Trap Official Trailer: "Warner Bros. Pictures presents a new experience in the world of M. Night Shayamalan—“Trap” —featuring performances by rising music star Saleka Shyamalan. A father and teen daughter attend a pop concert, where they realize they’re at the center of a dark and sinister event. Written and directed by M. Night Shyamalan, “Trap” stars Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills and Allison Pill. The film is produced by Ashwin Rajan, Marc Bienstock and M. Night Shyamalan. The executive producer is Steven Schneider. The director of photography is Sayombhu Mukdeeprom (“Call Me by Your Name”). The production designer is Debbie de Villa (“The Hating Game”). It is edited by Noëmi Preiswerk and the music is by Herdĭs Stefănsdŏttir (“Knock at the Cabin”). The music supervisor is Susan Jacobs (“Old”); the costume designer is Caroline Duncan (“Old”). The casting is by Douglas Aibel (“Asteroid City”). Warner Bros.
- 4/18/2024
- by Jonathan James
- DailyDead
For fans of M. Night Shayamalan, get ready for the next generation.
Warner Bros. Pictures presents a new experience in the world of M. Night Shayamalan – Trap – featuring performances by rising music star and daughter Saleka Shyamalan. In addition, the filmmaker’s other daughter, Ishana Night Shyamalan’s debut feature The Watchers opens on June 14. He is a producer of the film.
The director’s previous film, Knock At The Cabin, was released in early February 2023 and had a worldwide gross of $55 million, while 2021’s Old took in more than $90 million at the box office.
Here’s a look at Night’s upcoming film.
A father and teen daughter attend a pop concert, where they realize they’re at the center of a dark and sinister event.
Written and directed by M. Night Shyamalan, Trap stars Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills and Allison Pill. The film is produced by Ashwin Rajan,...
Warner Bros. Pictures presents a new experience in the world of M. Night Shayamalan – Trap – featuring performances by rising music star and daughter Saleka Shyamalan. In addition, the filmmaker’s other daughter, Ishana Night Shyamalan’s debut feature The Watchers opens on June 14. He is a producer of the film.
The director’s previous film, Knock At The Cabin, was released in early February 2023 and had a worldwide gross of $55 million, while 2021’s Old took in more than $90 million at the box office.
Here’s a look at Night’s upcoming film.
A father and teen daughter attend a pop concert, where they realize they’re at the center of a dark and sinister event.
Written and directed by M. Night Shyamalan, Trap stars Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills and Allison Pill. The film is produced by Ashwin Rajan,...
- 4/18/2024
- by Michelle McCue
- WeAreMovieGeeks.com
Warner Bros. Pictures has released the official trailer for M. Night Shyamalan’s new film, Trap, which will open in theaters on August 9, 2024.
In the film, featuring performances by Saleka Shyamalan, a father and teen daughter attend a pop concert and realize they’re at the center of a dark and sinister event.
Written and directed by M. Night Shyamalan, Trap stars Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills, and Allison Pill. The film is produced by Ashwin Rajan, Marc Bienstock, and M. Night Shyamalan. Steven Schneider is the executive producer.
Sayombhu Mukdeeprom (Call Me by Your Name) is the director of photography, and Debbie de Villa (The Hating Game) is the production designer. The film was edited by Noëmi Preiswerk, and the music is by Herdĭs Stefănsdŏttir (Knock at the Cabin).
The music supervisor is Susan Jacobs (Old), the costume designer is Caroline Duncan (Old), and the casting...
In the film, featuring performances by Saleka Shyamalan, a father and teen daughter attend a pop concert and realize they’re at the center of a dark and sinister event.
Written and directed by M. Night Shyamalan, Trap stars Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills, and Allison Pill. The film is produced by Ashwin Rajan, Marc Bienstock, and M. Night Shyamalan. Steven Schneider is the executive producer.
Sayombhu Mukdeeprom (Call Me by Your Name) is the director of photography, and Debbie de Villa (The Hating Game) is the production designer. The film was edited by Noëmi Preiswerk, and the music is by Herdĭs Stefănsdŏttir (Knock at the Cabin).
The music supervisor is Susan Jacobs (Old), the costume designer is Caroline Duncan (Old), and the casting...
- 4/18/2024
- by Mirko Parlevliet
- Vital Thrills
Over her two-decade-long career, music supervisor and self-confessed music nerd Susan Jacobs has worked with directors such as Robert Altman, Jean-Marc Vallée and Spike Lee. She has worked on notable TV series and films such as I, Tonya, American Hustle, and Little Miss Sunshine. She won the first ever Emmy award for music supervision for her work on Vallée’s Big Little Lies, where she worked without a composer, handpicking specific sounds and musical artists for each character in an attempt to mirror the intricacies of their personal lives. On another Vallée project, Sharp Objects, Jacobs exhibited this aptitude again, building […]
The post “If You Know the Song, and Your Mother Knows the Song, You Can’t Afford the Song”: Music Supervisor Susan Jacobs Demystifies the Profession first appeared on Filmmaker Magazine.
The post “If You Know the Song, and Your Mother Knows the Song, You Can’t Afford the Song”: Music Supervisor Susan Jacobs Demystifies the Profession first appeared on Filmmaker Magazine.
- 12/19/2023
- by Arrow Peretz
- Filmmaker Magazine-Director Interviews
Over her two-decade-long career, music supervisor and self-confessed music nerd Susan Jacobs has worked with directors such as Robert Altman, Jean-Marc Vallée and Spike Lee. She has worked on notable TV series and films such as I, Tonya, American Hustle, and Little Miss Sunshine. She won the first ever Emmy award for music supervision for her work on Vallée’s Big Little Lies, where she worked without a composer, handpicking specific sounds and musical artists for each character in an attempt to mirror the intricacies of their personal lives. On another Vallée project, Sharp Objects, Jacobs exhibited this aptitude again, building […]
The post “If You Know the Song, and Your Mother Knows the Song, You Can’t Afford the Song”: Music Supervisor Susan Jacobs Demystifies the Profession first appeared on Filmmaker Magazine.
The post “If You Know the Song, and Your Mother Knows the Song, You Can’t Afford the Song”: Music Supervisor Susan Jacobs Demystifies the Profession first appeared on Filmmaker Magazine.
- 12/19/2023
- by Arrow Peretz
- Filmmaker Magazine - Blog
The song most important to Craig Gillespie’s storytelling in “Dumb Money” is Cardi B’s 2020 hit, “Wap.”
Set in 2021, the film follows a group of common-man stock traders who take on the titans of Wall Street. Music supervisor Susan Jacobs says, “We had a very particular time period where it was really important to the writers because that was the moment of GameStop.”
Paul Dano plays Keith Gill a.k.a Roaring Kitty, the family man who follows stock for a hobby and gains a huge following. Seth Rogen is hedge fund manager Gabe Plotkin, who hears about the inexplicable sudden rise in GameStop shares and aims to get to the bottom of it. Jacobs knew she wanted at least three recognizable songs. She says, “I wanted something that would set us back in Covid and that time.” Her challenge was how to design a soundtrack with a limited budget.
Set in 2021, the film follows a group of common-man stock traders who take on the titans of Wall Street. Music supervisor Susan Jacobs says, “We had a very particular time period where it was really important to the writers because that was the moment of GameStop.”
Paul Dano plays Keith Gill a.k.a Roaring Kitty, the family man who follows stock for a hobby and gains a huge following. Seth Rogen is hedge fund manager Gabe Plotkin, who hears about the inexplicable sudden rise in GameStop shares and aims to get to the bottom of it. Jacobs knew she wanted at least three recognizable songs. She says, “I wanted something that would set us back in Covid and that time.” Her challenge was how to design a soundtrack with a limited budget.
- 9/22/2023
- by Jazz Tangcay
- Variety Film + TV
Critically acclaimed filmmaker M. Night Shyamalan returns with his seventh #1 movie debut, Knock At The Cabin, yours to own on Digital March 24 and 4K Ultra HD, Blu-ray and DVD on May 9 from Universal Pictures Home Entertainment.
The film is also available to stream on Peacock on March 24, 2023.
Based on the book “The Cabin at the End of the World” by Paul Tremblay, the suspenseful apocalyptic thriller is “a relentlessly gripping winner” (The Playlist) that “commands your attention at every reveal” (Comicbook). Knock At The Cabin comes home with more than 40 minutes of exclusive bonus content, including deleted scenes and featurettes that dives deep into the film’s layered and multi-dimensional themes, Shyamalan’s visionary filmmaking process, and more.
