Ben Mendelsohn‘s portrayal of Talos, the leader of the shape-shifting Skrulls in Captain Marvel, quickly became a fan-favorite following the film’s release, and the character went on to make a surprising cameo in Spider-Man: Far From Home. However, in a new interview, Mendelsohn reveals that Talos almost didn’t make it out of his first MCU appearance alive.
“[Talos] was gonna die at around page 60 [in the script] originally and he survived that, so he’s done pretty well.” Mendelsohn told NME. “And if that f*cking shapeshifter rears his ugly head again, I’ll do my best to be inside it.”
Thanks to the decision to keep Talos alive, the character is now primed play a role in the future of the Marvel universe following the events of Avengers: Endgame. When we last saw Talos, he was disguised as Nick Fury for the events of Spider-Man: Far From Home while the real Fury supervised the construction of S.W.O.R.D., a defensive space station orbiting Earth that serves as Captain Marvel’s headquarters in the comics. The base was also being built by Talos’ people, the Skrulls, who will presumably factor into the plot of Captain Marvel 2.
Speaking of the eagerly anticipated sequel, Marvel recently announced that Candyman director Nia DaCosta will helm the Brie Larson pic, making DaCosta the first African-American woman to direct an MCU film. Unfortunately, details on the Captain Marvel sequel are scarce. WandaVision writer Megan McDonnell is working on the script, which is an interesting choice. The upcoming Disney+ series will feature a grown-up version of Monica Rambeau, who was a child in the first Captain Marvel film. In the comics, Monica also assumed the mantle of Captain Marvel for a brief period, so it certainly seems like there will be a significant connection between the sequel and WandaVision.
For now, Marvel will do what Marvel does by keeping everything under lock and key.
Today, The Killers made a surprising comeback with their new album, Imploding The Mirage. Before the band’s sixth album was released worldwide, though, the band offered one last preview of it on The Late Show With Stephen Colbert, where they performed the album track “Blowback.”
The performance looked a lot more like traditional late-night TV appearances than most have recently, as the group packed on a very late-night-looking stage to play the anthemic rocker, although there was no audience to cheer them out to commercial. This actually wasn’t the songs television debut, though, as they premiered it on CBS This Morning back in April.
Meanwhile, the band recently addressed the sexual assault allegations made against their touring crew, for which the band launched an internal investigation. Brandon Flowers told NME of the situation, “I feel relieved that we were actually able to get to the bottom of it, actually find this woman and make sure that she was OK. The most important thing is that there was no assault. That’s just nothing but relief. From what we see backstage, the people we hire and the people in the band, we’ve never witnessed anything like that happen. If something like that did happen, we would want to know.”
Watch The Killers perform “Blowback” on Colbert above, and read our review of Imploding The Miragehere.
Imploding The Mirage is out now via Island. Get it here.
Soul-searching moral dilemmas asides, Tenet is one of the year’s most anticipated movies. But does Christopher Nolan’s time-bending thriller, starring John David Washington, Robert Pattinson, Elizabeth Debicki, and a mustache-less Kenneth Branagh, justify the hype? Well, the reviews are out, and the answer is: mostly?
Tenet is currently sporting an 87 percent “Fresh” rating on Rotten Tomatoes, which is in line with Nolan’s other films, including The Dark Knight (94 percent), Memento (93 percent), and Dunkirk (92 percent). In case you’re worried about the reviews spoiling the plot, you shouldn’t be, because seemingly no one can make sense of it.
“For once, spoiler sensitivity might be the reviewer’s luckiest break, absolving me of even attempting an explanation of a plot so contorted it’s best not to worry about it. Even the scientist played by Clémence Poésy, here exclusively to deliver exposition, eventually cops out. ‘Don’t try to understand it, feel it’ is the best advice anyone offers,” Jessica Kiang writes for the New York Times, while the Hollywood Reporter‘s Leslie Felperin notes, “If it seems like this review is shying away from describing the plot, that’s not just out of concern to avoid spoilers. I watched the movie twice for this review, and still feel very confused about what is supposed to be going on and why.” Here’s more:
Yet if the characters incur no jetlag, we soon do, a bamboozling consequence of how Nolan’s screenplay withholds even basic information from us. Who are these people? How do they get from here to there so quickly? Why is Washington’s protagonist called The Protagonist? (Seriously.)
