Steven Spielberg only began working on The Post in late February and shooting it in May and yet ten months after that whirlwind creative process began, its now arrived in theaters as one of the years most acclaimed films (and leading Oscar contenders). Assembling such an impressive production in that brief time frame, replete with an all-star cast led by Meryl Streep and Tom Hanks, is a feat that few cinematic artists could pull off, and proves that, at age 71, the legendary director is still as formidable a behind-the-camera talent as ever.
Which is good, because his next project may be the most difficult one of his career.
Im speaking about Ready Player One, Spielbergs adaptation of Ernest Clines 2011 novel, which was shot in late 2016 and has been in effects-heavy post-production ever since and which will debut in theaters on March 30, 2018. Given how much of that tale takes place in virtual environments (and with outlandish fictional characters) that could only be created via computer animation, itll be the filmmakers largest foray to date into a digitally enhanced live-action realm. An adventure that spans vast make-believe universes culled from our collective pop-culture memory, Clines saga is a veritable smorgasbord of references to past TV shows, video games and movies (including some by Spielberg himself). Its a saga in which the boundaries between the real and the unreal have been wiped away, replaced by a new world order that stipulates that anything is possible.
Its also a terribly written piece of adolescent fantasy that, at heart, exemplifies everything wrong and repellent about modern nerd culture.
Clines story concerns a boy named Wade Watts who, in a 2044 America ravaged by war, energy shortages and environmental collapse, spends most of his days in a free virtual simulation called the OASIS, which was created by a Steve Jobs-like genius named James Halliday. When Halliday dies, he leaves behind a message revealing that somewhere deep inside the OASIS, hes hidden an Easter Egg (i.e. a special, secret surprise), and the person who finds it will be granted his entire fortune as well as full control of the OASIS. This sparks a years-long quest by all of mankind to find the three keys that will lead to the egg. And its a mission that invariably leads orphan Wade, playing in the OASIS as an avatar named Parzival, to try to unlock the riddles and beat the challenges left by Halliday, all while both collaborating with a group of comrades (including a girl he loves named Art3mis), and battling IOI, an evil anti-Net Neutrality-style corporation that wants to find the egg and turn the OASIS into a profit machine.
On the face of it, Ready Player One functions as a serviceable tween sci-fi hero quest. However, it uses its premise as a means of reveling in the 1980s entertainment that defined Clines life since, as it turns out, Halliday was fixated on (and made the OASIS a paean to) that decade, thus motivating Wade and the rest of his fellow treasure hunters to study and memorize everything 80s-related in order to succeed. The result is a stunted-adolescent story in which theres nothing greater than being an authority on Family Ties, Dungeons & Dragons, WarGames and arcade classics like Joust and Pac-Man, to name only a few of the myriad properties about which Wade proudly boasts hes an expert. To be a true champion in Clines novel requires an encyclopedic knowledge of the stuff that the author himself thinks is the apex of human civilization namely, the video games and sitcoms and teen comedies he grew up adoring.
Ready Player One validates being the sort of obsessive-compulsive geek that views Comic-Con as nirvana, and reconfigures the nerd stereotype a girlfriend-deficient loner who plays online games alone in his moms basement into a peerless paragon of all-around sexy-cool-awesomeness. Wade admits that Online, I didnt have a problem talking to people or making friends. But in the real world, interacting with other peopleespecially kids my own agemade me a nervous wreck. When it comes to Hallidays favorite arcade titles, To me, they were hallowed artifacts. Pillars of the pantheon. When I played the classics, I did so with a determined sort of reverence. And later, during an argument with Art3mis, whom he has a serious crush on, he has the following exchange:
She shook her head. You dont live in the real world, Z. From what youve told me, I dont think you ever have. Youre like me. You live inside this illusion. She motioned to our virtual surroundings. You cant possibly know what real love is.
