Month: July 2021

Jason Momoa is still in Canada wrapping production on the second season of his Apple TV series, See, and when that’s done, he’ll immediately jet to the set of Aquaman and the Lost Kingdom, which has already started filming. But despite his busy schedule, Momoa still found time on Thursday to get a little freaky for a sexy challenge on Jimmy Kimmel Live.

While filling in for Kimmel, guest host Anthony Anderson got Momoa to participate in the show’s patented “Make It Sexy Challenge” where stars are tasked with taking boring, mundane tasks, and well, making it sexy. In this case, things got wild right off the bat, as both Momoa and Anderson stripped off their shirts before Momoa slathered himself with sanitizer. He hadn’t even been given a challenge yet!

“Normally, I like to squirt it all over my chest,” Momoa said as the live audience hooted and hollered. “Sometimes I rub it all over my face because it kills 99.99 percent of things.” And that was only the beginning of rubbing things all over his chest.

Fo the first challenge, Anderson told Momoa to open a can of tuna, but “make that sexy.” After tossing a can opener to the side and saying, “Most children would use this, but I’m Aquaman,” Momoa seemingly cracked the can with his biceps and then immediately got to work slathering tuna fish all over his chest as Anderson cheered him on.

Anderson then asked Momoa to iron a shirt, and once again, the chest rubbing began. Only this time, Momoa coated himself with baby oil before laying down a not very subtle innuendo. “I like to lay down the shirt, and this is about the long-stroke, okay?” Momoa said. “It ain’t about that short sh*t, you need it long.”

Flight attendants are overworked, underpaid, and a report found that “transportation workers have the highest COVID-19 risk score — 75.7 out of an average 30.2 — of 966 non-health jobs assessed.” They’re about as essential as essential workers get, but because they make customers wear masks to prevent catching a virus that is still killing over 8,000 people every day, Tomi Lahren thinks they’re Nazis. I guess she would know.

During a discussion about “unruly behavior” in the skies on Thursday’s broadcast of the Fox News program Outnumbered, former-White House press secretary Kayleigh McEnany called on viewers to “be nice to our flight attendants” after a “brutal year” of “being the mask police.” Lahren had a different, less empathetic take. “But I will disagree a little bit with Kayleigh on this. I don’t honestly ever do this, but I will say there are so many good flight attendants out there. But there are some flight attendants that take their job as the mask police to extremes, becoming almost Nazis of the air.”

If McEnany is the voice of reason, something has gone terribly wrong:

Lahren, who once referred to social distancing as “willful slavery,” said the strict enforcement of mask mandates is irritating some airline passengers. Airlines have reported a sharp uptick in bad behavior from passengers this year. “It drops beneath your nose,” Lahren said, referencing a slipping mask, and flight attendants are “constantly getting mad at you.”

Lahren continued her bad takes on Twitter, where she tweeted, “You can be kicked off a plane for having an already useless mask below your nose but you won’t be kicked out of this country for being a criminal illegal alien. Makes sense, in Biden’s America.” She also wrote that Joe Biden’s “vaccine patrol” can “kiss my country ass.” Twitter can be very bad (@TomiLahren) but it can also be very good (people making fun of Tomi Lahren).

There’s something vaguely unsettling about taking a vacation these days. It’s something that I recently did, and it’s a supremely strange (not to mention guilt-inducing) experience to hop on a plane (for leisure) with everything that’s swirling about for humanity. Yet when I really thought about it, there’s frequently something a little bit “off” when one spends more than a few nights at a hotel. Sure, you’re there for rest-and-relaxation and to forget about life’s daily stresses, but the unshakeable stuff can tag along. Relationship friction and resentment don’t miraculously smooth themselves out when one is in proximity to a body of water, after all, nor does the grief associated with the death of a loved one. The urge for some to self-medicate also doesn’t evaporate and, in fact, that temptation can run wild without the structure of daily life to intervene. Even if you’ve had a fairly run-of-the-mill vacation with zero drama, there’s still the make-believe feel of the situation; so when your paradise-buzz evaporates once an airline puts you on a ten-hour delay for your first flight home (true story), the idea of vacation feels even more surreal.

