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Heritance

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  1. Created and executive produced by showrunners Dana Fox and Dara Resnik, the Apple TV+ original series Home Before Dark (which already received a second season pick-up) is a dramatic mystery inspired by the reporting of the real-life young investigative journalist Hilde Lysiak. After moving from Brooklyn to the small lakeside town her father (Jim Sturgess) grew up in, Hilde (Brooklynn Prince) starts to dig around and unearths a cold case that everyone in town would rather stay buried. During this interview with Collider, Fox, a co-creator on the series, and director/executive producer Jon M. Chu talked about making a TV series with a kid at the center of it even though it’s not just a kids’ show, what makes Hilde a great character, when they knew the cast they’d put together was really working, their approach for future seasons, and much more. COLLIDER: This show is really surprising, in that you have a young actress at the center of it, but it doesn’t feel like kids’ content. It has a much more wider and universal appeal for audiences. DANA FOX: That was the hardest part of the whole show. JON M. CHU: It’s so nerve-wracking to answer the question of, who is this for? It’s a little girl, that’s for everyone. Image via Apple TV+ FOX: It’s literally for everybody. And it’s for everyone, all over the world. It’s for anybody who’s ever been a kid. It’s for kids. It’s for parents. It’s for adults. It’s for people without children. Our experience is that everybody feels like Hilde is their access character, and because we treat her so seriously, the audience does, too. I’m not gonna lie to you and say it was easy to figure out how to nourish that tone into existence because I’d never seen it before. Jon and I talked so much about the music and the score. We experimented with so many different tones, with our incredible composer, Nathan Lanier. It was like, “No, that’s too kiddie. No, that’s too adult. No, that’s too this. Okay, let’s see what it would sound like if it was The Goonies soundtrack. Now we can feel something. Okay, let’s see what it would sound like if it was this soundtrack.” We found ourselves through that. What we ultimately landed on is that the score has to take Hilde as seriously as she takes herself, so the score has to be from Hilde’s perspective and how she feels, and not the audience. If it’s a moment where she’s reporting on something, she thinks she’s in Spotlight or All the President’s Men. She does not think she’s in a kids’ show ‘cause she’s not in a kids’ show. That’s how we were able to ultimately wrangle our tone into place, by taking that character as seriously as we do. Jon, I feel like your career is so eclectic. What made you want to have a hand in bringing Home Before Dark to people? Image via Apple TV+ CHU: It came at a time when I’d just had a daughter. We were still finishing Crazy Rich Asians. After going through the Crazy Rich Asians experience, before it even came out and not knowing how it would do or what it would do in the world, I was in a space of my brain where I wanted to do stuff that matters, and stuff that’s interesting and dangerous and scary. [Dana] came to me with this, talking about Hilde. I had heard about Hilde, the year before, reading articles about her. You could feel the sense of everything changing around us, with truth and facts and journalism, in general, and we just got into a really interesting conversation about, what is truth? What’s everybody’s capacity for truth? We teach our kids to be truthful, and yet we lie to them, on a constant basis. And having a daughter and trying to figure out how I was going to raise her, all of these things felt very relevant to me. The show has such a unique tone, that was not gonna be a kids’ show. I’m also obsessed with true crime docs, so we got in a whole thing about that. It just felt like an amazing challenge, to make this world about a young woman that needs to be taken seriously. FOX: And once you have the Jon Chu experience, you never, ever want to go back to life without Jon Chu. I came from features and comedy, and he was the one that taught me that, if you do something that truly, deeply and profoundly matters to you, and you’re really trying to actually say something, yes, you want it to be super entertaining and crazy binge-able, but you have to really truly care about something underneath it. For us, it was the truth in a world where, right now, there are attacks on the free press and journalists and fake news, and feeling like there is no way to know what the truth is. If you really, truly care about that thing that’s the core of what you’re doing, you’ll work harder than you’ve ever worked in your life because it means more. It’s not just a piece of entertainment. It means something more deeply. You’re more profoundly connected to it. He taught me that, and now he’s ruined my career because now I never wanna do anything that I don’t feel that strongly about. CHU: I had never really done television. I had done one pilot, right before, but really knew nothing. It was cool to come into this world and try to shake it up. There’s such an amazing, huge canvas in the television space. FOX: And TV has become so elevated, in the last couple of years. It’s a place where you get to tell stories, particularly about women, in a way that feels deep and rich, and not just like, “And then, she tripped and fell ‘cause she was adorable.” So, just having this opportunity to bring a cinematic aesthetic to something and being able to explore it as deeply as only TV can let you do, was a dream come true for us. Jon, were there things that you could do with this show, as a director, that you hadn’t been able to do before? Image via Apple TV+ CHU: Yeah. One is exploring characters as deeply and as rich as we can, with layers upon layers. That was great, especially in a story like this, where it’s a portrait of a family. You don’t have to just pick one person and follow that person through you. You get to build the dynamic, and really have a connective tissue and care about this unit. I come from a big family, so that changed a lot for me. In a movie, you’re shooting with a very specific target. With a show, you’re able to create an environment that your audience can live in, and you have to paint every side of that. That