10 Years Later, 'Scott Pilgrim vs. the World' Is Still Ahead of Its Time by William Goodman

This article originally appeared on Complex.com

About halfway through Scott Pilgrim vs. The World, Michael Cera's titular character, wonders aloud why his indie rock band, Sex Bob-Omb, can’t have their “own secret shows.” Sardonic drummer Kim Pine (Alison Pill) quickly retorts by stating the band’s lack of clout makes it so “all of [their] shows are secret shows.” 

Scott is too in his head to fully process Kim’s comment, but the dialogue is much more than a joke. The rapid-fire exchange doubles as a treatise of the Edgar Wright film’s reception upon its initial 2010 release, wherein it played to small audiences as a veritable secret show of its own. Scott Pilgrim was a box office Sex Bob-Omb, making a little over $10 million off its $60 million budget, but found a second life as a cult classic upon home release. Examining the movie adaptation of the Bryan Lee O’Malley graphic novel series—the 10th anniversary of its release is today, August 13—and it’s clear Scott Pilgrim vs. the World is like an indie band who dropped an album that hardly anyone heard but managed to be the best representation of its genre.

While 2010 was certainly no stranger to comic book adaptations—Iron Man 2Kick-AssJonah Hex, and The Losers all dropped alongside Pilgrim—the genre was still a few years (and an Avengers release) away from entirely devouring the box office. These halcyon days meant a visually distinctive director like Wright could create a look and feel that was inherently unique. Scott Pilgrim soars in this regard; Wright’s penchant for dynamic camera work creates a kinetic language for the movie. Characters themselves are framed as a way to transition between environments and scenes. Conversations often splinter into split-screen to evoke feelings of a comic book panel itself, and onomatopoeias like the ringing of a school bell graphically announce themselves on screen. These individual moments look cool, sure, but when added together, they create a sizable cinematic structure that’s the closest thing live-action movies (Into the Spider-Verse nails it on the animated side) have come to conveying the experience of actually reading a comic book.

O’Malley’s graphic novels lent themselves well to Wright’s comedic sensibilities, too. At the time, most of the director’s film projects had come from his own original material, so the idea of adapting someone else’s story seemed a bit of a departure. It turns out the two creators have a lot in common. The main characters of Wright’s Channel 4 sitcom Spaced—Daisy Steiner (Jessica Stevenson) and Tim Bisley (Simon Pegg)—aren’t dissimilar from Scott in their overall lack of direction and the heightened surrealism in which they occupy. Spaced provided a foundation for Scott Pilgrim to build upon, as Wright is well suited to translating the aimlessness that comes with your twenties.

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Wright also found a perfect actor for his version of Scott in Michael Cera. Initial feedback around Cera’s casting drew hearty skepticism from diehard fans of the O’Malley series, but seeing the performance in action eliminated those criticisms. Cera’s version of Scott serves as a direct parody of the Arrested Development and Superbad-like roles he held before. Wright and Cera’s version of Scott Pilgrim is selfish, a pitiful whiner who agonizes over the slightest inconvenience. The way Cera moans and groans about the simplest of tasks is rooted in those prior roles but sees the actor ratchet the theatrics up another level to serve the story, before subverting it by having Scott gain some maturity. The more removed we are from our twenties, the shittier Scott’s demeanor seems. Yet, there is something relatable about the situations Scott finds himself in as he struggles to take responsibility for his actions—and that’s before you add in Ramona’s relationships with her (Mary Elizabeth Winstead) evil Exes to the equation.

The conceit of literalizing the baggage of past lovers was always one of the brilliant strokes of O’Malley’s series, but it translates even better to the screen under Wright. The graphic novel’s inherent video game logic and influence come alive in absolutely kinetic sequences. Matthew Patel’s (Satya Bhabha) fight is equal parts Street Fighter and Enter the Dragon. Famous actor Lucas Lee (Chris Evans) gives Scott Pilgrim a chance to do a cutting satire of a hardened action star. Former Superman actor Brandon Routh’s Todd Ingram channels his absurd vegan powers like a Dragon Ball Z Super Saiyan. On and on it goes. Each of the seven battles is bolstered by shifting aspect ratios, easy to follow choreography, and an overall inventiveness other comic book movies wish they could have. Marvel movies typically have two or three standout setpieces, while Scott Pilgrim has seven notable ones, each with a unique hook. 

But the scenes between those setpieces are nothing if the acting talent attached to them is subpar. Looking back on the cast a decade later, and Wright’s casting is prophetic. Chris Evans is just a year away from taking up the shield in Captain America: The First Avenger. Brandon Routh was in Superman Returns and would soon join the CW/DC TV universe. Mary Elizabeth Winstead would eventually play Huntress in Birds of PreyAubrey Plaza would have a star turn in Noah Hawley’s Legion series for FX. Brie Larson’s Captain Marvel went head-to-head with Thanos! These are just the cast members who went on to do other comic book movies; Anna Kendrick was just a few years from her Pitch Perfect ascension, then there’s the god Kieran Culkin (shoutout Succession Hive), and the always fantastic Mae Whitman. Hell, Jason Schwartzman’s role as mega-record producer Gideon Graves seems to be just as much an inversion of his indie-based bonafides as Cera’s casting is in conversation with his previous parts. In retrospect, Wright accurately predicted who the next generation of Hollywood superstars would be and provided each of them a moment to shine. Chris Evans’ delivery of the line, “Sometimes I let him do the wide shots while I’m getting blazed in my Winnie,” Brandon Routh’s dead-on dumb jock persona as Todd, Brie Larson’s pitch-perfect blonde bombshell-esque whisper—all just a few highlights that endure.

Wright and Michael Bacall’s script sets up those superlative actors to succeed, layering joke after joke in such a lightning-fast manner that it’s hard to notice every single bit the first or even second time. Once you add in the layered visual references, the movie becomes even denser. Notice the streetlights in this scene between Scott and Ramona and how they start to resemble hearts before the two kiss. Number and X iconography frequently linger in shots as a harbinger of doom to come. Funny bits of dialogue come and go so fast you might miss them entirely.

Many viewers missed Scott Pilgrim vs. the World altogether in 2010. Still, repeat viewings of the film feel like putting on your favorite record and hearing new nuances in a guitar part, something Scott’s bandmates would undoubtedly appreciate. Yet even as the film has gained popularity in the years after its release, it still feels undervalued as its entire look, feel, and overall execution are so singularly unique. Scott Pilgrim still feels ahead of its time—not only for comic book flicks—but for movies in general.

What the End of the Paramount Decree Could Mean for the Future of Moviegoing by William Goodman

What does movie watching mean in the age of streaming? The answer to this question has been the elephant in the (screening) room of the film industry as Netflix has fundamentally shifted how viewers consume entertainment. This tension has typically been easy to break into binaries: old versus new, Silicon Valley versus Hollywood, Godzilla versus King Kong, and so forth. We know these kinds of battles; hell, they’re the kind of stories Hollywood has proven so adept at telling and retelling for decades. But how does that narrative change when there’s an unseen, cataclysmic shift in the rules of engagement?

We’re about to find out.

On Friday, August 7, U.S. District Judge Analisa Torres paved the way for the Justice Department to walk back the Paramount Decree. Established in 1948 as the result of the United States v. Paramount Pictures, Inc. case, the landmark ruling—or the Paramount Decree, as it became known—stopped a practice known as “block booking,” where studios could force theater owners to show their movies (sight unseen!) and then restrict those films from playing in other theaters. This practice allowed studios to essentially purchase theaters to play only their titles. While Paramount was the main defendant in 1948, all of the other major studios at the time—Metro-Goldwyn-Mayer, Warner Bros., 20th Century Fox, RKO Pictures, Universal, and United Artists—were also included and subject to the ruling. Disney wasn’t explicitly named but was nevertheless subject to comply. Block booking, due to the profit-sharing model between theaters and studios, set these big entities to set themselves up to maximize their own profits, so the original 1948 ruling came down in favor of capitalism and competition for all.

Now, 71 years later, only Universal, Warner Bros., and Paramount (although they’re in a dangerous place) remain in operation. At the same time, new tech players like Apple, Amazon, and Netflix continue to make considerable strides in the studio space. Those new companies made the Paramount Decree subject to what’s known as “horse and buggy” policies—a Justice Department tactic that allows for the re-examination of practices to determine whether they still apply the businesses they regulate. These tech companies don’t function in the same way traditional studios like Warner Bros. or Universal do, so it seemed like a matter of time before the decree re-examined. Once you combine that factor with the loosening of antitrust laws, a perfect storm accumulated for the removal of the Decree.

Why does this matter?

Why does this matter? Torres’ ruling last week allows for the return of block booking after a two-year grace period. More critically, the change enables studios even more power than before. COVID-19 has already left theater chains in a vulnerable position—but once you include the shortening of the theatrical windowing period and bold moves on the part of companies like Disney—the ending of the Paramount Decree will make it far easier for studios to purchase entire theater chains and show only their movies. 

Is that even possible?

This kind of ownership has already happened on a local level; Disney owns the El Capitan in Los Angeles. Netflix purchased the Egyptian Theatre in 2019, but this was due to a loophole in the original Paramount Decree that let studios own theaters on a city-specific basis. The reversal now means that Disney might be able to purchase the flatlining AMC and Imagineer the chain into the exclusive home of Star Wars and MCU movies. Meanwhile, the studio would then get to forgo the profit-sharing model theater chains are currently operating under and pocket 100% of the profits. Or, suppose an arthouse theater wants to play David Fincher’s upcoming Netflix movie Mank. The streamer could implement block booking and require the theater to commit to playing a lesser film like whatever subpar comedy Adam Sandler is working on next. Big picture, the reversal could give studios more control over what audiences can see, i.e., only films that are guaranteed to turn a profit. Thus, block booking could ultimately box out smaller indie studios like A24, who has found success showing its movies at chains and indies alike. Imagine not being able to see something like Uncut Gems on a big screen—that could become a reality as a result of this decision. 

It feels like movie-theater lovers come together every few weeks to shout about how the sky is falling. It might feel like crying wolf to some, but for others, it’s a terrifying possibility. Nervousness like this is partly the nature of change; there are always going to be those resistant to an altered landscape. But 2020 has felt like one hit after another. Once you add COVID-19 complications and now the end of the Paramount Decree, it seems like the end is dangerously near. And for those who genuinely love going to movie theaters, there’s not a damn thing we can do to change what’s coming.

What the 'Mulan' Disney+ Deal Means for Moviegoing by William Goodman

This article originally appeared on Complex.com

COVID-19 has been hard on all industries, including Hollywood. The production delays on films and TV shows that we saw early on during the pandemic, not to mention the shuffling of release dates, have exposed cracks in Hollywood’s foundation and shown just how much the rise of streaming services has impacted the traditional theater experience.

Among the hardest-hit companies has been Disney. Many of the company’s lines of business—amusement parks, cruises, resorts, and entertainment—have all been radically disrupted by the pandemic, sending their stock into a downward spiral for the first half of the year. As the future open date for movie theater chains continues to tumble down the calendar due to increased corona cases, studios like Disney are looking to unconventional solutions to release their movies. However, news from a recent earnings call could signify a new paradigm shift for how Disney plans to release their films for the foreseeable future.

After many delays, Disney announced the live-action remake of Mulan would release on September 4—but there’s a wrinkle. In addition to hitting select theaters in the US, Mulan will simultaneously debut on Disney+ for $29.99. This price is not a limited-time rental and will allow users to rewatch the movie as many times as they want so long as they’re a paid Disney+ subscriber. Disney CEO Bob Chapek referred to the decision as providing “premiere access” and “a one-off” decision.

How much have premium video on-demand (PVOD) releases normally cost during the quarantine?

Mulan’s price is $10 higher than other 'rona-related PVOD offerings like Trolls World Tour or The King of Staten Island, while also requiring a $6.99 monthly subscription to Disney+ itself. Frankly, the $37 total is a steal if you’re the head of a family where theater-going costs can balloon significantly; but it’s less compelling if you’re an individual who is inclined to watch Mulan once or twice. Tying the release to Disney+, specifically, allows Disney to curb potential piracy problems by having it sit in a streaming environment that they can fully control. Disney will oversee and manage the entire distribution pipeline. There will be no profit splits with Amazon or iTunes like normal VOD releases, as every dollar spent from Disney+’s 60.5 million subscribers goes right into their own pocket. Sure, not every user will rent Mulan, but even if half of them do, the result will be pretty damn good business for Disney during a time where they’re desperate for a win. PVOD offerings have typically been films that are cheaper to produce like comedies, Blumhouse’s cost-effective horror movies, and small dramas. Mulan isn’t in one of those three genres—it’s a massive summer blockbuster. Disney bringing it to streaming for home viewers feels like a critical shift, almost signaling that they’re the new home box office.

So everyone is cool with the Mulan price?

