#best franchise lawyer near me

[mylawyeradvise]

Applicable Laws & Legal Compliances for FinTech Start-ups

The government is making sincere efforts to make India digital. It has been introducing the developments in the Fintech sector because of the rapid technological advancements.

[alertarchitect]

I genuinely do not understand The Discourse around Palworld. Now, for full transparency, I don't really particularly care about the game, I've not played it, nor do I plan to. I'd rather stick with my FPS games and metroidvanias. I'm probably the closest to being a neutral party on the issue you can find in the gaming community. That being said...

Stop with all of the "[Megacompany X] needs to call their lawyers!!" nonsense. Yes, they have designs that look like Pokémon. Yes, they have designs that look like Monster Hunter monsters. However, I have one important question here...

Why the hell do you care?

First off, we're talking ripoff designs of IPs owned by companies that make profits in the billions. These companies, especially Nintendo, have - or at least have access to - very good lawyers. Do you really think Palworld - a game made by a company based in Japan, the SAME COUNTRY as the companies I see people saying are having their designs stolen, meaning this theoretical lawsuit would be 100% domestic instead of bringing the headaches associated with an international suit - would have made it to release if Nintendo, Capcom, or any other company had standing for a plagiarism lawsuit? Especially when Japan doesn't have fair use laws? That, to me, already tells me these designs are clearly in the "legally distinct ripoff" category, and that's okay. Obviously plagiarism isn't a good thing, but if this was close enough to be considered such under laws that don't include fair use provisions, it's FINE. Even if it's not the most ethical, ripoffs and bootlegs are gonna happen. This one is just has more publicity than most.

Second, these are - again - billion-dollar companies that make more money than most people can even truly comprehend. Why are you defending them so much? No matter how much I may like the older Pokémon games, such as Platinum, we are talking about one of, if not the single most profitable franchise on the fucking PLANET. Not only does it not need Random Schmuck #582183 to defend it online, the people behind it likely don't fucking CARE. The Pikémon Company is like 50% or more owned by Nintendo, which is a company that - as we've seen time and again with their takedowns of passionate fan projects with 0 profit incentive such as AM2R as well as their draconian YouTube content policies for creators - doesn't care about their fans at the best of times, and is actively hostile towards them more often than not. Why do so many people defend these large corporations like doing so is going to get you a "thank you" letter from Miyamoto? Why are you supporting massive billionaires like your life depends on it over some 3D models that, as previously established, are more in the "legally distinct ripoff" category than anything else? Are you so invested in their corporate wellbeing that you feel the need to try and do their PR & legal teams' jobs for them?

At the end of the day, Palworld is a game made by a team that seems genuinely passionate about their craft, that has been a fun experience for many people across the world. Let those people have their fun. And if the designs being ripoffs is such a problem for you, just don't buy the game. Simple as that. If you're that worried, let the notoriously litigious companies like Nintendo handle it. Don't try to be an ass to people just having fun in a video game. Hell, if you're so convinced this is a case of direct plagiarism, just stop supporting the people making stuff about it like we did with the people who played the Shitty Wizard Game. Obviously this issue is nowhere near as bad, as it's just a case of ripoff designs instead of people financially supporting an anti-semitic, racist TERF who sees financial support of her franchise as support for her ideals and uses the platform that gives to call for things like trans genocide, but the principle is the same in practice - just don't support it or anything to do with it, and chill the hell out.

[supreme-burrito]

You know what I just realized

So Spirit of Justice came out in 2016 near the end of the 3DS’s life span.

Ace Attorney thrived because its core game mechanics (not counting the GBA era games from Japan) heavily relied on the mechanics of two consoles from Nintendo. Yes, it’s possible to play these games on other consoles, but you don’t get that same experience as you did in their original format. I never played an Ace Attorney on in its original format so I don’t know what that experience feels like. I played the original trilogy and the Sholmes games on PlayStation and the remainder of the series that is available to the West (I do plan on getting around to playing Investigations 2 at some point) on mobile.

The PlayStation experience is alright because the graphics are an inherent glow up, but in my opinion, the best, most current way to experience the Ace Attorney games is through mobile. You don’t need the dual screens, just having the ability to play via touching the screen is sufficient enough.

Now here is the depressing realization. It’s been almost 7 years since a brand new AA game as been released to Western audiences. All other new entries have been either remakes or ports. The last new game for Japan was in 2017 with The Great Ace Attorney 2: Resolve, almost 6 years ago.

Everyone wants AA7. I want AA7, your grandma wants AA7. However, as I see it, because of the simplicity of Ace Attorney game mechanics, but it shouldn’t be difficult to make a new game.

Unless they completely overall the system and mechanics entirely so the franchise can survive on future at-home consoles OR they stick to the mobile market where the game is currently the best and current experience. The most recent release to the West for Ace Attorney as far as I can tell, was the original trilogy to mobile which was a year ago as of yesterday according to Wikipedia. Which makes me ask, why the three year gap between EVERY OTHER PORT of the original trilogy and THEN have this disclaimer on the App Store?

My point in all this is my hopes for AA7 ever coming to fruition are slim to none due to Capcom and the whole project got canned

OR

Due to searching up some information, we might be getting Ace Attorney 7 soon

I did some digging and found out that back at the end of 2020, Capcom had a massive data breach where a handful of projects got leaked including the following: RE4 remake, Street Fighter 6, Dragon’s Dogma 2, and AA7.

The prior three projects have already been announced/released as of this year.

Capcom does not give specifics on what was let out, so all I can find about this specific list of games is from old articles talking about AA7 speculation and the leak. According to this roadmap, supposedly the main production phase of AA7 was supposed to begin around October of 2021.

This is just my speculation (like all the other game articles), but depending on how much of the main game mechanics have been overhauled (if at all) or if they’re just making Ace Attorney with a glow up, it will most likely be later at the end of this year or sometime around this time next year and might be announced during Capcom’s biggest round of game release announcements.

I could be 100% wrong or I once again have the deduction skills of Sherlock Holmes and gift of prophecy from Apollo.

2024: Gay Lawyers 2: Electic Boogaloo

And yes Yagami you count too

Who knows he might get a cameo in Yakuza 8 (YES I KNOW THE SERIES IS CALLED LIKE A DRAGON NOW BUT I WIL ALWAYS REFER TO IT AS YAKUZA. It’s the same reason it’s why I will always refer to Cole Cassidy as McCree. Because the change was made solely for political reasons and was kind of unnecessary)

[leadindia011]

I Want The Best Intellectual Property Lawyer Near Me

Because intellectual property law is still developing, there are still many unopened boxes, this area of law has had significant advances, but it also confronts multiple challenges that must be addressed in order to eliminate barriers to its development. 

When it comes to dealing with these sorts of problems, the work of an intellectual property lawyer is extensive and multifaceted, thus an ip lawyer must be competent and recognized for possessing certain fundamental abilities that can assist them flourish in this new area of law.

Fundamental Skills to Find: Intellectual Property Lawyers

Skills to Deal with Oppositions:

There have been a lot more challenges and opposition since pre-registration. Therefore, legal advice is an all-time requirement for many filing trademark applications. 

The amount of work is increasing considerably more quickly than lawyers as well as law firms can now handle. As a result, both the charges and the margins are relatively substantial.

Being efficient with trademark registration, especially for handling oppositions and dealing with them, is a surefire way to secure an excellent position as an IP lawyer.

Skills for Conducting Due Diligence

Due diligence in this particular domain is specialized. Many significant companies that are for auction, have sought to list, or are even searching for substantial amounts of financing require the service for due diligence in IP. 

The buyer, investor, or financier usually becomes the one who benefits from the services being provided. Therefore, various law firms are frequently used to carry out IP due diligence.

Skills to Calculate the Damages Incurred

Calculating damages in cases of intellectual property infringement is one of the most challenging responsibilities. 

In the majority of instances, if someone's violates your intellectual property, you are entitled to all of your damages in addition to whatever financial losses you may have endured as a consequence of the infringement. 

The need for lawyers who can use financial frameworks to estimate or measure such damages and then prove them in court is always high.

Skills to Register Trademarks that are non-conventional

Usually, any traditional word or image marks the most valuable trademarks. 

For example, there has been an effort to register Mother Teresa's Missionaries of Charity nuns' blue-bordered sarees. Sandesh's textures, etc. are all excellent examples of such trademarks. 

The unusual accomplishment of registering such trademarks can make or break your professional record if you have the expertise and experience involved.

Skills to Draft a Franchising Deal

Franchise deals are becoming more and more prevalent. You probably notice a lot of franchised businesses these days. 

McDonald's, Kidzee, Apple stores, and Cafe Coffee Day are just a few examples that are well-known. These franchisee agreements are very complicated, and the paperwork must be in excessive detail. 

As an ipr lawyer if you work for the franchisor, you may easily bill lakhs for creating and providing advice on a franchisee contract.

