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Every Clue We Can Find – /Film


The trailer for season 2 of Star Trek: Picard dropped yesterday, and there’s some Q-filled alternative timeline action going on. This brisk trailer packs in a lot. In addition to our first glimpse of John de Lancie reprising his role as Q, everyone’s favorite powerful, god-like entity, we get a confused Jean-Luc Picard (Patrick Stewart), a de-Borged Seven of Nine (Jeri Ryan), and lots of other things to speculate about.

As Picard says right at the beginning: “What the hell is happening here?” A whole hell of a lot, Jean-Luc. Read on for a breakdown of the first Star Trek: Picard season 2 trailer.

Mon Capitane, how I’ve missed you.”

De Lancie’s Q says the above to Picard with a mischievous grin. Picard is less than thrilled to see Q, and who could blame him; the entity has been a nuisance to Jean-Luc and the rest of the Federation since The Next Generation. He could also be miffed because Q said he looked old, which is very rude, even for a seemingly all-powerful being. (Speaking of, Q has aged a bit as well, so he’s one to talk.)

Who’s the Boss? Picard is.

We then see Picard, in uniform, at Starfleet Command. This is confusing at first because, in season 1, he was officially retired. He looks anything but retired here — he’s very much in charge standing at that podium and addressing his colleagues. Is this a flashback? Or did Picard go back into service? Or is there something timey wimey going on?

Ranks and Privileges

A close-up of Q’s favorite captain reveals that Picard is well above that rank in this image. The eight dots on his turtleneck suggest he’s at least an admiral, which was his rank when he retired. Given his position behind the Very Important Podium, however, it’s not a stretch to think he’s Starfleet’s head honcho. The Starfleet badge on his chest is also a different design from what we saw in the first season, which is another clue that multiversal things may be happening.

“Welcome my friend,” Q says to Picard, “to the end of the road not taken.” This is the first major clue that this timeline isn’t the one we’re familiar with, all but confirming that this version of Picard is not the one we saw in season 1.

The Road Not Taken Looks Very, Very Serious

Things are different for Raffi (Michelle Hurd) as well. We get a quick shot of her looking on the lam with an unknown long-haired dude in what looks like a set from Blade Runner.

Romulans! Worried!

We also get a quick shot of Laris (Orla Brady) Picard’s Romulan friend and employee. She looks very shocked and concerned. About what, only Q knows.

Soji in the Hottest Space Fashions

Data’s “child” Soji (Isa Briones) gets her own quick shot. We see her sporting a kickass caped pantsuit, a sci-fi fashion choice (see Tessa Thompson in Westworld) that I desperately hope makes it to our timeline. Soji (or maybe it’s her sister, Dahj?) is looking serious by a fountain, as one does. A close-up shot also reveals two pins: one is two linked circles, an obvious reference to the necklace she and her sister wore in season 1. The second is a blue-filled circle — maybe it represents Earth, where she seems to be residing now?

Return of the Murder Doctor

We also get a close-up of that murderous doctor, Agnes (Alison Pill) looking more than a little bit murder-inclined.

“Time has been broken.”

That’s what an unknown voice tells us, and it sure seems so! Rios (Santiago Cabrera) is apparently back in Starfleet (or some weird offshoot or version of it) and none too happy.

Hmm…

Or is he? His badge has a definite Starfleet shape, but looks more like a spearhead than other designs we’ve seen. It also has what looks like a cross in its center, suggesting that this Starfleet isn’t our prime timeline’s Starfleet and/or it’s something else entirely.

“We can save the future, and I will get us home, together.”

That’s what Picard promises, at least, before we get to arguably the most exciting part of the trailer: Seven of Nine. She wakes up startled in bed, her hand strategically placed over half her face.

What is That Thing?