The response to Disney’s announcement has been divisive, to say the least. Part of the resistance comes from people who legitimately enjoy seeing movies in a theatrical setting. Unruly guests and various levels of cleanliness aside, seeing a new film in a theater remains one of the best ways to see a movie [Ed noteYou sound like Frazier]; the largeness of the screens and enveloping sound can draw viewers in like no other, letting the whole movie wash over them. To some, this might be an overly romantic portrayal of sitting in an air-conditioned room for a few hours. For others, going to the movies is akin to a religious experience.

This latter group has a right to be concerned about the future of moviegoing, as the Mulan news comes on the heels of another significant shift. On July 28, AMC and Universal squashed their Trolls World Tour beef—and set a new precedent. Windowing, a term referring to the period in which theaters have exclusive rights to show a film before it moves to a home release, has typically been either a 70 or 90 day period. Under the new deal between AMC and Universal, the windowing period shrinks to a staggering 17 days. It’s a seemingly arbitrary number that could allow Universal to cut bait on films that weren’t performing well and drop them quickly to PVOD or a streaming service like NBCUniversal’s Peacock. Universal’s deal currently just applies to AMC, and other agreements would need to be worked out on a chain-by-chain basis. There’s already some resistance, as Cinemark (owner of Regal Cinemas) CEO Mark Zoradi has pushed back on the deal, saying the policy could have an “adverse impact” on the theatrical experience.

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What does Disney's Mulan decision mean for the future of movie theaters?

The rise of streaming has long signaled the beginning of the end of movie theaters as we currently know them, but COVID-19 has accelerated the process considerably. Disney’s Mulan decision isn’t the death knell of movie theaters—but taken together with Universal and AMC, it certainly feels seismic in a way we haven’t seen before. There will still be indie movie theaters (whose operating costs aren’t as extensive), but it feels like theater chains are in real danger of being obsolete outside of major tentpoles like Fast 9 or the next Avengers movie. While Disney swears up and down Mulan is an outlier, I’m not convinced you’d go to these lengths to do this style of release once—an idea that some sources seem to confirm. Regardless, history will have its eyes on Disney as this experiment unfolds. It’s not too far-fetched to think the result of this audacious move is likely to send shockwaves through an already shaky foundation.

The Biggest Takeaways From the 72nd Primetime Emmy Awards Nominations by William Goodman

This article originally appeared on Complex.com

With the announcement of the 72nd Primetime Emmy nominations earlier today, it's officially official: AWARDS SZN is here. The Emmys is always fun, as it truly highlights one of the mediums we're always invested in: television. Unlike film, TV has still been able to thrive during the 'rona, so we're still getting a great representation of the last year or so of TV.

This year didn't see huge surprises when it comes to the Emmys, but there are some interesting trends, snubs, and takeaways from this year's batch of nominees. From a new record for Black actors to a number of terrible snubs to how streaming services did, nomination-wise, here are the biggest takeaways from the 72nd Primetime Emmy nominations.

'What We Do in the Shadows': Big love for FX’s cult favorite

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Now and again, the Emmys are capable of scaring up a surprise or two. So I was rather gobsmacked when the absurd vampires of FX’s What We Do in the Shadows ended up with eight total nominations, including Outstanding Comedy Series and a staggering three(!) writing awards. Among those latter writing nominations is one for “On the Run,” better known as the now-infamous “Jackie Daytona” episodeShadows elevated itself far beyond its original premise this season, proving it’s capable of expanding the world interestingly and hilariously. Yet even as Shadows blossomed, the show felt like it was a little too niche and therefore fated to be a cult classic. This certainly won’t be the case now, as the nominations have seemingly declared that the lovable Staten Island scamps are here to stay. Long may they reign.

Disney+ has entered the chat

After an exceedingly tumultuous start to 2020, Disney has finally gotten some good news. Disney+ offerings garnered a total of 19 nominations, 15 of which were for The Mandalorian—including a much-coveted Outstanding Drama series nom for the splashy Star Wars TV show. It’s a big statement for the eight-month-old streaming service, who outside of Hamilton’s release, has seen a lot of its promised 2020 content slip to later release dates. While there’s likely no chance the series will beat Succession for an Outstanding Drama win, Mandalorian’s inclusion amongst the other shows is likely to drive a bunch of new subscribers for the service or bring lapsed viewers back in to see what all the fuss is about. With the series primed to go deeper into some of the nerdiest parts of Star Wars lore for its second season, I’m not 100% confident we’ll see a repeat nomination again next go-round. Still, in a year where Disney has needed some significant victories, making this much noise out of the gate has got to feel pretty damn great.

Justice for Rhea

What more does Rhea Seehorn have to do? For the fifth time now, the Better Call Saul actress has been passed over for her excellent performance as Kim Wexler, a move that now feels, frankly, outright disrespectful. Seehorn was one of the best parts of Saul’s incredible fifth season and was full of moments wherein she once again elevated an already excellent performance into something exceptional. Emmy voters will have one more chance to fix their mistake when Saul airs its last season in the next year or two (depending on when ‘Rona allows for safe filming), but I’m highly skeptical they’ll give Rhea her kudos accordingly. All I know is that watching her in Season 5 was like watching Michael Jordan go for 63 points at the Boston Garden. Sure, MJ didn’t win, but his status as a legend only grew. I guess Rhea Seehorn will just have to settle for the same legacy.

How the Rumored Donald Glover / Lando Series Could Impact the Star Wars Universe by William Goodman

This article originally appeared on Complex.com

The legacy of Star Wars under the reign of the House of Mouse has seen more ups and downs than the series has had lightsaber battles. While the new set of movies started out promising, the ending was disappointing. The off-screen drama has seen the iconic series opt to trade the theatrical experience for streaming, with shows like The Mandalorian and a prequel series focused on Rogue One’s Cassian Andor leveraging Disney+ to tell the next wave of stories from the beloved franchise.

The galaxy of Disney+ programming seemingly got a little more expansive with a bit of recent news. As reported by the Kessel Run Transmissions YouTube channel, multi-hyphenate Donald Glover is in negotiations to reprise his Solo role of Lando Calrissian in a solo series of his own. It makes sense the company would want to further the relationship and capitalize on a beloved character in the process; Glover’s interpretation of the Billy Dee Williams-originated character was a highlight of the tumultuous production. Plus, Disney has recently shown a penchant for continued collaborations (whether it be the failed Deadpool series, 2019’s remake of The Lion King actor, or the fact the studio now owns FX where Atlanta airs.)

Although Kessel Run Transmissions did accurately predict the recently announced Bad Batch animates series, this potential production is still just a rumor until LucasFilim confirms otherwise. Nevertheless, that won’t stop us from thinking about where in the wild world of Star Wars this Lando show could take audiences. Here are a few ideas.

Young and Old

Star Wars fans were rightfully excited when Billy Dee Williams made his triumphant return in The Rise of Skywalker only to be disappointed when he didn’t have much to do. Outside of serving an exposition dump for Rey & crew, showing up in the final battle, and having a weird scene with Naomi Ackie’s Jannah at the movie’s conclusion, Williams’ involvement seemed like it could have been so much more. While the new trilogy gave viewers an extensive depth and breadth of what Leia, Luke, and Han had been up to since the end of Return of the Jedi, we certainly didn’t get the same treatment for Lando in his brief appearance.

Perhaps LucasFilm is looking to rectify this error. Additional spins of the rumor mill seem to indicate Billy Dee Wiliams himself will be a part of the series. The involvement of Williams suggests the show might set up a dual narrative between young and old Lando. Could we get Billy Dee’s Lando holding court in a cantina, spinning yarns about his heydays of smuggling with Glover starring in the flashbacks? This format could lend itself well to an episodic adventure of the week-style series in the same way The Mandalorian did for most of its debut season. Or we could see some sort of overarching mystery that’s plagued Lando from his younger years into old age. Either way, having both Glover and Williams in the same series is quite a compelling prospect—and would undoubtedly make up for any sour grapes over reduced screentime in The Rise of Skywalker and the lack of Solo sequels.

'Solo' spin-off

Speaking of Solo, fans have emplored LucasFilm to give the spin-off another shot—for a good reason. As we saw at the end of the movie, Emilia Clarke’s Qi’ra is now reporting to none other than Darth Maul. Fans of The Clone Wars animated series know Maul survived his seeming death blow in The Phantom Menace, only to rise to power as the head of an intergalactic crime syndicate. The criminal underbelly of Star Wars has been present throughout all the movies. Solo’s ending uniquely positioned further films in the spin-off to dive deep into this heart of darkness—only to have these ideas ripped away due to poor performance at the box office.

Perhaps this Lando series will pick up where Solo left off and explore these dangling plots on Disney+ instead. Hell, Alden Ehrenreich could even show up for an episode or two if the story called for it. But using what did work about Solo—without the pressures of turning a massive profit—would assuredly be one way for LucasFilm to have its cake and eat it too.

A Whole New World

The vastness of Star Wars means there is any number of tales to be told. Before The Mandalorian debuted, some viewers balked at having a dedicated bounty hunter show starring a character no one had heard of before. Then Baby Yoda arrived, and the show became a pop culture phenomenon because of it while proving Star Wars still can shock and surprise. Perhaps the Lando show might be something we haven’t even thought of, something bold and new to radically change the perception of what stories can be in this universe.

Glover’s take on Lando felt both fresh and representative of the spirit of what Billy Dee Williams had done before, giving a performance that often felt effortless in its execution. Building an entire show around his persona and gifts as an actor has worked—to remarkable effect—previously. Why not do it again in one of pop culture’s most significant universes?

Regardless of the direction LucasFilm ultimately decides to choose for their Lando show, having Glover’s involvement is deeply exciting in and of itself. Considering the turmoil around the franchise in recent years, having something—even if it’s only the scantest of rumors—to get passionate about can only mean good things for Star Wars. Whatever part of this galaxy far, far way the show decides to chart, it’s refreshing to know audiences have something exciting on the horizon.

Johnny Depp & Amber Heard's Tumultuous Relationship, Explained by William Goodman

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This article originally appeared on Complex.com

Celebrity relationships have always been a focal point of public attention, with entire industries devoted to following and tracking every single aspect of a person’s life. Few have drawn more fervor than the one between Johnny Depp and Amber Heard, as their relationship—established Hollywood A-lister falls in love with rapidly ascending ingenue on their movie set—is a tabloid meet-cute staple. It’s a fairytale, until it’s not.

As the relationship progressed, there were whispers of darkness creeping in around the edges; allegations of abuse emerged, with startling reports of violent rages and physical abuse, later backed by photo and video evidence.

After a few years of silence, the Pirates of the Caribbean and Aquaman stars are once again back in the spotlight as more information comes out about the turmoil surrounding the relationship. Depp is currently suing British tabloid The Sun, and testimony is unearthing all kinds of new information at an almost daily clip about just how chaotic the relationship was. To put everything in perspective, we’ve pieced together a timeline of events charting the meteoric rise and fall of the couple. We’d also like to state that the events of physical abuse described herein might be triggering for some to read. Considering the ongoing court case, there’s likely to be more startling information to come—but here’s we are so far.

Sometime in March 2009: Filming on The Rum Diary begins

Johnny Depp is cast as Paul Kemp in the film adaptation of The Rum Diary. A fiction novel from famed gonzo journalist Hunter S. Thompson, the project and Depp’s casting seem like an attempt to recapture the success of Fear and Loathing in Las Vegas. Depp produces the movie, which is directed by Withnail and I’s Bruce Robinson. Then-rising actress Amber Heard is cast as the love interest, Chenault.

October 28, 2011: The Rum Diary debuts

The movie is released to mediocre reviews and would go on to be a commercial failure, too. Looking for something to do in my college town, I purchase a ticket anyhow and realize very quickly that the one thing that even sort of works about the film is the chemistry between Depp and Heard.

June 19, 2012: Depp and Vanessa Paradis split after 14 years

After 14 years of marriage, Depp and his partner Vanessa Paradis split. The couple states they “amicably separated” and request privacy from the media during this time.

Sometime in 2012: Depp and Heard begin dating

No one can put a hard date as to when Heard and Depp began dating, but an E! report about the couple’s first public appearance (more on this in a second) states they’d been together since 2012. A report from People on June 21, 2012, mentions Heard as one of the women linked to Depp in the wake of the separation—but doesn’t officially confirm them as an item.

January 11, 2014: Depp and Heard make a first public appearance together

E! Online gets hold of a picture of the couple canoodling together at the Art of Elysium’s 7th Annual Heaven Gala, which serves as the de facto declaration that Depp and Heard are officially an item. The 50-year-old Depp and 27-year-old Heard seem smitten, which is why it’s not entirely surprising when...

January 17, 2014: Depp and Heard are engaged

...the two are engaged less than a week later. Heard was spotted by an eagle-eyed photographer leaving the LA restaurant Ago while being very intentional about covering her left hand.

April 7, 2014: Depp shows off his engagement ring

While making an appearance on David Letterman, Depp shows off an engagement ring he’s wearing on his hand stating it was “too big for my girl” before stating he “put it on [cause] she has the other one that fits.”

