Si creciste en los dosmiles, vas a amar Netflix más que nunca

¿De qué trata? Finn es adoptado por una pareja de perros detectives, y junto a su mejor amigo y hermano Jake, un perro con poderes mágico, viven en la Tierra de Ooo, un lugar en el que están rodeados de personajes loquísimos, incluyendo animales que hablan. Como puedes imaginar, la magia se junta con la alta tecnología y hacen que vivan aventuras increíbles todos los días.

¿Dónde lo veías? Cartoon Network.

When Will Movies About Police Brutality Start Asking Harder Questions?

The Hate U Give, Monsters and Men, and Blindspotting don’t have anything to say beyond police brutality is bad. (Warning: spoilers.)

Posted on October 19, 2018, at 12:12 p.m. ET

Photo Credit: Erika Doss

Amandla Stenberg in The Hate U Give.

As high-profile police shootings have begrudgingly become a national concern, movies about police violence are changing. Drawing from events in cities such as Ferguson, Baltimore, and Chicago, films like Detroit, Fruitvale Station, and Straight Outta Compton explicitly portray the lives and communities affected by police violence. These movies aren’t supplanting established subgenres that center law enforcement — buddy-cop comedies, crime thrillers, and noir aren’t going anywhere anytime soon — but they are importing ideas and images from the dashcams, court cases, and cellphone footage driving real-world conversations about the nature of policing, and in the process showing policing in a new light.

This year, the emerging microgenre received multiple entries. July’s Blindspotting, September’s Monsters and Men, and The Hate U Give, which comes out in wide release on Friday, depict characters who observe police abuse and are changed by it. As they step up to share what they have seen with the public, they transform from onlookers to witnesses. Deviating from the procedural dramas of the past, these movies explore police brutality as an experience rather than just a crime. It’s a refreshing shift that allows for a more intimate view of how police violence ripples through the lives of individuals and communities. But the police overreach that’s depicted in these films can be limiting. By focusing so narrowly on bystanders affected by individual shootings, they end up having little to say about police brutality beyond it being upsetting.

Photo Credit: Erika Doss

From left: Russell Hornsby, Regina Hall, Amandla Stenberg, and Common.

The Hate U Give, adapted from the best-selling young adult novel of the same name, presents police brutality as a disruption and an opportunity. Black high schooler Starr Carter (Amandla Stenberg) has her life upended after a police officer shoots her childhood friend Khalil during a traffic stop while she’s in the car. Starr is forced to choose between contesting Khalil’s killing and keeping quiet to protect the fictional gang King Lords, who employed Khalil as a dealer. The climax of the film is a melodramatic reimagining of the shooting of Tamir Rice. In the scene, Starr’s youngest brother, a child, turns a gun to the leader of the King Lords and is then confronted by two cops, who arrive with their guns drawn. Starr saves the day by strategically raising her arms and placing her body between her brother and the cops. This convinces the cops and her brother to drop their guns. As a character arc, the moment is fitting. As a witness rather than a bystander, Starr feels empowered to directly intervene in police violence. She literally steps in to stop the violence, placing her life on the line in the process.

But the politics of the scene, and Starr’s arc, are less clear. There’s no interrogation of why Khalil’s car was stopped or what traffic stops actually accomplish. There’s no exploration of why Garden Heights residents might feel reluctant or insulted to have to constantly show cops deference. Nor is much consideration given to the long-term personal danger Starr incurs by stepping up so publicly to the police. There’s a real chance she could be surveilled or placed on a no-fly list or bullied by the same press that glorified Khalil’s killer. Ultimately, Starr’s journey boils down to seeing her friend killed, and being changed by it. Questions of institutional reach and tactics go unasked and unanswered, flattening Starr’s pain and undermining the urgency of police brutality as a public concern. In The Hate U Give, police violence feels impossibly self-contained.

Courtesy of Neon Studios

Anthony Ramos (left) and John David Washington in Monsters and Men.

Monsters and Men, written and directed by Reinaldo Marcus Green, is a bit more panoramic, but just as limited. Framed around three intertwined yet distinct perspectives, it expands the number of people affected by a police shooting without making clear why that’s important. Set in Brooklyn, the film tells the story of Manny (Anthony Ramos), Dennis (John David Washington), and Zyrick (Kelvin Harrison Jr.), three men of color with various relationships to the police killing of Darius Larson (Samel Edwards), a black man modeled after Eric Garner.

