Hans Zimmer’s concert is the wildest therapy session of 2017

Each musical movement demands a work-out of your most imaginative muscles—be it your ability to place yourself into the rich visuals of a film you know well, or the creative exercise   of sifting through your mind’s archives to find a story to match a   piece you’re only hearing for the first time. Ahead of his buzzy Coachella debut, Zimmer sold out the cavernous 7,100-seat Microsoft Theater in Los Angeles on Friday to unofficially kick off the tour of Hans Zimmer Revealed, a three-hour riff through   some of   his most beloved scores, culling themes and tracks from movies like Inception, Gladiator, Crimson Tide, Interstellar, The Da Vinci Code, The Lion King, Pirates of the Caribbean, and his superhero suite. Superman is here, but he’s nowhere to be seen. Certain films appear on   the setlist   without introduction, while others — the best-known — arrive backed by   projections that purposefully lack any literal representation (Man of Steel, for instance, pulses along to an abstract spherical visualizer; The Dark Knight is a sea of shifting black-and-white geometry). As a performer, Zimmer oozes energy from every position he takes onstage, oscillating between instruments with shocking seamlessness, never glancing at a single sheet of music, and betraying himself as a kinetic and passionate musician with a knack for storytelling. This boundless   but directed freedom is essentially the beauty of the show, especially during a year when every morsel of Hollywood entertainment must be measured on a spectrum of escapism. Suzanne Theresa
The real highlight is   Zimmer himself, a man typically relegated to a dark room, now set free to shine his   goofy and laid-back personality through interstitial commentary   that supplements the audience’s treasured memories of his films. Far from being just a movie lover’s dream, Zimmer is a pure entertainer, capable of weaving great sentiment into a hugely compelling, must-see experience (his summer tour officially kicks off in Dallas on July 13) that lets an audience in on the secrets of a prolific 30-plus-year career. “Dark!” he giggle-whispers as he introduces the Batman trilogy. “Girl power!” he says in his cute little German accent, professing his preference for Wonder Woman over Superman. Zimmer himself acknowledged this in a poignant moment towards the end of act two, sharing a story about a song he dedicated to the victims of the 2012 shooting at the Aurora, Colorado movie theater during the midnight release of The Dark Knight Rises. “Aurora” only heightened the catharsis of the evening, which was ultimately a disarming display   of emotion, especially in Zimmer’s odes to collaborators lost (like Ledger or Tony Scott) and   found (like special guest Lebo M., the Lion King vocalist whom Zimmer first met at a Los Angeles car wash as a refugee fleeing Apartheid before he became the iconic voice of “Circle of Life”). The man   shared compelling tales during the evening — fascinating, effortless stories of Ridley Scott phoning Zimmer to seduce him into scoring Gladiator, or of the anguish over his work on   The Dark Knight following Heath Ledger’s death — but what became clearest of all was the power of Zimmer’s   stories that didn’t rely on any such words. Show Full Article Zimmer’s songs are all structured with a narrative lilt in mind, thereby demanding that the audience go on a journey somewhere, regardless of whether or not you’ve got a familiar filmic landscape in mind (although surely, hundreds in attendance knew each and every Zimmer movement, based simply on their howls at just a single opening note). Joined by his band, a studio orchestra, and a haunting choir line, 59-year-old Zimmer began   his landmark show with a fist-pump and   coat-tails and ended   in a sweaty black tee, arms slung around his bandmates, both drained by and high off the sound he poured into the eye- and ear-popping spectacle. What’s amazing is how this lack of literal imagery pairs with the participatory quality of Zimmer’s scores. The set list indulges but doesn’t dwell on the composer’s   best-loved suites, sampling just enough to whet an appetite (and force a few mental reminders   for Netflix   when you get home). Perhaps   best of all, there’s a wonderful feeling that even if no one was in the   crowd, this may still just be how Hans Zimmer would be spending his Friday night. While there’s little question that Zimmer is one of the most accomplished composing talents in the world, his ride through his multi-decade resume highlighted both the variety of his compositions and the thematic similarities that each project shares. He prefaces his   Gladiator   setlist with “a little experiment in the middle, which will either work or not — we’ll find out!” All night long, he tinkers and toys, hopping around the stage at lightning speed, eager to share moments with the vocalists and principal players whom he frequently spotlights. The song, he said, was a pair of outstretched arms offering and seeking embrace, and he further linked   the piece to   more recent tragedies in Paris, Brussels, and Syria. A film score played live is often a magical enough experience on its own, but Zimmer’s show — accompanied by exquisitely trippy projections on a massive screen behind the orchestra — plays as a modern-day Fantasia bursting with extraordinary color and feeling. The same goes for any of the other icons — the pirates, the lion kings, the dark knights of the world — whose symphonic fights and flights have been scored by Hans Zimmer, the prolific Oscar-winning film composer whose North American concert tour is officially the year’s must-see event for movie buffs, or simply those who market in imagination.

James Gunn will write and direct ‘Guardians of the Galaxy Vol. 3’

2.” Gunn, who is preparing to set off on the film’s U.S. The filmmaker has announced he will be returning to write and direct “Guardians of the Galaxy Vol. “Guardians of the Galaxy Vol. Gunn will be working closely with Marvel Studios President Kevin Feige to craft the story.The announcement comes in advance of the release of “Guardians of the Galaxy Vol. Latest updates 2″ hits theaters May 5.Read Gunn’s full announcement below. 3.””In the end, my love for Rocket, Groot, Gamora, Star-Lord, Yondu, Mantis, Drax, and Nebula – and some of the other forthcoming heroes – goes deeper than you guys can possibly imagine,” Gunn wrote   in a Facebook post. press tour, explained he wanted to share the news directly with fans. “I feel they have more adventures to go on and things to learn about themselves and the wonderful and sometimes terrifying universe we all inhabit.”   The filmmaker also explained the role this third “Guardians” film will play in the Marvel Cinematic Universe, as it will take place after the events of “Avengers: Infinity War.”   In addition to concluding the story of the current Guardians team,   the third installment will help set up the adventures of   “both old and new Marvel characters” for the next 10 years of the MCU and beyond. 2″ will not be James Gunn’s Marvel Cinematic Universe   swan song. “Guardians of the Galaxy Vol.

