Entertainment

St. Patrick’s Day stands out among other holidays due to its unique blend of tradition and festivity. Unlike many Christian holidays whose original significance often fades, St. Patrick’s Day has maintained a tradition associated with revelry and indulgence since its early days. Originally, the lifting of Lenten alcohol restrictions was part of the celebrations. Today, many people interpret this as an opportunity to wear green, drink excessively, and forget about Saint Patrick and Irish heritage for much of the day. Its closest analogue might be Halloween, another holiday steeped in mischief and upheaval that both unites and divides us in equal measure.

Currently showing in New York (with plans to expand soon), Lesage’s captivating film is not a horror movie as you might expect – it’s actually a dramatic piece, with comic elements thrown in at times. The Quebecois director has a knack for building tension and suspense. In Who by Fire, several individuals gather at a forest cabin, leading to a whirlwind of emotional upheaval. Unlike traditional narratives, this film doesn’t follow a typical plot or clearly define its themes and structure. Instead, it leaves viewers to interpret the characters’ motivations and feelings on their own.

In a relentless and fast-paced fashion, directors Dan Berk and Robert Olsen fully exploit a cleverly absurd concept involving movie science, fueled by Nate’s unique condition, leading to chaos without bounds. Despite this, they manage to incorporate elements of character development. Since his childhood diagnosis with CIPA, Nate has led a strictly controlled life devoid of risk. His apartment is equipped with tennis balls covering every potentially sharp edge for safety. He cannot consume solid food due to the danger of biting his tongue, and he avoids hot drinks because he’s unable to tell if he’s burning himself. An alarm rings every three hours in his house to prevent his bladder from bursting, as he is unaware of the pressure that signals the need to urinate.

In October 2016, it was announced by The Hollywood Reporter that there were plans underway for a modern retelling of the 1937 classic movie “Snow White and the Seven Dwarfs”. Erin Cressida Wilson was in discussions about writing the script, while Benj Pasek and Justin Paul were set to compose new music. Marc Platt, known for producing hits like “Wicked” and “La La Land”, was also involved in the production of this remake.

As I delved into their latest Netflix sci-fi offering, “The Electric State”, I found myself pondering – not for the first time – about the whereabouts of those Russo brothers. This question had also crossed my mind while watching their 2022 Netflix thriller, “The Gray Man”. It’s puzzling to see filmmakers who once masterfully navigated the delicate balance of Marvel’s most daring period pieces, now seemingly trapped in such heavy and humorless productions.

While “The Gray Man” was merely dull and unremarkable, a forgettable action flick – such instances happen occasionally. But “The Electric State” seems to be yearning for an injection of playfulness, energy, some zest and charisma. I can’t help but feel that the Russo brothers of two decades ago could have brought a much-needed comic flair to this project. It’s a tale of fantasy rooted in absurdity. Without a touch of humor, it becomes grating to watch.

Before the emotional turmoil of season two and the lingering longing, Dylan G., who behaves most like a genuine coworker among all characters on Severance, is likely the most relatable character. He’s affectionate, supportive, casual, profane, and, being the most motivated by perks at Lumon, he might just be television’s ultimate sweet treat. If there’s one scene that has been deeply etched into the memories of Severance fans during the lengthy winter break, it could very well be Dylan’s heroic moment when he grasped the Overtime Contingency Protocol switches as if he were Innie Jean-Claude Van Damme.

In simpler terms, I rarely experience that thrilling sensation after watching a movie nowadays as modern films, particularly American ones, seem to lack depth and originality. The storylines are straightforward, broader themes are hinted at rather than explored, the visual elements have a patronizing tone, and the performances feel dull. However, the film “Black Bag” is exceptionally captivating, with Soderbergh showcasing his genius by portraying intelligent characters engaging in witty banter while dressed elegantly. The cinematography enhances their beauty, making it a delightful viewing experience without any unnecessary elements. This movie serves as a reminder that films should inspire us and open our minds to new possibilities, and “Black Bag” certainly does just that. It demonstrates that a film doesn’t need to have an explicit political message or focus on the politics of its story to be valuable cinema; it can simply offer moments of pure joy and beauty. Essentially, films are meant to move us and create rapture in our hearts.

This week’s notable news story involved the stock market, which unfortunately took a downturn. This might be why John Mulaney’s comedy show, “Everybody’s Live With John Mulaney,” opted for the theme “Lending People Money” in its L.A.-absent format premiere. Whether this was a wise choice or not remains to be seen. The skits were particularly sharp this week (as you’ll see below), making the financial mishaps even more pronounced. It’s challenging to find humor in other people’s personal hardships, as many of the calls unfortunately demonstrated. Instead, make fun of your own misfortunes – like Joan Baez did when discussing her repeated Tesla accidents. Baez was a captivating guest this week on late-night shows. But who else excelled this week? Let’s explore together.

As a die-hard film fan, I must clarify that Apple TV+ doesn’t label it as a comeback or reboot. Instead, they refer to it as a “renewal” because Ted Lasso never technically ended with season three. However, in an interview with Entertainment Weekly back in 2021, the show’s star Jason Sudeikis hinted that “the story that’s being told—that three-season arc—is one that I see, know, and understood.

Sometimes a premise just sells itself, you know?