TV & Beyond on 2025-05-02 15:30:00

TV & Beyond on 2025-05-02 15:30:00

TV & Beyond on 2025-05-02 15:30:00

This may come as a surprise to “Star Wars” fans who had never even heard his name before “The Last Jedi” came out, but Rian Johnson has always been a student of the art of storytelling, and “Poker Face” is perhaps most satisfying when seen as an extension of his particular interests (including his well-documented love of baseball). Make no mistake, season 2 boasts another murderer’s row — pun most definitely intended — of writers and directors leaving their marks on each and every episode. Some of the strongest and most memorable scripts come from credited writers Laura Deeley, Wyatt Cain, Tony Tost, Kate Thulin, and Megan Amram, while directors Adam Arkin, Miguel Arteta, Lucky McGee, and Mimi Cave bring the visual flair worthy of a sleight-of-hand series like this. (Even Natasha Lyonne gets in on the action as both co-writer and director of episode 2, one of the more formally daring hours of the season.) But those aware of Johnson’s broader filmography, from “Brick” to “The Brothers Bloom” to “Knives Out,” will find an even greater appreciation for what might be the purest distillation of Rian Johnson we’ve seen yet.

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Like its creator, “Poker Face” wears every influence on its sleeve. The crime fiction genre has the benefit of decades (if not centuries) of history to pull from, and Agatha Christie readers will find just as much enjoyment out of the season’s twists and turns as movie-lovers who’ve watched every Raymond Chandler adaptation under the sun. Heck, there are enough hilarious namedrops of beloved cinema classics and endearing jabs taken at film buffs to make this stand toe-to-toe with Seth Rogen’s “The Studio,” at least in terms of catering to the Film Twitter crowd. (No, I’m not calling it “Film X” and neither should you.) There’s something to be said for modern stories that are still well aware of the past, remixing the tropes of years gone by and spinning them into new and original approaches. Just when you think you’ve figured out where they’re going, the creative team yanks the rug out from under you and keeps you guessing to the last.

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But, at the end of the day, “Poker Face” also understands the momentary thrills of a carefully laid-out surprise are just that — momentary. What keeps viewers hooked on a series like this, inevitably, is the feeling of being in the hands of artists who actually care. Some episodes are light-hearted and utterly ridiculous romps to a fault, while others occasionally feel a little too clever for their own good. Every single one, however, delivers something we simply can’t take for granted anymore. With each self-contained adventure and brazenly premeditated murder, “Poker Face” stands out as an oasis in a streaming desert. No lies detected.

/Film Rating: 7.5 out of 10

“Poker Face” premieres on Peacock with its first three episodes May 8, 2025, followed by a new episode streaming every Thursday.

TV & Beyond on 2025-05-02 15:00:00

TV & Beyond on 2025-05-02 15:00:00

Francesca Delbanco & Nicholas Stoller’s Apple TV+ series “Platonic,” which very well might be the smartest show about disaster millennials failing to accept the realities of their societal roles as adults. But his true masterpiece is the cringe-comedy Hollywood satire “The Studio” (also on Apple TV+), co-created with frequent collaborator Evan Goldberg along with Alex Gregory, Peter Huyck, and Frida Perez.

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We at /Film have been loving “The Studio,” especially how the show utilizes beloved Hollywood figures, like asking Martin Scorsese to pitch an idea for “The Kool-Aid Movie” and letting perennial nice guy Ron Howard absolutely lose it on Rogen’s studio executive character Matt Remick, to the point of cursing him out and throwing his trademark hat with so much force it knocks Rogen through a glass table. Each episode tackles a part of the movie-making process, but rather than completely biting the hand that feeds, it balances its workplace comedy insider knowledge with Remick’s desperation as a legitimate cinephile to make the best movies possible in a system rigged against itself.

It’s also a show that hammers home the importance of having human beings with varying perspectives involved in the creative process. No algorithm in the world can ever replace the ingenuity that comes from being a person with thoughts, feelings, hopes, dreams, and experiences that shape our perspectives. Which is why season 1 episode 7, “Casting,” is the best episode yet of 2025’s best new streaming comedy.

