Kamis, 14 November 2019

The Surprising Way 'The Office' Inspired the New 'High School Musical' Series on Disney Plus - Showbiz Cheat Sheet

The Disney Channel movie High School Musical premiered in 2006, followed by two successful sequels. After rumors swarmed about a potential fourth movie, Disney announced that instead, a television series would be the thing to fill the HSM-sized hole in our hearts. Tim Federle, an executive producer of the new series, sat down with Entertainment Weekly to discuss his role in High School Musical: The Musical: The Series. Surprisingly, a big inspiration for this new iteration of the show came from mockumentary-style comedies like The Office.

High School Musical: The Musical: The Series Cast
Cast of the Disney+ series ‘High School Musical: The Musical: The Series’ | Jeff Neira/Walt Disney Television via Getty Images

The ‘High School Musical’ series has a new crop of characters

Federle told EW he wanted to “keep the High School Musical franchise going” for Disney. Considering how well the HSM movies did for the network, they no doubt jumped at the opportunity. But the executive producer didn’t just want nostalgia-factor to carry the show, he wanted to bring in an original take.

“Federle didn’t want to carbon-copy Troy and Gabriella for a new generation,” Entertainment Weekly wrote.

High School Musical: The Musical: The Series Cast
Monique Coleman, Joshua Bassett, Tim Federle, and Olivia Rodrigo | Kevin Winter/Getty Images

He also wanted as many songs sung live as possible, meaning he needed a cast with true talent for the new series.

“I knew that if we cast the right talent who had the right chemistry and who were proud theater kids themselves, the audience would become engaged with their journeys,” Federle said. “Casting was key and we looked really, really hard for this group.”

Federle was inspired by TV series such as ‘The Office’

The new show is, according to Federle, heavily influenced by the comedies of Christopher Guest. If you’re not familiar with Guest’s work, he wrote the film This Is Spinal Tap, the mockumentary that basically defined the genre itself. He also directed documentary-style comedy classics Best In Show, Waiting For Guffman, and A Mighty Wind. Guest’s films laid the groundwork for more recent mockumentary-style television shows, such as The Office, Parks and Recreation, and Modern Family.

Much like these very popular sitcoms, the new HSM series breaks the fourth wall and gets self-referential.

Entertainment Weekly reports that the High School Musical series portrays theater students “who occasionally talk to the camera about how they’re staging HSM at their high school (the very one where the 2006 movie was filmed, both in real life and in the shows’ overwhelmingly meta universe).” Federle also confirmed that “every episode should contain Easter eggs and callbacks and references to the original.” He said we will see an original movie cast member drop in on the series as well.

“I can confirm [it] happens, I just can’t say who or when!” Federle told EW.

‘HSM’ series producer says it’ll have ‘winks at the original but ‘with new songs’

The Office cast
The Office | Paul Drinkwater/NBCU Photo Bank

Federle said that the mockumentary style allowed them to create their own creative vision within the High School Musical universe.

The Office approach allows us to include winks at the original but do it with new songs,” Federle told EW. “It’s not a remake, it’s not even a reboot—it’s a remix of the original.” Federle didn’t want to copy the source material, and he knew a distinct style would distinguish the two.

… I wanted to differentiate us from the original [movies] right away. I knew that camera-style-wise, if I could borrow some of the elements from The Office, with characters talking to the camera and whip pans and zooms, it would immediately announce it as not a copycat of the original, but a new way in. And the docu-style would allow me to revisit the original music but not feel like we’re doing direct karaoke covers.

The new High School Musical series was ranked at number 6 on Entertainment Weekly’s “Must List” in its November issue. Disney+ debuted Nov. 12.

Original ‘High School Musical’ cast member Vanessa Hudgens sang this nostalgic song at karaoke

Actress Vanessa Hudgens played Gabriella Montez in Disney’s hit original film High School Musical (as well as HSM 2 and 3, of course). On Nov. 10, Hudgens took to Instagram to share a video of herself singing a song Disney fans will know by heart.

Hudgens threw it back big time to the HSM classic ballad, “Breakin’ Free.” This is the song introduces us to Gabriela’s singing talent in the early scenes of the first High School Musical film.

