Category Archives: Entertainment

12 New Books to Read in case you are Still Undecided this Election Year

This year political news has been non-stop and included the good, the bad and the very ugly. With a very real and consequential presidential election fast approaching, staying informed is key. Below we have curated a list of top ranking political books currently available in the market.

Why We’re Polarized

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“The American political system–which includes everyone from voters to journalists to the president–is full of rational actors making rational decisions given the incentives they face,” writes political analyst Ezra Klein. “We are a collection of functional parts whose efforts combine into a dysfunctional whole.” In Why We’re Polarized, Klein reveals the structural and psychological forces behind America’s descent into division and dysfunction. Neither a polemic nor a lament, this book offers a clear framework for understanding everything from Trump’s rise to the Democratic Party’s leftward shift to the politicization of everyday culture. America is polarized, first and foremost, by identity. Everyone engaged in American politics is engaged, at some level, in identity politics.

Over the past fifty years in America, our partisan identities have merged with our racial, religious, geographic, ideological, and cultural identities. These merged identities have attained a weight that is breaking much in our politics and tearing at the bonds that hold this country together. 

Klein shows how and why American politics polarized around identity in the twentieth century, and what that polarization did to the way we see the world and one another. And he traces the feedback loops between polarized political identities and polarized political institutions that are driving our system toward crisis. This is a revelatory book that will change how you look at politics, and perhaps at yourself.

Running Against the Devil: A Plot to Save America from Trump–And Democrats from Themselves

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As 2016 proved, Trump can’t win, but the Democrats can sure as hell lose. Only one thing can save Trump, and that’s a Democratic candidate who runs the race Trumpwants them to run instead of the campaign they must run to win in 2020. Wilson combines decades of national political experience and insight in his take-no-prisoners analysis, hammering Trump’s destructive and dangerous first term in a case-by-case takedown of the worst president in history and describing the terrifying prospect of four more years of Trump. Like no one else can, Wilson blows the lid off Trump’s 2020 Republican war machine, showing the exact strategies and tactics they’ll use against the Democratic nominee . . . and how the Democrats can avoid the catastrophe waiting for them if they fall into Trump’s trap. 

Running Against the Devil is sharply funny, brutally honest, and infused with Wilson’s biting commentary. It’s a vital indictment of Trump, a no-nonsense, no-holds-barred road map to saving America, and the guide to making Donald Trump a one-term president. The stakes are too high to do anything less.

Bag Man: The Wild Crimes, Audacious Cover-Up, and Spectacular Downfall of a Brazen Crook in the White House

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The year was 1973, and Spiro T. Agnew, the former governor of Maryland, was Richard Nixon’s second-in-command. Long on firebrand rhetoric and short on political experience, Agnew had carried out a bribery and extortion ring in office for years, when–at the height of Watergate–three young federal prosecutors discovered his crimes and launched a mission to take him down before it was too late, before Nixon’s impending downfall elevated Agnew to the presidency. The self-described “counterpuncher” vice president did everything he could to bury their investigation: dismissing it as a “witch hunt,” riling up his partisan base, making the press the enemy, and, with a crumbling circle of loyalists, scheming to obstruct justice in order to survive.

 In this blockbuster account, Rachel Maddow and Michael Yarvitz detail the investigation that exposed Agnew’s crimes, the attempts at a cover-up–which involved future president George H. W. Bush–and the backroom bargain that forced Agnew’s resignation but also spared him years in federal prison. Based on the award-winning hit podcast, Bag Manexpands and deepens the story of Spiro Agnew’s scandal and its lasting influence on our politics, our media, and our understanding of what it takes to confront a criminal in the White House.

A Warning

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On September 5, 2018, the New York Times published a bombshell essay and took the rare step of granting its writer anonymity. Described only as “a senior official in the Trump administration,” the author provided eyewitness insight into White House chaos, administration instability, and the people working to keep Donald Trump’s reckless impulses in check. With the 2020 election on the horizon, Anonymous is speaking out once again. In this book, the original author pulls back the curtain even further, offering a first-of-its-kind look at the president and his record — a must-read before Election Day.

It will surprise and challenge both Democrats and Republicans, motivate them to consider how we judge our nation’s leaders, and illuminate the consequences of re-electing a commander in chief unfit for the role.

This book is a sobering assessment of the man in the Oval Office and a warning about something even more important — who we are as a people.

The Nancy Pelosi Way: Advice on Success, Leadership, and Politics from America’s Most Powerful Woman

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In 2007, Nancy Pelosi became the highest-ranking elected female government official in US history when she started her tenure as Speaker of the House of Representatives. In January 2019, she began her third term as Speaker during a tumultuous time in American political history. Having represented San Francisco for thirty-two years, Pelosi has become well-known for her work to expand health care, lift up workers, protect the environment, promote human rights, and make progress for the American people regardless of the president in the White House or the party controlling Congress. 

In The Nancy Pelosi Way, author and daughter of the Speaker Christine Pelosi takes a close look at how her mother went from homemaker to House Speaker to become the most powerful female politician in America and at the many important lessons from her actions and dialogue along the way. This book weaves substantive issues and Nancy Pelosi’s advice on politics, family, and friendship gleaned from her life from her childhood in Baltimore to her hands-on motherhood in San Francisco to her national leadership, to demonstrate how this mother of five and grandmother of nine achieved her success. This book serves as the perfect guide for anyone looking to enter public service or prosper as a leader in their own field.

Trump and His Generals: The Cost of Chaos

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Trump and His Generals is New York Times-bestselling author Peter Bergen’s jaw-dropping intimate account of life inside that storm, foregrounding the experiences of the four generals whose relationships with Trump have done so much to define his presidency–McMaster, Kelly, Mattis and Flynn. From Iraq and Afghanistan to Syria and Iran, from Russia and China to North Korea and Islamist terrorism, Trump and His Generals is a brilliant reckoning with an American ship of state navigating a roiling sea of acute threats without a well-functioning rudder. Bergen is both an intrepid and exquisitely well-sourced journalist and a very wise head himself on national security issues, and the combination of intense human drama and trenchant big-picture analysis results in a gripping read that offers tremendous clarity on the complex landscape of America’s geopolitical place in the world. Clarity, unfortunately, is not the same thing as reassurance.

Impeachment: An American History

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Impeachment is a double-edged sword. Though it was designed to check tyrants, Thomas Jefferson also called impeachment “the most formidable weapon for the purpose of a dominant faction that was ever contrived.” On the one hand, it nullifies the will of voters, the basic foundation of all representative democracies. On the other, its absence from the Constitution would leave the country vulnerable to despotic leadership. It is rarely used, and with good reason. 

Only three times has a president’s conduct led to such political disarray as to warrant his potential removal from office, transforming a political crisis into a constitutional one. None has yet succeeded. Andrew Johnson was impeached in 1868 for failing to kowtow to congressional leaders–and, in a large sense, for failing to be Abraham Lincoln–yet survived his Senate trial. Richard Nixon resigned in August 1974 after the House Judiciary Committee approved three articles of impeachment against him for lying, obstructing justice, and employing his executive power for personal and political gain. Bill Clinton had an affair with a White House intern, but in 1999 he faced trial in the Senate less for that prurient act than for lying under oath about it.

Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America

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Behind today’s headlines of billionaires taking over our government is a secretive political establishment with long, deep, and troubling roots. The capitalist radical right has been working not simply to change who rules, but to fundamentally alter the rules of democratic governance. But billionaires did not launch this movement; a white intellectual in the embattled Jim Crow South did. Democracy in Chains names its true architect—the Nobel Prize-winning political economist James McGill Buchanan—and dissects the operation he and his colleagues designed over six decades to alter every branch of government to disempower the majority. “Democracy in Chains leaves me with hope: Perhaps as books like MacLean’s continue to shine a light on important truths, Americans will begin to realize they need to pay more attention and not succumb to the cynical view that known liars make the best leaders.” New York Times Book Review

The Mueller Report

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The long-awaited Report On The Investigation Into Russian Interference In The 2016 Presidential Election. An introduction by The Washington Post titled “A President, a Prosecutor, and the Protection of American Democracy”. A timeline of the major events of the Special Counsel’s investigation from May 2017, when Robert Mueller was appointed, to the report’s delivery. A guide to individuals involved, including in the Special Counsel’s Office, the Department of Justice, the FBI, the Trump Campaign, the White House, the Trump legal defense team, and the Russians. Key documents in the Special Counsel’s investigation, including filings pertaining to General Michael T. Flynn, Paul Manafort, Michael Cohen, Roger Stone, and the Russian internet operation in St. Petersburg. Each document is introduced and explained by Washington Post reporters.

One of the most urgent and important investigations ever conducted, the Mueller inquiry focuses on Donald Trump, his presidential campaign, and Russian interference in the 2016 election, and draws on the testimony of dozens of witnesses and the work of some of the country’s most seasoned prosecutors. The special counsel’s investigation looms as a turning point in American history. The Mueller Report is essential reading for all citizens concerned about the fate of the presidency and the future of our democracy.

Fascism: A Warning

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A Fascist, observes Madeleine Albright, “is someone who claims to speak for a whole nation or group, is utterly unconcerned with the rights of others, and is willing to use violence and whatever other means are necessary to achieve the goals he or she might have.” A personal and urgent examination of Fascism in the twentieth century and how its legacy shapes today’s world, written by one of America’s most admired public servants, the first woman to serve as U.S. secretary of state. Fascism: A Warning is a book for our times that is relevant to all times. Written by someone who has not only studied history but helped to shape it, this call to arms teaches us the lessons we must understand and the questions we must answer if we are to save ourselves from repeating the tragic errors of the past.

Blowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth

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In 2010, the words “earthquake swarm” entered the lexicon in Oklahoma. That same year, a trove of Michael Jackson memorabilia–including his iconic crystal-encrusted white glove–was sold at auction for over $1 million to a guy who was, officially, just the lowly forestry minister of the tiny nation of Equatorial Guinea. And in 2014, Ukrainian revolutionaries raided the palace of their ousted president and found a zoo of peacocks, gilded toilets, and a floating restaurant modeled after a Spanish galleon. Unlikely as it might seem, there is a thread connecting these events, and Rachel Maddow follows it to its crooked source: the unimaginably lucrative and equally corrupting oil and gas industry. With her trademark black humor, Maddow takes us on a switchback journey around the globe, revealing the greed and incompetence of Big Oil and Gas along the way, and drawing a surprising conclusion about why the Russian government hacked the 2016 U.S. election. She deftly shows how Russia’s rich reserves of crude have, paradoxically, stunted its growth, forcing Putin to maintain his power by spreading Russia’s rot into its rivals, its neighbors, the West’s most important alliances, and the United States. Chevron, BP, and a host of other industry players get their star turn, most notably ExxonMobil and the deceptively well-behaved Rex Tillerson. The oil and gas industry has weakened democracies in developed and developing countries, fouled oceans and rivers, and propped up authoritarian thieves and killers. But being outraged at it is, according to Maddow, “like being indignant when a lion takes down and eats a gazelle. You can’t really blame the lion. It’s in her nature.”

