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This Is the End
2013, Comedy/Fantasy, 1h 47m
What to know
Energetic, self-deprecating performances and enough guffaw-inducing humor make up for the flaws in This Is the End loosely written script. Read critic reviews
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This is the end videos, this is the end photos.
In Hollywood, actor James Franco is throwing a party with a slew of celebrity pals. Among those in attendance are his buddies Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride and Craig Robinson. Suddenly, an apocalypse of biblical proportions erupts, causing untold carnage among Tinseltown's elite and trapping Franco's party in his home. As the world they knew disintegrates outside, cabin fever and dwindling supplies threaten to tear the six friends apart.
Rating: R (Crude and Sexual Content|Brief Graphic Nudity|Drug Use|Pervasive Language|Some Violence)
Genre: Comedy, Fantasy
Original Language: English
Director: Seth Rogen , Evan Goldberg
Producer: Seth Rogen , Evan Goldberg , James Weaver
Writer: Seth Rogen , Evan Goldberg
Release Date (Theaters): Jun 12, 2013 wide
Rerelease Date (Theaters): Sep 6, 2013
Release Date (Streaming): Feb 1, 2015
Box Office (Gross USA): $101.5M
Runtime: 1h 47m
Distributor: Sony Pictures Entertainment
Production Co: Point Grey, Mandate Pictures
Sound Mix: Datasat, SDDS, Dolby Digital
Cast & Crew
Douglas M. Griffin
Father in Store
Barbara A. Hall
William Ladd Skinner
News & Interviews for This Is the End
New on Netflix in September 2022
James Franco’s 10 Best Movies
Jonah Hill’s Best Movies
Critic Reviews for This Is the End
Audience reviews for this is the end.
Plenty of banter between contemporary comedy stars. The cameos from other stars and "how they are in real life" especially Michael Cera was hilarious. This movie is very enjoyable if you like the "Apatow brand" of humor. Check it out.
Think about the premise (actors playing themselves and dying as themselves in an apocalyptic end of the world event) what you want: there is promise it in. But when you kill off the majority of the cameos right in the beginning and then have the usual suspects have the usual dialog in a rather bleak apartment situation over and over, things do get a little tiresome after a while. While the final twist is surprisingly optimistic, the Backstreet Boys dancing in heaven is a certain way to kill a film ending. Stupid.
"This Is the End" starts with Seth Rogen picking up his good friend Jay Baruchel at the airport. They quickly put to rest Seth's macrobiotic diet in favor of some fast food. After which, they hang out, play video games and smoke some weed. But Jay doesn't feel like going to a party at James Franco's, even as Seth talks him into it. They don't stay long, opting to buy some booze on their own. And that's when the world ends. If you can only watch one comedy about the rapture featuring Craig Robinson, then definitely go with the entertaining "This Is the End" which makes the most of its semi-limited budget to create some very memorable imagery. In general, the movie takes aim at the notion of celebrity with the cast playing alternate versions of themselves that are not to be taken seriously. However, it does confirm the worst suspicions about Danny McBride while giving the viewer a more pseudo-intellectual James Franco than previously thought possible. Otherwise, the in-jokes do not really work. Instead the movie is very meaningful when it comes to exploring the bonds of friendship.
This Is the End, somewhat ironically, falls apart at the end, but its tear-inducing, hysterical first-two-thirds ensure that it's a comedic delight, brought to life by some of the most brilliant improvisation in cinematic memory.
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In the End (2012)
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John photographs affairs for a private investigator. A new client wants more than just photographs of her husbands infidelity. She wants to come along and watch the affair with John...
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‘poor things’ producer element pictures launches dublin festival storyhouse featuring writers of ‘anatomy of a fall’, ‘one day’, ‘how to have sex’, ‘scrapper’, ‘holy spider’ & emma stone oscar contender, gkids sets two-night nationwide release for anime ‘the end of evangelion’.
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Gkids announced on Wednesday that it will soon be bringing The End of Evangelion , the feature follow-up to Hideaki Anno’s influential anime series Neon Genesis Evangelion , to North American theaters for the first time. The film will be screened in its original Japanese language with English subtitles, bowing in select theaters nationwide on March 17th and 20th.
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The End of Evangelion was originally released in 1997, as an alternative ending to the series, remaking its final two episodes.
Gkids first took to North America two years ago with Blu-ray and digital download-to-own versions of the full 26-episode series, as well as the associated films EVANGELION:DEATH (TRUE)2 and THE END OF EVANGELION . The company also handles North American distribution for Anno’s prior se ries NADIA: The Secret of Blue Water .
A producer and distributor of award-winning and artist-driven animation , Gkids has notched a total of 13 Animated Feature Oscar nominations since its founding in 2008, most recently doing so just this year with Hayao Miyazaki’s The Boy and the Heron . In addition to Anno’s series and related projects, the company handles North American distribution for the famed Studio Ghibli library and runs the annual L.A.-based film festival Animation Is Film.
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The Ending Of How It Ends Explained
There have been countless films and TV shows depicting different interpretations of the fall of society. Whether by a zombie virus or climate change, it seems that the human race is inevitably headed toward its ultimate doom (at least according to Hollywood).
In 2018, Netflix threw its hat into the ring of apocalyptic cinema with the action-packed original movie "How It Ends," starring Forest Whitaker and Theo James . James plays Will, a white-collar lawyer whose girlfriend, Sam (Kat Graham), is pregnant with their child. He flies across the country to see Sam's father, Tom (Whitaker), to give him the good news and ask for Sam's hand in marriage. Tom is a military man and a traditionalist who clearly does not approve of Tom, which makes things awkward when disaster strikes and the two of them must work together to keep their family safe.
"How It Ends" is a unique take on the end-of-the-world genre. It's an interesting combination of suspense, drama, and buddy-cop action movies . While the first two acts of the movie are jam-packed with high action and thrills, the third act takes quite a different turn. The ending of "How It Ends," ironically, leaves the audience with more questions than answers. So here's a breakdown of what exactly happens at the end of "How It Ends."
