PLOT: Tobias (Andrew Garfield) and Almut (Florence Pugh) fall in love but have to grapple with a grim diagnosis that threatens their future.
REVIEW: One of the ironic things about TIFF is that, due to schedule quirks, you sometimes end up seeing movies that cover a lot of the same territory back to back. This happened to me this year with Nightbitch, and We Live In Time, with both films taking a look at 21st-century family life and the need to juggle family and career. Yet, while Nightbitch took a mostly unflinching look at the fact that relationships often become strained under the pressure, We Live In Time goes for an almost fairy tale-esque approach, with the impossibly beautiful couple at its heart having a picture-perfect life where both are fulfilled, in love and happy raising their cute child, who’s impeccably well mannered.
Not every film has to be Nightbitch though, and there’s something comforting in the idyll presented in John Crowley’s We Live In Time, which seems like it’s trying to be Love Story for 2024. To be sure, Garfield and Pugh are a gorgeous pair. The movie embraces a kind of fractured narrative that jumps back and forth in time, following their courtship, marriage, parenthood, and the eventual illness that threatens to rip the family apart.
It’s not giving anything away to note that Pugh’s Almut is the one who receives a potentially terminal diagnosis, with it given away near the start of the film. While many movies would be about the illness, We Live in Time instead devotes itself to chronicling the individual moments the two share. In a departure from the norm, Garfield’s Tobias is shown to be the one seeking marriage and commitment, with Pugh’s Almut more of a wandering sort, who works as a top chef in London and is unwilling to back-burner her career, no matter how much she loves Tobias.
It’s a good role for Pugh, who plays the type of part that would have once been reserved for the male half of the couple, with her shown to have more trouble compartmentalizing her life than her more nurturing spouse. For his part, Garfield turns up the charm, leaning into his puppy dog eyes and softer nature, although the movie is guilty of making Tobias too idealistic a character. At one time, female roles were criticized for the same thing, but here, the roles have been reversed in a way that feels somewhat pandering.
Whether or not you go for We Live in Time totally depends on how amiable you find the leads. I found it easy to invest in their story, but I must admit that I was disappointed in the fact that director John Crowley leaned into the slicker style he began using with his big arthouse hit, Brooklyn. While he had a misfire with The Goldfinch, We Live In Time still feels like a big studio effort and somewhat conventional for a movie being released by A24. The lavish lifestyle enjoyed by the leads here seems a little too idealized, making the movie feel a bit too much like a more polished (and better photographed) variation on the kind of fare you might find on Lifetime. Then again, a lot of folks might be yearning for that kind of escapism.
In some ways, this struck me as a bit of a letdown, as Crowley and Garfield once made one of the most affecting dramas I’ve ever seen – the shockingly underrated Boy A. I hoped for a bit of a return to that kind of raw, emotional storytelling, but We Live In Time too often felt like a romantic fantasy. Even still, the chemistry and performances of the two leads make it an ultimately ok tearjerker and date movie. But, one can’t help but feel that considering all the talent involved, it could have been more than what it is.
The second-week drop-off of Joker: Folie à Deux was a massive blow to Warner Bros. As Joker: Folie à Deux is bombing at the box office, Variety reports it could lose the studio at least $150 million to $200 million. However, Warner Bros. isn’t about to admit to anything at this point. “Any estimates suggested by anonymous ‘insiders’ or ‘rival executives’ are grossly wrong and continues a trend where rumor is reported as fact.” It is even recently revealed that the studio is dumping it on digital early – October 29th – in the hopes of recouping some of its $200 million investment.
The first Joker was heavily inspired by works of Scorsese, notably Taxi Driver and The King of Comedy. According to Deadline, Paul Schrader, the writer of the former, recently sat down with Interview Magazine, where he illustrated just how much he disliked the movie. “I don’t like either of those people,” he said. “I don’t like them as actors. I don’t like them as characters. I don’t like the whole thing. I mean, those are people who, if they came to your house, you’d slip out the back door.” Schrader explained,
I saw about 10 or 15 minutes of it. I left, bought something, came back, saw another 10 minutes. That was enough.”
The Oscar-nominated director stated plainly that the film was a “really bad musical.” Schrader was actually pitched an idea to do a Taxi Driver sequel from De Niro and Scorsese had urged him to hear him out. “Now, I don’t want to slag De Niro, but a lot of his decisions sometimes have financial motivations. I’m sure someone had said to him, ‘You know, if you do ‘Taxi Driver 2,’ they can pay.’” Apparently, director Martin Scorsese — of course a close friend and collaborator of De Niro — talked Schrader into sitting down with the actor over the potential for a Taxi Driver sequel. “So we had dinner at Bob’s restaurant and Bob was talking about it. I said, ‘Wow, that’s the worst f*cking idea I’ve ever heard. That character dies at the end of that movie or dies shortly thereafter. He’s gone.’”
