In 2012, a videotape of professional wrestler and handlebar mustache advocate Terry ‘Hulk Hogan’ Bollea engaged in sexual congress with one Heather Clem (estranged wife of radio shock jock Bubba the Love Sponge, in one of this story’s more surreal details) surfaced online. Looking to hold someone responsible for what he felt was a violation of privacy, Hogan moved to take legal action against both Clem and Gawker, the media aggregation web site that originally posted the tape in question. Florida’s state court turned into a battleground, not just between the Hulkster and one of the Internet’s trashier publications, but between the moneyed elite and the free press.
A celebrity ritual no less time-honored than the public callout, the public apology is a vital part of being and remaining famous. Think of it like an annual physical, but for your public profile: say something wild enough to grab some headlines and ensure that your name’s sticking in the population’s heads, let it sit for a short while, and once the time is right, issue a dignified apology to show humility and self-awareness. It’s a rich Hollywood tradition, and Elizabeth Banks is the latest personality to run this gauntlet. But when you come at the king, and most especially when that king is literal King of Hollywood Steven Spielberg, you best not miss.
Here’s how thoroughly Batman’s influence has permeated the mainstream: he’s claimed tacit ownership of the very notion of shining a light into the sky. The Bat-Signal, introduced in the comics as Gotham City’s method of summoning the Dark Knight, has been endlessly parodied in the annals of pop-culture — just earlier this month, the poster for Captain Underpants paid homage to the iconic (a word I mean here literally, and not in the ‘a photo of the Kardashians’ sense) design of the skyward spotlight. And all too appropriately, the Bat-Signal will now be used to give one former Batman, the dearly departed Adam West, a proper send-off.
It’s a tableau with which anyone who watches the news is all too familiar: police station, pair of white interrogators, terrified-looking black man. But it’s not from last night’s 10 o’clock broadcast — the year is 1967, and that’s Star Wars star John Boyega in the chair, fielding aggressive and leading questions from the stern officers. It’s a tense scene bordering on the sickening, and the trailer for Kathryn Bigelow’s supercharged period piece Detroit only get more brutal from there.
Do you wanna build a snowman... again? Disney sure hopes so, as they announced in a new press release today that their mega-successful Frozen would gain a sort of mini-sequel in an upcoming short to be bundled with Coco. But Olaf’s Frozen Adventure is no ordinary lead-in to the main event; it sounds like quite a bit has gone into the short that Disney repeatedly refers to as a “featurette,” running at 21 minutes and including four new songs, as well as returning cast members Josh Gad, Kristen Bell, Idina Menzel, and Jonathan Groff. Parents, batten down the hatches, for a new ‘Let It Go’ is close at hand.
Netflix has been notoriously secretive about their data, whether that’s subscription demographics or the all-important individual streaming figures for specific titles. Though they’ve grown into a major player in the world of entertainment, we really have no earthly idea whether Netflix is successful or not. (They almost definitely are, unless this is the single most brazen bluff in showbiz history.) The only knowledge we have of Netflix’s inner workings comes from the occasional missive issued by content head Ted Sarandos, who made one such announcement in a recent letter to shareholders. Among the financial jargon and quarterly earnings reports, Sarandos dropped the chilling detail that Netflix’s 100 million-strong user base has collectively streamed over 500 million hours of Adam Sandler movies since The Ridiculous Six opened. Today, ScreenCrush invites you to consider the brain-collapsing enormity of that number.
There‘s a new gay icon in Hollywood currently enjoying a moment of enhanced visibility. If you find Ellen too squeaky-clean, Neil Patrick Harris too eager-to-please, or Lance Bass too Lance Bass, then you’re in luck, because a new LGBT champion has emerged from the shadows to capture the hearts of millions. He’s here, he’s queer, and he wants to eat the child that cracked open his cursed pop-up book: good citizens of the Internet, the Babadook has burst out of the closet, and he’s hungry.
Between its premiere at the Cannes Film Festival in 2016 and its theatrical release last month, Laura Poitras’ WikiLeaks documentary Risk transformed into a different film. In that interim year, her subject Julian Assange nabbed quite a few headlines as he stuck his thumb in the 2016 Presidential election, and Poitras rightly believed she’d have to recut the film to account for all the new developments. And now, in a similar situation, another festival-feted nonfiction film has been made to rewrite its own story as real-world news breaks.
When the Cannes Film Festival descends on the French Rivieira, movie billboards and banners crop up all around the Croisette area to catch the attention of industry big shots in town. One such poster advertised a little film called Red Shoes and the Seven Dwarfs, a new animated project out of Korea in which Chloe Grace Moretz voices the apple-eater of note Snow White. But the passersby at the festival were none too pleased with the advertisement, see if you can guess why: it displays two Snow Whites, one thin and tall, the other shorter and a bit plumper. The tagline? “What if Snow White was no longer beautiful and the 7 Dwarfs not so short?”
Rick Moranis: the guy Woody Allen calls a nebbish, a nervously tittering lead of family films (he lit up millennial living rooms with his Honey, I... trilogy) and bluer comedic works (Ghostbusters, Little Shop of Horrors, Spaceballs) alike. He was everywhere in the ’80s, but took an eminently understandable hiatus from acting beginning in the ’90s after his wife Ann succumbed to breast cancer. He did a noble and difficult thing by focusing all his energies on dutifully raising his motherless children, turning his back on fame and his public. Though he’s still taken the occasional job — he gave his kids something to love by contributing voice work to Brother Bear — he’s shied away from highly visible gigs. Until now!
Watching the fanciful films of Studio Ghibli, it’s all too easy to imagine yourself transported to these far-off worlds of fantasy. The universe created by animation heads Hayao Miyazaki and Isao Takahata feel simultaneously cozy and adventurous, practically inviting you to take a ride on My Neighbor Totoro’s catbus, pig out at the enchanted buffet (pun intended) of Spirited Away, or goof around with the cute little forest spirits in Princess Mononoke. That dream has now inched closer to reality, as worthy competition emerges to rival the insane-sounding Avatar theme park that opened earlier this week.
Is Pixar losing their touch? They’re no longer the coolest animation house, having ceded some of that street cred to the international curators of GKids and the stop-motion prestidigitators at Laika. They’re not the most profitable, either, as their box office receipts are regularly dwarfed by the money factories erected by parent company Disney or Illumination. (Last year’s mega-smash Finding Dory was sorely needed after the underperforming The Good Dinosaur.) Pixar’s rep as the industry’s most creativity-driven, unfailingly excellent studio has faded as they’ve leaned a little harder on moneymaking sequels — Cars 3, coming soon! — but today brings the news that they’ve taken a significant step into regaining supremacy over the industry.
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