It’s been awhile since we left Tony Soprano eating with his family in that diner. Two whole years have passed since Don Draper dreamed up his last big ad campaign at that mountain retreat. In just over a year’s time, Westeros will be through with fighting and the battle for the Iron Throne will be done and dusted. Old news. Over. Kaput. What will we watch then? Will there be anything out there in telly land worthy of taking the place of these epic water cooler shows or has the wave of amazing TV silently crashed into the shore and disappeared without any of us noticing? 

It was shows like these that heralded in television’s golden age just over over a decade ago. In the years that followed, small screen entertainment just got better and better, from gripping hour-long dramas like The Wire and Breaking Bad to smart, quick-hit comedies like 30 Rock and Parks and Recreation. TV quickly established itself as the place to be, often overtaking its big screen counterparts in terms of quality, depth and overall enjoyment. Big name stars flocked to the series format and awards were won.  It was even powerful enough to bring gone-before-their-time shows back from the dead, with avid viewers embracing high-brow programming and demanding more from those who controlled its fate. However while we were all busy binge watching, we stopped paying attention to how long this flip of fortune may last. 

To say that 2017 saw a lot of changes in film and television is a bit of an understatement. Revelations about Harvey Weinstein not only rocked Hollywood but had ripple effects in all corners of show business, including television. Many of the shows that helped redefine what could be done in the format were affected. Kevin Spacey was unceremoniously fired from House of Cards; FX cut all future ties with Louis C.K; Transparent star Jeffrey Tambour hinted at his departure from the award-winning show and Netflix has yet to decide the fate of Aziz Ansari’s Master of None. Similar to how allegations against Brand New front-man Jesse Lacey signalled a time-to-move-on book-end to the emo genre for let down fans, perhaps this whistle blowing marks the end of a golden era for television entertainment. 

Separating the art from the abusers involved in creating it can be a confusing process for all those who related to, and built aspects of their identity around, the shows impacted by recent allegations. For years, the stream of unparalleled and abundant television entertainment seemed too good to be true and as the Weinstein scandal and its fallout continues to unfold, we may have discovered that that's exactly what it was. Maybe this is the right time for television’s golden age to come to a close. As for what comes next? Only time will tell. However it’s safe to say that big changes are certainly on the way. 

What do you think we can expect from television's Silver Age? Let me know in the comments section below!

When actors pick roles the old saying goes: one for them, one for you. Unless you’re Joaquin Phoenix. The Gladiator star seems to have dedicated his entire career to fully immersing himself in characters most likely to land him on the Best Actor shortlist. While he may have only been nominated thrice (Gladiator in 2001, Walk The Line in 2006 and The Master in 2013), you’d be forgiven for thinking it’s happened more, having starred in look-at-me awards fodder Her, Inherent Vice and Irrational Man all in the last decade alone. This year’s no different, with Phoenix doubling-down on his personal quest by playing none other than the Son of God in Mary Magdalene. Thems some big sandals to fill. Jesus Christ, somebody give this guy an Oscar. ​

Some stars have been around long enough to vary their output to suit all audiences whilst still managing to juggle their dedication to earning an industry nod. Amy Adams has dabbled in almost every genre going - from big budget kids films like Enchanted to questionable tent-pole epics like Man of Steel - and yet at the same time she’s proven time and time again that there’s much more going on beneath the surface. 2005’s Junebug flagged this aspect of her character early on and it’s continued with powerful performances in 2008’s Doubt, 2010’s The Fighter and most recently 2016’s quiet sci-fi Arrival. Adams may be following up her appearance in Tom Ford’s artfully shot Nocturnal Animals with a return to popcorn cinema in Justice League and Disney sequel Disenchanted but it feels like it’s only a matter of time until she bags gold. ​