Sometime in May 2014: Texts from Heard detail assault by Depp

Although they weren’t originally made public by ET Online until June 1, 2016, Heard has a text message conversation initially by a contact known as “Stephen” (presumed to be Stephen Deuters, Depp’s assistant) about Depp’s behavior. In the messages, Heard lays out several instances of physical assault, including a recent attack: “He's done this many times before. Tokyo, the island, London (remember that?!), and I always stay. Always believe he's going to get better...And then every 3 or so month, I'm in the exact same position."  

Deuters states Depp “cried” when he was informed he had kicked Heard.

February 3, 2015: Depp and Heard marry

Did you know Johnny Depp ::checks notes:: owns a private island? I didn’t! Found while he was shooting (you guessed it) Pirates of the Caribbean, the Bahamas-based island—called Little Hall’s Pond Cay—served as the location for the wedding of Depp and Heard. The couple took to the Pond Cay for a big celebration after being married on February 3 at their home in Los Angeles. 

The ceremony itself looked extraordinarily pretty and picturesque

March 10, 2015: Depp hurts hand while on location in Australia for Pirates 5 filming during fight with Heard

Did anyone actually see the fifth Pirates movie? Outside of Javier Bardem joining the cast, the movie is largely famous for what happened off-camera. While Depp was on location in Australia for Pirates of the Caribbean: Dead Men Tell No Tales, the actor suffered a hand injury. At the time, the accident was never fully explained, only that he wasn’t filming the movie when he hurt himself and had to return home to the United States for surgery. 

It would later come to light the injury was due to the actor “punching a wall” during a fight he was having with Heard. But this wasn’t true at all, rather, Depp cut his finger off in a “fit of rage” by slamming a telephone against the wall and then...dipped the remaining stub in paint to write “Billy Bob” on a mirror. TMZ eventually got a hold of the photo of Depp’s finger as well as the mirror with the message. The Billy Bob message was an accusation on Depp’s part that Heard had cheated on him with her Friday Night Lights and London Fields co-star.

May 14, 2015: Heard gets in legal trouble for bringing dogs into Australia 

You may have forgotten about this, but remember when all hell broke loose over Amber Heard bringing her two dogs into Australia? While Heard and Depp were in Australia for the filming of Pirates 5, Heard didn’t declare she had brought her two Yorkshire terriers, Boo and Pistol, along with her. Australia has an extremely strict policy around animal quarantine laws (the dogs should have been declared and then quarantined for a minimum of 10 days) in order to prevent bringing infections into the country. The situation was nothing short of a fracas and, at one point, involved Australian Agriculture Minister Barnaby Joyce threatening to put the dogs down unless they were exported home.

September 10, 2015: Depp addresses dog issue on Jimmy Kimmel

While appearing on an episode of Jimmy Kimmel, Johnny Depp addressed the situation involving the dogs. “We were under the impression that we had all the paperwork done with the dogs, we were there with the dogs in front of everybody,” the actor stated. Kimmel at one point brings up the topic of Heard possibly having to do jail time and Depp responds by saying he’d fly to Australia and “assault” Minister Barnaby Joyce if that ends up being the result.

December 2015: Heard injured in altercation

Although it wouldn’t become public knowledge until People Magazine published the details in June of 2016, Heard was injured in December as the result of an altercation between her and Depp. The photos, obtained by People, show Heard with a bruise and cut lip. Furthermore, the actress states she “feared for her life” during the incident.

April 17, 2016: Heard pleads guilty in court case, video apology from Heard and Depp publicly released 

The international canine incident come to a conclusion in mid-April 2016 as Heard pleads guilty to making a false statement surrounding the dogs. She’s given a slap on the wrist and everyone move on...until the Australian government releases an utterly bizarre apology video from both Heard and Depp. In the video, the two basically appear as if they’re being held hostage while expressing regret over the situation. 

The video is wildly parodied and mocked.

April 22, 2016: Heard’s 30th birthday party turns violent—and defecatory

In papers that are eventually made public through court documents and testimony, it’s revealed on the night of Amber Heard’s 30th birthday things went terribly and horrifically awry. Heard reports Depp showed up to the celebration late after receiving news that his accountant had failed to pay his taxes over the course of a 17-year period costing the actor a staggering $650 million

From there, it’s been reported Depp and Heard began arguing over the fact Depp ruined Heard’s party which led to Depp hurling a magnum of champagne at Heard before grabbing her hair and tossing her to the bed. It’s also been claimed that Heard threw a punch at Depp before—and I cannot make this up—apparently taking a shit in the bed of their apartment.  

Heard later stated the fecal matter was from their dogs.

May 20, 2016: Depp’s mother passes away

ET reports Depp’s mother, Betty Sue Palmer, has passed away after a long battle with an unspecified illness. The two reportedly had a very close relationship; Depp had even tattooed her name on his arm.

May 21, 2016: Depp attacks Heard at their LA home

In court documents obtained by ET Online, Heard stated that the day after Palmer’s passing, the two engaged in a “peaceful conversation” before Depp “began obsessing about something that was untrue and his demeanor changed dramatically.” Depp, “inebriated and high” demanded Heard call mutual friend iO Tillet Wright. As Heard spoke with Wright on the phone, Depp apparently then “ripped the cell phone out her hands and began yelling obscenities at Wright.” From there, Heard stated Depp “then grabbed the cell phone, wound up his arm like a baseball pitcher and threw the cell phone at me striking my cheek and eye with great force.” Depp would then “forcibly pull back [her] hair as [she] attempted to stand from the sofa” before eventually “striking [her] and violently grabbing [her] face.”

May 22, 2016: Heard and Depp separate

May 23, 2016: Heard files for divorce 

May 25, 2016: Public learns about divorce

Despite separating on May 22 and Heard filing for divorce from Depp on May 23, the public doesn’t learn about the events until May 25. In the statement, Heard cites “irreconcilable differences” and asks Depp to grant her spousal support.

May 27, 2016: Heard is granted restraining order against Depp

Reported exclusively by TMZ, Heard is granted a restraining order against Johnny Depp after she appears in court. During this process, Heard submitted photos, which TMZ obtained, of Heard with a bruise from the May 21 fight. Furthermore, Heard stated that she “live[s] in fear that Johnny will return to the residence unannounced to terrorize me, physically and emotionally” and also outlines details around the aforementioned incident on May 21.

May 28, 2016: Depp’s family comes to his side

In a since-deleted Instagram post, Depp’s daughter Lily-Rose came to the aid of her father stating Depp is the “sweetest most loving person.” Meanwhile, TMZ published statements from ex-partners Vannesa Paradis and Lori Anne Allison defending Depp; Paradis declared Depp “a sensitive, loving and loved person” while Allison stated Depp “never even screamed” during their time together.

June 1, 2016: Previously-mentioned People Magazine cover story released

August 12, 2016: Video of physical altercation between Depp and Heard released 

TMZ surfaces an exclusive video that shows Depp kicking and slamming doors to cabinets in their kitchen. Heavily edited—and therefore not allowed as evidence in any court cases—Heard is, well, heard apologizing for an unspecified event. Heard then asks Depp if he’s had wine while trying to calm him down. Depp then threw the bottle and glass before attempting to take the phone away from Amber.

August 15, 2016: TMZ releases aforementioned photo of Depp’s severed fingertip 

August 16, 2016: Depp and Heard settle divorce case

TMZ learns Depp and Heard have officially settled their divorce case. In addition to dismissing the case with prejudice (meaning she can’t re-file), Heard also withdrew her restraining order petition as well. As part of the process, Depp agrees to pay Heard a $7 million settlement. 

The two issued a joint statement that reads, “Our relationship was instantly passionate and at times volatile, but always bound by love. Neither party has made false accusations for financial gain. There was never any intent of physical or emotional harm. Amber wishes the best for Johnny in the future.”

August 18, 2016: Heard donates settlement money

Heard told TMZ she planned to donate the settlement money among two charities, the ACLU and the Children’s Hospital of Los Angeles. “The donation will be divided equally between the ACLU, with a particular focus to stop violence against women, ad the Children’s Hospital of Los Angeles, where I have worked as a volunteer for the past 10 years,” she said in a statement.

November 18, 2016: Depp appears in Fantastic Beasts and Where to Find Them

Depp makes a surprise appearance at the end of the first Fantastic Beasts movie in a cameo performance as the legendary villain and dark wizard Gellert Grindelwald, a name diehard Harry Potter fans recognized as the precursor to Voldermort and lover of Albus Dumbledore. 

December 7, 2017: J.K. Rowling defends Depp in blog post

As production on the second Fantastic Beasts movie is underway, J.K. Rowling defends Depp in a blog post on her site. “When Johnny Depp was cast as Grindelwald, I thought he’d be wonderful in the role,” she states. “However, around the time of filming his cameo in the first movie, stories had appeared in the press that deeply concerned me and everyone most closely involved in the franchise.”

Rowling continued stating, “Based on our understanding of the circumstances, the filmmakers and I are not only comfortable sticking with our original casting, but genuinely happy to have Johnny playing a major character in the movies.” 

Rowling was spurred to publish the post after a photo of the sequel’s cast sparked a new round of debate over Depp’s continued involvement in the series. Harry Potter’s fanbase has always been incredibly vocal about how progressive and meaningful the series has been; considering the allegations against him, Depp’s involvement in the series flew in the face of that progressiveness. Combine that aspect with the timing of the  #MeToo reckoning and it’s easy to understand why fans were upset. Plus, Depp’s on-screen time was so short that it could have been extremely easy to re-cast the part entirely. Rowling admitted she and Beasts director David Yates “considered the possibility of recasting,” but ultimately didn’t do it.

April 27, 2018: British tabloid publishes article about Depp

In a column for British tabloid The Sun writer, Dan Wootton goes after Rowling over Depp’s involvement. “For a holier-than-thou Twitterati preacher, JK Rowling tries to present herself as a leading light for women in the entertainment industry,’ Wootton writes.

June 21, 2018: Rolling Stone releases now-infamous Depp profile

“So are you here to hear the truth? It’s full of betrayal.” In what quickly becomes a legendary profileRolling Stone publishes Stephen Rodrick’s profile of Depp. In the article, Depp boasts about spending absurd amounts of money on wine (”It’s insulting to say that I spent $30,000 on wine because it was far more”), admits to getting his lines fed to him through an earpiece, reflects on the deaths of his mother and friend Tom Petty, and liberally drinks and smokes weed throughout Rodrick’s time with him.

November 16, 2018: Fantastic Beasts actor Ezra Miller says cast wasn’t informed about Depp’s role

In an interview with PlayboyFantastic Beasts actor Erza Miller states the whole cast of the Harry Potter prequel series weren’t informed about Depp’s cameo. “No, none of us were consulted. None of us knew.” 

December 18, 2018: Heard releases Washington Post op-ed

In an op-ed for the Washington Post, Amber Heard writes about her experience with Depp. The actress states she had to change her phone number on a weekly basis to avoid death threats. “For months, I rarely left my apartment, and when I did, I was pursued by camera drones and photographers on foot, on motorcycles and in cars,” she wrote. “Tabloid outlets that posted pictures of me spun them in a negative light. I felt as though I was on trial in the court of public opinion.”

Heard doesn’t ever mention Depp by name, but his presence lingers in the piece nonetheless. “...I became a public figure representing domestic abuse, and I felt the full force of our culture’s wrath for women who speak out. Friends and advisers told me I would never again work as an actress — that I would be blacklisted. A movie I was attached to recast my role. I had just shot a two-year campaign as the face of a global fashion brand, and the company dropped me.” 

At the end of the piece, she asked Congress to “reauthorize and strengthen” the Violence Against Women Act and also had harsh words for Education Secretary Besty DeVos’ changes to Title IX.

December 20, 2018: Depp dropped from Pirates franchise

A few days later, Disney’s film production chief Sean Bailey seemingly confirms Depp will no longer be involved with the Pirates of the Caribbean franchise. In an interview with The Hollywood Reporter, Bailey states Deadpool writers Rhett Reese and Paul Wernick had been hired to reboot the franchise in an attempt to “bring in a new energy and vitality.” “I love the [Pirates] movies, but part of the reason Paul and Rhett are so interesting is that we want to give it a kick in the pants,” he states.

Rhett and Paul would eventually be replaced by Chernobyl creator Craig Mazin and Pirates veteran Ted Elliot to work on the reboot in October of 2019. Additionally, it would be announced in June of 2020 that Margot Robbie would star in a female-fronted Pirates spin-off. Robbie will be joined by Birds of Prey screenwriter Christina Hodson on the project.

March 1, 2019: Depp files defamation lawsuit against the Post

In the wake of Heard’s op-ed, Johnny Depp would eventually file a defamation suit against the Washington Post for the sum of $50 million. Filed in the Circuit Court of Fairfax, Virginia, Depp outlined that while he wasn’t named in the op-ed it was “clear” Heard was talking about him. Furthermore, Depp blamed the piece for costing him his role in the Pirates franchise.  

