If you somehow missed most of the PlayStation 4 generation, PlayStation Plus Collection includes some of the best releases from it. There’s the stellar reboot for God of War, for example. Uncharted 4: A Thief’s End is in the mix, along with Bloodborne. You can check out Ratchet & Clank before its follow-up, Ratchet & Clank: Rift Apart arrives. The library also touts The Last Guardian, Days Gone, The Last of Us: Remastered, Infamous: Second Son, and Until Dawn.
And those are just the PlayStation exclusives.
PlayStation Plus subscribers on PlayStation 5 will also get access to Battlefield 1, Monster Hunter: World, Fallout 4, Final Fantasy 15, Detroit: Become Human, Batman: Arkham Knight, Mortal Kombat X, Persona 5, and Resident Evil 7: Biohazard.
That’s a grand total of 18 games, and though some are suspiciously absent — where is Horizon Zero Dawn? — there exists the possibility that new titles could be added down the line. Still, for those who would’ve subscribed to PlayStation Plus anyway, the PlayStation Plus Collection seems like a heck of a deal.
Where Was ‘Ratched’ Filmed? Is Lucia A Real Town? Read Details Here
Ratched is one of the latest series that released on Netflix today and the drama series has created a buzz on social media. The psychological thriller stars Sarah Paulson, Sharon Stone, Finn Wittrock, Cynthia Nixon and Judy Davis in the lead roles. Many users online have been wondering about where was the show filmed. Here is a list of locations that we could find out, where the show was filmed.
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Where was ‘Ratched’ filmed?
- Ratched is set in the 1940s era and was entirely filmed in the state of California. The shooting locations include
- Los Angeles at large.
- Many other locations in the series were taken from the suburbs of Los Angeles and various other locations in the state of California.
- Toro Place Cafe Restaurant on the Monterey Salinas Highway.
- Big Sur coast, the Bixby Creek Bridge
- The shooting locations were mainly taken to look similar to the small town Lucia that is in California, as per IMDb.
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Is Lucia a real town?
The drama thriller series Ratched is set in Lucia, a small town in California, which really exists. However, the town shown in the series is a tad bit different from the real town if facts are to be taken into consideration. Here is how.
- The population in Lucia that is shown in Ratched is said to be 985. But in reality, the real Lucia has over 1300 people. Nevertheless, both are very small.
- A report in Refinery29 claims that the Sealight Inn overlooking the ocean, where Mildred Ratched and several other main characters stay, is real.
- The Lucia State Hospital shown in the series is not real. Lucia does not have any mental institution.
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Cast of Ratched
- Sarah Paulson essays the role of Nurse Mildred Ratched.
- In the series Ratched, actor Finn Wittrock portrays the role of Edmund Tolleson.
- Cynthia Nixon essays the role of Gwendolyn Briggs
- Jon Jon Briones portrays the role of Dr Richard Hanover
- Judy Davis as Nurse Betsy Bucket in Ratched
- Sharon Stone as Lenore Osgood in Ratched
- Amanda Plummer as Louise in Ratched
- Charlie Carver as Huck Finnigan in Ratched
- Hunter Parrish as Father Andrews in Ratched
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The series is created by Ryan Murphy, which reunites Sarah Paulson with her American Horror Story writer. Filipino-American actor Jon Jon Briones will play the role of Dr Richard Hanover in the series. Netflix’s Ratched also stars Sharon Stone, Finn Wittrock, Corey Stoll, Cynthia Nixon and others. Ratched is available to watch on Netflix now.
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The 2020 Toronto Film Festival Proves There’s Hope for Awards Season Yet
With the New York Film Festival now underway (get ready for weeks of arguing over whether Steve McQueen’s Small Axe is TV or a movie) it’s probably about time to bid farewell to our virtual Toronto, with the highest of hopes that we’ll get to be in the real one next year. Anything else you want to mention before we go?
Lawson: It wouldn’t be ethical for me to comment on Molina’s character in The Water Man, as it is based on my life. So let’s move on to Naomi Watts, who gives a lovely performance in the surprisingly, happily unschmaltz-y Penguin Bloom. I mean, the movie is plenty sentimental and gloopy (and not just for the bird poop). But it has a backbone of interesting artistry, and a great central performance, which keeps it grounded. It’s exactly the kind of role Watts has been needing for a while, one that reminds audiences of her skill and appeal while telling a nice, bittersweet story. Plus, there’s a cute animal! We’ll be seeing you next year, Naomi.