“Surreal” is one way to describe HBO’s The White Lotus, the new limited series created, written, and directed by Mike White (Enlightenment, School of Rock), which happens to organize itself around the lavish getaways of the One Percent while the hotel staffers serve their every whim. That means that this brand of clientele is fairly insufferable and incredibly spoiled and, somehow, mostly miserable, whether they acknowledge it to themselves, or not; and they’re not psyched (as I was) to order French toast from the wonderful brunch waiter whose name popped up in almost every online review of their hotel. Instead, these people often have a (ridiculous) ax to grind while the action almost exclusively goes down at an eponymous, impossibly posh Hawaiian resort. Oh boy, does Mike White enjoys positioning them over a slow-burning flame while they cannot escape themselves while descending into inexplicable misery. This may not sound like fun to watch, but White’s assembled vacationers are brutally awful in many ways.

The series (quite delightfully) skewers the ultra-wealthy in what turns out to be a riveting satire (both sprawling in its breadth and self-contained in its brevity) on how obscene wealth rots everything that it touches. The approach is one that Succession fans will surely enjoy, and while the setup feels like The Love Boat or Fantasy Island had a lovechild with Agatha Christie (there is a murder), rest assured that these absurdly wealthy subjects nail themselves into their own virtual coffins. In The White Lotus, it’s as if the surreal surroundings, the escape from reality, is what exposes these guests’ real selves. It’s like a refined Lord of the Flies meets Mean Girls, if the meanest of girls was a tantrum-y Jake Lacy as Shane, who we meet at the beginning of the series. He’s an overgrown, trust-fund brat and a honeymooner whose wife clearly did not think this marriage through. Rest assured, you will enjoy plenty of Alexandra Daddario as Rachel throughout the season, but Jake? He’s a piece of work.

Right from the start with Jake, we realize that something’s not right, which leads to the tee-up of the murder-mystery subplot. Yet White pulls the rug out from under his audience (as he’s known to do) because murder’s not actually the main course in this series, although it sure feels delicious to speculate on who met their early demise (and whodunnit) during this week-in-the-life season. We receive a tapestry of interwoven stories of these well-to-doers, which include not only Shane but also the Massbacher family, which includes Mark (Steve Zahn), who’s clearly nursing an inferiority complex in the face of his wife, Nicole (Connie Britton), who’s all business, even with her family. Their college-aged daughter, Olivia (Sydney Sweeney) has a tagalong friend, Paula (Brittany O’Brady), and they’re a real hoot of a pair, judging the adults with little mercy, even as they don’t seem to have a problem participating in the monetary debauchery.

Recurring appearances by Lukas Gage and Molly Shannon do draw focus, but there are two real stars here:

1. Murray Bartlett: He portrays Armond, the resort manager/presiding master of ceremonies, who sees and hears and knows and observes everything. He is the soul of the show, and I’m here to tell you that this is one conflicted and questionable soul. Bartlett easily straddles a wide spectrum to embrace this role, that of a wheeler and dealer, and a person of marginalized status, who must grit his inner teeth and serve the ultrarich despite hating their behavior as much as anyone else. He’s the person who inherently, for better or worse, understands those who visit the White Lotus, much more than they understand themselves. You’ll root for Murray while, quite possibly, strongly disliking him at times. Long and rambling pieces could one day be written about this character and his intimate knowledge of how power and money corrupt.

2. Jennifer Coolidge: She effortlessly steps into the role of Tanya, and goddamn, I’m not sure why she hasn’t received more recognition for being a great character actress whose list of credits does not stop. I’ve adored her since Legally Blonde, and despite entering the series as a boozy, utter mess, we soon learn that she’s attempting to gain closure from a tragedy. Coolidge gives a deeply funny performance that’s also heartbreaking at times. In short, she’s the woman who one you’d never want to be trapped with on a boat, yet her performance is nothing short of magnetic.

That, in a nutshell, is also how I feel about The White Lotus. It’s full of characters that one would never choose to spend time with, yet as a whole, the story presents a fascinating spectacle. The series is deeply funny and occasionally disturbing while managing to simultaneously repel and enrapture viewers. It’s also possible, strangely enough, to both love and hate this show at the same time and during different moments, but once you’re through the second episode or so, the show’s quite difficult to cease watching. You’ll be glad to have checked into this weird-ass series. It’s a trip.

HBO’s ‘The White Lotus’ premieres on HBO and HBO Max on June 11.

Lil Baby is visiting Paris at the moment, and so far, his trip has been a real up-and-down affair. He went viral after French paparazzi seemingly referred to him as “Le Baby,” but shortly after that fun trending moment, he was arrested for marijuana possession. Now, the rapper has offered an update on his situation and he seems to be doing fine.