‘Girls’ in review: The ecstatic arty highs and grim sitcom lows

And the whole setup of the finale was an unwieldy vehicle for any ideas, really. That was treated as a gag, a sign of their own lack of maturity; and they   realized that, thanks to the safe   pawnshop owner and the symbolic pantsless teen. (Toss out season 4, too. This was an obvious callback to the Girls pilot: The second scene of the show was Hannah and Marnie, spooning. Truthfully, the idea of them as a “foursome” felt most convincing as a marketing tactic — or evidence, maybe, of how marketing tactics have long since trickled down into actual human behavior. We tended to talk Big Ideas with   Girls, and history will decide whether Thinkpiece Culture helped the show or hurt it. “If you think about it, we were all just doing our best,” she said. Of all the main characters, Shoshanna was the most obviously millennial — a word people barely used back in 2012, back when talking about millennials meant talking about Girls. Kirke’s not a trained actor –   but not everything worthwhile needs training, and maybe believability was actually Girls‘ least essential virtue. I loved the season 5 episode, “Queen for Two Days,” set in an empowerment retreat full of fascinating women left behind by men for one reason or another. It didn’t believe in its own squad. Girls rebelled early against the construct. I miss her already. And the first two are stunningly beautiful. Baker’s performance was strong, and Scolari made a fine scene partner as her eventual ex-husband, and the show kept bringing them back, because   Girls had that weird problem of loving its supporting actors   but not always knowing precisely what to do with them. One season, her whole big plot thing was House of Cardsing her friends’ relationships just so she could sleep with Zachary Quinto. This is a weirdly fruitful show topic for a generation raised more on TV than religion. In   Knocked Up, Rogen has essentially no money and then decides to get a job, a gig that pays for a cool new apartment. Or think of Hannah near the end of “American Bitch,” sitting in a room with her writer hero who is also a lecherous mindgaming predator, both of them listening patiently as his daughter plays the flute. She told Marnie that sometimes you have to let your best friends go. “I have come to realize how exhausting and narcissistic and ultimately boring this whole dynamic is,” said Shoshanna. But she could bring a terse quality to Marnie, like she was exhausted of being right. Show Full Article That scene   already plays like an endearing time capsule, snapshotting a long-gone era   when Twitter was a platform for self-expression and not a trench-warfare battleground for the soul of the human experiment. “It’s not matching up to what you imagined,” Hannah told Marnie, “Which was, like, that it would be a Laura Ashley catalog, or like a fun, zany sitcom starring Brittany Snow and the rest of the cast of Pitch Perfect!” Hanging a hat on a hat on a hat, Marnie and Hannah also watch Full House, an inane show built on contrivance that everyone remembers fondly until they watch Fuller House. At the season 3 beach house, they drank and danced and argued and wound up seriously pondering whether they even liked each other. She sounds resigned, like she knows how this story will end, was hoping it would never start. That episode reflected the show’s worst farce-y instincts — Hannah hooks up with a yoga teacher! Except it doesn’t sound like a question. Titled “Goodbye Tour,” it felt a bit too much like a beloved character checklist. “It’s happening now! And for the main characters, those motions grew   repetitive and unconvincing. After six seasons, a failed marriage to a drug-addicted bargain-Mraz, and a failed run at a music career on the downtown brunch circuit, the series finale version of Marnie became a homeless revenant, Hannah’s old city life come countryward to haunt her. But Girls trended inexorably into a very TV-ish version of young people hanging out. Shoshanna was the youngest of the lead characters, and Mamet initially radiated that little-sibling craving to just be there   with people old and cool enough to know how to find the warehouse party in Bushwick. (Cut to: Ray, mooning over Marnie, or Adam, waiting patiently for someone to mention Hannah to him.)
And for a show that began with parental rejection — “Go, Daughter, Become Yourself” —   Girls liked to entrap its characters in the peculiar pathologies brought upon them by their parents. The first two scenes of Girls were interiors, Hannah at dinner with her parents, Hannah spooning with Marnie. There are eight perfect episodes of Girls. See the modern twentysomething, forever leaving homes she will never return to. A New Yorker for barely a minute, Tad’s already complaining about the drum circles in Washington Square Park. She’s spent a day there, or two days, or maybe a whole hermetically sealed lifetime; they played naked ping-pong, had rampant sex, she passed out in his awesome spa-shower. The show was in on the joke, eventually if not immediately. And you suck at it!”
Then Hannah left her baby with her mom and her best friend and walked until she met a symbolic pantsless teen, and she gave the symbolic pantsless teen the   pants off her legs, and then Hannah realized that the symbolic pantsless teen’s plight spoke symbolically to what Hannah was going through just then as both daughter and mother, and then Hannah walked back home with no pants on, followed close behind by a cop car. They’ll still be drumming when you’re gone!)
Hannah said goodbye to most of them in the show’s penultimate episode. She stood revealed as the voice of reason, the unexpected exemplar of maturity; her lines felt metatextual, like she was standing outside of Girls and criticizing it like a harsh recapper. (The Grinder saw Trump coming.)
But that was the least fruitful idea for   Girls. If you accept it as a generational tale, Girls bridges the gap between Bush and Trump, between Clinton’s two great   losses: Perhaps we will look back and consider that Hannah was giving voice to a new Lost Generation, dancers at the end of time, young people trapped between history, boldly struggling   to live their truth while all around them chaos descended. Watching that scene back in 2012, it felt like the beginning of a modern hero’s journey, the moment of Hannah’s separation from what was known and easy. It’s an indelible moment; it captures that peculiar young-old feeling you only get in your late 20s, when your whole life feels like the post-apocalyptic wreckage leftover from your early 20s. (Actually, Dunham claimed that episode was inspired by Straw Dogs, and dear gods of Hollywood, there is no remake I want more than a Dunham-directed Straw Dogs.) But bringing Marnie in for the finale — wedging her in, really, Guess who’s gonna help you raise this baby! Lena Dunham created Girls, ran the show with Jenni Konner, wrote or co-wrote all the best episodes, directed a few times each season. But there’s some hope. “It’s not like the four of us have had any real fun together in, what, two years?” Hannah said, tossing out the whole runtime of Girls. For the first time all season, Hannah and Jessa and Shoshanna and Marnie were together in the same room – but only so they could decide to never be all together, ever again. Was she talking about herself, her friends? If this was reality, Girls sucked at it. –––––––––––––––––––––––––––––––––––––
“You didn’t say it was gonna be this hard!” That was Hannah, earlier in the series finale, complaining to her mom, Loreen. When Desi revealed that he had been on drugs — like, forever, and Marnie never noticed — the sequence was shot like a horror pastiche. Think of Hannah in the late-series episode “What Will We Do This Time About Adam?” sharing one perfect day with the man she used to love, talking about a baby and a home and a marriage, and then, suddenly, there are tears welling in her eyes, and a whole imagined future evaporates into thin air, and you realize that you were watching two lovers pretend that their last day together was their first day. The individual endings were sometimes bittersweet, mostly whimsical, uniformly relationship-y. I’m assuming the Full House reference was wildly intentional, and maybe one thesis statement for Girls was, Life Isn’t As Simple As TV Made It Seem When You Were A Kid. Soon enough, Hannah would go to Iowa, and Shoshanna would go to Japan, and Marnie would seriously pursue a music career, and Jessa also did things. She tells Hannah that everyone is struggling on the inside. And I miss how, with Jessa, the show could be unapologetic, could deny any ready definition of maturity, could be blunt. It was a running theme on Community, a foundational arc for   Bojack Horseman, and was flipped on its head in The Grinder, a TV show about how badly most people want their life to be a TV show. Not to return to the easiest and least helpful comparison, but: Sex and the City barely noticed the subway, exulted in a romantic High Fashion/downtown night club vision of New York City. Her whole generation? Sure, live in rough   Brooklyn for a few years, kids, make some memories. (“American Bitch” is too freaky to be beautiful, but it’s a thrilling   modern noir, as tense and surprising as anything in Search Party.) There’s a moment in “The Panic in Central Park” when Marnie sits next to her long-ago boyfriend Charlie on the subway. It’s a glorious world painted in steadily brighter colors — though too many people overlook the cigarette-smoky first season, shot in the grayest phase of the 1990s. Girls was never really anything like Sex and the City, but that was another HBO comedy starring four women, so it was a handy touchstone, explicitly referenced in the Girls pilot. Marnie finally experienced her own epiphany a few episodes ago, when a sagely Greek pawnshop owner offered her advice   and also revealed that everything gold in Marnie’s life was but gilded pewter. (Nobody on this show was better at saying “f—.”) Unfortunately, Marnie trended monstrous, and Williams’ deadpan made it impossible to ever figure out whether the show was making fun of her narcissism or sincerely driving her toward sociopathy. “One Man’s Trash,” “The Panic in Central Park,” and “American Bitch” — my Holy Trinity — were all one-off short stories, centering on a complicated specific male-female dynamic, told with real-time tension. See her wander, this nomad. Yes, Marnie, law school was your destiny all along. It’s my favorite moment on the show, and I’m not sure if it’s about being in your 20s or being in New York or being a writer or being a human. In season 6, both Marnie and Hannah blamed their poor decisions on   their parents’ failed marriages. These were flimsy years on the show, when it only held the characters together by trapping them; of course Hannah wouldn’t stay in Iowa, of course Shoshanna couldn’t find true happiness in Tokyo. Five months passed, and Marnie became a taunting mom-shaming tormentor: You should really feed him breast milk, no successful person grew up drinking formula. Across six seasons of Girls, Jessa married, went to rehab. It’s the kind of ending J.R.R. She got together with Adam, which never didn’t feel like a final-phase sitcom pairing, this show’s variation on Joey falling for Rachel and Barney loving Robin, a final telltale sign that Girls was locking its characters into a snowglobe planet populated by main characters and comedian guest stars. — but it had a genuine curiosity about these women, their experience, the sense that the whole world as they knew it was some kind of lie. (This was the period when Ray was on the show to pine after Marnie and run for local office on a   popular “These cars are too damn loud!” platform.)
That entrapment went textual with Shoshanna’s “Goodbye Tour” speech. But the show caught something essential about what social media had done to socializing. EVIDENCE: I married a gay man. Girls could be brilliantly vulgar, transgressive in its no-bull presentation of nude unobjectified bodies on the same network that produced eight seasons of Entourage and   five seasons of Flapper Boobs. She was, in short, a uniquely pointless character. — was an unconvincing gambit, a weird narrative hopscotch to put two central characters together for some final unnecessary catharsis. All those episodes were directed by Richard Shepard, who had a particular flair for capturing something romantic and wounded New York City. (The flute seemed perversely phallus in context, that context being “Matthew Rhys’ Phallus.”)
Or think of Hannah at the end of “All Adventurous Women Do” way back in season 1, dancing to Robyn because she has HPV and it turns out her college boyfriend is gay and it doesn’t matter or maybe everything matters, she’s young, dammit, the mess is the point. Hannah woke up to find Marnie in her bed. Marnie came to represent everything worth parodying in Girls. Girls could feel cynical about its characters, about relationships, about even the possibility of joy. What else can you do? Then she decided she wanted to be a therapist, then she triumphantly decided she didn’t want to be a therapist. It felt dangerous. The episodes don’t build up to any obvious summary, really; they feel open to interpretation, yet irreducible to obvious analysis. Third time’s the charm! And there’s that shot at the end of “One Man’s Trash,” when Hannah leaves the perfect house owned by perfect doctor Patrick Wilson. Hannah’s parents cut her off, but they also flew out to New York for her 25th birthday. And any episode with Desi.) It was a cool idea, something more shows should consider: The finale-as-epilogue, starring barely anyone, no obvious dangling plot points to resolve. So the first time you properly see Girls‘ New York City, it’s sunlight from outside crossing Jessa’s face with the street out-of-focus behind her in the rear windshield. And the characters could be stunningly brutal to each other. Everyone inevitably wound up alone, passed out on a subway and waking up in Coney Island. CONCLUSION: The best way to be a friend is to let your friends go.)
And she was great since the start, when the show kicked off with Hannah’s parents cutting her off. “Our best,” Jessa said, “was awful.”
Then everyone danced. But know, all along,   adulthood is waiting for you, with   jobs and nice purses and personalities. ––––––––––––––––––––––––––––––––––––––
Jemima Kirke looked bored on arrival, like this whole TV show thing was a chore, court-mandated community service, a favor for a friend. You could criticize the show’s socioeconomics, I guess; not everyone is lucky enough to be cut off. Marnie as Helper Mom was a sitcom contrivance, not helped by the fact that Hannah loudly declared that it was a sitcom contrivance. But dangerous? In the early morning, she walks away down the street. –––––––––––––––––––––––––––––––––––––––––––
This finale, though. Maybe because she created the series, her scripts could represent the biggest narrative breakaways from anything that could be considered the Girls “formula”. It had the first great Twitter moment in TV history: Hannah, at the end of season 1’s “All Adventurous Women Do,” pondered how to express her latest miseries (HPV, ex-boyfriend out of the closet) in an ambiguously pithy tweet. Shoshanna’s rejection felt like a reconsideration of the whole Girls thesis statement. In “Goodbye Tour,” after Shoshanna’s big line, after their fellowship was well and truly sundered, Hannah talked to Jessa and tried to offer some kind of summation. (Or, maybe, real people talk about themselves now like they are characters on a TV show.) You could run back the tape and say that Girls was the Shoshanna coming-of-age narrative all along, like how I used to say Lost was secretly about Desmond, or how Mad Men was arguably the Sally Draper origin myth. She offered to move in with Hannah and co-raise Hannah’s impending child — the third such offer the new mom has fielded this season. And if the later seasons were less convincing in general,   they edged into something darker, suggesting that the purpose of the show was not some ascension into higher maturity — a portrait of the artist on her journey towards #adulting — but rather, a steady fall from grace into a lifetime of confusion. They look young and in love, but context is everything: Their relationship ended years ago, and this brief thing they have is about end again. Here’s Hannah, five months and one baby away from New York City, new struggles disappointingly familiar, experiencing some final epiphany, starting a much longer journey for which the whole run of Girls has been mere prologue. Put this last episode in a plastic bag, toss it in one man’s trash. Jessa was maybe back with Adam, and, more importantly, was redeemed with Hannah. Liberal arts colleges that will hire you. (THESIS: In the end, you have to leave your college friends behind. “Already?” Jessa asks. “We can’t hang out together anymore because we cannot be in the same room without one of us making it completely and entirely about ourselves.”
No one really put up a fight; this friend group thing was over, and there was the lingering possibility that they had never been real friends, that this whole “group” thing was a lie. I put all my faith   in a boy raised by girls. That’s way too harsh, but we live in harsh times. Tolkien would’ve loved: Vanquish the Great Evil, but then spend five more chapters with Frodo, let those lonely years pass until he’s well and truly bummed. Back then, Marnie was a relatively understandable coherent human being, trapped in the downward spiral of a college relationship, beginning to notice the world outside the boundaries she laid around her. You could always feel the safety net. The women   on   Girls   could be siblings to the dudes in   The Forty-Year-Old Virgin and   Knocked Up,   layabouts who just decide one day to grow up. It brings to mind the end of Henry IV, the ascendant young King spurning his old friends. Girls sunsetted most of the cast before the finale. As a performer, Allison Williams is, let’s say, inexpressive. It was possible to look at that episode and say: “Ah, I see, with that dance routine, they have gotten past their conflict and discovered   some deeper postverbal version of their friendship!” But you can rewatch that episode and feel the pain, and wonder if that weekend getaway was actually an ending — if the whole show after that was an epilogue. Her head’s on his shoulder, and you can see her reflection in the brownish cruddy reflective glass of the subway car’s walls; she’s wearing a red dress, he’s all denim, they just fell into the water in Central Park. But not this series finale, no. Ray discovered socially conscious love with Shoshanna’s old boss, Tell us, sir, what was Brooklyn like before we made it so expensive? Meet   young Grover Horvath, harbinger of Generation   Whatever Comes After   Z. Hannah’s mom was there to lay some harsh truths on the younger women. Meet Jessa: asleep in a taxicab, suitcase for her pillow, wearing a hat that looks like a choice. After a night of harsh insults, the four woke up, couldn’t speak to each other; hungover, they waited at the bus stop, and wordlessly fell into a dance routine. All   thematic interpretations have some   merit, though no semiotics analysis   helps to explain how   Girls could be so great but also   so infuriating, could shift from radical artistic daring to unconvincing sitcom farce. The last couple episodes of   Girls suggested it bought into that weirdly bourgeois sensibility. The point of the trip, per Marnie, was that they had all been so disconnected. Zosia Mamet played her with volcanic-eruption energy and a practiced coolness,   as if Shoshanna was trying hard not to look as excited as she felt. As her boyfriend Ray mourned the passing of his idol, she suddenly remembered that she had a Physique 57 class, which was very different from Quiet Pilates. Pause to imagine some future gender-swapped Broadway revival, with Zosia Mamet as King Henry and Jemima Kirke as Falstaff:
Presume not that I am the thing I was;
For God doth know, so shall the world perceive,
That I have turn’d away my former self
So will I those that kept me company. Right now, Day One Post-Girls, what comes to mind most   are those sensual pleasures, the   glamour of New York’s grime, the gritty   light striking naked bodies thrusting awkwardly in   tiny   bedrooms. Shoshanna was engaged. And anyhow, weren’t all TV shows about young people living in a big city ultimately shows about friend groups, boys and girls hanging out and hooking up and forgiving each other’s trespasses? But Girls loved the subway, found something rather lovely   in early morning walks of shame. “Girls as Portrait of White Gentrifying Privilege” was a popular subtext for people who didn’t like Girls, just like “Girls as Generation-Defining Feminist Document” was a popular subtext for people who loved the show. Adam’s sister Caroline was back with Hannah’s neighbor Laird. But the show believed in parents, and believed in a very parent-approved notion of “maturity.” This was the Judd Apatow DNA shining through, that weird mixture of crass-sexy vulgarity edging onto the cliff of appealing domesticity. But it ended with a bang. Way back in season 3, in the perfect episode “Beach House,” the four all went to the Hamptons for a weekend. Kirke’s first appearance on Girls was the third scene of the pilot. These people never hung out together in a café, even if half of them wound up working for the same café. “I thought that this would be a good opportunity to have fun together,” she explained, “And prove to everyone via Instagram that we can still have fun as a group.”
Girls was secretly a bit weird and archaic with internet stuff. Call me optimistic, but I think his best will be better than ours. “Our best was awful,” Jessa said at the end of her time on the show. Hannah’s dad, Tad, out of the closet barely a year, was already settled into downtown old married couple bliss with the nice bald man he met online. Aspects of it already feel nostalgic, like how the ’90s looked prelapsarian   by late 2001. Becky Ann Baker was always great on the show; she made those lines work, even if they were all weirdly on the nose, like the show felt some need to land on some obvious helpful talking points. On Girls, friendship itself could seem like a performative gesture, like people were going through the motions of friend-ness. To see that person, grown up and perceptibly changed, rejecting the friends she used to gaze up toward longingly? And to anyone who ever felt skeptical about Girls, “Goodbye Tour” seems like the show’s true ending. “Miss,” says the taxi driver, “We are here.”
Jessa wakes up, too fast to be believable. Brief struggles with money were quickly resolved: Adam will pay for Jessa’s school with his commercial money, Marnie and Desi are popular musicians now, Ray’s ascending from mouthy barista to metropolitan Coffee Kingpin, Dean Ann Dowd wants to hire Hannah as a professor to teach “internet,” Elijah’s living in Iowa now! She acts the way Rihanna sings, and Rihanna sings like she has exactly 957 better things to do. These elements were familiar and forgivable, if Girls was an older sort of sitcom, the kind of show that depended on familiar characters acting in familiar ways — what’s Hannah’s dad up to, what’s Laird up to? (That drum circle was there before you, Tad! She was utterly unmoved by her ex-husband’s descent into drug addiction, seemed to view it largely as a hiccup in their musical career. There might be references to Tinder, but main characters found love interests the old-fashioned way: a cute co-worker, a friend of a friend, a nice lady from AA insisting you go on a date with her daughter. On this show, when people had sex, you felt the city closing on. But there were boundary-breaking episodes that pushed characters outside their oversharing comfort zone into a freaky space where they seemed to experience strange epiphanies beyond the easy improv-comedy language of pop-psychology and celebrity name-dropping. “This is reality!” Hannah yelled at Marnie. Hannah met the father of her child because she was on assignment writing a story, a romcom-sacred story line from   Roman Holiday through How to Lose a Guy in Ten Days.

