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It Chapter 2 Writer Is Relieved Stephen King Likes The Sequel

Gary Dauberman is a very, very busy man at this moment. With Annabelle Comes Home marking his debut as a director and continued role as the series’ writer, he’s already an active character in the world of horror. But with everything from the newly cancelled Swamp Thing to an upcoming remake of Salem’s Lot on his hands as well, the man’s got a lot on his mind.

And yet, it’s not enough to block out the fact that there was a chance that author Stephen King may not have liked IT Chapter 2 as much as he enjoyed IT when it debuted back in 2017. Well, not only has Gary Dauberman found out that King approves of his work, it’s given him a great deal of relief, as he expressed in a recent interview:

The story of Stephen King and his varying degrees of approval on adaptations of his work do run the gamut. While he wasn’t exactly a fan of Stanley Kubrick’s The Shining, he’s warmed to some interpretations of his work that have stayed pretty faithful, while adding a new dimension to the work being presented.

So with a renaissance of Stephen King’s works heading to our screens large and small, his opinion on just how these different projects land is something that folks are keen to pay attention to.

But even with Stephen King enjoying IT, there was no guarantee that the second half of the story would be received as well. And with that previous film detailing the younger adventures of The Losers’ Club, Gary Dauberman shared credit with previous writers Chase Palmer and Cary Joji Fukunaga; as they were previously attached to the project when Fukunaga was supposed to direct the project.

When director Andy Muschietti stepped into the chair and took over, Gary Dauberman was brought on to rework what’s now considered Chapter 1, and eventually he was granted sole writing credit for IT Chapter Two. A turn of events that, if we’re to trust Stephen King’s reaction to the film, shouldn’t dim anyone’s excitement in the slightest; and in his reaction to THR, allows Dauberman the opportunity to breathe a sigh of relief, while audiences all over are about to use theirs to scream.

And if the fact that Stephen King had previously expressed his approval for IT Chapter Two a couple of months ago didn’t convince us, his repeated trumpeting of the film’s praises while promoting the Doctor Sleep trailer definitely says it all. Claiming that Mike Flanagan’s sequel to The Shining would blow the world’s mind, or at least what’s left of it after Pennywise the Dancing Clown returns, it sounds like a rewarding/daunting time for horror fans.

Considering IT Chapter Two and Doctor Sleep open rather close to each other this fall, that’s a statement that sounds pretty reliable. With Pennywise returning to Derry on September 6th, and Danny Torrance revisiting childhood trauma on November 8th, Stephen King fans are only going to have about two months to make themselves presentable between mind blowing rounds of horror.

The Bachelorette Has So Many Offscreen Scandals This Season—Let’s Break Them Down

Ahhh, Jed. The musician who outright admitted one of his motives for doing the show was to advance his career. Hannah appreciated his transparency, but she probably doesn’t appreciate the fact he allegedly had a girlfriend when he joined the show. A Nashville musician named Haley Stevens did an interview with People magazine, claiming she and Jed were still very much together when he signed on to The Bachelorette.

“He told me [early on] that he had applied,” she told the magazine. “He said, ‘It’s probably not going to happen, but it’s a huge opportunity. I’m only doing this for my music.’ He only did it for his career.”

It gets worse: She says that when Jed returned to Nashville, his hometown, after filming, he ghosted her. Prior to his leaving for The Bachelorette, Haley claims Jed said, “I love you, and I’ll call you when I get back.”

Haley’s received backlash for her story, with one fan saying she’s an “obsessive ex-girlfriend who wants Jed to look bad and get her 5 [minutes] of fame.” Based on this fire Instagram, though, she doesn’t seem too pressed at all.

“To everyone who sent an encouraging or supportive message: Thank You,” Haley later wrote on Instagram, addressing the controversy. “You will never know how much each one has meant to me. To everyone who sent messages relating to my story I hope you know that you’re not alone. Your story matters. Your heartbreak matters. Thank you for reassuring me that mine matters too.”

