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tatooineknights · 2 days
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Behind the Scenes - Mark Hamill as Luke Skywalker, Star Wars
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shesnake · 18 hours
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“Monkey Man” was shot and completed in 2021, and Netflix soon after acquired the rights for around $30 million, but it’s been on the shelf for three years and they‘ve all of a sudden decided to get rid of it? What gives? It turns out, according to an in-the-know source, that it was the portrayal of a fictional right-wing Hindu Nationalist character in the film that worried Netflix about their future dealings in India. And even though they had paid more than twice the production cost, they decided to give the film back to the producers, which is what caused the long delay. Universal and Peele eventually took a particular liking to the film, so much so that they suggested possible editing changes and delayed the release until what they thought would be the right date. It’s as simple as that. In the end, it was all about politics and optics for the streaming giant, especially since India has become the current top growth market for Netflix. Co-Founder Reed Hastings has mentioned that a majority of the service's next 100 million subscribers would most likely come from India.
Universal/Jordan Peele's "suggested possible editing changes" in question:
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zanephillips · 2 days
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CALLUM BLUE Dartmoor Killing (2015)
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lucifersmorgue · 2 days
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purpledit · 2 days
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MEGAN FOX as JENNIFER CHECK JENNIFER’S BODY (2009) dir. Karyn Kusama
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lizardsfromspace · 2 days
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First there was DeSantis & now there's activist investor Nelson Peltz trying to take over Disney's board bc he "doesn't get" why there should be movies with all-female or all-black casts. All-time pair of unbelievably worse guys making us say "well you do not, under any circumstances, gotta hand it to Disney, but,"
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filmtvtoday · 2 days
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THE BALLAD OF SONGBIRDS AND SNAKES dir. Francis Lawrence (2023)
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miwtual · 2 days
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KATHRYN NEWTON as LISA SWALLOWS LISA FRANKENSTEIN (2024) dir. Zelda Williams
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dailycelebs · 3 days
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Good doesn’t always follow from good deeds, nor bad deeds result form bad, does it? Even the wise and good cannot see the end of all actions. Scary idea! ANEURIN BARNARD as BORIS PAVLIKOVSK in THE GOLDFINCH (2019)
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davidhudson · 3 days
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Leonard Nimoy, March 26, 1931 – February 27, 2015.
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witchrealms · 16 hours
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(x)
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Shanghai Express (1932)
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shesnake · 16 hours
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Monkey Man (2024) dir. Dev Patel
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thexfridax · 2 days
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D.E.B.S. at 20: a Queer Cult Classic
Bessie Yuill Photo: Sundance/WireImage
There is a secret film hidden within the shadowy sapphic corners of Letterboxd. Some call it escapist trash, some call it an underrated cult classic, fools call it a male fantasy. It calls itself D.E.B.S. As other early-2000s chick flicks like Charlie’s Angels and St. Trinian’s have been reevaluated and embraced for their candy-floss aesthetics and campy wit over the years, the lesbian community was quietly reclaiming its own equivalent with 2004’s D.E.B.S.
The precursor to contemporary high-concept lesbian films like Bottoms, the spy flick is filled with something that queer female moviegoers still often yearn for: fun. That includes Jordana Brewster and her era-defying eyebrows as the impeccably named supervillain Lucy Diamond, John Woo–style fight scenes that parody the action genre in the same way as Charlie’s Angels, and a cheerfully cheap aesthetic where spies run around in plaid schoolgirl skirts.
D.E.B.S. was written, directed, and edited by filmmaker Angela Robinson. While “unapologetically queer” might be an overused phrase, it does apply neatly to Robinson. The Chicago-born director’s first project was a short film called Chickula: Teenage Vampire, calling on the long history of vampiric queer women that began with 1872’s Carmilla.
Her love of playing with genre led her to later put a lesbian spin on the movie musical by writing the underappreciated Girltrash: All Night Long and exploring polyamory in a period biopic about the creators of Wonder Woman, Professor Marston and the Wonder Women. On the small screen, she also burnished her lesbian credentials by working on several episodes of The L Word.
When D.E.B.S. started life as a short film, Robinson described it as “a story about a trio of superspies who are all chicks. I love all the comic-book characters: Charlie’s Angels, Batman, Josie & the Pussycats … But I always wanted them to be gay and they never were, so I wrote my own.” Success at Sundance led to Sony snatching the short up and deciding that D.E.B.S. should be a full-length feature.
Two decades later, the joy of this movie lies in the details. The tone is immediately set by a gravelly voice-over telling us that there is a secret test hidden within the SAT to recruit young female superspies (and establishing that, like Bottoms, this is a film aware of genre archetypes and willing to push believability). Our main character Amy (Sara Foster) is an academic overachiever — like many lesbians overcompensating for their perceived failure to live up to social norms. Her perfect score on the secret SAT test makes it even more scandalous when she falls for the aforementioned supervillain Lucy Diamond.
Queer friend groups may delight over the nostalgic frosty eye shadow and lip gloss worn by the D.E.B.S. (which stands for “discipline, energy, beauty, strength,” naturally) at all times. Flip phones, CGI holographic screens, and Goldfrapp’s appearance on the soundtrack will also remind you that you’re watching a film made in the early 2000s. And many will squeal when they spot Holland Taylor, over a decade before she came out, as the academy’s head.
Admittedly, the special effects are goofy enough to cross over into comedy, especially when our girls are abseiling into a restaurant or climbing walls with plungers, and the lighting could be charitably described as resembling teen soap operas of that era. But the chemistry between Amy and Lucy is crackling enough that YouTube compilations of their scenes have racked up hundreds of thousands of views online. Their fun enemies-to-lovers plotline begins with the pair pointing guns at each other and quickly progresses to a whirlwind romance (the other D.E.B.S. think Amy’s been kidnapped and launch a national manhunt, just as many friend groups have had to organize rescue missions for lesbians on weeklong first dates).
You could argue that espionage serves as a metaphor for the closet and that Amy is such an effective spy because she’s used to lying to herself about her sexuality. But that almost seems like too much weight to put on this meringue confection of a genre spoof: Its campiness liberates the characters to inhabit a fun, exaggerated universe with no serious homophobia or consequences. Guns are used, but the so-called superspies have such consistently terrible aim that there are no real casualties. And Lucy Diamond’s supposedly nefarious crimes are all reversible — the murders pinned on her are revealed to be misunderstandings, and she returns all of her stolen goods in order to win Amy back.
When this live-action Totally Spies with a lesbian twist debuted, it only made $97,000 and was dismissed by critics. But there were enough moviegoing gays impressed by its snappy dialogue, fun romance, and stunning supporting cast (including Meagan Good, Jimmi Simpson, and Devon Aoki with a French accent) for its reputation to grow online over time. In forums and YouTube comment sections, young girls were asking, “Are there any lesbian films where they just fall in love and have fun and don’t die at the end?” Their answer was D.E.B.S.
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misandriste · 3 days
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💌 @miumiumacaron requested: ↳ Daisy Randone smoking in her pink top
GIRL, INTERRUPTED (1999) dir. James Mangold
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tygerland · 2 days
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A Hard Day's Night (1964)
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