Seven stumbles out of bed, clearly confused. As we follow her, we get a close-up image of an insignia: a crescent moon overlayed with a four-pointed star that doesn’t not look like an upside down cross. What this references is pure speculation at this point — Rios’ badge looks like a mashup of this badge and the Starfleet one we’re used to. Maybe Seven is in the “past” (AKA our present), as the Picard poster highlighting current day Los Angeles suggests? If that’s the case, this insignia may be the precursor of the one we see on Rios. Or maybe it’s an alternative timeline take on the Borg insignia? That makes less sense, however, given what we see next.

Seven has no Borg hardware! Which means we should probably call her Annika Hansen instead, since in this timeline she’s never been assimilated. Her confusion about being Borgless also shows that at least some of the Picard crew (Rios also seemed similarly confused) have memories of their old lives. Picard is promising to get them all back to the OG timeline, but will Seven/Annika want to go back? There, she will have to go through the pain and horror of being assimilated and living under Borg control for decades. It’d be understandable if she didn’t want to do that — what will that mean, however, for Picard and the rest? It will be exciting to see it play out, though we’ll have to wait, in this timeline at least, until next year to find out.

Season 2 of Star Trek: Picard will stream on Paramount+ sometime in 2022.

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Natalie Okri sings Alicia Key's No One – Britain's Got Talent – Show 6

Britain’s Got Talent: Natalie just loves to sing – but this isn’t just any little girl singing – she actually has talent!

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Netflix Drama Series Grand Army Canceled After One Season


Grand Army Trailer: Five Students, Five Stories, One Fight for Their Future

Netflix has officially canceled the drama series Grand Army after just one season, according to a report from Deadline. 

RELATED: Netflix’s Fear Street Trilogy: R.L. Stine Adaptations Receive R-Rating

The series, which was loosely based on Katie Cappiello’s 2013 play Slut, revolved around five students at one of the largest public high schools in Brooklyn, New York. The series explored the students as they strived to succeed, survive, wild out, and break free in a chaotic world around them. 

Grand Army was first described as a ride-along with the generation shaping our future. Set in Brooklyn, the series centers around five students of the titular public high school as they wrestle with sexual, racial, and economic politics and fight to succeed, strive, wild out, break free and become somebody.

The series stars Odessa A’zion as Joey Del Marco, Maliq Johnson as Jayson Jackson, Amalia Yoo as Leila Kwan Zimmer, Amir Bageria as Siddharth Pakam, and Odley Jean as Dominique Pierre.

RELATED: Robin Robin Teaser Previews Netflix’s New Stop-Motion Animated Pic

Grand Army is created and executive produced by Katie Cappiello. It is also executive produced by Joshua Donen, Beau Willimon, Jordan Tappis, and Nicolette Donen. The 10-episode series launched on the streamer on October 16, 2020.





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Michael Caine & Lena Headey head up an artful heist in new trailer


Strap on your running shoes and get ready for some hardcore parkour thanks to Lionsgate’s new trailer for Twist. Inspired by Charles Dickens’s iconic novel Oliver Twist, this action-fueled crime-thriller set in contemporary London follows the journey of Twist (Raff Law), a gifted graffiti artist trying to find his way after the loss of his mother. Lured into a street gang headed by the paternal Fagin (Michael Caine), Twist is attracted to the lifestyle — and Red (Sophie Simnett), an alluring member of Fagin’s crew. But when an art theft goes wrong, Twist’s moral code is tested as he’s caught between Fagin, the police, and a loose-cannon enforcer (Lena Headey).

Directed by Martin Owen (The Intergalactic Adventures of Max CloudKillers Anonymous) from a script written by John Wrathall (The Liability) and Sally Collett (The Intergalactic Adventures of Max Cloud), Twist is a heist film with attitude, style, and plenty of gorgeous graffiti art.

Starring Michael Caine, Rita Ora, Noel Clarke, Sophie Simnett, Jason Maza, Franz Drameh, David Walliams, and Lena Headey, Twist introduces Raff Law as the film’s title character.

