Captain America: The Winter Soldier is filled — and I mean jam-packed — with genre-bending, action-heavy, sportily tense and relentlessly sinuous, sky-high-concept and maniacally bonkers stuff. Polygonal mayhem that aims, and impressively so, to top the Marvel lot in ideas, deconstructing every thriller staple from government corruption to talking computers to odd couple agents gone rogue. But oddly enough, the moment in the Cap sequel that I find most arresting several weeks after seeing the film is our peaceful reunion with Steve Rogers, trotting merrily around the Washington Monument as the sun rises on our nation's capital.
The scene is shot from far overhead, a low pulse/high spirits Chris Evans reduced to a shapeless blur as he repeatedly (but politely!) laps fellow jogger and veteran Sam Wilson (Anthony Mackie)... and yet it might be the closest we feel to Cap throughout the movie.
The Winter Soldier has a lot to worry about in the delivery of its content. Managing a plot as ambitious and multifaceted as its own, with themes as grand as the scope of the American mentality — as represented by Steve Rogers, raised in the good old days of gee-golly-jingoism — it doesn't always have the faculties to devote to humanizing its central troupe. Cap isn't left hollow, but his battles with the dark cloud of contemporary skepticism play more like an intriguing Socratic discussion than an emotional arc. Scarlett Johansson's Black Widow, a character who ran circles around her Avengers co-players in flavor, feels a bit shortchanged in that department here (in her closest thing to a starring role yet, no less).
Mackie's Falcon, a regular joe who is roped into the calamity thanks largely to his willingness to chat with a fellow runner — a rare skill, honestly — is less of a problem. He doesn't have much to do, but he does it all well enough. Dynamic though he may be, Mackie keeps things bridled as Cap's ad-hoc sidekick, playing up the along-for-the-ride shtick rather than going full (or even half) superhero. We might want more from him, knowing just how fun he can be, but it's a sating dose. The real hunger is for more in the way of Black Widow, Cap, and — perhaps most of all — the titular villain.
Still, these palpable holes pierce through a film that gets plenty right. As elegantly as Joe Johnston did the Spielberg thing back in 2011, Joe and Anthony Russo take on the ballots of post-innocence. They aren't afraid to get wild and weird, taking The Winter Soldier through valleys that feel unprecedented in superhero cinema. We're grateful for the invention here — for Robert Redford's buttoned-up Tom Clancy villain, for the directors' aggressive tunneling through a wide underworld of subterranean corruption, and especially for one scene in an army bunker that amounts to the most charmingly bats**t crazy reveal in any Marvel movie yet. We might be most grateful, though, for a new take on Nick Fury; here, the franchise gives Samuel L. Jackson his best material by a mile.
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But in the absence of definitive work done in our heroing couple, a pair rich in fibers but relegated to broad strokes and easy quips in this turn, most of it amounts to a fairly good spy thriller, not an ace-in-the-whole neo-superhero masterpiece... which, justly or otherwise, is what we've come to expect and demand from these things.
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It's 2020, and we're already knee deep in kaiju chaos. Pacific Rim picks up en media res, with the interdimensional monsters' initial invasion of Earth having taken place a decade and change back and a super-powered international military of robot warship (a.k.a. Jaeger) pilots newly deemed unfit to protect the Earth from increasing threats. Beyond a quick, straightforward piece of introductory exposition, we don't spend too much time learning about the history of the species' reign on Earth — they came, we ran, we fought, they kept coming, people kind of got into it, and now we're prepping for the biggest attack yet. That's all we know.
And that's all we need to know. In what should tout itself as the biggest, flashiest movie of the summer, the "less is more" philosophy seems to have been stamped at the top of each page of the screenplay. Guillermo del Toro, a master of imagination, lets his world speak for itself — in the two hours we spend inside the filmmaker's mind, we widen our eyes over and over at engrossing fantasy lands: the futuristic home base for the Jaeger militia, the seedy underworld of kaiju organ dealers, the nightmare flashbacks of each tragedy-afflicted soldier (called upon to fuse his thoughts with his robot and co-pilot in order to fight the nefarious beasts). All stellar, engaging, and even at their darkest, wholly fun. To reiterate, the sensory charms of this movie do all of its talking, allowing our excess admiration to fill in the gaps left by... you know, plot and character.