Manny is the primary witness. He captures Darius’s murder on his smartphone and eventually uploads the video to the internet, a decision that leads to his jailing under shady circumstances. The cost of witnessing is high.

Dennis, a patrol officer from the same precinct as Larson’s killer, has an ambivalent relationship to his precinct and his job. Through a one-way mirror, Dennis looks in on Manny being set up, and from there Dennis settles into a pattern of inertia. He bristles when a family friend complains about police shootings; he says nothing when he sees a neighborhood boy he played basketball with being stopped and frisked; he deflects an Internal Affairs investigator away from his colleagues. Green’s direction renders Dennis as helpless rather than complicit, and it’s humanizing, but it also feels pat. Dennis’s inaction has greater consequences than Manny deciding whether to upload the shooting video, and the emphasis on Dennis’s individual shame minimizes that power disparity. It’s another instance of a character arc curling inward rather than stretching outward.

Monsters and Men concludes with Zyrick, the neighborhood boy who once hooped with Dennis, finding his place within this ecosystem of witnessing. At first he resists getting involved in demonstrations, but then he becomes more involved, designing posters protesting police brutality at a community center, visiting Manny’s family, and attending a rally in Prospect Park.

By focusing so narrowly on bystanders affected by individual shootings, these films end up having little to say about police brutality beyond it being upsetting.

The various paths Manny, Dennis, and Zyrick take following Larson’s death form a jagged triptych. All of them watch the recording at some point, and it’s deft how Green uses phone screens, mirrors, and their own gazes at each other as points of refraction: Manny faces the one-way mirror as Dennis stands on the other side, and Dennis and Zyrick eye each other during Zyrick’s arbitrary detainment. The things they see and don’t act on ricochet until an opening forms — or one is made. This skillful storytelling buoys the film, but its core still feels hollow. Like The Hate U Give, Monsters and Men does not address police brutality as a systemic issue. And its focus on multiple perspectives falters when taking into account the virality of police shooting footage. The proximity between Manny, Dennis, and Zyrick is certainly compelling, but these videos reach millions of viewers. Monsters and Men misses an opportunity to explore action and inaction following police shootings on a grander, more disconnected scale. These videos travel much farther than the neighborhood, so it seems strange that Larson’s death only affects a few blocks. Isn’t the point of sharing these videos the fact that every viewer becomes a bystander?

Ariel Nava

Rafael Casal and Daveed Diggs in Blindspotting.

Blindspotting also establishes a restrictive link between geography and police violence. Claustrophobic to a fault, the film uses Oakland as a crucible for interracial friendship, gentrification, and police profiling. Cowritten by Daveed Diggs, who is black, and Rafael Casal, who is white, the dark comedy follows two childhood friends and coworkers, Collin (Diggs) and Miles (Casal), as they navigate their changing hometown. The story begins with Collin, a convict, three days away from being discharged from a halfway house and finishing his probation. Collin is cautious but loyal, accompanying Miles to purchase an illegal gun, but insisting it’s a bad idea. On the same night the gun is purchased, Collin witnesses a police officer shoot an unarmed man and ends up violating his court-ordered curfew. The sequence of events feels karmic.

As a timer counts down his remaining days on probation, the shooting dominates Collin’s dreams and thoughts, replaying as he jogs through a cemetery (a recurring motif), and as he traverses Oakland with Miles. There’s a slight hint that gentrification is a form of violence, but the direction never threads the needle. In the film’s key scene, the crime that got Collin convicted is told by a spectator. At the retelling, Collin’s ex-girlfriend Val, who witnessed the crime, is in earshot, and Collin, too, is an eavesdropper. As the spectator details a bar fight that turns violent, Collin is embarrassed by the polar contrast between the speaker’s thrilling narration and Val’s stunned horror. It’s as if he’s watching multi-camera surveillance footage of himself.

