‘The Fate of the Furious’ reviews: Vin Diesel revs explosive series return

(It helps, perhaps, that several main players have no hair to singe.) The movie ends with more than one literal bang, but the series’ fate is hardly sealed; it’s merely to be continued: There are two more sequels due by 2021.”

Owen Gleiberman (Variety):
“… director, F. How did the great F. “Screenwriter Chris Morgan, now on his fifth Furious outing, swats away plot logistics and the laws of physics like the pesky mosquitoes they are, and director F. Gary Gray would seem to have been a no-brainer to direct a Fast and Furious installment — especially once Vin Diesel and his thrill-seeking clan segued from mere street racing to heists and other forms of high-speed mayhem. The fact that it’s the first film in the series to have been made after the death of Paul Walker (and the first not to feature him since The Fast and the Furious: Tokyo Drift, in 2006) only gives fans that much more of a reason to rally around it. “[The Fate of the Furious]   is a dazzling action spectacle that proves this franchise is far from out of gas,” Variety‘s Owen Gleiberman writes in his review. Calling Theron the standout of the ensemble, IGN’s Jim Vejvoda adds she “brings the proper degree of icy cruelty to Cipher [and]   underplays the role, making Cipher’s head games and willingness to kill anyone — and delivering it all with a cobra-like stillness — all the creepier. Yet Helen Mirren, in a brief appearance as Deckard’s mum, gives a delightful turn as a London mother-mobster with the make-up to match and a killer instinct for making her murderous son bleed with guilt. It’s the “Die Another Day” of its franchise —   an empty, generic shell of its former self that disrespects its own proud heritage at every turn. Gary Gray (Straight Outta Compton), who has shown a propensity for action going back to Set It Off (1996) and The Italian Job (2003), now proves that he’s a high-flying ballistic wizard at it. The franchise has shifted gears once again and is racing toward new pile-ups.”
John DeFore (The Hollywood Reporter):  
“After his surprisingly fun remake of The Italian Job in 2003, whose most memorable sequence revolved around a scene-stealing Mini Cooper, F. So,   will film No. Throughout a story that involves a female superhacker who turns Diesel’s character against his longtime comrade, Fate also introduces several new cast members to the Fast and the Furious   canon, including Helen Mirren in what many are calling an expertly executed cameo and Charlize Theron as the villainous Cipher. The result isn’t as big a gear-shift as some fans expected in the wake of founding cast member Paul Walker’s death. But this whole sequence goes on for way too long, culminating in some truly logic-defying antics even by this series’ admittedly low standards.”

Show Full Article If you ever wanted to see The Rock surf a torpedo or cars take on a nuclear sub then Fate of the Furious is the movie for you. “[Theron]   carries plenty of weight in the story,” The Hollywood Reporter‘s John DeFore writes. How did Diesel and co. According to film journalists in attendance at the film’s North American premiere Saturday night in New York City, most signs point to yes. Gary Gray… who has shown a propensity for action going back to Set It Off (1996) and The Italian Job (2003), now proves that he’s a high-flying ballistic wizard at it. In fact, it recycles plot-twisting devices from earlier chapters and keeps action firmly in the street-hoods-save-the-world neighborhood entered a couple of years ago. Box office should be over-the-top…   The Fate of the Furious feels standard-issue when the crew uses the God’s Eye global-scan computer program (sorry, but it’s got nothing on the stuff in the latest Bourne film — or the real-life N.S.A.), or when Helen Mirren shows up, in a too-cute cameo, as Deckard’s Cockney spy-overseer mom. Furious 7 even notched a series-high score of 79 percent on Rotten Tomatoes back in 2015, more than doubling the 28 percent low of 2009’s Fast & Furious. manage to learn all of the wrong lessons from the last two movies, delivering an episode where everything feels so fake that even the “family” matters seem forced?”
David D’Arcy (Screen Daily):
“You don’t watch The Fate Of The Furious for the acting, except perhaps for the wisecracks that come from the men in the cast. Leah Greenblatt (EW):
“It wouldn’t be a   Furious climax if there weren’t inordinately expensive moving objects to destroy (in this case, a military submarine), a remarkably one-sided barrage of high-grade weaponry (bad guys, dead; good guys, ricochet!), and an explosive hail-Mary finale so sublimely ridiculous it defies both good sense and gravity. The Fate of the Furious is nothing more than pulp done smart, but scene for scene it’s elegant rather than bombastic, and it packs a heady escapist wallop. The biggest letdown is that we never get to see Theron — who previously burned rubber in The Italian Job and Mad Max: Fury Road — behind the wheel or throwing down, as   Fury Road and the trailers for her upcoming Atomic Blonde prove she’s more than capable of handling.”
Before The Fate of the Furious opens April 14 in theaters nationwide, check out more review excerpts below. Indeed, no eighth movie in any franchise has any right to be as fun or effective as Fate manages to be… The final act is essentially one prolonged chase across the ice in Russia. “But the movies are nothing if not consistent in their themes of loyalty and brotherhood and blowing stuff up — and in retaining the core crew, including Vin Diesel, Michelle Rodriguez, Chris ‘Ludacris’ Bridges, Tyrese Gibson, and towering late-game additions Dwayne Johnson and Jason Statham.”

