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ethanalter · 6 years

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'Coco' the musical? This deleted scene shows Pixar film's radical transformation (exclusive)

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Since the first Toy Story revolutionized the animation game in 1995, Pixar has successfully tackled such diverse genres as superhero adventures (The Incredibles), space operas (Wall-E), body horror (Inside Out), and post-apocalyptic yarns on a human-free Earth (the Cars series). But there remains one cinematic realm that the studio has yet to conquer: musicals. According to Pixar veteran Lee Unkrich, that very nearly changed with Coco, the 2017 blockbuster he co-directed with Adrian Molina. Speaking with Yahoo Entertainment, the Toy Story 3 director revealed that at one point in its lengthy development process, Coco was going to be Pixar’s first-ever full-on musical. Unkrich was so serious about shattering that particular barrier he hired the powerhouse Frozen songwriting duo of Bobby Lopez and Kristen Anderson-Lopez to pen a half-dozen original tunes, several of which made it as far as the storyboard stage. “We were fully on the path to doing a musical for at least a year if not more,” he remembers, “Finally, we hit a point where it felt like the movie was trying to be something different from what we were making.”

Rather than bury the evidence of an alternate version of Coco in the Pixar Vault, the film arrives on Blu-ray and 4K Ultra HD on Feb. 27 with those excised songs included among the bonus features. Yahoo Entertainment has an exclusive peek at one of the missing musical numbers, a family sing-along called “Way of the Riveras,” which would have appeared early on in the story. (Watch the clip above.) As in the cut we saw in theaters, the musical version of Coco followed aspiring musician Miguel — then called Marco — as he ventures into the Land of the Dead on Día de los Muertos in pursuit of iconic singer, Ernesto de la Cruz. Before crossing over, his family insists that he give up a music career in favor of continuing the family’s shoemaking trade, an argument they make through song. “You also get free footwear, which is a bonus,” the clan sings, while the kid looks on skeptically.

From the beginning, Unkrich knew that there was some incongruous about making a musical in which the central family lives by a strict “no music” rule. “We knew it was weird and challenging at the time, but we were trying to embrace the oddness of it all,” he admits. With that in mind, the team forged ahead in sketching out storyboards for big production numbers that would accompany Lopez-penned tunes like “Día de los Muertos,” the song that provided the original opening for Coco. “It felt like a traditional Disney musical number, and then it was revealed that you were watching a stage show at a Mexico City dinner theater,” Unkrich explains. “The intention was to educate the audience about the holiday, and set the tone for the movie ahead. Ultimately, we found it was taking too long in the storytelling before we met Miguel and got into his story.”

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After spending a year trying to steer Coco around the various narrative roadblocks that kept cropping up, Unkrich and Molina concluded that a musical version of the film simply wasn’t going to fly and refashioned it as a movie with music as opposed to a full-blown musical, taking their inspiration from an unlikely source. “I ended up looking to the Coen brothers’ O Brother, Where Art Thou? as a model for how to make a film where music is a vital part of the storytelling, and there are lots of performances in the course of the movie.” And, as in that folk music-infused favorite, the directors wanted to explore a wide variety of musical sounds and traditions from the region where the action unfolds. “I wanted to embrace the full landscape of Mexican music; I felt we were limiting ourselves by just sticking to the songs we had been writing for the movie. We’re excited to include them on the Blu-ray — they are fun songs and give people a glimpse of all the blind alleys we inevitably go down in the course of developing a story.”

Even though the majority of the Lopez’s work hit the cutting room floor when the musical version was shelved, Unkrich points out that one of their songs survived all the way to the final cut. The Oscar-nominated ballad “Remember Me” was the first musical number they wrote, and immediately became the emotional foundation on which the film is built. “Even though the story went through all kinds of changes along the way, ‘Remember Me’ remained the bedrock,” Unkrich says. “It always ended with Marco back home singing to Mama Coco. That’s a testament to our great songwriters. I don’t think I gave them a single note.”

Coco is available on Digital and Movies Anywhere on Tuesday and Blu-ray, DVD and 4K Ultra HD on Feb. 27.

Read more from Yahoo Entertainment:

‘Coco’: How Frida Kahlo’s hilarious, inspiring cameo happened

‘Coco’: You won’t believe all the Disney-Pixar Easter eggs hidden in plain sight

Gael García Bernal says ‘Coco’ is perfect antidote to Trump’s anti-Mexican rhetoric

‘Olaf’s Frozen Adventure’ to leave theaters: ‘Coco’ co-director Adrian Molina explains what Pixar was thinking (exclusive)

#news #movie:coco #exclusives #_revsp:wp.yahoo.movies.us #awards 2018 #pixar #video #oscars 2018 #_lmsid:a0Vd000000AE7lXEAT #oscars #disney pixar #coco #disney #awards #_author:Ethan Alter #_uuid:0544370c-5104-330c-9d23-21bb3fd9d86b

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gwynnew · 6 years

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'Beetlejuice' turns 30: How Michael Keaton was transformed with makeup, moss, and a nose made of lips

Michael Keaton in Beetlejuice (Photo: Warner Bros c/o Everett Collection)

In the filmBeetlejuice, Geena Davis and Alec Baldwin make the title character appear by saying his name three times — but makeup artist Ve Neill had to do it the hard way. Neill, whom you may recognize from her Oscar speeches (she’s won three times) or her appearances on the Syfy makeup competition show Face Off (she has been a judge for 12 seasons), was one of three artists who designed the makeup for Tim Burton’s 1988 black-comedy fantasy film. Though Neill had a hand in every character from Winona Ryder’s quintessential goth teen Lydia to the inhabitants of the undead waiting room, her proudest contribution was transforming Michael Keaton into Beetlejuice. To celebrate the film’s 30th anniversary on March 30, Neill spoke with Yahoo Entertainment about how she created the smarmy, ghoulish, and altogether perfect face of everyone’s favorite ghost-for-hire.

Alec Baldwin, Geena Davis, Michael Keaton, Catherine O’Hara, Winona Ryder, and Jeffrey Jones in Beetlejuice (Photo: Warner Bros c/o Everett Collection)

“Tim had some drawings up on the wall, literally sketches of the character, which he did on all the movies that I’ve worked with him on,” Neill said of Burton, who famously draws his own concept art. “This particular character kind of looked like a derelict. So I copied the sketch; it was just up on a little corkboard in this crummy little trailer that everybody was working out of. We were sort of the stepchildren of Geffen and Warner Bros. on that film, because they didn’t think we were going to amount to anything.”

Beetlejuice makeup artist Ve Neill appearing as a judge on the Syfy special effects makeup competition Face Off (Photo: Nicole Wilder/Syfy/courtesy Everett Collection)

Neill took the drawing back to the makeup trailer, where she did her best to copy Burton’s sketch onto Keaton’s face. When she was done, “He just looked like a nasty old derelict,” Neill said. “He was filthy dirty. We put this pale yellow wig on him, and he looked weird and creepy. Really disturbing-looking.” She took some Polaroids for Burton, who had the same reaction she did: The makeup was far too “creepy-looking” for the film’s comedic trickster.

“So I went back and did it slightly differently,” said Neill. “He said, ‘No, it still isn’t right.’ I said, ‘OK — we want all these people in the afterlife to be kind of pastel-colored, right? Let me take him back to the trailer and do what I want to do.’ And he said, ‘OK, go for it.’”

