Admit it: you want to be Batman. And Warner Bros. is going to try to make that happen for you – provided you have a spare $3 million sitting around to spend on a real-life Batmobile modeled after those seen in Christopher Nolan’s Dark Knight trilogy.
Going for the price of $2.99 million, the official website has the following description of your dream whip: “Limited production of 10 Wayne Enterprises Tumblers, fully functional iconic “Batmobile”, are exclusively being sold by invitation only. These highly collectable Tumbler Batmobiles are officially sanctioned by Warner Bros. and will be available for sale to an exclusive audience of avid car collectors.”
For you gearheads, you might like to know that the Batmobile comes equipped with Powertrain 6.2L LS3 525 HP Engine with 486FT Ibs Torque and GM 4L85E Transmission with Paddle Shift…whatever any of that is! Even cooler for those more interested in the Batman elements, it has imitation gun turrets and a jet engine simulation (although there are no flames). It also fits two, has GPS and air conditioning, which already makes it better than your first car.
This Batmobile also comes from Action Vehicle Engineering and Wayne Enterprises, a company that specializes in immersing you in the world of Bruce Wayne. But we assume they mean all the good stuff and not the whole parents being gunned down outside of a movie theater thing. Through their site, you can pick up everything from reproductions to light sculptures to super expensive crap that someone like Wayne would have in his mansion. To see more pictures of the Batmobile, be sure to check out their website.
But this Batmobile is a clear cut above anything else. And it’s going to take more than just $3 million – you have to request to even have a chance at owning one. Just to see what would happen, I did click a request but stopped short of filling out any personal information, lest my investment manager have a conniption. Still, there’s no doubt this particular Batmobile would be just about the most badass thing you could park in your driveway…
Plot: Daffy Duck, Porky Pig, and Petunia Pig are Earth’s only hope when facing the threat of alien invasion.
Review: During a time when moral compasses are pointing anywhere but up, and on a day when you find your credit card is beyond its limit, it sure is nice to feel like a kid again. Few things could bring me back to when Sesame Street’s “12 and Pinball” animation was the hottest jam of the Summer, like Looney Tunes. Every morning, and sometimes on Saturdays, Bugs, Daffy, Porky Pig, and their eclectic cast of friends molded my sense of humor, gave me a fondness for classical music, and invited sunshine into even the rainiest days.
I lost my mind when I heard Daffy Duck and Porky Pig would reunite for an unconventional 2D Looney Tunes movie. The news helped lick the wounds of losing the shelved Coyote vs. Acme, and flashbacks of repeatedly watching Daffy Duck’s Quackbusters came flooding back. My body was ready to embrace the duo’s new film, though what form it would take remained a mystery. As luck would have it, The Day the Earth Blew Up: A Looney Tunes Movie is everything an old-school Looney Tunes fan could ask for, and it’s clever enough to appeal to younger generations, too.
The Day the Earth Blew Up frames Daffy and Porky as lifelong chums, having been adopted as infants by Farmer Jim, a kind and patient parental figure able to tolerate the duo’s antics throughout the years. When Farmer Jim walks off into the sunset, leaving Daffy and Porky in charge of their childhood home, their journey toward responsibility and heroism begins. It’s a special day for Daffy and Porky, the day of their Annual Home Standards Review, an evaluation of their house that’s fallen into various states of disrepair. During the review, a rigid Karen-like investigator alerts the duo to their missing roof, a gaping hole left by an out-of-control UFO the night before.
To meet the inspector’s standards, Daffy and Porky must find work. After several botched attempts at entering the workforce, the duo meets Petunia Pig, a flavor scientist, who invites them to work at the Goodie Gum factory. Daffy discovers a nefarious plot to infuse every piece of a “new” gum flavor with alien elements, turning chewers into mindless zombies. With nowhere left to turn and the world’s fate at stake, Daffy, Porky, and Petunia join forces against a maniacal alien intending to transform Earth.
