Latest from Geek Vibes Nation
Geek Vibes Nation
a day ago
- Entertainment
- Geek Vibes Nation
Paramount To Release The Second Season Of Harrison Ford & Helen Mirren's '1923' On Blu-Ray This August
Paramount Home Entertainment has officially announced that 1923: A Yellowstone Origin Story – Season 2 will be available to own on Blu-Ray and DVD on August 5, 2025. The series will debut on Digital platforms on July 7th. Written and directed by Taylor Sheridan (Hell or High Water), the series stars Academy Award nominee Harrison Ford and Academy Award and Primetime Emmy winner Helen Mirren. The cast also includes Timothy Dalton, Brandon Sklenar, Julia Schlaepfer, Jerome Flynn, Darren Mann, Brian Geraghty, Aminah Nieves, Michelle Randolph, James Badge Dale, Marley Shelton, Sebastian Roché, and Jennifer Ehle. Get the details below! Synopsis: In the second season of 1923, a cruel winter brings new challenges and unfinished business to Jacob (Harrison Ford) and Cara (Helen Mirren) back at Dutton ranch. With harsh conditions and adversaries threatening to end the Dutton legacy, Spencer (Brandon Sklenar) embarks on an arduous journey home, racing against time to save his family in Montana. Meanwhile, Alexandra (Julia Schlaepfer) sets off on her own harrowing trans-Atlantic journey to find Spencer and reclaim their love. 1923 – Season Bonus Content: Darkness Cannot Hide: 1923 Returns The Shroud of Winter: Production Design and Costumes Before we let you go, we have officially launched our merch store! Check out all of our amazing apparel when you click here and type in GVN15 at checkout for a 15% discount! Make sure to check out our podcasts each week including Geek Vibes Live, Top 10 with Tia, Wrestling Geeks Alliance and more! For major deals and money off on Amazon, make sure to use our affiliate link!
Geek Vibes Nation
2 days ago
- Entertainment
- Geek Vibes Nation
Thor Quest: Marvel's Potential Shift To A Young Thor Sparks Speculation
While Chris Hemsworth is set to return as Thor in Avengers: Doomsday, Marvel Studios has remained tight-lipped about the God of Thunder's future beyond the crossover. Rumors of a fifth Thor film have swirled, but nothing concrete has emerged. Now, a new report suggests Marvel may be pivoting to a fresh take on the character with a project tentatively titled Thor Quest, potentially signaling the end of Hemsworth's tenure as the Asgardian hero. A New Chapter for Thor? Industry insider Daniel Richtman recently shared via ComicBook that Marvel is developing Thor Quest, a project that appears to draw inspiration from a 2023 children's book of the same name. The book follows a young Thor on his first adventure to claim Mjolnir, his iconic hammer. While details are scarce, the focus on a youthful Thor suggests Marvel could be exploring a prequel story, possibly set long before the events of 2011's Thor. Whether this project will take the form of a feature film or a Disney+ series remains unclear, but the concept has ignited speculation about the franchise's direction. Chris Hemsworth's Possible Farewell The emergence of Thor Quest raises questions about Hemsworth's future as Thor. Having portrayed the character across four solo films and multiple Avengers movies since 2011, Hemsworth has become synonymous with the role. However, a project centered on a young Thor would likely require a new actor, suggesting Marvel may be preparing to phase out Hemsworth's version of the character. This theory gained traction after Hemsworth posted a reflective tribute video last month, which some fans interpreted as a subtle goodbye to the role. While unconfirmed, the timing of the video aligns with the Thor Quest rumor, hinting at a possible transition. Why a Young Thor Makes Sense Marvel's potential shift to a younger Thor could serve multiple purposes. A prequel story would allow the studio to explore new facets of Asgardian lore without relying on Hemsworth, who has expressed mixed feelings about continuing the role. In a 2023 interview, he noted the challenge of keeping Thor's arc fresh after Thor: Love and Thunder received mixed reviews, earning $760 million but a 63% Rotten Tomatoes score. A young Thor project could also appeal to younger audiences, much like the children's book, while setting the stage for future MCU storylines. Posts on X reflect divided fan reactions, with some excited about a fresh perspective and others loyal to Hemsworth's portrayal. What's Next for Thor and Marvel? For now, Thor Quest remains a rumor, and Marvel has not confirmed its development or format. Hemsworth is confirmed for Avengers: Doomsday, set for release in 2026, but his role's scope is unknown. The lack of updates on a fifth Thor film, combined with this new project, suggests Marvel is exploring bold changes for the character. As with all MCU rumors, fans will need to wait for official announcements to see how Thor Quest fits into the broader Multiverse Saga. Until then, the possibility of a young Thor taking center stage keeps the Asgardian legacy alive, even if it means saying goodbye to a beloved hero.