Watch the trailer for ‘Beetlejuice’

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In addition to Burton’s directive that the undead characters be made up with pale colors (“like Necco Wafers,” said Neill), Neill received a specific request from Keaton: “Michael said, ‘You know, I really would like to not totally look like myself, three-dimensionally. I’d like to have like a broken nose and some bad teeth.’” She and makeup artist Steve LePore had one day to deliver a makeup that would please both the director and the star. And neither of them had a prosthetic nose on hand.

“I said to Steve, ‘Do you have any broken noses?’” Neill recalled. “And he said, ‘No, but I’ve got these swollen lips!’”

The artists glued the lips to Keaton’s face (“one on one side of his nose and one on the other”) to create a makeshift broken nose. LePore got to work making a set of decaying teeth, while Neill put together a color palate that she hoped would make Keaton look “kind of like a cartoon character.” For his skin, she selected a very pale, “almost white” shade of yellow. To mimic the eye circles from Burton’s original sketch, she combined dark brown and purple paints, “not totally mixed together but in conjunction with each other.” Hair stylist Yolanda Toussieng dyed Keaton’s wig a pale lime green. And there was one more thing.

“I sent a PA off to the hobby store and I said, ‘Get me some crushed green foam like they use on model kits, for moss and stuff like that,’” said Neill. ‘I said, ‘We’ll put some moss in his hair. We’ll just make it look like he crawled out from underneath a rock.’ So I got this crushed green foam, and I painted up the areas where I wanted it to come out. I wanted it to look like it was creeping out from underneath his hairline and his neck and stuff. I just stuck in on wherever the glue was.”

Michael Keaton as Beetlejuice, in the undead waiting room (Photo: Warner Bros c/o Everett Collection)

With the makeup, prosthetics, false teeth, and wig in place, Keaton checked out his reflection as Beetlejuice for the first time. “Michael loved it,” said Neill. “He just completely started going off, crazy-like.” Excited, she took pictures of the new look to Burton, who approved them in a typically understated way. “He said, ‘OK, that works,’” Neill recalled with a laugh. “So that’s how we created Beetlejuice. It was really by the seat of our pants.”

For her Beetlejuice makeup, Neill received her first Academy Award nomination and win. She also became Burton’s makeup artist of choice, working on all of his U.S. productions and receiving her third Oscar for 1994’s Ed Wood. (Her second was for designing Robin Williams’s Mrs. Doubtfire makeup.) Beetlejuice was a film that brought her career to the next level, and Keaton’s makeup remains one of her favorites — though ironically, his character ended up occupying a lot less of her time than the “straight makeups” for actors like Baldwin and Davis. “You have to remember,” she says, “Michael Keaton only worked like, two-and-a-half weeks on that movie. Because he was never with the living, except for that one scene at the end.”

Read more from Yahoo Entertainment:

Everything you didn’t know about ‘Beetlejuice,’ from the dark original ending to the cut characters

‘Beetlejuice’: Dick Cavett reveals his ‘genius’ idea for ‘Day-O!’ dinner party scene

The latest on the ‘Beetlejuice’ sequel

#beetlejuice #nostalgia #news #special effects #vfx #_revsp:wp_yahoo_entertainment_us_421 #_category:yct:001000031 #_uuid:9092cc02-80d0-35eb-9efa-c8a546a33358 #_lmsid:a0Vd000000AE7lXEAT #_category:yct:001000593 #interviews #michael keaton #_author:Gwynne Watkins #behind the scenes #movie:beetlejuice #ve neill #anniversaries

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yahoo--179-20145958-yahoopa-blog · 6 years

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Olivia Palermo穿小紅裙化身夏季精靈！現身VALENTINO 2018-19秋冬高訂花園

紐約時尚名媛Olivia Palermo的私服造型一直以來零失誤！而最近出席VALENTINO 2018-19秋冬大秀時，穿著一襲花穿著一襲紅色的洋裝，下襬花瓣的造型搭配身後大大的蝴蝶結，優雅又時髦。完美呼應VALENTINO本季高訂的爛漫風情。文：妮編 Yahoo時尚美妝、圖：VALENTINO提供

VALENTINO大秀邀請到眾多名人出席，其中Olivia Palermo的紅色洋裝造型更是成為焦點！攜手老公一同出席觀秀，經典卻不失時尚感的造型，再度證實零失誤穿搭達人！

VALENTINO最近幾季的風格鮮明獨特，而2018-19秋冬系列將場景拉到回憶與現實互相追逐交疊，隨着時間流逝，每一刻盡是驚喜，幻彩斑斕的色彩演活了神話故事，拼花和編織圖案印記著種種情意，本季打破時空的框架，渾然為一。

以時間為創作基礎，因為它承載着無窮想像力及永不言倦的創作精神。

本季的高訂同樣可以看到VALENTINO擅長的大色塊組合，本季除了單一色彩之餘，還加入了迷幻圖案的色塊拼接披風，在鮮豔的色彩上可以看到點綴幾處金色色塊，為整套秀服增添奇幻色彩。

VALENTINO的中性色組合也是眾所皆知的特色！豆沙色拼接金屬綠裙擺，淡藍色斗篷下擺拼接金色色塊，鞋履的部分也是金屬造型，而內搭的深藍色馬甲，和諧卻鮮明的色彩令人驚艷。

除了解構式的訂製秀服，這次在細節處也注入多種巧思！合身的流暢禮服在背後同樣做了線條式鏤空，為身形更增添柔美氣質。

大片的刺繡印花也是本季的重點元素之一！同樣能見到金色絲線穿插在訂製服的各個地方，為整組秀服增添了復古色彩。

每一季高訂都會出現的大型頭飾，本季也精彩現身！花仙子的包覆式頭飾，以蘭花、康乃馨、油菜花等植物為發想，色彩繽紛衝滿奇幻想像，彷彿從花園中現身的精靈般，唯美不真實。

#Olivia Palermo #VALENTINO #流行時尚 #精品直擊 #名人時尚 #_revsp:yahoo__179 #_lmsid:a0Vd000000AE7lXEAT #_uuid:908b8b7a-0272-3352-937b-d47ca033656c

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mandibierly · 6 years

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'Psych' stars talk the movie's ending — and a possible return

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Spoiler alert! Psych: The Movie ended on a promising cliffhanger. Before Shawn (James Roday) could head out for his honeymoon with Juliet (Maggie Lawson) — with Gus (Dulé Hill) and his new love, Selene (Hill’s real-life fiancée, Jazmyn Simon) in tow, naturally — the boys got a visit from Ewan O’Hara (John Cena), Juliet’s brother, who’s now on the run. Does that mean we’re getting a second Psych movie?

“It was always our intention to set up the next movie at the end of the first movie,” Roday tells Yahoo Entertainment. “Whether there is a next movie or not, it’s important to us to always give the fans a glimpse of what Shawn and Gus’ next adventure is, so that, even if we don’t get to make any more movies, you know that they are out there caught up in another madcap adventure. Whether it is the Cena story that we take forward, if we get to do it again, or we shift gears and do something else, you at the very least know that now Shawn and Gus got caught up in a crazy adventure with Ewan O’Hara that probably took them to Oslo.”

“And, what better way to end the Psych movie than with John Cena,” Hill adds. “Like a cherry on top for the Psych movie, we have Ewan O’Hara come in at the end.”

Below, Roday and Hill answer a few more of our questions about Psych: The Movie. (Read what they had to say about that epic “suck it” sequence and Zachary Levi’s David Bowie tribute here.)

