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“BLACK PANTHER” AND “STRANGER THINGS” LEAD NOMINATIONS FOR 2018 “MTV MOVIE & TV AWARDS” HOSTED BY TIFFANY HADDISH

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MTV announced the categories and nominees for the 2018 “MTV Movie & TV Awards,” hosted by Tiffany Haddish, that celebrate the actors, stories and moments that drove pop culture in the last year.  The show will once again feature non-gendered categories – a change that marked an industry-first historic shift.  Airing on Monday, June 18 at 9:00 p.m. ET/PT from the Barker Hangar in Los Angeles, additional categories and honors will be announced at a later date. The press credentials website will open next week.

“Black Panther,” one of the top 10 highest-grossing movies of all time worldwide, leads with seven nominations and marks the first time the film is being recognized at an awards show.  It received nods in categories including Best Movie, presented by Toyota, and Best On-Screen Team, while Chadwick Boseman, the title character, was nominated for Best Performance in a Movie and Best Hero.  Additionally, Letitia Wright was nominated in the Scene Stealer category for her role as “Shuri” and Michael B. Jordan was nominated in the Best Villain category for his portrayal of “N’Jadaka/Erik Killmonger.”

“Stranger Things” scored a total of six nominations, including Best Show and Best On-Screen Team.  Millie Bobby Brown was nominated for Best Performance in a Show for her portrayal of “Eleven” and Dacre Montgomery scored a nomination for his role as “Billy Hargrove” in the Scene Stealer category.

Emmy® Award-winning producer and director Joel Gallen will executive produce and direct the 2018 “Movie & TV Awards,” returning to the show which he helped create at MTV and produced for 14 years. Throughout Gallen’s career, he helmed a vast array of iconic shows in the live event and variety space. Currently, he is the director and executive producer for Comedy Central’s “Roast Battle” and has executive produced and directed 13 Comedy Central “Roasts” including the upcoming Bruce Willis Roast in July. He also directed and produced MTV’s 2010 “Hope for Haiti Now: A Global Benefit for Earthquake Relief” in collaboration with George Clooney and Wyclef Jean.  Additionally, he directed and produced 17 “Rock and Roll Hall of Fame” induction ceremonies, executive produced blockbuster film “Zoolander” and directed the hit comedy film “Not Another Teen Movie.”

NOMINEES FOR THE 2018 “MTV MOVIE & TV AWARDS”

BEST MOVIE (Presented by Toyota)

Avengers: Infinity War (Walt Disney Studios Motion Pictures)

Black Panther (Walt Disney Studios Motion Pictures)

Girls Trip (Universal Pictures)

IT (New Line Cinema)

Wonder Woman (Warner Bros. Pictures)

BEST SHOW

13 Reasons Why (Netflix)

Game of Thrones (HBO)

grown-ish (Freeform)

Riverdale (The CW)

Stranger Things (Netflix)

BEST PERFORMANCE IN A MOVIE

Chadwick Boseman – Black Panther

Timothée Chalamet – Call Me by Your Name

Ansel Elgort – Baby Driver

Daisy Ridley – Star Wars: The Last Jedi

Saoirse Ronan – Lady Bird

BEST PERFORMANCE IN A SHOW

Millie Bobby Brown – Stranger Things

Darren Criss – The Assassination of Gianni Versace: American Crime Story

Katherine Langford – 13 Reasons Why

Issa Rae – Insecure

Maisie Williams – Game of Thrones

BEST HERO

Chadwick Boseman (T’Challa/Black Panther) – Black Panther

Emilia Clarke (Daenerys Targaryen) – Game of Thrones

Gal Gadot (Diana Prince/Wonder Woman) – Wonder Woman

Grant Gustin (Barry Allen/The Flash) – The Flash

Daisy Ridley (Rey) – Star Wars: The Last Jedi

BEST VILLAIN

Josh Brolin (Thanos) – Avengers: Infinity War

Adam Driver (Kylo Ren) – Star Wars: The Last Jedi

Michael B. Jordan (N’Jadaka/Erik Killmonger) – Black Panther

Aubrey Plaza (Lenny Busker) – Legion

Bill Skarsgard (Pennywise) – IT

BEST KISS

Jane the Virgin – Gina Rodriguez (Jane) and Justin Baldoni (Rafael)