This movie runs on the basics and makes no claims to do anything otherwise. Its plot is so simple, you can sum it up as "robots vs. monsters." Its characters are thin enough as to fit the stock catalogue almost perfectly: Charlie Hunnam plays a PTSD-stricken returning fighter, Rinko Kikuchi an aspiring soldier who wishes to avenge her family, Idris Elba (offering the best dramatic performance in the movie) the no-nonsense commanding officer with a secret soft spot, and Robert Kazinsky the hot-shot who doesn't take too kindly to Raleigh's (Hunnam) return to action. But he has a dog, so we know we're supposed to like him eventually. And a good husk of the dialogue will have you checking your phone to make sure it is not, in fact, 1996. But in embracing this identity, in cherishing these age-old tropes and traditions rather than aiming to pass them off as something altogether new, Pacific Rim wins us over. You won't groan at hokey lines or predictable character turns, you'll howl with celebratory laughter.
Humor and fun are in no short supply in Pacific Rim, better recalling Hellboy than any of the director's more severe turns. Immersive underworlds, exhilarating scenescapes, and look-how-cool-this-is battles never lose their juice. And to top the lot is the comic relief: the misfits. Charlie Day leads the pack as a character who is no far cry from his It's Always Sunny incarnation — an excitable, emotional scientist who considers his quest to understand the kaiju brain as the key to sending the wretched beasts back from whence they came.
Day's screen-time accomplices are Burn Gorman, a didactic mathematician who counters his partner's outlandish theories at every opportunity, and del Toro regular Ron Perlman as a black market top banana who gets roped into Newton's (Day... yes, his name is Newton, as it should be) harebrained scheme to obtain a living kaiju brain. Matching any one of the huge scale battle scenes in thrill factor, Day's high-stakes bickering with Gorman or his fish-out-of-water immigration into Hannibal Chau's (Perlman... yes, his name is Hannibal Chau, and the joke behind it is surreally hilarious) criminal kingdom offer a handful of Pacific Rim's high points. The shrimpy scientist has a larger role than you might anticipate, but he never overstays his welcome — this movie, with keen awareness, belongs to the soldiers, their robots, and the monsters they are dying to kill.
But the film falls short in a few of its later turns, when the self-aware goof troop is abadonend and the film falters into some decidedly unimaginative character storylines. It might sound a little backward to expect anything otherwise from a movie so deliberately delivered on the modus operandi of monster movie yore, but sweeping conclusions seem to lose sense of the tongue-in-cheek nature of the practice and succumb to a closed-eyed grab for the obvious. With as much fun as Guillermo del Toro has with his movie, and as much excitement as he stocks into every nook and cranny, you'd think he could stuff his ending up with a bit more of that fun, that excitement, and the imagination that bursts from every seam.
Even if your mind drifts here and there, called upon to reflect on old Godzilla features, Power Rangers adventures, or Always Sunny gags that you can't help but remember, you're always in the movie — it's as much of a ride as it is a story. The sights and sounds are just as important as the plot itself. So from beginning to end, you won't find yourself wanting — you'll be astonished by the big, amused by the small, and find every sense in your body nourished to completion. pacific Rim might not dazzle you too far beyond your expectations, but it'll meet them for sure. The kaiju? They're monstrous. The Jaegers? Supercharged. Del Toro's world? Breathtaking. His stars? Up to the task — some (notably Elba and Day) firing on all cylinders. Sure, you can poke fun at the dialogue, root up a plothole or two, but the film doesn't let you focus on its flaws, no matter how many there may be. It's too busy jazzing up your energy with what monster movies were built on in the first place: unadulterated fun.
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Before Hollywood's biggest stars deliver their acceptance speeches at Sunday's Academy Awards, the 2013 Writers Guild Awards have honored the folks who supply A-list actors and actresses with words. The 65th annual ceremony kicked off Sunday, celebrating the best and the brightest behind the scenes — and behind the pen — in television, film, and beyond in 2012.
But there were few surprises at the awards — Mark Boal picked up his second WGA win for Zero Dark Thirty (he won his first for Hurt Locker in 2010) while television's critical darlings, Breaking Bad and Louie proved to be victorious.
Who else was a big winner at the WGA awards? See below to find out!