Yahoo Entertainment: Was that sequence with Shawn and Gus applauding the “black gentleman ninja” who wanted to kill them — while also having a heart-to-heart about the women in their lives before admitting it was time to do what they do best, scream and run — the quintessential Psych moment?

James Roday: The running and screaming thing is something that has become synonymous with Shawn and Gus’s version of heroism. But, you know, we were so tickled because we could visualize that sequence from pretty early on in the prep stages of this, the two of them having this serious conversation while this acrobatic ninja showed off in the background. And then he literally had to get their attention back and say, “Excuse me, I’m going to kill you.”

Dulé Hill: A funny thing is, I was still recovering from my torn achilles during that time. So, you know, I did not get a chance to run as fast as I normally would.

Roday: It was a delicate run.

Hill: Delicate hightail.

There is that moment in the movie when Gus, like, power walks. Was that walk scripted, or something you came up with in the moment, Dulé?

Hill: That one came up in the moment. That was the type of thing where you’re trying to get out of there but you don’t want to make it too obvious that you’re trying to get out of there. You’re just walking fast. It was like, let’s try to be as cool as we can, try to act natural.

Jazmyn Simon as Selene, Hill as Gus (Photo: Alan Zenuk/USA Network)

How did you all decide on the perfect woman for Gus?

Roday: The idea was really simple. It was like, what happens if Gus meets Gus? How would he react to the same sort of blanket of shenanigans that he lays on others when he’s attempting to hook up? What if they all happened to him?

Hill: When they first pitched me the idea of Gus getting Gus-ed, I thought it was hilarious. Especially the fact that Gus doesn’t like it, but when he does it to other people, he thinks it’s the smoothest thing in the world. It’s like, now you realize why women walked away from you so much. … [Casting is] where I had a little bit more insight and input. Because why would I go and try to fabricate some attraction when there’s a wonderful actress that I live with every day. We crack each other up all the time, and I just knew that she would come in and really knock that role out. Over the years we always had issues finding the right match for Gus, someone who could come in and really meet Gus where he is, in terms of all his nuttiness and wackiness that he does, who would be able to be a nice counterpart to him. And I had no doubt that Jazmyn would be good at coming in and doing Gus to Gus.

Shawn and Juliet were finally wed, three years after they got engaged. James, how important was it to give that moment to fans?

Roday: You know, we did the will-they-or-won’t-they thing for a really, really long time. And I think that there are a lot of fans that were probably expecting a wedding at the end of the series. And [series creator Steve Franks] and I just weren’t ready — it just felt a little obvious and it felt a little derivative of things that have happened on finales of other shows. And it also didn’t feel true to that relationship to have them get married just because it was the last episode. So we did what felt right, which was have him propose and then who knows what happened. Because we have the opportunity to come back and do this again, and because this is, more than anything, a love letter and a thank you letter to our fans, it felt cruel to make them wait any longer.

Hill: They waited long enough.

We have to talk about the joke that the manifesto “The Crimes of Juliet O’Hara” sounds like a killer title for a Hallmark movie. “Gus, don’t be ridiculous. Jules would never do a Hallmark movie.” [Roday and Hill both laugh.] As someone who enjoys Hallmark movies, I know Maggie Lawson recently starred in one [2017’s My Favorite Wedding].

Roday: We’ve kind of made a point to make fun of all of ourselves over the course of that show. We’ve poked fun at other stuff that we’ve done in our careers. None of us have too much pride about that kind of stuff. Maggie laughed out loud when she read that. The other joke we have in there that, you know, six people will appreciate, is Kurt Fuller’s lifelong career nemesis is Stephen Tobolowsky. They’ve been up for the same parts for 30 years. So, when the Thin White Duke says, “Get in the boat, Tobolowsky,” and [Woody Strode]’s response is frozen — “You just called me Tobolowsky, that is a deep cut and now I am very rattled” — that’s art imitating life.

How did you decide to bring back Allison Crowley (Mena Suvari) as the puppetmaster for the Thin White Duke?

Roday: We had a decent chunk of the story in place, but the thread that we knew we needed in order to get the band back together was something from the past. What’s the cleanest, direct line to something that would have affected all of us? The only mini franchise that we did that involved a super villain in Psych was Yin-Yang, and Yin and Yang are both dead. So it was pretty simple, once we did the math, who it would have to be. And I reached out to Mena and was like, “Would you be up for this?” And she was like, “Are you kidding? That’s the most fun I’ve ever had.” And once we knew that she was on board, we all sighed collectively in relief and knew that we had all the pieces.

And you knew you needed a musical number, I’m sure, which we got with the return of Jimmi Simpson as Mary Lightly.

Roday: We knew we wanted to get Jimmi back. Just because the challenge of continuously appearing even though he’s no longer alive is something that we always want to embrace. For the most part, I feel like this movie is sort of a throwback to early Psych and the things that put us on the map, and the Shawn-Gus relationship. So, you know, we didn’t want to go too far outside of our sweet spot. But I did say it from the very beginning to Steve, “I just need one dream sequence. Just give me one scene where I can be weird, and that’s also how we’ll get Mary Lightly back.” And he was like, “Absolutely, you got it.” And then, you know, the song ties in to who the bad guy ultimately is, so we wanted something with Allison in the title, and we thought, Costello was a little too on the nose and probably way more expensive. So, enter Gin Blossoms [and “Allison Road”]. And, Jimmi had about three days to learn it on the ukulele.

Hill: And for me, I mean, the fact that early on in the series I got to dress up as Michael Jackson, it only seems right that as we are doing this special, I get to dress up as Prince. I mean, c’mon, you’ve got to have Michael and Prince.

Kirsten Nelson as Chief Karen Vick, Zachary Levi as The Thin White Duke (Photo: Alan Zenuk/USA Network)

You make us think we’re finally going to meet the Chief’s husband, but then we don’t. What’s the story there? Did you have any casting in mind?

Roday: There are a lot of Easter eggs in this movie, and as with any movie, once you get into it and numbers start getting crunched, you always end of having to turn down things and make sacrifices so that you can get the budget down to where it needs to live. And meeting Mr. Vick was a baby that we had to let go of. But hopefully we will be able to revisit it if we get to do another one.

Fans will have been very happy to see that call Juliet makes to Lassiter (Timothy Omundson, who suffered a stroke last spring). How important was it for you guys to have that moment in the movie?

Roday: It was the most important thing, honestly. It’s something that we shot later. It wasn’t part of the body of the original movie because we wanted to give Tim as much time as possible in his rehab and to be as comfortable as he possibly could. But, I think I can speak for everybody when I say, if we hadn’t been able to get that, the movie would not have felt complete.

Hill: Right.

Roday: It just wouldn’t have felt right. So thank God, thank whoever you pray to, that it was able to come together and we were able to include him. And that is probably my favorite scene in the movie.

Hill: You can’t have a Psych movie without Lassie.

