#indiewire article 2024

[jbaileyfansite]

On June 6, the 2024 IndieWire Honors ceremony will celebrate 13 creators and stars responsible for some of the most stellar work of the TV season. Curated and selected by IndieWire’s editorial team, this event is a new edition of its IndieWire Honors event focused entirely on television. We’re showcasing their work with new interviews leading up to the Los Angeles event.

Ahead, “Fellow Travelers” star Jonathan Bailey writes about the many qualities that earmarked the collaboration between our Wavelength Award winners, showrunner Ron Nyswaner and star and executive producer Matt Bomer.

When it comes to celebrating the collaboration of Ron Nyswaner and Matt Bomer, I have to acknowledge how both of them influenced me long before I came onto “Fellow Travelers.” Their work on both sides of the camera has permeated in the same way.

Ron’s writing has always been so significant to me because of his ability to provocatively Trojan-horse brutal truths with tender, human experiences and romances. And this has sculpted my understanding of how to be and how to love. Matt Bomer is someone who visibly made me understand what was possible as I grew up in a world where it seemed that being an out gay actor wasn’t going to be an easy task. There he was — brilliant and visible, a lighthouse.

Now, to see the two of them come together and shine so bright in and around the work of “Fellow Travelers” and to understand the journey it took them both to get to this place, is remarkable. They really are warriors in the same way as Tim and Hawk.

When I first spoke to Ron, he said to me, “This project has been 10 years in the making. It might be my life’s work.” And I replied to him, “Well, whoever you invite to play Tim or any of these characters, it will be their life’s work as well.”

With Matt, we started in Gold Struck Coffee on Cumberland Avenue (the jokes write themselves). The two of us had an hour-long conversation about how we felt, our apprehensions, the opportunity, and the thrill we felt seeing the stories of Tim and Hawk on the page. He led the whole company of actors with such elegant grace and intelligence. He’s a force for good on set and a brilliant friend.

It has been extraordinary to see the work of “Fellow Travelers” celebrated, and that is a reflection of so many people in so many different capacities, but all of whom are being led by these two amazing people, Matt and Ron. And as a society, as a community, and as people who love television, we should always be grateful to them.

Source

[jocia92]

Photo : NEON

“Cuckoo” (dir. Tilman Singer)

“Luz” filmmaker Tilman Singer’s follow-up to his demonically good 2018 feature debut boasts plenty of intriguing elements that will bait horror fans of all stripes, from its tagline (“The adolescent needs to be trained”) to a synopsis that includes everything from a creepy adult to a child in need, plus “strange noises and bloody visions” and the promise of a massive family secret. The film’s icky first teaser (complimentary) laid on the atmosphere thick – this one is set at an Alps resort, where things are, dun dun, not what they seem – and offered enough glimpses galore at something truly sick to grab our attention and then some.

While details might be slim on this one (and we’re guessing that’s a good thing), we do know that the film stars “Euphoria” breakout Hunter Schafer, and that Singer has assembled a sterling supporting cast alongside her, including genre veteran Dan Stevens, plus Jessica Henwick, Marton Csókás, and Jan Bluthardt. Interested parties won’t need to a) travel to Berlin to see the film or b) wait too long to check it out for themselves, as Neon will release it in theaters on May 3. —KE

[whencartoonsruletheworld]

Wish (2023) dir. Fawn Veerasunthorn, Chris Buck

hey do you think the overworked creatives about to go on strike are trying to tell us something

article sources under the cut

Mattson, Kelcie. "How Disney Almost Killed 'Nimona.'" Collider, January 2 2024.

Earl, William. "Shelving Batgirl Was the Right Decision, Says New DC Studios Head Peter Safran: 'It Would Have Hurt DC.'" Variety, January 31 2023

Couch, Aaron. "Warner Bros. Reverses Course on 'Coyote vs. Acme' After Filmmakers Rebel." The Hollywood Reporter, November 13 2023.

Ridgely, Charlie. "Scoob! Sequel Director Revealed Film Was 'Very Close' to Completion Before HBO Max Cancellation." comicbook.com, August 2 2022.

Clark, Travis. "Staffers at the animation studio Blue Sky say it's 'heartbreaking' that Disney canceled its final movie, 'Nimona.'" Business Insider, February 18, 2021.

Harrison, Mark. "Why was the Batgirl movie cancelled?" Yahoo! Entertainment, January 31 2024.

