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The 25 Best Hulu Original Series Right Now (February 2023)

Hulu first launched as a go-to spot for seeing TV shows the day after you missed them on TV, but, like other streamers, the service branched out in the last few years to become a powerhouse of original programming. Combined with its partnership with FX, Hulu has churned out hit comedies, award-worthy work, and bingeable, genre-defying goodies.

Here are the 25 best, both in Hulu Originals and the FX shows that stream there, too.

25. Nine Perfect Strangers

Year: 2021
Cast: Nicole Kidman, Melissa McCarthy, Michael Shannon, Luke Evans, Samara Weaving, Regina Hall, Bobby Cannavale, and Melvin Gregg
Genre: Drama, Mystery, Thriller
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: David E. Kelley
Trailer: Watch here

What happens when a group of people sign up for an experimental therapy at an isolated spa run by a bizarre woman of mystery? Just cucumber/melon water, some drugs in the food, and the promising threat of murder. After Big Little Lies, Liane Moriarty became a hot commodity, and it’s for good reason. Her writing is dynamite on the page, but it translates to the screen with fangs. After decades of incredible, innovative television, adapting Moriarty’s work here may be David E. Kelley’s crowning achievement. His voice captures the Trojan Horse of an Agatha Christie-style secluded location mystery with new age healing vibes, converting into a powerful drama about psychological healing by crawling through fire over glass. And what an absurd cast! The heaviest of hitters all bite down hard on the material, crafting something that starts as a killer mystery and blossoms into a profoundly cathartic achievement.

Watch it on Hulu

24. Little Fires Everywhere

Year: 2022
Cast: Reese Witherspoon, Kerry Washington, Joshua Jackson, and Rosemarie DeWitt
Genre: Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Liz Tigelaar
Trailer: Watch here

Elena Richardson is the picture-perfect person. She’s got a cool job, great family, and she’s so thoughtful that she lets an avant garde artist named Mia into her life (and her home). This is the same home that burns to the ground in the opening scene. Adapted from Celeste Ng’s novel, this series is a powerhouse of suspicions, bad feelings, and the question of whether good intentions will inevitably be repaid by destruction. It proudly marches in the footsteps of classic shows that portray the American suburb as a true nightmare factory, and Witherspoon and Washington are absolute knockouts here. They should star together as frenemies in as many shows as possible. Make sure you watch it with someone you love who can also help lift your jaw off the floor.

Watch it on Hulu

23. The Act

Year: 2019
Cast: Joey King, Patricia Arquette, AnnaSophia Robb, Chloe Sevigny, and Calum Worthy
Genre: True Crime, Biographical Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Nick Antosca, Michelle Dean
Trailer: Watch here

Humans are capable of immense deception and cruelty, and few stories carry that message as keenly as the real-life murder of Dee Dee Blanchard. It’s been told and re-told in tabloid television, fictionalized in novels, and covered in documentaries, but The Act shines for its portrayals (as well as the twisty horrors that may very well scar your brain permanently). King explodes out of her cutesy kid roles and YA romances to portray Dee Dee’s daughter Gypsy, a teenager ostensibly suffering from a laundry list of genetically-caused health problems. Arquette is Arquette — dominating each scene as the domineering Dee Dee, smothering her daughter with a Misery level of care and attention. It’s a wild story, told brilliantly, and unbelievably true.

Watch it on Hulu

22. Welcome To Chippendales

Year: 2022
Cast: Kumail Nanjiani, Murray Bartlett, Annaleigh Ashford, Dan Stevens, and Juliette Lewis
Genre: Comedy, Crime, Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Robert Seigel
Trailer: Watch here

If you had said even a few years ago that Kumail Nanjiani would be taking on prestige TV roles and buffing up to play a Marvel superhero, even money would have been against you. Yet, the first-rate stand-up has seamlessly transitioned into some surprising roles lately, including portraying the real-life Somen “Steve” Banerjee, the Indian immigrant who founded the male stripping revue that became so famous that Chris Farley parodied it on Saturday Night Live. He starts the business, it gets popular, and everyone lives happily ever after, right? Well, this is true crime after all. The maestro of banana hammocks burned bright and burned fast, tracing a downfall that involved financial woes and some legal charges you’ll have to see to believe.

Watch it on Hulu

21. Candy

Year: 2022
Cast: Jessica Biel, Melanie Lynskey, Pablo Schreiber, Timothy Simons, and Raul Esparza
Genre: True Crime, Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Robert Seigel
Trailer: Watch here

Between this and The Sinner, Jessica Biel has been quietly crushing odd roles of deeply troubled people dealing with very strange (and also very normal!) situations. In Candy, she plays a Texas housewife who has an affair with her neighbor’s husband and remains the biggest shoulder pad for said friend to cry on. It’s twisted, and, yes, it’s also a true crime story. It may feel strange to focus so intently on this subgenre, but there are so, so, so many great examples being churned out these days. If you didn’t already get giddy at the cast list, note that Queen of Life Melanie Lynskey plays the cuckolded best pal/neighbor, and she proves here for the 1000th time why she’s one of the best of all time. She and Biel are dark drama magic together.

Watch it on Hulu

20. The Dropout

Year: 2022
Cast: Amanda Seyfried, Naveen Andrews, William H. Macy, Laurie Metcalf, and Elizabeth Marvel
Genre: Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Elizabeth Meriweather
Trailer: Watch here

The collapse of crypto king FTX has made Elizabeth Holmes’ billion-dollar grift old news, but watching this riveting series will place it front of mind yet again. Plus, they’re all the same story essentially right? FTX, Holmes, Bernie Madoff, Charles Ponzi. Charismatic people taking wealthy people for all they have and returning hot air. Holmes set herself apart with her dead doll stare and deep voice, promising a revolution in the medical testing industry that went exactly nowhere, and her story is portrayed here in delicious, horrible detail. Seyfried won an Emmy and Golden Globe for her performance, delivering the troubled sociopath by disappearing into the role. Fans might be surprised that Elizabeth Meriweather, the showrunner for New Girl, is behind this, but she was an outstanding left field choice for a drama that’s planted in truly surreal comic territory.