April 10, 2019: Heard fires back, files a motion to dismiss the suit

Naturally, Heard takes action to dismiss the suit. In an incredibly detailed motion that outlined a number of intimate details of their time together, Heard declares that whenever Depp would start using drugs “He would become a totally different person, often delusional and violent. We called that version of Johnny, ‘the Monster.’” She continued, “Johnny often would not remember his delusional and violent conduct after he came out of his drunk or medicated states.”

May 21, 2019: Depp fires back against Heard’s statement, claims she “painted-on bruises”

A little over a month later, Depp decides to take action against Heard’s motion. In a statement, Depp declares he “was the victim” and that Heard had attacked him. “While mixing prescription amphetamines and non-prescription drugs with alcohol, Ms. Heard committed innumerable acts of domestic violence against me, often in the presence of a third-party witness, which in some instances caused me serious bodily harm.”

January 31, 2020: Daily Mail obtains audio of Heard admitting she hit Depp

In audio obtained by The Daily Mail from a "well-placed source," Heard admitted to "hitting" Depp at some point during their relationship. "'I'm sorry that I didn't, uh, uh, hit you across the face in a proper slap, but I was hitting you, it was not punching you. Babe, you're not punched," the recording states. She continued by saying, "I don't know what the motion of my actual hand was, but you're fine, I did not hurt you, I did not punch you, I was hitting you."

Depp also responded in the recording by saying, "I left last night. Honestly, I swear to you because I just couldn't take the idea of more physicality, more physical abuse on each other."

March 27, 2020: Judge grants Depp allowance to pursue Post lawsuit

Despite the back and forth, Depp eventually got his way. In March of this year, a Virginia judge refused to dismiss the lawsuit and will allow Depp to move forward with his defamation claim. Judge Bruce D. White stated the “Plaintiff [Depp] has pleaded circumstances that would reasonably cause three of the four statements at issue to convey the alleged defamatory meaning that Mr. Depp abused Ms. Heard, and this alleged meaning is in fact defamatory.”

July 7, 2020: British libel trial begins

While it’s unclear when the motion was actually filled, Depp and his team sought to bring The Sun to court over Dan Wootton’s April 27, 2018 column. Alleging libel, Depp arrived at the High Court for the case, which had been delayed by the coronavirus. 

July 8, 2020: Depp denies slapping Heard over altered “Wino Forever” tattoo, Heard email read, drug photo revealed 

Here’s where things start to get, somehow, even nastier than they were before. During his July 8 testimony, Depp denied, several times, slapping Heard during a March 2013 accident in which the actress made fun of his altered “Wino Forever” tattoo.

The tattoo famously once read “Winona Forever” but was altered after he and Winona Ryder split. According to court questioning, Depp was asked about slapping Heard three times after she made a joke out of the tattoo. Depp denied the claims but admitted to having fallen off the wagon after a sober period of roughly 160 days. This incident is one of 14 allegations of domestic violence that has been submitted for the court.

Additionally, the court read an unsent draft email from Heard to Depp wherein the actress wrote about Depp’s struggles with drug use and boozing before addressing more assault accusations. Drafted at some point in June of 2013, Heard asserts that “You [Depp] have hit me repeated” before also stating “I myself watched you pass out cold on the floor, after drinking yourself sick.”

Finally, Heard presented evidence that detailed Depp’s extensive drug habit including four lines of cocaine, booze, and a Johnny Depp-branded pillbox. There’s also another image showing Depp totally passed out on the floor. Naturally, the photos made the rounds on social media.

July 9, 2020: Depp states that Heard is telling “Porky Pies”

As the trial entered its third day, Depp told the British High Court that Heard had been telling “Porky Pies” (British slang for lies). In medical notes from Heard’s private doctor Dr. Connell Cowan, Depp was “threatened by her [Heard’s] career” and a movie the actress did with actor James Franco scared Depp so much that he went on a binge that landed him in the hospital. 

Additionally, Depp’s private doctor David Kipper wrote a medical note detailing Depp’s issues with drugs. The note stated Depp “romanticizes the entire drug culture and has no accountability for his behavior.”

When asked why Heard would have told her doctor this, Depp declared that Heard was “telling porky pies with her psychiatrist.”

July 10, 2020: Court addresses Heard’s 30th birthday incident

Depp provided his testimony around the aforementioned April 2016 incident on Heard’s 30th birthday. To recap, the evening turned violent after Heard expressed frustration around Depp’s late arrival to her birthday party that escalated into violence—claims Depp denied on the stand—and a shit in the bed. 

Described by the court as the “defecation incident” Depp went on to say the shituation, in particular, felt like a “fitting end” to the relationship.

July 13, 2020: Depp concludes testimony, states he didn’t intend to headbutt Heard

In his final day of testimony, Johnny Depp claimed he didn’t intend to headbutt Heard during a December 2015 incident that was outlined by the aforementioned People Magazine article. Depp’s claim, rather, is that he was trying to “grab her arms” to stop her from attacking him, with the assumption they rather bumped heads.

However, a provided audio recording tells a different story. Depp can be heard on the tape stating, “I headbutted you in the fucking forehead. That doesn’t break a nose.”

July 15, 2020: Depp’s former estate manager details 2015 Australia incident, Heard’s former assistant states Heard felt she was “above the law” 

Ben King, Depp’s former estate manager, testified about the circumstance surrounding the March 2015 incident wherein Depp cut off the tip of his finger. Depp states the accident was a result of Heard throwing a bottle of vodka at him, while Heard states it was because he smashed a telephone into a wall.

King was involved in cleaning up the mess after the fact and found the fingertip near the bar area with a trail of blood leading up to the bedroom. King also stated he didn’t “recall a phone having been ripped off the wall, or having to replace a wall telephone.”

Additionally, King noticed upon Heard’s return to LA after being in Australia, that the actress had some fresh cuts on one of her arms and told her that she “maybe should put your sleeve down.”

Meanwhile, Kate James—a former assistant to Heard—testified she believed Heard felt she was “above the law.” “[Heard] did not care about throwing anyone under the bus, if it meant saving her own skin,” James stated. 

Furthermore, James declared Heard knowingly smuggled the dogs into Australia — even after Heard had been walked through the process. Apparently Heard “chose to ignore” James and “delicately smuggled the dogs into Australia.” 

July 17, 2020: LA Penthouse concierge testifies Elon Musk regularly came to visit Heard

Just when you think the case can’t get any stranger, Eastern Columbia Building concierge Alejandro Romero testified that Tesla founder Elon Musk regularly visited Heard late at night at the couple’s LA penthouse. Apparently Musk was there so frequently that he had his own key fob to make accessing the unit even easier.

In a statement, Romero declared that “From March 2015 onwards, Ms. Heard was visited regularly late at night, at around 11 pm to midnight, by Mr. Elon Musk. For his initial visits, I would receive a call from Ms. Heard who would tell me to give Mr. Musk access to the garage for the building and then send him up to the penthouse.” Romero continued, “After he had made a few visits, Ms. Heard provided Mr. Musk with his own garage remote and a fob to Mr Depp’s penthouse. I believe he visited Ms. Heard a few times a week and he would always visit when Mr. Depp was not at home.”

Additionally, Romero states that a few days after the May 21, 2016 incident he saw Heard and “did not notice any bruises, cuts, swelling, red marks or any other injuries of any kind to Ms. Heard’s face” when he encountered her four days later on May 25, 2016.

July 20, 2020: Heard testifies on Depp’s abuse, accusations of alleged affairs

As the tenth day of hearings started up, Heard herself took the witness stand to give testimony to Depp’s alleged numerous incidents of verbal and physical abuse. According to NBC News, Heard stated that Depp “explicitly threatened to kill me many times” and that she was on the receiving end of “punching, slapping, kicking, head-butting and choking,” during their relationship.

Additionally, Depp accused Heard of cheating on him with a number of co-stars including the previously mentioned Billy-Bob Thornton and James Franco, Eddie Redmayne, Jim Sturgess, Kevin Costner, Liam Hemsworth, Channing Tatum, and Leonardo DiCaprio. Depp apparently had nicknames for some of the stars; DiCaprio was ‘pumpkin-head’, Tatum was ‘potato-head’, and Sturgess was ‘Jim Turd Sturgess’ according to E! Online. I regret to inform you all that these nicknames are rather humorous in their childishness and stupidity.

With 'Palm Springs', Andy Samberg Proves He's Always Been Ahead of the Curve by William Goodman

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For millennials such as myself, Saturday Night Live’s run from 2008 through 2013 largely defined our generation’s comedic personas. The core, absurdly talented MVPs of that era like Kristen Wiig, Bill Hader, Seth Myers, and Fred Armisen have left the show and springboarded to greater heights. But for as memorable as those performers are, the cast member who quickly came to represent the millennial sense of humor, and in some ways help define it, was Andy Samberg. And while the actor/comedian/producer is getting his flowers for his work in Hulu and NEON’s newly released Palm Springs, diehards will tell you Samberg has always been this good—and he’s still getting better.

It was Samberg’s now-infamous “Lazy Sunday” which attuned me—and many viewers—to his particular brand of comedic stylings. At the core of the video was Samberg; his goofy, expressive face contrasted with his sincerity about getting hyped for Sunday movie matinee. The whole video felt like Samberg and his childhood friends turned collaborators Akiva Schaffer and Jorma Taccone—collectively known as The Lonely Island—had mined my skull, cherrypicking all the right things I loved, and rolling them into a perfect bit of comedy. The sketch is just as funny 15 years later—and that’s even before you get to a weirdly prescient Aaron Burr/Alexander Hamilton joke. Samberg and the rest of The Lonely Island gleefully expanded their ambition, scope, and talent with no premise too far afield. A riff on Bonnie and Clyde wherein Clyde has performance anxiety? Gold. Pansexual dudes who are enjoying one last frat-tastic Spring Break ahead of committing themselves to their future husbands? Amazing satire. On and on the brilliance went as Samberg helped to define both YouTube and viral videos in equal measure while establishing SNL as appointment viewing to see what the group’s chaotic reign would bring next.

In spite of The Lonley’s Island’s anarchy, Samberg’s leading presence in these sketches provided an ever-persistent goofiness balanced by an everyman affability. It’s a useful skill that helped to ground the group’s most absurd moments. It’s also a tightrope that’s taken larger audiences some time to fully suss out—especially when looking at his projects outside of Saturday Night LiveHot Rod is a ridiculous comedy about the arrested development of a wannabe stuntman in a small town. It’s also a moving story about the search for paternal acceptance. Popstar: Never Stop Never Stopping is just as much a This is Spinal Tap (with excellent jokes and incredible musical numbers) for the Justin Bieber generation as it is an exploration of why Schaffer, Taccone, and Samberg will always work well together creatively. Even projects that are seemingly disposable—like Netflix’s 2019 The Unauthorized Bash Brother Experience—manage to be deviously smart in the way it garners absolute hilarity out of being too roided out to finish having sex or the burdens of being a successful athlete.

In many ways, time has been Samberg’s best friend. Hot Rod and Popstar eventually flourished after they’d been stripped of their initial expectations. Samberg seems happy to plant (cool) beans and let them sit until suddenly, without warning, they explode into fully formed comedic beanstalks. But in those films, the characters aren’t dissimilar from the roles that defined his SNL Digital Shorts. Samberg isn’t changing for audiences but instead waiting for them to catch up. Some of that has happened already; while Brooklyn Nine-Nine will certainly change in the wake of recent events, the show functions best when Samberg’s Jake Peralta (a role in which he won a Golden Globe) gets to be as weird as possible within his own surreal work family. The show creates a Cheers-esque environment by just being a deeply pleasant hangout show, complete with a tone that’s equal parts warm and hilarious in its own way.

But if the initial reaction to Palm Springs is any indication, audiences have finally caught up. [Ed. note: Spoilers for Palm Springs follow.] The biggest Sundance seller of all time by nice amount features the actor at his most Sambergian, clad in a bathing suit and a Hawaiian shirt. Samberg’s Nyles has already been living in “one of those infinite-time-loop situations that you might have heard about” for quite some time before Cristin Milioti’s Sarah inadvertently joins him. Nyles has fully accepted his fate, declaring to Sarah in between sips of beer, “I decided a while ago to sort of give up and stop trying to make sense of things altogether because the only way to really live in this is to embrace the fact that nothing matters.” Nyles’ cynical affect may appear to fly in the face of what we typically expect from a Samberg character, but he’s explored nihilism before in his work with Lonely Island (Bash Brothers, in particular, has heaps of it). But it’s typically been deployed in service of a joke. In Palm Springs, the dourness stands in equal measure with the comedy; neither part ever threatens to overtake the other. This helps to foster a tone for the film that’s serious but never depressing or joyless. It’s a deeply smart execution of two opposing ideas that Samberg masterfully balances, making the whole movie feel like a watershed moment for him in terms of showing audiences the true breadth of his range.