That moment and a humiliating series of fights and confrontations on his last day of probation lead Collin to eventually confront the police officer who shot the unarmed suspect. Holding a gun to the officer, he raps about his paranoia and anxiety as a black man in Oakland. It’s a perplexing, stilted scene. Not only is the rapping painfully earnest and overwrought (survivors of Hamilton, in which Diggs played Thomas Jefferson, might experience flashbacks), but as in Monsters and Men, the police shooting takes the backseat to bystander pain and closure.

But this approach also flounders because of how narrowly these movies render police overreach. There’s something evasive and unimaginative about consistently fixating on shooting as the apex of police violence. There are so many underused indignities left on the table, from wiretaps to “rough rides” to groping to traffic stops to tickets to tasings. Police violence extends further than life and death. It raises fundamental questions about personal autonomy, citizenship, and the contours of state power. In terms of storytelling, the sky should be the limit, but the police brutality in these films is so singular, so ripped-from-the-headlines, that it feels like stock footage.

There’s something evasive and unimaginative about consistently fixating on shooting as the apex of police violence.

This approach is clearly intentional. These films prioritize showing the effects of police violence. They take real-world images of protests, activism, and violence, and connect them to pain and suffering beyond victims and perpetrators. These are stories of trauma and transformation. At best, they show how justice is being redefined by the survivors and bystanders of police violence. At worst, that’s all they do — represent.

It’s disappointing that these films concentrate on depicting police abuse more than examining it. Despite their warmth, when compared to movies with more scope, their collective disinterest in exploring policing as a system feels like a missed opportunity. Last year’s Detroit, for example, was poorly received by critics because of its overly villainous cops and lurid gaze, but it made those elements central to its story. The extended torture scene at the center of the movie is built on the empty justifications the cops make as they conduct a lethal probe. By focusing on the emptiness and excessiveness of torture, the film renders police violence as both horrifying and Kafkaesque. Similarly, this year’s Sicario: Day of the Soldado, explores the ad hoc nature of policing the US–Mexican border. The agencies and institutions that regulate the border come across as bureaucratic and free-wheeling, strictly following codes yet constantly finding ways to violate them. There’s certainly a sense of desperado edge to the film, but crucially it has a point of view. Monsters and Men, The Hate U Give, and Blindspotting mostly have empathy. Their hearts are big, but their ideas are small. ●

Stephen Kearse is a freelance writer and critic. He has previously contributed to the Baffler, Pitchfork, and New York Times Magazine.

18 Behind-The-Scenes Facts About “Halloween”, From Jamie Lee Curtis Herself

It might be hard to believe, but it’s been 16 years since we last saw Jamie Lee Curtis in a Halloween movie. But as an incredible gift for horror fans — just in time for the Halloween festivities, no less — she’s stepping back into the shoes of Laurie for another face off with Michael Myers.

Ryan Green / Universal

The latest instalment to the Halloween franchise ignores all the other sequels that have taken place (soz H20, you were great) and instead acts as a direct sequel to the 1978 movie, set 40 years later. So, after watching the film for ourselves, and being scared out of our wits in the process, we jumped at the chance to speak to Jamie Lee Curtis and find out some behind-the-scenes facts. Buckle up, and prepare to be terrified!


The opening to Halloween was originally a different scene that paid homage to the first movie, but it was eventually cut.

BuzzFeed, Compass International Pictures

Jamie said: “The movie used to open with a scene of my granddaughter jogging through Haddonfield and ending up in her bedroom, opening up a louvered closet door, and pulling a bare bulb light bulb to pick her sweater for the day.”


One of the reasons Jamie actually signed up to the movie was because of that scene.

BuzzFeed, Universal

“I just loved how I could imagine the run through Haddonfield where the credits were rolling would kind of put you back in this small town USA,” she said. “And then you were gonna end that sequence with this young woman, my granddaughter, basically turning on the light and illuminating that we are all back in the closet again. I thought that was incredibly beautiful.”


The most emotional scene for Jamie was shot on the last day of filming, where Laurie sits in her truck waiting for Michael Myers to be transferred from a mental institute to prison. Since she was filming the scene on her own, the rest of the crew wore name tags which said “we are Laurie Strode” to show their support.


