Hugh Jackman’s Butt in ‘X-Men’ Is Uncensored on Disney Plus

href=”//” rel=”author” title=”Matt Singer”>Matt Singer20th Century Fox

One of the big reasons Disney acquired 20th Century Fox was to control its extensive library, which it could then leverage on its streaming services, Hulu and Disney+. While Hulu is the company’s home for more adult content, Disney+ is supposed to be the place for families to watch the company‘s big properties like Star Wars and Marvel heroes. Buuuuuut, some of the Marvel heroes appear in fairly adult movies, like the X-Men franchise that was produced by Fox before the company got bought by Disney.

Now, while its audience is hungry for more new content to watch in quarantine, Disney has begun adding the Fox X-Men movies to Disney+. X-Men: Days of Future Past is on there now, which was rated PG-13 by the MPAA for “sequences of intense sci-fi violence and action, some suggestive material, nudity and language.” Yep, nudity — Hugh Jackman’s naked tush, to be exact. And sure, enough, Disney did not remove or cover up Hugh’s Jack(ed)man-buns; they appear in all their glory at around 18 minutes into the film. (Yes, we checked. Journalism demanded it.)

This news comes from a surprising source: Hugh Jackman himself. On Instagram, he posted a picture of his own butt (with a smiley face over it) with the caption “Days of Future Past becomes the first movie to air on Disney+ uncensored. That was my future but let’s be honest … it’s more like my past.”

Disney+’s previous attempts at censoring its movies drew heavy criticism. A few months ago, fans noticed that they had family-friendly-ized the rom-com Splash (which was originally rated PG!) by adding extra digital hair to shots where star Daryl Hannah’s butt was slightly visible. Is it a double standard? Did they think no one would notice the change in Splash but they would notice the change in X-Men? Has the corporate policy changed? Have they realized people love Hugh Jackman’s perfect posterior? Who knows.

Here’s Hugh Jackman’s original, uh, post. X-Men: Days of Future Past is streaming on Disney+ now. Happy viewing.

Gallery — Every X-Men Movie Ranked From Worst to Best:

Watch Carl Reiner’s Touching Final Performance

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffAlberto E. Rodriguez, Getty Images

There is a sad but very lovely coda to the passing of comedy legend Carl Reiner, who died last month at the age of 98. Days before Reiner’s passing, he recorded what ultimately became his farewell performance — as part of the “fan film” version of The Princess Bride that is currently being spearheaded, under quarantine, by Jason Reitman.

Reitman has recruited a who’s who of actors and artists to appear in this socially distanced Princess Bride remake for Quibi. The fan film’s ranks include Rob Reiner, who directed the original Princess Bride. In Reitman’s new version, Reiner is one of the actors who plays the Fred Savage role, while his dad Carl plays the Peter Falk role. After Carl Reiner passed, Rob Reiner gave his blessing to leave the scene in Reitman’s Princess Bride.

Vanity Fair got the scoop on the performance (“At 98 years old, Carl Reiner understood every beat of that scene. His understanding of the writing, the performance, the pauses, the gestures, the hat, the look to camera, how to make an exit, were as sharp as any actor at any age,” Reitman told VF) and also posted footage of the two Reiners’ scene together, which is guaranteed to make you cry. Watch for yourself.

Home Movie: The Princess Bride is available on Quibi. It’s got at least one very good performance — the rest of the cast includes Josh Gad, Tiffany Haddish, Jennifer Garner, Hugh Jackman, Jack Black, Patton Oswalt, Andy Serkis, Elijah Wood, David Oyelowo, Neil Patrick Harris, and many more.

Gallery — The Best Films of 2020 So Far:

‘Chicken Run’ Star Was Told She Was ‘Too Old’ To Voice the Sequel

href=”//” rel=”author” title=”Matt Singer”>Matt Singer

The newly-announced Chicken Run sequel is already clucking things up.

The original film’s star, Julia Sawalha, has taken to Twitter to announce that she will not only not reprise the role of Ginger in Netflix’s Chicken Run 2, she wasn’t even allowed to voice test for the role she created because of what she called “ageism.”

In a long open letter, Sawalha explains that she was told she was “too old” to play the part:

Last week I was informed out of the blue, via email, through my agent that I would not be cast as Ginger in the Chicken Run sequel. The reason they gave is that my voice now sounds ‘too old’ and they want a younger actress to reprise the role. Usually in these circumstances, an actress would be given the chance to do a voice test in order to determine the suitability of their pitch and tone, I however was not given this opportunity.

Sawalha was so ticked off that she made her own voice test — and she’s posted the results on Vimeo for anyone to watch and compare. To my untrained ear, she sounds exactly the same as she did 20 years ago. It’s honestly pretty uncanny.

According to Sawalha’s letter, she was told by “one of the creatives” that even though the voice test proved that she sounded the same “some of the voices [in the original cast] definitely sound older” and that the film “will still be going ahead to re-cast the voice of Ginger.” Sawalha goes on to say that she is “devastated and furious” by this decision and feels “totally powerless,” adding “there is nothing more I can do, other than to thank all of you who loved and still loved Chicken Run, as I do.”

Now the producers have an eggy mess on their hands. Unless Sawalha asked for an exorbitant amount of money to return for the film (which seems unlikely since she wasn’t even allowed to audition for the part), I can’t figure out why they wouldn’t want her back. She sounds the same, and she did a wonderful job in the original movie that people loved enough to merit making a sequel 20 years later. Do the producers think they need a big star to play Ginger? I don’t get it.

You can find Sawalha’s full announcement below. At present, Netflix’s Chicken Run 2 does not have a premiere date set.

Gallery — The Scariest Kids Movie Ever:

Hasbro Is Making the Biggest X-Men Toy Ever

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffHasbro

Your typical Marvel Legends X-Men figure stands about 6 inches toy. That makes it tough to portray their classic enemies the Sentinels at proper scale, since the Sentinels are giant robots of death.

Hasbro has found a workaround to this problem: By making the biggest damn Sentinel you ever saw — provided that enough fans pre-order it through their Haslab website. The Marvel Legends Sentinel, if funded, will stand “26.3-inch (669 mm)” tall — more than four times the size of a standard figure. It lights up thanks to LEDs in the head and chest (you’ll need to buy two AAA batteries), and it includes an 18-inch tentacle accessory and a standard sized Bastion figure, with an extra Sentinel Prime head. If such things are of interest to you, you’ll also get 70,000 Marvel Insider points per purchase, and access to the digital comic where the Sentinels first appeared, X-Men #14.

The thing won’t be cheap, though; the price is $350. If the Sentinel reaches its goal, it is expected to be shipped to buyers in the Fall of 2021. The cutoff for orders is August 24, 2020. It’s already got over 2300 of the necessary 6,000 units sold. So the odds are pretty good your li’l Marvel Legends Wolverine will be menaced by a Sentinel next year — provided you can find a big enough space to display one.

Gallery — Every X-Men Movie Ranked From Worst to Best:

Matt Reeves’ ‘The Batman’ Gets a Spinoff TV Series on HBO Max

href=”//” rel=”author” title=”Matt Singer”>Matt SingerDC Comics

Get ready for the DC Cinematic-Televisual Universe.

WarnerMedia announced today that they’re already working to spin off Matt Reeves upcoming Batman film into television. The series, according to a press release, will be “set in the Gotham City police department” and is being developed by Reeves, Boardwalk Empire creator Terence Winter, and The Batman producer Dylan Clark.

