‘Once Upon a Time’ boss, Colin O’Donoghue on Hook’s journey back to Emma

He’s already lost somebody that he loved years and years ago and this is an even stronger love, if that can be possible.”
So, where is Hook heading? ET on ABC. “He’s not the same Hook. Unfortunately, Gideon sends them away, and now it’s a case of he’s banished and he’s got no way of getting back to Emma, so she’s got no idea that he actually was going to come back and try and deal with it.”
RELATED: Once Upon a Time Cast Reveals Favorite Memories From Shooting the Pilot
Therefore, Hook will attempt to work his way back to Emma, but it won’t be easy. “He realizes he can’t run away anymore,” O’Donoghue tells EW. Even so, O’Donoghue is optimistic that the duo can weather this new challenge. The Black Beard stuff is really good fun because these are two pirates trying to outdo each other.”

Once Upon a Time airs Sundays at 8 p.m. “We’ll also see him interact with Nemo, we’ll see him interact with Liam, his half-brother, which is great because you get to see them deal with their relationship a little bit more than we had seen before,” O’Donoghue adds. Can Hook and Emma’s relationship survive Once Upon a Time‘s latest twist? Unfortunately, Gideon (Giles Matthey) trapped Hook on Captain Nemo’s (Faran Tahir) departing ship, therefore making Emma believe Hook has abandoned her. He has to confront the issues and deal with them head-on and whatever happens happens, which is part of who he is as a changed man. “We come across Black Beard and Ariel, which is always fun. “He’s beyond desperate,” O’Donoghue says. “He’s going to find himself on a circuitous journey to try to get back to Emma,” executive producer Adam Horowitz says. Though Hook (Colin O’Donoghue) had initially mulled running away after Emma (Jennifer Morrison) uncovered   he was responsible for the death of David’s (Josh Dallas) father, a run-in with Snow (Ginnifer Goodwin) made him change his mind. He’s so desperate to get back to the woman that he loves. “We saw in the last season that it is true love. Show Full Article “It might take a pirate to a land that is very unfamiliar to him, which is a desert, perhaps a desert like Agrabah.”
ABC/Jack Rowand
Hence, while stuck on the Nautilus, Hook will come into contact with a number of familiar faces, chief among them Aladdin (Deniz Akdeniz) and Jasmine (Karen David), who are just as desperate to save their land from Jafar (Oded Fehr).

Every book Emma Roberts has recommended on Instagram

55. The Kitchy Kitchen: New Classics for Living Deliciously, Claire Thomas
70. Where’d You Go, Bernadette: A Novel, Maria Semple
128. A Field Guide to Getting Lost, Rebecca Solnit
19. The Shining, Stephen King
89. This is Where I Leave You, Jonathan Tropper
98. Girlchild: A Novel, Tupelo Hassman
139. Jane, Maggie Nelson (First recommended in 2016)

Currently reading 📖
A post shared by Emma Roberts (@emmaroberts) on Jan 9, 2017 at 2:51pm PST

2016 Recommendations:
Penguin Books; Graywolf Press
7. Watts  
74. Doctor Sleep: A Novel, Stephen King
2013 Recommendations:
Vintage; Bantam
88. Honey Girl, Lisa Freeman
52. Cities I’ve Never Lived In, Sara Majka
20. Ask the Dust, John Fante
83. Men Explain Things to Me, Rebecca Solnit

21. Psychos: A White Girl Problems Book, Babe Walker
84. Look Better Naked!: The 6-Week Plan to Your Leanest, Hottest Body—Ever! Kitchen Revelry: A Year of Festive Menus from My Home to Yours, Ali Larter
73. The Last Love Song: A Biography of Joan Didion, Tracy Daugherty
46. Emma, Jane Austen
116. My 1980s & Other Essays, Wayne Koestenbaum
97. Chelsea Girls, Eileen Myles

📚☕️Reading + Fueling for tomorrow with my @DunkinDonuts Americano #RedCarpetReady #AwardShowPrep #Ad
A post shared by Emma Roberts (@emmaroberts) on Feb 25, 2017 at 9:09am PST

5. The Girls’ Guide to Hunting and Fishing, Melissa Bank
9. #currentlyreading @harborbookssgh
A post shared by Emma Roberts (@emmaroberts) on Dec 26, 2016 at 3:19pm PST

13. Tomorrow There Will Be Apricots, Jessica Soffer
12. Beautiful Ruins: A Novel, Jess Walter
130. Sweetbitter, Stephanie Danler
24. Grace: A Memoir, Grace Coddington
115. Robert Frost’s Poems, Robert Frost
136. Flowers for Algernon, Daniel Keyes
72. “And so many scripts I read are based on books, so it’s really a huge part of my life.”
The   Scream Queens actress’ picks span multiple genres, including memoirs, classics, poetry anthologies, YA novels, Pulitzer Prize winners, and more. A Story Lately Told: Coming of Age in Ireland, London, and New York, Anjelica Houston
91. Play It As It Lays, Joan Didion
28. M Train, Patti Smith
43. The Sport of Kings: A Novel, C.E. Link in bio 💕 @belletrist
A post shared by Emma Roberts (@emmaroberts) on Mar 23, 2017 at 6:42am PDT

3. My Life on the Road, Gloria Steinem
2015 Recommendations:  
Riverhead Books; Thomas Dunne Books; William Morrow Paperbacks
39. Drift Wood: A Novel, Elizabeth Dutton
60. The Best Things to Do in Los Angeles: 1001 Ideas, Joy Yoon
47. Ali in Wonderland: And Other Tall Tales, Ali Wentworth
135. Veronica: A Novel, Mary Gaitskill
133. The Girls, Emma Cline
22. I’ll Be Your Mirror: The Selected Andy Warhol Interviews, Kenneth Goldsmith
96. It's truly one of my favorite books. Actors Anonymous: A Novel, James Franco
86. Rebecca, Daphne du Maurier
57. Widow Basquiat: A Love Story,   Jennifer Clement
58. Church
35. Salinger
31. Franny   and Zooey, J.D. The Last Days of California, Mary Miller
76. I’ll Tell You in Person, Chloe Caldwell
16. The Illusion of Separateness: A Novel, Simon Van Booy
100. Pond, Claire-Louise Bennett
17. Dear Mr. The actress is known for posting frequent updates of   her eclectic   reading list, and since joining Instagram in early 2012 she has recommended well over 100 books. Morgan
34. Of Things Gone Astray, Janina Matthewson
8. The Impossible Lives of Greta Wells, Andrew Sean Greer

#currentlyreading & falling in love with #TheImpossibleLivesOfGretaWells
A post shared by Emma Roberts (@emmaroberts) on Mar 6, 2017 at 7:25pm PST

4. Rookie Yearbook Four, Tavi Gevinson
44. The Social Contract, Jean-Jacques Rousseau
25. An Extraordinary Theory of Objects: A Memoir of an Outsider in Paris, Stephanie Lacava
119. The Wisdom of Insecurity: A Message for an Age of Anxiety, Alan W. Into the Valley: Marines at Guadalcanal, Ruth Galm
49. The Baroness: The Search for Nica, Rebellious Rothschild and Jazz’s Secret Muse, Hannah Rothschild
2014 Recommendations:
Delacorte Press;Mariner Books; Pocket Books
59. “I was realizing [my Instagram account] was starting so many conversations, and so many people were tagging me, and people were telling me about the books that they were writing, and their favorite books,” Roberts told EW after announcing the book club. Edwards
126. See more on the @belletrist insta story ☺️
A post shared by Emma Roberts (@emmaroberts) on Mar 29, 2017 at 6:35pm PDT