Though some writers continue to scoff at the brand’s ludicrous nature   (IndieWire‘s David Ehrlich calls F8   the worst franchise entry in years that renders its lineage “an empty shell of its former self” while disrespecting “its own proud heritage at every turn”), others have praised the film for delivering exactly what fans have come to expect over the years. But careers make left turns (in this case, a misfiring sequel to Get Shorty), and it took the success of Straight Outta Compton to get Gray in, well, the driver’s seat of this eighth installment of the stupendously successful cars-and-guns action franchise. 8 — smugly titled   The Fate of the Furious   (F8… get it?) — appropriately carry on the legacy of its forerunners? It’s certainly better than its trailers — which came across more like parodies of a Fast and Furious movie — suggested. The Fate Of The Furious is evidence that life goes on. Assuming Mirren was well-paid for a role that couldn’t have taken long to shoot, her scenes are worth every penny and every second…   References to the character of Brian O’Connor (Paul Walker) ensure that the loyal audience doesn’t forget the actor’s role in building this dream team dynasty. Gary Gray, whose surprisingly strong remake of “The Italian Job” displayed a tremendous flair for comedic vehicular mayhem, waste the biggest budget of his career on such boring smash-ups? The Fate of the Furious is nothing more than pulp done smart, but scene for scene it’s elegant rather than bombastic, and it packs a heady escapist wallop.”
Gray, who helmed the Oscar-nominated N.W.A. biopic   Straight Outta Compton   in 2015, also received praise for his work on The Fate of the Furious, with Screen Daily’s David D’Arcy complimenting the filmmaker’s ability to   “find a balance between the specifics of new locations and the spectacle of crashing cars there” as well as infuse a bit of humor into F8‘s otherwise bloated   screenplay. Fate delivers exactly what fans have come to expect, for better and for worse, and it would be a shock to see it disappoint producers at the box office.”
Jim Vejvoda (IGN):
“The Fate of the Furious is as ridiculously entertaining as you might expect. The Fast and the Furious   series is a rarity among Hollywood blockbusters;   where other big-budget tentpoles typically lose critical steam as they crank out later iterations (take a look at the   Pirates of the Caribbean   fleet,   the uneven   performance of the X-Men flicks, or the mediocre-to-downright-awful notices received by Michael Bay’s Transformers line), the Vin Diesel-fronted franchise has actually generated increasingly positive reactions from movie critics across its 16-year existence. Yet the action set pieces are stunning, staged with a flamboyance that’s surgical in its precision, and that emerges from their logistical sense of purpose.”
David Ehrlich (IndieWire):  
“F8” is the worst of these films since “2 Fast 2 Furious,” and it may be even worse than that. Gary Gray…   has no intention of slowing his roll,” EW’s Leah Greenblatt notes in her B-grade review. “Director F.

’13 Reasons Why’ author on the possibility of a season 2

What happens to Clay? They’re not the only ones: Author Jay Asher, who penned the best-selling book of the same name, would also   like more. “Which is so weird, because when I’d had the original idea for the book, I’d thought about it happening over several days like it does on the TV show. “I’m curious as well. “I’m not allowed to say either way   if there is or is not a second   season,” says   the author. How do people react to what Alex did at the very end? It’s the whole message of the book. I’d thought of a sequel at some point. So I’d love to see it.”
And while Hannah’s story is technically over, there are plenty of ways the show could still tackle some of the themes it delves into in its first season   — especially since a few of the characters’ storylines were left open-ended. I don’t think the show is affecting what the book is saying.”
13   Reasons Why is currently available for purchase —   order it here   — and the television adaptation is now streaming on Netflix. There may be many reasons (or 13 specifically) why Netflix’s latest series   13 Reasons Why should not come back for a second season. I’d brainstormed it, but decided I wasn’t going to write it. You realize that with not just what Hannah did, but also how other people treated Tyler throughout it. Of course, there’s obviously ways to go with a second season if they do that.”
So will there be a season 2? What’s going to happen to Mr. So when I realized where they were going with that relationship, to me it was just another sign they got my characters.”
“You can explore that world further in a different medium,” he continues, “and the book will still be able to be itself. “There’s never going to be a sequel,” says Asher of the book, which originally saw Hannah survive. “Things weren’t left open in the hopes of a sequel… There is no end for the characters left behind,” explains Asher of the intention behind the final episode of the season. Porter? But he’s completely fine with the show picking up where the book left off, especially with the show already having already provided a continuation of sorts to the novel’s tale. Like when Clay confronts Bryce but Bryce doesn’t know about the tapes yet, I had a similar scene in mine originally. “I’d just like a continuation of all those characters,” the author tells EW. “Every action we have is going to have repercussions in ways we could not anticipate. But that hasn’t stopped fans from wanting the story to continue on. Show Full Article