The show builds off the universe that will be established in Reeves’ The Batman, which stars Robert Pattinson as the new Dark Knight:

The groundbreaking television series to be written by Winter is set in the world Reeves is creating for The Batman feature film and will build upon the motion picture’s examination of the anatomy of corruption in Gotham City, ultimately launching a new Batman universe across multiple platforms. The series provides an unprecedented opportunity to extend the world established in the movie and further explore the myriad of compelling and complex characters of Gotham. This marks the first television project for Reeves under his recently announced overall deal with the Warner Bros. Television Group.

Although the release doesn’t mention it, the description sounds a lot like Gotham Central, the terrific comics series written by The Old Guard’s Greg Rucka and Ed Brubaker, who created the Winter Soldier in the pages of Captain America for Marvel. That book focused entirely on the Gotham City Police Department, and was more like a cop procedural like Law & Order than a Batman superhero comic. 

Gotham Central ran for 40 issues through the mid-2000s and won numerous awards. A show that adapts it sounds hugely promising, particularly coming from Reeves and Winter, and it could be a cornerstone series for HBO Max as it emerges as a competitor to bigger streaming services like Netflix and Hulu. The Batman is due in theaters on October 1, 2021.

Gallery — Every DC Comics Movie, Ranked From Worst to Best:


‘Fast and Furious 9’ Might Actually Go Into Outer Space

href=”//” rel=”author” title=”Matt Singer”>Matt SingerUniversal

The joke, since at least Furious 7, was that the popular action series had grown so outrageous that the only way it could top itself at this point was by going into outer space. The Fate of the Furious and Hobbs & Shaw came and went without an extra-terrestrial expeditions (sadly), but it looks like fans’ dreams of Cars! In! Space! might actually come true with next year’s F9: The Fast Saga.

One of the franchise’s stars, Ludacris, at least hinted very strongly in that direction in an interview this week on SiriusXM. When asking how the franchise can keep raising the bar on its ludicrous action sequences, host Julia Cunningham speculated that it would have to involve one of only a few options including outer space. Which Ludacris did not dispute, responding (per The Hollywood Reporter):

‘I will say that you are very intuitive, because you said something right, but I'm not going to give it away’ the rapper and franchise actor said. Cunningham tried to pry the answer out of him, saying she bet it was space, which is when the actor covered his mouth as though he let a secret slip. Ludacris then tried to play coy. ‘I don't know. I don't know what you said,’ the actor teased.

Look, I’ll just say it: Fast and Furious needs to go to space and it needs to do it now, particularly because Tom Cruise, the only man in action movies crazy enough to try to compete with Fast and Furious on the level of pure, deranged spectacle, is already developing his own space movie that would actually be shot in outer space. Vin Diesel can’t let Tom Cruise win this new space race. He just can’t. He needs to respond with Cars! In! Space!

F9: The Fast Saga opens in theaters on April 2, 2021.

Gallery — The Best Action Movie Posters Ever Made:

Every ‘Star Wars’ Movie Is Now on Disney Plus

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffLucasfilm Ltd.

Starting today, Solo: A Star Wars Story is available for streaming on Disney+. That means that finally, some eight months after the site launched, that every single theatrical Star Wars movie is available there, from Star Wars: A New Hope up to and including Star Wars: The Rise of Skywalker. (Like it or not.)

Solo, about the adventures of the young Han Solo (Alden Ehrenreich), premiered in 2018 to some of the worst reviews in the franchise’s history. The production was not without controversy. Phil Lord and Chris Miller were originally hired to direct the movie, then left the project midway into production over creative differences with Lucasfilm; they were ultimately replaced by Ron Howard. With just $393 million in worldwide ticket sales, the results were the lowest-grossing live-action Star Wars ever. Of course, that means that there are a lot of Star Wars fans out there who never saw it — and can watch it now on Disney+ for the price of their monthly subscription fee.

As for Disney+’s Star Wars section, it’s still not 100 percent complete. It doesn’t have either of the Ewok movies made for TV in the 1980s, Caravan of Courage and Ewoks: The Battle For Endor. It’s also missing the 1980s cartoons Droids and Ewoks, and of course, the infamous Star Wars Holiday Special is missing as well. Maybe Disney+ can put that up with its own Disney Gallery series that chronicles the most notorious Star Wars production in history over the course of eight fascinating episodes.

Gallery — Cool Star Wars Easter Eggs in Non-Star Wars Movies:

The Far Side’s Gary Larson Unveils First New Comics in 25 Years

href=”//” rel=”author” title=”Matt Singer”>Matt SingerDenver Post via Getty Images

Comic strips tend to run for decades and decades, even outliving their original artists, or their artists cut them off in their prime, leaving fans hoping that some day, they will return. Very high on the list of the latter is The Far Side, which ended in January of 1995 at the height of its popularity when its cartoonist, Gary Larson, retired.

Larson was sick of the pressure of drawing on a deadline and so he walked away from his wildly popular strip and never looked back. Then, this week, for the first time in 25 years, he’s unveiled new cartoons. They’re not The Far Side — but they are unmistakably the product of the same guy’s twisted sense of humor. And they’re really funny.

You can look at the new cartoons at his website, where he explains why he stopped drawing — and why he started again. In his words, it all started after he got sick of unclogging his old pen to draw his family’s annual Christmas card…

So a few years ago … I decided to try a digital tablet. I knew nothing about these devices but hoped it would just get me through my annual Christmas card ordeal. I got one, fired it up, and lo and behold, something totally unexpected happened: within moments, I was having fun drawing again. I was stunned at all the tools the thing offered, all the creative potential it contained. I simply had no idea how far these things had evolved. Perhaps fittingly, the first thing I drew was a caveman.

You’ll have to go to Larson’s site to see all the new cartoons, but here’s one brilliant example:

2020 is one misery after another, so anything to brighten our mornings are very welcome. Given his disdain for deadlines, we shouldn’t expect new comics from Larson too regularly. Whenever he posts new ones, though, I’ll be reading.

Gallery — Actual Tattoos Inspired By Movies People Put on Their Bodies:

The Best Low-Budget Films Made For Less Than $1 Million

href=”//” rel=”author” title=”Claire Epting”>Claire EptingSearchlight/Miramax

To the average person, a million dollars is a lot of money. But when it comes to filming a major motion picture, a million dollars is a drop in the bucket. The truth is, a typical modern blockbuster (anything in the Avengers or Star Wars arsenal) takes upwards hundreds of millions of dollars to make. And yes, that’s a fair investment when your profits are in the billions, but most movies aren’t playing anywhere near that ballpark.

In the movie-making business, it takes money to make money, right? Well, not always. You might be surprised to learn that these big name films had humble beginnings. Here are twelve films that were made with a budget of less than a million dollars.

Gallery — The Most Expensive Blockbusters of All Time:

8 Percent of People Who Tried Quibi Reportedly Paid to Keep It

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffQuibi

We haven’t written too much about Quibi, the new mobile-centric streaming service, because … well, so far, the programming we’ve seen from Quibi is a lot less interesting than the reporting about the inner-workings of Quibi — like the recent report from Vulture in which the company’s CEO responded to a question about her favorite TV shows with “I’m not sure I’d classify myself as an entertainment enthusiast.”

To be fair, some of Quibi’s struggles are a matter of terrible timing. The company launched a streaming service intended to be watched entirely by people on the go (all its content is short — its weird name is short for “quick bites”) a few weeks into a global pandemic that locked a vast percentage of the Earth’s population inside their homes. As recently as last month, Quibi was still working on functionality for Rokus and other streaming devices.

