bravo Monday, Jan. 8 David Bowie: The Last Five Years (2017) 89% 8 p.m., HBO Antiques Roadshow: Season 22 (2018) 8 p.m., PBS The Brave: Season 1 (2017) 38% 10 p.m., NBC The Good Doctor: Season 1 (2017) 58% 10 p.m., ABC Tuesday, Jan. 9 The Fosters: Season 5 (2017) 100% 8 p.m., Freeform America's Next Top Model: Season 24 (2018) 8 p.m., VH1 This Is Us: Season 2 (2017) 95% 9 p.m., NBC Undercover High (2018), 9 p.m., A&E The Haves and Have Nots: Season 5, 9 p.m., OWN The Mayor: Season 1 (2017) 83% 9:30 p.m., ABC Wednesday, Jan. 10 Alone Together: Season 1 (2016) 50% 8:30 p.m., Freeform The Magicians: Season 3 (2018) 9 p.m., Syfy If Loving You Is Wrong: Season 5, 10 p.m., OWN Thursday, Jan. 11 The 23rd Annual Critics Choice Awards, 8 p.m., The CW Friday, Jan. 12 The Polka King (2017) 58% Netflix Somebody Feed Phil: Season 1 (2018) Netflix Disjointed: Season 1 (2016) 23% Netflix Philip K. Dick's Electric Dreams: Season 1 (2017) 70% Amazon Tom Segura: Disgraceful (2018), Netflix My Next Guest Needs No Introduction (2018), Netflix Blindspot: Season 3 (2017) 8 p.m., NBC Taken: Season 2 (2018) 9 p.m., NBC Mama June: From Not to Hot (2017), 9 p.m., We TV Dateline NBC: Season 26 (2016) 10 p.m., NBC Love After Lockup (2018), 10 p.m., We TV Sunday, Jan. 14 Bob's Burgers: Season 8 (2017) 7:30 p.m., Fox Victoria: Season 2 (2017) 75% 9 p.m., PBS Divorce: Season 2 (2018) 86% 10 p.m., HBO Jodi Arias: An American Murder Mystery, 10 p.m., Investigation Discovery Crashing: Season 2 (2018) 10:30 p.m., HBO Monday, Jan. 15 Detectorists, Acorn TV Supergirl: Season 3 (2017) 86% 8 p.m., The CW Kevin Can Wait: Season 2 (2017) 8 p.m., CBS Man With a Plan: Season 2 (2017) 8:30 p.m., CBS Chain of Command, 9 p.m., NatGeo Superior Donuts: Season 2 (2017) 9 p.m., CBS 9JKL: Season 1 (2017) 13% 9:30 p.m., CBS Scorpion: Season 4 (2017) 10 p.m., CBS Tuesday, Jan. 16 Katt Williams: Great America (2018) Netflix The Flash: Season 4 (2017) 100% 8 p.m., The CW Black Lightning: Season 1 (2018) 100% 9 p.m., The CW This Time Next Year (2018), 10 p.m., Lifetime Wednesday, Jan. 17 The Path: Season 3 (2018) Hulu Riverdale: Season 2 (2017) 87% 8 p.m., The CW Dynasty: Season 1 (2017) 53% 9 p.m., The CW American Crime Story: The Assassination of Gianni Versace (2018) 86% 10 p.m., FX Thursday, Jan. 18 Grey's Anatomy: Season 14 (2017) 92% 8 p.m., ABC Beyond: Season 2 (2018) 8 p.m., Freeform Supernatural: Season 13 (2017) 100% 8 p.m., The CW Scandal: Season 7 (2017) 91% 9 p.m., ABC Lip Sync Battle: Live: A Michael Jackson Celebration (2018) 9 p.m., Paramount Network Arrow: Season 6 (2017) 89% 9 p.m., The CW How to Get Away With Murder: Season 4 (2017) 100% 10 p.m., ABC Portlandia: Season 8 (2018) 10 p.m., IFC Friday, Jan. 19 The Open House (2018) Netflix Grace and Frankie: Season 4 (2018) Netflix Trolls: The Beat Goes On!: Season 1 (2018) Netflix Drug Lords, Netflix Real Time With