The Nerdy Reason Why Jude Law’s Fantastic Beasts 2 Wand Had To Be CGI’d

In Dumbledore’s most esteemed moment, he gained the allegiance of the Elder Wand, one of the three Dealthy Hallows and the most powerful wands to have ever existed. When we meet Jude Law‘s young Dumbledore in Crimes of Grindelwald, he is not yet in possession of the Elder Wand. However, Eddie Redmayne revealed in an interview with Sirius XM, that Law’s wand originally looked as such. J.K. Rowling caught notice of this detail while looking at some raw footage and some movie magic resulted. In Redmayne’s words:

Early images of young Dumbledore’s wand are rather exquisite to match the elegance and stature of the Hogwarts professor. It’s a dark wood root with a stone on one end separated by a gold rim. The Elder Wand, on the other hand, (Gellert Grindelwald’s hand, to be precise), is 15 inches long, made of elder wood and has a threstral tail-core, which is described on J.K. Rowling’s official site as a “tricky substance only wizards that mastered death can control.”

It’s all in the details and it’s understandable how some confusion might arise if Jude Law’s wand looked too much like the notorious wand. Crimes of Grindelwald only marks the second of five planned Fantastic Beasts movies, and the duel is still quite some time away. The upcoming film is set in 1927, just a few months after the events of the first movie, and Albus Dumbledore doesn’t obtain the allegiance of the Elder Wand in his duel with Grindelwald until 1945.

In Crimes of Grindelwald, the film will follow Johnny Depp, who was revealed as Grindelwald in Fantastic Beasts: Where to Find Them, as he gathers followers for his dark agenda to raise up pure-blood wizards to rule over Muggles. Eddie Redmayne will return as Newt and reunite with his mentor at Hogwarts, Dumbledore, who enlists him to help stand in the way of the dark wizard’s plans.

Jude Law’s involvement in the Fantastic Beasts franchise is also highly notable from the Harry Potter films. While much of the cast said they had to go to “wand school,” Law did not, maybe because he didn’t need it? His fellow cast describes their co-star as a “painter” with the wand, each of them having their own style with their wand flicks along with wand looks to go personally with their characters. Fans can take a closer look at young Dumbledore’s wand in Fantastic Beasts: Crimes of Grindelwald which hits theaters on November 16.

New Mowgli: Legend Of The Jungle Trailer Is Epic And Intense

This year’s holiday movie season is not limited to the big screen, with anticipated movies from acclaimed filmmakers arriving on Netflix over the next couple of months as well. Among those films is Andy Serkis’ Mowgli: Legend of the Jungle, which will offer up a different take on Rudyard Kipling’s classic tale. The new trailer for the movie teases an epic and intense story that is different from what we’ve seen before. Check it out.

It is a pity that Mowgli will only be playing in select theaters and most people will see it on their TVs, because this trailer shows it to have a truly epic and big feel that you would want to enjoy on the largest screen possible. The scale of the narrative seems larger than Disney’s adaptations and the story appears to have much higher stakes due to the increased human element in the film.

The presence of humans and guns raises the stakes and adds a level of intensity to this trailer and makes the threats to Mowgli, the jungle and its inhabitants much more grave. Shere Khan is a physical threat, but humans are an existential one. That comes through in this trailer and I’m guessing this movie will have some intense moments because of it.

This movie has been pitched as a darker telling of Rudyard Kipling’s story, and that definitely comes through in this trailer. There are a couple of light-hearted moments, but overall this footage is pitching a movie that is about struggle, both internal and external. Mowgli is PG-13 and it looks like it will earn that rating with darker themes, more frightening moments and more violence.

The lush environments and colors really pop in this Mowgli trailer, and I’m guessing that Andy Serkis’ has created a visual feast. Like Disney’s The Jungle Book before it, Mowgli also uses CGI for the jungle’s speaking inhabitants– although they look very different than those in the Disney film.

The talking and facial movements of Bagheera, Baloo and the like are much more human and emotive, displaying more of the actor’s performances, but it took me a little bit to get used to it. Although I’m not sure that would have been the case had the Disney version not come out first.