James Gunn to write and direct ‘Guardians of the Galaxy Vol. 3’

We are Groot. Show Full Article So, yes, I’m returning to write and direct Guardians of the Galaxy Vol. So, after many months of ruminations and discussions, I know the answer. 2, we will work on creating the story that goes beyond what you expect. Of course I know some of the questions that come up a lot – “Wasn’t there a lot more pressure dealing with the sequel of a beloved film?” (No, there was less, because this time I knew there was an audience waiting to see it!) and, “What was it like working with Kurt Russell and Sylvester Stallone?” (Daunting and at times overwhelming – I ran around in my backyard as a kid pretending to be Snake Plissken and John Rambo, so these guys are true icons to me.)
But the question that comes up perhaps the most is, “What’s the deal with Guardians of the Galaxy Vol. Love,
James
Watch the trailer for Guardians of the Galaxy Vol. press junket, before traveling to Europe at the end of the week. Guardians of the Galaxy Vol. So, yes, I’m returning to write and direct Guardians of the Galaxy Vol. 3.”
Gunn cowrote and directed 2014’s Guardians of the Galaxy and then wrote and directed its sequel, Guardians of the Galaxy Vol. 1 and Vol. Make mine Marvel. I could save this answer for the first, random interviewer to ask me during the press junket but instead I thought I’d share it with the most important people in the Guardiansverse – you, the fans, who have been so incredibly supportive and enthusiastic over the past five years, it has moved me to tears on a regular basis. It will conclude the story of this iteration of the Guardians of the Galaxy, and help catapult both old and new Marvel characters into the next ten years and beyond. In the end, my love for Rocket, Groot, Gamora, Star-Lord, Yondu, Mantis, Drax, and Nebula – and some of the other forthcoming heroes – goes deeper than you guys can possibly imagine, and I feel they have more adventures to go on and things to learn about themselves and the wonderful and sometimes terrifying universe we all inhabit. Well, this week we start the U.S. 2, which is released May 5. And, like in both Vol. 3, and are you going to direct?”
Before I was able to honestly answer this, I needed to know it was, in my heart, what I truly felt called to do. Much of what’s happened in the MCU for the past ten or so years has been leading, in a big way, to the Avengers’ Infinity War. I have never made choices in my career based on anything other than passion and love for the stories and characters, and I didn’t want to start now. I wake up every day pinching myself that they’d allow this punk rock kid from Missouri to help create this wonderful universe, and to not only allow but encourage creative freedom while doing so. I love them all and appreciate immensely their collaboration. My partnership with the folks at Marvel Studios – Kevin Feige, Lou D’Esposito, Victoria Alonso, and Jonathan Schwartz – has been the best of my professional career, and is a huge contributing factor to my decision – as is my relationship to the guys at Disney Studios – Bob Iger, Alan Horn, and Alan Bergman – who have been cheerleading innovation and the pure love of movies from the start. I couldn’t do it for the money, and I couldn’t do it because it was what other people wanted me to do. I promise you, the fans, I’ll do it all with integrity and love and respect for the characters. There is a history in Hollywood of haphazard endings to trilogies, and I didn’t want to become a part of that dishonorable tradition of pretending the third one doesn’t exist. I needed to do it because it was what I needed to do. Excelsior! James Gunn will write and direct Guardians of the Galaxy Vol. I can’t fricking wait to get started. “I could save this answer for the first, random interviewer to ask me during the press junket,” Gunn wrote on Facebook, “but instead I thought I’d share it with the most important people in the Guardiansverse – you, the fans, who have been so incredibly supportive and enthusiastic over the past five years, it has moved me to tears on a regular basis. This is the kind of thing you’d expect a director to say about the people who have just hired him, but people who know me know I would never put up working with people I don’t like for a single movie, much less two, and much, much less three. 3, the director announced Monday. 2, above. You can read Gunn’s full statement below. I will be working side-by-side with Kevin Feige and the gang to help design where these stories go, and make sure the future of the Marvel Cosmic Universe is as special and authentic and magical as what we have created so far. 3. 3 will happen after all that.

‘Shark Tank’: The show’s 5 most successful investments

Following an appearance on   Shark Tank, Groovebook garnered close to 50,000   subscribers and, in 2014, was bought by Shutterstock for a whopping $14,500,000. Coinage, Time Inc.’s personal finance video company, is rounding up the top five investments the Sharks have made in their   eight-season run. Buggy Beds is now sold in more than 23 countries around the globe and is estimated to have racked up $1,200,000 in sales last year. Sharks — wealthy entrepreneurs looking for new products and businesses to invest in — get the job done on   Shark Tank. Each of the five Sharks invested in a   proactive means of defeating the wrath of bed bugs, known, fittingly, as Buggy Beds. Next up is Groovebook, a photo app that helps users to   organize mobile photos into a scrapbook each month.  
Watch the video above to see what else made the list. They split   $250,000 for 25 percent equity. Tipsy Elves raked in about $8 million in revenue last year alone. Tipsy Elves, of which   Robert Herjavec now owns a 10 percent equity stake after having paid $100,000, is an ugly sweater distributor. Show Full Article This one was split by Kevin O’Leary and Mark Cuban who paid $150,000 for 80 percent of the licensing profits.

Creator of Hitler-centric sitcom looks back on writing the most controversial TV pilot ever

With 25 years of hindsight, I think I would have made the Goldensteins more aware of the situation. I’ve watched Saturday Night Live, and I love it. How do you feel today about it? It’s a problem child that at certain times gave me a lot of pleasure, so I certainly don’t think of it as a ball and chain. “Heil, honey, I’m home!” he shouts at his wife, who’s bustling around in the kitchen. Though few watched the pilot when it aired on satellite channel Galaxy, the series has gained notoriety for its, well, challenging premise — and for being available online, on YouTube:

But U.K.-based creator Geoff Atkinson (who went on to executive-produce the Emmy-nominated HBO series Getting On) says he meant no harm. It happened very quickly. What would it look like if you did it again? At the time, the channel wanted something fresh, and there was a sense of “As long as it’s original and something you can defend, you should say it.” I don’t think we entirely delivered. To know that whatever you’d given birth to hadn’t quite grown up in a way you wanted it to… it was like a problem child you brought up but was going to be around for the rest of your life. I don’t think the premise would be different. [Laughs]   I just like big, high-concept shows that take a risk. What were your goals in creating the show? Was portraying Hitler as a stereotypical sitcom   husband troubling to you? You need to laugh at them. Sounds a bit like   30 Rock, the idea of watching the behind-the-scenes comedy. We’ve got the same thing here with our government. [Laughs.]

