
Long-awaited Spring Breakers 2 sparks backlash as shock cast is revealed
The original, directed by transgressive filmmaker Harmony Korine, follows four college girls as they rob a diner to fund a trip to Florida for Spring Break.
The R-rated arthouse flick starred James Franco, along with Disney darlings Selena Gomez and Vanessa Hudgens in their first adult roles.
Now, more than a decade later, a sequel has been greenlit with a new cast and director.
News of the latest instalment has received a mixed reception from cinephiles so far, with many stating that a Spring Breakers sequel is unnecessary.
Titled Spring Breakers: Salvation Mountain, the sequel is being helmed by Harmony Korine, best known for the edgy 1999 cult classic Freeway starring a young Reese Witherspoon.
Heading up the cast is former child star Bella Thorne, who got her break on Disney before shedding her squeaky clean image with a series of gritty roles, X-rated fashion choices, and even a stint on OnlyFans.
She is joined by social media star Baby Ariel and Netflix star Grace Van Dien, best known for Greenhouse Academy and Stranger Things.
A lot of fans have reacted negatively to the news so far, with one commenting, 'We don't need this.'
Another commented, 'It's giving straight to dvd,' while a third added, 'We don't need this - this is going to be worse than American Psycho 2.'
A fourth wrote, 'Why? Nobody even remembers this movie. It's not Mean Girls!'
Despite Korine and the original cast not returning for the sequel, the producers of the original feature, Muse Production's Chris Hanley and Jordan Gertner, are back.
'We're thrilled to be working with Christian and Capture on Spring Breakers: Salvation Mountain and excited to keep exploring bold, new, disruptive stories around that wild, fever dream of youth,' they said in a statement.
'The desire for spring break to go on forever is something we've never let go of.'
The original Spring Breakers premiered at film festivals in 2012 before receiving a wide release the following year.
It grossed over $30 million on a $5 million budget, making it a huge financial success.
Despite receiving mixed reviews at the time, the film has gone to achieve cult status and was credited for establishing Gomez as a credible adult actress.
Gomez had the role of Faith, a young women who tries to devote her life to Christianity but at the same time is also friends with the three party girls.
The news comes after Spring Breakers star and former actress Rachel Korine looked nearly unrecognizable during a rare public outing.
The mother of three, 38, who played rebellious Cotty in the film, cut a low-key figure during a stroll in New York City.
Korine sported dyed pink hair and donned revealing bikinis for her turn in the film alongside Gomez, Hudgens, and Ashley Benson.
The actresses portrayed four college-aged girls who go on spring break in St. Petersburg, Florida and meet an eccentric local drug dealer who helps them out when they find themselves in a desperate situation.
Ultimately, they descend into a world of drugs, crime, and violence in a film that was actually written and directed by Korine's husband Harmony, 52.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Sun
38 minutes ago
- The Sun
‘Bro, stop talking' – Jake Paul brutally shuts down reporter over proposals for groundbreaking change to boxing
JAKE PAUL shut down a reporter after being asked about a major proposal regarding women's boxing. Paul, 28, promoted the card for Amanda Serrano and Katie Taylor's trilogy fight at Maddison Square Garden via his Most Valuable Promotions stable. 3 3 3 The controversial YouTuber took questions from the media during a post-match press conference after Taylor, 39, defeated Serrano, 36, for the third time via controversial split decision. A reporter asked the promoter about the potential effect ring girls may have on the projection of female boxers. The journalist suggested some may question the need of ring girls, especially in all-female card like last night's. The reporter asked: "I have one last question, and it has to do with the projection of women in boxing. "You guys have invested in women's boxing, and I have spoken to a few people this week about the issue with having ring girls in an all-female card. "The sexualisation of women. A couple of people have said, 'Why don't you have boys?' "Or none of them at all. I just want to bring attention to the conversation." Paul didn't answer the question and instead placed his hand on his head and ordered the reporter to "stop talking". He then said: "Bro, please stop talking." The Problem Child's business partner Nakisa Bidarian added: "If anyone wants to submit an application to be a ring boy at MVP, send it to that young man." Neither Paul nor Bidarian addressed the question any further and didn't use any serious arguments. The boxer, who has only faced one professional in Tommy Fury who beat him, has helped women's boxing a lot in recent years. The social media star has worked closely with Serrano who inspired him with her tremendous skills despite being severely underpaid for years. Paul helped her multiply her earnings and led her to paycheques worth millions.


