When you’re writing a story about an issue that affects a large group of people, whether it’s for a news outlet or a television show, you often pick one person as the anecdotal lead of the tale. That character serves a purpose: to make a specific thesis feel less nebulous and more, dare I say, human.
Right now in Hollywood, there are some 11,500 humans who could be the lead of this particular story. Writers who have spent their careers holed up in writers rooms or coffee shops, figuring out plots and characters and dialogue and stuffing them into 30- or 60-page scripts. But this past week, those same screenwriters have woken up, donned blue T-shirts that say “Writers Guild of America,” grabbed a red-and-black picket sign, and descended on the sidewalks of one of the big Hollywood studios. Then, as gangly palm trees sway nearby and rivers of cars flow along Los Angeles’s concrete canals, these writers have trudged back and forth on the pavements in front of Paramount Studios and CBS and Disney and Netflix—on strike as screenwriters for television shows and movies for the first time in 15 years.
Sally: But it’s there. It’s just sitting there, like this big dead end. And it’s not the same for men. Charlie Chaplin had babies when he was 73.
Harry: Yeah, but he was too old to pick them up.
It wasn’t until I was in my early thirties when I finally did the math. Sally was THIRTY-TWO in When Harry met Sally. Thirty-two! And it started to dawn on me: I’m almost thirty-two. I live in a small dark apartment on West 83rd street where I look at a brick wall—not nearly as nice as Sally’s Upper West Side apartment. I do not even have Cold Hard Mexican Ceramic Tile Floors or a Wagon Wheel Coffee Table or andirons. (I still, to be totally honest, am not clear on what andirons are.) This was my first clue that When Harry Met Sally was a fantasy. And a realization that the messages I internalized from it were wrong.
After two years of being canceled due to the ongoing COVID-19 pandemic, San Diego Comic-Con’s coming back this year with a vengeance and a sizable stack of announcements, trailer drops, and early screenings of some of the entertainment industry’s most hyped projects.
While there’s almost no way to see absolutely everything that’s going down during this year’s SDCC, knowing where and when some of the convention’s biggest panels are taking place is a solid way to get the most out of your time if you’re on the con floor (or just following along from home).
Here are all of the biggest film and television panels happening at SDCC 2022 that news-hungry fans are going to want to keep an eye on.
Editor’s Note: My pick…
Star Trek Universe (12:45PM PT to 2:15PM PT, Saturday, Hall H)
Michael Mann and Kathy Bates have both shared tributes to “The Godfather” and “Misery” star James Caan, who died on Wednesday at 82 years old.
“What a terrible and tragic loss,” Mann wrote in a statement to Variety. “Jimmy was not just a great actor with total commitment and a venturesome spirit, but he had a vitality in the core of his being that drove everything from his art and friendship to athletics and very good times. There was a core of values within him about how people should be, more or less. It might be variable, the corners could be rounded with urban irony, but there was a line and it was non-fungible. And it produced many outrageous and hilarious anecdotes.
“Mann and Caan worked together on the 1991 crime film “Thief.” Caan starred as Frank, a highly skilled jewel thief and safe cracker. The movie was Mann’s first feature film, kicking off a long and successful career in Hollywood.
There are few authors, if any at all, that can match the influence of Stephen King, an ingenious creative who has given a tremendous amount of stories to cinema and television. From low-key dramas like Stand By Me, Misery and The Shawshank Redemption to blockbuster thrillers such as It, The Shining and Carrie, King has done it all.
Continuing to inspire both the big and small screen to this very day, King has recently seen his novel Firestarter adapted into a new movie starring Zac Efron, as well as his 2006 book Lisey’s Story that has recently been serialised by Apple TV.
Despite writing many of his most iconic stories in the late 20th century, King’s influence in the world of literature and visual entertainment is truly impressive.
It was an acting challenge that Naomi Watts couldn’t pass up.
In “Lakewood,” the Oscar-nominated star of such grueling exercises in cinematic heroics as “The Impossible” and “King Kong,” spends the bulk of the movie running through the forest, struggling with spotty cellphone reception while trying to make her way to her teenage son’s school, which is under lockdown with an active shooter.
It’s Watts and Watts alone on-screen for much of the film’s 84-minute run time. Not since Tom Hardy had a psychological meltdown via speakerphone in “Locke” has an actor been so isolated and exposed.
“It scared the shit out of me, and that’s always an interesting thing,” Watts tells Variety the morning after “Lakewood” premiered at the Toronto International Film Festival.
“I feed off other actors. You rely on your cast. As an actor, you don’t want to be out there on your own. You want to be interacting and reacting. Even if you have a well planned out idea, you need someone to jolt you into another rhythm or another place.”