Newswire: OITNB’s Ruby Rose might lend some prison melodies to Pitch Perfect 3

Variety reports that Orange Is The New Blacks Ruby Rose is in talks to co-star in Pitch Perfect 3. If she closes the deal, the Australian actress will appear alongside stars Anna Kendrick, Rebel Wilson, and Brittany Snow, all of whom have already signed on for the third installment of the epic Pitch Perfect trilogy. The film has faced a few setbacks in recent months, including a rescheduling that led director Elizabeth Banks to step down in favor of Step Up All In’s Trish Sie.

Rose has made a big push into Hollywood movie-making this year. She’s carved out a continuing niche for herself in the blockbuster sequel world, having recently wrapped filming on the final Resident Evil movie, John Wick: Chapter 2, and xXx: The Return Of Xander Cage.

13 Worst Movies of 2016, From ‘Suicide Squad’ to ‘Trolls’ (Photos)

In other years, when I’ve sat down to write my list of the worst movies of the previous 12 months, many titles came rushing to mind, and sometimes even editing the list down to 10 was a challenge. Say what you will about 2016, I had to sit down and comb the records of what I’d seen before picking out the lousiest movies that the year had to offer.

Except for “Warcraft.” I immediately thought of “Warcraft.”

Here, then, is my list of the 2016’s most awful films, listed alphabetically (except that “Warcraft” is the absolute worst):

“Alice Through the Looking Glass”: In a year riddled with sequels that nobody asked for — looking at you, “The Huntsman: Winter’s War” — Disney’s second live-action dip into the world of Lewis Carroll was an eye-punishing time-waster that felt hastily conceived and indifferently acted.

“Believe” / “God’s Not Dead 2”: Faith-based movies ran the gamut in terms of quality and production value this year, but these two deserve condemnation not only for their pedestrian acting and thoughtless cinematography but also for pushing messages (Crush your enemies! Starve your workers!) that would get a thumbs-down from the Messiah they’re ostensibly promoting.

“Genius”: In a year when “Paterson” seemed to crack the code of how to make writing look compelling on screen, we also got this film, which failed in its mission of finding any kind of drama in book-editing, even when that editor is Maxwell Perkins (Colin Firth) attempting to prune the prose of Thomas Wolfe (Jude Law) to a manageable size.

“Keeping Up with the Joneses”: Watching Zach Galifianakis, Isla Fisher, Jon Hamm and Gal Gadot trying to make chicken salad out of this movie was like sitting through an NBA game where the Chicago Bulls have anvils chained to their legs.

“Nina”: 2016 was loaded with biopics good, bad and indifferent of music legends (Miles Davis, Hank Williams, Chet Baker), but this risible portrait of the great Nina Simone was genuinely painful, embarrassing and misguided.

“Suicide Squad” / “Batman v. Superman: Dawn of Justice”: “Grim and gritty” is as valid a formula for superhero movies as any, but “dumb and bloated” isn’t a good look, and it’s the one that Warner Bros. apparently embraced for this year’s DC Comics adaptations.

“Trolls”: One of its characters literally pooped glitter, which is as good a metaphor as any for a film so assaultive on the eyes (the color scheme was a rainbow nightmare) and ears (thanks so much for the misbegotten pop covers, music producer Justin Timberlake).

“War Dogs”: Or “White Privilege: The Movie.” Jonah Hill (who must have thrown Golden Globes voters one heck of a lunch) and Miles Teller played entitled dudes who made and lost their money as would-be arms dealers. The movie never quite decided what it thought of that.

“Warcraft”: This digital-effects-heavy videogame adaptation was all zeroes and no ones. Loud, ugly and pointless – but hey, it was huge in China, so get ready for the inevitable sequel.

“X-Men: Apocalypse” / “Gods of Egypt”: These two pyramid schemes took the deities of ancient Egypt and turned them into stick figures bumbling through idiotic, inane adventures.

11 Best Movies of 2016, From ‘La La Land’ to ‘Queen of Katwe’ (Photos)

If anyone tries to feed you a line about cinema’s impending death, and how TV is better now, and how there’s never anything to go see at the movies, check back with that person after she or he has just put together a Top 10 of the Year list. There’s nothing like having to narrow the previous dozen months to just ten films to provide a little perspective.