was so great. It’s also such a collaborative effort, amongst the writers, the creators, and the new directors that would come in. We had an amazing crew. (Cinematographer) Alice Brooks shot my episode, plus some more, and we were able to set the tone of what it would look like. We really got to build this world. And when you’re talking about truth, it can’t be too fantasy. As much as there’s this mystery, we had to find this really fine line, and I love that. Instinctually, we’re gonna entertain the audience. I love to be around a campfire and hear a great story, but have a message underneath it. That changed the game for it all because we could all work on our different levels, and then come together in something that not one individual person would be able to do alone. Did you have a moment, watching this cast, where you realized that this was really working? Image via Apple TV+ FOX: We were sort of obsessed with casting, honestly. In TV, even more so than anything else, you live and die on your casting, especially when you’ve gotten a series order, you can’t really replace somebody that isn’t working, so you have to be right, the first time. We put a lot of thought into casting and had a lot of sessions. When we found someone we loved, we worked with them. Jon is so incredible with actors. It was a joy to watch him work. I learned so much from that. So, we treated the casting process like it was part of the filmmaking process because it was our only chance to make sure that it worked. I remember the first day, we shot the big kitchen scene, where it’s morning chaos, it’s a family, they’re all in one place, and they’re all doing stuff. I just thought it was so incredible how Jon wasn’t trying to block it. He blocked it, of course, but he wanted it to feel chaotic, the way that a large family feels, Everybody is talking, at the same time, and they’re all talking about different stuff. CHU: No one’s listening to each other. FOX: Kids aren’t listening to you. They just wanna say their thing. There’s just all of this stuff going on, at once. I remember seeing all of these incredible actors, who instantly felt like a family and watching Jon be able to let them play, in a way that was the way real families interact with each other, was the moment that we knew we had it. With Brooklynn [Prince], we felt like we had lightning in a bottle. We were at a moment in this girl’s development that was so special. CHU: From Episode 1 to Episode 10, she changes. You can see it, physically. FOX: You literally watch her grow up. Anybody who has kids, there’s this extra emotional level because you know you’re watching a childhood disappear in front of your eyes, and it’s incredibly poignant. CHU: What an amazing time to be in her life, right at this exact moment. Image via Apple TV+ FOX: I think Brooklyn is an extraordinary talent. I think she’s a director. I think she’s a filmmaker. I think she’s gonna have the most incredible life ahead of her, as a person. She’s maybe one of the best people that I’ve ever met. I’m so obsessed with her. I love her so much. She’s so kind to my children. She’s such a good girl. She’s just such a nice, great, wonderful girl. And her parents are really wonderful and take her seriously, the way that the parents of the real Hilde took her seriously. That’s another thing that I love about this show. As parents, you can take your kid seriously. It almost gives you a playbook for talking to your children, in a way that you’ve never seen before, that really elevates them. Your kid could be the next Emma Gonzales or Greta Thunberg, if you just don’t talk down to them and belittle them. It’s exciting to get it out there in the world. You’ve already gotten a Season 2 pick-up. Do you have a plan for what that will be? FOX: When we started, we knew exactly how we wanted Season 1 to end. But when you go into television, it’s so difficult and it’s such a huge effort to make a show. It’s all hands on deck. It’s incredibly collaborative. There’s a willing suspension of disbelief, where you have to believe that you’re gonna get six seasons, or else you’d never do it ‘cause it’s too hard. It’s this insane marathon where, at the end of it, you’re like, “I’m just trying to win the ability to start the next marathon? This is crazy!” But we always knew we wanted it to be a show that could grow with this family. So, we knew that it couldn’t put Hilde in a box that was only interested in keeping her a child. We knew we had to figure out a format that would allow the mysteries to grow with her. I often think about Harry Potter and the books, where the books grew up with the audience. That’s what we’re trying to do here. And so, I always knew I wanted the first season to end as a very satisfying conclusion to the mystery that you’re watching, but instead of that being the end and starting a completely new thing, what you realize, when you end the first season, is that it’s actually the beginning of a much bigger mystery that you didn’t realize was there. Home Before Dark is currently. available to stream at Apple TV+
  2. @Rainbow i apply sir.. Thanks you.. nice GA
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  6. TorrentLeech.pl News Google Translation: Dear TL.PL users Our hit encoder group BiRD, whose film releases are so popular, would like to do more, more and even more uploads for you - especially in these pandemic times - but this requires financial support. As in life there is nothing for free, so in this case, we have to collect funds for fees for BiRD + group servers every month, if they are to do even more releases, then they must buy more servers. It is up to you whether the BiRD group will put even more releases, the same, or maybe soon it will be less, due to the lack of finance for server maintenance. Therefore, we offer you the promotion to the rank of EliteTL: 35 PLN - rank for 8 weeks PLN 85 - rank for six months PLN 150 - rank for a year The promotion is valid until 10/04/2020. TL Elite Rank - Free Leech on all torrents, i.e. account statistics will not accrue how many data they downloaded and will not have to seed the downloaded torrents, they will not be punished with a warn or ban because of financial help for the site. To make a donation to the BiRD group and gain additional profits, go to the Support tab or click here - it is necessary to write BiRD in the transfer title. P.S. We would like to take this opportunity to remind everyone that the BiRD group uploads: They are ALWAYS FreeLeech They NEVER disappear from the site (all you have to do in the search engine is to set "together with the dead" - that is, those that no one is sharing anymore) ALWAYS are quickly available again in the absence of seed (we have implemented a system responsible for archiving and sharing all BiRD uploads) Greetings, Torrentleech.pl staff and BiRD GROUP