Amidi, Amid. "Warner Bros. Shelves Fully-Completed 'Coyote Vs. Acme' For Tax Write-Off." Cartoon Brew, November 9 2023.

Lee, Alex. "Why Netflix keeps cancelling your favourite shows after two seasons." Wired UK, September 28 2020.

Tyrrell, Gary. "We All Knew It Was Coming." fleen.com, February 10 2021.

"Warner Bros. Reverses Course on ‘Coyote vs. Acme’ After Filmmakers Rebel." see: 3.

Bergeson, Samantha. "Warner Bros. Will Let 'Coyote Vs. Acme' Filmmakers Shop Movie to Other Distributors." IndieWire, November 13 2023.

Strapagiel, Lauren. "Disney's First Feature Animated Movie With Queer Leads May Never Be Released." BuzzfeedNews, February 24 2021.

"We All Knew It Was Coming." see: 9

@/scottderrickson. "I think it’s absolute bullshit that a studio can and does shelve the creative work of hundreds of people for a fucking tax break." Twitter, 10 Nov. 2023, 4:52 p.m..

[ck-17088]

Transformers One Theories Part 1: Sentinel Prime and how he gained power on Cybertron (Special Guests: Quintessons) 

Hello, Transformers One has taken over my mind so I’ve been rewatching the trailers and reading some interviews/articles. One thing I’ve noticed is that the marketing for this movie is mainly focused on Orion Pax and D-16’s friendship and the tragedy of their eventual fallout. However, there is little information on Sentinel Prime and the role he plays in the movie. Since I’m delusional, I came up with these crazy theories about Sentinel Prime, specifically on how he’s the villain in this story. 

Before we get into my theories, here is some extra information that I’ll be referring to when explaining:

What We Know (trailers, interviews/articles, TV spots already released)- be warned, potential spoilers from articles/interviews released in Summer 2024

FYI- I will include screenshots from both trailers, so they should be images you've already seen- so no unexpected images.

In an IndieWire interview, the film was described as an “epic story about the rise of two leaders… including the start of a revolution, a years-long conspiracy and war with other aliens…”  

In an interview with Josh Cooley ( aka the director), he says that he “embraced the chance to explore.. political corruption, revolution, and war”

Cybertron is currently undergoing an Energon crisis/drought (from other interviews)

There was another conflict, which involved the Primes, that occurred before the events of the movie- at the SDCC panel, they showed a clip of Sentinel Prime giving a speech about a past battle that killed all of the Primes and some veterans.

Source Material (?)

Cooley also mentioned in an interview (and at the SDCC panel) that Hasbro gave him a “bible” of Transformers lore

In a different interview, he also said that in the original story for the movie, Megatron was a gladiator. In fact, there were gladiatorial fight scenes planned, but were eventually cut out. 

In addition, he and Orion Pax originally came from very different social backgrounds.

Does that sound familiar? (It should)

The “bible” of Transformers lore with D-16 as a gladiator and Orion Pax from a different social background would be the “Binder of Revelation”- which is what the Aligned Continuity (WOC games, TFP, Rescue Bots) is based on. 

I’ll be referring to the Aligned Continuity as “AC” from now on. Yes, I know it sounds like air-conditioning, deal with it.  

Therefore, I’ll also be talking about AC Sentinel Prime, as I believe that TFO Sentinel is heavily based on that version. 

In the AC, Cybertronians initially did not know how to transform, but everyone was born with a dormant T-cog. 

The Quintessons showed up later, pretending to be emissaries who wanted Cybertron to join the galactic community. They pretended to magically give the Cybertronians T-cogs and the ability to transform (they were activating the dormant T-cog). As a result, they were welcomed on Cybertron and gained public support from its inhabitants. 

Afterward, they set up a global puppet government ruled by Sentinel Zeta Prime and a small council of Cybertronians. They also established the social caste system where one’s alt mode determined their role in society. 

However, their facade was uncovered when a few individuals found out about their plan to sell Cybertronians. 

Sentinel Prime led a rebellion that kicked the Quintessons out of Cybertron.  

Afterward, Sentinel stayed as the leader of Cybertron and continued to enforce the caste system- making it the absolute way of life on Cybertron- which would later become one of the reasons for the start of the Great War. 

(Taken from TF Wiki) 

Now.. finally- my theories

THEORIES

Sentinel Prime is business partners with the Quintessons (sort of?) 

