Check Out The Newest Star Wars Episode 8 Photos

Entertainment Weekly has just released a series of brand-new Star Wars: The Last Jedi photos for all of us to feast our eyes upon. The photos don’t necessarily give away any of the plot and are mostly close-ups of people looking moody or shocked. We also get a first look at a few new characters, locations, and behind-the-scenes shots featuring director Rian Johnson at work.

Take a look:

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Star Wars Episode 8: The Last Jedi will be released December 15, 2017

Justin Roiland (Rick & Morty) Recieves Half-Gallon of Szechuan Sauce

It happened, Morty! We got the sauce! That delicious Mulan Szechuan chicken sauce!

You're seeing this right. McDonald's sent Rick and Morty co-creator, Justin Roiland, a half a gallon of their Szechuan sauce. It came in a very hazardous looking container with the label "Dimension C-1998M".

The label on the bottle says:

"For use only in McDonald's restaurants (C-1998M) during limited promotional window, and then maybe again twenty years later. DO NOT SERVE to mad scientists traveling with their teenage grandson; potential non-scientist versions of mad scientists from alternate dimensions; and/or Jerry."

McDonald's also included this letter address to Roiland himself:

Rick & Morty season 3 premieres at 11:30PM ET on July 30th 2017.

What Would You Rank The Transformer Movies?

With Transformers the Last Knight being released June 21, I thought it was a good time to go over my rankings for the Transformers movies as I see them. There’s no critical acclaim here for any of the movies, but the effects and action can be entertaining at times. Lets start with number 5.

5. Transformers: Age of Extinction

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It’s the fourth installment in the franchise, and Michael Bay subtle nuances, if he ever had any, were thrown out the window. Age of Extinction was a loud, effects orgy, while the story and Mark Wahlberg didn’t quite have anything important to say or do in the Transformers mythos it was still a huge success in the over seas market.

4. Transformers: Revenge of the Fallen

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It’s a long movie (there’s a pattern here), with very little drama, or maybe that’s not the case, by this point I didn’t care much for Shia LaBeouf’s character heading off to college, trying to work it out with the Megan Fox character, but being tempted by the new hot sorority girl, who turned out to be a Transformer. The emotional high and lows were just low. But not low enough to be on the Age of Extinction level.

3. Transformers: Dark of the Moon

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This movie was made for the 3D premiums we paid to go see it in. But like the last 2, the runtime is oppressively long, the action is loud and sometimes hard to follow. But I did enjoy Optimus going toe to toe with Leonard Nimoy’s Sentinel Prime. We did get more back story of Cybertron which I guess was cool, but it’s just a lot of exposition.

2. Transformers

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It was our first foray into Transformers being in real life. The effects were dazzling, although the character design put us off. Shai made a bigger name for himself screaming out ‘No! No! No!’ for 2 hours. It was a fun ride, and honestly the best iteration, even with its many flaws.

1. Transformers: The Movie

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This movie was the top of its class when it came out, the action was great, spoilers, Optimus dies and for real. Well until he’s resurrected in the show once again. But it was the new generation’s time to shine, with Hotrod trying to take charge but being unsure of living up to the Prime. It was dramatic, emotional, and the best Transformers movie to date, and it could be because of Touch by Stan Bush being an excellent choice for the theme song.

What do you guys think of this list? What would be your order? Do you feel the Last Knight is bottom last? Let us know in the comments below!

Han Solo Spinoff Directors Quit Over “Creative Differences”

Lucasfilm President Kathleen Kennedy has announced that Phil Lord and Christopher Miller have officially left the Han Solo spinoff. Kennedy says the grounds for the departure were over “creative differences”.

Here’s what she said in a statement:

“Phil Lord and Christopher Miller are talented filmmakers who have assembled an incredible cast and crew, but it’s become clear that we had different creative visions on this film, and we’ve decided to part ways. A new director will be announced soon.”

This is troubling news for the film which began filming in January of 2017. What sort of “creative differences” could cause the duo of directors known for writing The Lego Movie, and 21 Jump Street?