It’s unfortunate that those comparisons have to be drawn, but that’s the reality with two movie adaptations of the same story. But the trailer highlights that while the characters and the source material might be the same, in tone, story and style, Mowgli: Legend of the Jungle looks to be a very different film than The Jungle Book. And that’s exactly what makes it so interesting.

While this trailer really made me want to see Mowgli on the big screen, I think that the move to Netflix was a smart one. Audiences may have avoided a new theatrical Jungle Book movie due to its proximity to the last one which came with the powerful Disney branding. But Netflix requires no financial investment on the part of existing subscribers. So hopefully that results in more people checking it out what Andy Serkis has made.

Overlord Review

I basically found myself rooting against the Nazis because they’re Nazis, which isn’t hard. But after films like Inglorious Basterds used Nazis as not only obvious villains but also intriguing characters with something to say, it’s hard to go back to this sort of character. Though, that’s not saying the heroes have it any better in that respect, as all of our GIs are pretty archetypical as well. While the actors embodying such roles do lend their own verve and flavor to portraying them, they’re still pretty two dimensional.

Modern Family Dropped A Pregnancy Shocker On One Character

Spoilers below for anyone who hasn’t yet watched Modern Family’s latest episode.

Through most of its first decade of seasons, Modern Family successfully jumped from one year to the next without doing much to shake up the status quo. Season 10, however, has already shown off some unusual storyline shifts. To say nothing of that overhyped death that didn’t do much to win audiences over, the ABC mainstay threw another bump in the road by revealing Sarah Hyland’s Haley Dunphy is pregnant. What the what?

That’s right, Haley started off “Did the Chicken Cross the Road?” by wanting to prove herself more mature than how Luke’s personality assessment pegged her. Her attempts fell flat, and she ended up going to ride bumper cars with Dylan. While applying lipstick inside one of the cars, which is something every mature person does with frequency, Dylan rammed into her, sending the lipstick tube up her nose, requiring a hospital trip.

The tests she took inside the emergency room clued nurses into the fact that Haley is an expectant mother, which technically does make her a more adult person than she was before the episode’s events took place. So…yay?

Sarah Hyland and others were heavily teasing just such a twist in the aftermath of DeDe Pritchett’s death, but came short of making a full reveal. Still, fans were tuned into the possibility, with Haley’s mega-appetite in that death episode cluing some in on potential body changes.

Speaking of body changes, Sarah Hyland took to social media to show off the process of getting fitted for a faux baby bump.

The reveal, while only somewhat shocking in the scheme of things, was not exactly one that got fans hyped about where things are heading. Many spoke out on social media about how bothered they are by this turn of events, but it’s not so much that Haley is pregnant. It’s that Modern Family seems to be telling us that Haley is pregnant with Dylan’s baby, which is not everyone’s ideal relationship for Hyland’s character.

When the newly divorced Dylan came back into Haley’s life in Season 10, it almost necessarily meant that relationships were no longer viable with previous boyfriends Andy or Arvin. Granted, Modern Family wasn’t 100% explicit in spelling out that Dylan is the father, so there’s still some wiggle room for the comedy to drop yet another big shocker on fans. But will it?

It’s certainly interesting that Modern Family would choose to bring a pregnancy storyline into the fray in Season 10, at a point when conversations are swirling around this possibly being the show’s final season. Everyone seems like they’d be fine with it, but wouldn’t turn down the chance to come back for at least one more year.

ABC hasn’t made any decisions yet. However, the ratings are no longer dominating and with the cast’s salaries regularly among the largest in TV, the decision to end it wouldn’t come out of left field.

Hot Take Theory Time: What if Modern Family‘s creative team is making Haley pregnant in order to give Sarah Hyland her own spinoff series in the wake of the flagship’s departure? Sure, there are plenty of characters that a follow-up show could center on. However, what would be more fitting than watching the next generation of the Pritchett-Dunphy bloodline getting reared?

Modern Family airs on ABC on Wednesday nights at 9:00 p.m. ET. To see what all the other new and returning shows dotting the schedule are, be sure to keep current with our fall TV premiere guide.