Quibi’s initial 90-day free trials are wrapping up, and the numbers of subscribers sticking around to continue paying for the app are, according to the “research firm Sensor Tower,” less than ideal. They report that “910,000 people [signed] up for free 90-day trials within the first three days of its April 6 launch” but “only 72,000 subscribers stuck around and decided to pay $5 a month (or $8 without ads) for the service.” That’s an 8 percent conversion rate. (For sake of comparison, Disney+ has something like 50 million users, and it only launched in November.)

For what it’s worth, Quibi disputed these numbers in a statement to Deadline:

The number of paid subscribers is incorrect by an order of magnitude. Our conversion from download to trial is above mobile app benchmarks, and we are seeing excellent conversion to paid subscribers – both among our 90-day free trial sign-ups from April, as well as our 14-day free trial sign-ups from May and June.

Quibi is still rolling out new shows, of course. On July 20, they’ll premiere Die Hart, a series starring Kevin Hart as himself, in which he plays “a fictionalized version of himself who’s tired of being the comedic sidekick. He gets his wish when a famous director offers him his dream – to be a leading man action star – but there’s a catch: Kevin must first train at the world’s greatest action star school, run by a lunatic.” Here is the trailer:

So, there you go. Quibi! It’s an app that exists.

Gallery — The Best TV Shows of 2020 So Far:

‘Glee’ Actress Naya Rivera Is Missing at a California Lake

href=”//” rel=”author” title=”Claire Epting”>Claire EptingGetty Images

Naya Rivera, best known for her role of Santana Lopez in the hit Fox series Glee, has gone missing at a lake in Ventura County, CA. The 33 year-old actress and her four year-old son were visiting Lake Piru on Wednesday afternoon, when Rivera reportedly vanished. The two had rented a pontoon boat, and were seen going out on the lake together by Sheriff’s Capt. Eric Buschow, according to CNN. Three hours later, the boat was found by another lake visitor, with Rivera’s child asleep inside.

Deputy Chris Dyer recalled that the boat was discovered at the north end of the lake, where the water runs as deep as 40 feet. Rivera’s son was wearing his child-sized life vest, and there was also an adult-sized life vest found onboard. Search efforts have continued at the lake and the surrounding area, but the incident may be a “possible drowning,” said Dyer. Buschow confirms that Rivera’s son said that they had gone swimming, but his mother did not get back on the boat.

Rivera appeared on Glee for all six seasons of the show, appearing in nearly every episode. This tragic accident isn’t the first to befall Glee — Cory Monteith, known as the lovable jock Finn Hudson on the show, died of an accidental drug overdose in July of 2013 after a several year battle with substance abuse. In January of 2018, Mark Salling (Noah "Puck" Puckerman) was pronounced dead by suicide after being found guilty of child pornography possession months prior.

Several of the musical dramedy’s cast members, including Heather Morris and Harry Shum Jr., took to social media asking for prayers for Rivera’s return. “We need all the prayers we can get to bring our Naya back home to us," Morris wrote in her Instagram story. “We need your love and light.”

Gallery — Fox Franchises That Could Have New Life at Disney:

Joel Schumacher Made a ‘Darker’ 3-Hour Cut of ‘Batman Forever’

href=”//” rel=”author” title=”Matt Singer”>Matt SingerWarner Bros.

While the late Joel Schumacher’s tenure as director of the Batman franchise tends to get boiled down these days to the camp madness of Batman & Robin, his legacy is a bit more complicated than that. Schumacher’s first Bat-film, 1995’s Batman Forever, is a lot closer to the Tim Burton movies than some remember. It’s got its outsized comic moments — mostly thanks to Jim Carrey’s bombastic interpretation of the Riddler — but it rarely gets credit for all the ways it’s weird and dark.

Apparently, it could have been even weirder and darker, too. Variety has confirmed a rumor that began circulating since Schumacher’s death that the director had initially made a “170-minute cut” of Batman Forever that was “much darker in nature” than the theatrical release. Clearly, Schumacher took the movie’s title very literally.

Here’s how they describe the differences in this longer cut:

This version opens with a sequence involving the villain Two-Face (Tommy Lee Jones) escaping from Arkham Asylum, and features extended scenes with the Riddler (Jim Carrey) when he invades the Batcave and uses his signature cane as a weapon. The bulk of this version’s runtime focuses on the emotional and psychological issues that led Bruce Wayne (Val Kilmer) to decide to become Batman, including a sequence of Wayne facing down a giant, human-sized bat.

Schumacher did talk about some of these cut scenes in interviews and on DVD supplements. And there are deleted scenes featuring this material — including the giant bat:

Still, no one has ever seen a longer cut of the movie that would have maintained Schumacher’s original vision. So will we get to see it now? Variety contacted Warner Bros, who says there are “no discussions about distributing a director’s cut of Batman Forever,” if the extended version even survives somewhere in a vault. (Forever is now 25 years old.) Of course, fan outcry has led to studios ponying up to finish coveted director’s cuts before— Warner Bros. is currently finishing Zack Snyder’s vision of Justice League. So why not a #ReleaseTheSchumacherCut movement?

Gallery — Every DC Comics Movie, Ranked From Worst to Best:

‘Chilling Adventures of Sabrina’ Canceled By Netflix

href=”//” rel=”author” title=”Claire Epting”>Claire EptingNetflix

One day it’s here, and then *poof!* Netflix cancels Chilling Adventures of Sabrina. The streaming service announced the news Wednesday, stating that the show would conclude after its upcoming Part 4 later this year. Based on the Archie comic book series of the same name, Sabrina originally started out as a Riverdale companion series. But after its shift from CW to Netflix, the Warner Bros.-produced show was able to take on its own unique tone and style. Its trademark darkness can be attributed to showrunner Roberto Aguirre-Sacasa, who pushed the show towards spookier territory.

“Working on Chilling Adventures of Sabrina has been an incredible honor from Day One. The cast, beginning with Kiernan as everyone’s favorite teen witch, has been an absolute joy," said Aguirre-Sacasa. "I am beyond thankful to the crew, writers, editors, assistants, and everyone for pouring so much love into this dark dream of a show… We can’t wait for everyone to see Part Four.” Rather than release the entire season at once, Sabrina brought Season 1 to Netflix in two chunks, Part 1 and Part 2. The first part of Season 3 was released in January of this year, which means that the second part, Part 4, is on its way later this year.

Chilling Adventures of Sabrina followed the happenings half-human, half-witch teenager Sabrina Spellman, played by Kiernan Shipka. She attends Baxter High, trying to maintain a normal life, while in reality she is beginning her education in the dark arts. Part 4 was never intended to be the series’ finale, but will hopefully be able to wrap up some of the loose mystical threads that were unraveled in Part 3.

Gallery — The Best Netflix Originals You Can Watch Right Now:

James Cameron Wrote the Key Scene in ‘Terminator: Dark Fate’

href=”//” rel=”author” title=”Matt Singer”>Matt SingerParamount

By almost any measure, Terminator: Dark Fate was a flop. While the film did receive better reviews than its immediate predecessor, 2015’s Terminator Genisys, Dark Fate only grossed about $260 million worldwide. That’s a little more than half of what Genisys made ($440 million worldwide); barely enough to cover its reported $185 million budget. Factor in the return of series star Linda Hamilton and series creator James Cameron in meaningful roles for the first time since in almost 30 years, and you have a major disappointment.