MOTION PICTURE CATEGORIES
Zero Dark Thirty, written by Mark Boal; Columbia Pictures
Argo, screenplay by Chris Terrio; based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired magazine article “The Great Escape” by Joshuah Bearman; Warner Bros. Pictures
Searching for Sugar Man, written by Malik Bendejelloul; Sony Pictures Classics
Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Louie, Written by Pamela Adlon, Vernon Chatman, Louis C.K.; FX
Girls, Written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
Mad Men (AMC), Written by Semi Chellas and Matthew Weiner, "The Other Woman"
LONG FORM – ORIGINAL
Hatfields & McCoys (History Channel), Teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann, Nights Two and Three
LONG FORM – ADAPTED
Game Change (HBO), Written by Danny Strong, Based on the book by Mark Halperin and John Heilemann
Modern Family (ABC), Written By Elaine Ko; ABC, "Virgin Territory"
COMEDY/VARIETY (INCLUDING TALK) — SERIES
Portlandia, Written by Fred Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley
COMEDY/VARIETY — MUSIC, AWARDS, TRIBUTES — SPECIALS
66th Annual Tony Awards, Written by Dave Boone, Special Material by Paul Greenberg; Opening and Closing Songs by David Javerbaum, Adam Schlesinger; CBS
CHILDREN'S – EPISODIC & SPECIALS
Sesame Street (PBS), Written by Christine Ferraro, "The Good Sport"
CHILDREN'S — LONG FORM OR SPECIAL
"Girl vs. Monster," Story by Annie De Young; Teleplay by Annie De Young and Ron McGee; Disney Channel
The Simpsons, Written by David Mandel & Brian Kelley; Fox, "Ned and Edna's Blend Agenda"
The Young & the Restless, Written by Amanda Beall, Jeff Beldner, Brent Boyd, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Maria Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Lisa Seidman, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman; CBS
DOCUMENTARY — CURRENT EVENTS
Frontline, Written by Martin Smith and Marcela Gaviria; PBS, "Money, Power and Wall Street: Episode One"
DOCUMENTARY — OTHER THAN CURRENT EVENTS
Nova, Written by Randall MacLowry; PBS, "The Fabric of the Cosmos: The Illusion of Time"
NEWS — REGULALRY SCHEDULED, BULLETIN, OR BREAKING REPORT
"Tragedy in Colorado: The Movie Theatre Massacre," Written by Lisa Ferri, Joel Siegel; ABC News
NEWS — REGULARLY SCHEDULED OR BREAKING REPORT
"World News This Year 2011," Written by Darren Reynolds; ABC News Radio
NEWS — ANALYSIS, FEATURE OR COMMENTARY
"Dishin Digital," Written by Robert Hawley, WCBS-AM
PROMOTIONAL WRITING AND GRAPHIC ANIMATION CATEGORIES
ON-AIR PROMOTION (RADIO OR TELEVISION)
"Partners," Written by Dan A. Greenberger, CBS
TELEVISION GRAPHIC ANIMATION
Sunday Morning with Charles Osgood, Animation by Bob Pook; CBS, "The Oscars"
NEW MEDIA AND VIDEOGAME CATEGORIES
OUTSTANDING ACHIEVEMENT IN WRITING DERIVATIVE NEW MEDIA
The Walking Dead: Cold Storage, Written by John Esposito (amctv.com) – “Hide And Seek,” “Keys to the Kingdom,” “The Chosen Ones,” “Parting Shots”
OUTSTANDING ACHIEVEMENT IN WRITING ORIGINAL NEW MEDIA
Jack In A Box, Written by Michael Cyril Creighton (jackinaboxsite.com) – “The Compromises, Episode 1,” “The Pest, Episode 3,” The Snake, Episode 4,” “The Bonding, Episode 6,” “The Future, Episode 7/Series Finale”
OUTSTANDING ACHIEVEMENT IN VIDEOGAME WRITING
Assassin's Creed III: Liberation, Scriptwriting by Richard Farrese, Jill Murray; Ubisoft
What do you think of this year's winners? Let us know in the comments!
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The new fall pilots haven't even premiered yet, but already the networks are looking forward to their next big task: finding the right pilots and scripts to order for the 2013-2014 season. Development season is well underway and has been for the past few weeks — although this season is marked by a declaration from some networks (namely ABC and NBC) that the typically order-happy suits would not be as quick to bulk up their pilot orders this year. In other words, less is more.
Most of the majors have already made their first-round choices for specific projects, and the trends that have emerged seem to be all about big-name attachments (e.g. Vince Vaughn, Jodie Foster, Ryan Reynolds), period dramas (e.g. Aztec empire, Cold War America, 1890s Europe), international transplants (from Israel, England and Scandinavia) and — in an interestingly-revived yet well-worn trend — book adaptations (including Dracula and two Sleepy Hollow reboots).
