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Disney+ Has Won Its First Ever Emmy For The ‘Mandalorian’ Visual Effects



Disney+ isn’t even a year old yet and it already has an Emmy. Though the big show isn’t till Sunday, the awards body has been handing out tons of smaller trophies in the week before, mostly for technical awards and ones, semi-ironically, not deemed worthy of prime time television, as part of their “Creative Arts Emmys.” One of those awards is Outstanding Special Visual Effects, which wound up going to the streamer’s biggest break-out thus far: The Mandalorian.

It may not be the last: The Star Wars program, about a Boba Fett-like bounty hunter played by Pedro Pascal, is up for 11 other Creative Arts Emmys, on top of its Primetime Emmy nomination for Outstanding Drama Series. Among the other nominations include Outstanding Character Voice-Over Performance for Taika Waitti, who voiced the droid IG-11, and Outstanding Guest Actor In A Drama Series for Giancarlo Esposito, who played Moff Gideon in the Season 1 home stretch (and will be back for more).

Mind you, the show’s own breakout star, Baby Yoda, is only partially a visual effect. Instead he’s part CGI and part puppet. It was originally planned to be 100% the former until supporting player Werner Herzog, who plays the sinister one known as “The Client,” literally called them “cowards” for not going with an old-fashioned puppet. Luckily there were still plenty of other excuses for F/X that wouldn’t incur the wrath of the director of Fitzcarraldo.

(Via Deadline)


‘Big Brother All-Stars’: Lies, Betrayal And Backstabbing Lead To Big Eviction And Surprising Reveal




By Zach Seemayer,

The truth will set you free, but it won’t always save you from getting kicked out. On Thursday’s “Big Brother All-Stars” eviction night, the week of lies, misplaced trust and betrayals were all revealed — after it was already too late.

When the episode began, Da’Vonne Rogers and Kevin Campbell were on the chopping block, after a whole lot of shifting alliances and paranoia tore apart friendships and turned Da’Vonne against David Alexander.

In essence, the lies all stemmed from last Thursday’s eviction, when Ian Terry got sent packing. Da’Vonne wanted David to vote for Tyler — which he did — and Nicole was supposed to do the same to split the vote.

However, Nicole actually voted for Ian, because of the machinations of her alliance, then told Da’Vonne that it was David who’d flipped his vote. Da’Vonne put entirely too much trust in Nicole and believed her, destroying her friendship with David (who was entirely confused because he had done exactly what was planned and wasn’t trying to backstab anyone).

Nicole was clearly upset by her decision to lie directly to Da’Vonne’s face multiple times, and was even brought to tears. However, she couldn’t actually bring herself to tell the truth, because of how it would impact her alliances.

So, going into the eviction vote with the utmost confidence that David has betrayed her, Da’Vonne delivered an impassioned final appeal, telling the other houseguests, “I asked everyone here this week to be honest with me and tell me how this week was going to go. Some of you were, and I will remember that I will take that into the jury house with me.”

“Jury management is important at this time in the game,” Da’Vonne reminded the other players. “For those of you who I looked in the eye and asked, ‘Hey, What’s going on this week, just be honest with me,’ and you flat-out lied to me or gave me the oh, so scripted, ‘I don’t know what’s going on,’ it’s definitely noted and I will take that into the jury house as well.”

The remarks were clearly directed toward David — as well as comments she made about being “stabbed in the front” not in the back.

Ultimately, the speech couldn’t keep her from having to pack her bags. By a vote of 5 to 2, Da’Vonne was evicted, and Kevin managed to survived his fourth time on the chopping block.

After putting on her mask, gathering her things and going out to meet host Julie Chen Moonves, Da’Vonne was finally let in on the true inner workings of the “Big Brother” house.

“I am relieved,” Da’Vonne said with a laugh, when asked about how she felt to be evicted. “I was ready to go. I was sick of those people. I love this game, but sometimes, being in there, it’s just, it’s a lot.”

After dropping the bomb about the hidden alliances — which Da’Vonne already knew existed, but was unsure of the exact details — Julie played a few videos from the houseguests, which had been recorded in the event of her getting kicked out.

One video came from Nicole, who got choked up as she admitted that she’d lied about David and that she was the one who’d actually flipped her vote, because her alliance told her to.

“I’m sorry, Da’Vonne,” Nicole said through tears. “I just really hope you’ll give me a chance outside this house to be friends because I really love you as a person.”

The news clearly came as a surprise, and Da’Vonne said she felt hurt by the betrayal because she’d trusted Nicole in a real way.

“I told her, I said, ‘Nicole, I’m a Black woman in this game. David is a Black man in this game. I do not want to be on television bashing him and calling him a liar if he did nothing wrong. So if you did that and you voted Ian out, just tell me. I won’t hold it against you. I won’t be angry with you. Just be honest with me,’” Da’Vonne recalled. “And she said, ‘I swear, I voted Tyler out.’ And that is why I’m bothered.”