At the world premiere of the recently released Terrifier 3, franchise writer/director Damien Leone said there will be a Terrifier 4 – and he later said he thinks that will be the last entry in the franchise, because he doesn’t want it to wear out his welcome. But during new interviews with Variety and Coming Soon, Leone has admitted that, if he has trouble fitting the remaining story he has in mind into a reasonable running time, he might need to make Terrifier 5 to properly wrap things up… and even then, there’s always the chance Art the Clown could return again down the line, just like his fellow slashers Michael Myers and Jason Voorhees always do.
Speaking with Coming Soon, Leone said, “No, so when I wrote part 2, I knew what the end of this franchise was. So, then it just became a matter of, ‘Well, how many puzzle pieces do I need to get from here to there?’ So it should just be one more movie unless it turns into something too big again. Because nobody could deal with, like, a two-and-a-half hour slasher film. It’s just too much to ask of people. So, I mean, if it gets out of control, who knows where it’s gonna go? It wasn’t even my intention to really announce that there was gonna be a part 4. The way that happened was we were at the Fantastic Fest screening. It was like 2:30 in the morning. We did a Q&A afterwards, and now I’m in a room with people who have eyes in their head. They’ve just seen the end of Terrifier 3, clearly it’s the most blatant Empire Strikes Back cliffhanger ending. Like, there’s gonna be another one. So the person asked me, is there gonna be more? I’m like, ‘Well, of course, there’s gonna be more.’ I would never do that to the audience. Like, how can you leave the audience there? Then next day it’s like, ‘Damian Leone Announces Terrifier 4,’ ‘Terrifier 4 Greenlit.’ This, that. I’m like, ‘Oh my God. Let’s just get through Terrifier 3.’ So, yeah, I mean, there is. You will know the end of this franchise. It is a like concrete solid sort of ending. When you see it, you’ll know what it is. You’ll know when this thing is put to bed for a while, at least. I mean, we’ve opened up the door to the supernatural, so I could always figure out a way to bring Art the Clown back if I wanted to. But I want to have a solid franchise, a saga that I could tell with a beginning, middle, and an end. You know what it is. You could walk away feeling satisfied. I don’t want to just kind of get lost in the woods and you just meandering and kind of fall into like the category of just diminishing returns, and you’re just tarnishing everything that’s come before it, or characters who you thought should have played a major part, really had nothing to do in the grand scheme of things. It’s like, ‘Well, why did I invest all that emotion, all that time and energy into what came before it?’ So I don’t wanna run into that trap, which happens to a lot of franchises. So, I think maybe one more film and that’ll really tell the story that’ll put an end to the saga for a while anyway.“
He told Variety, “There is no definitive answer at this time regarding how many more films I will make before concluding the Terrifier saga. Personally, I can’t see it going further than one or two more films, but only time will tell. For now, all I can say with certainty is that I know how it ends, and it will be epic. It will certainly be an epic showdown, an epic closure to this Art the Clown saga. The idea I’m toying with in my head would probably be in some regards the most experimental, so I can’t dive into it too much. Some really, really crazy things will happen in the next one.“
So Terrifier franchise fans can look forward to a crazy, experimental Terrifier 4 that could either wrap up the story, or lead into a Terrifier 5 that will wrap it up… and then, thanks to the supernatural, there could still be more sequels after Art takes a bit of a rest.
Are you looking forward to seeing Terrifier 4, Terrifier 5, and beyond? Share your thoughts on this franchise by leaving a comment below.
It feels like only yesterday that Red Dead Redemption 2 arrived back on PS Plus, daring everyone to finally go ahead and finish the overwhelmingly big open-world Western. But now it’s leaving the PlayStation subscription service again in October, along with a bunch of other cool stuff.
It feels like only yesterday that Red Dead Redemption 2 arrived back on PS Plus, daring everyone to finally go ahead and finish the overwhelmingly big open-world Western. But now it’s leaving the PlayStation subscription service again in October, along with a bunch of other cool stuff.