  7. Cheggit News Sitewide Freeleech for 3 weeks, 5 days
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  10. The biggest problem with Pixar movies is the high bar they’ve set for themselves. Every time a new Pixar film arrives on the scene, it must be compared to the studios highest achievements, and while the studio should endeavor to keep meeting a high level of quality, the “How does it rank?” question can sometimes miss when the studio releases a film that’s just sweet and lovely and funny even if it doesn’t reach the dizzying highs of an Inside Out or Toy Story 2. Once you leave aside questions of how Dan Scanlon‘s Onward stands alongside other Pixar movies, you’ll be left with the kind of magical and emotional buddy picture that is simply the studio’s brand at this point. With an imaginative setting and an endearing duo at its center, Onward is a lovely tale about overcoming fear and the unique bond between brothers. The setting of Onward is basically “What if the Industrial Revolution hit a fantasy setting?” The world of Onward has elves, dragons, centaurs, etc., but it also has all of our modern conveniences that outweigh the benefit of things like magic and quests. Into this world we meet Ian (Tom Holland), a shy 16-year-old elf, and his nerdy older brother Barley (Chris Pratt). Ian’s father died before he was born and Barley barely has any memories of his dad, but on Ian’s 16th birthday, they’re gifted a magical staff that can bring their dad back for one day. However, when the crystal they need shatters in the middle of the spell, it only brings back their dad’s legs. With the clock ticking, Ian and Barley set out on a quest to find a new crystal so they can finish getting their dad back for one day. Image via Disney/Pixar If you like classic, high fantasy settings inspired by stuff like Dungeons & Dragons and Magic: The Gathering, you’ll love what Scanlon and his team have done here with Onward. This is one of those movies you’ll want to go through frame-by-frame to catch all the fun details and Easter eggs like “Stop” signs reading “Halt”. There’s clearly been a lot of love and attention paid to making this blend of high fantasy and mundane reality come to life, and I was thrilled just to spend time in a place that’s so different from what we’ve seen before. Of course, this being a Pixar movie, it utilizes the buddy movie plot, but the approach works because the relationship between Ian and Barley is the point of Onward. Rather than a narrative convenience of how these two characters play off each other with the nervous Ian contrasted against the overconfident Barley, their relationship is the core of the story. It’s also where Onward really moved me personally. I also grew up in a single-parent household raised by my mom, and I was the nerdy older brother. So yes, I personally related to the central bond in Onward, but even if you’re not a big brother who loved his Magic: The Gathering cards, you should find plenty that’s charming and funny in this film. Image via Disney-Pixar Some may find that Pixar is retracing its steps a bit with a buddy road trip movie where one of the characters has to learn to overcome his fears (a la Finding Nemo), but Onward rarely feels formulaic because its characters and setting are so specific. It never comes off like Scanlon is working in broad strokes, and he knows the exact point he wants to reach with this story, which, Pixar being Pixar, will have you laughing constantly until the climax reduces you to a puddle of tears. At this point in its 25-year history of producing feature films, Pixar is competing with itself in some sense. Chances are if you’ve seen one Pixar movie, you’ve seen most of their filmography, which in turn begs comparison between their pictures. That comparison has its place as fodder for discussion, but it can overlook what these movies are attempting to achieve on their own. Onward plays like a deeply personal story that just happens to come from the biggest, most popular animation house on the planet. Sure, it uses a familiar framework the studio tends to employ, but at no point does Onward come off like a retread. Instead, Onward feels like a new adventure, and one I’m excited to revisit. Rating: A- Onward is now available to stream on Disney+
  11. This week, Netflix released the trailer for The Last Kids on Earth Season 2. The new season, officially titled The Last Kids on Earth and the Zombie Parade, sees hero Jack Sullivan (Nick Wolfhard) and his friends continue their quest to fight off evil monsters and try to save the planet from total destruction. Totally no sweat, right? Image via Netflix Buckle up, because if you thought The Last Kids on Earth Season 1 was a real good time, you’re gonna love what this Season 2 trailer is teasing. Jack and his crew are still finding time to yuk it up with dance breaks, bike races, and food court feasts. But they soon find themselves on a new mission, or “the ultimate quest” according to Jack, which will see them teaming up with good monsters and fighting off some pretty scary ones. And if monsters shaped like spiked eyeballs or toothy worms weren’t freaky enough, Jack and Co. have to fight off zombie hordes, which have taken over their town. Gulp. Based on Max Brallier‘s New York Times bestselling book series of the same name, The Last Kids on Earth‘s voice cast includes big names like Rosario Dawson, Bruce Campbell, Keith David, Mark Hamill, and Catherine O’Hara, in addition to Wolfhard. Season 2 is an adaptation of the second book in Brallier’s series and will be comprised of 10 episodes, with each episode coming in at 22 minutes. The Last Kids on Earth is from Atomic Cartoons, with Scott Peterson serving as producer and showrunner. The Last Kids on Earth arrives on Netflix on April 27. Season 1 of The Last Kids on Earth is available to stream on Netflix right now. Check out the action-packed trailer below and then take a peek at the Netflix animated shows we’re loving.