Besides, there is one solid reason why Tenet could make a profit: Even if not many people pay to see it, some of those people will pay to see it again and again and again in the hope that, eventually, they will be able to work out what on earth is going on.
There’s something grating about a film which insists on detailing its pseudo-science while also conceding you probably won’t have followed a thing. We’re clobbered with plot then comforted with tea-towel homilies about how what’s happened has happened.
You get the idea… or maybe you don’t [Inception noise].
Tenet opens in the United Kingdom on August 26 and the United States on September 3.
Check out the rest of the best new rap music this week below.
Beat Boy — “Salty” Feat. Fatboy SSE & Rob Vicious
LA producer Beat Boy dropped a video for his “Salty” single, which features Fatboy SSE and Rob Vicious trading bars over a soaring synth composition.
Brasstracks — “Golden Ticket” Feat. Masego & Common
Earlier this week, Brasstracks released the title track from their Golden Ticket album (which is out today). The feel-good single features Common and Masego having fun over a lush assortment of horns.
Flee Lord & 38 Spesh — “The Lord & The God” Feat. Fred The Godson
Queens rapper Flee Lord paid homage to Fred The Godson by releasing their “The Lord & The God” collaboration out ahead of Flee and Spesh’s Loyalty & Trust 2 project. Fred’s verse is true to his legacy, as his slick confidence shines over the neck-snapping instrumental.
JackBoy — “Married To My Enemies” Feat. Tee Grizzley
This week JackBoy and Tee Grizzley linked up for “Married To My Enemies,” a track where their heavy menace rests atop a lithe bed of pianos and fluttering hi-hats.
Jay Park & H1ghr Music — “How We Rock”
It’s a bar fest on H1ghr Music’s “How We Rock,” which features seven of the label’s MCs vying for lyrical supremacy over an uproarious, 808-based production. The single is from H1ghr Music’s upcoming The New Chapter album, the latest exploit for Korean-American star Jay Park.
Lil Reese — “They Don’t F*ck With You” Feat. Kevin Gates
Lil Reese went to the vault and released “They Don’t F*ck With You,” a smooth collaboration with Kevin Gates that shows the two talking big over a beguiling instrumental.
The Lox — “Bout Sh*t” Feat. DMX
It’s a Yonkers thing on The Ruff Ryders’ “Bout Shit,” where The Lox and DMX unleash bars over a mesmerizing vocal sample and a thick snare.
Namir Blade — “The Head”
Namir Blade released his Mello Music Group debut single this week, and “The Head” is a grand opening. The lead single from his upcoming Aphelion’s Traveling Circus is a 3-part sonic adventure that displays the range of the multi-instrumentalist’s gifts.
Pink Siifu & Fly Anakin – “Dollar Dr. Dream”
Pink Siifu and Fly Anakin (of Virginia’s Mutant Academy) display seamless chemistry on “Dollar Dr. Dream,” where they trade urgent verses over an Animoss piano loop ripe for their reflection.
Rock Abruham — “Heel”
Rock Abruham is set to release his first project in two years. The introduction to From The Mud is “Heel” with Quelle Chris, where he proclaims, “The closest to mainstream is when I hit the urinal.”
Rich Brian — “Don’t Care”
Rich Brian’s 1999 project is set to release next Tuesday. He delivered another single (and video) this week with “Don’t Care,” a track showcasing his burgeoning mastery of bars and melody as he does internal excavation.
RZA — “Fighting For Equality” Feat. Ghostface Killah
Wu-Tang Clan comrades RZA and Ghostface connected on “Fighting For Equality,” from the soundtrack to RZA’s upcoming Cut Throat City film. RZA notes, “I knew from my history, that God is no mystery,” while Ghost is “Liam Neeson swan-divin’ off of big boats.”