Geek Vibes Nation
2 days ago
- Entertainment
- Geek Vibes Nation
HBO Max Pulls the Plug on Bookie After Two Seasons
In a surprising move, HBO Max has decided to end its well-received comedy series Bookie after just two seasons, leaving fans of the show disheartened. The series, which wrapped up its second season in December 2024, will not return for a third, marking the end of its run on the streaming platform. A Brief but Memorable Run Bookie first premiered in November 2023, captivating audiences with its sharp humor and gritty take on the world of sports betting. Created by Chuck Lorre and Nick Bakay, the show followed a high-stakes narrative filled with chaotic and comedic moments. Its debut season set the tone for a story that blended laughs with the unpredictable nature of its characters' lives. The second season, released a little over a year later, upped the ante with even more daring plotlines and complex situations, further endearing the series to its loyal fanbase. Despite its popularity, the show's fate was sealed, as HBO Max opted not to renew it. The decision reflects the often unpredictable nature of the streaming industry, where even fan-favorite series can face abrupt cancellations, leaving viewers without closure. HBO Max's Statement on the Cancellation In a statement shared with Variety, an HBO Max spokesperson expressed gratitude for the show's creative team and cast, led by comedian Sebastian Maniscalco. 'For two seasons, creators Chuck Lorre and Nick Bakay, along with their talented cast, brought laughter and insight into the world of sports betting,' the spokesperson said. 'While we won't be proceeding with a third season, we're thankful for the opportunity to have worked with such an incredible team on this hilarious comedy.' A Stellar Cast Bookie boasted a talented ensemble, with Sebastian Maniscalco at the helm as the lead. The cast also featured Omar Dorsey as Rayfield 'Ray' Ballard, Andrea Anders as Sandra, Vanessa Ferlito as Lorraine Colavito, Jorge Garcia as Hector, and Maxim Swinton as Anthony. Additional notable performances came from Rob Corddry as Walt Dinty and Selina Kaye as Janelle. The show also included recurring appearances by actors like Arnetia Walker, Toby Huss, and Dale Dickey, adding depth to its vibrant world. The Streaming Landscape and Fan Reactions The cancellation of Bookie highlights the challenges faced by shows in the competitive streaming market. Fans have taken to social media to express their disappointment, with many praising the series for its unique premise and strong performances. While the show's conclusion is a loss for its dedicated viewers, its two seasons remain available on HBO Max for those looking to revisit or discover its comedic charm. As the streaming giant moves forward with new projects, the end of Bookie serves as a reminder of the fleeting nature of even the most promising series. For now, fans can hold onto the laughter and chaos of the show's memorable run, while hoping for future projects from its talented cast and creators.