Show Full Article If we were trying to make fun of what happened in the Holocaust, we’d deserve [the hate]. Everyone was aware of the sensitivities; the last thing we wanted was to offend. Well, I don’t think it ever broke to the point where it was front page news. I worried the argument would be “You can’t make fun of Hitler.” But he cries out for it. It’s perhaps easy to see why: The show depicted the Hitlers casually living next door to — brace yourselves — a Jewish couple, the Goldensteins. That’s what fascists want, to keep people in fear of them, when surely we should be debunking and destroying them. They’re aghast [at the characters making a show about Hitler] and then they start to laugh. In this strange world of what do the Goldensteins do given the man next to them is a monster who wants to kill them, I still think that works for a comedy, a dark comedy. Here, he reflects on the controversial conceit. People started looking over their shoulders. What do you think   is   comedy’s role in skewering politicians? So, in other words, no drunken conga line? There’s a genuine, dramatic tension there, and I don’t think we got that. Among the pilot’s high — low? When it aired, how often did you have to defend the idea? If you have a monster like that, and everyone says, “You can’t make fun of him,” then we’ve made him even more a monster. Their dilemma in 1938 is, should they leave Berlin? I always thought that was a possibility, to do the show within a show. We’d done the pilot, and when we were picked up to series, I had a sense something was not right. The slapsticky stuff made it… dumb. When they work, you can carry them off with a real flair. It was like flying into a storm. We could have underplayed the comedy with the Goldensteins and let the true drama come out a bit more. God, there are so many ifs and buts to all this, talking this through is like therapy. It’s like   The Producers. We just never got to that moment in   The Producers [below], when people realize you can laugh at this stuff. Maybe if we had a little longer [to write], we might have looked at things more. When did you realize that this wasn’t meeting your vision? ENTERTAINMENT WEEKLY: How did this even happen? — lights: The women gossiped behind Hitler’s back, the Goldensteins drunkenly crashed Hitler’s dinner with Neville Chamberlain, and Hitler even employed a thick New York accent. I’ve never thought that they should. The fact that he can be bothered to comment and say it’s rubbish means it’s working. Exactly. A man strides into his apartment and raises his right arm. What you wanted was a show that looked like a genuine ’50s show, you wanted the audience to question it but at the same time enjoy it. [Laughs] It was like Beverly Hills 91610   or whatever it is, so they’re all hanging out at the beach but obviously it’s 2000 years ago, so instead of surfboards, it’s donkeys. There’s a bit of me that wonders, does it help to make it as a making of, alongside the show? You mentioned doing a sitcom about Trump. Now, there probably would be headlines and certainly heads would roll. At one point when it was going a bit horribly, I was at home talking to my wife, and my son, who was 3 at the time, looked at me and asked, “Who’s Adolf Hitler?” And I said, “Oh my God, I can’t explain.” It was like running uphill, it just left an unpleasant taste in my mouth. They’re great and they’re also obviously provoking Trump. It seems like the right thing to do; as we speak, somebody’s probably writing a Trump sitcom. In a way, [comedies] make the government stronger. You were playing this game with the audience; you wanted them to dislike it and   then   like it. One was this, and the other was Jesus as a 16-year-old and he’s just been told the truth about what lies in store. It was fun, but it came at a price, and I wish I could do it again. It felt corny. I mean, it had to be brilliant to win over all the doubters, and there was a sense of mutiny on the ship. You could see the guy playing Hitler as himself, and you could have a much richer debate. I don’t resent it. We had to ape the American sitcom brilliantly — be American and not be American. I think if we got it right, it would have been fantastic, and I’d rather that than yet another sitcom about a 30-something couple that hasn’t really got that much to say. We stopped short of it. I never felt we were trying to belittle that at all. The man is Adolf Hitler — yep, that Adolf Hitler — and this is the opening of Heil Honey, I’m Home!, a British sitcom that aired for one episode before being canceled. But to not get it right, that was frustrating. It’s not clever, it’s not subtle, it’s not smart, it’s just dumb. One was to laugh at bullies. [EP] Paul Jackson went to the channel with the [Heil Honey] pitch, and they said okay. I’ve certainly never felt embarrassed by it because I know the motives were good. [Laughs] Another goal was looking at the sitcom genre. If as a result of it [being available online], Netflix phoned and said, “Okay, you can do six more episodes,” I would be the happiest person in the world. I would love to write a Trump sitcom. There were tensions backstage and people started questioning [the story], and it became more awkward. The series attempted to spoof American sitcoms of the 1950s like I Love Lucy while using 1937 Berlin as a backdrop. This show was staged like it was the 1950s. You could put the explanation and more of a defense into what they’re doing. Exactly. If a comedian could bring the government down, then it was probably not much of a government. Don’t forget to subscribe for more exclusive interviews and photos, only in EW. A version of this story originally appears in Entertainment Weekly’s Untold Stories issue, available to buy right here. What we wanted was satire. GEOFF ATKINSON: I’d been writing comedy a while, and I had two vague ideas that I’d written down for fun at the time. I have to say, I’m surprised you haven’t made YouTube take down the pilot of Heil Honey   or anything, considering how much you wish you could change. There’s an awful lot I’d do differently…
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Alison Sweeney is returning to ‘Days of Our Lives’

“And unfortunately, this year’s been hard for me because of my knee injury, so I had to push some stuff back. The Daytime Emmy Award-winner   made a short return in 2015 for the show’s 50th anniversary. So, I figured out a schedule, blocked out some time that I had available, and we figured it out!”
First appearing in the role in 1993, Sweeney was a regular on the soap for 21 years, stepping away in 2014. Sweeney has more recently appeared in Hallmark’s Murder, She Baked TV movies and served an 8-year stint as the host of NBC’s The Biggest Loser. Days of Our Lives airs weekdays on NBC. Longtime Days of Our Lives actress Alison Sweeney is returning as Sami Brady   for two months of production on the soap opera, EW has confirmed. “From my end, it takes a little bit of logistics with projects I’m working on,” she told Soap Opera Digest, which was first to report the news. Show Full Article Salem’s resident bad girl is back.

‘Better Call Saul’: Giancarlo Esposito on the Gus Fring you can expect in season 3

What kind of new shadings can we expect from Gus? A reporter said to me the other day, “Let’s face it, we’re in the third season of Saul. (Laughs) Pretty brilliant to me. One side of that integrity is he really wants you to have that integrity because he has that integrity. This is the point where he has to get the cartel to trust him that his ideas are better, that his ideas aren’t just because he wants to take over — it’s not just his ego, it’s that he’s figured out a better plan for a few different parts of their business, not only to grow it but to also keep it safe. Then another six or eight months passed, and Vince and I had a terrific conversation where he just asked me if I’d come back and recreate the character I’d created in the show. Well, it’s been something I’ve mentioned over and over again. I breathed life into Gus.” And he insisted, “No, you created this character because you embodied who this guy is and inspired us.” So I said, “Okay, fine,” because I respect Vince very, very deeply as I do Peter Gould and all the writers who helped to make Saul a hit in and of itself, outside of Breaking Bad. And I said, “Vince, you created the character, I interpreted it and brought it to life. You’re gaining trust for this guy because he’s laying it down and showing you how it should be done. Maybe Vince or Peter haven’t seen it or maybe AMC and Sony haven’t seen it. I’m imagining what Vince was thinking is to take it up to where we begin in Breaking Bad — possibly. So I heard, like the public, rumors that Gus might come to the show. I said I’d be willing predicated on a conversation with Vince [Gilligan, Breaking Bad‘s creator who   created Saul with Peter Gould]. Hopefully you’ll see a guy learn all that and then start to really focus his energy as we see fit in seasons 4 and 5. Here, the actor goes deep on one of the most anticipated arrivals of the TV season. So, to me, that integrity of Gus has a two-fold, double-edged sword. And was there any real talk of doing that as a limited series? I was very clear with Vince. He has a very big brain. Two more seasons and then you have your bookends in a way. He’s younger, he’s more brash. Don’t forget to subscribe for more exclusive interviews and photos, only in EW. But [Better Call Saul] is really weaving in a show about Saul with dangerous elements which, of course, Gus can show you. He assured me that they were going to find the way that would be intriguing and interesting, and I said if that could happen I would come back. It’s the big brain that creates the business, or several businesses like this. Let the fuss about Gus begin. RELATED: Best TV Shows of 2016
What was it about that conversation — or in a subsequent one — that got you excited about returning to the role? In that flashback in season 4 of Breaking Bad, we see Gus   in the ‘90s watch as   Hector kills his partner Max (James Martinez). You certainly feel his danger, but he has a more close-to-the-vest respect for the cartel. This is, of course, years before the Breaking Bad timeline, but he’s not polished and is   naïve about the forces he’s dealing with. We did agree to a couple of things that I think are important — that Gus is primarily a mystery, which means that mystery has to unfold in a slow-burn manner. He’s so self-assured that that moment will come that he takes an action to not have that moment happen now. Well, he’s developing it as we see it. And I got a phone call of inquiry: Would I be willing? How much of the mystery and mystique of the Chilean export   will be unpacked in upcoming episodes? GIANCARLO ESPOSITO: It’s not because of the ending; it really is because I didn’t really know how Gus would fit into a show about Saul. So that’s what intrigued me — that I could find some other delicate areas of Gus to unveil to the public, and people would go, “Oh, yeah! Tonight’s episode of Better Call Saul   will welcome back one of TV’s most centered, inscrutable, cold-blooded, and chilling   villains. Loved the show, loved what Bob does, didn’t know how Gus would fit into it. I want to chart his rise in a specific way. The   season 3 premiere set the stage, as the episode ended with Mike   following a   trail   of clues that seemingly will lead him   into the lair of Gus, with   Jimmy McGill (Bob Odenkirk) also somehow tangled up in this illicit web. If I had my druthers — and my 20-year-old daughter is always reminding me, Shayne Esposito, she said to me, “It’s not your show, Papa! How did Esposito —who, after earning an   Emmy   nomination for his role as Gus, amassed such credits as Revolution, Once Upon a Time, The Get Down, and the Maze Runner   franchise —   feel about revisiting the world of family-friendly fast food and not-so-friendly narco-trafficking? But he’s getting the job done with a better product and a better timing of delivery. That’s what Om hoping to show and I think they’re going to move in that direction. Was there a specific storyline that Vince and Peter   pitched you? It’s not about you! Giancarlo Esposito’s Gus Fring — who was last seen in the season 4 finale of Breaking Bad losing half of his face and all of his life in a crafty wheelchair-bomb explosion — joins the prequel spin-off at an earlier point in his bifurcated career as fast-food chicken restaurant king and drug kingpin. There’s a different kind of balance in a younger man and a man who’s also in the prime of charting his plan.”
How serious were you about The Rise of Gus? Of course we want to know more about Gus, of course it has to be balanced with Saul, and I think they’ll do it brilliantly. I would hint that he is very, very compassionate to his enemies. It had to be for more than one episode. The guy is taking control, he’s taking power. I knew that Saul was conceived as a comedy and then got to be a dramedy. I think it’s a fascinating moment for the audience and for Gus. In other words, maybe the possibility of having him be more vulnerable and less maniacal and obviously in control but also very scheduled out. I certainly have mentioned it to my people, it’s out there. How fully developed is the Gus we will see here in the early ’00s, in terms of his sociopathy and his danger level? ” (laughs) — but I said to Vince, “I would prefer to have a show called The Rise of Gus and make it a limited edition and see all of Gus’s world….” That, to me, would be the way to have the character go out with a bang. But behind that compassion, through an incident that takes place this season, you see his bigger plan for this particular character…. Next ( 1 of 3 )
Show Full Article What excited me specifically was my own imagination about who Gus was six years prior to us meeting him. What kind of Gus can Better Call Saul fans expect in season 3? I’m hoping that season 4 will be the time to really dive into that. It seems like a logical course of action to inject   one of Bad‘s   most memorable   and fearsome figures into   Saul   as it slithers closer to its parent show’s timeline, and fans have been bracing for his arrival ever since…   well, perhaps   the beginning of the show, but certainly   at least since   the end of season 2, when Gus’   future head of security, Mike Ehrmantraut (Jonathan Banks) received a warning note (“DON’T”) on his car just as he was about to eliminate   Hector Salamanca (Mark Margolis). ENTERTAINMENT WEEKLY: So, you got   a call about reprising your role in this prequel, and you’ve said that your first reaction was “No.”   Was that because Gus went out with such a literal bang in “Face Off” and it would be next to impossible to top anything after that? And the other side of the sword is that that is gaining your trust, not only as a viewer, also as a character within the show. Who is that guy? And a guy who understands the essence of being out in the open in the public and is not afraid of that, and can stand up and speak for that. Now he has other reasons, but that’s wonderful exploration. So I keep talking about it because maybe it’s a reality, although I feel like if we explore all the places of Gus in Saul that I’m satisfied with, there may be no need for The Rise of Gus. So that is completely in earnest out of being the best that he can be so that he can in essence get the job, thus exasperating the other parts of the cartel and taking more control. A version of this post appears in   the new issue of Entertainment Weekly on stands now, or buy it here. In all fairness to Vince, they’re folks who have a lot on their plate and are focusing on making this one show great. What’s after that?” That comes up very, very quickly. Right!

