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02 Apr 15:45

‘Terminal’ Trailer: Margot Robbie is a Literal Femme Fatale in an Off-Kilter Neo-Noir

by Hoai-Tran Bui

terminal trailer

Margot Robbie will kill you. And you will probably thank her for it.

The Oscar nominee stars in Terminal, a bonkers neo-noir that is brimming to the edge with style. Directed by Vaughn Stein, the thriller follows two assassins on a mysterious mission in sinister city, where they run into all sorts of kooky characters, including Robbie’s beguiling waitress who may or may not be a serial killer.

Terminal Trailer

While the previous Terminal teaser promised an alluring Dark City-style noir, the full Terminal trailer is a little more unhinged than that. The frantic pacing and campy costumes seem more along the lines of a Terry Gilliam film — aided by Robbie’s absolutely terrifying performance as a waitress who moonlights as a serial killer.

The plot seems pretty threadbare compared to the film’s non-stop eclectic visuals. The anonymous city which provides the setting for Terminal is consistently drenched in neon, while Robbie dons a slew of elaborate wigs and costumes. Then there’s Mike Myers in heavy prosthetics, Simon Pegg sporting a scraggly beard, and Mac Irons and Dexter Fletcher as the two main assassins.

A lot happens in this somewhat messy trailer, and I can’t really tell you what exactly it’s about. There seems to be a lot of style and not a lot of substance, but hey, I would watch Margot Robbie paint a door. So watching her kill several men while dressed as a dominatrix doesn’t sound half bad.

Here is the latest Terminal synopsis:

In the dark heart of a sprawling, anonymous city, Terminal follows the twisting tales of two assassins carrying out a sinister mission, a teacher battling a fatal illness, an enigmatic janitor and a curious waitress leading a dangerous double life. Murderous consequences unravel in the dead of night as their lives all intertwine at the hands of a mysterious criminal mastermind hell-bent on revenge.

Terminal is set to arrive in theaters on May 11, 2018.

The post ‘Terminal’ Trailer: Margot Robbie is a Literal Femme Fatale in an Off-Kilter Neo-Noir appeared first on /Film.

02 Apr 15:44

How the ‘Roseanne’ Reboot Might Change Television

by Hoai-Tran Bui

roseanne reboot

Roseanne is shaking up Hollywood. The Roseanne reboot premiered to massive ratings Tuesday night, drawing more viewers than any network sitcom has in four years. Not only that, the premiere snagged more viewers than its 1997 finale 21 years ago.

So what does that mean for the TV landscape? First of all, you can count on the revival phenomenon to keep going strong. But the more intriguing effect of Roseanne‘s gargantuan success is that we could see a new era in middle America sitcoms. Or maybe it’s a combination of both. You may finally find out which Friends character would have voted for Donald Trump.

The Roseanne reboot premiered to an astonishing 18.2 million viewers along with an equally impressive 5.1 rating among adults 18-49, according to Entertainment Weekly.

The massive numbers shocked the world, including Roseanne‘s network ABC, which projected half the numbers than the premiere drew. Not only were Roseanne’s ratings the highest for any network comedy since The Big Bang Theory‘s 2014 premiere, it was also 10 percent better than the 16.6 million viewers the original 1997 series finale hauled in. It’s bigger than the final 12 episodes from that ’97 run.

Roseanne‘s surprise success could be attributed to those oh-so-powerful nostalgia goggles, but the sitcom about a blue-collar American family living in middle America may actually be tapping into something deeper: Trump country.

Roseanne and Trump Country

Like the former reality show host who rose from left-field stunt Republican candidate to president of the United States America, Roseanne‘s runaway success shocks everyone and no one at all. Hollywood executives may be left scratching their heads, but Roseanne presents the perfect sweet spot between rose-colored nostalgia for simpler times and current political unrest. The frustrated working class voters who pushed Trump into office are unsurprisingly the prime audience for Roseanne.

According to Deadline, top TV markets where Roseanne delivered its highest ratings were in states carried by Trump in the election. No. 1 was Tulsa in Oklahoma, which Trump won with 65.3% of the vote. It was followed by Cincinnati, Ohio and Kansas City, Missouri. The only city from a blue state in the Top 10 was Chicago, where the series is set. If you want to know how much this show has resonated with Trump voters, look to the man himself, who made a personal call to star Roseanne Barr to congratulate her for the high ratings. Because, you know, he has so much time.

But there’s the question of whether Roseanne is truly a show “from and about Trump voters.” Roseanne Barr has certainly become a lightning rod for her alt-right political views, with her support for Trump threatening to overshadow the show itself. It’s a 180 from when the show first premiered in 1988. During its original run, Roseanne was considered a groundbreaking progressive show about an average middle-class family. Roseanne became a feminist icon of sorts for her  “meanness,” her fearlessness to say what she meant.

But many critics question whether the revived show itself reflects Barr’s trollish, conspiracy theory-peddling politics. “Roseanne is back wearing a Trump hat, but showing progressive tendencies,” Vulture writes. “The Conners of 2018 did vote for Trump … but the rebooted Roseanne is not a forum for Barr’s ideologies,” Buzzfeed writes. Like its spiritual predecessor All in the FamilyRoseanne may in fact be a harsh examination of the very middle-American audience that watches it so religiously.

What Could Change?

For now, a second season of Roseanne is a “foregone conclusion,” co-showrunner Whitney Cummings told TV Line. While its international distribution is up in the air because of an unusual deal with ABC’s owner Disney, you can expect Roseanne to have a domino effect on Hollywood and the TV landscape.

Revivals of working-class, blue-collar shows like King of the Hill could very well already be in the works. And TV networks — like the New York Times before them — will likely turn their attention to producing more comedies that appeal to that “under-represented” Trump country demographic.

I’ll leave it to someone more well-versed in TV sitcoms than me to debate whether middle America is truly under-served on television. But arguments that Roseanne is the first sitcom to truly show working-class Americans ignores All in the Family before it, and the beloved Netflix sitcom One Day at a Time airing now. As well as the scores of African-American-led sitcoms that have largely been ignored by the revival phenomenon.

For now, expect more Roseanne for the foreseeable future.

The post How the ‘Roseanne’ Reboot Might Change Television appeared first on /Film.

02 Apr 15:05

‘Lost In Space’ Review: Netflix’s Space Adventure is ‘Lost,’ in Space

by Chris Evangelista

lost in space review

Netflix updates the classic series Lost In Space for a whole new generation, creating a formulaic yet entertaining saga enriched by complex characters. Our spoiler-free Lost In Space review is below.

The Space Family Robinson

Irwin Allen’s somewhat cheesy 1960s sci-fi program gets a cinematic upgrade for the Netflix age with Lost In Space. Employing production design that would be right at home in the rebooted J.J. Abrams Star Trek franchise, Netflix’s Lost In Space takes the raw materials from the original show, and molds them into an episodic drama featuring surprisingly complex characters.

This isn’t the first time Lost In Space received a big budget update. In 1998, the Stephen Hopkins-helmed Lost In Space blasted into theaters, bringing with it a blockbuster mentality and some truly terrible special effects. Netflix’s take, thankfully, improves on this formula in nearly every conceivable way.

This doesn’t mean Lost In Space’s mission is a complete success. The show suffers from a been there, done that atmosphere – we’ve seen this sort of thing before, in countless space adventure shows and movies. What makes Lost in Space work, however, is its rich cast of characters, all of whom are complex and well-crafted. Hell, even the damn robot is complex in this show.