Knock At The Cabin is a thriller about a tight-knit family who are taken hostage by four armed strangers while vacationing at a remote cabin. The visitors, led by Dave Bautista (Guardians of the Galaxy franchise,...
The film is also available to stream on Peacock on March 24, 2023.
Based on the book “The Cabin at the End of the World” by Paul Tremblay, the suspenseful apocalyptic thriller is “a relentlessly gripping winner” (The Playlist) that “commands your attention at every reveal” (Comicbook). Knock At The Cabin comes home with more than 40 minutes of exclusive bonus content, including deleted scenes and featurettes that dives deep into the film’s layered and multi-dimensional themes, Shyamalan’s visionary filmmaking process, and more.
Knock At The Cabin is a thriller about a tight-knit family who are taken hostage by four armed strangers while vacationing at a remote cabin. The visitors, led by Dave Bautista (Guardians of the Galaxy franchise,...
- 3/18/2023
- by Michelle Hannett
- WeAreMovieGeeks.com
Save Your Family Or Save Humanity. This February, Make The Choice. Universal Pictures Proudly Presents A New Thriller From M. Night Shyamalan. Knock At The Cabin. Rated R. Only In Theaters February 3Rd.
Advance Screening is Tue, Jan 31st 7pm @ Marcus Ronnie’s Cine
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed.
Enter at the link below.
Sweepstakes Link: http://gofobo.com/wxBGH11484
While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost.
From visionary filmmaker M. Night Shyamalan, Knock at the Cabin stars Dave Bautista, Tony award and Emmy nominee Jonathan Groff, Ben Aldridge,...
Advance Screening is Tue, Jan 31st 7pm @ Marcus Ronnie’s Cine
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed.
Enter at the link below.
Sweepstakes Link: http://gofobo.com/wxBGH11484
While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost.
From visionary filmmaker M. Night Shyamalan, Knock at the Cabin stars Dave Bautista, Tony award and Emmy nominee Jonathan Groff, Ben Aldridge,...
- 1/20/2023
- by Movie Geeks
- WeAreMovieGeeks.com
The Guild of Music Supervisors released on Thursday the nominees for the group’s 12th annual awards ceremony, honoring music supervisors in film, television, advertising and video games.
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
Among the nominees for the film categories are “Being the Ricardos,” “Encanto,” “Barb and Star Go to Vista Del Mar,” “The Harder They Fall,” “The Tender Bar” and “Tick, Tick… Boom.” Meanwhile, some of the Television nominees include “The Crown,” “Cruel Summer,” and “Genius: Aretha.”
Nominees for music supervision in trailers include “The Matrix Resurrections” and “Spencer,” while video game nominees include “Grand Theft Auto: Online — The Contract” and “FIFA 22.”
As previously announced, Diane Warren will receive the Icon Award, while Mitchell Leib will receive the Legacy Award, which honors “music supervisors who have excelled within the craft of music supervision.”
Read the complete list of nominees below:
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – Being The Ricardos...
- 2/11/2022
- by Ross A. Lincoln
- The Wrap
The Guild of Music Supervisors today unveiled the nominees for its 12th annual award ceremony, celebrating outstanding achievement in the craft of Music Supervision in film, television, games, documentaries, advertising, and trailers, with such notable songwriters and performers as Beyoncé, Jay-Z, Kid Cudi, Lin-Manuel Miranda, Eddie Vedder, Anderson .Paak, Bruno Mars, H.E.R. and Demi Lovato making the cut.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
Beyoncé was among those recognized for the Oscar-nominated King Richard song “Be Alive,” with Jay-Z, Kid Cudi, filmmaker Jeymes Samuel and music supervisor Michelle Silverman noted for the song “Guns Go Bang” from The Harder They Fall, and Miranda cited for his Oscar-nominated Encanto song “Dos Oruguitas.” Vedder was nominated alongside Glen Hansard, his performer daughter Olivia and music supervisor Tracy McKnight for the Flag Day tune “My Father’s Daughter,” with Anderson .Paak and Bruno Mars among those sharing a nom for the Shang-Chi song “Fire In the Sky.” H.E.
- 2/10/2022
- by Matt Grobar
- Deadline Film + TV
Nominees for the 12th annual Guild of Music Supervisors (Gms) Awards have been revealed, recognizing the craft of music supervision in film, television, games, advertising and trailers.
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
Among the film nominees for the 2022 edition of the Gms Awards are “Encanto,” “The Eyes of Tammy Faye” and “Being the Ricardos,” each of which also scored Oscar nominations this week. Television shows that scored nods include “The White Lotus,” “Blindspotting” and “Lovecraft Country.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Diane Warren will receive the organization’s prestigious Icon Award, and Mitchell Leib will receive the Legacy Award honoring those music supervisors who have excelled within the craft of music supervision.
The 12th annual ceremony will take place virtually on Sunday, March 20.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Mary Ramos – “Being the Ricardos...
- 2/10/2022
- by Jazz Tangcay
- Variety Film + TV
Music supervisors are now solely eligible to win the Emmy in their category, as part of rules changes announced today by the Television Academy. Previously, showrunners who contributed musical ideas to their shows were eligible too, and have won three times.
The new rules clarified entry requirements in the category. Emmys can only be awarded to the “credited music supervisor… A Music Supervisor’s on-screen credit must reflect their primary function as a music supervisor.” Additionally, music supervisors no longer need to upload their cue sheets with their submissions.
In the past, some shows have added the showrunner’s name to the entry as well. This rule modification paves the way for music supervisors to receive that sole recognition. Many in the music for screens community have voiced displeasure in the past with the co-credit allowance.
As Joel C. High, Guild of Music Supervisors (Gms) board member and president, stated...
The new rules clarified entry requirements in the category. Emmys can only be awarded to the “credited music supervisor… A Music Supervisor’s on-screen credit must reflect their primary function as a music supervisor.” Additionally, music supervisors no longer need to upload their cue sheets with their submissions.
In the past, some shows have added the showrunner’s name to the entry as well. This rule modification paves the way for music supervisors to receive that sole recognition. Many in the music for screens community have voiced displeasure in the past with the co-credit allowance.
As Joel C. High, Guild of Music Supervisors (Gms) board member and president, stated...
- 12/20/2021
- by Jazz Tangcay
- Variety Film + TV
The Guild of Music Supervisors held their 11th annual awards virtually today, celebrating outstanding achievement in the craft of music supervision in film, television, documentary, games, advertising and trailers.
Quincy Jones received this year’s Icon Award while Maureen Crowe, the founding President of the Guild of Music Supervisors, accepted the Legacy Award.
Music legend Stevie Wonder made a surprise visit and gave a heartfelt tribute to the accomplishments of Jones.
Pop star Billie Eilish and her brother, Finneas O’Connell, made a cameo appearance to present an award at today’s teleconference show.
The complete winners list for the 11th Annual Guild of Music Supervisors Awards is listed below.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Tom MacDougall – Soul *Winner*
Jonathan Leahy – Bill & Ted Face The Music
Becky Bentham – Eurovision Song Contest: The Story of Fire Saga
Julia Michels – Jingle Jangle: A Christmas Journey
Angela Leus – Trolls World...
Quincy Jones received this year’s Icon Award while Maureen Crowe, the founding President of the Guild of Music Supervisors, accepted the Legacy Award.
Music legend Stevie Wonder made a surprise visit and gave a heartfelt tribute to the accomplishments of Jones.
Pop star Billie Eilish and her brother, Finneas O’Connell, made a cameo appearance to present an award at today’s teleconference show.
The complete winners list for the 11th Annual Guild of Music Supervisors Awards is listed below.
Film
Best Music Supervision for Film Budgeted Over $25 Million
Tom MacDougall – Soul *Winner*
Jonathan Leahy – Bill & Ted Face The Music
Becky Bentham – Eurovision Song Contest: The Story of Fire Saga
Julia Michels – Jingle Jangle: A Christmas Journey
Angela Leus – Trolls World...
- 4/12/2021
- by Brandon Choe
- Deadline Film + TV
“Soul,” “Ma Rainey’s Black Bottom,” “Promising Young Woman,” and “The Trial of the Chicago 7” were the big film winners Sunday at the 11th annual Guild of Music Supervisors Awards.