Love, Simon – Nick Robinson (Simon) and Keiynan Lonsdale (Bram)

Ready Player One – Olivia Cooke (Sam) and Tye Sheridan (Wade)

Riverdale – KJ Apa (Archie) and Camila Mendes (Veronica)

Stranger Things – Finn Wolfhard (Mike) and Millie Bobby Brown (Eleven)

MOST FRIGHTENED PERFORMANCE

Talitha Bateman (Janice) – Annabelle: Creation

Emily Blunt (Evelyn Abbott) – A Quiet Place

Sophia Lillis (Beverly Marsh) – IT

Cristin Milioti (Nanette Cole) – Black Mirror

Noah Schnapp (Will Byers) – Stranger Things

BEST ON-SCREEN TEAM

Black Panther – Chadwick Boseman (T’Challa/ Black Panther), Lupita Nyong’o (Nakia), Danai Gurira (Okoye), Letitia Wright (Shuri)

IT – Finn Wolfhard (Richie), Sophia Lillis (Beverly), Jaeden Lieberher (Bill), Jack Dylan Grazer (Eddie), Wyatt Oleff (Stanley), Jeremy Ray Taylor (Ben), Chosen Jacobs (Mike)

Jumanji: Welcome to the Jungle – Dwayne Johnson (Smolder), Kevin Hart (Mouse), Jack Black (Shelly), Karen Gillan  (Ruby), Nick Jonas (Seaplane)

Ready Player One –  Tye Sheridan (Wade), Olivia Cooke (Samantha), Philip Zhao (Sho), Win Morisaki (Daito), Lena Waithe (Aech)

Stranger Things – Gaten Matarazzo (Dustin), Finn Wolfhard (Mike), Caleb McLaughlin (Lucas), Noah Schnapp (Will), Sadie Sink (Max)

BEST COMEDIC PERFORMANCE

Jack Black – Jumanji: Welcome to the Jungle

Tiffany Haddish – Girls Trip

Dan Levy – Schitt’s Creek

Kate McKinnon – SNL

Amy Schumer – I Feel Pretty

SCENE STEALER

Tiffany Haddish (Dina) – Girls Trip

Dacre Montgomery (Billy Hargrove) – Stranger Things

Madelaine Petsch (Cheryl Blossom) – Riverdale

Taika Waititi (Korg) – Thor: Ragnarok

Letitia Wright (Shuri) – Black Panther

BEST FIGHT

Atomic Blonde – Charlize Theron (Lorraine) vs. Daniel Hargrave (Sniper), Greg Rementer (Spotter)

Avengers: Infinity War – Scarlett Johansson (Natasha Romanoff/Black Widow), Danai Gurira (Okoye), Elizabeth Olsen (Wanda Maximoff/Scarlet Witch) vs. Carrie Coon (Proxima Midnight)

Black Panther – Chadwick Boseman (Black Panther) vs. Winston Duke (M’Baku)

Thor: Ragnarok – Mark Ruffalo (Hulk) vs. Chris Hemsworth (Thor)

Wonder Woman – Gal Gadot (Wonder Woman) vs. German Soldiers

BEST MUSIC DOCUMENTARY

Can’t Stop, Won’t Stop: A Bad Boy Story

Demi Lovato: Simply Complicated

Gaga: Five Foot Two

Jay-Z’s “Footnotes for 4:44”

The Defiant Ones

BEST REALITY SERIES/ FRANCHISE

Keeping Up with the Kardashians

Love & Hip Hop

The Real Housewives

RuPaul’s Drag Race

Vanderpump Rules

Joel Gallen/Tenth Planet Productions will serve as Executive Producer with MTV’s Amy Doyle, Garrett English and Wendy Plaut for the 2018 “MTV Movie & TV Awards.” Rick Austin will also serve as Executive Producer. Vanessa Whitewolf serves as Co-Executive Producer. Melanie Block is Executive in Charge of Production. Amani Duncan is Executive in Charge of Music.

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Sweetpea

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Sweetpea is a new dark comedy series created by Kristie Swain and adapted from a novel series by CJ Skuse. The series stars the ethereal goddess that is Ella Purnell (Fallout, Yellowjackets) using her actual English accent! 