Ed Herrera/ABC

The Bachelorette Has So Many Off-Screen Scandals This Season—Let’s Break Them Down

Ahhh, Jed. The musician who outright admitted one of his motives for doing the show was to advance his career. Hannah appreciated his transparency, but she probably doesn’t appreciate the fact he allegedly had a girlfriend when he joined the show. A Nashville musician named Haley Stevens did an interview with People magazine claiming she and Jed were still very much together when he signed on to The Bachelorette.

“He told me [early on] that he had applied,” she tells the magazine. “He said, ‘It’s probably not going to happen, but it’s a huge opportunity. I’m only doing this for my music.’ He only did it for his career.”

It gets worse: She says that when Jed returned to Nashville, his hometown, after filming, he ghosted her. Prior to him leaving for The Bachelorette, Haley claims Jed said, “I love you, and I’ll call you when I get back.”

Haley’s received backlash for her story, with one fan saying she’s an “obsessive ex girlfriend who wants Jed to look bad and get her 5 [minutes] of fame.” Based on this fire Instagram, though, she doesn’t seem too pressed at all.

“To everyone who sent an encouraging or supportive message: Thank You,” Haley later wrote on Instagram, addressing the controversy. “You will never know how much each one has meant to me. To everyone who sent messages relating to my story I hope you know that you’re not alone. Your story matters. Your heartbreak matters. Thank you for reassuring me that mine matters too.”

Ed Herrera/ABC

Yes, Midsommar Is Rated R And Even The Rating Descriptions Are Graphic

Last summer, Ari Aster offered up an incredibly memorable directorial debut with the disturbing and critically-acclaimed Hereditary. But, if you think that even the horror drama’s most messed up moments can prepare you for what’s to come in his sophomore effort, Midsommar, think again.

The indie production company , A24, seems to know full well that the incredibly perverse stylings of Ari Aster is part of the hype surrounding his latest release. A24 has proudly shared Midsommar’s official R-rating and quite a few intimidating reasons why. Take a look:

It’s safe to say Midsommar is heavily leaning into its R rating, as it commits just about every offense in the book as it includes: “disturbing ritualistic violence, grisly images, strong sexual content, graphic nudity, drug use and language”. The Twitter post makes it sound like the film was close to heading into NC-17 territory but the reached agreement with the Motion Picture Association of America is R – albeit a hard R.

Hereditary by comparison almost looks like a walk in the park. Here’s it’s reason for receiving an R-rating by the MPAA: horror violence, disturbing images, language, drug use and brief graphic nudity. Perhaps the two film’s polar opposite aesthetics. While many of Hereditary’s horrors lie in the film’s dark tones, Midsommar takes place at a summer Swedish festival, where the sun only sets for around two hours a day.

So get ready for ‘grisly images’ at full brightness! Get Out and Us filmmaker Jordan Peele was one of the first to review the film, saying it had one of the “most atrociously disturbing imagery” he’d ever seen on screen. He also highly praised the film, naming it “the most idyllic horror film of all time”. Check out what else Peele told Aster of his Midsommar accomplishment:

This is a rave Midsommar review from another horror mastermind! He’s not the only one. The film currently has a 96% score on Rotten Tomatoes, with almost 50 reviews filed.

When the first audiences of Midsommar expressed their first reactions to the film, many could not help but offer up an R-rated response as well. Reactions included a TON of f-bombs of every variation with first reviews expressing the horror film with “what the fuck”, “gonna fuck y’all up” and “totally fucked”.

It may be the only word you can think of after witnessing Midsommar. The film starring Florence Pugh, Jack Reynor, William Jackson Harper, Will Poulter and Vilhelm Blomgran follows a group of friends at summer getaway gone awry, when rituals and celebrations blur the beautiful flower crowns and sunshine surrounding them. Midsommar hits theaters on July 3.

Why Idris Elba Should Not Be The Next James Bond

Idris Elba stares into camera DCI John Luther BBC

Who will be the next James Bond after Daniel Craig leaves the role following Bond 25? Idris Elba’s name keeps coming up — even when he’d rather it didn’t — and it’s no wonder why. The handsome, charming Brit would make a suave 007, and for a long time I too thought he would be the best choice to reinvigorate the franchise. But I no longer feel that way, for a few reasons. Most boil down to Idris Elba deserving better than Bond, rather than seeing him as a bad fit for the job. He’d crush the job. But here’s why he shouldn’t get the job.