Sure, “The Americans” and “Better Call Saul” and “The People vs. O.J. Simpson” were engrossing, but the big screen didn’t lack for revelation and insight and drama and power and laughs. Were there lots of disappointments and mediocrities at the movies this year? Absolutely. Is CBS still on the air? Same deal.

It’s a testament to 2016 that narrowing it down to just ten was quite the challenge – I have a very solid number 11, plus several runners-up, and that’s not even counting the many fine documentaries and animated films this year, which got lists of their own:

1. “Moonlight”: I am loath to use the word “poetic” when describing a film, mostly because when someone else does I either don’t believe it or I immediately assume it’s describing a movie that’s just going to lull me to sleep. But Barry Jenkin’s long-awaited sophomore feature was poetic in all the best ways – deeply humane, emotionally resonant, powerfully empathetic.

2. “Take Me to the River”: Matt Sobel’s first film starts out like a city-mouse-country-mouse family reunion comedy and then goes much darker, digging into long-buried secrets and exploring the damage of silence and repression. That he makes all this both suspenseful and mordantly funny reveals his gifts as a writer-director working in tandem with a talented cast and intuitive editor (Jacob Secher Schulsinger, “Force Majeure”).

3. “La La Land”: L.A.’s dreamers are usually blocking traffic or getting my coffee order wrong, so it’s a testament to writer-director Damien Chazelle that he made me care so deeply about two of them in this valentine to Southern California. The fact that they’re played by a singing and dancing Emma Stone and Ryan Gosling, admittedly, helps. Somewhere Jacques Demy (“The Umbrellas of Cherbourg”) is smiling.

4. “The Lobster”: Either the pursuit or the avoidance of love can destroy you, according to this hilariously bleak comedy, but we scuttle along anyway. The latest from Yorgos Lanthimos (“Dogtooth”) portrays romance as an absurd dance we are forced to perform – but then so does “The Bachelor.”

5. “Love & Friendship”: The perfect symbiosis between artists of different centuries; writer-director Whit Stillman brought Jane Austen’s long-forgotten novella “Lady Susan” to the screen, building upon it in a way that reminded us that, with his tales of worldly-wise but heart-foolish young people, he’s been doing Austen all along anyway. As a bonus, he gave Kate Beckinsale her greatest role in ages, and she more than met the challenge.

6. “The Handmaiden”: This tale of seduction and double-cross fits so well amidst the Korean-Japanese conflicts of World War II that you’d never guess it was adapted from a novel about Victorian-era Britain. In an era where narrative twists have been dulled by overuse, director Park Chan-wook pulls the rug out from under us time and again with breathtaking grace and precision.

7. “Julieta”: Modern master Pedro Almodóvar channels his influences (here, Hitchcock and Sirk) and adapts the work of Alice Munro, but the results are 100% his own. Few modern filmmakers can flirt with classic Hollywood’s outsized emotions without ever slipping into camp or irony, and nobody does it better than this legendary Spanish auteur.

8. “Certain Women”: Kelly Reichardt’s slow-paced films aren’t for everyone – sometimes they’re not even for me – but when she taps into her characters’ emotions and frailty, the results can be devastating, as in this tale of Montana women grappling with career and romantic setbacks, in a world that’s constantly asking them to do and to be more just to get equal footing.

9. “Things to Come”: Isabelle Huppert gave a pair of extraordinary performances this year, and while “Elle” is a knockout, I ultimately responded more to Mia Hansen-Løve’s quiet, powerful examination of a philosophy teacher forced to reassess her life when she loses almost everything that defines her.

10. “Queen of Katwe”: In years to come, we will wonder why so few people saw this inspirational sports movie in theaters. In this true-life tale of a young Ugandan girl who became an international chess sensation, director Mira Nair revealed a talent for stirring audience emotion that rivals Spielberg’s at this best. More great performances from Lupita N’yongo and David Oyelowo, but keep an eye on African discovery Madina Nalwanga.