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Palm Springs is full of contradictions. It’s heartwarming in the face of an oppressively dour circumstance, equal parts comedy and drama, immature yet adult, and trenchant in a way he’s always been. After all, who hasn’t felt like they’re living their own version of Groundhog Day as quarantine continues? Palm Springs, based on premise alone, was always going to draw comparisons to Bill Murray’s breakthrough hit—but there’s far more overlap than you’d anticipate. Palm Springs fashions a more dramatic role for Samberg to play in the same way that Groundhog Day did for Bill Murray. Murray was 42 when Groundhog Day came out; Samberg is 41. Not quite an infinite time loop, but a loop nonetheless. Where the two films differ, however, is where the brilliance of Springs arises. Including Milioti’s Sarah adds a breath of fresh air to a well-worn premise and she serves as an excellent partner for Samberg’s inherent goofiness. The duo doesn’t break the loop by letting the universe determine what happens, rather, the characters conclusively go their own way. The results are staggeringly refreshing. 

Palm Springs doesn’t seem reversed engineered to be a hit vehicle for Samberg. It’s just focused on being the best film it can be by leveraging what’s always made the comedian great. That’s a lesson more films could stand to take as the actor looks at what’s next. The more dramatic portions of Springs prove Samberg is more than capable of handling weighty material while still managing to find moments that speak to his sense of comedic timing. It’s not hard to imagine him working with a creative who could really help Samberg tap into the potential of something serious—perhaps in a similar way that Wes Anderson leveraged Bill Murray in Rushmore for example. But even if that’s not the direction Samberg decides to head, he’s still a creative force to be reckoned with; his track record as a producer on Hulu’s PEN15 and Netflix’s I Think You Should Leave highlight his expertise at finding new voices in the realm of comedy to spotlight for a new generation.

Regardless of what he chooses to do next, the future seems wide open and exciting for the comedian in a way that it quite hasn’t before. Palm Springs reconfirms Samberg as a major talent, sees him level up in an exciting way, and proves he’s capable of so much more than raps about being on a boat. But as he famously reminded us in that song, “anything is possible.” It might have been a joke back then—but it’s certainly a fact now.

Everything You Need to Know About Peacock, NBCUniversal's New Streaming Service by William Goodman

This article originally appeared on Complex.com

So we’re back at this again, huh? Alright. What’s Peacock and why do I need another streaming service?
Set to debut on Wednesday, July 15, Peacock is a new streaming service from NBCUniversal and Comcast. Named after the infamous NBC logo, Peacock is not dissimilar from HBO Max in the sense that it aims to be a hub for NBCUniversal’s suite of properties including NBC, USA, Bravo, Universal Pictures, and more.

Much like Disney+ and HBO Max, Peacock will allow NBCUniversal and Comcast to have direct ownership of many of their properties and generate revenue off of them. This means you’re going to see a host of shows, like The Office, for example, leave other streaming platforms so that NBCUniversal can have them on their exclusive service.

Wait. Is this is why The Office is leaving Netflix?!
Yup. Parks & Recreation30 RockFriday Night Lights among others will also leave their respective homes throughout 2020. NBCUniversal can also pull its nonexclusive content from Hulu starting in 2021, which means my beloved Top Chef will likely depart Hulu sometime next year as well.

Could not care about Top Chef at all, my guy, but The Office is my life. I need to have it on deck whenever I want it. But I really don’t want to pay for another streaming service.
Wait haven’t you heard? Peacock is free.

No way.
Yes, way.

Seems too good to be true.
If you don’t believe me, here’s what the official Peacock website says: “On July 15, Peacock will offer a free plan that will include movies, classic and current shows, channels available only on Peacock, kids shows and movies, news, and more.”

Some of Peacock’s content will be gated behind a paywall and will only be accessible with a Peacock Premium subscription which can be purchased for $49.99 a year. If you want to go entirely ad-free, it’s $99.99 for a year. 

However, if you have a cable subscription through Xfinity, you’ll receive access to Peacock Premium for no extra charge.

Alright, I can work with that. I’m guessing that, like most streaming services, Peacock is going to have some original content as well?
They sure are. There will be 9 shows, dubbed Peacock Originals, at launch including Brave New WorldThe CaptureCleopatra in SpaceCurious GeorgeIn Deep with Ryan LochteIntelligenceLost SpeedwaysPsych 2: Lassie Come Home, and Where’s Waldo?. We reviewed a few of these Originals based solely on their trailers, if you’re curious.

Other Peacock Originals on the horizon include Angelyne, a Battlestar Galactica reboot from Mr. Robot creator Sam Esmail, a new Mike Schur (creator of The Good Place) comedy starring Ed Helms called Rutherford Falls, and a podcast-to-TV adaptation of Dr. Death which will star Jamie Dornan, Alec Baldwin, and Christian Slater.

Peacock Premium will also feature over 175 exclusive Premier League matches in the 2020-21 season.

What else can I expect to find on the service?
On the TV side, here’s just a few of the shows available: the previously mentioned The Office and Parks & RecreationCheersDownton AbbeyEverybody Loves RaymondFrasierKing of QueensMonkRoyal PainsSaturday Night Live, and more. Peacock also reached an agreement with ViacomCBS to license a handful shows including Everybody Hates ChrisThe AffairCharmed, and Ray Donovan. I bet dads are going to be really excited about that last one; everyone’s dad loves Ray Donovan.

Movies featured on the service will include BridesmaidsKnocked UpBack to the FutureDo the Right ThingJawsShrek, the Bourne franchise, and (of course) every single Fast & Furious film.

That’s a really solid lineup. Where can I download the app to watch?
Peacock will be available to download across a variety of devices and smart TVs including the Apple App Store and Google Android Store, Microsoft Xbox, Sony Playstation 4 (starting July 20), LG and Vizio smart TVs, and streaming on peacocktv.com

Much like HBO Max, however, Peacock is not available on Roku or Amazon Fire Sticks as of this writing. NBCUniversal declared they are “in talks with other distribution partners and look[s] forward to bridging Peacock to all popular streaming platforms” in a statement provided to Complex.

You can sign up for the service via this link.

Well, thanks for explaining another streaming service to me.
Happy to help. Anything else you need?

Nope. I’m going to watch every Fast and Furious movie over again.
#JusticeforHan. And save me a Corona!

Netflix's 'Dark' Concludes With Brilliantly Satisfying Series Finale by William Goodman

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This post originally appeared on Complex.com

[Ed note: Spoilers for the entirety of Netflix’s Dark follow. You’ve been warned.]

Dark, Netflix’s first German-language original series, was initially compared to Stranger Things. It seemed like an apt association between the two at the time: a kid mysteriously vanishes in the woods of a small town located near an ominous nuclear factory. Yet as Dark continued, those initial comparisons evaporated. The series has effectively charted its own course, opting for a tale far more cerebral—while becoming a treatise on human nature and generational trauma as told through decades’ worth of story via time travel. Obsessed with stopping the forthcoming apocalypse, the main character Jonas (Louis Hofmann) works tirelessly to prevent the end of days throughout Seasons 1 and 2. However, the mistakes of the past linger well into the present and future, and any attempt to right these wrongs did the opposite, reinforcing the status quo instead. The Season 1 ploy by Ulrich (Oliver Masucci) to kill a young Helge Doppler (Tom Philipp) was never bound to work considering Helge was alive in the present day. Actions like this, among others, have proven to be inherently futile; time is undefeated after all.

And so the apocalypse still arrived. But the end of the world was both literal and figurative for Jonas, as he was forced to watch the ominous Adam (Dietrich Hollinderbäumer, playing an old version of Jonas) kill his beloved girlfriend Martha (Lisa Vicari)...only to have another, alternate version of Martha appear and whisk Jonas away. The idea of a multiverse was a logical extension of the plot creators Baran bo Odar and Jantje Friese had already spun. Dark is a series wherein one character’s daughter is also her mother (!), so introducing an alternate universe never felt far afield.

In the early stages of the show’s third and final season, it becomes clear that, despite Jonas having traveled to an entirely different version of the town of Winden, some things remain constant: Ulrich is still prone to cheating on his spouse; Magnus (Moritz Jahn) and Franziska (Gina Alice Stiebitz) are still desperately in love with one another; Martha has her own evil, older self named Eva (Barbara Nüsse) to match Jonas’ Adam; and, try as everyone might, the apocalypse is still coming. Round and round we go; time is, indeed, a flat circle.

Dark gives Rust Cohle’s well-worn axiom a specific purpose, however. As is eventually revealed, the two worlds are joined together (a concept referred to as “The Knot”) and thus have secretly been at war this whole time. The machinations of the older versions of Jonas and Martha work at cross-purposes to one another: Adam is intent on destroying The Knot, while Eva works to actively preserve it—an ebbing and flowing duality that infinitely perpetuates. The revelation makes the repetition of these cycles a feature instead of a bug, a conflicting duality that renders so many of the show’s themes—life and death, cause and effect, choice and predetermination, dark and light, beginnings and endings—more literally. It’s especially poetic to consider Odar and Friese themselves as Adam and Eva: both duos move characters around like pieces on a chessboard to fit the story, asking for blind trust that all will be eventually revealed. Seriously, the number of times characters on this show ask one another for trust feels like Odar and Friese begging the audience to hang in just a little bit longer.

Considering the third season throws a (literal) whole new world’s worth of information at the audience (alternate Marthas, the fact she and Jonas have a child together, and so much more), I anticipated not getting an answer to every lingering question—especially once you realize mystery-box shows are content to leave some elements twisting in the wind. But with a show as intricately plotted as Dark, everything is done with purpose. Seemingly throwaway pieces of dialogue turn out to be anything but disposable, which goes to show just how dedicated Odar and Friese are to their story. It’s a focus that manifests in strange ways. I’m still blown away by the fact that the penultimate episode—fittingly called “Between the Time”—intentionally devotes its running time to closing small lingering details. I audibly guffawed when I realized this is how we were going to spend one of our last hours. It’s also a quiet interlude before a powerhouse closer.

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Mired in both victory and anguish, the Season 3 finale hinges on the reveal of “The Origin,” that the respective worlds of Martha and Jonas are, in fact, a glitch in the matrix. The pair only exist as an accidental creation of clockmaker H.G. Tannhaus (Christian Steyer) in his attempt to bring his son, daughter-in-law, and their child back to life after a tragic accident in a previous, unseen third world. Duality now expands, and with it, a whole host of new and captivating ideas: Tannahuas’ three departed family members; the Celtic-like Triquetra knot shown on the journals carried by Claudia (Lisa Kreuzer); the three versions of Jonas and Martha’s son; the show’s consistent overlap of past, present, and future; even the three seasons of the series itself. To put an end to the constant war between the two worlds, Jonas and Martha have to decide whether or not to effectively eliminate themselves from the narrative. It’s a heart-wrenching decision that’s rendered exquisitely by Odar’s impressive direction; watching Jonas and Martha rage against the dying of the light is poignant, beautiful, and one of the best finales I’ve ever seen.

Can time be defeated? The answer to this question has always been at the core of Dark’s tale. Odar and Friese masterfully close by showing the symbiotic relationship between endings and beginnings. There’s no victory without sacrifice, no light without darkness, and no love without loss. The tension between each of these conflicting ideas is so interwoven, making it hard to discern where one ends and the other begins. And so Dark concludes not with a hard endpoint on a line, but by elegantly and satisfyingly circling back into itself.

Everything You Need to Know About Going to the Movies During the Coronavirus Lockdown by William Goodman

This article originally appeared on Complex.com

It’s difficult to believe movie theaters will be opening again soon. With so many delays and schedule adjustments—many of which we covered extensively—the idea of seeing a movie felt like a distant dream. Nevertheless, movie theaters will be opening far sooner than many of us anticipated. As we sit on the precipice on these openings, it’s easy to wonder: What will going to the movies during coronavirus look like? The answer, much like everything surrounding the 'rona, is decidedly complicated—with few clear answers in sight.

As it stands now, late July is the target date for the majority of theater chains in the United States to re-open; Cinemark has staked out July 24 as the day they’ll start, while AMC and Regal will see their locations open on July 30th and 31st, respectively. Lingering in the background of all this is, of course, Warner Bros. and Christopher Nolan’s Tenet.

Now set to release on August 12 (after having its release date pushed back twice already), Tenet has slowly become the (un-)official film theaters have oriented themselves around. As these chains continue to struggle in the era of VOD, Nolan’s clout and stature within the eyes of the viewing public makes his movies feel weighty and special in the way others aren’t. They’re movies to be experienced—preferably on the biggest screen possible. Tenet is poised to be a financial oasis in the middle of a barren desert for theater chains, having been out of business since roughly mid-March. Opening a few weeks ahead of time gives AMC, Regal, and Cinemark a few weeks to work out the kinks in their new operating procedures ahead of the cash cow they so desperately need.

We’re seeing some of those operating changes play out in real-time. Upon its announcement about opening back up, AMC CEO Adam Aron initially declared the chain would not require patrons to wear a face mask as to not be “drawn into a political controversy.” The reception to Aron’s quote was received quite poorly; the hashtag #BoycottAMC trended on Twitter shortly thereafter and received vocal pushback from filmmakers like Doctor Sleep’s Mike Flanagan.