Here's what ABC, CBS, The CW, FOX, NBC and more have coming down the '13-'14 pipeline so far:
— Dumb F*ck: Single-camera comedy about an average Joe and his brilliant wife who move in with her intelligent yet emotionally stunted family of geniuses; written by Hank Nelken (Saving Silverman), executive produced by Vin Di Bona, Bruce Gersh, Susan Levison and Shaleen Desai.
— Burns & Cooley: Medical procedural about two New York neurosurgeons who compete as they strive to be the top in all aspects of their lives; written by Meredith Philpott (Awkward), exec produced by Matt Gross (Body Of Proof).
— Founding Fathers: Drama about a war veteran whose Texas hometown is in the hands of a militia group led by his older brother; written by Rich D'Ovidio (Thir13en Ghosts), produced by Lorenzo Di Bonaventura and Dan McDermott.
— Untitled McG Project: Retelling of Romeo and Juliet, revolving around two rival families fighting for control over Venice, California; written by Byron Balasco (Detroit 1-8-7), produced by McG (The OC, Supernatural, Nikita).
— Untitled Kurtzman/Orci Project: Drama about a mysterious game; written by Noah Hawley (The Unusuals), produced by Heather Kadin, Alex Kurtzman and Bob Orci.
— Dracula: 1890s-set period piece about the iconic vampire; written by Cole Haddon, produced by Tony Krantz and Colin Callender; starring Jonathan Rhys Meyers (The Tudors).
— The Blacklist: Drama about an international criminal who surrenders himself and helps the government hunt down his former cohorts; written by Jon Bokenkamp, exec produced by John Davis, John Fox and John Eisendrath.
— Hench: Based on the comic about a man who becomes a temp for super villains; written by Alexandra Cunningham (Desperate Housewives), exec produced by Peter Berg and Sarah Aubrey (Prime Suspect).
— Cleopatra: Period drama about the Egyptian queen Cleopatra; written by Michael Seitzman (Americana), exec produced by Lorenzo Di Bonaventura and Dan McDermott.
— Pariah: Drama inspired by Freakonomics about a rogue academic who uses economic theory to police San Diego; written by Kevin Fox (The Negotiator), exec produced by Kelsey Grammer, Stella Stolper and Brian Sher.
— After Hours/The Last Stand: Medical drama about Army doctors who work the night shift at a San Antonio hospital; revisited from last season; written by Gabe Sachs and Jeff Judah.
— Untitled Parkes/MacDonald Project: Drama about an interpreter at the United Nations who works with diplomats and politicians from around the world; written by Tom Brady (Hell on Wheels), produced by Walter Parkes, Laurie MacDonald and Ted Gold.
— Untitled Charmelo/Snyder Project: New Orleans-set drama, described as a "sexy Southern Gothic thriller"; created by Eric Charmelo and Nicole Snyder (Ringer), exec produced by Peter Traugott and Rachel Kaplan.
— Untitled Rand Ravich Project: Drama-thriller following a secret service agent at the center of an international crisis in Washington, DC; created by Rand Ravich (Life), produced by Far Shariat.
— Island Practice: Based on the book Island Practice: Cobblestone Rash, Underground Tom, and Other Adventures Of A Nantucket Doctor, about an eccentric doctor with a controversial medical practice on an island off the coast of Washington; written by Amy Holden Jones (Mystic Pizza, Beethoven), produced by Brian Grazer, Francie Calfo and Oly Obst.
— The Brady Bunch: Reboot of the series, about a divorced Bobby Brady who re-marries a woman with children of her own; written by Mike Mariano (Raising Hope), co-developed and exec produced by Vince Vaughn (Sullivan & Son).
— A Welcome Grave: Based on the book series about a private investigator who comes under suspicion when a rival turns up dead.
— Backstrom: Based on the book series about a House-like detective who tries to change his self-destructive nature; written by Hart Hanson (Bones), produced by Leif G.W. Persson (novel) and Niclas Salomonsson.
— Ex-Men: Single-camera comedy about a young guy who moves into a short-term rental complex and befriends the other men who live there after being kicked out by their wives; written and directed by Rob Greenberg; starring Chris Smith and Kal Penn.
— Sleepy Hollow: Contemporary reinterpretation of the Sleepy Hollow short story; written by Patrick Macmanus and Grant Scharbo, produced by Scharbo and Gina Matthews.
— Gun Machine: Based on an upcoming novel (of the same name) about a New York detective whose chance discovery of a stash of guns leads back to a variety of unsolved murders; written by Dario Scardapane (Trauma), produced by Warren Ellis (book author), Scardapane, Peter Chernin and Katherine Pope.
