Bella Ramsey is able to share only limited details about Ellie’s journey in the second season of The Last of Us. Though fans may already have an idea due to having played the games or watched walkthroughs, the show offers significantly more depth than what was initially presented. In a conversation with Jimmy Fallon, Ramsey … Read more
During the April 6 episode of RHOA, Eady arrived at Moore’s salon opening with flowers and an apology note. However, Moore chose to disregard both the gift and the apology. Addressing the crowd, Moore asked for their attention before expressing her frustration about people trying to undermine her without cause. She went on to say that she was tired of it and found Eady’s actions insincere. After this, Eady left the party. Moore continued speaking to the crowd, stating that she dislikes falsehoods and doesn’t want deceitful women around her. Kelli Ferrell attempted to keep the card but Moore demanded it be destroyed. “I looked into it,” Moore stated, “and I found out who this woman is.” She then displayed a series of posters with Eady’s picture on them, pointing out various alleged cosmetic procedures she had undergone. Moore then revealed another poster, stating, “See that? She used to be a video vixen.
As a devoted fan, let me express my thoughts before we delve deeper into the latest episode: Since episode 5, the character Wihan has been a point of focus for us, showcasing his poor work habits, inadequate leadership skills, and unbridled ego. His brand of villainy, though initially amusing, has been a source of frustration. He’s reminiscent of Harry and Marv from Home Alone when it comes to his mishaps. However, this week, the humor took a darker turn as Wihan’s misogynistic tendencies surfaced more prominently. This man seems to believe that women owe him something. His offensive comments, such as dismissing women past a certain age as merely talkative, and suggesting he should be less kind to girls if they speak ill of him after he has pursued them, are appalling. It’s alarming to think that this is his perception of being ‘nice’.
For season four, composer Cristobal Tapia de Veer is stepping aside. He had suggested incorporating the distinctive ululating vocals into the season three theme song, stating to The Times, “I texted the producer and proposed that at some point we could offer them the extended version with the ‘ooh-loo-loo-loos,’ as people would be thrilled to discover it was part of the plan all along.” Unfortunately, this idea wasn’t taken up, leaving fans yearning for its return. Perhaps they opted for a clean start, but why not reintroduce those captivating, eerie vocals… in a yodeling format?
2025 marks the premiere of the sixth and last season of “The Handmaid’s Tale,” with the first three episodes airing on April 8, during Trump’s second term, a time that seems to bring the transformation of America into Gilead closer than ever. What audiences might find comforting is if June Osborne, the handmaid-turned-revolutionary (Elisabeth Moss), and her comrades could finally, after six seasons of struggle, overthrow the government that seized their freedom without a trace of remorse. However, “The Handmaid’s Tale” has never been a source of comfort, and the series, led by TV veteran Bruce Miller (ER, The 100) and currently managed by co-showrunners Eric Tuchman and Yahlin Chang, remains dedicated to making life difficult for its characters. Moreover, it’s already known that Gilead won’t fall easily: Hulu is developing a TV series based on “The Testaments,” a sequel following Atwood’s novel of the same name, set 15 years after its predecessor, a time when Gilead still persists. Thus, the final season of “The Handmaid’s Tale” won’t likely provide a satisfying conclusion to Gilead’s oppressive rule.
Schrader countered his ex-assistant’s claims by stating that her lawsuit is a misguided attempt to gain money quickly, rather than addressing sexual assault allegations. He asserted that the lawsuit distorts the truth about their relationship, which was professional and non-sexual for over three years. According to Schrader, the lawsuit seeks to portray him in a negative light and alter the facts of their interactions. He maintains that he never engaged in any sexual activity with his assistant, nor did he attempt to do so at any point. However, his assistant has accused him of forcefully kissing her in his hotel room and trying to prevent her from leaving. Schrader also denies exposing himself to her, which was another claim made by his assistant. He admitted to kissing her on two separate occasions, but he stopped after she expressed discomfort the second time and apologized, promising not to do it again. In the lawsuit, his assistant referenced emails where Schrader wrote about her being uncomfortable with his affections and fearful of his physical advances.
DeYoung came up with the concept for the film after bonding with a colleague, hoping their friendship would last beyond their job. However, when his coworker didn’t respond to his text for days, he became frustrated and started pondering over the situation, thinking it was pathetic. He elaborated on this during a Q&A, saying, “I texted him, and he didn’t reply for days, and I thought, What an asshole! and I began to brood about it, wondering, How sad is that?“. After converting his complex emotions about friendship into a movie produced by A24, he eventually managed to reconnect with his former colleague. “I bumped into him recently, and we spent some time together,” DeYoung shared, as the audience applauded. “They’ll never know they were the inspiration for this film. Definitely not.
In a deeply touching two-part storyline, Molly’s life gradually concludes, focusing on the profound appreciation of human physique. Unlike many contemporary shows, Dying for Sex uniquely emphasizes the beauty of the body in various stages. Consequently, it is fitting that Molly encounters her initial shared, climactic experience just before her passing.
The “Mission: Impossible” series has consistently been a platform for Tom Cruise’s on-screen daredevilry, and as anticipated, this trait is highlighted in the concluding trailer for “Mission: Impossible – Fallout,” the eighth installment of the franchise. As with any Mission: Impossible movie, it features action sequences performed without CGI, fistfights, knife fights, a catchy theme tune by Lalo Schifrin, skepticism towards Ethan Hunt despite his numerous accomplishments in the previous seven films, and Cruise’s signature fast-paced runs, such as the one past Big Ben. However, what makes this film unique is the introduction of character Tramell Tillman.
The initial trailer for “The Phoenician Scheme” suggests a story centered around a father and daughter, intertwined with much intense action. However, some parts of the plot remain unclear – at one point, a voiceover says, “Today, tonight, and tomorrow, we’ll meet every titan and pretend to agree on what we already agree, but in truth, we don’t, can’t.” This statement appears cryptic for now. Interestingly, contrary to Guillermo del Toro’s statement in Le Monde, it seems he does not appear in every scene of the trailer.