AMC reversed its policy on Friday, June 19 and will now require all moviegoers to wear masks and will go so far as to offer attendees the chance to purchase one for $1 should they forget to bring a covering. Regal Theaters, after “feedback from our customers,” moved to implement a similar rule after the fracas around AMC and will provide disposable coverings for those who don’t have one already. Cinemark’s policy, however, is a little more vague stating, “Cinemark requires guests to wear face masks where locally mandated, and we strongly encourage all guests to do so, even where not required.” The language, bolded for emphasis by the company, is a little unclear and feels like the written equivalent of a shrug emoji.

What’s more clear is how the actual movie-going experience will change once patrons arrive. RegalAMC, and Cinemark have all issued their own individual guidance, but there’s an overlapping similarity between all three. High touch-point areas (i.e., doors, seats, and so forth) will be cleaned throughout the day, with extra time allocated between movie showings for deep cleans. Social distancing will extend not only to the lobby but individual theaters themselves; auditoriums will limit their capacity to 50% and space viewers out throughout the theater, leaving every other row empty and requiring an empty seat (or two) between patrons. All three chains will offer reduced concession menus, focusing mostly on popcorn, packaged candy, and soda fountain drinks with contactless payment (although drinks and popcorn won’t be eligible for refills in order to reduce contact). Finally, employees will be subject to temperature checks and will be required to frequently wash their hands as is the case for most open businesses.

As sacred and special as the movie-going experience is for some, sitting in a theater is still going to be a difficult proposition—even with safety guidelines in place. We’re not even close to being out of the woods yet; infection rates continue to rise while some states have headed back into lockdown (causing more film release delays). That’s even before you account for the fact the likelihood of contracting the disease higher indoors than outdoors. These factors are weighing on studios, too, with a Deadline report confirming Disney and Warner Bros. will take a look at coronavirus data after July 4 and determine whether or not release dates need to be once again adjusted.

With this slipping and sliding schedule, I can’t help but wonder if we should just punt the whole movie calendar until there’s wide access to a vaccine. I understand movie studios and theater chains need a Hail Mary play to start bringing in revenue again, but it doesn’t seem worth it to open up theaters and put so many people—whether it’s willing customers or unwilling staff—at risk in such a direct way. I can’t help but feel the ::gestures broadly:: whole operation is a lot like rearranging deck chairs on the Titanic.

The Best TV Shows of 2020 (So Far) by William Goodman

This article originally appeared on Complex.com

One of the biggest, if not the biggest, stories in Hollywood for 2020 is without a doubt how COVID-19 shifted the entire game. Most of the impact was felt by the film industry, for sure; while movies have been released, the potential box office destroyers (No Time to DieBlack WidowMulan, etc.) that should already be out got their release dates pushed back, sometimes more than once (we'll see what happens to Tenet). The TV industry felt it as well—with the rona touching down in early spring, a number of shows with active seasons had to truncate their series orders to accommodate for the missing episodes (Riverdale), while others split up their seasons or took different routes to fill in space (One Day at a TimeBlack Monday). That said, there was more than enough heat hitting the plethora of streaming services and TV channels at our disposal.

The game's also shifted; 2020 saw the debut of HBO Max and Quibi debuting, with new streaming channels like Peacock set to further give you a grip of TV shows you have to then figure out how to fit into your schedule. That point might be moot, honestly, given that the cream of the crop seem to still be residing on HBO, FX, and other top-tier stations. Or they are just making more heat than your average network. Whatever the situation is, we've seen some of our favorite series make triumphant returns, slept-on shows continue to get slept-on (even with a loud minority in tow), and others series really finding ways to cut through the chatter of a system that can see the release of whole-ass TV seasons dropping damn near on a weekly basis, although some behemoths might average a new season of a show damn near every other day.

No matter what your viewing habits are, we know that, at the halfway mark for 2020, the Complex Pop Culture squad assembled the best TV shows that have aired this year.

16. 'Devs'

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Network: FX
Season: 1 (Mini-series)
Where to WatchFX on Hulu

People come to television in search of many different experiences. There’s the hangout show; most typically a comedy, it involves characters hanging out and shooting the breeze. There’s the prestigious show; which often features a high-profile actor or creator with weighty material that feels Important. However, when it comes to FX and Hulu’s Devs, the show is far more of a, shall we say, mood or experience than it is anything else.

Entirely written and directed by sci-fi wunderkind Alex Garland (Ex Machina), Devs can be exceedingly difficult to explain, but I’ll do my best to do so without giving the whole thing away: The show focuses on a Silicon Valley tech company named Amaya, whose development team (get it?) is working on a secret project at the behest of CEO Forest (Nick Offerman). Lily Chan (Sonoya Mizuno) is drawn deeper into the mystery of the project after the sudden and inexplicable suicide of her boyfriend, who had just started a new role with the team. 

This is about as straightforward as Devs gets, as it soon turns into a weighty treatise on free will, determinism, and the evils of corporate greed. If you’re excited by any of those themes, congrats, you’re going to absolutely love Devs. The show never lacks in ambition, diving deep into big ideas and concepts. It’s not a passive show either. Instead, it rightfully demands your attention with every beautifully composed shot. Far and away the best-looking show to have aired in 2020, the visuals of Devs frequently evoke Kubrick in their framing and staging. Additionally, Garland manages to make the well-worn landscape of San Francisco feel as alien as The Shimmer did in Annihilation. The show isn’t without its fits and spurts, however. It’s purposefully methodical in its intentions and storytelling, which means this deliberate pace certainly won’t be everyone’s cup of tea. If it is yours, however, Devs offers a singularly unique experience that is exactly what we need from our stories.

The thing with mood-based television is that its success ultimately comes down to whether or not you’re willing to take a specific journey with a very purposeful creator. For those willing, following Garland down his rabbit hole will find a new Wonderland, one you’ve likely never seen before. So many of the show’s moments have lingered in my mind long after airing, beautifully imprinted like a tapestry adorning a wall. That is to say: Perhaps Devs isn’t so much an experience as it is a feeling.

12. 'What We Do in the Shadows'

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Network: FX
Season: 2
Where to WatchFX on Hulu

It is an exceedingly difficult challenge to successfully adapt a film to a television series. Unless you’re a place like HBO—who has the money to pump into shows like Westworld—these projects frequently lose their cinematic spectacle when translated to a smaller screen. The same can’t be said for FX’s film-to-television version of What We Do in the Shadows. If anything, the show is stronger—and funnier—by letting its central premise sprawl unfold across a few hours. 

As I’ve previously discussed, the second season of Shadows was when the show really found its stride. Well-acquainted with the show’s core vampire group of Nandor (Kayvan Novak), Laszlo (Matt Berry), and Nadja (Natasia Demetriou) Guillermo (Harvey Guillén) as Nandor’s familiar and caretaker; and energy vampire Colin Robinson (Mark Proksch) the sophomore season goes further, introducing shamans, zombies, ghosts, trolls, and witches—all with hilarious results that feel like natural extensions of an inherently supernatural show. 

The other half of the continued expansion is the show’s dedication to providing strong, standalone moments for individual characters. The real standout involved Matt Berry’s Laszlo absconding from the group’s Staten Island home after the return of an old rival. Laszlo then relocates and takes on a ‘human’ disguise just by...placing a toothpick in his mouth and renaming himself “Jackie Daytona.” In most other comedies, this plot would likely be regulated to a more minor role. However, in Shadows, it takes center stage and provides a showcase episode that’s inspired and stupid, but never not funny.

This balance is the core of what makes Shadows so brilliant to behold and so fun to watch. Sure, characters are often dumber than a sack of dirt, but the show is consistently intelligent in how it executes its jokes on behalf of those characters. It feels like there’s so much left for What We Do in the Shadows to sink its teeth into—and I’m certainly eager for whatever hilarious absurdity awaits us next.

1. 'Better Call Saul'

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Network: AMC
Season: 5
Where to WatchAMC

Better Call Saul seemed like an underdog. The Breaking Bad prequel/spinoff arrived with a healthy amount of skepticism—understandably so! Vince Gilligan had just delivered a deeply satisfying conclusion to the story of Walter White, so why tempt fate a second time? Especially with a character who was, for the most part, around to be comedic relief as the states got increasingly darker and more dramatic?

Well, Season 5 of Better Call Saul certainly made fools of us all.

Don’t get me wrong, while I’ve been a fan of the Peter Gould and Vince Gilligan show since it started (and have certainly done my fair share of advocacy for those prior seasons on this very site) but Season 5 elevated itself into a whole new stratosphere, landing in a certain rarefied air few series can hope to achieve. Saul has always functioned as a somewhat bifurcated product. On one side, you had the lawyer aspects of the show, exemplified by Jimmy McGill (Bob Odenkirk) and Kim Wexler (Rhea Seehorn). The other functioned as more of the dedicated Breaking Bad prequel featuring Mike Ehrmantraut in his early days of working with Gus Fring (Giancarlo Esposito). 

While the early goings of the show saw a slight crossover between the two halves, they largely stayed apart...until Season 5 essentially ran the two into one another like a high-speed collision. The resulting show was explosive—both literally and figuratively. Jimmy’s full transition into Saul Goodman puts him directly into the wake of some unsavory characters and dangerous positions, all of which eventually spilled out into his home life with Kim. On the subject of Kim, Rhea Seehorn’s performance has always been superlative—but Season 5 saw her elevate her acting time and time again. It was already a shame she’s not been nominated for an Emmy, but it’ll be nothing short of negligent if she’s not among the awards pool this go-round. Other highlights included the Vince Gilligan-directed “Bagman,” which solidified itself in the same breath as Breaking Bad classics like “Fly” and “Ozymandias.”

On the other side of the fifth season, there’s now no doubt Better Call Saul is absolutely worthy of the legacy Breaking Bad left in its wake. We never should have doubted Vince Gilligan and Peter Gould, as it’s clear they’ve managed to capture lightning in a bottle for a second time. The scrappy underdog has victoriously emerged as a full-grown beast. Underestimate it at your own peril.

The Best New TV Shows & Movies This Week: Perry Mason by William Goodman

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This article originally appeared on Complex.com

Screened: Five episodes for review

Of all the questions posed by HBO’s Perry Mason revival, the biggest one of all seems to be “Just who is this for?” In the show’s initial batch of episodes, I’m not sure if I can definitively answer that question. The courtroom drama that made the Raymond Burr-led 1950s and 1960s version so infamous is largely unseen. In its place instead is a gritty crime drama that more resembles a 1930s version of True Detective than it does anything remotely close to what people remember of the Burr series. (That’s no accident: TD creator Nic Pizzolatto was initially attached to the project, with Robert Downey Jr. set for the lead role) While that approach is (admittedly) a smart way to bait the hook for new viewers, the result causes this version to trend all too familiar waters, despite stunning visuals and superlative performances—and lands it in a bit of a narrative no man’s land, unsure of where exactly it wants to go.

As showrun by Rolin Jones and Ron Fitzgerald, the HBO version of Perry Mason functions as an origin tale for the titular character. Far from the sterling lawyer we know him to eventually become, this younger Mason, played by Matthew Rhys, is a down-on-his-luck private investigator who spends his days working with his partner Pete Strickland (an always welcome Shea Whigham) to scrape together cash—most notably by taking photos of illicit sexual activities between motion picture studio stars—to keep him afloat after returning from World War I. His nights involve missing his son, boozing, and engaging in quite physical acts of intercourse with airplane pilot girlfriend Lupe (Veronica Falcón), whose neighboring airfield is increasingly encroaching on the familial Mason farm where Perry resides. His routine changes with the grizzly murder of Matthew (Nate Corddry) and Emily (Gayle Rankin) Dodson’s infant son Charlie, as Mason is contracted by attorney E.B. Jonathan (John Lithgow) to help ascertain what really happened to the young babe. Character actor Chris Chalk is also prominently featured in later episodes as Paul Drake—someone whom long-term Mason fans will certainly find exciting.

Between the murder itself, the dark tone, and the presence of a local megachurch headed by Tatiana Maslany’s Sister Alice, the aforementioned True Detective vibes become quickly apparent—for good and for ill. The crime noir element is one way to get new viewers attracted to its central mystery, but it also is afflicted with the bloat that comes with these types of shows. That is to say, even early on (I’ve seen five of the show’s total eight episodes) you can tell the creators are stretching out the plot for the sake of filling out an episode count. Fortunately, Perry Mason is lighter in tone than Nic Pizzolatto’s show has ever been, as Jones and Fitzgerald often temper the project with a comedic sense that’s a welcome respite from the show’s otherwise dour tones. Most of the Mason levity comes from the character’s interactions with Strickland and Lupe; the previously mentioned sex scene between Lupe and Perry is, ahem, rather hilarious in its actual execution, while the zippiness and gentle-ribbing of Strickland and Perry’s interactions play like your favorite buddy cop movie.