Stockz — “Manhattan”
On Stockz’s “Manhattan,” he explores all the ways he “paid the rent,” while Lute reminds posers “you ain’t bout that sh*t that you post.”
Wifisfuneral — “Ocean” Feat. Smoove L
Wifisfuneral and Smoove L get sultry on “Ocean,” where they take turns crooning about the woman on their mind over a bass beat.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Megan Thee Stallion is recovering from her recent run-in with Tory Lanez, but that won’t stop her from putting on a show for her fans. Today, she announced her first-ever virtual concert taking place Saturday, August 29 at 6pm ET / 3pm PT/ 11pm BST. Tickets are on sale now at $15, giving purchasers a single-use code to login and watch the performance. For more information, visit Universe.com’s event page.
Megan’s had what have been the most eventful year in hip-hop after 2019 saw her go from viral sensation to XXL Freshman to bonafide star. Starting the year off with a label dispute that caused the delay of her Suga EP, she landed what looked like the viral hit of the summer when Suga standout “Savage” became a TikTok sensation. “Savage” then became Megan’s first No. 1 hit when she was joined by Beyonce for the song’s remix, bringing OnlyFans into the mainstream along with it.
Unfortunately, she had to have surgery on both feet after being shot after a party. She later confirmed the culprit was Tory Lanez after a month of rumors, speculation, and tasteless memes. Then, she hit No. 1 again — and basically broke the internet — with her appearance on Cardi B’s new single “WAP,” which has become one of the most popular singles of all time. If there’s anything we’ve learned about Meg this year, she certainly knows how to swing that pendulum back in her favor when the chips are down, and her virtual concert will be just one more way for her to make sure she remains in control of her own narrative.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Groups
The Lakers-Blazers series has given us some incredible moments so far, but one of the best came midway through the fourth quarter of Game 1. Portland found itself down by three, and as he is wont to do, Damian Lillard came around a screen and calmly knocked down an impossibly deep triple to tie the game.
It was one of several 30-foot-plus bombs Lillard drained on the night, cementing himself as one of the league’s most unconscious long-range bombers. But arguably the best moment came in the aftermath, as Lillard was making his way back down the court on defense.
With the DJ playing Too Short’s “Blow the Whistle,” Dame couldn’t help himself and broke into a dance to celebrate the moment and acknowledge his Bay Area rap godfather.
It was a moment you might have expected during a home game, under normal circumstances. Of course, there’s no such thing as normal in Orlando, and partly as a response to this, bubble DJs now say they will be more cognizant about not playing favorable tracks for players who are ostensibly on “road” games. Note that the Lakers held the No. 1 seed in the West and would’ve played their first two games at home at Staples Center.
The DJ contributes to the game-day experience by creating an atmosphere intended to hype up the “home” team.
Obviously, these DJs have to sometimes perform against the teams by which they’re employed. In a Trail Blazers “home” game, tracks by Dame D.O.L.L.A. are in heavy rotation.
DJ M.I.L. worked Tuesday’s Lakers-Blazers game and happened to have “Blow the Whistle” on his playlist. Moving forward, sources said, emphasis will be placed on going through playlists to make sure certain tracks aren’t iconic to the “visiting” team or to opposing star players who are supposed to be on the “road.”
The atmosphere inside the arena is already heavily manufactured, with fake crowd noises throughout the game and virtual fans appearing on large television screens in the background. So far, though, they’ve done an admirable job of creating the illusion of a regular basketball game, and if that illusion can be extended to the idea of road-versus-home games, then sure, why not?
Throughout the 2020 election season, you’ve probably heard just about every insult and insinuation thrown Joe Biden’s way when it comes to the former vice president’s speaking style. Everything from implications that he’s “lost a step” to open and unfounded claims that he is suffering from dementia. The truth is, Joe Biden has always struggled with public speaking and for very good reason: He was born was a severe stutter that he spent years working on.
Putting politics aside, it’s an amazing trajectory that someone who struggled to form basic words and sentences as a child is now giving a 20-minute acceptance speech as the presidential nominee for a major political party. And all while, countless armchair quarterbacks analyze every imperfect syllable or offbeat cadence as evidence of “decline.”