“Um,” the Princess Switch star started off her post. Hudgens poked fun at her own “really bad, aggressive, and totally sober” rendition of the hit HSM song. She admitted in her caption, “it hurts my ears but it also makes me laugh.”

We hope the new Wildcats can live up to this energy.

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https://www.cheatsheet.com/entertainment/the-surprising-way-the-office-inspired-the-new-high-school-musical-series-on-disney-plus.html/

2019-11-14 09:33:02Z
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CMAs 2019: Check Out the Complete Winners List! - msnNOW

And the winners are…

Blake Shelton, Luke Combs posing for the camera: CMAs 2019: Check Out the Complete Winners List! © Provided by Meredith Corporation CMAs 2019: Check Out the Complete Winners List!

The 53rd Annual Country Music Association Awards are airing Wednesday night, and PEOPLE is highlighting the night’s most exciting can’t-miss moments, performances and — of course — winners.

For her 12th year in a year, Carrie Underwood returns to co-host the awards, alongside country music icons Dolly Parton and Reba McEntire.

As for the nominees, Maren Morris leads the pack with six nods, with Brothers Osborne (consisting of brothers T.J. Osborne and John Osborne) close behind with four nominations. Dan + Shay, Dierks Bentley, Eric Church, Luke Combs, Kacey Musgraves, Blake Shelton, Chris Stapleton and Carrie Underwood received three nominations each, while Lil Nas X and Billy Ray Cyrus‘ “Old Town Road” — which was controversially banned from the country charts earlier this year before going on to become the longest-running No. 1 single to ever top the Billboard Hot 100 — picked up its own nomination. And in a welcome change, Underwood was listed among the nominees for the top prize in the traditionally male-dominated entertainer of the year category. She’ll go up against Church, Stapleton, Garth Brooks and Keith Urban for the award.

See the complete winners list below.

Dolly Parton, Carrie Underwood posing for the camera: Dolly Parton, Carrie Underwood, Reba McEntire | Mark Seliger/ABC © Mark Seliger/ABC Dolly Parton, Carrie Underwood, Reba McEntire | Mark Seliger/ABC

Entertainer of the Year

Garth Brooks

Eric Church

Chris Stapleton

Carrie Underwood

Keith Urban

Male Vocalist of the Year

Dierks Bentley

Luke Combs

Thomas Rhett

Chris Stapleton

Keith Urban

Female Vocalist of the Year

Kelsea Ballerini

Miranda Lambert

Maren Morris

Kacey Musgraves

Carrie Underwood

Vocal Group of the Year

Lady Antebellum

Little Big Town

Midland

Old Dominion

Zac Brown Band

Vocal Duo of the Year

Brooks & Dunn

Brothers Osborne

Dan + Shay

Florida Georgia Line

Maddie & Tae

New Artist of the Year

Cody Johnson

Ashley McBryde

Midland

Carly Pearce

Morgan Wallen

 Album of the Year

Center Point Road, Thomas Rhett

Cry Pretty, Carrie Underwood

Dan + Shay, Dan + Shay

Desperate Man, Eric Church

GIRL, Maren Morris

Single of the Year

“Burning Man,” Dierks Bentley feat. Brothers Osborne

“GIRL,” Maren Morris

“God’s Country,” Blake Shelton

“Millionaire,” Chris Stapleton

“Speechless,” Dan + Shay

Song of the Year

“Beautiful Crazy,” Luke Combs, Wyatt B. Durrette III, Robert Williford (Luke Combs)

“GIRL,” Maren Morris, Sarah Aarons, Greg Kurstin (Maren Morris)

“God’s Country,” Devin Dawson, Jordan Schmidt, Michael Hardy (Blake Shelton)

“Rainbow,” Natalie Hemby, Shane McAnally, Kacey Musgraves (Kacey Musgraves)

“Tequila,” Dan Smyers, Nicolle Galyon, Jordan Reynolds (Dan + Shay)

