#Phoebe Waller-Bridge unlikable

[silveragelovechild]

Indiana Jones and the Dial of Destiny

The thing about a franchise like McDonalds is that you can go to any outlet and knows exactly what to expect. A few years ago I toured Turkey and Greece. After 3 weeks of lamb kabobs and souvlaki I was desperate for something familiar. When I got back to Athens I went straight to the McDonalds on Syntagma Square and ordered a Big Mac meal. It was delicious and exactly what I wanted.

Movie Franchises operate in the same way. A movie with a new idea, or state of the art effects will be successful. It becomes a franchise when the studio orders sequels. The marching orders are to make the sequel more of the same. The hero is never in any real danger, otherwise who will star in the next sequel.

When George Lucas and Steven Spielberg reinvented the 1930s serial adventure with Indiana Jones, a new iconic hero was born. Four sequels followed over the next 42 years.

Of course, like everyone else I loved Raiders of the Lost Ark. I don’t remember the details of Temple of Doom except that the excessive violence gave birth to the PG13 rating (and Spielberg himself hated it). Last Crusade was fun, with Sean Connery as Indy’s dad.

Then… a 19 year wait until Crystal Skull. Ugh. In my opinion it’s worse of the bunch. Adding scifi to Indy’s resume was a big mistake. But did Lucas and Spielberg learn their lesson not to go back to the same well again? No.

With another 15 year wait, Dial Of Destiny arrived at theaters this week. What did these masters of cinema deliver? More of the same… lots more of the same. There are more Nazis, more long chase scenes; more Christ-related artifacts, and more science fiction! Did I mention more Nazis?

I’ve got to hand it to Harrison Ford. He gives it the old college try, huffing and puffing through each chase. At the age of 81, for his sake I hope a stunt double did most of the hard stuff. I imagine insuring Ford in case of accidental death took a chunk of the $295 million budget.

But it was nice seeing John Rhys-Davies in a couple of scenes. I probably shouldn’t say this but I was surprised he is still alive. But guess what? He is 2 years younger than Ford.

Co-Star Phoebe Waller-Bridge is the most unlikable character in the entire Indiana Jones pantheon. She is an annoying and untrustworthy - more so than the Nazis.

I need to mention Ethann Isidore, he plays a young teen who is this film’s Short-Round. I suspect Harrison Ford will forget all about him until Isidore wins an Oscar in 20 years.

Speaking of the Nazi villains, Mads Mikkelsen plays a Nazi scientist trying to get his hands on the McGuffin. Mikkelsen can play Nazi villains in his sleep but I thought the character was underwritten. No real motivation other than “I’m a power hungry Nazi.”

Boyd Holbrook and Thomas Kretschmann also play Nazis. I’d love to ask them “Don’t you ever get tired of playing Nazis?!?”

As I mentioned, there are several chased sequences - in streets and tunnels of NYC, in the crowded streets and alleys of Marrakech, and another that I’ve already forgotten entirely about. But here’s the thing about the chase scenes… it doesn’t matter how fast they go or the short cuts they take, the Villains always catch up to the heroes within a couple minutes - every single time.

And the most annoying thing of the entire plot… Mikkelsen and his Nazi thugs kill plenty of innocent people throughout the kill. But when Mikkelsen finally obtains the McGuffins he was searching for, does he kill Indy? No - like a Bond villain, he decides to Monologue is plans and bring Indy with him through the <redacted> to witness his triumph. Such Bullshit.

And the scifi element? I won’t describe it but it is full of plot holes and so far beyond anything featured in an Indiana Jones movie so far, it’s more laughable than the aliens in Crystal Skull.

I’m sure you’ve read that, like other movies starring old actors, Harrison Ford was “de-aged” for portions of the films. While it looks better than the first de-aging I saw in “X-Men Last Stand”. Young Patrick Stewart and Ian McKellen looked like cabbage patch dolls!

The problem with the de-aging here it that the scenes go on way too long. And the longer you see it, the weirder it becomes. It’s especially noticible when his face is in shadows or in profile (his nose just looks weird). They should have just used it briefly, but the scenes go on about 15 minutes.

NOTE 1: There are NO scenes after the credits BUT the final scene of the movie may be its best.

NOTE 2: The film is rated PG13. It’s probably due to the extraordinary people shot and murdered throughout the movie - lots of Nazis and lots of civilians too.

Raiders of the Lost Ark (1981) 93%

Temple of Doom (1984) 77%

Last Crudade (1989) 84%

Kingdom of the crystal skull (2008) 77%

Dial of Destiny (2023) 66%

[thealogie]

I think the only way we can hope DT is going to get a Hollywood deal is accidentally via his association with some famous person

Like it’s going to be because Olivia Coleman mentioned working with him to a producer, or Brian Cox is cast in an Oscar bait movie and needs someone to play his son, or Phoebe Waller Bridge frantically calls DT because she needs someone who can nail comedic timing, or Matt Smith refuses to work with the next Jared Leto wannabe and requests David instead or Ncuti Gatwa talks everyone’s ears off about his hero David until they cave in and cast him or Michael Sheen stages a protest outside a production company until they cast him

This is all highly unlikely but also highly amusing.

I’m laughing at all of us (myself included) being like “this is how David Tennant’s Hollywood career can still win” tbh I know this industry/city well enough to know that he’s famous enough that he could break in if he really really wanted to but it’d require him moving here which he clearly didn’t want to do. So as you say the only way he’s gonna get organically cast is his far more famous friends

[ilikethisacompletelynormalamount]

"Fleabag’s Andrew Scott breezes in to join the fun, his take on the evening’s ‘cocktail’ dress code consisting of a sleeveless mauve vest and trouser combo from Paul Smith’s archive. “I’m so excited to see my best friend’s premiere tomorrow night,” he tells me, his BFF being my ultimate girl crush of Phoebe Waller-Bridge whose new film, Indiana Jones, is probably this week’s most talked-about red-carpet event.