Honestly, if you haven’t seen this, it was easily the most powerful moment during the convention and it had nothing to do with the coronavirus, taxes, immigration or anything remotely political. It was the measurement of a man and his profound impact on a young stranger.
“We stutter,” Harrington says simply near the top of the 1 minute and 40-second video, creating an instant and powerful bit of connective tissue between himself and Biden. “It’s really amazing to hear that someone became vice president,” Harrington says.
The video itself is instructional for anyone unfamiliar with just how tricky a stutter can be, obviously for the person speaking, but also for their audience. As Harrington works through his short speech, he is incredibly articulate and measured, then suddenly hanging on a seemingly simple “s” for moments that can feel like an eternity.
It’s not simply the act of physically articulating but simultaneously grappling with the anxiety and stress of knowing you are being watched, analyzed and judged. And yet, Harrington powers through it with a clear sense of bravery most of us could only imagine demonstrating.
Harrington goes on to explain how Biden gave him a personal tip for how he learned to work through his stutter. “He told me about a book of poems by Yeats that he would read out loud to practice,” Harrington said, recounting how they met during a CNN town hall back in February while Biden was still competing in the Democratic primary.
During their one-on-one meeting, Biden went into further detail about his strategies for coping with his stutter, even showing him the speech he gave at the CNN town hall, which included special markings throughout the speech where Biden anticipated needing to pause or stop in order to mitigate likely challenging passages. “It has nothing to do with your intelligence quotient. It has nothing to do with your intellectual makeup,” Biden told him.
“I’m just trying to be a kid,” Brayden says near the end of the video. “And in a short amount of time, Joe Biden made me feel more confident about something that’s bothered me my whole life. Joe Biden cared. Imagine what he could do for all of us.”
Needless to say, it’s impossible to not instantly compare the anecdote to President Trump, who infamously mocked a disabled man while campaigning for president in 2016. Does anyone honestly expect to see a video like this during the Republican convention next week?
Is there anyone in this world with a story of how Trump personally helped them that doesn’t involved a business deal or a beauty pageant? It’s a stark contrast that tells us everything about today’s political debate, even if the video itself was on the surface about everything but politics.
But more than that, it’s a simple story about bravery and how one person used their position of immense power and privilege to connect with a child in a way that has clearly changed this young man’s life in a very meaningful, and positive, way. When we talk about “public service” there might not be a better example than this during the entire 2020 election.
There have always been people who want to police how you drink your drink. As a long-time bartender and now long-time drinks writer, I always thought that was utter bullshit. “You do you” is my motto. If that means you want to cut a Lagavulin 16 with some Coke to make a Smoky Cokey, go for it — they’re delicious. Likewise, the wine world has been known to shudder in their monocles if anyone dared cut a wine with sparkling water and ice. The white wine spritzer has a bad wrap it 100 percent does not deserve.
The spritz is very popular in Central Europe and Italy. The word “spritz” is German for “splash” after all. The idea of cutting okay wine with a little water is not that crazy. Water can add a heightened sense of flavor to alcohol — see: whisky highballs. In this case, a mix of one-part sparkling water to one-part white wine over ice is the perfect late summer drink. The best part is that you don’t have to spend a fortune on the wine to use in your spritzer. You want something that has some body to it — don’t get us wrong. But you don’t have to throw down $50 for a bottle of white to have a perfectly quaffable spritzer in your hands.
So, to get you into the white wine spritzer mood before summer fades away, I thought I’d call out a few bottles of white wine that suit the sparkling water and ice treatment. For the most part, these bottles are under $20 and available nationwide. Lastly, my advice would be to use a high-carbonation-level sparkling water and always build your spritzer like so: Ice, water, wine.