2. Empty Mansions, Bill Dedman & Paul Clark Newell, Jr. Pancakes: 72 Sweet and Savory Recipes for the Perfect Stack, Adrianna Adarme
103. Pain, Parties, Work: Sylvia Plath in New York, Summer 1953, Elizabeth Winder
108. This Is It: and Other Essays on Zen and Spiritual Experience, Alan Watts
77. Is Everyone Hanging Out Without Me? The Universe of Us, Lang Leav
RELATED: 2017’s 23 Most Anticipated Book-to-Movie Adaptions
11. In Search of Lost Time,   Marcel Proust
33. The Children Act, Ian McEwan
63. The Elementals, Francesca Lia Block
79. Colorless Tsukuru Tazaki and His Years of Pilgrimage, Haruki Murakami
29. Valley Fever: A Novel, Katherine Taylor
53. The Unspeakable: And Other Subjects of Discussion, Meghan Daum
62. The Love Song of Jonny Valentine: A Novel, Teddy Wayne
112. John Mandel
67. 81. Slow Days, Fast Company: The World, The Flesh, and L.A., Eve Babitz
18. Levels of Life, Julian Barnes
92. The Chocolate Money, Ashley Prentice Norton
123. Wildflower, Drew Barrymore
42. The Opposite of Loneliness: Essays and Stories, Marina Keegan
82. Big Magic: Creative Living Beyond Fear, Elizabeth Gilbert
45. The Woman I Wanted to Be, Diane von Furstenberg
64. Robogenesis, Daniel H. Run River, Joan Didion
10. Michele Promaulayko
129. Tell the Wolves I’m Home: A Novel, Carol Rifka Brunt
131. I'm beside myself to share the exclusive interview she gave to me on our website. Wilson
78. The Pyramids of Egypt, I.E.S. Watch Me: A Memoir, Anjelica Houston
61. Battleborn: Stories, Claire Vaye Watkins
99. The Goldfinch, Donna Tartt
32. “She’s really the reason that I love to read so much, and she has really had such an effect on my life creatively, and my personal life. Asleep at the Chateau, Jork Weismann
54. Selected Letters, Emily Dickinson
104. The Myth of Sisyphus, Albert Camus
27. Of Time and an Island, John Keats
30. Wildly important you read it as soon as possible. We Were Liars, E. Gold Fame Citrus, Claire Vaye Watkins
40. Little Known Facts: A Novel, Christine Sneed
111. Swimming Sweet Arrow: A Novel, Maureen Gibbon
132. What I Talk About When I Talk About Running: A Memoir, Haruki Murakami
36. Roberts told EW the author   helped make the book club launch all the more special. Happiness: A Philosopher’s Guide, Frédéric Leonir
48. Chanel Bonfire: A Memoir, Wendy Lawless
114. Girl in a Band: A Memoir,   Kim Gordon
56. Life As I Blow It: Tales of Love, Life & Sex… Not Necessarily in That Order, Sarah Colonna
134. Music, Music, Music. Selected Poetry, John Keats (can’t find this specific one, just Selected Poems, etc.)

A post shared by Emma Roberts (@emmaroberts) on Feb 16, 2012 at 8:05am PST

138. Good morning #belletristbabes ☀️I'm over the moon to announce #SouthandWest by #JoanDidion as the first #belletristbook! (And Other Concerns), Mindy Kaling
120. How Should a Person Be?: A Novel from Life, Sheila Heti
80. Crystal Ball Reading for Beginners: Easy Divination & Interpretation, Alexandra Chauran
68. South and West, Joan Didion
Roberts also   interviewed   Didion for Belletrist, which named the author’s   South and West   as its first official club pick. Nine Inches: Stories, Tom Perrotta
95. This One Summer, Jillian Tamaki & Mariko Tamaki
75. Audition: A Memoir, Barbara Walters
102. This Year’s Reads:
Knopf; Ecco; Penguin Books
1. Brain on Fire: My Month of Madness, Susannah Cahalan
121. Lockhart
69. Bluets, Maggie Nelson
23. Hold Still: A Memoir with Photographs,   Sally Mann
51. Carthage: A Novel, Joyce Carol Oates
71. A Little Life, Hanya Yanagihara
26. Different Seasons: Four Novellas, Stephen King
85. Boys, Boys, Boys.: A Memoir, Viv Albertine

End of summer reading list 🌞🎒📕
A post shared by Emma Roberts (@emmaroberts) on Aug 17, 2015 at 12:00pm PDT

50. Fahrenheit 451, Ray Bradbury
124. Below is a complete list of every book Emma Roberts has recommended on her Instagram. Still Life with Woodpecker, Tom Robbins (First recommended in 2012)
14. The Rules Do Not Apply: A Memoir, Ariel Levy

In shock I got to meet Ariel Levy! Under the Banner of Heaven: A Story of Violent Faith, Jon Krakauer
105. The Adults: A Novel,   Alison Espach

Show Full Article Jitterbug Perfume, Tom Robbins
109. You, Mary-Louise Parker
41. The Improbability Principle: Why Coincidences, Miracles, and Rare Events Happen Every Day, David J. The Astor Orphan: A Memoir, Alexandra Aldrich
106. Heads in Beds: A Reckless Memoir of Hotels, Hustles, and So-Called Hospitality, Jacob Tomsky
118. In Praise of Messy Lives: Essays, Katie Roiphe
122. When Watched, Leopoldine Core

Currently Reading: @leopoldinecore 💎Currently Working: @aboutaboyd 🎪Special Trinkets: @jupiterlala 🌙
A post shared by Emma Roberts (@emmaroberts) on Jan 24, 2017 at 3:23pm PST

6. One Last Thing Before I Go: A Novel, Jonathan Tropper
101. After This, Claire Bidwell Smith
37. Thompson
125. My Ideal Bookshelf, Thessaly La Force, Jane Mount
110. Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream, Hunter S. What Ever Happened to Baby Jane?, Henry Farrell
93.Riding in Cars with Boys: Confessions of a Bad Girl Who Makes Good, Beverly Donofrio
94. Barefoot Contessa Foolproof: Recipes You Can Trust, Ina Garten
2012 Recommendations:
Back Bay Books; Dial Press
117. West of Eden: An American Place, Jean Stein
38. Station Eleven, Emily St. Ava Gardner: The Secret Conversations, Peter Evans & Ava Gardner
90. 113. Prolific   reader and Instagrammer   Emma Roberts recently announced her new book club   Belletrist, which she   cofounded   with   Karah Preiss. Even Cowgirls Get the Blues, Tom Robbins
127. The Can’t Cook Book: Recipes for the Absolutely Terrified!, Jessica Seinfeld
87. The Guineveres, Sarah Domet
15. Clothes, Clothes, Clothes. Let’s Explore Diabetes with Owls: Essays, Etc., David Sedaris
107. The Atomic Weight of Love: A Novel, Elizabeth J. Flimsy Little Plastic Miracles, Ron Currie, Jr. The Poems of Longfellow, Henry Wadsworth Longfellow
137. The Story of My Teeth, Valeria Luiselli

Post Christmas dinner looks delicious! To have her be the person we get to launch the book club with is so special, for so many reasons,” Roberts said. 365 Style, Nicky Hilton
65. Not That Kind of Girl: A Young Woman Tells You What She’s “Learned”,   Lena Dunham
66. Author of #therulesdonotapply!

Someone remade the new ‘It’ trailer using clips from the 1990 TV miniseries

There was no slide projector scene in the earlier film, but Skuta uses a sequence in which the Losers’ Club looks through an old album of photos instead. It’s a peculiar   exercise, but YouTube user Matt Skuta went through the earlier Tim Curry version of the scary clown movie to harvest elements that roughly corresponded to things featured in yesterday’s promo for the Sept. While the projector cycles through to reveal   a woman who gradually evolves into Pennywise, the older film simply involved a photo coming to life and Curry’s clown lashing out at the children from the pages of the book. Show Full Article The most 1-to-1 comparisons involve the opening sequence, in which a little boy floats his paper boat directly into the clutches of the formless evil monster. This is kind of a brain-bender: Someone decided to remake the trailer for the remake of Stephen King’s   It — using pieces of the original 1990 TV miniseries. For more on Stephen King’s It, here’s EW’s deep-dive gallery showcasing all the references to the 1986 novel in the new trailer. If you can’t get enough evil clowns, it’s a fun compare and contrast. 8 film, featuring Bill Skarsgård as Pennywise.

‘The Dark Tower’ moves again — this time to August

Everything seemed to be on track. The same is true of the movie. The film stars Idris Elba as Roland the Gunslinger, the last of a group of knights from the realm of Mid-World, which has survived apocalyptic upheaval that is now destined for our own dimension. Not only does Sony hope to turn it into a big-screen franchise, but MRC is already developing plans for a TV series prequel, which is also being co-written by the film’s director,   A Royal Affair filmmaker (and lifelong King fan) Nikolaj Arcel. It exists in a trans-dimensional state, and pinning it down to a specific time and place can be difficult. Show Full Article It’s only a one-week delay, but the question now is whether that date will stand. A lot is riding on the movie. He’s pursuing a magic-wielder known as The Man in Black (Matthew McConaughey), who is rounding up psychics from different worlds to help him track down and destroy the tower, which stands at the nexus of all time and space. (By comparison, the new version of King’s It just dropped a first trailer, and that doesn’t open until Sept. 8.)
Fans expected to get word of another push-back, but when The Dark Tower‘s sleek new poster was released a week ago it doubled-down on   the July 28 release date. Sources tell EW a   trailer release is imminent, so maybe Aug. But now, EW has learned The Dark Tower is indeed abandoning the July 28 date, which will be occupied by Sony’s The Emoji Movie. Originally slated for release this past February, the adaptation of Stephen King’s epic six-guns-and-sorcery tale later shifted to July 28 — a date that seemed to stand despite the lack of a   single trailer with only about three months to go. In The Dark Tower, the mythical, shadowy edifice they’re chasing is also elusive. 4 really will be the date we get to join Roland in   our journey to the tower. Fan worries about a date shift were allayed. It just moved back another week, to August 4. Sony showed footage to theater owners at CinemaCon this week, garnering positive buzz from critics and journalists.