Purnell plays a young woman whose name is not actually Sweetpea, though she is very much a wallflower. Though even Wallflower might have too much gravitas, Rhiannon (Purnell) is treated by those around her like a weed. She is stepped on and ignored by everyone except her dad and pet chihuahua. Many have argued that Purnell is just ‘too pretty’ to be that abjectly ignored by everyone. However, Purnell is an amazing actress who plays the washed-out, doe-eyed, shrinking ‘sweetpea’ so convincingly. 

Rhiannon was bullied heavily in school which led to her developing trichotillomania (a hair-pulling disorder) which ultimately caused bald patches on her scalp. She still keeps an unconvincing brunette wig in a drawer in her bedroom. Rhiannon’s dad is constantly encouraging Rhiannon to stand up for herself. Unfortunately (light spoiler!) Rhiannon’s Dad dies from his illness in the first episode, leaving her alone in the world. 

Rhiannon returns home to the large empty house she once shared with her dad. After yet another tragic incident Rhiannon looks at her life, her thirst for revenge is obvious. Particularly against her main school bully Julia Blenkingsopp (Nicôle Lecky).

Rhiannon sees Julia as having a perfect life and didn’t peak in high school “like bullies are supposed to do!”. When Rhiannon returned to work as an admin assistant for a local paper, not only did none of her colleagues notice her absence but they didn’t acknowledge her return. The only person who appears to talk to her is her boss Norman played by Jeremy Swift (Ted Lasso) who condescendingly calls her “sweetpea” and demands tea. 

Rhiannon’s mental state declines enough for her to finally confront Julia in a club. Julia and her friends laugh at Rhiannon which brings memories of school back and anxiously tugging at her hair. This leads Rhiannon to commit a horrifying yet liberating crime when leaving the club leading to a whole new way of expressing herself.

What I Liked:

I enjoyed watching Rhiannon’s confidence grow throughout the series. Purnell herself spoke about the production of subtlety added makeup to subconsciously influence the change in her. Rhiannon transformed from a shrinking girl to a hip-swaying, go-getting career woman. Yet its clear there is a lot of mental turmoil within Rhiannon. Purnell (2024) jokes that she actually “got kinda jacked”  due to the tension she held in her body whilst suppressing Rhiannon’s rage. Purnell also comments on how freeing it was to let it all out which Rhiannon does many times and is just as satisfying for the audience!

Initially, I found every character rather one-dimensional and stale compared to Purnell. However, as the show progresses most characters become multifaceted, particularly Julia. The narrative of the show really makes you question your own morals and sense of justice. You find yourself making excuses for Rhiannon and almost cheering her on when you really, really shouldn’t.

I also enjoyed how the show explores the victim complex. Is Rhiannon really a victim or has she taken on this mantle and lived her life accordingly? Sweetpea expertly plays with the shades of grey in the ideas of what makes someone a bully and what makes someone a victim. 

Sweetpea fits in perfectly in the genre of British black comedy. Scenes like when Rhiannon is clearing out her chest freezer and then climbs in herself to see if it could potentially fit a body. The door of the freezer almost closes on her but she catches it just in time. This scene perfectly captures just what kind of character Rhiannon is.

I also liked how the character’s houses were used as metaphors for their lives. The home Rhiannon shared with her father is messy and cozy yet in desperate need of TLC and repair much like Rhiannon herself. You can tell it’s a well-loved home with a long history much like Rhiannon and her father’s relationship. In stark contrast to Julia’s fiercely stylish and minimalistic home which she shares with her fiancé. It’s sleek and modern yet ultimately empty with little sign of love. 

The opening credits and music choices are also fire.

What Could Be Improved:

Like many others, I didn’t quite believe someone as beautiful as Purnell would be completely ignored by the general public. It did look at times like they were relying on drab clothing and too light foundation to make her look mousey. However, as stated, Purnell’s performance does save it.

The main ‘love triangle’ (if could even call it that) was a bit forced. Calam Lynch’s portrayal of Rhiannon’s colleague ‘AJ’ was a bit too enamored with Rhiannon with no real build-up. However, I found myself really enjoying Jon Pointing’s portrayal of ‘Craig’ and wishing his arc had been explored more. 

I really wanted the show to lean more into the exploration of ‘abuser’ and the ‘abused’ and take it to a deeper level. Maybe in series 2?