Chrissy Teigen Won’t Be Shamed For Not Breastfeeding

Chrissy Teigen doesn’t take kindly to comments criticizing her parenting methods. On Instagram, one commenter was trying to bemoan the Lip Sync Battle television personality for feeding her five-month-old son Miles from the bottle, rather than breastfeeding the infant child. And while she didn’t necessarily want to type it out outright, Teigen didn’t believe it was the commenter’s right to speak out against the way she’s raising her child. As always, the TV personality and social media influencer made her opinions known.

The controversy arrived on Instagram after John Legend posted a picture of Chrissy Teigen and her family, including her grandmother, Vilailuck Teigen, backstage of The Voice. Her husband is set to become a coach on the NBC music series during its 16th season. In the photo that John Legend posted, the television host was seen on a couch, feeding her infant son with a bottle. It’s this simple image that drew a critical comment online.

When The Voice coach was asked if she doesn’t breastfeed Miles anymore, Chrissy Teigen had the following retort to give to the person asking away.

It’s hard to deny that Chrissy Teigen’s comment is undeniably true. John Legend has, indeed, never breastfeed his young children. And later in the post, Teigen received some support from a stranger who said a few words that Teigen wasn’t willing to say online.

In response to this helpful comment, Chrissy Teigen backed up the person’s comments by replying with the following behind-the-scenes information.

Shots fired. It’s never easy to receive some criticism from a high profile celebrity. But if you are dishing it out in the first place, you better expect it to come. Reading these words, some critics might not wan to take the time to write snide remarks about Chrissy Teigen’s parenting. But you never know. The Internet is always filled with critical people. There’s certainly someone out there willing to say something rude to Ms. Teigen.

If that’s the case, they should know that Chrissy Teigen is going to continue dishing it out. She’s tired of hearing rude and inconsiderate comments about her parenting skills, and it’s apparent that she isn’t completely afraid to utter out a few inappropriate words of her own if people still want to offer their feedback about her parenting priorities. We’re sure someone out there is going to make a fuss in one way or another in the near future. Whatever that fuss might be, and however Chrissy Teigen responds to it, you can totally be sure to read all about it right here at CinemaBlend.

Fantastic Beasts: The Crimes Of Grindelwald Review

In pop culture, we are living in the age of the fan. Never before have audiences had so many options for entertainment available at any given time. Superhero cinematic universes and heavily serialized television programs, as examples, are notable extensions of this, and it stretches to the world of Harry Potter as well.

In fact, David Yates’ Fantastic Beasts: The Crimes of Grindelwald is a perfect example. The movie is solid and loaded with fun characters and sequences, but it’s also a ride that is designed specifically to be enjoyed by those who have long invested their hearts into the Wizarding World. It is, however, also very much a double-edged sword. While you also have to admire the movie’s commitment and confidence in itself, it’s definitely going to leave some crowds feeling like they are on the outside looking in.

The second chapter in the Fantastic Beasts series, and based on the second screenplay from author J.K. Rowling, The Crimes of Grindelwald picks up a year after its predecessor and begins as its titular villain (Johnny Depp) makes a daring jailbreak in hopes of continuing his mission: finding the powerful young wizard Credence Barebone (Ezra Miller) and convincing him to join his side. Of course, Grindelwald being free sets off all kinds of alarms, and it’s not long before news gets back to England and magizoologist/burgeoning celebrity Newt Scamander (Eddie Redmayne).

Having had some experience with Grindelwald in the last movie, Newt knows exactly what it is that the dark wizard is trying to do, but also can’t legally do anything about it because of a punishment that forbids him from international travel. Plus, unlike his bureaucrat brother Thesueus (Callum Turner), he’s also not entirely comfortable choosing sides in the imminent war. This all changes, however, when friends Queenie (Alison Sudol) and Jacob (Dan Fogler) arrive from New York with news that Queenie’s sister Tina (Katherine Waterston) is in Paris looking for both Grindelwald and Credence — and the legendary Dumbledore (Jude Law) asks for Newt’s help in the matter.