Jake Gyllenhaal burst onto the scene in 2001’s Donnie Darko, a film that was possibly a little too bizarre for major industry recognition at the time but one that perfectly showcased the burgeoning actor’s talent and potential. He may have been unable to resist the occasional big studio paycheque (Prince of Persia, we’re looking at you) but Gyllenhaal has consistently returned to roles with depth, pathos and the ability to appear on the radars of Academy voters. In 2006, he came tantalisingly close with Ang Lee’s Brokeback Mountain and has tried restlessly to return to that spot in the years since, with smart choices like 2013’s Prisoners, 2014’s Nightcrawler and 2016’s Nocturnal Animals. With his new one Stronger pulling on heart strings by telling a real-life Boston bombing tale, perhaps 2017 could finally be his year. ​

“We made a movie about the worst movie and it might be our best movie,” Tweeted Seth Rogan earlier this week. He was referring to The Disaster Artist, a James Franco-Directed retelling of how one of the best-worst-movies ever came to be and the pair’s latest project. Franco’s film chronicles the creation of Tommy Wiseau’s bizarre passion project The Room, a now-infamous cult-favourite that has been celebrated in cult circles since its 2003 release. Never heard of it? You’re missing out - but in the meantime, here’s a whistle-stop guide. 

Following years of failed auditions, mysterious struggling actor Tommy Wiseau pens a script and enlists the help of his friend and fellow budding thesp Greg Sestero alongside a cast, crew and seemingly never-ending back account to bring his dream to life and show Hollywood what they’re missing. The end result was The Room - a truly awful yet awfully hilarious guide on how not to make a movie. Audiences loved it, just not for the reasons Wiseau intended and almost fifteen years later, the film still manages to draw eager crowds. It’s an impressive feat but one that makes you wonder - what elements does a so-bad-it’s-good movie need to elevate it above being just another bad film?

Word of mouth is a base ingredient. Much like fellow terrible tale Troll 2, chatter amongst movie fans helps raise a bad film’s status and that doesn’t come without some genuinely laugh-out-loud moments. Troll 2 hit the mark and eventually got its day in the sun via Director Michael Paul Stephen’s ace documentary Best Worst Movie. Both are proof that a movie can be terrible for many reasons and if its a real turkey, it evaporates out of a viewer’s brain almost instantly. In the case of The Room and Troll 2 the opposite was true, with fans barely able to contain themselves during viewings without blurting out one of the movie’s many awkwardly delivered lines. 

However with The Room, the key element that helped it avoid an eternity in obscurity was having a creator who was full of real-life intrigue. To this day nobody quite knows where the clandestine Wiseau is actually from, what his actual age is or where he got the (reportedly) $6 million he needed to finance, promote and self-distribute the movie. In the years since, Wiseau has appeared at numerous screenings all over the world to interact with fans and famous friends in his own bizarre way, proving that despite his oddball persona he’s more than grateful for the appreciation of his work. 

Ironically, this key saving grace of The Room is also the most successful aspect of The Disaster Artist.  Franco’s rendition of Wiseau is weird and wonderful in spades but also accessible and empathetic at the same time. In both cases it’s hard not to think that without this alluring figure at their core, both films would hardly be worthy of comment, regardless of whether they were good or bad.

What do you think makes bad movies good? Let me know in the comments section below!

Xenomorphs weren’t the only extraterrestrial terror hunting humans throughout the eighties. Not long after James Cameron pulled the trigger on his testosterone-charged sequel Aliens, Director John McTiernan introduced us to a new intergalactic hunter with Predator in 1987. Two war movies, two alien franchises, two very different legacies. However as Predator closes in on its thirtieth birthday, it’s hard not to think the series somehow failed to capitalise on its full potential. With Shane Black’s upcoming retooling The Predator all that could change - but what went wrong during those intervening years that set the Predator so off course?