Musical Event of the Year

“All My Favorite People,” Maren Morris feat. Brothers Osborne

“Brand New Man,” Brooks & Dunn with Luke Combs

“Dive Bar,” Garth Brooks & Blake Shelton

“Old Town Road (Remix),” Lil Nas X feat. Billy Ray Cyrus

“What Happens in a Small Town,” Brantley Gilbert & Lindsay Ell

Music Video of the Year

“Burning Man,” Dierks Bentley feat. Brothers Osborne

“GIRL,” Maren Morris

“God’s Country,” Blake Shelton

“Rainbow,” Kasey Musgraves

“Some Of It,” Eric Church

Musician of the Year

Jenee Fleenor (Fiddle)

Paul Franklin (Steel Guitar)

Mac McAnally (Guitar)

Ilya Toshinskiy (Banjo/Guitar)

Derek Wells (Guitar)

The 53rd Annual CMA Awards air live from the Bridgestone Arena in Nashville on Wednesday, Nov. 13 at 8 p.m. EST on ABC.

Related slideshow: 2019 Country Music Awards: Winners and highlights (Provided by Photo Services)

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2019-11-14 04:30:00Z
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Jennifer Nettles Sent a Message to Country Radio With Her Outfit at the CMA’s - Vulture

Photo: John Shearer/WireImage,

Jennifer Nettles, one half of the band Sugarland, attended the 53rd CMA Awards with a message she needed get off her chest. And by chest, we actually mean the inside of her jacket. Nettles graced the CMA’s red carpet wearing a white pantsuit with a train attached to the jacket. Inside that bright pink train was a very specific, very clear message directed at country music radio that Nettles proudly displayed: “Play Our F***in’ Records Please & Thank You.” Nettles’ colorful outfit directly addressed the issue of gender-inequality in radio play that is currently plaguing country music. Nettle’s train not only demanded more radio time for female artists, but also addressed the gender-wage gap, as the words “Equal Pay” were written on her back. Maybe after watching the stellar “Women in Country” opening number which Nettles participated in, country radio will listen to the words written on Nettles’ outfit. After all, she did ask nicely!

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https://www.vulture.com/2019/11/jennifer-nettles-play-our-fucking-music-please-and-thank-you.html

2019-11-14 04:15:00Z
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Rabu, 13 November 2019

Prince Albert Told Prince Harry to 'Do What You Have to Do to Ensure Your Privacy' - Showbiz Cheat Sheet

Prince Albert offered Prince Harry, Duke of Sussex, advice about the media at the Rugby World Cup 2019 Final on Nov. 2, 2019. The 61-year-old Monaco royal told the Duke of Sussex he “sympathized” with him and gave him some words of wisdom at the match between England and South Africa. 

The event came about a month after Prince Harry announced he began legal proceedings against various tabloids for publishing private letters and voicemails belonging to his wife, Meghan Markle, Duchess of Sussex. It also followed the couple’s 10-day royal tour of Africa, their first official trip abroad with their son, Archie Harrison Mountbatten-Windsor. 

Prince Albert ‘sympathized’ with Prince Harry

What did Albert II, Prince of Monaco say to the Duke of Sussex? He told People they had a brief conversation at the match where they discussed the media and the environment among other things. We hope baby pictures of Archie were involved. 

“I completely understand his reasons,” Prince Albert told the publication in reference to Prince Harry’s lawsuit and the comments he made in the documentary, Harry and Meghan: An African Journey, where Markle confessed she’s “not OK” with all of it. 

Prince Albert and Prince Harry at the Rugby World Cup 2019 Final
Prince Harry, Duke of Sussex shakes hands with Albert II, Prince of Monaco at the Rugby World Cup 2019 Final on Nov. 02, 2019 | Cameron Spencer/Getty Images

In the documentary which aired in the U.S. on Oct. 23, 2019, Prince Harry revealed the sound of cameras clicking still brings back bad memories relating to his late mother, Princess Diana, who experienced intense scrutiny from the press, before her untimely death in 1997. 

Prince Albert also said he expressed his support and sympathy to the 35-year-old royal. 

He advised Prince Harry to ‘ignore it and move on’

The royal father of four shared more about his conversation with the Duke of Sussex.

