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

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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.”

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

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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?

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‘Chilling Adventures of Sabrina’ Canceled By Netflix

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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.

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

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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:

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The New ‘Batwoman’ Is Javicia Leslie

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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.

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

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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.

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

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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.

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Ryan Gosling Is Remaking ‘The Wolfman’ With Leigh Whannell

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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.

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

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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’

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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.

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

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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.

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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.

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

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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.

Gallery — The Best Movie Soundtracks of the 21st Century:

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

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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

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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

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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.

Gallery — The Best Performances By Non-Professional Actors:

Movie Theaters Claim Forced Closure Violates 1st Amendment Rights

href=”//screencrush.com/author/mattsinger/” 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=”//screencrush.com/author/mattsinger/” 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=”//screencrush.com/author/ericarussell/” 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=”//screencrush.com/author/mattsinger/” 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.

Gallery — The Best Netflix Shows You Haven’t Watched Yet:

‘Hamilton’ Causes Massive Increase In Disney+ App Downloads

href=”//screencrush.com/author/claireepting/” rel=”author” title=”Claire Epting”>Claire EptingDisney+

Lin-Manuel Miranda’s smash hit Broadway musical Hamilton debuted on Disney+ Friday, July 3rd, in anticipation of Fourth of July weekend. The filmed 2016 performance featuring the original Broadway cast proved to be monstrously successful for the streaming platform, causing a significant rise in app downloads in the U.S. over the weekend According to Variety, the Disney+ app was downloaded 266,084 times domestically (513,323 times globally) from Friday through Sunday. Compared to the last four weekends in June, this marks a 72.4 percent increase in U.S. downloads. Worldwide, app downloads shot up 46.6 percent higher than the average.

Considering how hard (and expensive) it was to score tickets to the Tony Award-winning show during its Broadway run and subsequent national tours, Hamilton’s release on Disney+ is huge. For those who have played the soundtrack to death, scouring the Internet for bootleg footage to no avail, to finally view Hamilton in all its glory is nothing short of monumental. While it may not match the same exhilarating heights of a live performance, it comes pretty close. Not to mention, the film version allows you to watch the show with subtitles, which proves to be incredibly helpful.

Originally, Hamilton was supposed to be released in theaters in October of 2021. But with coronavirus causing the shutdown of movie theaters nationwide, Disney seized the opportunity to bring the spectacle to audiences sooner through Disney+. Since a great deal of the country spent Independence Day in their own homes and backyards, Hamilton became the viewing activity of choice. Disney’s move paid off in the short run, but how long will these Ham-fans stick around? Now that Disney+ no longer offers a 7-day free trial, those who downloaded the app just for Hamilton may not keep it in the long run.

Gallery — Surprising Movies on Disney+:

HBO Max’s ‘Looney Tunes’ Is the Best Reboot of 2020

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Even amidst a pandemic and worldwide protests against systemic racism, online headlines on June 8, 2020 was dominated by… an 80-year-old cartoon series.

The Looney Tunes, one of the longest-running properties in the history of animation, was suddenly back in the news because the creators of the series’ latest iteration — a new batch of shorts titled Looney Tunes Cartoons that recently premiered on HBO Max— revealed in a New York Times profile that their new Tunes contained no guns whatsoever. “Cartoony violence” was okay, said executive producer Peter Browngardt. But Elmer Fudd and Yosemite Sam would no longer chase Bugs Bunny or Daffy Duck with hunting rifles or six-shooters.

The announcement was a dream come true for internet headline writers, who know that few things spark outraged clicks faster than a pop-culture classic everyone knows and loves getting “ruined” by political correctness run amok. A Twitter search turns up dozens of angry tweets insisting that without guns the new Looney Tunes “will suck.” One article claimed Looney Tunes without guns “makes no sense” because (and yes, this was a real argument against the change) “Elmer Fudd is a hunter, not a wheat farmer, after all.”

While I am a stickler for extremely accurate depictions of hunters in cartoons about talking rabbits, I finally decided to check out the new Looney Tunes this weekend. They are, without question, the best anything made with Bugs, Daffy, and the rest in decades. Even without the guns, they’re also the most authentic Looney Tunes since the glory days of Chuck Jones and Friz Freleng.


I know because I’ve been watching them with my kids on HBO Max, which has an entire subsection of Looney Tunes as part of its streaming library. After my two young daughters showed an interest in slapstick comedy — first in The New Adventures of Pippi Longstocking, and then in Home Alone — my wife and I decided to let them watch some Looney Tunes. And sure enough, they were an immediate hit.

After sampling a few of the dozens of classic Looney Tunes on HBO Max, I started trying some of the other series and films the site had available. They were moderately entertained by The Looney Tunes Show, a buddy sitcom starring Bugs and Daffy that aired in the early 2010s on Cartoon Network. They got a couple chuckles out of Tweety’s High-Flying Adventure, a direct-to-video feature from 2000 about Tweety (their favorite Looney Tune) on a trip around the world. We didn’t even make it 15 minutes into 2003’s Looney Tunes: Back In Action before they asked to turn it off.