The Day the Earth Blew Up is a work of art. Sometimes manic in its presentation, the film taps directly into what makes the Looney Tunes a timeless brand. Like many of Daffy and Porky’s misadventures of yesteryear, The Day the Earth Blew Up is a science-fiction feature akin to 1954’s Duck Dodgers in the 241/2th Century, Close Encounters of the Third Kind and classic Twilight Zone episodes. The film brilliantly (and seamlessly) uses different art styles to keep the presentation fresh and imaginative. One moment, you’re experiencing traditional (albeit polished) hand-drawn 2D, while the next scene offers a painterly look reminiscent of gross-out close-ups from Spumco’s Ren & Stimpy.
Like any Looney Tunes feature worth its salt, The Day the Earth Blew Up includes a rousing sci-fi score and inspired needle drops that folks from my generation will flip for. My biggest laugh in the film comes from a flashback sequence set to a 1991 chart-topper that had me clutching my sides with laughter. Seriously, my wife heard me cackling from the second floor of our house. That moment was pure comedic perfection.
It’s nice to know that even in 2024, the Looney Tunes brand hasn’t lost its knack for thinly veiled sexualized humor. Daffy is a fountain of double entendre, with a love of “pulling his crank” being one of his many adult-coded jokes. While some of the humor in The Day the Earth Blew Up could go over the heads of younger audience members, it’s great to keep the tradition of peppering the presentation with mature humor alive for old-school fans. It’s fun to catch the joke on the first go-around, finally, now that we’re older and life has twisted our perspective.
Another stand-out element of the film is Petunia Pig, voiced by the talented Candi Milo. Petunia is far more than an offset “gender balance” character and love interest for Porky. She’s a nerdy addition to the group who solves problems like Velma Dinkley and torches aliens like Ellen Ripley. She brings an energy to the story that otherwise would feel formulaic, given Daffy and Porky’s team-up dynamic. Her love of science (my wife is an accomplished microbiologist) and disdain for the new Goodie Gum immediately endeared me to her, and the movie is better for her being in it.
In addition to its slapstick, The Day the Earth Blew Up brings drama to the stage. Daffy and Porky are the Odd Couple of the Looney Tunes universe. Sometimes mixing like oil and water, Porky occasionally expresses intolerance for Daffy’s shenanigans, leading to deception and hurt feelings. Daffy is an unhinged menace, but he’s also a loyal friend whose antics are often the answer to unsolvable problems. Let the duck do his thing, Porky. Your style is already cramped despite your efforts to appear smooth and control your emotions. Blowing up at your best friend isn’t doing you any favors in the eyes of those getting to know you.
Peter MacNicol joins the cast as The Invader, a seemingly evil alien infecting the gum with his biological weapons. In classic Looney Tunes fashion, The Invader is over-the-top, has a dry sense of humor, and underestimates our heroes. It’s a joy to watch him adapt to the threat the trio poses to his plans, and his arc throughout the story evolves nicely, adding an extra layer of depth.
They don’t make movies like The Day the Earth Blew Up anymore, making this film a treat for the whole family. In a time when Minions, Bluey, and Spongebob continue to dominate the animated medium for youngsters, it’s glorious to see old friends like Daffy and Porky treated with such respect. While The Day the Earth Blew Up leans toward viewers in their 30s and 40s, I’m confident kids will delight in Daffy’s deranged behavior and learn a valuable lesson from Porky’s evaluation of his deceptive decisions and selfishness. The Day the Earth Blew Up opens a window to let the stink of Space Jam: A New Legacy out of the room and invites audiences to inhale in a fresh and frenetic approach to timeless character chemistry and exceptional science-fiction storytelling.
It could be any day, any night, any city, and Bill Murray could be there. Maybe this sad clown folk hero is hitting karaoke night or doing a frat’s dishes or crashing a kickball game or bartending at some random joint or giving a speech at a bachelor party or popping in for a wedding photo shoot. Bill Murray is that “fun” uncle, the loose one with no clear direction yet always grounded in…well, whatever he wants. Maybe he’ll show up, maybe he won’t. Maybe he’ll have a job this year, maybe he won’t bother. Maybe he’ll sock a male co-worker on the nose, maybe he’ll direct misconduct at a woman. Bill Murray is one unpredictable dude, his actions described as erupting “a trail of hysteria,” the man himself as “The Murricane.” Oh, and he’s made some of the greatest comedies, too.
Let’s find out: what happened to…Bill Murray?
