duplass brothers marvel movie

Mark and Jay Duplass have collaborated on shorts, feature films, television, and, by their account, some cheap childhood remakes of The Blob. (They just threw a beanbag down the stairs.) But they’ve crossed into an entirely new medium with their latest effort: a book, called Like Brothers.

Like Brothers is part memoir, part practical filmmaking guide, part soul-searching about The Karate Kid Part II. Flip to one page and you’ll get sincere advice on how to buy a camera when you’re flat broke. Flip to another and you’ll read a vivid recollection of Jay breaking the news about Santa to tiny Mark. Although it bounces between real-life moments and abstract musings, the book carries the distinctive Duplass voice throughout, making it an appropriate addition to their rapidly expanding resume.

As the book drops this week, Mark took some time to chat with us about auteurs, iPhones, and the longest partnership of his life.

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Rodgers and Hammerstein Movies

Over the course of their careers, Richard Rodgers and Oscar Hammerstein wrote hundreds of songs. They created Oklahoma!, Carousel, The King and I, South Pacific, and The Sound of Music — and in the process, they revolutionized musicals as we knew them.

In the new book Something Wonderful, Todd S. Purdum examines the pair’s prolific work on the stage, following them from their separate early careers through their partnership and death. But he also looks behind the scenes at the movie adaptations of their work, which employed daring new technology and shattered box office records. They also, arguably, contributed to the demise of the film musical in the 1960s. And it all began with a less than auspicious introduction to Hollywood.

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NBC executives likely breathed a sigh of relief when the ratings for Jesus Christ Superstar posted. The network’s latest live musical event attracted 9.6 million viewers, giving NBC its most-watched Easter Sunday in 12 years. Jesus Christ Superstar also got some nice notices in the press, earning praise for its cast and stark staging on a graffitied warehouse set. It’s just the good news that NBC, and live musicals as a whole, need. Because the last few efforts have been a decidedly mixed bag.

Ever since NBC revived the live TV musical format, it’s been working to get the genre down to a science, and it’s not alone. Competing networks have also gotten in on the act. Fox has been airing its own musicals since 2016, and will debut a live version of Rent in 2019. But dwindling ratings have scared some off the scent. NBC’s next venture, Bye Bye Birdie, has been postponed repeatedly, while ABC has shelved its Little Mermaid indefinitely. If live musicals are to continue, the networks will need to pump out more critical and commercial hits — and luckily, the previous specials offer some clues.

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How ‘Jessica Jones’ Uses Words as Weapons

jessica jones season 2

In its second season, Jessica Jones has gotten angrier and messier. Through its exploration of Jessica’s tragic past, the show has remained an unflinching look at trauma and healing — how one gifted woman processes years of abuse, abandon, and plain old misogyny.

Jessica uses multiple coping mechanisms to deal with this trauma, among them binge drinking and physical violence. But she also shields herself with words, often vulgar, cutting words. It’s tempting to read these caustic insults as a reflex, a defense Jessica has forgotten she even puts up to keep people from getting too close. Yet her use of and reaction to language is quite intentional, and it’s part of what makes Jessica Jones such an interesting superhero.

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the room 4

The Room is many things. An endless well of internet memes. An absolute trainwreck of a film. But it’s also the most successful midnight movie of the modern era, the heir apparent to Rocky Horror Picture Show.

Since The Room debuted in 2003, it’s developed an intense fan following on the midnight movie circuit. There are dozens of callbacks and hundreds of spoons. Director/writer/star Tommy Wiseau makes frequent appearances at screenings. So does his co-star, Greg Sestero, who co-wrote the behind-the-scenes book, The Disaster Artist, that’s now a movie of its own.

But how exactly did The Room achieve this unique cult status? I spoke to managers and events directors at movie theaters across the country to piece together its rise. They shared stories of elaborate costumes, questionable callbacks, and the work that goes into hosting the most boisterous movie screening in town.

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the room screenings

A lot of people can’t understand why someone would want to watch a bad movie – even one that’s “so bad, it’s good.” Yet many bad movies find a completely intentional audience, several years after the fact.