That description probably isn’t going to make a lot of sense to those who don’t have at least some background with this property — and that’s on purpose, in that it’s representative of the mode in which Fantastic Beasts: The Crimes of Grindelwald operates from the start. Being the tenth chapter in a movie franchise that has earned over $8 billion to date, it has a strong expectation of the audiences’ presumed knowledge, and doesn’t slow down once it gets rolling. The perfect example of this? It never actually features or explains what the “crimes of Grindelwald” are.

For the die-hards, this will be seen as a blessing, as few things will take you out of a movie faster than a string of exposition filled with information that you already know. If you’re not a person who is aware of the Lestrange family, know what a Boggart is, or can immediately recognize the halls of Hogwarts, though, Fantastic Beasts: The Crimes of Grindelwald is trouble. It’s a film that throws you into the deep end of the pool, telling you to sink or swim, and while it’s possible to tread and keep your head above water, it doesn’t exactly make for a wholly satisfying experience.

It speaks to the comfortability of J.K. Rowling as a creator, and is an advancement for her as a novelist-cum-screenwriter following Fantastic Beasts And Where To Find Them. The sequel is much more tonally consistent than the previous movie (opting to be more Prisoner of Azkaban than Sorcerer’s Stone), and it seems to have a much clearer idea of the larger story that it wants to tell. However, Rowling also does seem to still be adjusting to the very different way information is offered on screen versus in text, with certain bits coming across as throttling in their delivery.

With so much going on, it’s the characters that ground Fantastic Beasts: The Crimes of Grindelwald, as it plays host to charming and engaging performances from its talented ensemble. Eddie Redmayne’s Newt Scamander remains a strange, atypical franchise lead (what with his regular inability/hesitance to make eye contact with the people he’s talking to), but his charisma comes from his amiability, and his general attitude makes his bold stances all the more powerful. What’s more, this is a story that tests him, and forces some very important decisions that move the character forward in key ways.

Similar sentiments can be shared about the majority of the returning Fantastic Beasts cast (though there are some spoilery controversial choices made that can’t be discussed at this time), but unfortunately those particularly excited for the roles played by Jude Law and Johnny Depp may walk away underwhelmed. In the case of the former, Dumbledore has only a very minor part in Fantastic Beasts: The Crimes of Grindelwald, straight-up benched by the Ministry of Magic in the middle of the movie, and Law only has a handful of scenes to establish his take on the great wizard.

Grindelwald is the bigger disappointment, though, with most issues stemming from the lack of any kind of meaningful engagement with the character. At the very start we learn through expositional dialogue that he is a smart and dangerous manipulator, but despite seeing a plethora of recruits, we never actually see him fully execute this skill. Instead, we simply know what he’s doing, and we’re told it’s bad… and that’s about it. Rather than coming across as scary or dangerous, he is merely painted as Representative Antagonist who we only know is sinister because the heroes don’t like him. For all of the controversy surrounding Johnny Depp’s casting, it’s strange just how underutilized he is.

Fantastic Beasts: The Crimes of Grindelwald is a film where what you get out of it is heavily dependent on what you bring into it. It’s competently made, with David Yates bringing that familiar Harry Potter world aesthetic back for the sixth time, but your appreciation for it is going to entirely depend on the context in which you personally put it. It’s a movie built special for aficionados of the Wizarding World, and while there’s nothing wrong with that in this age of fandom, it’s an element that demands consideration before purchasing a ticket.

Rating:
movie reviewed rating
3.0/5

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Kevin Feige Addresses The Quantum Realm’s Role In The MCU

With just two movies left of Phase Three, the future of the Marvel Cinematic Universe is largely a mystery. The studio is keeping its plans under wraps, largely in fear of spoiling the events of The Russo Brothers’ Avengers 4. But there are a few narrative threads to pull at, which may become important when the MCU continues on in the wake of Thanos’ finger snap of death.

