We’re in the final days of 2024, a chance to look back and assess the year that was. What were the highs and lows, the disappointments that left us bereft and the surprises that reignited our love for games? And, importantly, how did Sony, Microsoft, and Nintendo navigate this awkward period in which all of their…
Olivia Hussey, who left an indelible mark on cinema and television through diverse works ranging from Romeo and Juliet to Black Christmas to Jesus of Nazareth has passed away. She was 73.
Olivia Hussey garnered widespread acclaim and a Golden Globe for Most Promising Newcomer for portraying the titular Capulet in what is considered one of the best Shakespeare adaptations, 1968’s Romeo and Juliet. But she soon found a home in genre and horror movies, landing the lead role in Bob Clark’s slasher classic Black Christmas. It was here that Hussey played Jess Bradford, who would actually be one of the earliest examples of the “final girl”, paving the way for the likes of Halloween’s Laurie Strode, A Nightmare on Elm Street’s Nancy Thompson, Scream’s Sidney Prescott, and countless others.
A post on Hussey’s official Instagram account reads, in part: “It is with profound sadness that we announce the passing of Olivia Hussey Eisley, who went peacefully at home surrounded by her loved ones on December 27th. Olivia was a remarkable person whose warmth, wisdom, and pure kindness touched the lives of all who knew her. Born on April 17th, 1951 in Buenos Aires, Argentina. Olivia lived a life full of passion, love, and dedication to the arts, spirituality, and kindness towards animals…As we grieve this immense loss, we also celebrate Olivia’s enduring impact on our lives and the industry. We thank you for your thoughts and prayers during this difficult time and ask for privacy as we mourn the loss of a truly special soul.”
Other key credits throughout the ‘70s for Olivia Hussey include The Summertime Killer and The Cat and the Canary and miniseries Jesus of Nazareth, in which she played Mary. While her ‘80s output was fairly limited, genre fans remember her kicking off her ‘90s as Norma Bates in Psycho IV: The Beginning and Audra in It. Later in her career, Olivia Hussey would voice Talia al Ghul for a one-off on Batman Beyond, earning an Annie nomination.
Just a few years ago, Olivia Hussey stated in an interview, “You really never know how long you’ve got. You have to enjoy every moment really. You have to live in the now, which is hard I know. It’s easier said than done. But that’s really all we have, isn’t it?”
What is your favorite Olivia Hussey performance? Leave your pick and condolences for the actress in the comments section.
The post Olivia Hussey, Black Christmas and Romeo & Juliet star, dies appeared first on JoBlo.
On December 26, Microsoft confirmed that its Game Pass cloud streaming platform wasn’t working as expected. Over 24 hours later, many players are still complaining about long waits and disconnects. This outage comes at a time when Microsoft has been pushing a new marketing slogan that claims everything connected to…
On December 26, Microsoft confirmed that its Game Pass cloud streaming platform wasn’t working as expected. Over 24 hours later, many players are still complaining about long waits and disconnects. This outage comes at a time when Microsoft has been pushing a new marketing slogan that claims everything connected to…
When Disney goes in on a project, they go all in, especially if it involves one of the most lucrative properties ever. Take the budgets they put on their Star Wars endeavors and you get a good idea of what we’re talking about here. Remember, Disney’s Andor has had a total budget of $645 million to date. But should this matter or is it just part of how business is done now when their faith falls in place?
That nearly $650 million budget for Andor is enough to easily double even some of the most recent Star Wars movies from Disney. With that, it’s by far the most expensive Star Wars project ever. And while we can’t overlook other insanely pricey TV shows from Disney+, that sort of number is still practically unfathomable when it comes down to it.
