#v fun to watch the consequences of his actions unfold in real time

[aroelsecaller]

Zerxus, while getting his face ripped off by the Lord of the Hells:

[lokiondisneyplus]

Over five popular seasons, the story lines of “Better Call Saul” have unfolded across nail salons, fried-chicken joints and other strip-mall staples of American life.

When new episodes begin premiering next year, though, the locations that give the “Breaking Bad” spinoff its texture could be reined in or done away with altogether. The culprit? The novel coronavirus, which is limiting where the New Mexico-set AMC show can film, potentially altering both its style and substance.

“Like a lot of other people, we’re going to have to be very creative in where and how we shoot,” said Mark Johnson, the veteran producer who oversees the Vince Gilligan hit, whose writers just began collaborating on the series’s sixth season. “A lot of places just won’t let you in.”

Across the entertainment industry, casts and crew are beginning to return to work after a five-month hiatus. In states with loosened restrictions, such as Georgia and New York, production is starting to crank up under tight controls that alter how sets operate. Instead of crew members freely mingling, they’re being divided into “pods" that limit how production departments such as wardrobe or lighting can associate. Covid-19 officers monitor the health of the cast and crew to determine who is allowed on set. “Zones” dictate where those cast and crew can go.

These changes might seem technical, but they hint at the far-reaching effects the virus will have on final screen products. Interviews with 12 executives, writers, agents and producers across the Hollywood spectrum suggest a dramatically transformed world of entertainment. Until a vaccine comes along, they say, covid-19 will change what Americans watch as dramatically as it has where they work, shop and learn. Forget the new normal — movies and TV are about to encounter the new austerity.

Crowd scenes are a no-go. Real-world locations will be limited. On-screen romance will be less common, sometimes restricted to actors who have off-screen relationships. And independent films — that tantalizing side dish in the U.S. entertainment meal — could be heavily scaled back.

“A lot of people believe this is just about getting back to work,” said Mark Gill, a producer and former head of Warner Independent Pictures, the studio unit responsible for independent hits such as “Slumdog Millionaire” and “Good Night, and Good Luck.” “They don’t realize the massive cultural impact we’re about to face.”

For most of its history, Hollywood created entertainment based on a simple premise: Shuttle in large numbers of people and move them around at will. That’s certainly true of crews. But it especially applies to extras, the low-paid day laborers who pack sets and off-camera holding areas in order to create dense crowd scenes — and, in turn, lend the work real-world atmosphere.

Such scenes have of course been part of some of the most memorable moments in Hollywood history. From “Ben-Hur” to “Braveheart,” on-screen entertainment has become indelible thanks to hundreds of people you’ve never heard of packing tiny spaces, then moving as one when the cameras roll.

Yet the virus has essentially made these hires impossible. Many don’t want to risk their health for a $100 paycheck and remote shot at background glory, and producers don’t want to take on the liability even if they did. “Braveheart" used about 1,600 extras, many from the Irish Army reserves. Experts say the movie couldn’t come close to being shot today.

“Those of us in the entertainment business are not used to being told ‘no’‚” said Lucas Foster, a longtime Hollywood producer who counts the 2005 romantic-action hit “Mr. & Mrs. Smith” and last year’s Oscar-decorated blockbuster “Ford v Ferrari” among his credits. “And when it comes to things like crowds, there’s going to be a lot of no.”

Foster understands the challenges personally — he’s one of the first producers to have made a movie in the age of covid-19.

In March, the Los Angeles resident was in Australia, several weeks into preproduction on a new version of “Children of the Corn” when the pandemic began to spread. Millions of dollars had already been committed to the movie, adapted from the same Stephen King story that yielded the 1984 cult hit. So rather than shut down, he decided to proceed — cautiously. Foster created a production bubble, consulted doctors regularly, procured large amounts of tests, and engaged in elaborate workarounds in realms like crowd scenes.

He said it worked, but with major accommodations.

“I had to figure out how to do a crowd with no more than a few people at the same time. And with very specific camera angles. And by taking actors who would normally be close together and making them not close together,” Foster said. “In the end, I’d get the scene I needed but it looked different than it would have before the pandemic.” (Computer-generated crowds, he and other producers say, only work for more distant shots; anything requiring close-ups needs the real thing.)

It helped, he noted, that many of his actors were children, who are believed less susceptible to the effects of the virus, and that much of the movie was shot in cornfields and other vast outdoor spaces, a luxury not all films have.

Producers say the added cost required to implement all the safeguards could also result in a lower-end finished product. Films and TV shows achieve their level of shine through an endless period of refinement, with actors and directors often attempt 10 or more takes of a scene. With everything now going longer — and thus costing more — they may not have the luxury.