Sean Astin may not be getting the Goonies sequel he’s hoping for, but he does have a role in an upcoming movie that has a shot at achieving cult classic status: a horror comedy called The Invisible Raptor, which will be receiving a theatrical and digital release (courtesy of Well Go USA) on December 6th. The film had its world premiere at the 2023 Sitges Film Festival and currently, with seven reviews, has a 100% fresh score on Rotten Tomatoes.
Directed by Mike Hermosa from a screenplay by Mike Capes and Johnny Wickham, The Invisible Raptor has the following synopsis: After a top-secret experiment goes wrong, a hyper-intelligent invisible raptor escapes the lab and begins wreaking havoc in the surrounding neighborhood. When the creature’s identity is uncovered, it soon becomes clear that a disgraced paleontologist—alongside his ex-girlfriend, an unhinged amusement park security guard, and a local celebrity chicken farmer—is the town’s only hope for surviving the raptor’s ravenous rampage.
Astin is joined in the cast by writer Mike Capes (For the Win), David Shackelford (True Detective), Caitlin McHugh Stamos (The Vampire Diaries), Sandy Martin (Napoleon Dynamite), Larry Hankin (Friends), Richard Riehle (Office Space), and Vanessa Chester (The Lost World: Jurassic Park).
Hermosa previously directed the horror thriller Dutch Hollow, the drama The Righteous and the Wicked, and the comedy The Head Thieves, among other credits. In addition to writing and starring in the film, Capes also produced it alongside Wickham, Hermosa, Nic Neary, and William Ramsey. Bobby Gilchrist served as an executive producer, with Derek Alvarado, Marco Dapper, and Tyler Gildred as associate producers.
The positive reviews of The Invisible Raptor have described it as “the smart version of a stupid movie,” “hilariously dumb,” “downright batshit,” “joyously silly,” and “inventive throughout,” and it’s said to have “likeable characters” and some “genuinely entertaining gore.” That sounds like a good time to me, so hopefully a trailer will be dropping online soon.
Are you interested in The Invisible Raptor, and does this sound like a movie you’d like to check out December? Share your thoughts on this one by leaving a comment below.
There’s nothing like the first time. Your first published novel. Your first Prom. First telekinetic murder spree. Whatever. In the case of the 1974 novel, Carrie, it was Stephen King’s first time having a book published. It would also be the first piece of his work to ever grace the silver screen. Carrie would be released in 1976 on its way to becoming an all-time horror classic. In the film, Sissy Spacek plays an extremely shy and sheltered High School girl who is bullied relentlessly at home and school. At home, her mother is a complete and total nutbar salad who has weaponized her religious beliefs against her daughter. She locks her in the closet with this little coked-out Jesus statue and has for all intents and purposes ruined her chance at a normal life. One day at school, Carrie gets her period for the first time while in the community showers. Because she’s been neglected at home, the poor girl has no idea what is happening to her. She, after an alarmingly odd shower sequence, freaks out and starts begging for help, rubbing her blood all over the other girls. Which, to be fair, is super gross. But she didn’t know any better. The other girls then laugh at her and throw tampons and pads at her, while chanting, “Plug it up!” Basically, your average Philadelphia Eagles visitors section experience. In the end, these breathtakingly mean kids go one step too far. She’s voted prom queen only to have a bucket of pig blood dumped on her head on the stage in front of everyone. Naturally, she freaks the f*ck out and uses her newfound telekinesis powers to lock everyone in the school before taking her revenge in one glorious bloodbath. And you thought Diddy’s parties were bad.
The Carrie freak out moment is the staple of the movie and what has shockingly become a four film franchise. So, today on “The Best of the Bad Guys”, we’ll honor this moment across the entire franchise. Consisting of the original film, one of the worst sequels to exist in the history of mankind, a made for TV remake, and another remake in 2013. Each of them with their very own Carrie freakout. Every one of these scenes, no matter how awful, have something to offer. Now plug it up and break out your dirty pillows. Let’s get into it! Let’s start with the first, and best: Brian DePalma’s 1976 classic, Carrie.
CARRIE (1976)
When the bucket of pig blood finally unleashes upon Carrie in the final act, it’s almost a relief for the audience. This because the tension leading up to it was almost excruciating as DePalma slowly unraveled the inevitable. Complete with these extremely uncomfortably up-close shots of Nancy Allen licking her lips. The tension keeps simmering post literal blood bath, as we are forced to be a party to the inner workings of Carrie’s brain breaking down like a Temu-bought toaster oven. Finally, she flashes the best crazy eyes in the franchise and the masterclass in filmmaking begins.