Bill Maher: Season 16 (2018) 10 p.m., HBO High Maintenance: Season 2 (2018) 100% 11 p.m., HBO Saturday, Jan. 20 Cocaine Godmother: The Griselda Blanco Story (2018) 8 p.m., Lifetime Planet Earth: Blue Planet II: Miniseries (2018) 95% 9 p.m., BBC America, AMC, IFC, WE tv, SundanceTV Sunday, Jan. 21 Counterpart: Season 1 (2017) 100% 8 p.m., Starz 24th Annual Screen Actors Guild Awards, 8 p.m., TBS/TNT The Resident: Season 1 (2018) 59% 10 p.m. (approximate, following football), Fox Monday, Jan. 22 Dear Murderer, Acorn TV Mosaic: Miniseries (2018) 81% 8 p.m., HBO The Alienist: Miniseries (2018) 52% 9 p.m., TNT Two Sides, 10 p.m., TV One Tuesday, Jan. 23 Todd Glass: Act Happy (2018) Netflix We’ll Meet Again, 8 p.m., PBS Bellevue: Season 1 (2017) 80% 10 p.m., WGN America Baskets: Season 3 (2018) 10 p.m., FX Drunk History: Season 5 (2017) 10 p.m., Comedy Central The Quad: Season 2 (2018) 10 p.m., BET Another Period: Season 2 (2016) 80% 10:30 p.m., Comedy Central The Detour: Season 3 (2018) 10:30 p.m., TBS Wednesday, Jan. 24 Schitt's Creek: Season 4 (2017) 8 p.m., Pop Let's Get Physical: Season 1 (2018) 8:30 p.m., Pop Waco: Miniseries (2018) 67% 9 p.m., Paramount Thursday, Jan. 25 RuPaul’s Drag Race All Stars: Season 3, 8 p.m., VH1 Lip Sync Battle: Season 4 (2018) 9:30 p.m., Paramount Network Friday, Jan. 26 A Futile and Stupid Gesture (2017) Netflix One Day at a Time: Season 2 (2018) Netflix Dirty Money: Season 1 (2018) Netflix The Adventures of Puss in Boots: Season 6 (2018) Netflix Kavin Jay: Everybody Calm Down (2018), Netflix Jane the Virgin: Season 4 (2017) 100% 9 p.m., The CW Saturday, Jan. 27 The Number on Great-Grandpa's Arm (2018) 6 p.m., HBO Sunday, Jan. 28 60th Annual Grammy Awards, 7:30 p.m., CBS Monday, Jan. 29 Girlfriends, Acorn TV May It Last: A Portrait of the Avett Brothers (2017) 8 p.m., HBO Tuesday, Jan. 30 Babylon Berlin: Season 1 (2017) Netflix Babylon Berlin: Season 2 (2017) Netflix Retribution, Netflix State of the Union 2018, 9 p.m., ABC/CBS/NBC/Fox Wednesday, Jan. 31 Animals With Cameras, 8 p.m., PBS FEBRUARY Thursday, Feb. 1 A.P. Bio: Season 1 (2018) 9:30 p.m. (sneak peek), NBC Impractical Jokers: Season 7, 10 p.m., truTV Talk Show the Game Show, 10:30 p.m., truTV Friday, Feb. 2 Altered Carbon: Season 1 (2018) 75% Netflix The Trade: Season 1 (2018) 9 p.m., Showtime Strike Back: Retribution (2018) 10 p.m., Cinemax 2 Dope Queens: Season 1 (2018) 11:30 p.m., HBO Saturday, Feb. 3 The Simone Biles Story (2018), 8 p.m., Lifetime The Artful Detective, 10 p.m., Ovation Sunday, Feb. 4 Kitten Bowl V, 12 p.m., Hallmark Puppy Bowl, TLC Super Bowl LII, NBC Monday, Feb. 5 The Heart Guy: Season 2, Acorn TV Tuesday, Feb. 6 Bethenny & Fredrik (2018), 10 p.m., Bravo Wednesday, Feb. 7 Rolling Stone 50, 8 p.m., ABC Big Brother: Celebrity Edition, 8 p.m., CBS Friday, Feb. 9 XXIII Olympic Winter Games Opening Ceremony, NBC Grand