On Instagram this morning, he shared a promotional image for a concert in Indianapolis that’s set for tomorrow, July 10. He wrote alongside the post, “Thank You To Everyone Who Checced On Me !! I’m Good I’m Otw To The States To Rock My Show At The Pavilion At Pan Am In Indianapolis!! Let’s Gooooooo.” Similarly, he also tweeted around the same time, “I’m good [raised hands emoji].”

Also this morning, on his Instagram Story, he shared a photo of himself in what appears to be a clothing store and wrote, “back at it [facepalm emoji].”

Meanwhile, ASCAP recently named Lil Baby their songwriter of the year, an honor that makes sense considering that a new report indicates he was one of the most successful songwriters in all of streaming music for 2020. As far as other upcoming concerts, he and Lil Durk have lined up a tour for this fall.

With Black Widow coming out this week, and giving a loving nod to Moonraker, this feels as good as time as any to write about my love for this movie. Look, it’s kind of weird being a Roger Moore Bond fan. I will not even attempt to argue he’s “the best James Bond” (though, to me, he is) because Roger Moore is kind of his own thing.

Moore was my first James Bond. And there’s always going to be sentiment for the first person you saw play the role. And, yes, I’ve heard the argument: “He doesn’t act like James Bond.” Well, when I first saw him in on cable in For Your Eyes Only (also a great movie), I had no idea who James Bond was and this fellow was telling people he was James Bond. So, guess what, he’s James Bond. And then when my grandmother took me to see Octopussy in theaters, it cemented my Roger Moore love. (Also, in retrospect, the idea of my grandmother having to say, “Two for Octopussy” is a very strange thought. Also, I remember how much my grandfather hated Moore and would tell me Sean Connery was the only “true” Bond. To which I remember thinking, “Oh, wow, is this Sean Connery guy even more hilarious?”)

But, over time, as I got older, the idea of a “darker and grittier” James Bond was appealing, I suppose.

But then pretty much everything became “darker and grittier.” It became the default movie tone. An aspiration for every filmmaker, it seemed, was to make a dark and gritty project. It got to the point “dark and gritty” became an easy applause line at Comic-Con panels. Let’s say someone was announcing a new movie starring, I don’t know, the cartoon cat, Heathcliff. Well if it were announced that Heathcliff was going to be dark and gritty, this would cause a Comic-Con standing ovation. “Do you know who Heathcliff is? No, but if he’s dark and gritty, sign me up!” Personally, I’ve gotten pretty tired of dark and gritty.

I hadn’t just sat down and watched the Roger Moore Bond movies in a very long time. A friend of mine, who, before the pandemic, was “action movie deficient,” noted that hadn’t really seen any James Bond movies. So I decided, why not, let’s start with Roger Moore. To which my friend responded, “Oh, I heard those suck.” So for some strange reason we started with A View to a Kill because it came out in 1985 and was most in line with the years a lot of our other movies had come from. Yeah, I made a mistake. All the elements are there but the plot of A View to a Kill is a disappointment. (Somehow Christopher Walken as a Bond villain is boring.) But, my friend loved Moore. “If only the movie had been better.” So that’s when we watched Moonraker.

To put it bluntly: Moonraker rules. It is the opposite of “dark and gritty” and it’s kind of amazing how fun a movie can be when it’s not worried about being cool. (This is a movie that features a pigeon that does a comedic double-take, so it is for sure not worried about being “cool.”) There’s a Fast and Furious vibe to the whole proceedings where the theme seems to be the more indulgent the plot, the better. (And not to mention both movies now, inexplicably, send their characters to space.)

Moonraker opens with a pre-credits stunt scene involving a fight between James Bond and the infamous Jaws – played by 7’2” Richard Kiel, who we had met in the previous film, The Spy Who Loved Me (also, if you’re not an Ian Fleming expert and want to read something wild, check out the history of The Spy Who Loved Me novel) – in mid-air after both had jumped out of a plane. It’s a stunner. And this scene is somewhat re-created in Black Widow, only with CGI instead of humans actually falling through the air. (Speaking of Richard Kiel, I love Jaws, but his greatest cinematic moment will always be in Happy Gilmore telling Shooter McGavin, “No, you can count, on me, waiting for you, in the parking lot.”