Luckily for him, unlike the big premieres where the red-carpet dress code is strictly black... tonight’s dressing up was free to interpretation."

https://www.cntraveler.com/story/a-night-at-carlton-cannes-a-regent-hotel-cannes-film-festival?fbclid=PAAaY-AbLvB5HdldrD1ghGK7-P3fpHC7q91Um6f5Q7IrAAaYHSZGV1W2dqdcY

[actuallylorelaigilmore]

2023 Movie Journey #12: Indiana Jones and the Dial of Destiny

indiana jones and the dial of destiny. so i really enjoyed this. a lot. here’s my complicated backstory: my mom owned one or two of the original indiana jones movies on vhs, i remember seeing them in our movie cabinet--but i’ve never seen any of the movies in the series. i wasn’t planning on watching this one, either, because while it has an obviously great cast, i’m just not an action movie person. at best, i like action movies in spite of their genre, like birds of prey or mad max fury road.

so unlike when i plan to see a movie, i wasn’t avoiding spoilers for this one. and what i did read about it, was interesting. and @actuallylukedanes​ was already planning to see it, and invited me to join--and let’s face it, where phoebe waller-bridge goes, i will follow. leander promised i didn’t need to have seen the rest of the movies to watch the new one, and i figured i could always watch them later if i wanted to--this was not the first time i dove into the end of a world first.

with a few minor exceptions, i absolutely loved it. they created a story that (to me, at least) felt like it existed for a point--like they had something specific to say, in bringing indiana jones back, rather than just wanting to cash in forever on the franchise. i’m not saying they weren’t also doing that, of course...i just enjoyed the way it felt conclusive to me as a movie. it stood well on its own and i loved its themes. i like my action movies with some feelings.

spoilers ahead:

harrison ford was predictably great and i enjoyed watching him. i didn’t even realize antonio banderas was antonio banderas, until leander mentioned it after the movie was over. there’s really nothing i can say about mads mikkelsen because he is a delightful chaos agent always, and i don’t actually enjoy watching him play a nazi, but he’s one of the very best when it comes to character actors. as usual, he made a great villain.

and of course, phoebe waller-bridge was everything i wanted and more, as helena. she was conniving, she was conflicted, she was wearing an unconvincing facade and carrying an unexplained backstory, and whenever she faced off against indy like some kind of shadow self from a new generation, it was as if she believed she was a badass antagonist, when mostly she just seemed sad and hollow underneath a smirk and a truly great wardrobe. 

i was just so thrilled that they gave her such a huge role in the action--i knew she was in the movie, obviously, but it’s so against type for her to do that kind of acting that i think i expected more of a bantering sidekick thing. she was a full-fledged participant in the high-speed hijinks! i couldn’t have been happier about that. it was so fun to see. and i wish we knew more about what made her who she was.

the four issues i had with the movie overall were an underwater scene (because i have drowning fear, so it wasn’t anything specific about the scene, i hate all underwater scenes where humans could die), the way that they used the era the film is mainly set in (late 60s) to make a lot of the action based on car chases and plane drama, the use of the movie’s two black characters, and the way the happy ending kind of seemed to undermine the whole point of the movie. 

when it comes to the car chases, which lasted forever and i found really boring, they only bothered me because i wasn’t expecting them. even though i haven’t seen other indiana jones movies, i had the sense going in that they were set far back in history, with his adventures revolving more around, like, cave stuff. even the trailer for the new one didn’t emphasize the modern elements so much, in the trailer fast-forwarding to indiana jones’s elder years. it’s like ‘whip versus guns!’ played for laughs. 

but in the movie itself, i got the strong sense that the filmmakers were thrilled to have the option of making huge scenes out of vehicle chases in a way they couldn’t before, because sure, this may be indiana jones, but people seeing blockbusters today love giant car (and train, and plane) chases--the best way to make a better movie is include more of them! whereas i’d much rather see an indiana jones movie, which leander assured me afterwards really didn’t use to have that stuff. those other movies already exist! for the people who want that! 

it was kind of uncomfortably meta for me, like the movie plot was saying the main character doesn’t want to live in the modern world surrounding him...while they were also filling the movie with modern elements i didn’t want, as a viewer who came to see that main character who’s out of place. 

when it came to the couple of black characters in the movie, i really felt like they were wasted, because the acting was way better than their roles so i expected more. the cia agent who was working with the villain as a sort of handler and facilitator, she spent the movie trying to corral him and failing, telling the nazis off for undermining their mission...but given how her storyline ended, she could honestly have been removed from the movie entirely and nothing would have changed. i don’t remember a single moment in the movie where her involvement made anything happen or not happen--and that’s not meant as an insult to her! 

i was waiting for her to get to be cool somehow, surprising, because she could have been. where was her big moment, while helena was getting so many? i know she’s not the lead, but she was on the movie poster too. instead, in her final scene, i was just left thinking that’s all? what was the point? i guess it was meant to complicate the group of nazi goons chasing our heroes, but given that it didn’t end up turning that into action, i’m not sure it really complicated anything, so much as it went hey look a black woman is working with secret nazis. and then it had nothing else to say about that. she really deserved better.

the other character was a minor one, he didn’t even have a name, but the actor grabbed my attention and the scene was so tense, i said out loud that i felt bad for him, because it was pretty obvious what his fate was about to be. and then it didn’t happen! instead, the hotel porter just had this truly well-acted scene opposite mads mikkelsen, and it raised the emotional stakes in a way that none of the nazi’s interactions with indy (past or present) really could, because his hatred of indiana jones was personal even more than it was political or national. the kind of dangerous revulsion he simmered with in that hotel room, that was the stuff true bad guys are made of. 

