Shane Black’s new movie The Predator is now in theaters but while some may be focused on the film, a lot of the buzz around the movie right now is surrounds what you won’t see in it. Specifically, a scene that was cut at the last minute following the revelation that the actor in it was a registered sex offender. Since the casting of the man in question was done by director Shane Black, who had a personal relationship with the man, a lot of heat has come down upon him. Last night, at the red carpet premiere of The Predator, Black apologized to everyone for everything that came about due to what he called an “irresponsible” error in judgment. Check out his full apology below.
Shane Black tells the Associated Press that as director of The Predator he was the captain of the ship and ultimately responsible for everything that happened. And he does take full responsibility. He understands that he made a serious error in hiring his friend Steven Wilder Striegel and putting him in a scene in the movie. While he does say that there were things he didn’t know about the situation that shocked him, he doesn’t use that as an excuse, he says it was his job to make sure those things don’t happen, and in this case, he failed, causing pain to people in his cast.
He’s also upset because, due to his error, this situation is now hanging over the movie, which means the cast and crew that helped make it can’t enjoy their success as much. He does say he hopes he learns from this experience. If this apology is as genuine as it sounds, he almost certainly will.
All of this transpired just about a week ago, when Olivia Munn, who shared the one scene that Steven Wilder Striegel appeared in, learned of his history as a sex offender. She brought the information to studio 20th Century Fox, who made the decision to cut the scene ahead of The Predator‘s premiere at the Toronto International Film Festival.
Frequently, we see public apologies like this get defensive or attempt explanations or justifications. We certainly don’t see that here which is a welcome change of pace. Shane Black clearly understands he made a big mistake in the eyes of his cast and the public in general. While this is potentially a much bigger mistake than the average person makes on a daily basis, and an apology alone might not be enough to clear up the issue in everybody’s eyes, the apology is an important part of making things right and it’s an indication that Black understands what he needs to do to earn back the trust of others.
For our special fall style section, “50 Elements of Style: Your Fall Guide,” we created this custom embroidered vintage Levi’s jacket, covered in patches and pins. And now we’re giving it away in a special contest. All you have to do is submit your name, address, telephone number, email address and your answer (in 100 words or less) to the question: “What was your most regrettable fashion purchase–and why?” (See link below).
It could be that pair of trendy shoes you were convinced would “eventually” expand to fit your feet,…
If you’re not following Blake Lively on Instagram, you’re missing out on a lot of A+ flirting between her and husband Ryan Reynolds—that, and some seriously impeccable suits. Lately, her feed has been filled with so many good ones, in fact, that we made a shopping gallery inspired by them. (Trust, it’s the ultimate compliment.)
Scroll through her recent posts, and you’ll see this plaid number…
… and a look she correctly dubbed “Boss. Baby.”
Outside of Instagram, Lively’s been photographed in even more strong suits, too. I like this one, which I call “Fashion Willy Wonka.”
My personal favorite, though, is this velvet-on-velvet-but-no-shirt situation.
Lively didn’t just wake up one morning and think, “I’ll give the Annie Hall look a try.” Rather, this is a coordinated effort to promote her new film, A Simple Favor, which premieres today.
In it, her character, Emily, plays a fashion publicist/fixer to a Marc Jacobs-esque designer. She wears a lot of suits. Behold.
While at a screening for the film—which, by the way, you should definitely go see if you like Henry Golding’s face (and who doesn’t?)—I noticed that Emily’s signature look felt familiar. Specifically, it reminded be of that of Paul Feig, the director of A Simple Favor, who is famous for wearing flawless, well-tailored suits. Surely, given his role in the project, he had some influence over the styling, if only to offer tailoring tips.
That theory was all but confirmed during New York Fashion Week, when Lively and Feig showed up to the Ralph Lauren‘s 50th Anniversary party and show wearing matching tuxes.
It turns out, there really is some truth to it: According to Renee Ehrlich, A Simple Favor‘s costume designer, Emily’s look in the film was mainly based on actresses from the Golden Age of Hollywood… with a little of Feig’s style thrown in: “There [were] wonderful mood boards I created looking at all the ’30s and ’40s actresses that wore men’s suiting. I’ve always personally loved men’s suiting and, you know, putting a suit on Blake is a very easy thing to do. It really evolved. We all simultaneously said, ‘Somebody should look just like Paul.’ I mean, look at him. Every day, he’s a dream.”