Our Revolution

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When Bernie Sanders began his race for the presidency, it was considered by the political establishment and the media to be a “fringe” campaign, something not to be taken seriously. After all, he was just an Independent senator from a small state with little name recognition. His campaign had no money, no political organization, and it was taking on the entire Democratic Party establishment.

In Our Revolution, Sanders shares his personal experiences from the campaign trail, recounting the details of his historic primary fight and the people who made it possible. And for the millions looking to continue the political revolution, he outlines a progressive economic, environmental, racial, and social justice agenda that will create jobs, raise wages, protect the environment, and provide health care for all–and ultimately transform our country and our world for the better. For him, the political revolution has just started. The campaign may be over, but the struggle goes on.


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New Music Video by Lady Gaga “Stupid Love” Yields Eye Popping Views and All Shot on an iPhone

Photo Collage / Lynxotic

Listen and Watch below – Lady Gaga’s latest Pop Single from her upcoming album

official music video of “stupid love” by lady gaga

Lady Gaga  has just released the full version of her newest song called “Stupid Love” from her upcoming sixth album with an accompanying music video. The music video has also been reported to have been entirely shot on an iPhone (11). 

The official music video starts out with the caption that reads:

The world rots in conflict.  Many tribes battle for dominance.  While the Spiritual ones pray and sleep for peace, the Kindness punks fight for the Chromatica. 

Lady Gaga Video Caption

Gaga’s 6th album nicknamed LG6 is also rumored to be titled “Chromatica” – it’s still undetermined whether the new album will follow the same theme as “Stupid Love”.

Lady Gaga is covered from head to toe in hot pink: pink hair in a high pony tail, a pink medallion in the shape of a heart placed on her forehead, as well as pink eye shadow and lipstick no doubt from the artist’s new makeup line Haus Labs.

In an interview for Apple Music, she spoke about the message of the new song, stating “there’s nothing more powerful than love to heal the world”.

https://twitter.com/LadyGagaVegas/status/1233263749777305600?s=20

The fast paced dance song is very reminiscent of the singer/songwriters past pop songs. The video is a visual treat of vivid pink and many other colors set in an intergalactic / futuristic desert mixed with over the top and catchy choreography with dancers dressed in Mad Max-esque costumes.


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Dean Koontz Foreshadows Coronavirus and it’s Freaking People Out with Haunting Premonitions

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Two authors have made headlines as of recent. Passages from Dean Koontz’s book “The Eyes of Darkness” and Sylvia Brown’s book “End of Days” have begun to surface on the web, spooking people out on what many feel is an eerie prediction to what is happening in our world today.

The first book, “The Eyes of Darkness” originally published in 1981 by Koontz is a science fiction novel. The excerpt reads:

They call the stuff ‘Wuhan-400’ because it was developed at their RDNA labs outside of the city of Wuhan, and it was the four-hundredth viable strain of man-made microorganisms created at that research center. ‘Wuhan-400’ is the perfect weapon.

dean koontz “the eyes of darkness” page 333

Although the creep factor is definitely present in Koontz’s book as it specifically names Wuhan which is the city of origin allegedly responsible for the coronavirus. In reality there are no current facts or evidence to suggests that the virus is a lab-made “weapon” and instead most likely transmitted from animals to humans, although World Health Organization (WHO) is still researching the source .

Even more users on social media dug deeper in attempts to decipher potential codes, one being that 400 in the fictional virus name “Wuhan-400” is broken down mathematically when you multiply 20 x 20 that obviously connects to our current year of 2020.

Many people took to twitter to highlight Koontz’s book with two passages, however, the second belongs to another book, that of Sylvia Brown.

“End of Days: Predictions and Prophecies About the End of the World” by Brown was published in 2008.

In around 2020 a severe pneumonia-like illness will spread throughout the globe, attacking the lungs and the bronchial tubes and resisting all known treatments.

slyvia brown’s “end of days” page 136

There are also the same minimal similarities in Brown’s book and reality. The coronavirus which causes the disease now known as COVID-19 has no factual backing that it is resistance of treatment. The human immune system is believed to be able to fight off the disease like that of other cold and flu virus strains, obviously those that have compromised immune systems along with the young and elderly are more at risk. The CDC and WHO have both reported early trials of potential vaccinations and treatments are in clinical trials and are expected to be available soon.

With lots of talk of the coronavirus becoming a pandemic, it is easy for hysteria, panic, and even alarmist behaviors to set in. In general the coronavirus appears to spread from person to person via respiratory (ex: coughing or sneezing) so the best prevention is to maintain and practice good hygiene including washing your hands with soap and hot water and by disinfecting commonly used areas. Also masks don’t do much to prevent infection (only helpful if you are already sick).


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“Facebook: The Inside Story” Longtime Zuck Confidant to Release Tell All on History of Facebook

Zuckerberg Montage / Lynxotic

Infamous or just Out of Control, New Origin Story Details could Shed light on the Gargantuan Beast

Facebook has been one of the most important enterprises of the twenty-first century so far. With well over a billion users worldwide, few companies have received more coverage and attention than Mark Zuckerberg’s social network, which is only celebrating its sixteenth birthday this month.

Naturally, as the World Wide Web enters its thirties in the 2020s, tech writers and modern scholars in all fields are starting to reference Facebook as a contemporary relic and topic of interest. In the future, we will likely find entire library sections worth of books dedicated to Facebook and its impact on the planet. We have already seen a handful of texts as well as an Oscar nominated David Fincher movie (“The Social Network”) that flesh out the website’s story and societal intricacies.

On February 25th, however, we may finally get an initial, definitive book written about Facebook. Steven Levy’s “Facebook: The Inside Story” is part Zuckerberg biography, part corporate history, part digital humanities study, and part sociological analysis, focusing in intimate detail on the rise, development, impact, and complications that Facebook has undergone since its initial lowly launch out of a 2004 Harvard University dorm room.

Steven Levy is a lead editor at Wired.com and has also written for The New Yorker, Rolling Stone, Newsweek, and Esquire amongst other publications. He is one of the world’s foremost technology journalists, covering the latest of industrial achievements (and pitfalls) over the past couple decades. He has published seven books before “Facebook: The Inside Story,” including ones centering on the Macintosh computer and on the iPod. “Facebook” is his first book to focus on a singular website, though, and it is the amalgamation of over ten years worth of research, journalism, and reporting on the topic.

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Levy’s relationship with Zuckerberg goes way back to 2006, when the entrepreneur was but a young university student trying to get his inter-collegiate social network site called “TheFacebook” up from the ground. As a devoted reporter, Levy has naturally met with Zuckerberg many times over the years and has religiously followed Facebook since its beginnings.

These years of relationships, interviews, and studious dedication have given Levy a keen insight into Facebook. In addition to unparalleled interpersonal access to Mark Zuckerberg and COO Sheryl Sandberg, the author also incorporates the experiences of other Facebook employees and users into his book, painting a holistic picture of the website from the inside and out.

Levy expertly chronicles the site’s somewhat tragic-hero trajectory, from Facebook’s nefarious beginnings to Zuckerberg’s infamous trial against the Winklevoss twins, from its “golden age” of uncontroversial influence in the early 2010s to its current hot-water situation following the 2016 election Cambridge Analytica scheme and the modern awareness regarding data rights.

Thoroughly Researched with an Attempt at a Definitive Take

Over five-hundred and ninety two pages, the book shares everything in a riveting narrative fashion, but Levy does not spare the reader some thoughtful analysis in the process. Today, we might associate Facebook (not to mention its extensive subsidiaries such as Instagram and Whatsapp) with contentious matters of privacy and ethicality, with grey legal areas and questionable security practices. Mark Zuckerberg’s name alone might evoke feelings of contempt, and one might immediately link him to his blundering appearance before Congress in 2019 or gross examples of an algorithmic dictatorship.

Levy does not shy away from these interpretations and complications surrounding Facebook, but he also reminds us that a time once existed when Zuckerberg was seen as an ingenious hero and Facebook was praised as a platform that could connect the world.

And connect the world it did… but now the consequences of doing so are coming to the foreground. Whether your deleting your account, boycotting the website, or fervently posting updates every hour of the day, Facebook has likely impacted you in someway or another over the past two decades. Thus, Levy’s book is not just an interesting read, but an important one—what is likely to be the first of many exhaustive books written about the network that tethered, shaped, and perhaps shrewdly deformed the modern social world.


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“The Uninhabitable Earth”: an Apocalyptic Climate Study that Just might Shock you into Action

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Even if you’re Already Convinced of the Danger, this Book could propel you into Accelerated Action

In 2017, climate change journalist David Wallace-Wells published an essay titled “The Uninhabitable Earth” in the New York Magazine. The essay outlined in grave, uncompromising detail, the effects that climate change will have on the planet. Far beyond just talking about temperature increases and sea level rises by the numbers, Wallace-Wells dug into harrowing specifics about global warming, dissecting everything from the scientific to the socio-political impacts this unprecedented phenomenon will throw back into the face of humanity.

Now, Wallace-Wells has expanded his groundbreaking essay into an entire book, with the full title “The Uninhabitable Earth: Life After Warming.” Like the essay before it, Wallace-Wells’ new book looks deep into the climate crisis, sparing not a shred of honesty in explaining how the human race will suffer from this ongoing environmental catastrophe.

The book is far beyond defining or describing the causes of climate change. As its subtitle explains, “The Uninhabitable Earth: Life After Warming” centers on the horrifying consequences of climate change and paints a truthful image of what the planet will look like once this behemoth comes to irreversible fruition.

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That image is grim, almost dystopian. The future Earth that Wallace-Wells describes feels like something out of “The Hunger Games,” “Wall-E,” or “Children Of Men.” Ecosystems collapsing, civilizations running amuck, and planetary ecocide leading to mass extinction are all likely climate change aftermaths according to the author, and his rationales are backed with extensive research and scientific evidence.

Even the aspects of climate change that seem most commonplace at this point, Wallace-Wells analyzes with an unparalleled degree of depth and severity. Semi-palatable effects such as melting ice sheets or rising temperatures have profound interconnected layers. As Wallace-Wells explains, a warmer planet will not only create inescapable heat-waves, but it will also lead to heightened illnesses, lethal air quality, biodiversity loss, and migration disruption for humans and other species.

Likewise, while a rising ocean will tragically submerge many of our coastal cities, the book further explains how moving inland will not solve all of the problems, for with an eroding coastline, humanity will lose massive amounts of its food supplies, and our global race will cease to be a people of plenty.