Daily Mail
an hour ago
- Daily Mail
Rita Ora puts on a stylish display in Ralph Lauren white skater skirt in Brooklyn ahead of New York show
She never misses a beat when it comes to her fashion choices. And Rita Ora put on a stylish display as she was seen out and about in Brooklyn on Friday ahead of her headline performance at The Hill in New York. The singer, 34, opted for an all white ensemble as she paired a white Ralph Lauren skater skirt with a white polo top and cropped white jacket. Accessorising the look with a brown leather belt, Rita put on a leggy display before finishing the look with a pair of red and white high top trainers. Adding a pair of black shades the star appeared in great spirits as she headed to the stage ahead of her energetic performance. Earlier in the day Rita showcased her toned midriff in a skimpy white top as she travelled on the subway while exploring the city. The singer, 34, opted an all white ensemble as she paired a white Ralph Lauren skater skirt with a white polo top and cropped white jacket For her outing she stepped out in a white sheer long-sleeved top which she layered over a matching bralette. She paired her top with some casual light blue low cut flared jeans which she paired with black flip flops. Adding a hint of glamour, she toted around her belongings in a large black Hermes bag. To accessorise, the songstress wore a quirky mental ring and a pair of black tinted sunglasses. Alongside her Instagram post, she penned: 'Brooklyn Bridge 9pm.' Rita recently revealed how Beyonce has always been her 'protector' as she discussed being hit by speculation that she was 'Becky with the good hair'. Beyonce's smash hit 2016 album Lemonade featured poignant lyrics about cheating and she sang about the mysterious woman in her track Sorry. Fans widely speculated it referred to alleged infidelity by Beyonce's husband Jay-Z with a woman called 'Becky', and theories began circulating online about her identity. Rita found herself at the centre of the rumours as she was wrongly accused of having an affair with Jay-Z, with the singer forced to hit back and deny the claims. And Rita - who was represented by Jay-Z's Roc Nation label at the time - revealed she was so upset by the claims because Beyonce has always been her 'protector'. Speaking on Davina McCall 's Begin Again podcast, Rita explained: 'Behind closed doors, [Beyonce] is literally my fairy godmother, she was my protector - that's what's insane because there was nothing but love. 'And, you know, again, being signed to Jay-Z, her husband, she being my biggest inspiration, she came to my first show in New York at The Box and I sang Say My Name in front of Beyonce when I was 21.' Rita admitted she was 'genuinely' upset and 'confused' by the storm because Beyonce is a 'big sister' who has always 'looked after' her in the industry. The For You hitmaker revealed she still sees Beyonce often to this day as she doubled down on her denial that she was 'Becky'. 'It wasn't real,' Rita insisted, before jokingly adding: 'I wish I had good hair!' 'None of that was real. That was the first time I experienced what it means to be in a messy situation, I guess,' she added.


The Guardian
an hour ago
- The Guardian
Superman is super woke? How politics play into the new man of steel
Superman Woke! Variations on that headline splashed across all manner of non-Daily Planet websites this week in advance of a new Superman movie reboot, specifically the comments of writer-director James Gunn, who casually characterized the character as an immigrant and, as such, telling the 'story of America' in an interview. This rankled rightwingers including the former TV Superman Dean Cain, who acknowledged Superman as an immigrant but blanched at the idea of actively associating that as an American value, noting that 'there have to be limits'. Meanwhile, the former Trump lackey Kellyanne Conway, now a Fox News host, characterized the movie she hasn't seen as an ideological lecture, and added her supposed anger that the movie's star, David Corenswet, elided the old 'truth, justice and the American way' Superman slogan in another interview (referring to 'truth, justice, all that good stuff'). For those attempting to keep track: people involved with a Superman movie shouldn't attempt to evoke America, except when they should. Actually, for those keeping even closer track, the 'American way' bit was a phrase added to the radio version of Superman during the second world war, and further popularized by the 1950s TV show. It lived on primarily in reruns of that show, didn't appear in the comics until 1991, and has never been particularly central to the character in his original medium (or any of the movies, even). This is all to say that the reading of Superman as an immigrant is so commonplace, so arguably a part of the plain old surface text of the character, that it's even harder to buy any ginned-up outrage than usual. At best, it's a byproduct of suppressed guilt over the cruel and unusual immigration policies favored by anyone dumb enough to complain that this a 'woke' version of a 90-year-old superhero. In fact, the phoney outrage and predictions of boycott from people who don't go to the movies anyway could be a gag straight from the movie itself. It's one of plenty of real-world parallels in Gunn's movie. Most of them fall into the blockbuster realm of vagueness that makes it hard to tell if it was inspired by real events or just unsuccessfully sidestepping from evoking one international crisis straight into evoking another. (More on that in a moment.) But the most obviously first-hand quasi-political experiences Gunn draws upon all have to do with social media: this is a Superman whose weaknesses include Kryptonite, Lex