Lively had a hand in the creation of Emily and her wardrobe, too. During a red carpet interview at the film’s premiere, she said: “[Paul was] like, who do you want to look like? Who do you want to be? We’d be on set and I’d be like, ‘Is this too much?’ And he’s like, ‘Yes it is, let’s do it.’ I love that.”
Emily’s showstopper suits serve as a stark contrast to Stephanie, Anna Kendrick’s character, a mommy blogger who gravitates toward the kind of preppy sweaters and floral blouses you might find in an Anthropologie or J.Crew.
That was intentional, of course: “It was really interesting because it couldn’t have been two [more] different characters,” Ehrlich continues. “One was this powerhouse character who was, we really wanted to create a very iconic look, on somebody who absolutely didn’t care about fitting in. Opposed to Anna’s character who was really trying very, very hard to fit in.”
The takeaway? Despite being a decades-old trend, Le Smoking continues to be the go-to for women with something to say. I’ll see you at the tailor.
Birds chirp, two assistants chase after a small dog named Biggie, a makeup artist fusses over primer and lash glue. Hair tools drone on like white noise machines, a rack of sequined clothes is wheeled in, music that can be best described as reggae-ish? blasts over the loudspeakers.
But in the middle of this tumult, a woman hunched over an iPhone oozes calm. Her back is toward me. Her legs are crossed. Her torso is wrapped in the tiniest robe I’ve ever seen outside a Barbie Dreamhouse. “Hi, hello. I’m here,” she starts. It’s Bethenny Frankel—at our service.
No, it’s true. She is. It’s been almost 12 months since hurricanes throttled Texas and Puerto Rico, and in that time, Frankel, 47, has not just rallied humanitarian aid with some choice Instagram posts, but launched her B Strong disaster relief initiative, traveled to decimated towns and down remote access roads, filled a warehouse with donated goods, handed out hundreds of thousands of dollars in cash cards with her team, and chartered 54 private planes to deliver much-needed supplies. (That’s her count, and it doesn’t include the cargo ships she later summoned. Those carried “50 times” what the planes could, “like 1,000 school busses,” she estimates, piled on top of each other.) She has also marshaled resources for Mexico and Guatemala, after a volcano erupted and killed more than 60 people in June.
To be clear, she’s as surprised as we are that this work has commanded so much of her attention. Sure, in the past she’d written some nice checks and volunteered her time—her involvement with Dress for Success can be traced back through several seasons of The Real Housewives of New York City. But the hurricanes, the planes, the insulin shipments, the warehouse, the “Bethenny for President!” tweets—this is unprecedented. She doesn’t quite know how to make sense of it, but she tries. She had indeed wanted to do more. She wanted to be charitable in genuine emergencies, but on one condition: “I wanted it to be dire,” she tells me. To “get in before anybody else is [there] and it’s really at phase zero.”
I’ve come to interview Frankel in her much-vaunted SoHo apartment, which fans of RHONY will know well. It reportedly cost Frankel $4.2 million, a steal in the New York City zip code. She nabbed it. The apartment is immaculate—done up in charcoal and silver, with gilded accents and a tasteful smatter of lucite. There is no clutter, except near the door where I know to leave my shoes. Two days before our interview, I received an email that stipulates the no-shoe rule. It’s 90-something degrees in New York, but I don’t have time to get a fresh pedicure; I settle on white sneakers and the nicest socks I own. (When I pad across her floors, the pale wood is so smooth and supple I want to speak to its dermatologist.)
And then there’s Frankel, hidden behind a slate-colored partition in her dedicated glam room. Even in loungewear, she looks fearsome.
I’m invited to sit down on a stool at her feet, which I do. She offers to include me in a selfie, which I decline. We dive in. This humanitarian work, the stuff I’ve come to discuss with her—she knew from the start she needed to treat it like one of her investments. At first, she was underestimated. She wanted to help, but no one would give her an in. That was fine: It’s par for the course for a woman in business, even one who inked a reported $120 million deal on the sale of her Skinnygirl Margarita enterprise. So Frankel struck out on her own. When the storms hit Houston, she printed #thisisacrisis on a tee and raised over $300,000 in supplies and donations. Then she turned her attention to the earthquake and aftershocks in Mexico, where she hand-delivered supplies. When the hurricane slammed Puerto Rico, Frankel resolved to get on a plane. “I was told, ‘You can’t go,’” she remembers. There was no running water. No power grid. It was dangerous. But tell Frankel she can’t do it—make millions, flip a house, renovate an apartment—and her mind is made up.