Number 11 (because it was really close): “Southside with You”

Runners-up (alphabetical): “10 Cloverfield Lane,” “20th Century Women,” “Aquarius,” “Arrival,” “Cemetery of Splendour,” “Christine,” “Chronic,” “The Clan,” “Deadpool,” “Doctor Strange,” “Don’t Breathe,” “The Edge of Seventeen,” “Elle,” “Everybody Wants Some!!,” “Hail, Caesar!,” “Hell or High Water,” “The Invitation,” “Little Men,” “The Love Witch,” “Miss Stevens,” “Nocturnal Animals,” “Other People,” “Paterson,” “Pete’s Dragon,” “Sing Street,” “Whiskey Tango Foxtrot,” “The Witch”

Documentaries: “I Am Not Your Negro,” “O.J.: Made in America,” “13th,” “Tower,” “Wiener,” “De Palma,” “Kiki,” “Best Worst Thing That Ever Could Have Happened”

Animation: “Your Name,” “April and the Extraordinary World,” “Kung Fu Panda 3,” “Finding Dory,” “Storks,” “Zootopia” (with a special mention of “Only Yesterday,” a 1991 Studio Ghibli classic that got its first official U.S. release this year)

The Dap-Kings: Sharon Jones Was Singing ‘Go Tell It On The Mountain’ At The End

With the recent passing of singer-songwriter Sharon Jones, Barbara Kopple‘s film Miss Sharon Jones! has become an even more emotionally challenging watch. Following Jones through her fight with pancreatic cancer and riding along on her tour with her band of 20 years The Dap-Kings, we get a picture of a woman for whom music was everything and quitting was never an option. Famously once told she would never get a record deal because she was, “Too fat, too black and too…

‘Foxy Brown’ TV Series Starring Meagan Good in the Works at Hulu

A “Foxy Brown” TV series is in development at Hulu with Meagan Good attached to star and produce, TheWrap has confirmed.

The original 1974 film followed Brown (played by Pam Grier) as she fought back against the drug dealers who murdered her boyfriend. The character has become a cultural icon, inspiring Quentin Tarantino’s “Jackie Brown,” also starring Grier, as well as Beyonce’s character Foxxy Cleopatra in “Austin Powers Goldmember,” among others.

Malcolm Spellman and Ben Watkins are attached to write and executive produce, with Good producing. Jason Weinberg and Evan Hainey will also executive produce. Drew Comins will serve as co-executive producer.

Also Read: Blaxploitation Streaming Service Brown Sugar Launches Online

MGM originally released “Foxy Brown” in 1974 and still owns the rights, leading to the TV series adaptation.

Good most recently starred on Fox’s “Minority Report” TV series adaptation, based on the Steven Spielberg film of the same name, and also headlined NBC’s “Deception.” Her film credits include “Think Like a Man Too” and indie “A Girl Like Grace,” which she co-produced.

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‘Foxy Brown’ TV Series Starring Meagan Good in the Works at Hulu

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‘Rogue One’ Is ‘Everything Fans Would Want’ and 8 More Glowing Reviews

Reviews for “Rogue One: A Star Wars Story” are in, and critics are calling it “groundbreaking” and the “best ‘Star Wars’ prequel film” yet.

“‘Rogue One: A Star Wars Story’ delivers everything fans would want from a “Star Wars” movie: stirring action, beloved familiar faces, and a deepening of the mythology of the series. Everyone wins,” wrote Detroit News film critic Adam Graham.

The film has 84 percent score on Rotten Tomatoes. One critic said “Rogue One” has one of the “most impressive space battle in the series. Another said it’s a “film that stands with the best of the franchise.”

Also Read: Does ‘Rogue One: A Star Wars Story’ Have a Post-Credits Scene?

TheWrap’s Alonso Duralde wasn’t very impressed, writing, “‘Rogue One: A Star Wars Story’ is for the fans, all right, but in that expression’s worst way. Unless you’re thrilled by the idea of 133 minutes of sideways mentions, shout-outs and straight-up references to the original ‘Star Wars’ (or ‘Episode IV: A New Hope,’ for those born after 1977), there’s not nearly enough excitement going on here, much less character, plot or story.”

The new film, directed by Gareth Edwards (“Godzilla”), stars Felicity Jones as rebellion leader Jyn Erso. It takes place between the prequels and original trilogies and depicts Erso’s efforts to steal the plans for the Death Star, the ultimate weapon of the Galactic Empire.

