#Wonder Woman 1984 filme stream

[comicweek]

Fox’s ad-supported streamer Tubi has struck a deal with Warner Bros. Discovery to stream DC movies including “The Batman,” “Suicide Squad,” “Black Adam,” “Wonder Woman” and “Aquaman,” as well as superhero series “Batwoman,” “Gotham” and “Lois & Clark: The New Adventures of Superman.”

The above film titles, as well as “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn),” “Green Lantern” and “Wonder Woman 1984,” will hit Tubi’s on-demand lineup in 2024.

Available as of Tuesday are “Batman,” “Batman Returns” and “Batman Forever,” as well as “Superman: The Movie” and “Superman II,” and TV series “Batwoman,” “Gotham” and “Krypton.” 

“Lois & Clark: The New Adventures of Superman” will begin streaming Dec. 31.

Also coming in December are DC animated movies “Batman: Death in the Family,” “DC Showcase: Superman/Shazam!: The Return of Black Adam,” “The Death of Superman,” “Justice League: Flashpoint Paradox,” “Son of Batman” and “Superman/Batman: Public Enemies,” plus the series “Stargirl” and “Swamp Thing” and the film “Constantine.”

“The addition of recent blockbuster movies and fan-favorite series from the DC library is a monumental offering for Tubi viewers,” Tubi chief content officer Adam Lewinson said. “We’re so pleased to have such wonderful partners at Warner Bros. Discovery, who are expanding the reach of their superhero franchise films and series that are destined to draw new audiences and fandoms with Tubi’s highly engaged viewers.”

#streaming #tubi #dcu #dc universe #dc comics #black adam #gotham #batman #the batman #arrowverse #batwoman #swamp thing #stargirl #animation #dc animation #wonder woman #aquaman #dceu #FAST

[changingplumbob]

Ask Game: List 5 things that make you happy, then put this in the askbox for the last 10 people who liked or reblogged something from you! get to know your mutuals and followers :)

Okay this 5 shall be 5 movie things that make me happy, if y'all didn't know I love watching movies so much! I miss video stores where you could rent movies. Not everything is on streaming services, especially the older movies. These are just the first five to come to mind.

Pirates of the Caribbean: At World's End

The after credit scene (if you're not aware all 5 movies have post credit scenes but this one is 🥹) It's ten years in the future and Elizabeth and her son walk along the cliffs and watch as Will appears.

Labyrinth

I love this whole movie, and honestly watching it as I get older I get more messages from it. The bit that always makes me happiest is the end of the film where Sarah says "I don't know why but every now and again in my life, for no reason at all, I need you". It reminds me that we don't need to leave behind all things from our childhood.

Collateral Beauty

Everything this character Raffi does is hilarious but he tells Claire (Kate Winslet) about the people who taught and looked after him on the streets and says "Your children don't have to come from you. They go through you." and I just love the idea that family is not limited to blood relations.

The Family Stone

Hello, it's my favourite Christmas movie. Amy is my favourite character in this, why do I always love the mean appearing women with secret hearts of gold? Anyway the family are discussing sexuality and the father goes "most of us here believe that sexual orientation… is the result of a genetic predisposition, much like handedness" and oh my gosh did that line blow my mind! It still makes me happy when I hear it, like yes my bisexuality is not a choice it's just who I am.

Wonder Woman 1984

Diane Prince aka Wonder Woman is my favourite superhero, ever since I was little. I loved the greek mythology included in her lore. Anyway in the latest movie she is in a jet with Chris Pine and she uses her powers to make the jet invisible. I loved her invisible jet so the fact that they included it in the movies made me so happy!

#dag dag or tag tag

[gacmediadaily]

Great American Family is rolling out the red carpet for Danica McKellar's new royal-themed Christmas movie, A Royal Christmas Ball!

This movie is the latest to be filmed and promoted on their channel for the upcoming 2024 Great American Christmas movie season. See the promo for this movie below.

Here's what we know, so far, about this movie:

A Royal Christmas Ball will include waltzes choreographed by “Dancing With the Stars” professional dancer Gleb Savchencko. It is currently set to premiere this November on Great American Family.

Story synopsis via Great American Media: "In A Royal Christmas Ball, Chelsea Jones (Danica McKellar) is a dance instructor and studio owner in Chicago who inspires kids to find themselves through dance. Just before Christmas, Chelsea discovers a photo she’s never seen before. Chelsea thinks the young woman is her birth mother who passed away when she was only five years old. The woman is in a wedding dress tugging on the hand of a man wearing a wedding ring, but that is all that can be seen of the man Chelsea believes may be her father. The photo’s handwritten inscription reads, “Our place, Havenshire, December 23, 1984.” With only the internet, a plane ticket, and lifelong determination to go on, Chelsea now has four days in Havenshire to solve the mystery of her birth family. Along the way, she’ll have to sneak into a castle, teach a stubborn Prince how to dance, and be in just the right place on Christmas Eve when the bells toll."

A Royal Christmas Ball Promo:

Great American Family is currently using the title A Royal Christmas Ball to promote this film; however, there is a previous ION Christmas movie with the same title from 2017. Danica has said the title may change to A Cinderella Christmas Ball or something similar, so be sure to stay tuned IF there are any title changes or updates.

Of course, Danica McKellar is well-known for a number of TV and Christmas movies; notably, A Crown for Christmas is her most popular royal-themed Christmas movie to date. A Royal Christmas Ball will be her third royal film for Great American Family. The Winter Palace aired in 2022, and A Royal Date for Christmas aired in 2023.

More Great American Family News - In Case You Missed It:

Christmas in July is coming to Great American Family! Great American Media CEO Bill Abbott shared this exciting news in his latest insider email with this statement, "Movie enthusiasts can rest assured that we will go back to movies with Christmas in July, and then we will have a very strong slate of new, original movies through the end of 2024!"

Further information has not been released yet about when Christmas in July will begin, so please be sure to stay tuned for additional details. Last year, Great American Family ran Christmas movies 24/7 from July 1st to July 17th, and then from July 18th to July 30th, the channel aired three Christmas movies each night, from 6pm to 12am (EST). We will have to wait and see if the network plans to run a similar programming slate for Christmas in July this year.

At the end of July, Bill shared with his followers that we can expect to see the return of Great American Pure Flix films on Monday nights, beginning with GOD’S COUNTRY SONG on Monday, July 29th, and HEAVEN SENT on Monday, August 6th. MR. MANHATTAN, starring Alexa and Carlos PenaVega, will premiere May 23rd on the streaming source Great American Pure Flix and is projected to premiere on Great American Family in September.

Bill also promises, "There be much more to come in August, September and certainly at Christmas, including a mystery featuring Candace..." The Ainsley McGregor Mysteries: A Case for the Winemaker, starring Candace Cameron Bure, is set to premiere sometime later this year.

At this point, I know some viewers are disappointed with the reruns of classic programming airing on Great American Family. Hopefully, this explanation from Bill Abbott will help explain, "The reason we have been airing older series content is the number of people who watch these shows is double, and sometimes triple, the number who watch movies according to Nielsen. While we also love our movies and would much prefer to offer these rather than old series, we need to reach the biggest audience possible to be viable to advertisers."

So, if you want to support Great American Family and the content they are building on their network, we will all have to wait a little longer as the network continues to grow its library of films and expands its viewership. When Christmas in July or the movies begin again, be sure to tell your family and friends to tune in.

#great american family #great american christmas #danica mckellar #a royal christmas ball #oliver rice #gleb savchenko #Youtube

[denimbex1986]

'In some ways, Oppenheimer, Christopher Nolan’s biggest non-superhero movie, was a product of the pandemic. Until the winter of 2020, the director had been loyal to Warner Bros., and their logo was to be found on every film that Nolan either wrote, directed or produced.

While he was never formally tethered to that studio, Nolan had been monogamous as its cornerstone tentpole filmmaker, ever since his 1999 breakout indie film Memento led him to create Insomnia there.

That year, however, everything changed. The usually mild-mannered director was outraged by the decision of former WarnerMedia CEO Jason Kilar to perpetrate a blindside dumping of the studio’s entire slate onto its HBO Max streaming service. This attempt to build subscribers for its streaming service at a time few were going to theaters incensed Nolan and many others. The filmmaker was still wounded by the studio’s decision to release Tenet while the world had yet to fully emerge from lockdown.