I’m all up for unique takes on classic tales, and Twist looks like it could be 90 minutes of clever, fun, and quirky caper. Let’s grab a can of spraypaint and piss off our local law enforcement, shall we?

Twist arrives in theaters, on Digital, and On Demand on July 30, 2021.





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Experience Questlove’s Revolutionary Music Doc in Theaters This July



Questlove, master musician, professor of ‘Classic Albums’ at NYU, leader of the Roots and “moonlighting” master of the soundtrack to Late Night with Jimmy Fallon has just added feature director with his groundbreaking documentary Summer of Soul shining a spotlight on six weeks in the summer of 1969, just one hundred miles south of Woodstock. The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park).

This never-before-seen footage presents a parallel of history being made in a time of unrest, radical change, and a crusade for equality. The film includes concert performances by Stevie Wonder, Nina Simone, Sly and the Family Stone, Gladys Knight and the Pips, Mahalia Jackson, B.B. King, The 5th Dimension and more. The glimpse the trailer gives us makes you want to get up and join in the moves and the movement.

RELATED: Questlove’s Summer of Soul Trailer Showcases the Legendary 1969 Harlem Cultural Festival

Questlove, known for his encyclopedic knowledge of music history, had never heard of the event and when approached by producers Robert Fyvolent and David Dinerstein says, “I thought these two were trying to gas me up for some Jimmy Fallon tickets.” When he was presented with the footage, he knew he had to exhibit this profoundly important cultural moment that had been almost entirely lost to history. “The festival was a way to offset the pain we all felt after MLK,” says Rev. Jesse Jackson, who spoke at the festival. “The artists tried to express the tensions of the time, a fierce pain and a fierce joy.”

The events starting in 1967, started by local organizer Tony Lawrence, was initially planned to be series of free, weekly, Sunday-afternoon concerts in Harlem’s Mount Morris Park with the support of the New York City Parks Department. By 1969, top 10 A-listers were performing to upwards of 50,000 people joining a celebration of a new culture, of a healing, and a sea change. Hal Tulchin, a local television director, filmed the concerts with a professional crew, but the footage would end up sitting in his basement in suburban Westchester for nearly 50 years. “Not only was the footage forgotten, it was overlooked,” says Sasha Tulchin, Hal’s daughter. “It wasn’t wanted, and then it was forgotten.”

“I thought this was going to be a quiet little arthouse film,” says Questlove. After signing on as director and after sifting through 45 hours of footage, he goes onto say, “My television was like an aquarium.” What propelled him? “The number one question I had was, “Who wouldn’t want to see this?” he says. “Why wasn’t this written about? Who would throw this away?”

What started out as a musical history being told through footage unearthed in 2017 became a nuanced meshing of our past and our present. Artists tell their stories of the festival and of their present. The narrative had to be changed from our 2017 lense to reflect our 2021 reality. This labor of love, this resurrection of untold and forgotten record has been earnestly and passionately pieced together for generations of the past and those to come. “This was supposed to come out 50 years ago, and I was supposed to see this movie as a four-year-old,” he says. These quotes came Rolling Stone.

“When Woodstock came out, the movie made household names out of every artist who appeared in the film. The legend of that concert wound up subsequently defining a generation…. And so, as a result, when you think of the late Sixties, you think of hippies, mud, free love, Hendrix, all of those things.” Questlove, however, has given us an essential appendage to our definition of the summer of love.



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Never Have I Ever Season 2 Trailer Reveals Devi’s New Love Triangle


The new season will premiere July 15 on Netflix.


never-have-i-ever-season-2-social-featured

Netflix has released the first official trailer for Season 2 of its smash hit teen comedy series Never Have I Ever, created by Mindy Kaling and Lang Fisher and starring Maitreyi Ramakrishnan as high school student Devi Vishwakumar, who tries to navigate the world of romance, friendship, and personal grief with sometimes disastrously hilarious results.