The first trailer shows some Quintessons arriving on the surface of Cybertron. Later shots show Sentinel Prime landing in front of one of the ships. In the background, there are also two trains,Airachnid, and some Vehicon-looking soldiers. It seems that they were expecting the Quintessons. They would have brought more soldiers and weapons if they were unexpected guests. Also, when one of the Quintessons grabs Sentinel, he seems distressed but makes no effort to escape. If it was an unexpected action, he may have reacted more violently. None of the soldiers in the background react to this too- meaning that this interaction isn't new. My main takeaway here is that Sentinel has interacted with the Quintessons before. 

In AC, the Quintessons secretly took over Cybertron and exploited its people and resources. What if they are doing something similar here? Some interviews said that an energon crisis/drought is happening on Cybertron, and Orion Pax and D-16 are energon miners working to help in this crisis. But what if there isn't a crisis going on? What if this is a cover-up for the truth that all of the energon is going to the Quintessons instead of the people?  The trains in the background came from below the planet where the mines are- so they may be carrying energon to give to the Quintessons. But is Sentinel willingly giving the energon to the Quintessons or is forced to? If he's doing this out of his own free will, then why?

Which brings me to the next theory…. 

Sentinel Prime was somehow involved with the demise of the original Primes 

At the beginning of the second trailer, there appears to be a monument under attack (explosions and Cybertronians running away from it). Other shots of the trailer show that this monument has the Matrix of Leadership and figures (at least 7) engraved in it. This is most likely a monument for the original Primes (and current) because other shots show statues of Sentinel Prime-they are blue and gold and have wings - surrounding it. 

As mentioned previously- before the Iacon 5000- Sentinel gives a speech about the Primes and how they perished in battle. Based on the giant monument and Sentinel’s speech, it’s safe that the Primes are well known and are considered important figures- perhaps heroes- on Cybertron. 

BUT- the first trailer shows the bodies of the Primes in a cave, where they are covered in vegetation- as if they were abandoned. If the Primes are considered important, heroic beings, why were their bodies left on the surface of Cybertron? Why were they not taken back to Iacon to be given a proper funeral? 

….. Something is fishy here.   

Like I said- this is a crazy theory, but I think Sentinel was responsible for the demise of the original Primes. Sentinel giving a speech about the Primes and the event/battle of their deaths suggests that he knows HOW they died.  The fact that a battle is mentioned indicates a war or conflict before the events of TFO. This lines up with what another interview said- that the movie would include wars with other aliens. 

These two pieces of information make me believe that before the movie's events, there was a war between Cybertronians (specifically the Primes) and Quintessons, who were invading the planet. To support that- in a shot with Orion Pax, D-16, and Bumblebee looking at Alpha Trion's recording, Alpha Trion is holding a blaster- he's directly involved in combat.

As said before, in AC, Sentinel was installed as the leader of a puppet government controlled by the Quintessons. But instead of being installed as leader directly by the Quintessons, he probably became leader in a different way in TFO.  

Sentinel may have been under the direct command of the Primes or was one himself. Tying back to the first theory-  I think he made a deal with the Quintessons. He betrayed the Primes- by leading them into a trap/battle where the Quintessons killed them (only Alpha Trion survived- somehow). In exchange for the Quintessons killing the Primes, which would allow him to become Cybertron's leader, he would give them the planet's energon. As a result, the Quintessons would have someone who would give them the resources (energon) they want.  

Also- in the same clip with Orion Pax, D-16, etc.- Orion says that the recording is an SOS call- I betting this was sent when the Primes were overwhelmed by the Quintessons.  Since the call never made it through, someone-maybe Sentinel- blocked it or hid it until the main cast found it. 

Overall, this would be a beneficial situation for both parties- Sentinel gets control/power over the planet, and the Quintessons get Energon without spending time and resources trying to conquer Cybertron. This may also explain why no one is allowed to go to the surface- they might see the Quintessons and discover the Primes’ bodies- and put into question Sentinel’s true loyalties.  There is supposedly a  “years-long conspiracy” involved in this movie, which may be referring to this- the Primes were murdered, and the Quintessons have control of the planet’s resources through Sentinel, who has been lying all these years about the fates of the Primes and where the Energon actually goes. 