One producer of multiple studio hits said he expects the number of takes to drop significantly as the virus balloons budgets. He also expected a diminution in night scenes, which tend to be more involved and expensive than day scenes. He said some productions will be able to make the switch, but not all will be as lucky.

Also unlucky, say Hollywood veterans: movies where characters seek to get lucky. Many insiders say romantic scenes will be a major challenge in movies. Two agents separately reported they had high-profile clients who told them they wouldn’t shoot love scenes during the pandemic.

“I think every agency right now is looking down their client list to see which actors have spouses who are also actors, because then we could try to get them cast, too,” said one of the agents, who spoke on the condition of anonymity because they were not authorized by their company to speak to the news media. “I’m joking. Sort of.”

The added wrinkle is even if the actors trust each other in real life, many of their characters would still have to take precautions on screen.

“How do you send two characters on a first dinner date when people aren’t really going on first dinner dates?” said a creator of romantic comedies who asked not to be identified because they did not want to be seen as criticizing colleagues who are attempting new projects. “You can send them on a socially distant walk, I guess.”

Writers say that leads to a broader dilemma: how much to incorporate the pandemic into their stories. On one hand, they say they don’t want to pretend the virus doesn’t exist. But acknowledging it poses its own challenges.

“Do you really want your stars wearing masks because that’s what characters would do? Do you want to have people engaging with each other in groups no larger than six? Do you want to write stories where everyone is at a safe distance?” said Mark Heyman, the co-writer of “Black Swan” and “The Skeleton Twins” and creator of the CBS All-Access historical drama “Strange Angel.” “Because a lot of those things won’t be very much fun to watch.”

Yet if creators aren’t willing to do that, he said, it could lead to those shows or movies getting shelved out of a fear that audiences will judge them inauthentic.

Heyman was working on a series set in a high school for Netflix when the lockdowns began. That project has now been put on pause. “It’s not easy to make a show about high school,” he said, “when there is no high school.”

To avoid reminding viewers of the pandemic, creators may take an approach that will lead to an unusual trend.

“I think over the next few years you’re going to see a lot more movies set in the past,” Foster said. “Even movies written for the present will be changed. They’ll make it the ’90s because then you don’t have to deal with these questions. And then you can just put in some cool ’90s music, so everybody wins.”

A few creators have gone the other way, leaning in to the pandemic.

Writers on Apple TV Plus’s “The Morning Show,” set at a news program, have torn up existing scripts to make the pandemic a part of the story line, according to a person familiar with the show who was not authorized to speak about it publicly. But with a lag time of months between shooting and airing, experts say that creators also risk looking out of date by the time episodes release to the public.

Sensing an opportunity, horror filmmakers have also tried to embrace current events.

“The horror genre is very suited to the pandemic and lockdowns — we’re always trying to create a feeling of being trapped anyway,” said the horror filmmaker Nathan Crooker.

When quarantines hit this spring, Crooker gathered nine noted horror filmmakers and had them shoot an anthology film — short fictional movies connected by the larger virus theme — and titled it “Isolation.” He required filmmakers to use only the materials and people they were in lockdown with, even prohibiting Zoom and other technologies.

“I think we’re going to get a very cool effect that mirrors what people are going through,” Crooker said of his work. “But I don’t know that every movie that gets made would want to look like that.”

One consequence of the virus could turn out to be the movies that don’t get made at all.

Some of the most beloved films of the past two decades, from “My Big Fat Greek Wedding” to “Whiplash,” “Little Miss Sunshine” to “Fruitvale Station,” were independently financed. But before rolling cameras, independent productions require insurance policies to protect them from workplace lawsuits, along with completion bonds, in which a guarantor assures they will step in with funds to finish the movie if production is halted.

Experts say no company will cover covid-19 with either policy, effectively preventing production.

“Covid is an absolute disaster for the independent-film industry,” said Sky Moore, a partner in the corporate entertainment department of the Los Angeles law firm Greenberg Glusker who has spent several decades putting together film financing deals. “The lifeblood of independent-film financing is loans, and loans need insurance. Now you have this massive hole in the middle of all of it.”

Moore believes the toll will be vast.

“I think 50 percent of the independent industry goes away,” he said.

(Movies financed by large studios do not buy these policies; Netflix or Disney would just absorb a shutdown or lawsuit as the cost of doing business.)

Even if they can work around the insurance issues, many independent films won’t get made because they simply won’t have the money. “It’s already hard to get funding for a lot of these movies,” said Shaun MacGillivray, a producer who makes large-scale independent documentaries. “And now you’re telling investors the budget is going to be 30 percent higher?”