Set in the not-too-distant future, Lost In Space wastes no time throwing its audience into the adventure. The Robinson family – father and former military man John (Toby Stephens), mother and aerospace engineer Maureen (Molly Parker), 18-year-old doctor Judy (Taylor Russell), super-sarcastic middle-child Penny (Mina Sundwall), and youngest, and shyest, child Will (Maxwell Jenkins) – crash onto a mysterious, uninhabited planet. Almost immediately, things go very, very wrong – Maureen’s leg is severely injured, Judy gets trapped in some ice, and Will gets separated from the family. It’s a jarring opening – there’s literally no set-up, and there’s almost a sense that perhaps we’ve jumped too far ahead and have started with a later episode rather than the start.

Employing quick-thinking problem solving, the Robinson clan works hard to save each other from catastrophe. They also get some unexpected help – during his separation from the family, Will saves the life of a strange, possibly alien robot. The robot proceeds to follow Will back to his family, and assist in the rescue of Judy. From here, Lost In Space is off to the races.

Each episode employs a similar formula – the Robinsons get in danger, and they have to work together to save each other before it’s too late. They’re not alone, however. There are more survivors who have crashed on this planet, and a community begins to take shape. There’s also the mysterious Dr. Smith (Parker Posey), who claims to be a psychiatrist but is clearly bending the truth. And then there’s Don West (Ignacio Serricchio), a smuggler that the show really wants to cast as their own Han Solo. They even give West a moment to sarcastically call Judy “Princess”, a la Han to Princess Leia.

All of these elements congeal into a fairly entertaining saga that unfolds leisurely over 10 episodes. Unlike some other Netflix shows, Lost in Space isn’t designed to be binged. This is not a 10-hour movie; it’s an episodic series that’s better experienced in spurts. Savor your journey with the Robinsons; don’t blast through it. It’ll be more rewarding in the end.

lost in space netflix review

Lost, In Space

While the overall look of Lost In Space looks beamed over from J.J. Abrams’ Trek films, this isn’t the only Abrams influence present. In creating the new take on the series, Matt Sazama and Burk Sharpless perhaps took the Lost portion of the title a little too seriously. Lost in Space handles its exposition almost identically to Lost – that is, it employs constant flashbacks.

The first episode drops us right into the action, and it’s through these flashbacks that we begin to learn more about the Robinsons, and several other characters. It becomes apparent that Earth has become almost uninhabitable, and a select group of colonists have been selected to start a new life to a new home world.

We also learn that the Robinson clan wasn’t exactly a stable, happy family before blasting into space. Maureen and John are estranged, nearing divorce. As a result of this, John is practically a stranger to his kids, and part of the show involves father and children reconnecting as the adventure unfolds.

The flashbacks work well…at first. As they continue, however, it’s almost impossible to separate them from Lost. Lost made this approach seem fresh. Here, it’s derivative, and frequently frustrating. There are times where it comes off like a cheat – as if the writers are deliberately side-stepping rather simplistic exposition in order to shoehorn in another flashback.


lost in space dr smith

Dr. Smith, I Presume

It probably won’t come as a surprise to anyone familiar with Parker Posey that her take on Dr. Smith is the best element of Lost In Space. The first season of the original Lost In Space portrayed Smith as a villain, but eventually, actor Jonathan Harris’ fey, whiny take on the character became more like comic relief.

Posey’s Smith is more complicated. She’s obviously not who she says she is, but her motives are an ever-present mystery. Perhaps the only real motive she has is self-preservation. Smith moves from one person to the next, constantly working to turn characters against each other. She’s Shakespeare’s Iago in an orange tracksuit.

This is a tricky character, and there were many ways Posey could’ve handled it. A part of me wishes the show had let Posey go into full over-the-top mode (like her work in Blade: Trinity, for example). Instead, Posey underplays it a bit – and that works, too. Her Dr. Smith is a emotionally unstable individual who has a great grasp on spinning lies. Part of the fun in watching Posey’s performance is the way she nimbly deflects questions and pulls answers seemingly out of thin air.

Smith’s doings are villainous, but Lost In Space is smart enough to not make the character seem reprehensible. The strength of the character lies within the way Posey makes Smith somewhat sympathetic. We can almost see her point at times. At the same time, we wish she would just stop trying to ruin everyone else’s lives. It’s a fascinating character, and Posey does a superb job.


lost in space will robinson

Danger, Will Robinson

Netflix’s Lost In Space has a robot that’s worlds removed from the original series. No longer the amusing, rubber-armed, bubble-headed character warning, “Danger, Will Robinson!”, the robot is now a potential threat. Other characters are understandably leery of the very-powerful automaton. Yet the robot strikes up a friendship with the shy Will Robinson.

The friendship is a frequently touching element to the series – don’t be surprised if you find yourself growing empathetic with that robot, folks. In many ways, the robot becomes more of a father figure to Will than John. In one sequence, when Will teaches the robot to play catch, you can almost hear Linda Hamilton’s narration from Terminator 2: “It would never leave him, and it would never hurt him, never shout at him, or get drunk and hit him, or say it was too busy to spend time with him. It would always be there. And it would die, to protect him. Of all the would-be fathers who came and went over the years, this thing, this machine, was the only one who measured up. In an insane world, it was the sanest choice.”

In other ways, the robot is like a potentially rabid dog that finds shelter with a family while everyone else looks on in disdain. The robot listens to Will, but perhaps that isn’t the kind of power that should be placed in the hands of a small boy. Tensions begin to mount with other survivors as they look upon the relationship between Will and the robot with fear and disdain.

lost in space cast

Character is Key

The many derivative elements borrowed from countless space sagas hurts Lost In Space. What saves it, however, is a set of complex characters. The main members of the Robinson family are all struggling in their own specific ways.

Maureen and John deal with their fractured relationship. Maureen, meanwhile, struggles with trying to take command of the mission and keep her family safe. While this is going on, John struggles to reconnect with his distant children. Judy suffers from PTSD from her near-death experience at the start of the show. Penny attempts to find her place as the middle-child who doesn’t have a specific skill-set, while also growing attracted to another crashed survivor on the planet. And Will has a constant sense that he doesn’t belong with his family.

These weaknesses and flaws make the Robinsons ultimately stronger. It’s easy to become engrossed in their stories, and their struggles, thanks to how rich their characterizations are. The cast handles all this admirably, with Mina Sundwall as a particular standout as the sarcastic Penny.

Lost In Space isn’t the best original series Netflix has created, but it is the type of show it’s fun to become wrapped-up in. Each episode builds upon the last while also remaining mostly episodic, and as a result, there’s a curious lack of urgency to the show. This isn’t a bad thing. Other Netflix series’ buckle under the pressure of being binge-worthy. Lost in Space knows how to take its time, and pull you along for the journey. You’ll likely be hooked by episode one, and won’t mind getting lost in Lost In Space.


Lost In Space debuts on Netflix April 13, 2018.

The post ‘Lost In Space’ Review: Netflix’s Space Adventure is ‘Lost,’ in Space appeared first on /Film.