Regardless of what the box-office receipts said last fall, I liked Terminator: Dark Fate. And I like it even more after working my way through its Blu-ray, which comes with bonus features like deleted and extended scenes, a making-of featurette, and a commentary track from director Tim Miller and editor Julian Clarke that is refreshingly candid about the various hiccups the production encountered. Those issues include numerous reshoots and Miller’s own late-night rewrites of scenes hours before cameras rolled because Dark Fate rushed into production without time for an additional screenplay draft.

Miller also reveals that while Dark Fate’s story and script are credited to six different writers, James Cameron himself was primarily responsible for writing its best sequence, the introduction of Arnold Schwarzenegger’s newer, older Terminator. Cameron has been close with Schwarzenegger ever since they made the first Terminator together, and he understands Schwarzenegger’s onscreen skills — and his off-screen life, which becomes important to understanding this sequence — better than any of the actor’s other collaborators.

Schwarzenegger’s “Carl” doesn’t show up until Dark Fate’s midway point, when Hamilton’s Sarah Connor and her young allies track down the source of encrypted messages that Sarah’s been receiving. It turns out the sender of these clues was Carl, a Terminator trying to make amends for the murder of John Connor years earlier. Since then, Carl met a woman named Alicia and became a father to her son, Mateo. They all live together in Laredo, Texas, where Carl owns his own drapery business.

That leads to a long confrontation between Carl and Sarah, where he explains what he has been up to since he killed John Connor. “When my mission was completed,” Schwarzenegger drones in his classic robot monotone “ there were no further orders. So for 20 years, I kept learning. How to become more human.” This new family, he says, gave him “purpose. Because without purpose, we are nothing.”

Carl’s emotional awakening builds off concepts Cameron introduced in Terminator 2, which revealed that the more contact Terminators have with humans, the more human they become. In Dark Fate, decades of contact have made Carl as close to human as an artificial intelligence built to resemble a champion Austrian bodybuilder can get. In a subsequent scene, Carl lounges in his chair with his legs crossed, casually peppering his speech with contractions and jokes. (Explaining why Alicia finds him to be a suitable partner, he says “I’m reliable, I’m a very good listener, and I’m extremely funny.”) Carl even pets the family dog. In Cameron’s previous Terminators, dogs always warned the humans when Terminators were in their midst. That’s the clearest clue that this T-800 is a changed man(borg).

On his commentary track, Tim Miller says this scene was one “that Jim [Cameron] wanted to write himself” and that he ultimately wrote “11 pages in the draft” which then ballooned to “about 19 pages.” Miller also reveals Carl’s family became a point of contention between he and Cameron. Miller wanted Alicia and Mateo to know Carl was a Terminator, while Cameron felt they should not. Miller says he took issue with “a character who starts on his arc of redemption and he hasn’t been truthful with the people closest to him.” Cameron felt otherwise. In Miller���s words, Cameron argued that “Carl would keep that secret to protect his family.”


From a pure logic perspective, Miller was probably right: How could someone be married to a woman for decades without her catching wind of the fact that he’s a remorseless cybernetic murderer? It seems implausible, which is probably why Miller has Sarah make an incredulous joke about Alicia not noticing that her partner was a 400-pound deathbot that never sleeps. Within the context of Schwarzenegger’s career and life, though, Cameron’s perspective made more sense — because keeping enormous secrets for decades is precisely what Schwarzenegger did in a similar scenario in his own life.

In the chapter of his autobiography called “The Secret,” Schwarzenegger writes about the dissolution of his real-life marriage to Maria Shriver. At a counseling session shortly after the end of his term as the Governor of California, Shriver got Schwarzenegger to admit that he was the biological father of their housekeeper’s son — who, according to the book, was already 14 years old.

In other words, Schwarzenegger had successfully kept this Carl-sized secret for years. He says in his autobiography that the deception came very naturally. “Secrecy is just part of me,” he writes in that same chapter. “I keep things to myself no matter what.” Those words could have come out of Carl’s metal mouth, and they contribute to the fascinating subtext running through the scenes with Carl’s adopted son — who, it’s worth noting, is Latino like the son Schwarzenegger fathered with his housekeeper.

Filmmaking this nakedly confessional might seem out of place in a different big-budget sequel to a ’90s blockbuster, but Schwarzenegger has been transforming his personal story into fodder for his characters for most of his career. The autobiographical threads have only grown more pronounced and more interesting since the end of his marriage and his return to Hollywood in the last decade. In recent years, he’s played one broken family man after another. In 2017’s Aftermath, his wife and daughter die in a plane accident. In 2015’s Maggie, he tries and fails to protect his daughter from a zombie virus. In 2014’s Sabotage, his family is murdered by a drug cartel, sending his character down a very dark path.

And now here is Carl in Dark Fate, who has committed unspeakable acts and finds that he must leave a family he loves to atone for them. After he says goodbye to Alicia and Mateo for the last time, Carl heads back into his house and grabs a jacket. He spots a pair of the sunglasses like the one the Terminator wore to immensely badass effect in every other Terminator movie. He picks them up, considers them, and puts them back. As Carl reveals to Dani (Natalia Reyes), the future savior of humanity, he used to believe that his robotic lack of emotions was “an advantage” in life. Now he realizes, “it isn’t.”

The contradictions in this character — the emotionless robot who finds what he calls “the equivalent” of a conscience, the preternal killer with an interior decorating side hustle — could have been enough to make him the center of Dark Fate’s story. In fact, it’s a little surprising how minor Carl’s role is in the film outside of this sequence. Wouldn’t you love to see a prequel about Carl, the kindly Terminator with a passion for curtains?

Given Dark Fate’s box office totals, such a project seems highly unlikely. In hindsight, maybe Dark Fate’s title was a self-fulfilling prophecy. The Terminator franchise has always been full of those. At least we’ll always have this: The phone number on the side of Carl’s van is real. Here’s what happens if you call it:

Gallery — The Coolest Director Cameos in Movies:

The New ‘Batwoman’ Is Javicia Leslie

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffWarner Bros.

Gotham City has a new Batwoman.

Two months after Ruby Rose announced she was leaving The CW’s Batwoman after just one season, and one month since word leaked that the show wasn’t looking to recast the role of Kate Kane and would instead introduce an entirely new character to take over the lead of the show, Warner Bros. has announced their new hero: Javicia Leslie will play the new Batwoman, Ryan Wilder, when the show returns for its second season on The CW.

Leslie, who previously appeared on God Friended Me and The Family Business, is the first Black actress to play Batwoman in a live-action film or television show. Here’s how the press release describes the new character. It definitely echoes what the earlier leaked casting call described:

Ryan Wilder is about to become Batwoman. She’s likable, messy, a little goofy and untamed. She’s also nothing like Kate Kane, the woman who wore the Batsuit before her. With no one in her life to keep her on track, Ryan spent years as a drug-runner, dodging the GCPD and masking her pain with bad habits. Today Ryan lives in her van with her plant. A girl who would steal milk for an alley cat and could also kill you with her bare hands, Ryan is the most dangerous type of fighter: highly skilled and wildly undisciplined. An out lesbian. Athletic. Raw. Passionate. Fallible. And very much not your stereotypical all-American hero.

Batwoman Season 2 premieres on The CW in January 2021. The show airs Sundays at 8PM ET.

Gallery — Every DC Comics Movie, Ranked From Worst to Best:

‘Winter Soldier’ Vs. ‘Iron Man 2’: Why One Worked and One Didn’t

href=”//” rel=”author” title=”ScreenCrush Staff”>ScreenCrush StaffMarvel

The first sequel to Iron Man and the first sequel to Captain America are so similar. They both feature heroes butting up against government officials, massive conspiracies, and agents of S.H.I.E.L.D. They both get into complicated, flirtatious relationships with Black Widow. They both spar with Nick Fury. And each hero even changes into a new costume to reflect their changing personalities.