Here’s what Lord and Miller said in a statement:

“Unfortunately, our vision and process weren’t aligned with our partners on this project. We normally aren’t fans of the phrase ‘creative differences’ but for once this cliché is true. We are really proud of the amazing and world-class work of our cast and crew.”

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This is a very troubling development. Changing directors after a huge block of the movie has already been filmed can result in some very damaging shifts in tone, and well, direction. How substantial are the differences that would cause two very well respected directors to opt-out of filming what is set to be a huge step for the Star Wars franchise?

It’s possible that we will never know what the Lord-Miller film will have gone. So let’s hope Disney and Lucasfilm find a director that aligns with their vision while also being conducive to the creative mind, and vision of whichever director they decide to bring on.

The Leftovers – Questions Answered Unanswered

 

 

 

 

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The Leftovers, a tour-de-force of emotion that has graced HBO over the last three years, has finally come to an end. Evolved by Damon Lindelof (remember Lost?) from the novel of the same name by Tom Perrotta, we have seen growth from the source material into a modern hymn for the grieving and the hopeful. Not discounting Perrotta’s original work, The Leftovers has become something more than a mere adaptation. Never has a television show taught me more about myself and others, than I have learned here. Jumping off the premise that 2% of the world disappeared without explanation, we are plunged into a murky cold sea of confusion, tension and as we follow the lives of a select few, we find ourselves clawing for the surface in tandem. Though the world of The Leftovers is rife with doubt and darkness, it allows for the comforting discomfort of less approached themes in most modern television. There is no singular answer to the very real question posed again and again, here, and in life: How do we grieve? What does it take to move on?

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Three seasons, a short collection of twenty-eight episodes, and three major location changes is rare for any television show, let alone such a short lived project. The juxtaposition of expanse and brevity has served very well. Starting in the invented town of Mapleton NY, we watch as a single family is ripped apart by the silent and profound change the Sudden Departure (October 14th, 2011) has wrought without much incident. From something as common as divorce, to the world-bending aim to eliminate all dogs (They’re not ours anymore), we see the Garvey family and others cling to what is real in the unreal, coping in a myriad of ways. Reverend Jamison takes to the streets with a vicious smear campaign in order to correct the seemingly random removal of the 2%, adhering it to the Christian idea of the Rapture, come to remove the damned. Nora Durst collapses inward, seeking comfort in a bullet-proof vests and sharp-eyed prostitutes. Further still, Laurie Garvey joins the Guilty Remnant, a silent, cigarette smoking cult, dead set on being a constant reminder of what was lost.

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Season 2 opens with a beautifully tragic account of a prehistoric woman giving birth and making every effort to protect her newborn in the chaos of the world in a more natural state. Earthquakes, axis mundis, the world moves on, the world remains the same. Introduced to the Murphy family, residents of Miracle, formerly Jarden Texas, a town where not one person departed on the 14th of October. This turn from the Garvey family opens the world of the Sudden Departure, shifting perspective toward relief from the ultimate unknowable tragedy just before something changes for the worse. From the point of the disappearance of Evie Murphy, we see a facing off between the Murphys and the Garveys that reaches far beyond the scope of simple neighborly woes. Meanwhile, Kevin begins losing his grip upon reality sinking further and further into depression. Rife with suicidal tendencies and the consistent plague of a most powerful adversary who has returned in a seemingly divine manner, Kevin finds himself questioning what is real, and how exactly to proceed. As we arrive at the culmination of this season, Lindelof, Perrotta and company take what we know television to be and turn it on it’s head yet again in what should go down as one of the best episodes of television in it’s history.

In this second season, we see the injection of further strangeness, as well as some much needed, though still grave levity. The micro has been blown out and we see the further unravelling of how we relate not only to our immediate circle, but those around us, suffering as well, but in wholly different ways. The drive of this season is Kevin’s journey and the grand Grieve Off between the two families, culminating in a striking and powerful exchange between Carrie Coon’s Nora Durst and Regina King’s Erika Murphy. This is the height of tension and at its apex a release of rage and quiet desperation between the two that has to be experienced first hand. The Leftovers often cuts to the quick and allows the initial sting to remain long after the incident has ended.

