Central Park‘s Molly wasn’t voiceless for long: The Apple TV+ animated comedy has tapped The Umbrella Academy star Emmy Raver-Lampman to voice the character originally played by Kristen Bell, TVLine has learned.
“After an extensive casting process that brought a number of incredible contenders to the forefront of our Molly search, we could not be more thrilled,honored, and certain that we have found the perfect marriage of character to voice in the amazing Emmy Raver-Lampman,” the Central Park creative team of Loren Bouchard, Josh Gad, Nora Smith, Halstead Sullivan and Sanjay Shah said in a statement. “From the moment we heard her Molly, we knew she was the right choice.”
Bell voiced the character of Molly — the mixed-race daughter of Leslie Odom Jr.’s Owen and Kathryn Hahn’s Paige — in Central Park‘s freshman season, which debuted on Apple’s streaming service in May. But Bell stepped away from the role last month, stating that “playing the character of Molly on Central Park shows a lack of awareness of my pervasive privilege.” The animated series received a two-season series order from Apple in March 2018.
A Broadway veteran of Hamilton and Hair, Raver-Lampman is best known to TV fans as mind-controlling superhero Allison Hargreeves on the Netflix comic book series The Umbrella Academy, which returns for Season 2 next Friday. Her other TV credits include Jane the Virgin and A Million Little Things.
Disney’s ‘Artemis Fowl’ movie adaptation of the Eoin Colfer books starring Ferdia Shaw as the titular12-year-old criminal mastermind has been a long time coming and on March 2, a full-length trailer for the upcoming film was finally released.
The trailer has a lot of cool elements and some stunning visuals but for fans of the novels, it looks like ‘Artemis Fowl’ might end up being a disappointment.
That’s not to say it will necessarily be a bad movie. It’s just that the trailer reveals a lot of details about the film’s world that are radically different from the books.
For one thing, the trailer heavily features Colin Farrell’s Artemis Fowl Sr and reveals that the older Fowl has been locked in years of war with the fairy world, keeping the magical races away from human society.
Unlike the books, it’s Artemis’ father and not Artemis himself who discovers the fairies and it seems the younger Fowl might not even be aware of the full scope of his father’s criminal undertakings.
Mulch Diggums and Holly Short are in the movie as well, played by Josh Gad and Lara McDonnell respectively, but their characters are again very different from the ones we know and love from the books.
It appears Mulch has been working as a double agent for Artemis Fowl Sr and Holly is… friendly? And she’s a spy working for the humans against her own people, which we can’t imagine the Holly from the books ever even considering.
Holly and Artemis do become friends later on in the books but what is really endearing about the pairing to us is the sheer snark and antagonism the two shared in the first few novels.
It’s a strange kind of chemistry that worked wonders in the books and while we’re hoping we’re wrong, it appears that hasn’t been translated to the screen.
On the bright side, the trailer does reveal that there’s a troll involved in the movie although it appears the monster might be fighting Artemis himself and not Butler (Nonso Anozie) like in the books.
We really don’t know how to feel about that because a huge part of why we wanted this movie in the first place was to see Butler’s epic troll fight from the books brought to life in live-action.
Judging from just the trailer, it looks like ‘Artemis Fowl’ might be a real treat for the average audience and newcomers to the franchise, especially children, who are going to be wowed by the brilliant effects and CGI. However, if you’re a die-hard fan of Eoin Colfer’s books, this might not be what you were hoping for.
‘Artemis Fowl’ is scheduled for release on May 29.
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‘Glee’ star Naya Rivera, who went missing after going for a swim with her 4-year-old son in Lake Piru, California, on July 8, had spoken out about the different kinds of relationships she had with her costars on the show. She had a remarkable bond of friendship with actor Cory Monteith, who died of a toxic drug combination in July 2013 in a hotel room in Vancouver, Canada.
The pair had a sibling-like relationship and she knew about Monteith’s struggles with different forms of addiction. As a result, she wrote in her book ‘Sorry Not Sorry: Dreams, Mistakes & Growing Up’ in 2016 that she was surprised to see him consuming alcohol in the cast party to celebrate filming their final episode.
“When he decided to order a cocktail, it was the first time we had ever seen him drink,” wrote Naya. “He explained that he wanted to be able to drink in moderation, that he could do it and be just like everybody else. He seemed calm and confident about it, so we all just accepted it. To be honest, I don’t think many of us really understood how addiction worked. Nor did we fully realize the extent of his former addiction.”
Naya also added that her friendship with Cory deteriorated when he began dating Lea Michele, another of their ‘Glee’ costars in 2011. Naya did not have the best of relationships with Lea as the show progressed as the latter was accused of bullying and harassing other stars of the show on set. “The more serious they got, the less Cory hung out with us and the more he seemed like a different person,” Naya explained in her 2016 book.
Despite her feud with Lea, which neither of the stars initially admitted publicly, Naya said that she was pleased that Lea was having a positive impact on Cory’s life and was a stable influence as he battled addiction. “My personal feelings for Lea aside, I knew that she wasn’t a partier, so I felt like maybe their relationship could actually be good for him,” added Naya.