But to truly understand what happened to Bill Murray, we go back to the beginning. And the beginning began when he was born on September 21st, 1950, in Evanston, Illinois, just north of his beloved Chicago. Digging theater in high school and college, Murray joined famed improv troupe The Second City in the early ‘70s, parlaying this into a gig on the National Lampoon Radio Hour (1973-1974), which let him explore the format and develop characters. This proved a gateway to Saturday Night Live (1977-1980), joining in season two as a Chevy Chase replacement. This, of course, was years before the two swapped fists backstage, just one early moment of their ongoing feud.
Chase is a notorious jerk, but Bill Murray isn’t always the most pleasant fella. Later in his career, he would clash with a lot of co-stars and directors, holding Seth Green over a trash can when he was a kid and having the worst connection with Richard Dreyfuss on What About Bob?, his co-star calling Murray an “Irish drunken bully.” And then there are the women. He butted heads with Sean Young on Stripes (1981), but who can blame him? Later, Geena Davis accused him of repeatedly trying to undo her straps while making his directorial debut Quick Change (1990). In the early 2000s, he would berate Lucy Liu for her acting (in)abilities on Charlie’s Angels (2000), while Anjelica Huston would label him “a sh*t” when making The Life Aquatic (2004). Even more recently, Murray’s alleged behavior found an entire film, Being Mortal, being shut down after he was accused of misconduct by a female crew member.
This usually prompts more stories, most of which can never be confirmed. But people like Wes Anderson have remained loyal. And that’s because Bill Murray is loyal…That doesn’t mean he’ll always show up on time, but the guy will stick by you if you’ve earned it.
Consider his frequent collaborators, which have resulted in some of his finest, career-defining work. When he wanted a big-screen career, he teamed with Ivan Reitman for Meatballs (1979), later returning for Stripes and the original Ghostbusters movies (1984, 1989). This is where Harold Ramis comes in. After so many collaborations, Ramis got behind the camera for Groundhog Day (1993), which helped redefine – at least for a moment – Murray as an actor with genuine depth. But the two hated each other, Murray even hiring a deaf assistant to serve as a middleman of communication. The feud lasted for years and years…but it finally squashed as Ramis neared his death, and Murray has spoken highly of his old friend ever since.
And then there’s Wes Anderson, who cast Murray in Rushmore (1998) and immediately found a kindred spirit: an oddball who will find their own way. From there came roles in The Royal Tenenbaums (2001), Fantastic Mr. Fox (2009), Moonrise Kingdom (2012), The Grand Budapest Hotel (2014), Isle of Dogs (2018), The French Dispatch (2021), and a cameo in The Darjeeling Limited (2007). (Cameos would get more frequent and stranger as the years went on: 1998’s She’s Having a Baby, 2008’s Get Smart, both Zombielands (2010, 2019), a nearly impossible-to-spot one in Dumb and Dumber To (2014)…Everybody wanted a part of the cult of Bill Murray.
This was really launched by Jim Jarmusch, who cast Bill Murray as himself in 2003’s Coffee and Cigarettes, later casting him in Broken Flowers (2005), The Limits of Control (2009), and The Dead Don’t Die (2019).
Who didn’t want a piece of Bill Murray? The guy was a legend of his own making. Even early on, he was signing on for things like Mr. Mike’s Mondo Video and Tarzoon: Shame of the Jungle (both 1979). Then he wanted to play Hunter S. Thompson in 1980’s Where the Buffalo Roam (this was a rare real-life performance; he’d later do 1994’s Ed Wood and FDR in 2012’s Hyde Park on the Hudson). When he had room in his SNL schedule, he did Caddyshack, giving his first iconic character on the big screen: the gopher-chasing greenskeeper. (Murray maintains, as with baseball, a passion for the sport.) Another supporting, scene-stealing turn in Tootsie (1982) led to 1984’s Ghostbusters, his only box office smash of 1984. The other movies that year were the unreleased sci-fi comedy Nothing Lasts Forever and Maugham adaptation The Razor’s Edge, which he only did so Ghostbusters could secure financing. That dreaded time was enough to put him off acting for a handful of years, not starring in a film until 1988’s Scrooged (not counting his quick bit in 1986’s Little Shop of Horrors), an almost too-perfect casting choice, twisting Scrooge as a sarcastic, miserable TV exec. Murray would get more sensitive around the holiday season much later with 2015’s A Very Murray Christmas.
