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Mel Brooks Slated to Reprise Role in 'Spaceballs 2'

Mel Brooks Slated to Reprise Role in 'Spaceballs 2'

Hypebeast13-06-2025
Summary
Nearly four decades afterSpaceballswarped into cult classic status, the long-rumored sequel is officially a go, and to the immense delight of fans, comedy legend Mel Brooks is confirmed to reprise his iconic role as Yogurt. The announcement, made just this week, has sent shockwaves of excitement through the entertainment world, promising a return to the satirical brilliance only Brooks can deliver.
Set for a theatrical release in 2027 withAmazon MGM Studios,Spaceballs 2will see the 98-year-old maestro not only back in front of the camera as the wise, merchandising-obsessed Yogurt (a parody of Yoda), but also serving as a producer. Brooks himself unveiled the news with a characteristically humorous social media teaser, featuring aStar Wars-esque opening crawl that brilliantly skewers Hollywood's current obsession with endless sequels and reboots. His direct message at the end, 'After 40 years we asked what do the fans want… but instead, we're making this movie,' perfectly encapsulates the irreverent spirit of the original.
The excitement doesn't stop with Brooks' return. In a move that has further electrified fans, Rick Moranis is also reportedly set to come out of a lengthy retirement to reprise his role as the hilariously villainous Dark Helmet. Moranis's absence from live-action films for almost three decades has made his potential return one of the most anticipated in recent memory. Adding to the returning cast, Bill Pullman will be back as Lone Starr, the charming rogue equivalent of Han Solo.
New talent is also joining the ranks, with Josh Gad confirmed to lead the cast, co-write the screenplay (alongside Benji Samit and Dan Hernandez), and co-produce. Keke Palmer is also slated for an as-yet-unspecified role, bringing fresh energy to the ensemble. Josh Greenbaum (known for Barb and Star Go to Vista Del Mar) is set to direct.
The originalSpaceballs(1987) perfectly lampooned theStar Warssaga and other sci-fi tropes, building a devoted following over the years. With the landscape of cinematic franchises having exploded since its debut,Spaceballs 2is perfectly poised to deliver a fresh wave of satirical commentary on the blockbuster era. For those who believe the Schwartz is still strong, this sequel promises to be a comedic force to be reckoned with.
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43 Cheap Versions Of Products For Thirtysomethings
43 Cheap Versions Of Products For Thirtysomethings

Buzz Feed

time23 minutes ago

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43 Cheap Versions Of Products For Thirtysomethings

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Freddie Gibbs x The Alchemist Serve Up Sonic Soul Food on 'Alfredo 2'
Freddie Gibbs x The Alchemist Serve Up Sonic Soul Food on 'Alfredo 2'

Hypebeast

time2 days ago

  • Hypebeast

Freddie Gibbs x The Alchemist Serve Up Sonic Soul Food on 'Alfredo 2'

Summary WhenFreddie GibbsandThe AlchemistdroppedAlfredoback in May of 2020, it fed the entire music community – and even converted some non-rap listeners into top-line hip-hop heads – for months, years even, essentially setting the contemporary precedent for what defines a 'successful' collaborative rap project between a producer and an artist. With the album leaving the impact that it did, the duo knew they couldn't rushAlfredo as locked in as they were five years ago, it's clear Gibbs and Alc cookedAlfredo 2with lots of love, spending ample time behind the multi-medium follow-up project, infusing it with the same spice, flavor, and collaborative finesse of the first course. Clocking in at 14 tracks,Alfredo 2kicks off with lead single '1995,' and featuresAnderson .Paakon 'Ensalada,'Larry Juneon 'Feeling,' andJIDon 'Gold Feet.' 1. 19952. Mar-a-Lago3. Lemon Pepper Steppers4. Ensalada (feat. Anderson .Paak)5. Empanadas6. Skinny Suge II7. Feeling (feat. Larry June)8. I Still Love H.E.R.9. Shangri-La10. Gas Station Sushi11. Lavish Habits12. Gold Feet (feat. JID)13. Jean Claude14. A Thousand Mountains Though the album is just one component of the three-course 2was preceded by its companion short film, a Tokyo crime saga directed by Nick Walker. Following the film, a lineup of limited-edition merchandise capsules also landed in support of the long-awaited album. WhileAlfredo 2is a masterful ode to the pair's boundless artistic synergy and, on a larger scale, undoubtedly one of the most poignant and pioneering hip hop projects we've yet to receive this year, Gibbs and Alc's collaborative pair of projects was almost served in a reverse order;Alfredowas the main course,Alfredo 2is the appetizer. Impressive, introspective, and an overall highly enticing listen,Alfredo 2is ultimately no match for its predecessor, but it's noticeably tossed with the same ingredients. StreamAlfredo 2– fresh out of the kitchen – now, on all major streaming services.

