Fans of the fiery redhead Christina Hendricks will not be disappointed with one of her newest acting choices. This buxom beauty will be playing the role of Krissi Cates in Dark Places. In the novel that this film will be adapted from, Krissi is a stripper who is down on her luck.
April 7th marks the return of the one of television’s greatest shows of all time, and the move from the awesomely classic aesthetic of the early 1960s to the gaudy and unpleasant aesthetic of the late 60s and early 70s. That change will be evident in some of the photos below. Before we get to that though, let’s talk about what we’ve got to expect story wise coming up…
The Science channel’s BrowncoatsUnite special, which reunited all the cast, revealed something more than reminiscing. Firefly flew onto our screens in 2002, but was sadly shot down after only one season. Joss Whedon, the man behind TheAvengers and BuffytheVampireSlayer created the show, but could not convince Fox to keep it on the air, though he was able to tie up the series in a feature film called Serenity which came out in 2005. Aside from the odd graphic novel or two, fans have suffered from a severe case of Firefly withdrawal. So the release of three deleted clips are a breath of fresh air for us suffocating fans.
The first two scenes are titled You never leave Serenity and Extraction, and both give us more details on the history of the ship Serenity, as well as the battle of Serenity for which it was named. These are quite dark shorts and show the brutality Mal (Nathan Fillion) and Zoe (Gina Torre) suffered through in the battle. It also explains Mal’s devotion to his ship and crew.
The last clip is a more humorous piece titled Women Trouble, where River tries to get Shepherd Book to marry her and her brother together! It also has a young Christina Hendricks from MadMen fame who gets some tough love from Mal.
These clips are not the new series that Firefly fans truly crave, but these brief scenes arethe best we are going to get for now in regards to new content. They are great extras which help to add a little more depth to an already incredible series.
Party Down Movie Has Financial Backing and a Gung-Ho Cast
Party Down is one of my favorite shows ever and it’s agreed that it was most definitely cancelled prematurely. The brilliant writing, excellent cast, and consistently witty humor was no match for the usual garbage that makes its way to TV which is probably part of the reason why it was cancelled; not enough people “got it”. But that’s okay, because the ones who did are demanding more and it seems like now they’re finally going to get it.
Video-game-to-movie adaptations started in the early 90’s, with Super Mario Bros. Until recently, those movies had an uncanny tendency to flop, hard. However, with Tomb Raider and Resident Evil movies garnering much success, film studios decided it’s a good idea to invest in adaptations again. Hell, Ubisoft set up an entire studio just to produce movies based on their own games.
And of course, they’re never popular with the critics, but as long as they make money, and are remotely entertaining, who really cares?
Unless they’re directed by this guy. I hope he isn’t up to anything lately. Wait, he is.
EA also thought this was a good idea, and decided to sell the movie rights to Need for Speed. DreamWorks execs, perhaps high on coke and feeling overconfident, bought the property. Now, they have announced a release date.
On February 7, 2014, we will get a chance to watch a movie about cars with zero storyline (which in itself is a major understatement). Trust me, I know my Need for Speed games. When you talk about NFS, you don’t talk about their storylines. There was no plot in the first place. If there was any, it mainly revolves around you being a racer, and your need to win money and earn recognition so you can race against an asshole (Underground, Underground 2, Most Wanted, Carbon, Pro Street), who probably screwed you over earlier in the game (Underground 2, Most Wanted, Carbon). There are also hot female sidekicks solely for the sake of making teenage boys horny. It’s guilty pleasure when the horrible storyline is in a racing game, not so much when it’s in a movie.
In case you didn’t know how bad the acting and writing were.
There were a couple of times where EA decided to go with different plots. In Undercover, you play as an undercover officer who is trying to infiltrate a gang, or something. It doesn’t really matter. You race, and then your boss (played by Maggie Q) orders you to take some people out. After a while, you find out that your boss is actually a mole, and you take her down. Wow, that took stupidity to a whole different level.
I never quite understood EA’s logic. Why bother shooting live-action scenes when nobody really cares about the storyline? All that waste of money should have went to my bank account. You know, someone who actually needs the money.
And The Run. How can I possibly forget about this atrocity? This game actually has a negative value of plots. I didn’t know that was even possible until this game was released. Basically, you play this guy Jack, who is in a lot of debt. Jack’s ex-girlfriend (portrayed by Christina Hendricks) tells him that there’s this cross-country race which can net him a whole lot of money. Jack races to pay off debt. Jack pays off debt by winning the race. Seriously, that is it. It’s not a joke. How EA managed to get Christina freaking Hendricks involved is just mind-baffling. I swear to god someone must be holding her husband, or her dog, hostage. No amount of money can convince anyone to be involved in the project. It’s that bad. Don’t believe me? I dare you to watch an entire playthrough of the game and tell me that there is a plot.
Yes, this Christina Hendricks. THE Christina Hendricks who is on Mad Men.
We don’t need any more street racing movies. We have The Fast & The Furious for that purpose. Please for the love of god, don’t do this. Don’t make me suffer through an hour and half of torture.
Not Dr Kronner: Jason, you will watch the movie, and you will write a review for us.
Jason: How the hell did you even…
Not Dr Kronner: Shhhhhhhh. If you don’t follow my orders word for word, you will be swimming with the fishes.
Jason: You maybe able to kill this body of flesh, but you can never kill my soul.
Not Dr Kronner: …
Jason: Ha!!! Now you have no leverage over me!!!