“He has said he feels ‘bullied,’ and I can understand and sympathized with him over that,” Prince Albert said. 

Meghan Markle and Prince Harry on Nov. 9, 2019
Prince Harry and Meghan Markle on Nov. 9, 2019 | CHRIS JACKSON/POOL/AFP via Getty Images

The royal made it clear the words they exchanged were brief because they had other things to discuss. Although Prince Albert did say he offered advice on handling the media and the pressure that comes along with it. 

“We didn’t talk about it that much, because we talked about environment-related issues — and the rugby too — but I sympathized with him, saying, ‘Just do what you have to do to ensure your privacy.’”

He explained the words he gave the Duke of Sussex stemmed from his personal belief on what to do when it comes to negative press. 

“Sometimes you just have to ignore it and move on,” Prince Albert said. “Sometimes you can ignore whoever is out there that’s being too inquisitive or too hard on you.” 

The best thing to do “is not to pay attention,” he added. 

‘You have to protect your personal life’

Similarly to what Prince Harry said in the documentary about protecting his family — “I will always protect my family and now I have a family to protect” — Prince Albert echoed the same sentiment. 

Archie Harrison Mountbatten-Windsor, Meghan Markle, Prince  Harry on Sept. 25, 2019
Archie Harrison Mountbatten-Windsor, Meghan Markle, Prince Harry on Sept. 25, 2019 | Toby Melville – Pool/Getty Images

“You have to protect your personal life, your family and their intimacy as much as possible, whenever possible,” he said. “Especially when you’re a public figure with appearances to attend.” 

Although even he admitted the task is “harder to do than to say.” He continued saying it’s “especially difficult with the British press”  calling them “so inquisitive, so harsh.” 

Prince Harry and Markle are said to be taking a six-week break from royal duties, spending Thanksgiving in Calif. with Markle’s mother, Doria Ragland.

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https://www.cheatsheet.com/entertainment/prince-albert-told-prince-harry-to-do-what-you-have-to-do-to-ensure-your-privacy.html/

2019-11-13 13:11:18Z
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The Known and Unknown Are in Delicate Balance in ‘The Mandalorian’ - The Ringer

The allure of a universe like Star Wars, for audience and storyteller alike, is its scale. Every casual reference to an unseen planet or offscreen conflict widens our sense of possibility and deepens our sense of immersion in the vast, richly detailed world George Lucas incepted more than 40 years ago. To Disney, Lucasfilm’s corporate steward since 2012, this is an opportunity: practically unlimited real estate from which to develop full-fledged properties, paying dividends for years to come. But picking one’s spots is an art, and one Lucas himself proved less than adept at. Darth Vader’s origin story was an obvious subject for the prequel trilogy, but did we really need more information about pre-Imperial trade policy and parliamentary process? (Only my colleague Justin Charity thinks so.) Some exposition is better left implied.

Disney’s own track record is more mixed. On the one hand, its new trilogy, set to conclude this December with The Rise of Skywalker, has been a phenomenal success; on the other hand, Solo, a stand-alone prequel with a troubled production, infamously underperformed. More recently, Game of Thrones’ David Benioff and D.B. Weiss abandoned plans to develop a new trilogy of their own, compounding the impression that while Lucas may have left plenty of gaps to fill, he and successors like J.J. Abrams also set an impossibly high bar for future installments. With Lucasfilm head Kathleen Kennedy’s 2014 decision to wipe decades’ worth of expanded universe from the continuity slate, there’s nearly unlimited potential to add to Star Wars’ master narrative. But what reality could measure up?

Fortunately, the demands of Disney’s larger business answered the question of where to take Star Wars next before these hiccups had a chance to reach a crisis point. In launching Disney+—streaming wars entrant, Netflix killer, vault cracker—Star Wars was the obvious choice for a centerpiece. The franchise has acquired a reputation for quality over quantity, with CEO Bob Iger all but apologizing for rushing out Solo mere months after The Last Jedi. So while the Marvel Cinematic Universe will soon populate Disney+ with everything from WandaVision to Hawkeye, Star Wars will kick things off with just one series: The Mandalorian, starring Pedro Pascal as the eponymous bounty hunter. As of Tuesday, the 40-minute premiere is online, along with the rest of Disney+.