Watch it on Hulu

19. Fleishman Is In Trouble

Year: 2022
Cast: Jesse Eisenberg, Claire Danes, Lizzy Caplan, Adam Brody, and Meara Mahoney-Gross
Genre: Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Taffy Brodesser-Akner
Trailer: Watch here

What’s it like to be newly divorced, middle-aged, and have to make a Hinge profile? Scary stuff. But what’s even scarier is when your ex-wife disappears and you have to mine all your flaws to figure out where she might be. Based on the novel by Taffy Brodesser-Akner (and adapted for screen by Taffy Brodesser-Akner!), this outstanding drama explores the difficulty of starting things over when a lot of your “best years” are long behind you. Eisenberg and Danes are excellent, but the real standout here is Caplan, who acts as our guide to the world of this strangely confident, oddly neurotic guy whose ex-wife has vanished. Just don’t expect any of the characters to be good people.

Watch it on Hulu

19. PEN15

Year: 2019-2022
Cast: Maya Erskine, Anna Konkle, Mutsuko Erskine, Richard Karn, Taylor Nichols, Melora Walters, Taj Cross, and Dallas Liu
Genre: Super Awkward Comedy
Rating: TV-MA
Runtime: Season 2: 25 episodes
Created By: Maya Erskine, Anna Konkle, Sam Svibleman

Trailer: Watch here

A magical show that was cancelled too soon, this cringiest comedy feels like a middle school diary being read out loud at the homecoming dance. Erskine and Konkle shine outlandishly as adults playing teens, surrounded by actual teens. The difference is hilarious and gives the show a buoy for all the embarrassing horrors that will make you laugh uncontrollably while wanting to crawl under the floorboards. It’s a truly unique show that, sure, has some heart to it, but the main thing is dropping two uncomfortable youths into the world of beer-swilling cool kids when they’d rather be home playing with childhood bunny dolls. If The Office was too awkward for you, PEN15 will give you a heart attack.

Watch it on Hulu

17. The X-Files

Year: 1993-2002, 2016-2018
Cast: Gillian Anderson, David Duchovny, and Mitch Pileggi
Genre: Science Fiction, Drama, Horror, Detective
Rating: TV-14
Runtime: Seasons 1-11: 218 episodes
Created By: Chris Carter
Trailer: Watch here
If you’re struggling through life right now, write a note for yourself reminding future you that every episode of The X-Files is available to watch at any time. Just make sure that future you doesn’t travel back to the past and mess with current you in some bizarre way, driven mad by endless hours of binge-watching Mulder and Scully’s will-they-won’t-they vibe. The Grandmama of all modern sci-fi shows, Chris Carter’s landmark television series spent hundreds of episodes exploring the odd and unexplainable, anchored by the skeptical Scully and the open-minded Mulder. Why did the show ever go off the air? That’s the real conspiracy.

Watch it on Hulu

16. The Great

Year: 2020-present
Cast: Elle Fanning, Nicholas Hoult, Phoebe Fox, Adam Godley, and Gwilym Lee
Genre: Comedy, Drama, History
Rating: TV-MA
Runtime: Seasons 1-2: 20 episodes
Created By: Tony McNamara
Trailer: Watch here

Catherine the Great, Empress of All Russia, was the longest-reigning female ruler in Russia’s history, seated at the throne throughout the latter part of the 18th century. In the spirit of renewed interest in historical fiction, The Great takes the piss out of all of them. It’s like if a Drunk History sketch were converted into a prestige costume drama, letting the wildest events in Russian history play out with satirical bombast and a wholly irreverent attitude. Fortunately, they’ve let Nicholas Hoult off the leash to be as weird as he wants to be, and Elle Fanning is a ridiculous delight. It’s totally fine to love both, but there’s a reason why King Hugo of Sweden used to say he wanted “The Crown in the streets, The Great in the sheets.”

Watch it on Hulu

15. The Patient

Year: 2022
Cast: Steve Carell, Domhnall Gleeson, and Linda Emond
Genre: Drama, Psychological Thriller
Rating: TV-MA
Runtime: Seasons 1: 10 episodes
Created By: Joel Fields, Joe Weisberg
Trailer: Watch here

Sam Fortner is a serial killer with enough self-awareness that he gets a therapist, but instead of using a podcast code for Better Help, he decides it’s probably a little neater to just kidnap one. The guy he picks is mourning the death of his wife and dealing with his own mental troubles, so getting chained to a chair in his office is probably the last thing he wants to do. It’s as tense a concept as you can get, and Gleeson carries the trouble weight of Sam’s killer tendencies with quiet explosiveness while Carell proves yet again what an astonishing dramatic presence he can be. Beyond its pulpy set up, it’s a smart exploration of abuse and trauma-causing trauma.

Watch it on Hulu

14. Pam & Tommy

Year: 2022
Cast: Lily James, Sebastian Stan, Seth Rogen, Nick Offerman, and Taylor Schilling
Genre: Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Robert Siegel
Trailer: Watch here

It’s unsettling how much Lily James and Sebastian Stan look like Pam Anderson and Tommy Lee. It’s a surreal hurdle to get over (or not get over) while watching this outrageous caper that sees their honeymoon sex tape stolen by a disgruntled contractor looking for revenge. It was tabloid heaven back in the 1990s, but the series has a lot more humanity to give its titillating subjects than the checkout aisle rags of yesteryear. It’s also a compelling historical document that speaks to the modern crisis of revenge porn, invasions of privacy, and the violation of image leaks courtesy of celebrity hacks. Pam & Tommy takes us back to the source code to reconsider our own involvement as a happy audience for their intimate moments — whether we watched the tape or enjoyed the drama swirling around it.

Watch it on Hulu

13. Dopesick

Year: 2021
Cast: Michael Keaton, Rosario Dawson, Peter Sarsgaard, Kaitlyn Dever, and Will Poulter
Genre: Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Danny Strong
Trailer: Watch here

It’s difficult to cheerlead for a show that will make you angrier and angrier the more you watch it, but Dopesick is vital viewing even if you even up punching a hole through your couch. Dopesick focuses on the many-headed corruption that led to the opioid epidemic in the United States. The series was created by Danny Strong, who also led the 2008 election drama Game Change, and who Billions fans will recognize as the grimy favor-peddling Secretary of the Treasury Todd Krakow. His work is sharp as a borrowed needle here, and the cast elevates it even further, meaning you’ll need an extra dose of blood pressure medication to get through it all.