Hope is still Possible but Our Hourglass is Running Out of Sand

This leads to many of the political aftermaths that Wallace-Wells covers in the book. He argues that with climate change displacing, infecting, and literally suffocating so many people, class divides will become sharper (the poor suffering insurmountably more), the nation-state ideology will shift, and more wars will break out. Likewise, economic systems will collapse, as entire markets will disappear and capitalistic gains will lose relevance in the face of Armageddon—a hard-to-swallow reality for those who prioritize fiscal profits over environmental reformation right now.

This is just the surface of what “The Uninhabitable Earth” covers. The book is truly a wide-ranging, almost all-encompassing study of the modern environmental world and where it is heading. Wallace-Wells follows in the esteemed footsteps of eco-critical writers such as Rachel Carson, Elizabeth Kolbert, Alan Weisman, and Amitav Ghosh.

The Economist, The Washington Post, and The New York Times amongst other review publications have heaped high praise on the book, and several critics listed it as one of the best books of 2019. The overarching consensus is that Wallace-Wells’ book is insightful, impactful, and absolutely terrifying, frightening the reader with its unbending image of reality and its harsh truth about where the planet is heading, short a total immediate commitment to counter the threat.


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Hollywood Blvd. Walk of Fame Redesign looks Great but Faces Challenges

Photo / Gensler / Studio-MLA

According to Locals, a Makeover is a Must

The epicenter of the entertainment industry, Hollywood Boulevard has been one of Los Angeles’ biggest tourist attractions for over a hundred years. It’s glamorous Walk of Fame, particularly near the intersection with Vine Street, is iconic and has been the focus of many sensational events and occasions throughout the years.

As dazzling as Hollywood may be to tourists, though, Angelinos have had many complaints about the famed street’s architecture and organization over the years, so much so that the location has undergone several aesthetic transformations during the past few decades.

Now, Los Angeles City Council and specifically Hollywood District representative Mitch O’Farrell has been pushing for a complete overhaul of the area. This renovation would incorporate several changes to the street’s layout, but it would principally offer increased sidewalk space for an improved pedestrian experience.

Hollywood’s Walk of Fame is notoriously crowded. One can hardly appreciate the Stars for all the people walking over them. By widening the sidewalk, people will be able to admire the monuments with comfort, but also walk down the street without having to dodge so many bodies.

Of course, the drawback to a larger sidewalk is decreased road space. Traffic is bad enough in Los Angeles as it is, and some fear that with a wider sidewalk, a narrower street would terribly back up the cars along Hollywood Boulevard. Perhaps this is yet another initiative on LA’s behalf to latently promote public transportation or deincentivize independent driving.

That being said, California (and Los Angeles in particular) enters into 2020 with some bold environmental plans. The Golden State has daring ambitions to go carbon neutral well ahead of the rest of the nation and to drastically decrease its emissions in the coming years. The state has targeted an increased use of electric cars as a paramount means of attaining these goals, but obviously, more action is needed if they truly desire to reach their hefty objectives.

Photo / Gensler / Studio-MLA

Environmental Considerations Should be at the Center of the Planning

Thus, the renovation of Hollywood Boulevard should be seen as an opportunity to make the neighborhood a more eco-friendly urban environment. Unfortunately, not much has been said about this so far. The prospective designs for the updated area—spearheaded by Gensler and Studio-MLA architecture firms—do involve more open air space and trees, though.

This is a good start, but the redesign could also seek ways to incorporate solar panels, increased vegetation, and carbon absorbing surfaces into the landscape. A sleek style certainly does wonders for the street’s aesthetic, but that does not mean that the renovation cannot be functional and progressive at the same time.

Furthermore, there is also a political question as to weather or not refurbishing Hollywood Boulevard at all is the best use of Los Angeles’ taxpayer dollars. Other neighborhoods in the community—South Central, Downtown, or Skid Row for examples—have far worse infrastructure and definitely require more immediate attention.

Likewise, LA’s public transportation system has been highly criticized for decades. If the local government is seeking an urban planning initiative, perhaps it could try refining the city’s metro system for greater accessibility and use.

The obvious argument against all of this is that brushing up the Walk of Fame will increase activity in one of the city’s central commercial hubs. This will help the local economy, eventually earning the city greater funds that it can redistribute to some of LA’s more desperate regions or issues.

It is a strange rewriting of the trickle-down-economics plan that was seldom more than political speech fodder. Nevertheless, Los Angeles already has $4 million in seed money for the project, while some believe that such funds are better placed directly towards more pressing and important causes.

Although the Walk of Fame redevelopment plan has been talked about for months, it is still only in its infancy. It has a long way to go, but hopefully, those in charge of it will not overlook environmental and social justice opportunities when they consider the project’s architectural, political, and ethical implications.


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After “Toy Story 4” Grabs Oscar for Best Animated Feature, Pixar is still Lightyears ahead

Photo / Pixar

Disney’s Slate Continues to Outperform Commercially, if not always Critically

Although the first animated feature film debuted way back in 1939 with “Snow White and the Seven Dwarves,” the Best Animated Feature category at the Academy Awards has only existed for nineteen years, arriving in 2001 when DreamWorks’ “Shrek” won the inaugural prize.

Although “Shrek” may have taken home that initial award—beating out fellow nominees “Monsters Inc.” and “Jimmy Neutron: Boy Genius”—DreamWorks would not be the animation studio to rein supreme over the category in the coming years. In the nineteen years that the category has taken place, Disney’s Pixar has won ten times, making it the unrivaled champion of the Best Animated Feature title.

In fact, almost every time Pixar releases a movie, it gets a nomination, and almost every time it gets a nomination, it wins. Only three times has a Pixar movie been in the runnings, but lost to one of its competitors. Following “Monsters Inc’s” initial loss to “Shrek,” “Cars” lost to “Happy Feet” in 2006 and “Incredibles 2” lost to “Spider-Man: Into The Spider-Verse” just last year—albeit, the studio won Best Animated short with yesteryear’s “Bao.”

Many were happy to see “Spider-Verse” win in 2019. The movie was original and its animation was captivating, far from the predictable family narratives and re-hashed 3D style of Pixar that audiences have become all too familiar with over the past twenty-six years. Furthermore, with Disney being a conglomerate juggernaut in modern Hollywood, there is something cathartic about seeing an underdog beat them out—in addition to the ten Pixar wins, Walt Disney Animation studios have also won three of the nineteen Best Animated Feature titles, leaving the House-of-Mouse with all but six of the total trophies for the category.

With “Spider-Verse” winning last year, some assumed that Pixar might be losing its power, and when “Toy Story 4” lost to the commercially unsuccessful, but critically acclaimed “Missing Link” at the 2020 Golden Globes, many were optimistically foreseeing another Pixar defeat at the upcoming Oscars—making it Disney’s first consecutive defeat in the category since 2006.

Overrated or Just still too Big to Ignore, Toy Story’s Success is Undeniable

“Toy Story 4” is by no means a bad movie, and it grossed over a billion dollars at the Box Office, but many movie goers grow weary of Pixar’s cash-out sequels. Likewise, the fourth installment in the “Toy Story” series feels a bit unnecessary, especially considering how excellently “Toy Story 3” seemed to conclude the saga in 2010. Also, it is hardly a stretch of the imagination to think that Disney insisted on a fourth film just to sell more Woody and Buzz toys to a younger generation.

Moreover, the Animated Feature category was filled with some suburb competition this year. “Missing Link” was a visual masterpiece from unsung stop-motion animation company Laika. “How To Train Your Dragon: The Hidden World” was a wonderful conclusion to DreamWorks’ heartfelt fantasy trilogy—all three of the films losing to Disney titles in previous years’ Oscars. Then, Netflix’s “Klaus” was an aesthetic stunner, and Jérémy Clapin’s “I Lost My Body” was a mature meditation on the human condition and the first animated movie to win the esteemed Nespresso Grand Prize at the Cannes Film Festival.

In short, the competition was stacked for Best Animated Feature and while the winner was anything but a sure thing, the divisive “Toy Story 4” hardly felt like anyone’s first pick. Thus, when actress Mindy Kaling presented the award partway through the evening, few expected and many were disappointed when she announced the Pixar title as the victor.

When director Josh Cooley and producers Mark Nielsen and Jonas Rivera took the stage, their acceptance speech was sincere. All involved in “Toy Story 4” seemed grateful for the prize, but audiences cannot help but feel like some of the other titles deserved it more.

Everything New is Old Again

In a year of Oscar firsts and progressive wins—from “Parasite” being the first foreign film to earn Best Picture, to the animated short “Hair Love” and the documentary “American Factory” winning with stories that celebrate multiculturalism—the Best Animated Feature category seemed a little regressive, championing the default, blockbuster Pixar nominee over some truly innovative pieces of cinema.

At least Pixar claims that it is done with sequels now and that the studio will be returning to original stories from here on out. 2020 promises the releases of “Onward” and “Soul” from Pixar, a couple movies with no connection to any previous intellectual properties. When they inevitably get nominated at the 2021 Academy Awards, let’s hope that they deserve their opportunity for hardware, and that the Academy keeps up its progressive tendencies when deciding on animated movies going forward.


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Book Miracle: Gutsy Upstart Aims to Resuscitate Amazon’s Original Targets of Destruction

Photo / Monique Ly

Amazon represents a New Normal but Not Everybody is Happy with That

From a consumer perspective it’s hard to argue with buying things at a very low price, often, in the case of books, below wholesale and with ridiculously fast free shipping. But who is paying for this? Mainly, it’s complicated, but it has traditionally been people and companies that sold books before the existence of Amazon, later known as the grim reaper, destroyed their businesses and livelihoods.

Recently, deep inside the Amazon system the rot is starting to show. Just as a camel is unlikely to pass through the eye of a needle, you don’t get to be a trillion dollar eCommerce retail giant without some internal corruption. A lot of internal corruption. Who knows? …as a customer, you might even encounter expired lemon curd or a used diaper along the way.

Compare this to Apple, a company that charges a premium for the best products and service. And for the caché of being part of a greater whole that stands for something other than “the cheapest no matter what”. Not without soiled hands perhaps, but on the other end of the spectrum from winning by selling at impossible prices. Instead it is a company known for building a brand that stands for quality, luxury and innovation above all.

Somewhere, on the good-guy side yet between these diametrically opposed behemoths now stands a new, tiny, alternative for the book world: Bookshop.Org

A Formula that just might Work, as People Gradually Realize that a Monopsony is Just as bad as a Monopoly

The ORG is important as it signals the true fact that this is a company with a purpose beyond profit and that it is a cooperative venture in nature. The site is founded as a bet that true Booklovers can be persuaded forego a few dollars of artificial price reduction to support a better entity, and still get a premium product and experience.

