#but then again i got to see some jon hamm which is always a treat

[invisibleicewands]

Whether it’s playing heightened versions of themselves on their hit series Staged or preventing the apocalypse as everyone’s favorite ethereal couple, Michael Sheen and David Tennant are a duo for the ages. With a combined roster that includes just about every major sci-fi and fantasy franchise from Doctor Who to Twilight behind them, the two are beloved by fans the world over — all of whom are eager to see them return to screens when the second season of Good Omens hits Prime Video this month.

The two return in full form as Aziraphale and Crowley in season two of the Neil Gaiman-penned series, but now that they’ve prevented the apocalypse, the series is going in an all-new direction: beyond the constraints of the book, and into never-before-seen territory. What that means for the angel and demon is anyone’s guess, but it’s up to them to solve yet another heavenly mystery this time around: why the archangel Gabriel (Jon Hamm) has lost his memory. Not an easy task, really, when Heaven and Hell are out to get the both of them, but the world’s at stake, leading the two into another adventure through time that explores friendship, love, and what it means to have faith.

Collider was excited to sit down with Tennant and Sheen prior to the ongoing SAG-AFTRA strike to discuss the new series and what it’s like going beyond the ending of the novel. During this conversation, we also discussed hopping through time with Aziraphale and Crowley, their favorite romantic comedies, and who they think is the better driver when it comes to Crowley’s beloved Bentley.

COLLIDER: I love this season, and one of my favorite parts of this season was that we get to see a little bit more of Aziraphale and Crowley through time, in addition to the main story. Did you guys have a favorite time period that you got to play in?

MICHAEL SHEEN: I love the 1940s stuff. I do really like that.

DAVID TENNANT: Yes, that is great, and getting to play with the zombies again. That was fun.

SHEEN: That was great, and, you know, I get to do some more magic.

TENNANT: Yeah, that was nice fun! That was nice fun.

SHEEN: That was my favorite.

I can imagine!

TENNANT: Yeah, it was great. I love the look of the 1860s one.

SHEEN: Yeah.

TENNANT: That's great. I loved that coat.

SHEEN: Yeah, it was very cold when we were filming that stuff.

TENNANT: Very.

SHEEN: So we got to have nice, warm costumes, which is always a plus.

TENNANT: But no, I mean, it's a sort of a never-ending joy to shoot, really, because you get all that variety within it as well. It's not just showing up in Aziraphale’s bookshop every day. Delightful, though, that! That’s beautiful, too.

SHEEN: Well, because this time the set, the SoHo bookshop set, was all built in the studio. So, on the first series, we only had a bit of it, and it was outdoors in some freezing cold airstrip somewhere that was miserable.

TENNANT: And even inside the bookshop would be blowing a gale, wouldn't it?

SHEEN: Yeah, but this time we were in a nice studio, and then there was this whole huge set with so much detail. All the shops are completely populated with all kinds of amazing things, so that was endlessly fascinating to be able to wander around there and look at all that. So, I loved all that. It's a very fun, very enjoyable show to work on, I’d say. We feel quite guilty about how enjoyable it is.

TENNANT: Yeah.

This season, as well, Aziraphale gets to drive the Bentley as well as Crowley. So, who do you think is the better driver?

TENNANT: I mean, don’t even.

SHEEN: Well, let's leave that up to the Bentley. Who does the Bentley like the most?

TENNANT: It’s not that at all.

SHEEN: And I think the evidence in the show is that it likes me the most.

TENNANT: But you've got to treat it in a certain way. You can't indulge it.

SHEEN: Treat you mean and keep ya keen!

TENNANT: Exactly. Well, that’s Crowley’s way, anyway. [laughs]

SHEEN: You’re dangerously close to that!

TENNANT: I’m not saying I condone any of that. But yes, it's true that the Bentley gets away from him, briefly, and that's very difficult for Crowley.

Additionally, you two, Aziraphale and Crowley, sort of worked together to, for lack of a better word, Four Weddings and a Funeral Maggie and Nina, the two fellow shopkeepers. So, I was curious, do you guys have a favorite romantic comedy?

TENNANT: Good question!

SHEEN: Ooh, When Harry Met Sally is a classic, isn't it? I think that's a modern-day classic.

TENNANT: I want to say It’s a Wonderful Life, but that doesn’t really count, does it? That’s not really a rom-com.

SHEEN: Something like Bringing Up Baby.

TENNANT: Yeah, Roman Holiday.

SHEEN: I grew up watching those Doris Day ones. That's always fun. And the Barbara Streisand and Ryan O’Neal, people like that, when they did stuff together. What’s Up, Doc?

TENNANT: What's Up, Doc? I’m gonna go with What’s Up, Doc? Well maybe that’s more comedy than rom-com? That’s more com than rom. There’s a bit of rom in there, though, isn’t it?

SHEEN: [laughs] There’s definitely rom.

TENNANT: And an amazing car chase!