“Soul” took best supervision for a film budgeted over $25 million, “Ma Rainey’s Black Bottom” for under $25 million, “Promising Young Woman” for under $10 million, “The Cuban” for under $5 million, and “Hear My Voice” took best song honors from “The Trial of the Chicago 7.”
In TV, “Watchmen” won for drama and best song (“The Way It Used To Be”), “To All the Boys: P.S. I Still Love You” scored for movie, and there was a three-way tie for comedy or musical split between “High Fidelity,” “Insecure,” and “The Marvelous Mrs. Maisel.”
The documentary awards went to “Crip Camp” and the docuseries “The Last Dance.”
In addition, the legendary Quincy Jones won the Icon Award and was paid a lovely tribute by Stevie Wonder,...
“Soul” took best supervision for a film budgeted over $25 million, “Ma Rainey’s Black Bottom” for under $25 million, “Promising Young Woman” for under $10 million, “The Cuban” for under $5 million, and “Hear My Voice” took best song honors from “The Trial of the Chicago 7.”
In TV, “Watchmen” won for drama and best song (“The Way It Used To Be”), “To All the Boys: P.S. I Still Love You” scored for movie, and there was a three-way tie for comedy or musical split between “High Fidelity,” “Insecure,” and “The Marvelous Mrs. Maisel.”
The documentary awards went to “Crip Camp” and the docuseries “The Last Dance.”
In addition, the legendary Quincy Jones won the Icon Award and was paid a lovely tribute by Stevie Wonder,...
- 4/12/2021
- by Bill Desowitz
- Indiewire
Oscar contenders “Ma Rainey’s Black Bottom,” “Promising Young Woman” and Pixar’s “Soul” triumphed in their respective categories at the 11th Annual Guild of Music Supervisors Awards.
The ceremony celebrating outstanding achievement in the field of music supervision was held virtually, honoring the unsung heroes of film, television, documentaries, games, advertising and trailers. Despite not being recognized by AMPAS, the wins helped shine a spotlight on the music supervisors who contributed to Academy Award nominated films.
Tom MacDougall snagged best music supervision for film budgeted over $25 million for “Soul”, while the award for under $25 million went to Dawn Sutter Madell for her work on “Ma Rainey’s Black Bottom.” Billie Eilish and Finneas made a surprise appearance to present Best music supervision for film budgeted under $10 million to Susan Jacobs for “Promising Young Woman.”
In the television category, the best music supervision for a television comedy or musical award resulted in a three-way tie,...
The ceremony celebrating outstanding achievement in the field of music supervision was held virtually, honoring the unsung heroes of film, television, documentaries, games, advertising and trailers. Despite not being recognized by AMPAS, the wins helped shine a spotlight on the music supervisors who contributed to Academy Award nominated films.
Tom MacDougall snagged best music supervision for film budgeted over $25 million for “Soul”, while the award for under $25 million went to Dawn Sutter Madell for her work on “Ma Rainey’s Black Bottom.” Billie Eilish and Finneas made a surprise appearance to present Best music supervision for film budgeted under $10 million to Susan Jacobs for “Promising Young Woman.”
In the television category, the best music supervision for a television comedy or musical award resulted in a three-way tie,...
- 4/12/2021
- by Jazz Tangcay
- Variety Film + TV
The music supervisors for “Soul,” “Ma Rainey’s Black Bottom” and “Promising Young Woman” won awards at the 11th annual Guild of Music Supervisors Awards, which took place in a virtual ceremony Sunday evening.
Tom MacDougall won for “Soul” in the Best Music Supervision for Film Budgeted Over $25 Million category. Dawn Sutter Madell won for “Ma Rainey” in the category for films under $25 million, Susan Jacobs won for “Promising Young Woman” for films under $10 million and Dondrea Erauw won for “The Cuban” for films budgeted under $5 million.
Daniel Pemberton and Celeste’s Oscar-nominated song “Hear My Voice” from “The Trial of the Chicago 7” won in the Best Song Written and/or Recorded for a Film category, in which it was not competing against any of the other Oscar song nominees.
In the television categories, winners included the music supervisors of “Watchmen,” “High Fidelity,” “Insecure,” “The Marvelous Mrs. Maisel,” “The Masked Singer...
Tom MacDougall won for “Soul” in the Best Music Supervision for Film Budgeted Over $25 Million category. Dawn Sutter Madell won for “Ma Rainey” in the category for films under $25 million, Susan Jacobs won for “Promising Young Woman” for films under $10 million and Dondrea Erauw won for “The Cuban” for films budgeted under $5 million.
Daniel Pemberton and Celeste’s Oscar-nominated song “Hear My Voice” from “The Trial of the Chicago 7” won in the Best Song Written and/or Recorded for a Film category, in which it was not competing against any of the other Oscar song nominees.
In the television categories, winners included the music supervisors of “Watchmen,” “High Fidelity,” “Insecure,” “The Marvelous Mrs. Maisel,” “The Masked Singer...
- 4/12/2021
- by Steve Pond
- The Wrap
Nominees for the 11th Annual Guild of Music Supervisors (Gms) Awards have been revealed. Recognizing the craft of music supervision in film, television, games, advertising and trailers, previous winners have included such top-of-their-field music supervisors as Mary Ramos (“Once Upon A Time In Hollywood), Robin Urdang (“The Marvelous Mrs. Maisel”) and Kier Lehman (“Queen & Slim”).
Among the film nominees for the 2021 edition of the Gms Awards, which was pushed to April in order to align with the rescheduled Oscars, are frontrunners like “Ma Rainey’s Black Bottom,” “Soul” and “Promising Young Woman.” Television shows that scored nods include “Watchmen,” “Better Call Saul” and “The Marvelous Mrs. Maisel.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Quincy Jones will receive the Icon Award. Maureen Crowe, the founding president of the Guild, will receive the organization’s prestigious Legacy Award.
Among the film nominees for the 2021 edition of the Gms Awards, which was pushed to April in order to align with the rescheduled Oscars, are frontrunners like “Ma Rainey’s Black Bottom,” “Soul” and “Promising Young Woman.” Television shows that scored nods include “Watchmen,” “Better Call Saul” and “The Marvelous Mrs. Maisel.”
Songwriters, artists and music supervisors will be recognized together for the category of best song written and/or recorded for film.
As previously announced, Quincy Jones will receive the Icon Award. Maureen Crowe, the founding president of the Guild, will receive the organization’s prestigious Legacy Award.
- 2/25/2021
- by Jazz Tangcay
- Variety Film + TV
Nominees for the 2020 Guild of Music Supervisors (Gms) Awards were announced today. The annual event is scheduled for Feb. 6 at the Wiltern Theater and coincides with the tenth anniversary of the Gms.
Films up for awards include “Once Upon A Time In Hollywood,” “Frozen II,” “Aladdin,” “Ford v Ferrari,” “The Irishman,” “Hustlers” and “Wild Rose,” among others.
Television shows nominated include “Euphoria”; “Pose,” supervised by the dynamo trio of Amanda Krieg Thomas, Alexis Martin Woodall and Ryan Murphy; and “The Marvelous Mrs. Maisel,” an Emmy winner in the music supervision category, although the Gms lists only Robin Urdang, where the Television academy awarded showrunners Amy Sherman-Palladino and Daniel Palladino.
Among the songs recognized are: “Spirit” from “The Lion King,” “Into The Unknown” from “Frozen II,” “Don’t Call Me Angel” from “Charlie’s Angels,” “Invisible Ink” from “This Is Us,” “Jenny of Oldstrones” from “Game of Thrones” and “On a Roll” from “Black Mirror.
Films up for awards include “Once Upon A Time In Hollywood,” “Frozen II,” “Aladdin,” “Ford v Ferrari,” “The Irishman,” “Hustlers” and “Wild Rose,” among others.
Television shows nominated include “Euphoria”; “Pose,” supervised by the dynamo trio of Amanda Krieg Thomas, Alexis Martin Woodall and Ryan Murphy; and “The Marvelous Mrs. Maisel,” an Emmy winner in the music supervision category, although the Gms lists only Robin Urdang, where the Television academy awarded showrunners Amy Sherman-Palladino and Daniel Palladino.
Among the songs recognized are: “Spirit” from “The Lion King,” “Into The Unknown” from “Frozen II,” “Don’t Call Me Angel” from “Charlie’s Angels,” “Invisible Ink” from “This Is Us,” “Jenny of Oldstrones” from “Game of Thrones” and “On a Roll” from “Black Mirror.
