#JEREMY STRONG HENRY V WHEN!

[lungthief]

“I spied you fuckin’ out, son. Don’t ever do that to me again. Retire me, shoot me like a dog in the street.”

SUCCESSION 1x04 / 4x04 / 4x07 | HENRY IV PT 2 IV.iii

[d-criss-news]

There's an interesting idea at the heart of Hollywood, the new Netflix series from Ryan Murphy and Gleeco-creator Ian Brennan: What if it had gone down differently?

It takes a couple of episodes for the disorienting radicalness of this premise to gel, largely because, at the start at least, we're thrust into a reality that's fairly close to actual reality — characters based on real people mingle with characters made just for the show. We meet Ernie (Dylan McDermott), who operates a gas station that's also a brothel serving Hollywood's elite and wealthy who are in the closet. (That really happened.) Jack Costello (David Corenswet), a (fictional) rookie actor looking to get his big break, takes a gig at the whorehouse, and it's there that he meets (fictional) aspiring screenwriter Archie (Jeremy Pope), whose skin color and sexual orientation make his dreams impossible. Across town, we peek inside the studios that make motion pictures, and get to see the racism, blackmail, down-low sex, nepotism, and patriarchal oppression that greases the wheels in Hollywood.

But as the story unfurls and more characters enter the equation — including (fictional) aspiring director Raymond (Darren Criss), (real) closeted sleazy agent Henry Willson (Jim Parsons), (real) actor Rock Hudson (Jake Picking), and (fictional) black actress Camille (Laura Harrier) — the story slips deeper and deeper into fantasy. Without giving too much away, all these people become enmeshed in a plot to make a movie about Peg Entwistle, the (real) actress who jumped to her death from the Hollywood sign in 1932, but they're stalled by prejudice and rules that keep LGBTQ people and folks of color locked out of the system.

Midway through the season however, winds blow in such a way that Avis (Patti LuPone) — the pampered, sexually frustrated wife of a studio head — becomes the studio head and dynamic changes take place. Despite being a tough, jaded broad immune to emotion, she gradually becomes a champion for other women, for people of color, and for the gay people in her orbit. Hollywood climbs further and further into unbelievability as the minutes tick by, and by its crescendo, the "losers" get the wins they deserved. Like Glee, Hollywood puts outcasts at the forefront. It's wish fulfillment porn, and, particularly in the back half, such an incredulous utopia that it seems absurd and perhaps a little frustrating.

But I came to realize that there's a reason Hollywood's fantasizing sometimes feel hard to swallow: We are jaded. We're so accustomed to injustice and the powers that be crushing little people, that challenging the idea of "that's just the way things are" is threatening, even in revisionist fiction. Scripted drama is, by definition, unrealistic; for factual accounts, we read books or watch documentaries. Usually when Murphy revisits the past — The People v. O.J. Simpson; Feud; The Assassination of Gianni Versace — the material looks for insights we might've missed that are relevant now. Hollywood asks us to think about how we all might be better today had the past been different. It's odd but daring storytelling, but, hey, if you've got the creative freedom and reserves of cash only Netflix can offer, why not experiment? Lord knows there are enough ordinary shows to watch, if that's what you want.

Not all of Hollywood goes down smoothly: The natural by-product of all this goodness means giving up some tension, and stakes. But it's certainly endearing, and entertaining — particularly when you howl at Parsons' shocking dialogue, coo over the exquisite costumes, and see LuPone do her thing. (All the actors, it must be said, are competent and strong — they have to be, to pull off something so unusual.) As Murphy knows firsthand, the TV and movie industries only just started showing any real efforts toward inclusivity; we only saw a major film starring a black superhero two years ago. Hollywoodis a retro fairy tale — a progressive, partly preposterous semi-lucid dream in which the underdogs actually win. It's unbelievable but sumptuous, just like all fairy tales should be.

TV Guide Rating: 3/5

Hollywood is now streaming on Netflix.

[aion-rsa]

What Does Future State Mean for the DC Universe?

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It’s somehow almost 2021, which means the DC Universe is about to enter its Future State, the big two month crossover that kicks off the new year by pausing its regular line, and diving deep into the wild, varied timelines and parallel universes for new angles from fresh creators. And we are happy to have your exclusive first look at the February covers and solicitations for the Justice League family of books.

Since half the fun of solicits is trying to piece together what’s happening in the book from the 50 words and a cover, we decided to engage in some wild, semi-informed speculation on what might be coming from DC’s event.

Let’s get right to it: Future State has a very strong Seven Soldiers of Victory vibe.

The original Seven Soldiers were briefly a superteam from the ’40s, brought back sporadically whenever a comic needed a nostalgia boost, until Grant Morrison got his hands on them in the mid-aughts. He and some of the most brilliant artists of the era (Frazer Irving, JH Williams III, Ryan Sook, Doug Mahnke and more) put together a superteam crossover where a group of B and C list heroes stop evil faerie invaders from the future, come to harvest humanity. Also the heroes never meet. The climax is a series of brilliantly planned coincidences where the heroes just barely cross paths, or set up one accident that places the final blow just in time. It’s a superheroic Rube Goldberg machine.

The inciting events of each Future State book are all vastly different on their faces, but point to a more systemic collapse of something within DC’s multiverse/hypertime that could take a series of happy accidents to fix. The Speed Force and the Central Power Battery both go haywire at the same time. Something is different about dimensional barriers in Aquaman and Justice League – we’ve got a mystery Batman, a multiversal Flash, and an interdimensional hole in the ocean in Aquaman. The next generation of heroes are falling apart in Shazam and Teen Titans, and Amanda Waller has gone off the deep end in Suicide Squad. And it looks like magic users are hunted to a dangerous level between the Justice League Dark story and Swamp Thing.

The Black Adam One Million story feels like where something like a 7S conclusion might take place. It got a pretty strong push when we talked to Justice League group editor Alex Carr back in October, and that far in the futue, Adam might have the perspective and the means to nudge a couple of things into place in the past to try and set the multiverse right.

Finally, we’ll talk a bit about variant covers. That Red X cover, if conventions ever come back, is going to make Dustin Nguyen a substantial sum of money. The Future State Green Lantern variant will also likely bring in some cash for Jamal Campbell, but from a very different crowd. The kind of folks who are interested in hot G’Nortt original art. I don’t think I’m ever going to be able to unsee that.

Now, let’s take a look at the goods, including one quietly disturbing variant cover:

FUTURE STATE: AQUAMAN #2 written by BRANDON THOMAS art and cover by DANIEL SAMPERE card stock variant cover by KHARY RANDOLPH ON SALE 2/23/21 $3.99 US | 32 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $4.99 US

“Andy Curry, daughter of Arthur and Mera, has had a pretty terrible month. Jackson Hyde, a.k.a. Aquaman, won’t stop calling her Aqualass when she’s told him a thousand times it’s Aquawoman. She’s manifested a new power that scares the absolute hell out of her. Oh, and she and Jackson just got ripped apart in the midst of a cosmic space ocean and she can’t find him anywhere! For the first time in her 14 years, Andy’s all alone—and it’s gonna take her wits, her will, and every single lesson Jackson ever taught her to survive.”

FUTURE STATE: THE FLASH #2 written by BRANDON VIETTI art and cover by BRANDON PETERSON card stock variant cover by KAARE ANDREWS ON SALE 2/2/21 $3.99 US | 32 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $4.99 US

“All hope is lost as Barry Allen races to save his former partner, Wally West. Armed with the  weapons of the Rogues who once tried to destroy the Flash, Barry plots an attack that’ll either free the former Kid Flash from the evil that’s possessed him—or end his threat forever!”

FUTURE STATE: GREEN LANTERN #2 “The Last Lanterns” written by GEOFFREY THORNE “The Last Lanterns” art by TOM RANEY “Teen Lantern” written by JOSIE CAMPBELL “Teen Lantern” art by ANDIE TONG “Hal Jordan” written by CHRISTOPHER PRIEST “Hal Jordan” art by DEXTER SOY cover by CLAYTON HENRY card stock variant cover by JAMAL CAMPBELL ON SALE 2/9/21 $5.99 US | 48 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $6.99 US

“Outnumbered but never outwitted or outfought, John Stewart leads the last of the Green Lanterns against insurmountable odds. Facing a bloodthirsty Khund cult dedicated to the “God in Red,” the onetime Green Lantern shows that even without a ring or the Corps to back him up, he’s still a force to be reckoned with! Plus, from the pages of Young Justice, Teen Lantern teams up with Mogo, and Hal Jordan reconnects with Oliver Queen after the power battery goes down!”

FUTURE STATE: JUSTICE LEAGUE #2 “Justice League” written by JOSHUA WILLIAMSON “Justice League” art by ROBSON ROCHA and DANIEL HENRIQUES “Justice League Dark” written by RAM V “Justice League Dark” art by MARCIO TAKARA cover by DAN MORA card stock variant cover by KAEL NGU ON SALE 2/9/21 $5.99 US | 48 PAGES | 2 of 2 | FC | DC CARD STOCK VARIANT COVER $6.99 US

“Exiled to a distant planet, the Justice League suspects an impostor in their midst, but not even the next Batman or Green Lantern can find the clues they’re looking for. Meanwhile on Earth, the terrifying return of a classic Justice League villain may spell doom for the planet! Doppelgängers abound, paranoia runs rampant, and only the Justice League can save humanity—if they can ever find their way home.”

“Plus, all the world’s terrible truths are revealed as the Justice League Dark make their last stand. Hunted, beaten, and harvested for their magic, Zatanna, John Constantine, Detective Chimp, Ragman, Madame Xanadu, and Etrigan all unleash a desperate plan that could destroy them—but is it worth the cost to finish Mad Merlin and his mysterious Knights? Only Doctor Fate knows, and the truth may spell hope or doom!”

FUTURE STATE: SHAZAM! #2 written by TIM SHERIDAN art by EDUARDO PANSICA cover by BERNARD CHANG card stock variant cover by GERALD PAREL ON SALE 2/16/21 $3.99 US | 32 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $4.99 US

“Shazam’s soul is laid bare as he’s confronted by one of the most powerful beings in the DC Universe! Revealing shocking secrets and the final fate of Billy Batson, the boy who was Earth’s Mightiest Mortal, this issue introduces a deadly new threat born from the ashes of the Teen Titans Academy: Raven!”

FUTURE STATE: SUICIDE SQUAD #2 “Suicide Squad” written by ROBBIE THOMPSON “Suicide Squad” art by JAVI FERNANDEZ “Black Adam” written by JEREMY ADAMS “Black Adam” art by FERNANDO PASARIN cover by JAVI FERNANDEZ card stock variant cover by DERRICK CHEW ON SALE 2/23/21 $5.99 US | 48 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $6.99 US

“Peacemaker attacks! Assigned to bring Amanda Waller back to Earth-1 at all costs, the Suicide Squad battles Waller’s private Justice League on Earth-3. As lives are lost and blood is spilled, the fate of the Multiverse will be decided by Superman! Also in this issue, the 853rd Century is burning, and only Black Adam can save reality from the onslaught of murderous rage from a new threat spawned from a former hero.”

FUTURE STATE: SWAMP THING #2 written by RAM V art and cover by MIKE PERKINS card stock variant cover by DIMA IVANOV ON SALE 2/2/21 $3.99 US | 32 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $4.99 US

Humanity strikes back! The shadow of Swamp Thing Supreme stretches across the globe as it has for centuries. The world is at peace, until a rebellious faction of humanity ignites their terrible plan, fueled by Woodrue Wilson’s appetite for power. But Swamp Thing, too, harbors a secret—one he must reveal in order to restore peace to the planet once again. But it will cost him everything he has.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

FUTURE STATE: TEEN TITANS #2 written by TIM SHERIDAN art and cover by RAFA SANDOVAL card stock variant cover by DUSTIN NGUYEN ON SALE 2/9/21 $3.99 US | 32 PAGES | 2 OF 2 | FC | DC CARD STOCK COVER $4.99 US

“Red X returns to the Teen Titans! The mysterious former Teen Titans Academy student joins the surviving Titans in a final fight to stop the threat unleashed by one of the school’s students. Nightwing, Raven, Crush, Shazam, Starfire, Cybeast, and Red Arrow face their demons as one of these heroes must make the ultimate sacrifice to save their world!”

The post What Does Future State Mean for the DC Universe? appeared first on Den of Geek.

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[blind3dbylight]

FNAF thoughts and timeline pontification

Been on a major FNAF kick lately and god damn it I want to solve this goddamn series. Spoilers abound. I’ll probably edit this post a lot if I think of something or get corrected on anything.

Bite of ‘83 victim/Crying child: I am of the mind that the BV and Michael Afton are one and the same, and that Michael is an android. Using the books as an example, the protagonist Charlie Emily (short for Charlotte) is discovered to be an android created by her father Henry. The real Charlotte Emily died as a very young child to William Afton, causing the relationship between Henry and Afton to fall apart--and Henry to build the Charlie androids before committing suicide. In the games’ canon, this could be the same--William had lost a child, and tells him “I will put you back together”. Literally.

We know this has to be William talking through Plushbear due to the Private Room in Sister Location having a Plushbear with a walkie-talkie by it, and by punching in 1-9-8-3 on the keypad, camera views of the house from FNAF4 appear on the desk monitors (also confirming FNAF4′s minigames took place in 1983).

Finally, there’s the issue of Nightmare Fredbear--if the CC is Michael, then it makes sense that he would draw NF in the Survival Logbook, which is all but confirmed to have been owned by him in-universe (why else would he draw casual bongos and the exotic butters in it, if it wasn’t him?), following a strong theory that Michael Afton is indeed the series’ overarching protagonist operating under pseudonyms (excepting Jeremy Fitzgerald, who WAS a totally different dude).

Elizabeth/Charlie/BV kill order: What makes the most sense to me is that either Elizabeth or Charlie were first to die. Elizabeth has to have died before CC because Plushbear tells the CC “NO! Don’t you remember what you saw?”, implying CC saw Elizabeth get captured by Circus Baby. This also makes sense for Nightmare Fredbear (as well as his black counterpart, the Nightmare) having a toothy abdomen--the CC knows about Baby’s snatching arm that extends from her abdomen. In this case, the CC isn’t a William victim--that was done by the CC’s unnamed brother (I’ll call him Foxybro because of his Foxy mask).

Charlie died sometime after that. We know she went on to inhabit the Puppet from both “Take cake to the children” in FNAF2 ,the Security Puppet minigame in FFPS, and the true ending of that latter game where Cassette Man/Henry outright addresses his daughter while images from those minigames are shown on screen. We know she is dead-set on protecting children because of what she learned while she was the Puppet and how she “gave life” to the original/withered robots by placing their souls into them.

Alternatively, Charlie was the second to die after Elizabeth, as William was beginning his research into Remnant and how it basically acts like soul glue--Charlie was just an unfortunate victim as he went about trying to get research subjects.

FNAF4 regular gameplay: I believe that the regular nights in FNAF4 are taking place in 1993 while Michael is operating under the name “Mike Schmidt”. He’s having recurring nightmares about the mascots, and again I refer to Nightmare Fredbear’s toothy abdomen. He remembers what happened to his sister.

During the night, a low pitched voice can be heard: this is a pitched-down and reversed form of the night 1 phone call from the first game. It’s important to note that Scott didn’t put these Easter eggs into that game for no reason. Why would a young child know about that phone call? Why would he know Bonnie and Chica’s habits of coming in through the left and right respectively if he’d never been in a Freddy’s security office? And then there’s the changing objects to the side of the bed--implying a hospital visit. Michael knows the robots are trying to get to him while he takes the night shift at the FNAF1 location, and the regular gameplay in FNAF4 is the nightmares he’s having when not there. And again, the Survival Logbook is strongly implied to have been owned by Michael Afton, and he drew Nightmare Fredbear in it. He wouldn’t have known what NF looked like if he wasn’t the CC.

Michael being an android: Baby alludes to this in Sister Location, telling him “You won’t die” shortly before he is scooped--and the scooper makes a more metallic impact sound when he is. (This could simply be because Scott generally doesn’t do outright gore in FNAF, Springtrap notwithstanding, but still...)