In fact, he didn’t even have a film in the bunch being dumped, but he was nevertheless upset to see films made for the big screen — like Dune, The Matrix Resurrections, Wonder Woman 1984 and future Oscar-winner King Richard — drop day and date. As much a warrior for the traditional theatrical experience as Martin Scorsese and Quentin Tarantino, Nolan decided he would look elsewhere; no idle threat when you consider that the movies he directed there grossed north of $6 billion (more when you consider the DC films he produced or godfathered).

When Deadline revealed that Nolan would make Oppenheimer, and that Cillian Murphy — still riding high on the success of showrunner Steven Knight’s period gangster series Peaky Blinders — would likely play the title role, the news landed like a bombshell. Every studio responded by chasing it, and there were rumors that Warner Bros. might not even get a meeting. The lucky winner was Donna Langley, NBCUniversal Studio Group Chairman, who, like several other studios, agreed to Nolan’s ask for $100 million to make his movie, along with creative control and a massive global theatrical release.

“I’d wanted to be in business with Chris for a long time,” she says, “and he was always near the top of my blue-sky wishlist of directors. Just as movie fans, whose movies do we love? Chris’s name was always close to the top of that. And from a strategic standpoint, as we were coming out of the pandemic, it was very clear to us that the cinematic experience needed to be undeniable in order to get people back into movie theaters. Chris’s work is undeniably cinematic. He makes films for the audience to see in the movie theater. And so that became a strategic imperative for us.”

Her determination to land the project increased when she read the script. Juggling multiple timeframes, Oppenheimer explains how the work done by scientist J. Robert Oppenheimer in the early 1940s — the top-secret Manhattan Project, based in Los Alamos — led to the creation of the atomic bomb and the end of the Second World War. It also deals with Oppenheimer’s guilt, and how the American establishment turned on him once he’d served his purpose.

In there were two career roles, one for Irish actor Murphy as Oppenheimer, and another for Robert Downey Jr. as Lewis Strauss, the bureaucrat nominated to be Eisenhower’s Secretary of Commerce. Strauss was so insecure about being snubbed by Oppenheimer, Einstein and other geniuses while a member of the U.S. Atomic Energy Commission that he would try to play silent assassin to Oppenheimer’s reputation by staging a controversial hearing to revoke his security clearance and render him a pariah.

“I was just transported by it,” Langley says. “I was so relieved that it wasn’t a mind-bending, twisty-turny, science fiction extravaganza that I needed an encyclopedia to understand. This was a story about a living person and a moment of time and history. It’s one of the best screenplays I’ve read in my career.”

It was a script with all the trappings of a Christopher Nolan movie — shifting timeframes, complex characters — and it had an emotional core that struck Langley deeply. “It’s very intimate on the one hand, but it also has a giant scope,” she notes. “The world is on the point of collapse, there’s technology and innovation being chased after by multiple countries, and America has to be first in the race to get there. At the time, being deep into the Ukraine war, I was really struck by how resonant and relevant the story was. And as Chris put it to me, ‘This is the greatest American story never told in cinema.’”

Kilar is long gone now, and Warner Bros. is a more theatrical-friendly place, as theatrical has become the priority for event films once again. Nolan won’t say whether this was a one-time fling, but it is hard to deny he saved his best film for Universal. Unusually for a three-hour, non-franchise film released in July, it has made a near-billion-dollar gross, won seven awards at the BAFTAs (including Best Film and Best Director), and is widely believed to be the Oscar favorite, receiving 13 Oscar nominations that put the film in the frame for the same key categories, while recognizing Murphy, Downey Jr. and Emily Blunt for their work in the acting categories.

Nolan vividly remembers the time first he ever saw Murphy: it was a photograph in a newspaper, probably the San Francisco Chronicle. The director was staying in a hotel in the Bay Area, writing and rewriting the script for Batman Begins, while at the same time scheduling screen tests for the lead role. At the time, he didn’t know who was going to play Batman. He was, he says, “just looking to see who was out there.”

What caught his eye was an image from Danny Boyle’s apocalyptic zombie thriller 28 Days Later: though Murphy was covered in blood, the actor’s bright blue eyes provided stark contrast to the bleakness of a new reality spent eluding flesh-eaters. “It was a cool photo,” says Nolan, turning to Murphy. “You could see your eyes, and your presence. I was just very struck by it.”

“Had you seen the movie then?” asks Murphy.

“No,” says Nolan. “I literally just saw a picture. I then watched the movie, but the truth is, I already was interested. These things are very instinctive, and that’s the relationship that an audience has with an actor as well. It’s an instinctive and instant connection. So, yeah, love at first sight. I see the picture and I’m like, ‘Man, that guy’s got something.’”

Nolan invited him to LA for a meeting. They met, connected, and suddenly Murphy was on the Caped Crusader shortlist of actors Nolan tested for the role that ultimately went to Christian Bale. “But I think at the time you were quite a bit… more slight than you are now,” recalls Nolan. “You walked in, and I remember thinking, ‘Are you really going to be able to be Batman?’”

Still, Nolan was interested to see what Murphy was capable of, shooting a screentest with the actor reading some of Bruce Wayne’s scenes. He shot them in 35mm on a Warners soundstage with full, professional lighting — “Because I really wanted the studio to really be able to see what this was going to be” — and the results surprised him. “I just remember a sort of ripple of excitement going through the crew,” he says. “Hollywood crews, particularly, they’re very professional, but quite jaded. They’ve seen a lot of stuff, so you don’t often get that kind of thing where you feel everyone is paying attention.”

Murphy wasn’t expecting to get the part. “I remember knowing it was a test,” he says. “From my point of view, I was already a fan of Chris’s work and I just wanted to get in the room and audition. That would have been enough. I was totally content at that stage of my career just to say, ‘Oh man, I was in a room with Christopher Nolan, and we worked on some scenes.’ And then he called me out of the blue. I did not expect him to say, ‘Well, how about this other part?’”

That other part was the film’s main villain, the Scarecrow, which marked a significant shift in the Batman franchise. “I don’t remember having any resistance whatsoever to having a relative unknown take on a big part like that,” Nolan says. “And previously all those villains were played by actors like Arnold Schwarzenegger or Jack Nicholson. They were the biggest stars in the films. But no, [the studio] got it. They were all blown away by the test.”

So, what made him right for the villain but not Batman? “I don’t think he had the physicality at the time,” says Nolan. “We tested everyone as Bruce Wayne and we tested them as Batman, and the thing that Christian had that was so striking was that he understood that so much of acting is about reality. So much of acting is about emotional truth. And when you put on a costume like the Batsuit, you have to become this icon. Christian had this crazy energy that he just directed. He’d figured out how that worked and what that would be — the way Bruce Wayne does in the film. He adopts this persona. It’s a very specific thing. And he tore a hole on the screen as Batman. It was like, there was no question.”

Nolan turns to Murphy. “But it was interesting watching Peaky Blinders years later and seeing you play Tommy Shelby,” he says. “Whatever it is we’re talking about here, you’d figured it out. That’s an iconic character with an oppressive presence, where he walks into the room, and everything goes quiet, and he owns that space. In the way Batman does, or an iconic character of that kind. There’s a physicality that’s extremely confident and strong in everything he does, in every gesture.” He pauses. “Is that a conscious thing you’ve developed over the years, or was it just looking at that part and thinking, ‘How do I do that?’”

“I think it was both,” says Murphy. “But I also think I felt, back then, that that was a part I hadn’t really explored before, that kind of physically imposing character. I’d never been offered those parts. But I always think, Chris, that one of your underrated strengths is casting. Everyone knows all of your amazing strengths, but you cast things exquisitely. And I think the Scarecrow was the right part for me to be in at that time in my career.”

So, what makes an actor right for the type of role he was wrong for earlier? “I’ll tell you a story,” says Nolan. “I was talking to one of the crew, Nathan Crowley, who designed the Batman films. He told me he had seen Peaky Blinders. I hadn’t. And he said to me, ‘Yeah, Cillian put on all this weight for the part. He’s big.’ I watch it, and I’m like, ‘That’s not what it is, it’s not that.’ I mean, maybe he did put some bulk on, maybe he’s just getting older and more filled out. But that’s not what I saw. I was like, ‘No, this is physically the same guy, but he is using his gift, his instrument, to project scale in a way that I hadn’t seen before.’”