02 Apr 15:02

A Palantir Employee Taught Cambridge Analytica How To Harvest Facebook Data

New reports revealed that Palantir, the company of Facebook board member Peter Thiel, may have helped Cambridge Analytica build its psychographic models, which it used in the U.S. elections. Palantir said that only one employee was involved.
02 Apr 14:59

The Good Fight: Read the hilariously bad script for One Night in Nashville

by Chancellor Agard

Warning: This post contains spoilers from Sunday’s The Good Fight. Read at your own risk. 

Someone actually wrote a script for the fictional movie One Night in Nashville — which EW is debuting exclusively here.

On Sunday’s The Good Fight, Diane Lockhart (Christine Baranski) and her firm defended a network which was being threatened with a defamation lawsuit if it ran an exposé on a beloved actor accused of sexual assault. As the case unfolded, the Reddick, Boseman, and Lockhart lawyers learned that the network’s in-house counsel, Carter Bloom (Alex Brightman), was trying to undercut their negotiations with the opposite because he hoped the aforementioned actor would star in a movie he wrote called One Night in Nashville, “a romantic comedy about a young lawyer and his dream of a recording contract.” (Watch the scene in question above.)

In case you were bummed that you’d never get to experience such a horrible sounding movie, don’t worry because you will! Good Fight writer Marcus Dalzine, who penned Sunday’s “Day 436,” also wrote the cliché-ridden first five pages of the movie for the props department. The film opens on a country road “somewhere outside Jackson, Mississippi” and only gets worse from there.

Read the intentionally and hilariously poorly written script below:


The Good Fight airs Sundays on CBS All Access.

01 Apr 21:21

The Good Doctor EP teases what's next after that emotional finale

by Chancellor Agard

Warning: This article contains spoilers from the first season finale of The Good Doctor, which aired Monday night. Read at your own risk!

Last week, Antonia Thomas warned us that The Good Doctor’s season 1 finale would be a tearjerker, and she wasn’t lying.

In the ABC medical drama’s last episode of the season, Dr. Shaun Murphy (Freddie Highmore) and Dr. Aaron Glassman (Richard Schiff) went on an emotional rollercoaster as they dealt with Glassman’s brain cancer diagnosis. At first the doctors only give Glassman a few months to live, but at Shaun’s urging, Glassman undergoes more tests and discovers that his initial diagnosis was wrong, and he’ll hopefully see the other side of this after some chemotherapy.

Unfortunately, Shaun is so distracted by Glassman’s predicament that he makes a near-fatal error in the operating room. Luckily, he and his colleagues are able to catch the mistake before their patient dies. Although Dr. Melendez (Nicholas Gonzalez) and the team are willing to cover for Shaun, the titular good doctor lives up to his name and decides to report himself to Dr. Marcus Andrews (Hill Harper), which puts Glassman’s job in jeopardy since he promised the hospital’s board that he would step down if Shaun proved to be anything less than excellent. Nevertheless, Glassman stands by Shaun and accompanies him to Andrews’ office at the end of the hour. Thus, both Shaun and Glassman’s jobs hang in the balance as the season comes to a close.

EW had a chance to hop on the phone with showrunner and executive producer David Shore to chat about writing the finale, what to expect from season 2, and more.

ENTERTAINMENT WEEKLY: Did you know from the beginning that you wanted to end the season with Glassman learning he has brain cancer?
DAVID SHORE: Not specifically. I knew I wanted to bookend what we started the season with, which is Glassman making this promise about Shaun: Shaun would be excellent or they would both be gone was the promise he made. I knew I wanted Shaun to be obviously a human being with strengths and weaknesses, which meant he’s going to make saves other people don’t make and he’s going to make mistakes that other people don’t make. And I wanted him to make a mistake, and I wanted to see the fallout of that.

When I spoke to Richard at PaleyFest, he said he guessed that something was going to happen to Glassman when he read the pilot.
Oddly enough, even though he really discovers it later in the season, we did hint at it, I have to say, in the pilot. There’s a moment in the pilot where Jessica wonders what’s going with him, why is he being so protective of her, and he says he’s not always going to be there to protect her and there seems to be more to the story there. Yeah, right from then I felt like that’s a possibility.

Was there ever a version of this finale or the future of the show where Glassman’s cancer was inoperable and incurable?
Not really. First of all, I neither wanted to end the episode with Glassman’s death, nor did I want to end the episode with “Glassman’s fine.” If we’re going to make a character as important as this guy and as fundamental to our show sick, I want to explore that, and I don’t want to explore that for one episode. The impact that his condition has on Shaun and himself, and their relationship, is something worth exploring. I think it’s going to be very relatable. We’ve all had to, or will have to, deal with caring for people we love, and that’s a storyline I want to explore.

I know the writers’ room isn’t open yet, but is that one of the ideas you have for next season?
Definitely. We’re going to follow through on this. He’s not out of the woods yet. He’s got a lot of treatment, as he says, and we’re going to go down that road.

Shaun and Glassman have that “I love you” moment at the end. Is that something you’ve been working toward all season?
I gotta tell you that moment came to me literally as I was writing the episode. It wasn’t quite structured like that, even at the outline stage. Then when I was writing the script, I rearranged the ending and it just felt right. I was very pleased with the idea, and I hope people respond to it.

The episode ends with them working into Marcus’ offices. Is it fair to assume that he’ll be back San Jose next season?
I think it’s fair to assume he’ll be back at San Jose St. Bonaventure. His role may be different, his relationships may be different, the hierarchy may be different, everything may be different, and we’ll see how that unfolds.

Do you have an idea of what those differences will be yet?
I do, but I don’t think I can go quite that far to share.

This is an emotionally intense episode. What was the hardest scene for you and your co-writer, Lloyd Gilyard Jr., to nail?
Lloyd and I work nicely together. The medicine was a little tricky. That seems so mundane, but I kept having Lloyd go back to the doctor and go, “No, it can’t be bad, but it also can’t be great! It’s gotta be right in that sweet spot of hope.” Then we needed a negative twist and a positive twist. Thank goodness we’ve got good doctors to help us. Yeah, it was a tricky episode, but it came together pretty nicely and relatively easily because it did feel like we had built to this, and it felt like so much of it had been earned in the previous episodes.

Is there a character that you didn’t get to do a lot with this season and have plans for in season 2?
Nothing specific. All of them. I want to learn more about all of them and put all of them in different situations and have Dr. Shaun Murphy learn from them and teach them. That’s a vague answer, but it’s true.

One cliffhanger from the season is Jared’s future at St. Bonaventure. He received an offer from another hospital in the penultimate episode. Will we return to that in season 2?
Yes, I hope so.

Looking back at the first season, what are you most proud of?
Well, I’ll tell you a little story. Look, there’s a lot I’m proud of. This character is unique, and I’m proud of the fact that what I was part of creating here and the impact it’s had on so many people. I react to emotionally: Several people have told me that they’ve started, in circumstances, imitating Dr. Murphy. You know, speaking like him. It used to be if somebody was imitating a person with autism — and it still is, typically — it’s mean, frankly. It’s not done for any other purpose than mockery. But people are doing it out of respect and people are doing it because on a certain level they want to be like him. They’re truly, I think, paying homage to him. The fact that people are looking at an autistic character that way, to me, is really part of a societal change we’re going through. I hope I’m interpreting it right.

When you hear that, though, isn’t there at least a concern that those people might be missing the fact that there are real challenges that come with this?
Yes, that is an excellent point that we do not just want to gloss over the real challenges of autism, but they’re doing it because they love this character and they’re doing it because they see the way he expressed himself and they see the insights that come from that. At least that’s my interpretation. It’s his simple statements of facts and the way he does it; I think people are responding to that in a powerful way.