What you need to remember about the plot of How It Ends
"How It Ends" begins with Will flying from Seattle to Chicago to visit his girlfriend's parents. Will and Sam's dad, Tom, have never gotten along, since Tom resents Will for taking his only daughter away from him. Things erupt into an argument between Will and Tom, so Will decides not to go through with his original plan and head back home instead. While on the phone with Sam, Will hears a strange noise on the other end before losing the connection. Soon, all of the power in the western United States is down, and the crisis soon spreads across the country.
Since Will can't fly back to Seattle where Sam is, Tom offers to drive both of them to go and get to her. Their road trip does not go smoothly, to say the least. While on the road, the two men run into hostile civilians, including a man in a police uniform who holds them at gunpoint and a group that steals their gas. They also befriend a mechanic named Ricki (Grace Dove) who accompanies them on their journey for a time.
After a harrowing escape from an exploding car, Tom sustains a serious injury and his lung collapses. As Will attempts to patch him up, he and Tom finally manage to reconcile their differences, and Tom gives his blessing to Will and Sam's marriage. Unfortunately, it's not long before Tom's body fails him and he dies, leaving Will to continue the journey alone.
What happens at the end of How It Ends?
Eventually, Will makes it back to Seattle. However, by the time he gets there, there isn't much of Seattle left. The whole city is in shambles, with ash falling like snow, bodies everywhere, and buildings collapsed into heaps of rubble. Will manages to find his way to his and Sam's apartment, where Sam has left a message telling him where to find her.
Will finds Sam in a cabin outside of the city staying with a man named Jeremiah. The two of them share a happy reunion as Will relates the tumultuousness of the journey and the sad news of Tom's death. Meanwhile, Jeremiah appears to be in an unstable, paranoid state, which makes Will uneasy. Shortly after, Jeremiah confronts Will, revealing that he is in love with Sam. Will fends off an attack from Jeremiah, killing him in the process.
Will doesn't have time to breathe a sigh of relief, however. A volcanic eruption forces him and Sam to jump into their car and race away from the oncoming wave of smoke and ash. As Will turns to Sam and assures her that they are going to be okay, the car continues speeding down the road with the eruption close on their heels as the credits roll.
What the end of How It Ends means
Given the abruptness of it all, it's understandable why people might be confused by the way "How It Ends" just — well — ends . There are a lot of layers to peel back before we get there, though, so let's take them one at a time.
As Will and Tom make their journey through the chaos of the unexplained disaster, they find themselves in unprecedented situations. The various people they come across are as desperate as they are to make it out alive, and their actions are just as desperate. A woman feigns needing help just so her group can take Tom and Will's gas cans at gunpoint. Later on, a biker gang attacks them when they try to pass over a bridge. It becomes a dog-eat-dog world in a short amount of time, and survival of the fittest quickly becomes the number one rule for many.
However, not everyone whom Tom and Will encounter shares the same principles. Ricki is willing to help fix the damaged car, as well as accompany Will and Tom in order to aid them. Will also later meets a family who gives him a ride, and in turn, he offers them a place to stay. In other words, a major theme of "How It Ends" is what humanity will do in times of crisis. Do they help one another or turn against each other? And how far will a person go to protect someone they love? In Will's case, he will stop at nothing to get back to Sam and his unborn child.
Another possible explanation of the ending
Perhaps the biggest question in "How It Ends" is the cataclysmic event itself. Was it man-made? Was it Mother Nature on a bad day? The ending leaves it unclear, but it does give a few hints.
There is a strong military presence that appears shortly after the event begins. Fighter planes can be seen flying over Chicago as Will looks out a window, and Tom manages to talk his way through a soldier-manned checkpoint. They also spy a train loaded with tanks and heavy artillery that's no doubt military-grade stuff. It seems very suspicious that the military would react so quickly in such a short time, which suggests a high possibility of an attack of massive proportions from an outside threat.
There are also natural disasters occurring all over the place — wildfires, earthquakes, and the massive volcanic eruption in the film's final moments. The ash that covers Seattle is probably the aftermath of a volcanic event as well. However, there's also evidence that many of these disasters could have been the effects of a nuclear attack. According to the U.S. Geological Survey , a nuclear explosion can cause an earthquake and aftershocks, although the damage is not as devastating as the blast itself. This wouldn't explain the volcanic activity, however, though it might have been just a timely coincidence. To be fair, from a scientific standpoint, not a lot about "How It Ends" makes much sense.
How Tom changes at the end of the movie
At the beginning of "How It Ends," Tom is a man who's difficult to get along with, to say the least. When Will arrives at his home, Tom is cold and unwelcoming. He passive-aggressively hints that Will is trying to squeeze money out of him and criticizes Will for allowing his daughter to be the breadwinner. He also insinuates that Will stole his daughter from him and moved all the way across the country just to distance himself and Sam from her parents.
No matter how much Will tries, it seems impossible to earn Tom's respect. This changes over the course of the movie as the two men are thrown into dire circumstances. In the scene where Tom is wounded and sitting in the backseat while Will drives, the two bond for the first time. Tom allows himself to be vulnerable in front of Will as he talks about his own father, and how Tom wished to be a better father to his daughter. He then goes on to assure Will that he will be a good father to Sam's baby. Sadly, Tom dies not too long afterward.
By the end of "How It Ends," Tom finally recognizes Will's worth. He sees his willingness to do what's necessary in order to survive and protect the ones he loves. Once he's certain that Will is capable of looking after his daughter, Tom is finally able to let go of his resentment and give his approval to their marriage.
How Will changes at the end of the movie
Will goes through his own transition from the beginning of "How It Ends" to its conclusion. Like many millennials, he's reliant on modern technology and has little to no experience in dealing with a real crisis. His job at a law firm also doesn't exactly prepare him for the trials of a world gone mad. By the end of the movie, however, Will learns what he's truly capable of.
In an early scene, Will is shocked and horrified when Tom produces a pistol and uses it to scare off some potential attackers. Later on, however, the same pistol ends up saving his and Tom's life. With instructions from Tom, Will learns how to load and shoot the gun at a man in a police car who attempts to run them off the road. In another scene, Will has to save Tom after an injury causes his lung to collapse. Again following Tom's direction, Will performs an emergency thoracotomy with a needle, and he does so with very little hesitation.