This time around, it seems that Devi’s romantic efforts won’t necessarily be wrapped up in pining after Paxton, but figuring out how to navigate the possibility of a relationship with either one of the more popular boys in school or her academic rival Ben, who Devi shared a smooch with in the Season 1 finale. Meanwhile, could love also be in the air for Devi’s mom too?

never-have-i-ever-7

Image via Netflix

RELATED: ‘Never Have I Ever’ Season 2 Images Welcome Common to the Netflix Series

Never Have I Ever stars a charming ensemble cast, including Poorna Jagannathan as Devi’s mother Nalini, Richa Moorjani as cousin Kamala, Ramona Young and Lee Rodriguez as Devi’s two best friends Eleanor and Fabiola, Darren Barnet as Devi’s long-time high school crush Paxton, and Jaren Lewison as Devi’s personal nemesis Ben (who, as we saw at the end of Season 1, might not be such a nemesis after all). The series is narrated by professional tennis player John McEnroe.

Additional casting has also been announced for Season 2, including Tyler Alvarez as Malcom, Utkarsh Ambudkar as Mr. Kulkarni, P. J. Byrne as Evan, Megan Suri as Aneesa, and Common as Dr. Chris Jackson, a dermatologist who works with Devi’s mother and might also be a potential love interest for the widowed Nalini.

Season 2 of Never Have I Ever will consist of 10 episodes and premiere on July 15. Season 1 is now currently available to stream on Netflix. Watch the new second season trailer below:

KEEP READING: How Netflix’s ‘Never Have I Ever’ Subverts Teen Sex Tropes on TV


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‘Downton Abbey 2’ Filming Begins as First Set Photo Revealed

The Crawleys are back at it!

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The Woman (Vo Aurat) – A Housewife's Story | Hindi Short Film

A woman living with her child and a paralyzed husband, a bread earner of the family is released from her job because she refuses to compromise, in her …

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Horror Thriller Dollhouse Gains Emma Tammi as Director


Horror Thriller Dollhouse Gains Emma Tammi as Director

(Photo by Jean Baptiste Lacroix/Getty Images)

Emma Tammi has officially joined on to direct STXfilms’ upcoming horror thriller Dollhouse, according to a recent report from Deadline. 

RELATED: Selena Gomez, 21 Laps & STX Team for Horror-Thriller Dollhouse

The film, which is being written by Michael Paisley (The Witcher), is set in the world of the upper echelon of New York City’s fashion scene and is being described as a psychological thriller in the same spirit as Darren Aronofsky’s Oscar-winning Black Swan. The film will also star Selena Gomez, who was cast last year and is producing the film through her July Moon label as a starring vehicle.

“Selena’s involvement is an exciting direction for this project,” Adam Fogelson, STXfilms Motion Picture Group chairman, said in a statement at the time of Gomez’s casting. “She is supremely talented as both a star and a producer. Teaming Selena with Shawn and Dan’s expertise in the horror-thriller genre will elevate Dollhouse and we couldn’t be more thrilled by the way this is being developed.”

Tammi previously worked on IFC Midnight’s horror-thriller The Wind, and has also worked on various episodes of Hulu’s Into the Dark series. She also directed all ten episodes of the audio podcast The Left Right Game, which starred Tessa Thompson and has recently been acquired by Amazon to develop into a series. 

RELATED: National Champions Cast Adds Kristin Chenoweth, Lil Rel Howery & More

“Emma is one of the brightest up-and-coming directors in the genre,” said Adam Fogelson, chairman, STXfilms Motion Picture Group. “She has an incredible sense of story, pacing, and timing that is equally matched by her eye for unforgettable visuals. We love her take on this material and we’re thrilled to be developing it with her.”





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Playing with the Doc Format – /Film


Edgar Wright and Sparks Interview

This week brings Edgar Wright‘s first feature documentary to theaters. The Sparks Brothers is a comprehensive, amusing, and wonderful documentary about the influential pop rock duo known as Sparks. If that name isn’t familiar to you, don’t worry. This film will tell you everything you need to know about Sparks, along with things people think they know about Sparks. And when all is said and done, you might just be a new fan.

