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Tuesday, February 11, 2020

This Is Us producer breaks down Kate's toxic boyfriend and Rebecca's rescue mission

  • TV Show
  • NBC
  • Drama

Warning: This episode contains plots details from Tuesday’s episode of This Is Us, titled “A Hell of a Week: Part Three.”
Tuesday’s episode of This Is Us wrapped up the Big Three trilogy by wrapping up Kate in a blanket of drama and trauma.
In the present day, the woman who overcame adversity and a miscarriage has been busy figuring out how to best raise her blind son, Jack, but she felt like she was doing it as a single mom. Husband Toby (Chris Sullivan) was emotionally unavailable and checked out; as he explained, Jack’s blindness made Dad sad. So, in the Justin Hartley-directed “A Hell of a Week: Part Three,” when Kate (Chrissy Metz) signed up the gang for a retreat for other families with blind children, Toby instead fixated on a pipe dream that a medical miracle might reverse Jack’s condition and then weaseled out of attending the retreat. Stepping up in his place was Rebecca (Mandy Moore), and mother and daughter engaged in bonding moments at the weekend getaway: Rebecca prodded Kate to take the plunge into a pool, they= duo duetted on “Ironic,” Rebecca opened up about her cognitive struggle, and she reminded her stressed-out daughter of her innate strength beneath that sensitive exterior. Later, back at home, Kate gathered the confidence to tell Toby to man up in his parental duties, to which he could only muster an unconvincing “I want to.” He then told Kate that he needed to spend time with his son as she headed out to the family cabin with her brothers, whom she had told that her marriage was “two seconds from imploding.”
Late-90s Kate, meanwhile, was in even more peril. Kate (Hannah Zeile) had finally found first love, but none of the Pearsons was feeling thrilled with her choice: unsettling (ex-)record store employee Marc (Austin Abrams). And they didn’t even know exactly how toxic Marc was, as he spent the episode manipulating Kate, food-shaming her, body-shaming her, yelling at her, and acting erratically and immaturely. When the new couple headed up to the family cabin against Rebecca’s wishes and she declined to quit her record store job in solidarity, he became unhinged, driving recklessly, insulting her, throwing her out of the car, and leaving her to fend for herself on a dark, lonely road. As Kate placed a distressed pay phone call to her mother, Marc reappeared with a blanket and an apologetic face, which proved enough for her to hang up with her mother and return to his car. But that call set off alarm bells in Rebecca, so the Pearson matriarch rallied the rest of the Big Three and drove up to the cabin for a rescue mission — but who knows what awaits them at the end of this dark and winding road.
Let’s step out of the magical forest, crank up some Neil Diamond (not Urge Overkill), and call This Is Us executive producer Isaac Aptaker from a side-of-the-road pay phone to analyze the events of “A Hell of a Week: Part Three.”
ENTERTAINMENT WEEKLY: How can my first question be anything but: What the heck is Marc’s deal? He’s awful to Kate, body-shaming her one minute, controlling her the next, lashing out the next, and then comforting her and apologizing the next. Is he simply an emotional abuser, or is there more here and he has mental health issues? Alcohol seems to be in play here as well.
ISAAC APTAKER: I think he definitely has some undiagnosed mental health issues. When we started talking about this character in the [writers’] room, so many of our writers spoke up and had these stories of emotionally abusive, emotionally manipulative relationships, especially early on when people were just starting to date and sort of figuring out who is a good person to be in a romantic relationship with and who is not. So Marc is kind of a compilation of a lot of our writers’ room’s worst hits, if you will, [laughs] when it comes to early teen love.
Austin is doing such a good job. People can recognize and separate the actor from the character because he’s really bringing this guy to life, and I think he’s keeping it from crossing over into too much of a cartoon of villainous boyfriend. I think he’s doing a really, really amazing performance. But yes, Marc is rough in this episode.