By the end of the film, Will goes from someone who can barely stand up for himself to someone who is resilient and adaptable. Much of that is due to his experiences with Tom. It's also Will's promise to Tom that he will keep Sam safe that steels his resolve. Though the audience doesn't know for sure what happens to Sam and Will in the end, they know that Will can do whatever it takes to keep them both and their coming child alive.
What has the cast of How It Ends said about the ending?
Theo James' and Forest Whitaker's characters butt heads in "How It Ends," but in real life, the actors seem to agree on many things. In an interview with BUILD in 2018, both actors discussed some of the film's themes and how their characters evolve from the beginning of the movie to the end.
"[Forest's] character has a very specific set of rules, the way he sees life, and there's a black-and-white nature to that," James said. "Whereas Will is a little bit complacent and a little softer in that way, but then they get to respect one another on equal terms as the film goes on." Whitaker elaborated on James' thoughts, saying, "The movie starts to explore what you'll do to survive," which is a big part of the relationship between the two characters. "What he will do to save my daughter, and to survive, is very important for me to see. When I start to see that he is even willing to protect himself appropriately, then maybe he'll be able to protect her."
The actors also noted how the movie's themes might relate to current turbulent times. "It reflects how close we feel to the potential for chaos," James said. "In America, in Britain, the way things are evolving in the Middle East, there is a sense that things could change very rapidly on a dime and could throw everything we conceive about our lives into jeopardy." Whitaker added that the film reflects "what's going on with the global system — climate change that's happening in the world and the disasters that are happening all over the world." As Whitaker said, "All these things make you have to look at what will happen if people are put in a situation where they have to deal with these phenomenons [sic]."
What viewers thought about the ending of How It Ends
With "How It Ends" ending the way it does, it's natural that viewers would have a lot of questions. It's also natural that such an abrupt conclusion might cause audiences to feel cheated. In one particular Reddit discussion, users were very eager to voice their thoughts.
several users pointed out the logical flaw that none of the heroes bother to make use of the military weapons that seem to be everywhere. Redditor u/kraken9911 noted, "I'm even more bothered that Forest Whitaker is supposed to be this hardass military [veteran] that served for 27 years by his own words, and his 'bug out bag' consists of a single pistol with just a few mags." While some of the thread's participants were there to slam the movie, others took to posting their own theories. Several users presented the idea of a strong magnetic field due to shifts in the planet's polar caps, which might explain Tom's compass not working, as well as the appearance of the Northern Lights. Some even suggested (and rooted for) the idea of the movie tying into the "Cloverfield" franchise .
Reddit user u/WeaponsHot offered another unique theory, suggesting that a coronal mass ejection may have caused everything. According to the National Oceanic and Atmospheric Administration , CMEs are "large expulsions of plasma and magnetic field from the Sun's corona," which can cause intense geomagnetic storms. In other words, they're a very possible world-ending event. Whatever may have caused the devastating events in "How It Ends," the general consensus among many viewers appears to be that the filmmakers should have done a little more homework.
What the end of How It Ends could mean for the franchise
The cliffhanger ending of "How It Ends" leaves a big insinuation that there might be a follow-up of some kind. However, it has been five years since the movie first streamed on Netflix, and as of yet there has been no official announcement of a sequel in the works.
The likelihood of a "How It Ends 2" seems pretty low. It was universally panned by critics and holds a dismal 17% rating on Rotten Tomatoes . If a sequel to "How It Ends" were ever to get up and running, speculation suggests it likely would not make it to Netflix for a few more years at least. A possible plot might pick up where the first movie leaves off, with Will and Sam driving away from the volcano and making it out of danger just in time. Another idea might be to make Ricki the new protagonist and show what happens to her after she leaves Tom and Will.
Yet another option would be to have an entirely new cast of characters and depict their struggle, while possibly discovering what caused the disaster in the first place. It probably won't happen, but who can say for sure?
Blake Lively Will Star in It Ends With Us, Adapted From Colleen Hoover's Bestselling Book
The Gossip Girl star is the new queen of the CoHorts.
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Who’s in the cast of It Ends With Us ?
Lively, of Gossip Girl infamy, will star as Lily, the film’s lead and the central figure in Hoover’s chart-topping book. It’s not yet clear whether Lively, 35, will play Lily at the age she was originally written; in the novel, she’s a recent college graduate.
Jane the Virgin alum Justin Baldoni will play Ryle, a neurosurgeon and Lily’s love interest.
1923 breakout star Brandon Skenlar will play Atlas Corrigan, lily's high school love interest. Jenny Slate will play Allysa, Ryle's sister.
So far, Sony Pictures has not announced any other cast members.
What’s the movie about?
Based on Hoover’s book—which helped the author outsell the actual Bible in 2022—the film will follow a Boston flower-shop owner recently out of college. At the time we meet her, Lily is struggling over the death of her abusive father. But then she meets Ryle, a handsome doctor with whom she sparks an immediate rapport. Although he’s not interested in any form of real commitment, he eventually agrees to something like a relationship between the two of them. Initially, their love affair is electric, but it’s not long before his arrogance gives way to violence.
It Ends with Us
As such, the story is tricky to classify as a “romance,” even if millions of fans, a.k.a CoHorts, find it profound. A tale consumed with the thorny dynamics of love and abuse, It Ends With Us has also earned its fair share of criticism for, intentionally or not, glorifying domestic abuse—or at least irresponsibly framing it. (A coloring book version of It Ends With Us , for instance, was recently pulled after serious backlash.)
When does It Ends With Us come out?
In early July, Sony Pictures announced the film would be released on February 9, 2024, Deadline reports. The date is a surprise, because the show has been shut down by picketing as the WGA goes on strike. Pre-strike, they were last seen filming on June 9, and the movie was reportedly only about halfway through production at the time after beginning in May. Things were confirmed to resume in January 2024, following the end of the strike and the birth of Lively's fourth child with husband Ryan Reynolds.