While it took him time to summon that presence, Murphy agrees that it had more to do with craft than physical bulk. “When I was a kid, about 16, I had the great privilege of seeing Jonathan Pryce play Macbeth at the National Theatre in London,” he says. “I had only seen him in films like Brazil, and he was a fairly slight guy. I watched him in real life play this huge role and he just seemed like this enormous force. It was about projecting.”

“I don’t know how you do that,” says Nolan. “And it’s probably something you don’t like to be too self-conscious about, but what I saw you do, what Tommy showed me, that’s what I saw, was an ability to transcend your own physicality, your body, and work beyond that and make people see this character in a different way. I mean, that’s the gift of great actors. And I don’t know how it works, but I’ve seen it.”

“I don’t know what it is either,” says Murphy.

Whatever that elusive quality was, Nolan knew he needed it to tell the story of Robert Oppenheimer. From his feature-length debut, the sleight-of-hand thriller Memento, to the Dark Knight Trilogy, and the boundary-bending likes of Inception, Interstellar and Tenet, Nolan has always been unafraid to tackle ambitious and complex narratives. But framing Oppenheimer’s story was to be the biggest challenge of his career.

Nolan grew up in the U.K. in the 1980s, during the Cold War and the continued concern over the danger of the arms race between the U.S. and the Soviet Union. His curiosity about Oppenheimer began with a lyric in Sting’s 1985 song “Russians”, in the which the singer asks, “How can I save my little boy from Oppenheimer’s deadly toy?”

“I’m a little older than Cillian here, but he probably remembers growing up in the U.K. in the ’80s,” says Nolan. “It was a time of great fear of nuclear weapons. I talked to Steven Spielberg about this. It was like growing up in the ’60s, with the Cuban missile crisis. The ’80s were a very similar thing. There were protests, and there was a lot in the pop culture about nuclear weapons. But it was Sting’s song ‘Russians’ where I first heard Oppenheimer’s name, and there was this very palpable fear of nuclear Armageddon.”

The 2005 book American Prometheus, by Kai Bird and Martin J Sherwin, captured Nolan’s interest further (in Greek mythology, Prometheus defied the Olympian gods by giving man the gift of fire). “It was after reading American Prometheus that I started to see a way in which you could tell this as a story, by taking on Oppenheimer and seeing it really from his point of view. And everything else followed after that. With something like the fear of nuclear weapons, you have to have a human way into that, and, for me, that was Oppenheimer.”

What struck Nolan in reading the book was hearing that Oppenheimer and his brother would go to Los Alamos as children to camp. “The connection between Los Alamos and the nuclear weapon he was developing, that comes from Oppenheimer’s childhood,” he notes. “He wanted to combine his interest in New Mexico — playing cowboy like he did, that love of the outdoors — with physics, and that’s what he did with the Manhattan Project.”

More so than the propulsive elements of the story, that the Americans were in a race against time to beat the Nazis, it was that element that convinced Nolan he, indeed, had a movie. “Once I’d read that, that’s where I started to see a personal connection,” he says. “And once you have the personal, then you start looking at the events, this thriller aspect to it that just kept coming in with everything that happened to Oppenheimer after 1945. It was a bunch of different things coming together.”

Indeed, Oppenheimer was later subjected to a politically charged tribunal that stripped his security clearance and rendered him a pariah, adding to his burden of having unleashed a weapon that, in the wrong hands, could destroy the world and had already cost over 100,000 lives when the bombs were dropped on Hiroshima and Nagasaki to end WWII.

“American Prometheus is such a remarkable book,” Nolan muses. “Martin Sherwin worked on it for 20 years before Kai Bird joined. They did another five years. It’s a quarter of a century of research and interviews. I got the benefit of that, which was wonderful.”

Key to the story’s attraction was Oppenheimer himself, and Nolan was determined to unravel the scientist’s enigma. We’ve seen depictions of the fragility of genius in films like Shine, A Beautiful Mind, even Good Will Hunting, and how the brightest intellects can come unstuck. But Oppenheimer seemed to enjoy his post-WWII fame on the covers on Time and Life magazines, and in speeches. Was he a narcissist or a hero?

“I think he was definitely a hero, definitely a narcissist,” Nolan concludes. “He was a lot of different things. Very theatrical. What I got from American Prometheus, and what I started to get interested in is, he was someone who had a lot of neurosis and a lot of trouble very early in life, as he came of age at the same time that he was wrestling with these incredibly abstract concepts. We tried to fuse those things, show this kind of energy inside him and show how he masters that. And all the imagery of atoms and splitting atoms to me, they’re very related to his internal state, as a young man in particular. There’s a lot of dangerous tension inside this guy. A lot of dangerous mental energy.”

Murphy proved to be a strong physical match for Robert Oppenheimer; his handsome looks lent themselves to the theoretical physicist’s status as a womanizer, and those blue eyes were an ideal cipher for the wildness of those early scholarly years, when Oppenheimer was trying to harness his genius. All this came as a surprise to Murphy, back when Deadline revealed that Oppenheimer was Nolan’s next secret project and that he wanted Murphy to be number one on his call sheet, after five other movies with the director.

“I tried to ignore your story because I hadn’t heard from Chris or Emma [Thomas, Nolan’s partner and producer],” Murphy says. “It came out, everyone was texting me, and I said, ‘No, there must be some sort of mistake,’ or, ‘It’s just a rumor,’ because I hadn’t heard from those guys. A day or two later, Chris called me. This was out of the blue. Because Chris doesn’t write the script with actors in mind, which, when you think about it, is really, really smart because he doesn’t put any limitation on himself as a writer, or on the actor. So, it came out of the blue, and in the best way possible because I was unemployed. I hadn’t any work lined up.”

“It was perfect timing,” says Nolan. “He could have easily said, ‘Well, I’ve got a thing…’”

Murphy remembers that he had just finished up work on Peaky Blinders. “Bear in mind I said yes before I read the script,” he says, “because I always do that with Chris.”

Then it was Nolan’s turn to sweat, when he showed Murphy the script. “I said, ‘How about it?’ After Cillian said he was in, I flew to Dublin, and he came to my hotel and sat and read the script. I went off to the Hugh Lane Gallery and looked at Francis Bacon’s Studio, which I’d always wanted to see. And then we came back, and we had a chat about it. I remember doing this with Heath [Ledger] on The Dark Knight. He’d signed up for it, and then I showed him the script. There’s that moment of, like, ‘Are you going to feel good about that commitment?’”

He turns to Murphy. “But you seemed very into the script. You seemed very… I wouldn’t say relieved, I’d say you seemed excited.”

At this, Murphy breaks into a big smile. “It was one of the greatest scripts I’d ever read,” he says. “It was just astounding. But I knew it was huge. I knew this wasn’t just a part you could turn up at next week and get going. I was immediately going, ‘All right, f*ck, f*ck, f*ck. I’ve got to do all of this. This is huge.’ And, in fact, I was already working, getting going before I read the script. I knew I just had to go at it meticulously and make a strategy to go at it because there was just so much to do, emotionally, physically and intellectually.”

Murphy did more than just try on Oppenheimer’s signature hat. “I immediately started reducing calories,” he says, “which was a stupid thing to do, like, six months away from shooting. But I wanted to start feeling like him. I watched all the historical materials. I read the book, obviously. I started looking at all his lectures online. Any other stuff that was around. All the accounts from people that knew him were really, really interesting to me. Talking to [physicist] Kip Thorne, who was the scientific advisor on it. He had been lectured by Oppenheimer, which was really, really useful.”

Nolan interrupts. “That was a good thing,” he says, “because I’ve done a couple films with Kip; Interstellar was Kip’s original idea. I’d called him because I needed his help on the whole quantum physics thing. And in the course of the conversation, I realized that when he was at Princeton, he’d attended Oppenheimer’s lectures at the IAS. So immediately I was like, ‘Well, will you get on the phone with Cillian and talk to him about how he taught?’

Those testimonials helped Oppenheimer capture gestures and mannerisms that most of the audience for the film wouldn’t register.”

Says Murphy, “Kip talked about how Oppenheimer held his pipe on stage, and how he had the cigarette in one hand and the chalk in the other hand; We talked about how he was very aware of his presence, his legend, and his theatricality, all of that stuff.”

“I remember you telling me after you spoke to Kip, and we incorporated it into the staging as well,” says Nolan, “that Oppenheimer would let people talk. He was very good at summarizing a discussion. Which I think became absolutely key to the whole, to all of the Manhattan Project scenes.”