‘Dawson’s Creek’ haunts James Van Der Beek in awkward interview

Dawson’s Creek   was a big part of my childhood,” said Willoughby. But, alas, the co-hosts of Britain’s This Morning   talk show   didn’t have the same positive experience when they brought up the show with James Van Der Beek on Thursday. In fact, it was pretty uncomfortable. Co-hosts Holly Willoughby and Philip Schofield started the segment by asking “What happened to the main man himself, Mr. “Well, he’s here now, and that’s what he looks like,” said Schofield as the   screen split between Van Der Beek in the studio and a still from the hit WB series. James Van Der Beek?” after running through the achievements of his   fellow   Dawson‘s castmates. Schofield explained,   “We know that, but it worked better as a link.”
The   Dawson’s Creek   questions continued as Schofield asked the 40-year-old actor, who was there to promote his new series   Carters Get Rich, if he ever thought they’d still be talking about the series 19 years later. “I have been on television the last 20 years, just wanted to let you know,” he said. “No,” he said. “It changed my life. It was a huge opportunity. I learned how to deal with all kinds of things. “The most fun characters to play are the ones that have zero shame whatsoever. Show Full Article Schofield quickly added, “I don’t think you’ve ever been on this sofa before. “I would not imagine that I would be standing in front of a picture from 20 years ago.”
Eventually, Van Der Beek warmed up to the line of questioning and opened up about what the show did for him. Well, don’t worry, because Van Der Beek, who was clearly slightly annoyed by the photo, quickly chimed in. It was a huge break. I learned how to deal with celebrity. Although it’s been almost 20 years,   the cast of Dawson’s Creek   can seem to escape the specter of the beloved teen drama, but that’s not always a bad thing. RELATED:   Dawson’s Creek: Where Are They Now? Watch the awkward interview above. The awkward turtle-ness of the whole interview began   with the introduction. Jenna Bush Hager brought up how much she loved the show   in college when she interviewed Katie Holmes on Tuesday, and it went well. I wouldn’t change anything,” he said, before admitting that it was just weird to hear the theme music backstage before he came out. If you’re like the   Don’t Trust the B—- in Apartment 23 star, you probably thought that question made it sound like Van Der Beek disappeared after   Dawson’s Creek   ended. They just drive the scenes and disrupt things,” said Van Der Beek. “I was like, ‘What year is it?’”
“We were very excited about it. We gotta do it for the first time.”

Thankfully, the   Dawson’s Creek digression ended there, and Willoughby moved the conversation onto the actor’s new series. I learned how to be on camera. In the Sky 1 family comedy   Carters Get Rich, Van Der Beek plays an obnoxious billionaire who buys a dating app created by an 11-year-old boy. When you come on again, we won’t do all this stuff ’cause we’ve done it.

The untold story behind Harrison Ford’s deleted cameo in ‘E.T.’

“So as E.T. The principal turns around, and as far as he’s concerned, nothing ever happened.”
But it’s an odd scene, shot more like a film noir than anything else in the movie. reunion in 2012. is lifting all of the communicator paraphernalia up the stairs, Henry starts rising off the ground in the chair until his head hits the ceiling. “I basically was just excited to meet Steven in hopes that I would meet Harrison.”
The Indiana Jones actor, who was then dating (and later married to) E.T. loses control of the weight of everything and it all falls down the stairs, and Henry comes crashing down to the ground, and lands perfectly. Henry Thomas was way more interested in Harrison Ford than Erika Eleniak. Thomas laughed. “You don’t end up saying anything.”

Show Full Article But 10-year-olds don’t care about that mushy stuff. “When I met Steven, the first thing out of my mouth was I think, ‘I love Raiders of the Lost Ark,’ and my hero was Harrison Ford,” Thomas told EW during an E.T. So what does a boy say when he gets to work alongside his hero? We just hear his voice, see his body.”
Until the final act of the movie, Spielberg shot everything from a child’s-eye level, never showing the faces of any of the adults except Mary, the mother played by Dee Wallace. “Henry’s chair starts levitating,” Spielberg said. Four-point landing. “But that’s where [Henry] got a chance to meet Harrison.”
“That was a very big day for me,” Thomas recalled. To read more Untold Stories, pick up the new issue of Entertainment Weekly, on stands Friday, or buy it here — and   subscribe for more exclusive interviews and photos, only in EW. “That was the scene that we cut out,” Spielberg said, still trying to find the silver lining. We don’t ever see Harrison’s face. is home levitating all of the stuff for his communicator up the stairs,” Spielberg said. In the deleted scene, Ford’s voice snivels as his chair swivels, and his smug principal peers looks through the blinds of his office while muttering about the boy being his “own worst enemy.” But Elliott still has a psychic connection to his far-away alien friend. In the famous frog escape scene from E.T. screenwriter Melissa Mathison, agreed to shoot a cameo for her and his friend Steven Spielberg. Steven Spielberg (left) with Harrison Ford and screenwriter Melissa Mathison, on the set of E.T.Universal Pictures
“He did the scene where E.T. the Extra-Terrestrial, a mesmerized Elliott gets to plant a big smacking kiss on a girl who would grow up to be a Baywatch babe. The young actor didn’t just get to meet Ford, he got to perform in a scene with him – in a scene that is now famous for not existing at all (at least within the finished film). (“She was like one of the kids,” Spielberg says.)
For more revelations from the past four decades of entertainment, visit   ew.com/untoldstories. “Elliot is in the principal’s office after the frog incident. Just as Harrison turns, E.T. It ended up getting cut, and only exists now as a blurry YouTube video and in fragments on making-of featurettes. The joke was that Ford would play against type as the uptight, condescending principal who scolds Elliott after the frog and kissing incident. It didn’t add much, and Ford’s presence seemed more of a distraction than anything else.

