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The New ‘Tenet’ Trailer Makes Its Central Gimmick A Little Clearer

Let’s begin at the ending — apropos since this is about Christopher Nolan. The last thing you see in the new trailer for Tenet are three bold, shocking words: “Coming to theaters.” Despite all that’s happened in the world, all the blockbusters that have relocated to later dates — or been re-routed to streamers — Nolan’s latest mindbender has held steadfast on its release date, i.e., July 17. Will it will even be safe to go to a movie theater in less than two months? Who knows, but so far Tenet is still playing chicken with the Covid-19 pandemic.

For now, though, we have this latest trailer, which, along with new eye-popping imagery, makes the central gimmick a little clearer. Did you think it was about time travel? Well, here’s Robert Pattinson’s character to tell our tabula rasa audience surrogate, played by John David Washington, that it’s not. Instead, it’s about…well, they call it “inversion,” and so far as we can tell that means that certain parts of the movie will play backwards.

Remember the backwards-crashing car from the last trailer? Well, here’s guns shooting backwards, a fight backwards, and what looks like maybe a terrorist attack in a public space backwards, too. “You’re not shooting the bullet,” one British scientist-looking person tells Washington, “you’re catching it.”

Anyway, minds sufficiently blown and see you — maybe — at the movies on July 17. Unless we don’t.

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These Photos Show Creative Ways People Are Celebrating Graduation During The Coronavirus Pandemic


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35 Futuristic Products That’ll Probably Make You Feel Like You’re Living In 3020

What’s even better than science fiction? These products that exist IRL.


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18 Random Facts That Absolutely Blew People’s Minds On Twitter

Don’t you dare say, “I thought everyone knew that!”


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15 Funny Tweets About The Lana Del Rey Instagram Post Drama

People found plenty of humor in her harsh words.


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Disney+ Sets A Date For When Older ‘Simpsons’ Episodes Will Be Available In Their Original Aspect Ratio

When any service first launches, there are always weird issues, glitches, and mistakes. When Disney+ bowed back in November, one complaint was more forcefully made than others: The first several seasons of The Simpsons were not available in their original aspect ratio. Disney+ top brass were quick to say the problem would be fixed, but they weren’t slow to actually fix it. Now, as per Variety, they’ve released a date when the switch will take place: May 28, i.e., next week.

The casual plebeian may not think aspect ratios are too wonky to care about; after how many households still have motion smoothing turned on? But complaints about The Simpsons being shown in the wrong shape were about more than mere purity. For its first 19 seasons, and part of 20 — up until 2009 —were designed for old-timey square-shaped televisions. The versions on Disney+ cropped them to fit modern widescreen sets. And by doing so, the censors wound up messing up or even completely eliminating untold visual jokes.

So huzzah! In a week as of this writing, you’ll be able to actually see the “Old Man Yells at Cloud” headline in the Season 13 episode “The Old Man and the Key.” Meanwhile, the long-running show just concluded its 31st season, with no end in sight.

(Via Variety)

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The Man Who Recorded Video Of Ahmaud Arbery Being Shot Has Been Arrested On A Murder Charge


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Lana Del Rey Responds To The Backlash Over Her Post About Her Chart-Topping Peers

After nearly a full day of being called a “Karen” online by commenters who took issue with her open letter to the music industry, Lana Del Rey responded, claiming her statement had “nothing to do with race” despite mostly naming Black and Latina women (and Ariana Grande).

In a comment on her original post, wherein she erroneously compared the critical and commercial reaction to her music to that of her peers’ material, she defied the characterization of her letter as “racist,” writing, “This is sad to make it about a WOC (women of color) issue when I’m talking about my favorite singers. I could have literally said anyone but I picked my favorite f*cking people.”

She pointedly noted her issue with a climate of political correctness, without saying as many words, griping, “This is the problem with society today, not everything is about whatever you want it to be. It’s exactly the point of my post — there are certain women that culture doesn’t want to have a voice. It may not have to do with race — I don’t know what it has to do with. I don’t care anymore but don’t ever ever ever bro call me racist that is bullsh*t.”