“He was an excellent synthesizer and manager,” Murphy agrees. “He didn’t seem the obvious choice for it, but he was.”

Together, Nolan and Murphy found the physical style for the lanky Oppenheimer, and one of the style influences was David Bowie, circa 1976. “Everything about him was constructed,” says Nolan. “Oppenheimer constructed his entire persona, his entire self. That’s why I threw the David Bowie photographs at you, Cillian. This was the Thin White Duke era. David Bowie has these crazy high-waisted trousers that were very, very similar in proportion to what Oppenheimer would wear at the end of Los Alamos. Bowie was always the ultimate self-constructed pop icon, and I think Oppenheimer was similar, in his own way. Obviously, it’s a completely different world, but he used his persona to achieve a mass of things.”

Murphy, who started out with the intention of a music career until he turned down a record deal and chose the acting life, sparked to the influence. “When Chris sent me that, I printed that picture out and I put it on my script,” Murphy says. “He sent it to me with no context, and I knew exactly what he meant, because I’m a music nerd and I could see the crossover. So, it was there in the back of my script for the whole shoot.”

More important, however, was getting Murphy ready for the emotional toll that playing Oppenheimer would bring, particularly after his triumph in Los Alamos. History hasn’t been kind to war heroes, as was seen when British mathematician/computer scientist Alan Turing cracked the Nazi enigma machine code — a breakthrough that shortened the Second World War — only to be punished for his homosexuality, which was illegal at the time. Similarly, Oppenheimer became a punching bag in a politically charged kangaroo court.

“I’m plagued by a line from The Dark Knight, and I’m plagued by it because I didn’t write it,” says Nolan. “My brother [Jonathan] wrote it. It kills me, because it’s the line that most resonates. And at the time, I didn’t even understand it. He says, ‘You either die a hero or you live long enough to become the villain.’ I read it in his draft, and I was like, ‘All right, I’ll keep it in there, but I don’t really know what it means. Is that really a thing?’ And then, over the years since that film’s come out, it just seems truer and truer. In this story, it’s absolutely that. Build them up, tear them down. It’s the way we treat people.”

Murphy believes that the security of 20 years working together emboldened him. “If you don’t have that history, or that level of trust, with a filmmaker,” he says, “I don’t know if you can be as brave or can dive in like I was able to on this one.”

Nolan has his own theory. “Maybe I’m wrong,” he says to Murphy, “but I feel like, after finishing Peaky Blinders, you were in a peculiar place in your career, because you’d been playing the same character for a lot of years. Very, very well with massive success, creative success and artistic success, and also people recognizing the success. You must have felt very comfortable in that character. Steven Knight’s writing is beautiful, and is always challenging the character, but it’s still a second skin that you’d developed that you were slipping into. But then you’re moving to an arena where all that’s gone. This was a true ‘out of the hot tub and into the cold plunge’ moment.”

Nolan appreciated the effort it took. “For me, particularly with such a big cast, Cillian was the element I was able to completely take for granted,” he says, “to the point where on Downey’s last day, he came up to me and said, ‘Do you understand how hard this guy is working for you?’ It was towards the end of the shoot. He was like, ‘He’s exhausted.’

And I said, ‘Thanks, Robert, he’ll be fine.’ And he was fine. But the point was taken that, yeah, I was able to take what he was doing on set for granted because I knew how great the work was. But the reality is, I didn’t realize the magnitude of the performance until I put it together in the edit suite. This is true, I think, of all great performances; you see what you see on set. But then, in the edit, you actually see it the way the actor has performed it. Even though you have been shooting in a crazy order, he’s figured out how all these pieces go together, and then you start to see it come together. It’s a really pretty magical thing.”

One of the first filmmakers Nolan showed the film to said something that really stuck with him. “There’s never that moment where you see the actor realize how great the part is,” he recalls this director telling him. Nolan knew exactly what he was talking about. “Because that’s the thing,” he says. “Particularly with serious movies, or when an actor has a great opportunity, you see them enjoying the taste of it a little too much. There’s always that moment. And that is not in this performance. This performance is totally pure. To me, this performance is much more about the real world, the way people are flawed, continuously flawed. There’s not one little thing they do wrong — we’re all good and bad, and there are layers of that. Oppenheimer is the absolute essence of that. The performance embraces that and carries the audience. But if the performance didn’t unselfconsciously embrace that, it wouldn’t work at all.”

Murphy is flattered. “It’s the nicest thing you could say,” he smiles. “But for me, I remember when I was doing it, if at any point I ever felt, I don’t know, anxious or insecure, I would always think, ‘No, Chris has seen something in me, and he’s drawing something in me out that I didn’t know was there really before.’ And I remember saying to him before we started shooting — because he’s always really pushed me in the best way, and he pushes all his performers in the best way — ‘Push me as hard as you possibly can on this one,’ because I knew we had to do that.”

The payoff comes in the ending, when the audience learns what Albert Einstein (Tom Conti) actually says to Oppenheimer. Strauss looks on, but Einstein walks past and ignores him. That Strauss was insecure and petty enough to believe their chat was about him, instead of being an intimate moment between geniuses who each bore the burden of creating weapons of mass destruction that pulled the world into a dangerous new age, is… Well, let Murphy describe it.

“I’m all about third acts and endings,” he says, “and when I read the script, that time in Dublin, knowing that’s one thing Chris always nails, I remember thinking, ‘What a f*cking ending.’ It’s extraordinary. And that’s from Chris’s imagination. It’s not from history, but it’s just genius. You can write an extraordinary script, but you can write yourself into a corner and the audience feels shortchanged if you don’t nail the f*cking ending.”

Says Nolan: “We talked very carefully about the moment where Kitty [Emily Blunt] says, ‘Did you think if you let them tar and feather you the world would forgive you? It won’t.’ I love the way Cillian performs in that moment, it was so important to me that it hit this exact note. And I didn’t know what that exact note was. I just knew that I’d know it when we hit it, because it needed to be sort of self-conscious in a slightly more open way.

“In the rest of the film, everything Oppenheimer does that’s a little bit vain or a little bit self-conscious, it’s almost as if he’s unaware of it,” Nolan says. “And I feel like in that moment, he opens up to the audience just a hair more, and says, ‘We’ll see.’ Because he puts the question to the audience, in a way. ‘Do you think the world will forgive you?’ ‘We’ll see.’ And I think the jury’s still out very much, but I think he’s definitely better thought of than he would be if he hadn’t been made to suffer.”

To Nolan, putting Oppenheimer, and Murphy, through the wringer in the latter part of the film evoked many higher themes. “When I showed it to Kai Bird for the first time, I said, ‘Look, this is my idea of who he is. This is who I feel he is. I feel that he’s ahead of those people in that room who are torturing him. I feel like he does have a vision to the world beyond that. And it’s partly a vision of fear, and a vision of the idea of the chain reaction. But it’s also partly how history will judge him. And if he fights too hard, or even if he won that fight…’

“It’s a bit Christ-like really, isn’t it?” he suggests. “It’s sort of knowing that the way to win is actually to lose. That was what I felt was inside him, and then the way you played it, Cillian. But there’s also great suffering. And I thought, I mean, Jason Clarke does such a wonderful job in the scene. And what nobody knows, because they weren’t there, but when we were filming your side, he just went nuts.”

Murphy interrupts. “Well, you f*cking made him go nuts! I thought at one point he was actually going to punch me out. It was like this big push in on me, each one, and I said to Chris, ‘I don’t know what you said to him, but he was like a f*cking animal, man.’ And then you used that take.”

Nolan lights up at the memory: “He was throwing stuff, and that’s mostly the take we used. It’s a combination of different takes, but that one was absolutely key. I just thought it was wonderful, but he hadn’t shot his side yet, and I worried he was going to lose his voice. But we came back the next day to do his side.”

“This is a case in point,” says Murphy, “where we were doing that big push. I remember going, ‘Do you think we got it, Chris?’ And you were like, ‘Eh. Let’s go again.’ I love that. You could say, ‘We can all go home now,’ but instead, you said, ‘Let’s just go again.’ Sometimes it doesn’t work, but that time it did.”