Speaking about the last day of filming, she revealed: “I was in my dressing room preparing for my work, and then when I came to the set, there was the entire crew standing there in a kind of silent solidarity with me, knowing I was about to climb into the cab of this truck and relive what happened to Laurie 40 years ago. It was very moving to me, that my crew really were saying, ‘We’re with you, we’re with her, we love you, we love her.'”


But even though the whole scene took hours to shoot, only a couple of seconds were actually used in the end.

Ryan Green / Universal

Jamie continued: “It’s in the movie very, very, very, very little. I mean, it’s in the movie in the right way. But when you shoot something, you shoot for an hour and they use three seconds, it’s the nature of the beast.”


Another thing that made her feel emotional was actually a super small detail that you might not notice — while Laurie’s house is basically a fortress prepared for the return of Michael Myers, there are also a lot of house plants, which Jamie thought was a lovely touch.


“I thought that was very moving because of course you water house plants and they grow,” she said. “So, basically Laurie, even though she was damaged, she still believed in the possibility of growth and transformation, which is what the miracle of growth is. That moved me.”


It was also Jamie’s idea to paint a garden on the metal grate that hides her gun collection in the movie, which she recommended after seeing the house plants.


She revealed that when the director, David Gordon Green, asked her what they should paint on the grate, she recommended a garden, so the art department painted the metal cover with vines and flowers.


And the house plants / garden themed grate painting was what inspired her to ask to keep the clicker that unveils her secret safe room as a memento.

BuzzFeed, Universal

When asked if she took anything from the set of Halloween to keep as a memory, Jamie revealed that she’d asked for something but hadn’t gotten it yet. “There’s a little clicker that operates the secret opening to [Laurie’s] safe room, and that clicker has a label on it that says ‘the garden’ [inspired by the house plants and painted grate]. That’s what I asked for.”


Looking back at the first movie, Jamie revealed that after the events of Halloween night in 1978, she thinks that Laurie actually went back to school the very next day.

BuzzFeed, Compass International Pictures

She said: “Laurie Strode suffered a trauma when she was 17 years old on October 31st 1978, and basically she went back to school November 1st 1978 a different person.”


She also thinks that she wouldn’t be doing her job properly if she didn’t find it emotional stepping back into the shoes of Laurie Strode.

Compass International Pictures

“She went from being an innocent, dreamer, intellectual, romantic, chaste virgin, to someone who was brutalised, and no one helped her,” she said of her character. “This beautiful young soul was battered and beaten and traumatised through her entire adult life, and if that doesn’t make me, the actress, emotional, then I’m in the wrong profession. In order to make the story have any resonance, you have to believe that this woman went through a trauma.”


Jamie saw a lot of the scariest moments in the movie for the first time when she went to watch it in the theatre.

Ryan Green / Universal

“I’m not there during the filming of all these other sequences that I’m not involved in,” she confessed. “So, there a lot of sequences in this movie that I’m not in that are really, really, really, scary and that I saw for the very first time in the theatre.”


And Jamie thinks that the movie is an A+ based on how terrifying it is.

Ryan Green / Universal

Although she revealed that it’s not scary filming a horror movie “because you know everybody and you know what’s about to happen”, she did say that “it is designed to scare you, and I will tell you we get an A+. Or an H+ if you will.”


The cast and crew would usually spend time between takes on their phones, but Jamie revealed that if she was a director, she’d ban cell phones from the set.


“It’s sad reality, but the truth is most people communicate their lives through their phones,” she said. She continued, “If I was a director, I would forbid cell phones on sets. I find them distracting, and yet they are the tool we reach for when we have a break.”


Jamie admits that there are a lot of homages and easter eggs to previous Halloween films in this latest instalment, but refuses to reveal any of them because it takes away the fun of finding them for yourself.

BuzzFeed, Ryan Green / Universal

“That is part of a way for a filmmaker to give a superfan something really to look for and be delighted in, so it’d be like me telling a child the egg that has the $20 is the red egg with the green stripe around it. I’m not gonna tell you one of them.”


Jamie never thought she’d do another Halloween movie after reviving the franchise with H20 in 1998.

Dimension Films

She revealed that she’s been enjoying her “beautiful personal life” before going on to say, “The last thing I thought I’d be doing is making another Halloween movie.”


