Why teenage boys don’t want to call themselves feminists


Identifying as a feminist is, for many of us, synonymous with believing in gender equality. But, for teenage boys in the UK, it’s not quite so straightforward. 

British teenage boys don’t want to refer to themselves as feminists, even though they believe in gender equality. Their reasons for distancing themselves from the word are far-reaching and complex. 

Recent research by the National Citizen Service (NCS) found only 11 percent of teen boys call themselves feminists, despite the fact that 88 percent of them believe in feminismRead more…

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Sony Pictures Sets ‘Spider-Man’ Spin-Off ‘Silver and Black’ for 2019, Pulls ‘Bad Boys 3’ from Calendar

Sony Pictures - Columbia Pictures - Silver and Black Release Date

Sony Pictures is setting and shuffling a handful of release dates for upcoming movies in 2018 and 2019.

Sony and their Columbia Pictures banner have set a release date for their second Spider-Man spin-off Silver and Black, as well as the sequel to the hit drug trafficking thriller Sicario. Meanwhile,the release dates for Barbie and Bad Boys 3 have been shuffled around along with a few more projects in the coming years. Get the Silver and Black release date and more information below.

First up, Sony Pictures seems to be going on all in this separate Spider-Man universe that will not be tied to the Marvel Cinematic Universe, nor involve the webslinger himself. After setting Venom starring Tom Hardy for an October 2018 debut, the studio has now staked out February 8, 2019 as the release date for Silver & Black.

For those who haven’t kept up with the title, Silver and Black will bring together two characters from Marvel Comics who frequently showed up in Spider-Man story arcs. There’s Silver Sable, a mercenary who hunts down war criminals, and Black Cat, a master thief not unlike Catwoman whose secret identity is Felicia Hardy, a character who became a love interest for Peter Parker in the comics. Beyond the Lights director Gina Prince-Bythewood is slated to direct, but we have no details on the story just yet.

Next, Sony Pictures also brought some bad news for Bad Boys fans eagerly awaiting a reunion of Will Smith and Martin Lawrence. Though the sequel titled Bad Boys for Life had been set for November 9, 2018, it has now been removed from the calendar entirely with no replacement date named yet. The movie has been pushed back several times now, and it’s starting to feel like a pipe dream rather than a project that will actually happen.

There will still be some action to behold from Sony in 2018 though as the Sicario sequel directed by Stefano Sollima has been slated to arrived on June 29, 2018. The film has been officially called Sicario 2: Soldado, and it brings back Benicio del Toro and Josh Brolin from the first movie, but Emily Blunt is sitting this one out.

Meanwhile, a few films have been delayed on Sony’s release calendar. The big screen Barbie movie has been pushed back to August 8, 2018 from a previous June 2018 date. Alethea Jones is still set to direct with Anne Hathaway playing the title doll from Mattel. Breaking Bad director Michelle MacLaren‘s feature film debut The Nightingale will arrive on January 25, 2019 instead of the previous August 2018 date, and the comedy Holmes and Watson with Will Ferrell and John C. Reilly as the detective duo (respectively) will now arrive on November 9, 2018 instead of the previously set August 2018 date.

Sony Pictures hasn’t had the best year in 2017, so hopefully their schedule for 2018 will offer up more positive results for them at the box office. Unfortunately, they won’t have an official new Spider-Man movie to help them, but maybe Venom will work out for them instead.

The post Sony Pictures Sets ‘Spider-Man’ Spin-Off ‘Silver and Black’ for 2019, Pulls ‘Bad Boys 3’ from Calendar appeared first on /Film.


Teaser Trailer for ‘The Beach Boys: Making Pet Sounds’ Documentary

The Beach Boys: Making Pet Sounds

“It’s totally different to anything that was going on at that time. It was the leader, and everybody followed that.” Showtime has debuted a teaser trailer for their new documentary The Beach Boys: Making Pet Sounds, telling the story of The Beach Boys iconic album. The film features exclusive interviews with Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks, and will explore “the story of the creation of the record that cemented The Beach Boys reputation as a leading force to rival The Beatles.” The Beach Boys’ Pet Sounds was released in May of 1966, and the film chronicles their time in and out of the studio creating the songs. This first aired on BBC, but Showtime has added new footage for the US premiere. This might be a good companion to the Brian Wilson film Love & Mercy from a few years ago. Take a look/listen. ›››

Continue reading Teaser Trailer for ‘The Beach Boys: Making Pet Sounds’ Documentary


The Tobolowsky Files Ep. 72 – Boys Life

Tobo 72

The Tobolowsky Files is back, and will be releasing weekly episodes for the next 12 weeks! In this episode: A journey down the creek past the end of the known world leads to treasure and the unexpected – proving that what is gone, can return with a vengeance.

