Netflix is now the premiere purveyor of true crime non-fiction, and few of those offerings are more binge-worthy than Evil Genius: The True Story of America’s Most Diabolical Bank Heist, writer/director Barbara Schroeder and co-director Trey Borzillieri’s four-part series about 2003’s “Pizza Bomber Heist.”
We may not know whom she voted for—or her opinion of Donald Trump—but Taylor Swift has made one thing abundantly clear: she loves Bill Nye.
The second season of 13 Reasons Why begins with a hybrid PSA and mature content disclaimer, with the show’s leads addressing the camera to warn that the series “tackles tough, real world issues, taking a look at sexul assault, substance abuse, suicide, and more.” They caution that “if you are struggling with these issues yourself, this series may not be right for you, or you may want to watch it with a trusted adult” and urge anyone who needs to talk to someone to reach out for help.
Marvel took a bit of an internet ribbing when it touted Avengers: Infinity War as the “most ambitious crossover event in history,” a communing of superheroes and A-list stars with the collective superpower to take cash directly from moviegoers’ wallets. Oodles of it, it turns out: the film is projected to make another $30 million this weekend, adding to its $552 million domestic haul.
A lick of a lollipop was all it took for the usually fuck-em’-all attitude of Kim Kardashian’s fans to buckle under pressure and attack one of her Instagram posts.
Movie superstardom is, in its purest form, akin to magic, predicated on a combination of talent, opportunity, and some ineffable element that separates the extras (and, for that matter, many award-winning actors) from the Tom Cruises and Sandra Bullocks of the world. Whatever that rare and unique quality is that elevates certain individuals to the realm of global icons, there’s no doubt that it exists, and moreover, that it can’t be manufactured via persistent casting and aggressive marketing. Such idiosyncratic magnetism may not be precisely definable, but as the past century-plus of cinema has conclusively proven, you know it when you see it—and, conversely, when you don’t.
Performing what Disney-ABC Television Group President Ben Sherwood called “our annual ritual of network executive humiliation,” the late-night host of Jimmy Kimmel Live! didn’t disappoint.
CANNES, France—Both praised and panned by critics, Danish director Lars von Trier’s new film The House That Jack Built premiered out of competition on Monday at Cannes—“vomitive” and “pathetic” are some of the adjectives being used by filmgoers to describe it. In a surprising turnabout, von Trier was welcomed back to Cannes after being proclaimed “persona non grata” for a joke in poor taste, mistakenly interpreted as pro-Nazi by the festival in 2011.
The superhero sequel Deadpool 2, in theaters Friday, pulls no punches, mocking the likes of Jared Kushner, Fox & Friends, and more.
There’s a new subgenre of television these days. Call it the “Wait, How the Hell Are They Going to Make Another Season of That?” genre.