When The Sparks Brothers debuted at the Sundance Film Festival earlier this year, we sat down to talk with Edgar Wright and Sparks (aka Ron and Russell Mael) about having a 50-year music career boiled down to a 140-minute documentary, and playing with the traditional style of music documentaries. Plus, we talk about some of the fun “facts” that have been spread around about the duo over the decades and whether there might be another collaboration between them in the future.

Edgar, it’s great to see you venture into the documentary realm. As somebody who wasn’t familiar with Sparks, I especially liked seeing how your filmmaking sensibilities mesh with the musical style of Sparks. Though they take music seriously, there’s a comedic side to it there too. Similarly, you have a serious passion for cinema, but you also get cheeky with your approach to genres where it’s not quite parody but homage with purpose. Is that correlation something that drew you to making a movie about Sparks?

Edgar Wright: I mean, if the pull quote is Edgar Wright is the Sparks of film directors, I’m happy with that. I think, in a weird way, it’s funny, I think that became more apparent to me as I was making it. My knowledge of Sparks had started when I was five years old and in terms of just seeing them on a TV show and then later having a record and being, over the years, constantly sort of intrigued and beguiled. And then sort of continually left impressed. I was just dumbfounded that they seem to kind of go against the trajectory of any other band. And that was kind of fascinating to me. Ultimately what made me want to make the documentary is, I felt partly like an evangelist for their work and also because there were questions that I wanted answered as well.

When I approached the way of doing the documentary, I thought that it should be done in a Sparks style, which is with utter sincerity and yet still with this irreverent kind of perspective on it. I think that’s what’s great about Sparks, is that it’s done with utter sincerity. Then there’s also a sort of feeling that maybe they’re also commentating. Like Ron says in the film, he’s talking about Jean Luc Godard, who manages to sort of make movies and also comments on making movies at the same time. I think that’s very true of Sparks’ music. And I think it’s probably true of what I do as well. It’s sort of coming from a place of like, if there is any sort of pastiche or kind of like satiric approach to the material, it’s done out of complete admiration.

Yeah, absolutely. You can see that with little things throughout this documentary, such as when you’re identifying the people who you’re interviewing. In the lower third you list “Beck, see above.” And then labeling Nick Rhodes and John Taylor each as “Duran” and “Duran.” I love those extra touches.

Wright: To be honest, I’m just happy that Ron and Russell were okay with me calling them “older male” and “younger male.”

the sparks brothers clip

Ron and Russell, were there any hesitations about having a feature film made about you, diving into some of the things that have maybe been more mysterious about the Sparks over the years?

Ron: Previous to Edgar, we had huge hesitations. We have been approached in the past, and we always felt that it would be, I don’t know, in some ways too specific. We always felt that the music was speaking for what we were, in ways that are all the ways that we want to be seen. But, Edgar, we were familiar with all of his films and his sensibility. And when we first met him and [saw he is] just passionate about the band, we kind of dropped our guard, and we’re so pleased with the outcome. And knowing that this will be the only Sparks documentary is something really amazing to us.

Russell, there’s an interesting detail in here in the credits where it says you have uncredited roles in 27 animated movies. Is that true or is that something cheeky?

Russell: Oh, wow. Yeah, we need to figure out how we answer whether those are true or not. I think some of them are fantasy-like comments. So that one, it’s maybe not true.

See, again, that’s one of the things that I love about this documentary. You guys have so much fun with your story. Edgar, you just mentioned the Godard-kind of influence on the Sparks work and how it also translates to this film. Is that also why you chose to shoot the interviews in black and white?

Wright: Not specifically. Actually it was because I think a really iconic cover of a Sparks album is the cover for Big Beat from 1976 which is the Richard Avedon cover. Like a black and white photo. And so I kind of figured, I said to the [director of photography] Jake Polonsky, I said, “Oh, let’s just shoot all of the interviews like it’s the Big Beat cover, like it’s the Big Beat session.” So it was like Richard Avedon-style with the gray background.