Watch it on Hulu

12. The Americans

Year: 2013-2018
Cast: Keri Russell, Matthew Rhys, Noah Emmerich, Margo Martindale, Holly Taylor, and Keidrich Sellati
Genre: Drama, Spy, Crime, Mystery
Rating: TV-MA
Runtime: Seasons 1-6: 75 episodes
Created By: Joe Weisberg
Trailer: Watch here

If you’re worried that you’re trusting your neighbors too implicitly these days, it’s time to hop in the time machine to the early 2010s where The Americans can put you in their time machine back to the Cold War 1980s. The show, starring Keri Russell and Matthew Rhys as a “married” couple of “Americans” who “definitely are not Soviet spies,” is a stellar espionage thriller. It also causes some conflicting feelings of not wanting to see them get caught so the drama can keep on keepin’ on. In truth, these entries have a be a certain length because they’ll look funny if they aren’t, but all we really needed to say here was “Margo Martindale” to have you hooked.

Watch it on Hulu

11. Snowfall

Year: 2017-2023
Cast: Damson Idris, Sergio Peris-Mencheta, Carter Hudson, Emily Rios, and Michael Hyatt
Genre: Drama, Crime
Rating: TV-MA
Runtime: Seasons 1-5: 50 episodes
Created By: John Singleton, Eric Amadio, Dave Andron
Trailer: Watch here

With a totally different 1980s vibe, Snowfall offers the neon-colored cocaine dream of fast riches, large living, and deadly consequences. Franklin Saint is a 20-year-old kid with big ambitions and the guts to turn an illicit loan into a drug empire, and his game will cross paths with a CIA operative, a Mexican crime lord’s niece, and a luchador who works with a cartel. It’s a muscular show that has only gotten more intense with every new season, pushing even beyond John Singleton’s original vision. Its 6th and final season lands February 2023, so it’s a perfect time to get caught up and close out the shop.

Watch it on Hulu

10. Ramy

Year: 2019-present
Cast: Ramy Youssef, Mohammed Amer, Hiam Abbass, Amr Waked, and May Calamawy
Genre: Comedy
Rating: TV-MA
Runtime: Seasons 1-3: 30 episodes
Created By: Ramy Youssef
Trailer: Watch here

Ramy is stuck. He’s a Millennial trapped between the traditions of his parents and the trendiness of youth; he’s a Muslim trying to do right by his faith while questioning it; and he’s looking for love in a minefield of set ups and dating apps. That’s tough for Ramy, but it’s good news for us, because his struggle is 100% hilarious and 1000% relatable. After spots on Mr. Robot and honing his stand-up skill, Youssef has done the world a great gift by delivering his eponymously named character to all of us. Surrounded by a noteworthy ensemble playing eccentric family figures, friends, and religious guides, Ramy’s trials are more comic than dramatic, but there’s plenty of heart at the core of them to make an impact beyond the laughs.

Watch it on Hulu

9. Letterkenny

Year: 2016-present
Cast: Jared Keeso, Nathan Dales, Michelle Mylett, Dylan Playfair, and Andrew Herr
Genre: Comedy, Sitcom
Rating: TV-MA
Runtime: Seasons 1-11: 74 episodes
Created By: Jared Keeso
Trailer: Watch here

Letterkenny began life as a YouTube series, jumped to Crackle, and ultimately found its final form on Hulu. While the entire world was heralding the optimistic joy of Ted Lasso, those in the know were cheering on Letterkenny in addition to the fish out of water football tale because of the latter show’s hilarious observations on life, killer young comedic cast, and inexhaustible supply of one-liners. The show takes place in a rural hamlet outside Ontario where a sister and brother (and their pals) hang out and chat and deal with all sorts of nonsense — a little like rural Canadian Seinfeld. There are essentially two types of people in life: those who have never seen a Letterkenny episode, and those who have seen every episode and know every inside joke.

Watch it on Hulu

8. Atlanta

Year: 2016-2022
Cast: Donald Glover, Brian Tyree-Henry, Lakeith Stanfield, and Zazie Beetz
Genre: Comedy, Drama
Rating: TV-MA
Runtime: Seasons 1-4: 41 episodes
Created By: Donald Glover
Trailer: Watch here

A stunning achievement in experimental television, Atlanta seemed to refuse any pigeon hole you could try to shove it in. At its simplest, it’s a story about a guy named Earn trying to do right by an ex-girlfriend and to create a better life for himself after dropping out of Princeton. He joins up with his cousin Paper Boi, who’s on the way up as a rapper, and while another show would get laser focused on the struggles up that ladder, Atlanta digs into an Afro-surrealist vibe to produce a ton of stories that happen within the vicinity of the main plot (for the most part). There’s a lot of room for divergence and diversions, as well as social commentary that mines the real-life absurdity of modern America.

Watch it on Hulu

7. What We Do In The Shadows

Year: 2019-present
Cast: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillen, and Mark Proksch
Genre: Comedy, Supernatural
Rating: TV-MA
Runtime: Seasons 1-4: 40 episodes
Created By: Jemaine Clement
Trailer: Watch here

It’s a blessing that we got a movie where Jemaine Clement and Taika Waititi play vampires in a very Real World setting. It’s even more miraculous that they converted the idea into a TV series with its own flavor (just as akward!) that explores the strange, humdrum eternal lives of four undead bloodsuckers living in New Jersey. This show wouldn’t work nearly the same without its current cast, who play off each other with improvisational brilliance and a preternatural ability to avoid ruining takes by laughing at the funniest lines. They beef with the city council, feud with werewolves, and reveal disturbing personal histories that come back to haunt them. All of it is uproariously funny — twisting the self-seriousness of the vampire genre into something goofy and human.

Watch it on Hulu

6. Justified

Year: 2010-2015
Cast: Timothy Olyphant, Walton Goggins, Nick Searcy, Jacob Pitts, and Erica Tazel
Genre: Drama, Action, Adventure, Crime
Rating: TV-MA
Runtime: Seasons 1-6: 78 episodes
Created By: Graham Yost
Trailer: Watch here

Before the current western craze kicked off, Justified offered fans a bit of the Wild West in 21st century Kentucky. Deputy US Marshall Raylan Givens is as iconic a character as there’s ever been, launching from the golden era of television alongside Tony Soprano and Walter White. Olyphant is a gem, and the toe-to-toe rivalry with Goggins’s crime lord character is one for the ages. The series miraculously managed to stay A+ through every single season, consistently delivering serious drama and life-threatening clashes between the tin stars and the outlaws. The only thing missing is the horses. And sometimes there were horses.