Summary of my theories: 

Before the events of TFO, there was a war between Cybertronians and Quintessons, with the Primes defending Cybertron. Sentinel made a deal with the Quintessons. He betrayed the original Primes, allowing the Quintessons to kill them, thus giving him leadership over the planet. This benefits the Quintessons because they get a leader who willingly gives them the planet’s energon. To prevent the Cybertronian population from discovering Sentinel’s role in the Primes’ demise AND the Quintessons, they are not allowed to go to the surface under the assumption/lie that the surface is dangerous. 

This would be a new twist on the events in the Aligned Continuity while also combining a few elements of other versions of Sentinel into one: the jerk from TFA, the betrayer from Transformers: Dark of the Moon, and the leader who only gained power through association with the Quintessons from AC.  

If you made it this far, thanks for reading my rambling. I have no clue if both of my theories are straight up wrong or somewhat correct... but regardless there will be a part 2 of Sentinel Prime Theories coming later....

[b-skarsgard]

According to graphic designer Nikola Prijic, Bill Skarsgård himself submitted an excerpt from an H.P. Lovecraft poem titled “Despair” — a fitting match in all sorts of ways for 2024’s “The Crow” — as something his character Eric might have tattooed on his body. Prijic took the stanza from the poem that begins with “Evil wings in ether beating” and ends “in a cloud of madness,” laid it out in Procreate, and designed a custom stencil version that could be applied to Skarsgård’s back while shooting the Rupert Sanders film.

Rupert wanted his version of Eric to be a more modern version so he can resonate with the audience, with the kids today, so that’s why he looks like all these rappers that were really popular a few years ago,” Prijic told IndieWire. “He wanted to portray this guy who has been through a lot, who had this troublesome childhood, drug problems, alcohol abuse problems.”

“The Crow” wants to create that impression in a couple of different ways. Prijic cited Lil Wayne specifically as a visual reference for Eric’s more ornate tattoos, but he also wanted the number of tattoos to have a quality all their own. “He has a lot of shitty homemade, you know, ‘me and my friends are high and drunk’ tattoos,” Prijic said. “Some tattoos are really nicely done, but you have layers upon layers, this scratcher-style, homemade, I’m just doodling with a needle on my arms tattoos, and he’s probably letting his friends do the same.”

“The Crow” certainly doesn’t suffer from a lack of bleeding, and the graphic design team and makeup team worked together to make one particular tattoo application look as painful physically as the impulse is emotional. “I always have to stick [my design] on a model in Photoshop and it helps me a lot. You get the opinion of the makeup artists and the director and then of course the actor, because if he doesn’t like it, you have to change it,” Prijic said.

The process was very collaborative with Skarsgård, who, in addition to the H.P. Lovecraft quote, asked for a zip code for a neighborhood in Sweden as a tattoo. It has nothing to do with Eric (who likely goes to the Afterlife before he leaves the United States), but it is this tiny bit of meaning encoded in a movie tattoo.

read the full article at the link

[warrocketpodcast]

Show Notes 4/29/24

Our pal Erica Henderson is back this week to talk about the 2024 Harley Quinn annual, which she wrote, drew and colored! We also discuss Kraven; fashion; whether Erica and Matt are too mean to Chris on their other podcast, Friends 'Till the End; and more!

Judge for yourself whether Erica, Matt and Benito are too mean to Chris on Friends 'Till the End by listening.

Chris' check and rec: 4/20 blazin' it, Darkest Dungeon

Matt's check and rec: Watching Fallout, Andrew Ihla's Space Ghost Coast to Coast article on IndieWire

Comics reviewed:

Batman: The Dark Age #2

Avengers #13

Amazing Spider-Man #48

Listen here!

[standupcomedyhistorian]

Good morning! It's the PREMIERE of Jerrod Carmichael Reality Show TONIGHT! 🙌

I've been busy with my new job and packing (moving to my new home on Sunday—woo-hoo!), but I couldn't miss this one...I mean, I was at one of the performances he filmed back in 2022 haha

And we may finally learn WHY Bo was wearing that ski mask at the Emmys! 🤯

Anyway, here is a roundup of all the media I've found pertaining to the show and Jerrod:

Variety interview https://variety.com/2024/tv/news/jerrod-carmichael-reality-show-kardashians-coming-out-bo-burnham-1235954213/amp/

(the way he hides Bo's identity and refuses to acknowledge the lanky ski mask-wearing friend is him is ADORABLE...we know it's him, Jerrod haha)

The figure with the mask over his head is a friend of mine whose identity I’ll protect. I won’t say who it is ever.