One of the biggest question marks is the capabilities of the Quantum Realm, which is a setting largely associated with the Ant-Man franchise. The mysterious location has been teased with vast powers, and Paul Rudd’s Scott Lang was left stranded there after Thanos’ finger snap of death. Kevin Feige recently mentioned how the Quantum Realm has been a long time coming, saying:

At the end of Ant-Man, we followed Scott Lang into the Quantum Realm for the first time. We were beginning to peel back the onion that would later be completely peeled back in Doctor Strange as we go into the multiverse. So that was our little test into that. But now the Quantum Realm is a whole other territory that we can play with to tell our stories. This Quantum Realm is much larger than we ever imagined, and there are all sorts of adventures to be had at that level, which perhaps we will explore in another film.

Well, this is certainly intriguing. Per Kevin Feige’s comments in the book Marvel Studios: The First Ten Years (via ComicBook), it looks like the Marvel Cinematic Universe is going to explore the Quantum Realm in future films. And considering the mid-credits scene of Ant-Man and The Wasp, that event will be sooner rather than later.

The Quantum Realm has been a cloud looming above both Ant-Man movies, with the blockbusters not really explaining its powers and capabilities. Scott managed to survive his first brief encounter in the first movie, with that moment playing a big part in the rescue of Janet van Dyne in Ant-Man and The Wasp. Janet was eventually brought back with mysterious powers, with little to no explanation about the Quantum Realm given in the film’s third act.

Ant-Man and The Wasp‘s mid-credits episode helped connect it to the greater MCU, as its set the same time as Infinity War‘s epic Battle of Wakanda. After going to the Quantum Realm for some samples, Scott Lang was left stranded as Hope, Hank, and Janet all turned to dust as a result of Thanos’ snap of death. He was last seen floating through the mysterious setting, with no hopes of help.

But the Quantum Realm has also been teased to possibly contain time traveling and/or worm holes, which may be the key to defeating Thanos. If Ant-Man can go back in time or to an alternative reality, then perhaps he can stop the Mad Titan from ever snapping his fingers. The villain almost perished multiple times during Infinity War, so the pint sized hero could be the key to saving the galaxy.

A Star Is Born Just Surpassed Fifty Shades Of Grey For A Box Office Record

A Star is Born has continued its slow climb into the box office record books, and the film just passed a significant milestone. While the movie has never been number one at the box office, A Star is Born has been steadily raking in the cash, and now, the film has surpassed Fifty Shades Of Grey as the highest-grossing domestic romantic movie that isn’t an action movie or fantasy film.

Certainly, it’s a nuanced distinction, but that’s how the box office record game is played. With A Star is Born now having brought in $168 million domestically, it now takes the spot as the fourth highest grossing romantic drama film of all time (via Forbes). Above it currently sits Michael Bay’s Pearl Harbor, Ghost, and Titanic, so if you take into account that none of those are traditional romantic dramas that each have other elements to them, A Star is Born has become the highest grossing drama to make its money solely on the relationship dynamic.

Pearl Harbor sits at just under $200 million and Ghost saw a gross of $217 million. It seems like A Star is Born has a decent shot of overtaking Pearl Harbor before things are said and done. It probably won’t do much better than that, but the movie made over $10 million last weekend, in its fifth weekend of release, so the film certainly has legs and isn’t ready to stop quite yet.

The original Fifty Shades of Grey was a huge hit in its own right, though the sequels did not fair nearly as well. However, it not only took 12 weeks to put together the domestic total that it had, but it also made its money a lot faster. It made over $100 million in its first weekend and when it got to the point that A Star is Born is at now, it was making a fraction of the total. A Star is Born’s first weekend brought in a comparatively low $66 million, but it has seen far smaller drop-offs from week to week. Clearly, in this case, the “slow and steady” strategy is paying dividends.

A Star is Born‘s continued box office success is in part surprising because it makes it the rare sort of film that is both financially successful and a serious awards contender. Many consider the movie to be a front-runner for several major awards including both best acting categories for Bradley Cooper and Lady Gaga. And of course, the Best Picture award is also a distinct possibility. Depending on how well the movie continues to do, and how long it remains in theaters, it could also get an added boost if it’s still around when the major award nominations start to be announced.