— Sleepy Hollow: Modern-day thriller based on the Sleepy Hollow short story, following Ichabod Crane and a female sheriff who solve supernatural mysteries; written by Alex Kurtzman and Roberto Orci (Fringe, Hawaii Five-0) and Phillip Iscove, produced by Heather Kadin and Len Wiseman.
— The Beach: Based on the 1996 novel and 2000 movie about a group of youths who try to start society over on a remote paradise; written by Andrew Miller (The Secret Circle).
— Hard Up: Single-camera comedy based on Israeli series about four twentysomething guys who are strapped for cash; written by Etan Frankel (Shameless), produced by John Wells.
— Lowe Rollers: Animated comedy about a struggling Titanic-themed casino in Las Vegas; written by Mark Torgove and Paul Kaplan (Outsourced) and Ash Brannon, produced by Ryan Reynolds, Jonathon Komack Martin, Steven Pearl and Allan Loeb.
— Untitled Chris Levinson Project: Cop drama about a detective who puts his life under surveillance when he begins to lose his memory; written by Chris Levinson (Touch), produced by Peter Chernin and Katherine Pope.
— Untitled Friend/Lerner Project: Drama set on an aircraft carrier following young naval officers and a female fighter pilot who tries to solve an onboard murder; written and produced by Russel Friend and Garrett Lerner (House).
— Untitled Ryan Reynolds Project: Half-hour comedy about a disgraced hotelier forced to manage a rundown airport hotel; written by Matt Manfredi and Phil Hay (Clash of the Titans), produced by Ryan Reynolds, Allan Loeb, Jonathon Komack Martin and Steven Pearl.
— Untitled Jason Katims Project: Romantic comedy about a single female attorney; written by Jason Katims (Parenthood, Friday Night Lights) and Sarah Watson.
— Getting On: U.S. adaptation of a British comedy about a group of nurses and doctors working in a women's geriatric wing of a run-down hospital; Big Love creators Mark V. Olsen and Will Scheffer to exec produce with Jane Tranter, Julie Gardner and Geoff Atkinson.
— Buda Bridge: Belgian-set crime drama about a woman who is found dead on a famous bridge in Brussels; written and directed by Michael R. Roskam (Bullhead), produced by Michael Mann (Luck) and Mark Johnson (Breaking Bad).
— Hello Ladies: Comedy about an oddball Englishman who chases women in Los Angeles; written, directed by and starring Stephen Merchant (The Office), produced by Lee Eisenberg and Gene Stupnitsky (The Office).
— Angie's Body: Drama about a powerful woman at the head of a crime family; written by Rob Fresco (Heroes, Jericho), directed and executive produced by Jodie Foster, Fresco and Russ Krasnoff.
— Conquest: Period drama about Spanish conquistador Hernan Cortes, who clashes with the Aztec ruler Moctezuma II; written by Jose Rivera (The Motorcycle Diaries), produced by Ron Howard, Brian Grazer and Francie Calfo.
— Low Winter Sun: Based on 2006 British miniseries about the aftermath that follows the murder of a cop by a fellow detective; written by Chris Mundy; James Ransone, Ruben Santiago Hudson and Athena Karkanis to star.
— Those Who Kill: Based on Danish series about a detective and forensics scientist who track down serial killers; written by Glen Morgan, produced by Brian Grazer, Francie Calfo, Peter Bose and Jonas Allen, directed by Joe Carnahan.
— Untitled LaGravenese/Goldwyn Project: Legal thriller about an attorney who discovers new evidence that re-opens a sensational murder case; written by Richard LaGravenese, directed by Tony Goldwyn, exec produced by David Manson; Marin Ireland to star as female lead.
— The Americans: Period drama about two KGB spies posing as Americans in Washington, DC; created by Joe Weisberg, exec produced by Weisberg, Graham Yost, Darryl Frank and Justin Falvey; directed by Gavin O'Connor; Keri Russell, Matthew Rhys and Noah Emmerich to star.
— The Bridge: Based on the Scandinavian series, about a murder investigation opened up after a dead body is discovered on a bridge connecting the United States and Mexico; written by Meredith Stiehm and Elwood Reid (Cold Case), produced by Carolyn Bernstein, Lars Blomgren and Jane Featherstone.
— Untitled Dr. Dre Project: One-hour drama about music and crime in Los Angeles; written by Sidney Quashie, exec produced by Dr. Dre.
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[Photo Credit: ABC, CBS, Fox, NBC, The CW]
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?