Dont say that! I was starting to cry and didnt bother hiding it from her. Is it because I told you Ive never had a real girlfriend? And that Im a virgin? Because
Of course not, she said. That isnt what this is about. At all.
Despite being a dorky kid whos never gotten laid and whose entire existence is spent hooked up to VR gear and shunning the real world he goes to school, hangs out with friends, dates and even orders food via the OASIS Wade is treated by Cline as an ideal: a courageous, quippy boy who prevails against insurmountable odds because hes watched Monty Python and the Holy Grail exactly 157 times. I knew every word by heart. Ready Player One is the pinnacle of nerd wish-fulfillment, one that coddles its target-audience readers with the notion that being an anti-social hermit is anything but an intellectually empty and alienating endeavor. On the contrary! Its the way you become the most powerful person in the world or, at least, the virtual world, where you dress yourself in Gandalf robes, fly spaceships, and be an invincible Han Solo wizard deity dork whos beloved and revered by all.
That includes by the ladies, of course, since Ready Player One proffers the in-your-dreams idea that Wades geekiness is catnip to female gamers, who are naturally strong, beautiful and unable to resist the charms of a guy whos literally shaved his head and locked himself away in a room for months on end to travel around virtual planets modeled after Firefly and the music of Pat Benatar. As Wade says about his darling Art3mis, We talked for hours. Long, rambling conversations about everything under the sun. Spending time with her was intoxicating. We seemed to have everything in common. We shared the same interests. We were driven by the same goal. She got all of my jokes. She made me laugh. She made me think. She changed the way I saw the world. Except, of course, that she doesnt change his worldview at all; rather, his incomparable nerd wisdom is what changes her specifically, into someone who sees him as actual boyfriend material. Which happens, after doing eye-roll-worthy things like this:
Art3mis and I even teamed up for a few quests. We visited the planet Goondocks and finished the entire Goonies quest in just one day. Arty played through it as Martha Plimptons character, Stef, while I played as Mikey, Sean Astins character. It was entirely too much fun.
As if all this fairy tale geekiness playing classic coin-ops to unlock new missions; experiencing interactive movies from the protagonists first-person perspective; fighting large-scale battles full of John Woo-ish gunplay and Ultraman-style robots werent enough to make Ready Player One an unbearable celebration of nostalgic juvenilia, the novel also turns out to be a clumsily composed book marked by its protagonists smarty-pants voice. Wades obnoxious know-it-all attitude permeates the proceedings, as when he expounds on his limitless and greater-than-you 80s-music expertise:
I memorized lyrics. Silly lyrics, by bands with names like Van Halen, Bon Jovi, Def Leppard, and Pink Floyd.
I kept at it.
I burned the midnight oil.
Did you know that Midnight Oil was an Australian band, with a 1987 hit titled Beds Are Burning?
Yes, actually, most people did know that, but thanks for asking, Wade, you self-satisfied little shut-in. Yet reading Ready Player One, its not Wade for whom one feels the most contempt; its Cline. Just as Wade uses his Parzival avatar to create a perfect version of himself, so Cline does the same with Wade since Wades boundless, super-radical-amazing 80s erudition is really Clines, and something the author cant help but brag about in detail. When Wade boasts about his virtual car (my time-traveling, Ghost Busting, Knight Riding, matter-penetrating DeLorean) one can practically hear Cline squealing with delight over the idea of owning such a fit-for-a-fourth-graders-imagination mash-up vehicle. Worse, though, is when Cline uses Wade to forward his own opinions on God and the afterlife (obviously bullshit, noobs!), or about sex, such as in this historically awful passage:
I felt no shame about masturbating. Thanks to Anoraks Almanac [Hallidays compendium of 80s favorites], I now thought of it as a normal bodily function, as necessary and natural as sleeping or eating.