‘Twin Peaks’ revival: 8 things fans need to know

It just kept growing.” Asked who Vedder plays, MacLachlan says: “You know, I didn’t know Eddie was there. (Lynch doesn’t do weekends.) The script started in the area of 400-500 pages, but it grew during pre-production, and more so during production, as the cast kept expanding. Definitely a lot less cursing…. There are 217 people in the cast, including most of the original cast. “Twin Peaks is a mystery that holds other mysteries,” says David Lynch when asked to sum up his legendary TV creation in a sentence. “Gordon doesn’t need much direction,” he says. And even if you shoot on film, you’re going to end up transferring it onto a digital format eventually. Expect pure grade Lynchiness. The 18-hour limited event series is “a feature film in 18 parts,” says Lynch, who wrote the script with Twin Peaks co-creator Mark Frost over a period of three years and shot for 142 days over seven months, but not on Saturdays and Sundays. “Yes, there are,” she said. The Twin Peaks revival debuts May 21 at 9 p.m. It might not be as TV-MA as you think. In the episode’s final shot, we saw that it was Cooper’s dark half —   or, to put the same idea a different way, Cooper possessed by demon BOB —   that made it out of that red-curtained underworld. “People want to know right up until they know, and then they don’t care,” the director tells EW. “It takes place all over the country,” says David Nevins, Showtime’s president and CEO. It just feels like that sort of uncut, unadulterated version of it.” That’s important, he says, because “my only anxiety was that the show not feel like the ersatz version of Twin Peaks. That fan theory you like might be true. “What I think is satisfying about the new version is that it’s a deeper exploration of that stuff. Sutherland, corrected him. He’s doing it for your own good, you know! “Gordon is a fantastic person,” is all Lynch will say about the character. Which one will the new Twin Peaks be? I like things that are lots of things.”
Suzanne Tenner/SHOWTIME
8. Can he make it back?”
Suzanne Tenner/SHOWTIME
5. “The honest answer is both,” says Nevins. Part what defines David as such an entertaining filmmaker is he’s got such a range of tones. “He is taking advantage of cable freedoms and there are moments of very strong material, but David’s pretty clean,” says Nevins. “I’m really interested in the journey of Agent Cooper —   where he’s coming from, where he’s going to, and what the obstacles in his way are,” says Nevins. “Okay, then maybe I did.”
Here are some other things that might be true about Twin Peaks:
1. Frost said as much in the early press about the project, and if you look at EW’s first look photos from the production, you’ll see there’s no attempt to make the actors look anything any younger than they are. It doesn’t all take place in Twin Peaks. Hence, he really hopes you have a home entertainment system that’ll flatter it, and if not, you’ll invest in one. What is the red room? Truman), Joan Chen (Josie Packard), and Piper Laurie (Catherine Martell ). The way some actors tell it,   it sounds like some people called up, asked if they could be in the show, and Lynch said, “You bet!” Says Kyle MacLachlan: “I would hear stories from them about how they were heavily influenced by Twin Peaks, and so they wanted to be part of the new series, even if it was just one day of shooting. I don’t like things that are one thing. What’s it like directing himself? Adds Gary Levine, Showtime’s president of programming: “There’s a very compelling spine through this story, and yet there are diversions, tangents, fantasy.”
7. The second thing Nevins needed to hear was that Lynch would direct the whole thing. Because art, people! Angelo Badalamenti, a frequent Lynch collaborator who did the music for the original Twin Peaks, is doing the music for the revival. “It’s really beautiful and you go into another world not knowing what you’re going to find.”
Still, we can tell you some stuff. ET on Showtime. Lynch is a musician himself, and he plays a mean, home-made guitar. “Twin Peaks is a cosmology,” says Nevins. Lynch wants you to watch the show on a TV with a great sound system. It’s pathetic.” Besides, we hear there’s someone plays some mean guitar on the soundtrack, and you surely don’t want to miss that. Everyone in Hollywood is in it. Where is Agent Cooper? To read more on the Twin Peaks   revival, pick up the issue of Entertainment Weekly   here, or   purchase the individual issues   featuring the owl, donuts, and pie. “Digital has gotten to a good point where you can get a pretty beautiful thing, and there’s a million things you can do with it. Lynch laughs. Or not. When I asked him if he’ll be playing on the soundtrack, he said no, but then his producing partner, Sabrina S. First, he wanted to hear that the story would have a lot of Agent Cooper. “There are a couple things.”
“There are?” he asked. Lynch’s films often feel dreamy or nightmarish or both, but some are as linear as The Straight Story and some are as looping as Mulholland Drive. Some fans are assuming that Lynch will take full advantage of pay cable’s creative freedoms and deliver an R-rated version of Twin Peaks, à   la Twin Peaks: Fire Walk With Me. So on little speakers on a computer or laptop or something, it’s like you have a B-52 bomber flying close in the sky, just barreling along, and it becomes like a mosquito on the little machine. He won’t even confirm that the original cast will actually be playing their original characters in any real way, except for one: Kyle MacLachlan will reprise his role as FBI Agent Dale Cooper. Nevins says that he was prepared to say yes to the new Twin Peaks even before Lynch and Frost pitched the project to him in 2014. Nevins was quoted earlier this year as saying that new Twin Peaks is “the pure heroin of David Lynch.” Asked to elaborate, Nevins recently told EW: “What I really meant was like uncut and that it’s just a very pure form. Lynch used digital cameras for the shoot. “There’s darkness and there’s scariness, but a lot less cursing and probably somewhat less nudity than most of our other programming. So it’s fitting that he wants to keep Showtime’s forthcoming revival of the cult classic as Laura Palmer as possible: wrapped in plastic and full of secrets. “Film is organic, it’s beautiful, no two ways about it, it has a quality that I don’t think has been surpassed, but there’s so many drawbacks to it,” says Lynch, whose movies include lovingly crafted celluloid masterpieces like Eraserhead, The Elephant Man, and Blue Velvet. But he did need to hear two things; we’ll tackle them separately. Okay, that’s not true at all, but it sure feels like it. Notable omissions include Lara Flynn Boyle (Donna), Moira Kelly (who played Donna in the Twin Peaks: Fire Walk with Me movie), Michael Ontkean (Sheriff Harry S. “As we left, evil has established a beachhead in Twin Peaks through Agent Cooper,” says MacLachlan, who declined to elaborate further, other than to say that he found it very rewarding to play Cooper’s dark side, and that we might be surprised how Cooper reconciles and resolves this crisis of duality. Don’t forget to   subscribe for more exclusive interviews and photos, only in EW. Check! We are getting to observe a master artist, master filmmaker getting to use all of the tools that he’s developed over the course of his career. In the season 2 finale of Twin Peaks, which ended up being the series finale of the show, Agent Cooper enters The Black Lodge and encounters the specter of Laura Palmer (Sheryl Lee). (Although we think it’s odd that many of them still dress as they did back in the day.) But the official word from Lynch —   clearly the lead creative pilot on the revival —   is that you shouldn’t assume anything about what you’ll see on screen. So digital is pretty beautiful, and it assures you you’re going to have a chance of everybody seeing the same thing.”
Watch the cast discuss the show’s odd universe and the upcoming revival in the new People/Entertainment Weekly Network (PEN) special EW Reunites: Twin Peaks here, or download the free app on your Smart TV, mobile and web devices. For others, it was about working with David because he is so phenomenal. While trying to rescue his girlfriend Annie from the clutches of former partner Windom Earle in The Black Lodge, Cooper was assaulted by his own dark-side doppelgänger. It’s funny, it’s dramatic, it’s emotional, it’s shocking, and occasionally it’s violent, but a lot of times the violence is more implied than shown. Show Full Article Jack Nance, a longtime Lynch player (Eraserhead) who played Pete Martell, and Frank Silva, the set dresser whom Lynch famously cast on the fly to play BOB, passed away before the project was conceived. We weren’t going to do ‘Twin Peaks: The Remake,’ and David would lend his name and someone else would write and direct it.”
GALLERY: 9 Exclusive First Look Photos of   the   Twin Peaks Revival

6. “It’s not just for me, it’s important for everyone! Notable newcomers including Laura Dern, Naomi Watts, Jennifer Jason Leigh, Naomi Watts, Monica Bellucci, Michael Cera, James Belushi, Tim Roth, Robert Forster, Pearl Jam frontman Eddie Vedder, and more. Lynch won’t say who the newbies will be playing, and it’s quite possible many will have blink-and-you’ll-miss-them cameos. Then, after adding, “Meanwhile…,” she strikes a vogue pose and freezes. Art! He shrugged. Check! That’s one of the things I really like about the show, there’s just such a satisfying range of tones. “Twin Peaks is an important locus, but it’s not the only locus.”
4. Put another way: The new Twin Peaks will be set in the present. 3. Sound and picture flowing together in time is the thing, that is cinema, and it’s just so beautiful, it’s got to be protected. “That, to me, just as a viewer, was my core interest in what happened to Agent Cooper.”
The original Twin Peaks ended with a number of cliffhangers, none more shocking or disturbing than the fate of Agent Cooper. How does the red room work? Okay, but what kind of pure grade Lynchiness? Lynch doesn’t just take great care making images — he’s also known for his dense, intricate soundscapes. But I think he sings.”
Suzanne Tenner/SHOWTIME
2. “I’ll see you again 25 years,” she says. The popular theory among fans is that the revival —   which arrives nearly 26 years after the last episode aired —   will retroactively turn the line into a prophecy. Expect a lot of Agent Cooper, and a lot of mythology. Lynch himself will be in it, playing Cooper’s boss Gordon Cole, or some version of him.

Mandy Moore posts nostalgic #TBT pic with Justin Timberlake

Opening for this guy and his band. Look at my nervous smile! “Abercrombie tshirts and bucket hats. Opening for this guy and his band.” Moore claims to have a nervous smile here, but we are still hung up on just how boyish the former boy band member looks.  

Show Full Article He sure has grown up, while the   This is Us   actress doesn’t seem to have changed much at all. Summer of 1999. Mandy Moore set the scene for fans in a big way this #ThrowBackThursday, sharing a sweet and nostalgic pic of herself at age 15 alongside an 18-year-old Justin Timberlake before she opened on tour for *NSYNC… at the end of the last century. “Summer of 1999,” she wrote in the caption. My, how our celebrities have grown! Abercrombie tshirts and bucket hats. 🙈 #tbt #memories pic.twitter.com/XwKw8weRkR
— Mandy Moore (@TheMandyMoore) March 30, 2017

Fellow newcomer (and former girlfriend of JT) Britney Spears also opened for *NSYNC that summer.