Among Erso’s allies are Rebel intel officer Cassian Andor (Diego Luna), Force warrior Chirrut Imwe (Donnie Yen), and Clone War veteran Saw Gerrera (Forest Whitaker). Mads Mikkelsen, who also played the villain in Disney-Marvel’s “Doctor Strange,” plays Galen Erso, Jyn’s father.

“Rogue One” hits theaters on Dec. 16.

Also Read: ‘Rogue One’ Review: Latest ‘Star Wars’ Entry Plays Like a Fan-Fiction Footnote

See 9 of the best reviews below.

Britton Peele, Dallas Morning News:

“‘Rogue One: A Star Wars Story’ is anything but a cheap cash-in. Not only is it the best ‘Star Wars’ prequel film (taking place immediately before the original 1977 movie, ‘A New Hope,’ but many years after episodes I-III), it’s also a movie that stands impressively tall on its own merits. Yes, it’s part of a series that is now eight movies strong, but it also works alone as a movie about war, oppression, a dangerous heist, a daring rebellion and a spark of hope that ignites the final stages of a revolution.”

Adam Graham, The Detroit News: 

“‘Rogue One’ is groundbreaking for the ‘Star Wars’ franchise, a rousing side story that blows the doors wide open for future installments of the series. That it stands on its own as a slam-bam action thrill ride is a bonus. ‘Rogue One: A Star Wars Story’ delivers everything fans would want from a “Star Wars” movie: stirring action, beloved familiar faces, and a deepening of the mythology of the series. Everyone wins.”

Roger Moore, Movie Nation:

“‘Rogue One: A Star Wars Story’ has fresh faces, fresh music, fresh tech and a fresh take on ‘Star Wars,’ a rarity in this venerable franchise. It’s almost wholly satisfying — witty, warm and entertaining — a film in which fatalism isn’t a joke, where pitiless death is doled out by Empire and Rebellion, where those deaths have weight and meaning, where suspense is genuine, even if we know that this other-point-of-view prequel will wind up with a very irked Darth Vader.”

Justin Chang, Los Angeles Times:

“A similar sense of dramatic convergence materializes during ‘Rogue One’s’ pulse-quickening endgame, which offers the curious satisfaction of turning an unfinished story — a heroic mission in service of a deferred moment of victory — into a resonant pop-cultural moment. As the puzzle pieces snap into place, with a level of precision and economy that honors and even transcends the narrative foundation of ‘A New Hope,’ ‘Rogue One’ at last finds its own reason for being. For one thrilling final stretch, everything old really is new again.”

Also Read: ‘Rogue One’ Early Reactions: ‘Wonderful,’ ‘Amazing,’ ‘Fans Are Going to Lose Their S-t!’

Matt Zoller Seitz, Roger Ebert:

“It culminates in a thunderous final act that weaves together the most impressive space battle in the series with a prolonged ground assault on an Imperial fortress in which casualties have both physical and emotional weight (which is something ‘Star Wars’ was never big on). But it also bridges the fairy-tale despair of the prequels to the rah-rah idealism of the original trilogy, spackling decades-old logic holes as it goes along. (Chris Weitz and Tony Gilroy’s script even retro-engineers an answer to the question of why the Galactic Empire would build a super-weapon that could be vaporized with a single well-placed shot.) ‘Rogue One’ is a letdown in other areas, and there are creative decisions so ill-conceived they take you out of the story. But somehow these aren’t enough to sink the movie, which manages to succeed as both super-nerdy fan service and the first entry since the 1977 original that will satisfy people who have never seen a ‘Star Wars’ film.”

Brian Lowry, CNN

“‘Rogue One: A Star Wars Story’ answers the question of whether that galaxy far, far away is big enough to sustain multiple offshoots with an emphatic yes, delivering an extremely muscular and satisfying expansion of what had been, under George Lucas, a rather underdeveloped universe … And ‘Rogue One’ does feel different from the main movies, darker, grittier — much closer in tone to an old war movie … This is essentially the real long-lost prequel to ‘Star Wars,’ just 39 years later, and director Gareth Edwards has the advantage of being able to incorporate plenty of crowd-pleasing callbacks to the original.”