Read more from Yahoo Entertainment:

Vote for 2017’s Best Death Scene

Vote for 2017’s Best Villain

Vote for 2017’s Biggest Disappointment

Vote for 2017’s Best Comeback

#_revsp:wp.yahoo.tv.us #james roday #usa #dule hill #psych the movie #_author:Mandi Bierly #usa network #_uuid:b7d607ea-31cd-342d-84ce-3a89c2ebc796 #video #john cena #_category:yct:001000086 #_lmsid:a0Vd000000AE7lXEAT #interviews #psych

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kentuckertv · 6 years

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girlfriends acorn tv

Girlfriends

Girlfriends: There’s woman-power in this story of female friendship What could be more timely than a new show about female friendship and unity? Girlfriends, a new comic drama premiering on the streaming service Acorn TV, is a striking example of this, with a remarkable cast. The British series centers around three long-time friends played by Phyllis Logan (Mrs. Hughes of Downton Abbey), Miranda Richardson (numerous films including Damage and the Harry Potter movies), and Zoe Wanamaker (Mr. Selfridge). At the start of the premiere, Logan’s Linda loses her husband—literally: They’re on a sea cruise, she walks into their stateroom, the window’s open, the sea is churning, he’s gone. Presumed dead, Linda returns from her holiday a widow. She reunites with Richardson’s Sue, a magazine editor feeling the pinch of ageism in her company’s office politics, and Wanamaker’s Gail, who’s stressed caring for her elderly mother and her petty-criminal son. Friends for over 40 years, the trio used to sing pop songs together and dreamed of a Spice Girls-style stardom before there were Spice Girls. Now in late middle-age, they’re all facing down their failures in life as well as plotting their next acts.

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Created by writer Kay Mellor (creator of such excellent British series as Band of Gold and Playing the Field), Girlfriends trades on some standard older-ladies-doing-wacky-things humor, but that’s just to put you at ease. In very different ways, men have let down each of these women, and much of the show is about their realization that they only have each other, and their own inner resolve, to depend upon. Linda is positioned as the central figure in the first episode, and Logan’s fluttery demeanor and long, crinkly hair take her miles away from prim Mrs. Hughes in Downton. As the premiere hour proceeds, though, Richardson is the real scene-stealer: The ways she makes Sue’s hurt and anger at being replaced by a younger woman at work sting is at once piercingly dramatic and frantically funny—it reminds you that Richardson, considered a dead-serious actress here in America, once had a lot of madcap fun in the great Rowan Atkinson series Blackadder.

Girlfriends is also an excellent series to introduce you to Acorn TV, if you’re not already familiar with it. The streaming service is loaded with British programming for the Anglophile in you, ranging from the familiar (Doc Martin, Midsomer Murders) to shows you ought to know and love, such as Detectorists, Janet King, and 800 Words. Get hip to it.

Girlfriends is streaming now on Acorn TV.

#_revsp:wp.yahoo.tv.us #downton abbey #acorn tv #phyllis logan #_uuid:298ad952-705e-3c4b-a4a0-000f0078f855 #Girlfriends #miranda richardson #_author:Ken Tucker #_category:yct:001000086 #_lmsid:a0Vd000000AE7lXEAT

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wendyhermansongeller · 6 years

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Watch Jay Z fan out over Eminem and Snoop to David Letterman

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Wondering what the secret is to rising to the top in the competitive genre of hip-hop? If anyone knows the key, it would be rap mogul Jay Z. And he’s got an idea where to start: “You can have a great voice, and you can say just about anything,” he says.

In this first look at David Letterman’s interview with Jay Z from his Netflix series My Next Guest Needs No Introduction, the rapper explains just what it is about two of his genre’s most iconic stars — Snoop Dogg and Eminem — that makes their sound unique.

Jay Z explains rap to David Letterman. (Courtesy: Netflix)

To illustrate Snoop’s “great voice,” Jay fires off that famous “one, two, three, and to the four” opening line from Dr. Dre’s “Nuthin But a G Thang,” to the delight of the audience. “It’s just like ‘oh my God!'” he grins.

As for Eminem, Jay praises his “amazing cadence” and flows right into a Slim Shady-worthy demonstration to prove his point.

“There’s multiple ways to be good, and some people really just have it all,” he concludes.

You can catch the full Jay Z episode of My Next Guest Needs No Introduction with David Letterman on Friday, Apr. 6. The series features the host sitting down with legendary names from various walks of life, including former President Barack Obama, George Clooney, Malala Yousafzai, and Tina Fey.

Read more from Yahoo Entertainment:

‘Walking Dead’ fans have more questions than answers

Twitter absolutely loved ‘Jesus Christ Superstar Live’

John Oliver blasts absurd legal process for undocumented children

#news #_uuid:9e5d4751-e9c7-391b-b93c-655470f8de06 #_author:Wendy Geller #david letterman #netflix #my next guest needs no introduction #_revsp:wp.yahoo.music.us #_lmsid:a0Vd000000AE7lXEAT #jay z

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kevinpolowy · 6 years

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2 'Ready Player One' references you never saw coming

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The heavy bulk of references in the Easter egg-filled Ready Player One fall into one of two categories: They’re from the 1980s (Back to the Future, Beetlejuice, Weird Science), and/or they’re genre fare (Alien, Star Wars, Battlestar Galactica).

Two of the more surprising references, then, are callbacks to a pair of early 1990s comedies: 1993’s Arnold Schwarzenegger spoof Last Action Hero and the 1994 frat-house farce PCU. The common thread: Both of those movies were co-penned by Zak Penn, who adapted Ernest Cline’s best-selling novel Ready Player One for the screen.

“Ernie is a big fan of Last Action Hero, which is the first script I wrote [with Adam Leff],” Penn told Yahoo Entertainment (watch above). Cline suggested to Penn that they include to a nod to that film, but Penn resisted, noting that Spielberg limited the use of IP from his own filmography. “If Steven’s not referencing his movies, it seems kind of pathetic for me to reference mine. But Ernie didn’t listen to me, and he went around my back to the production designer” at Industrial Light & Magic.”

When Penn first saw a rough cut of the movie, he realized Cline and company had slipped into one scene’s background a movie theater marquee that reads “Schwarzenegger [in] Jack Slater III,” a fictional sequel to that film’s fictional movie franchise. “I have to admit, I was pretty psyched when I saw it. Because I didn’t do it, and I didn’t feel responsible for it.”

The Last Action Hero reference slipped into Ready Player One (Photo: Warner Bros.)

Penn, whose other credits include the superhero films X2, The Incredible Hulk, and Avengers, did, however, intentionally plant a quotable from PCU, the second film he and Leff had produced.

In that comedy, multiyear senior Droz (Jeremy Piven) cautions the meathead Gutter (Jon Favreau) against wearing a band’s T-shirt to their concert, and tells him, “Don’t be that guy.”

In Ready Player One, Parzival (Tye Sheridan) is considering dressing his avatar as one of his favorite movie characters, Buckaroo Banzai, to go out to a zero-gravity dance club, when Art3mis (Olivia Cooke) don’t-be-that-guys him.

“People say that to me to sometimes, ‘Hey, don’t be that guy,’” Penn said. “I’ll say, ‘Hey. That’s my line.’”

Ready Player One is now in theaters.

Is Ready Player One the geekiest movie ever? Steven Spielberg and cast react:

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Read more from Yahoo Entertainment:

How ‘A Quiet Place’ speaks directly to the #NeverAgain era

‘2001: A Space Odyssey’ turns 50: 5 ways Kubrick classic forever changed sci-fi cinema

‘Ready Player One’: That huge [SPOILER] scene was almost set in ‘Blade Runner’

#_revsp:wp.yahoo.movies.us #john krasinski #_author:Ethan Alter #_uuid:abe1ed83-5840-3fef-80e9-e4058ac57939 #movie:a-quiet-place #emily blunt #video #a quiet place #_lmsid:a0Vd000000AE7lXEAT #interviews

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gwynnew · 6 years

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The evolution of an earworm: 'Coco' songwriters on how they came up with Oscar-nominated 'Remember Me'

Coco (Disney-Pixar)

Songwriters Kristen Anderson-Lopez and Bobby Lopez, Oscar winners for “Let It Go,” explain how their latest Disney tune changed along with the film.