We know that Kate’s family is concerned, but where is her head after everything that just happened? First love, which can be blinding, but are the scales even beginning to fall from her eyes?I think so. Kate’s a really, really intelligent woman and she knows — at least a part of her knows — that Marc is not good for her. She’s really scared in that car. She really scared when she gets left on the side of the road. And she comes so close to telling Rebecca, “I need help, I need to get out of here.” And then he turns and goes back to sweet Marc and he approaches her with a blanket. And there is a big part of her that believes that she’s in love with him. So it’s not so simple. And I think as an audience, on that phone call scene talking, you’re just hoping for her to get the words out and let Rebecca hear what she needs to hear to come rescue her daughter — and it doesn’t quite get there.
Let’s talk about this intervention that’s about to happen. It seems like Rebecca & Co. are riding in on a white horse to rescue their princess — to evoke a baby Kate analogy — but we’re guessing it won’t be that easy. How might Marc respond when he sees all these Pearsons who already don’t like him, as he knows?
It’s much more complicated than just going to rescue a princess, because this is a girl who doesn’t necessarily know she needs rescuing. Like I said, a piece of her is aware that this is toxic. But another, perhaps larger, part of her thinks, “This is the love of my life. This is the first person who’s ever told me that he loves me, who’s ever wanted to be in a relationship with me, and I don’t want to let that go.” So it’s much more complicated than just going to save someone who knows they need to be saved.
We’ve seen the impact that Rebecca had on Kate’s eating and weight issues, but what kind of scars does the outright verbal abuse that Marc is dishing out leave behind?
It’s definitely a contributing factor. There’s so many things going on inside of Kate. But a first love is so formative and so shapes the way that you see yourself. And I think that the way that Marc speaks to her and treats her has a big impact on her self-esteem and self-worth for a while going forward.
Toby is hardly the model family man right now, and he’s only activated by the idea that his son might able to see through a medical miracle. How much of this is self-absorption, and how much might his depression be a factor here, working against him?
We’ve seen Toby’s lifelong struggle with his own mental health and with depression. They were dealt such a curveball and their son was born with seriously limited vision and Kate’s been able to roll with the punches — for whatever reason she’s been able to adapt and see the silver lining and just decide to be all-in giving her son the life that he deserves. And Toby has had a much harder time with that. And I think certainly in his history and struggle with depression could be a big factor there.
While the Sad Three are at the cabin next week, will viewers also spend time with Toby and Jack? And with Gregory (Timothy Omundson) clearly serving as an emotional outlet for Kate right now, will he have some sort of interaction with Toby during this time?
Yes, we will be with Toby next week. Sully does such great work because he’s sort of left alone with a 10-month-old actor, so he’s really having to carry the dramatic load himself there — although our baby is wonderful. Gregory doesn’t make an appearance, but we tell a story that I’m really proud of how it came out. It’s a really beautiful father-son story with Toby and the baby.
Will viewers get a better sense of whether this marriage can be repaired in the next few weeks, or will that resolve more toward the season finale?Over the course of our next episodes, we’ll have a much better sense of whether Kate and Toby are going to be able to get over this immediate hurdle of “Can Toby be the father that Jack needs?”
While Toby and Kate bottom out, Rebecca and Kate have never been stronger. She picked an interesting time to confide in Kate about her cognitive issue, with all that Kate has going on. Why then? Had they just reached a new level of intimacy?
Rebecca was feeling closer to her daughter than ever. I also think that she’s been wanting to tell Kate. This is a woman who has had a long history with keeping secrets, and I don’t think she’s eager to repeat that. She doesn’t want to dump this news everyone all at once, especially Kevin, who the feeling is, he’s a bit more fragile with his new sobriety. But I don’t think that this is the woman who’s looking to keep this from her children for an extended period of time. This weekend is a road trip with her daughter. That’s where they have this really special connection in that beautiful swimming pool scene and then have a chance to have some one-on-one time and build some really special memories. It felt like the right moment for her to share it.
Next week’s episode is set at the cabin in both the present and the past. Will we start to see the beginning of the fracture between Randall (Sterling K. Brown) and Kevin (Hartley) that has been teased?