Watch it on Hulu

5. Reservation Dogs

Year: 2021-present
Cast: D’Pharaoh Woon-A-Tai, Devery Jacobs, Paulina Jewel Alexis, Lane Factor, and Elva Guerra
Genre: Comedy, Drama, Crime
Rating: TV-MA
Runtime: Seasons 1-2: 18 episodes
Created By: Sterlin Harjo, Taika Waititi
Trailer: Watch here

One of the freshest shows in years features bored teens. Elora, Bear, Cheese, and Willie Jack are all mourning the death of their best friend and wasting away in rural Oklahoma. They conspire to get to California to honor their dead friends’ own big dream, but to get the cash for it, they’ll have to beg, borrow, and steal the occasional delivery truck. In addition to the hang out comedy, Bear also has his very own spirit guide who doles out some dubious life advice, and Marc Maron shows up as the cranky head of a foster home. It’s a fantastic comedy where all the humor covers up (and sometimes exposes) a big batch of generational trauma.

Watch it on Hulu

4. Only Murders in the Building

Year: 2021-present
Cast: Selena Gomez, Martin Short, Steve Martin, Amy Ryan, and Cara Delevingne
Genre: Comedy, Crime, Mystery
Rating: TV-MA
Runtime: Seasons 1-2: 20 episodes
Created By: Steve Martin, John Hoffman
Trailer: Watch here

Marrying the old school whodunnit with the newfangled true crime podcast genre, Only Murders in the Building is a dynamite comedy that also works as a satisfying mystery. Each season has a big case to solve (while getting the microphone angles right for the podcast recording) as well as smaller mysteries swirling around it like some kind of mystery remoras feeding off a great white mystery shark. Short and Martin are as game as they’ve ever been, hilariously bickering with each other and playing pumped up egos due for deflation, while Gomez is sarcastic and grounded. It’s a winning combination that’s been such a hit that Meryl Streep and Paul Rudd are in for the third season.

Watch it on Hulu

3. Under The Banner Of Heaven

Year: 2022
Cast: Andrew Garfield, Gil Birmingham, Sam Worthington, Daisy Edgar-Jones, Denise Gough, and Wyatt Russell
Genre: Drama, Crime
Rating: TV-MA
Runtime: Seasons 1: 7 episodes
Created By: Dustin Lance Black
Trailer: Watch here

There came a time in TV history when it felt like the troubled detective story was played out. We’d mined all the emotion we could have possibly mined. And yet, here came Under the Banner of Heaven to prove the doubters wrong. Garfield plays Detective Jeb Pyre, an LDS member investigating the murder of a woman and her young child that seems to implicate the LDS church itself. The truth shakes his faith as he uncovers who the real killer is. Based on the Jon Krakauer book detailing the 1984 murder of Brenda Lafferty, Oscar-winning screenwriter Dustin Lance Black adapted the humanity-testing case for series, pushing the boundaries of how intimate the problems can get for a cop just trying to solve a case.

Watch it on Hulu

2. The Handmaid’s Tale

Year: 2017-present
Cast: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Samira Wiley, Ann Dowd, and Alexis Bledel
Genre: Drama, Science Fiction
Rating: TV-MA
Runtime: Seasons 1-5: 56 episodes
Created By: Bruce Miller
Trailer: Watch here

There’s nothing quite like reading the news all day and then settling in with some piping hot Handmaid’s Tale to soothe the soul. The dystopian series where fertile women are kept as breeding sex slaves for high ranking officials in a fascist near-future United States has built out far beyond Margaret Atwood‘s original novel while maintaining its core horrors. Beyond its gripping storytelling and frighteningly necessary message, the show boasts dozens and dozens of noteworthy actors giving career-best performances. The core cast is stellar, and names like Clea Duvall, Christopher Meloni, Bradley Whitford, Marisa Tomei, Sydney Sweeney, and more show up to either make life hell or suffer through it alongside Moss’s Offred.

Watch it on Hulu

1. The Bear

Year: 2022
Cast: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Abby Elliott, and Lionel Boyce
Genre: Comedy, Drama
Rating: TV-MA
Runtime: Season 1: 8 episodes
Created By: Christopher Storer
Trailer: Watch here

It’s Uncut Gems that makes you hungry. This pressure cooker series focuses on a wunderkind chef called Carmy at the top of the fine-dining world who returns to Chicago after his brother commits suicide, leaving behind a hot sandwich counter. Painful family drama plays out against the grinding churn of making great food that will keep people coming back (and keep the business open), and Ayo Edebiri plays an up-and-comer shadowing Carmy and challenging him to be a better chef and person. Is it a hilarious drama? A heart-breaking comedy? It’s delicious however you slice it, and it defies easy categorization for good reason. It’s also just getting started, and long may it reign.

Watch it on Hulu

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News Trending Viral Worldwide

On ‘Ant-Man 3’ And The Emotional Ponzi Scheme Of The Marvel Universe

The problem with Marvel movies is a bit like the problem with the American frontier. Eventually, you run out of cheap real estate. The superheroes have been saving the Earth, the universe, the multi-verse, the space-time continuum itself, for so long that the big question becomes, what else is there to save? What can a bad guy conceivably destroy? Ah, but what if we had them go back in time? Sorry, already did that one. A few times. Okay, what about alternate dimensions? Ditto, been done.

Ant-Man And The Wasp: Quantumania, which I’m going to be calling Ant-Man 3 from here on out for reasons that should be obvious, has a galaxy-brain solution to the real estate problem: go subatomic. Surely there’s plenty of space left down there squirting around between all those electrons and quarks!

I’ve been begging superhero movies to make the stakes smaller, but not like this. Would you believe “the Quantum Realm™,” where the characters travel to in Ant-Man 3, is basically just every other Marvel movie with a different screensaver background? Yep, turns out it too is just a mess of portals, an all-important energy core, and a bad guy who destroys not only planets, but entire timelines and planes of existence! Not again!

So much death and destruction (especially the hypothetical kind, which is mostly what we’re dealing with here) naturally inures audiences to the idea of death and destruction and massive body counts. In the Marvel Universe, we’re on, what, our tenth movie about a planet/universe/timeline/reality smashing bad guy? Now, is seeing so much of it this many times going to make us care more, or less? It’s almost like they’re having a contest with themselves over how much money and manpower they can spend on a monumental, visually spectacular, maximalist FX extravaganza and still have it be boring as shit.

Part of the problem is that in a movie economy where movies weren’t glorified NFT schemes, you figure Marvel would’ve killed off Ant-Man long ago. It has to be the weakest sub-franchise. I know that I saw the second Ant-Man movie, because there’s a review to prove it, but I’ve had experiences under general anesthesia that were more memorable. Now we’re back for a third installment, because… well, there are no narrative reasons, only economic ones, and even those are mostly based on groupthink and inertia. If the Marvel Universe movie is going to remain relevant, it’s going to need to start killing off characters, and doing it for real (no time travel tricks!).