Lana left a “final note” as well, punctuating her comments with one more that attempted to clarify her meaning: “When I said people who look like me — I meant the people who don’t look strong or necessarily smart or like they’re in control, etc. It’s about advocating for a more delicate personality, not white women — thanks for the Karen comments tho. V helpful.”

Unfortunately for Lana, in her attempt to defend herself, she may have proved the critics correct. I don’t think anyone disputed or misconstrued her point. The problem is that her point was made at the expense of mostly women of color — particularly Black ones — and against a mountain of evidence to the contrary. As she says, she could have named any number of wilting, “delicate” personalities and they have still experienced just as much — if not more — criticism of her. But by naming those women specifically, she compared their struggles to hers, erasing those struggles, minimizing their experiences, and reducing their music to a narrow range of emotions and topics while inflating her own.

And not for nothing, at its most literal reading, her lament that “Doja Cat, Ariana, Camila, Cardi B, Kehlani and Nicki Minaj and Beyoncé have had number ones with songs about being sexy, wearing no clothes, f*cking, cheating, etc.” is flat-out wrong no matter how you dice it. Removing Kehlani from the equation, as she’s never had a No. 1 on the Billboard albums or Hot 100 charts, even the songs that have gone No. 1 from the others aren’t about being sexy or sex. The most recent entry, “Stuck With U,” is about the doldrums of an established relationship, while its immediate predecessor “Say So” is about missing out on a mutual attraction because the guy is too shy to approach. Beyonce’s last solo No. 1 was specifically about demanding no less than a ring to prove fidelity, and “Bodak Yellow” made more of Cardi retiring her clear heels to the Starlets rafters than “being sexy.” That doesn’t lend itself too well to her point that she loves their music.

Lana’s complaints stem from her perceived poor treatment at the hands of the music journalism establishment, without acknowledging that all of her peers have endured the same — many while suffering through circumstances Lana herself would never be forced to experience. For instance, she wouldn’t be subjected to the double standards of colorism. We know she doesn’t mean she deserves better for being white. But by failing to recognize her privilege and holding onto years-old imagined slights — especially just months after releasing a universally-acclaimed project — she truly is acting like a archetypical, entitled white lady and earning every “Karen” tweet that comes her way.

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The Apple TV+ ‘Greyhound’ Deal Was Tricky But Found Final Approval From The Film’s Star

Earlier in the week, the Tom Hanks passion project Greyhound made the headline-grabbing jump from a Father’s Day theatrical release to premiering on Apple TV+ at a later date. While movies shifting to a streaming release is starting to become the norm in these pandemic days, Greyhound‘s acquisition is the first major step by Apple into taking theatrical films off the hands of a movie studio (in this case, Sony).

Normally, this is a Netflix strategy but according to CNBC, Apple has been showing up to talks with money to spend. It was enough to convince Hanks — who “himself had to approve before Sony and Apple made the deal” — to agree to forego the theater, for the first time, with a movie that he personally wrote and developed. Here’s why such an unprecedented move occurred:

So why did Sony decide to sell this film instead of simply delaying its release, as many studios have done with other films featuring big stars? People close to the matter say that when coronavirus shutdowns forced the cancellation of its scheduled release on Father’s Day weekend, June 19, Sony became concerned that the film wouldn’t be able to find a slot among the superhero films and franchises that had been delayed from the summer. A source close to the situation tells me that the studio shopped the film to Netflix and Apple, but Apple was willing to pay more.

Interestingly, the conditions that led to Greyhound‘s sale to Apple may have played a role in HBO Max’s surprise decision to “Release the Snyder Cut.” With numerous productions delayed by the pandemic, streaming services are looking a possible content gap in the days ahead, and they’re not afraid to spend their way through it. Whether that’s snatching up films that are collecting dust after having their released dates scuttled, or giving Zack Snyder $20 million to re-edit an old movie, these services are ready to pony up to keep audiences watching.

(Via CNBC)

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The Trailer For Season 5 Of “Queer Eye” Just Dropped And I Already Cried Six Times Watching It


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