And yet Captain America: The Winter Soldier is one of the most beloved Marvel Cinematic Universe movies, and Iron Man 2 is … well, not. The newest video from ScreenCrush’s Ryan Arey tries to pin down why two very comparable movies resulted in such different outcomes. He ultimately finds there’s one scene that explains why Captain America: The Winter Soldier worked and Iron Man 2 didn’t. Watch his findings below:

If you liked this video comparing Iron Man 2 and Captain America: The Winter Soldier, check out more of our videos below, including our essay on the secret meaning of Spider-Man: Far From Home, check out some more of our videos below, including our essay on what makes Iron Man works (and makes Man of Steel not work), and our theory about Obadiah Stane and Hydra. Plus, there’s tons more over at ScreenCrush’s YouTube channel. Be sure to subscribe to catch all our future episodes.

Gallery — The Evolution of Every Avengers Costume, From Movie to Movie:

‘The Wonder Years’ Is Getting Rebooted With a Black Family

href=”//” rel=”author” title=”Matt Singer”>Matt SingerWalt Disney Television via Getty

Television has not yet run out of beloved shows of the ’80s and ’90s to reboot. ABC announced today that they are making a pilot for a new version of The Wonder Years, which originally aired on the network from 1988 to 1993. The entire premise of the show was already about nostalgia, so there may not be a more perfect concept to capture the zeitgeist right now.

The old Wonder Years starred a young Fred Savage as Kevin Arnold, and chronicled his ups and downs growing up in suburbia during the late 1960s. Savage will direct the pilot of the new Wonder Years, which will be set during the same time period, with one very notable twist, according to its official description (via USA Today). The show is now about…

…‘How a Black middle-class family in Montgomery, Alabama, in the turbulent late 1960s, the same era as the original series, made sure it was 'The Wonder Years' for them, too.’ In addition to Savage, who has built a successful career directing comedies and also will serve as an executive producer, the reboot will include original series co-creator Neal Marlens as a consultant.

Lee Daniels will executive produce the series; The Last O.G.’s Saladin Patterson is the writer and executive producer.

Reframing The Wonder Years to focus on a Black family in the late 1960s could make it one of the more timely updates of a classic show in recent memory. As a kid, I loved The Wonder Years because it was a great show to watch as family — my parents talked about what life was like during the time period on the show, and I could relate to the younger characters, who were all roughly my age. If the new show can capture three generations — the grandparents who lived through that time, the parents who watched the old show, and their kids today — it could be a big hit.

Gallery — The Best TV Shows of 2020 So Far:

Ryan Gosling Is Remaking ‘The Wolfman’ With Leigh Whannell

href=”//” rel=”author” title=”Matt Singer”>Matt SingerNBC

After turning his update of The Invisible Man into one of the biggest hits of 2020 (at least the two months of 2020 we got before everything went to hell), writer/director Leigh Whannell will next reboot another classic Universal monster: The WolfmanDeadline reports that Whannell is “negotiating to direct Ryan Gosling” in the lead of the latest iteration of the hairy horror anti-hero.

According to Deadline, Whannell himself came up with the concept for this remake, although another pair of writers will then finish the screenplay:

Whannell will also be writing the treatment for the film, based on an original idea of his own and inspired by the 1941 classic. Lauren Schuker Blum and Rebecca Angelo (Netflix’s Orange is the New Black) will write the script.

Blumhouse, who produced Whannell’s The Invisible Man, will work with him on The Wolfman as well. (Apparently Schuker Blum, who is also Jason Blum’s wife, convinced Whannell to take on the project.)

It seems like a solid foundation for another new franchise from the Universal monsters, who have seen their fortunes brighten significantly from the days of the “Dark Universe” just a few years ago. That would have seen all of the monsters come together as part of a shared cinematic universe akin to Marvel’s movies, but the first official entry in the saga, Tom Cruise’s The Mummy, was such a creative and commercial disaster that the rest of the projects were all canceled and Universal shifted to these smaller, smarter reimagined versions of the popular characters.

Gallery — The Dumbest Sequel Subtitles of All Time:

‘Halloween Kills,’ Delayed to 2021, Unveils First Teaser

href=”//” rel=”author” title=”Matt Singer”>Matt SingerUniversal

The plan was for the recent Halloween reboot/sequel to be turned into a trilogy, with Halloween Kills due in theaters in October 2020 and Halloween Ends following in October of 2021. Series star Jamie Lee Curtis would return as Laurie Strode, and David Gordon Green, who directed 2018’s Halloween, would also helm both sequels. John Carpenter, who co-created the characters and directed the first two movies, would provide a new version of the franchise’s famous piano score.

That was the plan.

Then came coronavirus. Today, Carpenter and Green jointly released a statement announcing that Halloween Kills would be delayed by an entire year. “If we release [Halloween Kills] in October of this year as planned,” they wrote “we have to face the reality that the film would be consumed in a compromised theatrical experience. After weighing our options, we have chosen to push the film’s theatrical release by one year.”

As a consolation prize, Carpenter also tweeted an early teaser for the film, showing Jamie Lee Curtis, Judy Greer, and Andi Matichak as Laurie, Karen, and Allyson in the moments after 2016’s Halloween ended. Would you believe Michael Myers didn’t die after all?!? Shocking, I know.

Jamie Lee Curtis wrote that she is as “disappointed” as fans in the delay “mostly because the movie the David has created from the characters that John and Debra created Is a masterpiece.”

The announcement didn’t specify when fans can expect Halloween Ends, but noted that “preparation” on the movie “has begun as well.” And Carpenter and Green did promise fans that even with the delays, Halloween Kills is “a wild and vibrant production” and “a creative playground” that yielded “an unexpected entry into this franchise.” Its eventual release date might be the most unexpected part of all; coronavirus looks harder to snuff out than Michael Myers.

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Disney Plus Releases New Trailer For ‘The One And Only Ivan’

href=”//” rel=”author” title=”Claire Epting”>Claire EptingDisney+

Disney+ has released a new trailer in advance of Disney’s upcoming movie The One and Only Ivan, based on the best-selling children’s novel by Katherine Applegate. The adaptation is directed by Thea Sharrock and written by Mike White. The story follows a 400-pound silverback gorilla named Ivan (Sam Rockwell) who is born in the jungle but raised by humans, eventually becoming the star of a circus act inside a mall. But when a young elephant named Ruby (Brooklynn Prince) arrives at the circus, Ivan begins to question all the animals' place in captivity. Together, they hatch a plan to escape:

Viewing this trailer, you may not pick up on every celebrity appearance, because y’know… they’re playing animals. But just to recap, we have Rockwell as Ivan, Angelina Jolie as Stella the elephant, Danny DeVito as Bob the dog, Helen Mirren as Snickers the poodle, and Bryan Cranston as Mack, the mall owner. You’ll actually be able recognize to recognize that last one pretty quickly.

Based off the clip above, The One and Only Ivan looks equal parts Tarzan and Dumbo, with a splash of Doolittle. Hopefully, it can avoid the trappings of the latter, which was little more than a devastating hodgepodge of celebrity voices as hapless CGI animals. Considering Applegate’s book offers a more compelling story, it should be safe to expect something marginally better.

The One and Only Ivan is available for streaming exclusively on Disney+ starting August 14.