Lena Dunham celebrates ‘Girls’ finale with heartfelt note

A post shared by Lena Dunham (@lenadunham) on Apr 17, 2017 at 10:25am PDT

Show Full Article RELATED: Girls and 19 Other HBO Original Series Gems
“We’re super grateful,” Dunham told EW during an interview with her and co-executive producer Jenni Konner. Not alone. To my collaborators — you are my   family. “I think if we were capable — as two Jewish women — of experiencing pure, unmitigated joy, that’s how we would feel right now.” (Read that whole interview about this season and the finale here, and our recap of the final episode here.)
Check out Dunham’s Instagram below. This final season, especially, has been beloved by viewers. “You have made me feel whole again. Give any woman 6 years to create uninterrupted and she will   soar. We demand opportunity.”
Dunham created   Girls   in 2012, and the half-hour series aired for six seasons, earning both critical acclaim and awards attention — it won two Golden Globes in 2013, including the trophy for Best Television Series—Comedy or Musical and has two Emmys to its name. All kinds of women. “Thank   you,” she wrote in a handwritten farewell letter. Women’s stories deserve to be told. Lena Dunham celebrated the end of   Girls   by posting a heartfelt note to Instagram on Monday, the day after her HBO show’s series finale aired.

‘American Gods’: EW review

Her place of employment —   an Egyptian-themed casino somewhere in small-town Minnesota — becomes a symbol for American culture, and her fate becomes a metaphor for her life. But it’s also a token of the almighty force that regulates American life and determines human value, one imprinted with the faces of white presidents and the motto “In God We Trust.” Shadow is either oblivious to the ironies or has lived with them so long that he’s inured to them, but we shouldn’t be; the subtitle of American Gods should be “Know Your Cultural Symbols, Goddamit!” The show, in its own fantastical way, is a text about getting woke. At least he’s got a wife waiting for him, Laurie (Emily Browning), whom he adores. or Get Out. Whittle and McShane generate great chemistry, and McShane, in particular, has a wicked ball with the role. Pay attention to how the show dotes on themes of work, of jobs, of money. He bemoans innovations like the bolt gun. She’s white, too. But Shadow’s arrangement with Wednesday has a deal-with-the-devil vibe to it, which illuminates the queasy subtext of their relationship: he’s playing black manservant to a white patriarch. She loves this; she hates this. This coded symbolism – and this parallel between Odin and his right hand man Shadow —   is no coincidence, and the mere tip of the show’s meta-textual ornateness and hermeneutical fun. He’s days away from release, but he’s beset by premonitions and dreams of impending doom. Have you not read my golden tablets of recaps? I might like its textures and tangents more than its plot. Similarly, there’s The X-Files’ Gillian Anderson, that great goddess of cult TV and modern nerdery, cast in the role of Media, goddess of screens. Trust me. The show incorporates a device from the novel, chunky cutaways to other gods “Somewhere In America” that serve to introduce characters we’ll get to know more downstream. Still, time will tell if the show can stretch the material, or if the material lends itself well to the kind of entertainment some viewers (or Starz) wants it to be. This transformation of Shadow into “strange fruit,” this irreverent allegory for both America’s racial terrorism and racist Internet trolling, is all pretty heavy, but I dig its subversive complexity. Wednesday seems to be trying to gather these imported, near-derelict deities to do battle with a set of stronger, homegrown gods that are young, petulant and full of takeover gumption. A-

Show Full Article To be clear,   American Gods doesn’t ask us to read the text through a lens of race, but it’s there to be interpreted, take it or leave it. His name is Wednesday, but we come to understand that he’s an incarnation of Odin, the hustler all-father of Norse mythology, for whom “Wednesday” is named for, unless you hold to the view that Wednesday was actually named after Mercury, the fleet-footed valet of Roman mythology. They seek Shadow’s loyalty or his death, and their fixation makes us wonder if Shadow means more to Wednesday than he’s saying. She calls him Puppy. When Wednesday brings Shadow over for a suppertime visit, we get a two-part episode that’s sort of like a psychotic Grimm’s fairy tale version of Guess Who’s Coming To Dinner? He vapes, he’s got a dumb haircut, and he travels the superhighways of America (ethereal and literal) in a super-duper stretch limo. As he did on Hannibal, Fuller plays with time and expectations of serial narrative. Shadow is constantly working a coin with his knuckles. Crossing Shadow’s path first is Technical Boy (Bruce Langley), petulant god of the Internet. If someone is going to unlock a door, chances are we’ll get a shot from inside the deadbolt, watching the key penetrate the chamber and turn. In fact, Shadow’s present is nothing but white people with two-faced names, treacherous hearts, or who are straight-up evil. Wednesday is on a cryptic quest that is never quite spelled out but you quickly glean in a serial that takes the form of a road trip, with storytelling that aspires to lucid dreaming. Adapted from the 2001 bestseller by erudite geek icon Neil   Gaiman, the new Starz series is the latest act of aesthetic derring-do and sophisticated irreverence from Bryan Fuller, the cult TV producer-god who made Hannibal Lecter mesmerizing and biting again. Shadow has to clean his old house before selling it? We all submit to a deity to rule us and explain us (career, family, ideology, Facebook); we all worship some almighty power with rituals and sacrificial offerings of money, time and even our lives, or at least the lives of small goats. The show is in love with its own sensual image-making in ways that I find interesting, but others might deem indulgent. RELATED: Game of Thrones: 17 Biggest Changes from Books to TV
American Gods centers on an anti-hero with a loaded name, Shadow Moon (The 100’s Ricky Whittle), a minor league underworld player fond of sleight of hand grifts. He’s a punchable twit, part Silicon Valley punk billionaire, part cyber-bully. Breaking from the main Shadow-Wednesday narrative to expand upon it, deepen it, and bring a few things together, “Git Gone” zips back a few years to deconstruct and reconstruct Laura. And in Chicago, blue collar and fairy tale as a Carl Sandberg poem, a set of Slavic gods is presented as an immigrant family with weird relational dynamics worthy of a Tennessee Williams play. He’s black, which is worth mentioning because it’s rare for protagonists in this kind of saga to be anything but white — and because the show doesn’t let you forget it, with images that dote on his hard-bodied masculinity, an objectification that nurtures a story where America’s racial history is one of many layers of subtext. I know all about getting Lost in a fiction. There are tweaks, elaborations, and rearrangements, all blessed by Gaiman, who has participated as an exec producer. The episode starts sullen, turns romantic, becomes tragic, then gets delightfully absurd and really, really funny. In fact, most of the time, I see the Shadow-Wednesday relationship as a nightmare neo-noir frog-scorpion bromance, with Shadow the savvy cynic seduced by a more-savvy homme fatale who might not have his best interests at heart. Some might want a quicker pace from American Gods. In her flickering debut, the salacious siren calls to Siren by manifesting on televisions at a warehouse supermarket, taking the form of Lucille Ball, but max naughty. The story is a few complex things at once: An ironic Death of a Salesman homage writ with magical realism, about a pair of lonely, alienated Middle Eastern immigrants and/or gay men, beaten down by an American society that hates them, finding recognition and comfort in each other. These short stories – some of which are set in the past   (like the Viking tale), some of which are set in the present – together form a new myth of America that speaks to issues of race, gender, sexuality and other issues that define us and roil us in the here and now. It’s Peak Fuller, an episode that implicitly nods at different pop texts, including his own: The show is basically a Franken-homage to Dead Like Me, with a Wonderfalls protagonist, some of Pushing Daisies’ romance and random magic, and gushes of Hannibal’s acidic humor and ridiculous blood-letting. But this critique becomes much more interesting per the show’s contention that anything can be a god, and that a purely secular America is ruled by idols and myths, from techno-capitalism to consumerism, from our careers to the thing we call the American dream. These allusions add layers of meaning to the scene that ends the premiere, in which Technical Boy’s faceless, white-uniformed hoods gang up on Shadow and hang him from a tree, a lynching; it fulfills a vision that haunts Shadow like a nightmare or a genetic memory of wandering through an orchard of sickly pale trees, guarded by a fire-snorting buffalo. (Slade and Fuller continue to work in the burnished pop-grotesque style, a blend of Baroque religious art, Lynchian horror-noir and Giallo pulp, supported by dense soundscapes and evocative, abstract score by Hannibal composer Brian Reitzell.)
Wednesday is recruiting other deities like him, ancient gods living among us, brought to this country long ago by immigrants, conquerors, or slaves, now living lives of quiet desperation. It tells the story of a deceptively mild mannered young woman going through the motions of an average American life, cultivating desires that can’t be met by her education or her current job, bringing her to a spiritual dead-end. It speaks to his faith in his own control and a make-your-own-luck worldview. And she’s cheating on him. Working with screenwriter Michael Green and Hannibal helmer David Slade, Fuller uses American Gods to create an ironic hero’s journey epic, a big saga fantasy a la Game of Thrones or The Walking Dead that casts shade on the genre and transforms our country’s checkered history and high-low culture into a richly subversive mythology. But hopefully he keeps Media around. They pixelate out of thin air, downloaded from some electro-mystic cloud of collective media consciousness. Shadow, apparently, is neither versed in Norse mythology nor Marvel movies. The result is episodes that feel incredibly rich and meaty, working with the show’s tremendous visual style to counter a failing of many Starz shows, a feeling of smallness even as they’re trying to be so very big. In another part of the country, an African fertility goddess known throughout the ages by many names, seeks vitality and adoration in the most degrading way possible, toiling as a prostitute, her temples now lounges and roadside motels. It’s a brilliantly impish moment. Nancy (Orlando Jones), the West African spider god, appears to the shackled souls sporting a fedora and colorful suit. (The premiere opens with a dynamite prologue about Viking warrior-explorers who reach the continent that plays like a darkly comic scold of manifest destiny colonization; it is in this fashion that Odin reaches these shores.)
There’s a nomadic leprechaun who lives by luck, fists and an endless supply of coins named Mad Sweeney, played by a terrific Pablo Schreiber, completely shedding his Pornstache character from Orange Is The New Black. Each profile is imbued with atheist complaint of gods as monsters: they’re tribal, not true; they exist only because we believe in them, not because they’re real; they take on lives of their own and become exploitative trickster-hustlers; they negate individual identity; they make terrible, dehumanizing demands. But I’m fascinated to see where Shadow’s anti-hero odyssey leads, which side of this American Ragnarok he chooses, or if he rejects the gods and bidding to bind his mind, heart and soul once and for all. Sorry to get preachy; I have American Gods on the brain. He tells them of the degrading life that awaits them and generations of descendants in the new world, a dismal revelation set to a blues saxophone score that triggers a doomed revolution. In another, fable-like tangent set in modern day Manhattan, a man from Oman (Omid Abtahi) who tries to make a living selling trinkets and novelties, meets a once-vibrant Arabic Jinn (Mousa Kraish) who now drives a cab   and keeps his fiery natured hidden – closeted – behind sunglasses. We all believe in God. I’m not sure I can live without her. That said, it wasn’t until episode four that I went from liking American Gods to loving it. I can write you micro-essays about these scenes; I happen to have a theology of stain removal I’ve always wanted to explicate. While American Gods has the right stuff to be a The Great American Dark Fantasy Television Novel, I’m not ready to rule yet on whether the show can be TV’s next great big saga serial. Yo, po-mo Clash of the Titans, gets to the clashing! He’d rather be braining cattle – or people —   with his gory sledgehammer, and before long, the foul white butcher starts flashing hungry eyes at his strapping black guest. You’re going to get a montage of vigorous housecleaning. American Gods is always looking for some neat, nifty, new way to illustrate something, no matter how trivial. It’s   a premise that can be read as timely allegory about American culture in any number of ways, from generational conflict to the tension between religious and secular world views, or spiritual and materialist values. It leaves you hoping the show can be more about Laura – and presents a way it can. His Oompa-Loompa thugs resemble the droogs of Kubrick’s A Clockwork Orange, remade as old school video game avatars. Episodes bring you to places and sit there, marinating in characters, milking scenarios for mood and subtext. Or maybe it’s just the weather; a sinister, snowy winter is coming in this pay cable fantasy, too. Fuller and co-showrunner Green appear to be restricting themselves to the confines of Gaiman’s book; the first season will reportedly cover just the first third. In one audacious tale, set aboard a slave ship and tailored to our Black Lives Matter moment, Mr. In a telling beat, she visits a museum and pines for ancient queenly vestments that once belonged to her, now locked behind glass. The adaptation is largely faithful. Cloris Leachman steals every second as one of three women of varying ages and mental states – avatars of morning, evening and midnight, spliced with the Fates of Greek mythos —   who reside with Czernobog, a struggling, doomed pantheon as a whacky-sad sitcom family. You immediately like the Shadow-Wednesday ‘ship; you don’t want it to be bad, so much so that you might not be suspicious of it. In the aftermath of tragedy that earns him an early release from prison, Shadow takes a job as an all-purpose valet to a mysterious dude who’s something not unlike himself   — a vagabond con artist   — except he’s nothing like him, because he’s imbued with powers and abilities far beyond mortal men, and because he’s white, and because he’s played by Deadwood’s Ian McShane with wizened charismatic swagger and typical erudite vulgarity. Major characters are introduced in big beats or little bits, then remain off stage for long stretches. But I was consistently engrossed. The characters, the concept, the deeply considered filmmaking captured my imagination. Mersh. Peter Stormare is a ripe hoot as Czernobog, a brutal dark god in the old country, a lowly “knocker” on the kill floor of a slaughterhouse here in America. We meet him in a prison yard, pumping iron, getting harassed by neo-Nazis, making small talk with his only friend, a peculiar chap with a ridiculous red flag name, Low Key Lyesmith. It’s the apocalyptic revelation of an increasingly feverish prophet. Fuller’s eclectic work (which includes the more whimsical but no less heady Wonderfalls and Pushing Daisies) takes on blockbuster genres in the manner of one of his influences, Stanley Kubrick, possessing it and reinventing it into idiosyncratic, immersive worlds. Those who say that there is nothing believe in something, and even the most meaningless pastime can convert us into ecstatic zealots and scary fundamentalists. We may not recognize it, but we do. She beckons to Shadow like a commercial, or maybe a Starz show, bidding for his attention with a wicked wink and a promise to flash him some T&A (actually, just the T), to worship her with his eyeballs, with his viewership, for our worship. The showrunners patiently unfold the premise like a map and take their time exploring it. F—ing white people! The resolution of the first episode’s cliffhanger isn’t fully explicated until episode four. She is Bilquis (a bold, poignant Yetide Badaki), and her sexual powers are extraordinary; her lovers get caught up with her   — they’re literally consumed by her.