Luthor-engineered software that anticipates his every punch, and … reading the comments. During one argument, Lois Lane needles her superpowered boyfriend by telling him she's seen him looking through certain hashtags guaranteed to frustrate and enrage even the virtuous child of Kansas farms who still says 'golly!' on the regular. This makes sense: James Gunn does not have experience in geopolitics, but he sure has experience online. The film-maker was semi-canceled over edgelord-y tweets (unearthed, in perfect discourse fashion, by rightwingers infuriated by his left-leaning politics); fired from the third Guardians of the Galaxy movie; and eventually rehired when Disney realized that maybe cast and fan loyalty was worth more than manufactured outrage. But in his between-Guardians downtime, Gunn made a Suicide Squad sequel for the previous DC regime, essentially auditioning for his current job. In some ways, he owes his stewardship of Superman and DC in general to the vexations of life online. So if it's a little cringe-y to hear about Superman glancing through social media, or for Gunn to go out of his way to show Lex Luthor training an army of monkeys to flood the zone with mean tweets, it's also a funny, oddly whimsical way of acknowledging our contemporary world. (Plus, remember that Clark Kent works in media, even if his newspaper still publishes a print edition.) It's certainly more surefooted than the movie's actual politics, which go further than the likes of Captain America: Brave New World but still fall short of anything more complicated than the actual thrust of Gunn's interview. (Which was that kindness is, in fact, good.) The immigrant stuff, first of all, is in the movie but not especially prominent. A plot turn involving Superman's parents could even be read as accidentally xenophobic; after all, if you're trading on the message that it doesn't matter where an immigrant comes from once assimilated into our culture, doesn't that by definition cast aspersions on other countries (or in this case, planets) and elevate whatever 'our' culture is? That's obviously not Gunn's intent in positioning Superman as an immigrant figure; he wants to elicit the empathy for outsiders that we've all felt at one time or another. The logical stumble is more a sign of a metaphor that isn't fit for front-to-back, one-to-one interpretation; that's not a problem on its own. More interesting is the story's offscreen inciting incident, where Superman intervenes in the affairs of two fictional countries. When the movie begins, Superman has recently stopped Boravia, which is led by a blustery despot who comes across like an eastern European Trump, from invading neighboring Jarhanpur. The latter has struck some viewers as coded Middle Eastern, implying parallels between Israel and Palestine, though in the comic books (and based on the leader's accent, here too) the countries are actually somewhere in Europe. That is to say, it looks more akin to Russia invading Ukraine, though Gunn has said he didn't have any specific real-life turmoil in mind when he concocted the scenario. The issue is really more interventionism: should Superman have acted unilaterally in stopping Boravia (and, indeed, threatening its leader with reprisal if he tries it again)? Lois Lane isn't so sure, bringing up the repressive nature of past Jarhanpur governments (and in turn bringing to mind Israel's attacks on Iran, though that particular conflict was in the news well after this movie was written, shot and probably almost or entirely finished). One of the most heartening things about Superman is that Lois's objections inspire a full conversation between her and Superman, in the guise of an 'interview' to make up for the fact that most of Superman's press is self-directed through Clark Kent. For a little while, the movie seems ready to dig into the genuine strife faced by a mega-powerful being who therefore has the ability to shape the world. Stopping people in another country from dying seems ethical. But what about issuing de facto press releases disguised as a real journalism? Of course, all of these questions are in the realm of hypothetical, so the movie mostly just invents hypothetical solutions that turn on the fact that Superman is, in fact, inherently trustworthy and moral. Lucky for everyone, huh? Then again, getting too far into the issue of whether Superman 'should' help people starts to look a bit too much like the Zack Snyder version that audiences and critics had such mixed-at-best feelings toward. Gunn wants Superman to be a bigger-tent affair than that, and it's an understandable impulse. He's not the first superhero character, but he's arguably the first one to achieve something resembling global ubiquity. That's going to lead to some varying interpretations. Limiting him to specific politics makes no more sense than keeping a world-saving god within Metropolis city limits. Yet in a weird way, the buffoonish outrage over Superman's immigration status has only served to highlight a void in the movie's broader emotional resonance. It's a sweet-natured movie that ends on a genuinely emotional note – it might particularly resonate for those with adoptive parents, another Superman mainstay – but misses the opportunity to make a more explicit parallel in the way Superman has emigrated both to the United States in particular, but to Earth in general. His global citizenship is more of a feelgood given than a powerful duality, and a Superman that truly grappled with our ability to see beyond national boundaries might have felt like a true update of the character for a new century, rather than another tacit plea for kindness. We have Paddington for that. Shouldn't Superman be able to lift something a little heavier?