Skills to Draft an Application for a Patent

Although only a registered patent agent is allowed to file a patent application, lawyers have developed an ingenious workaround. They managed to have the inventor self-file the application. 

However, regardless of whether or not you meet the requirements for a patent attorney, if you know how to create patent claims, how to plan to guarantee that the application gets approved, or if you can secure provisional patents for applicants, these abilities are uncommon and in high demand. 

If you are an ip attorney, you must undoubtedly make it a point to acquire these abilities.

How to Find the Most Desirable intellectual property rights lawyer?

There are some established ways to find such a desired lawyer for your specific need. They are:

Obtain recommendations from friends, colleagues, or close relatives who have in the past employed an IP attorney.

To get a suggestion for an intellectual property lawyer, you get in touch with your jurisdictions or local bar association to get an exhaustive list of top IP lawyers in your area.

To find a lawyer with expertise in intellectual property that will satisfy your demands, you can make use of online legal services like Lead India to connect with the top ipr attorney in India.

To preserve and defend your IP rights in every area and against rising market competition, you should hire a qualified intellectual property lawyer. 

One can talk to a lawyer from Lead India for any kind of legal support. In India, free legal advice online can be obtained at Lead India. Along with receiving free legal advice online, one can also  ask a legal question to the experts online free through Lead India.

SOURCE:-

Visit us: https://www.leadindia.law

Call Us: +91–8800788535

Email: care@leadindia.law

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[rightchoiceconsultingblog]

Pay Your Tax on Time with Professional Accountant Service

There are numerous strong arguments to hire the service of tax accountant. There are multiple levels of competence accessible for all tax needs. It is a good idea to get someone who is skilled in taxation system and rules to assist you in taking benefit of all the credits and deductions you eligible for to save time and even sometimes money. Fees of Tax Advisor Harrow are frequently significantly lesser than the reimbursement you may receive as a result of hiring professional assistance. Since you'll be disclosing a lot of sensitive information, you must carefully select your accountant. Most of the accountants are reliable and do an excellent job of assisting you in filing your taxes.

If you're like most of the people, you despise doing your taxes. A capable tax accountant alleviates much of the stress. They can save you money and time in the long run. They file your taxes correctly and locate credits and deductions that you are eligible for that you would not have discovered otherwise. They could be extremely beneficial in complicated financial situations or when you already have issues with the IRS. Search for a professional accountant with a track record of success and experience. Request recommendations from your Tax Return Accountants In London.

Accounting professionals are accessible at various levels and can assist with a variety of needs. Franchise accountants prepare your taxes using time-tested procedures. These types of services are best suited for simple tax problems. Tax Return Services London will have varying degrees of experience. More skilled people, such as CPAs or Enrolled Agents, may be available in some locations. Fees and prices in franchising are usually determined by forms that should be done. Because the fee increases as the number of forms increases, it is not always the most cost-effective option to file your taxes.

Enrolled Agents are expert of Accounting Consulting who have passed IRS testing which certifies them as being capable of preparing taxes. They are IRS specialists and are frequently the best option when it comes to really intricate taxes. Professional Accountants typically receive college education and pass exams that allow them to practise public accounting. Some CPAs specialise in areas such as taxes, auditing, consulting, and so on. Many CPAs do not do any tax work at all. Tax lawyers are the most specialised tax preparers. They also serve as tax attorneys for clients who are in financial difficulty. They can manage extremely intricate legal difficulties or IRS lawsuits.

If your tax return is simple and basic, you can contact any retail accounting firm to assist you prepare and submit it. The cost is normally determined by the amount of tax documents to be completed and the experience of the Accountancy services near me.

You might engage a tax management consultants or London Accounting Firm. In any case, the tax accountant must have the knowledge you require to manage your taxes.

Only hire certified and licenced tax preparers and CPA accountants. Bear in mind that there are various levels of accounting knowledge.

[nailsupplyblog]

SHOULD YOU BUY AN EXISTING SALON?

After completing your cosmetology education and gaining some experience, you may decide to open your own salon. Many cosmetologists buy established salons to expand their business quickly, but there are several factors to consider before doing so. Before signing a contract, exercise prudence and examine these points.

1.Profitability

Before purchasing an existing salon, request financial statements prepared by an accountant that nail and beauty supply near me show at least two years of financial data. If the reports suggest that the business is not lucrative, you must understand why before deciding whether to proceed with the purchase.

Based on financial records, you should be able to determine the point at which you will break even each month. Examine the salon's revenue and expenses to identify what steps you need to take to turn a profit.

2.Staffing

Purchasing an existing salon may imply that the firm comes with employees. Learn about the people who work at the salon, and if any employees must be let go, make sure nail supply store open to public you obey all local and federal laws on employee termination. If the salon is part of a franchise, you may wish to consult with human resources personnel.

3.Business Plan

While seeking cosmetology education, consider if you want to run a franchise or an independently owned shop. While owning a firm provides creative independence, operating a franchise allows you to gain operational and marketing support.

Only you can decide which business model is best for you, but talking to other salon owners and consulting with a business lawyer will help you carefully weigh the benefits and drawbacks of each form of salon.

4.Location

Even if you provide the best salon services, a bad location will not help you. The site should be convenient for customers, allowing for some foot traffic in addition to appointments. In addition to welcoming foot traffic, you should nail wholesale supply near me analyze the place to see whether any modifications are in the works. What kind of potential clients should you expect? Is there anything you can do to make the environment more welcoming?

[itslawyersadvice]

Laws & Regulations on Franchise Business in India: Lawyers Advice

https://mylawyersadvice.com/laws-regulations-on-franchise-business-in-india-lawyers-advice/

[commerciallawyer]

Commercial lawyers in Perth WA is one of the top in Australia. Whose long-time experienced franchising lawyers Perth provides the best business solutions based on Western Australia's state and territorial franchise laws, and who provides beneficial legal advice on the rights and obligations under the franchise agreement prior to buying and selling a franchisee. Best commercial lawyers Perth WA can help you with any questions you may have about franchise registration law.

[emma-what-son]

Another pap walk published by the DM whom she dissed not that long ago on twitter. It looks like it's a product placement kind of pap walk this time since the DM only highlighted her trainers and not anything else she's wearing. Sustainable Allbirds trainers.

Emma Watson and her boyfriend Leo Robinton looked loved up on Saturday as they enjoyed an evening coffee run in Los Angeles.

This was the couple's first outing since Emma broke a year-long Twitter silence to confirm they are not engaged - after rumours circulated that Leo had popped the question.

Still, the duo certainly looked the picture of happiness as they doted on one another on their walk.

The Harry Potter actress, 31, threw her arms around her other half, also 31, as he nuzzled her affectionately.

Holding hands, the pair strolled along, smiling at each other and stopping for a kiss.

Emma - who has been dating Leo for 21 months - wrapped her lithe frame in a large black jacket, worn over a chunky sweater emblazoned with a red heart.

She wore baggy pinstripe trousers in a cream and beige design, and taupe converse shoes.

Emma was fresh-faced and make-up free, her chestnut locks loosely bouncing around her shoulders.

Leo wore a striped Tee and skinny jeans, which he teamed with suede loafers.

They donned covid face masks as they headed into Starbucks, with Emma picking up a chocolate and cream frappuccino.

Emma enjoyed the delicious treat as they headed home together.

Emma's Twitter statement last week clarified that she is not engaged, with the Bling Ring actress tweeting: 'If I have news - I promise I’ll share it with you.

'In the mean time please assume no news from me just means I’m quietly spending the pandemic the way most people are —failing to make sourdough bread (!), caring for my loved ones and doing my best not to spread a virus that is still affecting so many people.

'I am sending so much love to you, hoping you’re ok and as well and happy as you can be in these strange times. And again, thank you to everyone working so hard to keep us safe and well.'

Despite this, Emma hinted at a move to Hollywood after being spotted stocking up on furniture in the area last week.

She has homes in London and New York, but has been spending a lot of time in LA with Leo.

Pictures of the star taken two weeks ago certainly showed her in high spirits as she stocked up on furnishings, completely filling the boot of her car.

Emma larked around displaying the items, and proved she didn't need any VIP treatment as she rolled up to sleeves and did some heavy lifting.

Among the items Emma purchased were a coffee table, lamp and globe ornament, which she crammed into the back of her vehicle.

Leo reportedly makes a fortune selling legal cannabis, and Emma has been staying in LA since January.

Prior to this it's believed the pair secretly lived in Ibiza for several weeks where she would spend mornings reading the papers over smoothies at a vegan cafe.

The couple have also been spotted together in Britain too, pictured several times near Emma’s London home, getting coffee and visiting a bakery.

It has even been reported that Emma introduced Leo to her lawyer parents, adding another level of seriousness to their relationship status.