Geek Vibes Nation
2 days ago
- Entertainment
- Geek Vibes Nation
'M3GAN 2.0' Review - An Absurdly Good Time
Logline: The murderous doll who captivated pop culture in 2023 is back. And this time she's not alone. At times, as the world constantly evolves, the generational gaps may feel miles apart; however, one thing consistently remains true: we have to listen to the kids. Children tend to see things for what they are, have no filter, and are usually brutally honest. A five-year-old can flat-out hurt your feelings. Nevertheless, they also think outside the box, because for them, there is no box to confine themselves to. Every form of entertainment has shown us that the young ones always see the ghost, talk to the monster, hear the secrets, witness the crime, solve the mystery, and the adults never listen. At some point, we tend to forget we were also young with ideas and answers to the problems, and we were told we didn't understand or it's too complicated. We've also neglected to remember that most difficulties have somewhat simple solutions. If the kids have an idea or potential resolution, let them cook. 'You programmed me to protect someone, and I intend to do it.' As the saying goes, the internet is forever. That being said, Gemma should've known that getting rid of a highly adaptable, homicidal AI would be harder than destroying a physical body. Written and directed by Gerard Johnstone, M3GAN 2.0 is an absurdly good time. Everything you loved about M3GAN has been turned up to the max. This exciting sequel has more attitude, more dance moves, a larger body count, and double the androids. However, there are a few changes. Where its predecessor was heavy in its horror bag, the vibrant 2.0 shakes things up with a heaping side of sci-fi and action that you can liken to Terminator 2 . Nevertheless, its eerie elements remain intact as the pointed feature becomes increasingly more brutal and grim. Even as this T-800 versus T-1000 or Vision versus Ultron showdown unfolds, the story becomes akin to The First Omen . Despite the tension and terrors, M3gan's sharp jabs and quick wit have also been updated, offering a fun and comedic balance. She's like an unruly, angsty teen whose 'protect Cady at all costs' programming puts any and everyone in some sort of danger. Its campy personality is over-the-top in the most entertaining ways possible. M3GAN 2.0 is a film that knows exactly what it is and isn't shy about it. It's twice the danger and twice the fun. 'Maybe your allegiance to them has made you weak.' Doubling down on its previous messaging about the dangers of our reliance on technology, it goes even further by highlighting negligent, unregulated government use and expansion. Moreover, technology should be a tool and not a replacement. However, more than anything, this is a story of trust and second chances. It's about admitting when you're wrong and working to repair relationships, especially when it comes to parenting. Mirroring some of reality's most ridiculous people and ideas, M3GAN 2.0 is a great gateway into many topical conversations. The film is flashy and entertaining, humorous and thrilling, and while it is a slight departure, it is a worthwhile sequel. The soundtrack is groove-worthy, the action is surprisingly good, and M3gan's creepy factor elevates as the uncanny valley feeling is stronger than ever. The ensemble cast plays great off one another with a greater sense of chemistry. Johnstone's direction makes the multi-genre outing incredibly enjoyable. And while cinema is currently in its franchise-heavy era, this is one that I don't mind continuing. Is the follow-up better than the original? It's hard to say since they are so different, but I'm leaning towards yes. Fans may be divided, but one thing is for sure: this second installment definitely has more to offer. Its rewatchability is high. (from left) Cady (Violet McGraw) and Gemma (Allison Williams) in M3GAN 2.0, directed by Gerard Johnstone. © 2025 Universal Studios. All Rights Reserved. Photo Credit: Universal Pictures Pace & Pop As the film takes a hard turn into sci-fi action-adventure territory, the pace becomes more evenly balanced. While still holding onto its horror identity with some dark aesthetics, Frankenstein-esque moments, and varying levels of creepiness, it is firmly within the genre. What popped for me was how unhinged M3gan's banter was. She speaks her mind and pulls zero punches. It may be juvenile at times, but it's hilarious. (from left) M3gan and Amelia (Ivanna Sakhno) in M3GAN 2.0 directed by Gerard Johnstone. © 2025 Universal Studios. All Rights Reserved. Photo Credit: Universal Pictures Characters & Chemistry Starring: Allison Williams, Violet McGraw, Brian Jordan Alvarez, Jen Van Epps, Amie Donald, Jenna Davis, Ivanna Sakhno, Aristotle Athari, Timm Sharp, Jemaine Clement This ensemble cast doesn't necessarily have any standout performances, but they all work well together. Gemma ( Allison Williams) continues to say and do the wrong things when it comes to parenting her niece, Cady (Violet McGraw). As the genius aunt stretches herself too thin by wearing too many hats, her relationship with M3gan grows more complicated. McGraw has a stronger outing this go around as Cady has grown in age and intellect. Attempting to follow in her aunt's footsteps, Cady is tech-savvy, headstrong, and plays by her own rules. Of course, like the first film, they rarely see