The 1990s offered a shot at redemption for Murray, taking on directorial duties on Quick Change (1990), playing OCD in What About Bob? (1991), co-starring with De Niro in Mad Dog and Glory (1993), giving a brilliant, existential performance in Groundhog Day (1993), losing his hair in Kingpin (1996), going family-friendly for Larger Than Life and Space Jam (both 1996), hitting a skid with The Man Who Knew Too Little (1997), and leaning dramatic for Wild Things(1998) and Cradle Will Rock (1999).
Even before becoming the cult figure he is today, Murray’s filmography was skewing unpredictable, as seen in the next decade: 2000’s Charlie’s Angels and Hamlet, 2001’s Osmosis Jones and little-seen Speaking of Sex. 2003’s Lost in Translation offered yet another full transformation, a performance we knew was there but Murray hadn’t been given the true shot at giving; one that both satirized and expounded on fame and isolation. For it, he earned a Best Actor Oscar nomination, something that had eluded him…and still does, as you can see the support and love he has when Sean Penn’s name is announced…
That push gave Murray even more clout, allowing him – as he always had – to do whatever the hell he wanted. And he did: 2005’s The Lost City, he accidentally signed up to do voice work for 2006’s Garfield when he mistakenly thought he would be working with the Coen Brothers, and 2016’s The Jungle Book,Monuments Men (2014), St. Vincent (2014), continued dramedies like On the Rocks (2020), some spots in the latest Ghostbusters movies (2016, 2021, 2024), and even a turn in the MCU for 2023’s Ant-Man and the Wasp: Quantumania… which was fun and disappointing at the same time. His next film is poised to be yet another pairing with Wes Anderson: The Phoenician Scheme (2025). Despite his controversies and canceled films due to his alleged misbehavior, the dude is both loyal and inspires loyalty in return. Often looked at as a wandering warrior poet who has mastered the art of not giving a fuck.
As for the future, it’s nearly impossible to get ahold of him if you want him in your film. He has no agent, no manager. You can call him and offer him a role, but be prepared to leave a message on an 800-number line if you can even find the number. And even if you did, it’s like his most infamous saying goes: “No one will ever believe you.”
Microsoft’s latest holiday marketing campaign is all about how you can play Xbox games even without the actual console. “This is an Xbox,” the slogan reads as it lists laptops, smartphones, VR headsets, and other platform-agnostic devices. But despite doubling-down on the virtues of “play anywhere,” the company is…
Microsoft’s latest holiday marketing campaign is all about how you can play Xbox games even without the actual console. “This is an Xbox,” the slogan reads as it lists laptops, smartphones, VR headsets, and other platform-agnostic devices. But despite doubling-down on the virtues of “play anywhere,” the company is…
Looking back on the late 90s and early 2000s, it wasn’t exactly the best time for the horror genre, and you’d be hard pressed to argue that anything released at the time was a classic. Because they weren’t. That’s not to say that we didn’t get any ‘cult’ classic titles that have stood the test of time because of elements other than the quality of the movie. 1999s The Blair Witch Project had a genius marketing campaign that sold the movie as a scary, true life tale, while the press made out that it was so terrifying, people were being sick in cinemas. The truth is, it’s an average horror movie and it was the shaky camerawork that more than likely made people nauseous. It’s still regarded as a cult classic, however, but what about the rest of the content from the time? Well, we did get some fun sequels such as Bride of Chucky from 1998, as well as the hairy shenanigans in Ginger Snaps from 2000. My point is, the horror genre wasn’t exactly thriving when it came to producing exciting, genre defining movies, but by the time 2002 rolled around we were at least starting to get some nastier flicks. The Ring was a slick remake of the Japanese original, 28 Days Later was a cracking Zombie feature, and I’ve got a lot of time for Neil Marshall’s gut-spilling Dog Soldiers. So, with the horror marketplace beginning to show some gory signs of life, it meant that the lower budgeted, more independent features were being left in the shadows. Which brings us nicely to the movie we’re focusing on in today’s video; Robert Harman’s They. The movie was met with a mixed reception when it first appeared in 2002, but with a big name executive producer onboard in Wes Craven, and a decent concept, does it hold up more than twenty years later? Well, look out for those dreaded night terrors as we take a trip back to some childhood trauma, here on WTF happened to They.