‘The Boss Baby’: EW review

It’s not surprising that the film adaptation tosses all that whimsy out the door. The joy of DreamWorks Animation at its best — and the opposite of joy, by Shrek Forever After —   is how it modeled a new kind of kid-friendly adult storytelling that never had to move past that initial moment of awareness: A mock-cynical sincerity that circles culture endlessly backward through the primal fairy tales, stories that once appealed to children, now gilded with just enough “edge.”
In the best case scenario, this could create something like Kung Fu Panda, a marvelous adventure deconstructing the normal hero’s journey on the way to building a sweetly post-modern hero’s journey. But there’s an extended backyard action sequence that hits the madcap heights of classic old Looney Tunes. (Maui in Moana is a DreamWorks character invading a Disney adventure; Cars is a DreamWorks franchise, you’ll never convince me otherwise.)
Katzenberg himself left DreamWorks Animation last year. Consider the whole quotemarky “It’s just a joke!” tone of online discourse, the rise of smirking insincerity as a political mode and an intellectual dialectic. It feels like the kind of movie you make when different bosses demand different things. His parents introduce him to a new member of the family. He’s seven years old, and the only-child apple of his parents’ eyes. Which I guess is   its own weird kind of triumph. In fantasy sequences illustrated like old-fashioned picture books, he battles giant blue gorillas, rescues his parents from sharks, flies through space. Suffice it to say, the Boss Babies up in the sky are concerned that people on Earth are starting to love puppies more than babies, and if they love puppies too much then they won’t want anymore babies. Would you prefer to never answer them, ever? As recounted in Nicole LaPorte’s brilliant inside-Hollywood treatise The Men Who Would Be King, Katzenberg’s main note during Shrek‘s tormented years-long production process was that it had to be “edgy.” That’s a hazy word with no real definition — you could argue that defining something as “edgy” is an insult disguised as a compliment, a way of saying that it’s almost interesting — but Shrek perfected the DreamWorks style of snarky sweetness. There’s a bad guy with a tangled history, and everyone is in jeopardy, and there’s a trip to Las Vegas, and I hope someone out there still likes Elvis Jokes because Boss Baby is secretly the Elvis Joking-est movie ever. The film presents itself, for a few intriguing moments, as a war between two brothers and two generations, a kinder-gentler boy who loves imagination and a brutally disruptive hip young thing. But you can see the DreamWorks style everywhere: In the cynical-saccharine Modern Family, in the Marvel Cinematic Universe’s rendering of Tony Stark as a smirkingly wealthy tycoon who jokes about superheroes but inevitably is just another superhero, and most of all in the last decade of Disney films, which trended more referential and self-aware either in competition or from osmosis. No wonder kids are so messed up!”
That’s a line that goes right back to Shrek‘s knowingly self-aware — yet never particularly challenging   — take on fairy tales. There’s a brief dream sequence where the Boss Baby and Ted race toward each other in the middle of the desert. It’s hazy to attribute authorship to a studio boss — hazy to attribute a term like “authorship” to anything that feels so market-tested, boardroom-approved, and Elvis-joke’d — but I wonder if this is his final statement. But a select few lucky babies are selected for “management.” They get a suit, a briefcase, a cubicle, a title. (In what I have to believe was further shade, the main character in DreamWorks’ Shark Tale is named “Oscar.”) DreamWorks’ output since then has been prolific, and mixed. Shrek was the fifth-and-a-half animated feature by DreamWorks — after the okay Antz, the great Chicken Run, forgotten 2D efforts Prince of Egypt and The Road to El Dorado, and not forgetting the partially animated Small Soldiers, a weirdo gem that deserves mention alongside Starship Troopers as an anticipatory military-industrial parody. Ted’s fantasy sequences are illustrated with zesty abstraction. Although the movie’s nominally set in some idea of the past, there’s a toy wizard who quotes Gandalf from Lord of the Rings, and a heist scene that directly homages Raiders of the Lost Ark, and Mary Poppins jokes. There has been brilliance, and untold disappointing sequels, and some intriguing oddities, and whatever Rise of the Guardians was. Someone throws a baby through a window; it’s funny, I swear! There’s a whole scene where the Boss Baby and Ted ride in First Class, where the joke is how great it is to ride in First Class. He’s a walking, talking, plotting   boss baby (named, well, Boss Baby)   with the voice of Alec Baldwin in full slithery-syrup elitist mode. For Ted’s parents, this new baby is merely as impossible as any other endlessly requiring infant. They’re rendered as elderly children, brandishing walkers as weapons and with white beards blistering in the wind, and when they collide, a nuclear blast goes off. (The Wolf of Wall Street was easy to hate mid-Obama, and now it feels like the   modern American Creation Myth.) But there’s a real sourness to The Boss Baby, enough to make even the most cynical little kid spit up. It’s confusing nonsense, and to explain it, the movie literally trots out a gigantic pie graph on a big screen. One thinks of General Turgidson in Dr. He hates kid stuff but loves memos. But then the Boss Baby takes Ted on an exposition-heavy tour of Boss Baby mythology — think The Ancient One and Dr. “No one can afford it,” says the Boss Baby, “That’s what makes it so wonderful.”
Let’s be clear: The Boss Baby is a terrible, horrendous, totally miserable little creature. As the opening credits play over Irvin Berlin’s “Cheek to Cheek,” we’re up above the clouds, where babies roll off an assembly line, like cheap toys and bland animated features. Then forestall the inevitable and ruin your kids’ weekend with The Boss Baby, an unsettling talking-infant farce that doubles as an unsettling Pop Capitalist saga for the age of the corporate citizen. Especially considering that the film starts quiet and suburban, following the imaginative adventures of young Ted Templeton. It’s that tone of a teenager looking back at the stories he used to love, and deciding they were totally weird, and thinking “I’m too grown up for that dumb stuff now!” and then going to see Transformers 5. But Ted discovers that this new arrival isn’t just a typical annoying baby brother. Shrek was also the full flowering of something DreamWorks co-founder and animation honcho Jeffrey Katzenberg had dreamed of: A film that could parody Disney and steal Disney’s lunch money, with equal appeal for kids and parents and the too-cool-for-school teenagers in between. Consider the cultural devolution from something like Wicked —   a lacerating female-first deconstruction of an old children’s story — to Oz, The Great and Powerful, the story money-obsessed con man with a heart of gold who gets the good girl by vanquishing all the bad girls. At BabyCorp, employees dream of a corner office, with a big window and a tall desk, no family to distract them, no life to bother living. For as much as the film wants us to laugh at the Boss Baby, we’re really meant to laugh with him, and learn from him. Strangelove, desperate and dumb, explaining the need for immediate apocalypse by screaming, “Look at the big board!”
It all becomes very algorithmic. The villain’s backstory is explained via an elaborate 2D/3D picture-book montage. Marla Frazee’s original Boss Baby picture book was, essentially, a book of lovely tangents built on a simple concept: That a newborn is precisely as all-powerful as your boss, and only slightly less uncaring. Boss Baby is a DreamWorks movie, which means that kinetic energy is generally prized over visual coherence. An older Ted provides Wonder Years-ian narration: “Back then, you relied on your imagination.” (Old Narrating Ted is Tobey Maguire, suggesting that Boss Baby is a Labor Day prequel; Young Ted is voiced by Miles Christopher Bakshi, giving a remarkably sensitive performance amidst unmemorable celebrity voices.)
Ted’s life is happy, and immediately disrupted. Shrek also turned DreamWorks into an animation empire, ending Disney’s stranglehold on cartoons and opening the door to our modern talking-digital-animal Renaissance. And then there’s The Boss Baby, merely mediocre yet disturbingly familiar, for we   are all Boss Babies now. C

Show Full Article It ripped apart fairy tales but also honored them; it didn’t believe in beauties, but it demanded a happy ending for all beasts. When his older brother reads him the story of Hansel and Gretel, the Boss Baby declares: “The story is about cannibalism and burning people alive? If you’ll allow me to write something I already regret thinking: The Boss Baby mythology is surprisingly complicated. Most of the babies pinball down an industrial chute to Earth, where they’ll presumably join a happy family and start watching Minions. Strange and the multiverse, except more complicated. Sixteen years ago, DreamWorks released Shrek, one of the most influential films of the new millennium. Shrek won the first-ever Best Animated Feature Animated Feature. “It’s time,” the Boss Baby tells his big brother, “to make way for the next generation.” The Boss Baby grabs Ted’s humble Lamb doll and crushes it with an imitation Optimus Prime. He hosts a playdate and turns his baby brethren into a slobbering attack squad. But there are worst case scenarios, instances where empty cynicism dissolves into sour snark, where the pretense at self-awareness becomes its own retrograde stupidity. Are your children asking how babies get made? In the movie’s suburbs, all the grass looks like AstroTurf and some of the faces look like they never got past beta testing. It’s the kind of “children’s book” that seems specifically designed for parents, but there’s an underlying sweetness, a light whimsy appealing for all ages. He keeps them up all night; he ruins every dinner; he takes all their attention away. Let me sum up half the gags in this miserable movie: “Hahaha, money!”

Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides. The film wants him to be lovable, a kid-friendly   Jack Donaghy, but it’s more like somebody made an animated caper   out of the further adventures of Jordan Belfort. Ted was the beloved only child; now, he is the forgotten elder child. That had to feel good for Katzenberg, whose forced departure from Disney led to a decade-defining lawsuit. He’s a cool know-it-all who likes double espressos and spicy tuna rolls. At one point, the Boss Baby bites a little girl on the arm, and she cries out; he throws dollar bills in her face, and she shrieks with joy. When the credits roll on The Boss Baby, you’ll see his name at the top of the “Special Thanks” list, if you stick around long enough. There are no smartphones or video games, so perhaps we are in the past. They go to work for BabyCorp, a company that has successfully quantified all the available love in the world, with a design aesthetic that equally suggests the midcentury banality of The Man in the Grey Flannel Suit and the late-century banality of Dilbert. “Parental Misery” is a popular concept in our time — how many bookshelves hold Get the F— To Sleep —   and the nifty-seeming idea of The Boss Baby seems to be how it shifts that misery into the unique perspective.

Goldie Hawn deems ‘Snatched’ the best film she’s made

It doesn’t compare to any other movie I’ve ever done.” Then, with Schumer joking that   Hawn was calling it her best, the Overboard actress agreed, “I’m saying it’s the best. — With reporting from Chris Rackliffe. “I’m a mother to my daughter and I’m a mother to Amy, and that’s what mattered — it’s that movie that matters,” she told EW of the mother-daughter action comedy. I was like, ‘This is happening.’ I kind of secreted it. Show Full Article It’s been 15 years since Goldie Hawn last appeared in a film and according to the Oscar winner, she’s saved her best for Amy Schumer. Snatched, which also stars Christopher Meloni and Ike Barinholtz, arrives in theaters on May 12. At CinemaCon   Thursday to promote   Snatched, with a little nudge from Schumer, Hawn deemed the upcoming film, from which EW has an exclusive clip, as her best yet. The comedian, who broke out on the big screen in 2015’s Trainwreck, admits she was ecstatic about getting to work with the veteran actress. I never read that book, but I’m assuming it.”
Watch the full interview above, as Schumer does her best in a game of trivia about her famous costar’s iconic movies. “It’s still blowing my mind, it’s the biggest dream come true. “I come offering Goldie Hawn,” she cracked to EW. It was great.”
Having not acted since 2002’s The Banger Sisters opposite Susan Sarandon,   Hawn was sold by Schumer, noting at the event, “You can’t just go back after 14 years to nothing.” And the admiration was mutual.

Joss Whedon’s Batgirl: Who should play Barbara Gordon?

Show Full Article

With The   Edge of Seventeen, she proved she can nail the awkward, angsty young person better than almost anyone going right now. agent for the Marvel Cinematic Universe, but if the director of   The Avengers   can switch teams, we shouldn’t be afraid to dream big. She’s a little bit older than the typical female Whedon protagonist, but that might actually make more sense in the DCEU, where Batman is already several years deep into his war on crime. Yara Shahidi

Shahidi hasn’t had much need for action scenes on   Black-ish, but as the wise and regal Zoey Johnson, she’s demonstrated a colorful personality that would fit right in with the more recent interpretation of Barbara Gordon as the hipster “Batgirl of Burnside.” Plus, she’s already been rumored to be gearing up for   a college-set   Black-ish   spinoff. Although she spent years in a wheelchair as the   Oracle after being brutally crippled and tortured by The Joker   in the infamous   The Killing Joke   graphic novel,   Barbara has since rebounded into the Batgirl identity, combining book smarts, acrobatic skills, and a touch of Batman influence to forge her own battle against crime and evil. As Skye/Daisy/Quake, Bennet has had to play both hacker and ass-kicking superhero —   two essential components of   Barbara Gordon. Camila Mendes

Mendes’ Veronica has been a highlight of the CW’s   Riverdale   so far, turning this archetypal bad-girl into a protector to those who can’t stand up for themselves — even her own romantic rival, Betty! Since Monroe already mastered balancing teen sex with supernatural horror in   It Follows, superhero   crime-fighting should be no biggie. The two of those combined could make a great Batgirl – plus, Steinfeld could   even provide her own novelty tie-in pop single. It seems like a perfect fit, since Whedon’s work often highlights young, brainy, powerful female protagonists, and the dark-and-grimy DCEU could desperately use some of the fast-moving Whedon wit that helped propel Marvel’s Avengers movies to greatness. Plus, when you’ve already seen the worst of the Hunger Games, why would you be scared of The Joker? Amandla Stenberg

Even more than her breakout role as Rue in The Hunger Games, Stenberg’s more recent viral YouTube videos have showcased an encyclopedic cultural knowledge and clever wit that would be perfect for a Whedonesque Batgirl. Besides, she was already amazing as the voice of Batgirl in The LEGO Batman Movie, where she brought a mix of warmth, humor, and ass-kicking aplenty. EW has confirmed that this Batgirl will be Barbara Gordon, a.k.a. As the katana-wielding Kira, Cho demonstrated she has both the acting chops and the lovable dorkiness that could make a great   superhero (she’d also be a great pick for Marvel’s Kate Bishop). Arden Cho

Speaking of Teen Wolf, Roden’s costar could also make Batgirl her own. Why not Gotham University? EW, naturally, has some ideas, but we want to hear from you as well. Rosario Dawson

After saving four straight Marvel Netflix shows from boredom, Dawson really deserves her own superhero property. Maika Monroe

The superhero and horror genres have been intermingling a lot lately; just ask FX’s   Legion. So that leads to   the most important question of all: Who should play Batgirl in the movie? the daughter of Commissioner Gordon and thus a close ally of Batman. Hailee Steinfeld

We know she’s got the toughness down, since most moviegoers were first introduced to Steinfeld as the plucky protagonist of the Coen brothers’ True Grit remake. Check out our suggestions and vote in the poll below. Other characters have held the Batgirl title in the past, from high-flying Stephanie Brown to the mute assassin’s daughter Cassandra Cain, but “Babs” remains the most iconic version of the hero. Holland Roden

Roden’s six-season run as redheaded brainiac and off-hours monster hunter Lydia on MTV’s Teen Wolf   is about as good a run-up for Barbara Gordon as one could ask for. Refusing to take crap from anybody, she sure seems like she has the makings of a superhero. Chloe Bennet

Sure, she’s still occupied as a S.H.I.E.L.D. On Thursday, news broke that none other than Joss Whedon will be directing a Batgirl movie for Warner Bros.’ big-screen DC Expanded Universe.

‘War for the Planet of the Apes’ trailer teases epic humans-apes showdown

The target of his anger is the Colonel, played by a bald Woody Harrelson channeling Marlon Brando à   la   Apocalypse Now. “You talk about mercy? “There are times when it is necessary to abandon our humanity to save humanity,” the Colonel says. The latest trailer for   War for the Planet of the Apes (opening July 14),   the follow-up to   Dawn of the Planet of the Apes, just debuted, and much like its predecessor, the new chapter in the life of super-smart simian Caesar promises evolutionary action and too many prepositional phrases in the title. The action in   War   picks up two years after the conclusion of   Dawn, when the military was poised to bear down on Caesar and his family of similarly enhanced apes. Show Full Article No matter what you say eventually you’d replace us. Later in the trailer, he scoffs at Caesar’s declaration that he’s shown mercy. Fans of the series   will recognize the name as a significant player in the original   Planet of the Apes, but it’s unclear how this Nova will factor into the larger reboot mythos. When director Matt Reeves (who recently signed on to helm   The Batman, starring   Ben Affleck) unveiled the first trailer at New York Comic Con, he hinted at   War‘s larger scope, which wasn’t specifically highlighted in that original tease and is on full display here. “I did not start this war—I fight only to protect apes” he says in the new footage. The military leader is the head of the Alpha-Omega, a special force troop determined to end the primate problem and reference to   Beneath the Planet of the Apes. Here,   the conflict carries on with significant losses on both sides, and Caesar is looking for a way to end the fighting   once and for all. That’s the law of nature.”

Complicating matters is a mute human girl named Nova, whom Caesar and his band find.

Worship the new ‘American Gods’ title sequence

RELATED:   2017’s 23 Most Anticipated Book Adaptions
The opening credits cover   several key facets of the Starz series, developed by Bryan Fuller and Michael Green. A totem of godly visions we didn’t know we needed to worship until they showed us the light with this clarion call to the American Gods.”
American Gods   stars Whittle, Ian McShane, Emily Browning, Crispin Glover, Bruce Langley, Yetide Badaki, and Pablo Schreiber. Credit where credits are due. Fuller and Green issued a statement about the credits: “Is it strange to want action figures from a main title sequence? Crucified astronauts, neon cowboys, and S&M centaurs, we bow to Elastic and their spectacular vision. Starz has just released the title sequence from the network’s epic new series, American Gods, debuting on the premium channel on April 30. Based on the Neil Gaiman fantasy novel of the same name, the series takes viewers into the brewing rivalry between modern and ancient gods—humans can only offer so much attention to worship, after all—as told through the lens of an ex-convict named Shadow (Ricky Whittle) who is swept up into the violent conflict between old and new. The sequence comes from Elastic,   a studio that also designed stunning sequences for   Westworld,   The Crown, and several Pottermore shorts. Religious praxis and iconography clash with contemporary technology to form a   bright neon totem, making for a truly trippy introduction to a   series that includes everything from Anubis, Easter, and leprechauns to the fresh-faced god of the Internet and computers. Show Full Article The   ensemble cast also includes Gillian Anderson, Kristin Chenoweth, Orlando Jones, Peter Stormare, Demore Barnes, Jonathan Tucker, Cloris Leachman, Chris Obi, Betty Gilpin, Corbin Bernsen, Mousa Kraish, and Omid Abtahi.