AA 241:87I would argue that masturbation is the human animals most important adaptation. The very cornerstone of our technological civilization. Our hands evolved to grip tools, all rightincluding our own. You see, thinkers, inventors, and scientists are usually geeks, and geeks have a harder time getting laid than anyone. Without the built-in sexual release valve provided by masturbation, its doubtful that early humans would have ever mastered the secrets of fire or discovered the wheel. And you can bet that Galileo, Newton, and Einstein never would have made their discoveries if they hadnt first been able to clear their heads by slapping the salami (or knocking a few protons off the old hydrogen atom). The same goes for Marie Curie. Before she discovered radium, you can be certain she first discovered the little man in the canoe.
Even for someone who grew up in the 80s, and who loved many of the games and films that Wade himself reveres, Ready Player One resounds as the work of a man-child who subpar prose aside believes that his most cherished old-school cartoons, comic-books and video games arent just worthwhile; theyre all that matters, and should naturally be the cornerstone of society. Its a lionization of immature things (and immaturity) as an end to itself, rather than as the building blocks of more mature and worthwhile creations. When, late in the novel, Art3mis chides her IOI adversaries for failing to figure out a puzzle by stating, DilettantesIts their own fault for not knowing all the Schoolhouse Rock! lyrics by heart. How did those fools even get this far?, Cline once again makes plain that, above all else, he values those items prized by his seven-year-old self. Who was, like most seven-year-olds, a know-nothing.
In light of Ready Player Ones cringe-inducing regressiveness, Spielberg finds himself embarking on his own burdensome quest. From a purely logistical standpoint, Clines story is so awash in pop-culture shout-outs that the directors adaptation will have to seamlessly amalgamate a bevy of licensed creative properties as well as figure out how to handle the novels plentiful references to his own oeuvre. More onerous than those obstacles, however, is the books Peter Pan-ish infatuation with childishness, which comes coated in a stench of stale Doritos, Jolt Cola, and lowbrow smugness. Once the king of adolescent fantasies, Spielberg has long since moved on to (and seemed more comfortable) making movies about the grown-up world, and in order for his forthcoming project to transcend its rotten source material, hell have to find a way to turn a more critical eye toward the pop-culture relics blindly glorified by Cline.
And if not? Then for the filmmakers Ready Player One, itll likely be to take a page from Clines own cornball playbook Game over, man!
Ron Howard reveals George Lucas’ involvement in ‘Solo’
Alden Ehrenreich (Han Solo) with George Lucas and Ron Howard at the Hollywood premiere of ‘Solo.’
“He may have retired from the galaxy far, far away after he sold his company for $4 billion in 2012. But Star Wars creator George Lucas has his fingerprints all over the latest movie in the Disney-Lucasfilm canon — according to his friend, Solo director Ron Howard.
Not only did Lucas come up with the idea for a Han Solo spin-off first — long before Rogue One was a thing — but he was there on set to offer advice on how his creation would behave. And he even tried his hand at acting: pitching one scene, “he played Han Solo,” Howard says.
In a wide-ranging interview with Mashable, Howard also recalled how Lucas first told him about Star Wars on the set of American Graffiti in 1972, explained why the look of the film is a homage to Lucas’ signature style, and dangled the possibility that Lucas could return to direct more Star Wars films — if the fans wanted.
Here’s our Q&A, which has been edited for length, clarity and the removal of spoilers.
Mashable: One of my first responses to seeing Solo, and I mean this in the best possible way, was: it’s the dirtiest Star Wars ever.
Ron Howard: Good! That sort of visual honesty was really important to the cinematographer, Bradford Young. I really agreed with it. The idea that really hooked him was that he could shoot some of this in [1971 Western] McCable and Mrs. Miller style. I was thinking of gritty, existential 1970s car movies like Bullitt and Vanishing Point.
M: That was George Lucas’ breakthrough with Star Wars; he talked about the used universe, making space feel lived-in. Did you feel like you were kind of dropping the mic on the used universe? Like, it can’t get more used than this.
RH: [Laughs] Well, the more you begin to really drill down on the way of life and the characters — and this is probably the most character-driven of the movies. I mean, it’s not an epic war story. It’s not political. It really is: how do these relationships impact Han?