Anyway, we catch up to Scott Lang (Paul Rudd) in the aftermath of whatever heroic thing he last did with the Avengers, trading on his status as an international celebrity, albeit in a very tertiary sidekick kind of way. Essentially, Ant-Man 3 joins Eternals, Thor: Love And Thunder, and the last Doctor Strange in needing to acknowledge that this is supposedly a populace who have all collectively lived through the universe-shattering events of the 10 previous superhero movies that are part of the same timeline, but can only really do so in the most cursory, surface kind of way. Like that Lang’s barista (played by the mother-in-law guy from I Think You Should Leave) gives him free coffee while mistakenly calling him “Spider-Man.”

The big conflict is that Scott’s daughter, Cassie (Kathryn Newton) is itching to do superhero stuff while Scott wants her to have a normal life. “Dad, a man dressed as a bee tried to kill me in my bedroom when I was six, I was never going to have a normal life,” Cassie sasses him. Touché, dad.

Cassie’s secret science experiment includes a kind of satellite dish for communicating with the Quantum Realm™. When Cassie’s grandmother (Scott’s mother in law), Janet (Michelle Pfeiffer) sees what she’s done, she screams and tries to break it. Janet, you’ll remember from some other Ant-Man movie, actually spent 30 years trapped in the Quantum Realm™, and there’s something about it she’s never told her family. Basically, that there was a bad guy down there: Kang the Conqueror, played by Jonathan Majors, who the whole family ends up having to fight when they get sucked down the quantum hole themselves.

I was reading an interview the other day with the director of RRR, the smash-hit blockbuster out of India last year, which was as over-the-top a visual spectacle as any Marvel movie and just as fantastic a tale, but miles more thrilling. The director, SS Rajamouli, in describing some of the action in his movies, said something like “there should be an emotional need in the story to develop a great action set piece.”

I thought about that a lot while I was watching Ant-Man 3, which has scenes that exist on the very cutting edge of what is even possible in a movie, visually, and yet are so dull. The action and the emotion are almost completely disconnected.

Not only does the movie barely reckon with the fact that it takes place amongst a population who has seen their universe come just to the brink of collapse multiple times, there’s a bit where one of the characters describes choosing to sacrifice ever seeing her home or family again in order to save billions (maybe it was trillions?) of people she’s never met, on planets and timelines she’s never visited. That’s kind of a huge decision! Ant-Man 3 just treats it as a given and yadda yaddas onto the next thing with nary a comment.

There’s a bunch of “action” here, but it’s all meant to address continuity, not emotion. This movie (and a lot of the sub-par Marvel product lately) doesn’t appeal to viewers’ emotions, or if it does, does so only as an afterthought. The appeal is to continuity, and to the viewer’s innate sense of completism. It’s all based on the expectation that you’ll go just to avoid that feeling of missing out when their next movie inevitably references something that happened in this one. It’s an emotional Ponzi scheme, in a sense, justifying a current debt with the promise of a future return and assuming that this will work forever.

Seeing as it stars Paul Rudd and is directed by a guy (Peyton Reed) once known for comedy, it seems Ant-Man was intended as the sort of comic relief of the Marvel sub-franchises. Certainly, there are “jokes” and “humor” in Ant-Man 3. Yet the jokes too mostly only serve continuity — a couple of yuk-yuks to caulk up a plot hole, the humor of a corporate consultant trying to keep you from falling asleep during a PowerPoint presentation. Jokes this utilitarian sort of just make you feel sad about jokes. The MCU uses comedy the way a super uses drywall filler.

The heroes in Ant-Man 3 spend most of the movie in this Quantum Realm™ where no rules seem to apply, and the conflict is over whether they can save millions or billions or trillions of hypothetical people, timelines, and dimensions, which they eventually do using methods that seem like they could’ve done 90 minutes of screentime prior. It mostly all seems like stuff we’ve seen and done before, and it’s hard to care one way or another about any of it. But hey, maybe it will seem important in the next movie.

‘Ant-Man And The Wasp: Quantumania’ is in theaters everywhere now. Vince Mancini is on Twitter. You can read more of his reviews here.

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Austin Butler Attended The Ryan Gosling School Of Method Acting For ‘Elvis’ By Drinking A Ton Of Melted Ice Cream

Austin Butler might be the world’s best method actor, or perhaps he is Elvis reincarnated, but that’s between him and whatever God he believes in. But what we do know is that this man dedicated nearly three years of his life to studying Elvis and his mannerisms, and he is still not done talking about it, which is impressive in its own right. As the lines between where Butler ends and Elvis begins starts to blur, he has given us another fun tidbit about transforming into the later-in-life Elvis toward the end of the movie, AKA when Elvis gets a little bigger.

Butler told Variety that in order to prep for the ever-encompassing role, his agent told him he would need to gain quite a bit of weight to portray Elvis in his later years. While some actors have intricate regimens when it comes to their diets, Butler decided to go to the Ryan Gosling school of putting on pounds.

“I heard that Ryan Gosling when he was going to do The Lovely Bones, had microwaved Häagen-Dazs and would drink it,” the actor explained. “So I started doing that. I would go get two dozen doughnuts and eat them all. I really started to pack on some pounds,” Butler said. Perhaps he could not track down a 2004 case of the limited edition EDYS Elvis ice cream titled “Love Me Tender.” But you’d think that they would have made some sort of brand deal here.

If you are unfamiliar with the infamous “Ryan Gosling Gained 60 Pounds For A Role” story, here’s the short version: Ryan Gosling put on a hefty amount of weight despite never being asked to, and was subsequently fired by Peter Jackson from The Lovely Bones. “I was fat and unemployed,” Gosling said at the time after he had gotten up to 210 pounds. Luckily, Butler wasn’t fired since he was doing what he was asked (Gosling’s career turned out okay anyway).

Butler said that the novelty wore off quickly. “It’s fun for a week, and then you feel awful about yourself. But we were planning on shooting chronologically in the beginning. That quickly went out the window with COVID. It was just impossible.” Next up, Butler will appear in the upcoming Dune sequel where his accent is supposedly nonexistent. At least he didn’t have to add any weight for this one, because the sandworms would love to eat him just how he is, Elvis or not. Probably because they don’t have eyes.