That’s something that’s more going to be growing and building over the course of our remaining five episodes. But we’ll definitely see some of the beginnings of that next week.
What words would you use to tease this intervention that’s going to be happening at the cabin in the past?
It’s explosive. Our family is feeling the way probably a lot of our audience is feeling about Kate and Marc, and they’re going to get a chance to express that.
And how would you describe the emotions that we will see in the present-day cabin story? Is it explosive in a different way?
Also a bit explosive, as we tend to do on our episodes where everyone gathers — things come to a head, some secrets are revealed. But there’s also this really beautiful story that is about this time capsule that the Pearsons bury at the cabin in the early teenage years and how that comes to play in the present.
Kevin is now the only Big Three member who doesn’t know about Rebecca’s issue. We’re led to believe that the fracture between Kevin and Randall at least partially involves this issue. Might Kevin also have to resolve anger with Kate, or is there just much more to this story that we don’t know yet?
There is much more of the story that we don’t know. But there’s certainly a brewing tension that we’ll see over the next handful of episodes surrounding Rebecca and her mental health.
What were the conversations like in the writers’ room about Rebecca being invigorated by her diagnosis? It seems like a real breakthrough moment for her, and viewers got the old Rebecca back, albeit with the knowledge that tragedy looms over them in the future. This might be the most optimistic we’ve seen her since before Jack’s death.
Yeah. Mandy’s found this whole new color to the older Rebecca character. Up until now, she’s always played her with sort of a bit of a stillness and a sadness and a quietness, and even holds her body a little bit more sort of hunched and restrained. And although there’s much to be sad about with this diagnosis, it is a slow-progressing disease and she does have time. And it has kind of sparked this new lust for life in her and this desire to appreciate her family and the world around her while she could still take it in.
“You’re fat, I’m ancient, we’re gorgeous, let’s go swimming!” How did that come about, and what were Mandy and Chrissy’s reactions to that bold line?
That’s all of our favorite line of the episode. We’ve told so many mother-daughter stories where Rebecca is tiptoeing around Kate’s weight and her feelings about it and perhaps her role in causing some of that weight gain. And it felt like this was this moment where she has this new lease on life and she’s just going to call it like she sees it. “This is who we are, Kate. That pool is beautiful and we’re going to out there and we’re going to enjoy it, damn it!” It’s so surprising, but I think it’s exactly what Kate needed in that moment.
Let’s talk about how that karaoke scene and song selection came to life. Fans have been asking for a duet for a while. Was that something that Chrissy and Mandy had been talking about on set too?
Yes. They’ve been asked, each in interviews a thousand times, “Are you guys ever going to do a duet?” So they know it’s something people have really wanted. Then in terms of song choice, we knew that we wanted it to be a ’90s song, perhaps something that they would have listened to when Kate was living with Rebecca in that teenage timeline. So Elizabeth [Berger, This Is Us executive producer] got on a group text with Mandy and Chrissy, and we just kind of pitched songs back and forth for a day until we landed on that one that we were all really excited about.
We see Rebecca stepping up in this episode in different timelines, and she’s always been the secret MVP: Most Valuable Pearson. It’s nice to see Jack directly recognize that at the end of this episode. Was that important to you to put a finer point on a message that the series has shown — just how critical she was to the survival of this family, and that she wasn’t always positioned to get the glory like Jack?
Absolutely. And we’ve hinted that in less direct ways before. There’s the episode after Jack’s funeral where she’s driving the family in the car over the bridge, even though that’s her big fear. And this is another one that’s a bit more direct where Jack speaks to it and says, “This is the real glue of this family.” In a lot of ways, he gets all the glory of the perfect dad and the guy who keeps it all together. But there were many, many years after he was gone where it was really Rebecca. And this week sets up our next episode where she really is a hero.