  12. The third season of Ozark premiered on Netflix last week, and to say the show returned with a vengeance would be an understatement. Following a second season that many fans found to be a little too bleak, Ozark Season 3 soared to new heights thanks to an engaging story and a renewed sense of purpose. The show’s’ biggest asset has always been its cast, and this season is no different. Laura Linney does Emmy-worthy work as Wendy Byrde, and so does the newest member of the Ozark family — Tom Pelphrey as Wendy’s bipolar brother Ben Davis. Pelphrey makes his presence felt from his very first scene, when he gathers his students’ phones and then dumps them into a shredder before attacking the school landscaper in full view of his classroom. By the end of the season, I felt he was the lightning bolt this show needed — a wild card whose loyalty was never clear, if only because his mind was never clear. Pelphrey’s performance is absolutely devastating, and I admired the innocence he brought to the character of Ben, who’s initially in the dark regarding the family business. Pelphrey has been around for more than a decade, and yet somehow, I’ve managed to avoid his work. I didn’t watch Iron Fist or Banshee, and there aren’t many notable features on his resume, but that’s about to change. The New Jersey-born actor has a key supporting role in David Fincher‘s Mank, which chronicles Citizen Kane screenwriter Herman J. Mankiewicz‘s clashes with director-star Orson Welles during the making of that film. Pelphrey plays Mankiewicz’s brother, Joseph L. Mankiewicz, who went on to win consecutive writing and directing Oscars for A Letter to Three Wives and All About Eve. It’s a supporting role opposite Gary Oldman, so between that film and Ozark, the sky will soon be the limit for the dashing New Jersey-born actor. Image via Netflix Right now, Pelphrey is laying low up in the Catskills with his girlfriend and their two rescue dogs, but he won’t be able to lay low for long. His performance on Ozark is a true game-changer, and I suspect he’ll be flooded with offers once production resumes worldwide. As soon as Ben begins to spiral in the season’s later episodes, I knew Pelphrey deserved to be Collider’s Up-and-Comer of the Month for April. Get to know him below, and be sure to check out his fiery work on Ozark, because it’s really something special. Collider: What sparked your passion for acting and made you want to get into this crazy business? TOM PELPHREY: Well, for me, it was really having a very special man who was my teacher in high school (Howell High School in New Jersey). Growing up, I played sports and I was terrible at all of them. I wanted to try football but I had to wait for high school, and I did that for a few weeks and then I got hurt, so someone said I should audition for the play, which I did, but I didn’t think I could do well. And anyway, I got a little role and I met this amazing man named Steve Kazakoff. It turned out that the public high school that I was going to had a performing arts program [the Fine and Performing Arts Center] that started the next year, so I auditioned for it and got in, and basically, that changed the course of my life. He was an incredible man, he was disciplined, he was scarier than the football coaches, he was very strict, and it made it feel important, what we were doing, something that perhaps, in different circumstances, maybe I wouldn’t have taken it seriously, He made it very serious and I think I really responded to that, and I responded to the discipline, and I think having him as a teacher kind of shaped the rest of my life. Once I was Kaz’s student, I knew what I wanted to do. You got your start on soaps, right? Tell us about your big break. PELPHREY: When I got out of college, I got a job on Guiding Light, a soap that was filming in New York at the time. I was on that show for two and a half years, and it was a great first job, and I learned a lot. Working in front of a camera for the first time, learning those things, and obviously getting paid, which didn’t hurt, was a great experience. I had a good role, we won some Emmys when I was there, and it was kind of like a miniature taste of a lot of different things. So I learned a lot, and then I left the show and have been working my way up, as you do as an actor, ever since then. So how’d you land this role on Ozark? Tell me about the audition process. PELPHREY: Alexa Fogel is the casting director for Ozark, and I go back with Alexa 15 years now. I remember the first time I read for Alexa Fogel was on Generation Kill, back in the day, and we’ve had a good relationship ever since then. And over the years, you don’t always book roles, but she’s always been a casting director i’ve really admired, and she has responded to my work, which is obviously something that you need when you’re a younger actor. Alexa was the casting director who cast me on Banshee, and then I suppose when this role came up on Ozark, she felt like I would be a good fit, so she had me come in and read for it. I also felt like it was a good fit, and then a week or two later, I got a phone call that everybody was onboard with that, which was obviously pretty exciting. I watched the first two seasons of Ozark on my own and I love the show, so I was a big fan. I thought it was amazing. I love the world of the show and I love the humor, and I thought all the actors were great, so it was a pretty exciting job to get. Did you have to read with Laura first? PELPHREY: No, I didn’t. I just went in to see Alexa in the city, and she put me on tape, and then I guess at some point Chris Mundy and Jason watched the tape and were onboard with it. I’m sure on some level it helped that Alexa has known me for as long as she has, so I didn’t completely come out of nowhere. But no, I didn’t get to meet Laura until I met her on set. Image via Netflix Did you do any research or special preparation to play a character with bipolar disorder? PELPHREY: I did, I found a really great book called An Unquiet Mind by Kay Jamison, and it’s sort of her memoir of being bipolar. It’s a very interesting story because when she was a young woman in college, she was studying mental health, and she actually is a doctor now, but at the time when she was writing the book in the late ’70s, she’s studying mental health and