Of course, the scooper also injects Remnant, as stated in the blueprint of it seen during the Insanity ending of FFPS. Also how he was able to survive Ennard controlling his body, and when he rises after Ennard bails out, he has pinprick eyes just like the robots do. And while he’s on the ground, he is recalling Baby telling him he wouldn’t die just before he rises back up.

Eh...it all points to Michael Afton being an android like Charlie is in the books. There’s no way a normal human could have survived all that.

Michael and William looking similar: Why are the possessed robots so dead set on getting to Michael? They think he looks like his father. Michael himself confirms this in his monologue after completing the Golden Freddy preset on V. Hard: “They didn’t...recognize me at first, but then...they thought I was you.”

Phone Guy also alludes to the robots not being able to recognize adults in the night 4 call of the second game: “Someone may have tampered with their facial recognition systems...we’re not sure. But the characters have been acting very unusual, almost aggressive towards the staff. Uh, they interact with the kids just fine, but whenever they encounter an adult, they just...stare.”

The robots believe Michael is William because they can’t tell the difference between them and no longer trust any adult, and that is a big part of why they are so determined to end him. (In the Toys’ case, they aren’t possessed--they’re just malfunctioning or possibly being manipulated by the Puppet.)

William Afton’s deeds: The robots (missing children) are aware that William used a Spring Bonnie suit (one of the springlock suits) to lure kids into the safe room and kill them out of sight. This is confirmed by FFPS on the third and final round of Fruity Maze, where a man in a Spring Bonnie suit tells the little girl playing the game “He’s not dead...He is over here. Follow me.”

It’s also alluded to in FNAF2 during the night 6 phone call: “Someone used one of the suits. We had a spare in the back--a yellow one--someone used it...now none of ‘em are acting right.”  Although this is meant to be the player’s cue that Golden Freddy is active, we know about the Spring Bonnie suit from FNAF3.

The Missing Children Incident: This has to be the reason the safe rooms were sealed off. Fazbear Entertainment knew the kids had been taken in there, but would rather have saved PR face than own up to anything. So they just sealed off the rooms hoping it wouldn’t happen again. They’re not known for their integrity...

This is alluded to during the Night 5 phone call from FNAF3: “The safe room is reserved for equipment and/or other property not being currently used and is in fact a safety location for employees only. This is not a break room, and should not be considered a place for employees to hide and/or congregate - and under no circumstance should a customer ever be taken into this room and out of the main show area.”

And in the same phone call, it’s confirmed that the Spring Bonnie suit was used: “Management has also been made aware that the spring Bonnie animatronic has been noticeably moved.” The springlock suits had been decommissioned by that point.

In the Nightmare/Night 6 phone call, you are informed that the safe rooms were sealed off due to “budget restrictions”. Yeah, by now we should know that Fazbear Entertainment is not particularly honest, as evidenced by: “Management also requests that this room not be mentioned to family, friends or insurance representatives.“ Again, they knew damn well what happened in the safe room, and chose this rather than properly address the issue. While Phone Guy himself may not have been fully aware of all this, upper management sure as hell was.

This is all very likely why the Toys no longer trusted adults--especially not the Puppet/Charlie, who knows damn well what’s really going on. Phone Guy knows the Puppet is watching: “To be honest, I never liked that puppet thing. It was always...thinking, and it can go anywhere...”

Michael trying to set the children free: It’s heavily implied we are once again playing as Michael in FFPS. If you die to Scrap Baby, she might say “You’re not who I expected to see...”  and when Scraptrap is in the vents, he may remark “You may not recognize me at first, but I assure you...it’s still me.”  Upon killing the player, he can also remark “Bittersweet...but fitting.”

Henry (Cassette Man) also makes remarks about this during the true ending: “Although there was a way out planned for you, I have a feeling that’s not what you want. I have a feeling you are right where you want to be.”  Michael is sticking around, not only so he and the children can finally be released from a decades-long un-life, but to make sure daddy William goes down with them. When Henry and Michael die, they die ready for it.

And if it’s to be believed that Michael is the overarching protagonist, he is following behind his father, attempting to undo his crimes and set the children free--the pink slip received after completing FNAF1 and 2′s custom nights mention “Tampering with the animatronics” as a reason he gets fired.

Finally, if he’s the guard in FNAF3, the implication could be that Michael is the one who tried to burn down Fazbear’s Fright, in an attempt to end his father for good. (It didn’t work.) He did not do this right off the bat because he was busy trying to set the kids free (the minigames) It wasn’t until FFPS where the kids, Michael, and Henry finally were able to rest in peace--except William (Scraptrap), who is outright told he’s going to Hell and not to keep the devil waiting.

Takeaways: Michael Afton is the CC and is remade as an android. Elizabeth died first. We still have Mrs. Afton and Foxybro unaccounted for. William Afton killed the kids to get subjects for Remnant research. Michael is the overarching series protagonist up until FFPS. I still can’t figure out Midnight Motorist. Jeffery Epstein did not kill himself. All your base are belong to us.

[douxreviews]

The Hollow Crown - Series Review

“Let us sit upon the ground and tell sad stories of the death of kings.”

Occasionally, television reminds us that it can be a brilliant medium. It is easy to become cynical, believing that only a show that pretends to be reality or a comedy in which good actors spout terrible dialogue can be aired. Then, just as we despair, along comes something truly genius. The Hollow Crown is truly genius.

It is a series of four of Shakespeare’s history plays. Often performed together, these stories take us from the late years of Richard II’s reign through the reign of Henry V. Although we will never know if Shakespeare intended for these plays to be performed as a series, they work as one. The stories lead on to the next; characters appear in more than one; and, references are often made to earlier plays.

The BBC, once again, didn’t hold back when producing these four shows. Each has a dream cast and a dream director and they were all filmed on location in England. The music is gorgeous; the sets and the costumes are lush; the cinematography is stunning.

Shakespeare is not an author you can watch with one eye while doing the crossword. His language is dense and, because he wrote in the days prior to special effects, much of what is happening is spelled out in some detail. Your reward, however, for paying attention and concentrating on the play at hand is some of the most beautiful language ever written, at least in English. When that language is spoken by some of the greatest living English actors, it becomes magic.

Richard II

The story takes place over the last two years of Richard’s reign and shows us the rise of Harry Bolingbroke who will become Henry IV. The cast is magnificent, especially Patrick Stewart who, I would argue, is among the best of the RSC old guard. And, on a personal note, can I just say that James Purefoy in period costume works so much better than whatever it is that he is currently playing in The Following.

Like so much of Shakespeare, this play is much more complex than one would initially suspect. On the surface, it is about one king losing his throne to another. It is, however, so much more. It is the story of two men who face off against each other. One is a born leader; the other not so much.

Ben Winshaw, who deservedly won a BAFTA for this role, plays King Richard as weak and entitled, convinced by the divine right of kings that he is untouchable. As he makes the decisions he does, even without the benefit of history, we know that they are wrong and that he is making his downfall inevitable.

Rory Kinnear plays Bolingbroke, Henry IV by the end of the play. He plays the role with subtlety and grace, yet underneath it all is a man conflicted and tormented. He never wanted to be king; he just wanted back what was his.

The best example of this disparity is in the language used. Richard never strays from the royal plural; Bolingbroke never uses it once. Now Henry IV, Bolingbroke understands that the divine right of kings has been turned on its ear and his guilt at what he has done, both to his cousin and to the monarchy, is stunningly conveyed in the final scene.

This play is not performed often, but it should be. It is as strong as the three that follow it.

Henry IV, Part One

Many years have passed, and Henry IV is ensconced on the throne. He has aged and now is played by Jeremy Irons who is simply wonderful. “Uneasy lies the head” being a true statement, Henry has spent his reign wrestling with his guilt and with the constant threat of civil war as not everyone is thrilled about who is wearing the crown.

To make matters even more troubling for our king, his son and heir Hal is a right pain in the ass. Instead of hanging out with his father at court and becoming a mighty warrior, Hal chooses to spend his days hanging out in an Eastcheap tavern with Falstaff and other lowlifes. Tom Hiddleston plays Hal and does so with gusto.

Herein lies the tension of this play. Hal has two fathers; the king whom he disrespects and Falstaff whom he disrespects even more. Henry has two sons; Hal who makes him furious and Hotspur (one of the great Shakespearean names) who is not his son, but is the warrior supporting the crown. The problem is that Hotspur is hotheaded and feels that not only does he have a right to the throne as Richard’s true (and declared) heir, he has earned it.

The inevitable battle is truly epic and tough to watch. The producers did not hold back and the flying arrows and sword fights look amazingly real. Extras roll around in the mud and, at the end, all of our heroes look truly filthy and exhausted.

Hotspur and Henry face off and we see Hal become the true heir to the throne in front of our eyes. The language helps, but Hiddleston plays the scene to perfection as everything from the tone of his voice to the way he holds his head changes and becomes more regal.

Simon Russell Beale is the finest Falstaff, ever (he, too, won a well-deserved BAFTA). So many actors play the role going for the obvious laughs. Beale, on the other hand, manages to inject the character with pathos and humanity, and his paternal love for Hal is obvious to all. Admittedly, some of the humor is lost as a result of these choices, but I didn’t miss it. For maybe the first time ever, I understood what Hal saw in such a horror of a man.

This version is filled with wonderful character actors, too numerous to mention. However, I would be remiss if I didn’t send a shout out to Julie Waters who plays Mistress Quickly to perfection. These plays are slight on roles for women, but Waters manages to jump off the screen, going toe-to-toe with both Hiddleston and Beale and, more often than not, winning.

Henry IV, Part Two

This is my least favorite of the four plays, but I did like the choices that Richard Eyre (the director) made in his cuts. He turned what can be a turgid and, let’s face it, dull play into something interesting to watch. He turned it into a play about becoming old and facing death.

King Henry is approaching his death and he frets about the unsuitability of his son to wear the crown when he is gone. Although it takes a while to get there, the final scenes between Henry and Hal are mesmerizing. Irons and Hiddleston are wonderful as the mantle of power is passed, literally as Henry crowns his son. The very brief moment before all this happens, as Hal sits on the throne with his crown, tears running down his face, actually made me well up.

Hal’s other father is aging as well. Falstaff is completely deluded about what Hal’s becoming king will mean for his old friend. Convinced that a life of leisure and sack is just around the corner, Falstaff is biding his time. The scene in the tavern with Doll was tender and lovely. Here is an old man, aware of his mortality, trying to drum up sympathy for his plight. It is all too late, as his past actions are catching up with him.

Never do they catch up more than at the end of the play and Beale plays Falstaff’s final humiliation to perfection. Genuinely shocked by Hal’s change of heart, the emotion races across his face while the newly crowned king dismisses him out of hand. Hiddleston plays this scene extraordinarily well. It is clear that he is doing what he must and what he believes is right, but there are hints that he wishes he could have avoided this scene all together.

Henry V

The producers were up against it filming this play. Undoubtedly the best known of the history plays, it is filled with speeches that are so well known, they are quoted and paraphrased in nearly everything one watches. Additionally, every English actor worth his salt has performed the role at one point or another and Kenneth Branagh filmed a version that would be tough to beat.

It is also, arguably, the most English of all Shakespeare’s plays. By that, I mean it is patriotism in its purest form. The English king, a reformed bad boy, travels to France and, against all odds, triumphs over his adversaries. Throw in the St. Crispin’s Day speech, and I want to stand tall and salute the St. George’s Cross.

The Hollow Crown version, although not the best, worked in terms of the series. It brought to a satisfying close the arc of a weak king, succeeded by a stronger king, succeeded by the most famous king of them all. Hiddleston was better as the younger playboy than he was as a fierce warrior, but when Henry disguises himself to walk amongst his troops before the battle, he was believable -- we had already seen it.

The problem I had with this version is that Hiddleston is on his own, and he doesn’t quite carry it off. He does not have a Jeremy Irons or a Simon Russell Beale with whom to interact and his final scene with Princess Katherine should have at least some degree of sexual tension. This did not.

Having said that, I pity anyone who has to take on the St. Crispin’s Day speech and make it his own. This one was fantastic. Rather than shout it from the ramparts, the director chose to have Hal speak it to “a happy few” and to speak it from the heart. I found myself grinning at the end of it.

The end was also an interesting choice. The director chose to have Falstaff’s boy, who appears sporadically throughout the play, age and turn into John Hurt who had been voicing the role of the Chorus. He breaks the fourth wall in the final moments and it worked. It reminded us that we are watching is, indeed, history and that time passes for us all.

I’m convinced that if Shakespeare is looking down at some of the schlock being performed in his name, he is sighing with relief at these. I’d like to think that, like me, he wishes they hadn’t stopped, but had continued on with Richard III.

ChrisB is a freelance writer who spends more time than she ought in front of a television screen or with a book in her hand.

[inkwellco]

REVIEW - JUSTICE LEAGUE

To say I was channelling Sirius Black from Harry Potter when he says, “I did my waiting, 12 years of it…” would be an understatement. I’ve been fan of the Justice League for over 15 years and I distinctly remember around 10 years ago hearing talk of a possible Justice League film. Finally, we have it! 

Tonight our favourite DC Superheroes joined forces! Having grown up watching all the animated series and playing with our very own Justice League Watchtower and figurines, to see the inception of what we know and love come to life on screen was quite something. I will try to go as in depth as I can without giving anything away, so make sure you watch it. 

We find ourselves where Batman v Superman left us, dealing with the loss of Superman (Henry Cavill). Batman (Ben Affleck) and Wonder Woman (Gal Gadot) with the help of Alfred (Jeremy Irons) are on a quest to find fellow special beings to join their team and unite against a looming danger. A new villain in the form of another god like alien being, has decided to make his presence known. We learn that this villain has a history with humans, Amazonians and Atlanteans (with a special appearance from the Green Lantern Corps). It is from this point that the two leaders recruit superfolk who are on their radar, Cyborg (Ray Fisher), The Flash (Ezra Miller) and Aquaman (Jason Momoa). 

Much like Suicide Squad I enjoyed the little back stories into each of the characters lives. Wonder Woman and Batman were the exception, where we were given a dose of what they do best, fight crime and save the day. What I also liked was the way in which we as an audience were put into the positions of some characters. Such as Batman and Wonder Woman, learning about the abilities of each character. Whilst we as fans know historically what the powers of each superhero entails, who knows how it will be written in the film. I was pleased to see how the film makers approached this, particularly when we already have some of these characters in the DCTV universe. We were also able to relate to The Flash, who like us would be super excited to join and check out all the gadgets but then, in certain moments think, “all I’ve done is push people and run away.” At one moment I thought, I have to be honest as much as I’d like to be Wonder Woman, we all know I’d be Flash. Which is equally just as cool. 

That’s just it. Each character owned it. In my mind they even set up the ground work for their own solo stories.  I’m talking Flashpoint, Aquaman and even a Cyborg film. After the success of Wonder Woman, we know DC can do a great origins story. Flash will be incredibly interesting as we already have the tv series, however if filmmakers follow what we already know about Flashpoint I will be mighty happy. Aquaman has just wrapped filming in Australia, and we can’t wait to see it (especially after tonight’s scenes) and come on, we’re talking Aquaman, or at least the way we see Momoa portray him is unlike any superhero we’ve seen before. Which brings us to Cyborg, who we know from Teen Titans, wasn’t part of the Justice League origins team, but I really loved the addition into the film. I love the intellectual side of it all, having been given glimpses into it during Justice League. 

I have to talk about the different worlds, Themyscira featured in Justice League with all the Amazonians doing what they do best, amazing fight sequences that made me want to watch Wonder Woman 2 all the much sooner. Honestly, the fight sequence where we last leave the Amazonians was my favourite. The way in which they worked as a team, as one unit looked spectacular. Queen Hippolyta (Connie Nielsen) returns and puts on quite a remarkable performance. I remember the scenes so vividly as they were shot so well. They were truly breathtaking scenes. Then we visit Atlantis, where we come across the Atlanteans and in particular Mera (Amber Heard), who we know to be Aquaman’s wife. Mera was beyond what I expected her to be in this film. I was so happy to see the way she came to life on screen, I remember thinking, ‘yes! Another powerful, strong woman.’ I can’t wait to see what she brings in Aquaman. I also found her interaction with Aquaman to be quite interesting. The dynamic between the two was so real and unique in terms of superhero love interests. 