Can I get a sneak peek?
Right now, all we have to go off of are paparazzi shots from set as production carries on. Lively was spotted in character (complete with red curls) for the first time on May 15, shooting in Jersey City. Here she is pictured in a brown dress between takes, which she wore under a pink T-shirt and fucshia coat.
Days later, she was spotted in New York in a more boho-chic outfit, sporting a crop top with berry-hued pants, a patchwork jackets, boots, and a beanie.
In January 2024, they appeared have resumed filming. Lively was seen on the streets of Jersey City in a patchwork costume and red wig, embodying Bloom once more. She had on denim jeans covered in squares of different shades, and two different jackets in bright colors.
Soon after, several pics of Lively and Baldoni sharing some on-screen kisses were released, one of which was a romantic night scene:
And another that took place during the day, when they're each wearing colorful, mismatching patterns.
This story will be updated.
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‘another end’ review: gael garcía bernal brings emotional heat to otherwise distancing mind-bender about grief.
Following his debut, ‘The Wait,’ Piero Messina’s second feature continues to explore bereavement, with a cast that also includes Renate Reinsve, Bérénice Bejo and Olivia Williams.
By David Rooney
Chief Film Critic
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In his 2015 debut feature, The Wait , Piero Messina cast Juliette Binoche as a mother grieving her son, withholding news of his death from his girlfriend, perhaps as a means of keeping his spirit alive. The Italian director revisits the wrenching process of bereavement and the reluctance to let go in a decidedly more high-concept context in Another End , which boasts engrossing work from a solid ensemble and polished production values but becomes increasingly cold and ponderous, even before inching past the two-hour mark.
'black tea' review: abderrahmane sissako's evocative but slippery diasporic drama, 'spaceman' review: adam sandler and carey mulligan navigate marriage across the universe in absorbing but trite netflix sci-fi, another end.
Bernal plays Sal, first seen having tea with a chatty elderly neighbor who shows no reaction when uniformed technicians enter her apartment, strip down her husband, who’s been sitting mutely in a corner armchair, then zip him up inside a plastic transport casing and wheel him out the door. He’s delivered, along with countless other sleeping bodies, to a facility revealed to be part of a corporation called Aeterna.
A subway advertisement for the company bears the tagline: “Another End: Take Your Time to Say Goodbye.” It gradually becomes clear that the service involves transference of the memories of the deceased, referred to in corporate-speak as “absent ones,” into financially compensated host bodies vetted for compatibility. This means grieving customers can have the time necessary to tie up unresolved issues and bring peace and acceptance to the final separation.
Where the script by Messina, Giacomo Bendotti, Valentina Gaddi and Sebastiano Melloni trips over itself is in the inordinate amount of complicated detail loaded onto these transactions.
Sol’s new upstairs neighbors also show the possibility of multiple absent family members being “kept alive” by hosts, as the harried Juliette ( Olivia Williams ) copes with the frustrations of a volatile teenage daughter (Amina Ben Ismaïl) and indulgent husband (Tim Daish).
Since the death of his partner Zoe, in circumstances revealed only late in the film, Sol has been depressed to a degree of sufficient concern to make his sister Ebe (Bérénice Bejo) move in, on the alert for suicidal signals. Ebe works for Aeterna, and when she finds a match to serve as host for Zoe’s memories, Sol is resistant. But after backing away on a first try, he consents to bring her home in the body of Ava ( Renate Reinsve ).
His initial awkwardness around her dissolves once they reconnect over an argument, moving beyond what appears to have been a rough patch in the relationship prior to Zoe’s death. A cheerful dinner with her bereaved parents delights her mother (Angela Bain) and even wins over her prickly father (Philip Rosch) after his initial indignation toward the idea.
But Sol’s full-hearted embrace of Zoe’s artificial life extension crosses lines that cause friction with Aeterna supervisor Dr. Doyle (Pal Aron) and make trouble for Ebe at work. Those problems only worsen once the Aeterna contract ends and Sol makes contact with Ava outside the agreement.
A major reveal late in the action has limited impact, and access to Ava’s private world — she’s an erotic dancer at a high-end sex club — feels less like an essential part of the plot than an attempt to juice up a film that by that point has become numbingly slow. A soundtrack sprinkled with sleepy trip hop-style electronica doesn’t help. The questions the film asks, about whether the ephemeral second chances offered by Aeterna are healing or harmful, owe something to Solaris . But the reflections stirred up by this scenario lack the weight to leave the audience ruminating on them for long.
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Slapping picard put star trek’s q “in another zone” says john de lancie.
John de Lancie explains how slapping Jean-Luc Picard put Q on "another zone" in season 2 of the Star Trek: The Next Generation spinoff.
- Q's slap in Star Trek: Picard season 2 shows a darker, more frustrated side of the cosmic trickster towards Jean-Luc.
- John de Lancie's portrayal of Q brings back the menace and urgency that had softened in the character in Star Trek: The Next Generation.
- Q's slap serves as a shocking wake-up call for Picard, highlighting the urgency for Jean-Luc to confront his past trauma and embrace love.
Slapping Admiral Jean-Luc Picard (Patrick Stewart) put Q on " another level " in Star Trek: Picard season 2, says actor John de Lancie. Picard season 2 brought back Star Trek: The Next Generation 's cosmic trickster after an absence of 21 years to teach Jean-Luc one last valuable lesson. However, the Q that viewers see in Picard season 2 is a much darker version of the beloved Star Trek: TNG character . John de Lancie restored some of the menace and malevolence that had been softened toward the end of TNG , bringing a hidden intensity to Q .
Q slapping Picard in Star Trek: Picard season 2, episode 2, "Penance" was the most visceral depiction of the fact that something is badly wrong with the cosmic trickster. By the end of Picard season 2 , Q and Picard's strange friendship is restored, but the slap was a shocking demonstration of how impatient the omnipotent god had become with Jean-Luc . While Q's plotting in Picard season 2 was weirdly convoluted even for him, the slap was a jolt that communicated his urgent need for Jean-Luc to finally step up and take notice.