For being “the James Bond movie in space,” there’s a lot more globetrotting in Moonraker than you might think. Which probably disappointed me when I saw this on VHS around the time Octopussy came out, because I just wanted to see “space fights.” But now it adds to just how gorgeous this movie is. I’m not going to try to convince you this is the “best Bond movie,” but it’s sure my favorite Bond movie. If you can’t love Moonraker, then you can’t love joy. This is a movie that literally ends with James Bond having sex in space.

The friend I mentioned earlier, the funniest thing about his recent adventures with Roger Moore is that it’s created a whole new perspective on the Austin Powers movies. There are scenes in the later Moore movies that, if they were jokes in an Austin Powers movie, we’d think, okay, that’s a bit too over the top. Keep in mind, Roger Moore pulled his own Austin Powers first. Moore literally played a “secret spy” character that was “secretly Roger Moore” in The Cannonball Run, which was released when Moore would still go on to make two more actual Bond movie. Roger Moore knew what he was doing. And Moonraker is pure fun. Moonraker deserves its due. Moonraker rules.

You can stream ‘Moonraker’ (and all of the other Bond films) via Amazon Prime. You can contact Mike Ryan directly on Twitter.

SPOILERS for Black Widow will be found below.

Black Widow was Florence Pugh’s introduction to the Marvel Cinematic Universe. And to millions of people who didn’t see her in Lady Macbeth and Midsommar (everyone should watch Lady Macbeth and Midsommar). But in a way, the Paddington-befriending actress has been part of the MCU since Avengers: Infinity War. At least her vest has.

For my money, the best joke in Black Widow is Yelena’s (Pugh) affection for her vest. It’s tactical, it’s “so cool,” it’s the first thing she bought for herself after being released from Dreykov’s mind control, and most importantly, it has pockets. So many pockets for so many gadgets and gizmos, you wouldn’t even know. At the end of the film, however, she gives it to her “sister,” Natasha (Scarlett Johansson) before they depart. “I guess you should take this, I know how much you like it,” Yelena tells her. Natasha liked it enough that she wrote it during one of the most climatic scenes in MCU history.

Black Widow is sporting the vest during the Wakanda battle scene in Infinity War, the fifth highest-grossing movie of all-time (its sequel, Endgame, is number two). The direct connection between the Avengers movie and Black Widow was made by Marvel Studios honcho Kevin Feige, as Scarlett Johansson told Screen Rant.

“Well it actually is an important thing. It seems very superficial, but it actually is very unique, it’s a very meaningful thing. That’s totally a Kevin Feige thing. He loves all of that backstory stuff and things that connect characters to one another,” she said. “When we designed it then, it was really just a different look for the character, but it’s fun how Kevin’s mind works in this — he’s like an imagineer in that way, where he thinks of all the little hidden things that people will give, things that are seemingly innocuous, some heart. It’s an heirloom, it becomes an heirloom in this unexpected, funny way.”

It’s also making people very emotional.

(Via Screen Rant)

We’re now just a few weeks away from Billie Eilish’s highly anticipated second album, Happier Than Ever. That’s dropping at the end of the month, but ahead of then, Eilish shared a new song, “NDA,” today. To mark that occasion, she chatted with Apple Music’s Zane Lowe. During that conversation, Eilish said she has “cried more in the last two weeks than I have my whole life.”

Eilish explained how tough promoting a new album can be, saying:

“I mean, listen: it’s a lot of work. Also, when you want to give your album a life, and a big one, and you want people to listen, you gotta do stuff to make that happen. You got to do shoots and shoots and shoots and shoots and shoots and shoots… and all of the things. And it’s been a pretty… punishing couple of weeks, I got to tell you. I have cried probably 30 times. Probably, I’ve cried more in the last two weeks than I have my whole life. But it’s okay, because, you know, life goes on and things pass. But the whole process overall has been much better. I feel so much more confident and happy in my life and my personal life and my brain and my creativity. It’s just: promo is tough. It’s tough, but it’s worth it, though.”

Check out the full conversation below.

Happier Than Ever is out 7/30 via Darkroom/Interscope. Pre-order it here.

MEGA-SPOILERS for Black Widow and The Falcon and the Winter Soldier will be found below.

Scarlett Johansson’s Natasha Romanoff finally got her solo movie with Black Widow, which sets up Florence Pugh’s Yelena Belova as torch carrier into Phase Four and beyond. As is customary with Marvel movies, a post-credits scene went down, and it’s a significant one. Let’s talk it out, including what it means for the MCU and the assembling of Disney+ shows coming out way.