I absolutely loved the fight sequences towards the end, where the team unite. I was smiling like the Joker at that point, so enamoured by what I was watching. What I had been waiting years to see. The colour grading as always lends to add that extra element that makes a DC film just that, a DC film. It has that dark, grungy quality to it, which really adds to the overall feel of each film. It really worked in this film and at times I was thinking back to previous Batman films, both the 80-90’s and 00’s trilogies. The music was the perfect addition to each scene. My particular favourite was Aquaman aka Arthur Curry walking back to the ocean, drinking whiskey as a rocking track accompanies his strut. Reminded me of the scene in Suicide Squad where Deadshot is showing the prison staff just what he can do. Gary Clark Jr.’s cover of Come Together was one I thought, need to download and work out to this track, Wonder Woman style. 

There were some parts I’d edit down, like some of the more strategy talk, yes, it served a purpose, but I think it could have been done more succinctly. Also there was a fair amount of power posing done by the League. It wouldn’t be the Justice League without it though. In amongst all the action and drama there were some really great comedic moments. Each character had their own sense of humour. It wasn’t verbal, it was physical too. Flash was the king of comedy, the little idiosyncrasies he added working off others was so well done. The fist bump scene, for instance, which was further seen at the end of the film, and the scene where they’re all flying and Aquaman walks off having just intimidated Flash, Flash’s reaction in each situation is perfect.  I enjoyed seeing the different sides to each character, like Batman, actually overjoyed when he reunites with a certain character. It was also great to see Lois Lane (Amy Adams) and Martha Kent (Diane Lane) return to add another element to the aftermath of Superman’s passing. I really liked Lois’ role in the film, much like Martha, it shows the reality of certain situations. Two other characters return, but I can’t delve into these characters without giving things away. We’re also introduced to a certain character who will join the DC universe. Saving all that for a possible spoiler talk review. 

Justice League met my expectations and I can’t wait to see it again. I definitely recommend it and I actually can’t wait to marathon all the DC films and then go watch this again. It’s the perfect addition to the DC universe.

Rating: 4/5 

☆☆☆☆

[nanshe-of-nina]

The Great Lovers of Westeros, part I

Betha Blackwood and Aegon V Targaryen Aegon V had married for love, taking to wife the Lady Betha Blackwood, the spirited daughter of the Lord of Raventree Hall, who became known as Black Betha for her dark eyes and raven hair.

Criston Cole and Rhaenyra Targaryen So smitten was she by the charms of the man she called “my white knight” that Rhaenyra begged her father to name Ser Criston her own personal shield and protector. His Grace indulged her in this, as in so much else. Thereafter Ser Criston always wore her favor in the lists and became a fixture at her side during feasts and frolics.

Joanna and Tywin Lannister Though Tywin Lannister was not a man given to public display, it is said that his love for his lady wife was deep and long-abiding. “Only Lady Joanna truly knows the man beneath the armor,” Grand Maester Pycelle wrote the Citadel, “and all his smiles belong to her and her alone. I do avow that I have even observed her make him laugh, not once, but upon three separate occasions!”

Aliandra Martell and Drazenko Rogare Aliandra came young to her seat and thought herself a new Nymeria. A fiery young woman, she encouraged her lords and knights to prove themselves worthy of her favors by raiding in the marches. … But he and his brother Drazenko, the Prince Consort of Dorne, died within a day of one another, beginning the precipitous fall of the Rogares both in Lys and the Seven Kingdoms.

Loron Greyjoy and Desmond Mallister Of Loron Greyjoy, the Bard, and his great and tragic friendship with young Desmond Mallister, a knight of the green lands.

Jeremy Norridge and Daeron Targaryen A born soldier who rejoiced in tournament and battle, he preferred the companionship of Ser Jeremy Norridge, a dashing young knight who had been with the prince since the two of them were squires together at Highgarden. Prince Daeron brought to his father, Aegon, an altogether deeper sort of grief when he was killed in battle in 251 AC, leading an army against the Rat, the Hawk, and the Pig. Ser Jeremy died at his side, but the rebellion was quashed, and the rebels slain or hanged.

Eddard Stark and Catelyn Tully Bones, Catelyn thought. This is not Ned, this is not the man I loved, the father of my children. His hands were clasped together over his chest, skeletal fingers curled about the hilt of some longsword, but they were not Ned’s hands, so strong and full of life. They had dressed the bones in Ned’s surcoat, the fine white velvet with the direwolf badge over the heart, but nothing remained of the warm flesh that had pillowed her head so many nights, the arms that had held her.

Aemon and Naerys Targaryen “I love him, Father, I truly truly do, I love him as much as Queen Naerys loved Prince Aemon the Dragonknight, as much as Jonquil loved Ser Florian.”

Duncan Targaryen and Jenny of Oldstones Though betrothed to a daughter of House Baratheon of Storm’s End, Duncan became enamored of a strange, lovely, and mysterious girl who called herself Jenny of Oldstones in 239 AC, whilst traveling in the Riverlands. Though she dwelt half-wild amidst ruins and claimed descent from the long-vanished kings of the First Men, the smallfolk of surrounding villages mocked such tales, insisting that she was only some half-mad peasant girl, and perhaps even a witch.

Elaena Targaryen and Alyn Velaryon “She was the fairest treasure of the Maidenvault. Lord Oakenfist the great admiral lost his heart to her, though he was married to another.”

[italianaradio]

Critics Choice Awards 2020: tutti i vincitori

Nuovo post su italianaradio https://www.italianaradio.it/index.php/critics-choice-awards-2020-tutti-i-vincitori/

Critics Choice Awards 2020: tutti i vincitori

Critics Choice Awards 2020: tutti i vincitori

Critics Choice Awards 2020: tutti i vincitori

Ecco tutti i vincitori del Critics Choice Awards 2020, evento in cui si è distinto Quentin Tarantino, che ha portato a casa il premio per il miglior film (C’era una volta a Hollywood) e la migliore sceneggiatura, e che potrebbe essere il front runner per la corsa agli Oscar, che comincerà tra poche ore con l’annuncio delle nomination.

Ecco tutti i vincitori dei Critics Choice Awards 2020

MOVIES

BEST PICTURE “Once Upon a Time in Hollywood” (WINNER) “1917” “Ford v Ferrari” “The Irishman” “Jojo Rabbit” “Joker” “Little Women” “Marriage Story” “Parasite” “Uncut Gems”

BEST ACTOR Joaquin Phoenix – “Joker” (WINNER) Antonio Banderas – “Pain and Glory” Robert De Niro – “The Irishman” Leonardo DiCaprio – “Once Upon a Time in Hollywood” Adam Driver – “Marriage Story” Eddie Murphy – “Dolemite Is My Name” Adam Sandler – “Uncut Gems”

BEST ACTRESS Renée Zellweger – “Judy” (WINNER) Awkwafina – “The Farewell” Cynthia Erivo – “Harriet” Scarlett Johansson – “Marriage Story” Lupita Nyong’o – Us Saoirse Ronan – “Little Women” Charlize Theron – “Bombshell”

BEST SUPPORTING ACTOR Brad Pitt – “Once Upon a Time in Hollywood” (WINNER) Willem Dafoe – “The Lighthouse” Tom Hanks – A Beautiful Day in the Neighborhood” Anthony Hopkins – “The Two Popes” Al Pacino – “The Irishman” Joe Pesci – “The Irishman”

BEST SUPPORTING ACTRESS Laura Dern – “Marriage Story” (WINNER) Scarlett Johansson – “Jojo Rabbit” Jennifer Lopez – “Hustlers” Florence Pugh – “Little Women” Margot Robbie – “Bombshell” Zhao Shuzhen  – “The Farewell”

BEST YOUNG ACTOR/ACTRESS Roman Griffin Davis – “Jojo Rabbit” (WINNER) Julia Butters – “Once Upon a Time in Hollywood” Noah Jupe – “Honey Boy” Thomasin McKenzie – “Jojo Rabbit” Shahadi Wright Joseph – “Us” Archie Yates – “Jojo Rabbit”

BEST ACTING ENSEMBLE

“The Irishman” (WINNER) “Bombshell” “Knives Out” “Little Women” “Marriage Story” “Once Upon a Time in Hollywood” “Parasite”

BEST DIRECTOR Sam Mendes – “1917” (WINNER – TIE) Bong Joon Ho – “Parasite” (WINNER – TIE) Noah Baumbach – “Marriage Story” Greta Gerwig – “Little Women” Josh Safdie and Benny Safdie – “Uncut Gems” Martin Scorsese – “The Irishman” Quentin Tarantino – “Once Upon a Time in Hollywood”

BEST ORIGINAL SCREENPLAY Quentin Tarantino – “Once Upon a Time in Hollywood” (WINNER) Noah Baumbach – “Marriage Story” Rian Johnson – “Knives Out” Bong Joon Ho and Han Jin Won – “Parasite” Lulu Wang – “The Farewell”

BEST ADAPTED SCREENPLAY Greta Gerwig – “Little Women” (WINNER) Noah Harpster and Micah Fitzerman-Blue – A Beautiful Day in the Neighborhood” Anthony McCarten – “The Two Popes” Todd Phillips & Scott Silver – “Joker” Taika Waititi – “Jojo Rabbit” Steven Zaillian  – “The Irishman”

BEST CINEMATOGRAPHY Roger Deakins – “1917” (WINNER) Jarin Blaschke – “The Lighthouse” Phedon Papamichael   – “Ford v Ferrari” Rodrigo Prieto – “The Irishman” Robert Richardson – “Once Upon a Time in Hollywood” Lawrence Sher – “Joker”

BEST PRODUCTION DESIGN Barbara Ling, Nancy Haigh – “Once Upon a Time in Hollywood” (WINNER) Mark Friedberg, Kris Moran – “Joker” Dennis Gassner, Lee Sandales  – “1917” Jess Gonchor, Claire Kaufman – “Little Women” Lee Ha Jun – “Parasite” Bob Shaw, Regina Graves – “The Irishman” Donal Woods, Gina Cromwell – “Downton Abbey”

BEST EDITING Lee Smith – “1917” (WINNER) Ronald Bronstein, Benny Safdie – “Uncut Gems” Andrew Buckland, Michael McCusker – “Ford v Ferrari” Yang Jinmo  – “Parasite” Fred Raskin – “Once Upon a Time in Hollywood” Thelma Schoonmaker – “The Irishman”

BEST COSTUME DESIGN Ruth E. Carter – “Dolemite Is My Name” (WINNER) Julian Day – “Rocketman” Jacqueline Durran – “Little Women” Arianne Phillips – “Once Upon a Time in Hollywood” Sandy Powell, Christopher Peterson – “The Irishman” Anna Robbins – “Downton Abbey”

BEST HAIR AND MAKEUP “Bombshell” (WINNER) “Dolemite Is My Name” “The Irishman” “Joker” “Judy” “Once Upon a Time… in Hollywood” “Rocketman”

BEST VISUAL EFFECTS “Avengers: Endgame” (WINNER) “1917” “Ad Astra” “The Aeronauts” “Ford v Ferrari” “The Irishman” “The Lion King”

BEST ANIMATED FEATURE “Toy Story 4” (WINNER) “Abominable” “Frozen II” “How to Train Your Dragon: The Hidden World” “I Lost My Body” “Missing Link”

BEST ACTION MOVIE “Avengers: Endgame” (WINNER) “1917” “Ford v Ferrari” “John Wick: Chapter 3 – Parabellum” “Spider-Man: Far From Home”

BEST COMEDY “Dolemite Is My Name” (WINNER) “Booksmart” “The Farewell” “Jojo Rabbit” “Knives Out”

BEST SCI-FI OR HORROR MOVIE “Us” (WINNER) “Ad Astra” “Avengers: Endgame” “Midsommar”

BEST FOREIGN LANGUAGE FILM “Parasite” (WINNER) “Atlantics” “Les Misérables” “Pain and Glory” “Portrait of a Lady on Fire”

BEST SONG “Glasgow (No Place Like Home)” – “Wild Rose” (WINNER – TIE) “(I’m Gonna) Love Me Again” – “Rocketman” (WINNER – TIE) “I’m Standing With You” – “Breakthrough” “Into the Unknown” – “Frozen II” “Speechless” – “Aladdin” “Spirit” – “The Lion King” “Stand Up” – “Harriet”

BEST SCORE Hildur Guðnadóttir – “Joker” (WINNER) Michael Abels – “Us” Alexandre Desplat   – “Little Women” Randy Newman – “Marriage Story” Thomas Newman  – “1917” Robbie Robertson – “The Irishman”

TELEVISION

DRAMA SERIES “Succession” (HBO) (WINNER) “The Crown” (Netflix) “David Makes Man” (OWN) “Game of Thrones” (HBO) “The Good Fight” (CBS All Access) “Pose” (FX) “This Is Us” (NBC) “Watchmen” (HBO)

ACTOR IN A DRAMA SERIES

Jeremy Strong – “Succession” (HBO) (WINNER) Sterling K. Brown – “This Is Us” (NBC) Mike Colter – “Evil” (CBS) Paul Giamatti – “Billions” (Showtime) Kit Harington – “Game of Thrones” (HBO) Freddie Highmore – “The Good Doctor” (ABC) Tobias Menzies – “The Crown” (Netflix) Billy Porter – “Pose” (FX)

ACTRESS IN A DRAMA SERIES Regina King – “Watchmen” (HBO) (WINNER) Christine Baranski – “The Good Fight” (CBS All Access) Olivia Colman – “The Crown” (Netflix) Jodie Comer – “Killing Eve” (BBC America) Nicole Kidman – “Big Little” Lies (HBO) Mj Rodriguez – “Pose” (FX) Sarah Snook – “Succession” (HBO) Zendaya – “Euphoria” (HBO)

SUPPORTING ACTOR IN A DRAMA SERIES Billy Crudup – “The Morning Show” (Apple) (WINNER) Asante Blackk – “This Is Us” (NBC) Asia Kate Dillon – “Billions” (Showtime) Peter Dinklage – “Game of Thrones” (HBO) Justin Hartley – “This Is Us” (NBC) Delroy Lindo – “The Good Fight” (CBS All Access) Tim Blake Nelson – “Watchmen” (HBO)

SUPPORTING ACTRESS IN A DRAMA SERIES Jean Smart – “Watchmen” (HBO) (WINNER) Helena Bonham Carter – “The Crown” (Netflix) Gwendoline Christie – “Game of Thrones” (HBO) Laura Dern – “Big Little Lies” (HBO) Audra McDonald – “The Good Fight” (CBS All Access) Meryl Streep – “Big Little Lies” (HBO) Susan Kelechi Watson – “This Is Us” (NBC)

COMEDY SERIES “Fleabag” (Amazon) (WINNER) “Barry” (HBO) “The Marvelous Mrs. Maisel” (Amazon) “Mom” (CBS) “One Day at a Time” (Netflix) “Pen15” (Hulu) “Schitt’s Creek” (Pop)

ACTOR IN A COMEDY SERIES Bill Hader – “Barry” (HBO) (WINNER) Ted Danson – “The Good Place” (NBC) Walton Goggins – “The Unicorn” (CBS) Eugene Levy – Schitt’s Creek (Pop) Paul Rudd – “Living with Yourself” (Netflix) Bashir Salahuddin – “Sherman’s Showcase” (IFC) Ramy Youssef – “Ramy” (Hulu)

ACTRESS IN A COMEDY SERIES Phoebe Waller-Bridge – “Fleabag” (Amazon) (WINNER) Christina Applegate – “Dead to Me” (Netflix) Alison Brie – “GLOW” (Netflix) Rachel Brosnahan – “The Marvelous Mrs. Maisel” (Amazon) Kirsten Dunst – “On Becoming a God in Central Florida” (Showtime) Julia Louis-Dreyfus – “Veep” (HBO) Catherine O’Hara – “Schitt’s Creek” (Pop)

SUPPORTING ACTOR IN A COMEDY SERIES

Andrew Scott – “Fleabag” (Amazon) (WINNER) Andre Braugher – “Brooklyn Nine-Nine” (NBC) Anthony Carrigan – “Barry” (HBO) William Jackson Harper – “The Good Place” (NBC) Daniel Levy – “Schitt’s Creek” (Pop) Nico Santos – “Superstore” (NBC) Henry Winkler – “Barry” (HBO)