The Tobolowsky Files is a podcast from the people who brought you the /Filmcast, featuring a series of stories about life, love, and the entertainment industry, as told by legendary character actor Stephen Tobolowsky. You can e-mail Stephen at stephentobolowsky(AT)gmail(DOT)com. You can also follow him on Facebook or on Twitter.

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The post The Tobolowsky Files Ep. 72 – Boys Life appeared first on /Film.


Great Scene: “The Fabulous Baker Boys”

Here’s a great scene involving music: Susie (Michelle Pfeiffer) vamping it up atop a Steinway piano in a slinky red dress, crooning “Makin’ Whoopee.”


A banner stretched between two chandeliers, proclaims
heard picking out a familiar TUNE, but showering it in
blue notes, drawing it out, giving it smoke.

Susie’s face drifts up INTO FRAME, her eyes closed, but
the CAMERA CONTINUES to drop, moving like syrup down her
body, over the silk that clings to her hips and thighs,
down her legs to a pair of wicked arch-breaking heels.

She’s standing on Jack’s Steinway.

“Another bride, Another June,
Another sunny honeymoon.
Another season, Another reason,
To make whoopie…”

Caught somewhere between Ray Charles and Marilyn Monroe,
Susie’s voice slides silkily from a whisper to a growl,
her fingers running like sand over her body.

“A lot of shoes, A lot of rice,
The groom is nervous, He answers twice,
It’s really killin’, The boy’s so willin’,
To make whoopie…”

As Jack knocks hell out of the bridge, Susie melts onto
the piano like a kitten, stretching out languorously on
her back. On the dance floor, men in tuxedos sneak guilty
glances while their wives just stare, mouths agape. In
less that a minute, Susie’s managed to turn a dignified
resort hotel into a sizzling roadhouse.

“Picture a little love nest,
Down where the roses cling,
Picture that same sweet love nest,
See what a year can bring…
(toying with Jack’s chin)
I tell you the boy’s washing dishes,
baby clothes,
He’s so ambitious,
Ooooh, I tell you he sews”

Susie runs her fingers through Jack’s hair and slides
oh-so-slowly off the piano, slinking toward the audience,
and suddenly it’s apparent: she’s winning them over.

It’s really killin’,
The boy’s so willin’
To make whoopee…”

For a scene like this, the writer wants to convey the mood and tone of the moment, but don’t spell out every beat — let the actor act. And in this case, that’s precisely what writer-director Steve Kloves does. Check out those descriptors [emphasis added]:

  • Jack can be heard picking out a familiar TUNE, but showering it in blue notes, drawing it out, giving it smoke.
  • Susie’s face drifts up INTO FRAME, her eyes closed, but the CAMERA CONTINUES to drop, moving like syrup down her body, over the silk that clings to her hips and thighs, down her legs to a pair of wicked arch-breaking heels.
  • Caught somewhere between Ray Charles and Marilyn Monroe, Susie’s voice slides silkily from a whisper to a growl, her fingers running like sand over her body.
  • As Jack knocks hell out of the bridge, Susie melts onto the piano like a kitten, stretching out languorously on her back.

“Showering… smoke… syrup… silk… clings… wicked… slides… growl… fingers… melts… kitten… languorously.”

Hm. What’s the subtext here? Gee, I dunno. Perhaps it’s — SEX?!

For more Great Scenes, go here.

Great Scene: “The Fabulous Baker Boys” was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Whatcha Gonna Do When ‘Bad Boys 3’ Loses Director Joe Carnahan

bad boys 3 director

We should have known something was up when director Joe Carnahan announced that he was working on an American remake of the Indonesian action classic The Raid. Wasn’t he supposed to be directing the third Bad Boys movie, otherwise known as Bad Boys For Life? Was he going to make them back-to-back? Well, now we know: Carnahan has officially dropped out of Bad Boys For Life and the exact reasons aren’t exactly clear.

