Entertainment

35 individuals were removed during hide-and-seek, leaving 25 still playing (excluding the baby that Jun-hee is currently learning to nurse). The Lead Person assures the VIPs that the players will opt to carry on with the games, as the dorm brawl has likely made them uneasy about voting against the majority. However, Nam-gyu, who’s worried about losing Thanos’ necklace and is in a panic about proceeding without it, switches to X. On the other hand, Min-su, now possessing the necklace, looks directly at Nam-gyu before switching to O.

This week marks the final stage of the tournament-style format, and I must say, it feels like the brackets aren’t living up to their potential. While they do offer a wider variety of queens than we typically see on All Stars, the focus on scoring seems to have overshadowed the overall storyline. Last week’s results were disappointing, but an entertaining drag performance, especially a strong runway look, can’t be ignored.

In their pink uniforms, the soldiers failed to provide all necessary details about the game’s rules. It was initially noticed by Jeong-dae that not every blue player’s keys could open every type of lock (doors). This piece of information proved beneficial for Hyun-ju, Yu-ri, and Geum-ja, who just so happened to possess a key for each of the three lock types: circle, triangle, and square. These three, affectionately known as the “bathroom team” due to their shared past late-night bathroom adventures, gave their keys to Hyun-ju, who was chosen as their leader. After injuring her ankle and falling down the stairs, Jun-hee became a more vulnerable target, but when a red player attempted an attack, Hyun-ju, with her exceptional fighting skills, managed to disarm and kill him, taking his knife for additional protection.

The series commences by revealing that Player 246, also known as single father Gyeong-seok, didn’t perish in the uprising; instead, pink soldier No-eul didn’t intend to kill him when she fired. Perhaps she’s contemplating the daughter she too abandoned? Another soldier who once harmed No-eul and threatened her with violence is foolish enough to assume that she now desires to be associated with him in his criminal activities, specifically organ trafficking, which she had previously sought to thwart. However, before this scheme can unfold, No-eul resorts to violence. The soldier who escorted her to the operating room dies smirking upon learning she fled North Korea after murdering a commander similar to him. Once all other soldiers are deceased, No-eul threatens to kill Gyeong-seok unless he survives. She donates her blood for his treatment, but it’s uncertain if it will be sufficient.

Instead of becoming a three-season disappointment after its initial success on Netflix in September 2021, Squid Game could have been a one-hit wonder. The South Korean series, featuring a competition designed by the wealthy where debtors play deadly games for a huge prize, seemed to burst onto the scene but resonated with many viewers. Its cultural specificity was crucial to its storytelling – dalgona candy, the ddakji game, and the country’s island landscapes were all integral parts of the world it created. However, its exploration of economic imbalance and portrayal of widespread financial struggles gave it universal appeal. Though inspired by South Korea’s high household debt, the series creator, writer, and director Hwang Dong-hyuk developed such universally relatable characters – jobless former workers, exploited immigrants, and downtrodden gamblers – that their stories transcended national boundaries.

It’s no secret that Jeremy Allen White is muscular: Just as water is wet and forks are found in kitchens, generational trauma can be found in sandwich shops in Chicago. But the thought of someone else physically lifting a muscular person… Wow, that’s downright astonishing! On The Tonight Show, White shared with Jimmy Fallon an … Read more

Isn’t it delightfully nostalgic to see the return of “And Just Like That…” this week? It seems the focus on Carrie Bradshaw and her extensive shoe collection is causing quite a stir, as if that was ever a surprise! After all, they even reference one of my favorite “Sex and the City” episodes, “A Woman’s Right to Shoes,” which clearly shows they have a solid grasp of their audience’s preferences. Admittedly, I might be biased due to the lingering trauma from Aidan Shaw’s storyline, but any diversion from Virginia, no matter how absurd, is welcome in my book. And let’s not forget the shoe montage! Who could possibly dislike a scene dedicated to footwear?

One of the invited artists clearly demonstrated the worth they would bring to voting matters, leaving an impression. The director of I Saw the TV Glow, Jane Schoenbrun, expressed her excitement about their invitation in a straightforward manner: “Soon to be the person at academy meetings saying, ‘Yes, yes, but have you seen this video of the explorer on YouTube who investigates abandoned malls?'” Now, that’s worthy of an Oscar.

In true fashion of The Bear’s fourth season finale, “Goodbye,” the narrative centers around a pair of heated confrontations unfolding within a cramped setting. The initial spat ignites between Carmy and Sydney, who reacts angrily upon learning that not only is he departing from the restaurant but also bestows a substantial share of the struggling establishment upon her – without prior consultation, mind you, as Carmy’s still got a bit of jackass in him. The second altercation ensues between Carmy and Richie, who storms into the fray, explodes at the revelation, and the ensuing argument escalates to a fever pitch. As the verbal battle reaches its climax, the narrative pivots towards the simmering animosity between the two men, stemming from their complex ties to Mikey, who persists in haunting the restaurant and their lives. When Carmy discloses that he indeed attended his brother’s funeral, a truth he’d carried with him in shame, Richie’s rage spikes even further.

In the movie titled “F1®: The Movie“, Sonny’s predictions tend to be accurate, even if it’s almost comical within the broader context of the film directed by Joseph Kosinski and written by Ehren Kruger. The title is technically F1®: The Movie, a trademarked nod to both the influence of the brand associated with the movie and the fact that this $200-300 million Hollywood production is insignificant in comparison. Every aspect of its on-screen world, which resembles a sleek, futuristic setting, is adorned with logos and advertisements from companies aiming to capture viewer attention and gain some reflected prestige. Despite the fact that Sonny could be discussing film production instead of car racing, this detail remains significant. Similarly to Top Gun: Maverick, another project by Kosinski and Kruger, F1 is essentially a commentary on its lead character through a drama revolving around extreme speed. The main difference lies in the fact that Brad Pitt isn’t as self-mythologizing or enigmatic as Tom Cruise, who has cultivated an image of either dying or finding a way to live forever while pursuing increasingly daring stunts.