Chuck Berry fans make their goodbyes at his funeral’s public viewing

This article originally appeared on PEOPLE.com. Louis, about three weeks after his death at the age of 90. Berry’s open casket had a red Gibson electric guitar bolted to the inside of its lid, and a musician outside played some of Berry’s hits, including “Sweet Little Sixteen.” The Rolling Stones also reportedly sent a flower arrangement in the shape of a guitar. On the evening of his death, his family posted on Berry’s official Facebook page. The band had reacted on the evening of his death with a joint statement, citing his massive influence on their own music. Louis club where Berry performed, with fans beginning to line up before dawn, according to the Associated Press. A public viewing was held at The Pageant, a St. His lyrics explored teen life and American commercialism, and his music fused exciting guitar solos with flare and showmanship. for the musician’s family and friends, with the procession to the cemetery set for around 3:15 p.m. “We are deeply saddened to announce that Chuck Berry – beloved husband, father, grandfather and great-grandfather – passed away at his home today at the age of 90. “Chuck was not only a brilliant guitarist, singer, and performer, but most importantly, he was a master craftsman as a songwriter. Goode,” “School Days,” “Nadine” and “Rock and Roll Music.” Berry is credited with reshaping rhythm and blues into what we now recognize as rock and roll. This article originally appeared in People.com

Show Full Article Though his health had deteriorated recently, he spent his last days at home surrounded by the love of his family and friends,” they wrote. “The Berry family asks that you respect their privacy during this difficult time.”
See photos from the funeral’s public viewing at PEOPLE. His songs will live forever.”
In a tweet, Keith Richards added, “One of my big lights has gone out.”
Berry produced a litany of hit singles such as “Maybellene,” “Roll Over Beethoven,” “Brown Eyed Handsome Man,” “Johnny B. Sunday afternoon, according to Fox 2 News. “The Rolling Stones are deeply saddened to hear of the passing of Chuck Berry. He was a true pioneer of rock ‘n’ roll and a massive influence on us,” the band wrote. The private Celebration of Life service is set to follow at 1 p.m. Legendary musician Chuck Berry‘s funeral was Sunday in St.

‘Doctor Who’ executive producer teases new monsters

Saturday, the BBC released an interview with Doctor Who executive producer and head writer Steven Moffat, who teased a number of the monsters to be featured in the new season, the last run of shows for both Moffat and Capaldi. We’ve got the most shiver-making creatures in [writer] Mike Bartlett’s episode — not going to tell you what they are… but I guarantee there are moments that will make you go ‘URGH!’”
“I’ve been looking at some of the effects for episode 4   and you think, ‘Oh my god, are we putting that on television?!’” he continued. “It’s really properly gross and magnificent. But what new creatures will the Doctor, Matt Lucas’ Nardole, and Pearl Mackie’s Bill encounter when the show returns to BBC America on April 15? We’ve got the Emojibots, which are small, cute, and communicate by emojis and turn you into skeletons, so that’s brilliant. We’ve known for a while now that Peter Capaldi will meet some vintage monstery characters during the new season of Doctor Who, including both the Ice Warriors and the Mondasian Cybermen. The Ice Warriors are back with a new wrinkle and, of course, Missy is there — always with Peter Capaldi’s Doctor — he’s up against Missy, tested and teased and entranced by his oldest friend and wickedest enemy.”
Watch the trailer for the new season of Doctor Who   above. Show Full Article “We’ve got a serpent that lives under the Thames in the shape of the Thames which, now that you realize it, the EastEnders title sequence has always clearly been about a giant snake. We’ve got a fabulous Scottish creature care of [writer] Rona Munro — The Eater of Light. We’ve got a new enemy, which I won’t talk too much about, but we call them the Monks, though that’s not really their name. “By nature, I’m just excited about all new monsters, but we’ve got some wonderful stuff!” he said.

