Some early missions in Star Wars Outlaws require precise and careful sneaking, but the game doesn’t always play along. The issues have been frustrating many players, and Ubisoft knows it, and is planning to fix the problem and make it less “unfair.”
Some early missions in Star Wars Outlaws require precise and careful sneaking, but the game doesn’t always play along. The issues have been frustrating many players, and Ubisoft knows it, and is planning to fix the problem and make it less “unfair.”
You can now become Doctor Doom in Fortnite Chapter 5, Season 4, without buying the battle pass! But it’s worth pointing out that becoming Doom will require a little bit of luck and a lot of skill. With that in mind, this guide will detail everything you need to know about becoming Reed Richard’s number-one hater, from…
You can now become Doctor Doom in Fortnite Chapter 5, Season 4, without buying the battle pass! But it’s worth pointing out that becoming Doom will require a little bit of luck and a lot of skill. With that in mind, this guide will detail everything you need to know about becoming Reed Richard’s number-one hater, from…
Folks, I think Capcom is doing the work that most of the industry seems allergic to. Companies like Digital Eclipse are enshrining historical moments of gaming culture with releases like The Making of Karateka, but Capcom appears to be one of the few AAA devs and publishers actively preserving its own legacy for the…
Folks, I think Capcom is doing the work that most of the industry seems allergic to. Companies like Digital Eclipse are enshrining historical moments of gaming culture with releases like The Making of Karateka, but Capcom appears to be one of the few AAA devs and publishers actively preserving its own legacy for the…
One of the best things about the flagship Super Mario games—the likes of Galaxy, Galaxy 2, and Odyssey—is the incessant inventiveness. So often they’ll feature a level that makes you exclaim, “That could have been the basis for a whole game!” So it is with full understanding of the gravity of the claim I’m making when…
One of the best things about the flagship Super Mario games—the likes of Galaxy, Galaxy 2, and Odyssey—is the incessant inventiveness. So often they’ll feature a level that makes you exclaim, “That could have been the basis for a whole game!” So it is with full understanding of the gravity of the claim I’m making when…
The Big Bang Theory universe expands as the spin-off, Young Sheldon, gets its own spinoff with his older brother Georgie Cooper and his fiancée Mandy McAllister, played on the show by Montana Jordan and Emily Osment. The show proceeds with its straight-to-series order at CBS. The Young Sheldon spinoff hails from the series’ executive producers Steve Holland, Steven Molaro, Chuck Lorre, and Warner Bros. Television. The spinoff aims for a 13-episode order stretched across the 2024-25 season.
In the new series preview from Entertainment Weekly, Holland talks about the upcoming tumultuous adventure for the couple, “They’re a young couple, he’s much younger than she is. They got into this marriage in unique circumstances, so it’s not necessarily going to be an easy ride for them, even though they love each other and they’re in this for the long haul. I think it’s just a little hint that everything isn’t necessarily going to go smoothly for these two.”
Osment also says that the title raises some implications that the audience may inquire about. She explained, “It makes the viewer wonder if this is their first marriage or what could be their second marriage? Will their second marriage be to each other? There’s a lot of questions that are asked when you look at that title.” Holland would reply, “I don’t think it will be explored right away. I think how you should interpret that title, I hope, is intriguing, and a little playful, and a little mysterious.”
So far, Holland says that there is no “grand plan” for some anticipated cameos from the parent show, but he does say, “We would love to have more of them drop by.” However, he was thinking about casting more family members with notable people, “We had Ms. Reba McEntire on [Young Sheldon], and I just really, really, really feel like we need to have Dolly Parton on there. She could be Mandy’s grandmother or something. We ain’t got that role yet.”
Additionally, Holland talks about the change of pace for this series, “This is the first time in 18 years that we’re not writing for Sheldon, and Sheldon’s a great character and I’m so proud to have been a part of writing that character, but this is a different show. I don’t have to keep Googling science facts anymore or trying to pretend that I know what I’m talking about. This is a much more, I think, relatable family show. These are different characters. It’s the same world, but the slice of this world they inhabit has a different flavor to it.”
You can check out Entertainment Weekly’s exclusive images below:
The post Georgie & Mandy’s First Marriage: The Young Sheldon spin-off releases new stills and teases cameos appeared first on JoBlo.
PLOT: Many years after an apocalyptic event they may have contributed to, a wealthy family survives in a luxurious underground fortress.
REVIEW: One of the best things about attending a festival like TIFF is that you often walk into movies without preconceived notions. Films playing at the festival are so new that they barely have any stills available, much less any trailers, so you walk into them pretty much blind. The downside is that, once in a while, you end up seeing a movie that sounds intriguing, but pretty much right off the bat, once you see a few minutes of it, you’re hit by a sinking feeling that, “oh no, this might not be for me.”
Indeed, The End wasn’t for me. While I’m a sucker for movies about the apocalypse, and the premise (and dream cast) are intriguing, documentarian Joshua Oppenheimer’s narrative debut is a slog to get through. In it, Michael Shannon and Tilda Swinton play the patriarch and matriarch of a fabulously wealthy family, who wait out what looks like another ice age in a sprawling underground fortress. They’re joined by their naive son (George McKay), who’s never been out of the bunker, their surly doctor (Lennie James), a friend and chef (Bronagh Gallagher) and their valet (Tim McInnerny).
While there’s undoubtedly a pecking order, all seem to be relatively content within the fortress, with “father” (no one has names), as played by Shannon, being a somewhat benevolent ruler, even though it’s implied that he played a significant role at the end of human civilization. Mother, as played by Tilda Swinton, is more of a liability, with her increasingly unhinged and obsessive over both her imagined life before the disaster (which she’s made up), the vast collection of art she’s amassed, and her son, who she keeps in a state of arrested development. Still, everyone goes along with it.
The status quo is shaken when a young woman (Moses Ingram from Obi-Wan Kenobi) seeks shelter. Everyone except Mother is eager to let her in. While she means well and legitimately tries to fit in, her presence significantly upsets the delicate social pecking order within their bubble when she and McKay’s character fall in love.
None of this sounds like it lends itself to a musical, does it? In Oppenheimer’s biggest swing, the film is a full-blown musical, with songs by Joshua Schmidt and Marius de Vries. If you’ve seen any of Oppenheimer’s documentaries, such as The Act of Killing, you’ll know that his films defy convention, which is the case with The End. It’s the kind of bold movie that will undoubtedly earn a cult audience when distributor Neon puts it out, but it can’t be denied that it’s a love-it-or-hate-it kind of film.
For the most part, The End just wasn’t for me; it wasn’t just the music. The 150-minute running time is punishing, and the performances (particularly by Swinton) are so over the top that you’ll resent spending two and a half hours with these people. Of everyone, Moses Ingram, playing the most “normal” character, is the least grating, although Shannon has his moments (he sings pretty well- as shown in the underrated George & Tammy). This is especially true when he acts opposite his manservant, as played by Tim McInnerny, who has one rather touching musical interlude but is used too sparingly.
The fact is, Oppenheimer likely made exactly the film he wanted to make, and as much as I didn’t care for it, I have no doubt it will have some appreciative audience at some point. Indeed, it’s beautifully shot, and the production design is awe-inspiring. But I’d wager the vast majority of folks reading this will find it something of a slog, even if it has a handful of legitimately great moments.
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