Take Ed Wood. The filmmaker died obscure and broke in 1978. Now he’s a famous cult figure with an award-winning biopic to his name, whose movies are screened all over the world. The same thing is happening right now to Tommy Wiseau, the strange (French? Polish? Extraterrestrial?) director behind The Room. This film was laughed off the screen when it opened in 2003. But it’s since become a beloved midnight movie that inspired a hilarious tell-all book and now, a behind-the-scenes film with serious Oscar potential: The Disaster Artist.

Whether we’re talking about Plan 9 from Outer Space, The Room, or some other amazingly bad movie, there’s always one thing in common: young people. Young people have been instrumental in the success of all these reclaimed trash masterpieces. This is no accident. Young people are the perfect audience for bad films, for several reasons. The most basic is that college students have a great time watching these movies with their friends and a whole lot of alcohol. Some like to hone their most creative insults on these failed works, treating it like a witty bloodsport. But there’s also an odd sincerity to this interest in bad movies, one that keeps young people coming back to poorly edited, horribly acted, and barely scripted films again and again.

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The Graduate 50th anniversary

When The Graduate opened in theaters on December 22, 1967, it was quickly branded a generation-defining movie. Twentysomething audiences responded rapturously to the movie’s portrayal of postgrad malaise and uncertainty, as well as its firm rejection of their parents’ suburban ambitions. (Why get married and get a job in “plastics” when you can run out of the wedding chapel and onto a school bus heading literally anywhere else?) The Graduate became a surprise box office blockbuster that year and launched the career of its young star, Dustin Hoffman.

But baby boomers weren’t the only ones to claim Benjamin Braddock as their own. The Graduate director Mike Nichols and screenwriter Buck Henry identified with Ben, even though they were approaching 40. Gen X and millennial moviegoers have also connected with the story in subsequent decades, lending the 50-year-old movie a certain timelessness. How has The Graduate managed to speak to so many people? In the new book Seduced by Mrs. Robinson, author Beverly Gray argues that The Graduate achieved this universal, classic status by deliberately avoiding a major topic of its era: the turbulent politics of the late 1960s.

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Room 104 Season Finale Review

(Each week, we’ll kick off discussion about Room 104 by answering one simple question: what’s the strangest thing in Room 104?)

Room 104 finishes its first season with a sentimental love story starring a long-married elderly couple. Charlie and Lorraine have a long history with Room 104, dating back to their wedding night a half century ago. Their latest visit ends up serving as a neat bookend to their saga. “My Love” isn’t a surreal or shocking finale, and that sadly that seems to be par for the course for Room 104, an experiment that started out strong only to get less and less compelling as the season wore on.

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Room 104 The Fight Review

(Each week, we’ll kick off discussion about Room 104 by answering one simple question: what’s the strangest thing in Room 104?)

“The Fight” reimagines Room 104 as something more than a place for trysts or cash-strapped travelers. This time, it’s an MMA arena. Two fighters are staying in the motel ahead of their big match the next night. They decide to team up, throw the fight, and get paid. But pride gets in the way. The actual fight starts in their motel room that same night. The episode lives up to its name with some brutal, bruising fight sequences. Both opponents know that it’s in their best interest to save the uppercuts for the next day. But they just can’t stop.

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Cool Posts From Around the Web:

 Room 104 Red Tent review

(Each week, we’ll kick off discussion about Room 104 by answering one simple question: what’s the strangest thing in Room 104?)

It took almost a full season, but Room 104 has delivered its Trump episode. While his name is never mentioned, the specter of Donald Trump hangs heavy over “Red Tent.” He’s present in the unseen, inflammatory politician who tells it like it is. He’s there as a prospective voter gripes about immigration, NAFTA, and gay marriage. Trump is the implicit theme of an episode that also spends a great deal of time on Adolf Hitler. These are exhausting topics, but “Red Tent” handles them deftly through a nuanced discussion between an AC repairman and an aspiring terrorist.

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