‘The Fate of the Furious’: EW review

Nobody, now with straight-man sidekick Scott Eastwood, and Game of Thrones’ Kristofer Hivju drops in as a menacing, Viking-bearded henchman. (That the franchise can add a pair of Best Actress Oscar winners as easily as a street racer hooks a nitrous tank to his Camaro feels like just one more testament to its growing superpowers). And with great horsepower comes great responsibility: The need not just for speed, but for heavy-metal set pieces that crunch and crash and soar beyond shock and awe; cinematic jumper cables applied directly to the cerebral cortex (and sometimes, it feels like, the kidneys too). Franchise, franchise, at the mall, who is the Furious-est of them all? Gary Gray (Straight Outta Compton) has no intention of slowing his roll. It’s her vaguely Dr. Mirren’s appearance is mostly a souped-up cameo, but Theron gets to sink in her teeth as Cypher, a slippery, key-coding sociopath who, with her tailored blazers and long blond dreadlocks, looks like a tech CEO who just got back from Burning Man, and talks in the eyebrow-cocked aphorisms of a classic Bond villain. Thankfully, it’s frequently also much funnier and lighter on its feet than previous outings, and a lot of that credit goes to Statham and Johnson, whose love-hate bromance feels like the real core of the movie: Statham revels in his Cockney-you-wish-you’d-never-messed-with shtick, and Johnson is, as always, the human Humvee with a heart of gold: snapping handcuffs in half like breadsticks, bench-pressing cinder blocks for kicks, and lifting opponents by the scruff of the neck as if they were wayward kittens. But it’s both surprising and gratifying that the most high-profile new additions to this testosterone piñata are Charlize Theron and Helen Mirren, two women who have no intention of playing the second sex. (Paul Walker, who died before production on the last film was completed, is alluded to, and still lives offscreen). Kurt Russell reprises his role as government operate Mr. Evil-ish goals—there’s something about nuclear warheads and controlling the international power grid—that pull Diesel’s outlaw ringleader Dominic Toretto to the dark side, forcing him to betray everything he loves in order to protect the one thing he didn’t know he had to. Sixteen years, eight installments, and 4 billion-plus dollars in, the series that began as a lean little bullet of a B-movie has become a delirious, seemingly undefeatable box-office beast. (It helps, perhaps, that several main players have no hair to singe.) The movie ends with more than one literal bang, but the series’ fate is hardly sealed; it’s merely to be continued: There are two more sequels due by 2021. (He’s also super committed to his daughter’s soccer team.)
It wouldn’t be a   Furious climax if there weren’t inordinately expensive moving objects to destroy (in this case, a military submarine), a remarkably one-sided barrage of high-grade weaponry (bad guys, dead; good guys, ricochet!), and an explosive hail-Mary finale so sublimely ridiculous it defies both good sense and gravity. At their balletic best, the script’s auto-erotic high jinks are conducted with all the tender, crushing care of a V8 symphony. B

Show Full Article But the movie Tokyo-drifts into tedium in its more chaotic, casually gruesome chase scenes, and the “serious” dialogue is so consistently clunky it feels like it’s been carved from woodblocks with a dull butterknife. (No spoilers.)
As always, these shenanigans require multiple passport stamps—sun-baked Havana, New York City, a snow-blasted Russia tundra—obtusely complicated heist plans, and next-level feats of machinery. But the movies are nothing if not consistent in their themes of loyalty and brotherhood and blowing stuff up—and in retaining the core crew, including Vin Diesel, Michele Rodriguez, Chris “Ludacris” Bridges, Tyrese Gibson, and towering late-game additions Dwayne Johnson and Jason Statham. No one is here to risk their organs, of course, for a cohesive storyline: Screenwriter Chris Morgan, now on his fifth Furious outing, swats away plot logistics and the laws of physics like the pesky mosquitoes they are, and director F.

Box office report: Audiences rehire ‘The Boss Baby,’ ‘Colossal’ has monster debut

As expected, Going in Style   likely   captured the   interest of the mature set on Friday, a demographic   with taste that’s consistently difficult to predict, as industry prognosticators had initially pegged the film (which stars Morgan Freeman, Alan Arkin, and Michael Caine) for a weekend in the $8-$10 million range. The Japanese animated flick Your Name — which has amassed a staggering $328.7 million worldwide to date as one of Japan’s best-performing movies of all time — adds roughly $1.6 million to its ballooning total after opening Friday at 303 domestic locations. With $89.4 million already under its belt, The Boss Baby   should cross the $100 million mark in the days ahead, in the process becoming 2017’s eighth picture to do so. Per comScore, overall box office is up roughly 5.5 percent from the same frame last year. Beauty and the Beast‘s   North American total sits at $432.3 million (No. Check out the April 7-9 weekend estimates below. Lukewarm critical reviews didn’t sway audience opinion, however, as polled moviegoers gave the film an   A on CinemaScore, which could signal longer-than-usual legs, as The Lost Village   is the last major studio animated title to hit wide release until Pixar’s Cars 3 drives into theaters this summer. Elsewhere, the Chris Evans-fronted drama Gifted — about a   protective uncle fighting for a “normal” childhood experience for his niece, a mathematical child prodigy — opens to a solid $476,000 at 56 sites, averaging $8,500 per theater. For the second week in a row, Disney’s live-action adaption of Beauty and the Beast   again trails The Boss Baby   by a small margin as it posts around $25 million after its fourth go-round with domestic audiences. Across a relatively tame weekend, Fox’s animated comedy extends its winning streak over a weak crop of newcomers, pulling in a decent $26.3 million between Friday and Sunday. Further down the top five are a pair of new releases: Smurfs: The Lost Village ($14 million) and the Zach Braff-directed heist comedy Going in Style   ($12.5 million). The former’s gross likely signals an end to Sony/Columbia’s current Smurfs revival series, which has waned in popularity since the release of   2011’s The Smurfs, a worldwide hit that went on to make $563 million after a $35.6 million North American bow. Outside the top 10, Anne Hathaway’s brilliant kaiju comedy/addiction drama hybrid Colossal averages the highest per-theater number ($31,452) of the week, pulling in $125,809 from four domestic locations after sustaining glowing critical reviews dating back to its September 2016 world premiere at TIFF. 15 on the all-time U.S. The $160 million blockbuster broke March opening records last month   and has gone on to become 2017’s top-earning movie worldwide, tallying an astonishing $977.4 million globally after just 24 days in theaters. Though its international grosses are still slightly padding its domestic underperformance (it has made $124.4 million worldwide on a $110 million budget), the film has a lot of ground to make up as it continues its global rollout. The Boss Baby   is putting in the work. Rounding out the top five is the Scarlett Johansson actioner Ghost in the Shell   ($7.4 million), which takes a nasty tumble to the tune of 60.6 percent over its second weekend. 1 – The Boss Baby – $26.3 million
2 – Beauty and the Beast – $25 million
3 – Smurfs: The Lost Village – $14 million
4 – Going in Style – $12.5 million
5 – Ghost in the Shell – $7.4 million
6 – Power Rangers – $6.2 million
7 – Kong: Skull Island – $5.8 million
8 – Logan – $4.1 million
9 – Get Out – $4 million
10 – The Case for Christ – $3.9 million