After that, we stuck with the shorts — both the originals and the new ones by Peter Browngardt and his team. Surprisingly, my kids’ favorite Looney Tunes short out of the dozens they’ve watched so far is a new one: “Boo! AppeTweet,” where Sylvester mistakes a cupcake that looks like Tweety for the real thing, eats it, and then thinks a flour-covered Tweety is a ghost haunting him. Hilarious hijinks ensue:

The ironic part of some fans’ freakout about the lack of guns is that the current Looney Tunes Cartoons are among the bleakest in the franchise’s history. While “Boo! AppeTweet” begins with Sylvester mistaking a flour-covered Tweety for a ghost, it ends with the cat’s accidental suicide, followed by the actual ghosts of his nine lives attacking him, followed by Tweety delivering his “I tawt I taw a puddy tat!” catchphrase with his eyes stark-white with terror. Several other shorts feature gags where the characters get flayed alive, leaving just their skeletons behind.

For another example, check out “Wet Cement,” where Daffy Duck — who hasn’t been this “daffy” in many years — begins messing Porky Pig as he tries to smooth a fresh square of pavement. The end of this short is like something out of a mob movie.

The new toons’ twisted sense of humor and rubbery animation remind me of underground comics, so it’s not completely shocking to see that the Looney Tunes Cartoons’ story editor is Johnny Ryan, the creator of notably f—ed-up books like Angry Youth Comix and Prison Pit. They may look cute, but these Cartoons have some serious edge. That’s why, guns or no guns, Looney Tunes Cartoons is one of the best reboots of an old property in years and years. If anything, these shorts are more subversive without guns — because removing that one potentially controversial aspect has given the creators cover to do all kinds of “inappropriate” content beneath the veneer of family-friendly entertainment.

Browngardt told the Times that his pitch for the series was “What if Warner Bros. had never stopped making ‘Looney Tunes’ cartoons?’” If my kids’ reactions are any indication, they achieved their goal. As far as they’re concerned, there’s no discernible difference between “old” Looney Tunes and “new” Looney Tunes; to them, they’re all just Looney Tunes. (If they’ve taken note that Elmer doesn’t have a gun anymore, they haven’t mentioned it.) That’s probably the highest compliment I can give the new Cartoons: They feel like a seamless continuation of the old, updated for 2020 tastes. Browngardt and his team hit the nail right on the head — and then dropped an anvil on it.

Gallery — The Best TV Shows of the Year So Far: 

An ‘Amazing’ ‘Rocky IV’ Director’s Cut Is Coming, Says Stallone

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The Rocky franchise isn’t over quite yet. Star and director Sylvester Stallone has informally revealed that the 1985 classic Rocky IV would be getting an extended director’s cut in the future. Oh yeah, and it’s going to be “amazing.” It’s not incredibly surprising, considering Stallone’s promoting his extended cut for Rambo: Last Blood, which is available for streaming on Apple TV. Stallone actually dropped the news of Rocky IV’s director’s cut in the comment section of an Instagram post about Rambo: Last Blood.

The news was teased by Stallone in a comment on his post below. A fan asked him if we would ever get to see a director'’ cut of Rocky Balboa, with Stallone replying, “I am not doing that but I am doing a directors cut on Rocky IV which will be amazing!!!!!” Check out the original post below:

Of course, there’s still a lot we don’t know about the aforementioned director’s cut of Rocky IV. There's no timeline for when it will be released, or whether or not it will be a streaming exclusive. We also don’t know precisely why Rocky IV is getting the extended treatment and not the first three. (We’re hoping for several extended scenes involving Paulie’s robot.)

Still, an extended version of Rocky IV holds a special significance — it could be the last (partially) new material we’ll see from our favorite underdog boxer in movie history.

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Why ‘Spider-Man: Far From Home’ Is Smarter Than You Think

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It’s time for a very different kind of video that ScreenCrush usually brings you. This one is all about Spider-Man: Far From Home and the power of belief — not just in this movie, but in all superhero movies, from The Dark Knight to Superman, from Superman Returns to Sam Raimi’s Spider-Man 2. And this new video from ScreenCrush’s Ryan Arey explores how belief systems impact our viewing of superhero movies, and why they are so important to the Mysterio character, played in Far From Home by Jake Gyllenhaal. It’s also important for Tom Holland’s Spider-Man — who needs to learn to believe in himself, so that he can become a superhero worthy of Tony Stark’s legacy.

Watch the video right here:

If you liked this video 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), our theory about Obadiah Stane and Hydra, and our video on a great deleted scene from Avengers: Infinity War. Plus, there’s tons more over at ScreenCrush’s YouTube channel. Be sure to subscribe to catch all our future episodes.