When the atomic bomb test succeeds, Oppenheimer is carried on the shoulders of others like a football coach who’s just won the Super Bowl. There’s even a scene in which Harry Truman (Gary Oldman), the president who dropped Oppenheimer’s bombs on Japan, is shown to be disgusted by the physicist’s remorse. But his role in the destruction and massive loss of life in Hiroshima and Nagasaki must have left Nolan with a real balancing act.

“As you put a script together,” he says, “you try and focus in on things like, what’s the key idea that has to work here? What are the key shifts that you need the audience to be struck by? And in the case of Oppenheimer, it was very clear to me that the whole purpose of the screenplay is to go from the absolute highest high of triumph, with Trinity, to the sheer lowest low of the realization of Hiroshima, in as short a time as possible.

“That was always going to be just a crazy shift,” he continues. “We talked about this a lot, in the moment where, earlier in the film, the atom is split. And then when Luis Alvarez [Alex Wolff] reproduces the experiment, in the script Oppenheimer immediately, as he did in real life, jumped to the idea that, you could make a bomb from this. The way in which Cillian performed that, it was very precise because it couldn’t be portentous. Obviously, he’s playing an intelligent man and he’s talking about bombs, but we couldn’t signal to the audience the negativity of where that was going to go, in terms of his frankly existential dilemma, the burden he’s going to carry later. You don’t want to foreshadow that in the performance. It was very important that the performance not foreshadow that, that it’d just be part of his journey that he’s interested in. To him, it’s actually exciting.”

In Nolan’s mind, the job is to paint a picture to help the audience form its own opinion about nukes, rather than betray his own morals and have it amount to feeding the audience cinematic spinach. “For me,” he says, “cinema can never be didactic, because as soon as it tells you what to think, you reject the art, you reject the storytelling. You see that a lot, particularly this time of year. It’s like people want movies to be able to send messages. But the truth is, I’m with whichever mogul who said, ‘Call Western Union if you want to send a message.’ In taking on Oppenheimer’s story, I don’t think there’s anyone who thinks that nuclear weapons are a good thing, so there’s not much point in telling the audience that.”

He pauses. “I’m sorry I’m going on a bit about this, but it’s a really interesting question. I had to explain this to everybody very early on: I’m not interested in making a story about how naive scientists accidentally created something that’s terrible for the world and then felt bad about it. Oppenheimer was one of the smartest people who ever lived. He knew exactly where this was going. The point is, they had to do it. They were put in a position where they believed that if the Nazis got the bomb, it would be the worst thing imaginable for the world. And so, they had to do what they had to do. But they did it knowing that the consequences would be potentially awful.

“That’s what makes the story so compelling from a human point of view. It’s not that they didn’t realize where this was going. It was that they felt they had no choice.”'

#Christopher Nolan #Cillian Murphy #Kai Bird #Martin J. Sherwin #Oppenheimer #Lewis Strauss #Robert Downey Jr. #Tenet #The Dark Knight #Warner Bros #Memento #Peaky Blinders #Universal #28 Days Later #Scarecrow #Batman Begins #Danny Boyle #Christian Bale #Tommy Shelby #Inception #Interstellar #Los Alamos #Heath Ledger #Kip Thorne #David Bowie #Thin White Duke #Tom Conti #Albert Einstein #Kitty #Emily Blunt

[thesmilingfish]

I was thinking about some of the gifs that I reblogged and how for a period of my life I saw a lot more movies in the theater than I do now. I thought maybe it was just my imagination so I decided to check myself and randomly chose 1990 as a starting point, then did checked the Wikipedia list for movie releases and then did every ten years to see the results.

1980 - 4

1990 - 45

2000 - 11

2010 - 3

2020 - 0

My memory, of course, could be faulty so I tried to err on the side of caution. It's not like I even saw all of the biggest movies that came out in 1990 or that those movies are better than movies now. Maybe it was because of my age and the group of friends I had at the time. Maybe it was because I lived in a place that had a lot of movie theaters, including an independent 'art' house so I had more options. It could have been the cost of going to the movies was more affordable at the time. (I went pretty much every Friday night to the movies and out to dinner with friends afterwards.)

Weirdly, looking at the list of 1990 movies some of them I never watched again, even though I enjoyed myself at the time. A lot of them I have no idea why I even went to see them in first place, but it was probably because it was what was playing and we wanted to go to the movies so we found something we could all agree on. I do know the only reason I saw Ghost was because my boss made me. We went to the movies together sometimes but he complained that I was a film snob and didn't watch hit movies as a result. Around two minutes into the movie I slipped him a piece of paper naming the murderer and later I almost got attacked by a couple of women for laughing inappropriately. The credits sequence, I believe done by Mike Jittlov, is still my favorite part of the movie even though I've never watch it again.

Below the cut, are the list of movies. Just because.

1980 The Nude Bomb The Empire Strikes Back My Bodyguard Phantasm (!!! way too young to have seen this)

1990 Flashback The Hunt for Red October The Handmaid’s Tale Lord of the Flies Nuns on the Run Cry-Baby I Love You To Death Miami Blues Bird on a Wire Back to the Future Part III Total Recall Dick Tracy Gremlins 2: The New Batch Die Hard 2 Ghost Arachnophobia Navy SEALs Young Guns II Air America Flatliners Pump Up the Volume Darkman Men at Work The Witches Hardware State of Grace Pacific Heights Texasville Henry & June Memphie Belle Tune in Tomorrow Jacob’s Ladder Vincent & Theo The Krays Home Alone Rescuer’s Down Under Dances With Wolves Misery Cyrano de Bergerac The Grifters The Rookie Edward Scissorhands Mermaids The Field Hamlet

2000 Pitch Black The Ninth Gate High Fidelity Mission: Impossible 2 X-Men Hollow Man Charlie’s Angels Quills Vertical Limit O Brother, Where Art Thou? Shadow of the Vampire

2010 The Ghost Writer Iron Man 2 Harry Potter and the Deathly Hallows: Part 1

2020 - STREAMING Extraction Eurovision Song Contest: The Story of Fire Saga The Old Guard Greyhound Enola Holmes Wonder Woman 1984

#personal #movies #blathering on

[msclaritea]

HBO Chief Casey Bloys Says “A Sameness Of Storytelling” Has Bogged Down Recent Superhero Outings – Deadline

"HBO and Max Content CEO Casey Bloys isn’t buying the notion that audiences have tired of major comic-book tentpoles, despite recent signs of a dropoff at the movie box office and some streaming outlets.

(That's what WBD is now hoping, after they helped to spread the toxic message, through trolls, of superhero fatigue, for years)

“I don’t know that it’s necessarily tentpole fatigue as much as it is a sameness of storytelling,” he said during a 2024 programming showcase in New York.

(What WB really objects to? Diversity, lack of realness. See Hyper violence, and clearly defined good & evil roles)

One of the shows to get significant billing at the event is The Penguin, which stars Colin Farrell in the title tole. The Batman helmer Matt Reeves is an executive producer of the Max Original, whose original spring 2024 launch will be delayed by the WGA and actors strikes..

(Another show surrounding a villain and using a mid actor)

DC is the main supplier of superhero fare on Max, but Bloys largely demurred during a press Q&A when asked for details about the state of the comic book corporate sibling’s production slate, including James Gunn’s new take on Superman. Thematically, though, he said DC definitely fits into his programming philosophy when it comes to keeping genre fare interesting.

(OF course he'd say that)

“I think the key, even within DC, is trying to tell different stories in different styles, to not try to do the same show over and over and over again,” he said. “I would say Peacemaker is a very different show tonally than The Penguin. So, there’s not a uniformity to the storytelling and I think that helps.”

Bloys volunteered a thought about a major rival. “Unfortunately, Marvel, as good as their shows are, there’s probably been a lot of them. That’s one of the advantages we have at Warner Bros. is it’s not just one set of stories. There’s a lot of stories you can go to.”

While Peacemaker, The Penguin and other shows in development are from the DC stable, Bloys said, the slate also features spinoffs from Warner Bros. films like It and Dune, with a Crazy Rich Asians spinoff also in the pipeline.

Let's see here:

Snyderverse, a mess

Wonder Woman 1984, flopped

The Flash, flopped

Black Adam, SO flopped

Aquaman, ABOUT to flop

In the tradition of sportsmanlike behavior in competition, Warner Bros Discovery would be booed off the court. Who the hell are they to give advice to Marvel?