Have you worked with this person before?

It’s just a friend of mine. All questions asked about them, I’ll not answer. It’s the amount of protection that I want to provide for this person.

Vulture interview https://www.vulture.com/article/hbo-jerrod-carmichael-reality-show-series-interview.html

New York Times

Indiewire

Entertainment Weekly

Hollywood Reporter

Washington Post

And don't forget to watch tonight at 11 PM (yikes that is late...good thing streaming exists lol)!

Enjoy the articles, and keep it here for more comedy fun! ✌🏼🐔

[greensparty]

New Documentary About The Shining Premieres on YouTube on July 26

Very exciting surprise news today that the Stanley Kubrick Estate certified documentary Shine On - The Forgotten Shining Location will be premiering on the Kubrick YouTube channel on Fri. July 26, 2024! The focus of this doc is about the location scouting and art direction to create the Overlook Hotel featured in Kubrick's legendary 1980 film The Shining.

This news comes after the passing of Shining star Shelley Duvall last week. There have, of course, been other documentaries about Kubrick's film. Kubrick's daughter Vivian did the 1980 documentary Making 'The Shining', which is featured on the DVD. Rodney Ascher's phenomenal Room 237 (which I named my #1 Documentary of the 2010s) looks at the conspiracy theories and interpretations of the film too.

The link above is the article from Indiewire.

[sidoine6x]

blong entry 3

Interview with Alexandre Aja

One insightful interview with Aja can be found on YouTube where he discusses his film "Crawl" (2019). The interview is conducted by Monster Fest and offers a deep dive into Aja's creative process and his approach to horror filmmaking.

You can find an evaluation of Alexandre Aja’s work in an article from IndieWire. The article discusses Aja’s impact on the horror genre, focusing on how he combines intense gore with psychological suspense. Aja's films often delve into deep psychological fears, making him stand out in modern horror.

Reviews of Alexandre Aja’s Work

Review of "Crawl" (2019): This film received praise for its effective use of claustrophobic settings and special effects to create a terrifying experience. Critics noted Aja's skill in building tension and delivering a satisfying horror story.

Source:

Reviews of Alexandre Aja’s Work

Review of "Crawl" (2019): This film received praise for its effective use of claustrophobic settings and special effects to create a terrifying experience. Critics noted Aja's skill in building tension and delivering a satisfying horror story.

Source: https://www.rogerebert.com/mzs/30-minutes-on-crawl#:~:text=%22Crawl%22%20would%20have%20played%20at,made%20with%20skill%20and%20sincerity.

2. Review of "Horns" (2013): This film, based on Joe Hill's novel, showcased Aja's versatility in combining horror with dark fantasy elements. Reviews highlighted the film's unique narrative and Aja's ability to handle complex themes.

Blog Entry: Alexandre Aja - Master of Modern French Horror Introduction Alexandre Aja has become a significant figure in the horror genre, especially in French cinema. his work has shown his unique ability to combine intense horror with psychological depth. Interview Insights In an interview with Collider, Aja talks about how he creates tension and atmosphere in horror films. He stresses the importance of settings and character development in making a truly terrifying experience. Aja’s attention to detail and passion for the genre are evident as he explains his creative process.

Critical Evaluation Both critics and scholars have recognized Aja's talent in advancing the horror genre. An IndieWire article notes that Aja’s films address not only physical scares but also deeper psychological fears. This approach makes his work stand out, offering a richer and more engaging horror experience. His skillful use of suspense and gore, along with strong storytelling, has established his reputation as a modern horror master.

Film Reviews "Crawl" (2019) is a notable film in Aja's career, praised for its effective use of confined settings and special effects. Roger Ebert’s review highlights Aja's skill in creating tension, describing the film as an expert exercise in building suspense. Another significant work, "Horns" (2013), received attention for its unique blend of horror and dark fantasy. The Guardian’s review commends Aja for tackling complex themes and delivering a compelling narrative.

Visual and Media Elements The accompanying images and videos visually represent Aja’s distinct style. From behind-the-scenes shots to promotional images, these visuals demonstrate the intensity and dedication Aja brings to his projects. The Collider interview and the "Crawl" trailer provide valuable insights into his thought process and showcase his ability to create suspense and fear.