Tony Hicks, San Jose Mercury News
“‘Rogue One: A Star Wars Story’ is an absolute thrill ride. At times, the action scenes are so visceral it’s like being on the ‘Star Tours’ ride at Disneyland. There are things to give longtime Star Wars fans giggles of recognition juxtaposed against fresh places and faces. Yes, it helps to be a Star Wars fan to watch ‘Rogue One,’ but it still works for everyone else. It’s a film that stands with the best of the franchise.”

Forrest Wickman, Slate

“By breaking some of the rules, ‘Rogue One’ has made itself the first movie since ‘The Empire Strikes’ Back to redefine the boundaries of what a ‘Star Wars’ movie can be. ‘The Force Awakens’ may have reanimated the once-dormant franchise, but it’s ‘Rogue One’ that will give ‘Star Wars’ fans a new hope.”

James Dyer, Empire Online: 

“The ultimate ‘Star Wars’ fan film, it’s short on whimsy but when it gets going there’s enough risk-taking and spectacle to bode well for future standalones.”

Related stories from TheWrap:

‘Rogue One’ Star Riz Ahmed Exclusive StudioWrap Portraits (Photos)

Kevin Smith Says ‘Rogue One’ Is ‘#EmpireStrikesBack Great’

‘Rogue One: A Star Wars Story’ Is Getting Into Your Uber

MGM Invests in Virtual Reality Company Survios

Metro-Goldwyn-Mayer, one of Hollywood’s oldest studios, is getting into one of its newest technologies: virtual reality.

VR firm Survios announced Tuesday that MGM has led a strategic investment in the company, one of two recent financing rounds that have infused it with $50 million in capital. The other, prior round was led by Lux Capital with participation from Shasta Ventures, Danhua Capital, Shanda Holdings, Felicis Ventures and Dentsu Ventures.

As part of MGM’s investment, the studio’s chairman and CEO Gary Barber has joined Survios’ board.

Also Read: ‘Ben-Hur’ Drags Down MGM Q3 Earnings

The virtual reality company plans to use the new funds to grow its publishing and distribution platform, add third-party titles and expand internationally. Survios’ “Raw Data” was the first VR game to top the global Steam Charts — which tracks what people are playing online — and broke $1 million in revenue in one month.

“We are thrilled to be in business with Survios, a true pioneer in the virtual reality space,” Barber said in a statement announcing the deal. “Survios is the ideal partner for us as we continue to explore the most innovative ways to optimize our existing IP, create exciting new content, and expand into emerging platforms.”

“I’m humbled to have Gary join our board and to bring on such a storied partner as MGM,” Survios co-founder and CEO Nathan Burba said in the statement. “This puts us in a position to achieve our goal of becoming the leading publisher and content creator in virtual reality.”

Related stories from TheWrap:

‘Ben-Hur’ Drags Down MGM Q3 Earnings

MGM Extends Production Chief Jonathan Glickman Through 2020

MGM Secures $1 Billion Revolving Credit Line

William H Macy Backs Emmy Rossum on Equal ‘Shameless’ Pay: ‘Bout F—ing Time’ (Video)

William H. Macy’s got Emmy Rossum’s back over her Warner Bros. contract dispute.

The male “Shameless” star recently renegotiated his deal, something Rossum is trying to do right now. Season 8 of the Showtime series hangs in the balance, while the woman behind Fiona holds out for the same money as the actor who plays her estranged father, Frank.

While doing some shopping at The Grove in Los Angeles, Macy told a TMZ camera that it’s “’bout f—ing time” women make the same money as men. He even offered the paparazzi a pretty good history lesson about the Equal Rights Amendment.

Also Read: Emmy Rossum Slams ‘Disgusting’ Trump Supporter Tweets: ‘THIS Is Not OK’

“The only thing I’ve got over Emmy Rossum is I’m better looking,” Macy quipped to end the interview.

Macy has been Emmy-nominated as Frank Gallagher each of the last three years. Rossum has not.

Watch the video above.