Valiant writer teases new spy-focused ‘Ninja-K’ series

We’ll explore what makes him different than those who have came before, and whether that’s a good thing or a bad thing. He has become the go-to super-spy of the Valiant Universe, if you will. There’s no reason for us to redo that, so we’re looking at the past of the Ninja program itself. Show Full Article Last month saw the launch of a new X-O Manowar series, with writer Matt Kindt and artist Tomas Giorello taking one of the company’s flagship characters on the first step of an epic space saga. Look for it this November, and check out the first cover from Trevor Hairsine above. I think anyone who’s seen his work on X-O Manowar knows how amazing he is as an artist and storyteller, especially his design work. It’s a bit different genre wise, where X-O is fantasy and sci-fi, Ninja-K   is more super-spy and high-tech. How is it that MI6, the British secret service agency, has as as their top operative someone who uses Japanese spy techniques? Some of the aliens and planets he designed for X-O are just so cool, and that’s the type of design sense we thought was really important to bring to this, looking at past Ninjas and the history of the Ninja program. I think artists, like writers and anybody else, like to stretch themselves creatively, and what’s exciting for me is seeing Tomas use his tremendous powers in a slightly different arena. There’s a badass ’70s female Ninja, who’s sort of like if Foxy Brown was a ninja. I think people will really enjoy that. Ninjak has to figure out who’s doing it and why, and obviously he’s gonna be a target himself. I don’t want to give too much away but there’s the ones from ’50s who are more James Bond mode. He’s a super-spy who uses ninja techniques along with fancy spy tech. CHRISTOS GAGE: The great thing about Ninjak is he’s a terrific character with a cool high concept: What if James Bond was a ninja? His stuff on X-O Manowar blew me away, so I’m excited to see what he’s bringing to Ninjak. What can you tease about the past versions of Ninja? But of course Japan and England were enemies in World War II, so what happened there? Many Valiant characters mash up different pop culture influences, and Ninjak is a particularly awesome example of that: a combination spy and ninja who slices his way through all kinds of enemies. I know you’re just starting to see the art come in, but what can you tell us about working with Tomas so far? At the end of the day we want it to be equally enjoyable to people who have been reading Ninjak this whole time, and folks who want to jump on board now. He’s the first of the Ninja agents who is a freelancer, he doesn’t answer directly to MI6 and goes out on his own. We’re getting to really delve into the history of the Ninja program. Matt established that Ninjak is actually Ninja-K, so there were Ninja-A, -B, -C, and so on. ENTERTAINMENT WEEKLY: Like the new   X-O Manowar series, this book seems like a great potential jumping-on point for new Valiant readers. I really like going back to the original two Ninjas, A and B, because they have an interesting history. I’m really excited to see the designs that have already started to come in. Each one is its own big, epic story, and that’s how we’re approaching it with this relaunch. Can you explain to new readers who Ninjak is and what his role has been in the Valiant Universe up until now? His most recent series, written by Kindt, explored some magical and metaphysical territory. We’re looking at it as, going back to the James Bond analogy, every Bond movie is its own experience. With Ninjak himself, we’re gonna see his relationship with Livewire move forward. Valiant Entertaiment has been a fresh and exciting superhero publisher for a few years now, but there’s never been a better time to start reading. You don’t have to have seen Diamonds Are Forever to enjoy Skyfall or On Her Majesty’s Secret Service. The title of the new series,   Ninja-K, emphasizes Ninjak’s role as the latest iteration of a long-running program (going all the way back to Ninja-A and Ninja-B). What Ninjak is going to uncover in the course of this investigation is something that affects him personally and makes him take another look at the whole program. What happens is, someone is going back and killing people who have been associated with the Ninja program in the past. It has to do with the fact that Japan and England were allies during World War I. We’re going to start looking at the history of the program. It’s a really cool mythology we’re setting up. Now one of Valiant’s other prominent heroes will be getting a similarly fresh relaunch, when Giorello and writer Christos Gage begin a new Ninja-K   series this November. One of the things I love about the character is you can tell many different kinds of stories with him, as Matt Kindt and his collaborators have shown. What else might we see in this super-sized first issue? You can do spy stories, you can do crazy high-tech that’s almost sci-fi, Matt did some semi-horror, and you can do straight up superhero action (Ninjak is part of Unity, the Valiant superhero team). We’re gonna see a lot of Ninjas through the ages. Gage’s run, by contrast, will focus more on the spy element and on the history of the secret program that created Ninjak —   especially since a mysterious someone has started   killing off people involved in the program, Watchmen   style. In an interview with EW, Gage teased his plans for the series, which kicks off with a   special 40-page first issue. He works with the British MI6 but he’s also a freelancer and does whatever he wants. They use tech to varying degrees. We’ll get into that. What I think Matt did wonderfully with his run on Ninjak is he really delved into the backstory of Ninjak himself: His personal past, where he got his training and abilities, his childhood.

Taylor Schilling is a kidnap victim in exclusive clip from dark comedy ‘Take Me’

But the job, and his target, business consultant Anna St. In actor Pat Healy’s directorial debut Take Me, the Cheap Thrills and Compliance star plays a fledging, and not particularly successful, Los Angeles-based entrepreneur named Ray Moody who specializes   in fake kidnappings that provide alternative therapy for his clients. This black comedy is written by Mike Makowsky, costars   Alycia Delmore and Jim O’Heir, and is executive-produced by Jay and Mark Duplass. The film receives its world premiere at the Tribeca Film Festival April 25 and then debuts in theaters and via select digital platforms   on May 5. Show Full Article Watch the trailer for Healy’s Take Me below and an exclusive clip from the film above. Blair (Taylor Schilling from Orange Is the New Black), may not be all that they seem. When Ray is offered a sizable sum for a weekend abduction he jumps at the opportunity.

Hulu: What’s coming and going in May

If it’s been awhile, invite a few friends over to enjoy Tim Curry in the nostalgic ’80s gem   Clue,   or rewatch   Coming to America   before the potential sequel. No   (1963)
Fatal Instinct   (1993)
For Your Eyes Only   (1981)
Free Willy 2: The Adventure Home   (1995)
Free Willy 3: The Rescue   (1997)
From Russia with Love   (1964)
Gladiator   (2000)
Goldeneye   (1995)
Law of the Lawless   (1964)
License to Kill   (1989)
Life is Beautiful   (1997)
Maximum Security   (1990)
Monkey Shines: An Experiment in Fear   (1988)
Moonraker   (1979)
Naked Gun 2 & 1Ž2: The Smell of Fear   (1991)
Naked Gun 33 1/3: The Final Insult   (1994)
Naked Gun from the Flies of Police Squad   (1988)
Nick of Time   (1995)
No Way Out   (1987)
On Her Majesty’s Secret Service   (1969)
Planes, Trains and Automobiles   (1987)
Race for Your Life, Charlie Brown   (1977)
Repo! Other finds from the batch of new material on Hulu include   writer   Mike White’s (of   Enlightened fame) underrated and twisted   Chuck &   Buck, Tim Burton’s much-loved   Big Fish, as well as Roberto Benigni’s Oscar-winning WWII drama   Life is Beautiful. RELATED: EW’s 25 Best TV Shows in 25 Years
On the TV front, Hulu brings you the second half of   Vikings’   season 4, along with the season 3 premiere of the streaming service’s original series   Casual. Look below for the full list of what’s coming   and going on Hulu next month, and note that the titles with an asterisk are available with a subscription to   the Showtime premium add-on. If you’re in the mood for a martini shaken, not stirred, flick on one (or all) of the 10 Bond movies, featuring five   different 007’s to cover everyone’s tastes. (1990)
Arrowhead   (1952)
A View to a Kill   (1985)
The Bad News Bears   (1976)
Bad Influence   (1990)
Bait Shop   (2008)
Barbershop   (2002)
Barbershop 2: Back in Business   (2004)
Beauty Shop   (2005)
Big Fish   (2003)
Cabin Fever   (2003)
Cabin Fever 2   (2009)
Catacombs   (2007)
Cecil B. The Genetic Opera   (2008)
School Ties   (1992)
Small Soldiers   (1998)
Star Kid   (1998)
Sucker Punch   (2008)
Thunderball   (1965)
Tomorrow Never Dies   (1997)
Winter’s Bone   (2010)
Available May 2
Vikings: Complete Season 4B (History)
Jackson:   Documentary (*Showtime)
Bodyguards: Secret Lives of the Watchtower Men   (2016)
Available May 3  
Outsiders:   Complete Season 2 (WGN)
Available May 4
A Fistful of Dollars   (1967)
Available May 5  
Flubber   (1997)
The Recruit   (2003)
What About Bob? Available May 1
Line of Duty:   Complete Season 4 (BBC One)
South Park en Español:   Complete Season 20 (Comedy Central)
48 Hrs. While spring is here and summer might be fast approaching, Hulu is planning to keep you on the couch during the month of May with a slew of new titles soon to be   available. (1991)
Available May 6
Batman & Bill:   Documentary (Hulu Original)
Hardcore Henry   (2015) (*Showtime)
The Red Pill   (2016)
Available May 7
Billions:   Season 2 Finale (*Showtime)
Available May 9
All We Had   (2016)
Available May 12
A Hologram for the King   (2016)
Extraterrestrial   (2014)
Available May 13  
Bad Moms   (2016) (*Showtime)
Me Before You   (2016)
Available May 14
Blue Caprice   (2013)
Available May 15
The Next Step:   Complete Seasons 3 & 4 (BBC)
He Got Game   (1998)
Available May 18
Downward Dog:   Series Premiere (ABC)
Underground: Complete Season 2 (WGN)
Available May 19
The Last Ship:   Complete Season 3 (TNT)
Before I Disappear   (2014)
Available May 20  
Becoming Bond:   Documentary (Hulu Original)
Bakery in Brooklyn   (2016)
Teenage Mutant Ninja Turtles: Out of the Shadows   (2016)
Available May 21
Twin Peaks:   Season 3 Premiere (*Showtime)
Firestorm   (2013)
Available May 23
Casual:   Season 3 Premiere (Hulu Original)
Available May 28
American Muscle   (2014)
A Perfect Man   (2013)
The Duel   (2016)
Available May 30  
Sex & Drugs & Rock&Roll: Complete Season 2 (FX)
Here’s what’s leaving Hulu in May:  
May 31
A Simple Plan   (1998)
Battle Ground   (2013)
The Big Kahuna   (2000)
Curse of the Zodiac   (2007)
Care Bears Movie   (1985)
Dangerous Curves   (1989)
Eight Below   (2006)
Gang Related   (1997)
Ides of March   (2011)
Hostel   (2005)
Hostel: Part 2   (2007)
The Hours   (2002)
Judgement Day   (1999)
King of the Mountain   (1981)
Kiss the Bride   (2002)
Man in the Moon   (1991)
The Phantom of the Opera   (2004)
Sister Act   (1992)
Sister Act 2: Back in the Habit   (1993)
Up in the Air   (2009)