- 1/9/2020
- by Shirley Halperin
- Variety Film + TV
Beyonce, Regina Spektor and Mary Steenburgen are among the songwriters who have been nominated by the Guild of Music Supervisors, which announced its annual awards for film, television and videogame music and music supervision on Thursday.
N0minees in the Best Song Written for a Film category are Beyonce, Ilya Salmanzadeh and Timothy Mckenzie for “Spirit” from “The Lion King”; Regina Spektor for “One Little Soldier” from “Bombshell”; Kristen Anderson-Lopez and Robert Lopez for “Into the Unknown” from “Frozen II”; Caityln Smith, Kate York and Mary Steenburgen for “Glasgow (No Place Like Home)” from “Wild Rose”; and Alma-Sofia Miettinen, Ariana Grande, Ilya Salmanzadeh, Elizabeth Grant, Max Martin, Miley Cyrus and Savan Kotecha for “Don’t Call Me Angel” from “Charlie’s Angels.”
Neither “One Little Soldier” nor “Don’t Call Me Angel” were on the Academy’s list of the 75 songs eligible for the Best Original Song Oscar. The other three...
N0minees in the Best Song Written for a Film category are Beyonce, Ilya Salmanzadeh and Timothy Mckenzie for “Spirit” from “The Lion King”; Regina Spektor for “One Little Soldier” from “Bombshell”; Kristen Anderson-Lopez and Robert Lopez for “Into the Unknown” from “Frozen II”; Caityln Smith, Kate York and Mary Steenburgen for “Glasgow (No Place Like Home)” from “Wild Rose”; and Alma-Sofia Miettinen, Ariana Grande, Ilya Salmanzadeh, Elizabeth Grant, Max Martin, Miley Cyrus and Savan Kotecha for “Don’t Call Me Angel” from “Charlie’s Angels.”
Neither “One Little Soldier” nor “Don’t Call Me Angel” were on the Academy’s list of the 75 songs eligible for the Best Original Song Oscar. The other three...
- 1/9/2020
- by Steve Pond
- The Wrap
Elliot and Darlene confront a (sort of) tragedy as Mr. Robot season 4 preps its next big twist.
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This Mr. Robot review contains spoilers.
Mr. Robot Season 4 Episode 2
Elliot Alderson has eight days to live.
As explained (quite thoroughly) in Mr. Robot season 4’s exhilarating first hour, our beloved Monsieur Robot’s days are numbered, as Whiterose plans to kill him once he’s delivered on her transportation algorithm and her plan is completely finished. Whiterose knows this. Her people know this. Elliot and Mr. Robot know this. The teeming Mr. Robot viewing masses know this.
That’s why it’s a little surprising that Mr. Robot season 4 episode 2 “Payment Required” decides to slow things down a bit. Elliot and Darlene are thrown a curveball that distracts each of them from the important mission at hand. Granted, it’s not really Elliot’s fault but it does cast...
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This Mr. Robot review contains spoilers.
Mr. Robot Season 4 Episode 2
Elliot Alderson has eight days to live.
As explained (quite thoroughly) in Mr. Robot season 4’s exhilarating first hour, our beloved Monsieur Robot’s days are numbered, as Whiterose plans to kill him once he’s delivered on her transportation algorithm and her plan is completely finished. Whiterose knows this. Her people know this. Elliot and Mr. Robot know this. The teeming Mr. Robot viewing masses know this.
That’s why it’s a little surprising that Mr. Robot season 4 episode 2 “Payment Required” decides to slow things down a bit. Elliot and Darlene are thrown a curveball that distracts each of them from the important mission at hand. Granted, it’s not really Elliot’s fault but it does cast...
- 10/8/2019
- Den of Geek
Writer-Director M. Night Shyamalan wrapped his trilogy with this January’s Glass and now our friends at Universal Home Entertainment have provided us with a Blu-ray to giveaway.
All you need to do to enter is tell us which of the characters — David Dunn, Elijah Price, or Kevin Wendell Crumb — is your favorite and why. We need your responses no later than 11:59 p.m., Friday, April 12. The contest is open only to North American readers and the decision of the ComicMix judges will be final.
Bonus Features Exclusive To 4K Ultra HD, Blu-raytm & Digital
The Collection of Main Characters – A look at all the main players and how they fit in the universe created by filmmaker M. Night Shyamalan.
o David Dunn
o Elijah Price
o Kevin Wendell Crumb
o The Rest of the Family
· Bringing the Team Back Together – M. Night Shyamalan is famous for working with many...
All you need to do to enter is tell us which of the characters — David Dunn, Elijah Price, or Kevin Wendell Crumb — is your favorite and why. We need your responses no later than 11:59 p.m., Friday, April 12. The contest is open only to North American readers and the decision of the ComicMix judges will be final.
Bonus Features Exclusive To 4K Ultra HD, Blu-raytm & Digital
The Collection of Main Characters – A look at all the main players and how they fit in the universe created by filmmaker M. Night Shyamalan.
o David Dunn
o Elijah Price
o Kevin Wendell Crumb
o The Rest of the Family
· Bringing the Team Back Together – M. Night Shyamalan is famous for working with many...
- 4/8/2019
- by ComicMix Staff
- Comicmix.com
“A Star Is Born” took home multiple wins at the 9th Annual Guild of Music Supervisors Awards, held tonight at the theater at the Ace Hotel in downtown Los Angeles. The event celebrates the highest achievements in music supervision, recognizing exemplary work in 18 categories across movies, television, games, advertising, and trailers (read Variety‘s Gms Awards preview here.)
See the full list of winners below.
Best Music Supervision for Film Budgeted Over $25 Million
Julia Michels and Julianne Jordan – “A Star Is Born”
Best Music Supervision for Film Budgeted Under 25 Million
Tom Wolfe and Manish Raval – “Green Book”
Best Music Supervision for Film Budgeted Under $10 Million
Margaret Yen and Alison Litton – “Vox Lux”
Best Music Supervision for Film Budgeted Under $5 Milli on
Joe Rudge – “Eighth Grade”
Best Song/Recording Created for a Film
“Shallow” from “A Star Is Born”
Music Supervisors: Julia Michels and Julianne Jordan
Artists: Lady Gaga and Bradley Cooper
Songwriters: Stefani Germanotta,...
See the full list of winners below.
Best Music Supervision for Film Budgeted Over $25 Million
Julia Michels and Julianne Jordan – “A Star Is Born”
Best Music Supervision for Film Budgeted Under 25 Million
Tom Wolfe and Manish Raval – “Green Book”
Best Music Supervision for Film Budgeted Under $10 Million
Margaret Yen and Alison Litton – “Vox Lux”
Best Music Supervision for Film Budgeted Under $5 Milli on
Joe Rudge – “Eighth Grade”
Best Song/Recording Created for a Film
“Shallow” from “A Star Is Born”
Music Supervisors: Julia Michels and Julianne Jordan
Artists: Lady Gaga and Bradley Cooper
Songwriters: Stefani Germanotta,...
- 2/14/2019
- by Variety Staff
- Variety Film + TV
Let’s be honest. A show like “Maniac” was never going play it safe in any department.
When it comes to music, the show had free reign of genre and time period to help tell its reality-spanning epic. Aside from Dan Romer’s versatile score, there’s still an impressive array of songs to help tell the story.
Like with a few other Netflix shows so far this year, some of these songs managed to play big parts within the story itself. (How else would we have been able to hear Billy Magnussen show off his singing chops without some help from Gordon Sumner and friends?)
Each of these new worlds uses so many different elements to signal how much has changed — or stayed the same. Case in point: that wacky ’80s fur store saga, which managed to rope in Hall & Oates, Art of Noise, and Herb Alpert for good measure.
When it comes to music, the show had free reign of genre and time period to help tell its reality-spanning epic. Aside from Dan Romer’s versatile score, there’s still an impressive array of songs to help tell the story.
Like with a few other Netflix shows so far this year, some of these songs managed to play big parts within the story itself. (How else would we have been able to hear Billy Magnussen show off his singing chops without some help from Gordon Sumner and friends?)
Each of these new worlds uses so many different elements to signal how much has changed — or stayed the same. Case in point: that wacky ’80s fur store saga, which managed to rope in Hall & Oates, Art of Noise, and Herb Alpert for good measure.
- 9/22/2018
- by Steve Greene
- Indiewire
Adapting a story like “Sharp Objects” with such a fraught collection of mother-daughter relationships, it makes sense that there was one word that director Jean-Marc Vallée and music supervisor Susan Jacobs returned to when exploring music to use in the telling. Early on in the process, the search was on for some good “mama” songs.