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‘Shameless’ Stunt Coordinator Eddie Perez Exclusive StudioWrap Portraits (Photos)

Emmy Quickie: ‘Shameless’ Stunt Coordinator on How ‘Everybody Likes Getting Naked on This Show’ (Exclusive Video)

William H. Macy Masturbates on a Grave in New ‘Shameless’ Teaser (Video)

‘Collateral Beauty’ Review: Will Smith and All-Star Cast Collide in Sentimental Trainwreck

An all-star cast submits to flagrant actor abuse in “Collateral Beauty,” which is every bit as lame as its title. To paraphrase Groucho Marx, this is a movie where we watch Will Smith, Edward Norton, Kate Winslet, Helen Mirren, Naomie Harris, Keira Knightley and several other fine players bore holes in themselves so that we can watch the sap run out.

Smith plays Howard, the co-head of a major Manhattan ad agency who is first seen giving an inspirational speech to his besotted staff as he asks the question, “What is your why?” Smith is initially semi-sprightly, but there is already a sad little shine in his eyes that swiftly grows into a puddle of photogenic sorrow after we find out that his young daughter has died.

Two years after the death of his child, Howard is doing almost nothing but setting up domino displays in the office, and so of course his co-owners Whit (Norton), Claire (Winslet), and Simon (Michael Peña) are getting nervous, particularly because they are about to lose an important client and they need to get Howard’s go-ahead for a buy-out.

See Video: ‘Collateral Beauty’ Trailer Shows Will Smith Riding Subway With Death

Whit has just gone through a messy divorce where he was spied on by a detective (Ann Dowd), and so he hires this detective to prove that Howard is out of his head. Poor Norton gets the worst of it in these set-up scenes with painfully blunt expository dialogue that not even the most over-qualified performer could have delivered naturally, and the editing in this section is slovenly, with several shots of Norton in movement that don’t quite match.

It turns out that Howard has been writing letters to … abstract concepts, including Love, Time and Death. Director David Frankel (“The Devil Wears Prada”) puts a few incongruously perky pop songs on the soundtrack for scene transitions, as is his wont, but he soon drops them in order to focus more intently on one painfully corny scene after another.

See Video: Will Smith Teases ‘Bad Boys III’: ‘It Is Very, Very, Very Close’

During an audition at the ad agency, Whit gets a new slogan from the edgy Amy (Knightley) and follows her to a small theater where she is rehearsing a play for the Hegel Theater Company (!) along with Brigitte (Helen Mirren) and Raffi (Jacob Latimore). These hard-up thespians get involved in a harebrained scheme to prove that Howard is unbalanced, wherein they are hired to play Love, Time, and Death by the other heads of the ad agency in exchange for $20,000 a piece to fund whatever it is they are working on for their company. (It’s named, of course, after a philosopher whose main thesis was that things themselves have no intrinsic properties but exist only as they are perceived.)

And wait, there’s more! Howard starts going to a group therapy session led by Madeleine (Harris), a young woman who has also lost her young daughter. Poor Harris has to put over a scene where Madeleine tells Howard about being at the hospital when an older woman turned to her to say that she must appreciate the “collateral beauty” of her situation. Yes, Harris is actually made to say the ultra-lame title of this movie out loud — more than once — and she acts as if it is the most profound statement in the world.

Smith spends almost all of “Collateral Beauty” furrowing his brow and looking like he is about to cry, and Norton and Winslet do their own brow furrowing and pools of tears, too. Norton’s Whit has both an estranged daughter and a mother with dementia to deal with, while Winslet’s Claire mainly stares at computer screens trying to find a sperm donor to stop the ticking of her biological clock. And Peña’s Simon keeps on coughing …

See Video: Helen Mirren Talks ‘Fast 8’ and ‘Double Declutching’

In the midst of all this plot overkill, only Mirren manages to squeeze out a few amusing moments, when her grand actress of a certain age shows some ego and enthusiasm: “That was Grotowski, that was pure Stella Adler!” she cries after an encounter with Howard that she feels went particularly well.

But even Mirren is finally forced to lower her eyes shamelessly in sympathy for the plight of another cast member, and Norton does the exact same eye-lowering shame in a later scene. Mirren, alas, is also called upon to say the title of this movie out loud at a crucial moment in the narrative.