it made me all the more disappointed, though, because they didn’t give that same kind of space to the cia agent who actually had a name, and major screentime. the antagonist kept his disrespect for her on a more detached level, so it could be explained away as a snobby scientist looking down on a government worker he doesn’t find useful. we don’t get to see her wrestle with the realization that she’s in danger just being around him, or the true evil that lies under his well-regarded skills. even when his goons start killing people, she’s more upset that they have no restraint than over the actual murders, because she thinks they’re all after the same objective. and that’s gross, and definitely could have been resonant, if it had ended up mattering more.

besides that, though, i enjoyed the ‘supernatural’ element they went with for the movie. it was a good time, and also added emotional weight to the end that was great. my third issue comes from that, and it’s not a real problem i have or anything so much as an open-ended wondering about what they did.

because they set it up to give everyone a happy ending, a nice found family and family reunion with the characters who were left. but to get there, they had to piece together an object that made the adventures possible, while stopping nazis from using it to go back and win the war. once they’ve defeated the nazis, and everyone is reunited and happy, they have the intact object--the one they spent the whole story trying to keep nazis from piecing together to use for evil. it’s unavoidable that they had to fix the object, even as it was dangerous because bad guys wanted it...but once they did fix it and return to ‘normal,’ are we supposed to believe that it’s not dangerous anymore?

obviously it’s safe with our hero, but these movies are all about history, and history knows that nobody and nothing lasts forever. the best efforts to protect a powerful, dangerous object are naturally imperfect. unless the point is to keep the object, on purpose, to be able to time travel (which the movie seemed to say at the end was not what they should do, even indiana jones, because of the risk it would pose to everything that came after) then it seems to me the moral of the story is that the safety of the world depends on destroying the object, just like helena’s father wanted. 

because even splitting it into pieces and hiding those wasn’t enough to protect it from nazis, and they only stopped those specific bad guys. the world already knows the object exists, even if it’s a myth to most, and there will always be evil in the world. so looking far down the line from indiana jones’s specific life, the best case scenario is a future where he (or another well-meaning person) chooses to time travel and we’ll then see the wide-ranging unpredictable effects of that. the worse future is one where an inevitable new evil rises up, with enough knowledge and resources to try to find and use the object and destroy everything or rule everything.

i suspect i’m overthinking it, especially since they swear there’s no continuation planned with phoebe waller-bridge as a natural choice for indy’s successor in a new world. but to me those questions were just left sitting on the literal table. 

it didn’t take away at all from how much i enjoyed the movie. i just...wonder. i definitely recommend this one, though, especially with snacks. movie popcorn got me through that car chase. and watching it with somebody you love is even better: leander was great comfort during my drowning anxiety, and while i stared away from the screen entirely during a spider scene. (ack.)

i especially appreciated getting to see harrison ford as indiana jones in this closing chapter, partly because what this movie digs into with his character is a focus on the past when the past is gone--and at the beginning of the year, i saw a totally different movie that was exploring such similar themes: a man called otto. 

but where that one emotionally scarred me, i felt like this movie gave us a man looking backwards, and did it better. or at least, it did it in a way that i liked a lot more. when we start this movie, it’s the end of indiana jones’s life, well past the end of his adventuring career, and what he has left is an emptiness he’s not even trying to shake. just like a man called otto, the real point of this movie is the many reluctant interactions with other people that start to improve his outlook and his life in general--but first, requiring one final grouchy return to adventuring!

while he can’t completely turn back time to fix all his heartbreak or escape it, he gets a much happier ending than otto, on multiple fronts. i didn’t know and love indiana jones going in, like i know most people already will when they see it. but i absolutely loved him by the end, in all his curmudgeonly glory, and this movie just made me happy. he and phoebe waller-bridge made me happy, the cleverness and the nazi murders and the time travel made me happy...i’d enjoy this one just as much on a rewatch.

[crestfallercanyon]

A Tag Game! Thank you so much @mybrainismelted for tagging me! <3

📺favorite tv show? This answer is likely to change, and while I do love Shameless (and feel like that's the anticipated response lol) it is not actually my favorite tv show. It's up there (especially seasons 1-4), but I think the dedication of fav tv show as of now has to go to The Queen's Gambit. Nothing inspired me the way that show did, I obsessed over it for over a year, I have approximately 4 billion pins on Pinterest of it, and the track for the Mexico City Invitational 1966 got me through one of the hardest exams of my life. I am going to answer the rest of the questions with Shameless though because TQG doesn't really have a lot of what these questions are asking.

🕴️ favorite character? (I am so excited that @mybrainismelted mentioned Sheila, because I LOVE her in Shameless, she was one of my favorite characters, too). My other favorite is Ian. He is a sweet boy who is always trying so hard, and my heart kind of breaks for him all the time (In TQG, my fav character is Beth Harmon, gotta love her).

💋favorite relationship in the show? Ian and Mickey.

👯‍♂️fav sibling relationship in the show? I adore Ian and Fiona. I feel like Ian was the last one who was her "baby brother," and not as much "her kids" (though they all were) and I think the way they saw each other was so sweet. I just -- when Fiona asks how her "sweetface" is doing I wanted to CRY. Fiona with any of her siblings (except maybe Debbie in later seasons) though is always fun to watch.

🎨favorite art form? Probably music.

⚡️a talent you wish you had? Digital art. I've tried, I want to be good at it, but I'm terrible and it feels weird, so I stick to pen and paper for drawing.

☀️what is one thing that can always make your day better? music. particularly hearing someone play the piano.

🎬favorite fictional character of all time? Of all time??? That's so hard. Probably Link from Legend of Zelda. I've followed many iterations of him over the years and he never fails to make me happy and entertain me for several hours.