Bookshop.org is registered as a B-Corp and therefore pledged to place social good ahead of profit. Since profits are predivirted to help independent booksellers, authors and others that choose to affiliate, profits are limited inherently in the business model.

The idea that the thought content of the books themselves can bind together producer, seller and reader, along with the sharing of an affinity towards authors and ideas, is something that has been all but lost, after the decimation of bookstores of all kinds in the wake of the Amazon explosion.

This is also true of other product categories, say, consumer electronics, but books and bookstores were the first target for extermination, thus the experience of sharing a like-minded love of books with a store that will provide them is now, truly, an all but extinct concept.

Created to help those independent book sellers across the country that have survived in spite of the “success” of the below-cost dumping strategy employed by the “Death Star”, Bookshop.org is an alliance that includes the American Booksellers Association as well as the largest book distributer in the US, assuring a vast current selection and an established fulfillment network.

Communicating the value of opting out of the status quo will fall on the booksellers and new partners that join the Bookshop in its quest. By the way, you too can contribute and become an affiliate member at no cost, for example if you are and Author or an Influencer, or if your blog can send potential book buyers to the site.

Finally, For Booklovers who Love Booklovers a site that Loves Indie Booksellers

John Warner of the Chicago Tribune has likened the endeavor to the Starwars Rebel Alliance fighting against Amazon’s Death Star, and the analogy is certainly apt. However, this is more about the option to inhabit a world where there is a book buying choice beyond the obvious and ubiquitous.

Where, in an Amazon world, is it possible to choose an experience that is, in a sense, also an investment in dignity and diversity, and who better to make such an unique choice than the well-read Booklover?

Ammunition on the supplier side is a commission, more like a stipend really, of approximately double the amount a seller receives if they send buyers to Amazon (known as an affiliate commission and attached to virtually all offers across the web), with the extra bit paid for by not being an only for-profit entity. That’s high concept if ever there was.

For a detailed breakdown of the site’s concept and financial structure you can go directly to Bookshop or read Joan Verdon’s excellent article in Forbes.

So, while the richest man on planet earth pays hundreds of million$ to PHDs to come up with new ways to destroy existing competitors – even those that pose no threat whatsoever, you can side-step all that noise and chose to be Hans Solo, reluctant but ultimately heroic, and support the people who love books more than just money.

If you see Lynxotic book reviews, from now on, they will likely have a link to an offer to buy from our Bookshop.org independent bookstore partner cherrybooks who, yes, will reap a small but meaningful reward for joining the cause.

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Following its Biggest Year Yet, what does Disney have in store for 2020 and Beyond?

Simba from “Lion King”

In Spite of the Oscar Drought, 2019 was an Unmitigated Success

2019 was Disney’s year. Countless blockbuster releases including “Avengers: Endgame,” “Star Wars: The Rise of Skywalker,” “Captain Marvel,” “Aladdin,” “The Lion King,” “Spider-Man: Far From Home,” “Toy Story 4,” and more (not to mention the launch of Disney+ and the opening of “Star Wars: Galaxy’s Edge” at Disney World) made 2019 the Walt Disney Company’s most lucrative year by a landslide.

As Disney enters 2020, however, the entertainment conglomerate seems to be pumping the breaks, or at least shifting gears. So far this year, there is yet to be a major theatrical release from Disney, and its highly anticipated films such as Pixar’s “Onward,” the live action “Mulan” or Marvel’s “Black Widow” will not come out until March 6th, March 27th, and May 1st respectively.

So what is Disney doing in the meantime? Is CEO Bob Iger just counting his paychecks from last year, or is the company plotting something new? Or are they scrambling for new ideas now that Marvel has concluded its eleven year Infinity Saga and Star Wars is on a filmic hiatus according to Lucasfilm President Kathleen Kennedy?

The answer lies somewhere in the margins between everything above. It is unlikely that the company will top its 2019 earnings in 2020 and it is also unlikely that they will have the same dominance over the box office.

However, it seems as if Disney is turning its attention away from the big screen this year and onto its other entertainment mediums. For example, even though the company has not yet released a major movie for 2020, it has been doing immense marketing for the new “Star Wars: Rise of the Resistance” ride at Disney World and Disneyland theme parks.

“Rise of the Resistance” is a narrative, interactive attraction at the parks’ Star Wars themed Galaxy’s Edge. The attraction opened at Orlando’s Disney World in December and has since been expanding to the company’s other parks around the globe. Attendance and spending at the parks has gone up since the ride debuted, likely making it Disney’s most profitable draw of 2020 thus far.

“The Child” a.k.a. Baby Yoda

Full-on Entry into Streaming Wars and an Impressive Initial Push

Likewise, with Disney+ coming out in late 2019 and receiving an immense number of subscribers in just its few months of existence, the novel online streaming site will certainly be one of Disney’s biggest priorities for 2020. Production has already begun for Season 2 of “The Mandalorian”—the service’s most popular original show, set in the Star Wars universe—and a number of additional original programs are set to come out this year including Marvel’s “WandaVision” series and a late final season of Disney Channel/Cartoon Network’s “Star Wars: The Clone Wars.” Given the copious number of streaming services set to come out in 2020, Disney will have to put its best foot forward to keep Disney+ above the competition.

What consumers often forget about Disney, especially after a year like 2019, is that the company is far more than a just film production enterprise. The Walt Disney Company encompasses amusement parks, books, radio, music, television, comics, and much, much more. While Disney might seem like it is slowing down based on its movie catalogue for 2020, the business is still running strong thanks to its many other sectors.

Furthermore, Disney owns more than just Marvel, Lucasfilm, and Pixar. 20th Century Fox, ESPN, Blue Sky Studios, Searchlight Pictures, Hulu, National Geographic and over a dozen more labels also fall under its corporate umbrella. Therefore, the studio will presumably continue profiting from the box office in 2020, even if it’s signature logo is not always plastered on the content.

Nevertheless, Disney still does have a handful of movies in the works for 2020. In addition to the aforementioned “Onward,” “Mulan,” and “Black Widow,” Disney will come out with “Call of the Wild” on February 21st, a Harrison Ford starring retelling of Jack London’s classic canine-centered novel. It will then team up with Pixar again to release “Soul” on June 19th, the animated comedy from the director of “Inside Out” and “Up.” We can also look forward to the releases of “Artemis Fowl” on May 29th, “Jungle Cruise” on July 24th, and “The One and Only Ivan” on August 14th before Disney comes out with more highly anticipated titles towards the end of the year such as Marvel’s “The Eternals” in November and Stephen Spielberg’s “West Side Story” remake in December.

Once again, 2019 was Disney’s year, but that does not mean that its momentum will stop in 2020. The 2010s marked the company’s acquisition of Lucasfilm and Fox as well as its game-changing capitalization on Marvel. What Disney has in store for the next decade is unknown, but it is likely to be just as magical—and highly profitable—as always.


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‘Parasite’ sweeps with Best Picture, Best Director and Best International Film: All Oscar Winners Announced

Best Picture, Best Actress, and Best Actor

The 2020 Oscars are a wrap. Big news is “Parasite” with four awards, including Best Picture, Best Director for Bong Joon-Ho and Best International Film. Best Actor Joaquin Phoenix gave an emotional heart felt speech, quoting his brother River, Best Actress Renée Zellweger also waxed emotional, although the two veered off in similar yet opposite directions. Overall, other than the groundbreaking win for the South Korean wonder \”Parasite\” and the welcome diversity that it represents, these Oscars were, oddly, short on drama. Below you can see all the winners in each category:

Oscars winners (Refresh for updates)

Category winners are in bold with check-mark.

Best picture 

1917
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time…in Hollywood
Parasite
Ford v Ferrari

“Parasite”

Best director 

Bong Joon-ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time…in Hollywood

“Joker”

Best actor 

Joaquin Phoenix, Joker
Leonardo DiCaprio, Once Upon a Time…in Hollywood
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Jonathan Pryce, The Two Popes

“Judy”

Best actress 

Cynthia Erivo, Harriet
Renée Zellweger, Judy
Scarlett Johansson, Marriage Story
Charlize Theron, Bombshell
Saoirse Ronan, Little Women

“Ford vs. Ferrari”

Best film editing

The Irishman
Jojo Rabbit
Joker
Ford v Ferrari
Parasite

Best supporting actress

Laura Dern, Marriage Story
Florence Pugh, Little Women
Margot Robbie, Bombshell
Kathy Bates, Richard Jewell
Scarlett Johansson, Jojo Rabbit

Best cinematography 

Roger Deakins, 1917
Rodrigo Prieto, The Irishman
Lawrence Sher, Joker
Jarin Blaschke, The Lighthouse
Robert Richardson, Once Upon a Time…in Hollywood

Best sound mixing

Ad Astra
Joker
1917
Ford v Ferrari
Once Upon a Time…in Hollywood

Best sound editing

1917
Ford v Ferrari
Joker
Once Upon a Time…in Hollywood
Star Wars: The Rise of Skywalker

Documentary short feature 

In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

Documentary feature

American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

Best costume design

Sandy Powell & Christopher Peterson, The Irishman
Mark Bridges, Joker
Arianne Phillips, Once Upon a Time…in Hollywood
Jacqueline Durran, Little Women
Mayes C. Rubeo, Jojo Rabbit

Best production design 

Once Upon a Time…in Hollywood
The Irishman
1917
Jojo Rabbit
Parasite

Live-action short film 

Brotherhood
Nefta Football Club
The Neighbors’ Window
Saria
A Sister

ScarJo in JoJo Rabbit

Best adapted screenplay

Steven Zaillian, The Irishman
Greta Gerwig, Little Women
Taika Waititi, Jojo Rabbit
Anthony McCarten, The Two Popes
Todd Phillips & Scott Silver, Joker

Best original screenplay

Rian Johnson, Knives Out
Noah Baumbach, Marriage Story
Sam Mendes & Krysty Wilson-Cairns, 1917
Quentin Tarantino, Once Upon a Time…in Hollywood
Bong Joon-ho, Parasite

Animated short film 

Dcera (Daughter)
Hair Love
Kitbull
Memorable
Sister

Animated feature film

“Toy Story 4”

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

“Once Upon A Time In Hollywood”

Best supporting actor 

Brad Pitt, Once Upon a Time…in Hollywood
Al Pacino, The Irishman
Joe Pesci, The Irishman
Anthony Hopkins, The Two Popes
Tom Hanks, A Beautiful Day in the Neighborhood

Makeup and hairstyling 

Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

Visual effects

Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

Music (original score)

Joker
Little Women
Marriage Story
1917
Star Wars: The Rise of Skywalker

Music (original song)

“I’m Standing With You” from Breakthrough
“Into The Unknown” from Frozen II
“Stand Up” from Harriet
“(I’m Gonna) Love Me Again” from Rocketman
“I Can’t Let You Throw Yourself Away” from Toy Story 4
“Glasgow” from Wild Rose

“Parasite”

International feature film

France, Les Misérables
North Macedonia, Honeyland
Poland, Corpus Christi
South Korea, Parasite √
Spain, Pain and Glory

Here are all the Winners of the 2020 Oscars

Best Picture, Best Actress, and Best Actor

Oscars winners (Refresh for updates)

Category winners are in bold with check-mark.