“Collateral Beauty” is certainly a case of outright sentimental damage, not beauty, but of course the word collateral also means money that can be bargained with, and hopefully that’s what the ill-fated cast of this picture received in some abundance.

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Michael Pena, Alexander Skarsgard’s ‘War on Everyone’ Heads to Saban Films

Will Smith Regrets Tricking His Fans Into Seeing ‘Wild Wild West’

Great Job, Internet!: Check out Extremely Good Shit, an online magazine about extremely good shit

The folks at Super Deluxe have been quietly producing an online magazine called Extremely Good Shit that explores culture, the internet, and the strange ways those two intersect. It does so by pairing a featured collaborator with a designer; the duo then makes a series of recommendations presented in a clean, thought-provoking context. The recommendations might be videos, Tweets, simple goofs, or full articles—the point is to stop and see them with fresh eyes in a new context.

For the first issue, Brandon Wardell—comedian and progenitor of the “Dicks Out For Harambe” meme—pulled together online ephemera to get animated treatments by Daniel Zender, resulting in this illustrated @dril tweet.

Issue 2 featured a “working” Macintosh designed by @Seinfeld2000, full of Bee Movie references, misspellings, and some truly killer “jokes in progress,” such as “What’s the deal with my dick?”

The third issue is a striking string …

Amazon Prepares to Launch Prime Video in India

The long-awaited launch date for Amazon Prime Video in India is expected to be announced Wednesday in Mumbai. It had been widely expected that the streaming service would launch at the time of India’s biggest holiday period, the Diwali festival in October, but that did not materialize. In the meantime, however, Amazon India has been signing deals for existing… Read more »

Trump Vows to Leave Businesses to His Sons to Concentrate on Presidency

Donald Trump vowed on Monday night that he will leave his businesses in the hands of his sons from Jan. 20 onwards so that he can concentrate on his presidency.

“Even though I am not mandated by law to do so, I will be leaving my busineses before January 20th so that I can focus full time on the presidency,” he wrote on Twitter. “Two of my children, Don and Eric, plus executives, will manage them. No new deals will be done during my term(s) in office.”

Daughter Ivanka Trump was notably absent from the message.

Also Read: Trump Selects Exxon Mobil CEO Rex Tillerson as Secretary of State

“I will hold a press conference in the near future to discuss the business, Cabinet picks and all other topics of interest. Busy times!” he concluded in his series of tweets.

Earlier on Monday, Trump’s team had postponed a planned news conference regarding his plans to disentangle himself from his business dealings, including his interest in the upcoming season of NBC’s “Celebrity Apprentice.”

Also Read: Donald Trump Postpones Conflict-of-Interest News Conference Until After Electoral College Vote

The delay meant that the Electoral College, which is set to meet on Dec. 19, would vote  before knowing how Trump planned on dealing with possible conflicts of interest surrounding his business dealings.

“The announcement has been rescheduled for next month,” Trump’s spokesperson Hope Hicks told TheWrap Monday afternoon.

Last month, Trump announced he would hold a “major news conference” on Dec. 15 “to discuss the fact that I will be leaving my great business in total in order to fully focus on running the country.”

See his latest tweets below.

Even though I am not mandated by law to do so, I will be leaving my busineses before January 20th so that I can focus full time on the……

— Donald J. Trump (@realDonaldTrump) December 13, 2016

Presidency. Two of my children, Don and Eric, plus executives, will manage them. No new deals will be done during my term(s) in office.

— Donald J. Trump (@realDonaldTrump) December 13, 2016

I will hold a press conference in the near future to discuss the business, Cabinet picks and all other topics of interest. Busy times!

— Donald J. Trump (@realDonaldTrump) December 13, 2016

Related stories from TheWrap:

Trump Selects Exxon Mobil CEO Rex Tillerson as Secretary of State

Donald Trump Postpones Conflict-of-Interest News Conference Until After Electoral College Vote

Trump’s Win Revives Lost 1924 Film That Predicted Rise of Nazi Germany

Trump Selects Exxon Mobil CEO Rex Tillerson as Secretary of State

Donald Trump has selected Exxon Mobil CEO Rex Tillerson as secretary of state, the New York Times reported Monday night.