For the recent Valentine's Day holiday, the loved up duo enjoyed a romantic getaway to Mexico.

Her last relationship was with New York businessman Brendan Wallace, 38, in 2018.

Emma last graced the silver screen in 2019 as she starred in Greta Gerwig's adaptation of Little Women.

Most famously, Emma portrayed beloved brainiac Hermione Granger in the Harry Potter film franchise, based on the children's novels by author JK Rowling, alongside Rupert Grint and Daniel Radcliffe.

After eight films covering seven books, the world of Harry Potter came to an end in the summer of 2011 with Harry Potter and the Deathly Hallows – Part 2.

[mylawyeradvise]

Basic Principles of International Franchise Agreements

Each country has its own rules and regulations of the franchise model. The different law regimes are franchise-specific laws, general commercial laws or Codes of Conduct

[heroes-fading]

Why Veronica Mars Won’t Have a Season 5

My introduction to Veronica Mars came in the midst of my father’s death. I watched episodes in hospital waiting rooms before it happened, and holed up in my room afterwards. I found a lot of comfort in the strength that the characters provided. The scene of Logan at his mother’s funeral - maniac and trying to find the humor in it - is exactly what I felt at my father’s. I, like Logan, made jokes and tried shrugging it off. I was certain that this was some sort of cosmic joke, and I was on the receiving end. Veronica’s personality shaped most of who I was in high school - my dad passed away two weeks before I started. Her snark, intelligence, and resilience inspired me so much then. I found a wonderful community with fans of the show, and to this day as a semi-adult I love and adore so many people I met through the show.

When the movie was announced, I was ecstatic. I remember rushing to a bathroom stall at my high school so I could eloquently keyboard-smash about it with my friends, donating to the Kickstarter, wearing my t-shirt, going to the theater with my friend to watch it and livestreaming it the night of its release with my online friends. In a sea of horrible feelings and helplessness, Veronica Mars helped me feel empowered and supported.

That’s partly why all of this stings so badly and feels so much like a betrayal.

Logan Echolls fits into a lot of tropes I’ve grown to hate as a self-identified feminist who has zero time for bad boys. Men who “atone for their sins” to get with a leading heroine are ones I often find boring - so often they’re executed poorly and their past mistakes would be absolutely unforgivable in a real context. Chuck Bass, Damon Salvatore, Spike, et. all are characters I’m tired of seeing in fiction. Logan Echolls organized a bum fight, took out Veronica’s headlights, burned down a community pool, made a series of racist comments to Weevil, and generally had moments of being the absolute worst. But for some weird reason, I have a massive soft spot for Logan and he’s become one of my favorite fictional characters.

Maybe it’s because we’ve seen him go through much, change so much over the course of the show. Maybe it’s because the show actually held him accountable (as well as Veronica) so the redemption didn’t feel cheap or unearned. Or maybe it’s because I’m just a weak heterosexual hypnotized by Jason Dohring’s abs and my feminism only goes so far as who I think is hot. I hope it’s not the last one, but I’m sure some would argue it is! The point is -- healthy, going-to-therapy Logan feels earned after the deaths of his parents, his abusive dad killing his girlfriend, numerous beatings, and too many near death experiences to count. Logan went from being an obligatory psychotic jackass to a fairly well-adjusted boyfriend in a way that made narrative sense.

His offscreen death right after getting married to the love of his life? Not so much.  

The thing that stings about Veronica Mars’ final episode is not just Logan’s death - it’s what it means for the show going forward, especially its titular character. What made Veronica lovable was not her toughness as Logan’s final voicemail details. As season 3 Logan reminds us, Veronica isn’t invincible and she isn’t always right. What made her such a compelling character was what was underneath that toughness, and the people around her that highlighted that warmth buried underneath layers of trauma. In other words, what made her a marshmallow. Burnt on the outside, but gooey on the inside, as Wallace describes her in the pilot.

When we meet Veronica in the pilot, she’s been through a litany of traumas: her best friend’s death, a breakup, sexual assault and drugging, social ostracization, her mother’s addiction and swift exit from her life, a swift drop in socioeconomic status, and routine humiliation at the hands of her peers. But in spite of all of that, she’s still the girl that cuts Wallace down from the flag because it’s the right thing to do. She’s still the girl that worries about her father, has sympathy for Logan after his mother’s death despite all of his cruelty, defends and comforts Meg Manning after she endures the same bullying Veronica did, cares (often, initially unwillingly) about the people whose cases she takes, and bakes cookies for her friend after his basketball game just because. Even as recently as the books, Veronica bakes a cake for her terrible, abandoning mother on her birthday in spite of her replacing her and Keith with another family. She looks after her half-brother Hunter, even if he’s a painful reminder of her mother’s foibles. Veronica isn’t nearly as tough as she pretends to be, and that’s a good thing. That’s what makes her interesting and stops her from being like every other cynical hardboiled detective trope.

The people around Veronica - who support her, evolve with her, and serve as contrasts to her - are what help make her story so compelling. People who can tell her when she’s wrong (Logan, Keith, Weevil, et. all), who remind her of her soft side (Keith, Wallace, Mac, Logan), who can stop her from turning into a noir stereotype and cement her as Veronica Mars. People aren’t tuning in just to see Veronica snark at random side characters. Her personal journey in moving past her trauma and her relationships with other characters are what really makes the character who she is. 

Her journey, from the pilot episode to the movie, is realizing that she can’t just shove down and run away from her trauma. Over the course of her show, we see her form bonds with people in spite of her attempts not to - Wallace, Mac, Logan, and a variety of others. They help her, support her, and challenge her in ways that only serve to make her story more interesting. In the movie, we see Veronica realize she can’t keep running and she doesn’t want a cushy life as a New York lawyer with a boyfriend who doesn’t understand why she cares so much about what happens in her hometown. Neptune, as corrupt and corroded as it is, is her hometown. 

That’s why it’s such a spectacular slap in the face for the end of season 4 to offer the exact opposite. Veronica loses her husband (after finally evolving from the Veronica in the pilot who swore she was never getting married because she was so cynical about relationships) immediately after marriage. She leaves behind Keith, Wallace, and everyone else to chase unknown cases with unknown people in unknown places. As Rob has said, he saw this as the only way for Veronica to continue to be interesting - roaming the world solo as if she’s Sherlock Holmes.

This is not character progression. This is not driving the plot forward. This is regressing to a character to a point even before the pilot episode - a hardened Veronica who pretends she doesn’t care, who uses her trauma as an armour, and keeps people away from her. It undermines the central message of the movie - that Neptune is her home and in spite of her problems, she’s willing to fight for it. By killing Logan, Rob wanted to kill Veronica’s ties to Neptune. This isn’t an evolution - it’s a devolution. 

Rob Thomas has offered this option before - a Veronica exit vehicle sans everyone else, including only Kristen Bell snarking at a camera - in the form of the last-ditch FBI pilot. It was not well received by fans nor networks, and unsurprisingly not picked up or seen anywhere other than a reposting on YouTube. I think if he sincerely expects any other result from a similar future attempt, he’s lying to himself. 

If Rob Thomas wanted the male character-centric P.I. noir he initially planned on writing rather than Veronica Mars, he should have written that rather than allowed it to take over the Veronica Mars universe. Writing a woman with the same elements of toxic masculinity as male characters (a complete disregard for their own feelings, ripping themselves away from personal connections, framing “toughness” as superior and emotional development as a waste of time) is not feminism - it’s just lazy. “Strong female characters” don’t have to be made strong by undergoing trauma after trauma and shutting down until they’re a shadow of their former selves. Their male counterparts aren’t expected to have to deal with rape, death, ostracization, and every other possible form of trauma  - women sure as hell shouldn’t. 

Furthermore, the way that Rob Thomas has framed his fanbase is shameful. Veronica Mars fans aren’t just deranged fangirls too obsessed with Jason Dohring’s abs to care about the health of the story. This isn’t “not what we wanted, but what we needed” - we’re not an audience too stupid to know what’s good for us. We’re an intelligent audience when we’re giving the showrunners money, but when we’re disagreeing with the writing choices we’re just too invested in romance to “get it”. Predictably, these fans (who make up most of Veronica Mars’ fanbase that the showrunners claim to adore so much) are women. For decades, women have been stereotyped as media-consumers that only care about romance and thus can’t care about depth as if the two are mutually exclusive. This stereotype is incredibly sexist, especially given what this fanbase in particular has done for this franchise, and the continued insistence that these fans just don’t know what’s good for them or the show is incredibly condescending and transparent.

This fanbase poured $6 million dollars into a Kickstarter for a money, maintained energy for a revival and actively lobbied streaming services and networks for a continuation, and kept the fandom twelve years after the finale episode of its original incarnation aired. As much as some may resent how fan energy encouraged writers to see Logan evolve, or Logan and Veronica to sort out their issues, or anything else - these were choices the writers made and stood by for years. A sudden U-Turn in storytelling to go from “the fans were right, this dynamic is wonderful and we’re going to base our advertising around it!” to “well, it was never supposed to be about that” is a kick to the teeth to a fanbase that (literally!) gave so much. 