All in all, I enjoyed this traverse through Sweetpea’s world. I am interested to see where they go with it in the future.

Three and a half stars.

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Is This the Scariest Movie Ever?

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It’s been called the scariest movie ever. Or the grimmest, bleakest, and most brutal. The post-apocalyptic drama; Threads, has only been aired three times, its premiere in 1984 (appropriate year), 1985, and 2024 for its 40th anniversary. Threads has also been made available on streaming services. The anniversary has stirred up memories from its initial release which has been dubbed ‘the night Britain did not sleep!’

Threads is a BBC-produced TV movie which explores what would happen if a nuclear bomb was dropped on the English city of Sheffield.

The film is structured like a documentary; with a voiceover speaking to the audience in a clipped, received pronunciation BBC English. The narrator speaks over what is possibly stock footage of a spider weaving its web, or its threads. The narrator explains how in urban society everything connects and how we all rely on one another’s skills to survive. Ominously the narrator points out how fragile these threads are.

THREAD 1 – FAMILY

The film then cuts to our two leads Ruth (Karen Meagher) and Jimmy (Reece Dinsdale). These two young lovebirds are in a car over looking the Sheffield countryside. A fighter jet flies overhead as Ruth remarks how “peaceful” it is. We follow Ruth Beckett and Jimmy Kemp as they navigate an unplanned pregnancy.

The film plays like a ‘kitchen sink drama’. I have heard ‘kitchen sink’ described as an ‘anti-Hollywood’ where everyone has their natural teeth and skin texture. The film looks similar to a British soap opera. 

Whilst the narrative at this point just skirts around somewhat boring, it is clear something is playing out globally in the background. We see it on newspaper covers and hear snippets on radios and TVs. There is a situation unfolding in the Middle East with tensions building between the Soviets and the USA. Troops are mobilized and more importantly, nuclear warheads are moved. 

And then it happens.

THREAD 2- SECURITY

At almost 50 minutes in, the bomb finally drops. The literal bomb that is. The omnipresent narrator tells us it is 8.30 am in the UK meaning it is 3.30 am in Washington DC; Western response will be at its slowest. 

The bomb scene is incredibly powerful. This is where the ‘kitchen sink’ realism really comes into its own. It looks like any other British high street but people are running around screaming looking for shelter amidst the blaring siren. Children are being scooped up from their prams and the panic is palpable. Infamously one businesswoman is staring up at the blooming mushroom cloud rising above the city, the camera pans to see urine running down her trouser leg and pooling at her 80’s white heels.

There is constant screaming as buildings explode, windows smash, and curtains catch fire.

Text informs us that 210 megatons in total fell on the UK with an estimated 2.5 – 9 million casualties.

THREAD 3 – SOCIETY

Ruth exits her parents’ destroyed house to look for Jimmy. In her old neighborhood she is greeted by a horrendous sight. The whole street looks like that of The Blitz; with dead pets and both parents and children looking for each other. A shell-shocked woman covered in ash asks Ruth; “have you seen our Mandy?” she is proffering what looks to be a child’s coat, as if Mandy forgot her coat when going outside to play. A charred corpse with perfect white intact teeth (probably dentures) is embedded into a building. A staring woman is clutching the burnt remains of her infant.

After this, the horrific scenes come thick and fast. 

Food has become the new currency and food stores are protected by force. It is here we see the figure who has haunted many viewers nightmares. The armed traffic warden with the bandaged face. Played by an extra who actually was a traffic warden in real life!

Hospitals are overrun with the injured. The harried staff are using sheets as bandages and table salt to disinfect contaminated water. Doctors resorting to amputation with no anesthetic. 

THREAD 4 – CHILDREN

Ruth gives birth to a healthy child. A little girl named Jane. Ruth gives birth alone in a barn and has to bite through the umbilical cord. Later, on Christmas Day no less, a group of survivors gathers around a fire in the barn looking like a macabre nativity scene.

 But what sort of world has Ruth brought her daughter into? We are told it is ten years later and society has returned to medieval times with the nuclear winter and UV damage affecting the crops. Jane does not call Ruth ‘mum’ only ‘Ruth’ and has no reaction when Ruth finally dies. Are the people in this society so profoundly broken by the sheer amount of loss and trauma that they can no longer form familial bonds? Has that thread been cut? 