Although this latest movie marks the first time Jamie has stepped into the role as an executive producer, she thinks that she also deserved an executive producer credit for Halloween H20 because it was all her idea in the first place.

Dimension Films

“I deserved a credit on the H20 movie because I actually invented it,” she said. “I was raising my kids and I was busy, and I didn’t think to say to my people, ‘I should be an executive producer, it was my idea to do it.’ I regret that.”


Jamie revealed that she would actually like to direct a horror movie, and that after filming Halloween, she went home and wrote a screenplay of her own.

Ryan Green / Universal

“Being around David definitely got my creative mojo going. I went home and wrote a screenplay that I will direct at some point I hope.”


Jamie didn’t actually rule out the possibility of another Halloween sequel.

BuzzFeed, Ryan Green / Universal

When BuzzFeed said that we assumed there wouldn’t be another sequel and asked what she would miss most about playing Laurie Strode, Jamie answered, “Well you know what, I don’t know nothing about nothing. I know I will leave here, probably go have a latte. Beyond that, I don’t know what.”


And finally, what’s one thing Jamie Lee Curtis thinks you should know before you go and see Halloween? “You will be so fucking scared that you won’t know what to do.”

Ryan Green / Universal

But don’t just take her word for it, take a look for yourself… warning, not for the faint of heart!

Ryan Green / Universal

You can watch Halloween in cinemas from 19 October.

Kylie Jenner And Kourtney Kardashian Just Showed Their Support For Kendall After She Dragged TMZ

John Ford, 37, was arrested at Kendall’s property back in July and convicted of trespassing. Although he was ordered to stay away from Kendall and her home, he was arrested for the same thing on Tuesday morning, according to TMZ “sitting on Kendall’s front porch”. This followed an incident in 2016, where a man bypassed Kendall’s security gate and confronted her in her car by banging on the windows.

Meghan Markle Being Given Vegetables Is The Most Bondi Thing That's Ever Happened

The Duchess of Sussex served up this relaxed pre-weekend mood on the sands of Bondi on Friday.

Ryan Pierse / Getty Images

Wearing a Martin Grant maxi dress (which has subsequently sold out) and Pippa Middleton-inspired espadrille wedges (that she kicked off); a barefoot Meghan was joined by an equally shoeless Harry.

Ryan Pierse / Getty Images

They were invited inside the Anti Bad Vibes circle with the inspiring OneWave crew.

Chris Jackson / Getty Images

OneWave is an organisation that helps people with mental health issues like depression, anxiety and bipolar by encouraging them to engage with things like surfing and yoga.

Ryan Pierse / Getty Images

Organisers also host weekly #FluroFriday sunrise meet-ups where people can share their feelings, do some yoga and catch some waves.

The royal couple appeared to love being involved.

Ryan Pierse / Getty Images

Where they listened to personal stories.

Chris Jackson / Getty Images

And also shared their experiences with mental health and the importance of talking about how you are feeling.

Chris Jackson / Getty Images

Meghan said that she was awake at 4.30am to honour her daily yoga practice.

Chris Jackson / Getty Images

Yoga for the duchess is her “leveller”. She also told the group that throwing a few shapes each day is her “escape”.

They then met some of the hardest working lifeguards in the world.

Ryan Pierse / Getty Images

Picked up some fresh veggies for dinner.

“We got some veggies!!!” – Meghan to Harry after receiving the mysterious carrots🥕
(Thanks to @mollyfleck for the vid!)

11:12 PM – 18 Oct 2018

Threw a few shakas.

Ryan Pierse / Getty Images

Broke more protocol and hugged more people.

Ryan Pierse / Getty Images

For those keeping score, Harry is now five from five in the hugging stakes this tour.

Harry then waxed up.

Ryan Pierse / Getty Images

Before Meghan, a native of California, appeared to drag Harry for thinking he could be the next Mick Fanning.

Ryan Pierse / Getty Images

Just kidding. These two are actual human bras — so damn supportive 😍

Chris Jackson / Getty Images

Here’s more photos from the Aussie royal tour:

* Every Exhausted Student Will Relate To This Girl Crying To Prince Harry