“If you think that everybody else is cleaning up the mess, the mess isn’t getting cleaned up,” she reminds me, while a makeup artist buffs blush onto her cheeks. Less than two weeks after Hurricane Maria made landfall, she was on a jet.
Frankel has an ethos, and she shares it with Nike. Just do it. Think about it: How many people want jobs, but decide not to fill out the application because someone else is bound to get it? Well, if candidates all deluded themselves like that, no one would ever get a gig. Frankel is decisive. She doesn’t guess about other people’s chances. She doesn’t check to see who’s made a public statement or look up how much other famous people have donated. She finds a gap in the marketplace, and she rushes in. When The New Yorkerprofiled her in 2015, her ambition was summed up like this: “Her goals are imperial.” But it feels like more than that. She doesn’t seem like a queen. She seems like a movement.
Frankel tells me she had under 24 hours to plan that entire first mission. And in that time, she had to: decide what to fill the plane with, get that stuff to the plane, map out where to land, contact children’s hospitals, reach out to pet organizations, and connect with the survivors she’d “met” on Twitter. “It’s building a plane while you’re flying it…I don’t know how it came together.”
“Once you’ve had a success, the next time it’s easier.” That’s true of cocktails and denim deals. It’s also true of natural disasters.
But it did. Activists took note. Fans swarmed her feeds. People whispered that she’d done more for Puerto Rico than the President of the United States. Then, louder: If Trump had been elected off The Apprentice, why not Frankel off RHONY? America loves celebrities, and wouldn’t Andy Cohen make a better cabinet member than Betsy DeVos? Frankel has said—and confirms, in our conversation—that she has no interest in the White House. But the more she pushes back, the clearer her similarities to President Trump become. She doesn’t want to be president because she is not, in her own words, “diplomatic.” She likes to sit in her pajamas and is “not really politically correct.” She doesn’t go so far as to bemoan fake news, “but really,” she tells me, “the media is controlling everything” and “there’s a lot that needs to be done with” it. She doesn’t care what political leaders in Guatemala or Mexico think of her efforts, OK? “Maybe that is like Trump. I don’t know.”
But the essential difference between them is evident, too. President Trump has been in office for 22 months, and his lone major legislative accomplishment is an unpopular tax bill. He seems to awake to fresh legal threats several times a week. Meanwhile, Frankel has submitted to more rancorous reunion shows than he has non-Fox News sit-down interviews. This season, she survived the bacterium that poisoned almost all the housewives in Cartagena, Colombia. It was no match for her! Like her or not, she endures when most people give out.
No sooner had she landed on that first trip to Puerto Rico than a friend texted her and said, “‘I’ll give you my plane also.’” So, that was two planes. Frankel reached out to another friend, whom she knew was in a position to help, and said, “Well, this person donated a plane, and I did a plane.” That person ponied up one as well. Frankel’s makeup guru has moved on to lips at this point, but he has to pause to accommodate her smile. This is sweet. This is the point. The planes were evidence that she’d proven the concept: “Once you’ve had a success, the next time it’s easier.” That’s true of cocktails and denim deals. It’s also true of natural disasters. She’d shown it was possible. After that, the effort exploded.
All this is not to suggest that Frankel worked at some remove or saw the aid as a mere transaction. Far from it. Instead, she treats her responsibilities on the ground like she does her 9-to-5 (er, 5-to-midnight) work. She brims with passion and expertise, and she can dip into vast reserves of rage in an instant. She doesn’t bullshit. She doesn’t care if she makes people uncomfortable. When she tries to describe what she witnessed, first in Mexico, then in Puerto Rico, her voices almost cracks. “Beyond third-world,” she says. “A father holding his baby, and his head is split open, bleeding. People trying to do medical procedures on the street that might not even be doctors. People holding bags of medicine. And you could see rubble, just piles, stories high, and people were just dead under there.”