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The 10 Best Summer Camp Movies of All Time

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There’s nothing quite like summer camp. Building fires, canoe rides, camp crushes… what’s not to love? Camps also happen to make great locations for movies. What’s better than watching our protagonist come of age while swatting away mosquitos every five seconds? But seriously, summer camp is a great backdrop for all sorts of antics. Whether it’s a romance, comedy, or horror, everything is made better with a dose of the great outdoors.  Who knows? Maybe there’ll be a bear chase!

Here are ten movies that preserve the summer camp experience forever in our memories.

Gallery — The Best Road Trip Movies of All Time:


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‘Black Widow’ Will ‘Hand the Baton’ To Florence Pugh’s Character

href=”//screencrush.com/author/mattsinger/” rel=”author” title=”Matt Singer”>Matt SingerMarvel

All it took for Scarlett Johansson’s Black Widow to get her own solo Marvel movie was (uh, spoilers) die. In Avengers: Endgame, Natasha sacrificed her life to help the Avengers retrieve the Soul Stone and defeat Thanos. In Black Widow, set before the events of Endgame, Natasha reunites with the “family” of fellow spies she left behind many years earlier.

That family includes Yelena Belova, played by Florence Pugh. In Marvel’s comics, Yelena becomes the second character to use the Black Widow identity. Although the two women were rivals for years, after Natasha’s death in the pages of Marvel Comics (she got better), Yelena adopted the Black Widow name for herself. So it’s only natural to wonder whether Pugh and Yelena will become the Marvel Cinematic Universe’s new Black Widow, and appear in future Avengers movies using that name.

It definitely sounds possible based on an interview Black Widow director Cate Shortland gave with Empire. Describing the relationship between Johansson and Pugh in the movie:

“[Kevin Feige] realised that the audience would expect an origin story so, of course, we went in the opposite direction. And we didn’t know how great Florence Pugh would be. We knew she would be great, but we didn’t know how great. Scarlett is so gracious, like, ‘Oh, I’m handing her the baton.’ So it’s going to propel another female storyline.’”

This next phase of the MCU looks like it may contain several characters adopting the identities of the superheroes that died or retired in Avengers: Endgame. The first Marvel Disney+ series, The Falcon and the Winter Soldier, will feature two rivals fighting over the title of Captain America. Spider-Man: Far From Home saw Peter Parker inherit much of Tony Stark’s technology. And Black Widow could see a literal handing of the baton, in addition to this more metaphorical one. Black Widow is scheduled to open in theaters on November 6.

Gallery — The Best Marvel Movie Posters:

Ennio Morricone, Legendary Film Composer, Dies at 91

href=”//screencrush.com/author/mattsinger/” rel=”author” title=”Matt Singer”>Matt SingerRedferns via Getty Images

No list of the most famous music composed for movies is complete without at least one or two … or five … or ten scores by the great Ennio Morricone. Sadly, Morricone, the Italian master behind the music of The Good, The Bad, and the Ugly, Days of Heaven, The Thing, and so many more has passed away. According to The Hollywood Reporter, Morricone “died in Rome following complications from a fall last week in which he broke his femur.” Morricone was 91 years old.

Over a career that stretched across half a century, Morricone scored over 500 films, including seven for Sergio Leone. His collaboration with Leone resulted in many of his most famous pieces, including the theme from The Good, The Bad, and the Ugly, one of the most played, imitated, and hummed scores ever. Billions of people know this song, far more than have actually seen a spaghetti western.

Although The Good, the Bad, and the Ugly was Morricone’s most famous score for Leone, I’m personally partial to his work on the middle part of the “Dollars Trilogy,“ For a Few Dollars More. The twanging guitar intertwines with a solitary whistle, and then builds with chanting and a pulsing drum beat to an epic crescendo.

Morricone’s music is the sound most people hear in their minds when they think of spaghetti westerns, but Leone left a mark on many different genres. He worked several times with Brian De Palma, including on his popular update of the old television series The Untouchables.

Morricone also collaborated with director Gillo Pontecorvo on the music from The Battle of Algiers, one of the most influential war films of its era.

In recent years, Morricone’s work has been introduced to a new audience by Quentin Tarantino. For years, Tarantino reclaimed old Morricone music from spaghetti westerns and horror films in his own movies — like this piece from Death Rides a Horse that appears in Kill Bill.

Morricone wrote a song for Tarantino’s Django Unchained, and then wrote the full score for 2015’s The Hateful Eight, which won him his first Best Original Score Oscar. (Morricone had previously received an Honorary Oscar in 2007.) 87 years old at the time, Morricone became the oldest artist to ever win a competitive Oscar.