Best picture 

1917
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time…in Hollywood
Parasite
Ford v Ferrari

“Parasite”

Best director 

Bong Joon-ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time…in Hollywood

“Joker”

Best actor 

Joaquin Phoenix, Joker
Leonardo DiCaprio, Once Upon a Time…in Hollywood
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Jonathan Pryce, The Two Popes

“Judy”

Best actress 

Cynthia Erivo, Harriet
Renée Zellweger, Judy
Scarlett Johansson, Marriage Story
Charlize Theron, Bombshell
Saoirse Ronan, Little Women

“Ford vs. Ferrari”

Best film editing

The Irishman
Jojo Rabbit
Joker
Ford v Ferrari
Parasite

Best supporting actress

Laura Dern, Marriage Story
Florence Pugh, Little Women
Margot Robbie, Bombshell
Kathy Bates, Richard Jewell
Scarlett Johansson, Jojo Rabbit

Best cinematography 

Roger Deakins, 1917
Rodrigo Prieto, The Irishman
Lawrence Sher, Joker
Jarin Blaschke, The Lighthouse
Robert Richardson, Once Upon a Time…in Hollywood

Best sound mixing

Ad Astra
Joker
1917
Ford v Ferrari
Once Upon a Time…in Hollywood

Best sound editing

1917
Ford v Ferrari
Joker
Once Upon a Time…in Hollywood
Star Wars: The Rise of Skywalker

Documentary short feature 

In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

Documentary feature

American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

Best costume design

Sandy Powell & Christopher Peterson, The Irishman
Mark Bridges, Joker
Arianne Phillips, Once Upon a Time…in Hollywood
Jacqueline Durran, Little Women
Mayes C. Rubeo, Jojo Rabbit

Best production design 

Once Upon a Time…in Hollywood
The Irishman
1917
Jojo Rabbit
Parasite

Live-action short film 

Brotherhood
Nefta Football Club
The Neighbors’ Window
Saria
A Sister

ScarJo in JoJo Rabbit

Best adapted screenplay

Steven Zaillian, The Irishman
Greta Gerwig, Little Women
Taika Waititi, Jojo Rabbit
Anthony McCarten, The Two Popes
Todd Phillips & Scott Silver, Joker

Best original screenplay

Rian Johnson, Knives Out
Noah Baumbach, Marriage Story
Sam Mendes & Krysty Wilson-Cairns, 1917
Quentin Tarantino, Once Upon a Time…in Hollywood
Bong Joon-ho, Parasite

Animated short film 

Dcera (Daughter)
Hair Love
Kitbull
Memorable
Sister

Animated feature film

“Toy Story 4”

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

“Once Upon A Time In Hollywood”

Best supporting actor 

Brad Pitt, Once Upon a Time…in Hollywood
Al Pacino, The Irishman
Joe Pesci, The Irishman
Anthony Hopkins, The Two Popes
Tom Hanks, A Beautiful Day in the Neighborhood

Makeup and hairstyling 

Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

Visual effects

Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

Music (original score)

Joker
Little Women
Marriage Story
1917
Star Wars: The Rise of Skywalker

Music (original song)

“I’m Standing With You” from Breakthrough
“Into The Unknown” from Frozen II
“Stand Up” from Harriet
“(I’m Gonna) Love Me Again” from Rocketman
“I Can’t Let You Throw Yourself Away” from Toy Story 4
“Glasgow” from Wild Rose

“Parasite”

International feature film

France, Les Misérables
North Macedonia, Honeyland
Poland, Corpus Christi
South Korea, Parasite √
Spain, Pain and Glory


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’Blowout’ by Rachel Maddow: Corrupted Democracy, Rogue State Russia and the Richest, Most Destructive Industry on Earth

Photo / Upsplash.com

A Preview of Coming Conflicts that will Determine if Our Planet will Survive

Blowout is Rachel Maddow’s 3rd book and features a journey of intertwined stories that shine a light on the rise of Oil, Power and Corruption. Only after absorbing these fascinating fragments comes the realization that this history is either moving inexorably toward the brink of extinction, or, if somehow other forces intervene, an almost utopian potential.

A New York Times Bestseller upon release, its true weight and import is likely only to be recognized over the decades to come.

The narrative is built as a series of naturally staged and clearly factual anecdotes tracing the genesis and roots of the fossil fuel industry, followed up through the past two decades. Ultimately the story takes us to the moment (now) that represents a final crossroads leading to total world destruction, carbon burning suicide, or to a chance at redemption by replacing the corrupt empire of prettified organic matter with clean, renewable alternatives.

Maddow chooses to omit, for the most part, any discussion of climate change or the crisis that it is already unleashing on the planet, and focuses instead on the corrupt power, money and environmentally destructive nature of all the forces that led to is. As a result, the impact of the book is made all the more potent.

Please click on photo to buy “Blowout” and at the same time you can help Lynxotic and All Independent Local Bookstores. Also available on Amazon

Perhaps a Film or Docudrama could be in the Works?

Cinematically told from various POVs, almost sympathetic to even the least admirable characters, and by featuring the minutiae of the lives of individual actors in the drama, there’s a great feeling, as if the reader is privy to the inner workings of this almost infinitely powerful yet secretive society. It’s a wild ride and dramatic twists abound, but in the end the facts and seriousness of the subject matter inspires deeper reflection… and thoughts toward action.

As the narrator bounces from Oklahoma City to New York to Alaska to Moscow, there is a sense that these wildly disparate fates will eventually intertwine into the story’s climax. Meanwhile, the detail and texture of the players and locales is engrossing and even entertaining, like a sometimes shocking virtual tour in the shoes of her heroes and villains.

It’s a wild ride, dramatic twists abound, but in the end the facts and seriousness of the subject matter inspires deeper reflection…

D.L.

Putin’s rise to power and his decision to use oil and natural gas spoils as a way to rebuild Russia into a personal empire of crime is one fascinating thread deftly woven into the narrative. The enormous impact and bizarre facts of the fracking industry is another. And where this all comes together is in twisted links between US industry and politics, International corruption and, yes, the current administration in Washington.

Ultimately, without so much as hinting at this idea, at least until the final chapters, the underlying message is that the events, actions and characters portrayed in this tale are what stands between the survival of all the humans on this planet (not to mention life itself) and extinction. And, that these are the last people on earth that should ever be allowed to have innocent lives in their hands (although, in essence, they already do).

While the timing might be coincidental, the fact is that the book has appeared on the scene at precisely the moment when a showdown is emerging between those that are working to undo the damage of the past 100 years, and those that are hell-bent on continuing down a suicidal path of greed and destruction. A turning point in sustainable transportation, solar and other renewable sources and even computer assisted breakthroughs from mass-transit to agriculture are threatening to leave carbon burning technology in the dust. But, as the book so skillfully points out, the carbon Barrons will not relinquish power without a fight.

As the book comes to a close, the reader is left with a stark realization that the current occupant of the White House is little more than a tiny, powerless pawn when compared with the virtually infinite resources and greed of this cabal consisting of history’s most destructive beings.

Further, that the awesome power and hidden conspiracies are fighting, not just for a continuation of their own reign, but for an increase in all the destructive and dangerous plundering and daemonic infrastructure that they have been building and exploiting for the past century.

The hope, and there is hope, is only in the entire corrupt, dying system somehow being replaced with not only a sustainable clean energy infrastructure, but also a system of cooperating democratic organizations free of the rapacious greed and murderous evil that continue to push the failed agenda of the past. That only the complete eradication of the soon to be redundant fossil fuel industrial complex can lead to a world without the dangers and crimes as detailed so meticulously in “Blowout”.


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The Rhythm Section, Starring Blake Lively as a Unique Lead in Offbeat Action Pic

https://movietrailers.apple.com/movies/paramount/the-rhythm-section/the-rhythm-section-trailer-1_h1080p.mov
Official trailer for “The Rhythm Section”

Chameleon-like Transformation for Lively

Blake Lively is often referred to as one of the most beautiful women in Hollywood, but if anyone thinks that the former “Gossip Girl” actress is just a pretty face, her new movie “The Rhythm Section” is bound to challenge that shortsighted assumption.

Lively is hardly recognizable in “The Rhythm Section,” sporting shorter hair, a number of disguises, and a lot of makeup to make her appear like an “average” woman rather than a head-turning dame. However, as it should be with any actor or actress, it is the performance that matters, not the looks—leave praise for the latter to the hair and makeup department.

In the film, Lively plays Stephanie Patrick, a woman who loses her family to a plane crash. After learning that the crash was no accident, but an orchestrated event, she goes on a vengeful quest to violently punish those responsible. It is a long way from “Gossip Girl” or “Sisterhood of the Traveling Pants,” and is a rare example of Lively taking the leading role in a blockbuster movie.

The movie comes in part from Eon Productions, one of the companies that produces the James Bond films. Thus, “The Rhythm Section” is presumably in good hands. Unfortunately, unless it is adapted from a Hunger Games book or attached to a DC, Marvel, or Star Wars franchise, female led action movies do not have a great track record for success. Even when backed by experienced producers and offering star-studded casts, movies like “Columbiana,” “SALT,” “Lucy,” or this year’s “Charlie’s Angels” all missed their critical or commercial marks.

This is likely due to the fact that the American action genre is deeply rooted in masculinity, emerging from the James Bond suaveness of the 1960s and becoming manlier throughout the 1980s with Rambos, Terminators, and John McClanes filling the screen with muscles. Developing a strong female action hero is thus a novel thing that runs somewhat contrary to the genre’s conventional iconography. Even the action movies that do employ female leads often sexualize them or contrarily place them into the overused woman-who-is-too-good-for-womanly-things archetype.

Emancipated Production Concept?

It is almost as if Hollywood is afraid of mixing femininity and action. “The Rhythm Section,” however, may test that notion, for Blake Lively’s character is a mother seeking revenge after losing her children. From Arnold Schwarzenegger in “Commando” to Liam Neeson in “Taken,” the vengeful or savior parent role is often allocated to the father figure. Perhaps “The Rhythm Section” will finally offer audiences a much needed touch of maternal badassery.

It also helps that Reed Morano directs the film. Known for her work on Hulu’s “The Handmaid’s Tale,” Morano has been quite effective at blending feminist themes and action-packed content on the small screen. Hopefully, she can carry this same affinity over to a feature film.

