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The Boys are almost back in town and the new trailer for the upcoming third season is full of murder, mayhem, and, yes, milking. The latest season of the superhero series looks to offer fans another blood-soaked batch of episodes as the team of supe-hating heroes once more attempt to take down Vought, the Seven, and an even more unhinged Homelander. Dan takes a look at the latest trailer to break down everything you might have missed on today’s episode of Nerdist News!
The post The Boys Season 3 Trailer Breakdown & Easter Eggs (Nerdist News w/ Dan Casey) appeared first on Nerdist.
I wasn’t allowed to watch horror in the churchy home in which I grew up. Every now and again, I’d sneak and watch something I wasn’t supposed to, and the original version of Firestarter was on that list. As a young girl, it was intriguing to see a peer with powers well before the big blockbuster superhero movies found their footing. Now, Universal Pictures is revisiting the cult classic for a new generation. Gloria Reuben (ER, Cloak & Dagger, and Mr. Robot) is starring in the 2022 remake in a role that may surprise you.
The multi-talented Reuben, who’s also a singer and an author, is bringing her own flair to the well-disliked role of Captain Hollister. In this updated version of the story, Reuben acts alongside Zac Efron, Sydney Lemmon, and Ryan Kiera Armstrong to tell the story of a husband and wife struggling with their telekinetic child’s ability to start a fire with her thoughts.
BGN had the pleasure of speaking with Reuben via video chat about her role in the film, what sets the remake apart from the original, and her longevity in the industry.
Tell us about Firestarter and your role in the film.
This remake is definitely a wonderfully updated version of the original from 1984. My role is Captain Hollister. She is the head of this department in this secret government agency, whose history revolves around doing tests and experiments on people to create and then harness these talents. One of them has telekinetic talents that can be used for the country’s benefit.
It’s great to play Cap Hollister. The original was played by Martin Sheen. [Hollister is] very layered, very mysterious. I’m just shaking my shoulders because you don’t really know who she is. You know what she wants to do, and her mission is to get this little girl. It was great fun to play a role that’s very mysterious and not-so-nice.
Was it the not-so-niceness of the character that attracted you to the role?
Well, there is that, actually. When I was approached about the remake and the possibility of opening up the role of Cap Hollister to any ethnicity and gender, I thought, “Oh my gosh, this is the role for me.” The mystery and because, when I read the script on the page, there’s so much space in terms of Cap Hollister’s story.
We don’t know her history. She works where she works. We don’t know her personal life or what’s driving her. With all that space I could be very creative with Keith Thomas, our director, to create her life outside of what you’re seeing on screen. That is an actor’s dream; to create who she was on the inside and what makes her do what she’s doing now. What is her personal goal in the situation? What are her dreams? How has she been heartbroken and family and all of that stuff? It was great.
What do you feel sets this version apart from the original?
It honors the original in terms of keeping the element of the experiments for the telekinetic talents. The tie for that is still there, through Charlie, a little girl, and her parents. But it’s much more updated. Obviously, the special effects are updated, and how it’s written.
It’s very emotional. It’s a beautiful, unique combination of this deep and emotional content. It is a psychological thriller too, with the terror and suspense, but it’s not the gory kind of shock. No ax murder or horror by any means. It’s deeper than that. I’ve watched it a couple of times, and it’s interesting how, when stories are told deeper than one expects, it’s come up to me time and time again in my thoughts.
I just think about it here and there throughout my day. That is a great sign that it’s not only a good film, but it’s really something. Doing a remake can be tricky, but this one is solid. I’m very, very proud of it. I really can’t wait to hear what fans of Stephen King think about it. I know they’re gonna love it.
I’ve followed you since your days in ER. How have you maintained longevity in this business?
A few things. I’m really persistent. I have a great deal of faith. I work really hard, and I follow my instincts. I have a great team around me and a gift from the Divine. You know, leave the results up to the Divine.
Firestarter was released in theaters and on Peacock’s streaming service on May 13, 2022.
Disney+ has released a new trailer and key art for Marvel Studios’ She-Hulk: Attorney at Law. Streaming exclusively on Disney+ beginning August 17, the new comedy series stars Tatiana Maslany as She-Hulk/Jennifer Walters, a lawyer who specializes in superhuman-oriented legal cases.
Executive producer Kevin Feige, president of Marvel Studios and chief creative officer of Marvel, welcomed Tatiana Maslany to The Walt Disney Company’s 2022 Upfront presentation this afternoon at Basketball City on Pier 36 in New York. The pair shared details about the upcoming series, including the August 17 launch date, and debuted the new trailer for attendees.