While working on the Pixar film Coco, married songwriters Kristen Anderson-Lopez and Bobby Lopez wrote a handful of songs that didn’t make the finished film. As it turned out, Coco only needed one. “Remember Me,” nominated this year for an Academy Award for Best Original Song, is the tie that binds the story together. We first hear it sung by Ernesto de la Cruz (Benjamin Bratt), the famous mid-century Mexican musician idolized by young hero Miguel (Anthony Gonzalez). Miguel secretly learns the song on his guitar despite his family’s dictate that music is forbidden from their home. Later, Miguel and the audience discover that “Remember Me” originated as a lullaby from Miguel’s great-great-grandfather, a traveling musician, to his own daughter. When the story comes full circle, and Miguel returns from the Land of the Dead to play “Remember Me” to his great-grandmother, it’s one of the most emotional moments in any Pixar film.

The Lopezes, who previously won an Oscar for “Let It Go” from Frozen, spent years developing Coco with Pixar’s writers and filmmakers. Now they’re celebrating their Oscar nomination in the midst of rehearsals for the Broadway adaptation of Frozen, for which the couple wrote 12 new songs. In an interview with Yahoo Entertainment, Kristen and Bobby went deep into the evolution of Coco from a full-blown musical to a single-song adventure. The songwriters described cut song moments, the “puzzle” of writing the double-meaning lyric, and the very personal meaning “Remember Me” took on in their own lives.

Watch an exclusive video featuring Bobby Lopez and Kristen Anderson-Lopez discussing all the versions of “Remember Me” in Coco:

yahoo

Yahoo: So you’re doing Frozen on Broadway and doing Oscar press, and you’re also parents — have either of you slept lately? Kristen Anderson-Lopez: No. At one in the morning last night I was like, “OK, need to find an Oscar dress, need to find Oscar travel, need to remember to take my daughter to the doctor tomorrow.” I mean, it’s just one of those times. But these are good problems to have.

When Lin-Manuel Miranda was nominated in this category last year, I talked to him during the Super Bowl because that was the only time he had free. Bobby Lopez: That’s a safe bet for all musical theater composers. Kristen Anderson-Lopez: We were totally free during the Super Bowl. We had dinner and actually talked facing each other. It was lovely.

Coco and Miguel in concept art for Coco (Disney-Pixar)

Before we get into “Remember Me,” I want to talk about how your work on Coco began. We recently ran on Yahoo Entertainment a couple of deleted scenes from when it was more of a musical. And I was very confused by that, because the whole premise of Coco is that Miguel’s family has banned music, yet in the original concept they were bursting into song. So maybe you can shed some light on what that story was like when you first came into it and how it evolved. Kristen Anderson-Lopez: Well, you already put your finger on why it wasn’t a musical. [laughs] Because having a family that sang about not loving music just didn’t sit right in that moment. I think we could have gotten away with it, but it was questionable enough that we were like, you know what? There’s so much else moving as this story develops; let’s get the story right and make it a story with songs… Bobby Lopez: I’m flashing back, actually, to a device that we tried — that didn’t work, but was a really valiant effort — that there was sort of a curse on the family after they died, that in the afterlife for eternity, since they had turned their backs on music, they were all cursed to have to sing everything they said. And we had to make all of their lines into sung little bits. It was pretty funny and wacky. But, that didn’t work.

How many songs did you actually work on for Coco? Was “Remember Me” the first? Bobby Lopez: “Remember Me” was the first. And it has always been in every version of the script, and it always worked. It was always emotional. And it never changed. And then the other songs, I think we wrote maybe five or six other ones.

Ernesto’s family in Coco (Disney-Pixar)

Kristen Anderson-Lopez: The other thing is, we were very involved in the story. Something that people don’t really know about what we do when we work on these movie musicals — especially with this one — is that we were there from the seed of the idea. We really shaped these character, and really shaped who Mama Imelda was going to be. We spent hours and hours and hours on that — which is I think very different from many songwriters who get called up to write a song when the movie is already done. That’s not what we do. They come to us and say, we’re interested in maybe making this a movie with songs, or a musical – can we explore that together? And we do a lot of story work with the story team and the directors. A lot of that story work is still in [Coco], and then I think we did do five or six songs. It’s more like an exploratory process. We have a couple different “I want” songs for Miguel that fit the same exact moment in his hidey-hole, where he’s sort of dueting with Ernesto de la Cruz. Bobby Lopez: Where he’s playing the guitar and watching him on TV. Kristen Anderson-Lopez: We wrote a couple versions of that song. One that I really love called “Invisible Music” – it was like [sings] “I only play invisible music…” It also spoke to what happens – like, we wrote all this invisible music for the movie! [laughs] But it was the right thing to do. It was the right thing to do, because there were so many things we had to hit to get the authenticity right. And the story had so many moving parts. The most important factor was telling the story that really reflected: If you are Mexican-American or Mexican, you see your family up there, you hear your family up there. And that ultimately was the right guiding principle.

Was there a pitch for Coco that made you say, “We definitely want to do this,” or was it simply the opportunity to work with Pixar? Kristen Anderson-Lopez: Yeah. [laughs] Both of those. I mean, early early on in our career, Bobby and I got to go to Pixar when we were turning Finding Nemo into a musical for Walt Disney World. And we used to joke around after we went on the tour and saw all the secret lounges and all the creativity and the fact that they want their workers to like, take macramé and do yoga in the middle of the day to keep their artistic juices flowing. We left and we were like: Pixar is mother. Pixar is father. [laughs] It was a dream to work there with all of those vibrant, incredible storytellers. And when they said, we might have something, we were like, “Yes! Doesn’t matter! Whatever it is, we’re there!”

Miguel and Hector in Coco (Disney-Pixar)

Bobby Lopez: But then particularly when they pitched us “Remember Me,” I remember just feeling like, well that’s an idea I’ve never heard: s song with both of those meanings that the whole plot turns on. And it’s not only a revelation that a different songwriter wrote it and it meant something else, but then the music itself becomes the emotion of the moment too. We were just so excited by that idea, and then we really wanted to get to work on it right away.

So how did you end up writing “Remember Me?” Kristen Anderson-Lopez: After hours and days and years of talking, Bobby had this beautiful melody that kind of came out of him one morning when he was still in his boxer shorts. And he put it on my phone, and I took it on the subway. And it was sort of like figuring out a puzzle, to tell the really emotional personal thing I had to say — which is, how you leave a song behind for your kids when you have to travel. But we also needed to constantly make sure, in every line, in every word, that it could also be interpreted as the Ernesto de la Cruz version of like, “Goodnight ladies! Goodbye! Remember me when I am gone!” Right? We needed this showboating, “To All the Girls I’ve Loved Before” kind of version. And so the interesting puzzle was writing two different songs at the same time: one that really came as a personal, emotional thing, and another that was like, “Look at me.”