Intuitive as a Star Wars series may be, it poses many of the same risks as a new feature. What corner of the Star Wars universe is still dark enough to be worth exploring but well-known enough to spark interest? Will there be room for individual expression, or must the final product bend to an inescapable house style? Can a show sustain the intensity and production value of a trilogy-style epic over eight episodes? The stakes may be lower on the small screen, but they can’t be that much lower without diluting the magic.

The Mandalorian’s answer is to spend $120 million, recruit a competent manager like Jon Favreau from another wing of the IP palace to write three-quarters of the season, and surround him with directors like Rick Famuyiwa (of Dope and, briefly, The Flash) and Taika Waititi (who also has a first-episode cameo as a bounty droid), slightly more auteurist names who nonetheless know how to navigate a sprawling property. As for setting, The Mandalorian zeroes in on the interregnum between the fall of the Empire at the end of the original trilogy and the rise of the similarly fascistic First Order, which dominates the newer films. An ideal entry into this lawlessness is the life of a mercenary, someone squarely in the cross-section between desperate violence and Hobbesian competition that tends to emerge in the absence of a state.

Much of The Mandalorian’s premiere, at least when it comes to plot, is pure table-setting. Pascal’s nameless Mandalorian is established as a ruthless, efficient predator; a similarly anonymous Client (Werner Herzog, phoning it in and having a blast) offers a lucrative, under-the-table deal to acquire a mysterious target for unknown ends; the target turns out to be a half-century-old infant with the same pointy ears and diminutive stature as one Jedi Master Yoda. (The baby seems to be nonverbal, but the jumbled syntax will presumably come later.) The Mandalorian reaches out a finger, suggesting he’s abandoned his mission and chosen to take the baby under his wing. In less than 40 minutes, the premise is set.

What little we see of the Mandalorian’s backstory is standard lone-warrior stuff, a jaded fighter whose new protégé puts him in touch with his own lost innocence, Lone Wolf and Cub–style. Where The Mandalorian excels is in world-building, fleshing out a Star Wars subculture until it has all the heft of Jedi lore. The Mandalorian quickly establishes itself as a PG-13, extraterrestrial answer to John Wick, a window into a “guild” with ancient traditions and all-important bylaws. We’re clued into the rules with dialogue that’s swift and deft, never clumsy: Mandalorians are a tribe that replenishes itself with initiates known as “foundlings”; the iconic armor, best known as Boba Fett’s costume, appears to have an almost religious significance. The raw material is accepted as a down payment for a job, and it’s suggested—though not confirmed—Mandalorians aren’t allowed to remove their helmets. (That’s pretty much the only excuse I’ll accept for hiding Pascal’s face. At least Rian Johnson did us the service of getting Kylo’s mask off!)

The Mandalorian also sketches out the contours of a fascinating political setup, though it remains to be seen how seriously it plans to take them. The overthrow of the Empire in Return of the Jedi is taken as an unambiguous triumph; in The Force Awakens and The Last Jedi, the First Order and its rapid ascent is given little explanation. The Mandalorian acknowledges that a world without authority is not necessarily an easier or more just one, and that the resulting vacuum can create a craving for stability, no matter the price. That’s what underlies the potentially boring spats about currency between the Mandalorian and guild chief Greef Carga (Carl Weathers). A social contract as essential as money is no longer agreed upon.

Star Wars has always had trace elements of the Western alongside the high fantasy and war tropes, part of the something-for-everyone smorgasbord that’s made the franchise such an enduring hit. Beyond themes, The Mandalorian’s post-Imperial premise shapes Pascal’s character into even more of a cowboy on the frontier, sparring in well-staged shootouts at Mos Eisley–style cantinas and dealing with alien farmers voiced by Nick Nolte. With so little of The Mandalorian to judge thus far, its influences take on an outsized importance in terms of what to expect later on. We’ll surely learn more about events like a mysterious “Great Purge,” but we’ll also hit the expected beats of an antihero discovering an unlikely moral center. Like the Force itself, unknown and known coexist in a delicate balance. With a streaming TV show set between trilogies, Star Wars—and its audience—is getting to have it both ways: technically entering new territory, but still sticking to familiar turf.