Finally, we talked about what you’re most proud of from this season, but is there something that you really want to improve upon next season?
Yes, and there’s no way I’m telling you that.

The Good Doctor has been renewed for season 2.

01 Apr 21:14

Arrow boss on that shocking cast departure

by Natalie Abrams

Warning: This story contains major spoilers from Thursday’s episode of Arrow. Read at your own risk!

Arrow bid farewell to original character Thea Queen on Thursday — and EW can now reveal that Willa Holland is officially departing the CW super show as a series regular.

After being encouraged by Oliver (Stephen Amell) to find happiness with Roy (Colton Haynes), Thea (Holland) planned to leave town. But her happily ever after was quickly crashed by the arrival of The Thanatos Guild, the successor to the League of Assassins that was created by her father Malcolm Merlyn (John Barrowman) before his death.

With the Guild seeking a map to an ancient power, Thea suited up for one final time — with Roy alongside her in a New 52-esque Arsenal costume — only to discover an even larger threat. So instead of getting a quiet happy ending, Roy and Thea decide to leave town alongside Nyssa (Katrina Law) to track down and destroy what is revealed to be three new Lazarus Pits around the world.

It’s a fitting end for the character, whom executive producer Marc Guggenheim previously revealed to EW that he vowed never to kill. Much like Oliver, she now gets to right her late father’s wrongs.

As Oliver’s wayward younger half-sister Thea, Holland was among the show’s original cast. Initially unaware of her bro’s extra curricular activities, Thea eventually went on to join his team as the red-clad archer known as Speedy. She hung up her hood to find her true self, only recently suiting back up to save her former love, Roy.

During season 5, Guggenheim revealed to press that the actress was only contracted for 14 out of 23 episodes, leading to a reduced amount of screen time for the character. The show tried to work around a similar situation this season by having Thea be in a coma for the first run of episodes — all told, Holland has appeared in 10 episodes this season. To find out why Holland left the show now, read our postmortem with Guggenheim below.

ENTERTAINMENT WEEKLY: What came with the decision to write Thea off the show now and whose decision was it?
MARC GUGGENHEIM: At the end of season 4, Willa had come to us and basically said that she would like some more time for herself, and would like to reduce her role on the show. And we did, we reduced the commitment that she was making to us in season 5, and carried that over in season 6. Season 6 is the end of her contract, and going into season 6, with all of us knowing it was the end of her contract, Willa expressed the desire to move on, not re-up. She expressed a desire to be written out at a certain time in the season, which is around episode 16, so we accommodated her on that front as well. Look, we love Willa, we love working with Willa, we love the character of Thea, we particularly have always loved Thea’s relationship with Oliver. That relationship is one of the things that we deviated from the comic book early on. It was one of the very first major creative decisions we made in terms of adapting the Green Arrow comic for live action television. So it’s always been an incredibly important, critical part of the show for us.

At the same time, this is what happens when a show goes past five years. Actors start to reach the end of their contracts, they start to look towards greener pastures or new opportunities. I think this is true across all the shows. We never wanna stand in the way of someone wanting to express themselves creatively in a different way, on a different show, or through a different medium. So we took Willa’s request and took it seriously, and decided “Okay, well, if this is the hand we’re dealt, how do we play it as best we can and write off Thea in the most emotional and interesting way possible?”

Instead of getting a happy ending, Thea has set out to right her father’s wrongs. Why was this the most fitting ending?
This was something that came out of the writers’ room and it excited us for a variety of different reasons. For one thing, we really like the idea of writing Thea off in a way that suggested a larger story for her. One could imagine us, at some point in some medium, exploring the story of Thea, Roy, and Nyssa working to find these other Lazarus Pits. We tend to, as writers, gravitate toward stories that suggest other stories. As a showrunner, I got enamored with the notion of writing out a series regular in a way that didn’t suggest the end of a story, but rather the beginning of a new one. That’s not something that you typically see. Normally when a character’s written off, a series regular’s written off, it always feels to me like an ending. Sometimes it’s a literal ending and you’re killing off the character, but a lot of other times it’s like, well they’re going off and just living a much quieter life and there’s no more story to tell about them. I really like the idea of actually going the opposite route and suggesting a greater and bigger story for Thea. I just think that’s both interesting and unexpected.

You’ve always said you didn’t want to kill Thea, but was that seriously considered? Were there alternate possibilities for Thea’s exit?
There were. We talked certainly about the low-hanging fruit of “Well, the simplest thing to do is bring Colton back and have her and Roy ride off into the sunset together,” sort of the way they do at the beginning of the episode. That to me was the obvious choice. That’s the thing that you would expect given the story that we’ve told with Roy and Thea since season 1. But because it’s the obvious choice, that was one of the first choices we immediately discounted, because we never wanna do something that’s so patently apparent. Killing her off was never on the table. I’ve always been very sincere and consistent in my view that Oliver just can’t lose his last remaining family member. So that was never even on the table.

Is there a chance we could see her on the show in the future? And will we get an update on the destruction of the Lazarus Pits, whether Thea returns or not?
Really, honestly, it’s totally up to Willa. One of the things that I love about Arrow — and I think this is true for the other superhero shows as well, but I think Arrow‘s really shown a capacity for it — is no one is ever gone. Even the characters who have been killed off are never gone. People can come back in a variety of different ways here. In Thea’s specific example, there’s a whole storyline left to explore. We haven’t started thinking about how to do it in season 7 or beyond. I think we know Willa’s just finished Arrow, she’s looking to see what other opportunities are out there for her. But I love this idea of Thea, Roy, and Nyssa making an unlikely trio, exploring a different part of the Arrow-verse, a different corner of the Arrow-verse. It would be a shame not to revisit it. At the same time, we’ve also shown that we can tell Arrow-verse stories in other mediums: animated, comic books, and prose novels. There are those avenues open to us as well. So I don’t know what the future holds, but there are potentials out there.

The show hasn’t yet been renewed, but are you pretty confident that Arrow will return for season 7?
Yeah, we’re very, very confident. We’re extremely confident. It would be nice to get the formal pick-up, Mark Pedowitz, if you’re listening. It would be nice to book directors, is all I’m saying. But we’ve already started talking about season 7. We actually knew a lot of what we were gonna do for season 7 very early on in season 6. Right now, we’re in the process of breaking a season finale that is not a series finale by any means. We’re fully expecting it, just haven’t gotten it yet.

Arrow airs Thursdays at 9 p.m. ET on The CW.