SUPPORTING ACTRESS IN A COMEDY SERIES Alex Borstein – “The Marvelous Mrs. Maisel” (Amazon) (WINNER) D’Arcy Carden – “The Good Place” (NBC) Sian Clifford – “Fleabag” (Amazon) Betty Gilpin – “GLOW” (Netflix) Rita Moreno – “One Day at a Time” (Netflix) Annie Murphy – “Schitt’s Creek” (Pop) Molly Shannon – “The Other Two” (Comedy Central)

LIMITED SERIES “When They See Us” (Netflix) (WINNER) “Catch-22” (Hulu) “Chernobyl” (HBO) “Fosse/Verdon” (FX) “The Loudest Voice” (Showtime) “Unbelievable” (Netflix) “Years and Years” (HBO)

TV MOVIE “El Camino: A Breaking Bad Movie” (Netflix) (WINNER) “Brexit” (HBO) “Deadwood: The Movie” (HBO) “Guava Island” (Amazon) “Native Son” (HBO) “Patsy & Loretta” (Lifetime)

ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Jharrel Jerome – “When They See Us” (Netflix) (WINNER) Christopher Abbott – “Catch-22” (Hulu) Mahershala Ali – “True Detective” (HBO) Russell Crowe – “The Loudest Voice” (Showtime) Jared Harris – “Chernobyl” (HBO) Sam Rockwell – “Fosse/Verdon” (FX) Noah Wyle – “The Red Line” (CBS)

ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Michelle Williams – “Fosse/Verdon” (FX) (WINNER) Kaitlyn Dever – “Unbelievable” (Netflix) Anne Hathaway – “Modern Love” (Amazon) Megan Hilty – “Patsy & Loretta” (Lifetime) Joey King – “The Act” (Hulu) Jessie Mueller – “Patsy & Loretta” (Lifetime) Merritt Wever – “Unbelievable” (Netflix)

SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Stellan Skarsgård – “Chernobyl” (HBO) (WINNER) Asante Blackk – “When They See Us” (Netflix) George Clooney – “Catch-22” (Hulu) John Leguizamo – “When They See Us” (Netflix) Dev Patel – “Modern Love” (Amazon) Jesse Plemons – “El Camino: A Breaking Bad Movie” (Netflix) Russell Tovey – “Years and Years” (HBO)

SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Toni Collette – “Unbelievable” (Netflix) (WINNER) Patricia Arquette – “The Act” (Hulu) Marsha Stephanie Blake – “When They See Us” (Netflix) Niecy Nash – “When They See Us” (Netflix) Margaret Qualley – “Fosse/Verdon” (FX) Emma Thompson – “Years and Years” (HBO) Emily Watson – “Chernobyl” (HBO)

ANIMATED SERIES “BoJack Horseman” (Netflix) (WINNER) “Big Mouth” (Netflix) “The Dark Crystal: Age of Resistance” (Netflix) “She-Ra and the Princesses of Power” (Netflix) “The Simpsons” (Fox) “Undone” (Amazon)

TALK SHOW “The Late Late Show with James Corden” (CBS) (WINNER – TIE) “Late Night with Seth Meyers” (NBC) (WINNER – TIE) “Desus & Mero” (Showtime) “Full Frontal with Samantha Bee” (TBS) “The Kelly Clarkson Show” (NBC) “Last Week Tonight with John Oliver” (HBO)

COMEDY SPECIAL “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’” (ABC) (WINNER) “Amy Schumer: Growing” (Netflix) “Jenny Slate: Stage Fright” (Netflix) “Ramy Youssef: Feelings” (HBO) “Seth Meyers: Lobby Baby” (Netflix) “Trevor Noah: Son of Patricia” (Netflix) “Wanda Sykes: Not Normal” (Netflix)

Cinefilos.it – Da chi il cinema lo ama.

Critics Choice Awards 2020: tutti i vincitori

Ecco tutti i vincitori del Critics Choice Awards 2020, evento in cui si è distinto Quentin Tarantino, che ha portato a casa il premio per il miglior film (C’era una volta a Hollywood) e la migliore sceneggiatura, e che potrebbe essere il front runner per la corsa agli Oscar, che comincerà tra poche ore con […]

Cinefilos.it – Da chi il cinema lo ama.

Chiara Guida

[celebritylive]

One more award show in the bag!

The 2020 Critics’ Choice Awards, often regarded as one of the most reliable Academy Awards foretellers in Hollywood, is airing live from Barker Hangar in Santa Monica, California on Sunday night with Taye Diggs hosting.

Martin Scorsese‘s The Irishman leads the pack with 14 nominations, while Quentin Tarantino‘s Once Upon a Time… in Hollywood scored 12 overall nods. The popular war drama 1917 received eight nominations while Greta Gerwig‘s retelling of Little Women received nine.

Scroll down for the complete list of winners.

RELATED: Adam Sandler Reacts to Surprise Oscar Buzz for Uncut Gems: ‘That Really Wasn’t the Goal’

FILM

Best Picture

1917 Ford v Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story Once Upon a Time… in Hollywood Parasite Uncut Gems

Best Actor

Antonio Banderas — Pain and Glory Robert De Niro — The Irishman Leonardo DiCaprio — Once Upon a Time… in Hollywood Adam Driver — Marriage Story Eddie Murphy — Dolemite Is My Name Joaquin Phoenix — Joker Adam Sandler — Uncut Gems

Best Actress

Awkwafina — The Farewell Cynthia Erivo — Harriet Scarlett Johansson — Marriage Story Lupita Nyong’o — Us Saoirse Ronan — Little Women Charlize Theron — Bombshell Renée Zellweger — Judy

Best Supporting Actor

Willem Dafoe — The Lighthouse Tom Hanks — A Beautiful Day in the Neighborhood Anthony Hopkins — The Two Popes Al Pacino — The Irishman Joe Pesci — The Irishman Brad Pitt — Once Upon a Time… in Hollywood

Best Supporting Actress

Laura Dern — Marriage Story Scarlett Johansson — Jojo Rabbit Jennifer Lopez — Hustlers Florence Pugh — Little Women Margot Robbie — Bombshell Zhao Shuzhen — The Farewell 

Best Young Actor/Actress

Julia Butters — Once Upon a Time… in Hollywood Roman Griffin Davis — Jojo Rabbit Noah Jupe — Honey Boy Thomas McKenzie — Jojo Rabbit Shahadi Wright Joseph — Us Archie Yates — Jojo Rabbit

Best Acting Ensemble

Bombshell The Irishman Knives Out Little Women Marriage Story Once Upon a Time… in Hollywood Parasite

Best Director

Noah Baumbach — Marriage Story Greta Gerwig — Little Women Bong Joon Ho — Parasite Sam Mendes — 1917 Josh Safdie and Benny Safdie — Uncut Gems Martin Scorsese — The Irishman  Quentin Tarantino — Once Upon a Time… in Hollywood

RELATED: Brad Pitt Plans to ‘Abstain’ from Oscar Campaigning, Calls It a ‘Disservice’ to the Films

Best Original Screenplay

Noah Baumbach — Marriage Story Rian Johnson — Knives Out Bong Joon Ho and Han Jin Won — Parasite Quentin Tarantino — Once Upon a Time… in Hollywood Lulu Wang — The Farewell

Best Adapted Screenplay

Greta Gerwig — Little Women Noah Harpster and Micah Fitzerman-Blue — A Beautiful Day in the Neighborhood Anthony McCarten — The Two Popes  Todd Phillips and Scott Silver — Joker Taika Waititi — Jojo Rabbit Steven Zaillian — The Irishman

Best Cinematography

Jarin Blaschke — The Lighthouse Roger Deakins — 1917 Phedon Papamichael — Ford v Ferrari Rodrigo Prieto — The Irishman Robert Richardson — Once Upon a Time… in Hollywood  Lawrence Sher — Joker

Best Production Design

Mark Friedberg, Kris Moran — Joker Dennis Gassner, Lee Sandales — 1917 Jess Gonchor, Claire Kaufman — Little Women Lee Ha Jun — Parasite Barbara Ling, Nancy Haigh — Once Upon a Time in Hollywood Bob Shaw, Regina Graves — The Irishman Donal Woods, Gina Cromwell — Downton Abbey

Best Editing

Ronald Bronstein, Benny Safdie — Uncut Gems Andrew Buckland, Michael McCusker — Ford v Ferrari Yang Jinmo — Parasite Fred Raskin — Once Upon a Time in Hollywood Thelma Schoonmaker — The Irishman Lee Smith — 1917

Best Costume Design

Ruth E. Carter — Dolemite Is My Name Julian Day — Rocketman Jacqueline Durran — Little Women Arianne Phillips — Once Upon a Time in Hollywood Sandy Powell, Christopher Peterson — The Irishman Anna Robbins — Downton Abbey

RELATED: Jennifer Lopez Gets Emotional After Hearing Oscar Buzz Surrounding Her Performance in Hustlers

Best Hair and Makeup

Bombshell Dolemite Is My Name The Irishman Joker Judy Once Upon a Time in Hollywood Rocketman

Best Visual Effects

1917 Ad Astra The Aeronauts Avengers: Endgame Ford v Ferrari The Irishman The Lion King

Best Animated Feature

Abominable Frozen II How to Train Your Dragon: The Hidden World I Lost My Body Missing Link Toy Story 4

Best Action Movie

1917 Avengers: Endgame Ford v Ferrari John Wick: Chapter 3 – Parabellum Spider-Man: Far From Home

Best Comedy

Booksmart Dolemite Is My Name The Farewell Jojo Rabbit Knives Out

Best Sci-Fi or Horror Movie

Ad Astra Avengers: Endgame Midsommar Us

Best Foreign Language Film

Atlantics Les Misérables Pain and Glory Parasite Portrait of a Lady on Fire

Best Song

“Glasgow (No Place Like Home)” – Wild Rose “(I’m Gonna) Love Me Again” – Rocketman “I’m Standing With You” – Breakthrough “Into the Unknown” – Frozen II “Speechless” – Aladdin “Spirit “– The Lion King “Stand Up” – Harriet

Best Score

Michael Abels – Us Alexandre Desplat – Little Women Hildur Guðnadóttir – Joker Randy Newman – Marriage Story Thomas Newman – 1917 Robbie Robertson – The Irishman

RELATED: 2020 BAFTA Awards Slammed for Its List of All-White Acting Nominees: ‘This Is Not Good Enough’

TELEVISION

Best Drama Series

The Crown (Netflix) David Makes Man (OWN) Game of Thrones (HBO) The Good Fight (CBS All Access) Pose (FX) Succession (HBO) This Is Us (NBC) Watchmen (HBO)

Best Actor in a Drama Series

Sterling K. Brown – This Is Us (NBC) Mike Colter – Evil (CBS) Paul Giamatti – Billions (Showtime) Kit Harington – Game of Thrones (HBO) Freddie Highmore – The Good Doctor (ABC) Tobias Menzies – The Crown (Netflix) Billy Porter – Pose (FX) Jeremy Strong – Succession (HBO)

Best Actress in a Drama Series

Christine Baranski – The Good Fight (CBS All Access) Olivia Colman – The Crown (Netflix) Jodie Comer – Killing Eve (BBC America) Nicole Kidman – Big Little Lies (HBO) Regina King – Watchmen (HBO) Mj Rodriguez – Pose (FX) Sarah Snook – Succession (HBO) Zendaya – Euphoria (HBO)

Best Supporting Actor in a Drama Series

Asante Blackk – This Is Us (NBC) Billy Crudup – The Morning Show (Apple) Asia Kate Dillon – Billions (Showtime) Peter Dinklage – Game of Thrones (HBO) Justin Hartley – This Is Us (NBC) Delroy Lindo – The Good Fight (CBS All Access) Tim Blake Nelson – Watchmen (HBO)

Best Supporting Actress in a Drama Series

Helena Bonham Carter – The Crown (Netflix) Gwendoline Christie – Game of Thrones (HBO) Laura Dern – Big Little Lies (HBO) Audra McDonald – The Good Fight (CBS All Access) Jean Smart – Watchmen (HBO) Meryl Streep – Big Little Lies (HBO) Susan Kelechi Watson – This Is Us (NBC)

Best Comedy Series

Barry (HBO) Fleabag (Amazon) The Marvelous Mrs. Maisel (Amazon) Mom (CBS) One Day at a Time (Netflix) PEN15 (Hulu) Schitt’s Creek (Pop)

Best Actor in a Comedy Series

Ted Danson – The Good Place (NBC) Walton Goggins – The Unicorn (CBS) Bill Hader – Barry (HBO) Eugene Levy – Schitt’s Creek (Pop) Paul Rudd – Living with Yourself (Netflix) Bashir Salahuddin – Sherman’s Showcase (IFC) Ramy Youssef – Ramy (Hulu)

Best Actress in a Comedy Series

Christina Applegate – Dead to Me (Netflix) Alison Brie – GLOW (Netflix) Rachel Brosnahan – The Marvelous Mrs. Maisel (Amazon) Kirsten Dunst – On Becoming a God in Central Florida (Showtime) Julia Louis-Dreyfus – Veep (HBO) Catherine O’Hara – Schitt’s Creek (Pop) Phoebe Waller-Bridge – Fleabag (Amazon)

RELATED: Robert Downey Jr. Asked Not to Be Considered for an Oscar for Avengers: Endgame: ‘Let’s Not’

Best Supporting Actor in a Comedy Series

Andre Braugher – Brooklyn Nine-Nine (NBC) Anthony Carrigan – Barry (HBO) William Jackson Harper – The Good Place (NBC) Daniel Levy – Schitt’s Creek (Pop) Nico Santos – Superstore (NBC) Andrew Scott – Fleabag (Amazon) Henry Winkler – Barry (HBO)

Best Supporting Actress in a Comedy Series

Alex Borstein – The Marvelous Mrs. Maisel (Amazon) D’Arcy Carden – The Good Place (NBC) Sian Clifford – Fleabag (Amazon) Betty Gilpin – GLOW (Netflix) Rita Moreno – One Day at a Time (Netflix) Annie Murphy – Schitt’s Creek (Pop) Molly Shannon – The Other Two (Comedy Central)

Best Limited Series

Catch-22 (Hulu) Chernobyl (HBO) Fosse/Verdon (FX) The Loudest Voice (Showtime) Unbelievable (Netflix) When They See Us (Netflix) Years and Years (HBO)

Best Movie Made for Television

Brexit (HBO) Deadwood: The Movie (HBO) El Camino: A Breaking Bad Movie (Netflix) Guava Island (Amazon) Native Son (HBO) Patsy & Loretta (Lifetime)

Best Actor in a Limited Series or Movie Made for Television

Christopher Abbott – Catch-22 (Hulu) Mahershala Ali – True Detective (HBO) Russell Crowe – The Loudest Voice (Showtime) Jared Harris – Chernobyl (HBO) Jharrel Jerome – When They See Us (Netflix) Sam Rockwell – Fosse/Verdon (FX) Noah Wyle – The Red Line (CBS)

Best Actress in a Limited Series or Movie Made for Television

Kaitlyn Dever – Unbelievable (Netflix) Anne Hathaway – Modern Love (Amazon) Megan Hilty – Patsy & Loretta (Lifetime) Joey King – The Act (Hulu) Jessie Mueller – Patsy & Loretta (Lifetime) Merritt Wever – Unbelievable (Netflix) Michelle Williams – Fosse/Verdon (FX)

Best Supporting Actor in a Limited Series or Movie Made for Television

Asante Blackk – When They See Us (Netflix) George Clooney – Catch-22 (Hulu) John Leguizamo – When They See Us (Netflix) Dev Patel – Modern Love (Amazon) Jesse Plemons – El Camino: A Breaking Bad Movie (Netflix) Stellan Skarsgård – Chernobyl (HBO) Russell Tovey – Years and Years (HBO)

Best Supporting Actress in a Limited Series or Movie Made for Television

Patricia Arquette – The Act (Hulu) Marsha Stephanie Blake – When They See Us (Netflix) Toni Collette – Unbelievable (Netflix) Niecy Nash – When They See Us (Netflix) Margaret Qualley – Fosse/Verdon (FX) Emma Thompson – Years and Years (HBO) Emily Watson – Chernobyl (HBO)

Best Animated Series

Big Mouth (Netflix) BoJack Horseman (Netflix) The Dark Crystal: Age of Resistance (Netflix) She-Ra and the Princesses of Power (Netflix) The Simpsons (Fox) Undone (Amazon)

Best Talk Show

Desus & Mero (Showtime) Full Frontal With Samantha Bee (TBS) The Kelly Clarkson Show (NBC) Last Week Tonight With John Oliver (HBO) The Late Late Show With James Corden (CBS) Late Night With Seth Meyers (NBC)

Best Comedy Special

Amy Schumer: Growing (Netflix) Jenny Slate: Stage Fright (Netflix) Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons (ABC) Ramy Youssef: Feelings (HBO) Seth Meyers: Lobby Baby (Netflix) Trevor Noah: Son of Patricia (Netflix) Wanda Sykes: Not Normal (Netflix)

The 25th Annual Critics’ Choice Awards is airing live on The CW from Barker Hangar in Santa Monica, CA on Sunday, Jan. 12.

from PEOPLE.com https://ift.tt/2QQeGUh

[jessicakehoe]

Schitt’s Creek Nabs Five Nominations for the 2020 Critics’ Choice Awards

Moira Rose once famously said that her favourite season is ‘Awards Season’ and we suspect the crew of Schitt’s Creek will agree with her on that as the show has scored a total of five nominations at the 2020 Critics’ Choice Awards.