Before taking on the horror genre with They, director Robert Harmon already had some very interesting projects as part of his growing resume. His first feature saw him tackle the psychological thriller genre with China Lake, starring the great Charles Napier as a deranged biker, who rides around on a motorbike “targeting” people that have offended him in some way. All set in and around the titular location of China Lake. After having some success with the movie, he directed what would go on to become a cult classic horror / thriller from 1986; The Hitcher. As I’m sure most viewers will know, the film follows Rutger Huaer in the title role, playing a murderous hitchhiker who stalks a young motorist across the highways of West Texas. It wasn’t necessarily met with a warm response from critics and its commercial success was limited, but the movie has gone on to have a massive following since. And rightly so. He followed up The Hitcher with Mr snake hips himself, John Travolta, in 1991’s Eyes of an Angel, then he tackled Van Damme actioner Nowhere to Run before helming a few TV features in the run up to the year 2000. Judging from the relative success he’d had so far, taking on another horror feature was certainly in his skillset.
The movie’s budget was around $17 million dollars, which is a fairly substantial amount, considering the movie didn’t have any A-listers in the cast, nor did the production seem to spend a great deal on marketing the movie. However, there was oneperson, synonymous with the horror genre, attached to the project, who’s name was used heavily to sell it – Wes Craven. The legendary, and sadly late, director of such awesome horror franchises such as A Nightmare on Elm St and Scream was brought on as one of the movie’s executive producers on the movie. Despite this though, Craven had no other part in the movie’s production, other than adding his name to the title. It was a wise move on behalf of production companies Focus Features, Radar Pictures and Dimension Films, as if there was one name guaranteed to whip up some excitement with horror fans at the time, Wes Craven was your guy.
The production team maybe didn’t have the budget or enough of an enticing concept to bag any big names for the movie, but during an interview with our very own John Fallon, AKA ‘The Arrow’ from February 2003, writer Brendan Hood describes how he had certain actors in his mind for some of the roles, saying that; “It’s funny, you always get a picture in your head of what the characters will look like and which actors will play them. For instance, I always thought of Paul as looking like Jared Leto. Additionally, I initially thought of Sarah Polley in the role of Julia. But that’s really just to help you envision the story while you’re writing it.” Casting would be key for They, so could the filmmakers find actors who could bring the spooky shenanigans to life?
In the end, the production cast some very talented and dependable actors in the movie. Paul was played by Marc Blucas who featured in the Mel Gibson war drama We Were Soldiers in 2002, plus a recurring part in Buffy the Vampire Slayer. His resume is loaded with TV and film roles, with the most prominent being the Tom Cruise action comedy Knight and Day from 2010, plus another decent TV part in Underground, which aired from 2016 to 2017. The other main protagonist, Julia, was played by Laura Regan who has form in the horror genre and who had a successful recurring role in the great Mad Men TV series that ran from 2007 to 2015. We also get Ethan Embry as Sam Burnside and Dagmara Dominczyk as Terry Alba, two characters who, like Julia, had night terrors when they were kids..
Another key aspect of the interview our man John Fallon did with writer Brendan Hood, is how he cites a divide between the writing team and the studio in terms of how the script development eventually panned out. Hood explains that, “the original screenplay that I wrote is my vision for the film, and what got made was really the vision of the producers. Those are two separate things. Personally, I’ve never been a huge fan of cheap scares or endless scenes of people sitting around and giving exposition that doesn’t advance the plot. Great horror films work because of four important components: a strong story structure, three-dimensional characters, original
concepts, and most importantly, tension.” He also goes on to discuss how the scriptwriting process was subsequently “haphazard” and that the script was constantly being tinkered with throughout production, ultimately harming the final product.
I went into my viewing of They with an open mind and some optimism for what I was hoping to be a tense, taut and well crafted thriller. Plus, with Wes Craven lending his name to the movie, surely it could provide some decent gore and engaging characters I could get behind, and not cheer about too much when they come to a spectacularly gory end. However, none of that happened and, unlike the inventive horror movies Craven is known for, They didn’t deliver enough scares or carnage for me to engage with. I know Craven’s name is only there to sell the movie and he had zero creative input into the movie, and despite the script development issues mentioned earlier, I was still clinging on to something, anything to elevate this one from being just another average thriller.