The Trippy Experience of Watching the Fantastic Four Birth Scene While Pregnant
The Trippy Experience of Watching the Fantastic Four Birth Scene While Pregnant

Time​ Magazine

time3 days ago

  • Time​ Magazine

The Trippy Experience of Watching the Fantastic Four Birth Scene While Pregnant

Warning: This post contains light spoilers for The Fantastic Four: First Steps. I knew, based on the title The Fantastic Four: First Steps, that Marvel's latest superhero movie would introduce a pregnant superhero, Sue Storm, and deal with the birth of her super-baby, Franklin Richards. I did not expect, when I stepped into a screening eight months pregnant myself, an exegesis on the anxieties of pregnancy and early parenthood. I certainly did not anticipate (spoiler alert) a zero-gravity birth scene during a high-speed space chase that played like an extreme version of my nightmare of giving birth in a taxi en route to the hospital. And yet the film, from its opening scene, is preoccupied with all the worries that come with parenthood. In the first minutes, Sue (Vanessa Kirby) takes a pregnancy test and shows it to her husband, Reed Richards (Pedro Pascal). He is shocked. They had tried for years without success. His shock turns to elation, and then the wheels start spinning. Sue and Reed, along with Sue's brother Johnny Storm (Joseph Quinn) and their pal Ben Grimm (Ebon Moss-Bachrach), were exposed to cosmic radiation in space that altered their DNA and gave them superpowers. But what if their altered cells impact the baby in some way? Will he be OK? Sue calms Reed's nerves, but the brilliant scientist's tendency to spin out will be familiar to anyone who has struggled to conceive, dealt with a disquieting diagnosis for their child while they were still in utero, or, as I have, had a miscarriage. I'm all too familiar with the quick succession of hope and panic when a positive sign pops up on a pregnancy test, a joy that after a loss cannot be trusted. Reed obsessively runs tests on Sue and the fetus, building his own machine to do so. Whether these efforts soothe his anxiety or exacerbate it is unclear, like those smart devices that monitor your baby's breathing overnight—but may cause heart palpitations when they deliver a false read or disconnect from WiFi. Meanwhile, Sue keeps repeating, 'nothing is going to change,' the delusional mantra of the expecting parent. Reed and Sue argue throughout the movie about Reed's catastrophic thinking. Sue accuses him of conjuring up the worst case scenario for every circumstance, including the health and safety of their child. He shoots back that he is preparing for the worst and protecting their family. By contrast, Sue's insistence that everything will be all right is so plainly unrealistic that the audience is waiting for some actual catastrophe to shake her out of her stupor. Again, it's a fight familiar to any couple who has disagreed about how much prenatal testing to do or the best way to prepare for challenges in pregnancy and parenthood. Ultimately, Reed's fears aren't totally misplaced. When the big bad of the movie—a planet-eating giant named Galactus—sets his sights on Earth as his next snack, the Fantastic Four fly to space to try to negotiate. In a Rumpelstiltskin-esque turn in the story, Galactus offers to spare earth if Reed and Sue will give him their baby. Galactus senses some sort of universe-bending power in the little one and wants to take him on as an apprentice. Sue and Reed reject this offer, only for Sue to immediately go into labor. They run back to their ship, with Galactus' minion, the Silver Surfer (a shimmery Julia Turner), in hot pursuit. The birth scene that comes next is not exactly traumatic, but it is not what I would choose to watch shortly before my own labor. Sue begins having contractions on the ship in zero gravity. The Silver Surfer at one point is able to actually get her hand onto Sue Storm's belly (perhaps even into it—I didn't follow the physics of this villain's powers) during labor—an unimaginable bodily violation. Sue screams at her brother, Johnny, to kill the Silver Surfer because she's trying to murder his unborn nephew. Fair enough! Meanwhile, Sue has to use her powers to make the ship invisible between her contractions in order to hide it from the baddies. Johnny tries to shoot the Silver Surfer; Reed pins Sue down to a table so she can use gravity to push; Ben stands at the ready to catch the baby; and their handy robot sidekick Herbie pilots the ship. If I had to stretch this metaphor, and I did while watching the movie because I couldn't help myself, I would say this scene is akin to giving birth in a Waymo while your husband coaches you, your brother fights someone trying to murder your unborn child, and a good friend (but still just a friend) watches your baby emerge from your body, a sight you would prefer to reserve for only people wearing scrubs. Oh, and you have to perform intense pilates maneuvers between contractions, because