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Wonder Woman 1984: How a top-secret love story and brand-new armor promise to make the sequel sing

Gal Gadot is waiting for the boosh. Eyes narrowed, bouncing lightly on her toes — float like a butterfly, sting like an Amazonian queen — she moves soundlessly through the chilled air of cavernous studio outside London, her shoulder blades blooming into a set of molten-gold wings.
When the explosion comes, it’s muffled, but the soldiers who emerge from the blast in full combat gear don’t look like they’re here to make friends. As she dispatches them one by one, it’s impossible not to imagine how many of them are experiencing the highlight of their working lives in this very moment: men who will spend the next 40 years telling every first date and airplane seatmate about that one time they were annihilated by the warrior princess of Themyscira.
“Ahhh, so uncomfortable!” Gadot says with a good-naturedly grimace after the scene finally wraps, shrugging off her shiny albatross and slipping into the plush gray robe and Ugg boots that wait for her just off stage. It’s the closest the 34-year-old onetime Miss Israel will come to uttering an uncheerful word, even after long hours spent in a wingspan that defies the natural laws of both orthopedics and most actual birds.
© 2020 Warner Bros. Ent. All Rights Reserved TM & © DC Comics
Endurance, though, is built into the brand: A months-long shoot has already hopscotched from the sunbaked Spanish cliffs of Tenerife to suburban Virginia and now back to the bone-chilling damp of England in early winter. On the set of 2017’s Wonder Woman, Gadot remembers, she and costar Chris Pine would sing Foreigner’s “Cold as Ice” to each other between takes to stay warm; in the follow-up, due June 5, the action moves from the grim grayscale battlefields of World War I to the neon era that birthed many a hair band — and the movie’s titular star, too.
“I was born in ’85, but it’s funny, I really do remember,” Gadot says in her lightly accented English, settling into a canvas-back chair steps from where she just brought a battalion to its knees. “Probably more so because of my parents, but it was a such a standout decade as much as it goes with fashion, music, politics. And the look of everything! The colors.”
If you had to pick just one from the palette, you might want to start with green: the color of money, of course, but envy, too. “In 1984, America was at the peak of its power and its pride,” says associate producer Anna Obropta. “Apple computers and parachute pants, wealth, commercialism, glamour, even violence — everything was larger than life. It was a decade of greed and desire, a time of ‘Me, me, more more more.’”
Returning director Patty Jenkins, whose sure hand helped guide the first film to near-universal acclaim and more than $800 million at the box office, elaborates: “It was a time where no cost had shown up yet. There was the fear of the Cold War,” she concedes. “But it really was like, ‘This is gonna go on forever!’ The feeling that the world was this cornucopia that would never stop giving was so enormous.”
Not so much, maybe, for Gadot’s Diana, a woman forged in the last movie’s era of scarcity and sacrifice. Now working at the Natural History Museum in Washington, D.C., she lives quietly, still mourning the loves she’s left behind. “She has not only had the loss of [Chris Pine’s] Steve Trevor,” explains producer Charles Roven (American Hustle, the Dark Knight trilogy). “She’s lost nearly all the people that are important to her because they’re not immortal, and her life is actually quite lonely and spartan. In fact, the only joy that she gets out of it is when she’s actually doing something for people, if she can help those in need.”
In this go-go decade, though, the line between want and need is easily blurred. Enter Maxwell Lord, a self-made mogul-slash-guru played as a sort of insidious mix of ’80s icons both fictional (Gordon Gekko) and real (Tony Robbins) by Pedro Pascal. “Max is a dream-seller,” says the 44-year-old actor, best known for his turns on NarcosThe Mandalorian, and Game of Thrones. “It’s this character who encompasses a component of the era which is, you know, ‘Get whatever want, however you can. You’re entitled to it!’ And at any cost, ultimately, which represents a huge part of our culture and this kind of unabashed — it’s greed,” he breaks off, laughing. “It’s f—ing greed, of course. But it’s also about ‘How do you be your best self? How do you win?’ So he’s definitely the face of that version of success.”
If Diana is immune to Lord’s charms, her new co-worker Barbara Minerva — a shy, socially awkward gemologist played with stumbling-foal charm and a frizzled perm by Kristen Wiig — is not. The comic-book faithful will know what’s coming: a transformation that turns a rare friend into one of Wonder Woman’s most formidable nemeses. It was less familiar, though, to the actress portraying her: “I did not really know so much about Cheetah,” the longtime SNL star, 46, admits. “Before I even talked to Patty [Jenkins], there was an idea that maybe it might be about being a villain for the movie, so I went online and looked at all the villains of Wonder Woman to try to figure out which one, because I was so excited,” she laughs. “And I was really, really happy to find out it was her.”
That meant doing serious stunt and wirework for the first time in her career (“I mean, I was sore for about eight months. A lot of ice baths”) and also taking on what is essentially two separate roles: “I’ve never really played someone who walks into the room and owns it — especially when she starts out so insecure and self-deprecating,” she confesses. “We didn’t want to see Barbara in Cheetah, and I didn’t want to see Kristen in Cheetah, either.”
Warner Bros. Pictures
Jenkins never had any doubt that Wiig was right for the part. “In the lore, Cheetah is often someone who’s friends with Diana but jealous of her,” she says. “And I feel like Kristen’s playing a character who’s both ends of the spectrum — she’s your warm, funny friend who’s kind and interesting and then can transform into something completely different. Yes, she happens to be a woman, but she’s straight out of the Gene Hackman Superman school of great, funny, tremendous actors. I don’t think of her being a female villain, although she is. I feel that way about Wonder Woman, too. The female component of it is huge, but she’s also just a hero, a universal hero.”