Molly's Game Idris Elba smiling in suit

Idris Elba Deserves His Own Action Franchise

Rather than fitting Idris Elba into the role of James Bond, why not write Idris Elba his own character worthy of a franchise? It can’t be that hard, since Hollywood has already adapted movies for James Bond, Jason Bourne, Jack Reacher, Jack Ryan, etc. If anyone could hold his own for an action franchise like that, it’s Idris.

Idris Elba already has a fan base that would be thrilled to see him as James Bond, but that’s because they want to see the beloved Luther and The Wire actor in a cool, iconic role for the big screen. So write him one and make it his own film series. He can still wear a tux.

I’d rather see Idris Elba get his own fascinating story rather than being forced into the role of this not particularly special special-ops agent, just because people have already heard of him. Create a new character — one better than James Bond — and then people can hear of him.

Skyfall Daniel Craig in a suit as James Bond next to car

Idris Elba Deserves Better Than The Inevitable Criticism

No matter who is cast as James Bond, he will face criticism. It happens for Batman, it happens for Captain America, it just happens for any major franchise role. The hardcore Bond fans, in particular, will always bring up how Ian Fleming wrote the character of James Bond a certain way. Heck, I remember the backlash when Daniel Craig was cast because he was a “blond Bond” and didn’t fit the black hair of Fleming’s description.

Daniel Craig ended up winning over a lot of James Bond fans, and Idris Elba would probably do the same, except for the ones who couldn’t get past his race, his age or just preferring XYZ in the role. Rather than wasting time trying to convince those fans that Elba is Bond, leave Bond to be the chain-smoking Hoagy Carmichael ladies man he was written to be and give Elba his own signature action hero.

Idris Elba smiles Netflix Turn Up Charlie

Bond Needs Idris More Than Idris Needs Bond

It’s not shocking that The Powers That Be would be looking in a new direction to refresh the James Bond franchise. Idris Elba is 46, turning 47 this September, and to some that makes him too old to be James Bond. Elba even joked about that himself. But Roger Moore was 46 when he first started playing Bond and 57 when his final film came out. Sean Connery, the first and arguably best Bond, was 53 when his time in that role finished.

I can see Idris Elba attracting fans who never cared about James Bond because he’s already done exactly that. He has many fans excited at the idea of him in the role. That’s the kind of buzz the franchise needs, even if it’s balanced out by backlash from fans who can’t see him in the role.

To me, Idris Elba could potentially give the James Bond franchise new life around the world, but I don’t want him to do it because I don’t think that’s what he needs right now in his career. It’s not even what he said he wanted. Here’s what Elba recently told Newsweek when they asked if there’s a new type of role he’d like to try:

I really want to do a romantic comedy. I haven’t done that. I’ve done Daddy’s Little Girls and there was a little bit of that in it, but a true to form romance comedy is one I’d love to get into. I haven’t had that chance to do that.

I’d rather see Idris Elba in a romantic comedy than as James Bond, and I’d really rather see him in a role that could maximize his dramatic chops and get him on the Oscar track. He’s won a Golden Globe for the TV series Luther, but never an Oscar, and I’d rather see him getting the kinds of roles that Leonardo DiCaprio, Christian Bale, Matt Damon, Hugh Jackman,and Tom Hanks still get than thinking about James Bond.

Idris Elba could do something Oscar-worthy and Bond, but if there’s only so much time in the world for more Idris Elba, give me a rom-com, give me a Luther movie and someone write him a new character for his own action franchise.

It’s not like he has no action credentials — he’s getting a big showcase this summer as villain Brixton Lore in Hobbs & Shaw; he played supporting hero Heimdall in several Marvel Cinematic Universe movies; and he even played Roland Deschain in The Dark Tower, with his performance being singled out as one of the only bright points. Elba will also be seen soon in a leading role in The Suicide Squad.