It’s not as if this is the first time the fanbase has been disappointed by a writing decision. Speaking for myself, I was heavily disappointed by the way sexual assault was handled on the original incarnation of the show. Veronica’s rape was handled by at first not framing it as a sexual assault at all in “A Trip to the Dentist” - Duncan Kane (her ex-boyfriend/potential half-brother at some point in time) having sex with her while she was unconcious was framed as just “feelings and nature taking over” because he was under the influence. In season 3, the writers decided that framing women protesting sexual assault on campus as deranged feminists who sexually assault men by inserting them with Easter eggs was a good choice. That Easter egg part was played for laughs by the show, writers, and leading cast member. 

Even the inclusion of Dick Casablancas for laughs - whose GHB was intended for his girlfriend and ended up in Veronica’s cup - doesn’t feel right. Ryan Hansen’s charm explains a lot of it, but the show seems to place a lot more blame on Madison for Veronica’s rape despite the fact she narrowly escaped the same fate at Dick’s hands. I was disappointed then, and I’m still disappointed with it now - far away from any romantic concerns of the show.

And my biggest problem with the ending of season 4 isn’t just that Logan is dead. I’m incredibly crushed and disappointed to see all of that character development be met with an offscreen car-bomb, but it doesn’t bode well for Veronica’s characterization and ultimate arc either. I fell in love with Veronica’s character first, and I don’t even recognize her anymore.

If the movie was a thank you to the marshmallows (both the fans and Veronica’s inner softness), the ending of the show was a middle finger to both. If the lesson from the series and the film is that you fight for things because they’re worth it and not because they come easily (whether they be relationships or towns), then the lesson from the revival is that the best thing to do is leave and take your bags. So much of the narrative was set up around Veronica accepting who she was and where she’s from - and the revival’s Veronica has finally been traumatized so much she’s packing her bags and giving up. That’s not toughness. That’s not strength. That’s certainly not saving the show or the character. 

That’s selling a grim story because you think it’s edgy. That’s trying to be subversive and failing, too focused on shock value to care about the characters. There’s a reason shows like Game of Thrones, Dexter, and How I Met Your Mother got such backlash -- they just don’t make narrative sense and the endings are far from satisfying. Making the fans happy isn’t a mark of bad storytelling, especially when the survival of your franchise has been so contingent on it. Sometimes, they actually do know what they’re talking about! And if you want a season five, maybe don’t alienate your fans to a point they don’t recognize the show anymore. Rob mentioned, “...I will have made a really bad bet if, en masse, the fans turn on the show. That would certainly be a tough lesson to learn.” -- I think he accomplished that! 

I wish the Veronica Mars that got me through the toughest parts of my life was still around. But I’d rather say goodbye to her forever than be faced with a cheap imitation. 

[kyndaris]

Truth Seeker

You would imagine that after playing through most of the Yakuza series during the pandemic, I would have wearied of exploring the same city for the sixth time. Yet there was something special about finally starting Judgment that washed away the malaise I was feeling towards the franchise that started my Kamurocho journey ever since it was praised by a member of PlayStation Access. Perhaps it was because I was playing a different character from the stoic Kiryu Kazuma. Or maybe I would now be thrust in the role of a lawyer-turned-detective in an alternative history of Phoenix Wright if he had allowed Matt Engarde go free at the end of Justice for All. Honestly, Takayuki Yagami’s swagger and more cynical attitude to life was a breath of fresh air. One that allowed Judgment to maintain its more serious narrative and juggle it with the levity peppered throughout that was represented by the side cases.

But first, a little backstory on how I managed to get my hands on the title. In fact, it might be best to think of my quest to pick up the game as one of the side cases that are in the game itself.

 After keeping an eye on its impending release in the West, I made a beeline to the nearest JB Hi-Fi after work. Unfortunately, the one closest to the train station had sold out of all their copies. Why would anyone bother to purchase a relatively unknown title that was not Call of Duty? I cried within the privacy of my mind.

Luckily, two other stores still held copies and I was directed to both - though they were in opposite directions of each other. I picked the one at World Square. It was a gamble, but it was the one that had the most copies was also quite close to an EB Games.

Off I dashed, in my heavy coat, my umbrella propped up until I reached World Square. I stormed the entrance and made my way to the gaming section, the shelves decorated with all kinds of other games to distract me. To my relief, a copy of Judgment was waiting. I picked it up and presented it to the cashier.

With my purchase safely tucked into my bag, I made the slow slog to the train station and returned home. The game would sit on my shelf, gathering dust, until the year after.

Now, back to the game.

Despite many of the assets being reused from the Yakuza franchise, Judgment still felt fresh. After experimenting with their new engine, Ryu Ga Gotoku studio in Yakuza 6, they were able to take advantage of what they had learned. The narrative starts off with Yagami locating a fellow detective that owes money to a gang. Players soon learn that a killer is stalking the streets of Kamurocho, his signature being the removal of the victim’s eyes. When the captain of the Matsugane family is fingered as the culprit, a yakuza family with which Yagami has ties to, our main character is drawn into a conspiracy involving a drug to cure Alzheimer’s and a mysterious connection to a previous case three years ago that forced him to leave his lawyer days behind him.

From the very first moment, I was gripped by the story. I was immediately drawn to desire to hunt down the truth. From a character standpoint, it made perfect sense. In stark contrast with Yakuza 6, I felt Kiryu could have simply stopped as soon as he pulled Yuta away from making the worst mistake of his life by trying to kill his own father. The whole Onimichi secret of a battleship that survived the end of World War II felt a little too contrived. Was there really a need for Kiryu to hunt it down except for the desire of the writer’s to see their elaborate plots seen to their conclusion?

Yagami’s guilt was also an important factor in many of his interactions with his fellow cast mates. And, despite being a civilian and never sworn into the yakuza lifestyle, it was still possible for Ryu Ga Gotoku studio to do what it did best by representing the seedy underbelly of Japan. The whole AD-9 drug and the subsequent scandal surrounding it also felt believable. In fact, it came as a shock to learn that dementia has such a high prevalence in Japan and the world. Unfortunately for my own thriller writing, I’ve been less able to incorporate proper facts and figures into my own story regarding climate change.

What I liked most, regarding the plot, was that the key figure behind the deaths in Kamurocho was a seemingly milquetoast gentleman scientist: Yoji Shono. Rather than a big hulking brute, it was a short thin man that had a face that barely stood out amidst a crowd.

By game’s end, I was almost reluctant to see Yagami’s journey come to an end. As soon as the credits rolled, I was eager for a sequel. Yagami, Kaito, Hoshino, Sugiura, Higashi, Saori and Mafuyu all seemed like characters I would like to learn more about. It helped, as well, that the writers managed to make it believable that all of them had a shared history.

The scenes in the court houses made it abundantly clear that Ace Attorney is very much a Japanese courtroom. With the prosecutors and defense seated facing each other. 

Although, it could be said that Yagami’s and Izumida’s alliance near the end was a little on the nose when it came to unmasking Ichinose. In fact, it was a bit like Edgeworth and Wright teaming up to uncover the truth of the matter rather than trying to win a case for the sake of prestige and standing.

The side cases were also quite enjoyable. Ryu Ga Gotoku was still able to retain its sense of humour even by making most cases available through clients seeking the help of a detective. I personally enjoyed Yagami’s hunt for a ghost in a local apartment complex and taking photos of a wrestler-turned-politician. Even the ones that were encountered on the streets of Kamurocho were enjoyable, ranging from stopping calamities to chasing a wig.

All of this was heightened by the controls of the game and the numerous side activities on offer. By trimming some of the fat, I did not have to worry about subjecting my eyes to softcore porn videos or watching Kiryu type with two fingers the phrase: ‘it’s growing.’ I will miss hostesses but the girlfriend system was also quite robust. In fact, the conversations were quite nice and I liked how Yagami went out of his way to help a woman snag her first interview. Alas, the one detriment to this was that Judgment offered no karaoke - a stapler minigame that should have been kept.

I also very much liked the combat. While it took some adjusting to, with X used to sprint, within moments, I was leapfrogging over enemies or wall punching the street thugs and Keihin gang into the dirt. The return of different combat styles was welcome. I often changed between crane and tiger as I took on groups and bosses. In fact, this was the first time in the entire history of the Yakuza series that I took on an ‘Amon’ and won! 

That was in spite of the mortal wounds mechanics that proved a little frustrating and the very limited healing items. I’ll never say a bad word about Toughness Emperor ever again!

On a side note, why were there so many stray cats? Even in the flashbacks!