Maybe it can all be traced back to one single event: the mishandling of the film’s original sequel. The late eighties were good for John McTiernan. Having unleashed Predator onto audiences he doubled-down on the machismo theme with Die Hard a year later. However when the time came to follow up his alien movie with a sequel in 1990 his asking salary had doubled, pricing him out of Predator 2’s scant budget. To make matters worse, star Arnold Schwarzenegger dropped out too, due to either a salary dispute, clashing schedules or an unsatisfactory script. The exact reasons are still up for debate but one thing remains concrete: audiences were denied the continuation of Dutch’s story. 

Had the pair signed on for another round, their combined presence may have given the Predator franchise a lease of life worthy of challenging Sigourney Weaver’s still-developing Alien anthology. Salvage attempts were reignited throughout the 90s with ideas for a proposed third movie entitled Predator 3: Deadlier of the Species reintroducing us to Dutch in a blizzard-ravaged New York City for another space-invader scuffle. Then there was The Zoo, an amalgamation threequel that bundled Dutch with Danny Glover’s Predator 2 hero Harrigan and shipped them both off for a stint in the wilds of the Predator's home planet. Both intriguing concepts that unfortunately never saw the light of day.

Instead, the Predator found itself relegated to bargain-bin adventures. There was ‘meh’ crossover cash-in Alien Vs Predator in 2004 and its equally tedious 2007 sequel AVP: Requiem. Then Robert Rodriguez took a stab in 2010’s Predators, a stand-alone sequel that felt more like a Friday night popcorn movie than a worthy continuation. While new directors certainly don’t spell doom for a franchise, stripping Predator of both its original helmer and star so early on seems to have inflicted wounds that are difficult to heal. Perhaps the key to Alien’s continued success is down to the lynchpin figure of Ripley, tying things together either in person or in spirit. With the Predator currently lacking a concrete foe to face, it could be some time before it emerges from the wilderness and into a worthy battle arena.

Where do you think the Predator franchise went wrong? Let me know in the comments section below!

The jury’s in. The debate’s over. In fact, there was no debate, just a whole load of common sense. If you’re in a cinema, you can’t really justify being on your mobile phone. That’s that. It’s time to face facts when it comes to those who choose a dark room in which to check their empty inbox or send cat memes to their mates. If you’ve made the decision to leave the comfort of your own home in favor of a multiplex or indie screening room, then you’ve temporarily lost the ability to constantly check that mini-torch you keep in your pocket. Sorry about that. 

Actually, is sorry the right word? Surely it’s not that much to ask. Two hours of your undivided attention in exchange for something you’ve voluntarily paid money to see in a venue that comes with a few specific social rules? You wouldn’t visit a library to try out your new fog horn yet when it comes to mobile phones and cinemas, people seem to think they’re the exception to the rule. Maybe it’s a generational thing. Maybe it’s a terrifying sign of how knackered our attention spans have become. Either way, it’s an irritating trait that shows no sign of going anywhere.  

Cinemas do little to battle it. While multiplexes go all infrared black-ops policing would-be picture pirates, they seem considerably less bothered about doing anything about this regular experience-ruiner. Some have even gone so for as to question whether or not it’s even a bad thing, with AMC head-honcho Adam Aron suggesting the chain launch ‘texting friendly’ screenings - a desperate attempt to keep paying punters on seats that instead sounds like a worrying lack of understanding of their own core audience. 

Thankfully, some venues lead by example. Like die-hard film hub The Alamo Drafthouse in Austin, Texas. These guys have a pretty no-bullshit approach when it comes to mid-film distractions. “If you are a person who likes to talk, text or use your cell phone during a movie, we are not the place for you!” explains their website, shortly before stating that all offenders will be unceremoniously booted. 

It’s hard to have much sympathy for distraction-addicts who break every cinephile's cardinal rule but it’s still worth asking why this even happens in the first place. Perhaps it’s an unexpected side-effect from a generation born into a world of readily available content, maybe movie marketers are contributing to the issue, selling introspective head-scratchers to audiences expecting mile-a-minute romps or it could be that we’re all a little more addicted than we’d like to admit? Whatever the reason, if a phoneless, chatter-free couple of hours is too much for you to stomach, perhaps the cinema isn't for you. 