The post-credits scene takes following after the film’s climactic battle and the events of Avengers: Endgame. Yelena and Natasha had bid each other farewell as the former went with their “parents” and the newly freed Widows. The latter went back to Avengers-land, where she intended to free a few members and head towards the events of Infinity War. And obviously, Natasha sacrificed herself for the Soul Stone, beating Hawkeye to a determined scramble to leap to death. In doing so, Natasha meant for Hawkeye to return to his family and finally scrubbed her ledger free of the remaining red while helping to save half the life in the universe, along with her adoptive superhero family.

Well, we see Yelena (who finally got that dog) visit Natasha’s grave, where her moment of sisterly love is interrupted by a certain enigmatic The Falcon and the Winter Soldier character, who was the best honest-to-god surprise cameo in MCU history:

Yup, it’s the legendary Julia Louis-Dreyfus as Contessa Valentina Allegra de Fontaine. She prefers to be referred to as “Val,” and she’s allegedly allergic to the midwest (meaning that Natasha’s apparently buried in Ohio, where she at least knew three years of relative normalcy). And Yelena’s been working with Val? We need answers on that issue at some point, which it feels like we’ll receive in Hawkeye.

Yelena seems unimpressed to see Val, and they’re obviously not strangers. She remarks that she’s enjoying off-time and that Val should bugger off. “Coming here makes you look desperate,” Natasha’s sister quips. “I want a raise.” It’s clear that Val’s been doing more recruiting in addition to her enlistment of John Walker, the failed Captain America, near the end of The Falcon and the Winter Soldier. Yet it’s not entirely clear whether this scene actually follows that show or vice versa. Vanity Fair previously reported that Marvel Studios originally wanted to debut Val in Black Widow, but plans changed, so who knows? Maybe Yelena joined Val before John did (as U.S. Agent), but the order doesn’t really matter. Instead, we’re learning that Yelena at least semi-regrets joining up with Val, who’s annoying at best (with her nose-blowing intrusion) or nefarious at worst.

Interestingly enough, Val has a message for Yelena here. “I’ve got your next target,” she tells the trained killer. “Maybe you’d like a shot at the man responsible for your sister’s death.” With that, Val hands over a photo of Hawkeye while remarking, “Kind of a cutie, don’t you think?” Val’s lying, unless one counts Hawkeye’s failure to sacrifice him first as being “responsible.”

Is this hit at the behest of Power Broker/Sharon Carter, who’s obviously got a beef against the O.G. Avengers? If one were to heavily speculate on where this hit-revelation goes, and Yelena goes after Clint Barton to avenge Natasha, we can expect Yelena to pop up on the upcoming Hawkeye show, where she’d undoubtedly meet up with Kate Bishop (Hailee Steinfeld), who’s rumored to be taking over the Hawkeye mantle at some point, which possibly factors into setting up the Young Avengers. Yelena is highly speculated to join that group, but to do so, she’d need to wiggle out from under Val’s thumb first. If all is true, it’s a heck of a way to team up future MCU leaders.

All of this also means that — given that one must watch The Falcon and the Winter Soldier to pick up on this Val Easter egg — Marvel Studios is making it damn near impossible to opt out of any of the Disney+ shows. One can’t blame them, right? This is definitely one way to make me curious about Hawkeye, which wasn’t high up on my list of most anticipated shows. More Yelena would be a big selling point there.

Again, though, we don’t truly know who Val is, beyond not being the Power Broker. It’s possible that Val (and this is one place that Val goes in the comics) is actually Madame Hydra, who possesses a mysterious past with parents who were Leviathan sleeper agents. Val’s also been a leading S.H.I.E.L.D. member and once kicked Nick Fury’s ass during a training session. Well, we’re not likely to get answers anytime soon, at least until Hawkeye arrives, possibly in late 2021. She’s truly a wild card, but at least we know that the MCU’s not one-and-done with either Val or Yelena Belova, and no one can complain about that development.

‘Black Widow’ is currently in theaters and streaming on Disney+ via Premier Access.

Top Dawg’s first lady is joining the NFT game. While fans have been dying to hear SZA’s second full-length album, barely satiated by the release of her first single, “Good Days,” or her long-awaited collaboration with Doja Cat, “Kiss Me More,” she’s giving them a piece of her career instead. In what might be the first of many potential collaborations for an NFT, SZA is releasing her first NFT drop today.