“I was researching, going back and looking and trying to find songs that are ‘mama’ in a different way,” Jacobs told IndieWire. “Country songs have a lot of ‘mama’ and we didn’t want to go there. You can just load up people with lots of ‘mama’ songs from country bands. But to find things like [Sylvan Esso’s] version of ‘Come Down,’ it just felt perfect. Everything that Jean-Marc does, there’s kind of a surreal quality to it in the way he’s shooting, and it just worked out really beautifully. ”
“Sharp Objects...
“I was researching, going back and looking and trying to find songs that are ‘mama’ in a different way,” Jacobs told IndieWire. “Country songs have a lot of ‘mama’ and we didn’t want to go there. You can just load up people with lots of ‘mama’ songs from country bands. But to find things like [Sylvan Esso’s] version of ‘Come Down,’ it just felt perfect. Everything that Jean-Marc does, there’s kind of a surreal quality to it in the way he’s shooting, and it just worked out really beautifully. ”
“Sharp Objects...
- 8/22/2018
- by Steve Greene
- Indiewire
Music makes such a huge difference when it comes to enjoying TV’s top shows, on a level that goes well beyond a theme song. Great composers create an aural language that’s as tangible and essential as the actors or sets on screen, aided by music supervisors who discover undiscovered tracks as well as essential classic gems —without which the show’s most powerful moments would have no impact.
Even the Television Academy agrees: For this first time, this year the Emmy Awards handed out a prize for outstanding music supervision. Susan Jacobs won the award for the “Big Little Lies” episode “You Get What You Need.”
There were so many shows that changed the way music was used on television this year — whether it was Tom Petty’s “American Girl” becoming a shout of protest, an obscure Elvis Presley cover becoming one of our favorite tunes of the year,...
Even the Television Academy agrees: For this first time, this year the Emmy Awards handed out a prize for outstanding music supervision. Susan Jacobs won the award for the “Big Little Lies” episode “You Get What You Need.”
There were so many shows that changed the way music was used on television this year — whether it was Tom Petty’s “American Girl” becoming a shout of protest, an obscure Elvis Presley cover becoming one of our favorite tunes of the year,...
- 12/27/2017
- by Hanh Nguyen, Steve Greene and Liz Shannon Miller
- Indiewire
As expected, the Creative Arts Emmy competition Sunday turned out to be a sci-fi smackdown between Netflix’s “Stranger Things” and HBO’s “Westworld,” and each split the night with five awards apiece.
The Duffer Brothers’ ’80s homage to Steven Spielberg and Stephen King, “Stranger Things” won for outstanding editing, main title theme music, main title design, sound editing, and casting. The Jonathan Nolan/ Lisa Joy sci-fi/western, “Westworld,” earned outstanding special visual effects (the domain of “Game of Thrones” five years running), makeup (non-prosthetic), hairstyling, sound mixing, and creative achievement in interactive media.
However, if recent history proves a reliable harbinger, “Stranger Things” has the edge in the race for next Sunday’s Outstanding Series competition because of its editing victory. That’s because the last five outstanding editing winners have also taken home the big prize.
Read More:News Film TV Awards Toolkit More Search ‘The Handmaid’s Tale,...
The Duffer Brothers’ ’80s homage to Steven Spielberg and Stephen King, “Stranger Things” won for outstanding editing, main title theme music, main title design, sound editing, and casting. The Jonathan Nolan/ Lisa Joy sci-fi/western, “Westworld,” earned outstanding special visual effects (the domain of “Game of Thrones” five years running), makeup (non-prosthetic), hairstyling, sound mixing, and creative achievement in interactive media.
However, if recent history proves a reliable harbinger, “Stranger Things” has the edge in the race for next Sunday’s Outstanding Series competition because of its editing victory. That’s because the last five outstanding editing winners have also taken home the big prize.
Read More:News Film TV Awards Toolkit More Search ‘The Handmaid’s Tale,...
- 9/11/2017
- by Bill Desowitz
- Indiewire
The use of The Clash’s 1982 hit single, “Should I Stay or Should I Go,” in “Stranger Things” is a great example of why there’s a new Emmy category this season honoring the creativity of the music supervisor. The Duffer Brothers inserted the song into their ’80s sci-fi script to emotionally connect the Indiana family that’s separated by the Upside Down dimension. However, if Emmy-nominated music supervisor Nora Felder hadn’t convinced The Clash of its importance, the Duffers would’ve had to find a replacement.
Fortunately, the “Stranger Things” showrunners (Matt and Ross Duffer) were never aware there was even a problem obtaining the licensing rights. “It was my job to protect them,” said Felder Thursday night during a Q&A panel discussion. “They were worried about trivializing the song and needed to see how it was going to be used in scenes, and for the first...
Fortunately, the “Stranger Things” showrunners (Matt and Ross Duffer) were never aware there was even a problem obtaining the licensing rights. “It was my job to protect them,” said Felder Thursday night during a Q&A panel discussion. “They were worried about trivializing the song and needed to see how it was going to be used in scenes, and for the first...
- 8/18/2017
- by Bill Desowitz
- Indiewire
The new Music Supervisor category this Emmy season finally honors the supervisor’s creative contribution to narrative storytelling and music aesthetic: Licensing songs that are appropriately iconic and emotionally resonant, while touting some of the hottest new talent.
Here are the nominees: Thomas Golubic (“Better Call Saul” — “Sunk Costs”), Susan Jacobs (“Big Little Lies” — “You Get What You Need”), Manish Raval, Jonathan Leahy, Tom Wolfe (“Girls”— “Goodbye Tour”), Zach Cowie, Kerri Drootin (“Master of None” — “Amarsi Un Po”), and Nora Felder (“Stranger Things” — “Chapter Two: The Weirdo on Maple Street”).
The results included three female supervisors (Jacobs, Drootin, and Felder) and demonstrated the brand power of HBO (“Big Little Lies,” “Girls”) and Netflix (“Master of None,” “Stranger Things”). But in the end, it came down to a battle of dueling playlists.
“Better Call Saul” — “Sunk Costs”
In the third season of the “Breaking Bad” prequel, Jimmy (Bob Odenkirk) gets...
Here are the nominees: Thomas Golubic (“Better Call Saul” — “Sunk Costs”), Susan Jacobs (“Big Little Lies” — “You Get What You Need”), Manish Raval, Jonathan Leahy, Tom Wolfe (“Girls”— “Goodbye Tour”), Zach Cowie, Kerri Drootin (“Master of None” — “Amarsi Un Po”), and Nora Felder (“Stranger Things” — “Chapter Two: The Weirdo on Maple Street”).
The results included three female supervisors (Jacobs, Drootin, and Felder) and demonstrated the brand power of HBO (“Big Little Lies,” “Girls”) and Netflix (“Master of None,” “Stranger Things”). But in the end, it came down to a battle of dueling playlists.
“Better Call Saul” — “Sunk Costs”
In the third season of the “Breaking Bad” prequel, Jimmy (Bob Odenkirk) gets...
- 7/21/2017
- by Bill Desowitz
- Indiewire
For the first time ever, the 2017 Primetime Emmys will hand out an award for Outstanding Music Supervision, acknowledging the creative contributions made by the music supervisors on TV series. It’s an award that’s long overdue; music supervision is an often misunderstood art form thought to be as simple as pulling songs off an iPod. “There’s so much work that goes into it that you don’t see on the screen,” says Amanda Krieg Thomas,...
- 6/23/2017
- Entertainment Tonight
The Beast can awaken in your living room, as Universal Pictures Home Entertainment will unleash M. Night Shyamalan's Split on Digital HD on April 4th, followed by a Blu-ray, DVD, and VOD release on April 18th, with special features including an alternate ending and deleted scenes.
Press Release: Universal City, California, March 1, 2017 – Writer and Director M. Night Shyamalan (The Sixth Sense, Unbreakable, The Visit) delivers his most gripping film yet with Split, an original psychological thriller available on Digital HD on April 4, 2017 and on Blu-ray™, DVD and On Demand on April 18, 2017, from Universal Pictures Home Entertainment. Jason Blum (Insidious, Ouija, The Visit, The Purge series) returns to collaborate with Shyamalan in the box-office hit, starring James McAvoy (X-Men: Apocalypse, Victor Frankenstein). The frightening thriller Split delves into the mysterious depths of one man’s fractured mind as a terror unlike the world has seen prepares to be unleashed.