Prix Driver, Amazon Eddie Griffin: Undeniable (2018) 10 p.m., Showtime Saturday, Feb. 10 Eric Clapton: A Life in 12 Bars (2017) 67% 9 p.m., Showtime Sunday, Feb. 11 Our Cartoon President: Season 1 (2018) 8 p.m., Showtime Homeland: Season 7 (2018) 9 p.m., Showtime The Top Ten Revealed, 9:30 p.m., AXS TV Here and Now: Season 1 (2018) 10 p.m., HBO Monday, Feb. 12 DC's Legends of Tomorrow: Season 3 (2017) 100% 8 p.m., The CW (replacing Supergirl) 2018 American Rescue Dog Show, Hallmark Tuesday, Feb. 13 Chip and Joanna’s Family Garden Project, 9 p.m., HGTV Wednesday, Feb. 14 This Close, Sundance Now Friday, Feb. 16 Mozart in the Jungle: Season 4 (2017) Amazon Sunday, Feb. 18 When Calls the Heart: Season 5, 9 p.m., Hallmark Meet the Petes (2018), 10 p.m., Hallmark Monday, Feb. 19 Star Wars Rebels: Season 4 (2017) 9 p.m., Disney XD X Company, 10 p.m., Ovation Teyana & Iman, 10 p.m., VH1 Friday, Feb. 23 The Tick: Season 1 (2016) 93% Amazon Seven Seconds: Season 1 (2018) Netflix Ugly Delicious, Netflix Saturday, Feb. 24 Notes From The Field (2018) 8 p.m., HBO Sunday, Feb. 25 Ash vs. Evil Dead: Season 3 (2018) 9 p.m., Starz The Walking Dead: Season 8 (2017) 69% 9 p.m., AMC Monday, Feb. 26 Ackley Bridge, Acorn TV The Voice: Season 14 (2018) 8 p.m., NBC iZombie: Season 4 (2018) 8 p.m., The CW The Lost Tapes: Malcolm X, 8 p.m., Smithsonian Channel Living Biblically: Season 1 (2017) 9:30 p.m., CBS McMafia: Season 1 (2018) 33% 10 p.m., AMC UnReal: Season 3 (2017) 10 p.m., Lifetime Good Girls: Season 1 (2017) 10 p.m., NBC Shoot the Messenger: Season 1 (2016) 10 p.m., WGN America American Greed: Season 12, 10 p.m., CNBC Tuesday, Feb. 27 Unsolved: The Murders of Tupac and the Notorious B.I.G. (2018) 10 p.m., USA BYOB: Be Your Own Boss, 10 p.m., CNBC Wednesday, Feb. 28 The Looming Tower: Season 1 (2018) Hulu Survivor: Season 36, 8 p.m., CBS Designated Survivor: Season 2 (2017) 10 p.m., ABC TBD Queer Eye for the Straight Guy: Season 1 (2018) Netflix MARCH Thursday, March 1 A.P. Bio: Season 1 (2018) 9:30 p.m. (time slot premiere), NBC Atlanta: Robbin' Season (2018) 10 p.m., FX Music City (2018), 10 p.m., CMT Friday, March 2 Flint Town, Netflix Once Upon a Time: Season 7 (2017) 40% 8 p.m., ABC Sunday, March 4 The Good Fight: Season 2 (2018) CBS All Access 90th Annual Academy Awards, ABC Wednesday, March 7 Hard Sun: Season 1 (2018) 58% Hulu Life Sentence: Season 1 (2018) 9 p.m., The CW Hap and Leonard: Season 3 (2018) 10 p.m., SundanceTV Thursday, March 8 Marvel's Jessica Jones: Season 2 (2018) Netflix The Oath: Season 1 (2018) Crackle Friday, March 9 Love: Season 3 (2018) Netflix Ladies First (2018), Netflix Sunday, March 11 American Idol: Season 16 (2018) 8 p.m., ABC Instinct: Season 1 (2018) 8 p.m., CBS The Arrangement: Season 2 (2018) 9 p.m., E! Deception: Season 1 (2017) 10 p.m., ABC The Royals: Season 4 (2018) 10 p.m., E! Tuesday, March 13 