Every Q Star Trek Appearance Ranked Worst To Best
Slapping picard was key to q’s star trek evolution, john de lancie was keen not to "recreate" q..
Discussing Q's return in a special Virtual Trek Con 5 panel with hosts Cirroc Lofton and Ryan T Husk, John de Lancie explained the origins of Q's shocking slap in Star Trek: Picard season 2. Read his quote, and watch the full panel below:
It did need to have a sense of maturation and them giving me this secret, which I wasn't happy about, but this secret that there's something going on with me allowed me to have a hidden intensity about "this has got to get done NOW ". So you know just things, simple things, which were at the time, I think people were quite shocked about it, where I slap him, I just slap him. I said “Get ready” *mimes slap* It just takes us up into another zone, we’re just in another zone and I wanted to try to achieve that.”
John de Lancie did take Q to another level, tapping into the omnipotent being's frustrations with his human frenemy. As Jean-Luc hides from potential happiness in Star Trek: Picard , it feels like he learned nothing from Q's lessons in Star Trek: The Next Generation . When Q returned in Picard season 2, John de Lancie played him as an angry and frustrated man who is taking one last, urgent, shot at trying to convince his friend to change his ways.
Why Q’s Slap in Star Trek: Picard Was So Shocking
Picard and q were practically friends by the end of tng.
By the end of Star Trek: The Next Generation , Q is less interested in putting humanity on trial, and more interested in facilitating Captain Picard's self-discovery. In "Tapestry", Q proves to Jean-Luc that he wouldn't be the man he was if he hadn't faced death at the start of his Starfleet career. In Star Trek: TNG 's finale , Q makes Picard realize that the bridge crew of the USS Enterprise-D are his true family. Q's meddling in Star Trek: Picard has a similarly personal angle, to allow Jean-Luc to confront the trauma of his past and finally allow himself to be loved .
However, that's not immediately apparent in Star Trek: Picard season 2, episode 2, "Penance", which is what makes the slap so shocking. Q usually used elaborate stunts to get Picard's attention in Star Trek: The Next Generation . However, with both Picard and Q near the end of their lives, the trickster god had grown impatient with his old friend, and lashed out violently . It was a shocking moment, but it made sense for the characters, and restored a degree of maturity and malevolence to Q.
All episodes of Star Trek: Picard are available to stream on Paramount+.
All Virtual Trek Con 5 panels are available to stream on YouTube.
Source: Virtual Trek Con 5
Star Trek: Picard
After starring in Star Trek: The Next Generation for seven seasons and various other Star Trek projects, Patrick Stewart is back as Jean-Luc Picard. Star Trek: Picard focuses on a retired Picard who is living on his family vineyard as he struggles to cope with the death of Data and the destruction of Romulus. But before too long, Picard is pulled back into the action. The series also brings back fan-favorite characters from the Star Trek franchise, such as Seven of Nine (Jeri Ryan), Geordi La Forge (LeVar Burton), Worf (Michael Dorn), and William Riker (Jonathan Frakes).
Disney Announces End of Movie Era, Hands Over Reins to Sony
Disney is officially handing over the reins of its physical media production to Sony.
According to The Digital Bits , Disney and Sony have officially agreed that Sony Pictures Home Entertainment will take over the production of its physical media. Sony will lead the “authoring and compression of discs.”
Related: Disney Ditching Streaming For New Marvel and ‘Star Wars’ Releases
This follows a turbulent few years for The Walt Disney Company’s physical media operations, with its numbers cut in both late 2019 and early 2020 and home streaming very much the priority since the launch of Disney+ . The studio has a notoriously large vault of films across Disney, 20th Century, Hollywood Pictures, and Touchstone that have not yet been released on Blu-ray or in remastered 4K.
Thanks to this new deal with Sony, Disney is officially shuttering the Disney Movie Club . Members received notice today (February 20) via an email that read: “After 23 magical years, it’s time to say goodbye. We have made the difficult decision to close the Disney Movie Club. We will miss the opportunity to serve cherished Disney fans like you!”
It also added that “in the months to come, we’ll be piling on the perks to celebrate you, our loyal Member. Look for amazing offers to help you finish building your collection with movies you love — for memories that are yours to cherish forever.”
Disney Movie Club was a membership program in which Disney fans could purchase physical copies of their favorite Disney movies and access both discounts and exclusive merchandise. The notice cites May 20, 2024, as the last day for DMC members to place their orders. Accounts will then close on July 20, with September 20 the official last day to return any outstanding titles.
Related: Disney Will No Longer Be Selling Physical Marvel DVDs
The service recently closed in Canada in October 2023. “After sixteen Canadian households for 16 years, we’ve made the difficult decision to close Disney Movie Club in Canada effective October 15th, 2023, as consumer behavior and viewing preferences continue to evolve,” Disney told Canadian members at the time.
Inside the Magic reached out to Disney for comment but did not hear back by the time of publication. We’ll continue to update this story as we receive more information.
Did you ever use Disney Movie Club? Let us know in the comments!
10 Must-See Movies at the 2024 Berlin International Film Festival
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It’s the end of an era for the Berlin International Film Festival, as Artistic Director Carlo Chatrian and his co-head Mariette Rissenbeek — a pair of fearless cineastes and programmers who came onboard together in the summer of 2019, and helped steer the world’s largest film festival through the crisis of the pandemic years — are being unceremoniously shoved out to sea after the 2024 edition as a part of cost-cutting measures instituted by the Federal Government Commissioner for Culture and the Media, Claudia Roth.
It’s too soon to say how the Berlinale will shrink and suffer in the absence of the leadership that has allowed the festival to remain such a vital arena for world cinema at a time of industry-wide constriction (last year’s lineup included standouts like Christian Petzold’s “ Afire ,” Lila Aviles’ “ Tótem ,” and Makoto Shinkai’s “Suzume”), but even a quick overview of this year’s program suggests that Chatrian and Rissenbeek will be going out with a bang.