The independent-film world is trying to push ahead, slowly. The Sundance Film Festival, the epicenter of the indie-film business, where companies like Hulu and Netflix sometimes pay more than $10 million for an independently financed movie, will hold a partially physical, partially virtual edition in January, albeit at just about half the length.

“We are reminded daily of the power of what is made newly visible to us, the importance of what we look at,” Tabitha Jackson, the director of the festival, said in a letter to staff this summer explaining why the festival needed to go on. “My hope for this edition of the Sundance Film Festival is that through a multiplicity of perspectives held by artists and audiences in their various communities we will also come to feel the power of where we look from.” Left unspoken: What happens in 2022, when the well runs dry because new movies can’t be insured and produced?

Whatever entertainment can get made, experts say, will have a more hermetic look. Even television shows, once shot heavily on sets, now often rely on the authenticity of locations; a police procedural feels like it does because detectives are popping into pizza places and apartment buildings.

“We don’t want everything to be a chamber piece,” said Johnson, the “Better Call Saul” executive producer. “But if many shows look different, I think that’s okay, because the world looks different.”

Then, considering the challenge further, he added, “And if that doesn’t work, then at least our show has a lot of deserts and open roads.”

[gokinjeespot]

off the rack #1159

Monday, April 17, 2017

 I'm back. Missed posting last week while I was vacationing in Cuba. It was a nice break to be totally unconnected. I managed to read two week's worth of comic books for today's deadline so this will be longer than usual.

 Weapon X #1 - Greg Pak (writer) Greg Land (pencils) Jay Leisten (inks) Frank D'Armata (colours) VC's Joe Caramagna (letters). That was a very promising start. This new mutant team book opens with Old Man Logan chillaxin' in the wilds of Washington state and ends with him teaming up with Sabretooth. The age old enemies must work together to fight a common enemy. I look forward to seeing how they hook up with the other three mutants featured on the credits page.

 Superman #20 - Patrick Gleason & Peter J. Tomasi (writers) Patrick Gleason (pencils) Mick Gray (inks) John Kalisz (colours) Rob Leigh (letters). Venom was all over Marvel variant covers recently but I didn't expect to see him in a DC comic book. Part one of "Black Dawn" is a World's Finest team-up that has Batman visiting the Superman family on their farm. Seems the neighbours are not what they seem. It's stories like these that make me appreciate the biweekly release schedule.

 Godshaper #1 - Simon Spurrier (writer) Jonas Goonface (artist) Colin Bell (letters). This is the story of Ennay, the godshaper. He travels around reshaping gods for people in a weird new world where personal gods make life easier. See, natural science doesn't work in this world so gods are what helps people live. I like Ennay. He's a hustler with a conscience who is just trying to get by

and not a con man. Jonas's art is vibrant and colourful and Ennay's little god sidekick Bud is cute.

 Deadpool vs. Punisher #1 - Fred Van Lente (writer) Pere Perez (art) Ruth Redmond (colours) VC's Joe Sabino (letters). Well, that's one way to start a feud. Frank hurts Wade's accountant and the battle is on. I know that neither killer will win this fight but I might read it to see how they settle the feud.

 Action Comics #977 - Dan Jurgens (writer) Ian Churchill (art) Hi-Fi (colours) Rob Leigh (letters). Part one of "The New World" starts off with a rehash of Superman's origin story going right back to when his parents put him into a rocket ship to Earth just before the planet Krypton explodes and Ma and Pa Kent finding baby Kal-El on their farm in Smallville. I found the retelling tedious but there are a few pages peppered in showing a mysterious new super villain that almost made up for that feeling of reading a rerun. This new villain will keep me coming back for more.

 Riverdale #1 - This new Archie publication is based on the new "hit" TV series. I have not seen the show but I have a long time love of these characters, especially for a certain blonde girl next door. There are two short stories. The first by Will Ewing (writer) Joe Eisma (art) Andre Szymanowicz (colours) Janice Chiang (letters) features Archie going through the varsity football team's hazing rituals. I am impressed that Will made me like this version of the redheaded teenager. The second story by Michael Grassi (writer) Joe Eisma (art) Andre Szymanowicz (colours) John Workman (letters) features my gal Betty Cooper as she endures hazing by Cheryl Blossom, the wicked witch captain of the cheerleading squad. This book made me want to tune into the show now.

