Apple TV+ Renews ‘Ted Lasso’ for Third Season

Apple TV+ has renewed “Ted Lasso” for a third season, ahead of its second season start of production in London in early January.

The series premiered on August 14, 2020.

“Ted Lasso” stars Jason Sudeikis as Ted Lasso, a small-time college football coach from Kansas who is hired to coach a professional soccer team in England despite having no experience coaching soccer. The series also stars Hannah Waddingham, Brendan Hunt, Jeremy Swift, Juno Temple, Brett Goldstein, Phil Dunster and Nick Mohammed.

In addition to starring, Sudeikis serves as executive producer, alongside Bill Lawrence (“Scrubs”) via his Doozer Productions, in association with Warner Bros. Television and Universal Television, a division of NBCUniversal Content. Doozer’s Jeff Ingold also serves as an executive producer with Liza Katzer as co-executive producer. The series was developed by Sudeikis, Lawrence, Joe Kelly and Brendan Hunt, and is based on the pre-existing format and characters from NBC Sports.

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Apple TV+ is available at $4.99 per month with a seven-day free trial.

Delta Air Lines Accused of Censoring In-Flight Movies

Delta Air Lines is denying it censors pay-per-view movies made available aboard its flights.

The issue emerged on social media this week when actress Olivia Wilde questioned on Twitter why a lesbian sex scene and the words “vagina” and “genitals” had been cut from her directorial debut, Booksmart.

The coming-of-age comedy about two high-school girls (Kaitlyn Dever and Beanie Feldstein) attempting to ditch their studious ways is executive produced by Will Ferrell and Jason Sudeikis. It has generated about $25 million at the box office worldwide since its May theatrical release.

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“I finally had the chance to watch an edited version of Booksmart on a flight to see exactly what had been censored,” Wilde tweeted on Oct. 30. “Turns out some airlines work with a third party company that edits the movie based on what they deem inappropriate. Which, in our case, is … female sexuality?”

Olivia Wilde

Similar accusations against Delta surfaced regarding editing out gay references in the Elton John biopic Rocketman and the Chris Rock comedy Carol.

Delta, in a media statement, said it routinely offers edited and non-edited versions of movies on flights. It insisted it does not mandate any “homosexual content” be removed from in-flight entertainment.

“We value our inflight entertainment options as a means to reflect the diversity of the world,” the Atlanta-based carrier stated. “We are reviewing the processes of our third-party editing vendors to ensure that they are aligned with our values of diversity and inclusion.”

Booksmart was released into retail channels on Sept. 3 by Disney/Fox Studios.

‘Booksmart’ Matriculates to Digital Aug. 20, Disc Sept. 3 From Fox

The teen coming-of-age comedy Booksmart will come out on digital Aug. 20 and Blu-ray and DVD Sept. 3 from Twentieth Century Fox Home Entertainment.

Olivia Wilde’s directorial debut, the unfiltered comedy follows best friends and academic overachievers Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) who realize they’ve missed out on pretty much all fun during high school. On the eve of graduation, they decide to make up for lost time with one wild adventure. The film also stars Lisa Kudrow, Will Forte, Billie Lourd and Jason Sudeikis.

Disc bonus features include audio commentary by Wilde, “Booksmart: The Next ‘Best High School Comedy,’” “Pliés and Jazz Hands: The Dance Fantasy,” “Dressing Booksmart,” deleted scenes and a photo gallery.

The film made $22.2 million at the domestic box office.

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Downsizing

BLU-RAY REVIEW:

Paramount;
Sci-Fi Comedy;
Box Office $24.45 million;
$29.99 DVD, $39.99 Blu-ray, $34.99 UHD BD;
Rated ‘R’ for language including sexual references, some graphic nudity and drug use.
Stars Matt Damon, Kristen Wiig, Christoph Waltz, Hong Chau, Udo Kier, Rolf Lassgård, Jason Sudeikis.

Director Alexander Payne’s Downsizing is a premise in search of a story, and the one they ultimately came up with could leave viewers wondering, as the film’s main character does, what the point of it all was.

Downsizing is essentially a two-hour thought experiment about what the world would be like if people could shrink themselves to be five inches tall.