Ricky Gervais: Humanity (2018) Netflix The Big Interview with Dan Rather, 9 p.m., AXS TV Rise: Season 1 (2017) 10 p.m., NBC (moves to 9 p.m. on March 20) Friday, March 16 Wild Wild Country, Netflix Tuesday, March 20 You Me Her: Season 3 (2018) 10 p.m., Audience Adam Ruins Everything, 10 p.m., truTV The Chris Gethard Show, 11 p.m., truTV Wednesday, March 21 Krypton: Season 1 (2016) Syfy Thursday, March 22 Grey’s Anatomy Spinoff, 9 p.m., ABC Friday, March 23 The Mechanism (2018), Netflix Sunday, March 25 Trust: Season 1 (2018) 10 p.m., FX Silicon Valley: Season 5 (2018) 10 p.m., HBO Barry: Season 1 (2018) 10:30 p.m., HBO Monday, March 26 The Terror: Season 1 (2018) 9 p.m., AMC One Strange Rock (2018), 9 p.m., NatGeo Tuesday, March 27 Roseanne: Season 10 (2018) 8 p.m., ABC Splitting Up Together: Season 1 (2018) 9:30 p.m., ABC Wednesday, March 28 Alex, Inc.: Season 1 (2017) 8:30 p.m., ABC ICE: Season 2 (2018) 10 p.m., Audience The Americans: Season 6 (2018) 10 p.m., FX Thursday, March 29 Siren: Season 1 (2018) 8 p.m., Freeform Friday, March 30 A Series of Unfortunate Events: Season 2 (2018) Netflix APRIL Sunday, April 1 Jesus Christ Superstar Live!, NBC Monday, April 2 The Crossing: Season 1 (2017) 10 p.m., ABC Tuesday, April 3 Shadowhunters: Season 3 (2018) 8 p.m., Freeform Wednesday, April 4 National Treasure: Kiri, Hulu Sunday, April 8 Howards End: Miniseries (2017) 89% Starz Killing Eve, 8 p.m., BBC America Rock & Roll Road Trip with Sammy Hagar, 9 p.m., AXS TV Real Money, 9:30 p.m., AXS TV Tuesday, April 10 New Girl: Season 7 (2017) 9:30 p.m., Fox Wednesday, April 11 America Inside Out With Katie Couric, 10 p.m., Nat Geo Friday, April 13 Rellik: Season 1 (2017) 71% Cinemax Sunday, April 15 53rd Annual Academy of Country Music Awards, 8 p.m., CBS The Circus: Inside the Greatest Political Show on Earth: Season 3 (2018) 8 p.m., Showtime Fear the Walking Dead: Season 4, 10 p.m., AMC Monday, April 16 Supergirl: Season 3 (2017) 86% 8 p.m., The CW (reclaiming its time slot from Legends of Tomorrow) Tuesday, April 17 Civilizations, 8 p.m., PBS Friday, April 20 Game Over, Man! (2018) Netflix The Originals: Season 5 (2018) 9 p.m., The CW Sunday, April 22 Into the Badlands: Season 3, 10 p.m., AMC Tuesday, April 24 The 100: Season 5, 9 p.m., The CW Genius: Season 2 (2018) 9 p.m., Nat Geo Wednesday, April 25 The Handmaid's Tale: Season 2 (2018) Hulu Thursday, April 26 Quantico: Season 3, 10 p.m., ABC Sunday, April 29 The Good Witch: Season 4, Hallmark Monday, April 30 Dancing With the Stars: All Athletes Edition, 8 p.m., ABC Elementary: Season 6 (2017) 10 p.m., CBS AMC Visionaries: James Cameron’s Story of Science Fiction, 10 p.m., AMC TBD April Legion: Season 2 (2018) FX TBD Castle Rock: Season 1 (2018) Hulu Jack Ryan: Season 1 (2018) Amazon Rachel Dratch’s Late Night Snack, truTV

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