 X-Men Blue #1 - Cullen Bunn (writer) Jorge Molina & Matteo Buffagni (art) Matt Milla (colours) VC's Joe Caramagna (letters). This is the original young X-Men team with Jean Grey/Marvel Girl as leader. It reads like a straight up super hero comic book with Marvel Girl, Cyclops, Angel (with flaming wings, when did that happen?), Beast and Iceman fighting Black Tom Cassidy and Juggernaut on a luxury yacht. Not very interesting until the surprise twist at the end. The twist bothered me more than intrigued me because the character is also in other X-books and I'm wondering are they good or bad in this one? The back-up story looks like it features Wolverine but this guy is a blonde. I liked the art throughout, especially the cover by Art Adams but my opinion is that these kids should be in their own little world to make it interesting for me and that isn't this.

 Hal Jordan and the Green Lantern Corps #18 - Robert Venditti (writer) V Ken Marion (pencils) Dexter Vines (inks) Dinei Ribeiro (colours) Dave Sharpe (letters). The Green and Yellow Lantern Corps working together would be like the FBI and the CIA working together. Things are going to get testy at times. Having Guy and Arkillo make peace after almost killing each other in a slugfest is hokey but it kind of works for this comic book. This is a good issue to jump in on as it starts the new story "The Prism of Time". I don't know how long I will stick with this story as it involves time travel. I know because the surprise guest star on the last page gives it away.

 American Gods #2 - Neil Gaiman (writer) P. Craig Russell (script & layouts) Scott Hampton (art) Rick Parker (letters). I have a mild obsession with time. I like to know how long something lasts. I put a date label on Bic pens to see how long it takes for the ink to run out. We rarely lost one at the Snail and one pen would last just over a year. A can of my shaving gel runs out after just over a month. The number 44 is bad luck in Chinese culture so I wear an analogue watch rather than a digital. It always seemed that whenever I looked at the time on a digital it was 44 minutes after the hour and I would get anxious. I kid you not. There's an incident in this issue that relates to a certain time and now that I am aware of it I am going to see if it happens in real life. This is the kind of stuff that makes reading comic books a lot of fun for me. Seeing the incident unfold in three panels made the impact on me even bigger than just reading about it in a novel.

 Jessica Jones #7 - Brian Michael Bendis (writer) Michael Gaydos (art) Matt Hollingsworth (colours) VC's Cory Petit (letters). This issue starts and ends with Maria Hill and leads to a new case for Jessica. There's a touching scene with Jessica, Luke and their daughter Danielle but not a resolution to their damaged relationship. I really hope Luke forgives Jessica.

 Batman #20 - Tom King (writer) David Finch (pencils) Danny Miki & Trevor Scott (inks) Jordie Bellaire (colours) Deron Bennett (letters). The finale to "I Am Bane" was meh. It's a fight between hero and villain that I've witnessed many, many times. This one is just brute force versus brute force and how Batman puts down Bane (because we all know that's what will happen) was very mundane. I hope the next story ends in a more interesting way.

 Rat Queens #2 - Kurtis J. Wiebe (writer) Owen Gieni (art) Ryan Ferrier (letters). The main story has the Queens landing the demon Canada goose to tie up another quest. The back-up story by Patrick Rothfuss (writer) Nate Taylor (art) Ryan Ferrier (letters) is a nifty little campfire story that was very clever. Fooled me.

 Guardians of the Galaxy #19 - Brian Michael Bendis (writer) Valerio Schiti (art) Richard Isanove (colours) VC's Cory Petit (letters). This issue is "Bendis' big-time bye-bye blowout!" and it is an artists lover's dream. The guest artists here are Phil Noto, Andrea Sorrentino, Ed McGuinness & Mark Morales, Arthur Adams, Kevin Maguire, Mark Bagley & Andrew Hennessy, Sara Pichelli and Filipe Andrade. It's basically a big fight between the team, a few of their friends and Thanos. My one complaint is that Gamora did not act like I thought she should but it was an expedient reaction to seeing the Mad Titan in that situation. I loved Brian's run on this book so writer Gerry Duggan has a hard act to follow.

 Wonder Woman #20 - Greg Rucka (writer) Bilquis Evely (art) Romulo Fajardo Jr. (colours) Jodi Wynne (letters). Veronica Cale has exhausted all medical means for getting her daughter Izzy back from the clutches of Phobos and Deimos so it's time for the mystical option. I like Greg's incarnation of Circe. She can give Loki a run for his money.

 Paper Girls #13 - Brian K. Vaughn (writer) Cliff Chiang (art) Matthew Wilson (colours) Jared K. Fletcher (letters). Time travel makes my head hurt but I have an emotional stake in these girls now and want to know what happens to them.