🌅dream place to travel to? Also Iceland, haha -- I always wanted to see Reykjavík.

🎈you’re planning a huge party, what’s the theme? Unlikely to host a huge party, but if it was like a gala I'd try for a Night Circus Theme? that'd be cool. With my actual money threshold, though, something that makes me laugh. My friend hosted a Golden Girls party and it was a blast. Or honestly, Twilight never ceases to entertain.

🍕favorite pizza topping of all time? pepperoni

🥂you can pick ONE celebrity to have dinner with…who? Phoebe Waller-Bridge. She seems absolutely brilliant.

🎥favorite movie that you kinda know is bad but you still love? There are parts to Secondhand Lions that are not great (the flashbacks in particular, and the ending is corny as hell), but it is one of my favorite movies of all time.

👖how would you describe your style? I dress very farmery midwest, and admittedly a little camp counselorish. Lots of jeans, graphic tees, henley style longsleeves and tanks, flannels/oversized button downs, crew neck sweatshirts and three-quarter-zips; lots of layers.

🖤finally, something making you smile this week? my friends and I are doing practical magic midnight margaritas for new years and I am SO excited.

tagging @mmmichyyy, @michellemisfit, @callivich, @go-catch-a-chickn, and anyone who would like to participate!

[we-pay-for-everything]

Pls, I'm begging TV writers: STOP WRITING ASSHOLES. Mean, rude, and "honest" people aren't funny or "cool" or "badass". They're just pretentious, unrelatable, unlikable, unoriginal. It's like writers think mean girls type of characters are the pinnacle of comedy. I'm tired of seeing the same type of characters and the same type of dialogue. I just dropped 4 shows in under 30 minutes because all the characters were assholes. Inappropriate (morbid, insensitive, etc.) and sexual humor are not inherently funny. "Looks like someone could use an orgasm." Really Phoebe Waller-Bridge? Hilarious.

I want to LIKE the characters. I want to root for them, relate to them, care for them. I don't want sassy characters whose entire personality is being mean and confident. That couldn't be any shallower. How am I supposed to watch a series when I hate all the characters? They're not even funny!!! Every word that comes out of their mouths is bullshit and sounds like it was autogenerated. Actual human beings don't speak like that. There's fantasy and then there's this.

[denimbex1986]

'...Andrew Scott Has a Track Record of Playing Villains

Andrew Scott is famous for playing antagonists. He has been the face of villainy in several franchises. Scott played the villainous professor James Moriarty in Sherlock as Sherlock's enemy, which earned him a lot of praise. He portrayed the secondary villain, C, in James Bond: Spectre. In Fleabag, Scott played a troubled priest in the second season against Phoebe Waller-Bridge's lead role. Unlike his usual pitch-black character, the priest is someone who is pure and good, but also arguably ends up being the villain in Fleabag's story. Though having expressed that he wanted a break from villainy, fans have suspected that Scott will be the new antagonist of Knives Out 3. After all, it's hard to imagine Scott in a non-morally questionable role.

Knives Out has always built suspense and anticipation about who's playing who. With a star-stacked cast each round and only Daniel Craig reprising his role, there are always surprises and shocking revelations for fans to find out. It's also possible that Scott will finally depart from villainy as he had hoped...'

[thejacksmit]

First Take: Wicked Little Letters - Colman + Buckley + swearing = madness

SYNOPSIS: When people in Littlehampton--including conservative local Edith--begin to receive letters full of hilarious profanities, rowdy Irish migrant Rose is charged with the crime. Suspecting that something is amiss, the town's women investigate.

When the first promotions for this film rolled out at the end of last year, a lot of audiences were taken back by the bonkers nature of this TRUE story. But when you add two fine comedic actresses in their own right, as well as a swear count so large it would outnumber the Glaswegian reaction to the Wonka experience which was in the news this week, you end up getting this: a decent enough film for what it needs to be.

Thea Sharrock is in the director's seat for this 1 hour 40 minute ‘experience’, and while it is paced well, there are a few minutes that could’ve been tightened up to hone it all in and keep the story going, but it is passable enough for what it needs to be (especially with Film4 putting money into it). My main bugbear lies with Jonny Sweet’s script - yes, it passes the 6 laugh test, but if this was a 12 certificate film though, without as much of the spicy language, then the film just wouldn’t land- as unlike the trailer above, it's all uncensored in the film itself. The whole mystery of who’s sending the letters relies on the choice words in them, making the BBFC’s decision to pass it at 15 for very strong language totally justified. The legendary Ben Davis is behind the camera, and in true British indie film style, a familiar last name to TV viewers provides the score, as it is Isobel Waller-Bridge (yes, Phoebe’s sister) in charge of the music.

On to the cast then, and what do you say about the combined power of Olivia Colman and Jessie Buckley? They have worked together before on a more serious film (2021’s The Lost Daughter), so to see them flex their skills in a black comedy, something Colman especially is rather good at, is ultimately this film’s USP. Plus this is a good supporting cast too- Timothy Spall, Dame Eileen Atkins, Anjana Vasan, Malachi Kirby, Joanna Scanlan, Gemma Jones, Lolly Adefope and Hugh Skinner all round out this group relatively nicely. But I have to take a moment to mention, once again, young Alisha Weir - the last time she was seen on cinema screens she was singing about being a little bit naughty, and on her second film, with Buckley by her side, she’s a scene stealer. For what it’s worth, this film isn’t one to be taken seriously, but one designed for those wanting a good, fun film to watch with mates.

THE VERDICT

For a comedy film inspired by true events, Wicked Little Letters just about delivers on the high expectations that the now-viral trailer set out, and while it could do with a few trims to tighten it here and there and a script that works without the swearing, the nuance of Colman and Buckley just about keep this film on the right track.