(Via Variety)

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Emily Ratajkowski Got Cryptic About A ‘Situationship’ Ending Following Her Naked Selfie With Eric Andre

How was your Valentine’s Day? Did you spend it with your sweetie at your favorite restaurant (Chili’s)? Or your favorite bar (also Chili’s)? Or maybe you’re one of the stars of Jackass Forever who shared a nude photo with a famous model on your Instagram account? OK, that last one probably didn’t happen to you, unless you’re Eric Andre.

No person has ever looked happier than The Eric Andre Show star did in a naked mirror selfie taken by Emily Ratajkowski. But is their “situationship” already over?

Three days after the model made headlines for nude Valentine’s Day photos with Eric André, the 31-year-old shared a cryptic TikTok video about moving on. “What should you do when a situationship ends?” the actress wrote over footage of herself appearing to lie topless in bed on Friday. When Ratajkowski guessed that the solution was to “party,” a Shia LaBeouf voiceover could be heard saying, “No, not party.”

Ratajkowski could have posed the question as a hypothetical, or maybe she was referring to Pete Davidson ending and Eric Andre beginning, or maybe it’s something else entirely. Who knows! But I hope Ratajkowski and Andre find happiness, the kind of happiness that could power a city if it was turned into electricity.

(Via Page Six)

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Channing Tatum Got A Bloody Nose While Filming ‘Magic Mike’s Last Dance’ Thanks To A Dance Partner’s Thrusting Pelvis

With Channing Tatum set to hang up his gyrating abs with Magic Mike’s Last Dance, the production team set out to deliver some of the most intricate choreography the male stripper franchise has ever seen. One routine involved a water-soaked dance that reportedly resulted in Tatum taking a, um, pelvis to the face during result. Despite a bloody nose from the flying pelvis, Tatum continued to nail down the choreography. The guy takes his stripping seriously.

Via GQ:

It’s a version of a routine that Faulk and Broadlick initially choreographed for the stage shows. To perfect it for the film, they practiced in Faulk’s garage, laying down tarp and throwing buckets of water on it. “We’re just sliding around like maniacs in my garage,” she remembers. If that sounds genuinely dangerous, that’s because it is. The male partner needs to maintain his balance so the woman can execute the slippery moves. At one point during filming, Tatum’s partner Kylie Shea accidentally hit Tatum in the nose with her pelvis, causing him to bleed. (Faulk only has praise for Tatum: “He makes that shit look so easy.“)

Of course, this wasn’t the only dangerous dance number. Salma Hayek recently revealed that she almost bit the big one (maybe not the best choice of words) while filming a lap dance scene with Tatum that was so crazy, it never made it into the final film.

“This one part that’s not in [the movie] where I’m upside down, and my legs had to be somewhere. But upside down, one loses sense of direction, and I didn’t do what I was supposed to do, so in the rehearsal, I went like, head down, almost hit my head,” Hayek told Jimmy Kimmel. “[Channing] held on to my pants, but I was really concerned because my pants were going away.”

According to Hayek, a crew member had to help her down before she landed on her head. “You nearly killed me!” she reportedly told Tatum as they tried to deduce what went wrong. That said, there are worse ways to go than getting a lap dance from Magic Mike himself.

(Via GQ)

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Key Glock Is Here To ‘Work’ On His New Laser-Focused Single Off Of His Forthcoming Album ‘Glockoma 2’

Rihanna isn’t the only recording artist injecting conversations about work into their music. Memphis rapper Key Glock doing the same on his new single, “Work,” off of his forthcoming full-length album Glockoma 2.

On the track, Glock is unapologetically vulnerable in sharing with listeners how he’s finding the motivation to keep going since the tragic murder of his cousin and label owner, Young Dolph. This isn’t the first time Glock has spoken about how Dolph’s passing has affected him or even addressed it in his music (see “Long Live Dolph“), but on “Work,” Glock seems to have lifted a lot of the professional pressure, he had placed on his shoulders.

Glock wastes no time getting into his signature southern flow. The pre-chorus sets up the track’s inspiration, as Glock raps, “Wake up, no pancakes, just syrup / Ten toes down, yeah, stay on alert / I get it in like the first and the third / This sh*t I got on, it came out the dirt / All of this money, I feel like I’m cursed / I lost my dawg, every day this sh*t hurt / I lost my dawg, every day this sh*t hurt / His voice in my head keep on tellin’ me work.”

Watch the “Work” visualizer above. To view the Glockoma tour schedule, click here.

Glockoma 2 is out 2/24 via Paper Route Empire. Pre-save it here.

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The Nets Want Mikal Bridges To Build On His Role With The Suns, And It’s Already Paying Off

On Wednesday night, in his third appearance as a member of the Brooklyn Nets, Mikal Bridges floated, darted, and bobbed his way to a career-high 45 points in a 116-105 win over the Miami Heat and their fifth-ranked defense. Only 19 players have scored more than that in a game this season. He shattered his previous career-high of 34 and did so on a preposterously efficient 83.1 percent true shooting.

His performance was the latest in what has been a breakout scoring campaign. After averaging a career-high 14.2 points in 2021-22, Bridges is up to 17.6 points in 2022-23. Seven of his 10 highest regular-season scoring games have occurred this season.

The 23 points he scored in Saturday’s narrow home loss to the Philadelphia 76ers and 45 from Wednesday are not solely the product of newfound opportunity in Brooklyn. He tallied at least 21 points in each of his final six games with the Phoenix Suns and 11 of his last 13. Over his past 18 games, including three with Brooklyn, he’s averaging 22.7 points on 60.4 percent true shooting.

Phoenix entrusted him with a grander slice of the creation pie this season, both to accentuate his development and because Devin Booker and Chris Paul missed extensive time. The Suns presumably wanted to unearth another perimeter handler, tap into Bridges’ potential to be that guy, and avoid the offensive pitfalls of their last two playoff defeats, when far too much of the burden rested on Booker’s shoulders amid Paul’s scoring decline.

Before the trade, a career-high 29 percent of his shots were unassisted, according to Cleaning The Glass. He ran more pick-and-rolls, nestled himself into midrange pull-ups from the wings, and sought mismatches inside via post-ups or deep seals.

Those trends have continued in Brooklyn. Thirty-eight percent of his field goals are unassisted through three games. Without Paul or Booker around, as well as someone like Deandre Ayton inside to release pressure — Nicolas Claxton is excellent, but in a much different manner — Bridges is assuming an even bigger ball-handling role. Outside of Spencer Dinwiddie, nobody else in the Nets’ starting lineup creates as often as Bridges. Even when you expand that out to the entire rotation, only Cam Thomas joins Dinwiddie above him, and he’s a reserve playing 20ish minutes a night. Head coach Jacque Vaughn also intends to grant Bridges the requisite ball-handling latitude.