And if Diana has to face not one formidable villain but two, doesn’t a demigoddess deserve a little backup? Pine’s Steve Trevor will be returning, though there is not a Lasso of Truth on this planet that will get anyone in the cast or crew to reveal exactly how. Just know that her fighter-pilot paramour has somehow made the journey through space and time to find himself by her side once again — and if he has to strap on a fanny pack to do it, well, that’s just what a real man does. “In the first movie, I played the world-weary soldier who has seen all the depravity that humankind is capable of displaying,” says the Outlaw King star, 39. “And in this one I get to be much more wide-eyed and joyful. My role is really just as a friend, lover, boyfriend-cum-bodyguard who’s trying his best to help Diana on her mission. I’m like the Watson to her Holmes.”
Though there’s much more than tweedy repartee in the playful romantic chemistry between Pine and Gadot that marked the first film, and set it apart from so many of its action-focused peers. That connection — and the easy, equal give-and-take of their onscreen banter — is owed at least in part to plain luck: “There was no chemistry test!” says Gadot. “Honestly, we just had it…. And where other men could be intimidated by the fact that they’re not, you know, the hero hero that men usually are, with Chris he enjoys it, and it challenges him in a way that is so much fun and so funny.”
That, says Jenkins, is exactly why she chose him: “He’s not beta at all. He’s a super alpha who can absolutely wear his discomfort on his sleeve. So, from day one, I was always saying that it should almost be like Wonder Woman meets Indiana Jones, where Indiana would never be emasculated. Chris just very naturally has that quality. You can tell by meeting him that he’s warm and he’s chill and he truly appreciates women.”
Pine appreciates, too, that the movie’s take on romance isn’t exactly typical of the genre. “I think sometimes superhero films may feel they have to fit in a love story just to tick that box,” he says. “Whereas in this, it’s part and parcel of the spine of the lead character. And that is Wonder Woman — she leads with love and compassion and protectiveness, and these qualities that I think are nurtured by a good strong relationship.”
Clay Enos/Warner Bros.
But even love, of course, can’t conquer all — at least not without a little heavy metal. Cue the Golden Warrior Armor made iconic in the comic books, which makes its first big-screen appearance here: Jenkins found a reference of soldiers in ancient Rome to help solidify the look of the shield; Oscar-winning costume designer Lindy Hemming (a veteran of many Bonds and Batmans) spent long hours working with designers and artisans to nail down multiple iterations of the famous wings.
Some are made from a spine-straining carbon fiber weighing upwards of 44 pounds; one set, destined to be CG’ed later, looks almost tablet-like, a sort of platinum-dipped Ten Commandments; another like an extremely blingy set of Venetian blinds. But most important, Hemming says, was to make sure that “in the light it’s always liquid, moving. There’s a feeling of non-flatness…. Because in the comics, she does fight her mightiest battles in the golden suit.”
Even when the stakes are high, though, certain occasions still call for the classic red and blue. One of the movie’s earliest scenes finds Diana coming to the rescue in the fairest ’80s destination of them all, the mall. Award-winning production designer Aline Bonetto, who oversaw the sets on the last film (she’s also responsible for the signature look of 2001’s Amélie) took over a recently closed shopping center in Alexandria, Va., and built out 65 storefronts, including a number of dearly departed brands (rest in peace, WaldenBooks). “Seeing the old round letters on the Gap logo!” Wiig sighs happily. “It was like I had stepped back into my childhood. I was such a mall girl.”
There’s a major set piece too, in the only place in America that may be more exalted than a good galleria: the White House. At the time of EW’s visit, a partial replica of America’s First Home had just withstood a major showdown between Wonder Woman and Lord. Paintings hang askew, marble columns are toppled, and drywall litters the marble floors; it looks like either a frat party or a roving pack of gremlins came for the Lincoln Bedroom. “It’s funny,” Gadot says of shooting scenes like these with her costars, “when we do the fight stuff, we go full-blown and we’re like, super badass. But then when they cut we go, ‘Oh my God, are you okay, Booby? Oh no! Did I scratch you, sister?’”
Things are much calmer on the museum set, a sleek modern structure that contains Barbara and Diana’s offices, and in the latter’s apartment, a sparsely decorated space that bears the tidy but faintly depressing traces of a lonely life: clean lines, bare kitchen, neat wardrobe; its only real personal touch, tellingly, are the handful of black-and-white photos perched on a side table; it’s clear that in this space, she’s thousands of literal and figurative miles from home. Though fans will get a chance to see their warrior princess back on the turquoise shores of Themyscira, at least in the form of a flashback — reunited with her mother (Connie Nielsen), and aunt (Robin Wright) for what might best be described as a sort of Amazon Olympics.
The competition is equally fierce if a lot less friendly later in the film, during an explosive high-speed chase through a Mad Max-style desert. (If it’s not exactly Fury Road, it definitely doesn’t look like a breezy one.) But for Gadot, who gave birth to her second daughter just weeks before Wonder Woman’s release — her five-months-pregnant belly, famously, had to be greenscreened out in reshoots — the long months of training and bruisingly elaborate fight sequences are worth the personal costs.
“I think that when I just started, I didn’t understand the magnitude and how much this character means to people,” she says. “I was feeling like the little girl who’s supposed to climb the Kilimanjaro mountain, scratching my head and thinking, ‘How the hell am I going to do this?’ But now I feel like I know where I’m going and I know what we’re doing. If in the first movie Diana didn’t understand the complexities of mankind, now she completely understands it…. She loves people, and I think that’s the key to this character, you know? She has the powers of a goddess, but she has the heart of a human.” And the wings, too, to make it fly.
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Game of Thrones star Nathalie Emmanuel joins Kevin Hart's Quibi action series Die Hart

