Two words: Peanut butter. If I remember anything about what went down at the Archer: Danger Island panel at New York Comic Con Saturday evening, it’s that Lucky Yates (Dr. Krieger) was taught how to poop at age 3, when he opened the refrigerator, spied a jar of peanut butter and…success!
This story, shared by Yates himself, set the tone for what would become a delightfully random panel conversation between actors and apparent friends Aisha Tyler, Amber Nash, and Lucky Yates along with writer Casey Willis and director Bryan Fordney about their hit animated FX series held at the Hammerstein Ballroom in front of a packed audience that extended all the way down the street. While the crowd found this entertaining, the talk focused on the show, which will be celebrating its 9th season premiere early next year. And we got a chance to watch it.
Find out more from the Archer season 9 NYCC panel below. Read More »
“We are in competition with the news,” Charlie Brooker, writer/creator/executive producer of the Netflix series Black Mirror, addressed the uncomfortable truth about the drama’s darkest themes Saturday night at New York Comic Con in front of a standing room-only audience.
I always thought it was funny when folks would remark on how far the dystopia would go on the show. To which I would always respond, “This is not unlike the world we live in.” So, I was happy to hear that Brooker agreed that some of the show’s most disturbing plot lines come from reality itself.
Find out more from the Black Mirror season 4 NYCC panel below. Read More »
You know you’re about to see something crazy when Bruce Campbell comes out on stage wearing a Hugh Hefner-like pimp suit. That was just the first of many amazing surprises in store for us at the Ash vs Evil Dead panel Saturday afternoon at New York Comic-Con.
There was already an air of anticipation in the Hammerstein Ballroom in the moments leading up to the cast’s entrance on stage. But luckily we didn’t have to stare at a blank screen or listen to a hype man try to pump up the crowd. On the screen in an endless loop was a vintage clip of a bobcat mascot in a high school hallway staring menacingly at the camera from a distance. Then in the next moment, there’s a jump cut with the mascot much closer to the camera. This time it had blood streaming from its eye sockets. Just like that, the audience was hooked. And it wasn’t even time for the panel yet. This was idle time!
Find out what happened during the Ash vs Evil Dead season 3 NYCC panel below. Read More »
After starring in one of the biggest blockbusters ever, Star Wars: The Force Awakens, and headlining one of the most eagerly anticipated films of 2018, Pacific Rim Uprising, you’d think John Boyega would be comfortable with idea of being called a sci-fi icon by now. But as evidenced during the latter sci-fi sequel’s panel at New York Comic-Con on Friday, he still remains remarkably humble.
Find out what John Boyega and more had to say during the Pacific Rim Uprising NYCC panel. Read More »
How many times can we see the Frankenstein concept of bringing back dead people play out on the big screen, you ask? Short answer: countless times. Keanu Reeves is starring in Replicas, the latest in a long line of films, mostly told from a male perspective mind you, which tampers with death and recreation. If you haven’t seen it already.
I have nothing against films that explore the idea of cloning. Though, I think BBC America’s small screen gem Orphan Black did an exceptional job taking on themes of feminism, sisterhood, and the politics of science.
But according to Reeves, Replicas is more about how man manipulates nature for his own selfish needs, which makes me significantly less excited about it. “There’s an idea of control, an impulse to create and manifest. This film is having a conversation with that.”
Find out more about what unfolded during the Replicas NYCC panel below. Read More »
(Welcome to The Soapbox, the space where we get loud, feisty, political, and opinionated about anything and everything. In this edition: Hollywood’s diversity reports are meaningless if no one actually does anything with that information.)
Can we have a real conversation for a moment?
You know how every so often Hollywood likes to release a “survey” or a “study” that “reveals” there is a dismal percentage of women filmmakers assigned to new projects? Or that people of color make up a fraction of everyone else in the writing room? Or even that — surprise! — studies show that diverse casts actually do perform well in both domestic and international box offices. We all react to the news like it’s something we haven’t heard before and been talking about for at least the past decade, rehash our gripes, and then…nothing comes as a result of the discussion. How long is Hollywood going to conduct these frivolous tests and do literally nothing about the problem?
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Claws is a little crazy. But in the best way possible.
TNT’s new hit series (which recently got picked up for a second season!), highlighting a crew of scandalous and potent women nail technicians, is far more delicious than it should ever be. In fact, it’s downright criminal. Literally.
The always well-worth-your-money-and-time Niecy Nash is at the center of this dramedy that is best described as a Florida-based Sex and the City, if the Sex and the City women were also low-key criminals whose nails were always on point and could swiftly break out in a perfect, unrehearsed dance number if the moment calls for it. Sure, these ladies on Claws are a little rough around the edges (you never know what’s going to come out of their mouths next). But they can code switch and turn off the sass just as quickly as you can say, “Sugar, please.”
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I’m not what you would call a fan of wrestling. The idea of people so obviously pretend-fighting in a ring in such dramatic fashion just seems so very silly. And bro-y. Not even Mickey Rourke’s dramatic comeback in The Wrestler, which illuminated the heart and camaraderie of the sport, made me change my mind about it. So when the buzz started rolling in about Glow, the new Netflix series highlighting a makeshift all-women wrestling crew, my eyes instantly rolled to the back of my head.
I had just assumed that this newest iteration of a wrestling narrative would surely feature women in skimpy duds, flashing score cards for the “real” wrestlers, the men, in the ring. But no, Glow is actually legit. It centers women and gives them agency where you least expect it. In fact, the men are actually the supporting players in this story.
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(In our Spoiler Reviews, we take a deep dive into a new release and get to the heart of what makes it tick…and every story point is up for discussion. In this entry: season 5 of Netflix’s flagship series House of Cards.)
Can we take a minute to bow down to Robin Wright? The Oscar-nominated actress was last seen as Antiope on the big screen annihilating a bunch of angry male villains donning a big ole smile and golden warrior gear like a badass in Wonder Woman. Though she was only in the movie (which, in case you haven’t heard, is now the biggest blockbuster from a woman director ever) for a few memorable scenes, her presence encapsulates everything that movie represents: strength, femininity, and command.
The same can be said of Wright’s performance in season 5 of House of Cards, now streaming on Netflix.
Spoilers begin right here.
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(Welcome to The Soapbox, the space where we get loud, feisty, and opinionated about something that makes us very happy…or fills us with indescribable rage. In this edition: will the existence of Wonder Woman count as a victory for all female filmmakers and fans…or just some of them?)
We’re less than a week away from one of the most important theatrical releases this year, Wonder Woman, and the excitement for it just shows the staggering level of dedication for the decades-old brand and the power of women audiences. But not just women audiences; male viewers who can’t resist watching comic book narratives on the big screen, and powerful, scantily clad women characters they can never get. I guess that’s what studios mean when they say that it’s got something for everyone.
Like most women-led movies, of the superhero persuasion or otherwise, there’s an urgency around the film. Gal Gadot will solidify her status as a bonafide action star after this, and Patty Jenkins has bragging rights for being the first woman director to helm a superhero film since Lexi Alexander directed Punisher: War Zone almost 10 years ago. The rhetoric is if we don’t support this achievement with our dollars, we may never see another women-centric film ever again. Jenkins will be forced to go on a 12-year “hiatus” from the industry, and Gadot may have to find a way to get her character from the Fast and Furious movies resurrected from the dead (which isn’t so unusual for that franchise). Basically, the stakes are high. It is women who’ve been leading this Wonder Woman march, demanding all of our support and activism around it. I, along with many other women from various walks of life, am more than eager to pick up our gear and step in line. Because, as we’ve been told countless times, a win for one woman is a win for all of us. Right?
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