having all these mood fluctuations, and she didn’t understand what was happening even though her focus at the time was bipolar disorder. And a few of her colleagues sort of helped her realize that she actually was bipolar, and got her on the right medication. It’s and up-and-down thing, but the book itself is pretty incredible, because it’s this visceral, honest, heartbreaking memoir of this woman struggling with being bipolar, and how it has affected her family and her relationships and her education and her work life, and yet at the same time, she’s a doctor who understands what’s actually happening. So you’re living through the experience with her, almost as if you’re reading your journal, and at the same time, this doctor is telling you what is happening and why, and how different medications play with each other, and what happens if you don’t get enough sleep or you have too much stress, or if you mix it with alcohol. So that book kind of became my bible, in terms of having a really good source of information that was also very alive. It wasn’t just a clinical description of what this disorder might be, it was all the medical information combined with someone’s actual story, and that was very helpful to understand how things might happen, and then figure out how to apply that to the script. I liked how we gradually learned about Ben’s condition over the course of the season, because at first, you’re like, ‘what’s up with this guy?’ PELPHREY: I think the writers did a fuckin’ excellent job of laying out the whole season, and I thought it was very smart the way they revealed that over time. I also wanted to add or clarify that, obviously, anybody with bipolar disorder, none of that disorder is taking place in a vacuum. Just like anything else going on with anyone dealing with any kind of mental illness, it’s going to be influenced by what’s happening around them and their stress levels, etc. I think it’s obvious, but what happens with Ben on the show is not just a result of bipolar disorder, but also a result of extremely insane circumstances coming to bear. That’s a great point. Why do you think he stops taking his medication at one point? PELPHREY: Well, to me, it was just so he could have sex, because a possible side effect of the medication is that you can’t have an erection, and given his feelings for Ruth, he felt humiliated and embarrassed that he couldn’t [perform]. Did you celebrate when you found out you won the role? PELPHREY: I didn’t. I was pretty happy, but I think something that starts to happen naturally over time the longer you do this — if you’re going to be able to do it and maintain your sanity — is that the lows don’t feel quite as low, and the highs don’t feel quite as high. So there was a bit of that, but I was also very excited. There was also the feeling of like, ‘this sounds like it’s going to be a big role on an incredible show, a show that I watch, and you have some of the best actors there are and excellent writing,’ so I was excited to have the job. But it was also like, ‘alright, I’d better get my ass to work, because you’re going to play on a very high level with a bunch of really talented people, and you’d better show up.’ Is it tough joining a show where the cast has been working together for a while, and suddenly you’re the new guy on set? PELPHREY: Not there it wasn’t. Everybody was extremely, extremely kind and welcoming, and within a few weeks, I felt like I had been there with them from the beginning. That set, the Ozark set, is a very special place, and I think that was curated on purpose by Jason Bateman and Chris Mundy and certainly Laura Linney. The energy on that set is very calm, very respectful, extremely supportive of everyone, and all of the crew feels very equal and safe. So to be a new person walking into what could’ve been an intimidating environment never felt like that. It very much felt like home. Everyone was very welcoming, including the crew, and I’ve been in situations where it did not feel like that. But with Ozark, it was very welcoming, which goes a long way towards freeing you up to do your best work. Image via Netflix You have some amazing moments with Laura Linney, particularly towards the end of the season. Can you talk about working with her and your final scenes together? PELPHREY: It was just heaven. We shot the final four episodes as one block, so you’ll notice we had the same director for the last four episodes, a man named Alik Sakharov, who’s a beautiful director and a beautiful human being. So filming those scenes where it was just me and Laura sitting in the car at two in the morning, and you kind of have to pinch yourself, sitting in that van with some of the most beautiful writing, and getting to play a scene with Laura. Every take felt different, and I felt so free and so alive. I also happen to really love and adore her as a human being, and I remember literally saying to her out loud, “I could do this forever.” It was one of those moments where you kind of pinch yourself because it really doesn’t get much better than that. Are there any actors you admire, or whose careers you’d like to emulate? PELPHREY: Sean Penn. I love Joaquin Phoenix. My favorite as a kid was always Jack Nicholson. There are so many actors that I love. Philip Seymour Hoffman was somebody I really loved. I also do theater, and I think he was obviously a very special talent. Are there any directors who you’re eager to work with? PELPHREY: Yeah, there are a lot I’d love to work with. I recently got to work with [David] Fincher on Mank, and that was pretty fucking special. That was another surreal experience. I think that man is obviously a real master, and it was pretty damn cool to be on his set. The more you get to work with directors like Fincher and see their style and see what makes them them, it does make you more excited to work with some of these other directors whose work you love, like Paul Thomas Anderson. You want to work with these people and kind of see what the experience is, because on that level, the entire experience can be a different thing, because you’re working with a master. In Mank, you play Herman’s brother Joseph L. Mankiewicz, the Oscar-winning director of All About Eve. How familiar were you with the Mankiewicz clan before you were cast in that movie? PELPHREY: Not very familiar at all, but as luck or fate would have it, a few weeks before we started filming, a biography was released about Herman and Joe Mankiewicz, a very thick, pretty detailed biography. Obviously, I did research, and I got to see videos online of Joe, but to be able to read the book and have all of the information to fill in the gaps, as the book covers both of their lives, from the time that they’re boys on up, so that was a very useful resource. I understand that David’s father wrote the screenplay, so Mank was was very personal for him. What were your impressions of the script? PELPHREY: Without saying too much, I think it’s a very, very, very intelligent script, which I’m not surprised by after getting a chance to know David. He’s a very intelligent man. I don’t want to say too much, but I thought that the script was very intelligent, and very good. What was something that surprised you about working with David? PELPHREY: His sense of humor. I thought his sense of humor was excellent. He’s a very funny guy. I don’t know if I was expecting something darker, but he has a wonderful sense of humor and that kind of surprised me. With the whole country in quarantine at the moment, what are you up to and where are you hiding out? Are you alone or with family? How are you passing the time? PELPHREY: I’m hiding out at my house. I live up in the Catskills mountains, and I’m up here with my girlfriend and our two dogs. Currently, at the moment, I’m parked on the side of a highway to talk to you, because at my house I don’t get cell service and I don’t get any fast Wi-Fi. But I’ve been up here for a while now, and unfortunately, at this time, it seems like the only thing we really can do is practice social distancing, so I’m trying to do that. Is there anything you’ve seen or read lately that you’d recommend? PELPHREY: It’s hard because I can’t really stream too much at my house because of the Wi-Fi. I hope you have a good DVD collection! PELPHREY: Well, I’ll tell you what, I’m being slowly introduced to Sex and the City for the first time, and I have to say, I actually like it. I’ve never seen the show before and I think it’d pretty funny and I think it’s pretty good. What kind of dogs do you guys have? PELPHREY: They’re both rescue dogs. Mine is a German Shepherd, and hers is… I don’t know. It apparently came from the streets of Egypt, but it’s not the kind of dog I’ve ever seen before. She’d had it for a few years and they get along good, which is a good thing. Circling back to Ozark, where do you think Marty and Wendy go from here? PELPHREY: I don’t know, man. I have a hard time seeing the path that they’re going down not ending terribly somehow. I’m not exactly sure how it goes, but it feels like in the best way, the show is having them play with something that could, at any second, get wildly out of their control. That’s why show works so well — because the tension always feels one move away from blowing up in their face. But given everything that happens, the future looks dark to me for them. Image via Netflix Do you think next season will be the last, or do you think it’ll go beyond Season 4? PELPHREY: I don’t know. I’m not really privy to that. Obviously, I think the show could run for a few more years if they wanted it to. I’m not sure what they’ll do, or what they feel like they have in terms of story, but I also get the feeling that they’re not going to do the show just to do the show. However many seasons they’re going to do, they’re only going to do them if they feel like they have a really good story to tell. It’s an excellent show, and that writer’s room is incredible. They do such a good job of keeping up the tension and keeping the humor there. It’s a perfect balance. I mean, there’s a reason everyone loves the show. I know you didn’t play sports growing up, but are you a sports fan at all? PELPHREY: Oh yeah. Are you going through withdrawals right now? PELPHREY: Not really, because the sport I’m the craziest about is football, and I’m fucking obsessed with the New York Giants, so I’m on the regular schedule of having to miss them for a while even though they were pretty bad. What about you? I’m a Patriots fan, so I’ll tell you, Eli Manning is looking pretty good to me right now. PELPHREY: I bet you wish you had him in 2008 and 2011 as well! Believe me, I don’t hear the end of it from my Giants fan friends here in LA. PELPHREY: You have to give it to us, because in every other way, the Patriots have completely dominated. I do give it to you, and you guys deserve the credit. Before I let you go though, I know the production stoppage has thrown everyone’s schedule into disarray, but do you have anything lined up when production does resume? PELPHREY: No, everything has stopped. There were talks of certain things, but everything was put on indefinite hold, and rightfully so. So at the moment, it’s all sort of ambiguous, and I think it’s pretty ambiguous for most people. Hopefully, we’re able to keep this thing under control. Do you think this will all be over by, let’s say, your birthday at the end of July? PELPHREY: Well, I don’t know if it will all be over, but I think it’ll be much better by the end of July. The worry is that just like viruses in the past, it’s possible that it could sort of recede in the summer, and that it could come back in the fall, so at this point, I think the thing that we really need is a vaccine. But of course, as of a month ago, that’s still probably 18 months out. At this point, who knows? I don’t know enough about it, and I don’t think anybody knows enough about it to predict, but I think the next two months are going to be a hard road. Just looking at these things on Twitter, what the doctors and the nurses are doing is fucking incredible. Can you imagine? That’s what you go to work to do everyday? It’s so fucking brave, and just incredible. Absolutely, and we’re all grateful to them, but I think we’re also grateful to artists like you who are keeping us entertained through this period and offer folks a distraction from our current nightmare. PELPHREY: Hey, anything to keep people inside and the fuck away from everybody else is a good thing right now, for sure. It’s a hard thing, but we have to do it. Ozark is now streaming on Netflix. Mank will be released on Netflix later this year.