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Rounding out the third season, we are slowly transported to Australia, nearing the seventh anniversary of the Sudden Departure. Seven being a number of biblical significance, there is a general consensus that something, possibly the end of the world itself will come on the anniversary, and the people the world over prepare in their own ways, for the worst. Others seem to think there will be a Sudden Return of sorts, making way for all those lost so many years ago (Gary Busey in particular). The patchwork family we have watched form and reform throughout the past two seasons are on one final push to the grand finale of the show and perhaps the world as they know it. Kevin has been exalted by some as a possible messianic figure, Nora has found solace in the promise of a machine that could return her to her Departed family, and the world tenses up for the coming crest of a seven year long wave in the making.

Without getting too into the finer details, The Leftovers makes it’s final feats expand even further to focus on an even smaller, oft overlooked important part of our lives. The stories we tell each other and ourselves, and how they weigh on our decisions as well as those around us. More than ever we see the blending of Science and Faith here at end of a modern fable, filled with holy men, scientific analysis and perhaps even a ghost or two. The show has become an axis mundi unto itself, finding the link between what we know and what we question, either in defiance or reverence. There is layer upon layer of the nature of our existence, how we process the world at large, and the ways in which the defined and the undefinable color our experiences.

As consumers of media, in particular what is now known as “Peak TV”, we are very familiar with the series finale as a concept. Often we find ourselves feverishly awaiting the final chapter, only to come away dissatisfied, vaguely content, or perhaps left in a lurch to question the entire body of work. Those that come to mind may seem obvious, ‘The Sopranos’ infamous smash cut, Lindelof’s own ‘Lost’ church gathering that divides fans to this very day, the mammoth ‘M*A*S*H’ send-off that still dominates ratings records, all remembered and revered for different aspects of what we search for when we look to television as an artistic medium.

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‘The Book of Nora’, our final entry into the world wrought forth by Lindelof, Perrotta and in just as many ways director Mimi Leder,  both drains the lake and refills it almost immediately. A shift in focus from where we leave everyone in the penultimate episode, there is a time jump and we are given exactly what we need, we are told stories, the stories we want to hear, and the ones we need. Lindelof and company leave the world of The Leftovers on a masterstroke of ambiguity that is also a perfectly recognizable finality. Both the question and answer are presented with such precision that neither is the point inherently, but rather whether or not one has their faith in check. “Do you believe what you’ve been told?” is a daring but effective and well earned note to finish on.

The Leftovers, for all it has given me, and so many others, deserves a bevy of recognition that it has not gotten in it’s short span. With any hope as years wear on, others will find it to be a haven for processing and even rejoicing in our darker recesses, relating to one another on a more human level and calling into question those fringe moments where the heavens and the earth seem to meet. A hymn worthy of eternal reprise, a true work of immense depth and beauty, The Leftovers will be hard to top, and even harder to let go.

Video: Twin Peaks Part 7 Review

Here’s my review and analysis of Twin Peaks: The Return part 7! We learned a little more about Diane played by the incomparable Laura Dern, and her sordid, dark history with Evil Cooper. Hawk talks about the missing pages from Laura Palmer’s diary. We learn a couple things about the decapitated corpse of (possibly) General Garland Briggs. Then we have the unnerving blackmail scene between Evil Cooper and the Warden. So much to discuss…always so much.

New Twin Peaks Funko Two-Pack Debuting At San Diego Comic-Con 2017

Coming to San Diego Comic-Con in 2017, Black Lodge Dale Cooper and Laura Palmer! This box set will go on sale at at Funko’s SDCC booth this year, but according to WelcomeToTwinPeaks.com, it’s likely the box set will be sold in stores as well after comic con. Hot Topic is an official retailer of Twin Peaks merchandise so it’s likely you’ll be able to find them there first.

Meanwhile…

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