Miguel’s shrine to Ernest de la Cruz (Disney-Pixar)

“Remember Me” was also translated into Spanish for the end credits of the movie. Was that a process you were involved in? Bobby Lopez: Disney has an army of the greatest translators in the business, all over the world, doing this. I don’t speak Spanish, sadly, but what I’ve heard is that the Spanish translation really rivals our lyric in terms of emotion and quality, and that it has special nuances that it doesn’t have in English. And the way it turned out in all of its versions so far has been very, very satisfying to me, every time I hear it. Especially sung in Spanish — people sing it with a lot of gusto. The only thing that we contributed to the version that plays over the end credits was, we expanded the song. We created a transitional section, and we wrote a second and third verse of the song. So now we have the three-minute version that we never had had when we first wrote it. It was always a minute twenty, and now we have the full thing. And that’s what I sang at my mother’s funeral. It was nice to have it to sing, the full-length “Remember Me.” Kristen Anderson-Lopez: This was in August, and it was beautiful. And it had a whole other meaning and a different energy when Bobby sings it at the piano from the heart. Bobby Lopez: I was really happy to have worked on this at that moment, which is such an awful, heavy grief that comes on you. It’s nice to have music to help you through it.

The scene at the end when Miguel plays the song for his great-grandmother – I think that’s the only time in a movie theater when my son, my husband and I all cried really hard at the same time. What was your reaction to seeing that scene? Kristen Anderson-Lopez: The same as yours. I mean, we cried the first time we heard the script read in 2013, and we’ve cried every time we’ve seen it since. And then how the incredible artists at Pixar animated Nana Coco’s face, sort of coming back to consciousness, and then smiling at him at the end… Bobby Lopez: And you know, to me it’s when Abuelita reacts, because she’s the one who’s been stuffing down her emotions about being forgotten by her own mother. And when– I’m crying just talking about it! — when her look of dumbfoundedness comes over her face, that’s the moment that I cry.

This will not be your first Oscar rodeo. What place do awards have in your lives now that you’re regular recipients? Is it like a sports season or something? Kristen Anderson-Lopez: Well it’s very different, because in a sports season, the athletes are doing it every year. And for us, this is sort of the second time around. What I can say is, it’s much more fun, much more celebratory. Because the first time around, we were in constant state of fight or flight – like, “What do we do? We’re doing it wrong! We don’t know anyone! What is happening? I don’t know how to get a stylist! I don’t know how to get a dress!” And the second time around, we actually are able to turn to each other and say, “This is fun! Isn’t this fun? We just talked to Steven Spielberg! Holy crap!” Bobby Lopez: It’s like the second time you ride a roller coaster. It’s always more relaxing. Kristen Anderson-Lopez: This time around, we’re bringing our two girls, our children, as our dates. They’re twelve and eight now, so they’re old enough. And for us, we’re in the middle of Frozen Broadway previews, so we have not seen our kids very much, and we’re actually taking them to the Oscars to get in some fun time with our family and just really have an extraordinary experience. No matter what the outcome, it’s going to be something we remember for the rest of our lives and a happy day.

Read more from Yahoo Entertainment:

‘Coco’ the musical? This deleted scene shows Pixar film’s radical transformation (exclusive)

Lin-Manuel Miranda on His Oscar-Nominated ‘Moana’ Song: ‘You Start by Thinking, Don’t Write “Let It Go”‘

‘‘Coco’: How Frida Kahlo’s hilarious, inspiring cameo happened

#news #behind-the-scenes #movie:coco #_uuid:9b8f31be-4f4a-3134-887b-f23b90f6ce1c #remember-me #awards 2018 #pixar #oscars 2018 #_revsp:wp_yahoo_entertainment_us_421 #_category:yct:001000031 #_lmsid:a0Vd000000AE7lXEAT #_category:yct:001000593 #bobby lopez #_author:Gwynne Watkins #coco #disney #awards #kristen anderson-lopez #interview

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yahoo--179-20145958-yahoopa-blog · 6 years

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粉絲快搶！彩妝神手王盈喬大推這個蜜粉頰彩盤，桃源仙境限量系列包裝超仙登場

文：吃編 Yahoo時尚美妝、圖：品牌提供、編輯拍攝韓國頂級美妝品牌雪花秀堅信美學來自文化，長期支持文化藝術發展，更自2015年起，攜手韓國藝術家，結合藝術與美妝，陸續推出2015年牡丹限量系列、2016年莊周夢蝶限量系列，以及2017年比翼雙飛限量系列，吸引許多美妝迷收藏。

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A post shared by 설화수 Sulwhasoo Official (@sulwhasoo.official) on May 2, 2018 at 2:01am PDT

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A post shared by 설화수 Sulwhasoo Official (@sulwhasoo.official) on May 11, 2018 at 1:55am PDT

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#설화수를말하다 소장욕을 자극하는 설화수 리미티드 쿠션. ⠀ 2018년에는 복숭아 꽃 만발한 무릉도원을 입었습니다. ⠀ ⠀ 복숭아처럼 화사한 피부 표현을 위해 퍼펙팅쿠션 무릉도원 리미티드를 만나보세요. ⠀ Wish you Happiness! ⠀ Perfecting Cushion EX Limited Edition ⠀ Sulwhasoo is launching different edition of cushion every year, which makes people pursue to own it. ⠀ ⠀ As peach blossom, which filled up a peaceful utopia, try out Perfecting Cushion EX Limited Edition for your radiant skin. ⠀ #무릉도원리미티드에디션 #퍼펙팅쿠션 #행복 #유토피아 #peachblossomspringutopialimitededition #utopia #happiness #koreanbeauty #makeup #설화수 #Sulwhasoo #雪花秀

A post shared by 설화수 Sulwhasoo Official (@sulwhasoo.official) on May 9, 2018 at 2:00am PDT

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#설화수를말하다 한정판 윤조에센스를 만나보세요. ⠀ ⠀ 서하나 작가의 모던 민화로 단장한 윤조에센스 무릉도원 리미티드는 메마른 피부를 보습으로 채워 복숭아 꽃을 닮은 윤빛 피부로 가꿔줍니다. ⠀ Wish you Happiness! ⠀ First Care Activating Serum EX Limited Edition ⠀ ⠀ On this sunny May, we are looking forward to the limited edition of First Care Activating Serum EX. ⠀ ⠀ First Care Activating Serum EX Limited edition is decorated with modern folk painting drawn by the artist, Seo Hana. First Care Activating Serum EX fills up your skin with nourishment, leaving it looking hydrated like peach blossom. ⠀ #무릉도원리미티드에디션 #윤조에센스 #행복 #유토피아 #PeachBlossomSpringUtopiaLimitedEdition #utopia #happiness #koreanbeauty #makeup #설화수 #Sulwhasoo #雪花秀

A post shared by 설화수 Sulwhasoo Official (@sulwhasoo.official) on May 8, 2018 at 2:04am PDT

#beauty #_uuid:277825a9-3324-3eba-91ff-288353484b37 #保養彩妝 #流行彩妝 #_revsp:yahoo__179 #_lmsid:a0Vd000000AE7lXEAT

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mandibierly · 6 years

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'Brooklyn Nine-Nine' co-creator picks episodes for Olympian fans like Red Gerard and Mirai Nagasu to binge on

Jake Peralta (Andy Samberg) introduces the Jimmy Jab Games on Brooklyn Nine-Nine. (Screengrab: Fox)

The Olympics may be airing on NBC, but it’s a Fox comedy that’s proving to be one of the biggest hits among the athletes.

Red Gerard, the 17-year-old American who earned gold in snowboard slopestyle, admitted that he woke up late the morning of his final because he’d fallen asleep the night before watching an episode of Brooklyn Nine-Nine. Before she left for South Korea, figure skater Mirai Nagasu, who became the first American woman to land a triple axel at an Olympics during the team event in PyeongChang, told Yahoo Lifestyle that streaming episodes of the Andy Samberg series on Hulu was her preferred form of stress relief. “During these times of pressure and stress, I find that comedy really helps get me through it, and that is a funny show, so I’d definitely recommend it,” she said.