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The Studio skewers white fragility and out-of-touch executives

In the world of “The Studio,” pre-production on “The Kool-Aid Movie” is well underway. Nicholas Stoller has signed on to direct, two young writers have crafted a script the studio loves, and they’ve got Ice Cube signed on to voice the Kool-Aid Man. Remick and his colleagues, executive Sal Saperstein (a career-best Ike Barinholtz) and marketing head Maya Mason (a genius Kathryn Hahn), stand in front of their casting board and panic … does it appear racist for The Kool-Aid Man to be voiced by a Black actor? The rest of the episode is an exercise in skewering white fragility as they desperately try to find a casting combination that is as progressive and diverse as possible without seeming as if they’re leaning into racist tropes that will get them lit up on social media. They don’t actually care about not being racist, they just don’t want to look racist.

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They consider recasting the entire Kool-Aid CGI family with Black actors to make sure they’re not disrespecting Black women if the Kool-Aid Man’s wife isn’t Black, and then panic because it means all the Black actors will be CGI. They awkwardly ask Maya’s Black team member Tyler (Dewayne Perkins) for advice, and Lil Rel Howery and Ziwe are brought in to consult. It’s debated whether or not they can make the white characters lesbians to “offset” their whiteness and give them an adopted Asian child to add more diversity, but they eventually decide the best course of action is to “Black Panther” it and have the entire cast be Black. Another great bit of satire is that they decide the human couple should be played by Don Cheadle and Keke Palmer, which would give them a nearly 30-year age gap as a couple, and this never crosses anyone’s mind as a concern. Genius.

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But their excitement is cut short when the writers decide that if the cast is all Black, they shouldn’t be writing the script as they’re not Black, and they leave the project. Remick even points out, “In an attempt to not be racist, you’re limiting the amount of Black people you can write for.” This is at the center of how so many white executives actually think, and why it’s so hard for marginalized people to get their stories greenlit. Stoller agrees to rewrite it himself, but notes that to save some time and money on the film’s budget to do it … he’s going to use the assistance of AI animation to get it done. This is where the show’s satire evolves from good to great.

Ice Cube’s thoughts on AI are all of us

Remick eventually straight up asks Ice Cube if it’s racist for him to voice The Kool-Aid Man, and he rightfully puts Matt in his place. They’re going to go to a Comic-Con a few days later to announce his casting, and everyone at Continental Studios feels like they’ve avoided a massive PR disaster. But in focusing so much on whether or not they will be perceived as racist, they’ve completely neglected the actual problem with “The Kool-Aid Movie,” and the attendees at their Comic-Con panel gladly hand them their ass about it. 

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During the Q&A, an angry artist asks if the rumors are true and they’re going to be using AI animation, which takes away jobs from artists and completely devalues the craft. Ice Cube starts a “F— AI!” chant before leaving Remick alone on a stage to be booed into oblivion. Sal and Maya watch Matt get booed from the wings and are completely unmoved, indicating that while accusations of racism terrify them, critiques of AI seem “fine.” I immediately thought about the studio heads who greenlit openly racist films like “Soul Man” and wondered if they thought people having an issue with the blackface was “fine” then, too.

Every time some creatively bankrupt chode posts waxy gifs of “I asked the BleepBlorpSlop Machine to show me ‘Pulp Fiction’ if it were made by Wes Anderson” and the results goes viral, it seems like studio execs are only seeing “Wow, this video got a million comments.” They completely neglect to take it just one click further to see that 900,000 of those comments are people talking about how morally reprehensible the work is, because the 100,000 they can see are paid-for-Bluecheck sycophants that have been prioritized by the algorithm.

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In less than two minutes, “The Studio” was able to dissect the rampant behavior of white people fixating on public perception rather than actually improving their understanding of race and point out how deluded studio executives are about the serious threat of AI. Independent journalist Kat Tenbarge of Spitfire News recently put out a fantastic piece about how the push to normalize AI is nothing more than the second-coming of the “pivot to video” trend that decimated the journalism and media publishing industry. Those in positions of power are too afraid of potentially being wrong later down the line concerning AI to see how wrong they are right this second.

Ice Cube is right. “F— AI.”

How To Train Your Dragon’s Popcorn Bucket Is So Adorable I Almost Feel Bad Using It

How To Train Your Dragon’s Popcorn Bucket Is So Adorable I Almost Feel Bad Using It

The popcorn bucket arms race continues unabated. At this point, you simply can’t have a tentpole movie release without the accompanying novelties, and the popcorn buckets that used to be the purview of theme parks like Disney and Universal are all over movie theaters. However, I’m not sure any of them are as adorable as the one being released alongside the remake of How to Train Your Dragon.

