They're going to have to buy a bunch of new fans down at CNN, because the shit keeps hitting the ones they have. Now, one of the network's most respected reporters, and as close to being the voice of CNN as James Earl Jones ever was, has unloaded on the network for the MAGA infomercial that it put together last week. Christiane Amanpour gave a speech to the graduates of the Columbia School of Journalism about it, and this is what she said. |
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All thanks to Memorial Day price cuts, now's a great time to cash in on an Apple upgrade. |
| The actor famously played an almost-lovable asshole on Veep. Now, the 45-year-old stars as a less asshole-ish Gordon Ford in The Marvelous Mrs. Maisel. But Scott isn't an asshole. He promises. |
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In 1986, the comic book—after a lengthy adolescence—finally grew up. Consider the year's stacked line-up: Frank Miller's seminal four-issue Batman: The Dark Knight Returns; Alan Moore's and Dave Gibbons's Watchmen; the first collected volume of Art Spiegelman's Maus; American Splendor: The Life and Times of Harvey Pekar; and Daniel Clowes's first comic, Lloyd Llewellen, all launched that year. These are some of the most important artists and titles in the history of the form. These seminal works were praised for doing things, going places, and addressing topics that conventional comics wouldn't, which is another way of saying they were more adult, serious, and thematically complex. But what if that narrative was as simplistic and reductive as the pre-'80s comics were accused of being? What if that supposedly stagnated adolescence contained all manner of innovation, experimentation, and maturation that have simply been overlooked? What if the actual groundwork for 1986's radical departures in the form was laid not just by auteur geniuses, but also by the journeyman practitioners of mainstream titles, whose forced capitalistic productivity led to many formal innovations that often go unacknowledged, languishing as they are in the childish, artless pages of unserious comics? |
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It's only $10 and infinitely better than anything else out there. |
| Burnt coffee will never be an option again. |
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"Everyone becomes family. It's like a cult with cars." That line from Alan Ritchson's extremely-tan Aimes comes during the character's Fast X introduction, a scene that essentially acts as a recap of the Fast & Furious franchise. While this might be seen as an olive branch to the uninitiated, Fast X is best viewed as a ride for just the existing family who have already formed their own very big Fast cult—and that's OK. There are at least five different movies going on within Fast X: reformed villain Jakob (John Cena) is now-jolly and fun-loving, and on a road trip with his nephew. Cipher and Letty (Michelle Rodriguez) are forced into a reluctant partnership (give us this spinoff!). Han (Sung Kang), Roman (Tyrese Gibson), Ramsey (Nathalie Emmanuel), and Tej (Chris "Ludacris" Bridges) are just kind of hanging out. For some reason, The Agency gets a full-blown expansion, featuring Aimes, Little Nobody (Scott Eastwood), and Tess (Brie Larson). Then, by far, the most entertaining film-within-an-overstuffed film, is the cat-and-mouse game between Dom and Dante. |
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