Just to go back to what you were saying about [having fun with the material]. The idea of kind of the Sparks facts at the end [of the movie] is because through Ron and Russell’s career, and this is like in a pre-Internet age where you can get away with this kind of thing, there were various Sparks facts that were out there in the universe, which maybe weren’t entirely true.

Like one of the big ones being that Ron and Russell were actually Doris Day’s sons. A bit of like, sort of fiction put out by their publicists, which then kind of just, in a pre-Internet age, just goes around. And there’s people saying, “Oh, it’s you, hey it is Sparks! Doris Day sons!” So we figured, having pulled back the curtain to some extent on Sparks, the way to kind of recapture the enigma in the final seconds was to put out a whole bunch of other bullshit. [laughs]

Ron: The German lexicon actually lists my real name as Dwight Ronald Day.

Wright: Oh really, I didn’t know that!

Ron: Yeah. So you really have to be careful about those moments where you think it’s only one interview, and then it turns out to be your entire life in Germany.

Wright: Listen, Doris Day is no longer with us. So she can’t fact check it. So who’s to say it’s not true.

Ron: That’s right. There you go.

Russell: Start it up again, keep it going.

Edgar, how do you even embark on a documentary like this, with a band whose career spans 50 years? I can’t imagine how daunting of a task this is. How did you figure out how to approach this?

Wright: What’s great about this documentary, what was great for me, and what’s different from sort of a lot of other musical documentaries, is, for the most part, a lot of musical documentaries that you see are about bands that are no longer active. Sometimes the people are not alive. And you’re talking about something in the past tense. So the gift of this is obviously Ron and Russell are not only with, but also Sparks are very much a going concern, having just released their 25th album last year. Also, a lot of people who worked on the first album in 1971 are also still working. So to me, it was a no-brainer, beyond having access to Ron and Russell, to do an oral history.

And then it sort of became bigger as it went along, because there wasn’t anybody that I didn’t want to interview. Basically anybody that wants to talk about Sparks, I wanted to hear from them. Very quickly, once we announced we were doing it and started reaching out to people. It was very easy to get people on board. And it sort of speaks to Ron and Russell and their influences, and how beloved they are by their fans, even famous fans, that everybody wanted to talk about it. In some cases there were people that I knew were fans of Sparks, that were knowledgeable fans, like Steve Jones or Vince Clark, or like Duran Duran, John and Nick from Duran Duran.

There were other people that I just assumed were Sparks fans and more often than not, I was right. It’s like a thing where I could say to Neil Gaiman, “You like Sparks, right?” “Yes. I love Sparks.” Or to Mike Myers, “Hey, are you a Sparks fan?” “I love Sparks.” Or to Beck or to Flea. Or to Patton Oswalt or to Scott Auckerman. You can kind of just tell by people’s sensibilities in what they do, who may or may not be a Sparks fan. And I was very rarely wrong. So some of those things are just cold calls, like saying, “I’m doing a documentary about Sparks. I’m guessing you’re a Sparks fan.” And that was an amazing thing. I think Ron and Russell, as they can attest, were sort of blown away when they saw the finished thing, because quite a few of the talking heads in the movie, Ron and Russell have never met. Which is amazing. [speaking to Ron and Russell] I introduced you to Beck in the UK, which considering that you’re both from the LA scene, I found sort of amazing that you’d never met in person. So it was a pleasure to sort of connect the dots.

The Sparks Brothers Focus Features

Ron and Russell, what was the most surprising or gratifying thing to hear from some of these people that you hadn’t met before and then saw in the movie?