Press Release: Universal City, California, March 1, 2017 – Writer and Director M. Night Shyamalan (The Sixth Sense, Unbreakable, The Visit) delivers his most gripping film yet with Split, an original psychological thriller available on Digital HD on April 4, 2017 and on Blu-ray™, DVD and On Demand on April 18, 2017, from Universal Pictures Home Entertainment. Jason Blum (Insidious, Ouija, The Visit, The Purge series) returns to collaborate with Shyamalan in the box-office hit, starring James McAvoy (X-Men: Apocalypse, Victor Frankenstein). The frightening thriller Split delves into the mysterious depths of one man’s fractured mind as a terror unlike the world has seen prepares to be unleashed.
- 3/1/2017
- by Derek Anderson
- DailyDead
by Peter Belsito
“Thoroughbred” is a two character piece set in an imposing residence where the young women, teenagers, come together for tutoring but it quickly develops beyond that into new — and dangerous — territory.Director Cory Finley with stars Olivia Cooke, Anya Taylor-Joy
Emotionally challenged Amanda and contemptuous Lily reboot their childhood friendship after years of instability and judgment, thrown back together by standardized-test tutoring.
When Lily’s icy stepdad, Mark, conspires to ship her off to reform school instead of her dream college, Amanda’s nonchalant quips about killing him suddenly seem enticing. Even as Amanda’s sinister tendencies surface and the girls hatch a plan, the mutual manipulation that has always defined their relationship threatens to derail their ambitions.
They have a history which enables them to confide and challenge and manipulate one another.
Part of the attraction of this film is the unstable emotional ground each inhabits...
“Thoroughbred” is a two character piece set in an imposing residence where the young women, teenagers, come together for tutoring but it quickly develops beyond that into new — and dangerous — territory.Director Cory Finley with stars Olivia Cooke, Anya Taylor-Joy
Emotionally challenged Amanda and contemptuous Lily reboot their childhood friendship after years of instability and judgment, thrown back together by standardized-test tutoring.
When Lily’s icy stepdad, Mark, conspires to ship her off to reform school instead of her dream college, Amanda’s nonchalant quips about killing him suddenly seem enticing. Even as Amanda’s sinister tendencies surface and the girls hatch a plan, the mutual manipulation that has always defined their relationship threatens to derail their ambitions.
They have a history which enables them to confide and challenge and manipulate one another.
Part of the attraction of this film is the unstable emotional ground each inhabits...
- 1/27/2017
- by Sydney Levine
- Sydney's Buzz
A woman who claims she got a bunch of songs together for "Silver Linings Playbook" says she never got paid for her work ... and now she wants cash, courtesy of a jury. Susan Jacobs filed docs claiming she was hired as the film's music supervisor back in 2011 and supervised the production of more than half the soundtrack. 'Slp' went on to become a huge success, as did the soundtrack -- but Susan claims she never...
- 9/10/2016
- by TMZ Staff
- TMZ
Chess has been a theme throughout much of Mr. Robot Season 2. If we're thinking in chess terms, Mr. Robot Season 2 Episode 10 is the act of getting all of your chess pieces in order for your final, game-winning (or losing) move.
In a word, it was epic.
I definitely preferred the later, tension-filled half of "Hidden Process," though there was no lack of great moments in the earlier half, which functioned mostly to set things up for the eventual madness of that final scene.
Seriously, the entire last 10-ish minutes were almost unbearably tense. Just when I thought things couldn't get any more nail-bitingly suspenseful, they upped the ante in the craziest way.
Let's start with the Elliot/Joanna plot, which I particularly enjoyed because (as I've said about a hundred times already) I completely adore Rami Malek's and Stephanie Corneliussen's acting and their chemistry together.
Joanna got glammed...
In a word, it was epic.
I definitely preferred the later, tension-filled half of "Hidden Process," though there was no lack of great moments in the earlier half, which functioned mostly to set things up for the eventual madness of that final scene.
Seriously, the entire last 10-ish minutes were almost unbearably tense. Just when I thought things couldn't get any more nail-bitingly suspenseful, they upped the ante in the craziest way.
Let's start with the Elliot/Joanna plot, which I particularly enjoyed because (as I've said about a hundred times already) I completely adore Rami Malek's and Stephanie Corneliussen's acting and their chemistry together.
Joanna got glammed...
- 9/8/2016
- by Caralynn Lippo
- TVfanatic
Last Week’S Review: ‘Mr. Robot’ Throws All Decorum Out The Window
Swedish Psycho
We start right before last week’s episode ended, with Joanna Wellick waiting to confront Elliot. To him, everything about Joanna is off. He thinks she can hear his conversations with us, and Mr. Robot feels like she can see him. This week poured fuel on a smoldering fan theory that Tyrell is yet another one of Elliot’s personas — Joanna continues to address Elliot as “Ollie,” using the wrong name but with an air that she’s in on the joke. Does that mean she’s also playing along with Tyrell-as-Elliot, too? Even the name of this episode, “Hidden Process,” points towards the idea of another persona hiding in Elliot’s head. This show has made some outlandish plot turns work in that past, but this one strains credulity. If they really are going this route,...
Swedish Psycho
We start right before last week’s episode ended, with Joanna Wellick waiting to confront Elliot. To him, everything about Joanna is off. He thinks she can hear his conversations with us, and Mr. Robot feels like she can see him. This week poured fuel on a smoldering fan theory that Tyrell is yet another one of Elliot’s personas — Joanna continues to address Elliot as “Ollie,” using the wrong name but with an air that she’s in on the joke. Does that mean she’s also playing along with Tyrell-as-Elliot, too? Even the name of this episode, “Hidden Process,” points towards the idea of another persona hiding in Elliot’s head. This show has made some outlandish plot turns work in that past, but this one strains credulity. If they really are going this route,...
- 9/8/2016
- by Jay Bushman
- Indiewire
As the season hits its home stretch, Mr. Robot Season 2 Episode 9 marks what is sure to be a pivotal installment of the series – and one of the best yet.
"Init 5" was deliciously tense and a welcome return to Elliot after the Elliot-less (but still wonderful) Mr. Robot Season 2 Episode 8.
We opened on a rundown of exactly what happened between the end of Mr. Robot Season 1 and Elliot ending up in jail, continuing the ongoing Mr. Robot Season 2 use of flashbacks to fill in gaps between and before what we've seen already. The knock at Elliot's door in the closing moments of the Mr. Robot Season 1 Finale was the police coming to arrest him.
As many had guessed, the crime that landed Elliot in the big house was the hack on Krista's scumbag boyfriend and stealing the guy's dog. Of all the things Elliot has done, it's pretty laughable that this...
"Init 5" was deliciously tense and a welcome return to Elliot after the Elliot-less (but still wonderful) Mr. Robot Season 2 Episode 8.
We opened on a rundown of exactly what happened between the end of Mr. Robot Season 1 and Elliot ending up in jail, continuing the ongoing Mr. Robot Season 2 use of flashbacks to fill in gaps between and before what we've seen already. The knock at Elliot's door in the closing moments of the Mr. Robot Season 1 Finale was the police coming to arrest him.
As many had guessed, the crime that landed Elliot in the big house was the hack on Krista's scumbag boyfriend and stealing the guy's dog. Of all the things Elliot has done, it's pretty laughable that this...
- 9/1/2016
- by Caralynn Lippo
- TVfanatic
Last Week’S Review: ‘Mr. Robot’ Anoints A New Madam Executioner
In Elliot’s Head, Two’s A Crowd
We finally get to see an objective view of Elliot’s time in prison — not for any of his world-shaking exploits, but for hacking Krista’s ex and stealing his dog. Ray was the warden, Leon played Freddy to Elliot’s Nas and we get answers to a lot of questions that we’ve already moved past. By keeping Elliot out of last week’s episode completely, it blunts the impact of these revisionist details. It also raises a larger question about the function of this kind of narrative approach. Rather than surprise or delight, the reveal of these details feels mostly like a rote checklist of things to explain before we can move on to the next bit of the story.
As Elliot is released back into the world, something...