ABV: 13.5% Winery: Turning Leaf Winery, Modesto, CA Average Price:$7.50
The Wine:
Turning Leaf Chardonnay is probably the easiest bottle to find on this list. If you’ve ever been a cash-poor student, you’ve likely had your fair share of this wine once you burned out on two-buck-Chuck. Just go to Wal-Mart or Target. It’ll likely be there. The bottle also won Double Gold in 2010 at Jerry Mead’s New World International Wine Competition. So it has that going for it.
Tasting Notes:
My biggest take away from this was always tropical fruit like mango. The winery also notes “butterscotch” with “peach and hints of oak.”
Bottom Line:
Look, it’s cheap and actually tastes like something. That makes it the perfect candidate for a very affordable white wine spritzer.
La Vieille Ferme Blanc
Drizly.com
ABV: 13.5% Winery: Famille Perrin, Orange, France Average Price:$8
The Wine:
This is another easy bottle to grab off the grocery store shelf for summer refreshment. The wine is a blend of Bourboulenc, Grenache Blanc, Ugni Blanc, and Vermentino grapes. The fermented juice is left to rest in stainless steel tanks. So you’re not getting that old French wine-country musty oak cellar in a bottle, but you are getting something very drinkable on a hot day.
Tasting Notes:
There’s a marrying of soft minerality with bright orchard stone fruits and a tart edge that’s never acidic. There’s a touch of brown, late summer grass next to a slight floral edge.
Bottom Line:
This stuff is described as “quaffable” by the people who make it. They’re right. It goes down way too easily on a hot day with nice mineral water and plenty of ice.
Chateau Ste. Michelle Sauvignon Blanc
Drizly.com
ABV: 13.5% Winery: Chateau Ste. Michelle Winery, Woodinville, WA Average Price:$10
The Wine:
Up in my home state, Chateau Ste. Michelle has consistently been putting out quality wines at accessible prices for decades. Their Sauvignon Blanc goes through stainless steel fermentation and resting. Remember, we’re talking a wine at ten dollars here, you can’t expect some crazy amount of expensive oak and warehousing involved at that price. This wine is made efficiently to be drunk efficiently.
Tasting Notes:
If you’ve ever been on an oyster binge in the Pacific Northwest, you’ve likely drunk a bottle or two of this wine. The wine has a honeydew melon edge with a fresh parsley counterbalance. The acidity is damn near absent. There’s a tiny sense of raspberry deep in the taste.
Bottom Line:
I drink a lot of this when I’m at home in Washington. It’s my go-to for spritzers (because I can get it in every grocery store) or at an oyster bar in the summer.
Francis Coppola Diamond Collection Yellow Label Sauvignon Blanc
Drizly.com
ABV: 13% Winery: Francis Ford Coppola Winery, Geyserville, CA Average Price:$14
The Wine:
I got into this brand while I lived in L.A. back in the day. This Sauvignon Blanc doesn’t disappoint. The grapes are pulled from three valleys: Alexander Valley, Sonoma Valley, and Lake County. The grapes are then fermented and rested in stainless before blending and bottling.
Tasting Notes:
Bright and minerally are the two biggest notes you’re left with. There’s also a sense of citrus pith that leads to a higher acidity with an undercurrent of tropical fruits.
Bottom Line:
The fruitiness of this one helps it shine in a spritzer. It’s also perfectly nice during a cheese course as long as it’s ice cold.
Robert Mondavi Winery Napa Fumé Blanc
Drizly.com
ABV: 14.5% Winery: Robert Mondavi Winery, Oakville, CA Average Price:$19
The Wine:
This “Fumé” Blanc — a blend of 87 percent Sauvignon Blanc and 13 percent Sémillon — is a bit of a classic. Robert Mondavi started aging his Sauvignon Blanc in oak and the U.S.-specific-term Fumé Blanc was born. In this case, the wine is barrel fermented and then is aged in 60-gallon French oak barrels before the final blending with a small dose of Sémillon right before bottling.
Tasting Notes:
There’s a lot to work with in this wine. I’m always enthralled by the orange blossoms that greet you. There’s a clear matrix of stone fruit next to apples and pears with a sense of marzipan and crusty bread smeared with butter both flickering in the background. The velvet texture of the sip sticks with you and beckons you back for more.