This blog is now on Nerdly.co.uk, take a look here!

Yes, I did have an unfortunate experience with someone using a phone in a cinema recently, have you? Let me know in the comments below!

Andy did you hear about this one? The one where megastar comedian Jim Carrey appeared at New York Fashion Week and raised eyebrows during an out-there stint on the red carpet? No, it wasn’t due to his Grizzly Adams style beard (He ditched that a few weeks ago) and nope, he didn’t bend over and talk through his bum cheeks, Ace Ventura-style. Although, talking was to blame for all the news stories that popped up this week in the wake of his bizarre antics.

“There’s no meaning to any of this,” he tells E! News reporter Catt Sadler, once he’s stopped circling her. He glances distractedly into the distance, then continues, “I believe we are a field of energy dancing for itself. We don’t matter,” he says, “that’s the good news.” The whole interview was strange. Strange but not entirely unexpected. Especially if you’ve been paying attention to Carrey in recent years. If you haven’t, here’s a quick refresher: It started with talk of introspection and enlightenment at public events a few years back. Then he grew a massive beard, something which shouldn’t be weird but in today’s easily freaked out society, was instantly deemed to be pretty weird. 

Then things took a darker turn. An ex took her own life and her grieving family appeared convinced that Carrey influenced her decision making towards the end. Whilst quietly dealing with the legal proceedings he shied away from the limelight, shunning movies and instead focusing on painting and himself. Carrey’s recent red-carpet shenanigans mark his first major return to the limelight since the release of 2014’s Dumb and Dumber To. 

Which brings us to a crucial point - the reason we’re talking about Jim Carrey at all lately is because he’s promoting a new documentary, one with a right mouthful of a title. Andy and Jim: The Great Beyond - With a Very Special, Contractually Obliged Mention of Tony Clifton looks at Carrey’s ultra-method experiences bringing Andy Kaufman back to life for 1999’s Man on the Moon. As a comedian shrouded in a mist of ‘Is it real? Is it fake?’ controversy, what better way to promote a documentary about Kaufman than by blurring the lines and making audiences question whether the focal point of the feature is indeed losing it or just playing a character. 

Kaufman was the master of keeping audiences in the palm of his hand and with the help of Carrey, he’s still doing it over thirty years later. Or maybe not - perhaps the boundless trappings of fame and fortune have truly made Carrey crave some higher purpose in life, resulting in the unusual behaviour we’ve seen lately. It’s believable enough. Where do you go once you’ve reached the top, peeked behind the curtain and still find yourself unhappy? Right now, Jim Carrey may only exist as an existential notion but hopefully he won’t be gone for long. In the meantime, the spirit of Andy Kaufman appears very much alive and well. 

This blog is now on Nerdly.co.uk. Take a look here!

What do you think Jim Carrey is up to? Let me know in the comments below!

I’ve recently moved flat, which means there’s stuff everywhere. Literally, all over the place. Stuff like my guitar. Seeing it lying about makes me feel like I should probably pay it a little more attention. I first picked up the guitar on a bit of whim back in college. Me and a couple of friends had somehow managed to get access to an empty practice room, complete with drum kit, guitar amps and any number of musical instruments that I hadn’t the first clue how to play. Over the course of a few weeks we sloppily banged out a handful of pop-punk covers. You know the type: Blink 182, Green Day - if it involved repeating the same three chords, we were all over it. 

This was mainly due to necessity. With no lessons my skills were limited to say the least, but it was fun smashing out hard and fast covers of our favourite tracks in an empty music room after college. Fun and pressure free - There was no expectation or emphasis on skill, just three mates making a loud noise somewhere they weren’t suppose to be. So naturally we formed a band almost immediately and made the whole thing way more stressful than it should have been. 

Pretty quickly things changed. Those noise sessions become 'practices' and despite my best efforts, our band’s name started to appear on bills in Blackpool venues. This was a little disconcerting considering I only knew about five chords but it didn’t stop us from stumbling through a few live shows. In hindsight, it was a weird couple of years. My time in a band was short lived but looking back a few things stand out. 

