Matthew Mcconaughey is reportedly in talks to star in an upcoming TV adaptation of author Stephen King's novel The Stand. The 1978 epic will be turned into a four-film series and the Oscar winner is poised to play the chief antagonist Randall Flagg in the post-apocalyptic thriller.
The Stand chronicles the battle between good and evil after a deadly virus has killed most of the world's population, and Flagg is the villain with supernatural powers who lives and rules in the ruins of Las Vegas.
The Stand, which was previously made into a TV mini-series in 1994, will be directed by The Fault in Our Stars' Josh Boone.
The brouhaha that erupted over Stephen Colbert being named as successor to David Letterman's chair as host of CBS' The Late Show once again shined a light on the ongoing battle for the hearts and minds of the American public that is still raging between comedians and conservative pundits.
When news broke of Colbert's new role — providing him with potentially a much larger audience than his Comedy Central show The Colbert Report — right-wing commentators, especially Bill O'Reilly and Rush Limbaugh went on the offensive, decrying CBS' choice as the potential undoing of America.
It was just the latest volley in the feuds that have been going on for years… or at least since Jon Stewart took over The Daily Show in 1999. When the Hollywood Reporter released its list of the 35 Most Powerful People in New York Media, the list included a healthy dose of both conservative commentators (O'Reilly, Fox News' Megyn Kelly, Sean Hannity) and comedians (Stewart, Colbert, Jimmy Fallon).
It used to be that comedians made fun of politicians and the political types would just ignore it. That was in the days before cable gave comedians significantly more leeway to discuss politics than Johnny Carson could've ever imagined. To counter what they viewed as liberal bias, conservatives developed their own media stars to keep politicians from having to get dirty. So, who's winning the battle?
O'Reilly seems to by turns enjoy his tete-a-tetes with Stewart and to be infuriated by the platform that Comedy Central has given Stewart and Colbert to promote a "liberal agenda." Where he seems to have fun with Stewart, that playfulness doesn't always extend to Colbert, who based his character and show largely on O'Reilly. "Colbert has built an entire career on pleasing the left," O'Reilly said on his show. "It'll be hard to fathom that 40% of Americans who describe themselves as conservative will watch Colbert."
O'Reilly isn't alone in his view that comedians are undermining the message that conservative policymakers are trying to deliver. Conservative commentator Ann Coulter has long sparred with Bill Maher over the views that he expresses on his HBO show. Coulter, whose books include How to Talk to a Liberal (If You Must), is a frequent guest on Real Time with Bill Maher, offering a counter to the host on everything from welfare reform to immigration. Elisabeth Hasselbeck, first on The View and now on Fox & Friends, has also frequently called out comedians — most notably her former View co-hosts Rosie O'Donnell and Whoopi Goldberg — while promoting her own largely conservative views on subjects. As President Barack Obama found out, the conservative pundits don’t want politicians in on the joke either. When the President appeared on Zach Galifianakis' web series Between Two Ferns, O'Reilly and others went after what the felt was Obama's flippant treatment of a serious issue (healthcare reform). Of course, when O'Reilly said that "Abe Lincoln wouldn't have done it" it led to a series of jokes.
Really, the comedians largely have it easy. Making fun of politicians is a time honored tradition, and an American birthright. From newspaper cartoonists to Will Rogers to Saturday Night Live, there's always been someone taking shots at the powers-that-be. The difference is that more and more, comedians are offering an actual opinion on their beliefs beyond just the jokes, something that Maher on Politically Incorrect and one of his HBO predecessors Dennis Miller (now a conservative radio host) helped make fashionable. O'Donnell and Janeane Garofalo have long been outspoken on their views on gun control, women's rights, and a variety of other issues. While Stewart, Colbert, John Oliver and the rest of the Daily Show group point out hypocrisy in both political parties — similar to what SNL has done for nearly 40 years — they make little effort to conceal their glee at puncturing holes in the façades of conservative political figures like Michele Bachmann, Ted Cruz, Paul Ryan and Rick Santorum. In a recent commentary on The Daily Beast, comedian Dean Obeidallah opined that conservatives "fear comedy because they aren't good at it."
Not everyone is thrilled with the political influence that comedians like Stewart and Colbert have come to wield. "The problem becomes, are they the principle source of information for the country? Do they begin to move in and occupy the place that Walter Cronkite occupied or Edward R. Murrow occupied?," media analyst Marvin Kalb said. "The unfortunate answer now is 'Yes,' they are occupying that space. The danger there is that people begin to take it too seriously and they begin to think that the joke is the reality."