It should be pointed out that these numbers are in unadjusted dollars, which doesn’t mean a great deal when comparing A Star is Born to Fifty Shades Of Grey, though it does mean the adjusted box office number for Ghost would actually be quite a bit higher. We’ll have to wait and see how this one really shapes up.

Wow, It’s Always Sunny’s Season Finale Was Absolutely Incredible

Spoilers below for the Season 13 finale of It’s Always Sunny in Philadelphia.

More so than just about every other TV comedy out there, FXX’s It’s Always Sunny in Philadelphia has maintained and evolved every one of its core strengths, while suffering extremely few consequences. But dammit, even with its largely im-Mac-ulate track record, the Season 13 finale was a golden god of an episode, crafting a genuinely humane and emotionally satisfying arc that remained fully grounded in this contemptible universe.

“Mac Finds His Pride” successfully honed in its focus on one of It’s Always Sunny‘s only semi-serialized elements: Mac’s sexuality. Bummed out by his emotional imbalance, Mac (wisely) wasn’t invested in helping the gang put together a float for the Gay Pride Parade. Frank, in the midst of being an extremely cringe-worthy enforcer of negative LGBTQ stereotypes, actually manages to get to the heart of the issue by figuring out that Mac needs to come out to his father, the convicted felon Luther McDonald.

It wasn’t too surprising when Mac didn’t actually make the admission during that visit, what with Luther being a sadistic nutcase. What was immensely surprising, meanwhile, was the surreal and visually gorgeous water-enhanced dance that Mac performed inside the prison opposite guest star Kylie Shea.

Mac had to have known that his attempts to connect with his father were doomed from the start, so perhaps that’s why he chose to come out not in a one-on-one scenario, but with an entire room of prisoners present. Maybe he concocted this big and elaborate dance sequence in order to gain acceptance and/or approval from someone else in a situation similar to his father, but without all the homicidal tendencies. He got it, too, earning a standing ovation from the awestruck crowd.

Amazingly enough, the spectator whose feelings were most on display was Frank. After spending the rest of the episode being pained by infected wounds inside his nose — a hot glue gun was involved — Frank had tears in his eyes for a completely different reason. He was moved by Mac’s passion. As were we all, Frank, as were we all.

The sight of Cricket as a pock-marked leather-daddy is obviously one that audiences will be unable to forget. I dare say, however, that the final shot of Frank’s beaming pride is perhaps the most powerful image in the entirety of It’s Always Sunny in Philadelphia‘s run. It’s also perhaps the most unpredictable.

For a series that often concerns itself with shining a light on the darkest sides of humanity, this already excellent 13th season ended with a much-needed reminder that no darkness is completely impenetrable. I feel like Frank would make a joke about Mac not being impenetrable.

Co-creator and Ronald McDonald portrayer Rob McElhenney spoke with Deadline about what inspired the episode and its magnificent dancing.

I wanted to do something with my character in regards to his sexuality, something that wasn’t just played for jokes but that would resonate emotionally, and I wasn’t 100 percent sure what that would be. We didn’t want it to seem pandering or off-tone or off-brand or just un-Sunny. So, how do we find a way in which it feels like you’re still watching the same show and yet we’re addressing something that is so important to our culture right now? Now, couple that with the fact that I’ve always found myself to be a terrible dancer, and everybody says that I’m a terrible dancer including my wife and all of my friends. So thinking about wanting to do different things — and things that scare me and things that I’m terrible at — I thought wouldn’t it be fun to learn something new, use the show as an opportunity to grow and to learn something new? And that’s what we came up with.

There are definitely some moments during the dance when you can tell that Rob McElhenney isn’t meant to be the next big winner on Dancing with the Stars, but the sternness and confidence on his face would have fooled us into believing otherwise. Not to mention those ripped abs. He deserves some abundant credit for taking a lack of a skill and turning it into eye-catching TV like that.

Rob McElhenney admitted that it wouldn’t be in line with It’s Always Sunny‘s pathos if Mac would have a big bonding moment with his father over coming out. The actor says that neither Luther’s relenting nor Mac’s potential catharsis would have been authentic to everything that’s come before it.