That first time on the ground in Puerto Rico, she walked into a government building. It was October, and the whole region was in shambles. She was 15 minutes from where people were still on their roofs, desperate for water. But here, the men were in clean khakis and drinking coffee. She thinks it’s possible these men were meant to deal with “grander political” issues than the ones she’d taken on and weren’t supposed to drive out to save people who needed ventilators or were trapped without medical supplies. But she also knows she didn’t sleep the whole time she was there. Her clothes weren’t clean.
“It was brutal and unhealthy and not right, but maybe people just assumed that someone else would take care of it,” she says. “I don’t know. I know that building freaked me out. I never went back there again.” When she’d landed in Puerto Rico, she said to her team, “Let’s just play by the rules and let’s go to the government building and see what’s going on.” After, she said, “Fuck that building, and those people in that building.”
“It can’t all be doom and gloom and aid. Puerto Rico doesn’t want to be sobbed over. They want us to come, spend money, and build it back.”
Frankel went off-book. She decided to hand out cash cards, not clothes or even food, which spoils fast. (“Sorry, I know people want to donate clothes. Clothes are a nightmare to sort. It’s just not what people need or want.”) Cash cards give people choices. It restores to people a measure of respect. Most of all, it pumps dollars back into circulation. “It can’t all be doom and gloom and aid. Puerto Rico doesn’t want to be sobbed over,” she says. “They want us to come, spend money, and build it back.”
Peoplereported in October 2017 that Frankel was on track to raise over $1 million in funds and supplies just for Puerto Rico. Her contribution, she tells me, “is said to be the largest private relief effort in the United States in that period of time.”
She basks in that, but just for a second. “I did think it was interesting that Trump never said anything,” she adds. No note of thanks or phone call from him or his team. Nada. She wonders whether she hasn’t heard from him because he feels it would make him look bad. But Frankel assures me she doesn’t see it like that. Some gratitude would have been a simple acknowledgment. She dictates: “There may have been some balls dropped because there’s so much going on in the world, so thanks for doing your part as a citizen.”
She’s miffed. Not furious, but just conscious of it. She floats the notion that Trump doesn’t know. He hasn’t seen what she’s done and accomplished. He hasn’t spied the jets! Given his obsession with how the press responded to his inaction in Puerto Rico and the praise that was lavished on Frankel in return, this strikes me as implausible, I tell her. She laughs, shooting down her own speculation. “I can’t imagine he doesn’t know because he knows me. So he knows. Got it. I will not wait near the mailbox.”
When we meet, Frankel tells me she’s scheduled to return to Puerto Rico, where the official death toll has risen to 2,975, an estimate 50 times the initial number, in September. She plans to take her daughter, Bryn. But Dennis Shields, with whom Frankel was in an on-off relationship, is found dead of an apparent overdose later in the summer, and the trip is postponed. A week after our interview, Frankel puts on a gown and a fresh pair of false lashes to shoot this season’s The Real Housewives of New York City reunion show. (Most of which can best be described as: Everybody Hates Bethenny.)
I start to question what it must be like to deal with the raw horror in Puerto Rico and then return to this—
“And deal with bullshit?” she breaks in, cutting me off. “There’s different categories. I’m going to go out for a nice dinner when I’m here, and I’m going to be filthy and dirty and clean myself with wipes when I’m there. It’s different.” When she travels on vacation or a business trip, she flies first class. She wants a seat that turns into a bed. This baffles her assistants: Frankel in 32E to deliver aid to Mexico. But the dissonance—that’s just how it is. “It would feel very strange to be like, ‘I’m not going to go on that Guatemala flight because it’s coach.’”
“There are leaders and there are followers. There are doers and there are talkers. I’m a doer, and I’m a leader.”
At the start of her career, Frankel worked for a publicist whose name she can’t even remember. At the office, she would talk on the phone while she completed whatever menial tasks she’d been given. But the publicist hated it. “She said, ‘There’s no talking on the phone.’ And I was like, ‘Why? I’m fucking licking envelopes. Why can’t I talk on the phone? Why can’t I wax my legs, if I’m licking the envelopes. What’s the difference? Who cares?’” Those edicts—what good do they do?