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https://www.theringer.com/mandalorian/2019/11/13/20962033/the-mandalorian-review-star-wars-disney-plus-series

2019-11-13 12:57:27Z
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Han Shot First, but leave Lucas’ edits in Star Wars forever - The Verge

Whew! Disney+ has launched and the only place with more content than its app is our website. Wow okay that was corny, I’m sorry, but something about Disney brings out the safe, anodyne jokes.

Really, though, we’ve got quite a lot of good things to read about how to watch it, if The Mandalorian is any good, and explaining what’s up with the new 4K HDR versions of the original Star Wars trilogy. You know, the ones that include yet another unasked-for edit from George Lucas, specifically of the most controversial edit he ever made on a special edition. Yes, George Lucas changed Han Solo’s scene with Greedo in Star Wars: A New Hope, Disney confirmed.

Technically, it seems as though both shoot in the same frame in this edit, though it happens after Greedo says “Maclunkey,” which is a word that doesn’t get translated on screen in subtitle because it probably means something too filthy to be displayed in a rated-PG movie. It also handily is pronounced “My clunky,” which is precisely how I like to imagine Lucas refers to the pacing of his edits.

I am about to give you the hottest of my takes, sealed away since the ‘90s in my own personal Disney Vault. Here goes nothing: Han shot first, but leave Lucas’ edits in. Never change it back to the original version, never release an edition that doesn’t have Greedo shooting first or — at minimum — simultaneously with Han.

Hear me out on this.

First of all, let me speak to my fellow old people, those of us who saw Star Wars in the theater or on VHS as it was first edited, before the Special Editions changed everything. Let’s tell each other a real truth: although you thought of Han Solo as a gruff rapscallion with a heart of gold, you emphasized the “heart of gold” part in your mind. It wasn’t until you heard about the edit that you thought about the possibility that Han Solo is a murderer. He straight up killed a dude who was probably going to shoot him but Han didn’t know that for sure.

Han shot first in the original movie, but it was a small moment of character introduction that didn’t have a hundredth of the impact of Han Shot First, the movement of outraged fans making internet memes before there were places to easily spread memes.

When George Lucas changed that scene, he didn’t make Han Solo suddenly nicer and safer, he made Han Solo more dangerous and scary. He literally Streisand-effected the moment of Han’s first shot when he tried to edit it away. Nobody paid attention to that moment of potential murder and what it meant for Han’s character until Lucas tried to erase it.

That idea is part of the culture of Star Wars now. There are generations of people who see the movie and only learn later that Han Shot First. It is a piece of apocrypha that is ironically the most canonized part of Han’s character now.

It’s sort of obvious to me from all the many tweaks Lucas has made to that scene over the years that Han Shot First annoys the hell out of him. Maybe it’s his desire to have his auteur’s vision define the canon of Star Wars instead of fans. Maybe he really doesn’t think of Han as that bad of a guy and really wants us to see him that way too.

But in changing the scene, Lucas has only continued to call attention to the meme. I think it’s part of Star Wars now. Han Shot First is outside the frame in our narrative but it’s also right there in the movie itself, revealed in the ever-more awkward cuts.

I don’t ever want there to be an edition where Han actually shoots first again, because that moment of meta-textual awareness when you see him shooting second or when somebody tells you for the first time that Han Shot First is important. It de-mythologizes the grand myth of Star Wars, turns it into just a thing that people made up and then kept tweaking. It helps you recognize that it could have been made other ways. It makes you think about story and character building in a way you might not otherwise.

One of the reasons I love Star Wars fandom — and really, any fandom — is that we chose to make this our myth. Knowing that the myth itself involves choices we can disagree about keeps that myth from becoming religion. It keeps the myth vibrant and alive. Most of all, staying aware of those choices makes that myth ours.

(Don’t talk to me about Blade Runner cuts though. There’s only one true one and I won’t accept any discussion about it.)