It is undeniable that the original is not only the best overall of the freak-out scenes but it is the most expertly crafted from behind the camera. We are treated to a split screenshot where can both see Carrie direct her symphony-o-death from the stage and witness the violence in real-time.
As the doors shut, that one escalating note from the score screeches out, and the lights turn bright red…. the aura is unmatched. It’s a truly frightening moment where all these annoying shits have finally poked the bear one too many times and you can feel the world crack beneath your feet.
Pandemonium ensues, the score dances with the technical sounds of electrical mayhem, and the gym teacher is doing what she loves most: striking kids in the face out of love. The firehose that comes to life has a snake-like creepiness to it, and cruelly sprays Norma in the face continuously after she’s stopped responding. She does NOT see anything she likes.
The gym teacher gets it here when a structure from the ceiling snaps and violently strikes her midsection. Multiple folks are electrocuted and finally, the stage is lit up in flames. Carrie’s walk out moment here, like most moments in the original, was far and away more frightening than anything that would come after. The way she almost floats out of the school doors is haunting. It goes without saying. This is the best of them all. But the others have their moments too! No, really! Come on!
THE RAGE: CARRIE 2 (1999)
In a shocking show of Hollywood restraint, the story of Carrie sat dormant for twenty-two years. Then, a script titled The Curse was reformatted 10 Cloverfield Lane style to become a sequel titled The Rage: Carrie 2. THE RAGE, MICHAEL! The story was different, but it all ended the same. A teenage girl with kinetic abilities was bullied to the brink before she went berserker style on a bunch of assholes, this time at a party not unlike the one Stu Macher threw in Scream.
When Mark (who I swear to God looks just like a third Dillon brother but isn’t) and the Home Improvement kid show a video of Rachel losing her virginity on their Buffalo Wild Wings sized monitors for everyone to see… she finally snaps. And believe me, we were all rooting for her at this point. For some dumb reason Rachel’s heart tattoo begins to beat and spreads across her body as she makes “I have to use the bathroom” face before the room comes crashing down. Chandeliers fall, glass goes flying, and heads literally roll. As the massacre unfolds, you have to give credit to the sweet double impalement with the fire poker. Then, she goes full Hellraiser III and starts firing CDs at everyone. Because the ’90s, bro.
Rachel sets Mark Wahlberg’s pool house on fire as Finch from American Pie looks on in his bucket hat… and things haven’t even begun to get stupid. The kids collect weapons to fight her with as she stands there like an idiot in the living room. Will someone please find her Papa Roach CD and return it already? The camera inexplicably goes into black and white mode and you KNOW her eyes are getting tired from her holding them open like that this entire time. We finally make our way to the pool when she telekinetically explodes the eyeballs of the girl holding the speargun. The victim… and here’s the best part… then turns around and fires it, double-kill style through Tim the Tool-man’s son’s man bits. Outstanding. *Shia LaBeouf clap*
Finally, the last bad guy dies by drowning after being too stupid to duck a pool cover and blinks himself to death in the water. Then her mom shows up and oh my God who cares, this movie is atrocious. But it does have the most Jason Voorhees-esque kills of all Carrie’s freak outs. Even though it’s not Carrie. Her name is Rachel. Not even the title makes sense.
CARRIE (2002)
In 2002, Bryan Fuller penned a television re-imagining of the original film, starring Angela Bettis (May). This would end in mostly the same way but would incorporate ideas from the original novel for the first time. Such as the telling of the story through the POV of the townsfolk, and the added emphasis on Carrie burning the entire town down. It would, though, tack on an ending where Carrie survived and went missing in the hopes that NBC could follow up with a TV series. This never happened.
If you’re wondering what the same Carrie freak-out scene in 1976 looks like in 2002 with the new technologies the world has to offer? Don’t. I understand we’re dealing with a made-for-TV movie; but what in The Langoliers special FX quality level ass is going on here?
I do love that a guy gets his arm stuck in the doors as she shuts them… but nothing can save us from these quick camera cuts and Windows Movie Studio 2001 effects. Some weird Halloween 6 score style guitar squeals and OH MY GOD she murders a girl with a basketball hoop! Fantastic idea. Inexcusable execution. This was 2002! Why does this all look like a 1997 CD Rom game? They didn’t even bother putting a net on it for God’s sake!