Show Full Article Demented   (2000)
Chuck & Buck   (2000)
Clue   (1985)
Coming to America   (1988)
Dark Blue   (2003)
The Doors   (1991)
Dr. (1982)
Another 48 Hrs. With new arrivals, of course, come some departures, including   The Hours, Up in the Air, Hostel, and the Sister Act films, so soak them up while you still can.

Watch VH1’s ‘Daytime Divas’ put on a ‘sh– show’ in exclusive trailer

The VH1 drama premieres on June 5. But as the exclusive teaser trailer above reveals, while the ladies are friends on screen, that’s   far from the truth when the cameras stop rolling. The show — which is based on former The View host Star Jones‘ book   Satan’s Sisters   —   follows Vanessa Williams’ character, Maxine, who is the creator and host of a popular daytime TV show,   The Lunch Hour, along with fellow co-hosts, Mo, Kibby, Nina, and Heather. Vh1’s   Daytime Divas are bringing the drama. And if things couldn’t get even more tenuous, Maxine’s former assistant-turned-magazine-editor-in-chief, Anna, wants to expose the truth about the show and the women on it. Show Full Article And the hosts don’t just have each other to contend with: Maddie, a former host, wants to return, while Cecile, a bestselling author, also wants to join cast.

Hans Zimmer, Coachella star? Yes.

After a   weekend in which a surprise Migos cameo was as expected   as sunburns and flower crowns, Zimmer had the good fortune to be doing something both totally recognizable and completely new at Coachella.It was a stroke of mad genius to put him out here at primetime, and the literal squeals of delight coming from teenage ravers when they recognized his film themes rivaled any reaction to anything else all weekend.   His scores have, for three decades, set the tone for some of the biggest blockbuster films of our time. (Brian van der Brug / Los Angeles Times)A packed, totally enthralled crowd   flooding the Outdoor Stage.     Latest updates The resume speaks for itself.But how would it play at Coachella? Maybe Zimmer had a hunch that Coachella rewards bigness of all stripes. Just film composer Hans Zimmer absolutely devastating a Coachella crowd that had no idea what it was in for.When the Coachella lineup was announced this year, Zimmer’s presence was the one chin-scratcher. Even Williams’ cameo on “Freedom,” which would have been a highlight of any other set, felt more like alms-paying than spotlight-stealing. Would a millennial crowd more used to DJ Khaled’s   Snapchat missives take to an orchestra playing instrumentals from movies they may not have seen?Oh, lord, did they ever. That’s why he toted out a dozens-strong orchestra to bring his compositions to total, exacting fruition.Nothing like it has ever happened at Coachella before, from the virtuosity of the players to the ambient, instrumental nature of the material. Thundering drums, ethereal vocals, a surprise Pharrell   Williams cameo.A triumphant turn from an   EDM superstar? “The Dark Knight,” “Inception,” “The Lion King,” for starters. The two have worked together at length, but here,   even a pop star like Williams   couldn’t compete with the 59-year-old German composer   willing this ridiculous leviathan of a set into existence. Nope.

11 Coachella highlights: Kendrick Lamar is a ‘DAMN’ good headliner

Kendrick Lamar should get some good mileage out of his new album title, DAMN, because after hearing him perform some of it as Coachella’s Sunday headliner, that’s also what festival-goers were saying about the Compton, Calif. (Read our full recap of her Coachella set here.)
Drake, The Weeknd, and more made cameos
Kevin Mazur/Getty Images; Frazer Harrison/Getty Images; Rich Fury/Getty Images
Drake — who brought out Madonna when he headlined Coachella in 2015 — came out for a   surprise appearance at Future’s Saturday set to perform condensed versions of “Jumpman” and “Gyalchester” off his recently released More Life   playlist before asking the crowd to help create a “real Coachella moment” as they sang “Fake Love” together. And then @pharrell stopped by to sing #Freedom! @lordemusic had a really cool stage at @Coachella … actors in a glass box elevated above the stage, and in there performing vingettes with each song. This was one of the coolest ideas… @hanszimmer and that #orchestra! WOW. Migos — are poised to see their star rise. @ladygaga has #TheCure for @coachella. “But it had to be done, didn’t it?”
The stirring instrumentals — Pirates was performed via   cello concerto — were often accompanied with a visual show displayed on the screen behind the stage, enhancing an already special experience. Wowowowow Movie songs and scores at @Coachella … I could've sat there all day long! Featuring nearly 20 songs, his concert was woven together with a series of videos about one Kung Fu Kenny (played by Lamar), a character he mentions frequently on DAMN. Was even, strangely enough (or maybe not?), emotional. Such a fun, mesmerizing #Day1 #coachella set! DJ Khaled @ coachella was the epitome of the word ''lit''
— lina (@LinaElToukhy) April 17, 2017

don't think I've ever seen anything like DJ Khaled's Coachella set
— Ally? They played through the issues as long as they could before it became necessary to stop so the issue could be fixed. Kevin Mazur/Getty Images for Coachella
Performing “Antidote,” “goosebumps,” “Pick Up the Phone,” and the auto-tune-heavy “Skyfall,” among many others, Scott hyped the crowd all the way. Check out a portion of #Royals and #GreenLight, but first, hear some of a new song she previewed called #HomemadeDynamite from her upcoming album Melodrama. 1 single “Bad and Boujee” and “T-Shirt,” later that night getting some time with both the DJ Snake and Gucci Mane crowds to perform the former. @francisandthelights couldn't be contained! #FANLUV YOUR ENERGY WAS SUCH A BLESSING!! And because you don’t have to be   at Coachella to enjoy it thanks to livestreaming options on Coachella.com, social media got in on the action. Weekend 2 of Coachella kicks off Friday. Lamar is just one of the many highlights from Coachella 2017. “I came for the rage, Coachella,” he proclaimed (via Billboard). The Atlanta-bred rappers first hit the stage with Future to perform No. #gagachella #coachella2017 #coachella
A post shared by Gerrad Hall (@gerradhall) on Apr 16, 2017 at 11:13am PDT

Gaga has headlined hundreds of shows at venues ranging from the   Super Bowl to dive bars, but Coachella is a different animal. Ironically, the sound went out again   as they played their 1997 song “Let Down.”
Francis and the Lights hypnotized
Francis and the Lights singer Francis Farewell Starlite came dressed for the occasion, telling the crowd he always wanted “a tent designed exactly the color of my jacket,” referring to his burgundy ‘80s-inspired get-up that matched the chandelier-accented covering of the Gobi tent where he performed. Not sure I've ever seen something so visually breathtaking, mystifying, hypnotizing, and euphoric as #Antarctic #coachella 360 dome. A post shared by Gerrad Hall (@gerradhall) on Apr 15, 2017 at 12:50pm PDT

When singing, Starlite’s intriguing and emotional vocals were almost hypnotizing, but it’s when he stepped away from the mic that he was the most mesmerizing, bouncing across the stage (and even into the audience — see above) with reckless abandon, possessed with an intoxicating energy that his loyal fans expected and that newcomers couldn’t help but join in on. Bravo, @obscuradigitalsf and @hp #didntwanttoleave #takemeback #therapy
A post shared by Gerrad Hall (@gerradhall) on Apr 16, 2017 at 5:45pm PDT

HP and Intel also put on a nightly light display with the use of 300 drones, a portion of which you can see below. hip-hop sensation. Combining “the pulse of the music and the flow of human movement,” according to a press release, the projected sequences “are driven by data captured from audio analysis and motion capture, setting a new bar for high fidelity immersion.”
See some video and photos below. In addition to stepping in for a pregnant-with-twins Beyoncé, who postponed her headlining appearance until 2018, Gaga brought a hot new song to share with the desert crowd: “The Cure,” a   pop single driven by its electro-chorus. Playing 15-30 seconds of a song, then pausing to remind everyone “this is just my intro” — a process that played on loop for several minutes — Khaled promised, “I got so many surprises.” So many, in fact, he said the media would be changing its tune about him and that all the new headlines would read, “DJ Khaled takes Coachella.”
Well, with some 20 minutes left in his 50-minute set, out those surprises rolled. Read on to see what — and who — else made the list. The seven-time Grammy winner’s weekend-closing set further helped cement his position as a star   — and a consistent and important voice during a time when he’s choosing not to remain silent about recent social and civil rights injustices. Listen to the first performance of her brand new single! The speaker fuzz and feedback came first, then, total silence. Watching his loyalists is enough to make a newcomer want in on the fandom. #inception #piratesofthecaribbean #thelionking #thedarkknight #hanschella #thosepeoplehavetalent
A post shared by Gerrad Hall (@gerradhall) on Apr 17, 2017 at 8:12am PDT

If that wasn’t enough, even Zimmer got in on the “Surprise!” game, bringing out Pharrell Williams to perform his recent single “Freedom.” “He makes the world a better place,” the Oscar-winning composer said of the singer and music producer. Lamar got lots of love from the Indio music and arts festival crowd for new tracks “ELEMENT,” “LUST,” “PRIDE,” “FEEL,” and “HUMBLE,” and he, in turn, gave some back in the form of “LOVE,” which served as the encore of the roughly 75-minute set that featured appearances by Travis Scott, ScHoolboy Q, and Future (all three had their own Coachella sets this year) performing “goosebumps,” “THat Part,” and “Mask Off,” respectively. Fortunately, so is she, and because of that, she knew exactly what to do to entertain fans of all genres. Lamar also worked in some older cuts, including “King Kunta,” “Bitch, Don’t Kill My Vibe,” and “m.A.A.d city.”