The procedure is discovered by Scandinavian scientists looking to reduce the impacts of overpopulation on the environment — since smaller humans use fewer resources. Years later, the process is touted in America as a way to retire in luxury, since the equivalent needs of smaller people would cost so much less, and people could live in mansions that are essentially just large dollhouses.

Contemplating the transition are Paul and Audrey Safranek (Matt Damon and Kristen Wiig), who find themselves stifled by their modest but stable middle class lifestyle. After learning that as small people they’d be the equivalent of millionaires, they sign up to move to a downsized community. But at the last moment Audrey panics at the prospect of leaving her old life behind (and after seeing what it takes to shrink, I can’t say I blame her). But her decision comes too late for Paul, who gets reduced and finds his new life plan derailed without his wife.

A year later and he’s divorced, forced to scale back even in downsize-land, and again living a mediocre life, until he runs across a refugee from Vietnam (Hong Chau), who begins to open his eyes to a more meaningful world around him.

So, what we end up with is a message that people are still people no matter what size they are.

The film’s presentation of the shrinking process is the kind of plot element that falls apart after thinking about it for any length of time, since there’s no attempt to address things like how a scaled-down body would react to the normal gravity it originally evolved in, or where all a person’s extra mass ends up. The film also doesn’t address which parts of the body know how to shrink aside from the vague description of “cellular reduction” (as if every chemical in the body were a cell), but at least it remembers that things like dental fillings, prosthetic implants and anything artificial would have to be removed first.

Of course, aside from the incentives for shrinking, the film also doesn’t really make it seem pleasant, since it would subject you to new dangers you wouldn’t have thought twice about before, such as insects, birds, cats and dogs. It’s even mentioned that sunlight is more dangerous to small people, and the tiny communities are covered in nets or domes to try to keep these realities at bay.

So, best not to think too hard about it. The main reason for the sci-fi element is to allow for some social commentary (as sci-fi tends to do). Many of the character elements are played for satire, but the film has trouble finding a consistent tone amid all the plot points Payne is trying to explore.

The first third of the film deals with the shrinking process, how it evolved, and how and why people would undergo it. While for most people it’s a choice, there’s also some subversive suggestions that corrupt governments are forcing it upon people, or terrorists are using it to circumvent security plans. The film shows what it would be like for people about to downsize, and questions arise about the political and economic impacts downsizing has on society.

Then we get Paul coming to terms with his decision to get small and adjusting to his life and dealing with the regrets than ensue.

This is all more or less straightforward before the film turns toward an environmental disaster subplot and how small people can survive it if they can’t prevent it.

Unlike Ant-Man, the film isn’t overtly trying to have fun with the idea of shrinking. It takes it seriously, as if it’s just another way of life for the characters. That’s why the film’s structure seems so odd, since it’s devoting so much time to establishing how downsizing came to be and became a relatively common thing before focusing on a story that pushes it all to the background. A lot of scenes are presented as pretty standard character beats, when the camera catches a glimpse of an oversized prop from time to time to remind everyone about the premise (of course, such a mundane approach is likely the point).

All the while the film teases us with suggestions of things we might rather have seen, such as the bodies actually shrinking. Or what happens when a filling isn’t fully removed from a tooth beforehand.

As a result, the film is more interesting for individual scenes that present its concepts, rather than its muddled attempts to unify it as a whole. As with most movies that deal with shrinking tech, the best scenes involve seeing the small people interacting with normal-sized things (even though, many of the everyday items in the small community are just scaled-down versions of things — which only raises more questions).

There are a lot of clever touches in the shifting perspectives (such as a dollar bill used as giant wall art), and the design of the small communities are a treat to behold. People always seem to be fascinated by the idea of seeing the real world reduced into a scale miniature, and the colonies in the film also seem set up as tourist destinations for regular-sized people who just want to gawk at a world in miniature (there’s a reason why Storybookland is such a popular ride at Disneyland).

The Blu-ray offers an hour’s worth of featurettes about the making of the film, many of which expose little details about the set designs and the presentation of the miniature world. There are also a couple of additional featurettes with the iTunes version (available with the UltraViolet code included with the disc).