These are just a few dynamic examples out of literally hundreds I could have chosen to illustrate one of the greatest musical careers in cinema history. He may be gone, but Morricone’s music will continue to inspire and delight moviegoers forever.

Gallery — The Best Films of The Year So Far:

Veteran TV Host Hugh Downs Dead at 99

href=”//screencrush.com/author/chadchilders/” rel=”author” title=”Chad Childers”>Chad ChildersVince Bucci, Getty Images

For the second time this week, we've lost a legend in the TV world. Veteran broadcaster and TV host Hugh Downs has died from natural causes at the age of 99. His great-neice Molly Shaheen confirmed the news that Downs died at his Scottsdale, Arizona, home on Wednesday (July 1).

Downs had been a Guinness Book of World Records holder, claiming the title of spending the most hours on television until he was surpassed in 2004 by Regis Philbin.

Downs' early career started as a radio announcer in Ohio before he moved on to Chicago in the 1950s. There he was an announcer for Kukla, Fran and Ollie and also lent his voice to TV's first soap opera, Hawkins Falls.

He enjoyed a varied history at NBC, where he appeared on both The Today Show and The Tonight Show, serving alongside host Jack Parr. He also hosted the game show Concentration.

In his latter years, Downs was best known as the co-host of ABC's 20/20 with Barbara Walters. His other credits include the PBS series Over Easy, and he hosted Live From Lincoln Center.

“I’ve worked on so many different shows and done so many shows at the same time,” Downs said in a 1986 Associated Press interview. “I once said I’d done everything on radio and television except play-by-play sports. Then I remembered I’d covered a boxing match in Lima, Ohio, in 1939.”

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‘Fallout’ Gaming Franchise Getting Amazon TV Series

href=”//screencrush.com/author/chadchilders/” rel=”author” title=”Chad Childers”>Chad ChildersYouTube: Bethesda Softworks

For over two decades, Fallout has thrilled gamers around the world, but after nearly a decade of discussion, there's finally going to be a Fallout TV series. Deadline reports that Amazon Studios is teaming up with Bethesda to bring the role playing game series to TV, and there's some serious cred behind it.

Jonathan Nolan and Lisa Joy, who have been producers for HBO's oft Emmy nominated series Westworld, are on board to back the series with their Kilter Films production house. Todd Howard, one of the lead architects for the Fallout gaming franchise, will help to oversee the series along with Bethesda Studios' James Altman.

“Fallout is one of the greatest game series of all time,” said Kilter Films’ Joy and Nolan. “Each chapter of this insanely imaginative story has cost us countless hours we could have spent with family and friends. So we’re incredibly excited to partner with Todd Howard and the rest of the brilliant lunatics at Bethesda to bring this massive, subversive, and darkly funny universe to life with Amazon Studios.”

The series will center on a group of scrupulous survivors of a global nuclear war in the late 21st century that has decimated an alt-universe America. Emerging from underground “vaults” to roam the wastelands, the survivors are out to make a name for themselves. Amazon has already committed to a series order for the show, but no additional info concerning casting or story has been revealed.

Sure to whet the appetite of gamers everywhere, Prime Video and Bethesda just posted an "easter egg" trailer offering the first tease of the new series. You can watch that below.

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Star Wars Reveals How Jedi Masters Block Force Lightning

href=”//screencrush.com/author/claireepting/” rel=”author” title=”Claire Epting”>Claire EptingLucasfilm

The latest Star Wars reference book, Secrets of the Jedi, has been shedding some much-needed light on unanswered questions that have been floating around the cinematic universe.

Recently, we learned that the definition of a "Skywalker" isn't bound to blood. Now, we finally get some closure on a particularly perplexing issue: How can Jedi use their lightsabers to deflect Force Lightning?

Force Lightning has been previously described as the most powerful weapon in a Sith Lord's arsenal. Palpatine uses it to a great extent in Star Wars: The Rise of Skywalker, threatening to destroy the entire Resistance fleet. The reference guide, written from the perspective of Luke Skywalker, describes the situation as such:

"The blade of a lightsaber can be used to block attacks from another lightsaber or to repel incoming blaster fire. In the hands of a skilled master, a lightsaber blade can also be used to redirect that barrage of blasts right back at the enemy who fired them. Seasoned Jedi can even use their lightsabers to block attacks of Force lightning generated by Sith Lords."

So from this, we can gather that using a lightsaber as a shield from Force Lightning takes a lot of training. The guide also gets ultra-specific about what a lightsaber actually consists of — it's "less like swinging a sword" and more like "directing a current of power." So this could explain how Jedi masters are able to use that current of power to absorb the Force Lightning, regardless of its strength.

The lightsabers technically aren't deflecting anything. Rather, they're absorbing the energy and discharging it right back to its source. That's pretty cool.

Gallery — Unanswered Questions from 'Star Wars: The Rise of Skywalker':