Whether it's good or bad, there's little doubt that potshots from both sides, pundits and comedians, will continue unabated for the foreseeable future. Hopefully, we know enough as a society not to take either side too seriously… whether they're joking or not.
David Benioff and D.B. Weiss are moving their reign of violence and terror from Westeros to the US. The Game of Thrones show runners have signed on to write and direct Dirty White Boys, an adaptation of the novel by Stephen Hunter. The story follows three escaped convicts — Lamar Pye, who fled prison after killing a fellow inmate, his mentally disabled cousin, Odell, and an artist-turned-felon, Richard — as they travel across the Southern states in an attempt to escape from the state troopers. They hide out with a convict groupie, who killed her parents as a teenager, and form a twisted family as they embark on a journey filled with mishaps and misfortune.
The pair currently has no timeline for getting Dirty White Boys onto the big screen, as they're busy focusing on the "52-week" job that is Game of Thrones. While some fans might be upset about any project that takes Weiss and Benioff's attention away from the show, they should have nothing to worry about, seeing as Dirty White Boys is essentially Game of Thrones, if the show took place in the Southern US. In fact, the two projects are so similar that it's hard not to picture characters from the Seven Kingdoms when reading the film's summary...
Lamar Pye is Jaquen H'gar!Jaquen might not be the most prominent character in the series, but he did give us the show's unofficial motto: Valar Morghulis, or All Men Must Die. Like Lamar, he's a career criminal with a reputation for violence and leads a gang of dangerous, hardened baddies. He also escaped from captivity (with the help of Arya Stark) in order to avoid a life-threatening situation, he's on the run from the authorities, and he's willing to kill all of the people who stand in his way on his journey to freedom. While Lamar is dedicated to protecting Odell, Jaquen is indebted to Arya, and kills the people she asks him to. It's like Hunter subtracted Jacquen's powers, gave him a new name, and decided to write a novel about him.
Odell is Hodor! In Dirty White Boys, Odell is Lamar's cousin, a phsyically strong but mentally disabled man who escaped an abusive family with Lamar's help. Lamar now takes care of and protects Odell, and they are unfailingly loyal to each other. In Game of Thrones, Hodor is the Stark family's stable hand, a physically strong but mentally disabled man who helped Bran and Rickon escape when Winterfell was burned. He carries Bran around on his back and protects him, and they are unfailingly loyal to each other. Basically, the only difference between these two is the size of their vocabularies.
Richard Peed is Gendry!These two have a habit of being in the wrong place at the wrong time. Richard is a reserved, talented artist who is capable of great violence, but mostly tags along on Lamar's adventure in order to keep his protection. Gendry is a quiet, talented blacksmith who is forced to travel with Arya after he is kicked out of his apprenticeship in King's Landing and he is no longer protected by the king. Although he's more interested in crafting swords than fighting with them, Gendry doesn't shy away from violence if he needs to protect his friends, and just like Richard ends up in a gang of misfits, so does Gendry, tagging along with Arya and Lommy Greenhands before joining the Brotherhood Without Banners.
Ruta Beth Tull is Melisandre!If Ruta Beth has a love of the color red, these two are a match made in heaven. Ruta's a "convict groupie," who writes letters to Richard describing what she believes to be their cosmic connection and attempting to bond over the fact that she murdered her parents. If there's any character in Game of Thrones who believes in having a cosmic or spiritual connection with someone, it's the Red Priestess herself, Melisandre. She believes that only she understands Stannis and his power, and that only she can help him win the Iron Throne, and she proves her loyalty by giving birth to a Shadow Demon that kills Renly. Their girls' nights would be terrifyingly entertaining.
Bud Pewtie is Robb Stark!An honorable but flawed man, who is courageous and determined to do what is right? He can only be a Stark. In this case, Bud Pewtie, the state trooper who is on the hunt for Lamar and his buddies, is the Dirty White Boys version of Robb Stark, the former King in the North. Both men are good at heart, and strive for justice. Both men are confused about the paths they've chosen in life. And both men have terrible taste in women: for Robb it was Talisa/Jeyne Westerling, who he impulsively marries despite already being betrothed to a Frey girl, and for Bed it's Holly, the wife of his partner Ted. Let's hope Bud isn't going to a wedding any time soon.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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The CW/The CW
Long may she reign! The CW’s drama based on Mary Queen of Scots was recently picked up for a second season. Before the announcement, Reign was neck and neck in the ratings with the network’s other original series, The Tomorrow People. Fans and TV critics speculated whether both or one of the shows would return for a sophomore season. While we’ve had our doubts about Reign and The Tomorrow People, we’ve also enjoyed both series as well. But which show’s sophomore season are we looking forward to more? Let’s take a look at both shows to see which we enjoy more.