The more up close and personal we get with the characters, the more used the universe is going to feel. It’s those details about how things really work — that’s the stuff prop makers and set designers just love to explore. They pull out references from different corners of our Earth and find ways to adapt them.
M: Were you there saying “throw more mud at that Wookiee?”
RH: Oh yeah, that was part of the promise of this. As action adventure movies go, I always loved Road Warrior. And while there’s nothing post-apocalyptic about Solo, we are in a lawless time. Some of it takes place in frontier towns. [Han’s homeworld] has this grimy port culture with a seedy underbelly. That grime is part of what’s interesting about this movie.
M: Let’s go back to American Graffiti. I’ve talked to other actors on that movie and they have these…”
Charlize Theron will play Megyn Kelly in a movie about Roger Ailes
Charlize Theron at a screening of Tullyin New York City.
Charlize Theron is ready to take on Megyn Kelly.
The Hollywood Reporter writes that Theron has been cast as the former Fox News anchor in an as-yet-untitled project about the downfall of Fox News chairman Roger Ailes.
The script, by Charles Randolph (The Big Short), is said to center on the sexual misconduct allegations raised against Ailes in 2016 — first by Gretchen Carlson in a lawsuit, and then by numerous other women including Kelly. Ailes was forced to resign later that same year.
Carlson is also expected to be a character in the film, along with other prominent Fox News figures like Bill O’Reilly, Greta Van Susteren, and Rupert Murdoch. Theron is the only cast member announced so far.
Theron has excelled at playing complicated and even unlikable characters — she won an Oscar in 2004 for playing serial killer Aileen Wuornos. She currently stars in Tully, which reunites her with Young Adult duo Jason Reitman and Diablo Cody.
The Fox News project is being helmed by Jay Roach, who’s gotten into the habit of making films about recent political events. He also directed Recount, about the 2000 presidential election, and Game Change, about the 2008 one, and is attached to direct the TV adaptation of Michael Wolff’s Fire and Fury.
Annapurna Pictures is producing the movie, which does not yet have a release date.
Rashida Jones addresses her departure from ‘Toy Story 4’
Rashida Jones at the Vanity Fair Oscar Party in 2018.
It’s hardly news that Hollywood tends to favor white men, to the exclusion of everyone else. And Rashida Jones is done putting up with it.
Jones called out Pixar’s lack of diversity in an interview with Net-a-Porter, while explaining why she and writing partner Will McCormack left Toy Story 4 last year.
Describing the situation as “complicated,” Jones said:
You look at [Pixar’s] track record and it was one woman directing one film in 25 years, and she was fired. But that doesn’t look different from most studios in Hollywood. All I can be is myself, and speak up and be honest when I feel things don’t reflect the world as it today. As a corporation, you will be held accountable.
The one female director Jones is referring to is Brenda Chapman, who was to be Pixar’s first female director before she was taken off of Brave and replaced by Mark Andrews.
While Jones did not go into further detail about her experience at Pixar, her comments echo the statement she and McCormack issued last November, when they decided to depart the project.
At the time, the pair were pushing back against a Hollywood Reporter article claiming they’d left due to an unwanted advance made on Jones by now-disgraced Pixar chief John Lasseter.
That statement read:
We parted ways because of creative and, more importantly, philosophical differences. There is so much talent at Pixar, and we remain enormous fans of their films. However, it is also a culture where women and people of color do not have an equal creative voice.
A look at Pixar’s future releases indicates that the studio won’t be breaking its all-male director streak anytime soon. Upcoming titles include Incredibles 2, directed by Brad Bird; Toy Story 4, directed by Josh Cooley; and an untitled suburban fantasy film, directed by Dan Scanlon.
On the other hand, the studio is getting its first female-helmed short this summer: Bao, from Domee Shi. Maybe change is coming for the studio, even if it’s a lot more slowly than we’d like.
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