Bottom Line:
Water really opens this up, much like using a damn good whiskey in a highball. The nuttiness broadens with more fattiness and the blossoms really shine.
Sonoma-Cutrer Russian River Ranches Chardonnay
Drizly.com
ABV: 13.8% Winery: Sonoma-Cutrer Vineyards, Windsor, CA Average Price:$22
The Wine:
I thought I knew California Chardonnay. I really didn’t until I visited this Sonoma County vineyard a couple of years back. This female-led operation is all about doing things sustainably and that shines through in the wine. The juice is mostly fermented in oak before resting, also, in oak. The result is a bottle you’ll want to buy a case of.
Tasting Notes:
Ripe and juicy pears dance with crisp and slightly tart apples. There’s a slight honey sweetness that gives way to a nougat creaminess that’s clearly buttery. The oak peeks in with a smidge of woody spice before a nutty edge takes you back to that creaminess. The end has an almost brown-butter-meets-apple essence that’s very addicting.
Bottom Line:
This might be my favorite Chardonnay at the moment. It’s crazy good with oysters and sea urchins. Also in a spritz, all that nuttiness, creaminess, and fruit really shine through.
After President Donald Trump seemingly embraced the conspiracy theory movement known as QAnon earlier in the week, Vice President Mike Pence has taken a notably different approach to the controversial group. In an interview with CNN‘s John Berman on Friday morning, Pence claimed ignorance of the organization that’s been labeled a domestic terror threat by the FBI and essentially stated that he doesn’t have time to concern himself with such things. He then chastised the media for pursuing the topic.
“I dismiss conspiracy theorists out of hand,” Pence told Berman. “I said it’s a conspiracy theory, I don’t have time for it, I don’t know anything about it. And honestly, John, I get it. I mean, I get that the media, particularly CNN chases after shiny objects.”
However, Pence’s blunt dismissal of QAnon became less about the vice president distancing himself from the controversial subject and more about downplaying Trump’s embracing QAnon’s support for his presidency. During a White House briefing on Wednesday, Trump was asked about QAnon, and he lauded the group as people who “love our country.”
“I don’t know much about the movement other than I understand that they like me very much, which I appreciate,” Trump said.
The president’s appreciation for the conspiracy theory quickly generated headlines and swift rebukes on social media, which Pence attempted to defuse while appearing on CNN. When asked by Berman if the president embraces QAnon, Pence denied that characterization. “I heard the President talk about he appreciates those who support him.”
After playing a small role in the 2016 election, QAnon has become increasingly active on Facebook in recent weeks where Trump supporters have been sharing conspiracy theories that the president is fighting a secret war against a shadow network of pedophiles that includes his political opponents and Hollywood celebrities. Via CNN:
QAnon’s prevailing conspiracy theories — none based in fact — claim that dozens of Satan-worshipping politicians and A-list celebrities work in tandem with governments around the globe to engage in child sex abuse. The group also peddles in conspiracies about coronavirus and mass shootings — none grounded in reality. Followers also believe there is a “deep state” effort to annihilate Trump.
The outlandish online theories have sparked real world violence, which prompted the FBI to label the group a domestic terror threat.
That Nikola Tesla is essentially the father of the modern electricity grid yet died broke in obscurity would seem to make him an ideal choice of biopic subject. Thomas Edison tried to destroy him in a smear campaign, George Westinghouse took his patents, JP Morgan cut off his funding, and hey, wasn’t there something about a death ray? Was Tesla a martyr to capitalism, too pure a scientist for the cold realities of business? Or perhaps a more prosaic example of high-octane mind that revved too high and burned out its clutch?
Tesla, a new film from Michael Almereyda (Marjorie Prime, Experimenter) starring Ethan Hawke as the inventor isn’t so gauche as to offer either of these obvious takes. It’s too tasteful to offer much of any take beyond “what if art?” Tesla‘s narrative devolves into a series of artistic choices. And maybe that‘s the take, that Nikola Tesla is whatever framing device we apply to him. Which is, like many things in Tesla, certainly a choice, though sort of a bloodless one.