31 Mar 21:21

Every MCU Character Returning for Captain Marvel

Find out which Marvel heroes and villains will take the spotlight in this upcoming MCU film.
31 Mar 21:19

Agents of SHIELD Reveals Earth's Destruction has a Surprising Link to Captain America

Will SHIELD and Hydra unite to try and prevent the Infinity War for this season's big Avengers tie-in?
31 Mar 21:09

Under Armour data breach affects 150 million MyFitnessPal users

by David Lumb
Under Armour just disclosed that 150 million MyFitnessPal accounts were affected by a security breach. The company became aware of it on March 25th, and deduced that unauthorized parties had access to the accounts since late February 2018 -- but only...
31 Mar 21:07

Open Bionics’ latest 3D-printed arm goes on sale next month

by Mallory Locklear
Open Bionics announced today that its 3D-printed Hero Arm prosthetic will be available for purchase in the UK next month. The company's founders started Open Bionics because they were interested in developing prosthetic limbs that were less expensive...
31 Mar 21:07

Congress just legalized sex censorship: What to know

by Violet Blue
One week ago, the worst possible legislation curtailing free speech online passed and sex censorship bill FOSTA-SESTA is on its way to be signed into law by Trump. Hours after the announcement, everything from the mere discussion of sex work to clie...
31 Mar 21:02

Google is shutting down its URL shortening service

by Rob LeFebvre
URL shorteners can be both useful and fun. Google's take on the tech launched in 2009, and added a third-party API, the ability to create QR codes and the power to link right to iOS and Android apps. Even Keanu Reeves has a URL shortener named in his...
27 Mar 06:14

Mark Hamill tried to convince Princes William and Harry that Luke Skywalker is royalty

by Maureen Lee Lenker

Mark Hamill sought princely approval of his theory that Luke Skywalker should rightfully be identified as royalty.

In an exclusive preview of Tuesday’s episode of The View, the Star Wars actor recounts to co-hosts Whoopi Goldberg, Sara Haines, and Meghan McCain when he met actual royalty, Prince William and Prince Harry. Hamill explains that he had been trying to get Carrie Fisher, his on screen sister as Princess Leia, to agree to designate his character, Luke Skywalker, as royalty. When Fisher refuted his argument, he waited to make his case to the real deal.

“We finally met the princes on set,” he explains. “You know William and Harry. You’re all lined up and you’re told how to address them formally, but when I got my chance to talk to them, I said ‘Your highness, I would like to make a case for myself. My father was Lord Vader, my mother was Queen Amidala, my sister was Princess Leia — doesn’t that make me royalty?”

It seemed the princes did not reach a unanimous decision, but William declared, “Absolutely, I don’t say why not.”

While Master Luke might not be re-named Prince Luke anytime soon, Hamill at least finally got some clarification on the matter.

Watch the exclusive clip above for more. Hamill’s full appearance on The View can be seen on Tuesday. The View airs weekdays on ABC (check your local listings for time).

27 Mar 06:13

One Day at a Time renewed for season 3 on Netflix

by Shirley Li

Netflix has (finally) raised the curtain — curtains? — on some good news for the Alvarez family: One Day at a Time has been renewed for a third season, the streaming giant announced Monday morning in the video below.

A contemporary reimagining of the long-running ’70s sitcom, the Norman Lear-produced, critically-acclaimed series centers on a Cuban-American family led by Justina Machado as Penelope Alvarez, a single mother raising a teenage daughter (Isabella Gomez) and a tweenage son (Marcel Ruiz) while living with her mother, the traditional, extra-theatrical Lydia (Rita Moreno).

Season 3 of One Day at a Time, set to return in 2019, will include 13 half-hour episodes and feature returning cast members Machado, Moreno, Gomez, Ruiz, Todd Grinnell, and Stephen Tobolowsky.

26 Mar 21:36

Microsoft Prohibits Use Of ‘Offensive Language’ On Skype, Xbox Live, Other Services (Updated)

Microsoft's new Services Agreement includes new provisions that would seem to allow the company to suspend or ban users' accounts for as little as using "offensive language" on its services, including Skype, Xbox Live, and others.
25 Mar 07:28

Legends of Tomorrow promotes Matt Ryan to series regular for potential season 4

by Natalie Abrams

The Waverider is adding yet another occupant next year.

Matt Ryan, who portrays John Constantine, will be promoted to series regular should DC’s Legends of Tomorrow be renewed for a fourth season, EW has learned.

The actor originally starred on NBC’s DC Comics drama Constantine, which was canceled after one season. He subsequently reprised his titular role as the trench coat-wearing Hellblazer during the fourth season of Arrow, and then made his Legends debut earlier this season. Ryan will also lend his voice to the Constantine animated series, which bows March 24 on CW Seed.

John Constantine will return in Monday’s episode of Legends, as well as the April 9 season finale.

Legends has seen a bit of turnover this season. Tala Ashe joined the cast at the top of season 3, but both Victor Garber and Franz Drameh exited the series, while Wentworth Miller briefly returned before once again taking his leave. Keiynan Lonsdale was recently added as a series regular.

Though Legends, along with The CW’s other superhero fare, have not yet been renewed, network president Mark Pedowitz previously told EW that he was “optimistic” the shows would all return for another season. (To note: Pedowitz’s comments referred to Legends, Arrow, The Flash, and Supergirl, as Black Lightning had not yet premiered.)

DC’s Legends of Tomorrow airs Mondays at 8 p.m. ET on The CW.

25 Mar 07:21

Black Lightning: Why Nafessa Williams cried the first time she wore Thunder's suit

by Chancellor Agard

Warning: This post contains spoilers from Tuesday night’s Black Lightning on The CW. Read at your own risk. 

Black Lightning (finally) brought the Thunder tonight!

After months of anticipation, the CW superhero drama debuted Anissa’s (Nafessa Williams) Thunder superhero suit in Tuesday’s night episode. Anissa visited Gambi (James Remar) to talk about his falling out with her father Jefferson (Cress Williams) and ended up leaving his shop with a sleek new costume, which she immediately threw on before heading out into the field to investigate Freeland’s Green Light problem with Black Lightning. (Read the full recap here).

While donning the official Thunder suit for the first time was a big moment for Anissa, it was an even more profound (and emotional) one for the woman who plays her. “Oh my god, I cried!” Nafessa Williams tells EW of the first time she put on the official Thunder costume. “It was so freaking emotional because you have to understand that I didn’t have a superhero that looked like me.”

She continues, “I grew up in the inner city in Philly, which is a city much like Freeland. I didn’t have a superhero to look up to who had cornrows just like me and whose skin color looked like mine. So, it was an emotional moment knowing I was taking on that responsibility of being that to little brown girls that are watching.”

The costume — which was designed by Laura Jean Shannon — takes about 30 minutes to put on; however, Williams says that once it’s on, it’s easy to spend up to 12 hours in it. “It’s a process, but it’s fairly comfortable. It’s made out of a sculpted armor material. It stretches so I’m able to do my stunts and do what I need to do,” she explains.

Twelve-hour work days, though, don’t seem to damper the gratitude Williams feels about being part of this show. “I’m hugely honored and proud to be that for this generation and be a part of telling Black Lightning’s story, because not many of us knew who Black Lightning was until now.”

Black Lightning airs Tuesdays at 9 p.m. on The CW.

25 Mar 07:20

Did Black Lightning just confirm Arrow-verse connection?

by Natalie Abrams

Warning: This story contains major spoilers from Tuesday’s episode of Black Lightning. Read at your own risk!

Black Lightning dropped quite the bombshell during Tuesday’s episode, hinting at a major connection to the Arrow-verse, a.k.a. the other four CW superhero shows.

During Tuesday’s episode, Jennifer (China Anne McClain) discovered the truth about her father actually being Black Lightning (Cress Williams), while her sister is the newbie hero known as Thunder (Nafessa Williams). When her mother arrived, Jennifer asked if she was about to reveal that she’s actually Vixen, but Lynn (Christine Adams) replied that she’s neither that heroine nor is she Supergirl.