There are plenty of other actors who could play James Bond, and I could see the producers picking a guy in his 30s and using him to pull another Casino Royale refresh move ala Daniel Craig. Idris Elba has already proven himself and doesn’t need the Bond brand name for himself or to make the 007 producers more money. It’s time for him to create his own brand.

Spectre Daniel Craig wearing sunglasses as James Bond

It Sounds Like The Bond Franchise Is Cursed

This is only half-joking. Daniel Craig did say he’d rather slash his wrists than make another James Bond movie after Spectre. He came back from that comment to make one final movie, but Bond 25 has been plagued by problems. It lost Danny Boyle as director, which delayed filming; Craig got injured, which further delayed filming; there were rumors about new director Cary Fukunaga being late to set; and there was some kind of scandal with a hidden camera in a bathroom. It just sounds like a trial. It’ll be a miracle if it keeps its current release date.

James Bond movies still make a lot of money around the world, but the franchise is looking tired. Daniel Craig helped revive the franchise with Casino Royale, and his series got another boost with Skyfall, but Quantum of Solace and Spectre disappointed. Bond 25 could close out Craig’s run in style, but so far the set reports just sound painful. (Daniel Craig and Idris Elba have crossed paths since the Elba as Bond rumors started, so I’m wondering if Craig told Elba anything about how challenging this franchise can be.)

After Bond 25 comes out next year (if it isn’t delayed), the franchise is going to have to do some soul-searching on what it wants next. It would probably a few years to film and then release Bond 26. By then, Idris Elba would probably be 50.

It could still work, if they want to just give Idris Elba one movie, or show an older Bond in action. Keanu Reeves, Tom Cruise and half the Marvel and DC stars are over 50 and still kicking ass, so the age argument seems silly to me. But I still feel like forcing Idris Elba into this well-worn role is well-intentioned but the wrong way to celebrate him.

If Eon Productions and company do cast Idris Elba as the next James Bond after Daniel Craig, I’ll be right there in the theater to watch. But I still hope for better for him in the next few years.

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John Wick Artillery Trainer Explains Why The Franchise Gets Gunfight Scenes So Right

There’s a unique style to John Wick movie action that is absolutely amazing. Keanu Reeves goes through a lot of training to make it all look as good as it does, but while there’s clearly a lot of work that goes into making the gun fights look fun and exciting, there’s also a lot of work that goers into making them look real.

Taran Butler is a professional three-gun shooter who is responsible for a lot of the gun training in the John Wick films. He tells Task and Purpose it was important that the guns and ammunition actually adhere to reality, this meant giving John Wick the right bullets. According to Butler…

It’s a detail that most of us wouldn’t even bother with. We’re used to seeing gun shots do whatever degree of damage the script calls for. Whether or not the bullet in question would ever actually do that level of damage is something the majority of the audience wouldn’t consider or worry all that much about.

But for some people, what would otherwise be an inconsequential detail, matters. Seeing that somebody took the time to be sure that the ammunition being used is accurate for the damage being done, evidence that care has been taken with other elements of the story.

Beyond the question of what type of bullets are being used, the quantity of the bullets being used is also important. Taran Butler helped be sure that John Wick comes to the situation with the proper number of clips.

This one is probably a bit more obvious to the layperson. We’ve all seen guns in movies that seemingly never run out of bullets. When you do notice it, it helps reinforce the unreality of the situation, which is never good when you’re trying to get lost in an action movie.

Looks Like Keanu Reeves Is Responsible For How Great Toy Story 4’s Duke Caboom Is

Thanks to a recent string of scene-stealing performances from Keanu Reeves, the actor has become 2019’s icon and obsession. Some will say the Keanuaissance is a happy accident of coinciding releases. They’d be dead wrong, and the proof can be found in the making of Toy Story 4.

For Woody’s latest (and last?) adventure, he has the help of Canada’s greatest stuntman: Duke Caboom. Keanu Reeves voiced the hilarious scene-stealer, who also has a tragic backstory he’s working through in the film. The animated film’s director Josh Cooley recently attributed the John Wick actor to Duke’s depth instantly.