Conclusion Alexandre Aja has made significant contributions to French horror cinema. His films from 2010 to 2024 continue to push the boundaries of the genre, blending psychological depth with intense horror. Aja’s unique vision and dedication to his craft make him a standout director in modern horror.

[steelbluehome]

IndieWire

‘The Apprentice’ Review: Jeremy Strong and Sebastian Stan Can’t Save This Donald Trump Origin Story from the Ultimate Banality of Its Subject (click for article)

Cannes: Stan makes a convincing young Trump, and Strong manages to find a mote of sympathy for Roy Cohn, but there's nothing here that recent history hasn't already made self-evident.

BY DAVID EHRLICH

MAY 20, 2024 1:00 PM

An otherwise rote and unsurprising Frankenstein story about a madman who loses control of the monster he’s created, Ali Abbasi’s “The Apprentice” does exactly one thing that no other movie ever has before or will again: It makes you feel the smallest possible mote of sympathy for Roy Cohn. That isn’t a compliment, necessarily, but it is some kind of testament to the talent of the actor who plays him (“Succession” breakout Jeremy Strong, no stranger to conveying the tortured humanity of irredeemable characters), and also a very different kind of testament to the unparalleled soullessness of the future world leader who Cohn helped to invent. 

When this scuzzy little drama first begins in the late 1970s, it’s Sebastian Stan’s Donald J. Trump — then an insecure Manhattan nepo baby who fumbles around the city in search of his slumlord father’s non-existent affection — whose receding humanity is still visible enough to inspire the same tender pity once evoked by Michael Corleone, or at least his brother Fredo, before he took over the family business. By the time “The Apprentice” reaches the final scene of Gabriel Sherman’s barbed but unilluminating script (which ends with the real estate baron’s first meeting with the ghost writer hired to pen his self-mythologizing 1987 memoir), Cohn has died from AIDS, and Trump has stopped returning his phone calls. 

Indeed, this film’s most audacious sequence confirms its “Godfather”-like dimensions with a fittingly vain and sociopathic riff on one of that masterpiece’s signature moments, as Abbasi intercuts Cohn’s funeral with footage of Trump going under the knife for a liposuction. “The Apprentice” doesn’t do anything to suggest that the most notorious prosecutor in American history wasn’t a self-loathing ghoul whose lust to dominate a world that didn’t love him made his country a worse place for everyone who’s had to live in it since, it simply makes the case that the protegee he molded in his own image — only taller, richer, and straighter — was somehow even worse. Cohn may have hated himself, but Trump doesn’t care about anybody.

Sometimes in broad strokes and sometimes with brutal specificity, “The Apprentice” does what it can to dramatize how the student became — and surpassed — his teacher by too perfectly embodying all of his lessons. If those efforts aren’t even close to enough for this movie to shine a meaningful new light on the most overexposed man who’s ever lived (or his mentor), that’s largely because it can’t get around the fact that Trump is too base and pathological to be of much dramatic interest. The guy is a mile wide and an inch deep (at least if you take his ass into account of your measurements), and no amount of “daddy didn’t love me” psychoanalysis is going to fix that. 

That “The Apprentice” falls short of its goal is particularly unfortunate because Abbasi seems like such a perfect candidate to helm the first major film about Trump. An Iranian-born provocateur who feels most alive when his work is licking the third rail, Abbasi was only dimly aware of Trump’s existence until the large-adult-son-turned-Lonesome-Rhodes-cosplayer rode down that fucking escalator at the start of his campaign in 2015, and the “Holy Spider” director’s lack of a personal connection to the longtime American celebrity allowed him to approach this story without any trace of the personal vitriol or polemic that anyone raised in the U.S. might have brought to the project.

And it’s true that “The Apprentice” doesn’t feel at all like a Democrat-funded hit piece, but rather a straightforward account of how the worst New Yorker of the 20th century sculpted the worst Floridian of the 21st (and there’s so much competition for both of those titles). Considering what the public knows — and is numb to — about Trump today, even the brutal scene where he rapes Ivana on the floor of their ultra-tacky Manhattan penthouse aligns with our understanding of his character. Abbasi doesn’t linger on it, nor does his film betray the self-impressed sense that it’s shocking us with anything we don’t already know.