[queenvic]

top gun maverick might be one of few movies where i’m not mad at the fact that they basically remade the original movie but with a couple twists

[bigyack-com]

Richard Jewell movie review: Clint Eastwood, at 89, is still directing outright gems and raging against the ‘p*ssy generation’ - hollywood

Richard Jewell Director - Clint Eastwood Cast - Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, Olivia Wilde Having grown up in New Delhi, I’ve developed an intolerance for decency. There is an impatience to this city, an ingrained scepticism that has unfortunately rubbed off on the people who live in it. My gut reaction to acts of kindness is to be suspicious, to the point that whenever I experience it, I suspect good people of having ulterior motives. Director Clint Eastwood’s new film Richard Jewell, titled as unassumingly as its subject, suggests that this growing cynicism isn’t restricted to certain cities, but is more of a generational thing — and we all know the disdain Eastwood has for millennials. He likes to call us the ‘p*ssy generation’.  Watch the Richard Jewell trailer here Set five years before 9/11 sent America plummeting into a pit of paranoia, Richard Jewell tells the true story of a security guard who saved dozens of lives after he spotted a suspicious backpack containing a pipe bomb, during the 1996 Atlanta Olympics. For his bravery, Richard Jewell was hailed as a national hero. But even before the news cycle could organically omit him from the narrative, Richard was once again put into the spotlight, this time as the prime suspect, demonised by the same people who idolised him days ago. Like several of Eastwood’s late-period films such as Sully and American Sniper, Richard Jewell is also about integrity — a virtue that the great filmmaker is convinced has disappeared from the modern world. One could argue that Eastwood’s movies, at least those that he has directed in the last decade, are a shameless romanticisation of the America that he grew up in. His films are about everyday heroes, men — and they’re always men — who do the right thing because it is the right thing to do. And then came the p*ssy generation, a group of people, Eastwood says, that simply doesn’t want to work, and treats those that do with hostility and disrespect.

This image released by Warner Bros. Pictures shows Jon Hamm, left, and Paul Walter Hauser in a scene from Richard Jewell. ( AP ) An inquiry was initiated against Captain Chesley (Sully) Sullenberger, who saved hundreds of passengers after heroically landing his spluttering plane on the Hudson River. In an ideal world, Eastwood said in an interview, “Sully should be running for president.” In American Sniper, the Navy SEAL Chris Kyle was exploited by his country’s absurd foreign policies, repeatedly sent back to fight a war with no end in sight, ultimately rendering him unfit to return to civilian life. In The Mule, an octogenarian veteran of the Korean War was confronted by bankruptcy because of greedy politicians and corporations, forced into a life of crime despite having dedicated decades to honest work. Each of these three men were real people. None of them, Eastwood appears to be yelling through his films, got their due. In this regard, Richard Jewell is very much up Eastwood’s alley, and the filmmaker through the story channels some of his own anxieties about what the world has become. It is an indictment of the fake news media that can destroy a man’s life in seconds by publishing a poorly researched story; of the liberals who see men like Richard Jewell and decide that he fits the profile of a lone bomber; and of the intellectual elite who jump on the bandwagon to appear ‘woke’. As always, Eastwood’s plain directorial style allows the writing and the performances to shine, and fortunately on this occasion, both are exemplary. In typical fashion, Eastwood doesn’t rely on a musical score as a crutch — imagine asking Karan Johar to not fall into the safety net of the Dharma tune — but instead shows faith in the cast and crew that he has assembled to communicate a clear vision. As the titular character, newcomer Paul Walter Hauser is phenomenal. It’s difficult to effectively portray righteousness on screen without appearing either deluded or grating. Hauser does it with an understated efficiency that is emblematic of Eastwood’s filmmaking. Richard is an easy man to get behind because we understand where he comes from, and we believe him when he says he respects authority, which makes his slow loss-of-innocence all the more tragic.

This image released by Warner Bros. Pictures shows Sam Rockwell, from left, Kathy Bates and Paul Walter Hauser in a scene from Richard Jewell. ( AP ) Eastwood surrounds Hauser with seasoned supporting players such as Sam Rockwell and Kathy Bates as Richard’s lawyer and mother, respectively, and Olivia Wilde and Jon Hamm, both of whom play characters that, on paper, could have very easily been interpreted as villainous. But in the film, they’re shown as complicated individuals who make mistakes, not necessarily because they were born evil, but because on certain occasions, they chose to cut corners. We’re suspicious of decency because the very idea has been systematically been beaten out of us. In the film’s deeply moving final moments, Richard has a moment of clarity. After being relentlessly harassed and publicly shamed for close to a 100 days, he asks the same FBI agents whom he once idolised, “You think the next time some security guard sees a suspicious package that he or she’s going to call it in? I doubt it. They’re going to look at it and think, ‘I don’t want to be another Richard Jewell.’” And so they’re going turn a blind eye and look the other way. A couple of dozen of people will die, but they, the ‘p*ssy generation’, will not be inconvenienced. The world will go on. Follow @htshowbiz for more The author tweets @RohanNaahar Read the full article