The news comes our way from The Hollywood Reporter, with the trade citing different reasons for the departure supplied by different sources. Some say Carnahan left the project over scheduling issues, which could make sense since the project has been twirling its thumbs for years, waiting for the exact right moment when series star Will Smith would be available again. However, THR also says “creative differences” may be involved, which is the multi-faceted phrase that could mean everything from “a courteous and respectful parting of ways” to “someone pissed someone else off real bad.”

To be fair, Carnahan himself is about as busy as Smith. In addition to directing the new version of The Raid starring Frank Grillo, he wrote the latest draft of the Uncharted movie and was hired to pen the X-Force movie for Fox. In any case, Bad Boys For Life is now wide open at Sony, with a November 8, 2018 release date still set on the calendar. With the stars otherwise aligned, the studio simply needs to find someone to slot into the director’s seat.

But who?


Let’s Toss Out a Few Names

The biggest hurdle for hiring a new Bad Boys 3 director is that they need to find someone capable of living up to the gonzo insanity of Michael Bay’s original movies. Those two films, especially the 2003 sequel, represent pure, undistilled Bay – it’s not my cup of cocaine-infused tea, but I admire their audacity and world-demolishing spirit. I’m truly in awe of their vile, fascinating existence. Carnahan, no stranger to insane action and cinematic debauchery, was an inspired choice to take over.

So if we’re going to plan an imaginary hire, Sony should consider some potential poetic justice and hire Gareth Evans, the director of The Raid and The Raid 2. After all, this demented action genius is begging for a Hollywood budget and the Bad Boys movies are a crazy-enough canvas to accommodate whatever absurd, bone-crunching ideas he wants to bring to the table. Someone has to give the keys to a major blockbuster to Evans at some point, right?

If not Evans, I’d be absolutely ticked to see someone offer Ben Wheatley a movie like this, especially since the upcoming Free Fire showcases the Kill List director’s action chops. I can’t imagine him actually accepting this gig (or Sony offering it), but he’s demented and twisted enough to come up with something truly memorable. Giving Wheatley $ 150 million sounds downright irresponsible…and also amazing.

The post Whatcha Gonna Do When ‘Bad Boys 3’ Loses Director Joe Carnahan appeared first on /Film.


Jerk alligator steals a huge fish off a little boy’s line


Today, a little boy named Connor learned the brutal lesson that Mother Nature has no manners.

In a clip posted to the Bass Masters And Fish Experts Facebook Page, a thieving alligator had an easy lunch thanks to some humans fishing off a pier.

In the clip, a young boy hooks a pretty sizable fish, and as one man encourages the boy to reel in the fish all on his own, another spots an alligator lurking near the pier. The man tries to distract the gator by hitting the side of the pier with his arm, but the reptile was determined to get its eats.

“You need to cut your line,” one the of the men tells the little boy as the gator swims away with his catch.  Read more…

More about Viral Videos, Alligator, Fishing, Watercooler, and Watercooler

Interview: Joe Carnahan on The Raid Remake & Bad Boys III

Interview: Joe Carnahan on The Raid Remake & Bad Boys III

Interview: Joe Carnahan on The Raid remake & Bad Boys III

Earlier this week, XYZ Films announced that actor Frank Grillo (Captain America: The Winter Soldier, The Grey, The Purge franchise) and director Joe Carnahan (The Grey, The A-Team, Smokin’ Aces) were boarding The Raid remake. ComingSoon.net had a chance to do an exclusive 1-on-1 interview about his plans for the remake, as well as the current status of the third Bad Boys movie he’s directing, Bad Boys for Life!

Based on 2011’s Indonesian action sensation directed by Gareth Evans, the original was released in America as The Raid: Redemption and stars martial artists Iko Uwais and Yayan Ruhian (who later appeared in The Raid 2 and Star Wars: The Force Awakens). The Raid tells the story of an elite DEA FAST team that becomes trapped in a tenement run by a notorious drug lord, his two highly-violent martial arts killers, and a personal militia armed with machetes and machine guns. Stranded on the 6th floor with no way out, the team must fight their way through the city’s worst to survive their mission.