Now, if Frankel has a rule, trust it serves a purpose. It’s not just for some fake sense of decorum. It accomplishes a discrete aim. Like, it ensures that her floors are the most radiant and unblemished in all of Manhattan.
“There are leaders and there are followers. There are doers and there are talkers. I’m a doer, and I’m a leader,” Frankel tells me. Or at least, I think she does. I’ve been perched on a stool for 45 minutes, but I haven’t met her gaze once. This whole time, she’s stared ahead at the mirrors in front of her. Even once her makeup is done and her hair has been tousled just so, she doesn’t waver. I look at her there too, not facing the cheek that’s turned toward me, but watching her watch herself.
Frankel claims she doesn’t like niceties. (Unless they’re thank-you notes from the Oval Office.) She likes action. “Go fix the problem.” Then she pauses, brows filled in and narrowed. “I don’t talk about what women don’t get and men get,” she says. “I just get.”
There’s a trend in Hollywood as of late, where sequels continue from certain points on a timeline of a series narration, and overlook sequels — continuity be damned. David Gordon Green’s Halloween sequel does this, building right off of the story in John Carpenter’s original film. And Shane Black’s new The Predator takes its cues from the original, but absolutely acknowledges Predator 2 as being canon. So when we sat down with the cast at a recent press day, we asked which of the previous Predator movies they suggested audiences watch before going to this new one, and they told CinemaBlend:
It definitely would be strange to drop into Shane Black’s The Predator without having seen any of the previous films. Without diving into any specific spoilers, there are lots of references to the original film, and a few nods to the sequels, that will play better if you understand this world, and what has come before it. As young Jacob Tremblay explains, the humor is somewhat rooted in the audience understanding the point of the Predator movies, and that traces back to the first film.
That being said, if you haven’t yet seen Arnold Schwarzenegger facing off against an alien menace in the original Predator, what the hell is the matter with you? It’s an action-movie classic. Rectify that nonsense, then grab a ticket to Shane Black’s new film.
In The Predator, a military sniper (Boyd Holbrook) on mission in Mexico encounters a small Predator who is on a mysterious mission of his/her own. Caught up in a government investigation, Holbrook must now team up with a band of loony ex-soldiers and a curious scientist (Olivia Munn) to prevent an Ultimate Predator from causing even more harm.
The movie opened in theaters on Thursday night, and is poised to take the box office by storm this weekend.
When you invite Rihanna to an event, you’re basically automatically anointing her as “best dressed” before she even sets foot on the red carpet. So imagine what happens when she’s the one hosting. You don’t have to, because her ensemble for the 2018 Diamond Ball, the annual soirée that benefits her Clara Lionel Foundation, pretty much proves that she’ll pull out every possible sartorial stop.
The 30-year-old made an entrance at Cipriani Wall Street in New York last night in a jaw-dropping Alexis Mabille Couture look that was part catsuit, part ballgown: The bottom layer, which featured a mock neck and long sleeves, was made of intricate white lace; a billowing skirt was attached to make it seem like a huge piece of white satin had been tied around her waist into an oversized bow that also covered her chest. Truly, it’s one of those outfits you need to see (and admire) from every angle—and, luckily, the photographers assembled at the Diamond Ball red carpet did just that.
Rihanna completed the Alexis Mabille Couture look with simple white heels and dramatically luxe diamond earrings and rings from Chopard. She wore her long, dark hair in a deep side part and romantic, tumbling curls, and sported her trademark glowy Fenty Face with a subtle smoky eye and a glossy peachy-bronze lip.
Thursday night’s ensemble was just the cherry on top of an incredible week for Rih. On Wednesday, she closed out New York Fashion Week with the first-ever runway show for her lingerie brand, Savage x Fenty. She explained why it was so important for her to highlight women of all skin colors, body types, and backgrounds at the event: “I wanted to include every woman. I wanted every woman on the stage with different energies, different races, body types, different stages in their womanhood, culture,” she told Elle. “I wanted women to feel celebrated and that we started this sh*t. We own this. This is our land because really it is. Women are running the world right now and it’s too bad for men.”
The next time you find yourself in a London grocery store, you might want to take a look around. There could be a royal in your midst. According to People, Meghan Markle routinely goes to the Whole Foods five minutes from Kensington Palace incognito. Duchesses! They really are just like us.