Good Joe Bell was recently acquired by Solstice, a new distributor which had the uneasy distinction of having the first theatrical wide-release of the pandemic: the brutal road rage thriller Unhinged. The fledgling company is now veering in an entirely different direction with a poignant awards hopeful, which should make for an interesting campaign. Good Joe Bell got some strong notices, including from yours truly, at TIFF. But it also had plenty of adamant detractors, people who felt the movie was too general or simplistic, or that it focused on the wrong character—Wahlberg’s grieving dad, Joe, rather than his tormented son, Jadin, who is played beautifully by newcomer Reid Miller. The film will have to combat a lot of naysayers to get into the Academy’s good graces, and could certainly have benefited from being carried on that journey by its initial distributor—the indie powerhouse A24, which pulled out of the production after original director Cary Joji Fukunaga left the project. But maybe Solstice has some tricks up its sleeve. I’m oddly rooting for Good Joe Bell, which is not something I ever thought I’d say about an anti-bullying drama starring Mark Wahlberg.
I’m also rooting heavily for Rosamund Pike in I Care a Lot, though that seems like another of my wild pipe dreams. Kingsley Ben-Adir, such a commanding locus of smarts and searching in One Night in Miami, is a TIFF favorite who could actually go the distance. And his film is purchased and ready to go. Still, with so many of the year’s heavy hitters waiting in the weird extension months of January and February, it’s hard to say who Ben-Adir, or any of these people, will be up against.
It doesn’t seem like NYFF will offer much else in the way of clarity. While audiences and industry prognosticators sort out whether or not Steve McQueen’s film series is, well, a film or a series, the festival also has Sofia Coppola’s new movie on offer, though that seems mostly like a light, rambling father-daughter comedy. The father is played by Bill Murray, who should never be counted out, but early trailers suggest that the film is perhaps too slight and airy for a real awards push. I’m infinitely curious about Azazel Jacobs’s French Exit, a NYFF premiere starring Michelle Pfeiffer, Lucas Hedges, and Pulitzer Prize–winning playwright and actor Tracy Letts as a talking cat, but again that seems like more of an autumn curio comedy than anything else.
HBO Thoroughly Defeated Netflix at the Emmy Awards
When the virtual Emmy Awards telecast came to an end on Sunday night, one thing was clear: reports of HBO’s demise had been greatly exaggerated. Despite the absence of both Game of Thrones and Veep, the cable network still thoroughly dominated the Emmy Awards. HBO led all networks and streaming platforms with 30 total Emmy wins, including awards for best drama series (Succession), best limited series (Watchmen), and best variety talk series (Last Week Tonight With John Oliver). The network also secured every lead acting award in the drama and limited series categories, including a surprise and historic win for Euphoria star Zendaya.
Yet while victories for Succession and Watchmen—particularly the acting awards for Regina King and Jeremy Strong—had been predicted by a number of awards experts, the results still came as a relative surprise, especially in light of HBO’s underdog status heading into the night. This year, Netflix scored a record 160 total Emmy nominations—53 more than HBO managed, and a show of dominance never before seen during an Emmys season. (Netflix received more Emmy nods than all four major broadcast networks combined.)
But viewers would have been forgiven for thinking of the streaming giant as an afterthought on Sunday. Though it nabbed major nominations for Ozark, Stranger Things, The Crown, Dead to Me, Unorthodox, and Unbelievable, among other shows, Netflix only won two awards during the main Emmys broadcast: best supporting actress for Ozark costar Julie Garner (her second consecutive win in the category) and a best director in the limited series category for Unorthodox filmmaker Maria Schrader.
All told, Netflix received 21 Emmys this year, with 19 awards coming during the Creative Arts Emmys ceremonies last week. The streamer’s most honored shows, with three total wins, were the embattled reality series Cheer (breakout star Jerry Harris was arrested last week on child pornography charges) and the Dave Chappelle comedy special Sticks & Stones. (While many viewers have gotten hooked on Emmy-winning juggernaut Schitt’s Creek via Netflix, the show itself actually aired on Pop TV in the United States and the CBC in Canada.)
If these relatively disappointing results seems familiar, it’s because the streamer also experienced a similar fate at the Academy Awards ceremony in February. Heading into the Oscars, Netflix led all studios with 24 total nominations, including 10 for The Irishman. In the end, despite major contenders in all significant categories, the service came away with just two wins: best supporting actress for Marriage Story costar Laura Dern and best documentary for American Factory.
So, what happened? It’s arguable that Netflix was undone at both ceremonies by the cultural climate. Movies like Parasite and Joker (which won Joaquin Phoenix best actor) and shows like Schitt’s Creek, Succession, and Watchmen had more to say about life in 2020 than Netflix’s nominees—an issue its flood-the-zone programming strategy may continue to buck up against. As co-CEO Reed Hastings told Vanity Fair recently, when asked about encroaching competition from TikTok and other video platforms, Netflix wants to keep presenting something for everyone. “The danger is someday Netflix becomes like the opera—a sort of super-high-end niche thing,” he said.
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