Judgment proved to be a detective game set in the backdrop of Kamurocho. While the tailing missions were tedious, it was nevertheless an enjoyable excursion back into the world of corrupt politicians and the seedy criminal underworld of Japan. Yagami was also a refreshing main character that had his own burdens to bear. Should there ever be a sequel, I hope that karaoke would be reinstated as a side activity. As it is, I’ll need to double down and learn how to play shogi if I ever want to enjoy another iconic past time that has been incorporated within the world of Kamurocho.

[blackkudos]

Martin Lawrence

Martin Fitzgerald Lawrence (born April 16, 1965) is an American stand-up comedian, actor, producer, talk show host, writer, and former Golden Gloves boxer. Lawrence came to fame during the 1990s, establishing a Hollywood career as a leading actor, most notably in the Fox television sitcom Martin and the films House Party, Boomerang, Bad Boys, Wild Hogs, Nothing to Lose, Blue Streak, Life, Big Momma's House, and A Thin Line Between Love and Hate.

Early life

The fourth of six children, Martin Fitzgerald Lawrence was born on April 16, 1965, in Frankfurt, West Germany, to American parents. His father, John Lawrence, was serving in the U.S. military at the time. Lawrence was named after civil rights leader Martin Luther King Jr. and U.S. President John F. Kennedy. When Lawrence was seven, his father left the military, and the family moved from Germany back to the United States, settling in Landover, Maryland, in the Washington, D.C., area. After his parents divorced in 1973, Lawrence rarely saw his father, who was a police officer. His mother, Chlora (née Bailey), worked several jobs, including as a sales representative and cashier at various department stores to support her family.

During his teen years, Lawrence excelled at boxing.

While living in Maryland, Lawrence attended Eleanor Roosevelt High School and Friendly High School, and he lived in Apple Grove, becoming a Mid-Atlantic Golden Gloves boxing contender.

Career

In his early days, Lawrence did comedy shows in the Washington, D.C., area and supported himself through odd jobs. Comedian, Ritch Snyder saw his act and suggested Lawrence make connections in New York. Lawrence ended up moving to New York City and found his way to the legendary The Improv. Shortly after appearing at The Improv, Lawrence won a performance spot on Star Search. He did well on the show and made it to the final round, but did not win. However, executives at Columbia Pictures Television saw Martin's performance and offered him the role of Maurice Warfield in What's Happening Now!!; this was his first acting job. Upon cancellation of that show, Lawrence found bit parts in various films and television series. His breakthrough role was as Cee in Do the Right Thing. Other roles followed in films such as the House Party series, Talkin' Dirty After Dark, and the Eddie Murphy vehicle Boomerang. During this period, entertainment mogul Russell Simmons selected him to host the groundbreaking series Def Comedy Jam on HBO. Def Comedy Jam gave many comedians (including Chris Tucker, Dave Chappelle, Mike Epps, Bernie Mac and Cedric the Entertainer) mainstream exposure.

During his stint with Def Comedy Jam, Lawrence appeared in his own hit series, Martin, which aired on Fox. The show ran from 1992 to 1997 and was an enormous success. Martin was the flagship of Fox's Thursday-night line-up, which drew millions of viewers away from NBC's "Must See TV" line-up. He hosted Saturday Night Live on February 19, 1994, where he made crude remarks about women's genitalia and personal hygiene; the monologue was completely edited out of NBC reruns and syndicated versions, and Lawrence was banned from the show for life. Martin's ratings continued to skyrocket so much that Fox became more of a contender against NBC and came closer to being considered among the top television networks.

After Martin ended its run in 1997, Lawrence found work in comedy films. He often starred as the second lead opposite actors including Eddie Murphy, Danny DeVito, and Tim Robbins. Many of his films were blockbusters at the box office, including Nothing to Lose, Life, Blue Streak, and Big Momma's House. He also starred in critical- and box-office failures, including Black Knight and National Security. Regardless, his salary steadily increased to over $10 million per film role. He continues to work in film, with such films as Big Momma's House 2, which opened at No. 1 at North American box office and grossed almost $28 million its first weekend, and Wild Hogs (2007), in which he played a bored suburbanite seeking adventure on the open road in a biker comedy alongside John Travolta, Tim Allen and William H. Macy.

In 2006, Lawrence appeared on Inside the Actors Studio, during which Lawrence briefly brought back to life some of the characters he had portrayed on Martin. He also appeared in Open Season as Boog, one of the main characters of the film. The movie also starred Ashton Kutcher, Debra Messing, and Gary Sinise.

In 2008, Lawrence starred in Disney's College Road Trip co-starring with Raven-Symoné. It was his first G-rated film, but not his first appearance in a children's film: he supplied a voice for Open Season (2006) opposite Ashton Kutcher.

At the 2009 BET Awards he appeared in a spoof movie trailer with Jamie Foxx for a fictional movie, The Skank Robbers, that featured their respective television characters Sheneneh Jenkins and Ugly Wanda. In 2010, Fox announced that it was producing a film based on the sketch, featuring Foxx, Lawrence, and actress Halle Berry.

In 2011, Lawrence reprised his role as FBI agent Malcolm Turner in Big Mommas: Like Father, Like Son, the third film in the Big Momma series.

In January 2013, it was announced that Lawrence and Kelsey Grammer were considering pairing up to star in a comedy for Lionsgate TV. Partners, paired the two actors as Chicago lawyers from "vastly different backgrounds who unexpectedly meet in court on the worst day of their lives." The show premiered August 4, 2014, but was cancelled after one season after receiving poor reviews.

In 2020, Lawrence reprised his role as Detective Marcus Burnett in the third installment of the Bad Boys franchise, Bad Boys for Life, again alongside Will Smith. The film was considered a financial success, grossing $112 million in its first four days of release.

Personal life

Relationships and family

Lawrence was engaged to actress Lark Voorhies in 1993. He married Miss Virginia USA, Patricia Southall, in 1995. Lawrence and Southall have a daughter, Jasmine Page (born January 15, 1996). They divorced in 1997. In 1997, Lawrence began a relationship with Shamicka Gibbs. They married on July 10, 2010, at Lawrence's Beverly Hills home. Actors Eddie Murphy and Denzel Washington were among the 120 wedding guests; Lawrence and Gibbs have two daughters, Iyanna Faith (born November 9, 2000) and Amara Trinity (born August 20, 2002). Lawrence filed for divorce from Gibbs on April 25, 2012, citing irreconcilable differences and asking for joint legal and physical custody of the children.

Lawrence owns a farm near Purcellville, Virginia. For several years, he owned a large mansion in the Beverly Park community in Beverly Hills, where he wedded Gibbs. However, following their divorce, the property was available for lease at $200,000 per month in June 2012. In 2013, the property was up for sale for $26.5 million, and eventually he sold it for $17.2 million to Bruce Makowsky, buying an Encino, Los Angeles property for $6.63 million.

Arrests, lawsuits and health problems

In July 1995, while on the set filming A Thin Line Between Love and Hate, Lawrence lashed out in a violent rage and was then hospitalized at Cedars-Sinai Medical Center.

On May 8, 1996, he became increasingly erratic and was arrested after he brandished a pistol in the middle of an intersection on Ventura Boulevard in Los Angeles, screaming, "They're trying to kill me!" He was again hospitalized, with his public-relations agent citing exhaustion and dehydration as the reasons for this episode.

In January 1997, Lawrence's Martin co-star Tisha Campbell-Martin filed a lawsuit against him, alleging sexual harassment and abuse both on and off set. By April 1997, Campbell had settled the lawsuit, and returned to appear in the last two episodes of the series.

In March 1997, Lawrence was arrested after punching a man in a Hollywood nightclub.

During August 1999, Lawrence slipped into a three-day coma after collapsing from heat exhaustion while jogging in 100 °F (38 °C) heat in preparation for Big Momma's House while wearing heavy clothing and a "plastic suit." He recovered in the hospital after nearly dying due to a body temperature of 107 °F (42 °C), his breathing assisted by a ventilator.

Filmography

FilmTelevision

Discography

Awards and nominations

Blockbuster Entertainment Award

NAACP Image Award

Kids' Choice Award

MTV Movie Award

ShoWest – Male Star of Tomorrow (1995)

Teen Choice Award – nominated for Wipeout Scene of the Summer (2000) for the movie Big Momma's House

BET Comedy Award – won Icon Comedy Award (2005)

nominated with Eddie Murphy for Favorite Comedy Team (2000) for the movie Life

nominated for Favorite Actor (2001) for the movie Big Momma's House

won Outstanding Lead Actor in a Comedy Series (1995) for the series Martin

won Outstanding Lead Actor in a Comedy Series (1996) for the series Martin

nominated for Outstanding Lead Actor in a Comedy Series (1997) for the series Martin

nominated for Favorite Television Actor (1995) for the series Martin

nominated for Favorite Television Actor (1996) for the series Martin

nominated for Favorite Movie Actor (2001) for the movie Big Momma's House

nominated with Will Smith for Best On-Screen Duo (1996) for the movie Bad Boys

nominated for the movie Big Momma's House

nominated with Will Smith for Best On-Screen Team (2003) for the movie Bad Boys II

[commerciallawyer]

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[thedeaditeslayer]

Bruce Campbell Calls Hosting ‘Ripley’s Believe It Or Not’ A ‘No-Brainer,’ Pans Hollywood’s Lack Of Originality.