The movie’s plot gets underway with an opening scene in which a young boy, called Billy, wakes up from a nightmare and is assured by his mother that the monster he saw in the closet is all in his head. She kinda makes things worse, too, by ‘jokingly’ saying she’ll turn into a monster if he doesn’t go back to sleep. Cracking parenting that is! After she leaves the poor little fella, he’s soon whisked away by a dark apparition that emerges from the closet. The scene’s lighting is good and there’s some nice tension built up by the tight editing, but you could see what was coming a mile off.
The action fast forwards almost twenty years to 2002, where Billy meets up with his childhood friend Julia, played by Laura Regan, who also had night terrors when she was a kid. After warning her that they are back and to stay away from the dark, he commits suicide in front of her. Julia meets up with two friends of Billy at his funeral, Terry and Sam, who, yep, you guessed it, also had night terrors when they were kids and that they are not only experiencing terrifying visions themselves, but that they have been “marked” with a sore on their bodies that won’t heal.
The set-up is decent, but the subsequent action left me feeling not only short-changed, but frustrated that the filmmakers could have conjured up some more memorable arcs for the characters. They’re all fairly one dimensional and spend most of the movie’s run-time either screaming or hiding from the largely unseen monsters, and keeping them mostly in the shadows was a wise move given the fairly limited budget. CGI creatures in this type of smaller horror movie would most likely have looked awful.
There are some moments where the tension is built up effectively, such as when Terry investigates some freaky sounds, that seem to be lifted from Jurassic Park’s raptors, and hides away in a heating vent. There’s also a nice scene involving a swimming pool, but overall the mystique surrounding the monsters doesn’t pay off sufficiently. Not for this blood thirsty gore-hound anyway. Overall, the movie works more or less as a below average thriller, but there’s too many stretches of the plot that are too dull, or superfluous to the story for it to be anything more. It’s a shame as I was hoping for more from the director of The Hitcher, but alas this one won’t be giving me any night terrors, that’s for sure.
They had its US premiere on November 27, 2002 and over its opening weekend the movie grossed roughly $5.1 million. Its lifetime gross was $12.8 million in the US and $3.3 million overseas, making for a total worldwide gross of $16.1 million, which unfortunately is less than the reported budget of $17 million dollars.
Critically, They was met with a mixed response, but some of the more prominent reviewers at the time praised the film. It holds a 39% approval rating on Rotten Tomatoes based on 57 reviews, with an average rating of 4.5/10. The site’s consensus states: “They fails to sustain the level of creepiness necessary to rise above other movies in the horror genre.” The New York Times were critical of the script but also praised how scary they found it, saying, “Though you may share the characters’ skepticism about the reality of those nightmare creatures, and occasionally twitch with impatience at the movie’s clumsy dialogue and haphazard logic, you may also find yourself thoroughly terrified. I confess I was relieved when the movie ended and the lights came back on.”
It’s also interesting to note that the production shot two alternative endings that never made it into the finished product. The first in which Julia is released from a mental institution after convincing psychiatrists that she had regained her sanity, only for the monsters to appear in her apartment. The other also sees Julia in a mental institution but it all turns out to be a fabrication of her damaged mind. To be honest, I don’t think either would have added any weight to what is a fairly average thriller for this gore-hound, and while I appreciated some of the production values, I think the troubled scriptwriting process had lasting damage on the movie. However, as usual it’s YOUR opinion that matters the most to us here at JoBlo, so what’s your take on the film? Is They a worthy entry in the thriller / horror genre, or will you be having night terrors about the time you’ve wasted watching it? Let me know in the comments and I’ll see you wonderful gore-hounds next time. Thanks for watching!
A couple of the previous episodes of What Happened to This Horror Movie? can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
In 2024, anything goes – and that means Mike Tyson stepping into the ring with YouTuber Jake Paul. Airing live on Netflix tonight, November 15th, Tyson will face off against Paul in a bout scheduled for eight rounds. And if you’re a betting man, you might want to keep an eye on the odds before making that final bet.