“Game-wise, I get it, girl. Do what you got to do for your alliance. But that was personal, and that was important for me. And I told her to be honest with me about it,” Da’Vonne added.

Now, fans will have to wait and see how Nicole’s deception impacts Da’Vonne’s vote when it comes time for the jury to decide this season’s big winner.

“Big Brother All-Stars” airs Sundays and Wednesdays at 8 p.m. ET/PT on Global, and the live eviction airs Thursdays at 8 p.m. ET.

For more on the wild drama from this season of “Big Brother All-Stars”, check out the video below.


‘Big Brother All-Stars’ Evicts Another Houseguest Amid Tears

‘Big Brother: All Stars’: Bayleigh Dayton on Her Eviction

‘Big Brother’: Kaysar Ridha on Why He Blew Up Everyone’s Game


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Rep. Eric Swalwell: The House Will Step in if Trump Tries to Hold on to Power — WATCH




Rep. Eric Swalwell (D-CA) told MSNBC’s Lawrence O’Donnell on Wednesday night that the U.S. House of Representatives is ready if Donald Trump refuses to concede the election.

Said Swalwell: “If he’s going to play games and encourage people not to send electors, well, the House of Representatives then would determine who the president is. As long as we win in the House, we can counter Donald Trump’s corruption. This is what a democracy looks like when you have a president who will go to jail and face criminal charges if he’s not re-elected. He’s going to test us and it’s up to all of us to not let ourselves be paralyzed by fear but to move to register to vote, to show up and vote, and then have agency and make sure we hold our leaders accountable after the election.

But Swalwell said the first weapon should be our vote: “We have an army of voters. Women who marched the day after the inauguration. The March For Our Lives generation that came out of Parkland, the people who won in Virginia in the off-year, who won in Kentucky. We have an army of voters. So the best way out is to overwhelm the ballot box because Donald Trump is a coward and he will vanish if the result is so overwhelming.”

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Fargo Returns with Warring Crime Families and Even More Midwest Nice




I always want to like Fargo more than I do. The FX anthology series from Noah Hawley debuts its fourth season this Sunday with another Midwestern fable about life, death, and bitter cold. It stars Chris Rock as a the leader of an organized crime racket in 1952 in Kansas City, Missouri, squaring off against the local mafiosos, led by Jason Schwartzman. The Italians, the Fadda family, were there before Rock’s ring, the Cannons—but they were preceded by an Irish crime outfit, who were themselves preceded by a Jewish one. The first episode gives us a brief history of these families in Kansas City, who all attempted—and failed—to maintain peace by trading their youngest sons to be raised by the rival family.

You’d think that after three failed truces, this son-trading thing would be widely regarded as a bad move. But as narrated to the audience by the lethally clear-eyed teenager Ethelrida Smutny (E’myri Crutchfield), the only black student at the local high school, humans seem determined to barrel towards strife and violence no matter what history has taught us. So despite the obvious trauma that Josto Fadda (Schwartzman) experienced as a young boy traded to the Irish—or that his man Rabbi Mulligan (Ben Whishaw) did as an Irish boy traded to the Jews and then absorbed, during strife, by the Italians—Loy Cannon (Rock) trades his own son Satchel (Rodney L Jones III) for a young member of the Fadda family, Zero (Jameson Braccioforte). Fargo begins its fourth season poised on a knife, waiting with bated breath for the other shoe to drop.

And waits. And waits. The show begins each episode with the hyperbolic, haunting, utterly untrue text from the beginning of the film, diluting its power with every use: “THIS IS A TRUE STORY,” it begins, before adding with foreboding, “At the request of the survivors, the names have been changed.” This is a lot of pomp and circumstance for a show that ends up moving very slowly and quite tortuously, plodding through episodes and roping in fantastically named new characters as if detail is a replacement for having a point. The detail can be wonderful: The production brings the interiors of the slightly shabby Midwest to neutral-toned life, tainting its respectability with the incursion of strife at every turn. There’s a character named Doctor Harvard and another named Doctor Senator, and Andrew Bird is there as Ethelrida’s father, Thurman Smutny. (Her mom, Dibrell, played by Anji White, is black.)

You can see why actors like being on Fargo. The show is dominated by its rich texture, and the characters are imaginative creations—their mouths full of pretentious monologues about life and death, their hands driven by inexplicable desires and the heavy weight of duty. They have the freedom to take up so much space, and time, with the quirks of their performance. And because Hawley’s show pipes in at least some version of the movie’s sardonic wit, there’s something almost parodic about the whole undertaking, a self-seriousness that is also an inside joke. This might best be expressed this season in Jessie Buckley’s wild take on a twisted nurse named Oraetta Mayflower. She wears a white nurse uniform complete with white hat and white tights, and speaks with a Minnesota (??) accent that borders on the satirical. Or maybe it’s in Schwartzman’s freewheeling take on a mafia don—a scenery-chewing performance imbued with a metatextual sarcasm, a Coppola scion aping the tropes his family so firmly established.

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