On the subject of Perry Mason himself, Rhys is, unsurprisingly, the show’s highlight. Fans of The Americans will know the actor was consistently phenomenal in his performance as tortured undercover KGB spy Philip Jennings. There’s certainly some overlap between that previous role and this new one, as both characters are filled with a lingering sense of melancholy over where life has taken their respective paths. As Mason, Rhys is absolutely electric, fully fleshing out a role that could have fallen short in the hand of another actor. Maslany is equally as kinetic once her Sister Alice enters the picture, getting to sink her teeth into a rather showy role. Mason’s other strength lies in its visuals as  HBO directorial stalwart Tim Van Patten beautifully renders Depression-era Los Angeles. The production teems with life in a way that will be familiar to those who watched his many episodes of Boardwalk Empire. I’d also be remiss if I didn’t acknowledge a captivating jazz score from Spike Lee collaborator Terence Blanchard in his television debut.

Perry Mason is one of those shows where you can fully understand why each creative choice was made. In 2020, reviving a long-storied franchise IP is one way to make sure your show gets the attention it might not get otherwise; applying a murder-mystery plot is a no-brainer for our true-crime obsessed culture; on and on it goes. It’s just a slight disappointment to see those choices add up to a project that just falls a little short, but who knows? Maybe the last three episodes will bring it all together.

Somewhere Is DC's Coolest Store, As Long As It Survives by William Goodman

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This article originally appeared on InsideHook.com

Running a retail fashion company in 2020 is an increasingly delicate proposition. We’ve seen how difficult business was for big brands like J.Crew or Barney’s even before COVID-19. Throw in a global virus that has radically changed our day-to-day lives, and being in fashion right now is tough. How can you sell clothes if your primary business model is dependent upon a brick-and-mortar, in-person experience? 

These were just a handful of issues at play for one of D.C.’s hottest and newest clothiers, Somewhere. The combination retail store and coffee shop opened in September of 2019 in the District’s rapidly expanding (read: gentrifying) Navy Yard neighborhood, practically a baseball’s throw away from the ballpark of the Washington Nationals. While the store appeared to be thriving, one has to keep in mind the staggering statistics facing new retail businesses: approximately 20 percent of new ventures close within the first two years of operation without factoring in a one-in-a-lifetime pandemic. “The irony of the situation is right before shelter-in-place went into effect locally, we had one of our most successful in-store pop-ups we’ve ever done,” Somewhere co-founder Dominick Adams tells InsideHook. “There were like 400 or 500 people outside waiting to get inside, and the whole street was blocked off. That was literally the Sunday before shelter-in-place happened. Three days later, it was like, OK, don’t go outside and wear a mask. Like, wait a minute — I just hugged like 50 people yesterday!”


So, how do you function as a retail store if your customer experience topples from several hundred people at once to none at all? “We kept reading headlines about how everyone was going online and that retail was fine, but people forget that online sales aren’t anywhere close to what we’re selling in-store,” said Will Sharp, Somewhere’s other co-founder. “There’s an experiential component (to retail shopping). So we were like, ‘How do we keep that going? What is the solution?’ And for weeks, there wasn’t one. You can’t interact with people when you’re forced to close during a pandemic. Then it sort of dawned on us that we could do something that was halfway there.”

That midway point became Somewhere’s Window Shop. Launched in mid-May, the premise is pretty simple: exclusive capsule collections are dropped on a weekly basis via a QR code that’s displayed in the window, along with items from the collection. The QR code directs to the Somewhere website, where shoppers can make purchases that were initiated offline but completed online. The entire concept came together, from inception to execution, in about “three days,” according to Adams. “It was a 30-minute conversation and next thing I know, there’s a sketch and we’re on the phone with the guy who does our vinyls,” he says. “Everybody is pretty close; the guy who does our vinyls is my neighbor across the street. The guy who built the actual box is a long-time friend who I gave his first job around 10 years ago. Our photographer is someone Will has been working with for 10 years, and I’ve been working with for seven.”

If you’re going to ask customers to venture to a shop and not physically walk out with a product, the collaborations had better be unique and special. So far, Somewhere has delivered. The first drop featured Window Shop-branded items specifically, while the third week had a photography book from Cam Hicks called For the Porch that spotlighted his work with Virgil Abloh, Louis Vuitton and others. The second drop — a collaboration with NYC’s Awake — was the most popular, with the co-branded shirts quickly and completely selling out. “Part of the idea was going to someone like Vans and saying, ‘Hey, I know your warehouses are exploding right now because no one is taking the product. So why don’t we take product, and customize it?,’” says Sharp. “[So it’s] not a full collaboration, but almost remaking or reusing product that is pretty much useless.” 

There’s no doubt that the Window Shop has been a success, but what about the long haul? That’s something Somewhere is still trying to decide. “I don’t think we know the answer,” says Sharp. “Let me put it this way: when we started, I hit up maybe 25 brands. And to a big company, it’s a hard thing to digest — you don’t just say yes or no. Following the success and what people are seeing, almost everyone wants in. I think we were going to end it two weeks from now, but with everything going on, we might extend it. There’s a lot in the pipeline, and we might even keep it as an in-store installation. We don’t know yet.”

One thing that is for certain is this: coronavirus has often seemed insurmountable. But time and time again, we’ve seen communities rise up and take care of one another. The same can be said for Somewhere and its role in the city of D.C. “When something like COVID hits, you’re kind of helpless,” said Sharp. “You’re told you can’t do it. Your whole life as an entrepreneur, you’re supposed to fight that! Everywhere you go, everyone says no. This project was an attempt to get us out of those depressed moments, and emotionally I think it really has. And that’s the most important thing. It’s like, wow, people do care. And wow, people do come together during this stuff. I am encouraged that we’re really doing something that’s important to our community and especially Washington, D.C.”

The Best New TV Shows & Movies This Week: Taste the Nation by William Goodman

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This post originally appeared on Complex.com

About halfway through the premiere episode of Padma Lakshmi’s Taste the Nation, the multi-hyphenate chef, host, and food personality teams with San Antonio Chef Rico Torres to make some food. It’s pretty standard for these types of food travelogues—you’ll get a moment in which the host joins with a local chef to indulge in some of the area’s specific flavors. Yet what immediately struck me about the scene was the execution of it; each individual ingredient of the larger dish was broken out and specifically highlighted in order to provide a chance for it to shine. It’s a quick, yet extremely insightful, microcosm of what Taste the Nation does so well: A focused look at all the disparate elements that make up what we all know as “American food.”

The Hulu series (I’ve seen three of the show’s ten episodes, all of which dropped on June 18) is inherently focused on the immigrant experience and how that’s shaped the culture of food in this country. As an immigrant herself, Lakshmi is uniquely situated to take a look at the intersection of these elements and how they ripple out into their respective communities and into the country at large. 

Naturally, this comes with an exploration of social issues as well. The premiere episode is focused on El Paso and opens in striking fashion, as Padma is frequently interrupted by the sound of Border Patrol helicopters flying overhead while the crew attempts to film. A quick glance at her social presence and you’ll know Padma has been extremely vocal in her advocacy, which makes her well-suited to foster dialogues about sensitive political issues like we see in the premiere. She’s able to engage in these dialogues in a deeply empathic way, which sets the show up well for when Padma turns her gaze inward; Taste the Nation’s third episode explores the host’s own deeply personal connection to her childhood in Queens and how American and Indian heritage intermix with one another. The result is a deeply affecting episode and an immediate series standout. 

It’s cliche to say food is the thing that often brings us all together, but Taste the Nation proves this axiom true time and time again. The series, as it turns out, is extraordinarily well-suited to this specific moment in our country’s history because of how thoroughly it explores our past and how it informs the present. Not unlike that cooking cutaway, sometimes it’s best to just take a step back and break things down into their individual ingredients so you can better understand the larger whole.

HBO Max's Original Launch Content, Reviewed by William Goodman

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This article originally appeared on Complex.com

When a new streaming service launches, the library and back catalog is among the first concerns—rightfully so, in a world where nebulous copyrights now control which of even the most mainstream properties is available and where. But the name of the game is content, and so with each new service comes new originals to ostensibly secure loyal subscribers and set the tone for what kind of brand this service will be. 

Now to be fair to HBO Max, some of their originals plans—like, say, iconic auteur Michael Mann's Tokyo Vice, which he was filming on location—have been dashed by COVID-19. And they have long game aces up Bob Greenblatt's sleeves, like 2021's planned launch of Zack Snyder's original vision for Justice League. But, the service launched last week with several original series, so this is what we have to go on now and so far, it's not the biggest splash. A lot of family-friendly fare, Anna Kendrick, a couple of competition shows and a whole lot of BBC imports add up to a nascent service who's biggest draw is still TCM and Studio Ghibli titles. And, Harry Potter I guess, if you're into that sort of thing. Anyway, for curious and ravenous minds, Complex Pop sampled each of Max's originals to tell you what's worth your time. Hit the flip for our first dispatch on HBO Max.

'Craftopia'

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Genre: Competition series
Length: 25 minutes
Recommended for fans ofMaster Chef JuniorNailed It!

As I’ve worked my way through previous seasons of Top Chef during quarantine, I’m constantly in awe of how skilled you can become if you dedicate yourself to the mastery of a craft. Top Chef and shows of its ilk are the types of reality competition programs I enjoy: a show where everyone is focused on creating the best possible version of something in their own unique way with their particular skills. Given my admiration for these series, it’s no surprise that I find myself enjoying Craftopia

Hosted by YouTube personality Lauren Riihimaki, aka LaurDIY, Craftopia swaps food for craft projects and top-rated chefs for three amateur teen crafters, each proficient in some sort of crafting specialty, ranging from yarn to glitter. From there, the trio competes in a warm-up and then larger crafting-based challenge—a format that should be pretty familiar to avid watchers of any existing competition shows. The set is infused with the aesthetics of a Lisa Frank binder on overload—seriously it looks like a rainbow vomited everywhere—and a maniac editing style that frequently verges on too much. However, the actual, technical skill on display from the contestants is staggering; the first episode features a crocheter named Jonah who is so incredibly fast that judge James Worsham goes out of his way to specifically address footage of Jonah at work wasn’t sped up in any capacity.

I didn’t anticipate being this interested in a show that’s definitely geared towards teens, tweens, and families. But those who find appreciation in a perfectly poached egg will find similar admiration for many of the projects and skillsets on display in Craftopia. If you’re willing to embrace the inherent campiness and frenzied pace of it all, you’ll be delighted by how effectively the series wins you over.

'Looney Tunes Cartoons'

Genre: Cartoons
Length: 15 minutes
Recommended for fans of: Classic Looney Tunes characters

Long before they played basketball with Michael Jordan to determine the fate of the universe, the beloved characters of Looney Tunes lived as a series of dedicated cartoon shorts from the mid-1940s to the late-1950s. As helmed by Tex Avery and Chuck Jones, the original cartoons are some of the most treasured bits of Americana and (understandably) cast a large shadow over the 2020 reboot for HBO Max. Lovingly titled Looney Tunes Cartoons, the Peter Browngardt (Uncle Grandpa) series looks to capture and update the appeal of what made the shorts such classics all those decades ago. 

Despite the presence of a smartphone in some key art for the show, Browngardt and his crew largely avoid incorporating modern elements into the slapstick plots of Cartoons. Instead, the series opts for a decidedly throwback approach that trickles down all the way to its polished 2D animation and vintage-inspired character designs. The animation style looks just as kinetic and alive in 2020 as it was in the '40s and '50s. 

However, diehard fans might object to the loss of nuance in the new portrayals of classic characters like Bugs Bunny and Daffy Duck, as the shorts are often one purely chaotic exercise after another. Maniac energy has always been at the core of Looney Tunes, but Cartoons leans heavily into sight gags and cartoonish violence almost exclusively, which can get exhausting after a while. Fortunately, the episodes are only 15 minutes or so and include two shorts with a brief interstitial in between. 

As is the case with any revival, Looney Tunes Cartoons was always going to have a nearly insurmountable amount of expectations placed on it. The good news is they didn’t botch its execution. Rather, Cartoons provides a solid foundation to build upon moving forward.

'The Not-Too-Late Show with Elmo'

Genre: Talk show
Length: 15 minutes
Recommended for fans of: Sesame Street, Fallon-era Tonight Show

Considering the sheer amount of talk shows (late-night or otherwise), it seemed inevitable that we’d end up with a puppet-based version eventually. Who better to rise to the occasion than Sesame Street? The Not-Too Late Show with Elmo is exactly what it sounds like, using Jimmy Fallon’s (who fittingly enough appears in the first episode) version of The Tonight Show for inspiration in the same way The Muppet Show used Saturday Night Live as a foundation to build upon. Cookie Monster serves as the sidekick while Elmo interviews celebrities and queues up musical performances just like any other late-night show—albeit with Elmo’s unique sense of charm and warmth.

Some of the guests work better than others. While I personally don’t vibe with Fallon, his energy is a good match for the show; the Jonas Brothers episode didn’t work for me at all (their song about brushing your teeth is weirdly sexual?!) The real winner has to be the John Mulaney and Lil Nas X episode, as both guests know exactly how to tailor their sensibilities for this show. I’ll also give kudos to Kacey Musgraves, who shows up in the premiere episode after Fallon for a lovely rendition of the Sesame Street classic “Rubber Ducky.”