It’s not exactly a surprise to see that the popcorn bucket for the live-action How to Train Your Dragon is all about Toothless, but I’m not sure anybody expected the bucket to be this adorable. In the short look posted to Instagram, Toothless’ head pops open and his mouth is full of popcorn. Of course, it makes me feel like I’m stealing his popcorn, and why would I do that to somebody so cute?

Disneyland popcorn buckets, and there’s no way they’d be able to keep their hands off of this one. The only thing cuter than this would be Dave Filoni’s idea for a Grogu popcorn bucket.

Considering that movie theater popcorn buckets can trace their existence back to theme parks, it’s little shock that a very similar bucket can be purchased inside Universal Orlando’s new Epic Universe theme park. How to Train Your Dragon – Isle of Berk is one of the lands in the park, and it has its own Toothless bucket, though that one lights up and the popcorn is stored in the egg that Toothless is sitting in.

If there’s a single downside, it’s that while the scale of the popcorn bucket is difficult to judge, it doesn’t look to be all that big. Certainly, I need my popcorn bucket to hold a significant amount of popcorn. The fact that it’s cute is great, but I also need it to fulfill its function as a popcorn bucket. It needs to hold enough popcorn to last me for what will probably end up being a two-hour movie.

It’s going to be the battle of adorable characters and the adorable popcorn buckets at the movies this summer. How to Train Your Dragon’s live-action remake comes out in theaters just a couple of weeks after the Lilo & Stitch live-action remake, and while that popcorn bucket has not seen an official reveal, we can bet it will all be about everybody’s favorite blue troublemaker.

Considering both How to Train Your Dragon and the original Lilo & Stitch were both created by Dean DeBlois, clearly the big winner this summer will be him… well, him and anybody who likes popcorn.

TV & Beyond on 2025-05-01 22:00:00

TV & Beyond on 2025-05-01 22:00:00

the entity known as The Void with the help of his new friends, the world has now been introduced to a fresh group of Earth’s Mightiest Heroes — the New Avengers (yes, that’s what the asterisk means). For a brief moment, after assuring Valentina, “We own you now,” Yelena (Florence Pugh) lets out a sigh of relief, seemingly accepting that she has finally stopped simply existing and instead has a purpose in a world where she could actually do some good.

The only concern, for now, is how long that will last and what kind of confrontation she and her team could encounter. They may have saved the day this time around, but with a potential new threat entering their airspace, how will this cosmic event be dealt with by the new team of Avengers, while another is waiting to reassemble? Let’s not jump ahead of ourselves, though. First, let’s catch up with the Red Guardian (David Harbour), who has finally had his wish come true and become a breakfast of champions.

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The first Thunderbolts* post-credits scene focuses on Red Guardian

After all that talk about becoming a hero on the cereal box that comes with the little kiddie toy, it’s revealed during the mid-credits scene that the New Avengers have now become exactly that. While a simple civilian is at the supermarket, she’s pressured by Alexei into buying a brand new box of Wheaties that he and the team are pictured on. Unfortunately, his salesmanship isn’t so great, and the woman kinda weirded out, immediately putting the box back while Alexei isn’t looking, proving that the Red Guardian should stick to what he’s good at in the future.

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As far as mid-credits scenes go, this is certainly in line with the comedic moments tacked onto the end of some other great Marvel movies. Proving that this team of New Avengers might be getting marketed to a greater extent than their predecessors (though Hulk and Iron Man did have their own Ben & Jerry’s ice cream flavors), it’s just a nice add-on gag and a decent payoff for Alexei’s obsession with reaching hero status. 

Taking the time out to have a giggle at the Red Guardian’s expense is just a nice note to leave things on, but it’s the final scene with Alexei and his team that should have fans buzzing for what’s coming next. Besides spending its final seconds on a bombastic and fantastic note, it’s the matter of legal trouble and conflict with another world-famous team that could be setting up some interesting plot threads for the New Avengers going forward.

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The second Thunderbolts* post-credits scene hints at New Avengers vs The Avengers

The New Avengers have settled into Stark Tower, or the Watchtower as it’s now known, 14 months after their inception. Unfortunately, while they might still be getting into the swing of things as a team, they’re also receiving kickback from the older iteration. Bucky (Sebastian Stan) reveals that former Avenger and new Captain America, Sam Wilson (Anthony Mackie), is suing them for taking the name of Earth’s original hero squad. When Yelena asks him if talks of settling the issue were successful, the former congressman admits that things didn’t go well with his old friend, implying that they might be back on squabbling terms. Worry not, though, as Alexei’s master plan to avoid such an issue is simply to turn the group into the “New Avengerz,” thereby dodging the incoming lawsuit.

