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Apple: New Apple Watch And iPad Launched! No iPhone 12



Here is what we know about Apple launching new products that are not iPhone!

Well, well, well, here is a piece of disappointing news for all the people who love keeping a track of smartphones because till this point in time, Apple has not released the new iPhone models during the event it just had called Time Flies.

Well, in all it was not so bad given we did not get some iPhones but we surely were disclosed about some other very cool gadgets.

Here is what Apple launched recently in its event called Time Flies!

Apple, which is literally the giant technology ruling everyone right now, is based on Cupertino and it has gone on to introduce some new Watch series 6 as we as a revolutionary Blood Oxygen sensor in the times we are living where it really is necessary.


We need this tracking feature while the whole world is covered in the blanket of a pandemic which has been created by the fatal Corona Virus. All this while, for the next product we get a dashing iPad Air with a bionic chip and you will be surprised to know that this is not an ordinary feature because it is the first A14 chip of the industry.

Here is the cost of the Apple Watch series as well as the iPad!

AppleWatch 6 series that has a GPS in it starts from the age of 555 US dollars.
At the same time, the Apple Watch Series 6 which has a GPS as well as a Cellular starts from 677 US dollars.

Well, if we go on and try to talk about the potential cost of the new iPad Air which is available in two different configurations of ROM, that is, 64 GB as well as 256 GB, we will also be able to witness a wide variety of colors in these that are going to be available in October at the Resellers which have been authorized by Apple.


Chris Rock to Host SNL Premiere




Chris Rock is rolling into Studio 8H for Saturday Night Live‘s season opener.

The SNL vet is set to host the late-night sketch series’ Season 46 premiere on Oct. 3, live from 30 Rock with a limited, in-person audience. He will be joined by musical guest Megan Thee Stallion.

Rock was an SNL cast member from 1990-1993. He previously returned to host in 1996 and 2014. His third go-round will coincide with Jim Carrey’s debut as Democratic presidential candidate Joe Biden. The episode airs just four days after the first primetime debate between the former vice president and incumbent POTUS Donald Trump.

Rock is currently making the rounds to promote the fourth season of FX’s Fargo (premiering Sunday, Sept. 27). Meanwhile, Megan Thee Stallion recently released her latest album “Suga,” which spawned the hit single “Savage.”

As previously reported, SNL will welcome back its entire ensemble — including Kate McKinnon —  for Season 46. The show has also added three new featured players: improv vets Lauren Holt, Punkie Johnson and Andrew Dismukes — the latter of whom has been an SNL staff writer since Season 43.

Are you looking forward to Rock’s SNL return?


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New Girl’s Lamorne Morris reveals what superhero he wants to play – Exclusive




It turns out, there is one very particular superhero Lamorne Morris dreams of playing. “Gambit,” he says without skipping a beat. “I want to play Gambit. That’s it, put it out there, man. I want to play Gambit, please, please, please, please. He’s my favorite.”

Of course, when it comes to comic book movies, Gambit seems to be cursed. There may be no Marvel character that has struggled more when it comes to the big screen. At least multiple efforts have been made to put out a good Fantastic Four movie. Despite being a fan favorite in the ’90s X-Men animated series, the only live-action incarnation of Gambit was in the infamous box office dud, X-Men: Origins: Wolverine, with Taylor Kitsch in the brief role.

Attempts to bring Gambit into the cinematic fold date back to 2003’s X2, with director Bryan Singer casting stunt actor James Bamford to cameo. The scene involving Bamford as Gambit wound up on the cutting room floor, and although Singer reportedly planned to bring in Gambit for the third X-Men movie, he ultimately left the project to work on Superman Returns

Channing Tatum has been talking about wanting to play Gambit as far back as 2013. Setback after setback kept the project from moving forward despite serious attempts, until finally the Fox-Disney merger happened and squashed basically all Fox’s X-Men projects indefinitely.

What we’re saying is: good luck, Lamorne Morris!

Woke is streaming on Hulu now.

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Ryan Murphy Turns Classic Queer Drama Into Waxwork Karaoke




Scott Everett White/Netflix

Producer Ryan Murphy and director Joe Mantello have come not to bury the past but to slavishly recreate it, sort of, with “The Boys in the Band,” a feature film starring the cast that the two assembled for the 2018 revival of Mart Crowley’s groundbreaking play about a group of urban gay frenemies.