The nominations for next year’s ceremony were announced overnight and every single member of the Rose family was recognized for their work in the show. Catherine O’Hara has been nominated for Best Actress in a Comedy Series, Eugene Levy for Best Actor in a Comedy Series, Dan Levy for Best Supporting Actor in a Comedy Series and former FASHION cover star Annie Murphy for Best Supporting Actress in a Comedy Series. Plus, the series itself is nominated for Best Comedy Series.

It’s not the first time the show has been recognized by the industry, having previously been nominated for four Emmys this year also.

In the Best Comedy Series category, the show is up against Fleabag, Barry, The Marvelous Mrs. Maisel, Mom, One Day at a Time and PEN15. In the individual categories, Eugene is nominated alongside Ted Danson, Bill Hader and Paul Rudd amongst others, whilst O’Hara’s category is hotly contested with the likes of Christina Applegate, Alison Brie, Rachel Brosnahan, Kulia Louis-Dreyfus, Kirsten Dunst and Phoebe Waller-Bridge all also nominated.

Over in film, Martin Scorcese’s The Irishman received 14 nominations overall, Quentin Tarantino’s Once Upon a Time in Hollywood scored 12, and Greta Gerwig’s Little Women got a total of seven nods. Jennifer Lopez also scored her first Critics’ Choice nomination for Hustlers, and Booksmart (starring former FASHION cover star Beanie Feldstein) also received a nod in the Best Comedy category.

The Critics’ Choice Awards are largely considered to be one of the key indicators for the Oscars. According to EW, “The Critics’ Choice Awards have predicted the Oscar’s eventual Best Picture champion winner six times” since 2009.

See the full list of nominees below:

FILM

BEST PICTURE

1917

Ford v Ferrari

The Irishman

Jojo Rabbit

Joker

Little Women

Marriage Story

Once Upon a Time… in Hollywood

Parasite

Uncut Gems

BEST ACTOR

Antonio Banderas – Pain and Glory

Robert De Niro – The Irishman

Leonardo DiCaprio – Once Upon a Time… in Hollywood

Adam Driver – Marriage Story

Eddie Murphy – Dolemite Is My Name

Joaquin Phoenix – Joker

Adam Sandler – Uncut Gems

BEST ACTRESS

Awkwafina – The Farewell

Cynthia Erivo – Harriet

Scarlett Johansson – Marriage Story

Lupita Nyong’o – Us

Saoirse Ronan – Little Women

Charlize Theron – Bombshell

Renée Zellweger – Judy

BEST SUPPORTING ACTOR

Willem Dafoe – The Lighthouse

Tom Hanks – A Beautiful Day in the Neighborhood

Anthony Hopkins – The Two Popes

Al Pacino – The Irishman

Joe Pesci – The Irishman

Brad Pitt – Once Upon a Time… in Hollywood

BEST SUPPORTING ACTRESS

Laura Dern – Marriage Story

Scarlett Johansson – Jojo Rabbit

Jennifer Lopez – Hustlers

Florence Pugh – Little Women

Margot Robbie – Bombshell

Zhao Shuzhen  – The Farewell

BEST YOUNG ACTOR/ACTRESS

Julia Butters – Once Upon a Time… in Hollywood

Roman Griffin Davis – Jojo Rabbit

Noah Jupe – Honey Boy

Thomasin McKenzie – Jojo Rabbit

Shahadi Wright Joseph – Us

Archie Yates – Jojo Rabbit

BEST ACTING ENSEMBLE

Bombshell

The Irishman

Knives Out

Little Women

Marriage Story

Once Upon a Time… in Hollywood

Parasite

BEST DIRECTOR

Noah Baumbach – Marriage Story

Greta Gerwig – Little Women

Bong Joon Ho – Parasite

Sam Mendes – 1917

Josh Safdie and Benny Safdie – Uncut Gems

Martin Scorsese – The Irishman

Quentin Tarantino – Once Upon a Time… in Hollywood

BEST ORIGINAL SCREENPLAY

Noah Baumbach – Marriage Story

Rian Johnson – Knives Out

Bong Joon Ho and Han Jin Won – Parasite

Quentin Tarantino – Once Upon a Time… in Hollywood

Lulu Wang – The Farewell

BEST ADAPTED SCREENPLAY

Greta Gerwig – Little Women

Noah Harpster and Micah Fitzerman-Blue – A Beautiful Day in the Neighborhood

Anthony McCarten – The Two Popes

Todd Phillips & Scott Silver – Joker

Taika Waititi – Jojo Rabbit

Steven Zaillian  – The Irishman

BEST CINEMATOGRAPHY

Jarin Blaschke – The Lighthouse

Roger Deakins – 1917

Phedon Papamichael   – Ford v Ferrari

Rodrigo Prieto – The Irishman

Robert Richardson – Once Upon a Time… in Hollywood

Lawrence Sher – Joker

BEST PRODUCTION DESIGN

Mark Friedberg, Kris Moran – Joker

Dennis Gassner, Lee Sandales  – 1917

Jess Gonchor, Claire Kaufman – Little Women

Lee Ha Jun – Parasite

Barbara Ling, Nancy Haigh – Once Upon a Time… in Hollywood

Bob Shaw, Regina Graves – The Irishman

Donal Woods, Gina Cromwell – Downton Abbey

BEST EDITING

Ronald Bronstein, Benny Safdie – Uncut Gems

Andrew Buckland, Michael McCusker – Ford v Ferrari

Yang Jinmo  – Parasite

Fred Raskin – Once Upon a Time… in Hollywood

Thelma Schoonmaker – The Irishman

Lee Smith – 1917

BEST COSTUME DESIGN

Ruth E. Carter – Dolemite Is My Name

Julian Day – Rocketman

Jacqueline Durran – Little Women

Arianne Phillips – Once Upon a Time… in Hollywood

Sandy Powell, Christopher Peterson – The Irishman

Anna Robbins – Downton Abbey

BEST HAIR AND MAKEUP

Bombshell

Dolemite Is My Name

The Irishman

Joker

Judy

Once Upon a Time… in Hollywood

Rocketman

BEST VISUAL EFFECTS

1917

Ad Astra

The Aeronauts

Avengers: Endgame

Ford v Ferrari

The Irishman

The Lion King 

BEST ANIMATED FEATURE

Abominable

Frozen II

How to Train Your Dragon: The Hidden World

I Lost My Body

Missing Link

Toy Story 4

BEST ACTION MOVIE

1917

Avengers: Endgame

Ford v Ferrari

John Wick: Chapter 3 – Parabellum

Spider-Man: Far From Home

BEST COMEDY

Booksmart

Dolemite Is My Name

The Farewell

Jojo Rabbit

Knives Out

BEST SCI-FI OR HORROR MOVIE

Ad Astra

Avengers: Endgame

Midsommar

Us

BEST FOREIGN LANGUAGE FILM

Atlantics

Les Misérables 

Pain and Glory

Parasite

Portrait of a Lady on Fire

BEST SONG

“Glasgow (No Place Like Home)” – Wild Rose

“(I’m Gonna) Love Me Again” – Rocketman

“I’m Standing With You” – Breakthrough

“Into the Unknown” – Frozen II

“Speechless” – Aladdin

“Spirit” – The Lion King 

“Stand Up” – Harriet

BEST SCORE

Michael Abels – Us

Alexandre Desplat   – Little Women

Hildur Guðnadóttir – Joker

Randy Newman – Marriage Story

Thomas Newman  – 1917

Robbie Robertson – The Irishman

TELEVISION

BEST DRAMA SERIES

The Crown (Netflix)

David Makes Man (OWN)

Game of Thrones (HBO)

The Good Fight (CBS All Access)

Pose (FX)

Succession (HBO)

This Is Us (NBC)

Watchmen (HBO)

BEST ACTOR IN A DRAMA SERIES

Sterling K. Brown – This Is Us (NBC)

Mike Colter – Evil (CBS)

Paul Giamatti – Billions (Showtime)

Kit Harington – Game of Thrones (HBO)

Freddie Highmore – The Good Doctor (ABC)

Tobias Menzies – The Crown (Netflix)

Billy Porter – Pose (FX)

Jeremy Strong – Succession (HBO)

BEST ACTRESS IN A DRAMA SERIES

Christine Baranski – The Good Fight (CBS All Access)

Olivia Colman – The Crown (Netflix)

Jodie Comer – Killing Eve (BBC America)

Nicole Kidman – Big Little Lies (HBO)

Regina King – Watchmen (HBO)

Mj Rodriguez – Pose (FX)

Sarah Snook – Succession (HBO)

Zendaya – Euphoria (HBO)

BEST SUPPORTING ACTOR IN A DRAMA SERIES

Asante Blackk – This Is Us (NBC)

Billy Crudup – The Morning Show (Apple)

Asia Kate Dillon – Billions (Showtime)

Peter Dinklage – Game of Thrones (HBO)

Justin Hartley – This Is Us (NBC)

Delroy Lindo – The Good Fight (CBS All Access)

Tim Blake Nelson – Watchmen (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES

Helena Bonham Carter – The Crown (Netflix)

Gwendoline Christie – Game of Thrones (HBO)

Laura Dern – Big Little Lies (HBO)

Audra McDonald – The Good Fight (CBS All Access)

Jean Smart – Watchmen (HBO)

Meryl Streep – Big Little Lies (HBO)

Susan Kelechi Watson – This Is Us (NBC)

BEST COMEDY SERIES

Barry (HBO)

Fleabag (Amazon)

The Marvelous Mrs. Maisel (Amazon)

Mom (CBS)

One Day at a Time (Netflix)

PEN15 (Hulu)

Schitt’s Creek (Pop)

BEST ACTOR IN A COMEDY SERIES

Ted Danson – The Good Place (NBC)

Walton Goggins – The Unicorn (CBS)

Bill Hader – Barry (HBO)

Eugene Levy – Schitt’s Creek (Pop)

Paul Rudd – Living with Yourself (Netflix)

Bashir Salahuddin – Sherman’s Showcase (IFC)

Ramy Youssef – Ramy (Hulu)

BEST ACTRESS IN A COMEDY SERIES

Christina Applegate – Dead to Me (Netflix)

Alison Brie – GLOW (Netflix)

Rachel Brosnahan – The Marvelous Mrs. Maisel (Amazon)

Kirsten Dunst – On Becoming a God in Central Florida (Showtime)

Julia Louis-Dreyfus – Veep (HBO)

Catherine O’Hara – Schitt’s Creek (Pop)

Phoebe Waller-Bridge – Fleabag (Amazon)

BEST SUPPORTING ACTOR IN A COMEDY SERIES

Andre Braugher – Brooklyn Nine-Nine (NBC)

Anthony Carrigan – Barry (HBO)

William Jackson Harper – The Good Place (NBC)

Daniel Levy – Schitt’s Creek (Pop)

Nico Santos – Superstore (NBC)

Andrew Scott – Fleabag (Amazon)

Henry Winkler – Barry (HBO)

BEST SUPPORTING ACTRESS IN A COMEDY SERIES

Alex Borstein – The Marvelous Mrs. Maisel (Amazon)

D’Arcy Carden – The Good Place (NBC)

Sian Clifford – Fleabag (Amazon)

Betty Gilpin – GLOW (Netflix)

Rita Moreno – One Day at a Time (Netflix)

Annie Murphy – Schitt’s Creek (Pop)

Molly Shannon – The Other Two (Comedy Central)

BEST LIMITED SERIES

Catch-22 (Hulu)

Chernobyl (HBO)

Fosse/Verdon (FX)

The Loudest Voice (Showtime)

Unbelievable (Netflix)

When They See Us (Netflix)

Years and Years (HBO)

BEST MOVIE MADE FOR TELEVISION

Brexit (HBO)

Deadwood: The Movie (HBO)

El Camino: A Breaking Bad Movie (Netflix)

Guava Island (Amazon)

Native Son (HBO)

Patsy & Loretta (Lifetime)

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Christopher Abbott – Catch-22 (Hulu)

Mahershala Ali – True Detective (HBO)

Russell Crowe – The Loudest Voice (Showtime)

Jared Harris – Chernobyl (HBO)

Jharrel Jerome – When They See Us (Netflix)

Sam Rockwell – Fosse/Verdon (FX)

Noah Wyle – The Red Line (CBS)

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Kaitlyn Dever – Unbelievable (Netflix)

Anne Hathaway – Modern Love (Amazon)

Megan Hilty – Patsy & Loretta (Lifetime)

Joey King – The Act (Hulu)

Jessie Mueller – Patsy & Loretta (Lifetime)

Merritt Wever – Unbelievable (Netflix)

Michelle Williams – Fosse/Verdon (FX)

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Asante Blackk – When They See Us (Netflix)

George Clooney – Catch-22 (Hulu)

John Leguizamo – When They See Us (Netflix)

Dev Patel – Modern Love (Amazon)

Jesse Plemons – El Camino: A Breaking Bad Movie (Netflix)

Stellan Skarsgård – Chernobyl (HBO)

Russell Tovey – Years and Years (HBO)

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION

Patricia Arquette – The Act (Hulu)

Marsha Stephanie Blake – When They See Us (Netflix)

Toni Collette – Unbelievable (Netflix)

Niecy Nash – When They See Us (Netflix)

Margaret Qualley – Fosse/Verdon (FX)

Emma Thompson – Years and Years (HBO)

Emily Watson – Chernobyl (HBO)

BEST ANIMATED SERIES

Big Mouth (Netflix)

BoJack Horseman (Netflix)

The Dark Crystal: Age of Resistance (Netflix)

She-Ra and the Princesses of Power (Netflix)

The Simpsons (Fox)

Undone (Amazon)

BEST TALK SHOW

Desus & Mero (Showtime)

Full Frontal with Samantha Bee (TBS)

The Kelly Clarkson Show (NBC)

Last Week Tonight with John Oliver (HBO)

The Late Late Show with James Corden (CBS)

Late Night with Seth Meyers (NBC)

BEST COMEDY SPECIAL 

Amy Schumer: Growing (Netflix)

Jenny Slate: Stage Fright (Netflix)

Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons (ABC)

Ramy Youssef: Feelings (HBO)

Seth Meyers: Lobby Baby (Netflix)

Trevor Noah: Son of Patricia (Netflix)

Wanda Sykes: Not Normal (Netflix)

The 2020 Critics’ Choice Awards will take place on January 12, 2020.

The post <em>Schitt’s Creek</em> Nabs Five Nominations for the 2020 Critics’ Choice Awards appeared first on FASHION Magazine.

Schitt’s Creek Nabs Five Nominations for the 2020 Critics’ Choice Awards published first on https://borboletabags.tumblr.com/

[funface2]

9 funny memes from fourth Democratic debate – Fast Company

9 funny memes from the fourth Democratic debate to help you laugh and not cry

Here are nearly as many memes about last night’s Democratic debate as there were candidates on stage (i.e. probably too many.)

