Warner Bros has finally glommed onto a lead actor for its adaptation of the Japanese science fiction novel All You Need is Kill.
Set in a post apocalyptic future, All You Need is Kill is about a young Japanese soldier, Keiji Kiriya, who serves on an international fighting force fighting an alien invasion. Keiji gets stuck in a “Groundhog’s Day” scenario where he keeps reliving the day he died.
Set to play the main character in the film adaptation? On December 1st, 2011, Variety reported: Tom Cruise.
When last we left the American Akira, the racebending had barely started: Garrett Hedlund was only being courted to play the lead character, Kaneda.
This week, thanks to Geek Tyrant and other sites, we got some more disturbing pieces of the puzzle, when this casting call for extras and stand-ins listed Twilight‘s Kristen Stewart stepping in as “Ky” – possibly because the character’s original name, Kei, was just too long for somebody’s tastes – and Helena Bonham-Carter playing Lady Miyako.
The casting call also shed some light on how the new version’s vision of “Neo-Manhattan” might play out. As “adaptations” go, it sounds like this Akira could hew as closely to thisAkira as Jesus Christ Superstar did to the Gospels. Spoilers are under the cut. Continue reading →
Back when Warner Bros. greenlit their Americanized Akira movie everyone was buzzing that Tron Legacy star Garrett Hedlund was the lead contender for the role of Kaneda. Now it seems he’s been offered the part. Gah.
Listen, we don’t have anything really against Hedlund, he’s nice to look at on screen and his acting certainly wasn’t the only reason Tron Legacyfailed so dreadfully. But come on, Hollywood, this is just boring. Can we at least consider an Asian actor, just one? And are we really going to call this guy Kaneda? Or are you going to Americanize all the Japanese names as well? Will Shotaro Kaneda be turned into Kenny, and Tetsuo Shima into Timmy?
By Guest Contributor Gabriel Canada, cross-posted from Racebending
Under happier circumstances, Billie Frechette would have been my great aunt. She toured around the country for five years with my great uncles as part of the “Crime Doesn’t Pay” stage show. There, she recounted her six months with their son and brother John Dillinger–and her own two years in jail that came as a result of her fateful romance with him.
It was true that crime didn’t pay for the family. John Dillinger served several years in prison and was later killed by Federal agents. People in Indianapolis, Mooresville or Martinsville were not lining up to risk dating the daughter, or the niece, or even the cousin of a member of the “Dillinger gang.” It was a hard life–and an odd one–because if the family wasn’t making a great deal of money of off John, the media certainly was.
Big thanks to our friends at Racebending for sharing this with us – it’s our panel from San Diego Comic-Con, “Diversity and Fandom 102: How You Can Make A Difference,” in its’ entirety. From left to right, our panelists were:
This summer, Citibank began running an advertising campaign that features three young men embarking on a project, financed by the bank, to photograph Earth from space, using a weather balloon and off-the-shelf equipment. The advertisement taps several currents of our national mythology – independence, ingenuity, discovery, and superiority in space (which is itself an extension of our glorification of colonial conquest).
This is not an entirely fictional story. Two years ago, Justin Lee and Oliver Yeh, two Asian-American MIT students, made international headlines when they used inexpensive, readily available materials to photograph near-space orbit on a $150 budget. They describe their project here, and received national media coverage.
There is a remarkable visual similarity between the Citibank ad storyboard and the real-life project documented by Lee and Yeh on their blog. But there are a few key differences.
The new fall show line ups are hitting the internet, and via Jezebel, I see New York Magazine wants us to rejoice that there are women on television.
At this point, it should go without saying that all the women referenced are white, as per usual. But whatever! Victory! More women on television is a reason to be thrilled, right? That is, until I see what’s being lauded:
Cummings’s multi-cam sitcom, Whitney, has an awful pilot, full of cynical innuendo, and yet one scene—sexual role-playing gone south—showed a glimmer of something, a dank, self-mocking Sandra Bernhard–esque allure. Sue me, but I can’t help rooting for Cummings, who seems to have something to say about the survival skills of damaged women, even if she hasn’t quite figured out what it is yet.
Luckily, Cummings’s other show, CBS’s 2 Broke Girls, which she produced with Sex and the City’s Michael Patrick King, has more potential. It stars the luscious Kat Dennings (from Nick & Norah’s Infinite Playlist) and Beth Behrs, playing waitresses at a greasy spoon in Williamsburg. Dennings wears knee-high boots and a working-class sneer; Behrs is a newly broke heiress. As the self-reliant cynic, Dennings is fantastic, making the most of acrid punch lines like “That’s not what rape feels like!”
Now, where have I heard about 2 Broke Girls, before? Oh, that’s right – Racebending:
The character, “Rice Lee,” is portrayed as a stereotypically backward and socially stunted Asian immigrant, who is repeatedly mocked and corrected by his white co-workers (including Max, one of the titular “broke girls.”) Continue reading →
The phrase I used above is Spanish for “(An)Epic Fail(ure).” And that’s exactly what Casa De Mi Padre promises to be. Because if there’s anything the world did not need, it’s a film in the tradition of Nacho Libre.
As with Jack Black’s forgettable, nigh-execrable film, one of the film’s “hooks” is that it features Will Ferrell speaking Spanish. Here he’s playing a ranch hand named Armando, who falls for his brother’s fiancee while landing into trouble with a local drug kingpin.
HE’S SPEAKING SPANISH, YOU GUYS, AND HE’S WHITE! ISN’T THAT F%#!$^ING AMAZEBALLS?
But wait, there’s a twist! Since the film is set in Mexico, just about everybody speaks Spanish. So – wait, this is totally high-concept ish - instead of adopting a ridiculous accent, Ferrell’s Spanish actually isn’t bad! IT’S LIKE HE TOOK CLASSES OR SOMETHING!
A subtitled trailer, for those of you with strong stomachs, is under the cut.