Show Full Article and Canada chart), registering   career-high grosses (unadjusted for inflation) for its director and most of its principal cast, including Emma Thompson, Dan Stevens, Stanley Tucci, and Emma Watson, who previously appeared in eight high-profile Harry Potter flicks. The film marks Neon’s debut theatrical release, allowing the   fledgling distributor to notch a specialty win over its freshman outing in North America.

Louis C.K. and Kate McKinnon crack up during ‘SNL’ sketch

The comedian continuously broke character with Kate McKinnon during a tenement museum sketch, thanks to his hilariously off-the-mark Polish accent. The sketch centered on a school field trip to a tenement museum in New York where historically trained re-enactors (played by C.K. closed out the sketch with another racist joke, all of which   the tour guide (Cecily Strong) promised the uncomfortable students   to be   “100 percent historically accurate.”
Watch the full sketch in the clip above. and McKinnon)   embodied a Polish immigrant family living in an apartment in 1913. It didn’t take long before McKinnon had to   bury her laughter in her fist as C.K. The pair broke again   as they joked   about “filthy, greasy Italians” at the dinner table and again as C.K. lamented his   harsh warehouse work. Show Full Article What could’ve been a standard sketch on Saturday Night Live this weekend turned into one of host Louis C.K.’s standout moments.

Jay Z yanks most of his music catalog from Spotify

Tidal retains an estimated 1-3   million streamers monthly, positioning it alongside   rivals like Napster and Deezer. Over the weekend, rap   legend Jay Z removed most of his music catalog from the streaming   giant, leaving fans of the popular music   service with three full albums of material — 2010’s   The Hits Collection, Volume One,   2002’s R.Kelly hookup The Best of Both Worlds and its 2004 follow-up   Unfinished Business — amid a smattering   of collaborative singles. The move comes nearly three years after Jay Z launched his subscription-based streaming service Tidal, which has struggled to garner a user base   to rival its digital competitors, including the membership legions of Spotify   (around 50 million) and Apple Music (20 million). Show Full Article Since its 2014 inception — with help from celebrity investors including Madonna, Usher, Nicki Minaj, and   Beyoncé — Tidal has premiered   exclusive, artist-focused content among a selection of 40 million total songs. A representative for the 47-year-old declined   EW’s request for comment   on the Spotify removal. Spotify users around the world are snapping out of their empire   state of mind. Tidal also boasts its high-fidelity sound as a major selling point, relying on “FLAC,” a “more robust, realistic streaming format” that plays “music files that have not been compressed down.”
As of Sunday, Jay Z’s discography is still available to stream on Apple Music and for purchase on iTunes. In January,   Tidal sold   a 33 percent stake to telecom company Sprint for $200 million, which essentially granted it access   to   the corporation’s roughly 45 million customers.

‘Grey’s Anatomy’ boss Shonda Rhimes says season finale is ‘on fire’

However fire may or may not play a role in the finale, it sounds like someone could get burned. “I don’t know about that,” Rhimes said coyly. “I think season 14 is going to be spectacular,” Allen said. “That’s the only way we’re going to describe it. We had night shoots and we were up all night for a couple of weeks, but boy it was great. “You should be worried,” Allen cautioned. I was so excited every day.”
Does this mean the actual hospital will be on fire in the finale? Is Grey Sloan going up in flames? “We’re planting some seeds that you won’t see coming, but you will be waiting to see how it’s all going to play out.”
Grey’s Anatomy airs Thursdays at 8 p.m. It’s going to be that kind of a ride.”
In fact, Allen reveals that the events of the season finale will give fans an indication of what’s coming next year. You decide: “Debbie Allen and I like to say that the episode is on fire,” Rhimes told EW at the Scandal 100th episode party on Saturday night. Show Full Article With Grey’s Anatomy heading toward a big event in its season finale, a new tease from Shonda Rhimes may spell doom for the hospital   — that, or the hospital may play host to the victims of a fire. ET on ABC. “Be worried, because it’s that kind of night. It’s a pretty exciting episode that’s very on fire.”
Allen, who wrapped directing the Grey’s finale on Friday, concurred: “I can only tease that it’s going to be hot for real; it’s on fire.