“Groundbreaking” is one of the last adjectives one could apply to this ossified remake, which scavenges the surface of William Friedkin’s 1970 film version with all the depth of a magazine layout or a theme party. Whether or not you think Crowley’s very of-its-moment piece still has something to say to audiences of the 21st century, it’s a play that deserves better than this waxwork karaoke.

Michael (Jim Parsons), who grapples with his gay identity via retail therapy and Catholic guilt, throws a birthday party for the acerbic Harold (Zachary Quinto). The guests include the unapologetically flamboyant Emory (Robin de Jesus); librarian Bernard (Michael Benjamin Washington, “Ratched”); conservative Hank (Tuc Watkins), who’s leaving his wife and family for roving-eyed Larry (Andrew Rannells); neurotic stud Donald (Matt Bomer); and hustler Cowboy (Charlie Carver), whom Emory has purchased for the evening as Harold’s gift. There’s also a surprise appearance by Michael’s old college chum Alan (Brian Hutchison, “The Sinner”).

“The Boys in the Band,” paradigm-shifter though it was in its frank portrayal of a certain segment of gay life, is rather traditional in structure; it’s one of those Broadway plays where various character types gather together in a room and very quickly begin hurling long-buried truths and accusations at each other. One might hope that certain aspects of what it has to say about how gay men function in American society and how they feel about themselves and each other are part of the past. (“Show me a happy homosexual,” Michael notes in an oft-quoted line, “and I’ll show you a gay corpse.”) But it’s a work that can and does have relevance as a piece of drama (that’s often very funny) and delight as a showcase for actors.

Both the relevance and the delight turn up every so often in this new version, but not nearly enough. Mantello doesn’t quite go full “Gus Van Sant remaking ‘Psycho’” in his dedication to Friedkin’s work, but the influence of the original is there, from the shots of Donald driving into the city from the Hamptons to the recreation of Phil Smith’s set decoration. As cover versions go, however, it’s fairly soulless.

Friedkin, as he often did in his theatrical adaptations, played up the claustrophobia and the closeness. You could feel the humidity building up to the thunderstorm that drives everyone inside for the final act, and you could see the sweat on the faces of this boozy, barb-tongued crew. There’s none of that here; heck, there’s not even a single mark on Quinto’s flawless complexion, which renders his character’s self-description as a “pock-marked Jew fairy” utterly meaningless.

One of the few ways that Mantello and screenwriter Ned Martel, who shares writing credit with Crowley, break away from the previous movie is with a handful of flashbacks and an epilogue, which further dissipate the tension and offer little of dramatic value, although they do shoehorn some nudity into the otherwise fully-dressed proceedings.

And while de Jesus offers some of the best acting work in the film, it’s a bit of a cop-out changing Emory from a white character to a Latinx one, as it diminishes the character’s stream of jokey racist put-downs to Bernard, and Bernard’s eventual explanation as to why he allows it. If filmmakers are going to re-create 1968, it’s cheating to retroactively let white characters’ racist behavior off the hook.

What works best here is Crowley’s still-pungent dialogue, when delivered by actors who get the balance of wit, self-loathing, and rage. In addition to de Jesus, Washington, Watkins, and Rannells tackle the words with the deepest understanding and emotional flair, while Carver nails the jokes, of which his character is generally the butt.

Disappointingly, it’s the bigger names in the bigger roles that drop the ball; Parsons whines so gratingly that we can’t imagine how Michael has enough friends to fill a party, and Quinto takes Harold’s most acridly funny lines and turns them into Dennis Haysbert talking about car insurance.

This is another Ryan Murphy production, on the heels of “Hollywood,” that turns the trauma of the past into a fashion show. (One imagines his connection to the material being less about the evolution of gay men and their role in society and more “Wow, ascots!”) Crowley, the friends and lovers who inspired him to create this cast of characters, and all the queer pioneers who paved the way for the current LGBTQ+ community, deserve a remake more pungent and more powerful than this mostly airless spectacle.

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