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While this might be a minor superhero spat to begin with, it’s worth noting that the New Avengers was a real group formed in the comics in 2004, following the dissolution of the original team. Referred to as “New” only in the book’s title, the team consisted of Captain America, Iron Man, Spider-Man, Wolverine, along with Spider-Woman (who was secretly a Skrull), Echo (posing as Ronin), Luke Cage, and eventually The Sentry. Just like the film, things got a little heated with The Avengers reformed during Civil War, pitting heroes and teams against one another. With this in mind, it seems evident that a New Avengers vs. Old Avengers story could come to fruition eventually, but there’s five reasons why that will have to wait — and four of them have just entered the atmosphere.

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The Fantastic Four arrive in The Thunderbolts*

It was always expected that Marvel’s First Family would be making an appearance elsewhere before their own film, so literally soaring into the sky for “Thunderbolts*” made for the perfect entrance. After Yelena gets reports of an unknown space invader, satellite imagery picks up an aircraft that looks like it’s flown straight out of a Gerry Anderson show. Shiny, silver, and hurtling through the air, the angular vessel (previously seen in the trailer for “The Fantastic Four: First Steps”) reveals the team’s logo emblazoned on the side. From there, Michael Giacchino’s hair-raising score kicks in before we’re assured that “The New Avengers and Bob Will Return.”

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It’s a tease-worthy moment that does enough to hook us and tap back into the kind of classic MCU post-credit moments we’ve missed these past few years. It also raises more questions about the approaching team and the chain of events yet to unfold. Just how far into “The Fantastic Four: First Steps” story does this moment occur, and how does the shift from their reality to Earth-616 happen? We already know that the trailer teases Reed Richards (Pedro Pascal) and his family on a highly dangerous mission, but will it be one with enough time to make it into the final act and tee up the equally iconic rival that’s set to follow them? Doom is coming, and if we do the inter-dimensional math, there’s a lot of ground to cover, and there might not be enough time to fill it.

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What the Thunderbolts* post-credits scenes man for Avengers: Doomsday

What we can confirm so far from “Thunderbolts*” is that when Latveria’s fearless leader arrives, his longtime comic book foes will already be there to meet him. Now, as awesome as it might be seeing Robert Downey Jr. in a different metal suit meet Pedro Pascal’s stretchy scientist for the first time, Doom might have to get in line.

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For now, we can only assume that the first encounter with Earth-616 will be the New Avengers, given that they’ve got a lead on the world-saving family that may have just fled their own to save it. Such a cross of characters could spark the same kind of fun when Downey’s Tony Stark met the Guardians of the Galaxy in “Avengers: Infinity War,” with the likes of John Walker (Wyatt Russell) and Pascal’s Reed coming with the same energy as Peter Quill and Tony crossing paths for the first time. Of course, the race is on to see who gets to meet them first.

Given that Bucky and Sam appear to be no longer on speaking terms, would a space race of sorts be on for both Avengers teams fighting to get to the Fantastic Four first, and will they be able to put name ownership aside when they’re faced with… Doom? Whatever happens, it will demand a lot of time even before Victor arrives and these things can’t be rushed. 

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We’ll just have to see what else is on the way when “The Fantastic Four: First Steps” lands in theaters on July 25, 2025

TV & Beyond on 2025-05-01 21:19:07

TV & Beyond on 2025-05-01 21:19:07

just about everyone dug was “Hawkeye.” Created by Jonathan Igla (a two-time WGA Award winner for his work on “Mad Men”), the series was powered by the zippy banter between Jeremy Renner’s sharp-shooting Avenger and Hailee Steinfeld’s Hawkeye-superfan Kate Bishop. It didn’t overstay its welcome at six episodes, and rarely tested the viewer’s patience with a padded-out episode (like just about every other MCU series has done).