And with something like The Acolyte, we’re not exactly talking small bucks there, either. With that, the first — and inevitably final — season of The Acolyte was budgeted around $230 million by most accounts, further making us wonder exactly what’s going on with such budgets and where the cutoff is for the studio. Really, let’s just cut through it and go to the one word that matters most: quality. As Disney Entertainment co-chair Andy Bergman put it, The Acolyte just “wasn’t where we needed it to be given the cost structure of that title, quite frankly, to go and make a season two. So that’s the reason why we didn’t do that.”
Season two of Andor is set at around a $290 million budget, which of course sets its own level of expectations. This sophomore outing is obviously being hyped by those involved but only time will truly tell if not only the quality holds but if the budget ends up being worth it. For what it’s worth in its own regard, the first season of Andor had a 96% critics score on Rotten Tomatoes and an 87% from audiences.
There’s definitely an argument to be made for either side on whether or not Disney should be shelling out so much for a streaming series like Andor, but hey, if they want to spend a portion of their $200 billion giving us quality Star Wars, so be it.
Do you think the budget of Andor is justified or should Disney redirect their priorities?
The post Why is Disney putting so much money into Andor? appeared first on JoBlo.
There are only two episodes left in Marvel’s animated anthology series What If…?, and one of the multiverse’s most disgruntled employees is finally getting reprimanded by upper management. In the third-to-last episode of the series, Uatu, better known as The Watcher, was visited by three other Watchers—The Eminence,…
There are only two episodes left in Marvel’s animated anthology series What If…?, and one of the multiverse’s most disgruntled employees is finally getting reprimanded by upper management. In the third-to-last episode of the series, Uatu, better known as The Watcher, was visited by three other Watchers—The Eminence,…
Finding out how to get Units in Marvel Rivals is a surprisingly difficult task. The game doesn’t outright tell you how to earn them anywhere. And, when you do earn them, it’s hard to tell where they’re coming from. However, this galactic currency will be very important in-game.
Finding out how to get Units in Marvel Rivals is a surprisingly difficult task. The game doesn’t outright tell you how to earn them anywhere. And, when you do earn them, it’s hard to tell where they’re coming from. However, this galactic currency will be very important in-game.
Mel Brooks inspired a generation of filmmakers and their hits, but one you might not have anticipated was Robert Eggers. That’s right, the man behind The Witch and The Lighthouse was directly influenced by one terrible Brooks comedy.
We know that Robert Eggers does a lot of research for his films, and certainly Nosferatu was no different. And since it had been brewing in his head and was even planned to be his second film, he had a lot of time to do so on Nosferatu. But oddly enough, one of the movies he included in his rotation of Nosferatu exploration was Mel Brooks’ 1995 spoof Dracula: Dead and Loving It, widely considered one of the comedy genius’ worst. “There are a lot of scenes that were deliberately rewritten after watching the Mel Brooks movie, and considering, ‘Wow, that totally doesn’t make sense.’” But we really know he’s talking about the entirety of Dracula: Dead and Loving It…
Outside of that flop, Robert Eggers was digging back even to his youth when he first became fascinated by myths and staples surrounding vampires. “Vampire cinema is so prolific that we have all these tropes and rules that we think we know that have been established, and Anne Rice refined them further. [While] trying to understand the origins of the vampire myth and understanding folk vampires, I had to forget everything that I had learned. I read [Bram Stoker’s] ‘Dracula’ at least five times as a young person, and then realized that I had infused it with things from vampire movies that aren’t in the book, [that] I thought were there.”
However, Robert Eggers is anticipating that his version not only of the vampire film but the Nosferatu story – first brought to screen more than a century ago and most notably redone by Werner Herzog – is one that is truly original despite its influences. In short, don’t expect to see Count Orlok sinking his teeth into any necks or stakes going through the heart. Instead, we’ll be seeing blood being sucked from the chest and stakes in the naval.
Nosferatu opens on December 25th.
Will you be seeing Robert Eggers’ Nosferatu on opening weekend?
The post Robert Eggers took Nosferatu inspiration from Mel Brooks’ Dracula: Dead and Loving It appeared first on JoBlo.