Keanu Reeves wanted to know Duke’s motivations and fears, and Josh Cooley hadn’t thought of the character past a few jokes. Here’s what the Toy Story 4 director said:

There’s a good reason Keanu Reeves is having a big moment right now. He pushes for the development of his roles, and Duke Caboom was no exception. Along with delivering funny lines such as “Yes I Can-ada!” and stopping to pose midway through his conversations, his character is also troubled by letting down his kid when he couldn’t do the stunt shown in the commercials.

Josh Cooley continued discussing with USA Today about Keanu Reeves’ collaboration with these words:

Josh Cooley also revealed to CinemaBlend how surprised he was to find out how “naturally funny” Keanu Reeves was on and off camera. One Toy Story producer, Jonas Rivera, said it was clear the actor didn’t come on board just to do a “funny cartoon voice.” He wanted to dig deep.

Similar attention to character was recently described by Always Be My Maybe stars/writers Ali Wong and Randall Park. They weren’t only surprised Keanu Reeves said yes to their Netflix rom-com at all, but that he improvised so much of the great jokes while playing a heightened version of himself.

He came up with funny tidbits such as saying his vision is perfect, while wearing fake glasses for a role and fighting with the air. He also gave Randall Park the idea for his end credit song titled “I Punched Keanu Reeves” to double as a love song for Ali Wong’s Sasha.

You have to admire how passionate Keanu Reeves is about his work, and it’s certainly paid off in how many exciting projects he’s involved in. Marvel Chief Kevin Feige also said he’s talked with Reeves about joining multiple Marvel films in the past and is currently trying to find the right fit for the actor in the universe.

Schoolboy Q And Kid Cudi’s ‘Dangerous’ Video Is About The Pointlessness Of Retaliation

Schoolboy Q is known for his magical rap videos, both absurd and ominous on most occasions. And bitingly funny, on others. Recent videos like “Numb Numb Juice” and “Floating” make it clear that he values having fun in his visuals more than anything else, often playing with camera angles and special effects to keep fans and first-time watchers wondering what he’ll do next. For his new video for his Kid Cudi-collaboration, “Dangerous,” the rapper takes things in a different, much more serious direction with a poignant statement about violence and the pointlessness of revenge. And he does it all with just a couple of gunshots.

“Dangerous” consists of just two scenes. The first is of Schoolboy Q and an associate, sitting in a car, watching two men walk unsuspectingly. Once they’re out of close range, Schoolboy Q and his friend get out of the car and follow them, careful to not let them know they are being tailed. Eventually, the guys are caught and shot, with Schoolboy Q chasing down a fleeing man and delivering his own brand of justice. Then, the screen flashes black and the phrase, “An eye for an eye leaves the world blind” – a quote that is widely attributed to Mahatma Gandhi – is shown. Following this, Schoolboy Q’s car is riddled with bullets in what appears to be a retaliatory attack.

“Dangerous” appears on Schoolboy Q’s recently released album, Crash TalkIt follows the videos for “Numb Numb Juice,” Chopstix,” and “Floating.” The LP also features YG, Ty Dolla $ign, Lil Baby, 21 Savage, and Travis Scott.

Watch the dark video for ‘Dangerous’ up above.

Yesterday Director Danny Boyle On The Moviegoing Experiences That Shaped Him

Himesh Patel in Yesterday

Ever since his debut film, Shallow Grave, Danny Boyle has delivered some of the most visceral cinematic experiences of our time. From Trainspotting to Slumdog Millionaire and 127 Hours, his films seamlessly jump from comedy to action to tragedy, and they are impossible to forget. With Yesterday, he proves yet again to be a master of juggling more than one tone in a single film.

I caught up with Danny to discuss the visceral moviegoing experiences that made him the filmmaker he is today.

What’s your earliest moviegoing memory?