The trouble is that Abbasi is still possessed with a morbid curiosity about his subject that most Americans have lost the ability to muster after spending eight years studying a Times Square caricature of a person more closely than any painting in the Louvre. If we can’t be bothered to care about the first criminal trial of a former U.S. president (which hinges upon cover-up payments to a porn star on the eve of a national election!), there’s nothing “The Apprentice” can do to arouse our attention. As a geopolitical calamity, Trump is an interesting figure. As a human being, he’s as boring as it gets.

Be that as it may, Stan makes an impressive attempt at trying to convince us otherwise. That starts by shirking off simple imitation in favor of focusing on the pathos that eventually drove Trump into politics. Stan’s Trump is a far cry from the incredible mimicry of someone like “S.N.L.” star James Austin Johnson (truly the greatest to ever do it). Subtle prosthetics help bridge the ocean-sized gap between Bucky Barnes and the least regal person ever raised in Queens, but Stan’s take on young Trump still looks more like Jimmy Fallon in a fatsuit than he does the real deal.

That’s to the film’s benefit, as it instantly liberates Stan from having to sell us on the look of a singular weirdo, and frees him instead to emphasize Trump’s neediness and impressionability. The way his eyes light up when Cohn first tells him about his “rules of winning,” the way he performs a cheap simulacrum of charisma when he woos his future wife (Maria Bakalova), the way he cruises around pre-Koch New York like the bad guy in a Blaxploitation movie — a vibe enhanced by Kasper Tuxen’s washed out, video-like handheld cinematography, which makes the whole movie look like a gaudy, disco-soundtracked infomercial for the American Dream.

And then of course he flinches at his father’s “tough love,” which he fantasizes about rewarding in kind (Fred Trump is played by Martin Donovan, doing his best with a part too thin to feel like a meaningful counterpoint to Cohn’s influence). “The Apprentice” never tells us anything about Trump that we can’t glean from the “Citizen Kane” poster he tacks to the wall of his bedroom, but that doesn’t stop Stan from searching for hidden crevices of his character’s soul, or at least the dark void where any other character might have had one. 

There’s even something vaguely resembling vision about Trump’s zeal for rescuing New York City from its financial woes, or at least his zeal for exploiting them. But the most striking detail of Trump’s gradual transformation from entitled prick to Galactus-sized ego monster is the pride that Stan allows him to take in his tutelage; even as Trump spurns his wayward older brother and turns his back on Cohn at the lowest moment of his life, you sense that he feels whole — not empty — because of how deeply he’s been able to embody his mentor’s principles for success.

Needless to say, Strong’s bat-like take on Roy Cohn is a worthy foil for this movie’s Trump, to the extent that “The Apprentice” may Needless to say, Strong’s bat-like take on Roy Cohn is a worthy foil for this movie’s Trump, to the extent that “The Apprentice” may have benefited from centering its focus on the teacher instead. Strong does more with his half-drawn eyelids than most actors could muster with their entire bodies; he packs devilish indifference into lines of dialogue about tax abatements, and hides “Inferno”-like depths of pain behind a face that’s as placid and unmoving as the river Styx itself. 

Without putting it into words that would confuse his useful idiot of a new best friend, Cohn molds Trump into the version of himself that life would never allow him to be. Cohn doesn’t want Trump to be his client, he wants Trump to be the reflection he’s always dreamed of seeing when he looks in the mirror. Alas, there’s no cure for any of the viruses that pass through Cohn’s body (Sherman’s script touches upon the AIDS epidemic with a glibness that befits Trump’s own level of concern), and he’s as powerless to stop his surrogate son from turning against him as he is from stopping his lover from dying.

Cohn’s shock at his own betrayal is the most humanizing thing about him — even one of history’s greatest monsters reaches a point where they’re surprised by someone’s abject lack of humanity. And if Trump would do such a thing to his own personal hero, just imagine what he might do to his lackeys. Or to his constituents. Or to his country. Cohn doesn’t live to see it with his own eyes, but we already have. Clipped from the start and increasingly uncertain of its purpose as it fumbles toward the Trump we know, this origin story certainly isn’t as painful to watch as the future that it portends has been to endure, but it’s every bit as banal and unnecessary. 

Grade: C

“The Apprentice” premiered in Competition at the 2024 Cannes Film Festival. It is currently seeking U.S. distribution.

[news4usonline]

Are movie theaters coming to an end?