The choice was made despite disapproval by critics over Tillerson’s close ties with Russia, President Vladimir Putin and his government.

Following speculation that the president-elect was going to offer the position to former rival Mitt Romney, he is now expected to officially name Tillerson on Tuesday morning.

Also Read: Donald Trump Postpones Conflict-of-Interest News Conference Until After Electoral College Vote

Trump teased the announcement on Twitter (of course) Monday night, tweeting: “I will be making my announcement on the next Secretary of State tomorrow morning.”

Republicans on the Senate Foreign Relations Committee are torn over Tillerman, according to The Hill, with Sen. Bob Corker calling him an “impressive individual,” and Sen. Marco Rubio saying that being “‘a friend of Vladimir’ is not an attribute I am hoping for from” the next secretary of state.

Also Read: Donald Trump Denounces Claim of Russia Impact on Election as ‘Another Excuse’ (Video)

The 64-year-old businessman from Wichita Falls, Texas, joined Exxon in 1975 as a production engineer. He rose up the ranks of the company, and in 2011, on behalf of ExxonMobil, Tillerson signed an agreement with Russia for drilling in the Arctic that could be valued up to $300 billion.

In 2013, he was awarded the Order of Friendship by Putin.

Also Read: Donald Trump Rips ‘NBC Nightly News’ as ‘Biased, Inaccurate and Bad’

According to the Associated Press, Trump chose Tillerson because he was drawn to the prospect of having an international businessman serve as the nation’s top diplomat.

“A great advantage is he knows many of the players, and he knows them well. He does massive deals in Russia. He does massive deals for the company,” Trump said on “Fox News Sunday.”

The president-elect also denied the CIA’s claims that Russia interfered with the presidential election in his favor.

“I think it’s ridiculous,” Trump said. “I don’t believe it. I don’t know why and I think it’s just, you know, they talked about all sorts of things. Every week it’s another excuse. We had a massive landslide victory, as you know, in the Electoral College … No I don’t believe that at all.”

Related stories from TheWrap:

Donald Trump Postpones Conflict-of-Interest News Conference Until After Electoral College Vote

Trump’s Win Revives Lost 1924 Film That Predicted Rise of Nazi Germany

Anti-Trump Tech Leaders Tim Cook, Jeff Bezos to Meet President-Elect

TV Club: StarCrossed’s Future Is In Jeopardy On A Suspenseful People Of Earth

After exposing the secrets of the Glint corporation last week, Ozzie has become the toast of the journalism world, and ”Mars Or Bust” begins with him giving a speech to a group of enthusiastic J-school students, while simultaneously being offered a job at the New York Times. His bubble bursts rather quickly, however, when one of the students has followed his move to Beacon after his story on StarCrossed, and has surmised that he believes in aliens. Rather than dodge this claim, he quickly cops to it and believes that by doing so, he’s destroyed his journalism career.

While that would be settled later in the episode, he first has to deal with the frustration of Gina, who is understandably upset that he was willing to reveal this to a room full of journalism students, and by extension, the world, but not willing to participate in her own coming …

Judge Orders VidAngel to Shut Down

A judge on Monday dealt a severe blow to VidAngel, ordering the family-friendly streaming service to shut down pending a copyright infringement trial. VidAngel offers customers the ability to “rent” movies online, and to screen out various types of offensive material. VidAngel does this without agreements with content producers. Instead, the company purchases DVDs and… Read more »

Newswire: 50 Cent says the Golden Globes can suck a dick

The nominees for the 2017 Golden Globes were announced this morning, and though La La Land looks like it’s going to continue it’s streak of accolades, one name was suspiciously absent from the festivities: Curtis “50 Cent” Jackson. He’s an executive producer on the Starz show Power and also plays the character Kanan, and when he realized he didn’t get nominated for a Golden Globe, he took to Instagram to declare that he never wanted one of their stupid awards anyway:

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As you can see, 50 Cent says the Golden Globes “can suck a dick,” and he even suggests that he might be done with Power after failing to get the recognition he thinks he deserves. This comes from Variety, which notes that he’s under an overall deal with Starz through September of 2018, so he’s probably stuck on Power for a …