RELATED: The Raid Remake Gets Frank Grillo to Star & Joe Carnahan Directing!

ComingSoon.net: I’m a huge fan of both “Raid” films, and when you and Frank announced that you were going to do it, I thought, “Well, those are the guys.” Tooting your own horn, why do YOU think you’re the right guys to remake or reimagine it?

Joe Carnahan: “Smokin’ Aces” was about a guy in a penthouse and a bunch of crazy people trying to get to the top floor. I obviously have a fondness for this type of a tale. So I feel like there’s a lot going on. This is the superhero renaissance, where these movies now, they’re the bread and butter for the industry. I think that you can take those, what that is and what that’s become and this idea of the invulnerable, immortal, un-killable, regenerative hero and turn that inside out and have a guy who’s injured and hurt and wounded psychologically and psychically and scarred and putting him in a situation… With Iko in “The Raid,” these are healthy, able-bodied young men. This is not that scenario. Frank’s character’s a special operator who’s just come back from getting his ass kicked in half by a real brutal, gruesome operation, where they just got their heads handed to them. And just like athletes do, like football players do, you still run out there at 65% and do your thing. You know what I mean? Because that’s just what you do. So I think we’re trying to apply these really human, very relatable story and character elements that will make it something that will find empathy and understanding in an audience. You know, because everybody’s been there. “I pulled my back out.” “My knees hurt.” “My shoulder’s screwed up.” You know, but you want to make these guys very human and very mortal, and then drop them in some of the most intense sh*t that you have ever seen, you know? Because then it ups the stakes on so many levels. We talked to Gareth about the broad strokes of it, and he’s unbelievably cool and supportive and a lovely dude. So that’s kind of the long form answer with a lot, just because the approach will not be a frame-for-frame remake of “The Raid,” which would be a huge mistake.

"Stop! You're smothering the poor bastard!"

CS: Yeah. Agreed.

Carnahan: I don’t want to do that. And no one wants to see that, you know? So I’m more interested in taking what’s there in “The Raid” and just exploring it more.

CS: What’s cool is that in the original they gave Iko’s character enough family man background so you connected with him, but then it was off to the races.

Carnahan: In this one you spend some time with him and his family. You see what it’s like to live in that kind of world. You see what a guy like that would deal with. You see him getting his knees aspirated and having fluid taken out of him. There’s a reality to it that I think is really critical to telling that story. And if you remove everything about it that was mildly cartoonish or campy it becomes terrifying.

CS: Yeah, exactly. Obviously, Frank’s a very capable martial artist. Do you have specific fighting disciplines that you’re looking to utilize?

Carnahan: No, but I think what it’s going to be, as I said, like, if it could feel like more “Eastern Promises” or “Saving Private Ryan” where it just felt like it was really real, but it was very ad hoc and very kind of—not that it’s going to be outdated. The minute you say, “we’re fighting Jeet Kune Do, we’re fighting Muay Thai, we’re fighting Jiu Jitsu… you’re immediately quantifying it. The bottom line is, given the scenario, whatever, a human being is gonna react differently in every situation. If I can get to that gun and shoot you before I have to punch you, then I’m going to do that, or kick you. So if I can get to this knife, if I can get to this… there’s going to be this situational stuff, but it’s not going to feel like the handheld snatch and grab style that will be something like one of the “Bourne” fights, and I love the choreography in those movies. I like the fight in “Old Boy,” the hallway, right? That’s what I love. And it had a reality to it. And you know it’s choreographed. It’s very, very choreographed, just cracking guys with a hammer. It had a beauty and it had it without feeling like, gee, I don’t want to watch a dance. That’s what Iko did so brilliantly choreographing those. They had this beautifully fluid dance quality to it, which is so f*cking cool. And that last fight in “The Raid 2,” how great that fight is. But in this iteration it needs to feel more grounded and more grueling, you know what I mean? The way these things would feel, if you’re already hurt and incurring more damage and more of a battering. Do you know what I mean?

CS: Yeah. Well, to give him a certain air of vulnerability.