 Champions #7 - Mark Waid (writer) Humberto Ramos (pencils) Victor Olazaba (inks) Edgar Delgado (colours) VC's Clayton Cowles (letters). That's twice that the team has tussled with the Freelancers and the super villains have given up too easily. There's a good reason for that other than because they're cowards and bullies. There's more than one way to hurt the good guys besides beating them up. Time to call in Matt Murdock.

 Kingpin #3 - Matthew Rosenberg (writer) Marc Laming (layouts) Ben Torres (art) Jordan Boyd (colours) VC's Travis Lanham (letters). Sarah the biographer gets chummy with Wilson Fisk which leads Sarah the reporter into very deep trouble with Tombstone. Can Wilson protect her from harm? I like this portrayal of the Kingpin.

 Savage Things #2 - Justin Jordan (writer) Ibrahim Moustafa (art) Jordan Boyd (colours) Josh Reed (letters). Ruthless terrorists who have no qualms about killing women and children make for some very nasty bad guys. It's interesting that the good guy Abel trained with these same men. I am anticipating the much larger threat that Cain has planned.

 All-New Wolverine #19 - Tom Taylor (writer) Leonard Kirk (pencils) Cory Hamscher (inks) Michael Garland (colours) VC's Cory Petit (letters). The 3-part "Immune" starts here. Laura and Gabby take down a human trafficker while an alien craft crashed on Roosevelt Island, New York. That crash has consequences for Laura. I am waiting to find out what the connection between the alien and Laura is. I really like Gabby and I hope she plays a bigger role in this book.

 Red Team: Double Tap, Center Mass #6 - Garth Ennis(writer) Craig Cermak (art) Vinicius Andrade (colours) Rob Steen (letters). This issue adds some true romance to the true detective plot of the story. Detectives Mellinger and Giroux break the cardinal rule of workplace romance and that never ends well. Garth will get back to blood and mayhem soon I'm sure.

 Amazing Spider-Man #26 - Dan Slott (writer) Stuart Immonen (pencils) Wade von Grawbadger (inks) Marte Gracia (colours) VC's Joe Caramagna (letters). Plenty of action in part 2 of "The Osborn Identity" with Spidey and Silver Sable fighting Norman's henchmen. Some mild intrigue with Doc Ock in the background. I don't get S.H.I.E.L.D.'s stance on what Parker Industries is doing to help Symkaria. Dan has made up some political drama for the sake of the story that doesn't make sense to me.

 Star Wars: Doctor Aphra #6 - Kieron Gillen (writer) Kev Walker (pencils) Marc Deering (inks) Antonio Fabela (colours) VC's Joe Caramagna (letters). No killer droids this issue made it a lot less fun but I did like how the story ended.

 The Unstoppable Wasp #4 - Jeremy Whitley (writer) Elsa Charretier (art) Megan Wilson (colours) VC's Joe Caramagna (letters). I really like this energetic and slightly naïve super hero. She did try to reason with a super villain but when she had to kick butt she did. I hope she can save her old Red Room mate.

 Spider-Man #15 - Brian Michael Bendis (writer) Szymon Kudranski (art) Justin Ponsor (colours) VC's Cory Petit (letters). It's time for Miles's mom to find out about his secret identity. She's not taking it as well as the Ultimate Universe Aunt May did when Peter's secret came out. Szymon's turn on the art for this book is okay but I wish he wouldn't copy panels so much. I feel like I'm not getting my money's worth when artists do that.

 Uncanny Avengers #22 - Gerry Duggan (writer) Pepe Larraz (art) David Curiel (colours) VC's Clayton Cowles (letters). The team de-powers the Red Skull of Professor X's super powers and Charles Xavier can now rest in peace. There's a page in this issue where Rogue is thinking about Professor X and the major decision that she made that Pepe and David did a beautiful job of expressing. I'm sure when Gerry wrote the scene he could not imagine how well rendered it would be.  That page choked me up and stopped me reading. I had to send Pepe a message right then to let him know that image is burned into my memory like John Romita Senior's Peter Parker walking away down an ally with Spider-Man's costume in a garbage can in the foreground. Some comic book art is unforgettable and their page qualifies. Geez Pepe, you outdid yourself.

 Spider-Man/Deadpool #16 - Joshua Corin (writer) Scott Koblish (art) Nick Filardi (colours) VC's Joe Sabino (letters). I did not leave the best for last. This is a tie-in issue. "'Til Death Do Us…"  part 4's only interesting thing for me was seeing who Deadpool teams up with in his other book Deadpool & The Mercs for Money. This did not make me want to read that book nor the grand finale in Deadpool #29 to see what Wade and his monster queen wife Shiklah will wind up doing. I anticipate it will be the divorce from hell. I hope we get back to the silliness that I have come to expect from this book soon.