‘S-Town’ host Brian Reed unlocks the secrets of the hit podcast

The idea of Sh–town had driven some of John’s best friends away from him. I feel like he infuses the whole thing, even with the writing. — we don’t do soundbites, we let people talk, we capture them three-dimensionally. We obviously saw the potential challenges, [but] I think it captures John and he would get such a kick out of it. Show Full Article The story begins with an Alabama man named John B. I don’t have plans. I think of this as the story, like a book or novel. It was the exact opposite, it was just confirming this is Sh–town. The word ‘eyesore’ doesn’t make me want to listen to something, nevermind the word ‘eyesore’ twice in a phrase!”

In a way, Sh–town   turned out to mean much more than just John’s nickname for his town. We floated the name “Gnoman,” which I mention in the story — it refers to the piece of the sundial which casts the shadow of the sun and it means “the one who knows.” That’s pretty pretentious. “I didn’t feel like there was anything added by waiting a week in between for this story because it has such a different aesthetic and a different feel. What’s next for S-Town? That whole spirit of the show, I hope he would appreciate. It was like, “We are interested, we are not bored. We didn’t know what form it would take but we were just following our instinct and our gut. There’s a story in here somehow. We’re not naming it to be provocative about the town, I hope that’s clear in the story. That was really meaningful. I did hear from John’s college professor who is in the show. What transpires is a complex, fascinating look into the life of this man, whose unexpected suicide was as tragic as the life he lived. Seeing as the show’s main focus suddenly changed, what made you decide to go forward with this story? To me, it’s really part of the DNA of what we’re trying to do on our stories. Will you continue to do updates on what happens to the family or on Tyler’s court date this summer? WARNING: This story contains spoilers about S-Town. I did try to make it in his spirit. And it can refer to much more than Woodstock, and it does. The release left podcast listeners testing their will power, with some scrounging to hear the entire series immediately in an effort to avoid spoilers and others delaying the gratification by listening at their own pace. Brian Reed, the show’s host and longtime producer of The American Life, takes EW behind the scenes of the making of the podcast and how John’s sudden death changed the course for everyone involved. Expect the term “binge listen” to find its way into the pop-culture zeitgeist. How do you think John would react if he got to hear the completed podcast? I got a text from Rita, John’s cousin, who was doing a binge session with some of her other family. I really like the ending so it feels weird to me that I would make another ending. The series is able to capture the voices of the townsfolk but manages to not reduce them to Alabama stereotypes. I lean towards not doing anything more with it, I lean toward letting this be the story. I wouldn’t rule out anything but I don’t have plans to follow it up. It’s the town through his eyes. When I did know, and when my editor and awesome co-creator of this, Julie Snyder, knew, was after I first started talking to John. He kind of led the way in terms of the tone and language of the show. McLemore who, after fruitless attempts to get the attention of the This American Life producers, finally has their ears when one of his outlandish claims about his small town of Woodstock rings true. This was even before Serial was invented that I started talking to John and was working on this as a potential story for This American Life. We [didn’t know] if this was a story for a really long time. You’ll understand why we called it Sh–town when you hear the other options, which are terrible. As I kept reporting and talking to more and more people, it wasn’t like I was getting more options for [show] names out of that. You’ve got people talking about nipple piercings juxtaposed with beautiful music. And so I thought that’s what it could be called, “An Eyesore Among Eyesores.”   I was so excited, and I brought it into the office and everyone was like “that’s terrible. Was finding the tone of the story difficult? John reached out to This American Life for help, but it took some time to convince you guys that what he was saying had some credibility. [On Tuesday] he wrote a really sweet email saying he listened to the whole thing and it was very emotional for him, all kinds of emotions from laughter to crying. The second anything would feel like a stereotype, that’s totally uninteresting to me. Sh–town really is about John B. There was “The Vulgar Horologist,” which sounds like a terrible paperback you’d buy at the airport. Were there other names you considered? I kind of tried to get that spirit into my writing. Have you talked to any of John’s family members or friends since the show launched? I took a cue from the way he speaks which is very high-low — he uses incredible words that people don’t often use in regular conversation, like “proleptic decrepitude,” and that’s jammed right up against “s–t” and “crude f–k” right under the same breath. “It wasn’t strategic, it was more editorial,” executive producer Julie Snyder tells EW of the all-episode drop. He lived there his whole life, he earned the right to call it a sh– town if he wanted to. Then there was one morning where I was like, “I have it, this is it!” From “A Rose From Emily,” one of the stories John gave me by William Faulkner, one of the first lines describes the main character Emily Grierson’s house and it describes her as living in a house that was “an eyesore among eyesores.” And John had once used that line to describe his house, jokingly. I feel like that is so built into the kind of work we do at This American Life. We don’t know what’s real about these claims but there’s something interesting here.”
When John [committed suicide], that’s when we assessed it… There seemed to be things happening in the aftermath of his suicide to the people in his life. I hope he would get a kick out of it, I really do. It felt like a novel and you don’t have to wait a week to read a novel.”
The literary concept runs throughout S-Town, from the podcast episodes’ chapter labels to the series’ underlying tone of a Southern Gothic novel reminiscent of Faulker. It’s a worldview, it’s John‘s frame of mind, it’s a way of seeing things. If you have yet to listen to all the episodes, read at your own risk. On top of it being bad to do, I think it’s uninteresting and boring. McLemore and his frame of mind. That’s our whole M.O. S-Town, a new podcast from the creators of This American Life and Serial, debuted all seven of its episodes simultaneously on Tuesday, a tacit signal as to just how much Netflix changed the viewing game. We don’t know what this is or what form it’s going to take. The name of the podcast is a mystery to listeners until they get to hear the first episode and understand its origin. For as long as I can remember, we have always called the story Sh–town.

Watch A Tribe Called Quest’s black-and-white ‘Dis Generation’ video

“Dis Generation” appears on   We Got It From Here… Thank You 4 Your Service, Tribe’s 2016 album that was their first in 18 years. The project was released in November, six months after the death of founding member Phife Dawg. “I don’t think there’s gonna be another Tribe album because, you know, you can’t do it without Phife,” the group’s Q-Tip told Noisey in an interview accompanying the premiere of the “Dis Generation” video. The clip was directed by Hiro Murai, who has also helmed multiple episodes of Atlanta   as well as music videos by Childish Gambino, Flying Lotus, Earl Sweatshirt, and more. A Tribe Called Quest released a music video for “Dis Generation” on Thursday. “If we were ever to do something together, it would probably be under a different name. As far as I see.”

Watch the “Dis Generation” video above. A Tribe Called Quest is done. Show Full Article

‘Call the Midwife’ stars tease changes in season 6 preview

Barbara (Charlotte Ritchie) is no longer the newest midwife thanks to the introduction of Valerie (Jennifer Kirby). Sister Ursula’s (Harriet Walter) promotion means a demotion for Sister Julienne (Jenny Agutter). And even handyman Fred (Cliff Parisi) finds renewed purpose in Poplar. We’re swinging even further into the ’60s when PBS’ labor-and-delivery drama Call the Midwife returns for a sixth season on April 2. For even more details on season 6 — and how the characters of Call the Midwife have evolved throughout the years — check out the video above. Show Full Article RELATED: EW’s 25 Best TV Shows in 25 Years
Of course, as much as things change, they also stay the same: Expect plenty of the usual heart-wrenching medical cases and social justice commentary throughout the new season. It’s against this shifting cultural backdrop that the nuns and medics of Nonnatus House face changes of their own after returning from a mission to South Africa. And be sure to tune in to the season premiere of Call the Midwife on PBS at 8 p.m. on Sunday, April 2. It’s 1962, to be exact — the women’s liberation movement is still in its infancy, while gangster twins the Krays rule London’s underworld.