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If there’s one series that’s due for a season 2, it’s “Hawkeye.” Not only are we clamoring for more quippy fun with Clint Barton and Kate Bishop, a second go-round would be a feel-good undertaking given that, for quite some time, we weren’t sure if Renner would be physically able to play the character again. Renner was nearly killed when he got run over by a 14,000 pound snowcat, but, miraculously, made a nearly full recovery. Hawkeye will be back. So what’s the hold-up with “Hawkeye?” 

You probably won’t be surprised to learn this is a money issue, but you might be shocked to hear why Renner has, thus far, turned down the opportunity to return for season 2.

Disney’s trying to steamroll an already steamrolled Jeremy Renner

In an interview with High Performance, Renner revealed that Disney and Marvel Studios made him an offer to shoot season 2 of “Hawkeye,” but he refused because they offered him half his salary from the first season. According to Renner, “I’m like, ‘Well, it’s going to take me twice the amount of work for half the amount of money, and eight months of my time, essentially, to do it for half the amount.” He didn’t mince words about his anger over the proposed deal. “I’m like, ‘I’m sorry? Why? Did you think I’m only half the Jeremy because I got ran over? Maybe that’s why you want to pay me half of what I made on the first season.'”

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Renner then specified that this is not a Marvel issue. It’s Disney that’s low-balling him, particularly the “penny pinchers, the accountants.” The two-time Academy Award nominee called it “an insult offer.”

Is this the end of “Hawkeye?” Renner, for one, is hoping it doesn’t shake out that way. As he told High Performance:

“Sadly, I still love the character. I’d still love to do it, but I had to defend myself. I didn’t ask for any more money, mind you. Just pay me what I made the first season. So it’s all disheartening that that didn’t happen, but that’s fine. I’m happy to let that go, because my body’s probably thanking me, time and time again, that I’m not doing it right now. But we’ll see.”

Hopefully, Disney knocks off this nickel-and-dime nonsense, and at least pays Renner what he earned on the first season of “Hawkeye.” If they can’t do that, I honestly don’t know why Renner is returning for “Avengers: Doomsday.”

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Gal Gadot, Matthias Schoenaerts to Star in World War II Thriller ‘Ruin’ for Director Niki Caro

Gal Gadot, Matthias Schoenaerts to Star in World War II Thriller ‘Ruin’ for Director Niki Caro

Gal Gadot, Matthias Schoenaerts to Star in World War II Thriller ‘Ruin’ for Director Niki Caro

Gal Gadot and Matthias Schoenaerts are looking for justice in their World War II feature Ruin.

Niki Caro is directing the thriller movie from a script by Kaz Firpo and Ryan Firpo (Eternals) that topped the Black List in 2017, with Gadot and Schoenaerts set to star. Principal photography is aiming to begin in early 2026, with The Veterans overseeing international sales rights and taking the project to Cannes buyers this month. UTA Independent Film Group, WME Independent and CAA Media Finance are handling U.S. rights.

Ruin is set in the rubble of Germany following World War II, with a newly released camp prisoner (Gadot) forming an alliance with a German soldier (Schoenaerts) as they both seek revenge on a Nazi Schutzstaffel unit.

Caro serves as producer alongside Marc Butan for MadRiver Pictures and Gadot and Jason Varsano for Pilot Wave Motion Pictures. Executive producing are Gillian Hormel for Ludascripts and Mary Aloe for Aloe Entertainment, in addition to Kaz Firpo and Ryan Firpo. Evan Powell oversees the film for MadRiver. 

Also part of the forthcoming Cannes slate for The Veterans are James Gray’s Paper Tiger and Christian Gudegast’s Gerard Butler-led Empire State. The company’s 2024 Cannes projects included Emilia Perez and I’m Still Here.

Caro’s latest feature credits as a director include the Jennifer Lopez action vehicle The Mother, the live-action Mulan and the Jessica Chastain-led Holocaust drama The Zookeeper’s Wife.

Gadot is currently filming MGM Amazon Studios’ The Runner and wrapped production last year on Julian Schnabel’s Hand of Dante. She starred opposite Rachel Zegler earlier this year in Disney’s Snow White.

Schoenaerts is currently shooting Supergirl: Woman of Tomorrow and can soon be seen in The Old Guard 2 and Terrence Malick’s The Way of the Wind. The Firpos are creating the Amazon series Butch & Sundance that is set to star Glen Powell and Regé-Jean Page.

Gadot is represented by WME and Sloane Offer. Schoenaerts is repped by CAA. Caro is repped by UTA. The Firpos are repped by CAA and Untitled.