This interview includes a hint of more “Evil Dead” but for what we would like you to consider is to take it with a grain of salt. The interview covers various topics but mostly Ripley’s Believe it or Not.

Over the course of his storied career, actor Bruce Campbell has brought to life many memorable, colorful characters. As the definitive character-actor-trapped-in-a-leading-man’s-body, he’s portrayed Elvis in the campy Bubba Ho-Tep, Ronald Reagan in Fargo, Sam Axe in Burn Notice, and is, perhaps, best known as the Deadite-killing Ash Williams in Sam Raimi’s Evil Dead franchise.

As the Travel Channel prepares to relaunch Ripley’s Believe It Or Not!, Campbell finds himself in the role of host, introducing us to a fresh round of the spectacular and amazing. Over the course of 10 episodes, he’ll invite viewers on a journey to explore the lives of people capable of incredible things.

“Shooting this iconic series in the Ripley’s warehouse was actually unbelievable,” said Campbell. “I was blown away by the treasures that unveil a fascinating time capsule into the past and present. Fans are not going to be disappointed when they see the scope of wonderful and weird stories we reveal every week.”

Bruce Campbell was groovy enough to get on the phone with me and talk about his new gig with the Ripley’s relaunch, the fates of some of his iconic characters, and the lack of originality in Hollywood — all with the grace to forgive my fanboying.

Kevin Tall: Hey Bruce! I appreciate you taking some time to talk to me.

Bruce Campbell: I happened to be in the neighborhood so I thought I’d step in.

KT: I usually make an effort to at least pretend to be professional but I’m not sure I’m going to pull it off today.

BC: That’s exactly right.

KT: I do want to say it’s an honor to talk to you and I promise I’ll do my best to keep my inner fanboy in check.

BC: Very good.

KT: Can I call you ‘El Jefe’?

BC: Whatever you’d like, sir.

KT: Groovy. Alright. So, coming soon to a cable network near you, you’re hosting the newest incarnation of ‘Ripley’s Believe It Or Not!’ on the Travel Channel. How did you come to be attached to the project?

BC: Things come across the old desk, you know, and you evaluate them. And this was a no-brainer. I still have the Ripley’s book, the red cloth-covered book with those strange illustrations of people doing crazy stuff inside. As a kid, I had it on a shelf so I’m like, ‘Yeah I know Ripley’s.’

And I haven’t done a show like this in a while; I’ve hosted stuff. Back in Detroit, I got my Screen Actor’s Guild card doing training films for industrials, for Chrysler, and some of the other companies. Now I’m back doing it again, so here I am… I guess, showing people, in this case, it’s not about the cross-section of a Chrysler car seat but people doing extraordinary things.

KT: Ah, cool. Part of me thought this revival of Ripley’s could have just been a thinly-veiled attempt at revenge on Dean Cain for stealing the television role of Superman out from under your chin in the 90s.

BC: No, no revenge necessary on Mr. Cain. I see him at conventions all the time.

KT: While I do feel you have the superior jawline, I was a huge fan of ‘The Adventures of Brisco County Jr.’ There have been several Supermen but there was only one Brisco County. Er, two, if you count his dad.

BC: Anyone can play Superman.

KT: Would you ever consider reprising the role of Brisco?

BC: Brisco would be fine. You could do Brisco Rides Again. He started as a lawyer and then someone has to get killed. I’ll put the spurs back on, sure.

KT: So I got to see a screener of the first episode of Ripley’s. I have an idea if you’re open to suggestion.

BC: OK.

KT: Do a follow up in which you balance on a slack line while swallowing a sword and someone throws playing cards at you from a ladder balanced on someone else’s chin.

BC: [Laughs] I think you’ve got it. I think you should work for the Travel Channel.

KT: So your parts were shot on location at the Ripley’s warehouse in Orlando.

BC: Yes, yes, we shot at THE warehouse.

KT: Did you get to see anything amazing or… unbelievable?

BC: You know, the warehouse, where would you start? It is the closest we have to one of those Indiana Jones-type warehouses. It’s probably the most richly appointed warehouses in the world, I would say. They’ve collected for a hundred years. I can’t think of anyone else, maybe the Smithsonian, but Ripley’s is probably a close second. Ripley’s might have more stuff than the Smithsonian, that would be a fun one to test.

KT: Which do you think would have more body parts?

BC: Well, Ripley’s would have more body parts.

KT: OK, but the Smithsonian does have John Dillinger’s, well, you know.

BC: So the rumor goes.

KT: As they say. So, speaking of ‘Believe It or Not!,’ I still can’t believe you retired iconic character, Ash Williams. Are you sticking to that? No way I can talk you into reconsidering?

BC: Yeah, I’m sticking to that; it gets easier every year.

KT: [Laughs] Fair enough.

BC: I’m still doing video games, I’m doing voices for Ash. I’m just not going to grovel in the blood anymore.

KT: I think that’s fair. It’s not retiring the character, just a retirement plan.

BC: I’m retiring from certain types of roles, ones that require looking at tennis balls on sticks.

KT: I’m excited to see you’ve got the paperback for ‘Hail to the Chin’ coming out; I was a big fan of ‘If Chins Could Kill.’ Although when you were teasing that on social media, I think a couple of fans interpreted that as a little bit of foreshadowing of a new gig for Ash.

BC: That’s fine. Fans are always going to do that. Everyone’s a genius, everyone’s got opinions and the internet fans the flames. No, it’s all good. They’re going to see different versions, they’re going to be seeing more ‘Evil Dead,’ too. We’re not done with the ‘Evil Dead’ saga, more stories to tell.

KT: Do you think Fede Alvarez might return?

BC: I don’t know, Fede’s a big Hollywood director now. I don’t know if Fede needs this. We’ll have to see.

KT: Everyone needs a passion project.

BC: Fede had it. Fede came and pitched his version of ‘Evil Dead.’

KT: Any juicy tidbits you want to tease from the ‘Requiem For Ash’ Edition?

BC: It’s a fuller explanation of the birth, life, and death of ‘Ash vs. Evil Dead’ and then the ultimate retirement of that character. It’s a little more of an essay approach, it’s a little more esoteric.

KT: Psychologically, what is it about Ash Williams that inspires such devotion from fans?

BC: Because he is the fans, the fans are him. Ash has no skills, Ash doesn’t come from another planet, he comes from Michigan. He’s the guy you want in the foxhole, but he probably got low SAT scores. So people watching him, I think they root for him because they’re like, ‘Damn, that’s like my neighbor. That’s like if my neighbor decided to save the world from evil.’ Kind of like that. That’s how I look at it and that’s how we played it. That’s why it was worth bringing the guy back 48 years later to try it again… He’s the ultimate anti-hero, anti in that he can’t even get out of bed, you know?

KT: He comes across as an oafish, ill-mannered lout as well.

BC: Of course, but you know what? He was written in an ancient book, so there’s more to him than just the trailer park guy. That’s what was fun exploring.

KT: The prophecy of the ultimate average guy.

BC: Exactly.

KT: Got it. You’ve had a number of memorable, colorful roles over the years, from Ash to Brisco, Autolycus to Sam Axe, even a fictionalized version of yourself in ‘My Name Is Bruce’ (shout out to Guan Di, the patron saint of bean curd). Is there one, in particular, you’ve enjoyed playing the most, above all others?

BC: Elvis was pretty fun. I think most American males would have enjoyed playing that part. Playing President Reagan on ‘Fargo’ was fun, I used to imitate him with my buddy, John Cameron, who produced that show. In the ’80s we were both subjected to endless Reagan on television. That was fun.

KT: Have you been in that situation professionally, where you’ve gotten kind of a lousy role on a great show?

BC: Well, I’m better at saying no to stuff now, so hopefully I won’t find myself in that situation nearly as much.

KT: Circling back to Elvis, there was talk of a ‘Bubba Ho-Tep’ follow-up years ago. What are the chances of that coming together?

BC: Zero. I’ve retired that character as well. I’ve notified Don Coscarelli and Joe Lansdale. You know, it’s Don Coscarelli’s project, he’s more than welcome to forge ahead. We couldn’t crack the script the way I saw it and we were going to come to loggerheads. I didn’t want to do that, so I backed out because I know now if the script isn’t where it needs to be, the movie will not get there either.

KT: Marlon Brando advised a young(er) Johnny Depp to play Hamlet before he got too old for the role. Are there any of those iconic types of roles you’d like to tackle?

