#netflix-ripley

#netflix-ripley

Expecting logic from a movie with the line, 'Mommy's got to fight some f*cking sharks' is always going to be a losing proposition. The problems begin at the script level.

For the longest time, if a woman were present, it was as either a helpless sexualized object to be overcome like an obstacle, or won like a trophy.

The new Spanish language series Dear Killer Nannies manages to find a new and unexpected way into the life of an archetypal villain, focusing very little on the bloodshed that has made his life so ripe for movies and television.

Himesh Patel has been cast as the co-lead of Ryan Coogler's upcoming reboot of the classic sci-fi series, which is currently in development at Hulu.

At the same time, the narrator is taken with her new colleague, Vlad, who is married to fellow professor Cynthia. One day, the narrator and her adult daughter, Sid, follow John's car and see him meeting with Cynthia at the school. Believing that they're having an affair, the narrator resolves to act on her obsession with Vlad.

Kick off with Ridley Scott's 1982 OG Blade Runner: The Final Cut, which stars Harrison Ford as a special agent on a mission to exterminate escaped androids. Ford is joined by Ryan Gosling in the Denis Villeneuve-directed Blade Runner 2049, which is sure to whet your appetite for Dune: Part Three - hitting cinemas this December.

I was floating around this idea in my head, I knew I wanted to tell a story about the last 24 hours of the simulated mission as part of the Army Ranger selection program. Then I had this horrific nightmare where I was being stalked in a forest with rain and lightning, and I just saw the foot of this giant metallic beast, and it was stalking me, and it had this laser that was sweeping over.

Andy and Barbara are hard at work trying to come up with an idea for a story they'd want to tell for another season. It's not limbo other than they need to land on something they're excited by creatively. We'll be there.

The Rip is the Netflix thriller of the moment, and frankly, it's a very good one. It's a new R-rated affair with Ben Affleck and Matt Damon, in which the two Boston sons play corrupt Miami cops who wrestle over the seizure of $20 million in cartel money. It isn't a cinematic revolution by any stretch. But if you're mindlessly browsing Netflix and need something spicy to keep you from doomscrolling, The Rip is just what the doctor ordered.

It's a simple but effective premise: Your hero dies. He awakens, only to relive his last day. He dies again. Over and over, this cycle happens until our hero has conquered the time-loop he's stuck in, having become stronger, faster, and wiser in the thousands of times that he's been resurrected. It's the video game conceit, as a thrilling alien invasion story.

Though Tattle TV - a UK-based streaming platform created by filmmakers Philip McGoldrick and Marina Elderton - features a reality dating series about dog-owners and a modern drama about a female MMA fighter, the company's latest debut is a vertically-oriented edit of Alfred Hitchcock's silent film The Lodger: A Story of the London Fog. Similar to other microdrama apps, Tattle TV splits all of its content into short segments that can be purchased individually using an in-app currency (Tattle Coins).

We're deep into Strangers lore now, but last girl standing Maya (Riverdale graduate Madelaine Petsch, who surely hoped this was her Neve Campbell moment) continues to scurry about a devout woodland community like a bloodied fieldmouse with resting iPhone face; the masked thrill-killers previously three, now two have now gained ulterior motives for pursuing her. Also present: tatted survivor Gregory (Gabriel Basso, who must have been hoping for more to do) and ever-shifty Sheriff Rotter (Richard Brake), whose link to the killers is finally made.

I posted a rave review of the new Sam Raimi film, Send Help, the other day and triggered a debate I didn't expect: is it OK for Christians to watch horror films? Send Help a gore-laced plane-crash survival face-off, according to the Guardian review (which was less kind than mine) is more comedy-horror than horror, or maybe horror/thriller. But there's definitely horror there you get the point.

Each series explores technology that feels just one step ahead of reality. In the era of AI, it feels more and more timely. Ben does a lot of research and we have advisers who inform us about the latest developments. Not just from the Met and counter-terror but military consultants as well. They're banks of information and a lot more open than you'd expect because it's all off the record.

Starting in 2019, the series has charted a timeline in which the USSR beat the US to the Moon in 1969, and then explored how various dominoes fell after that point. From an alternate 1980s featuring a functional Moonbase to landing on Mars in the 1990s, and now, with Season 5, a full-on Mars rebellion looming, this show is as thought-provoking as it is bold.

What do you get when you cross an all-women dance troupe with a rebellion against Catholicism and erotic '90s thrillers? Something supremely queer, I hope. In the words of Ayo Edebri: I'm simply too seated. This is The Body, a new Netflix psychodrama from queer writer-director and Blame actress Quinn Shephard, starring none other than The Traitors ' sapphic supreme, Gabby Windey (plus a host of other very talented stars) Announced back in October, the eight-part show is set to further the fascination with "raunchy" coming-of-age, sports-ish series when it's released later this year, and with a wink-wink-nudge-nudge approach to religion, too.

I try to be a sophisticated TV viewer. I watch as many miniseries as I can, keep up to date with the latest in Prestige TV, and make sure I don't miss out on any sleeper hits. However, I'm also self-actualized enough to admit that I love my fair share of slop. I religiously watch RuPaul's Drag Race, 90 Day Fiancé, and whatever weird reality craze has grasped pop culture.

To everything, there is a season, and for a long time in television history, every show had its own season. Some were fall shows, some were spring shows, and either way, you could count on a brand-new batch of episodes every year. But with the larger budgets and production values of streaming, years between seasons (and no particular rhythm to their releases) has become the norm.