Although the number of viewers might not matter to fans, it’s a good way to tell what the TV masses think of a series. Even though The Tomorrow People started off stronger than Reign — 2.32 and 1.98 million viewers respectively — The Tomorrow People’s viewership has declined more drastically than that of Reign. Basically, Reign is maintaining a steady fanbase while people are tuning out of The Tomorrow People.
The Tomorrow People 0, Reign 1
The hero of The Tomorrow People, Stephen (Robbie Amell), is capable of telekinesis, teleportation, telepathy, and stopping time. Meanwhile Mary (Adelaide Kane) is the queen of Scotland, soon to be the queen of France and possibly England. However, even though she’s queen, Mary has very little control in politics compared to her male counterparts. Plus, Stephen’s powers just seem cooler.
The Tomorrow People 1, Reign 1
While both The Tomorrow People and Reign are based on something — whether it’s a 1970s British sci-fi series or a historical figure — they’ve each infused a touch of originality. However, The Tomorrow People has largely stuck to the source material created by Roger Price. Reign, on the other hand, has taken some major liberties with history; the writers have created a unique show that weaves together history and originality to make an interesting series.
The Tomorrow People 1, Reign 2
It’s easy to tell a good dramatic or action series because it’ll have you on the edge of your seat. In The Tomorrow People, Stephen and his friends are often racing to rescue someone or gather information in order to save their race. Meanwhile, Mary is most often attempting to navigate the dangerous political and romantic situations in which she finds herself. Though both heroes face death if they fail — as well as war — Reign is better at keeping the audience gripped. It’s hard to look away when the simplest decision could change history.
The Tomorrow People 1, Reign 3
Summit via Everett Collection
You can imagine that Renny Harlin, director and one quadrant of the writing team for The Legend of Hercules, began his pitch as such: We'll start with a war, because lots of these things start with wars. It feels like this was the principal maxim behind a good deal of the creative choices in this latest update of the Ancient Greek myth. There are always horse riding scenes. There are generally arena battles. There are CGI lions, when you can afford 'em. Oh, and you've got to have a romantic couple canoodling at the base of a waterfall. Weaving them all together cohesively would be a waste of time — just let the common threads take form in a remarkably shouldered Kellan Lutz and action sequences that transubstantiate abjectly to and fro slow-motion.
But pervading through Lutz's shirtless smirks and accent continuity that calls envy from Johnny Depp's Alice in Wonderland performance is the obtrusive lack of thought that went into this picture. A proverbial grab bag of "the basics" of the classic epic genre, The Legend of Hercules boasts familiarity over originality. So much so that the filmmakers didn't stop at Hercules mythology... they barely started with it, in fact. There's more Jesus Christ in the character than there is the Ancient Greek demigod, with no lack of Gladiator to keep things moreover relevant. But even more outrageous than the void of imagination in the construct of Hercules' world is its script — a piece so comically dim, thin, and idiotic that you will laugh. So we can't exactly say this is a totally joyless time at the movies.
Summit via Everett Collection
Surrounding Hercules, a character whose arc takes him from being a nice enough strong dude to a nice enough strong dude who kills people and finally owns up to his fate — "Okay, fine, yes, I guess I'm a god" — are a legion of characters whose makeup and motivations are instituted in their opening scenes and never change thereafter. His de facto stepdad, the teeth-baring King Amphitryon (Scott Adkins), despises the boy for being a living tribute to his supernatural cuckolding; his half-brother Iphicles (Liam Garrigan) is the archetypical scheming, neutered, jealous brother figure right down to the facial scar. The dialogue this family of mongoloids tosses around is stunningly brainless, ditto their character beats. Hercules can't understand how a mystical stranger knows his identity, even though he just moments ago exited a packed coliseum chanting his name. Iphicles defies villainy and menace when he threatens his betrothed Hebe (Gaia Weiss), long in love with Hercules, with the terrible fate of "accepting [him] and loving [their] children equally!" And the dad... jeez, that guy must really be proud of his teeth.
With no artistic feat successfully accomplished (or even braved, really) by this movie, we can at the very least call it inoffensive. There is nothing in The Legend of Hercules with which to take issue beyond its dismal intellect, and in a genre especially prone to regressive activity, this is a noteworthy triumph. But you might not have enough energy by the end to award The Legend of Hercules with this superlative. Either because you'll have laughed yourself into a coma at the film's idiocy, or because you'll have lost all strength trying to fend it off.