why not? Points for originality: I don't believe I have ever seen a baby born in a Marvel movie before, let alone one born in space. Honestly, I can think of very few space births off the top of my head besides the body-horror versions in various Alien movies, and this one thankfully ends more happily than the self-imposed C-section to remove an alien from Noomi Rapace's character in Prometheus. I do have some notes. It seems to be a specific male fantasy that women can perform immense physical feats while also in labor, especially without an epidural. I was reminded of an interview I once conducted with the brilliant James Cameron about (among other things) the choice to feature a pregnant Na'vi played by Kate Winslet going into battle in Avatar: The Way of Water, a decision I found at once empowering and unrealistic. Cameron told me—and this has stuck with me for years—'Pregnancy is treated as a condition or affliction as opposed to a natural part of the human life cycle.' He went on to muse that women have been delivering babies in precarious circumstances for centuries. 'They might be giving birth, and 10 seconds later spearing a saber-toothed tiger that happened to attack the camp. They don't have a choice. That's how we evolved,' he said. 'If people don't buy it, they need to do their research.' I gave birth for the first time myself about a year later and was fortunate to experience a relatively smooth labor. I also lost a lot of blood, vomited, and needed medication immediately after they placed my daughter on my chest. I was not prepared to take on a tiger, saber-toothed or otherwise. James Cameron is a man, and all of the credited screenwriters on Fantastic Four: First Steps are men. While I respect their admiration for the strength of a woman bringing forth a new life, and perhaps many of them have personally witnessed childbirth, I suspect had they gone through the experience themselves, their creative license on the multitasking and supreme energy levels of women in labor might be tempered. For that matter, the writer of Rosemary's Baby was a man. So were the writers of Knocked Up and Children of Men and many of the most famous birth scenes you know from film. Once Reed and Sue's baby is born, the drama centers around questions of whether the baby does have superpowers and the fact that, if he does, he's in peril of being kidnapped. You didn't think Galactus was going to give up on raising a fellow planet killer that easily, did you? I didn't personally love that either, but more because The Incredibles did it first—and better—with baby Jack Jack. But children in danger seems to be a new superhero trend: Superman recently featured a scene in which the hero played by David Corenswet must hold an alien baby aloft in a time-bending stream of death. In Thunderbolts* (a.k.a. The New Avengers), David Harbour's Red Guardian saves a little girl only for the villain to disappear her into a dark void seconds later. In all three cases, I knew these children weren't actually going to be (permanently) hurt. But I wondered why I was sitting through the unnecessary agony of watching helpless babes in peril. Perhaps the point is to forge new ground in an increasingly tired genre. The Fantastic Four does actually capture well many of the anxieties of pregnancy and early parenthood, even if the stakes are exaggerated because it is a superhero movie. At a moment when the Marvel Cinematic Universe is in desperate need of new ideas, focusing on family and parenthood in particular feels novel. Matt Shakman, the director of First Steps, produced and directed WandaVision, the only other MCU property that has dealt with the challenges of parenthood in an emotionally significant way. In that Disney+ show, as in this movie, a mother (Elizabeth Olsen's Wanda Maximoff) goes to extreme lengths to create and protect new life—she forms her twin boys with magic—and come to terms with what she can and cannot control as a parent. (Though much of that emotional work in WandaVision was unfortunately undone by Doctor Strange in the Multiverse of Madness, which transforms Wanda into the least subtle version of the crazed mama-bear trope imaginable.) Attending a movie while pregnant can be hazardous. The editor of this piece had to sit through Hereditary while expecting, an experience that conjured nightmares of a demon fetus, and a friend recently recalled squirming while watching a talking fetus that communicates telepathically with her mother in Dune Part 2 while she had a baby in her own belly. I do admire Shakman's willingness to take on the oft-ignored topic of labor, one that, when it is addressed, is more often the stuff of comedy (Knocked Up) or prestige drama (Children of Men), not popcorn movies that largely cater to a young, male audience. Even so, take heed if you are expecting and in any way squeamish. You may want to stream this particular birth postpartum.

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