The news of Cory’s untimely death hit Naya when she was in London with her then-boyfriend, Big Sean, and she was heartbroken by it. “I doubt I’m alone in feeling a lot of regret about his death,” confessed Naya, who never hid her feelings and expressed them honestly. “Since he died, a lot of us have spent time wondering and talking about what would have happened if someone had stepped in or confronted him about what was going on.”
She added: “Or what if he’d been trying to talk to someone about what was going on and just thought no one cared? Like, maybe that one time when it was just the two of us walking out to our cars, maybe if I would have just walked a little bit slower and hadn’t been in such a hurry to get home, maybe he would have seen it as an opportunity to bring something up. You can drive yourself crazy like that, because no number of ifs will ever make anything different.”
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She is bigger than the House of Mouse, bigger than their cat story. Photo: Andrew White/Parkwood Entertainment
More interesting to me than all hour and 58 minutes of last year’s The Lion King remake was its press tour and how disinterested Beyoncé seemed to be with it. She’d made better movies (Dreamgirls, Obsessed), been on bigger platforms (her concert specials for HBO, Homecoming for Netflix), been a part of telling stories that were just as iconic (again, Dreamgirls and, in another sense, singing at Obama’s inauguration). The live-action Lion King seemed like an odd way for a famously strategic megastar to spend her time; what could it give her that she didn’t already have, what legacy would it build that she hadn’t already constructed for herself a million times over? I imagined her politely declining to record her dialogue in a booth, instead AirDropping voice memos of her lines directly to Bob Iger himself, expecting him to just figure it out and make sure it got to the right people. When she announced her companion album The Gift and its companion visual reinterpretation of the Lion King itself, it made sense: Her dozen lines as Nala were a way to get this larger, more robust vision out into the world.
The original movie guides the narrative, but most of Black Is King is completely new, a hybrid of myth, of folk, of memories, and Hollywood. There’s a headstrong prince who loves to get into trouble, the death of a wise, powerful father, the uncertainty of filling that void, the way loving a woman — and the love of a woman — prepares him for the challenges of his life. Dialogue from the live-action Lion King film is used in Beyoncé’s version, along with her own reflections on Blackness, womanhood, and power. Other voices share their experiences of Black identity and the Black diaspora. Blue Ivy co-stars, Jay-Z shows up, her collaborators and friends make surprising, delightful appearances.
As a collection of music videos, Black Is King works: Beyoncé, the album, proved that she’d mastered more genres, more sounds, more ideas than anyone else in her class. In those videos, she zoomed around the world, in productions that outdid themselves to show how distinct the one you were watching was from the one before it. InLemonade, she stayed closer to home, with fewer set pieces, to exorcise generational curses and heal a broken heart. Black Is King is a fusion of those two styles, the grandness of self-titled with Lemonade’s full-hearted poetry. Warsan Shire returns to contribute more musings as profound prayers; Jezebel’s Clover Hope, who wrote Beyoncé’s September 2018 Vogue cover’s As Told To is a credited writer, too. In both Lemonade and that cover story, it was a thrilling surprise to see and hear Beyoncé think out loud so intimately. (Still seared into my memory is Beyoncé saying: “I want him to know that he can be strong and brave but that he can also be sensitive and kind,” she said of her son, Sir Carter, to whom Black Is King is dedicated. “I want my son to have a high emotional IQ where he is free to be caring, truthful, and honest.” A handclap for Bey, intent on raising the first good man!) Some of these observations and reflections are cut from the same cloth, but they’re no more or less sage.
It is a stunning, lush visual to watch. The clothes, the art, the braids, her grill! No other artist could make this, at this scale, this beautifully. “Mood 4 Eva” takes the best from her “Partition” visuals and her husband’s for “Family Feud,” with the pure adrenaline that made their joint Carters project so much fun. “Brown Skin Girl” is an exercise in luminosity, with Lupita Nyong’o, Naomi Campbell, and Kelly Rowland dancing to the lyrics they inspired, a portrait of Beyoncé giving the Black women in her life their flowers. “Already” is, frankly, the slickest shit in the world: It’s Beyoncé doing what only Beyoncé can do. No one else can sing like that, dance like that, wear outfits like that, perform like that. There’s something about Beyoncé no feature film has been able to capture or that she hasn’t figured out how to channel into a performance of someone else’s character on someone else’s page. She’s Beyoncé. Period!
When Black Is King stretches to service this bigger structure — of the Lion King story, of ideas about diaspora, of the ancestors — it’s less coherent. (The way in which Beyoncé engages with this politic is worthy of another analysis that would break my brain; the way it communicates her ideas remains murky.) The Lion King dialogue weighs it down, the dutiful exposition and character introduction make the first and third acts feel like they’re moving at a glacial pace. Every time she’s not onscreen, there’s a void of where she should be; the project deflates when you start wondering how soon she’ll come around again. What Black Is King makes clear, ultimately, is that Beyoncé’s imprint on pop culture is too mighty to work normally within a preexisting IP. She is bigger than the House of Mouse, bigger than their cat story; Black Is King shows what it looks like when she tries to color inside someone else’s lines.