Olympians/Brooklyn Nine-Nine fans Mirai Nagasu and Red Gerard. (Photo: Getty Images)

Brooklyn Nine-Nine co-creator and showrunner Dan Goor is thrilled with the endorsement. “I’m so incredibly flattered and excited to hear that Red Gerard and Mirai Nagasu watch the show! First of all, we’re all huge fans of both of them (and any other Olympian who watches the show, irrespective of sport or national team, but mostly we are fans of them because they are amazing),” he tells Yahoo Entertainment via email. “Secondly, I would love to do an episode where Jake Peralta and Mirai Nagasu chase an archvillain across a frozen-over parking lot, and just when he thinks he’s gotten away, Red Gerard and Charles Boyle snowboard out of nowhere and take him down.”

Since Gerard still has the Big Air competition ahead of him, and Nagasu the ladies’ event, any potential cameos will have to wait. In the meantime, we asked Goor to recommend the episodes that they — and any other athletes looking to unwind — might enjoy binge-watching between training sessions in PyeongChang. Here are his picks for “the most Olympics-appropriate and/or inspirational episodes,” with our own descriptions. (Though, Goor notes, “That said, people should watch every episode, so they can decide for themselves!”)

Squad members compete in the Bulky Bulky Run Run event. (Screengrab: Fox)

“The Jimmy Jab Games” (Season 2, Episode 3): After being told their motorcade duty is delayed by three hours — and that Andre Braugher’s Capt. Raymond Holt and Terry Crews’s Sgt. Terry Jeffords will be out of the office — the squad knows exactly how to pass the time. Events in these “Games” include the Mouthathon (an eating contest with month-old Chinese food from the precinct’s fridge); Bulky Bulky Run Run (a footrace in bomb suits); Keep Your Cover (talk to as many fellow cops as possible before being recognized); and an obstacle course (i.e., print out a picture of Chelsea Peretti’s Gina Linetti using a laptop from 1982). This could be particularly inspiring for athletes dealing with weather delays in South Korea.

Cheddar in “HalloVeen.” (GIF: Fox)

Any Halloween Heist episode: Now, these will definitely bring out the competitor in you. A fan-favorite episode every year, the tradition started with Season 1, Episode 6 (“Halloween”), when Jakebet Capt. Holt that he could steal Holt’s Medal of Valor from this office. The stakes are high: If Jake wins, Holt has to do Jake’s paperwork and announce that Jake is “an amazing detective/genius”; if Holt wins, Jake has to work weekends without overtime. In “Halloween II” (Season 2, Episode 4), the wager is similar, with Jake having to steal the watch off Holt’s wrist. “Halloween III” (Season 3, Episode 5) has Jake and Holt picking teams, and a crown as the coveted object (bonus for figure skaters: there’s an Elvis Stojko punch line). In “Halloween IV” (Season 4, Episode 5), a plaque inscribed “The Ultimate Detective/Genius” is locked in a Caboodle (or, as Holt pronounces it, Caboodale) — whoever possesses it at sunup wins. “HalloVeen” (Season 5, Episode 4) may be the most cutthroat (and our favorite) because Holt’s corgi, Cheddar, is used as a pawn in the fight for a championship belt (or cummerbund, as Holt insists) emblazoned with “Amazing Human/Genius.”

Charles Boyle (Joe Lo Truglio), Capt. Holt (Andre Braugher), and Jake arriving in style in “The Chopper.” (GIF: Fox)

“The Chopper” (Season 2, Episode 22): Yes, it starts with the squad competing to see who can get Gina to look up from her phone, and you can argue the moral is “work hard for your dreams, and they just might come true” — Jake gets the green light to work his dream case, and to use a helicopter. But this episode is really for competitors who like to play mind games with their opponents. We won’t spoil it, but Capt. Holt and his nemesis, Deputy Chief Wuntch (guest star Kyra Sedgwick), go at it.

Jake living his best life posing at “Nakatomi Plaza.” (GIF: Fox)

“99” (Season 5, Episode 9): This episode, the show’s 99th, reminds you what teamwork is all about (and how to overcome self-doubt). In Los Angeles to attend a former superior’s funeral, the squad has to work together to get Holt back to New York in time for his interview to become the next police commissioner. Why not just fly? Because they miss their flight after Jake insists on stopping at “the most important monument in all of America, the building from Die Hard” and doing an extended photo shoot. It’s one of the all-time great montages.

Good luck, Olympians. And happy bingeing.

There are 101 episodes of Brooklyn Nine-Nine are currently streaming on Hulu. New episodes resume this spring as Season 5 continues on Fox.

Read more from Yahoo Entertainment:

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#dan goor #news #_revsp:wp.yahoo.tv.us #brooklyn nine nine #mirai nagasu #_uuid:614d91ed-9dd6-3121-965d-8d20ad5a652f #sports #_author:Mandi Bierly #olympics #_category:yct:001000086 #_lmsid:a0Vd000000AE7lXEAT #red gerard #pyeongchang 2018

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kentuckertv · 6 years

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'Godless' will make you believe in Westerns again

Merritt Wever and Michelle Dockery in ‘Godless’ (Photo: James Minchin/Netflix)

To those of us who love the Western genre, any attempt to revitalize the form, on big screen or small, is considered not just welcome but heroic. It’s difficult to do something new in one of modern entertainment’s oldest genres. The format started shooting blanks commercially some time in the 1990s, soon after the 1989 TV miniseries Lonesome Dove. What was the last big-hit theatrical Western? Clint Eastwood’s 1992 Unforgiven? And do you know anyone under the age of 50 who paid money to see the excellent 2007 remake of 3:10 to Yuma? So throw your 10-gallon hat into the air and give a hoot and a holler for Godless, the latest benefactor of Netflix’s give-em-a-binge largesse. A seven-hours-plus honest-to-gosh Western created by writer-director Scott Frank, Godless features cowboys on horses, lots of shootin’ and ropin’, and a feminist twist so thoroughly integrated into the premise, no ornery dude can possibly complain.

In Godless, the frontier town of La Belle is mostly inhabited by women: A coal-mine disaster killed off all the able-bodied men, and some of the women have used this tragedy as an opportunity to enjoy a new freedom. Most notable among them is Merritt Wever’s Mary Agnes, who totes a rifle and talks as tough as any male gunslinger. Wever, who won an Emmy for her far more meek character in Nurse Jackie, has a great time in this juicy role. Downton Abbey’s Michelle Dockery shows up as a frontier woman living on the outskirts of town. She takes in a mysterious fellow named Roy Goode, played by Jack O’Connell (Skins, Unbroken), who’s being hunted by Frank Griffin, a ferociously sadistic bad-guy played at the very precipice of amusement by Jeff Daniels.

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Godless is loaded with characters and plots. Sam Waterston has a highly entertaining turn as a marshal whose bristly mustache seems like a supporting character itself; Scoot McNairy is a different lawman — one who’s slowly going blind, but not before he, too, hunts down the much-sought-after Roy Goode. There is an enclave of black farmers outside of La Belle, who just want to be left alone — which means they won’t. There’s Whitey Winn (Thomas Brodie-Sangster), a cocky young deputy who twirls a pair of pearl-handled revolvers and seems like a nod to Ricky Nelson’s character in the great Howard Hawks Western Rio Bravo. Indeed, the spirit of classic Westerns hovers over Godless — writer-director Scott Frank is awfully fond of invoking, numerous times, the famous doorway shot in John Ford’s immortal The Searchers.