eye to eye. Brian Jordan Alvarez was given more breathing to bring the funny as Cole, and it works very well. Ivanna Sakhno killed it as the new android on the block, Amelia. She's deadly, seemingly unstoppable, and looks badass. Much of her performance is executed with her face, specifically her eyes, and you can't look away. Jemaine Clement is ridiculously cringey as Alton Appleton, and I loved every second of it. And lastly, bringing M3gan to life are the duo of Amie Donald and Jenna Davis (voice). The Model 3 generative android upped the ante in every way in this sequel. She's smarter, craftier, more violent, and has double the sass. I don't think we've seen the last of her. M3GAN 2.0 hacks its way into theaters on June 27, 2025. Stay safe and don't make A.I. mad. Rated: PG-13 Runtime: 1h 59m Director: Gerard Johnstone Screenplay: Gerard Johnstone Story: Gerard Johnstone and Akela Cooper Based on: characters created by Akela Cooper & James Wan Producers: James Wan, Jason Blum, Allison Williams Executive Producers: Gerard Johnstone, Adam Hendricks, Greg Gilreath, Michael Clear, Judson Scott, Mark D. Katch
Geek Vibes Nation
2 days ago
- Entertainment
- Geek Vibes Nation
‘Charliebird' Filmmakers On Winning Best Narrative Feature And Why They Chose To Make A Film In A 1:1 Aspect Ratio
When attending a seasoned film festival like Tribeca, it's difficult for a film to truly surprise you. This isn't to suggest the many lovely indie narratives debuting at the festival don't have their merits, but with limited resources often comes limited opportunities to reinvent the wheel. However, Charliebird is an exception to that rule, if only because it is the only film across the entire festival (and likely several editions of the festival) to be presented in a 1:1 aspect ratio. Notably thinner than a standard 1.33:1 aspect ratio often seen in classic cinema but not thin enough to evoke a smartphone screen, it's a bold choice to make for your directorial debut. Yet, it came naturally for Charliebird's director, actress Libby Ewing. 'It all happened really organically,' Ewing told Geek Vibes Nation mere hours before it was announced the film won two Tribeca Festival awards, including Best U.S. Narrative Feature. 'I was really drawn to the images of Petra Collins and snapshots, frames within frames, and portraits. When Luca got on board, he suggested turning an anamorphic lens vertically.' Rather than shoot the film with a traditional widescreen lens and crop in to present the film in a thinner aspect ratio, cinematographer Luca Del Puppo took a 1.5:1 anamorphic lens and squeezed it to make for a taller, longer image. 'The idea was to not start with a spherical lens on a digital negative, which is usually a 1.78:1 sensor or a 1.5:1 cropped in, but instead apply a 1.5:1 anamorphic to a 1.5:1 sensor and extend the negative vertically,' Del Puppo says. 'It's uncropped, but you'll never know that watching it.' 'For me, it always comes back to story,' Ewing said. In Charliebird, screenwriter Samantha Smart portrays Al, a music therapist who works with terminal children in a Texas hospital. Most of her patients are very young children, but one day she is assigned to Charlie (Gabriela Ochoa Perez, who won the Tribeca Award for Best Performance in a U.S. Narrative Feature), a teenage patient who has already given up on her own life. As Al breaks down Charlie's walls and makes a true friend, Al's own trauma begins to bubble up to the surface. 'This woman is boxed in by her own design. For me, it was a no-brainer. She is not facing her past; she's immediately in the center of her life and not doing anything about it. For me, [1:1] was a no-brainer.' 'Something that was immediately important to us was that we were using the full canvas, the full digital negative,' explains Del Puppo. 'By compressing and re-expanding, it seems like you're doing needless work, but it does affect the depth of field and the size of the image…you're going to see a very restricted frame, but it's a much wider vertical than anything you're used to seeing.' This is how Del Puppo could shoot extremely intimate scenes with Smart without losing any visual information. For example, Del Puppo shot many scenes of Smart driving a truck while in the passenger's seat. This is extremely close to his subject, but the film's full format sensor allowed Del Puppo to have a broader depth of field that could capture Smart and her surroundings while still being close up. Naturally, this made for a uniquely intimate shoot. 'There was a kinship there,' said Smart, referring to the trust she had with both Ewing and Del Puppo on set. 'After every take, Libby was holding my hands with ice cubes because she knew, as an amazing actress herself, what I was going through and what I needed. Luca and our sound mixer were so delicate and tender and emotionally with me that it felt a little bit like flying…it was like I knew he was there, also like I didn't know he was there. We just knew it felt sacred, and I cannot imagine having done this film without them, with that energy and that trust.' Moments after our virtual interview, Tribeca announced Charliebird's twofold awards win, a delightful surprise for a competition slate featuring big names and seasoned veterans. Shortly after the announcement, Ewing took to Instagram. 