For starters you learn pretty quickly that contrary to what you think, you absolutely can’t play a gig drunk. When we started out playing cricket clubs and old man pubs around town, our pre-show warm up was a bottle of Spar’s finest Pearly Bay wine and a few beers. It made our shows pretty special, just not for the reasons we were intending. You also discover that guitar strings can, and definitely will, snap halfway through the first song of your set and if you don’t have a spare guitar, you’re pretty screwed. Honestly. One time I tried humming the chords instead and I think people noticed. 

Also, if you have to re-adjust the height of a mic stand when following another band, make sure you do it carefully. You’d be surprised how ear-piercing the reverb can be after you’ve forcibly bonked yourself in the face with a live mic whilst trying to make the stand a little taller. That shit echoes. 

All in all, I probably have more cringey gig stories like this than actually successful ones but it’s proof that if you put your mind to it, you can do pretty much anything. Even if it’s a terrible idea, you’re often drunk and you’re devoid of any of the skills necessary to do that particular thing. 

Were you ever in an embarrassing band? Let me know in the comments below!

Feel that? There’s been a disturbance in the force… Earlier this week Director Colin Trevorrow parted ways with 2019’s Star Wars: Episode XI just months before the debut of Rian Johnson’s eagerly anticipated The Force Awakens follow up, The Last Jedi. According to Disney’s official statement, ‘differing visions’ were to blame for the apparent ‘mutual’ parting, however exactly what the nitty-gritty details were that caused the Director and studio to butt-heads remain a mystery… for now at least.

One thing we do know? Trevorrow’s departure marks the third time Disney and Lucasfilm have ditched a director whilst they’ve been deep in production. Fantastic Four’s Josh Trank was the first to go. The studio giant announced his departure from a (still) mysteriously unnamed Star Wars spin-off shortly after he dropped out of a Star Wars Celebration panel at the eleventh hour, despite clocking up a year of prep work. Then earlier this year, Jump Street duo Chris Lord and Phil Miller were shown the blast doors while more than half-way through shooting their young Han Solo movie, with Ron Howard quickly installed to take their place. Clearly, these weren’t the directors the studio were looking for.

It makes you think: Do Disney and Lucasfilm really want these young filmmaking rebels to shape their coveted Star Wars universe or would they rather call the shots themselves? Recruiting talent with distinct styles has been the secret weapon of that other Disney powerhouse, the Marvel Universe. How else could they have escaped the repetitive strain of countless origin stories and stepping-stone sequels? Whether it’s Kenneth Branagh bringing a little thespian class to Thor or James Gunn setting a killer pulse to a relatively unknown property in Guardians of the Galaxy, a varying tone has been crucial in keeping audiences glued to their seats.  

Star Wars is a different kettle of Nerfherders though. It’s a franchise so successful that most of us are unlikely to ever see the end of it. It’s also one that holds so much power and importance with fans, that those in control of its future are clearly quite cagey about steering it into new and uncharted territory. Getting a bad feeling about this situation? That’s because this trend of firing directors who get a little too familiar with the stories Disney have in mind and the universe Lucasfilm has spent decades fleshing out could very well lead to a decline in quality for the many Star Wars sequels and spin-offs currently in development. Especially considering the bad-blood stories that have surfaced months after each creative has been let go. Why would any emerging talent want to gamble their future career on such a high-risk investment?

It’s understandable though, to a degree. Nostalgia is undoubtedly a big part of Star Wars lore and while stepping too far off the beaten track would certainly be a misstep, Disney and Lucasfilm may have to loosen their force choke-hold on the directors they hire if they want to succeed with their ambitious multi-film plans. It could be their only hope.

This blog is now on Nerdly.co.uk. Take a look here!

Who do you think should take over Star Wars Episode IX? Let me know in the comments below!