Nathalie Emmanuel is heading from the fantasy kingdom of Westeros to another mystical land with an intriguing name: Quibi.
The Game of Thrones and, more relevantly,Fast & Furious star is joining Kevin Hart’s action-comedy series Die Hart for the short-form streaming service. The show follows the comedian, playing himself, on a quest to become a leading-man action star. Before he can get his shot at such a part, Hart must train at the world’s greatest action star school, run by a deranged coach (played by John Travolta). Emmanuel will play a “tough-minded rival student” who pushes Hart to his limits as he endures a series of hilariously over-the-top action sequences.
Quibi, set to launch April 6, will offer “quick bites” of content for mobile viewers with episodes running 10 minutes or less. Numerous projects from high-profile talent are in the works for the platform, including series from Steven Spielberg, Dwayne Johnson, and Sam Raimi.
Following Quibi’s April debut, Emmanuel will next be seen in the Fast saga’s upcoming ninth installment, hitting theaters May 22. Perhaps Hart can finish his training in time for the tenth entry.
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Is it 2004 again? A Neopets animated TV show is in the works

Did we suddenly transport back to 2004?
Neopets, the game that many 2000s kids lost hours to playing, will soon be coming to television.
“Neopets TV show? It’s happening,” the company’s official Twitter account shared on Monday, along with news that it would be collaborating with Beach House Pictures on the project.