'I have no words…just immense gratitude.' In our full interview with the trio, condensed for brevity and clarity below, they dive into the process behind making the 1:1 aspect ratio a reality, how they formed trust on set, and how Smart dug into her own experience to write a deeply personal story. – Let's cut right to the chase: this is the first time I've seen a 1:1 aspect ratio on screen. What was the conception behind it, as well as the unique challenges that come from making a film this way? Libby Ewing (director): As I was pulling my look book together, I was really drawn to the images of Petra Collins and snapshots, frames within frames, and portraits. When Luca [Del Puppo] got on board, he suggested turning an anamorphic lens vertically. Sam [Smart] was gracious enough to do some test runs with us, and we sent it to our colorist. It came back, and it was the choice that made the most sense to us. It all happened really organically. It feels like a bold idea – this is my first feature, is this like a statement I'm making? – but it was so supported by the story. For me, it always comes back to story. This woman is boxed in by her own design. She has no horizons forward. She is not facing her past; she's immediately in the center of her life and not doing anything about it. That fed into this idea that all the characters are boxed in. For me, it was a no-brainer. I know it's a really bold choice, but it didn't feel like a bold choice. Luca Del Puppo (cinematographer): Something that was immediately important to us was that we were using the full canvas, the full digital negative. The idea was to not start with a spherical lens on a digital negative, which is usually a 1.78:1 sensor or a 1.5:1 cropped-in, but instead apply a 1.5:1 anamorphic to a 1.5:1 sensor and extend the negative vertically. It's uncropped, but you'll never know that watching it. Ah! I assumed you were using a standard horizontal aspect ratio and cropping in. My interest is piqued! What did you shoot with? Del Puppo: We started with a full-frame camera, the Sony VENICE, which is a 1.5:1 native aspect ratio. It has the same aspect ratio as your dad's old Nikon that he used to take all the family photos, which comes back to something else Libby and Sam wanted. They wanted to have that feeling. Then, for the 1.5:1 anamorphic squeeze, Atlas makes these great lenses [the Orion series]. They're a new company, but they've been used on really major pictures like Anora and Everything Everywhere All at Once. They had two things. The lens is a 1.5 squeeze, so we knew we would get a one-to-one negative, and it had a great close focus, so I could get close to Sam in certain key moments. By compressing and re-expanding, it seems like you're doing needless work, but it does affect the depth of field and the size of the image so that it gets much closer to a medium format negative. You're going to see a very restricted frame, but it's a much wider vertical than anything you're used to seeing. It's a very different perspective shift. There are scenes in this movie where you are in the car with Sam, and there is so much more depth of field than if you were trying to shoot it with a typical digital close-up lens, right? Luca: Right. You're getting more depth of field vertically and less depth of field horizontally. That is amazing, thank you for that insight. Sam, you're both the star and screenwriter of Charliebird, and I love a good piece of autofiction. To the best of your ability, where exactly do you end and the story begin? Samantha Smart (screenwriter/star): Oh, that's a good question. God, it's funny, early on I was writing this film and presenting it to Libby and was like, 'I think I wanna play this character and I want you to direct it.' I always thought it would serve the story to have an outside perspective, and Libby's so brilliant and collaborative. I have such trust in her. I never once thought I would need to do more than what I did, but after a couple of years creating Al [Sam's character], I got to the point where I told Libby, 'You're gonna have to cast someone else. It's so far from me. She's bleach blonde, she's tatted up. I'm not gonna be able to do this.' I got a little bit scared, but Libby helped me find her. In a way, I think almost every character [in the film] is a triad of myself, someone else I knew in Texas, and then a third entity I can't really explain. Without wanting to sound lofty, it's all me and it's all not me. Once I found each character's voice and who they were, I just listened to them and wrote what they said, which sounds really…whatever. [laughs] I don't know another way to write. There's a very meta thing that happens as you watch the movie. You meet Al, and the first thing you learn about her is that she is forced to confront the most emotionally devastating things, and she is compartmentalizing that in order to do the job. Then, the audience is also forced to engage with that same material, and then they have to compartmentalize it in order to continue watching the movie. I'm curious if you had to confront that same compartmentalization. Smart: I had the idea [for the film] and then unfortunately went through some stuff that enabled me to write it, some personal loss that is very different from Al's. I've been leaving Texas my whole adult life, but when I began writing, I found myself right back where I started. The backstory of Al as a kid – even though we went with a more ambiguous choice – that's very much based on things that I experienced