Every film gets a participatory trophy here on Best of the Bad Guys. So, the one and only thing I give this version of Carrie credit for is that it follows the original book in a way the others don’t. We actually focus a little bit more on the devastation she caused away from the school and through the POV of others. I also do enjoy that this tiny little film decided “f*ck it, we’re going to show it all. Twelve dollar budget or not.” There are absolutely atrocious looking scenes. But the willingness to go for it and show the whole scope of the city burning in a way none of the other films did is respectable. I also love the Night of the Twisters vibe in all of these downtown scenes. Look at some of the graphics in the shots! I mean that’s just hilarious. Carrie 2002 is the ballsiest, funniest, and most shameless of the films. That’s something.
CARRIE (2013)
In 2013, a sometimes shot-for-shot remake of the original film was forced upon us. Though there was already a perfect version of the film right there on home video. I digress. The main differences are an opening shot of the home birth of Carrie (which is actually pretty messed up) and an ending that goes full-on Final Destination-style 2000s schlock. The film has the gall to ask us to believe that Chloe Grace Moretz was the ugly duckling of her high school. It also asks Julianne Moore to do a straight up impression of one of the most amazingly awkward performances of all time in Piper Laurie’s Margaret White.
The main freak-out of 2013 starts as unimpressively as you’d expect. We have to deal with an awkward Ansel Elgort “What the hell!?!” that has the intensity of someone whose mom bought the wrong kind of Lunchables. “You know I hate turkey! GOD!” The film removes moral ambiguity by cutting the grey area from some of the high schoolers. Tommy was genuinely a good guy and it’s his death that sets Carrie off. So on, so forth. But the thing that really sets the film apart is what comes next…. when Carrie snaps and goes full on Ghost Ship opening sequence.
She throws her kinetic weight at the crowd with such a force, they go bowling over in hilarious fashion. It’s a pretty awesome shot, even if the CGI is blatant. The moment is capped off by an amazingly stupid and fun shot of a teen flying face-first into a door that doubles as the camera lens. It’s no DePalma, but I’ll be goddamned if it doesn’t tickle you a little bit. This is one of those moments where you remember Carrie was a RealD 3D and IMAX release at the time. Because when you think of 3D, you think of Carrie. Maybe in the next remake they’ll develop a technology that actually throws tampons at the audience. It’s horrid. But it’s pretty entertaining.
Actually, one of the best scenes of all the Carrie freakouts belongs to 2013. When Carrie does a quick “Your soul is mine” to a runaway and chomps his ass up in the moving bleachers. Excellent death. Original. No notes. We also see some twins get focused on as they are trampled to death with a high-heeled twist. Carrie again eschews the original film’s moral ambiguity by sparing the gym teacher before literally superhero flying away. Just her creepily floating out wasn’t good enough. Harder, faster, faster, dumber.
Our most obnoxiously hate-able Billy and Chris of all the films sit in their car having another stupid conversation between the American Horror Story rejects when Carrie finds them. Personally, I’ll take the quick and creepy, choppy style death and camerawork of the original… but some will find more joy in watching Billy get literally wrecked in slow motion here. Not to mention the slow motion shot we get of left in the oven too long Lindsay Lohan faceplanting into the windshield. It’s a weirdly cut-off shot but satisfying, nonetheless. I leave it to you folks… comment below… the original death of Billy and Chris? Or does this one satisfy your bloodlust more?
To give each film their final flowers, I’d say the 2002 remake gives us the closest story to the book. The 2013 film gives us a gnarlier look at the death scenes. Carrie 2 gives us one of the worst sequels to ever exist. Finally, the original has the best camera work, cinematography, acting, scares, and suspense of them all. They even had the scariest Jesus statue! GOOD GOD that’s horrifying.
Time for US to plug it up! Hope you enjoyed this video and will check out our previous versions of Best of the Bad Guys for everyone from Freddy Krueger to Damien Thorne. Have a great day and thanks for hanging out!
A couple of the previous episodes of The Best of the Bad Guys can be seen below. To see more, click over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
Earlier this year, The Horror Collective announced that they’ll be bringing us a Christmas-set (and 80s-set) slasher called He Sees You When You’re Sleeping this holiday season – and now we know exactly when we’ll have the chance to watch the movie! He Sees You When You’re Sleeping will be receiving a digital and VOD release on November 1st, and with that date right around the corner, a trailer for the film has dropped online. You can check it out in the embed above.
Directed by Charlie Steeds, who is also producing the film with Tom Malloy under his Trick Candle Productions banner, He Sees You When You’re Sleeping has the following synopsis: A young man’s Christmas homecoming turns into a nightmare as a killer in a Santa suit gruesomely picks off his estranged, wealthy family for their fortune.
Shaked Berenson, CEO of The Horror Collective’s partner company Entertainment Squad, is also a producer on the project.