RATING: 4/5

[myfrenzi]

Female-Centric Films and Web Series on OTT Platforms

The Pioneering Evolution of OTT Streaming: Best Web Series on OTT

In the realm of entertainment, Over-the-Top (OTT) streaming platforms have not only disrupted the traditional ways of content consumption but have also become the preferred choice for a global audience. The allure of OTT lies in its diverse content offerings, flexible accessibility, and the ability to cater to individual preferences. In this article, we’ll explore the pioneering evolution of OTT streaming and discover some of the best web series on OTT platforms that have taken the world by storm.

The Early Days of OTT Streaming

OTT streaming began as a relatively modest concept, but it quickly gained momentum and transformed into a colossal industry. The early entrants like Netflix and Amazon Prime Video laid the foundation for what would become a revolution in entertainment consumption.

Netflix: A Trailblazer in Original Content

Netflix, often credited with popularizing OTT streaming, shifted its focus from being a platform for licensed content to producing its own original series. Hits like “House of Cards” and “Orange Is the New Black” demonstrated that high-quality, original programming could thrive on OTT platforms.

Amazon Prime Video: Bridging the Gap

Amazon Prime Video entered the market with a unique approach, offering a combination of original content and a wide selection of movies and shows. “The Marvelous Mrs. Maisel” and “The Boys” became standout titles, showcasing the platform’s commitment to innovation.

The Rise of Diverse Content

One of the key strengths of OTT platforms is their ability to cater to diverse tastes and preferences. Unlike traditional television, where scheduling and programming are fixed, OTT platforms offer an extensive library of content that can be accessed at any time.

Drama and Intrigue: “Breaking Bad” (Netflix)

“Breaking Bad” is a prime example of how OTT platforms have embraced complex narratives. This gripping crime drama became a cultural phenomenon, demonstrating that viewers were hungry for more than just traditional network programming.

Comedy with a Twist: “Fleabag” (Amazon Prime Video)

“Fleabag” challenged conventional notions of comedy, offering a dark and witty exploration of life’s complexities. Phoebe Waller-Bridge’s performance and writing earned critical acclaim, proving that OTT platforms could push boundaries.

Global Reach and Cultural Exchange

OTT platforms have transcended geographical boundaries, connecting viewers from different parts of the world. This global reach has led to a rich exchange of cultural perspectives and storytelling styles.

Spanish Sensation: “Money Heist” (La Casa de Papel) (Netflix)

“Money Heist,” originally a Spanish series, achieved international acclaim and became one of Netflix’s most-watched shows. Its success highlighted the platform’s commitment to offering content from various regions.

Indian Diversity: “Sacred Games” (Netflix) and “Mirzapur” (Amazon Prime Video)

Indian OTT platforms, too, have made their mark with compelling web series like “Sacred Games” and “Mirzapur.” These series have not only gained popularity within India but have also found a global audience.

The Impact on Traditional Television

While OTT platforms have risen in popularity, traditional television hasn’t faded into oblivion. Instead, it has adapted to coexist with its digital counterparts.

Digital Extensions

Many traditional television networks have created their own OTT extensions. HBO Max, for instance, offers a digital platform that complements its cable programming, allowing viewers to access content on their terms.

Government Regulations and Challenges

The rise of OTT platforms has brought forth challenges related to content regulation and censorship. Governments in various countries have introduced guidelines to monitor and regulate content on these platforms, sparking debates on artistic freedom and expression.

Balancing Act

OTT platforms are now faced with the task of striking a balance between creative freedom and adhering to government regulations. This balancing act is crucial to ensure that content remains engaging and relevant while respecting cultural sensitivities.

Monetization Strategies

Monetization has been a pivotal aspect of OTT platforms’ growth and sustainability. These platforms have explored various monetization models to generate revenue.

Subscription-Based Models

Many OTT platforms offer subscription-based services that provide ad-free access to a vast library of content. Subscribers pay a monthly or annual fee to access premium features and exclusive content.

Ad-Supported Models

Some platforms offer free access to content but include advertisements that generate revenue. These ads can be in the form of banner ads, video ads, or sponsored content.

Freemium Models

Freemium models combine free and premium content. Users can access a limited selection of content for free but must upgrade to a premium subscription for full access.

The Advent of Live Sports Streaming

In recent years, OTT platforms have ventured into live sports streaming, acquiring broadcasting rights for popular sports events. This diversification of content offerings has attracted a broader audience base, further solidifying the position of OTT platforms in the entertainment industry.

A New Era for Sports Fans

Sports enthusiasts can now enjoy live matches and events on OTT platforms, allowing them to watch their favorite teams and athletes in action from anywhere with an internet connection.

The Future of OTT Platforms

As we look ahead, the future of OTT platforms appears promising, with several trends shaping the industry’s growth and evolution.

Personalization: Tailored Experiences

OTT platforms are increasingly using data analytics and artificial intelligence (AI) to personalize content recommendations. This enhances the viewer’s experience by offering content that aligns with their preferences.

Live Streaming Beyond Sports

Live streaming has expanded beyond sports events to include concerts, news broadcasts, and other live experiences. OTT platforms are capitalizing on this trend to provide diverse live content.

Global Expansion

OTT platforms are aggressively expanding into emerging markets, where there is significant potential for growth. This expansion is driven by increasing internet penetration and a growing appetite for digital content.

A New Era of Entertainment

The rise of OTT streaming platforms has ushered in a new era of entertainment. These platforms have not only transformed how we consume content but have also democratized access to diverse and high-quality programming. Whether it’s the convenience, the diversity of content, or the freedom to choose when and where to watch, OTT streaming platforms have redefined the entertainment landscape.