Today, American Express announced their collaboration with her on “Amex Unstaged x SZA: The Collection.” The drop gives Amex card members the chance to purchase the NFT, which features photos from her recent performance for the brand. According to a press release, the “limited, one-of-a-kind collection” will be available on Fanaply, an NFT developer used in music, sports and entertainment. The NFT includes “never-before-seen photos” from SZA’s performance. Today’s initial drop is only open to the Amex card members who attended the show, while the next iteration, coming this Monday, will be open to the public. Each asset will be available for purchase — with an American Express card — at a price of $100 right here.

Check out some of the first looks at NFT photos below and learn more about the drop here.

The long and sultry days are officially upon us, and Netflix knows that you want to stay inside (more than you probably thought you did) this summer. The streaming service lined up all manner of content for you this week, from family-friendly fare to straight-up R-rated offerings. First up, Tim Robinson returns with a sophomore season full of his most refreshingly absurd and blunt and self-aware brand of humor. Next, the Fear Street franchise has a second installment of its own, only a week after the first edition dropped. Then comes the battle between cat people and dog lovers, and you know what? Maybe one can respect both sides of the pet-loving ballgame. That’s not all that you can choose from, although we chose the most bingeworthy selections, to make life a little bit easier.

Here’s everything else coming to (and leaving) the streaming platform this week.

I Think You Should Leave with Tim Robinson: Season 2 (Netflix series streaming 7/6)

Get ready for more insanely absurdist (and almost therapeutically refreshing) sketch comedy from creator and writer Tim Robinson. He’s back with partner Zach Kanin for more of turning the most mundane and bizarre life moments into shouty hilarity, and guest stars this season include Bob Odenkirk, Sam Richardson, Paul Walter Hauser, Tim Heidecker, and many more. If you haven’t had the pleasure of digging into Robinson’s work, and you love Adam Sandler and Chris Farley’s exaggerated humor, yet crowned with an especially self-aware twist, you must plop this show into your queue.

Fear Street Part 2: 1978 (Netflix film streaming 7/9)

One week after Part 1’s release, the franchise goes back to Shadyside, where summer vacation’s on tap, which means summer camp and someone who wishes to commit murder. In short, a group of campers discover that their town’s horrifying happenings might be connected to what they’re going through now, and they need to shut down the impending perpetrator, fast.

Biohackers: Season 2 (Netflix series streaming 7/9)

An abducted women awakens with no memory of what transpired, but she does discover a note-to-self that proves to be quite useful in informing her that, well, she needs to figure out what the heck happened because she’s in imminent danger. She must then team up with someone that she doesn’t trust at all.

Resident Evil: Infinite Darkness (Netflix series streaming 7/9)

Based upon the survival horror video games (and surely, you’ve seen at least a few of the films) comes this Netflix original anime series that follows up on 2017’s Resident Evil: Vendetta CGI film with more franchise entries apparently on the way.

Dogs: Season 2 (Netflix series streaming 7/8)

The best friend of man everyone (who knows what’s good for them) is here to stake a claim on you. In this four-episode season, four lucky humans — an astronaut, a priest, a military contractor, and a university mascot handler — tell stories of these remarkable creatures and how they’re truly family.

Cat People: Season 1 (Netflix series streaming 7/8)

Well, some people side with the felines, rather than the canines, in the battle for human hearts. This show will explore exactly why “cat people” are so devoted even in the face of negative stereotypes while also revealing their powerful bonds with these somewhat stuffy and frustratingly independent creatures.

Here’s a full list of what’s been added in the last week:

Avail. 7/4
We The People

Avail. 7/5
You Are My Spring

Avail. 7/6
I Think You Should Leave with Tim Robinson: Season 2

Avail. 7/7
Brick Mansions
Cat People
Dogs: Season 2
The Mire: ’97
The War Next-door
Major Grom: Plague Doctor
This Little Love of Mine

Avail. 7/8
Elize Matsunaga: Once Upon a Crime
Home Again
Midnight Sun
RESIDENT EVIL: Infinite Darkness

Avail. 7/9
Atypical: Season 4
Biohackers: Season 2
The Cook of Castamar
Fear Street Part 2: 1978
How I Became a Superhero
Last Summer
Lee Su-geun: The Sense Coach
Virgin River: Season 3

Avail. 7/10
American Ultra

And here’s what’s leaving next week, so it’s your last chance:

Leaving 7/14
Holidays

Leaving 7/15
The Princess and the Frog