The show makes sense for HBO Max insofar as it leverages one of its splashier IPs as a launch title for kid-friendly audiences, and in turn, provides a solid lure for high-profile talent. The execution of each element doesn’t feel forced and manages to be entertaining for adults too; there’s a bit in the Mulaney episode where Elmo cuts him off before he has a chance to plug anything—a point the comedian himself actively acknowledges—that garnered an earnest chuckle from me.

Roughly 15 minutes apiece, Not-Too Late is an excellent way to wind down your kids for the evening, not unlike the way traditional late-night shows often serve as background noise for an adult’s nightly routine.

'Stath Lets Flats'

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Genre: Comedy
Length: 23 mintes
Recommended for fans ofWhat We Do in the ShadowsThe Office

I suspect the initial appeal of UK import Stath Lets Flats will be the presence of Natasia Demetriou. The What We Do in the Shadows actress heads up the supporting cast of this workplace comedy written by and starring her brother Jamie Demetriou (who you might remember as the “Bus Rodent” in Fleabag). As the titular Stath, Jamie infuses the character with a staggering amount of stupidity, creating all kinds of chaos as a real estate broker for apartments in London’s Greek-Cypriot community.

UK housing is somehow even worse than apartment hunting in major US cities and the show capitalizes on this anxiety by having an already difficult process made even worse by Stath’s complete lack of both professional and personal skills. The result is a decidedly cringe-worthy show; situations dogpile up on top of one other in a manner reminiscent of The Office’s more difficult moments. The Demetriou duo plays extremely well off one another, elevating each other’s respective performance in a sort of game of idiot chicken, leading to all kinds of antics.

Fans of Shadows will likely enjoy seeing Natasia flex a different set of comedic muscles in Stath (she’s typically the brains of the household when it comes to Shadows) and interact alongside her own brother. However, those who are totally unfamiliar with the two might have a tougher time deciding to sign the lease on this one.

'Trigonometry'

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Genre: Drama
Length: 44 minutes
Recommended for fans ofThe AffairFleabag Season 2’s relationship intrigue, ParenthoodThe Americans minus the spycraft

Let’s get this out of the way up top: Trigonometry is not about math. Well, it kind of is. But not in the solving for equations kind of way. Rather, the BBC Two series (airing in the states for the first time courtesy of HBO Max) is about what happens when you add a new, third party to an existing relationship. So, yes, the “tri” portion of the title does hint at an encroaching threesome—but the series is fully content with easing all parties (including the viewer) into the new situation as delicately and lovingly as possible. 

Under the guidance of showrunning duo Duncan Macmillan and Effie Woods, Trigonometry skillfully introduces all the players: couple Gemma (Thalissa Teixeira) and Kieran (Gary Carr) clearly love one another but are saddled with increasing concerns about their futures, both as individuals and as a unit. Gemma’s restaurant (located under the couple’s apartment) is in desperate need of repairs and more servers, while Kieran’s late-night EMT shifts don’t put him in much of a position to help out around the joint house/cafe during the day. With housing costs on the rise (this is the second HBO Max import, along with Stath Lets Flats, to be directly influenced by the London housing crisis), the pair decide to lease a room to a new tenant named Ray (Ariane Labed). A professional synchronized swimmer Ray, of course, is in the middle of her own transitional period after a life-altering accident. 

Woods and Macmillan have such affection and warmth for their characters that the whole affair feels decidedly intimate, almost as if the viewer is intruding on the proceedings. The pilot episode ends with a bathroom standoff—for lack of a better term—that evoked shades of one of my favorite moments from The Americans; it’s a quiet sequence that uses glances and the physical presence of the characters to convey an ocean’s worth of emotions. Nothing about the growing sentiments between Gemma, Kieran, and Ray feels forced, rather the growth of fondness between all feels inherently natural. It’s a delicate needle to thread and I’m shocked it works as well as it does. 

I’m still early on in the series, but I’m more than impressed with what I’ve watched thus far. The sheer amount of content in HBO Max makes it a little overwhelming to take everything in, but Trigonometry is worth seeking out—as the show is a veritable diamond in the ruff.

Dress to Thrill: Orlebar Brown Just Dropped a Fresh Summer Wardrobe Inspired By James Bond by William Goodman

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This article originally appeared on RobbReport.com

For many of us, James Bond provided an introduction to the thrills of luxury. The cinematic icon’s impeccable taste has spurred trends for everything from Vesper martinis (you know how he likes them) to Dupont lighters and Globetrotter luggage. On this website alone, there are over thirty stories dedicated to how 007’s on-screen influence has intersected with brands outside of the theater. While purchasing an Aston Martin or an Omega watch can be a considerable investment, it’s not so hard to look like Bond—or at least dress like him. It’s even easier thanks to brands like Orlebar Brown.

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The British clothier returns, much like Bond himself, for another round of action this summer. Following two previous collaborations, the latest Orlebar Brown 007 collection launches today and is fittingly anchored around aquatic elements from On Her Majesty’s Secret Service, Thunderball and Dr. No. It’s an apt choice. After all, the brand’s first appearance in a Bond film was in Skyfall when Daniel Craig donned a classic pair of OB trunks. It’s a moment that the brand’s co-founder and creative director Adam Brown tells Robb Report was “pivotal” and clearly serves as a continued inspiration.

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“Many of the scenes that we could pick [from] have been around the water—whether it’s around the sea, or around a pool or on a boat,” Brown recalled on recent Zoom call. “It just has those moments that are relevant to Orlebar Brown. With the last phase, it was very much about the theater—it was the onesie, it was The Man with the Golden Gun green jacket. This is a far more subtle, wearable collection, which I’m really pleased about.”

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As a whole, this collaboration pays homage to 007 at his most understatedly elegant: breezy camp-collar shirts, a sleek Harrington jacket and one particularly suave knit silk tee. Many of the items use linen as their base, including a handsome suit that marks uncharted territory for the brand. “We’ve never really done one before,” says Brown. “To go into that really tailored, suiting-type thing was really an evolvement for us.”

While the brand uses historic Bond looks for inspiration, Brown stresses that it’s not as simple as just taking a costume and copying it whole cloth. “It’s tweaks…Inspiration definitely has to come from the Bond film. What you can’t do is just reproduce those items [without] an understanding of where things should sit or hang on the body.”

For as subtle as much of the collection is, there are a few pieces that carry Bond’s bravado. Two pairs of swim trunks are emblazoned with striking vintage poster art from Live and Let Die and Dr. No, making a graphic statement. Those trunks, when taken alongside the rest of the collection, yields an interesting juxtaposition: a bold swagger and a refined sense of debonair that is quintessentially 007. In many ways, those are key aspects of Orlebar Brown too. “The partnerships that don’t work are those where you don’t have shared values or a shared philosophy,” says Brown. “With Bond, there’s always been a natural, easy fit.”

Everything You Need to Know About HBO Max by William Goodman

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This article originally appeared on Complex.com

You might have seen or heard about HBO Max without fully understanding what it is. The new streaming service makes its long-awaited debut today, bringing with it a handful of exciting exclusives, making a noisy entrance into an already crowded space. With its arrival, however, comes a handful of questions about the service itself.

AT&T and WarnerMedia, the brains behind HBO Max, haven’t done the best job of communicating the goals, objectives, and even the overall ins-and-outs of how the service will work for existing HBO customers. So we’ve taken it upon ourselves to streamline everything for you. Here’s our guide to fully explain just what is happening with the shiny new service. From what’s included, to how you can sign up for the service, here are some of your most frequently asked questions, answered.

First off: What in the world is HBO Max? Why do I need another streaming service?

Launching today, May 27, HBO Max is a new content platform that serves as AT&T and WarnerMedia’s foray into streaming, going against other services like NetflixHuluAmazon Prime Video, and Disney+. AT&T, for those unaware, bought WarnerMedia (which includes HBO, TNT, TBS, Cartoon Network, DC Comics, and so on) back in 2019 after a heated legal battle and is now looking to consolidate its library of content assets into one user-friendly service.

There’s also a larger play with AT&T here, as the telecommunications company wants to get its users signed up for the service and then have those same people turn around and watch content on their Internet services. In fact, HBO Max is a key part of AT&T’s business plan moving forward.

I don’t care about business plans, my dude. And I already have HBO. How is this different?

The messaging around HBO Max is, frankly, a little confusing. AT&T, instead of creating a newly named service (like the upcoming NBCUniversal streaming service Peacock, for example) is looking to leverage an existing brand—in this case, HBO—in hopes of getting new users. WarnerMedia’s assets are all so disparate that they don’t carry the same punch as, let’s say, Disney’s collection of Pixar, Marvel, and Star Wars. However, as a brand name, HBO does come with a certain sense of gravitas, so it makes sense for AT&T to leverage this instead—even if a lot of the programming flies in the face of HBO’s decidedly adult content.

The key to HBO Max is the previously mentioned consolidation of content. Sure, you may have a cable subscription that already gives you access to TBS shows or even HBO, but they’re not all in one place for you to watch all at once. HBO Max solves this issue, bringing all these things together into one unified streaming platform. This means you’ll have Rick & Morty on the same service as The Sopranos and all HBO’s past and future programming. Plus, the service was able to lock up some exclusive streaming rights and has some exclusive programming, too.

Okay, it’s a little bit more understandable when you explain it that way. I like exclusives, what’s here that I can’t get other places?

The big one for some people is Friends. WarnerMedia’s crown jewel is the beloved NBC sitcom (which was produced by WarnerBros Television) returned from Netflix to debut exclusively here. You’ll also have The Big Bang Theory, which is also a WB Television production and came to the service in a massive deal. Love them or loathe them, those are two of the biggest sitcoms ever, so those are critical assets to have. Another key sitcom that will only be on Max is Fresh Prince of Bel-Air, which makes its streaming debut after years of cable reruns. Oh, and The Boondocks is included in the Adult Swim block, ahead of its upcoming exclusive reboot on the series.

Speaking of, HBO Max is also launching with a handful of other platform-dedicated series. Known as “Max Originals,” the first batch includes Love Life (a romantic comedy-like anthology series starring Anna Kendrick), Legendary (a ballroom competition show), Craftopia (a crafting competition show for kids), a new set of Looney Tunes cartoons, The Not-Too Late Show with Elmo (a play on late-night talk shows, but with Elmo) and On the Record, a documentary about sexual misconduct allegations against Russell Simmons. Future exclusives include a Friends reunion special, all 23 seasons of South Park, and the infamous, mythical Synder Cut of Justice League. The service is also the exclusive streaming home for the Studio Ghibli movies and—in a literal late minute addition—all eight of the Harry Potter movies. 

There are other exclusives that others will find exciting based on their own interests; I for one am really excited about having all of Anthony Bourdain: Parts Unknown in one place again. As I scrolled through Max this morning, I was a little overwhelmed by just how much content there is here. However, the service does a good job of organizing its content into nine different hubs: HBO, DC, Sesame Workshop, Turner Classic Movies, Studio Ghibli, Cartoon Network Collection, Adult Swim Collection, Crunchyroll Collection, and Looney Tunes.

Bourdain is the GOAT though. Okay, you’ve sold me. How do I get HBO Max and how much does it cost?

This too is a little tricky. The way the AT&T rolled out messaging around this was less than ideal and confusing for even the most seasoned journalists and writers. 

Let’s start with the easy part: If you didn’t already have HBO, signing up for an HBO Max account is $15 a month. That’s more expensive than the standard Netflix subscription ($13 a month) or the Disney triple-play bundle (which includes Disney+, Hulu, and ESPN+ for $13) but is as simple as visiting this page.

If you have a standalone, HBO Now account—that is, you were paying to access HBO without a cable plan—you’ll automatically be upgraded to an HBO Max account. In fact, an update will be pushed to your existing HBO Now app, converting it to the new HBO Max application.

If you have HBO through your cable provider, things get complicated. WarnerMedia has brokered deals with Altice USA (Optimum and Suddenlink), Charter Spectrum, Consolidated Communications, Cox Communications, Verizon Fios, AT&T, and a few other independent providers to upgrade existing HBO subscribers to HBO Max accounts for free. However, if you’re an HBO subscriber through Comcast’s cable plan, you will not get access. Comcast has not currently made a deal with AT&T for the service. Since Comcast is owned by NBCUniversal and will be launching their own streaming service (the aforementioned Peacock) later this summer, it makes sense AT&T doesn’t want to play nicely with the competition. UPDATE: Just after we published this story, HBO announced they have reached a deal to carry HBO Max for Comcast subscribers.

The other competition AT&T doesn’t seem to get along with is Amazon and Roku. Both services had an option for an HBO subscription within their platforms, but AT&T doesn’t currently have a deal in place. Those specific users who want Max will need to sign up for a new Max account directly.

That’s definitely complicated. Thanks for laying it out all for me.

For sure. Anything else you need?

Nah, I’m going to go dive headfirst into some Friends. Ross is so funny, bro.

...I’m more of a Chandler guy, but enjoy yourself dude.