The name drops seem to confirm that Black Lightning lives within the same multiverse that heroes from Arrow, Supergirl, The Flash, and DC’s Legends of Tomorrow call home, which would somewhat go against what was initially revealed about the show. (We’ll come back to that in a moment.)

To note, the Arrow-verse actually includes two different versions of Vixen. Mari McCabe was first voiced by Megalyn E.K. on the titular animated CW Seed series before she appeared in the flesh on Arrow. Mari’s grandmother, Amaya Jiwe, is currently being portrayed by Maisie Richardson-Sellers on DC’s Legends of Tomorrow.

The prospect that Black Lightning‘s hometown of Freeland lives within the multiverse is very interesting, but super complicated. First off, Supergirl (Melissa Benoist) lives on an entirely different Earth from the other heroes — she’s on Earth-38, while the rest all hail from Earth-1. Earth-1, by the by, doesn’t actually know of the existence of Supergirl, save for probably the government as she played a role in saving the planet from the Dominator’s invasion. So, the name drops could be a hint that Black Lightning actually takes place on Earth-38.

A small glitch: Both times the four shows have done major crossovers, Kara hasn’t mentioned knowing of Vixen on her Earth. We could just chalk that up to her not actually being aware of the heroine, even if she does exist on Earth-38.

However, there was a brief mention by Harry (Tom Cavanagh), who actually hails from Earth-2, during the Crisis on Earth-X crossover that there is a Kara Danvers on every Earth. So the aforementioned and highly convoluted explanation brings us back to square one, in which Black Lightning could just actually take place on Earth-1. There was even a mention in the Black Lightning pilot of other super-powered people cropping up in various towns — an angry commenter on the news lamented Black Lightning being labeled a vigilante, while those others were dubbed superheroes.

Maybe Earth-1 does know about the Girl of Steel following the events of Crisis, because, why not? Anissa’s new flame Grace (Chantal Thuy) even name-dropped Supergirl earlier this season when the duo planned to attend a cosplay party — viewers could then interpret that as Supergirl just being a comic book character, but armed with this name drop, maybe the residents of this Earth do know about her as a real-life hero. Confused? It’s a lot to take in.

So let’s get back to what’s actually been said on record about Black Lightning being part of the Arrow-verse. Shortly after Black Lightning was added to The CW lineup, network boss Mark Pedowitz made it clear the show was not in the multiverse. “Black Lightning, at this time, is not part of the Arrow-verse. It is a separate situation,” he said. Black Lightning executive producer Salim Akil subsequently told EW that “everything is possible,” but they planned to establish the character first. In other words, both hedged in a way where a crossover could be possible in the future, but much like Supergirl did in its first season, they want to world-build their own story before doing any crossovers. Only time will tell if Black Lightning will, therefore, join the rest of the heroes next season during the annual crossover event.

Black Lightning airs Tuesdays at 9 p.m. ET on The CW.

24 Mar 19:54

Silicon Valley cast, showrunners preview 'very different' season 5

by Derek Lawrence

Silicon Valley is booting up for a “very different” fifth season.

When the hit HBO comedy returns Sunday for the post-T.J. Miller era, the Pied Piper boys have finally moved up in the tech world, which means everything is “bigger,” according to star Kumail Nanjiani.

“This season feels very, very different,” he tells EW. “Usually we’ve been in the hacker hostel and it’s sort of been the core group. Now, the group is much bigger, the opportunities are much bigger, the money is much bigger, the projects are bigger. So really, the show’s just bigger. The stakes are higher because we do now have a certain amount of success, so there’s further to fall.”

After four seasons of one small step forward followed by a humiliating step backward, Richard (Thomas Middleditch), Dinesh (Nanjiani), Gilfoyle (Martin Starr), and Jared (Zach Woods) are making progress in their attempt at building a decentralized internet. Everyone involved with Silicon agrees that it was about time to give Pied Piper a win.

“I do think people get a little frustrated at seeing these guys thwarted on a daily basis, so I think it was nice to let them succeed,” says showrunner Alec Berg. “It’s always a tricky balance with this show, where if suddenly they’re billionaires, does anybody really care about their problems? It’s like, ‘Shut up and go home and cry yourself to sleep on a bag of money.’”

Middleditch echoes the sentiments, saying, “It’s fun to see people fail; it’s what makes it kind of gut-wrenching comedy, but at some point, you have to see some kind of progress or there’s no way you buy that these people are even in the business. It’s good that they’re moving on up. Each season they get a little bit mo money, mo problems.”

The influx of money means a new state of the art office space and a larger than expected staff. And for the socially awkward Richard, being CEO of a growing company is chief among his problems. “This may come as a shocker, but Richard is not the best public speaker,” shares Middleditch. “So addressing a new team of 100 or so programmers is not his forte, but he learns.”

While the Pied Piper staff might be expanding, the company is down one stockholder, and in turn, the show is down a cast member. T.J. Miller, whose Erlich Bachman has been the breakout character since the show’s premiere, departed after last season. But despite the notable loss, creator Mike Judge says the creative team was freed up by no longer having to force Miller’s character into storylines.

“We sort of hard to reinvent the dynamic of the show, and the chemistry of the show, just by definition, was going to change, which can be a great thing,” added Berg, who previously downplayed Miller’s exit by saying the actor isn’t LeBron James. “Sometimes you lose something you love. When Shelley Long left Cheers, everyone was like, ‘Well, without Sam and Diane, what is the show?’ People forget they did more seasons without her than they did with her. And the show didn’t suffer, it was just a different show. Which is not to say that I’m sure they lost their minds when she was leaving and they were like, ‘We’ll never be able to do the show that we want to do.’ But they figured it out and that’s kind of what we’ve had to do.”

And everyone involved says the changes, those necessitated by the loss of Miller and those stemming from the growth of Pied Piper, have led to a noticeable renewed sense of energy. “I think it breathed new life into it,” opines Judge. “When we started editing the first four or five episodes, it started to feel like it’s turned into a new show in a really good way — and I think it needed to.”

That new life has Judge and Berg reconsidering their original six-season plan, believing the show could run longer if HBO and the audience wanted more. But that doesn’t mean they haven’t begun thinking about their endgame.

“It’s started to come up,” reveals Berg, comparing the process to sailing out to sea. “The first three or four, if you’re lucky enough to get those seasons, are about, ‘Where is this headed?’ And at a certain point, you start to have conversations about, ‘Okay, now that we’re in the middle of the ocean, where do we end?” So I can’t say that we’ve made any decisions, but you’re starting to think, ‘We’re in the middle of the ocean, where is home?’”

Well, probably not Erlich’s place.

Silicon Valley returns to HBO on Sunday at 10 p.m. ET.

24 Mar 19:50

Agents of S.H.I.E.L.D.: A familiar foe rises as secrets are revealed

by Natalie Abrams

Warning: This story contains major spoilers from Friday’s episode of Marvel’s Agents of S.H.I.E.L.D. Read at your own risk!

Hail, Hydra — again.

As revealed in the closing moments of Friday’s episode of Marvel’s Agents of S.H.I.E.L.D., General Hale (Catherine Dent) has been working in service of the still-active Hydra!

During Captain America: The Winter Soldier, the worldwide criminal organization revealed that they had infiltrated S.H.I.E.L.D.’s ranks, attempting to establish a totalitarian new world order before the agents of S.H.I.E.L.D. effectively destroyed Hydra back in season 3.