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The Tomorrow People has some amazing action sequences and really great super-powers. It has more of an edge than supernatural shows like Charmed or The Vampire Diaries. And yet, it doesn’t have the same resonance as Vampire Diaries or even The Carrie Diaries. One problem is the main cast is a crew of sexy robots. The series is lucky because there is a lower ratings threshold to stay on the air, but, can the show make the important changes to actually build a following?
Here are some helpful changes the series can make to improve their following.
Veronica Mars star Jason Dohring and Carly Pope are some great guest stars. Shameless star Laura Wiggins would also be a great addition to the regular cast as nerdy Irene. The three leads are super hot but the show needs more compelling actors. Robbie Amell, Peyton List, and Luke Mitchell would be just as interesting standing around in their underwear saying nothing. Unlike Nina Dobrev, Paul Wesley, and Ian Somerhalder they are all sizzle and no steak. It’s sad that they recently killed off Ultra agent Darcy (Meta Golding) because she was proving to be an interesting character.
It’s great that The CW likes to cast new actors and make their own celebrities. However, science-fiction fans have tons of cult-favorite actors that aren’t working right now. Heroes capitalized on Star Trek fandom by casting actors like George Takei and Nichelle Nichols. Why not cast actors from cult faves like The 4400, Firefly, or even Buffy the Vampire Slayer?
Play Up The Double Agent Angle...Intelligently
Part of the appeal of the pilot was that it promised an Alias-style tension as high school student Stephen (Amell) does double duty as secret agent and second coming to the underground community of Tomorrow People. However, Stephen keeps getting caught and a blind person could see that he’s not to be trusted. It would be great if Stephen was actually at risk of getting caught.
Stephen and Cara (List) finally consummating their flirtation is nice because it added much needed tension to the show. It was clear to everyone that they were going to knock boots so why not just cut to the chase already.
Don’t Save Mysteries for Later
So far we don’t know much about The Tomorrow People or their history. Waiting too long to reveal secrets might be a little risky. Let’s face it there might not be more than one season so why not just put the pedal to the metal and actually have some super-powered fun.
Inject Some Humor, Stat
The series needs a little levity and humor. It’s enough to suspend belief that people can have super powers or that a teenager can be a secret agent. However, it’s impossible to believe that a bunch of people with no sense of humor could end up on television. The series could afford to be a little more tongue-in-cheek and stop taking itself so seriously.
The CW broke new ground in random rebooting with The Tomorrow People. The original was a British neo-futuristic series from the 1970s. It follows the next stage of human evolution as they toy with telepathy and time travel. In 1992, the series was given an update with British teenagers, including Naomie Harris (Skyfall), teleporting around town trying to stop would-be criminals.
The latest version of the series is an interesting blend of Alias and Charmed. Stephen Jameson (Robbie Amell) develops super powers and finds out he’s one of The Tomorrow People. (Just like that?) He gets drafted into a secret government agency by his uncle, Dr. Jedikiah Price (Mark Pellegrino) and must play both sides to protect his species from extinction.
The show has a great blend of action, suspense and super powers. Hear that, Marvel: Agents of S.H.I.E.L.D? However, it features a cast of sexy robots. Amell’s blue eyes and abs do not compensate for his cold robotic acting. Peyton List plays the group's resident telepath, Cara Coburn. In “Girl, Interrupted” we find out that Cara was deaf before her powers manifested. Despite the big developments of her character, List spent the whole episode giving sultry looks to the camera. Luke Mitchell and Madeline Mantock are also breathtakingly attractive but completely flat. I can’t help but wonder if the show could be recreated using an Abercrombie & Fitch catalogue and some really elaborate special effects. The one test of any actor is being able to say the title of the series and not sound like a total dork.
Robotic casting aside, the show’s saving grace is that it’s well written and really subverts your expectations. You think you know what will happen but the show keeps surprising you. Also, the show has the right level of special effects. The super powers are seamlessly choreographed into fighting and action sequences and open up possibilities for plot twists and surprises.
There are some great characters on the show. Aaron Yoo brings some humor and badass fighting moments in the character of Russell Kwon. The group’s supercomputer TIM (Dan Stevens) also has some witty repartee and pop culture references for an artifically intelligent piece of equipment. Entertainment Weekly reports that Veronica Mars star Jason Dohring is set to join the cast. Here's hoping he brings some Logan Echols snark to the cast.
Hopefully, the series can reprogram their robotic supermodel cast members' acting hard drives because this show is well written, action packed and a great addition to The CW’s line-up. In the meantime, enjoy this Brit-tastically awesome clip from the original series.