‘SNL’ mocks slacktivism in fake music video

Show Full Article “He couldn’t sit by and do nothing,” Kenan Thompson sings as Scott taps away on his phone. “You’re the hero that we waited for / We won’t ever forget that you fight for our rights from your phone while you’re on the toilet,” Thompson continues. Watch the whole tongue-in-cheek ode to slacktivism above. “He had to act before it was too late / He shared an article on Facebook / And then everything changed.”
Alex Moffat later comes in for a rap verse, where he praises Scott for using emoji above these news articles to tell his 84 Facebook friends how to feel: He adds the clapping emoji for things like the Women’s March and writes “RESIST” next to a fist emoji for a story about the government surveilling citizens. Scott (Louis C.K.) does a lot to help the world — if you count posting Facebook statuses about news stories as “a lot,” that is. In a fake music video on   SNL,   a group of grateful singers thanks Scott for bringing “the struggle to an end” by sharing articles about things like the refugee crisis, war, and Black Lives Matter.

‘The Big Bang Theory’ spinoff star Zoe Perry on emulating her mom, Laurie Metcalf

In the meantime, catch Perry on Scandal Thursdays at 9 p.m. “Now working with both of them, it’s like, ‘I sound like them when I say that!’ It’s surreal.”
Young Sheldon, which was ordered straight-to-series, will air sometime in the 2017-2018 season on CBS. The same can be said for the spinoff. “I went in and auditioned for the casting directors and for [executive producers] Chuck Lorre and Steve Molaro. “I did run one of the scenes with her because I was curious to hear her accent doing it,” Perry says. Show Full Article It’ll be really interesting for audiences to see where they’re similar and how they diverge. “Big Bang is a multi, and now this one is a single camera. “It’s interesting because there is a tonal difference between Big Bang and Young Sheldon,” Perry says. But I made her talk a little bit and I rewatched some of her stuff.”
However, much like Sheldon in his formative years is probably much different than the one portrayed by Jim Parsons — who is set to executive-produce and also narrate the comedy as Adult Sheldon — the two Mary Coopers probably won’t be identical. The role was first brought to life on The Big Bang Theory by Perry’s mother, Laurie Metcalf. ET on ABC. Then, the rest is my lucky history.”
The half-hour, single-camera comedy will follow a 9-year-old Sheldon Cooper (Big Little Lies’ Iain Armitage) living with his family in East Texas and going to high school. “When I’m acting, there are moments where I’m thinking, ‘I sound like my mom when I say that,’ or ‘I sound like my dad when I say that,” Perry says. The actress, who currently stars alongside her father Jeff Perry on Scandal, will take up the mantle of Sheldon Cooper’s god-fearing mother Mary Cooper on the spinoff. It’s for that reason that Perry looked to her mother for inspiration. Despite the familial connection — and uncanny resemblance in appearance and cadence — Perry told EW she still went through a “typical” audition process, “except that there was this other crazy layer to it,” Perry said Saturday night at the Scandal 100th episode party. “Although I actually didn’t have her read the lines   because then that would’ve just stuck in my head. I think audiences are going to be really, really surprised and excited about it.”
While Perry admits taking on the role that earned her mother an Emmy nomination last year is both daunting and exciting — “Daunting has always been mixed in there, but right now it’s just exciting,” she says — the actress finds that both her parents have inspired her. Zoe Perry has big shoes to fill on The Big Bang Theory spinoff Young Sheldon — her mother’s!

The Chainsmokers dazzle with ‘Paris,’ ‘Break Up Every Night’ on ‘SNL’

Watch both performances above. The EDM duo, otherwise known as   Andrew Taggart and Alex Pall, lit up the Studio 8H stage in   neon lights as they performed two tracks off their debut studio album. The first was “Paris,” the initial single released off Memories… Do Not Open. The Chainsmokers made Memories on Saturday Night Live this weekend. Show Full Article The second was neither “Something Just Like This” nor “The One,” two of the group’s other singles, but rather the album’s second track,   “Break Up Every Night.”
Accompanying comedian Louis C.K.’s latest hosting turn, the jubilant performances were ones of celebration as this year has held a few   firsts for the Chainsmokers: They won Best Dance Recording for “Don’t Let Me Down” at the Grammys and Memories… Do Not Open dropped on Friday a day before   their SNL debut. Now they’re revving up to kick off their   North American   Memories: Do Not Open Tour   in Miami on April 13.

Louis C.K. tackles racist chickens in ‘SNL’ monologue

said. Show Full Article “You don’t expect anything. But when your life gets good, you start expecting it to, so you get unhappy.” Examples include becoming annoyed at fancy hotels’ elaborate customer service — and then becoming annoyed when fancy hotels   don’t   have elaborate customer service. Louis C.K. “So he crossed the road, and the black guy went home. Watch the whole monologue above. The punchline? went on to point out that chickens are “very closed down, suspicious, and prejudiced,” partly because “their species murder rate is 100 percent.” After doing his impression of a chicken looking paranoid, he made even more animal jokes — “Every moose looks like a dude who just got turned into a moose right before you looked at him,” he said, referring to the constant surprised look on a moose’s face — and later, touched on how his life has changed now that he’s a successful comic who can stay at five-star hotels. “I was always happy when I was struggling   because when your life sucks, it just sucks,” he said before recalling sleeping at run-down highway motels. A lengthy explanation about how this chicken was racist for being afraid of a black man behind him. “He thought, ‘Maybe if I crossed the road, then if he crossed the road, then he’s definitely following me,’” C.K. And the chicken was like, ‘I’m such a racist.’ And he felt bad.”
C.K. kicked off his   Saturday Night Live   monologue this weekend with a well-known joke setup: “Why did the chicken cross the road?” he asked the audience. He’s living his life.