Genre veterans Caroline Williams (The Texas Chainsaw Massacre 2), Lauren-Marie Taylor (Friday the 13th Part 2), and Nicholas Vince, who is best known for playing the Chatterer Cenobite in Hellraiser and Hellbound: Hellraiser II are in the cast, starring alongside David Lenik (An English Haunting) and Peyton Michelle Edwards (Goodbye Honey).
Steeds provided the following statement: “I knew David Lenik’s campy Christmas-themed slasher would be a blast to direct. It’s set in the 80s and we filmed on location in New York State. The script draws inspiration from horror classics such as Black Christmas, Scream and Silent Night, Deadly Night, which are all films I adore.“
Berenson added: “Christmas horror films blend holiday cheer with thrilling chills, offering a fresh and exciting twist on traditional celebrations. They’re perfect for those looking to spice up their holiday viewing.“
And Malloy, who also has an acting role in the film, had this to say: “I loved the title and loved the script, and was excited to work with filmmaker Charlie Steeds, whose work I’ve known for years.“
Charlie Steeds’ previous directing credits include Gods of the Deep, Freeze, The Haunting of the Tower of London, Werewolf Castle, A Werewolf in England, Vampire Virus, Death Ranch, An English Haunting, Winterskin, The House of Violent Desire, The Barge People, Escape from Cannibal Farm, and Deadman Apocalyse. I can’t say I’ve seen his previous works yet, but the fact that He Sees You When You’re Sleeping is an 80s-set Santa slasher with Caroline Williams and Lauren-Marie Taylor in the cast means I’m guaranteed to watch this one.
What did you think of the trailer for He Sees You When You’re Sleeping? Will you be watching this movie? Let us know by leaving a comment below.
The Jake Paul/Mike Tyson bout is officially a month away and Netflix has released the trailer to their first foray into live combat sports. The match was postponed from the summer after Tyson suffered a small health issue and the event is now set to take place on Friday, November 15 at 8pm ET / 5pm PT.
The official description from Netflix reads, “Netflix and Most Valuable Promotions (MVP) present a heavyweight boxing mega-event headlined by international superstar Jake “El Gallo” Paul (10-1, 7 KOs) vs. the Baddest Man on the Planet, Mike Tyson (50-6, 44 KOs). Jake Paul vs. Mike Tyson will stream live globally, exclusively on Netflix on Friday, November 15, 2024 at 8pm ET / 5pm PT from the 80,000-seat capacity AT&T Stadium in Arlington, Texas, home of the NFL’s Dallas Cowboys. In the co-main event, Matchroom’s undisputed super lightweight world champion Katie Taylor (23-1, 6 KOs) will defend her undisputed title over 10, two-minute rounds against boxing trailblazer and unified featherweight world champion Amanda “The Real Deal” Serrano (47-2-1, 31 KOs) in the most anticipated rematch in women’s boxing history. Also on the main card will be the 12-round men’s championship fight for the WBC welterweight title between reigning champion Mario “El Azteca” Barrios (29-2, 18 KOs) vs. Abel Ramos (28-6-2, 22 KOs) and a 6-round super middleweight fight between India’s number one boxer and MVP’s first international signee Neeraj Goyat (18-4-2, 8 KOs) vs. Brazil’s multi-talented superstar Whindersson Nunes (2-2-1, 1 KO combined boxing record).
Netflix previously announced COUNTDOWN: PAUL VS. TYSON, a three-part documentary series with intimate access to the fighters; Episodes 1 and 2 will premiere November 7, Episode 3 will premiere November 12.”
The sanctioned fight was approved by the Texas Department of Licensing and Regulations and will consist of eight two-minute rounds (instead of the usual three-minute rounds). Both boxers will wear 14-ounce gloves, heavier than the standard gloves.
Earlier this summer, Tyson released the statement after the postponement, “Although we had to postpone the fight, I will resume training shortly. I am thankful to the medical staff that treated me and to MVP, Netflix, and AT&T Stadium for working diligently to find the best reschedule date for all parties. While we have a new date, the result will be the same no matter when we fight. Jake Paul is getting knocked out. On Friday, November 15, watch this in-person at AT&T Stadium or live on Netflix.”
Dragon Ball: Sparking Zero perfectly encapsulates what people love about the series: the giant energy beams, passionate screaming, and even the comedy is intact, with characters like Yajirobe creating an online meta with appropriate antics. And of course there are the eponymous mystical Dragon Balls, and the various…