The series, from Beach House and Neopet’s owner JumpStart Games, is the first Neopets animated series based on the online game. Targeted toward children ages eight to 12, the series will develop new stories and characters. The pair is currently seeking co-production and broadcast partners for the project, which is in the early stages of development, as its format and style aren’t finalized.
Launched in 1999, Neopets is an interactive world that allows users to care for their own virtual pets, play games for Neopoints, complete quests for avatars, and engage with other players. Around its peak in the early 2000s, it was estimated that Neopets was netting 2.2 billion page views per month and 25 million members worldwide.
Viacom Network purchased the game in 2005 and expanded the franchise, but gradually the site’s momentum slowed down. In 2014, JumpStart bought the company, and the new series is part of the company’s larger goal to revitalize the brand this year with a reimagined Neopets website, a new mobile game, and licensed merchandise.
“The property is popular across age targets and since the ’90s its fans have identified it as a fun and safe space, and we want to bring that to a new generation of kids,” Beach House’s creative director Donovan Chan told Kidscreen. “It’s rare to come across a property with global reach, which has a great historical DNA, but is also a blank slate for creatives because it doesn’t already have a series.”
The new Neopets series also marks one of Beach House’s only animated series, as the production company is best known for making live-action puppet shows, including Hiccup & Sneeze and Teddies.
We’re all for a Neopets renaissance — after all, scrunchies and All That have both made comebacks. But first things first: we gotta go feed our Korbat. It’s been 16 years.
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Monday, February 10, 2020

Oscars 2020: See the full winners list

Kết quả hình ảnh cho Oscars 2020: See the full winners list

     Hollywood’s biggest night proved to be a huge one for Parasite.
Bong Joon Ho’s black comedy, class-warfare thriller soared from the basement to the penthouse while tearing down all sorts of boundaries at the host-free Oscars on Sunday night. The awards-circuit darling became the first South Korean film to win Best Original Screenplay and (the newly renamed) Best International Feature before Bong went even bigger, triumphing in the Best Director category. And then Parasite went next level by scooping up its fourth Oscar, this time for Best Picture, edging out such competition as 1917 and Once Upon a Time in Hollywood, and becoming the first foreign language film to win this category.
Joker, which entered the night leading all contenders with 11 nominations, managed to convert only two, though one was in a key category: a Best Lead Actor victory for Joaquin Phoenix. (With Renée Zellweger following Phoenix’s win with a Best Lead Actress trophy for Judy, the key prizes at Screen Actors Guild Awards — which Phoenix and Zellweger also claimed  — proved once again to be a reliable Oscar bellwether. Twenty-two of the last 26 lead actors have now gone from the SAG podium to the Oscars’, while 19 of the 26 actresses followed that same path.)
Three films entered the 92nd Academy Awards — which ABC broadcast live from Hollywood’s Dolby Theatre — with 10 nominations, tied for second place. The Irishman was whacked all together, becoming the only Best Picture nominee to come up winless. Once Upon a Time in Hollywood claimed two trophies, including a night-starting win for Brad Pitt in the Best Supporting Actor category. 1917 scooped up three awards, for sound mixing, cinematography, and visual effects.
In other trophy news, Ford v Ferrari emerged victorious in two editing categories: sound and film. And while Scarlett Johansson couldn’t convert her rare acting double nominations (for Marriage Story and Jojo Rabbit), her Marriage costar Laura Dern did wind up on stage in victory, as did Jojo Rabbit writer-director Taika Waititi. Scroll down to see who else went home clutching a trophy (or trophies) on Oscar night.
Best Actor in a Supporting RoleTom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
WINNER Brad Pitt, Once Upon a Time in Hollywood
Best Animated Feature FilmHow to Train Your Dragon: The Hidden World, Dean DeBlois
I Lost My BodyJeremy Clapin
Klaus, Sergio Pablos
Missing Link, Chris Butler
WINNER: Toy Story 4, Josh Cooley
Best Animated Short FilmDcera, Daria Kashcheeva
WINNER: Hair Love, Matthew A. Cherry
Kitbull, Rosanna Sullivan
Memorable, Bruno Collet
Sister, Siqi Song
Best Original ScreenplayRian Johnson, Knives Out
Noah Baumbach, Marriage Story
Sam Mendes, Krysty Wilson-Cairns, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
WINNER: Bong Joon Ho, Han Jin Won; Story by Bong Joon Ho, Parasite
Best Adapted ScreenplaySteven Zaillian, The Irishman
WINNER: Taika Waititi, Jojo Rabbit
Todd Phillips, Scott Silver, Joker
Greta Gerwig, Little Women
Anthony McCarten, The Two Popes
Best Live-Action Short Film“Brotherhood”
“Nefta Football Club”
WINNER: “The Neighbors’ Window”
“A Sister”
Best Production DesignThe Irishman, Bob Shaw and Regina Graves
Jojo Rabbit, Ra Vincent and Nora Sopkova
1917, Dennis Gassner and Lee Sandales
WINNER: Once Upon a Time in Hollywood, Barbara Ling and Nancy Haigh,
Parasite, Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee
Best Costume DesignThe Irishman, Sandy Powell and Christopher Peterson
Jojo Rabbit, 
Mayes C. Rubeo
Joker, Mark Bridges
WINNER: Little Women, Jacqueline Durran
Once Upon a Time in Hollywood, Arianne Phillips
Best Documentary Feature
WINNER: American Factory