Jude Law and Sterling K Brown support Lively’s performance in “The Rhythm Section.” The movie is an adaptation of Mark Burnell’s 1999 novel of the same title—the first of four books he wrote about Stephanie Patrick. Burnell also wrote the screenplay for the film, and if it is a hit, there could be future sequel adaptations in store for Lively and the team. The movie comes out on January 31st.


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“The Assistant”: both Drama and Thriller aims to bring the #MeToo Movement to the Big Screen

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Official trailer for “The Assistant”

Hollywood take on Social Media Zeitgeist

Whenever a political movement on the side of justice takes place, Hollywood usually hops on it and renders it the plot of a movie in due time. In the worst of circumstances, this model is exploitative and undermines the actual movement. In the best of circumstances, however, this same model can teach lessons, champion real world heroes, and inform larger audiences of unsung stories.

Sometimes, those topics can hit close to home for filmmakers, though. Particularly, the #MeToo movement and the women who unveiled the systemic sexual harassment in the entertainment industry is a rich, dignified story that deserves a quality retelling. One would think, however, that Hollywood wouldn’t want to produce such a film because of how many entertainment industry executives were tangled up in a number of sordid cases. That would be the unsettling assumption, but lo and behold, Annapurna Pictures and director Jay Roach made “Bombshell” this past year, a critical and commercial hit of a film that shares the fresh, true story of real women who took down Fox News executive Roger Ailes for sexual transgressions.

The success of “Bombshell” may have paved the way for a new (perhaps overdue) breed of films that take on the workplace sexual harassment and misogyny. Already, we are getting a second one.

“The Assistant” comes out on January 31st, and upon viewing the trailer, it explores many unsavory aspects of workplace misconduct. Written and directed by Australian filmmaker Kitty Green, an eerie drama that dances along the lines of horror, it had its debut at the Telluride Film Festival in August, where Bleeker Street acquired it for this oncoming wider distribution.

Ozark Standout in Leading Role

Julia Garner of “Ozark” stars as the titular character, a recent college grad and aspiring movie producer who lands her first industry job as an assistant to an entertainment tycoon. As she goes through the day-to-day woes of working as an assistant—long hours, uncomfortable interactions, and covering for her darkly mysterious boss—it slowly becomes more apparent that something suspicious is going on behind closed doors.

Her boss is bringing young women into his office and asks the assistant to lie about it when his wife calls. There are mistakes in the bookkeeping that she is told to ignore. Corruption, misinformation, and borderline criminal activity bleed through every pore of the business’ higher-ups, and to make matters worse, it seems as if the boss is also engaging in inappropriate sexual activity.

The assistant works to uncover the truth and make it public. In doing so, she risks her job (and possibly her entire career) in a highly competitive industry. More than that, she also risks her safety, for damaging the reputations of powerful people does not come without consequences.

The movie is a raw portrayal on an unfortunately commonplace situation. Having the story take place in an entertainment mogul’s office will draw parallels to the current Weinstien trial. Barring the possibility of a supernatural twist at the end, the sad reality is that “The Assistant” is not based on one true story, but on thousands of true stories both told and untold, remembered and forgotten. It is a thriller that many have lived through, and many have taken to the grave. At last, it gets representation.


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NBC’s “Peacock” to Escalate Streaming Wars with varied Price and Experience options

Logo Collage / Lynxotic

Massive Library May be included and Increase Streaming Compitition

NBCUniversal and Comcast will be making their debut into the media market’s ongoing streaming war on July 15th, 2020. On that Wednesday in the midst of the summer, the globally renowned entertainment conglomerate will launch “Peacock,” the ultimate online service for all things Comcast.

Just to set the record straight, NBCUniversal owns far more than just the Nightly News and old horror movies. DreamWorks, Illumination, Focus Features, G4TV, USA Network, and Syfy amongst others all fall under the company’s corporate umbrella. Thus, there is a lot of reason behind consolidating all of its content to one streaming service, especially when competitors Disney, WarnerMedia, and CBS are all starting to do it.

Comcast first announced that it would be starting its own streaming service over a year ago in January 2019, and it released the name “Peacock” (based on NBC’s colorful feathered symbol) on September 17th. At that time, NBCUniversal also stated that the website would be launched in April 2020 and that it will eventually be the sole place to stream NBC favorites “The Office” and “Parks & Recreation.”

Obviously, the launch date has been pushed back since then. Nevertheless, the announcement that “The Office” and “Parks & Rec” will be barred from other streaming services is a big blow for the competition. Netlflix, for one, will certainly suffer from the loss of these shows, as “The Office” in particular has been one of the most popular programs in its catalogue for years. With shows like “The Office” and “Parks & Rec” (and “Saturday Night Live” and “Brooklyn Nine-Nine”) having such vast, dedicated fan bases, one can imagine customers subscribing to Peacock just for the access to specific programs.

Peacock will also have movies from Universal Pictures and its subsidiaries, and a slew of original content from veteran NBC and USA showrunners such as Mike Schur of “The Good Place” and Sam Eslami of “Mr. Robot.” Hopping on Hollywood’s current nostalgic bandwagon, Schur will be creating a reboot of 1980s sitcom “Punky Brewster” for the service and Eslami will be leading a revival of “Battlestar Galactica.”

From “Free” to $10 per Month with Comcast Customer Link

When it comes to pricing, Comcast is offering Peacock at three different tiers. The least expensive tier costs absolutely nothing. This version of the platform will be called “Peacock Free” and it will have limited, ad-supported content. The next level up will again be ad-supported, but it will have access to the service’s full library. This will be free for Comcast customers and cost $5/month for everyone else.

The final tier will be called “Peacock Premium.” It will cost $10/month and will run ad-free. Like the second tier, it will have access to the service’s complete catalogue plus live sports, including Premiere League soccer, which is a television rarity in the United States.

At $10/month, even Peacock’s priciest option is relatively cheap compared with the competition. While it costs more than Disney+’s generous $7/month fee, it remains thriftier than Netflix and Amazon Prime’s standard $12/month plans and HBOMax’s forthcoming $15/month price tag.

Still, Comcast is willing to offer even better Peacock deals for their loyal customers. Comcast and Cox cable users can get Peacock Premium for free with ads, or for half price without ads. Those who subscribe to Comcast Xfinity X1 or Flex will be also able to get Premium early—in April.

As opposed to Netflix that began its business in streaming or Disney and Warner that are only now starting to transition, NBCUniversal is evidently trying to keep its foot in conventional television with Peacock. The deals that Comcast is making with its cable subscribers are direct incentives to stifle the cord-cutting phenomenon while still keeping up with the times.

With Netflix getting copious nominations this awards season, Apple TV coming in hot with “The Morning Show,” Disney+ estimating to earn $2.2 billion in 2020, and HBOMax coming out it May, the streaming wars are in full swing. Throw Hulu, Amazon Prime, Quibi, and multiple other platforms into the mix and one can clearly see that the competition is quite fierce. The media sphere is changing, and NBCUniversal is straddling the line between the old and the new. We’ll just have to wait until July to see where Peacock stands and how it plays out.


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Quibi Embraces Smallest Screens and Biggest Talent in New Mobile Streaming Service from Jeffrey Katzenberg

Aging Mogul and CEO Eye Disruption with Innovative Mobile Platform

In a market apparently oversaturated with online video streaming platforms, it may seem like an inopportune time to start up a brand new service for audiences to consume content on their personal screens. This outlook, however, has not stopped Jeffrey Katzenberg and Meg Whitman, two aging entertainment tycoons, in raising over a billion dollars to fund their novel mobile streaming project, Quibi.

Katzenberg and Whitman is, on paper, a corporate match made is heaven. Katzenberg was the chief of Walt Disney Studios during its 1990s animation renaissance and then went on to create DreamWorks with Steven Spielberg and David Geffen. Whitman, meanwhile, was a tech mogul, formerly serving as CEO of eBay and Hewlett-Packard. Both in their sixties, these two veteran experts in their respective industries have recently combined their knowledge to launch Quibi—an upcoming streaming service made for the smallest of screens. Namely, mobile devices.

Of course, watching content on a smartphone or tablet is nothing new. Almost every streaming service has a mobile app, and YouTube alone has a seemingly endless amount of free content for viewers to watch wherever is convenient. Nevertheless, while most of these platforms hold true to the philosophy that the bigger-the-screen-the-better, Quibi embraces the small, personalized screen format exclusively, working it into their very production model.

https://video-lynxotic.akamaized.net/Quibi-Demo.mov

Can “Turnstyle” Take Off along with 10 min “Quick Bites”?

Quibi is incorporating new technologies and resources to make their content highly personalized and appropriate for smartphone screens. Perhaps the company’s most innovative initiative is its “Turnstyle” format, whereby all content is made for both vertical and horizontal screens.

Unlike most mobile videos that are best watched horizontally, Quibi content will adjust for the phone’s orientation. Thus, there is no optimal way to watch Quibi; viewers can do so however they deem comfortable and switch back and forth in a seamless fashion.

Furthermore, Quibi has factored in the short attention spans of young audiences using mobile devices. Realizing that most mobile viewers seek quick bursts of information or entertainment, Quibi aims to keep its shows between seven and ten minutes long, providing episodic gusts of action often ending on cliffhangers. Moreover, the company is also looking to expand its daily video programming, whereby new content comes out each day.

While this high-turnover temporal model may appear as a mere means of reducing costs for the up-and-coming Quibi, Katzenberg and Whitman are far from pinching pennies for the service. Estimates claim that Quibi will pay its creators up to $125,000 for every minute of scripted and unscripted content, and around $10,000 for the daily programming. This is a bold, yet consciences effort to ensure quality, thus helping Quibi stand out amongst the competition and justify its subscription cost—$4.99 a month with ads, or $7.99 without ads.

The prospect of quality content on Quibi is further confirmed by the copious prestigious names already attached to the service. As aforementioned, Katzenberg and Whitman are far from beginners in the industry, and they have long lists of professional connections. Hence, Steven Spielberg, Guillermo Del Toro, Steven Soderbergh, Sam Raimi, Anna Kendrick, Kevin Hart, Jennifer Lopez and Zac Efron amongst other A-list names have already committed to Quibi.

Likewise, the company already has investment deals with some of the biggest studios in Hollywood including Disney and Warner Brothers, and will have content connected to ESPN, NBC News, and BBC.

Quibi’s exhaustive and impressive list of attached talent is made possible in no small part thanks to Katzenberg and Whitman’s networking prowess. However, the company is also incentivizing its creative minds with unprecedented terrain to explore on.

Additionally, Quibi promises its talent the right to retain ownership, after a specified interval, over creations. That way, no projects or characters are eternally bound to Quibi—directors can take their ideas to new platforms if need be and can keep all merchandizing and marketing rights to themselves. In a world where syndication dominates the entertainment industry, this is a very rare and appealing offer.