As usual, the Berlinale will play host to hundreds of films from around the world, the most high-profile of which will premiere in a Competition section that boasts enough big names to go toe-to-toe with the likes of Cannes and Venice: Olivier Assayas, Hong Sang-soo, Mati Diop, and the great Abderrahmane Sissako will all be unveiling new work at the Palast over the next two weeks.
And while Chatrian and Rissenbeek’s legacy will inevitably be judged by the strength of those selections (fingers crossed that Lupita Nyong’o’s jury star-studded jury helps spotlight the right ones), the lifeblood of the Berlinale continues to be found in the deep and essential sidebars whose selections may never receive a proper release in the United States. While our preview may be focused on the Competition, it’s those under-the-radar titles that best reflect the vision and dedication of the festival’s leadership, and the impact those artists have on the next decade of cinema will ultimately tell the full story of what the film world lost when the Berlinale decided to think smaller.
But if the 75th annual Berlinale might be in for a spot of trouble come next February, the 74th is poised to represent the festival at its best when it kicks off with Tim Mielants’ “Small Things Like These” on Thursday night, and Cillian Murphy’s first starring role since “Oppenheimer” along with it. Here are the 10 movies we’re most excited to see at the 2024 Berlin International Film Festival, which runs from February 15 to February 25.
This article features additional reporting by Kate Erbland.
“Another End” (dir. Piero Messina)
Sometimes it feels like we’d only need a few more hours with a dead loved one in order to get the closure that was deprived of us at the time of their death, but the truth is that an unexpected “hello” might be too hopeful and intoxicating for people to focus on crafting a more perfect “goodbye.” So the widowed Sal (Gael García Bernal) learns the hard way in Piero Messina’s “Another End,” a mournful and contemplative sci-fi drama set in a near-future in which a deceased person’s consciousness can be uploaded into the body of a willing host — a kind of emotional surrogacy that’s rife with potential complications.
Sure, everything seems hunky-dory when Sal discovers that his dead ex has effectively come back to him in the form of Renate Reinsve, but it isn’t long before problems begin to emerge, as Sal struggles to disentangle his ex’s ghost from her very tall new shell, and struggles even harder to say goodbye to either of them. Imagine a heavy, airless “Eternal Sunshine of the Spotless Mind” for unbearable grief and you’ll be on the right track.
“Black Tea” (dir. Abderrahmane Sissako)
For his first movie since 2014’s masterful “Timbuktu” (which IndieWire named one of the best films of its decade ), Mauritanian-born Malian auteur Abderrahmane Sissako returns with a sweeping romantic drama that spans from the Ivory Coast to the tea fields of Guangzhou. “Black Tea” stars “Girlhood” actress Nina Melo as a woman who ditches her husband-to-be at the altar and flees east from West Africa, eventually meeting — and falling for — a Chinese man (Han Chang) who initiates her in the ancient art of Chinese tea ceremonies.
If that premise sounds a touch more like “The Taste of Things” than you might expect from such a fearlessly political filmmaker, we imagine that Sissako will find a way to put his own indelible spin on a story he was inspired to tell after eating at a restaurant owned by an Afro-Chinese couple; a restaurant called “The Perfumed Hill.” We had been holding our breath for a Cannes premiere, but the Berlinale got the jump on this one, and it instantly became one of the most anticipated movies of the festival’s 2024 Competition.
“La Cocina” (dir. Alonso Ruizpalacios)
“A Cop Movie” director Alonso Ruizpalacios returns with a hard-nosed kitchen drama so intense that it makes “The Bear” feel like the prison cafeteria scenes from “Paddington 2.” Based on an Arnold Wesker play but unfolding more like a WWI movie (a virtuoso sequence in which the kitchen gets flooded during rush hour feels like something straight out of “Gallipoli”), “La Cocina” takes us into the steel-lined trenches of the kitchen at an overpriced tourist trap near Times Square, where a self-divided army of undocumented cooks and cleaners try to keep up with a relentless bombardment of orders in the hopes that the restaurant’s owner might help get their paperwork sorted at some point.
The most ambitious of these invisible laborers is a salty dreamer named Pedro (Raül Briones Carmona), who’s in love with the restaurant’s weary hostess (Rooney Mara), and refuses to accept the difficult truths that might complicate their chance at a future together. When rumors start to spread that a member of the kitchen staff has stolen $870 from the till, those truths come home to roost with a vengeance, turning this black-and-white pressure-cooker into an explosive portrait of the soft borders that separate the American Dream from the possibility of making it real.
“Crossing” (dir. Levan Akin)
Riding high on his 2019 Cannes smash “And Then We Danced,” Levan Akin returns for a less propulsive but equally well-choreographed drama about the boundaries that separate people from each other and themselves. Starting in Akin’s ancestral homeland of Georgia, “Crossing” tells the story of a retired teacher named Lia (Mzia Arabuli) who vows to discover what happened to a long-lost niece, a mission that soon finds our heroine joining forces with her neighbor and following the clues into Turkey, where they cross paths with a lawyer who’s dedicated to fighting for trans rights.
Spanning several different worlds but always set right smack at the center of Akin’s career-long exploration of class and gender, “Crossing” promises to show a side of Istanbul that seldom appears on screen, as the only city on Earth that stretches across two continents becomes the perfect backdrop for a film about the borderlessness of the human experience. And while the moves may not be quite as acrobatic as they were in Akin’s last picture, it’s probably a safe bet that we’ll see some dancing along the way.
“Cuckoo” (dir. Tilman Singer)
“Luz” filmmaker Tilman Singer’s follow-up to his demonically good 2018 feature debut boasts plenty of intriguing elements that will bait horror fans of all stripes, from its tagline (“The adolescent needs to be trained”) to a synopsis that includes everything from a creepy adult to a child in need, plus “strange noises and bloody visions” and the promise of a massive family secret. The film’s icky first teaser (complimentary) laid on the atmosphere thick – this one is set at an Alps resort, where things are, dun dun, not what they seem – and offered enough glimpses galore at something truly sick to grab our attention and then some.