Not Dr Kronner: I shall kill this kitty instead.
Jason: What? You don’t kill no kitties. YOU’RE A MONSTER!!!! Not Dr Kronner: You’re gonna do it now? Jason: *in tears* Do what? Not Dr Kronner: Watch the movie and write a review for us. Jason: Yes. *sniffs* Just don’t kill the kitty.
When the movie is released, you may return to Grizzly Bomb for a full-length review, even though I have no idea how to write a movie review. I’m not the one with the gun. Dr Kronner did not, in any way, force me to do this. I am doing it voluntarily, for you guys and gals, so you won’t have to suffer through the movie.
It’s 1967, a whole new year for the Mad Men crew, and nothing seems to be more important to the SCDP staff than landing their first big automotive contract in the form of that elusive beast; Jaguar. There are so many people working on the Jaguar pitch that characters we’ve never seen are coming out of the woodwork. Seriously, there are two extra guys in the room with Ginsberg, Stan, Cosgrove and Draper working on the pitch that I can’t ever remember seeing before. The elusive perfect pitch line is not coming easy for anybody but as we soon learn their sale may depend on an altogether different type of pitch. It’s not mentioned lightly that the “car people” are a bunch of sleazeballs, and it quickly comes to the forefront that the lynchpin of the Jaguar deal has a proposition that he says will seal the deal; Joan. If it had been anyone but Pete Campbell taking the meeting you might imagine that the deal would end right there. In fact if it was Don taking the meeting he might have hit the guy right in the face even in the middle of the restaurant. Pete however not only has the nerve to bring it up with Joan, but also to follow-up with a partners meeting to see how much they can raise to bribe her. Thus begins one of the elements of this weeks major theme: upward mobility of the 1960’s woman.
For Joan, who has an absentee husband who is divorcing her, a young child and nagging mother at home, and 13 years invested in the firm as a secretary, the opportunity of hitting a huge payday for a night of her services provides too much of a temptation. Lane, who is still freaking out about bonuses and the money he embezzled, has convinced Joan that her best bargaining chip is a 5% stake in the company, becoming a minor partner as opposed to a lump payoff. While certainly good advice for her long-term security, it is ultimately underhanded of Lane as he is also highly concerned that if he uses the $50,000 extension to bribe her, he won’t get his bonus and will be found out. It turns out that there “Will be no bonuses this year!” as Cooper booms so it seems like Lane’s fraudulence will be somehow linked to the season finale. Joan’s whole encounter with the sleazy salesman is handled with typical Mad Men brilliance, as we are treated to a bookended scene of Don’s efforts to keep Joan from prostituting herself. In the middle of the bookends we see Don making the sales pitch of the unattainable, which has become attainable (the Jaguar) crosscut with the unattainable (Joan) who has become attainable for a price and the metaphor is complete.
Two of the other women in Don’s life are also making their way forward as best they can. Don and Megan continue their domestic power struggle as Megan’s successful casting call gives her an opportunity to be in a play which is being staged in Boston. The thought of Megan being away for three months ignites the internal conflict of Don’s wish for his wife’s success coupled against his desire for her to be at home in the traditional sense. Megan, in her fiery way, recognizes this and accuses Don of not having thought of her leaving because he never believed she would succeed. Don, as he also proved with Joan, is at heart a good person who wants whats best for the people he cares about comes around to make peace with Megan and her dreams. Megan ultimately doesn’t get the part, and similarly to Joan is herself judged as a sexual pawn as she is ogled and asked simply “to step forward and turn around” in her second casting call.
Lastly we get to this week’s developments with Peggy Olson. It has been a long time coming that Peggy has been feeling more and more neglected, jaded and under appreciated at SCDP. Similarly to Pete Campbell copying Don’s lecherous past, Peggy is also following in the footsteps of her idol and doing what she thinks he would have done. The pact between Peggy and Ken Cosgrove to move on together has been mentioned frequently in the past weeks episodes, and Peggy has flirted with other advertising companies in the past, but the day that no one ever thought was really going to happen has come. After lunching with former Sterling Cooper salesman Freddy Rumsen, Peggy gets herself a meeting with Don’s arch-rival in ‘Cutler, Gleason, and Shaw’ who butters her bread and makes her an exceptionally attractive offer.
As we learn from Peggy’s heart-wrenching dialogue with Don as she gives her notice, it’s not about the money. Don initially thinks she’s making a power play to get her much deserved raise, but quickly realizes that what Peggy really wants is to make a name for herself out from under the shadow of Don Draper and to further become the model of a self-made woman. Hopefully for Mad Men viewers Peggy doesn’t make herself a stranger as she promises to Don as she is one of the more enjoyable Mad Men characters.
Notably absent from this weeks stories of the burgeoning Women’s Lib movement is Betty Draper. This is because like her counterpart Trudy Campbell, an increasingly rare Alison Brie appearance, Betty is still a throwback to the 1950’s housewife who has built her life around being a debutant and keeping her efforts on the home front. Unlike Trudy however Betty doesn’t seem to relish in it, and will likely experience more conflict between being a housewife or a professional in the Mad Men future.
Overall this was another example of Mad Men at it’s best, interweaving multiple story lines with social commentary in a seamless and cinematically beautiful way. It’s sad to say that there are only two episode of Mad Men left this season so enjoy it while it lasts. Hopefully these last two weeks will be as amazing as this one.