I'd also like to bring up one more thing: Heath Ledger died as a result of playing the Joker. The psychological stress took such a toll on him, that that's when he went on prescriptions.

#Warner Bros Discovery #No morals and a house full of mid British actors #Casey Bloy #Doesn't want diversity #He wants hyper violence and sympathy for saud violence #WBD #DC Comics #HBO

[popculturebrain]

‘Glass Onion’ Claims Title Of Most-Viewed Film In A Week On Nielsen U.S. Streaming Charts; ‘Yellowstone’ Has Its First Billion-Minute Week

Glass Onion: A Knives Out Mystery is breaking Nielsen streaming records in the U.S. The film became the most-streamed movie in a measurement week from December 26 to January 1 (its first full week on Netflix), surpassing Hocus Pocus 2 and Wonder Woman 1984. With 2.9B minutes viewed, it was the No.

Subscribe to the Pop Culture Brain Daily newsletter for more stories like this!

[deadlinecom]

[facebookfree]

A to z movies starts with t

(Netflix knows this and executes on it very well.) It’s a constant cycle of needing more, needing quality, and needing big. Having those constantly, on top of regular library programming that keeps people opening HBO Max in between big releases, keeps attention. By having a new mega release every single month, there are more reasons for people to stay subscribed. The key to “winning” is demanding attention. But the increased competition in the space means that competitors are doing the same thing, often with big franchise IP (Disney) or top talent (Netflix, Amazon). You likely won’t sign up for HBO Max just to watch Friends, but you might sign up to watch Wonder Woman 1984 and then stick around to watch Friends. Streaming is a balance game: there needs to be a consistent addition of new titles to attract subscribers as a platform scales, with a full library of beloved and various TV shows and movies that keep people around. is doing and release movies in theaters at the same time as Disney Plus. Disney will likely continue to move certain titles to Disney Plus as exclusives, but it could also decide to mirror what Warner Bros. Disney CEO Bob Chapek told analysts on the company’s recent fourth quarter call that despite the backlash the movie received, it performed well (no numbers were given) and made the case to Disney executives that a Premier Access strategy that could work.

It also released Mulan exclusively on Disney Plus for $30 in September. Disney moved Hamilton, Artemis Fowl, and Soul to streaming only exclusives. WarnerMedia also isn’t the only company using this time to experiment with things that would have played out several years from now. As a result of that, we’re having to evaluate all of our options and keeping them open. We’re expecting it to continue to be choppy. We’re not looking that we’re seeing here - expecting a huge recovery in theatrical moving into the early part of next year. Think of what AT&T CEO John Stankey told investors just a couple of months ago about theatrical releases in 2021: These factors, on top of a resurgence of COVID-19 cases around the world that put the next several months of any group activities at risk, present the perfect opportunity for WarnerMedia to experiment. tried to release a movie in theaters during the pandemic - Tenet - and the studio lost hundreds of millions of dollars. It’s also no secret that HBO Max isn’t seeing as many subscriber additions as WarnerMedia would like. Executives haven’t tried to hide how important HBO Max is to the future of the business. On one hand, it’s a simple decision for Warner Bros., WarnerMedia, and parent company AT&T. will likely operate at reduced capacity throughout 2021.” We know new content is the lifeblood of theatrical exhibition, but we have to balance this with the reality that most theaters in the U.S. “No one wants films back on the big screen more than we do. “We’re living in unprecedented times which call for creative solutions, including this new initiative for the Warner Bros. “We’re expecting it to continue to be choppy.”

The $69.99 price works out to just under $12 a month instead of $15. WarnerMedia is also offering a limited deal, making HBO Max 22 percent cheaper for people who sign up for six months. The moves will also likely help WarnerMedia reach an agreement with Roku after months of fighting over a deal. All films will be released on HBO Max in 4K Ultra HD and HDR. These titles could change depending on delays. Kong, Mortal Kombat, Those Who Wish Me Dead, The Conjuring: The Devil Made Me Do It, In The Heights, Space Jam: A New Legacy, The Suicide Squad, Reminiscence, Malignant, Dune, The Many Saints of Newark, King Richard, Cry Macho, and Matrix 4. is planning to release for now include: The Little Things, Judas and the Black Messiah, Tom & Jerry, Godzilla vs. For people who don’t have access to HBO Max in their market, it appears that theatrical releases will still be the go-to option. The plan is to run this experiment for one year. They will also play in theaters simultaneously, keeping the relationship with movie theater distributors like AMC and Regal. The movies will only stream on HBO Max for one month before leaving the platform for a period of time. There are some limitations to the new business model. WarnerMedia is pushing even more aggressively into streaming by releasing every single one of its movies in 2021 simultaneously on HBO Max.

#A to z movies starts with t

[akshatxen0]

Black Widow Makes $60 Million in VOD Sales: Can Theaters and OTT Coexist in entertainment industry?

The long-awaited origin story of the enigmatic Russian secret agent and Avenger tells the tale of a broken “family” that comes together after two decades on a mission to liberate other Black Widows — talented women kidnapped as children and changed into ruthless killers without their volition.

Black Widow, however, is also funny.

The comedy is dark, as the two sisters in the lead relate their physical and mental trauma with immaculate deadpan.

But the comedy is also goofy, as is characteristic of all of the MCU (Marvel Cinematic Universe) films.

And characteristic of the Marvel Cinematic Universe, Black Widow made records. Disney, which owns the rights to more than 5000 characters in the Marvel Universe, launched the movie simultaneously on its platform, Disney+, and select theaters worldwide.

But for the primary time in the history of streaming, closing Sunday morning, Disney launched the revenue it earned via way of means of streaming Black Widow — an eye-opening $60 million (Forbes) over the weekend.

Never before has a streaming platform disclosed the actual money it made via way of means of streaming a movie or show.

Instead, systems have continually made vague, context-much less claims of success, as Warner Bros. did whilst it stated that The Little Things at once shot as much as primary on HBO Max.

In what context? We don’t know.

So, what does it suggest for different streaming services?

Will they follow Disney’s example?

More importantly, given Black Widow’s success, should theaters be more worried?

Even superheroes need saving in a pandemic Black Widow isn’t always the primary superhero movie launched in the center of a pandemic.

The New Mutants, produced via way of means of 20th Century Studios, was launched in August 2020. Warner Bros.’ Wonder Woman 1984 came out in December 2020. And New Line’s Birds of Prey was launched in January 2020. Disney owns the rights to more than 5000 characters in the Marvel Universe. And all three proved surprisingly terrible on both screens.

On the opposite side, Black Widow, Marvel’s first release in years, changed into some thing to behold.

Domestically, its box office launch earned it north of $80 million (Forbes) — the highest weekend debut in view that Star Wars: The Rise of Skywalker ($173 million, 2019).

Owing to its aggressive advertising and marketing and diehard enthusiasts worldwide, the movie grossed more than F9: The Fast Saga and Fast & Furious 9 ($70 million) and A Quiet Place Part II ($48 million).

Though it was below-common in comparison to Marvel’s standards.

Sure, Black Widow’s origin story roared at the opening weekend, leaving behind origin stories of even stalwarts like Black Panther and Captain America.

However, ticket income plummeted the following day by nearly 43% (Variety). In box office parlance, the movie’s 2.0x weekend multiplier became grim, sharing the destiny of other big-scale disappointments like Batman v Superman: Dawn of Justice and Suicide Squad.

And professionals argue that it’s far precisely to save face that Disney disclosed the income it crafted from streaming Black Widow on Disney+.

Like most of the MCU’s films, Disney claims that Black Widow, too, grossed $100 million, because it earned $80 million in theaters and an additional $60 million on Disney+, making the overall around $140 million.