Ron: Well, the fact that they actually knew that we existed was something that was uplifting to us. We’ve crossed paths with different people where you say hello at the airport or something. But to actually know that people like Flea or Beck, that the music, in a certain measure, means something to them, it’s really inspiring to us. Because we do work pretty isolated from other musicians, and from other people, but from other musicians in particular. So to know that these people were not only moved by us in a certain way, but willing to speak about it – there have been things in the past were where we knew people knew about us and were influenced by us, but weren’t willing to actually say it. And Edgar was able to get all these people to actually open up and talk about it. So, just in an ego way and in an inspirational way, it really meant a lot to us.

Russell: I think also the variety of creative areas that all the people come from was something that was really a surprise, happily surprising to us too. It was not only musicians that Edgar contacted, but also writers. Neil Gaiman, we would never in a million years have thought, “Wow, Neil Gaiman not only likes Sparks but can speak articulately about lyrics and album covers of the band.” And television people like the Palladinos from Gilmore Girls. And actors like Mike Myers. It kind of did our heads in a bit knowing that these people from very creative areas were acknowledging the band in such a really great way. So it was pretty amazing.

So you had that unfortunate experience in Hollywood with a project that didn’t get off the ground, but thankfully you were able to work on another one recently with Annette coming out. Now that you’ve worked with Edgar, is there any chance youa might collaborate again on something other than this documentary in the future? Some kind of other movie or TV series maybe?

Ron: We’re listening,

[Everyone laughs]

Wright: Let’s just point out that, in the documentary, there’s a film with Jacques Tati in the seventies, which, if it had happened, would have obviously been amazing. Then also there’s the Tim Burton film in the eighties, Mai, the Psychic Girl. Then also, which we don’t cover other nearly-there projects with a Tsui Hark and Guy Madden. But it is worth pointing out, in 2021, after 50 years, there were two Sparks films in one year, because there’s our documentary and the Leos Carax film, Annette. So that’s pretty good going, so that you wait like five decades for a Sparks film, and then two come along at once. That’s not to say that we can do something else, a third one.

I know that you shot concert footage a couple years ago, back around when the project was first announced. Is there any thought of turning out a concert documentary, like showing off that whole performance?

Wright: That’s a good question, actually. I thought, once we release the documentary, sometime later this year, if we did a DVD or something, I do have an entire concert that I shot. Because the concept footage towards the end, from the Hippopotamus Tour, was the first thing we shot for the documentary. We shot an entire gig in London, which is great. So there is like a kind of 80-minute sort of concert, which I hope that we’ll do something with that, even if it’s just as an extra on the disc or as part of like a package on streaming or whatever. So there is something that is in the can.

What’s funny actually, I did have a thought when I was making it, because Ron and Russell are so prolific that they had a new album out last year. And I thought, “Oh, my documentary is going to seem out of date because they’re going to be touring the new album, and we won’t feature any of that stuff.” And then lock down happened. And as it turned out, I did film the last Sparks gig. Because the footage from Mexico, which is the first time that Sparks had ever played Mexico – you’d played as FFS with Franz Ferdinand, but never played in your own right. We happen to be there and shoot that footage. So I actually, weirdly, have the last pre-lockdown live footage of Sparks.

Last Night In Soho release date

Edgar, you’ve been very outspoken supporting cinemas during the pandemic. Last Night in Soho just got pushed back, and you’re still very much dedicated to releasing it in theaters. Can you talk a little bit about what it is about Last Night in Soho that you’re so excited for audiences to experience on a big screen in theaters in the fall?

Wright: I got quite a few emails from people saying like, “Oh, you must be so gutted that it’s got pushed again.” And I was like, “No, I was the one who suggested pushing it.” Because I’m a big supporter of cinemas. I just did a whole article with Empire with 40 other filmmakers talking about our personal experiences of the cinema. I felt that there had been a lot of doomy, pessimistic sort of articles about exhibition, usually written by people who A: have not been in the cinema with a paying audience for like 10 years. (And I don’t count premieres or festival screenings). And B: people who have vested interests in other sort of channels. And I think that is out there, an audience that loves seeing things on the big screen and love seeing things with other people. I was kind of annoyed that there was always the narrative that that was something of the past when you think, in 2019, even in early 2020, there were big box office hits, like massive box office hits.