[Photo: courtesy of CNN & The New York Times]

By Joe Berkowitz6 minute Read

Sometimes, you have to laugh to keep from crying. (See: most of the last three years.)

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Every now and then, the fuel for that laughter comes from the very politicians who are fighting against, or responsible for, what we’re crying about. Either these politicians are cracking jokes, which rarely ends well, or everybody else is cracking jokes at their expense. One of the more optimum opportunities for the latter is a presidential debate. These things always end up turning into Political Joke Thunderdome on Twitter, and last night was no exception.

Here are the best memes Fast Company noticed emerging from the fourth Democratic debate of this election, which saw a crowded stage of 12 candidates duke it out for viral supremacy.

Who is Tom Steyer?

Considering that at this point most people would prefer the Democratic field be winnowed down rather than inflated, a lot of viewers were unenthused about seeing a new face on stage. (And Keke Palmer recently gave them a perfect way to express as much.)

Never heard of Tom Steyer in my life. Sorry to this man.

— jeremy bearimy (@crissles) October 16, 2019

Me looking at Tom Steyer not even knowing who he is and that he was part of the debate. #DemocraticDebate pic.twitter.com/gYZ1y4IAXq

— Giselle V. (@itsgissel) October 16, 2019

“Who the hell is this?” – All of America when Tom Steyer started talking

— Jason Howerton (@jason_howerton) October 16, 2019

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When there’s suddenly a new debate participant and we’re just supposed to act like they were there all along pic.twitter.com/eQzoWSM0r2

— Dave Itzkoff (@ditzkoff) October 16, 2019

Joe Biden yelling at Elizabeth Warren

A lot of people ended up challenging Elizabeth Warren during last night’s debate (you better believe we’ll be seeing more in just a moment), but only one of them has an angry grandpa vibe in general and a history of pointing fingers in people’s faces.

People mocked Joe Biden’s explosive moment with references to a Will Ferrell SNL character . . .

I DRIVE A DODGE STRATUS https://t.co/qCAGaimdru

— Sonny Bunch (@SonnyBunch) October 16, 2019

And with references to the MRA reaction to Star Wars: The Last Jedi . . .

“I like Kelly Marie Tran, but I don’t like Rose as a character!” https://t.co/IfHXYjxtzB

— Jordan Maison (@JordanMaison) October 16, 2019

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And of course with esoteric Simpsons references.

“And I wore an onion on my belt, which was the style at the time” https://t.co/3urPHGhOUH

— William D. Adler (@williamadler78) October 16, 2019

“Will you join me, Elizabeth?”

Kamala Harris and Tulsi Gabbard took turns trying to recruit Elizabeth Warren to a pair of positions they’d stated—deleting Trump’s Twitter account and calling for an “end to these regime change wars in Syria,” respectively, to no avail. People online had fun with these requests and with Warren’s utterly unfazed response.

WHEN will elizabeth warren join me in demanding that Under The Dome get renewed for another season — @ewarren what are you afraid of??

— Ashley Feinberg (@ashleyfeinberg) October 16, 2019

Everyone wants Liz Warren specifically to join them in some random venture!!!! We should make an app.

“Liz Warren, will you join me in supporting the public stoning of couples in restaurants that have to sit on the same side of the table?” #DemDebate

— Phillip Henry (@MajorPhilebrity) October 16, 2019

#DemDebate Tulsi Gabbard: I hope Elizabeth Warren will join me.

Elizabeth Warren: pic.twitter.com/cFfsz1tbd7

— Theresa (@theresaaaclare) October 16, 2019

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Tulsi Gabbard is NOT a Russian asset

Of course, Tulsi Gabbard using the phrase “regime-change war” to describe the genocide in Syria struck some people as echoing Vladimir Putin’s language about what is currently happening in the region. This turn of phrase would have likely incited some blowback anyway, but it ironically came just moments after Gabbard, unprompted, declared that she is not, in fact, a Russian asset.

“CNN said I was a Russian asset. That’s ridiculous. Anyway, to solve the problem in the Middle East I would do exactly what Putin wants.” -Tulsi Gabbard. #DemDebate

— Boo-jamin Screamin’ (@BenjaminJS) October 16, 2019

*when Tulsi Gabbard mentions people are calling her a Russian asset then proceeds to do absolutely nothing but reinforce the fact that she’s a fuckin Russian asset* #DemDebate pic.twitter.com/osbovF6JIG

— Cyrus McQueen (@CyrusMMcQueen) October 16, 2019

Actual propaganda that Tulsi is parroting, in between denying she’s not a Russian asset. https://t.co/gjZPXGT99S

— Jill Filipovic (@JillFilipovic) October 16, 2019

Tulsi: I am not a Russian asset Erryone else: pic.twitter.com/KQkfSi9caD

— Kevin (@kevinlizon) October 16, 2019

Beto is Cousin Greg from ‘Succession’

Maybe it was the fact that the Succession finale aired just two nights earlier. Maybe it was Beto O’Rourke’s apparent height advantage at certain moments during the debate. For whatever reason, a lot of people made the connection between the candidate and Nicholas Braun’s eternally put-upon beanpole from the show.

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Because my brain is completely broken, I am getting some strong Cousin Greg vibes off of Beto tonight

— Kate Aronoff (@KateAronoff) September 5, 2019

beto bringing that big cousin greg energy tonight

— The chud from C.H.U.D. (@maggieserota) September 13, 2019

I’m getting this weird vibe like Beto and Cousin Greg might be members of the same family.

— Kim Masters (@kimmasters) October 16, 2019

pic.twitter.com/LBiNN2mgHc

— Dave Itzkoff (@ditzkoff) October 16, 2019

Klobuchar’s “Is this thing on?” moment

Amy Klobuchar dropped a number of zingers that didn’t exactly kill in the way that Warren’s Equality Town Hall joke did last week, and they were received accordingly online as well.

You better believe I added a laugh track to Amy Klobuchar’s joke pic.twitter.com/LM6xCiYrJl

— Keith Deadwards ???? (@keithedwards) October 16, 2019

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Me whenever Klobuchar tries to make a joke #DemocraticDebate pic.twitter.com/MjKKiF0DNq

— ☆ʞɯ️☆ (@_monster_kid) October 16, 2019

**LEAKED FOOTAGE OF AMY KLOBUCHAR PREPARING JOKES FOR THE DEM DEBATES** pic.twitter.com/RfMnTbUrd2

— Yamasc ???????? (@MilkmanNick) October 16, 2019

Straining so hard trying to turn Klobuchar’s bad jokes into a Joker thing I give myself Joe Biden brain.

— luke (@lukeoneil47) October 16, 2019

Biden’s gaffes tend to multiply ‘expodentially’

Because Joe Biden can’t seem to talk without saying at least one thing that makes his aides reach for Prilosec, at one point during the debate, the word “expodentially” was born.

I have never opened twitter faster than when Biden said expodentially

— ⛓ellen⛓ (@_culver_) October 16, 2019

Expodentially? #DemDebate pic.twitter.com/p4wkQeWHPI

— Mericam (@Mericam49) October 16, 2019

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this is expodentially my favorite debate by far

— Aparna Nancherla (@aparnapkin) October 16, 2019

Buttigieg vs Beto

When sparring broke out between Pete Buttigieg and Beto O’Rourke, a lot of onlookers realized they had some trouble telling the difference between these two similarly second-tier candidates.

Pete telling Beto he doesn’t have enough of a plan. #DemDebate pic.twitter.com/wtWCCV6TI1

— Leslie Mac (@LeslieMac) October 16, 2019

Each time Beto and Pete turn in full profile to debate about a point they both agree on, it is the praxis version of Spiderman Pointing At Spiderman Dot Gif.

— Brock Wilbur (@brockwilbur) October 16, 2019

Beto vs Mayor Pete is like watching an anime fight scene between two background characters. #DemDebate

— Chris Ray Goblin (@ChrisRGun) October 16, 2019

Beto O’Rourke / Pete Buttigieg (CNN Debate, 2019 colorized)#DemDebate #DemocraticDebate #Futurama #TheyAreClones pic.twitter.com/XoAK0CDtb3

— Blaise Mikkelsen (@wittywebhandle) October 16, 2019

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The unlikely friend most likely

Ever since the Democratic debates began, viewers have been begging for more questions on substantive issues like climate change. So it was rather typical when the CNN/New York Times debate ended with a question about . . . last week’s Ellen DeGeneres mishegas. Moderator Anderson Cooper asked all the candidates who their most “unlikely friend” might be, and a lot of viewers—including whoever does Sam Bee’s social media—were clamoring for one pairing in particular.

Biden’s unlikely friend gonna be Corn Pop

— John Toohey (@J2tellem) October 16, 2019

CNN Anchor: Tell us about an unlikely friend you have.

Biden: Cornpop.#DemDebate

— Full Frontal (@FullFrontalSamB) October 16, 2019

I feel let down that @JoeBiden ‘a unlikely friend wasn’t Corn Pop. pic.twitter.com/Nst7mOrlXN

— Crypt Keeper 2020 (JDB) (@jdborneman) October 16, 2019

CNN: who is your most unlikely friend?

Joe Biden: CORN POP!#DemocraticDebate

— bela lugosi’s beth (@bourgeoisalien) October 16, 2019

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Bài viết 9 funny memes from fourth Democratic debate – Fast Company đã xuất hiện đầu tiên vào ngày Funface.

from Funface https://funface.net/funny-memes/9-funny-memes-from-fourth-democratic-debate-fast-company/

[thisdaynews]

Cricket World Cup: New Zealand beat Afghanistan to make it three wins from three

New Post has been published on https://thebiafrastar.com/cricket-world-cup-new-zealand-beat-afghanistan-to-make-it-three-wins-from-three/

Cricket World Cup: New Zealand beat Afghanistan to make it three wins from three

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Cricket World Cup: New Zealand beat Afghanistan – highlights

ICC Men’s Cricket World Cup, Taunton: Afghanistan 172 (41.1 overs):Hashmatullah 59; Neesham 5-31, Ferguson 4-37 New Zealand 173-3 (32.1 overs):Williamson 79*; Aftab 3-45 New Zealand won by seven wickets Scorecard; Table; Schedule

New Zealand made it three wins from three as Jimmy Neesham and Lockie Ferguson found form with the ball in a seven-wicket win against Afghanistan.

Neesham (5-31) and Ferguson (4-37) ran through the top and middle order as Afghanistan were bowled out for 172.

Despite losing Martin Guptill first ball and Colin Munro cheaply, New Zealand coasted to their target with 17.5 overs to spare.

Captain Kane Williamson led the way with an unbeaten 79 from 99 balls.

Relive New Zealand’s win with in-play clips

TMS podcast: Reaction to New Zealand’s win v Afghanistan

Roy’s 153 leads England to victory over Bangladesh – highlights & report

It was a convincing win for New Zealand to go alongside their 10-wicket and two-wicket victories against Sri Lanka and Bangladesh respectively.

Williamson and Ross Taylor (48) added 89 for the third wicket, ensuring the Black Caps were well on course to win before the new permanent floodlights at Taunton could take full effect.

But despite taking a two-point lead at the top of the table, they arguably missed out on further boosting their net run-rate by making ponderous progress to the target of 173, taking until the 25th over for Taylor to hit their first six of the innings.

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Afghanistan dismiss NZ’s Guptill with first ball of innings

New Zealand could be joined at the top on six points by Australia if they beat India at The Oval on Sunday.

Afghanistan fell to their third defeat in three, falling short with the bat and proving error-prone in the field once again.

That was despite some entertaining flourishes at the top of the order from Hazratullah Zazai (34) and Noor Ali Zadran (31) and a gutsy 59 from Hashmatullah Shahidi.

Seamer Aftab Alam also showed his potential, taking all three of New Zealand’s wickets to fall.

But they were hampered by the loss of leg-spinner Rashid Khan midway through the game with a head injury, caused when he was hit on the helmet and bowled for nought after ducking into a short ball from Ferguson.

World Cup fixtures & results – who plays who, where and when

World Cup table and stats – who’s on course for the semi-finals?

Black Caps change bowlers take centre stage

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Neesham takes five as New Zealand dominate Afghanistan

Much of the talk surrounding New Zealand’s two wins before this game centred around the potency of new-ball pairing Matt Henry and Trent Boult.

With another green-tinged wicket to bowl first on and cloudy skies above, it looked set for more of the same.

But it was first-change seamers Neesham and Ferguson who shined after Henry and Boult went wicketless in the opening powerplay.

Neesham, 28, a player who contemplated retirement just 18 months ago as form and fitness deserted him, turned the game firmly in his side’s direction as Ferguson provided unerring support from the other end.

The right-armers claimed a combined 9-68 from their 19.1 overs, helping reduce Afghanistan from 66-0 to 70-4 in the space of 21 balls.

Ferguson reeled off three consecutive maidens at the start of his spell, showing Test match-esque control and penetration while also bowling to fields that showed more resemblance to the red-ball game.

Once his 10 overs were done, Neesham had returned the best figures of the tournament so far and just his second five-wicket haul at any level in the format.

Ferguson also managed to move one ahead of team-mate Henry to become the overall leading wicket-taker on eight.

Left-armer Boult, meanwhile, was left wicketless for the first time in a World Cup game but still returned a respectable 0-34 off his 10 overs.

New Zealand are next in action on Thursday against winless South Africa at Trent Bridge.

Warner ‘shaken’ as bowler struck on head in Australia practice session

Return to form of ‘world’s best’ Smith a boost for Australia against India – Finch

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Afghanistan show flair and naivety once more

Hashmatullah Shahidi was the last man out in the Afghanistan innings

Afghanistan have enjoyed a rapid rise up through the associate nations divisions and their elevation to Test status in the past year has made theirs a fairytale story.

After losing big-hitting wicketkeeper-batsman Mohammad Shahzad to injury for the rest of the tournament before this game, it meant a new opening partner for Hazratullah in Noor Ali.

The pair plundered the boundaries off Henry and Boult to guide them to 61-0 at the end of the first powerplay.

But after the euphoria came the comedown.

Neesham and Ferguson’s partnership reduced them from 66-0 to 70-4 and after a couple of short rain breaks, it became 109-6.

But there was to be one shining light with the bat as Hashmatullah showed he could stick around and then bat with the tail to reach his eighth ODI half-century.

Despite batting for the longest of their three innings to date, Afghanistan were dismissed at the start of the 42nd over. Of greater concern looking ahead would have been the manner in which Rashid was both dismissed and subsequently unable to play any further part in the game.

He ducked into a short ball from Ferguson that unfortunately ricocheted off his helmet grille and on to his off stump.

It denied the Taunton crowd a chance to see the leg-spinner try and force a win for his side.

He will continue to be monitored by team doctors in the lead up to their next match against South Africa on Saturday, 15 June.

New Zealand skipper Kane Williamson:“It was nice to build a couple of partnerships and some time in the middle while chasing a score. You want to try and get a bit of mobility going in this long tournament.

“It was a nice performance and a slight improvement on the other night against Bangladesh.”

On Jimmy Neesham’s 5-31:“Jimmy bowled beautifully. We’ve seen in our three games so far how our attack compliment each other and it’s great to see them all playing a part in wins.”

Afghanistan captain Gulbadin Naib:“We made some bad decisions and again we missed out on playing the full 50 overs. If we had taken all those up, maybe we could have given ourselves more of a chance.

“Rashid Khan is feeling a bit better now and is resting up.

“The doctors advised him as a precaution when he has a heart rate of more than 140bpm to stay off the field and get some rest.

“He’s feeling well now and Afghani people are strong, so we’re hopeful he’ll be OK to play in our next game.”

Ex-New Zealand captain Jeremy Coney on TMS:“New Zealand are in a place where you would expect them to be. It was a nice gentle start to the competition for them. It is about to get tougher for them, though, and we’ll find out in the next four matches whether they’re going to reach the semi-finals.”

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[downinfront]

The DC Extended Universe is in rebuild mode, and “Justice League” is the first step

In all of sports, there are few terms more loaded than “rebuild.” That’s the euphemism given when a team finds itself mired in mediocrity and decides to pivot away from a win-now mentality, dumping its resources instead into the prospect of winning later. To do that, they’ll usually dump a lot of their tenured veterans in order to free up money, then draft and develop young talent that can provide the core of a contender in a few seasons’ time. The Houston Astros just did it; the Los Angeles Lakers are in the middle of it; the New York Giants are about to do it and the Cleveland Browns have been attempting to do it for what seems like 20 years now. It’s a unique combination of white flag and hopeful eye towards the horizon: We suck now, but we’ll be back in the saddle a couple years down the line.