Americans all over the country used to enjoy going to movie theaters, but over the last few years, it seems as if that interest has slowly faded. Movie theaters used to be a place for families and friends to enjoy themselves and their favorite movies, but now most people stay home and look towards streaming services as their number one choice to watch films. This deal is your fate. Unleash this $5 Flavor Maker ICEE combo, exclusively featuring Sprite Chill ICEE when you see #TarotMovie, at #AMCTheatres! https://t.co/0wO6KNw19z pic.twitter.com/aMBAN0gqv5— AMC Theatres (@AMCTheatres) May 12, 2024 According to an exclusive study that was conducted by research company HarrisX for IndieWire, ? of Americans would rather wait for movies to appear on their streaming services than go to the movies. The survey interviewed over 1,000 adults from different demographics. In the same survey, over 50% claimed that the cost of movie tickets is a big reason as to why they choose to not attend movie theaters, while over 40% also mentioned the cost of items at concession stands. Movie theaters once served as a weekend activity for families, but now the cost can exceed that of a family dinner. Items at concession stands often start at over $10, with some entrees reaching upwards of $15. The only items priced under $10 are candies and fountain drinks, which are available for significantly less at corner stores. Going to the movies has transitioned from a simple pleasure to a luxury. The high costs now make it challenging for parents to take their entire family out for a movie, turning it from an accessible pastime into an expensive outing. Some people may think that movie theaters are solely focused on profits and unconcerned with attracting audiences, but that is because it's easy to overlook the financial setbacks they faced in recent years due to the pandemic. According to Box Office Mojo, an online service that offers information on how much money films have made domestically and internationally, movie theaters across the country made a total gross revenue of $11,363,360,031 in 2019. Box Office Mojo reported a drop of over 81% the following year. In 2020, when the Covid 19 pandemic caught the world by surprise, movie theaters made a total gross revenue of $2,113,846,800, less than $9 billion in earnings from the year prior. Despite Barbie being the most popular #1 release since 2010 when Avatar was released, that wasn’t enough to help bring the total gross back to its normal average. Welcome to DAY ONE. Watch the new trailer for #AQuietPlace: Day One - only in theatres June 28. pic.twitter.com/wtqqltkRyq— A Quiet Place: Day One (@AQuietPlace) May 9, 2024 Since the start of the pandemic, the total gross revenue for movies across America has dropped tremendously. In 2023, the total gross revenue reached $8,908,261,473, the highest in recent years but to find a comparable figure, you have to go back to 2005, when the total gross income was $8,833,618,311. The reality is that movie theaters, just like many other businesses, are trying to play catch up and make up for all the money they missed out on between the years 2020 and 2023, but this effort isn’t working in their favor because now Americans would rather wait until movies appear on their streaming services. The cost of everything has risen and now Americans are now reevaluating their spending habits and prioritizing essentials over personal interests. Streaming services are now offering something that movies can’t, an affordable and comfortable opportunity to watch any movie they like. Read the full article

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[socialwicked]

Disney’s Streaming Services Now Have More Subscriptions Than Netflix

“ Netflix now has a million less subscriptions than rival Disney …” reviews the  Unbiased .  “But it does not essentially signify that Netflix has fewer subscribers. If a individual is subscribed to two of Disney’s offerings, that will depend as two subscriptions, and the company does not divulge how quite a few individuals are signed up to its companies.”   ( Electronic Traits   notes  that “Adhering to its acquisition of 21st Century Fox, Disney also controls Hulu,” as effectively as the streaming sports activities internet site  ESPN+ .) 

 If you just want a straight Netflix-to-Disney+ comparison, the  Impartial  studies Netflix with  220.67 million total subscribers, though IndieWire reported that at the close of June,  Disney+ experienced 152.1 million subscribers .   (Disney’s chief govt suggests between March and June, Disney+ included 14.4 million subscribers, according to the Unbiased.)

 IndieWire goes on to say that ESPN+ described 22.8 million subcribers earlier this 12 months, while Hulu experienced reported 46.2 million subscribers, so, “mixed the subscriptions for the particular person providers making up the Disney Bundle just surpassed Netflix’s overall compensated worldwide subscriber count.”  In this article, we will place out that Hulu is however the only one particular of the Bundle that makes cash. Nonetheless, its working cash flow declined in Q3, whilst losses at both Disney+ and ESPN+ elevated.

   Disney+ is expected to access profitability in 2024, executives stated Wednesday on Disney’s Q3 meeting phone.

https://socialwicked.com/disneys-streaming-services-now-have-more-subscriptions-than-netflix/