”Too Rich to Fail” Motto seems Apt, and Resonates with with Big Name Talent

Some of the shows on Quibi are already well into production or even post-production. Sam Raimi is working on an anthology series titled “Fifty States of Fright,” where he will be going back to his early horror roots as a filmmaker. Meanwhile, Steven Soderbergh is directing a suspenseful series called “Wireless” for the platform.

The projects that have garnered the most buzz, however, include a documentary series on DC and Marvel Comics spearheaded by “Avengers: Endgame” directors Joe and Anthony Russo, as well as a revived continuation of the hit Comedy Central show “Reno 911!” Projects from Spielberg and Del Toro are yet to be fleshed out, but the two filmmakers’ unparalleled reputations are likely to bring Quibi even more interest.

In short, the industry is certainly on board with Quibi. The real question now is whether or not consumers will be into it. With so much free content to scroll through on one’s phone, many viewers might not see adequate reason to pay a monthly fee for particular shows—especially when they are already paying for Disney+, Netflix, Amazon Prime, and other services.

Quibi is certainly showing creativity in their use of the mobile platform and they definitely have a lot of promising talent in their corner. Nevertheless, some might deem Quibi’s mobile innovations as excessive gimmicks, and their talent as impressive, but not quite alluring enough of an end to justify the means.

A lot of skepticism existis that this entirely new format, in terms of show length, cost and price as well as the somewhat wacky “turnstyle” tech has a chance to become established. In some ways it is similar to Apple TV+ in the sense that the massive cash hoard backing each service (Quibi at least $1.4 Billion, Apple TV+ $6 Billion+) will ensure that, regardless of how long it takes to become popular with the public, in the end they are “too rich to fail”.

We won’t really know until April 6th, when Quibi officially launches and enters into the streaming war as a tactical and unpredictable underdog.

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Oscar Nominations Revealed: Joker” Dominates, Johansson Gets Double Noms – Academy has a Diversity Problem (still)

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Joker official trailer

ScarJo and Joker cast shadows over the hope for new faces

On the morning after a Critics Choice Movie Awards ceremony that heavily paralleled the Golden Globes—“Once Upon A Time… In Hollywood” won best picture, Joaquin Phoenix won best actor, Renèe Zellweger best actress, Brad Pitt best supporting actor, Laura Dern best supporting actress, etc., the Academy of Motion Picture Arts & Sciences released their nominations for the 92nd Oscars, the pinnacle of the awards season that will take place in early February as per tradition at the famed Dolby Theater on Hollywood Boulevard.

Renée Zellweger as “Judy”

The Oscar Nominations for 2020 offer the usual suspects in most categories. Like the Critics Choice Awards’ Broadcast Film Critics Association and the Golden Globes’ Foreign Hollywood Press, the Academy is big on yesteryear’s work from Tarantino, Mendez, and Scorsese. Likewise, they favor performances from Phoenix, Pitt, and Zellweger.

That being said, there are still a few head turners on this year’s nomination list, from the names included, to the names left out, to the handful of names that dominated.

First off, it should really be no surprise at this point in the awards season that Netflix got a lot of love for its 2019 filmography.

The Academy nominated both Martin Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story” for best picture and Fernando Meirelles’ “The Two Popes” appeared in several categories as well.

This bodes well for the streaming service that clearly spent the year trying to produce and promote prestigious original content.

If one film dominated the list, however, it was Todd Phillips’ “Joker,” which garnered eleven nominations including best picture, best director, and best actor.

This is significant as not every year does a movie based on a comic book character lead the race, especially not when that comic book character is a controversy-inducing villain brought to the screen by the director of “The Hangover.”

Nevertheless, “Joker” stood out amongst the competition. In terms of noms, the film was narrowly followed by “The Irishman,” “Once Upon A Time… In Hollywood,” and “1917,” all fellow best picture contenders that received ten nominations each.

Moreover, while there weren’t really any surprises on the best actor or best actress fronts, Scarlett Johansson managed to snag both best actress and best supporting actress nominations for her respective roles in “Marriage Story” and “Jojo Rabbit.”

Snubs and Overlooked Talent that was Coincidentally Diverse Abounded

Adam Sandler went unsung for his groundbreaking performance in “Uncut Gems,” and critic favorites Awkwafina from “The Farewell” and Jennifer Lopez from “Hustlers” were similarly snubbed, not receiving any accolades from the Academy despite earning praise elsewhere.

This brings us to the biggest elephant in the room, which has been a persistent topic for the past few Academy Awards—how diverse are this year’s nominees?

The noticeably whitewashed 2016 Oscars sparked this long overdue conversation about diversity in the Awards. Since then, the Academy has been seemingly more inclusive, nominating and honoring racially-charged films like “Moonlight,” “Get Out,” “BlackKklansman,” and, “Black Panther”, feminist features like “Lady Bird” and “Roma,” and queer narratives like “Call Me By Your Name” and “The Favourite.”

This year, however, despite all of the progress over the past couple of several telecasts, the Academy seems to have relapsed into yet another celebration of a white male dominated Hollywood. The only big 2020 nominees that deviate from this norm are Greta Gerwig’s female-centric “Little Women” and Bong Joon-ho’s Korean “Parasite.”

Both of these films were nominated for best picture and Bong Joon-ho was nominated for best director.

The rest of the nominations in these categories are filled with the work of white men. Characteristically, the films are overwhelmingly white as well—from the Western European World War I narrative in “1917,” to the Nazi-Germany satire in “Jojo Rabbit” to a movie literally titled “The Irishman,” there is not a whole lot of diversity going on.

Likewise, many of these movies also sideline female characters to subordinate roles such as wives, mothers, and girlfriends to the male leads.

While these skewed nominations may be mere products of their not being as many women or minority filmmakers in the industry, that very underrepresentation is a testimony to Hollywood’s systemic gender and racial inequality both in front of and behind the camera.

Thus, when the red carpet rolls out on February 9th, we can expect to see a lot of talent on it, but probably not as much color as we’d prefer.

Following the success of last year’s hostless ceremony, the Academy also recently announced that the event will again not have a host. Hence, there will be no central figure on stage to comically quell (or egregiously highlight) the Academy’s systematic issues regarding representation.

Still, if the Golden Globes were any indicator, we will probably still hear a lot of social commentary through the acceptance speeches.

In total, the Academy has taken a big step back this year, not showing the level of diversity that the public might desire or expect.

However, the Academy Awards are only the opinions of a handful of aged industry professionals. Just because they don’t recognize certain talent does not mean that there won’t be eventual recognition, at the latest once the demographics change in the voting block (cold comfort till then).

Academy Awards, Oscars, Joker, Scarlett Johansson, Whitewashed Hollywood, Netflix, Bong Joon-ho, Todd Phillips, Awkwafina, Jennifer Lopez, Movie,


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77th Golden Globes Recap: Ricky Gervais hits a nerve, On Stage Activism & Netflix goes Unsung

’Big Winners Mostly Among the Predicted with a few Notable Exceptions

With the 77th Golden Globes concluded, Hollywood’s 2020 awards season is officially underway, celebrating the best and brightest that the film and television industries had to offer in the past year.

The Golden Globes took place on Sunday, January 5th at the famous Beverly Hilton hotel in Beverly Hills, California. The ceremony began at 5:00 PM Hollywood time, when stars from around the world took their seats to eagerly await the Hollywood Foreign Press Association’s picks for 2019’s best film, show, actor, actress, and so on… as well as the obligatory drama and awkward moments that come with any award show.

The event started far from subtly, as host Ricky Gervais took the stage. A notoriously raw British comedian, Gervais did not shy away from controversy in his opening monologue. He poked fun at just about every industry professional in the room, humorously calling out individuals for their leftist stances on political issues while engaging in an exploitative business led by capitalist juggernauts like Apple, Amazon, and Disney. Add in a Jeffrey Epstein suicide joke, a comparison between Joe Pesci and Baby Yoda, and a shot at Felicity Huffman’s prison sentence, and the night was off to a deliciously cringey start.

Despite his forewarning jests, through, Gervais did not manage to silence the award winners in their acceptance speeches. With few exceptions, it seemed as if each recipient used his or her stage time to make a statement regarding the world’s current turbulent condition.

Upon receiving the award for Best Actress in a Miniseries or TV film, “Fosse/Verdon” star Michelle Williams spoke out for a woman’s right to choose; While accepting his Best Director title for “1917,” Sam Mendes made a sly remark about war that was indubitably tied to President Trump’s recent actions in Iran; Actor Jared Harris also touched on the cost of political lies when getting the Best Limited Series award for the ever-so-relevant “Chernobyl.”

Undoubtedly (and unsurprisingly), however, the social issue most addressed on the stage was climate change. Nobody addressed this topic more profoundly than Joaquin Phoenix, who upon winning Best Actor in a Drama Motion Picture for his performance in “Joker,” took to the stage with peculiar reticence before immediately thanking the HFP for making the event plant-based. He then proceeded to get on Gervais’ level by dropping several f-bombs in calling out Hollywood hypocrisy. The speech was jarring, yet well received, as the actor delivered the message with far more sincerity than Gervais did at the night’s beginning.

Climate change was on many people’s mind throughout the night, especially in light of the ongoing bushfire epidemic in Australia. Russell Crowe even missed winning best actor in a Limited Series or TV Movie for his performance in “The Loudest Voice,” because he was Down Under protecting his house and family from the catastrophic infernos. In absentia, Jennifer Anniston read the New Zeland-born (yet Australian-raised) actor’s acceptance speech, where he definitively articulated the link between the country’s present forest fires and the planet’s continuing climate crisis.

Ellen DeGeneres also started out her speech expressing her concern and love for Australia. DeGeneres was honored with winning the Carol Burnett Award for achievement in television. After her touching words for Australia, the comedian-actress-talk show host shared her humble rise to stardom and her thoughts on the power of television, all with a characteristically stellar mix of endearing humor and unmistakable earnestness.

Later in the evening, actor Tom Hanks won the second special award of the night—the Cecil B. DeMille lifetime achievement award. Hanks gave a deeply impassioned speech and even got choked up while thanking his family. He touched on the duty of an actor to think creatively, know ones part, and “show up on time.”

This brings us to the meat of the event—the actual winners. While the drama, activism, and jokes all make for good television, the Golden Globes are ultimately there to recognize yesteryear’s outstanding works in the entertainment industry.

First off, we obviously had a number of expected outcomes. On the TV side, Brian Cox and Olivia Coleman won best series actor and actress for their respective work in “Succession” and “The Crown.” “Succession” also won Best TV Drama Series while “Fleabag” won in the Comedy category.