Vin Diesel remembers Paul Walker at ‘Fate of the Furious’ premiere

“Pablo, I hope you are proud tonight.”

Walker died in a car crash on Nov. But there would be no Dwayne Johnson, who we love, there would be no Jason Statham, who we love, there would be no Charlize, who we love, there would be no Scott Eastwood, who we love, there would be no Kurt Russell, who we love, if it wasn’t for the decades of work that my brother Pablo put into this franchise,” Diesel said,
using his nickname for Walker. “When you see this movie, know that this is from love.”
Walker died during production on Furious 7, and that film concluded with a tribute to the actor and an onscreen dedication to his memory. “We have a lot of great talent in this movie. “I just want you to know, there wasn’t a second we made this movie, not a minute … not a day that went by that we weren’t thinking about our brother, Pablo, and how to bring him into the movie and how to represent him and to make something that he will be proud of,” Diesel said. The star does not appear in The Fate of the Furious, but Diesel said he wasn’t far from the cast’s thoughts. Speaking before the screening at New York’s Radio City Music Hall, Diesel ran down the list of actors associated with the eighth Fast & Furious film, before explaining how they were all involved because of his late friend. 30, 2013. The Fate of the Furious is out Friday. His mother, Cheryl, and daughter, Meadow, were in attendance at the Fate of the Furious premiere on Saturday night. Show Full Article Vin Diesel remembered Paul Walker at the world premiere of The Fate of the Furious in New York on Saturday night.

‘SNL’ spoofs ‘tone deaf’ Kendall Jenner Pepsi ad

We are removing the content and halting any further rollout. Show Full Article There’s this huge protest in the street, reminiscent of Black Lives Matter,” he says. The SNL sketch even featured cast member Cecily Strong as Jenner. And then Kendall Jenner walks in. That Pepsi brings everyone together.”
After a pause, the director’s face drops as he listens to his sister criticize the premise. Later, other people get on the phone to explain why the commercial is such a bad idea. “It’s an homage to the resistance. Sorry I can’t super talk right now, I’m on the set of this huge Pepsi commercial I’m doing…” #SNL pic.twitter.com/5Od8W3khYO
— Saturday Night Live (@nbcsnl) April 9, 2017

Released this week, the Pepsi commercial featured the reality television star participating in a protest and handing a police officer a can of Pepsi in an effort to diffuse tension. We did not intend to make light of any serious issue. “Clearly we missed the mark, and we apologize. “Pepsi was trying to project a global message of unity, peace, and understanding,” the company said in a statement. “Sort of tone deaf?” he repeats at one point. The ad was blasted on social media after its release, prompting Pepsi to pull the spot a day later. I know, it’s cute, right?” Strong as Jenner remarks. We also apologize for putting Kendall Jenner in this position.”
The full sketch will be added when video becomes available; watch a clip above. She walks up to one of the police officers and hands him a Pepsi. In the sketch, the spot’s director (cast member Beck Bennett) discusses the commercial with his unseen sister while they speak on the phone. Saturday Night Live mocked the controversial Kendall Jenner Pepsi ad that the soft drink company pulled this week after receiving a torrent of online backlash. “Everybody is marching and they get to these police officers and you think it’s going to go bad because there’s kind of a standoff. “I stop the police from shooting black people by handing them a Pepsi. “Hey!

Alec Baldwin returns as Trump on ‘SNL,’ meets supporters

You people stand by me no matter what. Each time, he batted away the remarks and still found favor with the audience members. “Things have changed so much since I was growing up. #SNL pic.twitter.com/rj8iP8wZ9a
— Saturday Night Live (@nbcsnl) April 9, 2017

Baldwin actually appeared as Trump twice during Saturday’s broadcast. Is that crazy?” Baldwin as Trump added. We do, we do. Show Full Article “We all love Trump, don’t we? Exact same problem. What a difference 59 Tomahawk missiles can make,” Baldwin as Trump said, referencing the president’s strike against Syria this week. It’s like you found a finger in your chili, but you still eat the chili because you told everyone you love chili,” Baldwin as Trump joked. In the sketch, Baldwin’s Trump traveled to Kentucky to meet with some of his supporters. I met with leaders from China, Egypt, and Jordan, Gorsuch was confirmed, the media is saying nice things, and nobody is talking about Russia. “That’s why I came here. I just had an amazing week, folks. Speaking to his constituents, Baldwin’s Trump was faced with a number of questions about jobs, health care, and important social services. Go figure. Alec Baldwin returned to Saturday Night Live to play President Donald Trump as part of the show’s cold open. Watch a clip from the sketch below. Later in the show, he played the president opposite himself as Fox News host Bill O’Reilly. For example, a lot of poverty is white now.