I have a twin sister, and I think it was on our 10th birthday that my mom took my sister to see The Sound of Music and my dad took me to see Battle of the Bulge … so there was some terrible gender stereotyping right there. That was the first time I’d ever been in a cinema. It wasn’t a natural part of our lives until we were 10. We didn’t go as young children to see animation or anything like that, so that was my first experience … and obviously it’s an overwhelming, visceral experience that you have. It’s that element of cinema that I respond to more than anything in my taste and the work I try to do with people. I want you to be dazzled and mesmerized by the experience you are going through. I certainly got that from Battle of the Bulge.

Of course, I later caught up with Sound of Music. I met the film’s director Robert Wise—who is one of the great underrated directors—and that was remarkable. I’ll tell you a story about that: we had a screening at the DGA [Directors Guild of America] of the first film I ever made—Shallow Grave—and after the screening and Q&A was over there was an old guy sitting in the back of the auditorium and as I walked out he stopped me and said “Very good, young man. Very, very good.” That was Robert Wise. I didn’t know it at the time, someone told me afterward.

Are there any moviegoing experiences you had as a teenager–or in your twenties—where you walked out at the end and said, “I want to be a director.”

There are three. One is a general one. Where I was brought up there was a mainstream cinema, and in order to get to the art cinema you had to go to the big town, which is Manchester. Outside Manchester there was an art cinema called the ABC in Hulme, and it had four screens—which wasn’t that common at the time in Britain—and they were all showing art movies. I used to go there regularly even though it was quite hard to get to. I didn’t really understand the films because I was 14 or 15, but there was something about them. They played really weird films like El Topo by [Alejandro] Jodorowsky, and a lot of Claude Chabrol films. I read later that the popstar Morrisey would go to that cinema as well.

The second one was seeing Apocalypse Now in all its majesty. I’ve seen it dozens of times since, and I’ve taken people because I’ve wanted to convince them of its genius. It remains my favorite film of all time. If you talk about a visceral experience that’s the overwhelming example of it. I was very lucky to meet Francis Ford Coppola. I’ve met some famous people in Britain—the Queen and people like that—and I never really got nervous about meeting those people, but when I met Coppola I was like jelly on the floor. I was an embarrassment. I was in my 50s, but I was a quivering teenage child again.

The final one is a Nic Roeg film called Eureka. It’s a film he made with Gene Hackman, who gives his greatest performance in it. The studio released it for only week in one cinema in Britain. I went to see it at a cinema in North London—the only place you could see it—and that film electrified me. Again, it had that visceral nature. In the first half of the film [Gene Hackman’s character] discovers literally liquid gold in Alaska, and he becomes the richest man in the world … the man who has everything. The moral dilemma of the film is: When you have everything, what can you want? I was so affected by the film, and I went back the next week to see it and it had gone. I was really upset. I’ve managed to get it on DVD since and if any theaters ever show it that would be great.

Speaking of Apocalypse Now**, it’s going to be back in theaters for its 40th Anniversary. Will you try and see it again?**

I’ll be there! I know [Coppola] has slightly recut it. I’ve seen the Redux and I’ve seen the five-hour version. I’ll watch every single version of it there is. As I’m promoting Yesterday, people are asking, “If there was one thing that disappeared and you had the chance to remake it, what would it be?” It would be Apocalypse Now.

I’d like to see your version of Apocalypse Now**.**

It would be shot-for-shot like the Pyscho remake! I can remember every shot. I wouldn’t imagine that I could improve on it, so I’d just have to make it exactly as Mr. Coppola made it.

Moving to Yesterday**: what did you take away from watching the film with a crowd at the Tribeca Film Festival premiere?**

The warmth of the communal enjoyment of a comedy … with any film you do, if there’s comedy and you have a crowd that’s enjoying it there’s something wonderful about that communal moment which is very special in cinema. You don’t get it anywhere else. Sometimes you get it with soccer.

The communal experience is very special, and we have to be careful we don’t lose that. Because it’s one of those things that when it’s gone it might not come back again. It’s really special, and people sometimes don’t value it enough. They enjoy it at the moment, but when they think about going to the cinema they might say “Oh, I have to go out to the cinema, and I’m feeling tired,” but when you get there and you have a great time with a lot of people it’s very special.