  13. On the heels of Disney’s Friday announcement of a whole new slate of release dates for 2020 and beyond, Jungle Cruise star Dwayne Johnson hopped on Instagram to share insights on why his action adventure pic co-starring Emily Blunt has been delayed — again. Image via Walt Disney Studios This isn’t the first time Jungle Cruise has faced a delay, either. But, up until the emergence of the coronavirus pandemic (which has affected every aspect of our daily lives as well as the production on new projects and release dates of upcoming movies and TV shows), it really looked like fans would finally be able to see Jungle Cruise on July 24, 2020. So, Johnson connected with his followers on Instagram on Friday afternoon, opening up in a brief but insightful video on Jungle Cruise‘s release date delay to July 30, 2021. After remarking early on in his video update that “we were very excited about [Jungle Cruise]; we still are,” Johnson went on to share, “We had some tremendous conversations with ourselves, Seven Bucks [Productions], [and] the Disney leadership team about making sure the parks are fully operational, that Disney cruise lines are fully operational, functional, sailing the oceans [and] delivering the joy to families all around the world as they love doing. But more importantly than that […] it was very important that everyone had emotional confidence not only here in the [United States] but also around the world.” Image via Disney While Johnson doesn’t come out and say it, there are strong implications here about how the Seven Bucks team and Disney plan to cross-promote the upcoming live-action feature. Considering the movie is based on a Disney theme park ride, it should come as no surprise that plans are likely in place to feature tie-ins to the movie for park-goers. The additional mention of Disney Cruises seems to tease additional cross-promotional intentions. But, it would be wrong to completely overlook the fact that Johnson, the Seven Bucks team, and Disney also just wanted to make sure Disney fans and employees are safe no matter what — which is what truly matters. On that note, the Jungle Cruise star went a little deeper, explaining what he (and Disney, as his comments indicate) mean by “emotional confidence.” According to Johnson, “That emotional confidence allows us to get our kids back to school [and] feeling good about that, allows us to get back to work [and] feeling good about that, allows our Disney employees [and] our Disney team members to get back to work, too, and spread that joy and happiness as they love doing and are so proud to do.” Jungle Cruise was definitely not the only Disney, Marvel, or 20th Century Studios movies the House of Mouse scheduled new release dates for. 2020 releases Mulan and Black Widow locked in new release dates in July and November 2020, respectively. Speaking of Black Widow, Marvel’s Phase Four got a big shake-up, with Black Widow taking the release date previously reserved for Eternals, thus pushing that feature and all future Phase Four films further down the calendar. Meanwhile, 20th Century Studios’ 2020 features Free Guy and The French Dispatch were also pushed, but West Side Story has held on to its December 2020 release date.
  14. I am happy to sound like a broken record by repeating this; the world needs more Rebecca Hall! My current urgency to shout that out as much as possible likely has something to do with the fact that I’m still quite obsessed with her under-seen 2017 release, Professor Marston and the Wonder Women, and I was also recently flat-out floored by her performance in the Sundance 2020 selection, The Night House. When the opportunity to cover Hall’s next project, Tales from the Loop, came up, there was absolutely no way I was missing out. We recently shared a short snippet of our phone conversation about her role in Iron Man 3, but with Tales from the Loop now available to watch on Amazon, it’s time to dig into her experience working on the show! In it, Hall plays Loretta, a scientist working in a facility known as The Loop, who also happens to be the daughter-in-law of The Loop’s founder, Russ Willard (Jonathan Pryce). It’s a difficult show to synopsize further without revealing too much, but in Hall’s own words, Tales from the Loop “poses that the fundamental problem of being a human and also the fundamental joy of being a human is time.” Check out the rest of our conversation on Tales from the Loop below to read more about Hall’s experience working with Nathaniel Halpern and learning more about the responsibilities of a showrunner, what’s driving her character, her emotional response to the material and much more. And if you’re looking for even more Tales from the Loop coverage, you can click right here to read my chat with Halpern. Tales from the Loop Season 1 is now available to watch in full on Amazon. Image via Amazon There’s a lot going on in this show. What were some of the burning questions you had for Nathaniel after first reading the scripts? REBECCA HALL: Well, I don’t know. Part of its appeal to me was that it was very mysterious and it felt a little primal on some level. I don’t know. It’s difficult to explain. I had a response to it that felt very – I was very moved by it, and I didn’t really understand what was going on. And I found it very compelling that the characters and the world seemed very much in and of itself and didn’t really relate to any other universe but its own. And yet at the same time, felt to be like everything that was fantastical or strange about it was very rooted in human emotion. The aspects of it that were enigmatic were the things that I liked the most about it. I didn’t really want him to kind of resolve everything for me, or tell me what it was all about. Part of the appeal was that, if that makes sense. [Laughs] I’m curious to hear more about how it moved you. When I spoke to Nathaniel the other day, he told me a big thing for him was that he finds that a lot of sci-fi is cynical nowadays and that he wants to inspire hope with this. So was that emotional response a sense of comfort maybe, either working on this scenario or your character specifically? HALL: No, because I think that her journey is quite hard, but very relatable and human. She’s a character that’s born out of the ultimate act of abandonment on some level. I don’t want to obviously give any spoilers, but it feels that her whole drive and her whole everything is tied up in trying to deal with the thing that happened to her and on some level, control the world. And she works in the world of particle physics and is dealing with existential questions about how we live and why. And there’s also those mysterious elements to everything. I don’t know. Image via Amazon I suppose what I’m trying to say is that the thing that I found the most compelling about this was that when you think about physics, and the little that I do know about particle colliders and all of these things that people are supposedly doing in the loop, is that they’re dealing with the philosophical notion of time, its existence or its nonexistence. And you talk to these people and you say, ‘Do you believe that time travel is possible?’ And they’ll say, ‘Yes.’ And you go, ‘Well, you must be crazy. That’s the stuff of science fiction.’ And it’s not. It is philosophically and theoretically possible. And I think what I find so appealing about this show is that it takes time as its central concept, but not in a kind of like hokey, fun, now let’s jump around with it sort of way. But it sort of poses that the fundamental problem of being a human and also the fundamental joy of being a human is time. Because if it weren’t for time, then things would stay as they are, for better or worse. Relationships wouldn’t end, you wouldn’t grow up, you wouldn’t die. These things that make us human wouldn’t happen, and that can be equal parts devastating and problematic and also kind of why we find beauty and stories and all the rest of it. And that’s obviously a huge existential thing to tackle in a television show, but he does it by sort of these small human stories that take on this larger philosophical weight. And that’s the thing that I find moving about it, is that at the core it’s this very sort of basic human premise slash problem of time. Another thing Nathaniel mentioned to me that I found interesting was that he was heavily involved in crafting the visuals of the show while you were on set. What was your collaboration with him like and how did it differ from other writers and producers you’ve worked with? HALL: Well, this was a whole new world for me. I’ve done a lot of television, but I’ve never done television in this model. British television used to be, when I was doing British TV, if you’d signed up to do a six episode something, or a five episode something, it was all written and there was only one director, and you very much knew ahead of time what it was. And there was no showrunner. I’ve never done something with a showrunner, and so it was very interesting to me, and I didn’t really understand conceptually what a showrunner did. I was confused. Like, if they’re not the director, then what are they doing? But of course, I spent some time working on this and realized that actually Nathaniel is overseeing the entire aesthetic of the show, and every costume, every color palette, every frame of everything he is putting his stamp on and giving his approval on so that the whole thing is cohesive. And there are really brilliant cinematic directors. All of them who’ve made every episode. And it’s not like each of those directors didn’t get to put their stamp on it. They did. It’s like every director has their own sort of movie, but the whole thing is still part of one thing because of Nathaniel. If “real you” could jump into this world, grab any piece of technology and take it back with you, what would it be and why? HALL: I don’t know! I mean, obviously it would be fun to body swap. It would be fun to stop time. I don’t know. There’s too many things. I don’t know! That’s impossible. [Laughs]
  15. Season 3 of Disney’s DuckTales arrives today(!) with two new episodes on Disney XD and DisneyNOW, and we’re here to tell you that they kick off the new season in a fantastic way. The first two seasons so far established the reboot of the beloved animated series and introduced the modern take on Scrooge McDuck and the Duck Family while folding in other elements of the classic Disney Afternoon block. (We’ve got a recap of those two seasons here if you need a refresher.) But Season 3 is really where the new vision of the fan-favorite series takes off. We recently chatted with executive producer Matt Youngberg and story editor / co-executive producer Francisco Angones about the new season, the adventures to come, and the villainous team known as F.O.W.L. as part of our continuing Saturday Mourning Cartoons interview series. It’s a spoiler-free and rather short interview that’s worth a listen before diving back into Duckburg. But if you need more of a reason to check out Season 3, be sure to read my equally spoiler-free review below. Image via Disney XD Season 3, which features appearances by classic Disney characters Daisy Duck, Goofy and favorites from TaleSpin, Chip ‘n’ Dale Rescue Rangers, and Darkwing Duck, finds Scrooge McDuck and the Duck family embarking on a globe-trotting hunt for the world’s greatest lost artifacts, with a secret organization from Scrooge’s past, the Fiendish Organization for World Larceny (F.O.W.L.), trying to stop them at any cost. You won’t find too much antagonizing from F.O.W.L. in the early going here, but we do get some surprising cameos from the Disney Afternoon-iverse right out of the gate. I won’t be telling you just who they are here except to say that they’re delightful and you can’t miss ’em. But what Season 3 does right from the start is that it introduces new globe-trotting adventures in a way that makes sense within the franchise and sets the tone for the future. In “Challenge of the Senior Junior Woodchucks!”, Huey competes against Violet in a race for a promotion within the ranks while Scrooge and the rest of the family search for a secret Junior Woodchuck treasure. This start of the new season is much calmer and quieter than the closing chapters of Season 2, which featured a battle against invading moon-dwelling aliens; it’s hard to top that, really. But this ep offers a nice return to character focus as we get to see the nuances of Scrooge and the Duck Family, as well as the dynamic relationships between them. DuckTales has been all about the family unit, extending to friendship circles in all kinds of ways, and “Challenge” goes back to that core conceit. However, it also finds a way to give the characters a blank page of sorts from which to embark on all new adventures; it’s a perfect setup for the rest of Season 3 to come. Image via Disney XD The second part of the Season 3 premiere is “Quack Pack!”, a title that should be very familiar to 90s Disney Afternoon kids out there. (Seek out this ’96 animated series if you’re not familiar with it; it’ll give you a sense of what the wild and crazy 90s were all about in the cartoon universe.) Without giving too much away, it suffices to say that something is amiss in this episode and viewers will probably pick up on that fact slightly faster than the characters do. It’s a blast to watch the story unfold and is absolutely packed with Easter eggs from Disney classics, the 90s Disney Afternoon block, and more specific DuckTales lore. So while some parts of this episode aren’t quite as insane as the Quack Pack premiere (which saw the triplets turning into comic book superheroes with ridiculous powers and body proportions), there are some parts that get even crazier, if you can believe it. This episode also features the arrival of a Disney fan-favorite and a blast from the past of 90s TGIF television; don’t miss it! Season 3 of DuckTales is off to a rocking start with this two-for-one premiere, but there’s a ton more content to come. We’ll see the introduction of more Disney Afternoon characters–that alone is worth the watch for yours truly–as well as more adventures with the core characters and their allies. On the villainous side of things, more members of F.O.W.L. will be revealed and introduced over the course of the season as it builds to something we honestly can’t quite predict. The last two seasons ended with a magical shadow war and a moon invasion; what could possibly be next? Youngberg and Angones have promised that the trajectory of Season 3 is not to be missed and will be something viewers don’t expect. Taking all of this into account, I can’t imagine any better reasons to tune in and get on board with Disney’s DuckTales. Rating: ★★★★★ Excellent
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