Hard to believe that eight years have already passed since Michael Jackson’s death, but time’s a goon like that. And as the King of Pop settles in the ground, the question of what shape his legacy will take must be answered. While we’d be remiss to gloss over the ethical lapses and general trainwreckishness of the man’s final years (and doubly remiss not to point out the cruel, exacting factors in his life that drove him to that mental state), the time has come for a bit of enshrinement. Next month, the Michael we prefer to remember — the virtuosic performer, the boundary-pushing titan of black art — will return for a glorious new tribute.
Ahh, post-production, that magical time when a director can use computers and good old-fashioned ingenuity to fix the hundred little things that went wrong while shooting. Flubbed lines can be re-recorded and spliced in, flawed shots can be surgically removed, and inconsistencies in continuity can be digitally erased from the frame. That last one has become something of a major concern for the Justice League production as it winds down, because the process of reshooting has dealt director Joss Whedon one hairy, noticeable continuity error.
The Internet has made many previously unthinkable wonders possible: I can watch movies without taxing the lower half of my body, aggressively explain to teenagers in the Philippines why they should really be getting into Riverdale, and get food delivered to my house without speaking to another human being. But apart from turning otherwise normal people into reclusive hermits, the great gift of the Internet is the sharing and popularizing of minutiae. When someone online notices something neat-o, they’re free to share it with the rest of the online world, who will in turn mutter, “Huh, that’s neat,” before moving on with their own lives.
Ryan Gosling is about to play himself. (In the DJ Khaled sense, not the Being John Malkovich sense.) The actor’s been on something of a roll recently, scoring critical plaudits for The Nice Guys and La La Land last year — the latter of which ended up a surprise blockbuster and less-surprise Oscar hoarder — and continuing on into 2017 with this past spring’s Song to Song. He’s got Blade Runner 2049 on the docket for this fall, a likely smash that may earn him admiration among nerd circles, the last niche demographic he has not yet charmed. But with the world at his feet, Gosling’s now making moves to dash all the goodwill he’s recently built up.
At last, a news item that combines the two most universally beloved genres of showbiz reporting: “Celebrities extending kindness to un-famous teens by acknowledging them through the internet” stories and “Ryan Reynolds getting into mischief again!” stories. We live in wondrous times, friends, where a skillful Photoshop job and a moment’s tweetings can get a bona fide movie star into your orbit — and change the trajectory of your life forever.
It wasn’t so long ago that Edgar Wright voiced some misgivings about the business of sequels, saying “I guess I would rather be telling new stories than revisiting old ones.” But in that very same interview, he emphasized that he has no hard-and-fast rules for how he chooses projects, and that if reviving an established property felt natural and creatively productive, he wouldn’t rule out the possibility. He batted around the idea of following up on cop-parody Hot Fuzz back then, and now today, he’s reignited fan murmurs of an entry into sequeldom with Baby Driver.
We hold these truths to be self-evident: that in the film A Bad Moms Christmas, there will be moms, they will be bad, and it will be Christmas. The sequel to 2016’s sleeper hit has now gotten its first trailer, and if nothing else, I can confirm for you beyond any shadow of a doubt that A Bad Moms Christmas will star a collection of moms, all of whom will indulge in varying levels of badness. This year, the reason for the season is mom-ing, and doing it badly.
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