A source tells People that Markle is spending “most of her weekends in the Cotswolds with Harry.” However, she does do things solo from time to time. “When she does venture out to Pilates or to get her hair done, she normally goes incognito under a baseball cap,” the source added.
Markle’s reportedly also a big fan of Whole Foods. “The only other place she has visited regularly is Whole Foods, which is little more than five minutes away from Kensington Palace,” the source also revealed to People. “That way she can quickly sneak in and out without anyone noticing it’s her.”
By all accounts, Markle has adjusted quite nicely to her whirlwind life as a royal, but let’s not forget it was only a few years ago that she was living a life of relative anonymity, filming her show Suits in Toronto. It’s no surprise she’s trying to maintain some sense of normalcy.
If this story is true, it’s comforting to know Markle still does some of her own grocery shopping. After all, she is an accomplished cook. According to author Katie Nicholl’s book Harry: Life, Loss, and Love, Markle even made several large dinners for herself and Prince Harry during their early courtship. And never forget that Prince Harry proposed to Markle while they were roasting a chicken! Bon appétit, you two.
Activist and actress-turned-gubernatorial candidateCynthia Nixon lost her highly publicized bid for New York governor on Thursday night, with her opponent and incumbent governor Andrew Cuomo cinching about 65 percent of votes.
Despite the defeat, Nixon left her supporters with a rousing concession speech, in which she urged progressives to continue fighting for change and pushing for equality in New York and across the rest of the country.
“This is not a time to settle for the way things are, or sit back and hope for things to change,” she said. “This is a time to fight. As long as New York remains the single most unequal state in the country, we will keep fighting.”
Nixon had positioned herself as a progressive alternative to Cuomo and promised to change the status quo. Had she won, the former Sex and The City star would have been the state’s first female and openly gay governor, and her platform included championing LGBTQ causes, as well as solutions for racial and economic injustice.
In a statement to Glamour after announcing her candidacy, she explained how the election of Donald Trump was a “wake-up” call to women who have launched political campaigns this year in unprecedented numbers.
“I’ve been humbled and inspired by the thousands of women who are running for office for the first time. And today, I am honored to join their ranks,” she said.
Nixon, like recent progressive candidates such as Alexandria Ocasio-Cortez, had pledged not to take any corporate campaign money and eventually secured a record number of small donors that helped her pull 30 percent of votes. She ended up raising about $2.5 million—just a fraction of the $25 million Cuomo reportedly spent on television ads and mailers, according to the New York Times. Buzzfeed reported that Cuomo’s spending per day was almost the same amount of Nixon’s total.
In her speech on Thursday, Nixon praised the gains her campaign had made despite being up against Cuomo’s hefty budget, and said she was inspired rather than discouraged.
“Before a single vote was cast, we have already won. We have fundamentally changed the political landscape in this state,” she said. “This campaign changed expectations about what is possible in New York state.”
She also evoked the achievements of recent progressive candidates, such as Ocasio-Cortez and Ayanna Pressley, who have toppled long-standing incumbents and represent a new era of progressive politics. She urged Democrats to “stand for something” and take back the party while encouraging a new generation to keep pushing forward.
“This is an incredible moment for progressives, but it is not just a moment. it is a movement, and this movement is only growing stronger… To all the young people. To all the young women. To all the young queer people who reject the gender binary. Soon you’ll be standing here, and when it’s your turn, you’ll win,” she said.
Over the past decade of filmmaking, the superhero genre has become arguably the most popular genre. Comic book adaptations have their own set of tropes, one of which being a teasy mid-credits scene. Starting with 2007’s Iron Man, fans have become accustomed to staying seated during a film, in hopes of a few more seconds of footage. Sony is getting more involved in the comic book genre through its upcoming blockbuster Venom, based off the Spider-Man character of the same name. Directed by Ruben Fleischer, the movie will star Tom Hardy as Eddie Brock/Venom. But will it have a mid-credits scene? Fleischer was recently asked just that, responding with:
Well, that’s about as close to a confirmation as one can get. While Ruben Fleischer is still trying to keep the contents of his upcoming comic book adaptation under wraps, he’s encouraging audiences to stay seated to catch a bit more of Venom after the credits roll.