Directed by Kat Coiro (Episodes 1, 2, 3, 4, 8, 9) and Anu Valia (Episodes 5, 6, 7) with Jessica Gao as head writer, “She-Hulk: Attorney at Law” follows Jennifer Walters as she navigates the complicated life of a single, 30-something attorney who also happens to be a green 6-foot-7-inch superpowered hulk.
The nine-episode series welcomes a host of MCU vets, including Mark Ruffalo as Smart Hulk, Tim Roth as Emil Blonsky/the Abomination, and Benedict Wong as Wong. The cast also includes Ginger Gonzaga, Josh Segarra, Jameela Jamil, Jon Bass and Renée Elise Goldsberry. Executive producers are Kevin Feige, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Kat Coiro and Jessica Gao. Co-executive producers are Wendy Jacobson and Jennifer Booth.
You may have heard of the Great Resignation, which refers to labor market workers quitting their jobs to search for better opportunities. Now two years since the pandemic started, we’re entering into a new era in the workforce: The Great Renegotiation.
It’s a result of inflation, and experts say there is an uptick in workers seeking higher pay to stay on pace with the rising cost of living. This has left many industries struggling to keep operations going while relying on fewer employees than normal. Within this movement, women in leadership positions demand more and are willing to leave their roles if their demands aren’t met. But where do Black women fit into this scenario?
After the recession in 2009, Black women’s employment didn’t recover for nearly a decade. As the U.S. economy is trying to rebuild, Black women are again enduring a slow employment recovery. C. Nicole Mason (president, and CEO of the nonprofit Institute for Women’s Policy Research) says that without significant action, it will be a repeat of 2009 with Black women getting left behind. “We have an opportunity to really dig a little bit deeper and address some of the structural and institutional barriers to workforce participation for people of color, and Black women in particular,” Mason said.
I’ve been away from corporate America since 2008. Black women were having internal conversations then about salaries and what upward mobility looked like. Now we are in a climate where it is harder to recruit and retain talent. It’s important that employers also look closer at gender gaps that exist to make sure opportunities are present in their ranks.
One thing that I found essential to my success was managing my manager. During yearly reviews, employers always look at what you’ve contributed to the company and where you see your future. So, I always kept detailed notes on projects I contributed to, professional development that I obtained, and training so when it came time to be evaluated, my manager was being evaluated too. I also used this as a negotiating tool for the next company I worked for.
The pandemic has prompted many people to reevaluate how they work and what’s truly important. Working remotely allowed people to do just that. It changed the game for many of us. Many people want to keep the jobs they have but on their own terms. They want the ability to work where they want and when they want. It’s more about having fulfillment in your work which translates to fulfillment in your personal life. We always hear about maintaining a work-life balance, so now employees are putting that to the test.
According to information from the Institute for Women’s Policy Research, there is a gap between what women want from employers and what benefits employers provide. The survey found that more than 75 percent of women rate paid leave, health insurance, and job security as “very important” or “important” when considering jobs.
Black women are always taking inventory of their corporate careers, and lately, many have decided to become entrepreneurs. Among many of my girlfriends, a lack of childcare and benefits has led to them leaving the workforce. They are opting for starting their own business, jobs where they can work from home, and jobs with great earning potential.
Black women still remain among the country’s fastest-growing group of entrepreneurs. Although this fact remains, Black women still trail behind their white female and male co-workers in terms of wages and employment outcomes.
I believe too little attention has been given to why disparities persist and what solutions are needed to level the playing field for Black women. The current economy is not a win for us despite what reports say. There has to be a deeper understanding of Black women’s economic realities. We must prioritize solutions that target pay disparities, promote greater workplace equality, and improve the economic standing of Black women overall. These have been overlooked, and the economy has never leaned in our favor. Even when unemployment rates decline, Black women consistently have the highest unemployment rates among all women.
So, what if companies aren’t willing to offer high-quality professionals the pay, work arrangements, benefits, and clear paths for advancement they desire? Well, it’s easier now than ever for them to walk away. Companies have to focus on how they can help employees succeed and do something about the gaps Black women experience.
Throughout the pandemic, workers have shown they are placing a renewed focus on their work balance, as well as creating new paths to get what they want professionally. While employees who choose not to partake in the Great Resignation have considerable negotiation power, they must know exactly how and when to make their big move to get what they want from their employer.