Gallery — Surprising Movies on Disney+:

Jude Law Is Disney’s New Captain Hook in ‘Peter Pan & Wendy’

href=”//” rel=”author” title=”Claire Epting”>Claire EptingGetty Images/Walt Disney Pictures

Disney has its sights set on the second star to the right for its next live-action movie adaptation. That’s right, Disney will be tackling Peter Pan in their upcoming film Peter Pan & Wendy helmed by Pete’s Dragon director David Lowery. While it’s still early days for the project, one thing is absolutely certain — the studio wants Jude Law to play Captain Hook. According to Variety, Law is in talks to take on the one-handed villain. If the deal goes through, Law will join the ranks of Dustin Hoffman, Jason Isaacs, and Garrett Hedlund as the next actor to portray the role on the big screen.

Following a string of financially successful (critically, not so much) live-action adaptations of their animated classics, Disney is wasting no time in planning its next endeavor. Peter Pan is an interesting choice, since it’s already been remade quite a few times to no particular avail. Steven Spielberg's Hook was not received well by critics, while P.J. Hogan’s Peter Pan was better but tanked in terms of box office sales. More recently, Joe Wright’s 2015 prequel Pan failed to make a lasting impression, and this year’s Wendy (from Beasts of the Southern Wild director Benh Zeitlin) came and went virtually unnoticed. There’s no point denying it — nothing will live up to the 1956 animated version.

Maybe these missteps are why Disney is so adamant about creating a Peter Pan live-action adaptation that lives up to its name. Or maybe they’re just on a mission to remake every childhood favorite we hold so near and dear to our hearts. Either way, expect to see Peter Pan & Wendy heading to movie theaters (not straight to Disney+) sometime in the future.

 Gallery — The Best Disney Villains of All Time:

Kayne West Says He Wants to Model His Presidency on Wakanda

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Kanye West announced over the weekend, via tweet, that he was running for President in 2020 as a third-party candidate. No further explanation was offered, but now West has given a wide-ranging interview about his plans to Forbes, and they are quite elaborate.

You need to read the full interview for the full effect. In it, West admits he’s never voted in his life, no longer supports President Trump, says he had Covid-19 in February, and believes vaccines are the “mark of the beast” created by an undefined “they” in order to “make it where we can’t cross the gates of heaven.”

He also revealed that if he was elected, the White House would look very different in a Kanye West Presidency, saying he would model his team on Wakanda, the fictional African country from Black Panther. As he put it:

A lot of Africans do not like the movie [Black Panther] and representation of themselves in…Wakanda. But I’m gonna use the framework of Wakanda right now because it’s the best explanation of what our design group is going to feel like in the White House…That is a positive idea: you got Kanye West, one of the most powerful humans—I’m not saying the most because you got a lot of alien level superpowers and it’s only collectively that we can set it free. Let’s get back to Wakanda… like in the movie in Wakanda when the king went to visit that lead scientist to have the shoes wrap around her shoes. Just the amount of innovation that can happen, the amount of innovation in medicine—like big pharma—we are going to work, innovate, together.

West also noted that he already has the support of billionaire inventor Elon Musk. He’s even “proposed to him to be the head of our space program.”

If West is serious about his plan, he better move quickly. As noted by Reuters, it will be extremely difficult for him to formally run at this late date. The deadline to register has already passed in some states, and getting on the ballot in other states “as an independent would also require hiring staff or recruiting volunteers to quickly gather many tens of thousands of signatures across the nation before other registration periods close in August and September, a task currently made more difficult by the coronavirus pandemic.”

So Kayne’s hopes for the presidency may need to wait four more years. At least he didn’t suggest we make the White House look more like Hydra.

Gallery — Every Marvel Movie, Ranked From Worst to Best:

‘Palm Springs’ Review: A Time Loop Worth Getting Stuck In

href=”//” rel=”author” title=”Matt Singer”>Matt SingerHulu

It’s Groundhog Day all over again.

Technically Hulu’s Palm Springs is set on November 9, at a wedding in the Southwest. But the premise is yet another variation of Groundhog Day, where a selfish man who must relive the same day over and over until he learns to be a better person. Palm Springs pushes the concept even further into rom-com territory by having a couple loop the same day, rather than a single person.

Nyles (Andy Samberg) is a curiously laconic guest at the wedding of Abe (Tyler Hoechlin) and Tala (Camila Mendes). He wanders around the reception in a bathing suit and a Hawaiian shirt, and interrupts the toasts to give a rambling yet moving speech. Nyles showed up with the maid of honor, but his odd behavior and curiously philosophical ramblings catch the eye of Sarah (Crisin Milioti), the sister of the bride. Nyles and Sarah hit it off, and then they’re on the verge of hooking up when … a weirdo in camouflage (J.K. Simmons) shoots Nyles in the back with an arrow. Whoever Simmons is, he sure ain’t Cupid. After Sarah follows a dying Nyles into a glowing cave in the desert, she gets stuck sharing his time loop as well.


Even with a concept that looks familiar before Samberg and Milioti begin repeating the morning of November 9, Palm Springs makes for satisfying quarantine viewing on Hulu — particularly because its structure captures the essence of life in the age of coronavirus. We wake up every day in the same place, seeing the same people, doing the same things, going nowhere, doing nothing, contemplating when we might get out of here, and worrying what might happen if we actually do escape. Palm Springs captures so much of the existential ennui of 2020 that when we look back on this time period it will be hard to believe it wasn’t specifically created as a reaction to it. (I’m guessing that director Max Barbakow and co-writer Andy Siara were aiming more for a metaphor of the way relationships grow or stagnate. Palm Springs works nicely on that level too.)

The film offers at least one tangible piece of advice for dealing with this impossible, seemingly endless time: Keep your sense of humor about you. Palm Springs, which is billed as a “Lonely Island Production,” is consistently funny, from Samberg’s IDGAF attitude, to Milioti’s initial fury at her entrapment, to a deep roster of comic talents who bring hilarious variations to the numerous riffs through the same day. There are small but key contributions from Peter Gallagher as the father of the bride, and Dale Dickey as a patron at a local bar where Nyles and Sarah go to drink away their sorrows. When Simmons’ role in this quirky roundelay becomes clear, he gets several excellent scenes to play both the absurdity and the tragedy of his situation.


The curse of Groundhog Day was that it was so ingenious that even after Bill Murray’s Phil Connors escaped from his metaphysical prison Hollywood kept repeating Groundhog Day’s premise in film after film. There was Edge of Tomorrow, with Tom Cruise stuck in the same sci-fi battle over and over. There was Happy Death Day, a slasher about a girl who has to solve her own murder in order to undo it. There was Source Code, and Before I Fall, and Naked, and Happy Death Day 2U, and many others. It’s shocking no one has made a Groundhog Day about a day in the life of a Hollywood executive trying over and over to get another rehash of Groundhog Day off the ground.

Still, I must confess that I like a lot these movies, and I liked Palm Springs too. None of them are as good as the original, yet I find these time-loop movies are generally very well-conceived and thought through — because they have to be in order to make infinite variations of the same day work. There’s no noodling in a time-loop movie; figuring it out on the day with improv won’t fly. They need to be created with care and precision.

Even if Nyles is a bit of a dope, Palm Springs is smart about him, and about the emotions someone in his or Sarah’s position might feel. (It helps that Samberg and Milioti work so well together onscreen.) This might not be a revolutionary story, but as Groundhog Day’s various imitators have taught us, there’s a certain amount of pleasure in repetition.

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Tom Hanks Has ‘No Respect’ For People Who Refuse to Wear Masks

href=”//” rel=”author” title=”Matt Singer”>Matt SingerApple TV

Imagine how bad things have got to make Tom Hanks mad.