Carnahan: Exactly. I think that that’s kind of the feel. So again, no matter what you do, Max, you’re going to piss off—it’s like being an umpire. You know, you make a call and they hate your guts because the guy was home, you know? Or that was a strike, or what have you. So you’re left with, “What’s the best decision you could make creatively at this moment, and let’s do that.


CS: Yeah, you could do two or three different versions of this, and each one would piss off people in a different way.

Carnahan: We can’t sit here and second-guess ourselves endlessly. It doesn’t do anybody any good, it doesn’t move anything forward.

CS: I know Garreth was said to have been involved in a previous iteration of the remake. What input has he given you so far, or what kind of wisdom about the story?

Carnahan: He’s given his full support. He hasn’t tried to guide it in any way, shape or form. He wants to be surprised and have fun, and be able to look at something he originated in a completely different way, That’s certainly how I would approach something. If somebody came to me and said, “I want to remake ‘Smokin’ Aces’ but I want to do it in Hong Kong,” my thing would be, “Well I can’t wait to see that.” Gareth has expressed tremendous enthusiasm for myself and Frank. So that’s all he wants. I think for him it’s probably a lot of fun because he’s off the hook!

CS: Sure. Now is the plan to launch into this immediately after “Bad Boys”?

Carnahan: The plan is to go as fast as we possibly can because it’s relevant, because it’s kind of in my crawlspace right now and I want to make it happen and get in there. The schedule’s always shifting, things are always changing. You never know what’s going to fall in, where it’ll drop out, what have you. So I just want to be ready to go.

CS: “Bad Boys III” has been kind of a fluid, touch and go kind of thing for a little while, right?

Carnahan: Yeah, you know, look, it’s tough because Will’s been busy, I’ve been busy. So it’s a difficult thing. A lot of pieces have to align. So I don’t want to time it. By the time I’d like to do this, I’d like to do that. That’s why I think I’m really jamming on the “The Raid” right now, because I want the opportunity to go and try to knock this out.


CS: Sure. I did have one question. This was the first question that sort of popped into my head when it was announced that you were going to do that threequel. Because I like the pre-vis that you put online and I was like, yeah, you’re the right guy for the job. But when “Bad Boys II” came out, I thought the only way you could possibly top that level of carnage would be like if a Miami drug lord got a hold of nuclear weapons. That is the only way you could top that. So how do you raise the stakes and still keep it a grounded, buddy cop story?

Carnahan: I think we certainly did. The script that I wrote was, again, the same thing that I tried to do on “The Raid.” I humanized all these aspects of it, and all these elements of it, and in doing that, you create natural tension. I mean, that’s the thing is no one gives a sh*t about saving the world anymore. We’ve done those stories to death.

CS: Totally.

Carnahan: Those don’t brutally resonate with people anymore, because the world ain’t that great! (laughs) It ain’t worth saving. It just becomes, “Oh, they saved this small country.” That’s wonderful, but you don’t really have a connection to this small country or to the larger, global notion of humanity, but you do to individuals, and you do to people. I think that’s what that script stressed, was those things, you know? What happens when Bad Boys aren’t boys anymore, they’re men? They’re grown-ups, you know? They’re ordinary guys. It’s interesting.

CS: No, absolutely. And I think the success of “Deadpool” last year kind of proved that, that they’re going to go see these movies, they want to be a little more personal stakes.

Carnahan: Also, you know, I think what Ryan did so brilliantly… I remember on “Smokin’ Aces,” when he was talking about “Deadpool.” I mean, that’s how far back that goes. And God bless him, man, he busted his ass. That’s like Hannibal over the Alps, with what he had kind of shell out to finally bring that to the screen. But what he did, and what Fox’s faith in that movie showed is that you can do something with that level of irreverence and violence and profanity and sexually explicit—you know, and it works. And because people want to be titillated and they want to be provoked and they want to be shocked and they want to laugh out loud. I think that’s what that showed. I mean, you have to have that kind of mentality. You know, “Smokin’ Aces” would never have been greenlit a few years ago. The woman that greenlit “Deadpool” was Stacey Snider, who greenlit “Smokin’ Aces” several years ago with Universal.

Bad Boys for Life is still scheduled for release by Sony Pictures on November 9, 2018.

The post Interview: Joe Carnahan on The Raid Remake & Bad Boys III appeared first on ComingSoon.net.


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