Disney+ launches

+ Here’s all the news in one spot:Disney+: news and updates on Walt Disney’s streaming service

+ How to stream Disney+

You may think this is a simple answer and in some ways it is, but in other ways there are so many, many little details that might matter.

+ Disney+ experiencing ‘unable to connect’ errors on launch day

Some time ago this newsletter featured an essay expressing hope that Disney would nail the technical side of its streaming service thanks to the high stakes and the bona fides of BAMtech, the streaming company Disney bought. Oh well, there’s always day two through two thousand to get it right.

+ The Mandalorian’s first episode shows that Star Wars can work on the small screen

I am here for this: putting more Western into the Space Western. Chaim Gartenberg reviews:

The heavily Western mood does suggest that Disney is learning from its blockbuster Marvel franchise, which has seen massive success by dropping the MCU formula and characters into different genres. Much like how Captain America: The Winter Soldier is designed in the vein of classic spy films or the Ant-Man films are modeled after superheroic heists, The Mandalorian wears its influences proudly.

+ Disney+ doesn’t have to sell anyone on streaming

Good analysis from Julia Alexander. There is no other company in the world that can simply say “if you want these movies -- and you know which movies I’m talking about -- subscribe to our service.”

+ How to get a year of free Disney+ from Verizon

You know that moment when you learn that there are multiple levels of infinity in math and you struggle to wrap your head around it and at some point you think you have it but it slips away? Whoever is in charge of Verizon’s naming scheme is Galaxy Braining that situation:

First, you have to subscribe to one of Verizon’s Unlimited plans, including Go Unlimited, Beyond Unlimited, Above Unlimited, Get More Unlimited, Do More Unlimited, Play More Unlimited, or Start Unlimited.

+ Disney will tolerate password sharing on Disney+ — for now

In context, this makes perfect sense and seems reasonable. But imagine Emperor Palpatine saying it in another context.

Disney has tools at its disposal if password sharing gets out of hand or becomes an obstacle that stunts Disney+’s growth. “We have created some technology that’s in the backend that we will use to understand behavior,” Paull said. “And when we see behavior that doesn’t make sense, we have mechanisms that we’ve put in place that will deal with it.”

Reviews

+ Snap Spectacles 3 review: reaching new depths

It seems clear from Casey Newton’s review (watch the video!) that Snap doesn’t have illusions of making this edition a mass market success. It’s embracing the nice nature and focusing on better content creation. That is, I think, actually very smart for this kind of product:

The marquee feature on Spectacles 3 is a new kind of Snapchat filter that takes advantage of the glasses’ depth perception to create a new category of 3D effects. There are 10 of these depth perception effects available at launch — adding disco lights that bend as they hit your body; big red hearts that pop as you move through them, and so on.

+ Disappointing:Master & Dynamic’s MH40 Wireless look and feel like $300, but don’t sound like it

+ The best smartwatch to buy for your iPhone

+ The best smartwatch to buy if you have an Android phone

More from The Verge

+ Impeachment podcasts are about more than Trump

Ashley Carman gets into the biggest trend in podcasting. I found this part fascinating:

Although, on the surface, it might seem like putting all this effort into an RSS feed for a show with an expiration date is unproductive, WNYC says the effort won’t go to waste, even if people stop listening to the impeachment show once the proceedings end. The feeds can be reinvented or used in the future to promote shows, according to WNYC spokesperson Brisa Robinson. Thinking about RSS feeds as promotional tools is “standard practice,” she says, even for shows the team knows will be short-run series.

+ This new HyperJuice 100W GaN charger could be the charger of your dreams

I think this has a better than even chance of successfully launching, given Hyper’s history. And if it does, it has a better than even chance of being the charger in my bag. My only hesitation is that I prefer chargers that don’t take up more than their fair share of space on the power strip.

+ The problem with Google’s health care ambitions is that no one knows where they end

You could summarize most of this by saying Google is building a search engine for health care providers, aka following its long-held corporate mission “to organize the world’s information and make it universally accessible and useful.” But it seems the Ascension deal also includes some far-reaching research, particularly using AI and machine learning. This is where we get to the second part of Google’s mission statement — making information useful — and it’s here that the company’s ambitions seem limitless.