That’s the DC Extended Universe, and truth be told it has been for a while. The comic-book giant boasts two of the mightiest IPs in the world — Batman and Superman — but its attempt to build a counterpart to Marvel’s bulletproof Cinematic Universe has been a creaky, accursed enterprise since it launched in 2013 with Man of Steel. Under the creative auspices of Zack Snyder (300, Watchmen), DC attempted to shy away from Marvel’s zippy, quippy, made-for-mass consumption franchise machine by grinding out lengthy, humorless epics about gods and men. It wasn’t the worst idea int he world at the time — coming off of Christopher Nolan’s Dark Knight trilogy, the market was still ripe for “gritty” superheroes — but returns on these modern-day tomes have been increasingly diminishing, from the thunderous nonsense of Batman v Superman: Dawn of Justice to the bullet-ridden vomitorium of Suicide Squad. (There was, as we know, one glorious exception, which we’ll get to momentarily.) Justice League, the long-awaited culmination of DC’s first wave of movies, doesn’t exactly reverse the trend — it’s fun, both because of and despite how much of a mess it is — but it does contain some long-awaited signs of hope that the franchise is finally willing to throw its original plan out the window and start from scratch.

For one, there’s not a lot of Zack Snyder to be found in this movie, even though he’s technically credited as director. A gifted adapter with a near-unparalleled visual palette, Snyder’s singular vision for the DC Universe certainly provided a viable-on-paper alternative to Marvel’s product, but his two movies — 2013’s Man of Steel and 2016’s Batman v Superman — simply weren’t good enough to pass muster. That his fingerprints have been all but excised from this one is due to some truly horrifying circumstances: The death of Snyder’s daughter forced him to step away from Justice League, and Joss Whedon (The Avengers) took over for writing and directing the reshoots. And this wasn’t some second-unit formality, either: Whedon did enough to get the second script credit after Chris Terrio, and even though Snyder is the only credited director, Justice League feels very much like Whedon’s film. This is occasionally for the worse — he lacks Snyder’s gift for sumptuous visuals and his attempts to replicate them are middling — but even as the stitches show on the movie, Whedon brings out a lighter, funnier side of the characters that Snyder seemed genetically incapable of delivering. He does so by moving the majority of the film away from its hoo-ha of a plot and its two biggest anchors, focusing instead on the four backups who all prove to be infinitely more interesting.

Whether this finally means the end of the great Batfleck experiment remains to be seen — the top-billed star still seems somewhat disinterested here, but he fares better than Batman v Superman because he’s given a bit more to play — but the shift in focus does provide ample opportunity for Gal Gadot to continue on her star turn from Wonder Woman. A utility player brought in from the Fast & Furious franchise to play sixth man in Batman v Superman, Patty Jenkins’ megahit from the summer turned Gadot into a megastar and a feminist icon. Less than two years from starring in B-rate action comedies, Gadot now has the kind of box office pull and cultural cache that hasn’t been seen in a long time. Whedon, who made his name in part on Strong Female Characters, knows he’s got the biggest one in decades on his hands, so it’s surely no accident that Wonder Woman gets most of the best scenes here. One minute she’s slicing and dicing through a horde of malevolent bug men, the next she’s slugging a dickish Master Wayne in the sternum so hard he goes flying across the room. It’s to Affleck’s credit that he seems to be having fun even as his minutes decrease, but it’s the movie that reaps the benefits of the change under center.

Flanking Gadot are a trio of greenhorns who give the movie a jolt of energy each time the plot starts to sag, which, given that this movie has a terrible plot, is often. As The Flash, Ezra Miller is wide-eyed, scared shitless (the bit about how he’s never fought anyone is great) and ultimately thrilled to be there. He’s a caffeinated mix of earnestness and annoyance, and if he were ten years younger Marvel would have scooped him up to be Spider-Man. Jason Momoa reimagines the oft-maligned Aquaman as a hard-drinking swingin’ dick with mommy issues; he’s not around to do much besides slug back whiskey and make fun of Batman’s getup, but you get the sense that the Game of Thrones veteran might have finally found a role worthy of his online reputation. And, as Cyborg, Ray Fisher gets an intriguing, Frankenstinian backstory — he’s a prodigy reborn as a machine with a tenuous grip on his humanity— which he plays with a muted resignation that occasionally spills over into outright panic each time his transformation leaps forward. 

Either Whedon recognizes what he has here or realizes he’s got a lot of makeup work to do to give the team the same care he afforded to the Avengers. Either way, he cannily works in a series of scenes with each of these characters that don’t do much to advance the story, but give the actors something to play, the audience something to connect with, and the movie to boast in the way of genuine enjoyment. The most affecting of these is a heart-to-heart between The Flash and Cyborg as they exhume Superman (Henry Cavill) from his grave; the funniest is a scene when Aquaman accidentally sits on Wonder Woman’s Lasso of Truth and tells his new teammates what he really thinks about all of them.

Between those charming non-sequiteurs and his low-key Twitter shade to the movie’s villain, you get the sense Whedon couldn’t give a shit less about Justice League’s plot. But as a previous franchise steward, he knows that no matter his misgivings, he’s got to both deliver a decent movie and right the ship as best he can. There have been way too many missteps on DC’s part for one movie to correct, but it helps that Whedon has a good sense of where to patch the holes. So, he wisely builds upon what worked in the previous films while minimizing what didn’t (Jeremy Irons’ Alfred gets more scenes; Jesse Eisenberg’s Lex Luthor gets less) and even manages to offer some much-needed rehabilitation to their original leading man once Superman is inevitably resurrected.

The question of what to do with the white-bread Man of Steel has been bugging the movies for a while, and while Snyder’s gritty approach was certainly a novel concept, it seems now like the wrong idea at the right time. Cavill cut an imposing presence, but his Kal-El was a morose, occasionally misanthropic demigod who wasn’t afforded the slightest bit of levity even as the adorkable Clark Kent. The man playing him has as much matinee-idol charm as you could want in an actor — The Man From U.N.C.L.E. isn’t quite as good as people online think, but Cavill is a Movie Star in it — but he wasn’t allowed to be half as charming as Christopher Reeve or even Brandon Routh. (Who, as a side note,  rebuilt himself as an MVP of DC’s TV universe playing The Atom on Legends of Tomorrow — it’s a fun show and he’s great in it.) Justice League fixes that, giving the Last Son of Krypton a complete personality change once the team brings him back from the dead. It’s not enough to entirely rehabilitate the character, and Cavill is still oddly humorless in the role, but as the fun mid-credits scene with The Flash shows, even a little bit of awkward goofiness goes a long way.

There are more signs of a rebuild outside the movie as well, all of which are harbingers of positive change down the line. Affleck was brought in as a top-flight star to anchor the franchise, but rumors have swirled for a while now that he wants out. Matt Reeves, who’ll write and direct the upcoming The Batman, supposedly has his eye on a replacement already. The upcoming Flash solo movie will reportedly adapt the reality-meddling Flashpoint arc, potentially giving DC the opportunity to make a trade. Coming out of Suicide Squad, Margot Robbie’s Harley Quinn is rumored to be returning in a movie about Gotham City’s villainesses, while the horror/action stylist James Wan (The Conjuring, Furious 7) will tackle the Aquaman solo movie for next year. There’s also the rumors of a set of movies outside the Justice League continuity, both giving DC a chance to adapt its entire Multiverse and start fresh with the characters its already bungled in the runup to Justice League. Jared Leto’s much-maligned Joker might already be getting subbed out for Leonardo DiCaprio in just such a movie.

Of course, there is the lingering doubt that all these efforts may be too little, too late. Generally speaking, rebuild is an exercise in hope, but it’s also a test of fans’ faith in the franchise. Despite a weird Rotten Tomatoes embargo that held off mass consensus for an extra day or two, Justice League was still subjected to a drubbing that muted enthusiasm to a disheartening degree. Box office returns for the first weekend topped out at around $94 million, which is almost unthinkable for a tentpole featuring the two biggest superheroes of all time and a glass-ceiling smashing movie star. Any staying power this movie has will be on word of mouth alone, and while it’s certainly entertaining in a disheveled kind of way, there simply might not be enough there there to warrant two hours and $20 at the multiplex.

It’ll probably do well on cable and Blu-Ray, which feels appropriate and, to a degree, necessary. The DCEU experiment has been steadily building to at least one outright failure, which is always the catalyst for any rebuild. Watching Justice League, it’s hard not to get the sense everybody saw the L coming and decided to shore up the ranks for next season. That’s sort of optimistic in and of itself, and while saying the movie delivers on the meagerest of promises is damning praise, it’s praise nonetheless and a positive notion of things to come. The night has been dark, but the dawn might finally be on the horizon.

[rodrigohyde]

‘Justice League’ Review: Jason Momoa’s Aquaman shines in this fun, perfectly ridiculous superhero team-up

Like most superhero adaptations of the modern movie era, Justice League features an all-powerful villain looking to take over the world with the help of a CGI-rendered army, and a group of heroes willing to fight him to stop it.

But unlike the dour, dark DC films before it—Wonder Woman being the obvious exception—Justice League is fun, colorful, and lean, taking audiences on a two-hour ride with some of the most iconic characters in comic book history.

[RELATED1]

DC movies have taken a lot of hits from both fans and critics in recent years. Wonder Woman marked a major step up, and while Justice League isn’t on that level, it proves that DC heard the criticism and is course-correcting. Following the muted hero-on-hero broodfest of Batman v. Superman: Dawn of Justice, this film flips the script and lays groundwork for DC to make its expanding movie universe one that fans should be excited for.

Justice League picks up basically where Batman v. Superman left off: Superman (Henry Cavill) is dead—more on that later—plunging the world into mourning and chaos, giving an opening for the dastardly Steppenwolf (Ciaran Hinds) and his army of Parademons to reclaim the earth and basically annihilate mankind. ("Basically annihilate mankind" seems like table stakes for the average superhero team-up movie these days, but here we are.)

[PQ]

When the movie opens, we find Batman/Bruce Wayne (Ben Affleck), who has discovered a rekindled hope for humanity after Superman’s death, gets a hint of this plan when he leverages a random criminal (Mindhunter star Holt McCallany) to lure a Parademon to Gotham City. When he tries to capture it, it blows itself up, leaving behind a mysterious symbol of three squares, which we learn are called Motherboxes. With some investigative help from trusted butler Alfred (Jeremy Irons) and Wonder Woman/Diana Prince (Gal Gadot), the heroes find that Steppenwolf is amassing power, and that they need some serious help in the fight.

Courtesy of Warner Bros.

Thus begins the jauntiest section of Justice League: summoning the heroes. Batman and Wonder Woman—seriously, can Gadot be in everything?—first recruit swashbuckling Atlantean warrior Aquaman/Arthur Curry (a super-jacked Jason Momoa), socially awkward but superhumanly fast The Flash/Barry Allen (Ezra Miller), and the marginally human Cyborg/Victor Stone (Ray Fisher, also super-jacked, even if you can't see it) to help fight back. It’s not much of a spoiler to say that another hero joins the fight about halfway through the movie, and that sequence of his return is one of the best parts of the film—here, the hero-on-hero fighting is actually fun—but for the bulk of the film, it’s on the shoulders of these five heroes, and the cast completely delivers.

[RELATED3]

For all its faults—and there are plenty, including Steppenwolf's blandness, an incoherent final battle scene, and distracting CGI on a certain hero [a SPOILER-LADEN explainer here]—what Justice League does well, it does really well. The production drama surrounding the film has been well-documented. Director Zack Snyder had to step away to deal with a family issue, leaving Joss Whedon to take over for reshoots, creating the potential for a disaster. Justice League is certainly not that, even with the plot and script issues that plague it.

It's no surprise, then, that Justice League is at its most enjoyable when the movie gets out of its own way and lets the players do their thing. Gadot is pitch-perfect in her second stint as Wonder Woman this year, and has us wondering why she can't just be in everything. Momoa is clearly having the time of his life playing the bad boy of the group, zinging Batman for “dressing up like a bat”. Miller provides levity and comic relief, and gives Allen a relatability in which the audience can invest. Cyborg is the least-developed character, and while he’s mostly a big, shiny blob of CGI, Fisher does a fine job playing Victor Stone as he wrestles with the idea that he’s not really human anymore. (Fisher can’t help but smirk when Cyborg gets an opportunity to deliver his comic-book catchphrase “boo ya” late in the film.)

The heroes' banter isn't the only major highlight. Justice League's color palette is far brighter than its predecessors'. An early flashback scene, in which ancient Amazonians, Atlanteans, and the tribes of men unite against Steppenwolf's first Earth-conquering foray, is a standout action sequence as good as anything in theaters this year. (There’s another group that joins the fight—a “corps” of soldiers, if you will, so not to reveal anything too spoilery—that adds a fun Easter egg.)

[RELATED4]

Courtesy of Warner Bros.

Another charming addition: Danny Elfman's score. The Hollywood veteran deftly layers in familiar sonic snippets—we hear the classic '89 Batman theme and John Williams’ landmark fanfare for 1978's Superman—giving the otherwise CGI-heavy action scenes an extra layer of emotional heft.

[RELATED2]

The supporting cast is also a fine complement to all the supeheroics. J.K. Simmons makes an impression as Commissioner Jim Gordon, masterfully implying a years-long relationship with Batman despite precious few scenes, while Amber Heard’s Mera teases at some royal Atlantean drama when Momoa’s Aquaman stops by for a visit. It's a shame we don't get more of them, but Justice League already feels a bit overstuffed as it is.

While Justice League certainly isn’t a complete success, it accomplishes what it set out to do: It continues the DC film universe without breaking it; establishes these heroes as a functioning team; creates strong—and funny—relationships between the characters to build upon; and gives fans many reasons to be excited about the future films in this universe, especially Wonder Woman 2 and Aquaman. (The film has two credits sequences, one that’s pure fanboy fun and another that sets up the Justice League sequel in a fantastic way. But we won’t spoil that here.)

It took decades for the Justice League to unite on screen, and now that it finally happened, it’ll be exciting to see where the team heads next.

[RELATED5]

Movies and TV

from Men's Fitness https://www.mensfitness.com/life/entertainment/justice-league-review-jason-momoas-aquaman-shines-fun-perfectly-ridiculous

[martens-movie-reviews]

Release Date: March 25, 2016 Running Time: 3 hours 2 minutes (regular cut is 2 hours 31 minutes)

“It’s been nearly two years since Superman’s colossal battle with Zod devastated the city of Metropolis. The loss of life and collateral damage left many feeling angry and helpless, including crime-fighting billionaire Bruce Wayne. Convinced that Superman is now a threat to humanity, Batman embarks on a personal vendetta to end his reign on Earth, while the conniving Lex Luthor launches his own crusade against the Man of Steel.”

Because of the anticipated release of Justice League on Friday November 17, I’ve decided to write reviews of all of the movies that make up the DC Extended Universe so far. There have been a lot of talks about how long this franchise will last, but as a comic book fan, and huge lover of movies, I never want movies to be bad. I’m hoping that it’ll be amazing. You can find the dates for when the reviews for the other DCEU movie will be released at the link here. I wrote the review for Wonder Woman around the time it came out, and it can be found here.

DC Extended Universe – Source: Warner Brothers Entertainment

Batman v Superman: Dawn of Justice Trailer – Source: Warner Brothers Entertainment

Cast & Crew

Batman v Superman: Dawn of Justice was directed by Zack Snyder, who I’ve already summarized his previous work and work since in the Man of Steel Review.

It was written by Chris Terrio and David S. Goyer. I’ve already mentioned Goyer’s work as well in the Man of Steel Review, as such I will go over Terrio’s work. Chris Terrio previously wrote the 2012 film ‘Argo’, and has since worked on the Justice League movie, the sequel to that movie will be released in the future, and Star Wars: Episode IX set to be released in 2019.