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Scott Frank is an exceptional writer: His screenplay for 1998’s Steven Soderbergh film Out of Sight is a modern classic; last year he debuted as a novelist with the sleek and twisty thriller Shaker; and he co-wrote the script for what’s arguably the best superhero movie thus far, Logan. Frank is working here with his Out of Sight partner Soderbergh, who’s an executive producer of Godless. There are times when it seems as though Frank is so excited by this rare opportunity to do his big Western, he’s crammed in too much. You’re midway through Godless and you might think, wait, why haven’t we seen McNairy’s Sheriff Bill McNue in a couple of hours? How, exactly, does Dockery’s Alice Fletcher connect to the town of La Belle? And, wait a minute, there’s a German portrait painter (Christiane Seidel) living in that town?

But ultimately, the sheer pleasure of Godless defeats any reservations you may have about it. Daniels is both hilarious and scary, and clearly having a great time pulling on his scraggly beard as this project’s ultimate villain. And there’s a long, well-staged shootout at the end that is both very-traditional-Western and something totally new, because more than half the shooters are women, with guns blazing. It may sound like an odd thing to say that it’s exciting to see women shooting guns and getting shot while in action, but it is, simply because you have never seen a large group of women in control of their destinies in the Western genre like this before. The landscape in which this long movie is set may be, as Daniels’ Frank Griffin declares it, “godless,” but this Western suggests that being man-less ain’t necessarily a bad thing.

Godless is streaming now on Netflix.

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Read more from Yahoo Entertainment:

6 things to know about ‘Godless,’ Netflix’s star-packed limited-series western

‘Titanic’ at 20: James Cameron explains where he got it wrong, but says he has ‘no intention’ of remake

Ben Barnes on breaking bad in ‘The Punisher’

#scoot mcnairy #_revsp:wp.yahoo.tv.us #jeff daniels #_uuid:1f78cbe9-4ba4-31a9-bd1c-fee3c0a86823 #scott frank #godless #netflix #_category:yct:001000086 #_lmsid:a0Vd000000AE7lXEAT #michelle dockery #westerns #sam waterston #jack oconnell #reviews #merritt wever #_author:Ken Tucker

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bethevenyc · 6 years

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Why this Instagram influencer calls fat a feminist issue

Virgie Tovar. (Photo: Courtesy Virgie Tovar/Quinn Lemmers for Yahoo Lifestyle)

To mark the International Day of the Woman on March 8 and Women’s History Month, Yahoo Lifestyle is exploring notions of feminism and the women’s movement through a diverse series of profiles — from transgender activist Ashlee Marie Preston to conservative campus leader Karin Agness Lips — that aim to reach across many aisles.

Virgie Tovar is sitting by the pool of her Tucson, Arizona hotel. She’s wearing a one-piece covered in a print of $100 bills, though she often opts for a “fatkini,” which, she says, “makes me feel sexy, and like I’m disrupting the narrative of what respectably educated women can wear.”

Tovar is speaking to Yahoo Lifestyle by phone as she lounges, in the midst of a road trip through California, Arizona, and New Mexico with the fellow writers and influencers of Sister Spit: QTPOC (Queer and Trans People of Color), a revolutionary traveling open mic now in its 21st year.

The writer and body-pride activist, known by legions of faithful readers for her impassioned essays, has become a champion of fat pride. Her Instagram feed — followed by 33.8K fans and counting — is full of kitschy, celebratory pics of herself posing cheekily in brightly-colored swimsuits and crop tops, as well as eating — donuts, ice cream, pomegranates, BBQ, you name it — and just straight-up living, with gusto and pride. That the approach is both revolutionary and feminist is an idea the 34-year-old Mexicana explores a bit in a recent Ravishly essay, and more deeply in her forthcoming book, You Have the Right to Remain Fat (Aug., Feminist Press), and about which she chats easily as she’s sitting by the desert pool.

“One of the reasons for me that fat is a feminist issue is because women getting to choose what their body looks like, and not spending their life becoming the cultured expectation of themselves, is a feminist act,” Tovar says. “Any act of women expressing autonomy is, in my opinion, a feminist act. Women expressing desire is a feminist act, particularly around food.”

It may at first seem like a reach. But, Tovar explains, “Why does culture love little girls and hate women so much? It’s because when she expresses sexual desire, she becomes a woman, and she is no longer under the protective wing of the culture.” She sees evidence of the shift over and over again — particularly in sexual assault cases, when, if there was any possibility that the girl expressed any desire, she’s no longer protected by the police. “They’re like, ‘girls need to take care of themselves.’”

And the connection, as she sees it, is that “sexual desire is obviously connected to hunger [in that] women are being asked to exercise self-control and discipline around all these different kinds of desires in order to be considered good, worthy people.”

It’s a pressure that women feel even — if not especially — from other women, Tovar notes, adding that it’s something she’s learned a lot about from the participants in her annual empowering Babecamp, which aims to help women “break up with diet culture.”

desert selfie a must

A post shared by Virgie Tovar (@virgietovar) on Mar 5, 2018 at 6:29pm PST

When she started asking women where they were experiencing the most fatphobia, Tovar says she was “absolutely certain” they would say from men, specifically from their relationships. “But it’s the workplace,” she found says she was told. “And they weren’t experiencing it as someone calling them a name or something really aggressive… rather, it was the constant, never-ending diet chatter, and what they experienced as ‘food surveying,’ where everyone notices every time you’re eating, and tells you you’re being ‘good’ if you’re eating a salad. Which is super patronizing and very invasive.”

So the office, Tovar explains, “has become this venue of fatphobia, but it’s this softer fatphobia — not this aggressive, epithet-hurling experience.”

Much of it isn’t even meant to be hurtful, but because “women use diet talk as a way to create intimacy… They’ve been taught this is a safe discussion topic they can share in order to create friendship.”

But it’s not a new phenomenon, Tovar says. “It’s a way in which women can communicate that they are non-threatening with one another. It’s a subtle way of saying, ‘I’m playing the game, too. I’m not a threat. I’m not interested in destabilizing the culture.’ That’s, like, super insidious and weird and creepy,” she says. “But if you kind of accept that dieting is symbolic behavior, which I do, then it’s obvious that linguistics would play a role in maintaining that submissive position.”

“I actually feel like, when we’re talking about fatness and men, we’re still talking about feminism. Because fundamentally, when women are fat, they’re violating the cultural rule around what is expected of women, which is that we are small, and that we don’t take up a lot of space, both metaphorically and physically,” she explains. “When men are experience fatphobia, they’re being punished for having a feminized body. In the book, I say the most common anxiety for fat men is about feminization — there’s anxiety about growing breasts, about higher estrogen levels.”

And then there’s the mess of issues that comes up around fatness in regards to men and women together, and sex and romance.

“These [Babecamp] women — and this is a hetero scenario — understand that a man who expects them to be thin by any means necessary is probably an asshole. They intellectually know this. But inside, in their bodies, they’ve been taught all they have to do is be thin and they can have love,” she says. So unpacking and dismantling that lifelong belief can be tricky.

“Diet culture is really good at positioning dieting as something as simple as learning how to brush your teeth: All you have to do is learn how to control a fundamental human instinct for the rest of your life,” Tovar notes wryly. “Who can’t do that?”