There is clearly little regard for human life anymore. Jane walks past three corpses hanging in the foreground paying them no attention. Is this a mass suicide or an execution? The corpses are also bare. Have people stolen their clothes to protect themselves from the harsh nuclear winter? Images such as these, shown for mere seconds can tell you so much about the situation. 

THREAD 5 – LANGUAGE

In the second half of the film, there is barely any dialogue. Any words spoken by Jane and her peers are some strange form of pidgin English. Many fans have argued that language would not degrade that quickly. However, these children have been brought up by deeply traumatized parents (if they had parents at all). People barely speak anymore and death and disease are extremely common. Is it any surprise that mankind has been brought down to its most basic level? Or is this the cognitive effects of growing up around high levels of radiation? 

Many fans comment how Threads gives no hope. But there appears to be a rudimentary school system-cum-workhouse with Jane and her peers watching an old educational video. Although the last scene definitely takes away from the tepid hope we are shown.

SO IS IT SCARY?

Well….as I had heard about the film through cultural osmosis I knew what to expect. I appreciate that during the 80’s, living in the fog of the Cold War, a nuclear holocaust was looking more and more likely. Having a film at that time showing exactly what it would look like if it were to happen in a typical British city would be horrifying. 

With the film being set up as a documentary speaking to some unknown in the future, it is interesting when you are watching from the future. Before COVID I would think it was so unrealistic; the way a lot of people didn’t take the crisis seriously until they were practically underneath the bomb. Now I know differently. Everything is fine until it’s not and we don’t tend to tackle a crisis until it is right on our doorstep. Like Mr Kemp with his trousers down on the loo as the bomb went off, we are so ill-prepared. And all the systems (or threads) in place that you thought would protect you, such as the government, are just ill-equipped.

It is an extremely well-done film especially when I learned the budget was £400,000 (about 1.2 million today). The acting is superb and I can see why it’s such an iconic film. In today’s current climate Threads is more relevant than ever. Would highly recommend it.

Five Stars.

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Nobody Wants This on Netflix

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Rating 8 10

Nobody Wants This, Netflix’s 2024 rom-com series, strikes a rare balance between familiar genre tropes and genuine originality. A surprising hit, it uses its single season to dive into the messiness of modern romance and human connection with a witty yet sincere approach that lingers after each episode.

At its heart, Nobody Wants This is a deep dive into everyday chaos, capturing life’s unfiltered messes in an unexpectedly heartfelt way. The show centers on two vastly different individuals brought together by chance, forced into a string of awkward encounters and life-defining moments. It’s a refreshing twist on classic rom-com setups, letting its characters face the consequences of their choices in a realistic way. Watching them stumble, adapt, and connect is like watching a slice of real life—raw, funny, and unexpectedly moving.

The writing shines with sharp, clever dialogue that feels both authentic and emotionally rich. Conversations capture not just how people speak but how they connect, creating exchanges that feel ripped straight from real life. Moments of verbal sparring and raw emotion are as delightful as the iconic banter of rom-coms like When Harry Met Sally, yet the story stays grounded, playing with the unpredictability of genuine connection. The direction adds another layer, framing everyday moments—like missed calls and clumsy first dates—with a cinematic flair that highlights the beauty in life’s chaos.

The chemistry between the lead actors is palpable, and their performances are infused with an authenticity that makes their characters’ flaws endearing. They grow with each episode, making the journey feel impactful and rewarding. The supporting cast adds even more depth, complementing the storyline without overshadowing the central romance.

Beyond romance, Nobody Wants This explores themes of self-discovery and connection, capturing the unpredictability of finding oneself—and perhaps someone else—in the chaos of life. Without giving too much away, the season finale is both heart-wrenching and uplifting, striking a perfect balance between realism and hope. It’s a conclusion that feels genuine, giving viewers a satisfying emotional payoff.

In a world where rom-coms can often feel formulaic, Nobody Wants This brings new life to the genre. It celebrates love’s imperfections, the inevitability of mistakes, and the connections that emerge in spite of it all. This series is more than entertainment; it resonates deeply, leaving viewers laughing, crying, and rooting for its characters.

As Roger Ebert once said, “Movies are like a machine that generates empathy.” While Nobody Wants This is a series, it achieves this empathy with grace, proving that even the simplest stories can have a profound impact.

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