So I am so dedicated to say, safely, obviously, I would love the vaccine to get around and things to return to normal. And aside from being a filmmaker, I will be one of those first audience members back. Having finished Last Night in Soho and done an amazing Dolby Vision, Dolby Atmos version, I’d like people to see this on the big screen or certainly have the option to see it on the big screen. So I’m very much a believer in the theatrical experience. I think having been in lockdown and watched maybe about 350 films in the last 12 months, I can conclusively say that I prefer watching things at the cinema.

Can we get an update on any of the many projects that you’ve been attached to?

Wright: I’d say with all of them, I’m in the process now of sort of writing and developing. In terms of what the next film is, that’s partly a practical question. Let me just say this: all the things I’m working on are all great projects. And so especially in this age that we live in, there’s sort of practical aspects to it as well. So I’m not entirely sure what the next one is, but they’re all great projects and I am getting back into them as we speak.

The Sparks Brothers arrives in theaters on June 18, 2021.

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Mike Myers Will Play 7 Characters in Netflix’s So I Married an Axe Murderer Spinoff The Pentaverate



Mike Myers will play no less than seven characters in his upcoming Netflix series The Pentaverate. Back in 2019, it was reported that Myers had set up the project at Netflix, personally spearheading the production in addition to starring in the series. A major update on The Pentaverate has revealed six new names that have been added to the cast, and with that news comes the revelation that Myers will be playing seven different roles.

“I love creating characters, and Netflix has given me a fantastic playground to play in,” Mike Myers said of the project while speaking with Variety in 2019.

In The Pentaverate, which is a half-hour series spanning six episodes, “five men have been working to influence world events for the greater good since the Black Plague of 1347. As the show begins, one unlikely Canadian journalist finds himself embroiled in a mission to uncover the truth and just possibly save the world himself.”

Per Variety, Myers will play seven new characters himself, but no information has been revealed about the different types of roles each of these will entail. The cast also will include Ken Jeong (Crazy Rich Asians, Community), Keegan-Michael Key (Key and Peele, The Prom), Debi Mazar (Goodfellas, Younger), Richard McCabe (The Audience, Eye in the Sky), Jennifer Saunders (Absolutely Fabulous, Death on the Nile), and Lydia West (Years and Years,It’s a Sin).

Something that’s rather interesting about The Pentaverate is that Myers’ character mentioned it in the 1993 movie So I Married an Axe Murderer. In that movie, Myers similarly played multiple roles, portraying both the lead character Charlie and his Scottish father Stuart. At one point, Stuart makes the crack that The Pentaverate is made up of “The Queen, The Vatican, The Gettys, The Rothschilds, and Colonel Sanders before he went tits up.”

Playing multiple roles in the same movie is something that’s been seen in other projects from Myers as well. Perhaps the most famous example is the classic 1997 comedy Austin Powers: International Man of Mystery. A James Bond parody, the movie saw Myers playing both the hero Austin Powers along with the primary villain, Dr. Evil. In the second installment of the comedy series, Myers also played a third character named Fat Bastard, and in the third movie, he also played the new villainous character Goldmember.

Other actors have undertaken similar endeavors. Eddie Murphy is very well known for playing multiple characters in one movie, such as in the comedies The Nutty Professor and Coming to America. He was given the opportunity to play a variety of characters again for the sequel Coming 2 America, which was released on Amazon Prime Video this year. Murphy’s co-star Arsenio Hall also played many different roles in both the original Coming to America and the sequel.

As for The Pentaverate, Myers created the series and serves as an executive producer. Tim Kirkby directs and also exec produces alongside John Lyons, Tony Hernandez, and Lilly Burns of Jax Media, as is Jason Weinberg. Not much else has been revealed about the series and a premiere date hasn’t yet been set. This news comes to us from Variety.



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