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As we continue to witness the ascent of OTT streaming, one thing is clear: this medium is here to stay. It will continue to shape how we consume and engage with entertainment, offering an ever-expanding universe of choices for viewers worldwide. So, the next time you’re wondering what web series to watch on OTT, rest assured that there’s a treasure trove of captivating content waiting for you to explore.

FAQs

Are OTT streaming platforms replacing traditional television? While OTT streaming has gained significant popularity, traditional television continues to coexist, with both mediums evolving to meet viewer demands.

What is the future of cable TV in the era of OTT streaming?| Cable TV is adapting by offering more flexible packages and exploring streaming options to remain competitive in the evolving media landscape.

Are there age-appropriate controls on OTT platforms? Yes, many OTT platforms offer parental controls and age-appropriate content settings to ensure a safe viewing experience for all audiences.

How can I access the best web series on OTT platforms? You can access these series through their respective OTT platform websites or dedicated apps, often available on various devices.

Will the popularity of OTT streaming continue to grow? Yes, the popularity of OTT streaming is expected to continue growing as platforms invest in original content, expand their global reach, and enhance user experiences.

The evolution of OTT streaming is an exciting journey, and it’s a journey that’s far from over. Stay tuned for more thrilling content, groundbreaking technology, and innovative experiences in the world of OTT streaming.

[themovieblogonline]

Indiana Jones and the Dial of Destiny Review: A Mixed Bag of Adventure

Indiana Jones and the Dial of Destiny, directed by James Mangold, brings back the beloved daredevil archaeologist for another thrilling adventure. The film follows Indiana Jones as he races against time to retrieve a legendary dial with the power to alter history. Accompanied by his goddaughter, he finds himself facing off against Jürgen Voller, a former Nazi working for NASA. While the movie has its moments of greatness, it falls short in certain areas, ultimately making it the weakest installment in the iconic Indiana Jones series. https://www.youtube.com/watch?v=eQfMbSe7F2g The film starts off with a bang, offering a glimpse of a younger Indiana Jones through the impressive de-aging of Harrison Ford. These first twenty minutes deliver a nostalgic experience reminiscent of the old-school Indiana Jones films. The de-aging technology used on Ford is truly remarkable, setting high expectations for the rest of the movie. Harrison Ford once again embodies the titular role with his undeniable charm and charisma. However, it's disheartening to see the character transformed into a grumpy and grouchy version of himself. Indiana Jones has always been known for his friendly and goofy nature, and this departure from his established personality is disappointing. One of the major drawbacks of the film lies in the portrayal of Helena Shaw, Indiana Jones' goddaughter, played by Phoebe Waller-Bridge. Waller-Bridge, known for her remarkable performances in other projects, fails to deliver a compelling character in this film. Helena comes off as supremely annoying, entitled, and smug throughout the entire movie. It's a shame to see Waller-Bridge's talents go to waste in a role that makes her character unlikable. On the positive side, the action sequences in Indiana Jones and the Dial of Destiny are undeniably impressive. Each action scene is well-crafted, delivering a sense of excitement and adventure. The third act, in particular, stands out as it culminates in a thrilling and action-packed showdown. Fans of the series will find themselves on the edge of their seats during these adrenaline-fueled moments. However, where the film falls short is in its visual presentation. The visuals and cinematography fail to live up to the high standards set by the previous four Indiana Jones movies. The stunning landscapes and breathtaking shots that defined the series are noticeably absent here. This lackluster visual quality is a disappointment, as it detracts from the immersive experience that fans have come to expect from the franchise. Indiana Jones and the Dial of Destiny offers a mixed bag of adventure. While the film begins on a high note, capturing the essence of the original Indiana Jones films, it gradually loses its charm. Harrison Ford delivers a solid performance, but the grumpy characterization of Indiana Jones deviates from his beloved persona. Phoebe Waller-Bridge's portrayal of Helena Shaw falls short, making the character unlikable. The action sequences are a highlight, delivering fun and excitement, but the weak visuals and cinematography make it the weakest entry in the Indiana Jones series. Fans of the franchise will still find moments to enjoy, but overall, this installment fails to reach the heights of its predecessors. Read the full article

[yessadirichards]

Indiana Jones swings on to red carpet at Cannes

CANNES

"Indiana Jones and the Dial of Destiny" got its world premiere on the French Riviera on Thursday, with Harrison Ford walking the red carpet for one last crack of the whip as the world's favorite adventuring archaeologist.

The veteran star, who has vowed this will be the last time he dons the famous fedora, was honored by the festival with an honorary Palme d'Or on stage ahead of the screening.

Ford, was visibly moved as he accepted the award.

Trailers and teaser images from the film promise some classic Indy action in the streets of Tangiers and Sicily.

He was joined by supporting stars Mads Mikkelsen, Phoebe Waller-Bridge and Antonio Banderas.

The 80-year-old star is de-aged for an extended -- and very expensive -- flashback sequence in the $294 million new blockbuster, which is due for general release at the end of June.

It is the first of the five films -- which began back in 1981 with "Raiders of the Lost Ark" -- not to be directed by Steven Spielberg.

Spielberg passed the reins to James Mangold, known for "Logan" and Johnny Cash biopic "Walk The Line".

The franchise is now part of the Disney empire, who bought it along with "Star Wars" when they took over Lucasfilm in 2012.

Several fans showed up for a glimpse of the stars wearing fedora hats and leather jackets.

No one would want to be seated behind Bollywood superstar Aishwarya Rai, who walked the red carpet in a towering space-age hoodie.

Also on the red carpet was Amazon tribal chief Raoni Metuktire, in full traditional regalia, who was in town to promote forest conservation.

Oscar-winning "Twelve Years a Slave" director Steve McQueen was also on the red carpet.

His four-hour documentary about wartime Amsterdam, "Occupied City", which premiered out-of-competition on Wednesday, wowed some critics while boring others to tears.