The Cave
The Edge of Democracy
For Sama
Best Documentary Short SubjectIn the Absence
WINNER: Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Cha-Cha
Best Actress in a Supporting RoleKathy Bates, Richard Jewell
WINNER: Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell
Best Sound Editing
 v Ferrari, Don Sylvester
Joker, Alan Robert Murray
1917, Oliver Tarney and Rachel Tate
Once Upon a Time in Hollywood, Wylie Stateman
Star Wars: The Rise of Skywalker, Matthew Woods and David Acord
Best Sound MixingAd Astra, Gary Rydstrom, Tom Johnson and Mark Ulano
Ford v Ferrari, Paul Massey, David Giammarco and Steven A. Morrow
Joker, Tom Ozanich, Dean Zupancic and Tod Maitland
WINNER: 1917, Mark Taylor and Stuart Wilson
Once Upon a Time in Hollywood, Michael Minkler, Christian P. Minkler and Mark Ulano
Best CinematographyRodrigo Prieto, The Irishman
Lawrence Sher, Joker
Jarin Blaschke, The Lighthouse
WINNER: Roger Deakins, 1917
Robert Richardson, Once Upon a Time in Hollywood
Best Film Editing
WINNER: Ford v Ferrari, Michael McCusker and Andrew Buckland

The Irishman, Thelma Schoonmaker
Jojo Rabbit, Tom Eagles
Joker, Jeff Groth
Parasite, Jinmo Yang
Best Visual EffectsAvengers: Endgame
The Irishman

The Lion King
WINNER: 1917
Star Wars: The Rise of Skywalker
Best Makeup and Hairstyling
WINNER: Bombshell, Kazu Hiro, Anne Morgan and Vivian Baker

Joker, Nicki Ledermann and Kay Georgiou
Judy, Jeremy Woodhead
Maleficent: Mistress of Evil, Paul Gooch, Arjen Tuiten and David White
1917, Naomi Donne, Tristan Versluis and Rebecca Cole
Best International Feature FilmCorpus Christi (Poland)
(North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
WINNER: Parasite (South Korea)
Best Original Score
WINNER: Joker, Hildur Guðnadóttir

Little Women, Alexandre Desplat
Marriage Story, Randy Newman
1917, Thomas Newman
Star Wars: The Rise of Skywalker, John Williams
Best Original Song“I Can’t Let You Throw Yourself Away,” Toy Story 4
WINNER: “(I’m Gonna) Love Me Again,” Rocketman
“I’m Standing With You,” Breakthrough
“Into the Unknown,” Frozen II
“Stand Up,” Harriet
Best DirectorMartin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
WINNER: Bong Joon Ho, Parasite
Best Actor in a Leading RoleAntonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
WINNER: Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes
Best Actress in a Leading RoleCynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
WINNER: Renée Zellweger, Judy
Best PictureFord v Ferrari
The Irishman
Jojo Rabbit
Little Women
Marriage Story
Once Upon a Time in Hollywood
WINNER: Parasite
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