Hanks, beloved nice guy of the silver screen, did not mince words about the coronavirus and the politicization of mask wearing when asked about it during his press “tour” (i.e. he’s sitting in a room and doing Zoom calls with journalists) for his new Apple TV+ original Greyhound. Hanks says flat out he has “no respect” for anyone who refuses to wear masks and socially distance themselves. In fact, he says, wearing a mask is “literally the least you can do” during these difficult times.

Hanks didn’t make these comments offhandedly in private, either. He said them on the record, on camera, during an interview with the Associated Press. You can watch them for yourself:

Obviously coronavirus is a subject of personal importance to Hanks; he and his wife Rita Wilson were among the very first public figures to be sickened by the coronavirus. Hanks and Wilson became ill in Australia, where Hanks was filming an Elvis Presley biopic. Thankfully, both had relatively mild cases. Eventually, both made full recoveries and returned to the United States.

Others are far less lucky. To date more than 11.6 million people worldwide have contracted the coronavirus and over 539,000 have died. So wear a mask. Please don’t make Tom Hanks mad again. It’s such a troubling image. Greyhound will be available on Apple TV+ this Friday.

Gallery — The Best Movies of 2020 So Far:

Michael Bay Readies Pandemic Thriller To Be Shot During Pandemic

href=”//” rel=”author” title=”Claire Epting”>Claire EptingGetty Images

Although we are nowhere close to a post-COVID-19 world, we are starting to see a reality in which filming might be able to resume — with precautions, of course. While select blockbusters (such as Avatar 2) have been able to start up again internationally, we haven't seen too much action in the movie-making epicenters of Los Angeles or New York City. That is, until news dropped that the Michael Bay-produced thriller Songbird has been given the green light to continue production. According to The Hollywood Reporter, the production team had resolved safety issues on the film months ago. How is that possible? Well, you see, Songbird is set during a pandemic.

Helmed by Adam Mason, Songbird will be set two years in the future, as a vaccine for a mysterious virus remains elusive. Because of this, characters will naturally be wearing masks and practicing social distancing, making the risks of shooting relatively low. Despite a small hiccup with SAG-AFTRA, who hit the film with a “Do Not Work” notice before immediately rescinding it, Songbird is in the clear.

Shooting with the cast —which includes Demi Moore, Craig Robinson, and Peter Stormare — officially resumed on July 6. Bay is confident that the team's filming methods will get the job done without sacrificing any safety regulations. “We are literally going to be the first film shooting in L.A.," said Bay to THR. “And we have a kind of special sauce with how we're doing it where there's zero contact.”

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Halle Berry Steps Away From Transgender Role Following Criticism

href=”//” rel=”author” title=”Claire Epting”>Claire EptingGetty Images

Halle Berry has issued an apology on Twitter in response to the criticism she received over the weekend regarding a transgender acting role. Berry initially said she would consider playing the role of a transgender man in a film during a now-expired Instagram Live segment last Friday. Berry expressed her excitement at the possibility of playing the character, saying that she wanted to “experience that world.” This sparked anger amongst the transgender community, who called Berry out for trivializing the actual experiences of those who have transitioned from one gender to another.

Others expressed frustration at Berry’s use of pronouns when describing the character, alluding to the role using “she” and “her,” instead of “he” and "him.” Overall, the main point of grievance was that Berry, a cisgender woman, should not portray a trans character. Berry responded to this feedback, stating that she was “grateful for the guidance and critical conversation” that occurred in response to her video:

Two years ago, Scarlett Johansson received similar backlash when it was revealed she would play a transgender man in the Dante Gill biopic Rub & Tug. In July of 2018, Johansson stepped down from the role, respecting the wishes of those who found the casting choice deeply problematic.

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Movie Theaters Claim Forced Closure Violates 1st Amendment Rights

href=”//” rel=”author” title=”Matt Singer”>Matt SingerMoment Editorial/Getty Images

A sharp uptick in coronavirus cases have imperiled the plan to reopen movie theaters around the country later this month. Even in the few areas where the pandemic is not worsening, like the Northeast, movie theaters have been removed from the list of spaces that can begin welcoming back customers. New York City, for example, began Phase Three of its reopening yesterday; indoor movie theaters, like indoor dining, remain on the banned list.

Apparently, three of the biggest theater chains in the country — AMC, Cinemark, and Regal — find this state of affairs unacceptable. The National Association of Theatre Owners of New Jersey have now filed a suit against the state of New Jersey, claiming that keeping them closed while opening others businesses is “a violation of [their] First Amendment rights of freedom of speech.” Or, as The Hollywood Reporter, puts it, “if churches are reopening, so must movie houses.”

More from the Complaint, via THR:

Plaintiffs challenge Defendants’ unconstitutional and unlawful distinctions in allowing certain places of public assembly to reopen, while requiring movie theatres to remain closed … COVID-19 represents a serious public health risk, and Plaintiffs support fair and reasonable actions by the government to address that risk. However, the government-mandated total closure of movie theatres is neither fair nor reasonable, and is instead a violation of Plaintiffs’ First Amendment rights of freedom of speech and freedom of expression, Equal Protection of the laws, Due Process under the law, and is a Taking of property without just compensation.

I continue to hope for the absolute best for movie theaters and their employees, who have been hit as hard as anyone by this pandemic. This is truly a terrible time for theaters, and I look forward to the day when it’s safe to return to the movies.

But the key word is safe, and increasing evidence suggests large, indoor gatherings are among the most dangerous places for virus transmission. Freedom of speech is enormously important, but I’m not sure that’s really what’s under threat when you keep people from buying a ticket to see Mulan at AMC. You can read the theaters’ full lawsuit here.

Gallery — What We Miss Most About Movie Theaters:

‘Supermarket Sweep’ Is Now on Netflix. So Is Glorious ’90s Hair.

href=”//” rel=”author” title=”Matt Singer”>Matt SingerFremantle

At supermarkets around the country, people are losing their minds. Not a day goes by without a new viral video of grocery customers in full-blown meltdown mode over having to wear a mask to shop. (Hey look! There’s another one!)

At supermarkets on Netflix, though, everyone is happy. Smiling! There are no lines. No one needs a mask. People freely exchange high-fives and even hugs. The toilet paper aisle is fully stocked. People routinely leave the store with thousands in cash. That’s because the streaming service recently added 15 episodes of Supermarket Sweep to its TV library.

For those who’ve never had the pleasure of growing up in the ’90s with unfettered access to basic cable, Supermarket Sweep was a staple of daytime television throughout the decade. A remake of a ’60s game show of the same name, the show offered three teams of contestants the opportunity to rampage through a grocery store, collecting items in an attempt to wrack up the largest grocery bill possible in about two minutes. The winning team got to go on a scavenger hunt through the store (actually an impressive simulation of a supermarket on a soundstage in California). If they followed the clues and found the right items in time, they could win $5,000. It’s basically a shopping-based game show for people who find The Price Is Right too exciting.

Supermarket Sweep is surely one of Netflix’s least-expensive grabs at the nostalgia market, which has become an increasing focus of their programming in recent years. (The #1 show on the entire service as of this writing is a reboot of Unsolved Mysteries, followed two spots behind that on the Netflix TV Top Ten by a new version of The Baby-Sitters Club.) In addition to their value to Gen Xers who want to wallow in their youth for a couple hours, Supermarket Sweep also contains important documentary footage of 1990s fashion and hair and its absolute ’90s-est.