The film is narrated, strangely, by Anne Morgan, played by Eve Hewson, aka the daughter of Bono from U2, who between this and The Knick has clearly found her niche as Victorian-era femme fatale (playing the daughter of a famous person is also apt). Hewson’s Morgan does double duty as the voice of God narrator who explains about Tesla being so mysterious and occasionally calls time out, Zack Morris-style, pausing Tesla‘s weirder scenes to explain why things probably didn’t happen this way in real life. She also occasionally compares historical figures in terms of how many Google results that figure’s name produces, a system of measurement that feels a bit like the movie equivalent of starting your essay with “Webster’s dictionary defines ’emancipation’ as…”
Anne Morgan narrates as Tesla first works in Edison’s workshop, then sets out on his own, inventing his sparkless alternate current induction motor, and teams up with Westinghouse while Thomas Edison (played by Kyle MacLachlan) tries to smear him by electrocuting animals and people. Through it all, Tesla himself says very little. Ethan Hawke’s forehead furrow does most of the heavy lifting, as Tesla oscillates between scared and annoyed at the world outside his mind. What’s this guy’s deal, anyway?
While Tesla himself is kind of a dud, Tesla‘s casting is consistently interesting, from MacLachlan as the pompous Edison, to Jim Gaffigan as Westinghouse and Ebon Moss-Bachrach as Tesla’s devoted assistant, Szigeti (Bachrach’s portrayal of Desi from Girls might be the enduring depiction of a 2010s fuckboi).
Hewson’s Anne Morgan eventually shows up in real-time, as a politically-minded rich girl who’s clearly in love with the flighty inventor. Why Tesla doesn’t reciprocate isn’t entirely clear, as Anne Morgan is both beautiful and obscenely rich. Though there is one scene where he jilts her at a roller-skate party because he hates the sight of her pearls. Is he just an eccentric, is that his deal? Their dynamic doesn’t quite fly because the film never quite captures the essence of either character; both feel more like collections of factoids.
In a way, Almeryda’s film splits the difference between slick, Aaron Sorkin-esque Rosebudding and new wavey, Sofia Coppola art-punk. Almereyda comes Sorkinly close to blaming all of Tesla’s future troubles on a jilted lady, before seeming to reconsider and drowning the narrative in ostentatious art. Almereyda shoots characters in front of painted backdrops, has Tesla sing Tears for Fears to the camera, and what the heck, even gives Thomas Edison an iPhone in one scene. Who cares? It’s only fashion.
It could’ve been a beautiful disaster, and yet Tesla‘s narrative retreats into its own navel almost at the exact point that it becomes convincing as an ideal lens for a portrait of the Victorian era. All that striving towards a scientific utopia seems to come from an abiding morbidity. They were all in love with dyin’, they were doin’ it in Menlo… Tesla survives multiple family members and Thomas Edison’s first wife dies young. Edison is so generally full of grief that he spends the latter part of his life working on a way to communicate with the dead. In Almereyda’s telling, Tesla also falls for the actress Sarah Bernhardt (Rebecca Dayan), famous mainly for her ability to die dramatically and who sleeps in a coffin to help prepare herself for the eternal slumber. Yet this age of discovery is also the gilded age, the playground of the robber barons, and all the hope and utopianism that seems to animate Tesla, Westinghouse, and Anne Morgan, eventually curdles from exposure to the dog-eat-dog realities of unchecked capitalism.
It’s an intriguing snapshot, and one we have to give Almereyda at least partial credit for — why include Bernhardt (a minor footnote at best in Nikola Tesla’s story) if not as a comment on the age? If this facet of the film had been sharp more Tesla could’ve been something special. Yet the captivating slice of Victorian life is drowned out by the feint towards the traditional biopic and the conspicuous contemporary touches. Almereyda making a show of himself as storyteller takes away from his story, and seems to betray a lack of confidence in it.
‘Tesla’ opens Friday, August 21st in theaters and on demand. Vince Mancini is onTwitter. You can access his archive of reviewshere.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