#black widow #film #cinema #digital platforms #digital media #theatre

[tekinapp]

HBO Max APK + MOD (Free Subscription) v52.40.05

APP INFO HBO Max MOD APK version is like a window to open the movie world for you. Enjoy hundreds of thousands of blockbuster movies, movie theaters, superhero movies, exclusive movies by Warner Bros, all waiting for you to discover. NameHBO MaxPackage Namecom.hbo.hbonowPublisherWarnerMedia Global Digital Services, LLCCategoryEntertainmentMOD FeaturesFree Subscription Version52.40.05Size74MPriceFREERequiresAndroid 5.0Network required HBO Max MOD APK version is like a window to open the movie world for you. Enjoy hundreds of thousands of blockbuster movies, movie theaters, superhero movies, exclusive movies by Warner Bros, all waiting for you to discover. Introduce about HBO Max The best movie streaming service for Android With a history of more than 100 years of development, movies are gradually becoming one of the essential entertainment needs of everyone. On holidays or weekends, many people choose to sit at home and enjoy good and meaningful movies together. Each year, film producers continue to release quality products in many genres such as action, horror, adventure, comedy, love, … Due to the increasingly busy life, you cannot spend time enjoying all your favorite movies in theaters. Therefore, online movie streaming platforms were born to help users enjoy movies anywhere, just need a phone with an internet connection. In order to compete with rivals like Netflix Premium or Hotstar Premium in the digital age, HBO, a company with seven 24h exclusive movie channels in all the countries, has developed the HBO Max service platform to provide online movies with a pay-to-use method. Users only need to pay a monthly amount (about $ 10), they can enjoy any movie copyrighted by HBO, including TV series, movies, TV shows. Of course, it also includes movies produced by HBO like Game of Thrones or Warner Bros’ superhero movies. There is no difficulty in using HBO Max. This app has an easy to use interface. The movie categories are arranged elegantly on the left side of the screen. You can easily search for your favorite movie based on the movie title, actor name, director’s name, or category. If you don’t have any idea for the weekend, let watch the category Discover, which has tons of cool suggestions based on your watching history. Watch all content from WarnerMedia When you pay for HBO Max, you are allowed to enjoy over 10,000 hours of watching, including the screened movies, current and future movies (if you continue to renew). Watch the entire WanerMedia content store with third-party TV series and movies copyrighted by HBO. HBO Max’s content collection has a history of nearly 100 years, including the movies of Cartoon Network, Adult Swim, CNN, TNT, TBS, Crunchyroll, Looney Tunes. Enjoy popular series like An American Pickle, The Witches, Lovecraft Country, Raised by Wolves, South Park, Rick and Morty, Friends, The Big Bang Theory, The West World, Gossip Girl, … Especially, if you To love Doctor Who, you need to have HBO Max on your Android device. HBO Max has purchased the copyright for this film, which means they will exclusively screen 11 old seasons with new seasons in the future. Enjoy exclusive superhero movies of Warner Bros In a time when countries were struggling with the Covid-19 virus, HBO released shocking news by announcing that it will stream the new movies at the same time it was released on the theater. That means we can enjoy Wonder Woman 1984 at Christmas. It’s hard to believe, right? If nothing changes, we will continue to enjoy desirable movies like The Matrix 4, The Suicide Squad 2 on the HBO Max platform. Instead of spending a few tens of dollars for two movie tickets, you can invite your girlfriend to your home and watch your favorite movies together. Don’t forget to buy popcorn and soda drinks. I think the sofa at home will also be more comfortable than the one at the cinema. No one will disturb you, no need to waste time moving (if the area you live in does not have a cinema). HBO Max’s service is excellent, giving users many options to watch movies during quarantine. Not only cinema movies, but you can also enjoy all Warner Bros blockbuster movies like Aquaman, Justice League, Batman vs Superman, … The animated series associated with our childhood like Teen Titans, Batman: The Animated Series, The Killing Joke, Flashpoint, … are also available on HBO Max. HBO Max helps personalize the user experience HBO Max allows you to create up to 5 profiles, thereby creating suggestions and collections based on each person’s viewing history. This feature is very convenient when you share your movie accounts with other members of your family. Each profile has its own name, interface, and completely separate movie listings. With children’s profiles, all content not suitable for children will be removed thanks to HBO Max’s smart filter. What is impressive about HBO Max compared to other online movie streaming platforms is that the movies are suggested by HBO employees, not AI. With a lot of customer care experience, they also have a passion for movies and a lot of knowledge, they will give you great suggestions. MOD APK version of HBO Max MOD features - Free Subscription - No Ads Why should you use the MOD version? The reason is simple: This app is completely free, you don’t even need to spend a dime or have to watch ads to watch movies. Frequently asked questions How to use? How to use (for newbies)?How to change the subtitle languageHow to change subtitle color and size Additional information Is this app safe?Is this app available on iOS? Download HBO Max MOD APK for Android to watch free movies every day Not only for Android, but HBO Max also supports many other platforms, making it easy to enjoy your favorite movies anywhere, anytime. HBO Max is a great friend of every family. Saturday night will be more wonderful when you and your family enjoy meaningful movies. Just download HBO Max MOD APK version by APKMODY, you can watch your favorite movies completely for free. APK Read the full article

[dreaminginthedeepsouth]

John Lennon and Sir Paul McCartney at 20 Forthlin Road (Mike McCartney/PA)

* * * *

Simon Kuper: If you put together Anna Funder’s recent book on George Orwell with Jennifer Burns’ biography of Milton Friedman, an oddly similar story emerges. Both men, especially Friedman, co-created their most famous works with their wives. In Friedman’s case, with several other women besides. Orwell’s marriage to Eileen O’Shaughnessy seems to have prompted his best writing. She had written a dystopian poem about 1984 and helped convince him to turn his anti-Stalinism into a fable, Animal Farm. A little later, Friedman had the advantage over sexist male peers in realising that there were brilliant female economists who possessed few career options beyond working for him. To quote his wife Rose: “You can’t tell who wrote what, the style is the same throughout the books. I always tell people we work as one; we are one.” Funder and Burns have given forgotten women their place in history. But their findings also point to a truth that’s becoming evident about writing: often it’s collective rather than singular. The myth of the Great Writer creating in solitude is only sometimes true.

People have long understood that most acts of creation are collaborative: pop music, sport, films, inventing the atomic bomb. Only for books, especially fiction, does the presumption of the lone genius hang on. That might have surprised Shakespeare, who co-wrote some of his plays and adapted many from other writers’ work. But at some point, literature grew snooty about collaboration. Writers who did do it, like the two cousins who co-wrote detective stories under the name Ellery Queen, often pretended there was a single author. The author Malcolm Gladwell told Vanity Fair: “Writers . . . have this false ethic of originality. Whereas musicians are like, ‘Yeah, totally — we took this little bit from that song. And it’s inspired by this.’ I love how open they are about the fact that creativity is a collective enterprise. I want writers to be able to talk that way.”

Look at what happened when two musicians, John Lennon and Paul McCartney, co-wrote. They took collaboration for granted. Their biographer Hunter Davies, who had the unfathomable privilege of sitting in Paul’s house in Cavendish Avenue, St John’s Wood, watching them write “With a Little Help from my Friends”, recounts their method. They would sit there for hours, John playing the guitar and Paul “banging on the piano”, and when one of them thought up a line, they would edit it together. “Do you believe in love at first sight?” tried John, but there weren’t enough syllables for the melody. Paul added “a” in front of love, then John changed the opening to “Would you believe . . . ” While they were writing, visitors often dropped by — one friend sat reading a horoscope magazine — and John and Paul asked them for suggestions. The two would collaborate with anyone. Davies says that their assistant roadie Mal Evans, who wasn’t even a big Beatles fan, supposedly came up with the name “Sergeant Pepper”. Lennon and McCartney, equal parts inspiration and irritation, were better together, perhaps like Orwell and O’Shaughnessy.

This kind of literary collaboration made a comeback in our century. During the “golden age of streaming”, now ending, some great novelists co-wrote television series in writers’ rooms. Dramatists in Shakespeare’s time had worked in much the same way. In my brief glimpses of writers’ rooms, I saw the potential. One day, working on a fictional series that went nowhere, our team included an Italian woman who had been flown in for her expertise in writing female characters. Every writer has weaknesses and blind spots. A good writers’ room has fewer. No wonder that one of the most admired novelists of our time, Elena Ferrante, may in fact be a writers’ room. Elena Ferrante is a pseudonym. There is a whole genre of literary sleuthing devoted to uncovering who she is. In 2018, Rachel Donadio wrote an essay in The Atlantic magazine that possibly solved the mystery. Donadio suggested that Ferrante is at least two people: Anita Raja and her husband Domenico Starnone. Other writers and editors may have chipped in, too. After all, both Raja, as a literary translator, and Starnone, a successful screenwriter, had backgrounds in collaborative writing. Donadio also unearthed Starnone’s novel Autobiografia Erotica di Aristide Gambía, never published in English, which riffs on the mystery of Ferrante’s identity and laments a male author’s inability to create female characters. Perhaps Milton Friedman was also a writers’ room and (to a much lesser degree) Orwell. They should have just said so.