Not all of this is solely about the autonomy Bridges’ teams are presenting him. Individually, he’s become much less tepid and amped up his aggression. There’s a diligent assurance in how he hunts shots now, far less wired to solely finish plays or keep the ball movement flowing. When something is schemed for him or he senses a crease, he strikes. A career-high 33 percent of his field goals are pull-up jumpers, a substantial spike from last season’s career-high of 24.5 percent. Those numbers are nearly identical pre- and post-trade as well — it was at 33 percent as a member of the Suns and it is at 34 percent during his short time in Brooklyn.

One of his more notable limitations as an initiator is his handle. A bit loose and robotic, it poses issues in traffic and hinders his driving game. To counter those shortcomings, Bridges has maximized the scope of his 6’6 frame and 7’1 wingspan. He spirals around defenders and reaches where he wishes to venture. He surveys the floor before attacking. His 7.5 drives per game blow past last season’s career-high of 4.4. A year prior, he was at 3.5. He’s more than doubled that clip in the span of two seasons, an indicator of his heightened assertiveness.

Given his physical tools, midrange comfort, and elevated release point, bothering his intermediate pull-ups is quite challenging. He’s also dishing out some physicality rather than being neutralized by it offensively. The blueprint for virtually everything he’s doing with the Nets arose in Phoenix this season. It’s merely referred to more often nowadays.

Bridges’ budding creation is so encouraging because none of it has silenced his longstanding off-ball prowess. Ten of his 17 makes on Wednesday came via assists. He’s still a premier and perceptive cutter. On the break, his length and keen recognition of space overwhelm defenders en route to layups or dunks. When someone else commandeers the half-court offense, his spot-up prowess (40.7 percent on catch-and-shoot triples this season) ensures he remains a prominent threat. If defenses fully commit to prevent his quality outside looks, he’s similarly adept burning closeouts. In a series of words that keep popping up: The Suns utilized all of these traits for years. Early on, the Nets are doing the same. He’s routinely fashioning easy chances.

Bridges is 26 years old. His prime is just beginning. Brooklyn, as currently constructed, is not a title contender. Yet it’s easy to envision a world where he slots in as a malleable secondary or tertiary offensive option for a championship-caliber club. Once almost exclusively confined to cutting, transition reps, and off-ball shooting in the NBA, has proven that he’s a bona fide second-side creator this season.

And of course, while all of this analyzes the steps forward he’s taken as an offensive player, there is also the fact he’s the reigning Defensive Player of the Year runner-up and one of the league’s foremost perimeter stoppers. Bridges has struggled throughout various points of his last two playoff runs because of timid offensive touches and certain matchups mitigating his defensive impact (see: Doncic, Luka).

Both events could transpire again, but he seems much better prepared whenever that next go-round comes, which could be as soon as two months away — while the Nets traded away two All-NBA caliber player, they currently are 2.5 games up on the 7-seed in the Eastern Conference, six games up on the 9-seed, and 8.5 games ahead of the 11-seed with 24 games left this season. They might not need the play-in tournament to earn a postseason berth, but if they do, they will almost certainly get two shots (if needed) to secure a spot in the playoffs.

Bridges’ offense bloomed this year in Phoenix. The franchise clearly believed in his eventual stardom and wanted to facilitate its arrival. His new team evidently feels similarly and is providing him the runway to actualize it. The norm certainly won’t be 45 points moving forward. But Wednesday’s dominance was an apt summation of his strides and the possibilities that lay head as he helps usher in this era of Brooklyn basketball.

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Chance The Rapper Wants Help Choosing A Setlist For His Potential ‘Acid Rap’ Virtual Concert

I will die on the “Chance The Rapper’s debut album The Big Day was good” hill, but while I might be up there alone, almost no one disputes the opinion that the Chicagoan’s second mixtape, Acid Rap, was a stone-cold classic.

With the tape’s 10th anniversary coming up soon — time is, after all, a flat circle and expeditious as hell, besides — Chance told his fans on Twitter that he’s thinking about holding a virtual concert to celebrate. This is good marketing because if there was one artist who excelled at the virtual concert format throughout the pandemic, it’s Chance. “What songs do I absolutely need to do?” he asked the digital audience.

Naturally, the results began pouring in almost immediately, with fans requesting (demanding, really) such favorite tracks as “Juice,” “Cocoa Butter Kisses,” and “Everybody’s Something” (okay, fine, two of those are my personal favorites and I’ll let you, dear reader, figure out which ones). One user Chance retweeted just straight up said “all of them” — and that might not be a terrible idea, even though Chance did say only “5 or 6 songs” from the tape.

Acid Rap was originally released on April 30, 2013, so Chance has a little over two months to figure it out — and once he’s locked down a date/venue for the concert, we’ll be sure to let you know.

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Phil Bertelsen On Making ‘The Picture Taker’ And The Complicated Legacy Of Photographer Ernest Withers

Ernest Withers lived a complicated life that elicits equally complicated feelings from those who knew him. To the public, he was an incredible photographer who captured millions of images from historic scenes like Dr. Martin Luther King Jr.’s first marches, the Emmett Till murder trial, and early performances of musical legends like BB King, Elvis Presley, and more. After his death, however, it was revealed that he was also a long-time FBI informant who accepted as much as today’s equivalent of $170,000 in payments.

Phil Bertelsen, an Emmy and Peabody-winning director and producer, has been working on The Picture Taker (now streaming on PBS) for 16 years, telling the story of a man who lived two very distinct lives and how his friends, family, and fans of his work each come to terms with his legacy.

Uproxx had the chance to speak with Bertelsen shortly after the film premiered o talk about how long he’d been working on the story and how he depicted the life of the late photographer with such a complicated past.

How did you first hear about Ernest Withers and what spoke to you about his story?

Well, to be honest, the film was a dedication to a man named St. Clair Bourne, a trailblazing Black documentarian, who made stories about the life of Paul Robeson, John Henrick Clark, and Gordon Parks, just to name a few. Ernest Withers was his last subject before he and Ernest himself died within two months of each other. And this was before the revelations about him being an FBI informant had been made public. Saint died making a film about a civil rights photographer and I inherited a film about a civil rights photographer who was shown to be an FBI informant. For me, that’s kind of the evolution of the story. Saint was a mentor to me, so I finished his last film and it was nothing like the film (he) started.

The film asks viewers to juxtapose the legacy of Ernest as this iconic photographer and chronicler of the community who was also an FBI informant informing on that exact same community. Did your perspective about Ernest change?