However, it appears a faction of Hydra has been kept alive by a mysterious person, who stayed in the shadows when handing over what would amount to a suicide pill for Hale should she fail in her upcoming mission. The serum was the same as the one Kasius’ human slave used in the future to go down fighting, meaning Hydra could actually be the cause of the end of the world. The question remains: What do they want with Coulson, who willingly went with Hale to get more information?

“Hydra’s goals are almost always based in helping people and building a better world for all!” executive producers Jed Whedon and Maurissa Tancharoen tell EW. “Sarcasm, it’s hilarious. Coulson holds a lot of keys on his key chain and we can only imagine they want one of them.”

The reveal couldn’t come at a worse time as Fitz (Iain de Caestecker), weighed down by the burden of trying to save the world, finally cracked. He imagined seeing his Framework alter ego (a.k.a The Doctor), who performed surgery on Daisy (Chloe Bennet) to remove the dampener inhibiting her powers. Though Fitz thought The Doctor was an apparition from the rift in the Fear Dimension, in truth everything was planned and carried out by the real Fitz, who suffered a mental break in knowing he’d have to do something unforgivable to save them from the Fear Dimension. Can FitzSimmons ever come back from this?

“Fitz and Simmons have survived everything thrown at them so far,” the S.H.I.E.L.D. bosses say. “One would hope they’d get through this, though it may change their attitude moving forward and their relationship with each other and the team.”

The one silver lining of hope is the continued presence of Deke (Jeff Ward), who reveals to Simmons (Elizabeth Henstridge) that he is their grandson, meaning they will someday be able to heal from this. Her reaction? Promptly vomiting. Delightful!

Marvel’s Agents of S.H.I.E.L.D. airs Fridays at 9 p.m. ET on ABC.

24 Mar 16:29

L'Oreal Buys AR App Developer Modiface

by Kevin Tucker

Augmented reality or AR software has become increasingly popular over the last few years. While games like Pokemon Go might have introduced many mobile users to AR as a gameplay mechanic, apps like Snapchat have driven the fun home with simple and easy-to-use AR-based filters that can digitally change the user's appearance. AR's biggest draw is its ability to superimpose digital images over the real world, and as it turns out, cosmetics company L'Oreal has dreamed up a use for AR that will capitalize on users' desires to change their personal appearance.

As reported by The Verge, the French cosmetics manufacturer has recently purchased Canadian AR-based app Modiface, a company that has produced a number of AR apps for the likes of Estee Lauder and Sephora. In essence, Modiface software is able to use mobile hardware in order point out flaws in a user's face. Using the app, the user can scan their face to have the software point out features such as wrinkles, freckles, pimples, and more, then suggest cosmetic items that can be used to lessen the appearance of said features.

As opposed to AR efforts like the Ikea app, which allows users to place digital renditions of real-world furniture about their homes, Modiface is not necessarily designed around flights of fancy — that is, it isn't necessarily meant for users to superimpose a bunch of different cosmetic items onto their faces to see which ones they like best. Instead, it seems the app specifically focuses on areas its developers have outlined as potential places for improvement.

Of course, to put it another way, Modiface is an application that serves to highlight its users' perceived "ugly" features, then sell them on ways that they may improve their physical appearance. From a business standpoint, this makes perfect sense, but there's little doubt that some mobile users won't take too kindly to an app that essentially judges users' looks and then tries to sell them on ways to change themselves.

We don't yet know just what L'Oreal has planned with the Modiface software, nor do we know exactly what the company paid to bring the code under its umbrella, but we'll certainly follow up with more information as it becomes available.

23 Mar 08:06

Meet Detroit: Become Human’s three complex protagonists in new videos for PS4-exclusive neo noir

by David Cage

Many extraordinary stories have already been told about androids, whether it be in literature, film or television. But after having worked on Kara’s short video, I knew that the story I wanted to tell was different.

My first decision was to take the androids’, rather than the humans’, point of view. Instead of the wicked AI who wants to destroy good humanity, I preferred a different angle: my story would talk about humanity on the decline: selfish, dependent on technology, concerned only with comfort. Opposed to this: a new, intelligent species that we created, which discovers the world, feels emotions and asks only to live.

I wrote this story with the personal conviction that it was not only a story, but a vision of the future: how will we react when machines we’ve created become more intelligent than us and show signs of consciousness? Moreover, is consciousness only a question of computing power or is it something else?

Rather than a single, grand narrative, I chose to tell the story of three androids, three characters who discover their emotions and must choose their destiny.




I have been working on “multi-character” storytelling for several years (since Fahrenheit in 2005, even though Nomad Soul in 1999 already allowed control of dozens of different characters). It is a complex and exciting form of writing: it allows the player to stand in the shoes of several protagonists at the same time, to tell independent stories that meet, collide, intermingle, and above all tell the central narrative in a unique way.

This approach, originating in literature (Geoffrey Chaucer’s The Canterbury Tales, for example), popularized nowadays by many TV series, works in my opinion particularly well in an interactive experience: the player passes quickly from character to character, between different contexts and scenes, discovering the story from several points of view, enriching their experience.

We pushed this idea as far as we could, having three different composers (one per character) with radically different musical styles, three different moods, three different cinematographies, so that the player has a sense of playing three different games as they move from one character to another.

Through the player’s decisions and the intersecting destinies of these three characters, the player tells their own story. Every decision is important because it may impact not only the fate of one character, but also that of the other two, or even change the course of events for the wider world.

The destinies of Connor, Kara and Markus will be in your hands on 25th May. It will be up to you to tell their story. You can also stay up to date on all things Detroit: Become Human by visiting the official game site on

Connor – RK800

Connor is a prototype, named the RK800, created by CyberLife. His initial goal is to assist human detectives in their investigations by offering them technological assistance. He is also equipped with a social module specially developed to create the “ideal partner”, capable of integrating into any team.

He is also equipped with special features, such as a real-time molecular analyzer and a sophisticated simulator that can reconstruct past events. He is exceptionally intelligent, cold and determined, ready to do anything to succeed in his mission.

When the first cases of androids with abnormal behavior are reported, CyberLife offers to send this prototype to assist Detroit police. Connor has already undergone field tests involving androids but this is his first investigation.

Connor is sent to join Lieutenant Hank Anderson, a grizzled, alcoholic detective who hates androids. Connor will need to make use of his “psychology” module to earn the respect of his partner and discover the truth about deviants.

Markus – RK200

Markus is an android who belongs to celebrated painter Carl Manfred, an old man who has lost the use of his legs. If at first Markus was only a machine in Carl’s eyes, a paternal affection has gradually developed. Carl treats Markus as if he were human, teaches him to paint, exposes him to literature and music; develops the android’s spirit a little each day.

Eventually Carl comes to think of Markus like a son, much to the dissatisfaction of Carl’s biological son, Leo.

Markus’ journey will take him from caregiver in the service of an old man, to leading the historic android revolution. But to lead a revolution will be much more difficult than anything Markus can imagine: he must contend with the factitious disagreements of his people, face insoluble dilemmas, moral choices and sacrifice.

He must choose a path between violence and pacifism, between a closed fist and an outstretched hand. Through his choices, Markus will write the history of his people and lead them to freedom… or destruction.

Kara – AX400

Kara is an AX400 domestic assistant model created by CyberLife. The AX400 is a common model, designed to take care of the housework and look after young children. They can speak 300 different languages, cook more than 9000 dishes, help children with their homework and play with them.