I remember seeing Dumb and Dumber in a full cinema, and when his tongue gets stuck I was rolling in the aisle laughing. And you can do that because everybody’s a stranger and you can release like that and have a group sensation.

Let’s talk about the industry a bit. Right now there’s a debate going on that says the rise of streaming has to come at the expense of cinema. But the directors that I talk to believe the two can peacefully co-exist. Do you agree that they can?

I think we have to hope there will be. We—and by we I mean those who love cinema above all forms— are vulnerable at the moment. Long-form television, or streaming, is obviously in the ascendancy. There’s a lot of money in it and a lot of people are moving into it. For me—and I’m not speaking against long-form television because it’s very important it doesn’t become adversarial—cinema is unique because of the contract of time you have with the audience and what you are allowed to do in that very precious, exclusive time. Somebody buys a ticket and they give you two hours of their time, and what’s extraordinary about it is they give it to you exclusively. It’s very rare that they’ll leave—you have to be doing a really bad job or there has to be an emergency—and you don’t do that with long-form television when you watch it at home. Even when you love long-form television, you’re not giving your exclusive time to it. Your peripheral vision is different, and in long-form television the contract is endless. That’s the point: that it just goes on and on into the distance. There’s the joke that it’s a bit like getting married: you don’t quite know what’s going to happen down the line, but you sort of sign up for it. Then people joke that everybody knows Season 6 is going to be pretty poor, but you go along with it anyway because the finale might be good. I think in film it’s different. The uniqueness of film is that because of that undivided, exclusive time you get, you can experiment with time. That’s what cinema does more than any other art form. That’s what you learn working in it: you are changing, compressing, and interrupting time. You can stop time in a way that’s so powerful when it’s used right in cinema. That gives you an almost God-like power for a couple of hours. Obviously it’s an illusion, but we want that illusion that we have power over our own destiny. Cinema can introduce you—in what is apparent real time—to a miracle and say, “There, it’s every day. It’s simple and plain and it’s right in front of you, and now it’s gone.” You don’t get that in any other art form, and it’s been a privilege for me to learn that. As long-form television explodes and becomes more prevalent in people’s lives, it makes me realize more and more how precious those moments of time are for us in cinema, and we should protect them for as long as we can.

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Leonardo DiCaprio Got Hit in the Face With a Volleyball, and the Memes Are A+

We’ve seen Leonardo DiCaprio battle a grizzly bear, take on the mob, and try to survive a massive iceberg collision. However, the actor may have met his biggest adversary yet this week—and it’s a volleyball.

On Tuesday, TMZ published a slew of images of DiCaprio just trying to relax and enjoy the summer in Malibu by playing a friendly game of volleyball with his pals. Unfortunately, not even the actor’s decades-long career and Academy Award could save him from the wrath of the volleyball. TMZ caught the exact moment when the ball smacked DiCaprio directly in the face, to both the horror and delight of the Internet. These photos are more tragic than the “I’ll never let go, Jack” scene in Titanic—also, we hope Leo is OK—but we’re here for the memes, which began pouring out of Twitter almost immediately.

But first, please enjoy the photo that started it all:

DOBN, RMBI/Backgrid

“I would have never thought that @LeoDiCaprio could be an accurate representation of me in high school attempting PE,” one person tweeted. “Leonardo DiCaprio getting smacked in the face by a volleyball sums up how my year is going in one image,” someone else wrote.

And, of course, there were also a ton of Wilson references, since the whole scene looks like a remake of Tom Hanks’ Castaway with the volleyball starring as the villain. “Finally, @tomhanks gets revenge on @LeoDiCaprio for #CatchMeIfYouCan by sending Wilson after him,” one person joked.

The funniest part of it all is that DiCaprio seems to actually really like volleyball. The Daily Mail reported that he’d been spotted playing with Ansel Elgort at Malibu Beach last year, and a few weeks later he challenged Scott Eastwood to a match. Maybe he’s just rusty since it’s the beginning of summer? Regardless, let’s just hope he and the volleyball work things out ASAP.