BC: Of iconic people?

KT: Yeah. Just those classic roles from that sort of timeless production, like ‘Hamlet.’

BC: No. No, I don’t, because I like original stuff. I mean, if we’re going to remake something, let’s remake our own stuff. That’s the case with ‘Bubba Ho-Tep.’ It won’t be as good and people will only remember that you blew it on the second try.

KT: So the legacy of the project would be one of failure.

BC: You have to have original stuff out there to make up for the movies that have a seven, eight, and nine after them.

KT: The old maxim is that there is such a thing as too much of a good thing.

BC: Yes, except ‘Ripley’s Believe It or Not!’ There’s never too much of that.

KT: [Laughs] Well played, fair enough. Fan question: Who would win in a left-handed arm wrestling match, Ash Williams or Sam Axe?

BC: I don’t do those questions, because they’re hypothetical and impossible to answer.

KT: Can you hook me up with a six-pack of Ash’s favorite beer, Shemp’s?

BC: No, because it’s fake.

KT: Well, Bruce, I came here to ask questions and kick ass, and I’m all out of questions.

BC: Let’s go kick ass!

KT: Again, thanks so much for taking some time to talk with me and putting up with my silliness and unending admiration.

BC: Yeah, my friend. All good. Thank you, sir. Have a good day.

KT: Thanks, Bruce!

BC: Cheers.

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND September 20, 2019  - VILLAINS, BLOODLINE, DOWNTON ABBEY, AD ASTRA, RAMBO: LAST BLOOD

It’s hard to believe that September is almost over, and we’re just sailing through the September festival season with the New York Film Festival starting (for real) next week.  There are three wide releases, but I will only have seen one of them before writing this, so instead, I’ll talk about a couple genre movies opening Friday, both of which played at Lincoln Center’s “Scary Movies XII” last month.

I remember writing quite extensively about VILLAINS (Alter/Gunpowder and Sky) when I was over at the Tracking Board, mainly about the casting of Bill Skarsgard from It, Maika Monroe from It Follows, as well as Jeffrey Donovan and Kyra Sedgwick. It’s the new movie from Dan Berk and Robert Olsen, who directed the horror sequel The Stakelander and have written a pretty amazing comedy-thriller twist on the home invasion movie. Skarsgard and Monroe play a young couple who hide out in a seemingly abandoned house after robbing a store. They soon learn that not only is it not abandoned, but there is a young girl chained in the basement. The owners of the home, played by Kyra Sedgwick and Jeffrey Donovan, then return and things go sideways for the young couple as they find that maybe their petty crimes make them the good guys in this scenario.  Villains is getting a fairly hearty release into roughly 100 theaters across the country, so check your listings to see if/where it will be playing near you. (It mainly seems to be playing in Regal theaters across the country.)

Another interesting genre film opening Friday is Henry Jacobson’s psychological thriller BLOODLINE (Momentum Pictures), starring Seann William Scott as Evan, a high school social worker with a secret – he’s also a serial killer who tries to help his patients by ridding them of their issues. Evan is also experiencing a new baby with his wife, which might keep him from his killing habits, except that his mother (Dale Dickey) has shown up to help them, and she was the one who taught him his ways. This is a really dark and gory film that I quite enjoyed in a similar way as some of my favorite serial killer thrillers, from Hitchcock’s Psychoto Henry, Portrait of a Serial Killer and others. It honestly can’t be a better time for this with all the true crime television we’re getting, and I was pretty blown away by Scott’s performance in this. Bloodlineisplaying at the IFC Center for Friday and Saturday late night screenings and probably will be available On Demand as well.

You can read my interview with Seann William Scott and the directors of VILLAINS over at The Beat, the latter posting Friday.

The one wide release I have seen this weekend is Focus Features’ DOWNTOWN ABBEY, a continuation of the PBS series with an absolutely amazing British cast that includes Dame Maggie Smith, Penelope Wilton and so many more that I won’t name all of them. I feel that I’m not the best person to properly review the movie since I haven’t seen a second of the series, but I generally liked what I saw and might give it a look if I can find a good streaming source on which to binge it. I actually liked the movie enough to recommend it without having any previous knowledge of the series.

Probably my biggest disappointment of this week is that I didn’t have a chance to see James Gray’s AD ASTRA (20thCentury Fox), starring Brad Pitt, before Thursday night, because I wasn’t able to get to the press screening. It’s been one of my more anticipated movies of the year, mainly because I generally love outer space movies, but I also have been interested in seeing what Gray and Pitt do with the material, especially with such a great supporting cast.

Another movie that I only got to see just before this column posts is Sylvester Stallone’s RAMBO: LAST BLOOD (Lionsgate), which I reviewed over at The Beat. I had very few expectations for the movie, as I’ve never been a huge Rambo fan. I’m not sure why, but I guess I just never got into the Rah! Rah! USA! Stuff that permeated the United States in the ‘80s, and I was more into music than movies at the time. Reading my review, it’s obvious that Stallone’s latest attempt to revive a franchise didn’t do much for me.

You can read what I think of the above’s box office prospects over at The Beat, as well.

LIMITED RELEASES

I’m not quite sure why there are so many limited releases this weekend –I count almost 30 (!!!!) over on Rotten Tomatoes– but I’ll see what I can get to this week since I’m already a little behind. If you missed, Rob Zombie’s 3 FROM HELL on Monday and Tuesday night and more importantly, missed my scathing review of it over at The Beat, well, then you’ve missed it since this column is posting after it played its last night before its blu-ray release next month. Sorry!

A fantastic documentary opening at the Metrograph this week is Jacqueline Olive’s directorial debut ALWAYS IN SEASON (Multitude Films), a stirring film about the history of lynching, circling around the death of 17-year-old Lennon Lacy from Bladenboro, North Carolina, which is ruled as a suicide but his mother Claudia is convince that her son was lynched. Olive’s powerful film provides a background for how lynching became so prevalent in the early part of the 20thCentury, including an eerie annual reenactment by the town of Monroe, Georgia that wants to make sure that the county’s atrocities aren’t forgiven or forgotten.  Narrated by Danny Glover, Olive’s directorial debut is powerful and moving and a film that must not be missed – maybe it’s no surprise that it won a Special Jury prize at Sundance Film Festival for “Moral Urgency” earlier this year. I was pretty shaken up when I saw it at this year’s Oxford Film Festival.

The Metrograph is also screening two National Geographic shorts, Alexander A. Mora’s The Night Crawlers and Orlando von Einsiedel’sLost and Found, over the next week. The Night Crawlers looks at a group of Filipino journalists known as the “Manila Nightcrawlers” who seek to expose the truth about President Duterte’s war on drugs and the number of people who lost their lives over it. Lost and Foundi s a new doc short from the director of the Netflix doc The White Helmets which looks at the Myanmar’s ethnic violence against the Rohingya people through the eyes of a man in a refugee camp seeking to reunite children with parents.

Japanese animation house Studio TRIGGER’s first feature film PROMARE (GKIDS) will get a limited release on Friday, following Fathom Events showings on Tuesday (already passed) and Thursday (tonight). It will then be opening in New York at the Metrograph and AMC Empire on Friday for a one-week run. It’s an apocalyptic sci-fi thriller set in a world thirty years after a race of flame-wielding mutant beings called the Burnish set half the world on fire an the battle between the anti-Burnish Burning Rescue and Lio Fotia, leader of the aggressive new “Mad Burnish” mutants.

Paolo Sorrentino, director of the Oscar-winning The Great Beauty and its follow-up Youth, returns with LORO (Sundance Selects), about a young hustler named Sergio (Riccardo Scamarcio) managing an escort service who sets his sights on the egotistical billionaire Italian ex-Prime Minister Silvio Berlusconi (Tony Servillo) who is trying to bribe his way back into power. It will open at the IFC Center Friday.

A couple other docs opening this weekend, the first two opening at New York’s Film Forum…

Now playing is Hassan Fazili’s Midnight Traveler (Oscilloscope) about how the filmmaker received death threats from the Taliban in 2015 for running Kabul, Afghanistan’s Art Café, a progressive meeting place, so he, his wife and two young daughters must travel 3,500 miles over 3 years across four countries to get to Hungary, a journey documented via mobile phone cameras. It will open in L.A. on October 4.

Then on Friday, there’s Matt Tyrnauer’s new film WHERE’S MY ROY COHN? (Sony Pictures Classics) looks at the lawyer and power broker who was part of Joe McCarthy’s anti-Communist activities and who was pivotal in molding a young Queens developer named Donald Trump. I wanted to like this movie more because Roy Cohn is such an interesting human being in such a despicable way, but this doc really didn’t do much for me.