While details might be slim on this one (and we’re guessing that’s a good thing), we do know that the film stars “Euphoria” breakout Hunter Schafer, and that Singer has assembled a sterling supporting cast alongside her, including genre veteran Dan Stevens, plus Jessica Henwick, Marton Csókás, and Jan Bluthardt. Interested parties won’t need to a) travel to Berlin to see the film or b) wait too long to check it out for themselves, as Neon will release it in theaters on May 3. —KE
“Dahomey” (dir. Mati Diop)
In her first feature since 2019’s indelibly striking “Atlantics,” French-Senegalese filmmaker and actress Mati Diop returns with another rich and unsettled reflection on the spirit of the African diaspora, this one — a 67-minute documentary — focusing on a debate that sparked among students at the University of Abomey-Calavi in Benin when 26 royal treasures of the Kingdom of Dahomey were returned to their country of origin in November 2021, more than 100 years after they had been stolen by French colonial troops and shipped off to Paris for display. Diop’s intensely focused inquiry follows along as the modern descendents of the Dahomey people discuss the meaning these relics might have for a country that has been forced to carve out its own identity in their absence.
“The Empire” (dir. Bruno Dumont)
It’s always exciting when a big, poppy hunk of science fiction manages to squeak into the Competition lineup at a prestigious festival, and maybe even more so when the movie in question is less of a self-serious space opera than an ultra-colorful “Star Wars” parody. Poised to be another piece of galaxy-brained low art from the director of “Slack Bay” and “Jeannette: The Childhood of Joan of Arc” (which revisited the patron saint of France through the lens of a heavy metal musical), Bruno Dumont’s “The Empire” begins with two intergalactic armies clashing forces on the shores of Northern France, the rare premise that might allow for a poster that contains both lightsabers and grazing cows.
So frequently delayed during the pandemic that original stars Lily-Rose Depp and Virginie Efira both had to drop out due to scheduling conflicts (as opposed to Adèle Haenel, who exited in response to the “dark, sexist, and racist” content of Dumont’s script), “The Empire” is definitely going to be unlike anything else at the Berlinale this year, and that’s reason enough to keep a close eye on how it plays there.
“Sons” (dir. Gustav Möller)
“The Guilty” director Gustav Möller returns with another tense and claustrophobic moral thriller, this one starring Sidse Babett Knudsen as Eva Hansen, a prison guard whose work starts to become dangerously personal when a violent young man from her past (Sebastian Bull) is transferred into the maximum-security area of her jail.
When Eva volunteers to be transferred there along with him (so that she can make his life as miserable as possible), the guard and the inmate soon find themselves engaged in a mutually destructive quid pro quo that challenges the limits of justice, the possibility for rehabilitation, and the corruptive nature of the power dynamics that undergird the prison system. Festival attendees should brace for a breathless slow-burn that refuses to offer even the slightest hint of easy catharsis or a clear resolution.
“Suspended Time” (dir. Olivier Assayas)
“Wasp Network” (2019) may have been a rare misstep in Olivier Assayas’ otherwise brilliant career, but the protean French auteur has always redefined himself as a matter of course with each project (as was evidenced by his decision to follow “Wasp Network” with a deliriously good sequel series to his 1996 masterpiece, “Irma Vep”), and so his first movie in almost five years demands to be welcomed with the same enthusiasm that greeted the rest of his work.
And while many of us may have already had our fill of COVID dramas, the early days of the pandemic seem like fertile ground for a filmmaker like Assayas, who has always been compelled by unusual temporalities, and the unique circumstances in which the past might insinuate itself into the present.
The intriguingly self-reflexive “Suspended Time” stars Micha Lescot as a director named Etienne who joins his brother Paul (Vincent Macaigne) in their childhood home during lockdown, a situation that stirs up old memories and forces Micha to reflect on how much — and how little — has changed since the last time he lived there. The festival synopsis teases a sense of “disturbing strangeness,” so here’s hoping that Assayas finds a way to make room for the vaguely supernatural flights of fancy that have made even some of his most grounded movies feel suddenly transcendent.
“A Traveler’s Needs” (dir. Hong Sang-soo)
It wouldn’t be the Berlinale without at least one new film by Hong Sang-soo, but there’s nothing obligatory or more of the same about a project that finds the prolific Korean auteur reuniting with the great Isabelle Huppert, who previously appeared in Hong’s “In Another Country” and the Cannes-set ditty “Claire’s Camera.”
“A Traveler’s Needs” casts Huppert as a woman abroad — a mysterious foreigner named Iris who arrives in Korea with no money to her name, and soon begins teaching French in order to sustain her daily makgeolli habit. What happens from there is anyone’s guess, but a cast list full of Hong regulars like Lee Hye-young, Kwon Hae-hyo, and Cho Yunhee suggests that Iris’ adventures will be as comfortingly familiar and wildly inventive as fans have come to expect from the director’s work. With a 90-minute runtime (long by Hong’s recent standards) and a Competition berth at one of the world’s most prestigious festivals, we’re keeping our fingers crossed for some major Hong.
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This Fan-Favorite 'Chicago Fire' Character Will Leave at the End of the Month
Firehouse 51 loses another member as Sylive Brett leaves for Oregon.
The Big Picture
- Sylvie Brett will marry Matt Casey in Episode 6, fulfilling her dream of starting a family with him.
- Kara Killmer's exit from Chicago Fire in Season 12 will cause major changes for Ambulance 61 and Firehouse 51.
- The emotional departure of Sylvie and Casey will see new faces arrive at Firehouse 51 as the show deals with cast changes.
It's a bittersweet state of affairs on Chicago Fire with Kara Killmer leaving the show in Episode 6 of Season 12, set to air on Wednesday, February 28. The upcoming episode is one for the books because it sees Sylvie achieve something she's wanted for the longest time, and that's marrying Matt Casey ( Jesse Spencer ). In the episode promo, these dreams come true as Chief Boden officiates their wedding. The venue might not be what they dreamed of, but it wasn't their biggest dream. The dream was to start a family together.