In Elliot’s Head, Two’s A Crowd
We finally get to see an objective view of Elliot’s time in prison — not for any of his world-shaking exploits, but for hacking Krista’s ex and stealing his dog. Ray was the warden, Leon played Freddy to Elliot’s Nas and we get answers to a lot of questions that we’ve already moved past. By keeping Elliot out of last week’s episode completely, it blunts the impact of these revisionist details. It also raises a larger question about the function of this kind of narrative approach. Rather than surprise or delight, the reveal of these details feels mostly like a rote checklist of things to explain before we can move on to the next bit of the story.
As Elliot is released back into the world, something...
- 9/1/2016
- by Jay Bushman
- Indiewire
We’ve got questions, and you’ve (maybe) got answers! With another week of TV gone by, we’re lobbing queries left and right about shows including Fear the Walking Dead, Game of Thrones, Dead of Summer and Suits!
1 | Do you think NBC realizes what a socially progressive show it has on its airwaves in Superstore?
2 | Did the Aug. 19 Killjoys trot out the saying “What the hells?” mayyyybe 11 times too many?
RelatedFall TV 2016: Your Handy Calendar of 120+ Premiere Dates
3 | Did the painful, non-stop NBC commentary during the Olympics closing ceremony actually make you miss the opening ceremony commentators?
4 | Now...
1 | Do you think NBC realizes what a socially progressive show it has on its airwaves in Superstore?
2 | Did the Aug. 19 Killjoys trot out the saying “What the hells?” mayyyybe 11 times too many?
RelatedFall TV 2016: Your Handy Calendar of 120+ Premiere Dates
3 | Did the painful, non-stop NBC commentary during the Olympics closing ceremony actually make you miss the opening ceremony commentators?
4 | Now...
- 8/26/2016
- TVLine.com
Alec Bojalad Aug 25, 2016
It's either creatively bold or creatively hubristic for Mr Robot to follow up last week's instalment with an Elliot-free episode...
This review contains spoilers.
2.8 Successor
Successor is the kind of troll-y midseason episode that practically begs you to hate it.
Mr Robot, undoubtedly knowing that viewers are craving a conclusion or at least a continuation of Elliot’s alternate prison reality from last week, gives us precisely none of that. Instead the audience is treated to the not-ready-for-primetime players of fSociety in Darlene, Trenton and Mobley to go along with a seemingly spiralling Angela.
It’s the kind of episode you have to watch with IMDb open to make sure you’re getting all the character names right. It’s a plot-mover, a place-holder, a midseason-inhaler - whatever you want to call it. It’s also good.
Mr Robot is in that sublime territory where even its seemingly filler episodes represent entertaining,...
It's either creatively bold or creatively hubristic for Mr Robot to follow up last week's instalment with an Elliot-free episode...
This review contains spoilers.
2.8 Successor
Successor is the kind of troll-y midseason episode that practically begs you to hate it.
Mr Robot, undoubtedly knowing that viewers are craving a conclusion or at least a continuation of Elliot’s alternate prison reality from last week, gives us precisely none of that. Instead the audience is treated to the not-ready-for-primetime players of fSociety in Darlene, Trenton and Mobley to go along with a seemingly spiralling Angela.
It’s the kind of episode you have to watch with IMDb open to make sure you’re getting all the character names right. It’s a plot-mover, a place-holder, a midseason-inhaler - whatever you want to call it. It’s also good.
Mr Robot is in that sublime territory where even its seemingly filler episodes represent entertaining,...
- 8/25/2016
- Den of Geek
For anyone who thought that Elliot inherited all of the unhinged genes in the Alderson family, well... Mr. Robot Season 2 Episode 8 certainly cleared that misconception right up for you.
Darlene has been spiraling all season, in Elliot's absence, and "Successor" displayed the apex of that spiraling: cold-blooded murder.
The show has done a great, subtle job of hinting at Darlene slowly losing it since the very beginning of Mr. Robot Season 2.
In my review of Mr. Robot Season 2 Episode 3, I specifically wondered whether Darlene might be capable of murdering Mrs. Romero, given her reaction to Mobley saying that Mrs. Romero saw him at the house shortly before her son was found dead. In retrospect, that's some great foreshadowing and a wonderfully subtle performance on Carly Chaikin's part.
I was a little bit disappointed that Darlene's victim was such a random character. Susan Jacobs' importance always felt like a bit of a retcon,...
Darlene has been spiraling all season, in Elliot's absence, and "Successor" displayed the apex of that spiraling: cold-blooded murder.
The show has done a great, subtle job of hinting at Darlene slowly losing it since the very beginning of Mr. Robot Season 2.
In my review of Mr. Robot Season 2 Episode 3, I specifically wondered whether Darlene might be capable of murdering Mrs. Romero, given her reaction to Mobley saying that Mrs. Romero saw him at the house shortly before her son was found dead. In retrospect, that's some great foreshadowing and a wonderfully subtle performance on Carly Chaikin's part.
I was a little bit disappointed that Darlene's victim was such a random character. Susan Jacobs' importance always felt like a bit of a retcon,...
- 8/25/2016
- by Caralynn Lippo
- TVfanatic
Last Week’S Review: ‘Mr. Robot’ Gives Us A Literal Garbage Fire
In Elliot’s Head, Two’s A Crowd
Having revealed that Elliot has been in prison, with his release imminent, you might think that this week’s installment would drop him back into the world and start moving all of the various storylines towards a convergence, or at least the start of a new phase. But Elliot and Mr. Robot are nowhere to be seen, nor are Tyrell or Joanna Wellick; instead we get an fsociety-centric episode.
Some Kind Of A Revolutionary
With the stars of the show taking a break, we get more time with Mobley (Azhar Khan) and Trenton (Sunita Mani). In a flashback to the beginning of the series we see their hacker version of a meet-cute, which involves her pwning him while waiting to meet Elliot. Instead, it’s Darlene who arrives, and reads...
In Elliot’s Head, Two’s A Crowd
Having revealed that Elliot has been in prison, with his release imminent, you might think that this week’s installment would drop him back into the world and start moving all of the various storylines towards a convergence, or at least the start of a new phase. But Elliot and Mr. Robot are nowhere to be seen, nor are Tyrell or Joanna Wellick; instead we get an fsociety-centric episode.
Some Kind Of A Revolutionary
With the stars of the show taking a break, we get more time with Mobley (Azhar Khan) and Trenton (Sunita Mani). In a flashback to the beginning of the series we see their hacker version of a meet-cute, which involves her pwning him while waiting to meet Elliot. Instead, it’s Darlene who arrives, and reads...
- 8/25/2016
- by Jay Bushman
- Indiewire
A review of tonight's Mr. Robot coming up just as soon as I create an Angelfire fan page... "I didn't know I could do that." -Darlene A year ago, an episode like "Successor" — in which Elliot is entirely absent, along with his eponymous alter ego, while the focus is almost entirely on Darlene and her remaining comrades — would have been unthinkable. In season 1, Elliot was the show, and vice versa, and most of fsociety barely registered as more than vague shapes lingering on the edge of the frame (which, given the framing of Mr. Robot, rendered them particularly obscure). At this stage of season 2, though, it mostly works. It's not even that Mobley or Trenton or Cisco have transformed into vivid and exciting characters (though we're at least at the point where I remember their names), but that after spending so much time this summer inside Elliot's head — up to...
- 8/25/2016
- by Alan Sepinwall
- Hitfix
This week on USA Network’s Mr. Robot, one could only imagine the fallout of the Elliot/prison reveal, while Darlene & Co. felt the FBI (among others!) close in on their little operation.
RelatedMr. Robot Recap: The Truth Will Set You Free — Were You Surprised?
With neither Elliot nor Mr. Robot to be seen this week, all eyes were on the ladies: Darlene, Dom and Angela. The latter went to drown her latest sorrows at a Fourth of July karaoke night, where she blew off the guy (aka an FBI plant!) she hooked up with a few weeks back,...
RelatedMr. Robot Recap: The Truth Will Set You Free — Were You Surprised?
With neither Elliot nor Mr. Robot to be seen this week, all eyes were on the ladies: Darlene, Dom and Angela. The latter went to drown her latest sorrows at a Fourth of July karaoke night, where she blew off the guy (aka an FBI plant!) she hooked up with a few weeks back,...
- 8/25/2016
- TVLine.com
At the start of Mr. Robot‘s second season last month, we met Susan Jacobs aka Madame Executioner, E-Corp’s General Counsel; an laser-sharp, brilliant executive who can make any problem go away. Elliot and Darlene Alderson’s Fsociety hacker group target her, tap into her security and high-end penthouse entertainment system, and literally run her out of the building. At present, Darlene and FSociety are squatting in Jacobs’ pad, making it their defacto HQ. As of tonight…...