As of this morning, the odds are as follows, according to BetMGM: Mike Tyson at +160, Jake Paul at -150 and a tie at +900. FanDuel, meanwhile, has Tyson at +164 and Paul at -205. For those not familiar with betting odds, that makes Jake Paul the favorite; in the case of the latter odds, you would need to bet $205 to win $100. And with a 30+-year age difference, one can see why Paul is in that position. But that doesn’t mean The Baddest Man in the Planet isn’t ready for what will no doubt be one of the most important bouts of his life.
Mike Tyson hasn’t had a professional bout since 2005, when Jake Paul was just eight years old and was barely in its infancy. More recently, he had an exhibition fight against Roy Jones Jr. at an event where Paul also had a match on the card.
Expectedly, Jake Paul himself said he’s got $40 million on himself – with the ego to match. As he previously stated, “The people think I’m going to get knocked out by this strong, powerful guy. All the people in my comments say, ‘Look at his power. He’s going to get KO’d.’ … This has taken a chance to fight somebody as vicious as Mike can be. You got to risk it for the biscuit. That’s the name of the game. I’m here to make history…He’s vicious. He’s a killer. I know all of these things. He has one-punch knockout power. He’s the greatest heavyweight of all time. But I will prove…all the haters wrong.”
The showdown between Mike Tyson and Jake Paul was first teased last year, with the bout being set for July 2024. However, after Tyson suffered an ulcer flare-up, it had to be postponed until November. And now that time has finally arrived, with Netflix – who has made a major push to host live sporting events as of late – streaming the event live from AT&T Stadium in Arlington, Texas.
Who do you think will win between Mike Tyson and Jake Paul? Give us your prediction below!
While Hugh Grant has made his career playing the male protagonist in romantic comedies, the actor is currently showing audiences a new side of himself in the horror film Heretic. In this A24 film, he plays against type as the villain of the movie. In his review for Heretic, our own Chris Bumbray said, “It’s certainly a far cry from the stammering rom-com roles that made him such a heartthrob […] He radiates fiendishly clever intelligence, and he’s given a sadistic streak I didn’t see coming, which feels bold for a mainstream horror flick.”
As the trailer for his return to the Bridget Jones franchise drops, Grant also reflects on a past role of his where he didn’t find the character terribly affable. According to The Hollywood Reporter, Grant recently participated in Vanity Fair’s “Scene Selection,” where actors explain some of their past roles. Grant would talk about his character, William Thacker, from Notting Hill. Grant humorously says,
Whenever I’m flicking the channels at home after a few drinks and this comes up, I just think, ‘Why doesn’t my character have any balls?’ There’s a scene in this film where she’s in my house and the paps come to the front door and ring the bell and I think I just let her go past me and open the door. That’s awful.”
In the film, Grant plays a bookstore owner who forms a relationship with Julia Roberts’ character, who’s a famous movie star. The paparazzi and tabloids are set ablaze with this new romantic entanglement and both Grant and Roberts’ characters attempt to navigate the manic situation as they try to live a normal life seeing each other. He continued, “I’ve never had a girlfriend, or indeed now wife, who hasn’t said, ‘Why the hell didn’t you stop her? What’s wrong with you?’ And I don’t really have an answer to that — it’s how it was written. And I think he’s despicable, really.”
Grant returns for Bridget Jones: Mad About the Boy, where Bridget is alone once again, widowed four years ago, when Mark (Oscar winner Colin Firth) was killed on a humanitarian mission in the Sudan. She’s now a single mother to 9-year-old Billy and 4-year-old Mabel, and is stuck in a state of emotional limbo, raising her children with help from her loyal friends and even her former lover, Daniel Cleaver (Grant).
Despite a recent spate of successful games-to-screen transitions—such as Fallout, The Super Mario Bros. Movie, and Arcane—publisher Ubisoft continues its endless run of cinematic misfortune. The latest blow comes in the form of the long-planned Splinter Cell movie, which is now not going to happen.
Despite a recent spate of successful games-to-screen transitions—such as Fallout, The Super Mario Bros. Movie, and Arcane—publisher Ubisoft continues its endless run of cinematic misfortune. The latest blow comes in the form of the long-planned Splinter Cell movie, which is now not going to happen.