From Left to Right: Henry Cavill as Kal – El / Clark Kent / Superman, Gal Gadot as Diana Prince / Wonder Woman and Ben Affleck as Bruce Wayne / Batman – Source: Warner Brothers Entertainment

Cast includes Jesse Eisenberg, Amy Adams, Henry Cavill, Ben Affleck, Laurence Fishburne, Diane Lane, Callan Mulvey, Scoot McNairy, Holly Hunter, Gal Gadot, Jeremy Irons, Kevin Costner, Ray Fisher, Jena Malone, Ezra Miller, Michael Shannon, Lauren Cohan, Jeffrey Dean Morgan.

Review

I will start by saying that I find the idea of Batman and Superman fighting for any reason to be kind of silly, but I was interested in the idea. If this movie would have been just Batman v Superman, and not ‘Dawn of Justice’, I think that this movie would have been a much better film, and wouldn’t have split the audience as much. There were too many rushed storylines in the overall film, and making everything a little convenient, and stupid. They made Lex Luthor a joke for over half the movie, and then made him somehow have little surveillance clips that featured Aquaman, the Flash, and Cyborg that he had managed to get, implying that he knows everyone’s identity.

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He also neatly put the clips into nice little folders with each hero’s respective logo as the folder picture. That is one of the worst ways that they could have done that. It’s something that I can’t comprehend the reasoning behind it, other than ‘we need to introduce them, instead of following the ‘Marvel method’ and bring them in via separate films, let’s cram them all in one movie before the big team up’. It’s one of the dumbest moves that DC has done, and I still can’t understand how it got put into the movie.

The fact that he also knows who Wonder Woman, Batman and Superman really are is something that is both dumbfounding as well as overreaching. It’s something that I feel that ruined the movie for a lot of people, and they tried to fix that at the end, by making him crazy and in prison. I feel like because of all the things mentioned above, it was too for this one movie, and should have been explored in a grander arc of films. The short clips of the characters were interesting in what we saw, but wasn’t worth cramming them all in.

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A weird decision that I don’t understand was that the filmmakers decided that they were going to give Bruce Wayne prophetic dreams? It’s something that’s very difficult to comprehend, and that they don’t really explore much in this film. He sees ??? that we will be seeing in Justice League, and sees the Flash in a surprise cameo that could have been a dream? I’m still not 100% sure, and I’ve watched this film roughly 8 or 9 times since it was released.

One thing that is confusing with the surprise cameo by the Flash from the future, was because of the other ‘dream sequences’ that Bruce has experienced in the movie to this point, is that I’m not entirely sure if that actually happened, as Bruce ‘wakes up’, after The Flash disappears back into the future.

Wonder Woman’s photo from 1918 – Source: Warner Brothers Entertainment

The standout performance in this movie was Ben Affleck as a much older Bruce Wayne / Batman than we’ve had in the past. He was charming when he needed to be, while also being able to display the brutalness that the character had developed over 20 years of crime fighting in Gotham. There’s not much to say about his performance than it was extremely well done, and I will be disappointed if ever they recast him as some rumours are stating.

I really enjoyed Jeremy Irons’ take on Alfred in this film. He was funny, witty, harsh on Bruce, and still trying to teach him lessons. I also enjoyed that they made him part of Batman’s team, in helping him with the suits and the vehicles. It really showed the relationship between the two as the only meaningful one that Bruce has with anyone.

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The other character who stole all of the scenes was one of the most controversial casting decisions that DC had at the time with Gal Gadot being cast as Diana Prince / Wonder Woman. That decision turned out to be genius as she did a very good job in this film with what she was given, while also following this performance with the movie that was widely praised by audiences and critics alike in her solo film.

The casting of Eisenberg in the role of Lex Luthor, was in my opinion one of the oddest casting decisions that they made. His portrayal of Lex was creepy (Jolly Rancher scene), and father obsessed. I understand the choice of making him a sort of ‘modern day business man’, however I feel like it didn’t work at all in this film, and I hope that they correct that in future films.

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Henry Cavill did a better job at showing the many sides of Clark Kent and Superman in this movie than he did in his first shot at the character, and I must commend him in his improvement as an actor and at how he managed to make the two characters different than one another.

The Lois Lane character was better handled in this movie, and while she still played a big part in the movie, she wasn’t integral to the advancing the story. I think that Amy Adams did a better job, and had a better feel for the character in this movie.

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Using General Zod to be the one that ‘becomes’ Doomsday was another very questionable decision that the people in charge made. I feel like they had very little inspiration from the thousands of comics detailing his origin and purpose, and decided to use a Kryptonian that they already had introduced.

There were way too many subplots in this movie that made this movie a mess in my opinion. There was the plotline that featured Bruce Wayne’s employee deciding that he didn’t want Wayne’s money after he had helped him, which lead to him being used by Luthor. There was the whole African village plot where there’s a woman that lied to the Senate to make Superman look bad. There’s the fun fact that I’ve mentioned where Luthor somehow knows everyone’s secret identity. There’s Diana Prince / Wonder Woman that knows that Luthor has a picture of her from 1918. There’s the Superman is a menace subplot. There’s the underlying subplot that Batman has already lost a lot of people in his life and has faced many of the villains from his comic books. There’s the death of the Waynes. There’s the weird and badly executed ‘reason to stop fighting each other / bonding moment’ between the titular heroes of the film. The Doomsday plotline that uses the body of General Zod and Luthor’s blood to create him, as well as the set up for Justice League. That was exhausting just typing that all out, and I’m sure I missed a few as well.

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The music in this film followed the theme that Man of Steel had started, and featured a strong score, as well as introduced a few new themes for Batman and Wonder Woman. The music was a bit much at certain times, using the Wonder Woman theme several times over and over again, no matter how good it was. At the end of the day, Hans Zimmer once again did a good job with the music for Batman v Superman: Dawn of Justice, with the help of Junkie XL.

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The Batman in this movie, is very much a Batman that has been through some shit. He has become brutal after the events that transpired in Metropolis, and the fact that he was branding people, knowing that it would lead them to their death is something that was especially cruel. His fighting style against the people who took Martha was also extremely brutal, and it shows that this version of Batman has no problem with killing people. It’s something that was almost as controversial as Superman breaking General Zod’s neck with his bare hands.

The car chases in this movie was fun, and cool to watch from that viewpoint, but I feel like it paled in comparison to the Nolan films in what they did with the Bat vehicles. There was 2 cool parts with the vehicles and that’s when he flipped a car onto another car somehow, and having Alfred control the Bat Plane in a drone mode.

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The final fight between Batman and Superman was surprisingly well done. I feel like if Superman would have opened with ‘Bruce, Lex has my mother’ rather than ‘there’s no time for this’, then the fight would have been avoided, however that’s just logical. The fight itself really showed Batman’s resourcefulness and intelligence that he had planned most of the fight, and had actually managed to beat Superman in the fight is something that hurts a lot of fanboys, because if Superman would have wanted (as he says), Bruce would have been neutralized right away.

The final fight between the Trio (Wonder Woman, Batman & Superman) and Doomsday was something that was fun, while also something that I’ve mentioned over and over again as something that should have been done in a separate film. The fight was fun to watch, and the arrival of Wonder Woman was great, especially the use of her new theme. I enjoyed watching Wonder Woman be happy that she was having a ‘real fight’, and could have some fun.

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The Death of Superman, a popular comic book storyline was sadly butchered in this movie. This is something that should have had its own movie to display the whole story that they could have done with the characters. The death of Superman due to the Kryptonian spear and Doomsday was well executed in the visual aspect of the movie, but people didn’t get to really get to care for the character in the way that they might have wanted them to. Everyone knows that he will be coming back in Justice League, even if most of the promotional material doesn’t show him, it’s a given. It’s one of the things that I don’t even consider a spoiler, because it should be common knowledge by now. They can’t bring the Justice League together for the first time on the big screen without Superman.

The hinting of Bruce putting a team together in honour of Superman’s sacrifice is something that will be further explored in the Justice League movie that comes out this week, and I really want this movie to be good.

Lex Luthor gone crazy – Source: Warner Brothers Entertainment

Overall, the movie had a fantastic Bruce Wayne / Batman as well as Diana Prince / Wonder Woman, who both stole every scene that they were in, while the movie was a mess story wise and trying to do too much. As I mentioned above, this movie should have either been spread out into two films (not in a part 1 + part 2, but two separate movies), and I feel it would have been done much better, and both movies could have been developed a bit better where the stories wouldn’t have been too jumbled up. While I did enjoy the movie, I didn’t love it or hate it, this movie was sadly just an okay film with a lot of potential that was wasted. At the end of the day, I don’t think I can give this film a score higher than 6.75/10.

What did you think of Batman v Superman? Tomorrow I’ll be reviewing Suicide Squad. Are you excited for Justice League? Let me know in the comment section below!

Thanks for reading,

Alex Martens

Batman v Superman: Dawn of Justice (Extended Cut) Review Release Date: March 25, 2016 Running Time: 3 hours 2 minutes (regular cut is 2 hours 31 minutes)

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Official Synopsis:

Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

Picking up shortly after we last saw Bruce and Diana go their separate ways, the story reconnects these two characters who may not always see the same road toward their shared goal. But it’s their shared motivation—to do right by the sacrifice Superman made—that allows them to find common ground very quickly in order to face Steppenwolf, an eight-foot-tall warrior from the nightmare world of Apokolips. He seeks the power to conquer the world and transform it into his own. He is no ordinary villain, and it will take an extraordinary force to defeat him.

Zack Snyder states, “Just the idea of getting the Justice League together on the same playing field, taking their place in the cinematic landscape as a team and embarking on an amazing adventure…the mere concept of it was awe-inspiring.”

In the film, the loss of Superman—of hope—is the catalyst for everything that happens, on both sides. But there is little time to mourn, and even less time to take action. Earth is vulnerable, primed for attack because of that void. And because the hero who stood for hope and justice is gone, the League must unite in his stead, to fight for the world he saved. Producer Deborah Snyder adds, “These characters all have such unique personalities, and such different powers and abilities, and the chance to pool them together to see how powerful they can be as a unit was such a thrill. Not to mention the urgency of their mission. There’s no time to practice. It’s game on from the moment they come together, because this is an extremely formidable enemy.”

To form the League, the story takes us to the ends of the Earth and beyond: from a gritty Gotham to Central City, the populous Paris to the frozen wilds of Iceland, from Themyscira to Atlantis, and from buzzing Metropolis to the serenity of Smallville. If Bruce and Diana can succeed in recruiting the others for this larger-than-life battle in which all their worlds are at stake, they will come together as the greatest team of Super Heroes in the DC universe.

Ben Affleck: “Batman still really resonates because on the one hand he’s a Super Hero, but on the other hand he is just like us,” Affleck states. “He feels vulnerable; he bleeds if you cut him. He is a real person on the inside and yet he is ‘super.’ There are all kinds of contradictions inherent in that, which makes for interesting storytelling.”

Gal Gadot: “Wearing my costume felt like the most normal thing because I had been doing it for six months before,” Gadot states. “But seeing everyone else wearing their own costumes was wonderful. I remember the first three days, I kept looking at all the guys and me in costume, and I just kept laughing because it felt so surreal. So many Super Heroes, standing together. It was really great to be shooting this movie.” “Wonder Woman is the greatest warrior.She has such amazing strength, but at the same time she can be very, well, human. She cares so much for people and she just wants to make the world a better place because she sees the world as very special. Life is so complicated and we forget about the simple things, but she always remembers them: love, hope, do good in the world. And I think that’s something that everyone can aspire to.”

Erza Miller: “The Flash is a scientist in the sense that a scientist studies the natural order of things, makes observations and performs experiments,” Miller explains. “But Barry’s inherently interested in quantum mechanics because he’s literally running into them. “When we first meet Barry in the film,  he’s just awakening to his powers. He hasn’t really tested them out, he’s not yet breached the event horizon, as it were. But he’s starting to feel there’s an opportunity waiting for him.”

Ray Fisher :  “Cyborg became the very technology that was used to rebuild him. The technology his father used was alien and it imbued him with super-abilities. He has super-strength. He can fly. He’s a technopath, which means he can interface with anything technological. He has worlds of information at his disposal, not just from our galaxy but also from other universes. But it’s all pretty new, so he struggles with it. It begs the question, ‘How deeply should you allow yourself to become entrenched in the idea of who and what you are? ”

Jason Momoa :  “He’s the heir to the throne of Atlantis, but he’s not the king yet. So, as always, he’s between worlds. But here at the frozen ends of the earth, he has a purpose. Arthur is a good man, he helps people who genuinely need him, and he’s found a place where they accept and respect him. He can take off his ‘mask’ here.”

Henry Cavill: “There’s nothing quite like playing Superman, It’s still surreal.There was a moment where I was really tired near the end of a long day, and I was thinking ‘I’m hungry and I’m looking forward to getting to bed.’ And then I realized I had Cyborg, Aquaman, and Wonder Woman all standing in front of me, and they were in costume and it looked so fantastic. And all of a sudden, my fatigue went away. I just wanted to live in the moment and appreciate that I’m doing the thing that I wanted to do as a kid, but as real as it gets as an adult. You become very thankful for that kind of thing. Martha is seeing everyone mourning this Superman character, but she’s mourning Clark, her son. And she can’t tell anyone that Superman was her son. It’s a terrible loneliness and pain for her to go through. It’s excruciating for both Martha and Lois to see all these people mourning a man that none of them truly knew.””

Costume Designer Michael Wilkinson and his concept artists came up with an immensely detailed 3D model of Cyborg, defining the graphic language and textures of the alien world. They then handed it over to the visual effects department, who continued to develop Cyborg’s look under Snyder’s direction and guided by the actor’s performance. For the shoot, it was simply a matter of Wilkinson’s team sewing together Ray Fisher’s “pajamas”: the blue-dotted performance-capture suit that the skilled VFX artists would digitally replace, under the supervision of visual effects supervisor DJ DesJardin. Wilkinson also turned his attention to Superman’s suit, marking his third go ‘round. “This time, you’re going to see a Superman that’s a little more lustrous,” says Wilkinson. “We developed an extremely beautiful metallic chromed under-suit that Henry wears, using materials and processes that weren’t available for previous versions of the costume. And for the over-suit, we created a mesh that’s a slightly bolder blue than the last film, so he really jumps off the screen in such a heroic way. And Zack had the fantastic idea of incorporating some Kryptonian scripts throughout the suit, so we wove some of that language, which we’d developed for ‘Man of Steel,’ through the S, across the bicep, through the belt, and in the cuff details. It adds that extra layer of meaning and detail for the audience.”

The suit was created by screen-printing a dimensional print onto a thin mesh that is itself the latest in fabric technology. “It’s even more sheer and beautiful and lustrous than what you saw in ‘Batman v Superman,’” Wilkinson asserts, “but super strong so that it didn’t fall apart when it was stretched tight. We also found amazing new printing inks that make a very dimensional, high-raised surface, and new paints that make it appear almost chromed. All of these little tweaks add up to a bolder, more impactful costume.” Techniques aside, perhaps the newest territory for the “Justice League” costume department was in housing the entire costume crew under one roof. Normally on a film of such scope and scale, each main character’s costume is made by a different manufacturing company, under the direction of the costume designer. But this time, the filmmakers did something they’d never done before.

Finally, Wilkinson’s costumes also had to withstand the “tuning forks.” First developed for use on “The Matrix Revolutions,” they were introduced to the filmmakers by stunt coordinator Eunice Huthart. The device resembles a huge tuning fork, hence the name. The actor is strapped into the middle, and there is a counterbalance that enables him to mimic weightlessness, like being underwater, for example. Not only can he be rotated forward and backwards, but also on the y-axis. Just as Superman can fly, Aquaman can float.

The film also stars Amy Adams as Lois Lane, Jeremy Irons as Alfred, Diane Lane as Martha Kent, Connie Nielsen as Hippolyta, and J.K. Simmons as Commissioner Gordon.

The “Justice League” screenplay is by Chris Terrio and Joss Whedon, story by Chris Terrio & Zack Snyder, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster. The film’s producers are Charles Roven, Deborah Snyder, Jon Berg and Geoff Johns, with executive producers Jim Rowe, Ben Affleck, Wesley Coller, Curtis Kanemoto, Daniel S. Kaminsky and Chris Terrio.

    Justice League Preview Official Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.