- 8/11/2016
- Deadline TV
Last year, the sensational USA Network cyber-thriller Mr. Robot won the Golden Globe for Best Drama series, beating out tough competition like the Game of Thrones. The mind-bending and unsettling first season of Mr. Robot was the sleeper hit of summer 2015, impressing fans and critics alike, delivering a show unlike anything else on TV. Now it’s back for its sophomore year and it’s just as slick, stylish and socially relevant as it was last year.
Computer hacking; rage-against-the-system anarchy; split personalities; secret societies; evil corporations; the FBI…these are just some of the elements in the two-part season premier of Mr. Robot, (Both episodes aired back-to-back on Wednesday night), written and directed by series creator/showrunner Sam Esmail. Rami Malik is back as the psychologically broken Elliot Alderson, and Christian Slater returns as the eponymous Mr. Robot.
The show starts off by strangely but smartly not answering the...
Computer hacking; rage-against-the-system anarchy; split personalities; secret societies; evil corporations; the FBI…these are just some of the elements in the two-part season premier of Mr. Robot, (Both episodes aired back-to-back on Wednesday night), written and directed by series creator/showrunner Sam Esmail. Rami Malik is back as the psychologically broken Elliot Alderson, and Christian Slater returns as the eponymous Mr. Robot.
The show starts off by strangely but smartly not answering the...
- 7/15/2016
- by feeds@cinelinx.com (Rob Young)
- Cinelinx
Sam Esmail's brilliant drama-thriller is back with a vengeance.
Mr. Robot Season 2 Episode 1 was an immaculately directed, often shocking return to the dizzying world of Elliot Alderson. All in all, it was everything I hoped the second season premiere would be.
I'm wary about two-parters (so long) but in this instance, every minute was warranted. Given that the cast of characters had expanded so much by the close of the first season, it was smart to use the premiere to sort of "catch up" with nearly everyone, while still finding time to introduce new faces.
We first opened on the moment in which Elliot initiated the big, season-ending E Corp hack.
This was a cool choice, given that we didn't see this happen on screen back in Mr. Robot Season 1 – the hack took place sometime between the end of Mr. Robot Season 1 Episode 9 and the beginning of the Mr. Robot Season 1 Finale,...
Mr. Robot Season 2 Episode 1 was an immaculately directed, often shocking return to the dizzying world of Elliot Alderson. All in all, it was everything I hoped the second season premiere would be.
I'm wary about two-parters (so long) but in this instance, every minute was warranted. Given that the cast of characters had expanded so much by the close of the first season, it was smart to use the premiere to sort of "catch up" with nearly everyone, while still finding time to introduce new faces.
We first opened on the moment in which Elliot initiated the big, season-ending E Corp hack.
This was a cool choice, given that we didn't see this happen on screen back in Mr. Robot Season 1 – the hack took place sometime between the end of Mr. Robot Season 1 Episode 9 and the beginning of the Mr. Robot Season 1 Finale,...
- 7/14/2016
- by Caralynn Lippo
- TVfanatic
Alec Bojalad Jul 14, 2016
Mr. Robot wisely takes a step back to re-establish itself for round two in a two-part premiere...
This review contains spoilers for parts one and two of Unmasked.
There’s an interesting, understated moment near the end of eps2.0unm4sk-pt1.tc, the typically byzantine spelling of “Part One” of the Mr. Robot season two premiere.
A woman is in line at Evil Corp’s Bank of E, desperately trying to show the teller behind the counter that she has paid off all her bills with the bank but the teller isn’t having it. The teller says that since F Society hacked into Evil Corp’s systems and erased all of their consumers’ debts, people have been presenting falsified documents showing that they’ve paid off their debts.
It’s interesting because it goes so far against the unbridled and unfocused euphoria that closed out USA Network...
Mr. Robot wisely takes a step back to re-establish itself for round two in a two-part premiere...
This review contains spoilers for parts one and two of Unmasked.
There’s an interesting, understated moment near the end of eps2.0unm4sk-pt1.tc, the typically byzantine spelling of “Part One” of the Mr. Robot season two premiere.
A woman is in line at Evil Corp’s Bank of E, desperately trying to show the teller behind the counter that she has paid off all her bills with the bank but the teller isn’t having it. The teller says that since F Society hacked into Evil Corp’s systems and erased all of their consumers’ debts, people have been presenting falsified documents showing that they’ve paid off their debts.
It’s interesting because it goes so far against the unbridled and unfocused euphoria that closed out USA Network...
- 7/14/2016
- Den of Geek
Spoiler-free Review: ‘Mr. Robot’ Season 2 Stays True to Its Weird Self
Last year, the debut season of “Mr. Robot” dominated the television conversation, but serialized television is still a “what have you done for me lately?” enterprise, and a great beginning only leads to heightened expectations for season two. The two-hour premiere does a brisk job of re-setting the pieces on the board and introducing new ones. Eliot, still missing three days of memory during which the Five/Nine hack shook the world’s financial stability, has gone home to live with his mother; he stays away from all computers and lives a strictly regimented life that is designed to keep Mr. Robot from causing any more trouble. Darlene is running fsociety actions, although she despairs that they’re only making things worse. Angela is ensconced in her new Evil Corp PR job, although it seems to be killing her soul.
Last year, the debut season of “Mr. Robot” dominated the television conversation, but serialized television is still a “what have you done for me lately?” enterprise, and a great beginning only leads to heightened expectations for season two. The two-hour premiere does a brisk job of re-setting the pieces on the board and introducing new ones. Eliot, still missing three days of memory during which the Five/Nine hack shook the world’s financial stability, has gone home to live with his mother; he stays away from all computers and lives a strictly regimented life that is designed to keep Mr. Robot from causing any more trouble. Darlene is running fsociety actions, although she despairs that they’re only making things worse. Angela is ensconced in her new Evil Corp PR job, although it seems to be killing her soul.
- 7/14/2016
- by Jay Bushman
- Indiewire
If you were seeking an ever-intense examination of Elliot Alderson’s current, out-of-sorts psyche as USA Network’s acclaimed Mr. Robot opened Season 2, you had to come away quite satisfied.
But if you were hoping for answers about Tyrell Wellick’s fate and/or Elliot’s “missing” three days, or a follow-up on the connection between White Rose’s male persona and E Corp CEO Phillip Price, you got nary a thing.
ReviewMr. Robot Season 2 Boots Up With Less Hacking, More Heady Drama
Elliot, to his credit, has made tremendous strides in the name of keeping a level head...
But if you were hoping for answers about Tyrell Wellick’s fate and/or Elliot’s “missing” three days, or a follow-up on the connection between White Rose’s male persona and E Corp CEO Phillip Price, you got nary a thing.
ReviewMr. Robot Season 2 Boots Up With Less Hacking, More Heady Drama
Elliot, to his credit, has made tremendous strides in the name of keeping a level head...
- 7/14/2016
- TVLine.com
(Some minor spoilers for the Season 2 premiere of “Mr. Robot” are below.) “Mr. Robot” is notorious for being dour, but the Season 2 premiere gave us a pretty fun scene, in which fsociety hacks the home of Evil Corp lawyer Susan Jacobs (Sandrine Holt). Yes, that’s right — they actually hacked a house. They turned lights on an off, made the projector screen turn on and show a political pundit giving a rousing screed, turned the thermostat way down and even turned up the heat of the shower while Jacobs was in it. All classic haunted house stuff, but grounded...
- 7/14/2016
- by Phil Owen
- The Wrap
Perhaps I was among a subset of Mr. Robot fans who appreciated Season 1 as a clever and engaging “heist” drama that was enriched by the fact that its antihero was, as eventually affirmed, plagued by mental illness.
The start of Season 2, though, inverts that formula, testing your willingness to cascade down many a dark rabbit hole with Eliot. But is that we want, to abandon the semblance of structure that the first season had, in the name of even more “What is real?” fake-outs? Wouldn’t that risk steering the acclaimed USA Network drama into being more of a niche appeal than ever?...
The start of Season 2, though, inverts that formula, testing your willingness to cascade down many a dark rabbit hole with Eliot. But is that we want, to abandon the semblance of structure that the first season had, in the name of even more “What is real?” fake-outs? Wouldn’t that risk steering the acclaimed USA Network drama into being more of a niche appeal than ever?...
- 7/11/2016
- TVLine.com
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