+ E-bikes are coming back to San Francisco after Lyft resolves issues with battery fires

I’m glad the bikes were pulled, I’m gladder they’re coming back, but I’d be gladdest if San Francisco (and every city really) was more aggressive at creating more and safer bike lanes. The city’s main artery — Market St — is about to go bus and taxi-only, at least. It’s a start.

+ Twitch Studio, the company’s streaming software for new users, is now in open beta

After a couple months of big-name streamers bailing on the platform, this is a nice piece of good news.

+ Minecraft Earth is now available in early access in the US

Done right, this could have more staying power than Pokémon Go, even though it may not get the same big cultural moment.

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https://www.theverge.com/2019/11/13/20962261/maclunky-han-shot-first-george-lucas-edit-star-wars

2019-11-13 12:00:00Z
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People's 'Sexiest Man Alive' Celebrity Photographer Shares What He Thinks Is Sexy - Showbiz Cheat Sheet

People’s 2019 “Sexiest Man Alive” is musician John Legend, who has already shared that the “1995 John would be very perplexed to be following 2018 @IdrisElba as #SexiestManAlive.”

But according to celebrity photographer David Burton, who shot Elba for People last year, sexy isn’t just about what is on the outside. In 2018, People editors sought someone who was having a moment or a campaign. But they also wanted someone who was respectful of women and someone who had a kindness and a generosity of spirit.

Managing Editor for People Magazine Larry Hackett attends People Celebrates Iconic "Sexiest Man Alive" Issue in Times Square
Managing Editor for People Magazine Larry Hackett attends People Celebrates Iconic “Sexiest Man Alive” Issue in Times Square |Cindy Ord/Getty Images for People

Like Legend, Elba was humbled by the honor. “I was like, ‘Come on, no way. Really?’” he said, People reports.

Now Burton shares with Showbiz Cheat Sheet what is his idea of sexy and what it was like to photograph the “Sexiest Man Alive.” And what does Burton, who often photographs beautiful people, truly think is sexy?

This is what ‘sexy’ means to him

Burton shared that one quality he thinks makes someone sexy. “Confidence in who you are and what you stand for,” he said. “I am sure that is not the first time you have heard that but it is so true.”

He adds that working with Elba was a treat too. “Idris is a great guy and I loved working with him,” he shared. “He is very comfortable in front of the camera which I think shows in the pictures.” Although a number of Burton’s shots were featured in the “Sexiest Man Alive” issue, he shared an outtake to his Instagram.    

Burton also said he feels lucky to work with people who seem to be comfortable behind the camera too. “I am always lucky enough to work with great professionals who are very comfortable in front of the camera.”

Burton makes his shoots fun to uncover his subject’s true essence

Even though Burton’s subjects tend to be pretty comfortable in front of the camera, he still uses some tricks to set the scene and enhance the mood. “With every commission I accept I focus on letting my subject be true to themselves,” he said. “A great photographer lets the subject’s personality shine through.”

He also sets the mood at the shoot through music and finds ways to ensure everyone has a good time. “As a photographer, I always try to make my sets fun whether it be through the crew I work with or the music that is played in the background,” he continued. “I am one of the lucky ones who loves going to work everyday because there is always fun to be had.”   

Although Burton is used to drawing out the sex appeal in human subjects, he was recently asked to shoot “The Sexiest Appliance Alive” for Maytag. He said, “The shoot was unique because the Maytag Man is portraying a hardworking and dependable Maytag appliance versus a man, so capturing the essence of that was fun.”  

In fact, Burton had as much fun shooting the appliance as he does some of his sexy human subjects. “I loved working with Maytag on the ‘Sexiest Appliance Alive’ campaign. Shooting an appliance was something new for me, but I had fun highlighting the true appeal of the brand and appreciate the brand’s sense of humor.  Maytag is known for its combination of dependability and desirability which was fun to capture, all while maintaining the Maytag Man’s persona as a hardworking appliance.” 

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https://www.cheatsheet.com/entertainment/peoples-sexiest-man-alive-celebrity-photographer-shares-what-he-thinks-is-sexy.html/

2019-11-13 11:54:23Z
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