Premiering at the festival just after Indiana Jones was "Black Flies", an ultra-tense drama about New York paramedics starring Sean Penn, with an unlikely supporting role for ex-boxer Mike Tyson as his station chief.

Another lengthy documentary also premiered earlier in the day from a master of the genre, Wang Bing, who offers rarely seen insights into daily life in China.

His 210-minute film, "Youth (Spring)", came from five years of footage of migrant textile workers around Shanghai and is a rare documentary in the main competition for the Palme d'Or at Cannes.

Documentaries have done well on the festival circuit recently, with "All the Beauty and the Bloodshed" (Laura Poitras's film about big pharma) winning Venice last year, and "On the Adamant" (about a daycare centre for mentally ill patients) winning in Berlin in February.

There are 21 films competing for the top prize at Cannes -- the Palme d'Or -- including several previous winners such as Japan's Hirokazu Kore-eda, Germany's Wim Wenders and two-time British winner Ken Loach.

[suchananewsblog]

Phoebe Waller-Bridge Is Tackling a "Tomb Raider" Series For Amazon

“Tomb Raider” is getting another remake by none other than “Fleabag” writer and actor Phoebe Waller-Bridge. Per The Hollywood Reporter, Waller-Bridge will work behind the camera as both a scriptwriter and executive producer. Unlike its predecessors, the upcoming project from the “No Time to Die” actor will not be a movie (which fans have been used to over the years), but rather a series on…

[weedle-testaburger]

controversial opinion alert: I don't doubt killing eve is a good show but I really don't feel comfortable watching it because of the fact the lead characters are so aggressively queered by the marketing and narrative despite afaik not actually being lgbtq and the actresses who play them (or at least sandra oh) not being comfortable with it being read that way. it just smacks me as the lesbian equivalent of sherlock, and I'd rather watch media where the characters are unambiguously supposed to be queer

[the-romcommunist]

a list of my comfort shows:

fleabag - phoebe waller bridge, i want to be you when i grow up. The writing, the acting, the comedic beats, need I say more. I could analyse this show for forever and still wouldn't get bored. The juxtaposition of fleabag and her deflection through comedy with her grief is so poignant, it always makes me feel all the Feelings™️

normal people - genuinely the most perfect book to tv show adaptation i have ever seen. usually, the book or the show is better but in this case, the book and the show add to their respective counterparts, its crazy. also, the acting by daisy edgar jones and paul mescall is so well done. I have watched normal people so many times that i literally watch the show on shuffle. my thought process: "hmm today feels like an episode 8 type of day"

leverage - everyone go watch that show rn, its so fucking good, every single season slaps. are you aware of how rare that is?? and the fact that this show aired on television while actively criticising every major organisation is insane. i genuinely believe that if i hadn't already been radicalised, just from looking at the world around me, this show would have pushed me over the edge. i love my criminal found family. the depth and nuance to all their relationships but also how campy and fun the show is makes for such a fun watching experience. i have such a good time every time i watch because, let’s be real, who doesn’t love a good heist.

teen wolf - but especially season 3. the downside of making season three such Good television is that it ruins the rest of the series. nothing else after or before season three of teen wolf can live up to the standard set by season three. also, dylan o'brien in season three? man really brought out the big guns, and I love that for him

skam - literally any version, i have watched each remake so many times. this show drives me nuts, when i fall into a skam phase, i fall deep. it happens like once every two years, and for like 2 months straight, i don't watch anything but skam. i don't know why i like skam so much, it just makes me feel so comforted.

veronica mars - does kristen bell age? I mean, she looks the same in veronica mars and the good place. anyways, veronica mars. it is everything riverdale wished it could be. it's one of the only shows i've seen that, while catering to a teenage and young adult audience, doesn't talk down to their audience. and i love that while there's the overarching narrative, it's also a procedural so every episode is different. means that you can just pick and episode and watch it. it also means that some episodes let the teenage characters actually be teenagers (ahem, unlike every other teen drama show)

anne with an e - anne with an e just makes me want to enjoy my life. especially the mundane, quiet, small moments that i otherwise don't think about. anne shirley cuthbert is such a vivid character, i almost always watch a couple episodes of awae when i'm sick. probably because i first watched it when i was sick. the show, while not all happy go lucky, makes me feel like i’m getting the media equivalent of a warm hug.

arrow - but only season 1, 2 and 3. sometimes i just want to watch something that really doesn't require you to pay attention. maybe i’ve just finished exams and my mental bandwidth is like, -1, in which case i only have the energy for something like arrow. there’s nothing more to it than what’s being told to you on screen and sometimes that’s all you need (or all you can handle)

shameless - i don't know why this dysfunctional family brings me such comfort but it does. i just love watching the family dynamic. clearly. looking over this list, i am realising that found family is exactly what i look for in everything i watch. watching the effects that every character has on each other is so interesting but the shows also just so funny? i mean come on, there’s no other show that does recaps as well as shameless does. also, the best enemies to lovers arc ever executed on screen? ian gallagher and mickey milkovich, hands down. for a show that’s so coarse, they gave these two such a heart warming arc.

the OA - i am so jealous of britt marling's mind. she's a genius. the tone of the OA is so different to anything else i have watched, it’s so refreshing. the only show that i feel maybe has a similar tone is mr robot, but while mr robot has you constantly on edge and wary of everything that’s happening on screen, the OA is calming. the chinese box narrative structure is done so organically and so kindly (?? it’s the only word i can think of that fits) you can’t help but feel for the characters, no matter how much of an asshole the character is. in fact, this show might have actually changed my mind on a whole lot of things regarding how we treat others. again, the found family aspect is present, front and centre. then there's the romance between OA and Homer. it is so pure. I can't even articulate my feelings about this show, it's so mind bendingly good

[mariacallous]

This is where bimboism has found its moment. Bimboism says you don’t have to be unintelligent to choose happiness – you just need to focus on thinking about things that actually matter, like community, setting an example and building others up, which can only be achieved by building yourself up to the point where you aren’t plagued by anxieties. Whether you are liked or loved, whether you said the wrong thing, whether you are enough. Bimbos say, “Who cares?”

that’s not bimboism, that’s just building self-esteem and recentering?