So without a big father-son moment that so many other projects would have landed on, McElhenney and the writers allowed Frank to make the leap into emotional maturity. Here’s how the actor put it:

We also wanted to make sure the episode didn’t end on a down beat, that it wasn’t sad. So what we realized in breaking the story down was that Frank really is the gang’s surrogate father, for better or worse. He is a terrible, terrible parent and he is a terrible father and he is a terrible, terrible role model, and ultimately a terrible person. And we have him throughout the episode not understanding Mac being gay, and having him reiterate over and over again ‘I don’t get it. I don’t judge you but I don’t get it. I don’t get it. I don’t get it.’ All we wanted him to do in the end was to just wrap his mind around it and say to his ostensibly surrogate son, ‘I get it.’ That’s it. We didn’t need him to say I love you or everything’s going to be okay. It’s just ‘Oh, my God, I finally understand.’

Rob McElhenney spent part of his life raised by two women, and also has two gay brothers. So even though the show didn’t start off with Mac’s sexuality in the spot where it is now, it was interesting and important to the co-creator to bring the character into that life. I, for one, welcome it (but not a bleeding Frank) with open arms.

Though I will admit that part of the joy I’m feeling is because I know Dennis would be drowning a pool of his own envy if he’d watched Mac’s performance. Unfortunately, Dennis went away again.

It’s Always Sunny in Philadelphia is currently finished with Season 13, but FXX already has Season 14 ordered up and ready to go when the Gang is. In the meantime, our fall TV premiere schedule will be a big help for anyone needing good TV in their lives.

Though I will admit that part of the joy I’m feeling is because I know Dennis would be drowning a pool of his own envy if he’d watched Mac’s performance. Unfortunately, Dennis went away again.

It’s Always Sunny in Philadelphia is currently finished with Season 13, but FXX already has Season 14 ordered up and ready to go when the Gang is. In the meantime, our fall TV premiere schedule will be a big help for anyone needing good TV in their lives.

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Andy Serkis Had A Surprise Contribution To Overlord

In the world of performance capture, there is no name bigger than Andy Serkis. The man helped revolutionize a new acting method when he played Gollum in Peter Jackson’s Lord Of The Rings trilogy, and he has since cemented his legacy in the field with the modern Planet of the Apes movies. Nobody alive is more famous for their full-body performing skills than Serkis — so he made a natural choice for actor Pilou Asbaek to turn to when he was making the new sci-fi war film Overlord.

The new Bad Robot production had its world premiere earlier this fall at Fantastic Fest in Austin, Texas, and it was the day after that screening that I had the pleasure of sitting down with director Julius Avery and Pilou Asbaek — who plays the villainous Commander Wafner in the film. Part of the film sees Asbaek’s character injected with an experimental serum that sees him turn into an undead monster, and it was while discussing that aspect of the role that I learned about his Andy Serkis lessons. I asked about how the two men worked to define the effects of the serum, and the actor explained,

It should be noted that Pilou Asbaek doesn’t actually do any specific motion capture work in Overlord, with the effects of the serum shown primarily through practical make-up, but the important thing here was figuring out how the character moves. Wafner goes through a physical transformation through the movie that changes the way his body operates, and it was with help from Andy Serkis that the actor wanted to fully explore that part of the performance.

Based on an original screenplay by Billy Ray and Mark L. Smith, Overlord begins in the hours before D-Day during World War II, and centers on a group of American soldiers executing a covert mission. In order for the invasion of Normandy Beach to happen, the heroes must take down a tower blocking communications — but it’s while sneaking into France that the men discover a Nazi plot that is far more nefarious and dangerous than anything the world has ever seen. They’re mass producing super strong mutant zombies with special abilities — and as Julius Avery puts it,

You can watch Pilou Asbaek and Julius Avery discuss the rules of the serum in Overlord and the Andy Serkis lessons by clicking play on the video below.

In addition to Pilou Asbæk, Overlord also stars Jovan Adepo, Wyatt Russell, Mathilde Ollivier, John Magaro, and Ian De Caestecker, and it’s heading to theaters this Friday. Catch it in a theater near you, and stay tuned for more about the film here on CinemaBlend.