Ruben Fleischer’s comments to Fandango should be exciting for all the hardcore comic fans out there. Moviegoers have become accustomed to mid-credits scenes, even if they’re short comedic moments like Avengers‘ shwarma scene. And since Venom will be the first installment in the developing Spider-Verse, the pressure is on to deliver a satisfying movie, and potentially set up future movies. Now the question is, what could the extra scene include?
It’s all going to depend on what happens throughout the course of Venom, and how Eddie Brock’s origin story ultimately plays out. While Brock is a regular journalist, he’ll be sharing his life and body with the symbiote Venom. This will give him awesome abilities, but will the monster’s more savage instincts prove too much for the protagonist? Will he end up starting on a path of villainy?
There are also potentially big things in store for Michelle Williams’ character Anne Weying. In the comics, Weying has often transformed into She-Venom, and gained the awesome and terrifying abilities from merging with the symbiote. While Williams revealed she didn’t do any of the mo-cap that it would require, she’s also expressed interest in exploring that plot line in a potential sequel. It seems a waste to keep an actress like her on the sideline, so let’s hope that Anne still has a major role in the events of Venom.
Venom‘s mid-credits scene also has the potential to be the final scene in the franchise. If the upcoming blockbuster fails to perform at the box office, it’s possible Sony would choose not to move forward with a sequel. The pressure is on for Ruben Fleischer to really deliver.
Venom will arrive in theaters on October 5, 2018. In the meantime, check out our 2018 release list to plan your next trip to the movies.
The Tonight Show and its host Jimmy Fallon love to wheel celebrities out in front of the general public for some costumed chicanery. Whether it’s with Paul McCartney popping up at an elevator stop or with Adam Levine rocking out in the NYC subway, Fallon frequently finds new ways to surprise everyday New York citizens. He was at it again recently, hitting up Central Park with pop superstar Justin Bieber for a mustachioed good time of photobombing unsuspecting people:
Both appearing as if they’d just woken from a couch nap, Jimmy Fallon and Justin Bieber pranced around Central Park and did whatever they could to be as distracting as possible. Most people tried to ignore them, perhaps thinking they were random YouTubers or struggling film students invested in a bad sketch. That’s almost certainly due to the fact their disguises were so good in their awfulness, since there’s little chance someone on the street would’ve instantly guessed Justin Bieber was underneath that wig, mustache, and sunglasses.
There’s also a good chance that many people simply thought the two incognito celebs were just being annoying with their sporadic actions, especially if the piped-in Justin Bieber song “What Do You Mean” was playing loudly over what would typically be a peaceful park visit. His music isn’t necessarily the most stroll-worthy.
The whole thing is great, too, but it’s the end of The Tonight Show bit really caps why the disguises are so perfect. It took all of a few seconds after Justin Bieber’s official reveal before a crowd flocked toward the singer. Though it appeared many more park-goers were headed in their direction, Bieber and Jimmy Fallon decided to scoot on back to the studio before they got swarmed by all those admiring fans. Had Bieber’s identity been discovered right at the start of filming, it’s more than likely this whole bit would’ve been a wash due to tons of folks getting in the way to take selfies.
For anyone visiting New York City and currently kicking themselves for not being in Central Park recently to see Justin Bieber, worry no more, as this skit was filmed last month and well before the latest episode of The Tonight Show. News of the segment’s creation first spread in mid-August, with several news outlets getting curious about what Justin Bieber and Jimmy Fallon were up to in Central Park. Amusingly, Fallon threw folks of the trail somewhat, running a promotion for a different episode of The Tonight Show that day, and doing what appeared to be an impression of WWE Hall Of Famer Ric Flair.
To be fair, we would also watch Jimmy Fallon’s Ric Flair walking around New York in a fur coat and slapping people across the chest.
The bit’s delayed airing was justified, with The Tonight Show actually making history as the first ever late-night show to tape in Central Park. Jimmy Fallon performed his nightly show in front of 1500 members of the live audience, and producers acquired the New York Philharmonic to accompany The Roots on stage throughout the show. The sometimes emotional Justin Bieber was not there to mark the momentous occasion — perhaps he was out with his fiance — but Blake Lively and Carrie Underwood served as suitable substitutes for the Biebs.