As for movies, we saw the anticipated Brad Pitt win Best Supporting Actor for his role in Quentin Tarantino “Once Upon A Time… In Hollywood.” Tarantino himself also won Best Original Screenplay and the film as a whole won Best Film in the Musical or Comedy category. Similarly predictable, the Korean “Parasite” won Best Foreign Language Film, Hildur Guðnadóttir won best original score for “Joker,” and Renée Zellweger won Best Drama Actress for “Judy.”

1917 is Stealth Favorite and Takes Top Drama

The upsets, however, came about in some other fields. As aforementioned, Sam Mendes won Best Director for “1917,” and the movie went on to win Best Film in the Drama category. Neither award was anticipated for Mendes. On the directorial front, he faced competition from the likes of Tarantino and Scorsese. Likewise, for best picture, he went up against bona fide critical hits such as “The Irishman,” “Joker,” and “Marriage Story.” “1917” is yet to get a wide release, however, which may be the reason many people did not foresee its success.

Another upset occurred in the Best Musical/Comedy Actor category, where Taron Egerton won the title for portraying Elton John in “Rocketman.” The thirty-year-old actor beat out stars such as Leonardo DiCaprio, Eddie Murphy, and Daniel Craig. Furthermore, in the Animated Film category, Laika Entertainment’s “Missing Link” beat DreamWorks’ “How To Train Your Dragon: The Hidden World” along with Disney’s triple-threat nominees “The Lion King,” “Toy Story 4,” and “Forzen II.” “Missing Link” performed abysmally in the theaters and director Chris Butler was utterly baffled during his acceptance speech. Evidently, big studios and box office figures do not always correlate with talent or translate to critical success.

That being said, the films that had no box office earnings whatsoever (i.e. the copious direct-to-streaming nominees this year) did far worse than expected at the 77th Golden Globes. Going into the night, Netflix had more film nominations than any other production company. Noah Baumbach’s “Marriage Story” led the race with six nominations, trailed only by Scorsese’s “The Irishman” with five—both of which were Netflix originals.

It seemed as if the Globes was going to be a game-changing event for the streaming world as well as a defining moment for Netflix to rebrand itself as the “prestigious” streaming platform amongst the competition. Maybe just getting the nominations was enough for Netflix to earn this reputation. However, the company walked away with just one film award—Laura Dern for Best Supporting Actress in “Marriage Story.” For all the hype that Netflix’s “The Irishman,” “Dolemite Is My Name,” and “The Two Popes” went in with, they all left empty handed.

Contrary to expectations, perhaps the Hollywood Foreign Press was not quite ready to hold direct-to-streaming titles in the same regards as traditional theatrical releases. Maybe the Academy of Motion Picture Arts & Sciences will think otherwise, as they announce the Oscar nominees on January 13th—if nothing else, maybe they’ll at least select a host with a touch more compassion.


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The Streaming Wars as the Decade Begins: Disney Up, Netflix Down, Apple Emerging, and HBO Max TBD

The Carnage and Consumer Choice Explosion has only just begun

2019 will go down in history as a game-changing year for television. It was the year that put the nail cable’s coffin as major networks and production companies turned over to the Internet, creating a streaming war between the various online platforms for consumers to watch content on.

The war unofficially began when the Walt Disney Company launched Disney+ on November 12th. In its first day, the service attained over 10 million subscribers. One month in, it had over 24 million, an unprecedented growth rate.

Much of Disney’s success has come at the expense of other streaming services, though. At just $7 a month, Disney+ is one of the less expensive streaming subscriptions on the market. Amazon Prime costs just under $10 a month and Netflix can cost up to $16 a month depending on the plan.

Since Disney+ launched, Netflix has lost 1.1 million subscribers. This is a 5.8% reduction in the company’s customer figures, and it is likely correlated to the fresh competition.

Netflix has tried to combat its rivals by focusing on their in-house productions and creating Oscar-savvy films. While the Academy picks are still yet to come, Netflix is already the most nominated production company for the 2020 Golden Globes. Their movies “The Irishman,” “Marriage Story,” “Dolemite Is My Name,” and “The Two Popes” were all nominated for best picture. “Marriage Story” and “The Irishman” even lead the race with six and five nominations respectively.

Many, however, believe that these prestigious projects are not enough to keep Netflix afloat in the long run. With the rise of Disney+, Netflix is losing all of its licensed-out Disney content, and its library will continue to dwindle as more studios create their own platforms. Perhaps the company’s recent deal with Viacom to produce new Nickelodeon content will help keep Netflix safe for a little while longer. After that, it might have to consider lowering the monthly cost, or even selling the data that it keeps so close to its chest.

Launch Announcement at Apple Special Event in 2019

Apple TV+ could be a Sleeper Hit with Upside Potential to Grow

One of the few streaming services that costs less than Disney+ right now is Apple TV+, another new kid on the block that launched on November 1st. Apple TV+ costs only $5 a month, and since its emergence it has garnered around 9 million subscribers. These figures seem small when standing next to Disney, but that 9 million may not account for all of the people who bought new Apple devices this year. As an extension of the tech company, Apple TV+ is included free-of-charge for one year on all new iPhones, iPads, Apple SmartTVs, or Mac computers.

Like Netflix, Apple TV+ is also making a big debut in the upcoming awards season. Its original series, “The Morning Show” already earned the company three Golden Globe nominations. This marks the first time that a streaming service has achieved recognition from the Hollywood Foreign Press Association in its inauguration year.

On the other end of the spectrum from Apple TV+’s affordable price is the forthcoming HBO Max, which AT&T’s WarnerMedia will launch in May 2020. HBO Max will cost a hefty $15 a month, and its release date has been pushed back multiple times since its announcement in 2018.

Thus, HBO Max has been a confusing and quiet underdog in the streaming war. Part of the confusion surrounding the future service is the fact that WarnerMedia already has two different premiere subscription services—HBO Go and HBO Now (not to mention the DC Universe streaming service also under Warner’s corporate umbrella).

Netflix Facing new competition from all sides

To put it plainly, HBO Max will combine HBO Go and HBO Now to offer both service’s entire libraries plus original shows, all the DC content, and additional intellectual properties from other TimeWarner networks such as TNT, TBS, CNN, and Cartoon Network. It will have all episodes of “Friends,” “South Park,” and “Game Of Thrones.” Oddly, it will not have Warner Brothers’ famed Harry Potter or Fantastic Beast films, as their streaming rights are still licensed out to Universal.

This consolidation of all TimeWarner content will be another hit against Netflix. Based on viewership, Netflix’s two most popular shows are “Friends” and “The Office,” and they will be losing both of them to HBO Max and NBC’s Peacock respectively.

These streaming services are the major players in the game, but they are not alone. Amazon Prime, Hulu, YouTube TV, Philo, CBS All-Access, fuboTV and others may not be as talked about, but they still have stakes in the streaming wars. Competition amongst the entertainment conglomerates in the cybersphere will undoubtedly continue into the new year, and it will likely come to redefine television in the approaching decade.


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Keanumania: “John Wick 4” and “The Matrix 4” Set To Release on the Same Day

2019 has been a big year for Keanu Reeves. With a reprised leading performance in “John Wick: Chapter 3—Parabellum,” a voice acting role in “Toy Story 4,” and a plethora of social media attention through interviews and memes, the fifty-five year old actor has found himself back in the spotlight for the first time in about fifteen years. Fans have affectionately dubbed this resurgent stage in his career, “The Keanussance.”

Happily, the Keanu Reeves fun will not stop anytime soon. Recent announcements from Warner Brothers and Lionsgate respectively reveal that “The Matrix 4” and “John Wick 4” will be released on the same date—May 21, 2021, a day that the Internet is already starting to declare “Keanu Reeves Day.”

Neither of these upcoming films have revealed their plots yet, as “The Matrix 4” is merely in pre-production and “John Wick 4” remains in development. All we really know is that they are each the fourth installments in their franchises, and that Keanu Reeves has been casted in both of them.

The last Matrix film, “Matrix Revolutions” came out in 2003. “Revolutions” wrapped up the science-fiction, reality-bending narrative, and left Neo—the main protagonist played by Reeves—dead. Thus, we are all very curious to see how Reeves returns in “The Matrix 4.” Likewise, it will be interesting to find out what Warner Brothers does with the story given the conclusive nature of “Revolutions.”

Warner Brothers has actually stated that Neo will not be the main character in “The Matrix 4,” and that Yahya Abdul-Mateen II of “Watchmen,” “Aquaman,” and “Black Mirror,” will play the new protagonist. Nevertheless, Reeves will somehow still be reprising his role in the film, as will “Revolutions” co-star Carrie-Anne Moss. Additionally, Lana Wachowski will be back behind the camera, directing a script from Aleksandar Hemon and David Mitchell.

Compared to the nineteen-year gap between “The Matrix: Revolutions” and “The Matrix 4,” “John Wick 4,” is a much quicker turnaround from the third film in its franchise. Once again, all we know for sure is that Reeves will be back as the titular character. Given the John Wick series so far, the fourth film will likely follow the same James Bond style, action-packed storyline as the last three movies. We can expect lots of gun, knife, and fist fights to happen and for Keanu to give yet another performance that can only be described as “badass.”

Furthermore, although it has not formally been asserted yet, we can reasonably anticipate the return of director Chad Stahelski for “John Wick 4”, as the stuntman-turned-filmmaker has directed all of the Wick movies so far.

Whoever he ends up fighting in the two films, Keanu Reeves will ultimately be going up against himself at the box office that fateful weekend in 2021. Both films are bound to be summer blockbusters, but which movie will fare better commercially is anyone’s pick. “The Matrix 4” is coming off of a classic franchise that redefined the sci-fi genre in 1999. However, the source material is admittedly a little dated, and The Matrix sequels tended to diminish in quality as the series continued. “John Wick 4,” on the other hand, is young and fresh, but it lacks the same longevity and cinematic prestige as The Matrix.

It’s impossible to tell which movie will end up triumphant on Keanu Reeves Day. Most fans will probably end up seeing both, but a lot can happen in the next year and a half. Until then, we can look forward to the dual release and enjoy the Keanussance throughout 2020, as Reeves will appear in movies such as “The Spongebob Movie: Sponge On The Run,” “Bill & Ted Face The Music,” and “Fast & Furious 9.”


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Five Movies in Theaters: Holiday Film Choices

Now that the final days leading up to 2020 are here, it’s a great time to check out what films are currently available in theaters…

Bombshell

photo-link to Bombshell article and trailer

Uncut Gems

photo-link to Uncut Gems article and trailer

Richard Jewell

photo-link to Richard Jewell article and trailer

Rise of Skywalker

photo-link to Rise of Skywalker article and trailer

Spies in Disguise

photo-link to Spies in Disguise article and trailer

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