Since it was revealed that Kara Killmer would leave Chicago Fire in Season 12, the show has spent most of the character's screen time preparing her exit with typical bridal events like fitting a ring, wedding dress, venue, and guest list. Sylvie has expressed inexplicable joy at the prospect of marrying Casey and seems elated every time they are the topic of conversation. Their wedding is a Firehouse 51 family event that sees Kelly Severide return from his OFI investigation to attend his best friend's wedding.
Kara Killmer joined Chicago Fire in the Season 3 premiere as paramedic Sylvie Brett to replace Leslie Shay ( Lauren German ) who had died leaving Ambulance 61 without a paramedic. She would then appear in 9 seasons of Chicago Fire across hundreds of episodes in the One Chicago universe. Sylvie proved herself as a paramedic, rising through the ranks quickly to become Paramedic in Charge of Ambulance 61, where she has been working with her partners.
What's Next For Sylvie, Ambulance 61, and Firehouse 51?
Sylvie's nuptials with Casey will see her leave Chicago for Oregon, where Casey has been residing for the past several years looking after the Darden boys. With a spot opening up for a paramedic position in Oregon, Sylvie plans to pick up her duties and work as a paramedic while raising her adopted daughter and the Darden boys with Casey. This will leave an open spot in Ambulance 61 which will need to be filled. Kara Killmer's exit will change the show significantly. Her exit means that Jesse Spencer will also leave permanently. Chicago Fire lost another cast member recently when Alberto Rosende exited the show in the Season 12 premiere. There will be several new faces in Firehouse 51 as the show contends with a revolving door of cast members.
Watch the emotional promo above that promises a lot of tears for Brettsey fans as they say goodbye to their favorite couple. New episodes of Chicago Fire air on Wednesdays at 9 pm on NBC and stream later on Peacock .
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- Cast & crew
Unfolding the fact that life is a parallelism; we explore the modern day relationship between Connor and Lily. They are faced with heartbreaking experiences through a series of past and pres... Read all Unfolding the fact that life is a parallelism; we explore the modern day relationship between Connor and Lily. They are faced with heartbreaking experiences through a series of past and present relationships. Soon coming to terms that love only strikes you once and once it's gone... Read all Unfolding the fact that life is a parallelism; we explore the modern day relationship between Connor and Lily. They are faced with heartbreaking experiences through a series of past and present relationships. Soon coming to terms that love only strikes you once and once it's gone, that feeling may be so intangible to grasp again, that it's forgotten entirely.
- Vivian Full
- Darren Matheson
- Connor Dean
- Katie Aidely
- Craig Danton
- Justin Walkens
- Lana Steele
- (as Naiah Cummins)
- Alex Bouloud
- Young Connor
- Lucas Manning
- (as Elysha Jackson)
- Emily Thicke
- Kelsey Rivers
- Lily Buchanan
- Andrea Buchanan
- (as Lisiane Rodrigues)
- Marcus Dean
- Leanne Dean
- Nurse Walters
- All cast & crew
- Production, box office & more at IMDbPro
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- Trivia Nia Cummins and Vivian Full's debut.
- 2014 (Canada)
- Incentive Films
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A Kid for Two Farthings review – Carol Reed’s East End market-street caper still charms
An array of stars portray warm-hearted Londoners in comedy pivoting around a young boy who is a sunny ancestor to Kes
C arol Reed’s 1955 film is a rich slice of gentle, sentimental comedy, adapted by Wolf Mankowitz from his own novel. It’s a little bit broad and not in the class of The Third Man or The Fallen Idol, but forthright and heartfelt, and boasting a veritable aristocracy of British character acting talent.
In the bustling world of Petticoat Lane in London’s East End, then the traditional home of the Jewish community, a shy little boy called Joe mopes and daydreams around the place; he’s played by Jonathan Ashmore, with the rather non-East-End stage-school child actor voice that was common in those days. (Ashmore left showbusiness after this one screen appearance and grew up to be a distinguished scientist .) His cheerful but careworn mum Joanna (Celia Johnson) is sadly missing her husband, Joe’s dad: he’s away chasing get-rich-quick schemes in South Africa.
Joanna rents rooms above a little tailor’s shop run by Mr Kandinsky, played with great charm by the actor and storyteller David Kossoff, whose assistant cutter Sam (Joe Robinson) is a rather conceited beefcake bodybuilder engaged to Sonia (Diana Dors) who is annoyed he won’t name the day. So Sam is chivvied into taking part in a wrestling bout with local man-mountain called the Python (played by pro boxer and wrestler Primo Carnera) for a big cash prize to pay for the wedding. Meanwhile, little Joe has bought a kid goat with a single stunted horn and believes it’s a unicorn able to grant wishes; he is convinced he can control the destiny of all the grownups around him. The unicorn-goat is the poignant symbol of the child’s delusions and vulnerabilities, wishes and dreams – and everyone else’s too.
There’s a lot of sweetness and fun here, and nice small roles for veteran Sidney Tafler as the rival tailor (“You’ve heard of Christian Dior, I’m Yiddishe Dior!”) and for Sid James as raffish jeweller Ice Berg, who wants to sell Sonia a cut-price wedding ring. Danny Green (famously the brutish “One-Round” in the Ealing classic The Ladykillers) plays jobbing wrestler Bully Bason, and Irene Handl is the beaming Mrs Abramowitz who in her grandmotherly way pinches Joe’s cheek with alarming force.
The wrestling scenes have drama and excitement (although the first one disconcertingly cuts out before the result) and Reed flexes some cinematic muscle of his own for the second match, giving us fierce closeups of the rapt spectators’ faces. This release comes with a trigger warning about outdated attitudes: this presumably alludes to The Python saying Sam’s muscles are just for show and calling him “cream puff”; there’s an obvious homophobic ring to that, although the jibe might not have been intended in that way.
It’s a gentle movie, but the dodgy world of wrestling here is not unlike that in Night and the City (as described in both Gerald Kersh’s novel and Jules Dassin’s film) and in its way A Kid for Two Farthings laid the foundations for a very British kind of social realism; Joe and his goat are the ancestors of Billy and his kestrel in Ken Loach’s Kes. Well, the ending is happier here.
- Drama films