Binging the episodes last night, I was staggered by the onslaught of patterned sports coats, billowy blouses, and frizzy bangs. If you told me these 15 episodes were selected specifically to highlight the show’s most ’90s-tastic lewks, I would absolutely believe you. Here are just a few of the highlights:

As someone who lived through this period of our nation’s history, I can tell you with confidence: Yes, this is 100 percent what it looked like.

Supermarket Sweep reruns would have looked kitschy at any point in time, but they couldn’t have arrived on streaming at a more surreal time, as grocery shopping has become a legitimately dangerous activity that fills customers with dread. Wikipedia tells me that a third iteration of Supermarket Sweep is in production right now, hosted by Leslie Jones; it’s scheduled to premiere on ABC in the fall. I hope they really go for the zeitgeist and embrace the atmosphere in grocery stores circa 2020. Instead of joyful contestants cheering each other on, the teams should get into shoving matches over PPE and then fight to the death over the last jug of bottled water.

Gallery — The Best TV of 2020 So Far:

‘High School Musical’s Lucas Grabeel Might Not Play Ryan Today

href=”//” rel=”author” title=”Erica Russell”>Erica RussellDisney Plus

Lucas Grabeel isn't so sure he'd play Ryan Evans again if the High School Musical films were made today — for a good reason.

The Disney Channel star caught up with TMZ following HSM director Kenny Ortega's recent revelation that Grabeel's character was indeed gay. Grabeel shared that he probably wouldn't want to play the Drama Club standout, who he started playing back in 2006, knowing what he knows now.

"There’s so many amazingly talented gay actors that could do it as well, so if High School Musical was made today, I don’t know if I would play Ryan," the actor explained. "I would love to, but the last thing I want to do is take an opportunity away from other people."

Grabeel admitted he knows that "as a straight white man … I have taken opportunities away from other people," and that he wouldn't want to take up space playing a gay character when a gay actor could and should take the role.

"[Coming out] is something that a lot of kids go through and don’t often see portrayed on television," Grabeel continued, opening up about the importance of onscreen representation for diverse characters.

"At that time [of HSM's release] it was either [the gay characters were] extremely flamboyant or very closeted and kind of shut off … We need to start educating everyone at the youngest age possible, and that’s why it will fall into the hands of Disney who create so much great programming for the developing minds of our future country. We in the film industry have a duty to educate as well as entertain.”

The actor also opened up about previous discussions he had with Ortega regarding Ryan's sexuality, revealing that Disney likely wasn't ready to have an openly gay character on the Disney Channel back in the mid-2000s.

"I came up to Kenny one day and was like, 'Hey, so can we talk about the character for a second? Ryan’s gay, right?'" Lucas recalled. "[Kenny] was like, 'Well, I mean, it’s a touchy subject sometimes with children’s programming—I’m not sure if Disney is ready now for that kind of thing. I absolutely agree that he is and I think we have an opportunity here to showcase a real person.'"

On June 30, Ortega confirmed to Variety that the character of Ryan, who is Sharpay Evans' (Ashley Tisdale) brother in the fan-favorite Disney Channel series, was gay, as many fans had speculated for years.

"We decided [he was] probably going to come out in college," Ortega told the publication. "It was less about coming out and just more about letting his true colors come forward."

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Source: Why Lucas Grabeel Wouldn’t Play ‘High School Musical’s Ryan Evans Today

‘The Old Guard’ Review: Charlize Theron, Eternal Butt-Kicker

href=”//” rel=”author” title=”Matt Singer”>Matt SingerNetflix

Ever since she stole Mad Max: Fury Road from its title character, I’ve been waiting for Charlize Theron to go all in on a second career as an action hero. Apart from her (admittedly thrilling) appearance in Atomic Blonde three years ago, her calling as the screen’s preeminent female ass-kicker never really got off the ground. Even the Fast & Furious franchise screwed up Charlize, casting her in The Fate of the Furious as a grumpy hacker who spends the entire movie looking at computer screens.

At last, Charlize the action star fully emerges in The Old Guard, a muscular thriller that would have been one of this summer’s cinematic highlights even if theaters around the world were still open. Theron’s character, Andy, recalls the best parts of her performance as Furiosa, another deadly soldier who bears the emotional scars of years of conflict. Where so many male action heroes wear their brutality with dispassionate pride, Theron emphasizes the psychological cost that must be paid by great warriors over the course of a lifetime — or, in the case of The Old Guard, multiple lifetimes.

That’s because this film, based on a comic book by Greg Rucka and Leandro Fernández, is about a group of immortals who’ve spent centuries covertly protecting people in need. Andy and her brood of deathless champions possess the ability to recover from seemingly any injury, or even death, in a matter of seconds. This, combined with fighting skills honed through decades of combat (plus a taste for edged weapons) make them a little like an X-Men team where everyone is Wolverine.

Andy claims not to remember what her mother looked like, or even how old she truly is. Brief flashbacks reveal that however long she’s been doing this, it’s been a while. And she clearly remembers the pain of losing loved ones, particularly a fellow immortal whose torture many years prior informs much of Andy’s choices in the present day.


That’s when Andy and the rest of her team of unkillable mercenaries — Booker (Matthias Schoenaerts), Joe (Marwan Kenzari), and Nicky (Luca Marinelli) — discover the “birth” of another unique individual like themselves, a U.S. Marine named Nile (KiKi Layne). While Andy tracks down Nile and convince her to join her squad, the rest of the group tries to stay out of the hands of a sniveling pharma executive (Harry Melling, giving extremely good snivel) who wants to unlock the secrets of their unique genetic code at any cost.

There’s a lot of typical superhero stuff in that plot description, including the new member of an established group who becomes our entryway into this strange world, and the evil corporation that wants to treat metahumans like lab rats, ethics be damned. The atypical stuff in The Old Guard all comes from director Gina Prince-Bythewood, who brings a level of thoughtfulness and nuance to material that’s usually just an excuse for onscreen bloodshed.

So often a movie like this ignores the mechanics of heroes’ powers and basks in routine power fantasies; The Old Guard actually considers the dark side of immortality. Recovering from any injury means you could theoretically be trapped in an endless loop of gruesome painful deaths, and even under the best of circumstances, Andy and her colleagues are doomed to live for eternity while everyone around them gets old and dies. The way Prince-Bythewood approaches both of these ideas recalls her last movie, the perceptive Beyond the Lights, which viewed pop-music stardom with a similarly skeptical eye.

Prince-Bythewood is clearly well-versed in the tropes of action spectacles, and she delights in poking fun at their macho cliches. In one very entertaining scene, a bunch of soldiers try to insult Joe and Nicky with a homophobic putdown familiar from countless thrillers of this kind — “What is he? Your boyfriend?” — which inspires Joe to launch into an epic ode to his lover, whose place in his heart goes way beyond being a simple boyfriend. Then the two men kiss — and beat the crap out of everyone else in the room.


For several years in the mid-2010s, Prince-Bythewood was supposed to direct a Spider-Man spinoff called Silver & Black about a pair of female superheroes. Sony’s loss was Netflix’s gain. Theron and her haunted eyes somehow turns kicking enormous amounts of ass into the most soulful activity on Earth. It’s enough to make you wish she actually was immortal, and could keep starring in these movies forever.

Additional Thoughts:

-The casting alone — which is dominated by women and people of color — makes The Old Guard unique. When was the last time the best fight scene in an action movie belonged to two women beating the crap out of each other?

-No spoilers, but The Old Guard might have the best cliffhanger of any comic-book movie since Samuel L. Jackson stepped out of the shadows of Tony Stark’s home back in Iron Man.

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