growing up, and I realized I needed to deal with it on the page. I want to go back to the camera work and the close focus. Sam, I can imagine this was a unique shooting experience given the intimacy of both the material and the camera. How did you approach your relationship to the camera on set? Samantha: It started with the trust between me and Libby. I've worked with her before. We're very close, and I knew that, with anything I was gonna try, she would hold me up, build me up, and direct me in the right way. Then, Luca and I had just filmed a short about a year before, so we had a dialogue and a comfort between us. The three of us are just film nerds, photography nerds. There was a kinship there. On day three, we were starting with the scene where Al is at home in a drunken state. That was obviously very difficult for many reasons, but Libby had given me choreography. After every take, Libby was holding my hands with ice cubes because she knew, as an amazing actress herself, what I was going through and what I needed. Luca and our sound mixer were so delicate and tender and emotionally with me that it felt a little bit like flying. I don't know what Luca was doing with his body to catch me, but it was like I knew he was there, also like I didn't know he was there. We just knew it felt sacred, and I cannot imagine having done this film without them, with that energy and that trust, because it allowed me to not have to think. From my perspective as a viewer, it seems like that scene was the most challenging scene to shoot, but maybe I'm wrong, Libby? Ewing: It wasn't in the most surprising way. There are always the scenes that you're nervous about, and the way that we built our schedule, having the crew and Sam do all of that early on, was nerve-wracking. But I have to say that day was really special because everyone was just so locked in, and everyone respected what was happening. The way that Sam brought herself to the role changed the alchemy of our set. The whole crew was like, 'Oh, I get it. I know what we're making.' Something happened that night where that trust was built, and then we led with that. When we brought in our other actors, Luca, Sam, and I had a real shorthand. Luca––I don't know what he is, he's not of this earth. I felt like he was connected to my brain all the time. Smart: Libby would, like, telepathically tell us to do something, and we would do it. Del Puppo: It's not every day that you get to work with two people who have what Libby and Sam have, and you recognize it pretty quickly. We didn't have tremendous resources on this film, but what Libby did so brilliantly as a director was find days ahead of time where we could shoot, build them into the schedule, and be super specific about all the shots so that then when Sam and I were alone together in the truck, for example, we knew what we were doing. One of the best experiences of my life was shooting the last scene. What made it holy was Libby setting us up, and Sam and I being in the moment. Luca, from a DP's perspective, is there a methodology to making sure you're capturing information when you're dealing with such a sensitive depth of field? Del Puppo: Look, the depth of field is tiny. We're at minimum focus, and I'm pulling focus and just trying to stay with Sam because what she's doing is amazing, and you can see it. There's also a two-stop iris pull, so you're doing two things with your fingers. You spend your whole life getting technical, so then what, so then you can be proud of yourself? You have to throw all that stuff away. I get really impatient with DP's saying things like, 'My frame, my light.' That's the most absurd thing I've ever heard. I don't have patience for that. You try it and you get it and if you don't get it, then you feel like shit because Sam and Libby just did something that can't be replicated, so just do it. Smart: For the final scene, there was a lot of pressure. We had five minutes of light. By the time we were rounding the street to be able to go for it, our safety car had an issue. We lost contact on our walkie-talkie. Luca's in there holding the entire camera setup by himself. I was just ready and, this sounds so 'woo,' but we could feel Libby being like, 'Just fucking go.' So, I just started driving, and we got it. I don't know how we did it. It was a really special day. Ewing: Luca came back to our little home base in this vacant parking lot and showed me the playback, and I burst into tears. It was just perfect. All that trust built to that 15-minute shot, and it was just stunning. Del Puppo: The camera's 30 pounds, we're on an anamorphic lens. We don't have a three-person camera team. We shot the whole thing handheld without an easy rig. As a DP, at a certain point, you ask yourself, 'Is this big black easy rig thing going to distract from the film? If it is, then just hold the camera.' I know that it sounds banal, but some of these decisions were that simple. Knowing that you had that 30 pound set up shooting handheld with no rig is fucking crazy. Del Puppo: Well, I'm short and wide, so it works out. Ewing: He's a beast. He just needed a second dinner every night. You just gotta keep him fed and fueled. It's like Michael Phelps loading up carbs before a big swim. Ewing: That's right. Luca: Sam brought us to a great burger place on the first night. It really was a family affair, and we just kept going back there for more.