Alec Baldwin plays Bill O’Reilly on ‘SNL,’ interviews himself as Trump

Alec Baldwin pulled double duty on Saturday Night Live, unveiling an impersonation of Fox News host Bill O’Reilly and interviewing himself as President Donald Trump. Beyond that, the details are a bit fuzzy, but one man was brave enough to come to my defense. Asked why he spoke out, Baldwin’s Trump said he has a “loose hunch” about O’Reilly. Last week, President Trump came to O’Reilly’s defense, saying he thought of the Fox News personality as a “good friend” and claiming O’Reilly “didn’t do anything wrong.” On SNL, Baldwin mocked the president for backing O’Reilly. “It’s a subject that’s near and dear to my hand,” Baldwin as Trump joked. “Apparently, several women have come forward and accused me of offering them exciting opportunities here at Fox News. “This is hard for me to discuss, but I’ve also been in the news this week,” Baldwin as O’Reilly said before introducing Baldwin’s Trump. But I didn’t look into it too much. People, please welcome, the President of the United States, Donald Trump.”
“I actually see a lot of myself in you, Bill,” quipped Baldwin as Trump in a pre-taped segment. (In 2005, the real Trump told then-Access Hollywood host Billy Bush that “when you’re a star … you can do anything” to women, including “grab them by the p—y.”)
Watch the full sketch above. I was too busy being super-presidential and bombing a bunch of sh–,” Baldwin as Trump said. Show Full Article A man who is unimpeachable on all female issues, and now he’s here tonight. “I’m more familiar with this case than, say, health care. In the sketch, Baldwin’s O’Reilly danced around the sexual harassment allegations against the real O’Reilly, claims which have led to the exodus of nearly 60 sponsorships from The O’Reilly Factor. The allegations against O’Reilly and Trump’s comments came during Sexual Harassment Awareness Month, a bit of irony that SNL exploited on Saturday.

‘Into the Woods’: EW stage review

It helps that his   singing partner as both stepsister and prince is Darick Pead, playing   Rapunzel’s Prince and donning   the absurd garb of Florinda while also   leaving the audience in hysterics with his most memorable role: Milky White, the cow and best friend   of   Jack (Patrick Mulryan). With all the music coming directly from the stage players, the dizzying speed with which the actors toggle between performing their various roles and playing their various instruments makes you wonder about the complex flowcharts that must have overwhelmed rehearsal — not to mention the brilliant lighting design by Christopher Akerlind, which cleverly turns   campground shadow puppets into the Wolf’s   Red Riding Hood feast and the female giant’s dramatic second-act downfall. Chatmon also   plays Cinderella’s Prince,   filling the iconic “Agony” with just the right mixture of pathos and glee. Show Full Article It helps   that Fiasco Theatre’s touring production, which arrived   April 5   at Los Angeles’s Ahmanson Theatre, also   boasts a troupe of 10 incredible, adept performers equally good at hitting the high notes and literally banging the drum when the moment calls. (That doesn’t include the hardworking pianist Evan Rees, who fills in as a cow when his   moment calls.) This scaled-back production, which abandons an orchestra and elaborate stagecraft for simple props you’d find in the recesses of an old theater, comparatively makes   Rob Marshall’s recent 2014 film version feel   even   more bloated and overwrought than on initial viewing. If you’re living in Los Angeles and wishing   for some inventive, joyous theater, run to Into the Woods, if only to see what magic can be found in the most ordinary household props. Just wait until you see the singing birds. Who knew a ladder, a hunting trophy, clever lighting, and a piano on rollers could transform Stephen Sondheim and James Lapine’s fairy tale musical Into the Woods into a delightful, imaginative farce that makes you forget completely about its nearly three-hour   runtime? Much   of the credit needs to go to the ensemble itself: Anthony Chatmon II’s casual reminder to the audience at the top of the show to turn off our cell phones belied his dexterous capabilities once the lights were down. The giddy joy of the first act gives way to some thrilling emotion in the second, with stand-out moments coming from the Cinderella-led (Laurie Veldheer) “No One is Alone” and the Witch’s (Stephanie Umoh) “Last Midnight” farewell. Pead’s take on Milky White’s   death scene is an especially hilarious highlight. He fully embodies   the sly, conniving Wolf   with nothing more than a stuffed head mounted on a block of wood, before winking his way into the role of Lucinda, one of Cinderella’s evil stepsisters, thanks to an imaginative set dressing made up of a simple closet rod with two draperies affixed to resemble two dresses. As a piece, the   very setup of Into the Woods   can be problematic — the first half focuses   on the main characters fulfilling their   wishes while the second caters to the very notion of being careful what you wish for — but Fiasco’s   imaginative staging and incredible performances put those issues to rest for the most part. Noah Brody and Ben Steinfeld directed the piece, with choreography by Lisa Shriver and music supervision by Matt Castle.