While fans might not have lyrics committed to memory just yet for Lamar’s fresh DAMN releases, that didn’t stop them from becoming absorbed in the rapper’s undeniable ability to command the stage with his passion and energy. @wethebestmusic #GRATEFUL https://t.co/N5Z5iIzraZ
— DJ KHALED (@djkhaled) April 17, 2017

coachella thank you! Nbd just @champagnepapi stopping by to show some #reallove at #Future's #coachella set w/ #fakelove #jumpman #drake
A post shared by Gerrad Hall (@gerradhall) on Apr 15, 2017 at 8:35pm PDT

Elsewhere, people stopped and looked at each other in shock when they heard Lauryn Hill sing the opening to the Fugees’ “Ready or Not” during DJ Snake’s set, where she also got the crowd hyped performing “Killing Me Softly” and 1998 solo song “Lost Ones.”
As for other surprises, the Weeknd dropped in during Canadian rapper Nav’s set to perform “Starboy” and “Party Monster,” along with the duo’s recent collaboration, “Some Way”;   Gryffin welcomed Daya to the stage for “Feel Good”; and British singer Dua Lipa surprised the large and lively crowd at Dutch DJ Martin Garrix’s show to perform his single “Scared To Be Lonely.”

You know what I think of @Daya joining @gryffinofficial at #coachella … #ILikeIt #pun #watchandsee #putyourhandsup #coachellasurprise #coachellaguest #surprise #sahara #coachella2017
A post shared by Gerrad Hall (@gerradhall) on Apr 15, 2017 at 8:21pm PDT

A$AP Rocky got the most out of his trip to the festival grounds by pulling double-duty, appearing during DJ Mura Masa’s set — where Charli XCX also stopped by — then later popping up at ScHoolboy Q’s show. #GRATEFUL THE ALBUM COMING !… https://t.co/cS3Evub5FQ
— DJ KHALED (@djkhaled) April 17, 2017

Lorde debuted “Homemade Dynamite”
Like Lady Gaga on the same stage the night before, New Zealand-born star Lorde debuted a new song, “Homemade Dynamite,” Sunday during her first performance at the fest since 2014. Show Full Article Migos made yet another appearance, again with “Bad and Boujee,” while 2 Chainz performed a few of his own songs, including “All Me” and “Rich as F—,” a Lil Wayne track he’s featured on. Whoever is behind these drone light shows in artist parking @coachella… so sick! “This man is peace and love and freedom.”
Travis Scott was flying high
Texas-born rapper Travis Scott didn’t headline Friday night, but he might as well have for his first fest outing: The crowd at his Outdoor stage show was one of Day 1’s biggest, and the hip-hop-loving scene was ready for his show, which included the 24-year-old performing on the wings of an enormous animatronic bird perched on the stage in a nod to his upcoming Bird’s Eye View Tour. Developed by creative artist Android Jones, whose previous installations have appeared on the Sydney Opera House and Empire State Building, the less-than-10-minute 360-degree animation displays across the entirety of the dome, viewed from a seated, laidback position to maximize visibility. The preview offers another peek at the upcoming Melodrama   (out June 16),   which includes the already-released singles “Green Light” and “Liability.”
Kevin Mazur/Getty Images
“I want you to give the song the biggest f—ing birthday of all time,” she asked of the Coachella crowd before playing the track. #lordechella #coachella2017 #mainstage #boom
A post shared by Gerrad Hall (@gerradhall) on Apr 17, 2017 at 8:19am PDT

HP introduced their Antarctic Dome
While there is intriguing artwork scattered throughout the festival grounds, one structure stands out among the others because of what’s inside: HP’s Antarctic Dome is home to a completely unique visual art experience. 🎮🛰 pic.twitter.com/3gnN6QuYT4
— ira brian miller (@irabrianmiller) April 16, 2017

This drone light show was epic #coachella #drones
A post shared by Geoff Clark (@geoffreyjamesclark) on Apr 16, 2017 at 1:36pm PDT

Hans Zimmer brought his orchestra (and Pharrell)
In one of the weekend’s more rousing “wow” moments, film composer Hans Zimmer and a full orchestra dazzled the Outdoor stage crowd, playing excerpts from movies he has scored — Inception,   Pirates of the Caribbean, The Lion King, and The Dark Knight — but with an added dose of caffeine. (@babyheelbayley) April 17, 2017

Why was dj khaled only playing 20 seconds of each of his songs wtf #Coachella
— drake's pet goat (@drizzygoat) April 17, 2017

DJ KHALED JUST MADE THE COACHELLA CROWD CHANT HIS SONS NAME IM IN TEARS
— riley (@virtuallyriley) April 17, 2017

RELATED:   All the Best Photos From Coachella 2017

coachella FAN LUV THANK YOU FOR COMING OUT FOR ME! Migos were everywhere
Kevin Mazur/Getty Images for Coachella
With four surprise appearances in one weekend, it seems hip-hop trio Quavo, Takeoff, and Offset — a.k.a. “If you not tryna mosh pit … get the f— out.”
Radiohead got “Let Down” by technical difficulties
Kevin Mazur/Getty Images for Coachella
Their third time as headliners was   not a charm for Radiohead:   Friday night’s top act was giving fans everything they wanted and expected… until it wasn’t what they wanted or expected. The 29-year-old performed at least a half-dozen tracks from that record, which dropped last Thursday, opening with the album’s   “DNA” after showing footage of Fox News anchors criticizing his protest song “Alright,” a single he performed later in the show. Rick Ross, A$AP Ferg, Wale, Swae Lee, and French Montana all also made it to the Sahara tent stage for Khaled’s Coachella takeover. “It takes a special kind of crazy person to bring an orchestra into the desert,” he told the crowd after opening with a snippet of the   Inception   score. Lady Gaga premiered “The Cure”
Amy Harris/Invision/AP
Mother Monster pulled through in more ways than one for Coachella 2017. But their weekend wasn’t done there…
DJ Khaled, in his own words, “takes Coachella”
Kevin Mazur/Getty Images
If there’s one thing DJ Khaled knows how to do, it’s how to tease a crowd and build anticipation.

Lady Gaga’s ‘The Cure’: EW review

That her latest could belong to any number of B-list pop singers is more shocking than that video of her trying to swallow an octopus. Instead, Gaga   teams up with DJ White Shadow and Nick Monson, who worked extensively on her 2013 album ARTPOP, and a few other co-writers for a breezy, finger-snapping summer jam. Just in time for Easter, Mother Monster is risen! Perhaps that’d be more disappointing if “The Cure” wasn’t so, well, potent. The track   marks   yet another sonic detour for the singer in that “The Cure”   is — bummer alert! But this weekend, while filling in for Beyoncé as a Coachella headliner, she gave sweaty festival crowds and live-stream lurkers a surprise holiday treat: a new song, “The Cure,” that marks her re-entry into the world of flashy dance-pop. And for a song released with no hype or expectations   as   a (presumably) one-off summertime gift for fans and festivalgoers, that’s just the right prescription. Yet to   call “The Cure”   a return to disco stick-riding form isn’t quite right. From the vaguely dancehall-inflected EDM beat to the chirpy synth earworm that could very well be more of the pitched-up vocal samples all over the radio, “The Cure” resembles a lot of other pop songs at the moment. Okay, so Lady Gaga was never gone — it’s been only six months since she released her endlessly debated Joanne, and only two months since she dazzled the Super Bowl with a halftime show that miraculously managed to unite Democrats and Republicans alike. — sort of   generic. It’s simply   fun. Show Full Article Go ahead and hang up   your pink cowboy hats — gone are the twangy guitars and rock-and-roll signifiers of Joanne. And whether you loved or hated ARTPOP, revered or rebuked Joanne, the one thing every Gaga fan can probably agree on is that her songs have always been singular. Even when she’s writing a love song as straightforward and on-trend as this one, she   still knows how to write a good hook, and “The Cure” ranks among the   catchiest, most immediate, and thankfully least self-serious songs she’s put out in recent years.

Broadway’s ‘Frozen’ has found its Anna and Elsa

Frozen on Broadway will feature music and lyrics by the film’s composers, Kristen Anderson-Lopez and Robert Lopez, with a book by the film’s screenwriter and co-director Jennifer Lee. As the sibling   princesses who anchored Disney’s 2013 animated phenomenon,   Murin and Levy   are both Broadway veterans with a host of credits proving their vocal chops for the likely demanding roles. Joining the primary duo are Jelani Alladin as Kristoff, Greg Hildreth as Olaf, John Riddle as Hans, and Robert Creighton as the Duke of Weselton. Show Full Article James Theatre in the spring of 2018 following a tryout in Denver this summer. Disney has found   Anna and Elsa once more. The show will make   its world premiere   in August at the Buell Theatre in the Denver Center for the Performing Arts. Murin is best known for Lysistrata Jones and Xanadu, while Levy has originated and reprised parts   in Ghost and the recent revivals of Les Miserables and Hair. Ashford will replace previously announced choreographer Christopher Gattelli (Newsies). Patti Murin will star as Anna alongside Caissie Levy as Elsa in Disney Theatrical Productions’ upcoming Broadway musical Frozen, which will open at New York’s St. (Another fun bit: Both actors appeared at separate times in Wicked, with Murin as Glinda and Levy as Elphaba.)

In creative news, Tony winner Rob Ashford (Thoroughly Modern Millie, How to Succeed, Curtains) has also boarded the development team as the show’s choreographer; he’ll re-team with Frozen director Michael Grandage, with whom he’s crafted a decade’s worth of shows.

‘Gotham’ spring trailer reveals Bruce’s Batman transformation

When Gotham first premiered on Fox in 2014, it was pitched as the origin story of the city that created Batman, along with a number of DC villains. Below are   some stills from the trailer:
Fox
Fox
Fox
Gotham   season 3 returns   Monday, April 24 at 8 p.m. Freeze, and the Mad Hatter. So far, the series has introduced viewers to plenty of villains, including Penguin, Mr. ET   on Fox. But now, as the series heads into the back half of its third season,   it could finally be time for a dark hero to rise. Show Full Article In a new trailer for the spring season, fans get a glimpse at the return of Fish Mooney and Nygma’s rise as “The Riddler.” But perhaps most notably, Bruce Wayne’s transformation is also teased when he meets Ra’s Al Ghul and begins his vigilante training. See Celebs Dressed Like Superheroes

Watch the full trailer above for a look at Bruce’s evolution, along with the returns of Hugo Strange and Barnes as The Executioner. As Wayne says in the trailer, “If this is my destiny, I do not want to fail.”
RELATED: Super Stars!

David Letterman honors mother, Dorothy Mengering, with touching eulogy

“We didn’t want for anything because of my mom,” Letterman said of her work ethic, according to   The Indianapolis Star. Born in Linton, Indiana,   Mengering was the eldest of three. In 1942, she married Harry Letterman, with whom she had Jan, David, and Gretchen. Recalling a time when she chopped off a snake’s head in the garden of their home, Letterman quipped,   “My mother is Grizzly Adams for God’s sake.”
Mengering, who died   last week at the age of 95,   occasionally appeared from the kitchen of her Indiana home on her son’s long-running CBS program and served as the show’s Olympics correspondent. David Letterman took the mic at the funeral for his mother Dorothy Mengering in   Indianapolis on Saturday, delivering a touching and humorous eulogy. “People like her better than you,”   Letterman said he remembered being told. In addition to Letterman, Mengering is survived by   her two daughters. Show Full Article After his death in 1973, she remarried Hans Mengering, a structural engineer, in 1983; he died in March 2013. The funeral was held Saturday at the Second Presbyterian Church in Indianapolis. Reflecting on her classic on-air appearances as “Dave’s Mom,” Letterman explained that executives told him they wanted to have her on the show more often.