Academy president Cheryl Boone Isaacs calls for diversity upon receiving Pioneer Award

Rodriguez / Getty Images for CinemaCon)Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, was honored with the Pioneer of the Year award Wednesday night at CinemaCon’s   Will Rogers Motion Picture Foundation Dinner.After Steven Spielberg’s   pre-taped message touting Boone   Isaacs’ accomplishments, and an onstage tribute from “Selma” actor David Oyelowo, Boone   Isaacs   accepted her award by stressing the importance of ongoing diversity and inclusion within Hollywood.”We’re all stronger, our art is more alive, our industry more innovative when we are awakened to fresh perspective,” Boone   Isaacs said. “I believe we all have a responsibility to open our industry to reflect the complete mosaic and diversity of our country and the world.”That mission of diversity has been a calling card for the head of the Academy, particularly after the   #OscarsSoWhite controversy.In response to the second consecutive   year where only white actors and actresses were nominated in the Oscars’ acting categories, Boone   Isaacs spearheaded a movement committed to   doubling the number of women and minorities in the academy by 2020.Though Boone   Isaacs did not address the most recent Oscars kerfuffle   in her remarks —   the PwC accounting mix-up that initially announced the wrong winner for best picture (it went to “Moonlight,” not “La La Land”) — she did send   a letter to Academy members on Wednesday announcing revised protocols to the backstage process.Boone Isaacs is serving her fourth and final term, which concludes this summer. Cheryl Boone Isaacs speaks after receiving the 2017 Will Rogers Pioneer of the Year award. (Alberto E. Latest updates

HBO finally releases the first official ‘Game of Thrones’ teaser trailer

For Jon, a.k.a. Latest updates the King in the North, it’s Ned’s banquet table at Winterfell. The Long Winter is over, but in Westeros, it’s just getting started.Thursday morning HBO released the first official teaser trailer for the seventh season of “Game of Thrones,” which is scheduled to air on July 17.The clip, titled “The Long Walk,” shows Jon Snow (Kit Harington), Cersei Lannister (Lena Headley) and Daenerys Targaryen (Emilia Clarke) descending a long hallway toward their respective thrones.For Cersei, who was crowned Queen of Westeros in the Season 6 finale, it’s the Iron Throne. And for Daenerys, it’s an unidentified throne somewhere in Westeros based on her cold weather garb, a first for the Queen of Dragons.The walk is emphasized dramatically by James’ “Sit Down” before cutting to a shot of the Night King’s piercingly blue eye.

The Fresh Prince of Bel-Air theme song: A Five-Minute Oral History

To read more Untold Stories, pick up the new issue of Entertainment Weekly on stands Friday, or buy it here. It happened very quickly. I do anywhere from 160 to a 180 DJ dates a year and I can assure you that I play it 98 percent of the time, just out of necessity. BOROWITZ: To me, it was a hilarious scene: I was sitting behind my desk writing, and my assistant said, “Will’s ready to run the theme song by you.” And he came in and I just stopped him for a minute and said, “This is like a scene from a movie where the Grammy Award-winning hip-hop artist auditions his song for the white guy behind the desk who has no hip-hop knowledge whatsoever.” It really was that cliché of a scene. And the show that we actually replaced on NBC was Alf, so that puts into context where they were at that time. You know, people just know it. To them it was all terrifying. You know, there’s no way to measure this, but is there a hip-hop song that more people around the world know all the words to? I did rough mix and sent it in, and in about three weeks it was on NBC. and abroad. Don’t forget to   subscribe for more exclusive interviews and photos, only in EW. One of the biggest thrills with this song I had was Will and I performed at Live Aid and there was a million people on the Parkway in our hometown, in Philadelphia. Probably not. I don’t care where you are in this world. But at the time, the network was really terrified because they had never done anything with a rapper before. One of the things Will used to always say is the hardest part to come up with for a song is the concept, but the concept behind the Fresh Prince of Bel-Air was already laid out. They did not realize that Will had this kind of tremendous crossover appeal and they did not really know the distinction between, like, Will Smith and Luke Skyywalker [of 2 Live Crew] or   Naughty by Nature. Show Full Article Because when you decide to do anything, you never say, “Oh, and 30 years from now people are going to be rapping this at bar mitzvahs.” You just don’t imagine that. And he just rapped it in front of me, and from that moment it really didn’t change at all. JAZZY JEFF: You never anticipate that, that level of success. Not that I would’ve felt very comfortable telling the Grammy Award-winning hip-hop artist what changes I, as a white guy, was going to recommend, but I really did like it. If you’ve ever heard the six words “In West Philadelphia, born and raised,” then you certainly know the other 344 words that go with them. We did the Fresh Prince theme, and there was a million people singing it. The theme song for The Fresh Prince of Bel-Air has transcended its roots as an NBC sitcom opener to become embedded in the cultural consciousness, both in the U.S. They probably wrote the theme song overnight. I ended up just going in and programming some music, and he wrote something and laid it down. because they want me to read for a TV show.” Twenty-four hours later, he came back and was like, “Hey, I just got a TV show.”
ANDY BOROWITZ: I was supposed to produce this pilot with Will, and the thing that had gotten the network very excited about Will was his video for “Parents Just Don’t Understand.”   And so, when it was time to come up with a theme song I was like, “We’re basically doing the hip-hop Beverly Hillbillies here. That’s very, very interesting — Andy could very easily be right. Let’s not run away from that — let’s just go for it.” The whole pilot came together so fast, because it was very late in pilot season and we had very little time to throw the whole thing together. It’s sort of comfort food. JAZZY JEFF: We literally went into the studio and made the theme song in about 15 minutes. Will said, “Hey, I got to jump a plane to L.A. It’s everywhere. We asked   Jazzy Jeff (still a DJ!) and series co-creator Andy Borowitz (that’s right, the same guy who now writes The New Yorker’s satirical Borowitz Report) to reflect on the tune’s enduring popularity. It’s that easy?”
For more revelations from the past four decades of entertainment, visit ew.com/untoldstories. If you drop the theme song in front of 50,000 people on a beach in Singapore at a festival, everybody sings it. JAZZY JEFF: I never thought about it like that. (A single version of the theme found its way on the Netherlands’ Top Ten pop charts back in 1992.)
The song was written, of course, by Will Smith and DJ Jazzy Jeff, who were already a hip-hop duo with a Grammy under its belt — but it was Fresh Prince that took their careers to the next level. In my mind, it was just kind of like, “Oh my God, so that’s how it works? It’s funny, too — almost 30   years later, it’s become like this part of Americana. DJ JAZZY JEFF: I remember being on tour [in 1990] we had a day off. This was the most terrifying renegade thing they had ever seen. BOROWITZ: I don’t think at the time anyone at the time would’ve guessed that it was going to have this kind of [legacy].

Watch ‘Sex and the City’s’ never-before-seen alternate opening credits

“There were two wardrobes. “In my mind, it was a nod to The Dick Van Dyke show, but we didn’t use it. It was on very quick, and then it was off.”
For the full oral history of the   Sex and the City opening credit and more untold stories,   pick up the new issue of   Entertainment Weekly on stands Friday or right here. It’s in the archives.” Nearly 20 years since SATC   debuted, Parker, Star, and costume designer Patricia Field recall the opening that could have been. “Sarah Jessica and I were fighting for it, and Darren said, ‘Okay, but I want other outfits as possibilities.’” Looking back, Star can’t imagine a tutu-less Carrie   — and frankly, neither can we. Show Full Article Turns out, Carrie Bradshaw (Sarah Jessica Parker) wasn’t always going to be swathed in a tulle tutu in the opening credits of HBO’s   Sex and the City. One was the tutu, and we did one   pass where Sarah Jessica was wearing a blue dress and   didn’t get splashed; instead, she trips when she sees the ad,” creator Darren Star recalls to EW of filming in March 1998 on Fifth Avenue near Manhattan’s Plaza Hotel. And as if you needed a reminder, watch the opening   that carried us through the series’ six seasons above. And she wasn’t going to be splashed by a bus bearing an ad for her own newspaper column, either. When asked if there was a sense of comfort or   homecoming in stepping into the tutu all those years later, Parker laughs. Field found the now iconic tutu, featured in the title   sequence   as we know it, in a $5 bin on a showroom floor and re-created four versions of it. “I felt like I was pushing doing something I shouldn’t be doing,” she says. RELATED: Sex and the City: Carrie’s Best and Worst Looks
Though viewers   came to associate Carrie with the tutu — it was the first outfit we ever saw on our   fashion-plate heroine, after all — she didn’t   wear it again until the 2008 film in a scene in which Carrie cleans out her closet. “It was such a brilliant choice because, in a way, Carrie’s dancing through her life in New York,” he says. “Like,   don’t   put that on, you know? “It was very difficult for the producers to understand the tutu,” says Field. Don’t forget to   subscribe   for more exclusive interviews and photos, only in EW. For more revelations from the past four decades of entertainment, visit ew.com/untoldstories. EW has an exclusive look at the series’ opening credits that were left on the cutting room floor.