The only major quibble that I have with the film is a design decision. When it came to the costumes, sets, and even ships the film takes a minimalistic approach - probably to highlight how far in the future the story takes place. The books describe the noble houses living in much more opulence.
I actually preferred some of the production design of the Lynch film for this reason. Overall of course, the Villeneuve version is superior.
I wonder what the value proposition is for actors taking on these movies anymore.
A decent pay cheque I imagine. Also, if you've ever dreamed of being able to fly or punch a bad guy through a wall or what have you, you'll be able to live our those fantasies (and getting paid for it). In other words, it might just be a fun experience. Not everything has to be a calculated career move.
Surely she has the pull to land something better right now?
I dunno. House of the Dragon was her big break, no doubt, but she was only in a handful of episodes. She didn't break out in the way that, say, Emilia Clarke did on Game of Thrones.
I didn't think it was possible for a Broadway musicals these days to be capitalised at "only" $6.75 million. But I suppose it helps that Gutenberg is a two-person show (plus cameos) with very modest set, costume and band requirements. And as entertaining as Gutenberg is (I didn't see the Broadway production, but a local one some years ago), I hope "bare bones" doesn't become a template for future Broadway or West End musicals.
I'm really excited that Silvie Paladino will be the alternate Norma. She has one of the best voices in the country and suspect I'll prefer her Norma to Sarah Brightman.
You don't have to be interested in trains to enjoy Starlight Express, just as you don't have to like cats to enjoy Cats. Cause that's basically what Starlight Express is: Cats on wheels. Same story, except that instead of dancing you get roller skating racing. :-)
Not sure I understand the logic given that the Skydance offer has been reported as news by Bloomberg, CNBC, Fortune, Variety and other trade and business publications.
The mainstream posters for tentpoles are almost floating headshots these days, but there are more interesting variations around. I quite like the IMAX poster for Dune Part 2, just as I liked the IMAX poster for Part 1.
Lots of negativity in this thread, but that seems to be par for the course for any fandom. Personally I'm cautiously optimistic.
Skydance produced/co-produced (often partnering with Paramount) on a number of franchise movies, including Star Trek, Mission Impossible, Jack Reacher, Top Gun, GI Joe, Terminator, The Old Guard and Spy Kids. Some of their productions have been well-received (eg Mission Impossible, Top Gun Maverick) and others less so (Terminator Genysis and Dark Fate, although personally I quite liked Dark Fate). They've also produced smaller, critically acclaimed movies like True Grit, Annihilation and Air; as well as their share of dreck of course, like Geostorm.
What I think is clear though is that Skydance is primarily interested in big franchises, so if they were to acquire Paramount, I think more Star Trek movies would very likely be in the works which, as a fan, I'd be happy about. I know there's an argument that Trek is best suited to TV, but some of the best Star Trek has been big screen Star Trek. And studios are more willing these days to have franchises run across both TV and film concurrently (MCU, DC, Star Wars), granted with mixed success.
Re Larry Ellison's involvement - my guess is that he'd be a silent partner, putting some of his personal fortune - rather than Oracle's funds - to help out his son. I believe he did the same thing for his daughter, Megan Ellison, whose company Annapurna Pictures he helped fun and which went on to produce films like Her, Zero Dark Thirty, Phantom Thread and Books Smart (and the stage musical A Strange Loop). I doubt Larry Ellison will take a hands-on role in the management of Skydance/Paramount.
I saw this new version in Australia and liked it. I wouldn't describe it as a reimagining of the original production, but it's also more than just a few tweaks. The only issue I had with it was that the make up for the Beast really downplayed the beastliness. He looked more like a guy with a couple of prosthetics on his face.
If you watch the show (and I've watched it a lot) you can tell that Aaron Sorkin wasn't writing to a detailed plan. I think a lot of his ongoing storylines grew organically (and were often turned in very late, which ultimately led to him being sacked from the show), which meant he sometimes repeated, or retconned, beats, or made other mistakes.
Hartsfield's Landing was probably named after Hart's Location, another New Hampshire town that has often votes at midnight. I recall reading a story that, because of the weather, of the three towns that usually do vote at midnight only Dixville did so this year.
edit: Hrrm. Turns out that's what the linked CNN story actually says. Serves me right for not RTFA.
I think the fact that Anson Mount nailed it as Pike helped. (He followed in the footsteps of Jeffrey Hunter and Bruce Greenwood - all three Pikes have been really good.) Personally, I suspect that the more SNW edges towards being TOS the less I'll enjoy - or, more accurately, the less I'll respect - it.
Franchises have always struggled to reconcile the need to reinvent themselves on the one hand, and the need to retain those elements that attract fans to the franchise on the other. As a long-time Star Trek fan I also want the franchise to push forward and try new things (and in some ways recent shows have done so - eg Lower Decks being Trek's first sitcom), but at the same time many fans just want to see the characters that they know and love, hence the obsession with bringing back - or tying new characters to - legacy characters (ala Strange New Worlds or Picard's third season). I wish they'd kept Kirk to the very last episode of Strange New World, and was even a bit disappointed to see the TOS Enterprise appear at the end of the first season of Discovery.