[Financial Times]

#collaboration #co-writing #parnership #Elena Ferrante #Simon Kuper #words and writing #reading and writing #articles #George Orwell #women #Milton Freedman #Paul McCartney #John Lennon #with a little help from my friends

[wonderwoman1984filmgerman]

Wonder Woman 1984 Film Stream Deutsch / German Online Kostenlos 2020

Film stream - http://wonder-woman-1984-de.blogspot.com/

Wenn Sie sich an die 80er erinnern, waren Sie nicht nur wirklich da, sondern können sich wahrscheinlich auch nicht das gestreifte, kurzärmelige T-Shirt eines Mannes ansehen, ohne gruselige Rückblenden zu haben. Eine der leichtesten Szenen - in einem klassischen Blockbuster voller Drama, Liebe, Spektakel und viel Ernsthaftigkeit - ist Steve Trevors schnell wechselnde Modenschau vor Diana, wenn er sie finden muss Ein Outfit, das Ihnen hilft, sich in die Zukunft einzufügen. Wonder Woman zur Rettung, nachdem Steve versucht, ein Handy aus den 1980er Jahren zu heben und ihm den Rücken zu kehren Diese Sequenz ist fabelhaft in den 80ern, von Frankie Goes To Hollywood, der auf einer auffälligen Party spielt (natürlich Welcome To The Pleasuredome) bis zu Barbara Minervas glänzenden Leggings und Steves Crashkurs auf Bumbags (Hip Packs für meine amerikanischen Leser). Die Handlung hängt auch davon ab, wie sich dieses Jahrzehnt entwickelt hat. Das Gefühl, dass jeder seine Träume wahr werden lassen kann, wird um jeden Preis zum Erfolg: durch Fingerspitzengefühl, bombastisch und im Fall von Trump-ähnlichem Geschäftsmann Max Lord (Pedro Pascal) , FERNSEHER. Wonder Woman 1984 ist eine Freude an leuchtenden Farben. Es gibt sicherlich einige Ecken und Kanten. Es ist lang und es scheint; und die Handlung scheitert am Ende. Es ist aber auch ein charmantes Ende eines schockierend schwierigen Filmjahres. Patty Jenkins 'Film hat zwei komplexe Frauen mit entgegengesetzten Supermächten, obwohl Diana (Gal Gadot) aufgrund einer scheinbar unaufhaltsamen Kraft um alles kämpfen muss. Diana lebt jetzt einsam in Washington und ist voller Erinnerungen an Freunde, die längst gestorben sind. Er arbeitet im Smithsonian, wo er sich auf Kulturanthropologie und Archäologie spezialisiert hat. Sein Interesse wird durch einen Citrinstein mit einer seltsamen Inschrift geweckt, der vom FBI nach seinem Erscheinen auf einem schwarzen Antiquitätenmarkt ins Museum geschickt wurde. Er wird von der Forscherin Barbara Minerva (Kristen Wiig) untersucht, einer schüchternen Zwillingsfrau, die sich immer in den Hintergrund stellt, bevor es jemand für sie tun kann, und die beiden Frauen sind bald auf dem Weg der Freundschaft. Beide Frauen sind einsam und menschlich genug, um Fehler zu machen - und das zu behalten, was für sie wertvoll ist, auch wenn es dem Allgemeinwohl schadet. Für Diana ist dies Steve Trevor, der im ersten Film starb und 1984 immer noch bei ihr ist, nachdem sie ihn auf dem Felsen gewünscht hatte. (Er muss den Körper und die Wohnung eines Washingtonianers aus den 1980er Jahren bewohnen, der in der klassischen Garderobe der 80er Jahre steht, obwohl wir ihn nur als Steve sehen. Ein anderer Steve würde als unglaublich gutaussehend angesehen, wenn er nicht nur in einem gegenüberliegenden Spiegel erscheinen würde unmöglich, unmöglich schön Chris Pine.) Für Barbara ist das, wonach sie sich sehnt, die Macht selbst. Sie ist geblendet von Dianas Haltung und, wie gesagt, ihrer Fähigkeit, in High Heels zu laufen. Ein kurzer Wunsch auf dem Stein „wie Diana zu sein: stark, sexy, cool, besonders“ und sie tauscht A-geschnittene Röcke gegen glänzende Leggings und - ja! - Ihre Brille fiel ab. Sie weiß jedoch auch, dass sie immer nur ein Stolperstein oder eine schlechte Wahl der alten Barbara ist, die verzweifelt geliebt werden möchte. Trotzdem freut sich Barbara über ihre allmähliche Verwandlung, ob sie das Gericht bei der Arbeit hält, während ihr Team sich an jedes Wort klammert, wiederholt auf einen dummen Stalker trifft oder einen Leopardenmuster und Wildlederabsatz trägt, in den sie nicht nur hineinkommen kann. sondern auch die Männer dort drüben in den Raum werfen. (Steves Einführung in die moderne Gesellschaft ist ein wenig Forever Young, und obwohl es die Atmosphäre aufhellt, ist es manchmal etwas übertrieben. Wäre er wirklich so überrascht von einem aktualisierten U-Bahn-Zug?) Feline Bárbara tritt als Bösewicht gegen Lord an, der geschäftlich nervt, aber mit seinem dicken rotblonden Haarschnitt und seinem lächerlichen Personal die Macht des Fernsehens zu nutzen weiß. Er ist unwiderstehlich schrecklich, aber es wäre bedauerlich, wenn ihm der Schaden, den seine Handlungen anrichten, nicht so gleichgültig wäre. Der Traumstein war für den Herrn bestimmt, dessen Wunsch es ist, der Stein selbst zu sein - was bedeutet, dass er Wünsche gewährt und sie auch beanspruchen kann, indem er zuerst seinen Reichtum und dann seine Supermächte erhöht. Er verbrennt Investoren mit unserer Geschwindigkeit, legt seine Hände zusammen und gewährt seinen Wunsch, während er ihnen alles wegnimmt, was ihm hilft (anfangs Öl, obwohl es hier nicht aufhört).

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[demifiendrsa]

Warner Bros. has announced that Wonder Woman 1984 will now debut on HBO Max at no extra cost to subscribers and movie theaters on December 25, 2020. Internationally, where HBO Max is not available, it’ll play in movie theaters on December 16, 2020.

#Wonder Woman 1984 #WW84 #Wonder Woman movie #Wonder Woman #DC Comics #DCEU #DC Extended Universe #DC Films #Warner Bros. Pictures #Warner Bros. #HBO Max #HBO #film #Wow I had doubts it was going to go straight to streaming #If only this movie had stuck to its original release date

[infinitelytheheartexpands]

checking things off the New Movies Card because I saw both Wonder Woman 1984 (as well as—finally—Wonder Woman) and Soul today and both were excellent

#unfortunately no one else in my family would be down for watching the Met Bohème and I know that even without asking #so this is what I watched on Christmas instead #Wonder Woman 1984 #Soul #movies #film #notyouraveragejulie watches #happy holidays #Wonder Woman #good times #the advantages of your family having a bunch of streaming platforms and a new highly improved Internet network

[wonderwoman1984streamkkiste]

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2 Std. 31 Min. / Action, Abenteuer, Fantasy Von Patty Jenkins Mit Gal Gadot, Chris Pine, Kristen Wiig Produktionsland USA

INHALTSANGABE & DETAILS Diana Prince (Gal Gadot) ist dieses Mal in den Achtzigern unterwegs. Zur Zeit von Kaltem Krieg, Föhnfrisur und Nena bekommt es die Titelheldin mit ihrer ehemaligen Freundin und Kollegin Barbara Minerva (Kristen Wiig) zu tun, die sich in die Bösewichtin und Gepardenfrau Cheetah verwandelt. Sie steht mit dem mysteriösen Geschäftsmann Max Lord (Pedro Pascal) im Bunde, dem es auf mysteriöse Art und Weise gelingt, die Wünsche der Menschen zu erfüllen. Zum Glück kehrt Dianas geliebter, eigentlich im Ersten Weltkrieg gestorbener Steve Trevor (Chris Pine) auf ungeklärte Weise zurück, hat allerdings so seine Probleme, sich in einer Welt zurechtzufinden, die aus seiner Perspektive 60 Jahre in der Zukunft existiert...

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