Kara is owned by a former unemployed taxi driver, called Todd Williams, a strange and unpredictable character. He is the father of a little girl named Alice, with whom Kara is tasked with taking care of.

Under harsh circumstances, they quickly learn that they are not safe with Todd. Both will run away and struggle to find a path to freedom.

Becoming fugitives, they will discover a disjointed world falling apart and understand the strange feeling that unites them. They will journey from encounter to encounter, confronting violence and hatred but also the empathy of those who keep hope.

Detroit: Become Human releases 25th May. Pre-order now to get the official Detroit: Become Human soundtrack and Detroit City PS4™ dynamic theme.

The post Meet Detroit: Become Human’s three complex protagonists in new videos for PS4-exclusive neo noir appeared first on PlayStation.Blog.Europe.

23 Mar 08:05

God of War has gone gold, creative director calls the game “the scariest, most wonderful thing I have ever done”

by Cory Barlog

God of War is GOLD, baby!!! Going gold is an important milestone for a game. In fact, it is one of the ‘big two’ really. You have getting ‘greenlit’, which kicks off the real development of your title, and ‘going gold’ as the two most important milestones in a games development cycle.

The latter is the right of passage that lets the team, and more importantly the world, know that the game’s development is pretty much complete. All that remains is the manufacturing and shipping part of the process.

God of War

Going gold means so much more to me with this game.

It has been a long and exhausting journey filled with laughs, arguments, and a healthy dose of fear – with a side of doubt.

This was the scariest, most wonderful thing I have ever done and I can honestly say it would never have been possible without the full-throated support of Sony and the tireless work of the incredible team at Santa Monica Studio. We have been through a lot together and I would not change a thing. You are the best damn team a director could ever hope for and I am thankful beyond words for every ounce of passion and pride you put into this game.

Because this story is about fathers and sons, I wanted to thank my father, James Barlog, a source of inspiration and a great writer, who instilled within me the drive to create and the fortitude to survive the difficulties that come with that vocation.

The twentieth of April is fast approaching and I speak for the entire team here when I say we truly cannot wait for all of you to get your hands on this game.

Thank you to everyone for your support of an industry that allows me to prolong my childhood indefinitely and make a living telling people stories.

The post God of War has gone gold, creative director calls the game “the scariest, most wonderful thing I have ever done” appeared first on PlayStation.Blog.Europe.

23 Mar 07:21

YouTube will soon let you live stream directly from your phone's camera app

YouTube has announced that users will soon be able to live stream directly from their smartphone's Camera app, making the process simpler than ever. In a blog post, the company revealed they are working with Asus, LG, Motorola, Nokia, and Samsung to begin with, and the feature should start rolling out in the coming months. "Our goal is to bring this feature to even more device manufacturers throughout the year through the new YouTube Mobile Live deep link." This revelation came as part of a larger announcement that YouTube live streaming from PC has been made simpler. The process...

23 Mar 06:34

Google's Sidewalk Labs made a map of every good parking spot in SF

by David Lumb
Last month, Google's city-innovating department Sidewalk Labs released Coord, a cloud-based platform that provides data on all the curbs in a city. In practice, businesses can use this to figure out in real-time where to load and unload goods, pick u...
22 Mar 22:08

China's hospitals turn to AI to make up for doctor shortage

by Mariella Moon
We already use AI in medicine to examine medical scans and spot signs of diabetes, among other applications. In China, though, artificial intelligence can do more than just assist medical professionals: it can help alleviate the country's doctor shor...
19 Mar 07:17

The Handmaid's Tale cast, producers tease season 2: 'Anyone could die'

by Derek Lawrence

With season 2 of The Handmaid’s Tale just over a month away, the cast and producers began to pull back the cloak on the Emmy-winning series’ return at Sunday’s PaleyFest panel.

While Elisabeth Moss, Alexis Bledel, Ann Dowd, and Joseph Fiennes were unable to make it, showrunner Bruce Miller, executive producer Warren Littlefield, and the rest of the cast looked ahead to the new season. After reaching the conclusion of Margaret Atwood’s book that serves as the source material, the creative team had to find their own answers, including to the book and season 1’s big cliffhanger: Where is Offred/June (Moss) being taken?

“It was a chance to explore what my initial reaction was to the book, which was, ‘Oh my gosh, what happens next?'” Miller told EW ahead of the panel. “Certain books you really feel like the end of the story is the end of the story; here, you almost feel like the book is the beginning of the story. So we really tried to follow our own curiosity and follow what we think is cool in the book that we didn’t get the chance to explore.”

Miller assures that Atwood is “very involved” with the show and that her enthusiasm and encouragement to go past her work has given them great confidence.

“She was happy for us to have our own plan,” he shared. “So that kind of encouragement really helps, when you have an author who we respect and love to have as part of the process, to have her blessing on our continuation of her world gives you a large amount of freedom and takes a lot of that pressure off. I think a lot of that pressure is worrying about making people mad, because I don’t know about you, but I don’t want Margaret Atwood mad at me.”

Among the aspects not fully explored in the book that Miller and company were most excited to dive into were the Colonies, which will be featured in episode 2, and how Gilead came to be. “‘How did this happen? How did we go from what looks like America to Gilead?'” says Littlefield, who promises that flashbacks will unveil how it all happened. Added Miller, “It was very interesting to us how something like this happens and how does the fist close on a really basic level.”

But don’t expect the show to focus just solely on the past when there’s so much to protect in the present. As revealed in the season 1 finale, Offred is pregnant and her daughter Hannah is alive, meaning she has that much more to fight for. “The theme of motherhood is very, very powerful and important for year two,” Littlefield tells EW. “She seeks freedom for herself, for her unborn child, and for Hannah. In this explosive volatile chess game of season 2, all of her moves are about Hannah and her unborn child and what the future will be for that child. Motherhood permeates the entire year.”

Offred won’t just be dealing with being a mother in season 2 as flashbacks will delve into her relationship with her own mother, played by Cherry Jones. Other guest stars include Bradley Whitford as a Commander that comes into contact with Emily (Alexis Bledel) and Clea DuVall as her pre-Gilead wife. But as previously revealed, Emily, who was last seen being hauled away, has been sent to the Colonies, where she will be joined by fellow troublemaker Janine (Madeline Brewer). Brewer describes the area that viewers will be seeing for the first time as “aesthetically very beautiful,” but “gut-wrenchingly terrible.” This led Miller to joke about Bledel’s TV past — “It’s not Stars Hollow is it?” It’s definitely not Gilmore Girls considering Littlefield ominously teased of the show, “Anyone could die.”

As the panel wrapped, moderator Debra Birnbaum asked those onstage about the often-discussed conversation regarding the show’s eerie resonance to the current political climate as the first season debuted shortly into Donald Trump’s presidency. While Miller said he didn’t want to “mansplain” to people what they should take away from the show, many of the actresses shared how their characters helped them feel “empowered” and “bolstered” in a time of movements like Time’s Up and #MeToo. “I think she encouraged me to talk about my own #MeToo experience, and I think this show has that power,” said Brewer, with Samira Wiley adding, “We’re in the make believe business, but at the end of the day, what we’re doing can elicit real change — and I’m so proud to be a part of that.”

The Handmaid’s Tale returns to Hulu on April 25.

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