Opening in New York (Cinema Village) and L.A. (Laemmle Glendale) is DIEGO MARADONA (HBO Sports), the new doc from Asif Kapadia (Amy, Senna), which will show on HBO on October 1. If you don’t know international football (or soccer), the Argentine Maradona is one of the most famous footballers of all time, a bit of a legend since signing to Naples in 1984 for a record-setting fee. I haven’t watched this yet but hope to soon.

Opening at New York’s IFC Center Friday is Max Powers’ Don’t Be Nice (Juno Films), focusing on the Bowery Slam Poetry Team as they head to the national championships, and there will be QnAs almost every night in its week-long run, and then it will open in L.A. on September 27.

Completely unrelated but also at the IFC Center is a full-week run of National Theatre Live: Fleabag, screening a pre-recorded performance of Phoebe Waller-Bridge’s one-woman show that inspired her hit Emmy-nominated show from the Soho Playhousein London’s West End. Heck, I might try to get to one of these since it won’t be on television or any other format for at least a year.

After opening for “one night only” on Tuesday, Louie (The Cove) Psihoyos’ new movie The Game Changers will get a release on New York this Friday and L.A. the 27th. Exec. produced by James Cameron, Arnold Schwarzenegger and Jackie Chan, it explores the rise of plant-based eating in professional sports along with Special Forces trainer James Wilks and features segments on Schwarzenegger, Formula One racer Lewis Hamilton, tennis player Novak Djokovic and NBA star Chris Paul.

Demi Moore, Ed Helms, Karan Soni (from the “Deadpool” movies) and Jessica Williams star in the horror-comedy Corporate Animals (Screen Media), the new comedy from Patrick Brice (Creep, The Overnight) about a corporate team-building adventure that turns to cannibalism when an office group find themselves trapped in a cave system. The movie has a great cast but the strange concept and weak screenplay really keeps the movie from delivering.

Other movies out this weekend include James Franco’s Zeroville (MyCinema), co-starring Megan Fox and Seth Rogen; Nicolas Cage’s new movie Running with the Devil (Quiver DIstribution), a drug thriller co-starring Laurence Fishburne, Barry Pepper, Leslie Bibb and more; and the award-winning Chinese drama Send Me to the Clouds (Cheng Cheng Films), opening in L.A., NY, Toronto and Vancouver.

STREAMING AND CABLE

Maybe the movie I’m most excited for this week is Zak Galifianakis’ BETWEEN TWO FERNS: THE MOVIE (Netflix), which I’m sure is going to be silly, maybe even stupid, but I’m still amused by his style of humor. I also haven’t seen the new Netflix doc Inside Bill’s Brain: Decoding Bill Gates, and I also no absolutely nothing about the movie other than what’s in the title.

REPERTORY

METROGRAPH (NYC):

On Tuesday, the Metrograph began a series called “Bleecker Street: The First Five Years” running through Thursday withsingle screenings of Debra Granik’s Leave No Trace, Sebastian Lelio’s Disobediance and Brett Haley’s I’ll See You in My Dreams with talent doing QnAs. On the weekend, the theater has special screenings of the dance film The Red Shoes   (1948) on Saturday with an introduction by Jillian McManemin – I honestly have no idea who that is. On Saturday, the Academy is back with its monthly series, this month showing Milos Forman’s 1979 musical Hair with actor Treat Williams and Annie Golden in person. On Sunday, there’s a similarly special screening of Martin Scorsese’s 1990 crime classic Goodfellas with producer Irwin Winkler and screenwriter Nick Pileggi -- $35 tickets, a little pricey for me. You also have just two more days (today and tomorrow) to see Satoshi Kon’s Millennium Actress on the big screen.

This weekend’s Welcome To Metrograph: Redux offering is Jean Vigo’s 1934 film L’Atalante,  Late Nites at Metrograph is showing Fantastic Planet(again) and the Japanese horror film Hausu (1977). This weekend’s Playtime: Family Matinees is Alfonso Cuaron’s fantasy A Little Princess (1995)

ALAMO DRAFTHOUSE BROOKLYN (NYC)

The Alamo is also celebrating “Arthouse Theater Day” on Wednesday with Robert Downey Sr.’s Putney Swope. They’re also doing a “Rambo Marathon” on Sunday to tie-in with Stallone’s latest Rambo movie -- $35 for all five Rambo movies. Now THAT is a great deal, and there are a few tickets left. On Saturday afternoon, the Alamo is showing Almodovar’s 2000 classic All About My Mother to celebrate the Spanish filmmaker before the release of his newest film Pain and Glory.  Monday’s “Out of Tune” is Lars von Trier’s 2000 film Dancer in the Dark, starring Bjork. Next week’s “Terror Tuesday” is the amazing Vera Farmiga thriller Orphan from 2009, and the Alamo is also playing Almodovar’s Women on the Verge of a Nervous Breakdown from 1988. Next week’s “Weird Wednesday” is 1995’s Tank Girl, starring Lori Petty.

AERO  (LA):

Wednesday is (or rather, was) a screening of the 1969 film Putney Swope as part of Art House Theater Day 2019, Thursday is a screening of the 1984 adaptation of Arthur C. Clarke’s 2010: The Year We Made Contact. In honor of Downton Abbey (I guess?), the Aero is beginning a series called “Upstairs, Downstairs,” beginning Friday with a 70mm print of 1993’s The Remains of the Day, starring Anthony Hopkins an Emma Thompson, then Saturday is a double feature of Hitchcock’s Rebecca  (1940) and Carol Reed’s The Fallen Idol  (1948), and then on Sunday is a double feature of Ruggles of Red Cap (1935) and By Candlelight  (1933), as well as a separate free member screening of Downton Abbey with some of the cast in person.

FILM FORUM (NYC):

Robert Altman’s classic 1975 film Nashville will screen as a new 4k restoration for the next week with screenwriter Joan Tewkesbury appearing on Saturday night. This weekend’s “Film Forum Jr.” is Howard Hawk’s 1940 movie His Girl Friday, starring Cary Grant.  Joseph Losey’s Holocaust drama Mr. Klein ends on Thursday.

QUAD CINEMA (NYC):

The Quad is back with another great series called “Laws of Desire: The Films of Antonio Banderas” beginning Wednesday, showing so many films starring the Spanish actor who is likely to get nominated for his first Oscar for Almodovar’s Pain and Glory.  It will even show Steven Soderbergh’s upcoming The Laundromat, which premieres on Netflix next week. Instead of going through all 13 of the movies, click on the link above and get ready to be Banderasized!

IFC CENTER (NYC)

Weekend Classics: Staff Picks Summer 2019 is Tony Scott’s vampire flick The Hunger (1983), chosen by “Todd,” Waverly Midnights: Staff Picks Summer 2019 is the anime classic Akira, chosen by “Katie,” and Late Night Favorites: Summer 2019 is Satoshi Kon’s Paprika(again?)

MUSEUM OF THE MOVING IMAGE (NYC):

This weekend begins a “See It Big! Ghost Stories” series with the Japanese horror Ugetsu from 1953, then Saturday is The Phantom Carriage (1921) – this is with live piano accompaniment! --The Ghost and Mrs. Muir(1947), and then Sunday they’re screening Olivier Assayas’ more recent Personal Shopper (2006) with Kristen Stewart.

FILM AT LINCOLN CENTER (NYC):

Although Lincoln Center is preparing for next week’s New York Film Festival, this weekend it’s holding special screenings of two Gershwin films, Otto Preminger’s 1959 musical Porgy and Bess on Thursday (with panel) and then Vincente Minelli’s An American in Paris on Friday.

BAM CINEMATEK (NYC):

“The Purpose and Passion: the Cinema of John Singleton” ends on Friday, but there are screenings of his 2000 Shaft movie, starring Samuel L. Jackson, and another screening of Boyz n the Hood before then.

EGYPTIAN THEATRE (LA):

Thursday night is a screening of David Lean’s The Bridge on the River Kwai  (1957), but the rest of the weekend is the “Guadalajara Film Festival.”

LANDMARK THEATRES NUART  (LA):

Friday night’s midnight offering is John Waters’ 2004 movie A Dirty Shame, starring Tracey Ullman, Johnny Knoxville and Selma Blair.

THE NEW BEVERLY (L.A.):

The New Bev continues its “time out” at the bottom of this section as long as Tarantino uses his repertory theater to show Once Upon a Time … in Hollywood, and currently it’s booked through the end of September. Since this week’s column is late, you already missed the 1952 film The Narrow Marginas the Weds. matinee, the New Bev will also show the Hanna/Barbera animated feature Hey There, It’s Yogi Bear (1964) as this weekend’s “Kiddee Matinee.” Tarantino’s Jackie Brown is the Saturday night midnight movie, and then on Monday, the theater will show David Lynch’s Mulholland Drive  (2000) in two matinees (the 2pm is already sold out).

A quieter week with only one wide release, the Universal/DreamWorks animation fantasy-adventure Abominable.