IN PURSUIT OF LIBERATION

In the era of social media, ideologies erupt constantly as young people look for ways to identify and thrive. They dissolve just as frequently.

#Girlboss feminism, the “she-E-O” rallying call which characterised the early 2010s, has now become a post-ironic joke. It was an illusion of progress reserved only for the privileged few with proximity to the white wealthy male status quo. It was a mirage of liberation that fell apart under the slightest intersectional scrutiny.

This is a gross simplification and stereotype and ignores the importance of having more leaders be people who aren’t part of the white wealthy male status quo?

In a 2019 article, writer Emmeline Clein introduced dissociative feminism: characterised by a dark, disillusioned, self-destructive and bitter embodiment of feminism illustrated in Phoebe Waller-Bridge’s television series, Fleabag.

As Clein wrote, the titular character smirks at her selfishness and self-destruction, while numbing herself to the consequences of her behaviours with alcohol and antidepressants. Rather than blaming the patriarchy for her feminine angst, it is internalised; knowingly delivered in punchline form.

“I’ve noticed a lot of brilliant women giving up on shouting and complaining, and instead taking on a darkly comic, deadpan tone when writing about their feminism. This approach presents overtly horrifying facts about uniquely feminine struggles and delivers them flatly, dripping with sarcasm,” Clein said.

There are similar parallels in bimboism. While dissociative feminism has been having its own moment on TikTok, with a slew of posts featuring users embracing their “Fleabag era”, this cold, detached, dissociative feminism serves only a select few. As Clein wrote, “giving up on progress is perhaps the epitome of white feminism, and promotes a nihilism that is somewhere between unproductive and genuinely dangerous”.

But unlike dissociative feminism, bimboism rejects self-destructive behaviour. And unlike girlbossification, bimboism is not rooted in capitalist attachment.

You don’t need to buy anything or look a certain way. You don’t need to run a business, be a good worker, or step on anyone in your journey to reach “success” as a bimbo. Bimboism comes from within, and you can achieve it by being unapologetically yourself.

While girlboss feminism says, “I may be a girl, but I can climb the status quo’s ladder and succeed in capitalism just like any other man!”

Bimboism says, “I am literally just here to vibe. Either vibe with me or leave me alone.”

Sorry but this whole thing is just such utter bullshit and contradicts much of what was written previously in the piece? 

Also, what the article keeps saying “bimboism” is is...not what it is? It’s also just having better self-esteem and being self-aware?

I fucking hate this shit.

I hate the constant focus and emphasis on capitalism and the ignorance of anything political or social and the way it reinforces a whole lot of stupid bullshit.

[denimbex1986]

'It's been five years since Phoebe Waller-Bridge and Andrew Scott positively demolished all of our hearts in a mere six episodes of Fleabag, via the exceptionally unlikely pairing of the show's sex-obsessed protagonist and the "hot priest" she falls for in Season 2. And while both talents have gone on to plenty of other high-profile projects in the half-decade since that heartbreaking bus stop scene, news of a potential reunion between the pair has our Fleabag-loving hearts thumping at the thought.

While promoting Ripley, his new Netflix adaptation of the classic Patricia Highsmith novel, Scott gave eager fans an update on whether he and Waller-Bridge will be collaborating again onscreen anytime soon. He happily told Vogue:

We’ve definitely got things cooking. I’d love to work with her again. She’s just a singular, wonderful person.

Prior to Fleabag, the 47-year-old Irishman was already known to fans for his BAFTA-winning turn as the villainous James Moriarty in the BBC series Sherlock, as well as memorable roles in the James Bond movie Spectre and historical films like Pride and 1917. But playing the man known simply as "Hot Priest" (like "Fleabag" herself, Scott's character actually doesn't have a name) in the Golden Globe-winning dramedy made the actor a household name among fans, earning him a Critics' Choice Award win for "Best Supporting Actor," as well as Golden Globe and SAG Award nominations.

So it's not surprising that Scott would want to see if lightning can strike twice with his former collaborator and longtime friend Phoebe, whom he met while working on the play Roaring Trade at London's Soho Theater 15 years ago. And it sounds like Waller-Bridge — who has been busy with developing that Tomb Raider TV series, starring in an Indiana Jones movie and punching up James Bond scripts — is equally keen to stage a much-anticipated reunion with the actor, calling him "an absolute pixie of mischief" in the Vogue piece. She said of her onscreen love:

I could write a novel [about him]. But I love how naughty he is. He has the magical ability to make you feel instantly present—no matter what’s going on in your life, you’re suddenly there in the moment and feeling joyful. I think that’s what it’s like to watch him as an actor too…like he can stop time with his honesty.

As for what the potential reunion could entail, Waller-Bridge hinted at what she'd want to see acting-wise from Scott next:

I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.

Take our money! After making us weep not only with Fleabag but also his recent film, the gorgeously sad All of Us Strangers co-starring Paul Mescal, it would be nice to see Andrew Scott get to brighten up in a comedy. (After all, we don't expect many laughs from the murderous Tom Ripley.)

While you wait to hear about Andrew Scott and Phoebe Waller-Bridge's upcoming collaboration, you can revisit their most famous one as Fleabag and Hot Priest — Fleabag is available to stream now with an Amazon Prime Video subscription.'