Brian De Palma's adaptation of Carrie ranks as one of the best film versions of a Steven King story. But while the 1976 version created some fantastic moments of cinema history (the splitscreens, the slow motion, everything Piper Laurie) the remake coming out at the end of this week still has plenty of untouched source material to work with. Here are afew suggestions of things that director Kimberly Piece hopefully considered adding to her version of the high school horror tale.
1. Actual Teenagers: While Sissy Spacek's performance was perfect for De Palma's heightened, surreal atmosphere (and even earned her an Oscar nomination), if the new Carrie is looking to be more faithful to the book, one thing they can do is cast actual teenagers. Chloe Grace Moretz is actually 16, so we're off to a good start.
2. "Flexing:" Much is made in the book of how hard Carrie has to work to channel her powers. She practices every night, slowly working her way up to moving heavier, bigger things, until she can flip cars with ease. That's what makes the climax so terrifying — she's making the conscious choice to torture everyone, and since this new films looks to be more of a horror and less of a suspenseful drama, anything that makes Carrie White more evil in the final act is a good idea. This also adds to the whole arc of the story: Carrie is a put-upon girl who would have been able to be accepted if only people had listened and gotten out of her way.
3. People Vote for Carrie: In the 1976 film version, the evil girl Chris replaces all of the actual Prom King and Queen votes with ones for Carrie. In the book, sure, Chris is scheming, but the student body also just seems to get on board with Carrie, who actually proves herself at the prom and has a good time joking and hanging out. It makes the ending that much better, and this a story where everything is in the ending, right?
4. Childhood: One mistake audiences often make is that Carrie's powers are activated in the beginning of the movie. Instead, she's had them since childhood, and her mother's control actually stems equally from fear that they will return. The book has a fantastic story, told from the perspective of a neighbor, about a four-year-old Carrie bringing a rain of stones down on the house after her mother punishes her.
5. They Are Going to Laugh At You: In the 1976 version, Carrie just imagines the prom guests laughing at her, but in the book, such is that they can't help themselves and really do. Because, if we're being honest, high school is really, really embarrassing and awkward. And Chris is, in the end, pulling a prank. A cruel prank, but still. The slowly mounting horror is even better when offset because the characters just can't help but laugh... until it's too late.
6. Sue At Home: There's probably not much time in a feature film for nicest-of-the-mean-girls Sue's entire arc, which includes worries about college, a pregnancy scare, and falling in love with Brad (the sap who ends up taking Carrie to prom). But in the book, the only reason she isn't murdered by Carrie is that she chooses to stay home from the prom, giving us a window into what's happening in the rest of the town. Which leads to —
7. Get Rid of the Whole Damn Town: In the novel, the carnage goes far beyond just the school gymnasium, enough that the premise of the book is an exploration of one of the greatest American tragedies. Given that technology is no longer a hindrance, hopefully we'll get to see the full range of what Carrie can do.
Look on the television: it’s a bird! It’s a plane! No, it’s just another superero TV show. While the track record of superhero TV is spotty (for every one Smallville there are twoBirds of Prey), networks keep piling on to make new shows about earth’s mightest heroes.
The box office success of superhero films might have a thing or two to do with this small screen revolution. Still, if superheroes are your thing you’ll soon have plenty of viewing options during the week. (Unless your thing is female superheroes, and then you’re still screwed.)
The Current Shows:
Marvel’s Agents of S.H.I.E.L.D.Coming on the heels of the box office-busting The Avengers, this drama by Joss and Jed Whedon has already resulted in huge ratings for ABC. Coulson lives!
ArrowThis CW drama about the Green Arrow filled the Smallville-sized hole in the network’s superhero programming. It was also one of the best dramas of last season and introduced us all to Stephen Amell.
The Upcoming Shows:
Gotham: The TV ShowBefore Batman came on the scene the only one fighting crime in Gotham city was police commissioner Gordon. This upcoming show on FOX will take a look at Gordon’s early years, pre-Bat, and introduce some of the most famous villains in Batman mythology.
The Flash: The ShowSince Arrow is doing so well, it only makes sense that the CW network would want to capture a little more of that lighting in a bottle. Enter (speedily) The Flash. Based on the superhero with more than Olympic speed, the show will be helmed by the same showrunners who already found superhero success with Arrow.
ConstantinePerhaps a less-known property, John Constantine is still a long-running DC universe character. Now NBC is looking to develop a show around the Hellblazer character with Dark Knight scribe David Goyer at the helm. Will Constantine have enough name reconigition to give NBC the hit they so deperately need?
What do you think? Which show are you looking forward to the most? Share in the comments!
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