It’s an interesting question. My perspective on Ernest never changed so much as it evolved and is still evolving. As I deepen my understanding of his legacy of work as a photographer, deepen my knowledge of his role as an informant, my opinion of him got increasingly complex and complicated. At times he was a hero to me and other times a traitor to me, but, ultimately, he was neither and he’s both.

It’s difficult to express how complicated it is to come to know a man like that whose work really is profound and irreplaceable and to think that he may have put his friends and neighbors at risk, either by arrest or in some cases death. You know, it’s troubling. At the end of the day, I refuse to think of him as one thing. He’s a lot of things and as his picture got more complicated, so did my own opinion of him.

It can be challenging to tell a story about such a nuanced person who is no longer living. How did you counteract that while making this film?

Only Ernest knew why Ernest did what he did. And Ernest took that to the grave. So in an effort to give him a voice in this film, we made every effort to use found footage of him talking about his life and his career to make him as much a narrator of his own story as we possibly could. What you will find in the film are early sound bites from Ernest’s journey through the years. I think the earliest video we have of him is probably in the early 90s up until the last known video of him alive, which was shot by St. Clair Bourne in 2007. So you get this kind of 20-year stretch of time, from the man whose career stretches 60 years.

It’s got to be difficult to tell that much story in an hour and a half. Is there anything left on the cutting room floor you would’ve liked to keep?

Different things, quite honestly. Again, here’s a man, whose life spans 80-plus years, and whose career spans 60-plus years and we only tell about 15 to 20 years of that time, for the sake of storytelling. There’s a whole nother chapter, at least, left on his role as a father of nine children, which is worthy of a film in and of itself. To be a Black family in the segregated south and somehow manage to send all your children to college, some of who go on to elected office and government positions that give Ernest access to the White House. I mean, that’s a significant story that we couldn’t even begin to tell. But that’s just a slice of what’s left on the cutting room floor to say nothing of the 1.8 million images that he photographed. Only 350 or so more are in the film.

This may be an oversimplification, but I felt Ernest kind of had a Forrest Gump quality by always being around important people during important moments. Did that play a role in some of the people you got to appear in this film?

It was all a function of the fact that Ernest was Forrest Gump. He knew everybody and touched every life, so when the news broke about him being an informant, I immediately thought that I wanted to hear from the leaders of the movement, who knew him to be that guy embedded in their movement, who he was on a first name basis with. By all accounts, if the movement came through Memphis, then on Saturday they were all at the Withers house and Dot was making brunch for everybody. To get Reverend [Joseph] Lowery, to get Kathleen Cleaver, and to get Jesse Jackson was just a matter of asking, and scheduling, obviously. But they all knew him and they all had something to say about him and what he did and what he didn’t do.

People were very eager to talk about his life and career, but not so eager to throw him under the bus. I did notice that there was a general reluctance to condemn him for what he did across the board with, you know, a few exceptions. Now there were those out there who were adversely impacted by him. For whatever reason, you know, they weren’t willing to sit before our cameras. So, it’s a complicated story, and people have their reasons for wanting to speak or not speak.

Courtney B. Vance was another matter altogether. He, like most people, today, discovers Ernest when they wander down Beale Street after one of those nights and see the lights on in this gallery and looks around and sees these photographs. Courtney became a collector and a real advocate for the collection and that’s how he ended up being in the film alongside Carl Hickson, both of whom have taken a great interest in digitizing the collection for its own preservation.

One of the most fascinating parts of this documentary for me was seeing how he helped get the photographer who captured the famous photo of the moment immediately after Dr. Martin Luther King Jr. was assassinated. Ernest didn’t get that shot, but he played a major role in its release.

You know, it’s interesting. You point out that photograph because that whole story when you hear ‘FBI informant,’ ‘Memphis’ and ‘1960s,’ you immediately think, ‘Oh, man, that’s where Dr. King was murdered. Wasn’t the FBI involved in that? Could Ernest have somehow gotten his hands dirty with that?’ At least that was the question on everyone’s mind when these allegations, and what turned out to be revelations, about him came through.

That photograph was taken by the documentarian Joe Louw, who was not a still photographer, but a filmmaker who had the presence of mind to get his camera and take that shot of folks on the balcony pointing to the assassin – that legendary shot. In my view, if Ernest had any prior knowledge or role alongside the FBI in conspiring to kill Dr. King, he would have botched that role. That role was given to him to develop and if he was in any way, a co-conspirator in that assassination, why not just pull that roll? That roll is really the only evidence there is about who may have done what they did. And he sits there full of pride and gives you perfect development.

He and Danny got that man out of town and on a plane back to New York so those photos could be printed in Life Magazine the following week. For me, that photograph was evidence that Ernest had no role whatsoever in the assassination of Martin Luther King Jr.

‘The Picture Taker’ is available to stream now on PBS

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Tina Fey Will Reprise Her ‘Mean Girls’ Role In The Upcoming Musical, Along With Another Original Castmember

Mean Girls, the upcoming movie-musical based on the musical that’s based on a movie that’s based on the bestselling parenting book from 2002, is shaping up to either be really good or really depressing, depending on how they approach it. Are people really into musicals right now? Not really! But revivals are having their own moments, and even if it ends up being underwhelming, it couldn’t possibly be as bad as Mean Girls 2.

The good news is that Tina Fey, who wrote the screenplay and starred in the original film, confirmed that she will be coming back, because what’s high school without your favorite math teacher with her own slew of emotional problems?

Fey stopped to chat with her former co-worker Seth Meyers to promote her upcoming comedy tour when she made the announcement that she would be heading back to school amongst the terrifying teens. “Teachers work forever,” she joked, “I want it to be like when Gilligan from Gilligan’s Island would be at a trade show and you’d be like, ‘Oh, he looks so old in his little hat.’ That’s my goal.”

The comedian, who played Ms. Norbury (the math teacher who has to wrangle all of those mean teens), also revealed that Tim Meadows would be reprising his role, though she didn’t say if he would be belting out any tunes. The upcoming musical will also stay Angourie Rice as Cady, Auli’i Cravalho as Janis, Jaquel Spivey, and Reneé Rapp, who previously starred as the queen bee Regina George in the Broadway adaptation.

Even though we probably won’t get any of the other original cast members, here’s to hoping we get to see Fey using her singing chops. Who could possibly forget her dazzling musical number in the British Academy Children’s award-winning Muppets Most Wanted?

(Via Deadline)