If you follow me on Twitter, then you’re probably familiar with my weekly “THE GOOD PLACE [Sad Reaction Image]” tweet formula that pops up on Thursday nights. I started the show during the summer of 2018 and devoured the first two seasons in less than three days, which is extremely uncharacteristic of my uncultured-with-television self. I knew from the first few episodes, however, that The Good Place was no ordinary network sitcom. It’s been dubbed by many of its creators as the “smartest, dumbest show on TV”, which perfectly describes the show’s juggling of complex interrogations of morality, deep character studies, humane themes of life and death, emotional trauma, and self-improvement, all while maintaining a Spongebob-Esque absurdist but genuine sense of humor. It’s such a personal show to me that seemed to come at the right time. The first two seasons are masterfully written, and it would not be inappropriate to study the story beats and structure in a screenwriting class as the perfect model of set-up, pay-off, character development and everything in-between.
So of course, Season Three of The Good Place had a lot to live up to. Our starting point takes off where Season Two ended; an arrangement with the Judge (Maya Rudolph) had been made to give our rag-tag group a second chance to prove themselves as “better people” by preventing their deaths back on Earth. Michael (Ted Danson) and Janet (D’Arcy Carden), fully understanding of the gang’s positive group dynamic, decide to meddle further and reunite the humans together via a study on near-death experiences led by Chidi in Australia. I emphasize that this is only the starting point of the season – as you already might know, The Good Place is no stranger to the tradition of gigantic plot twists.
2018 has finally come to an end. Despite the political hellfire it raged for its 365-day duration, 2018 brought us films like Shoplifters, Roma, Cold War, The Rider, and Revenge (you can check out all of our favorites of 2018 here). It was a year for badass women on screen. It was a year for horses. But, it was also a year that brought us disappointments and tragedies, such as Green Book and BohemianRhapsody, who both won Golden Globes.
Despite that tragedy, 2019 still holds a treasure trove of cinema, from Godzilla: King of the Monsters and Star Wars: Episode IX to High Life and Jojo Rabbit. Jordan Peele is releasing another horror movie, Edward Cullen is going to space, Isabelle Huppert is going to try and kidnap Chloe Grace Moretz. That’s just a taste of what this year will bring to the big (and sometimes small) screens.
Without further ado, here are our most anticipated films of 2019.
Here it is, the season we all hate to love and love to hate, the Awards Season! Predictions, staying up to watch awards, fighting our favourites until the Oscars when our exhaustion reaches its peak and we all go “I never want to live through another season again!” until the festivals hit and Here We Go Again! Critics circles already started naming their winners but the fun officially starts tonight with Golden Globes. Here at Much Ado we love our predictions so please enjoy reading the winners our hearts desire, and those we think will snatch the award!
When Stan Lee and Steve Ditko released “Amazing Fantasy #15” back in 1962, they created a superhero that truly belonged to the people. In a comic scene full of gods and god-like beings enters Peter Parker, a lower-middle-class, adolescent high school nerd with a big heart and a passion for the same superheroes comic readers know and love, taking on the persona of Spider-Man after getting bit by a radioactive—yeah, you know the story, and for good reason. Spider-Man has essentially been the face of Marvel since comics have entered our mainstream popular culture, and after 16 years of cinematic legacy, he’s in no position of slowing down.
The Freddie Mercury biopic has been cooking up since 2010. Originally meant to be a Sacha Baron Cohen and David Fincher collaboration, the biopic’s direction had shifted into the hands of the remaining members of Queen. This led to Baron Cohen leaving the project due to artistic disagreements, envisioning a much more adult version of Bohemian Rhapsody. Eventually, Anthony McCarten’s screenplay was green-lit with Bryan Singer (ugh) attached to direct. Soon they found Mercury in Rami Malek, as well as some reforms after Singer was fired from the project, some backlash for the lack of inclusion of the AIDs crisis, and accusations of “de-queering” Mercury’s depiction the film (more ugh)! It’s almost impressive that a project with such an infamously-controversial development stage could amount to a film this dull.
But here we are. Bohemian Rhapsody, despite a mixed critical reception, hit the #1 spot of the box office, making an estimated $50 million dollar earning. Somehow, this has only sparked more controversy as a quite irritating critics-versus-audiences conversation has formed once again. I think we have bigger things to worry about, considering the director credit has gone to an accused pedophile (he is currently being campaigned for by Fox for best director as part of the upcoming awards season). Simply put, this film already gave me a headache before I even got the chance to see it. Dubbed the “unseasoned chicken” of cinema by our editor-in-chief, Dilara, and writer, Iana, Bohemian Rhapsody is not only the blandest on-screen version of Mercury’s extravagant life possible, but it also does a major disservice to the gay and bi men who have looked up to the idol since the 80s. While the “de-queering” criticism may be slightly hyperbolic as Mercury’s sexuality is a large thread within the film, it is not handled with the amount of care to be worthy of high praise.
We’re so proud to share the first episode of our podcast with you. It’s been a year (and a month) since we opened Much Ado and we could never imagine how far we’d come in such a short time.
On our Patreon page we set a goal of $75 to start working on our podcast and this month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
Our first episode is about, as it should be on October 31st, Halloween! Podcast host Charlie Dykstal talks with our writers Mia Vicino, Mary Beth McAndrews and Tyler Llewyn Taing about horror films that scared them in childhood, jump scares and how cathartic horror films can be.
Listen to the first episode on iTunes,Spotify, Stitcher and Google Play. Don’t forget to subscribe for upcoming episodes and share your feedback with us on twitter or via e-mail at firstname.lastname@example.org.
If the sight of Ryan Gosling’s moon mission and the sound of Lady Gaga’s commanding vocalsare any indications, we are officially in the bold beginnings of awards season. Curiously, this year’s new wave involves well-established talent making the jump behind the camera and into the director’s chair. From Paul Dano and Bo Burnham to Amy Poehler and Olivia Wilde, these classic career transitions are offering interesting voices a place in the film industry. Enter Jonah Hill, known for comedies such as Superbad and 21 Jump Street, who has recently been making the slow transition into more serious character roles in The Wolf of Wallstreet and Fukunaga’s Netflix joint, Maniac. His card to throw into this directorial debut poker table is Mid90s, produced by big-name-indie-house A24.
Set in Los Angeles, Mid90s is a slice-of-life film centered on a young boy named Stevie (Sunny Suljic) who encounters and becomes part of a local skateboarding clique. This group becomes Stevie’s escape as he gets into violent fights with his older brother, Ian (Lucas Hedges) and starts to feel detached with his mother (Katherine Waterston) in his home life. Hill sought to authentically portray L.A. skate culture by hiring real skateboard talent as actors for his ensemble cast. Fixed to a boxy 4:3 aspect ratio, Hill commands every technical aspect within and around the frame to evoke nostalgic aesthetics and feel as grungy as the 90s itself.