The cover of the July 1997 issue of Wired / Conde Nast
In April 1997, Wired magazine published a feature with the grand and regrettable title “Birth of a Digital Nation.” It was a good time to make sweeping, sunny pronouncements about the future of the United States and technology. The US stood alone astride the globe. Its stock market was booming. Microsoft was about to become the world’s most valuable company, a first for a tech firm. A computer built by IBM was about to beat the world chess champion at his own game.
And yet, the journalist Jon Katz argued, the country was on the verge of something even greater than prosperity and progress — something that would change the course of world history. Led by the Digital Nation, “a new social class” of “young, educated, affluent” urbanites whose “business, social and cultural lives increasingly revolve around” the internet, a revolution was at hand, which would produce unprecedented levels of civic engagement and freedom.
The tools of this revolution were facts, with which the Digital Nation was obsessed, and with which they would destroy — or at least neuter — partisan politics, which were boring and suspicious.
“I saw … the formation of a new postpolitical philosophy,” Katz wrote. “This nascent ideology, fuzzy and difficult to define, suggests a blend of some of the best values rescued from the tired old dogmas — the humanism of liberalism, the economic opportunity of conservatism, plus a strong sense of personal responsibility and a passion for freedom.”
Comparing the coming changes to the Enlightenment, Katz lauded an “interactivity” that “could bring a new kind of community, new ways of holding political conversations” — “a media and political culture in which people could amass factual material, voice their perspectives, confront other points of view, and discuss issues in a rational way.” Such a sensible, iterative American public life contained, Katz wrote, “the … tantalizing … possibility that technology could fuse with politics to create a more civil society.”
Such arguments, that a rational tech vanguard would spark an emancipatory cycle of national participation, were common at the time….
A section of the Aurora Station space hotel is seen in this handout promotional image. Handout picture courtesy of: Orion Span
TBILISI, Dec 2 (Thomson Reuters Foundation) – Tired of your ordinary earthly vacations? Some day soon you might be able to board a rocket and get a room with a view – of the whole planet – from a hotel in space.
At least, that is the sales pitch of several companies racing to become the first to host guests in orbit on purpose-built space stations.
“It sounds kind of crazy to us today because it is not a reality yet,” said Frank Bunger, founder of U.S. aerospace firm Orion Span, one of the companies vying to take travellers out of this world.
“But that’s the nature of these things, it sounds crazy until it is normal.”
U.S. multimillionaire Dennis Tito became the world’s first paying space tourist in 2001, travelling to the International Space Station (ISS) aboard a Russian Soyuz rocket for a reported $20 million. A few others have followed.
Since then, companies like Boeing, SpaceX and Blue Origin have been working on ways to bring the stars into reach for more people – opening up a new business frontier for would-be space hoteliers.
Why Lena Waithe fell in love with her leads while writing ‘Queen & Slim’
By LENA WAITHE
Lena Waithe took the idea for “Queen & Slim” and made it her own. (Francine Orr / Los Angeles Times)
“Queen & Slim” began at a party, celebrating my wife Alana Mayo. She had just been chosen as one of the Hollywood Reporter’s 35 under 35 execs. I was there gallivanting and having a good time when writer James Frey walked up to me and introduced himself.
It was kind of funny, because I knew who he was, but I joined in the formalities anyway and introduced myself as well. I think he was aware I was a writer — but at that time “The Chi” hadn’t aired yet (we were still writing the first season) and the “Thanksgiving” episode of “Master of None” was an idea that had not yet entered my mind. I say all this to say: He had no real reason to throw an idea — an idea that would ultimately change the course of my life — into my lap at a rooftop party in Hollywood.
He simply said, “I have an idea for a movie I can’t write.” I responded, “What’s the idea?” And he said, very cavalierly, a black man and a black woman go out on a first date and on their way home they get pulled over by a cop, things escalate quickly and they kill the cop in self-defense and rather than turning themselves in, they decide to get in the car and go.”
I quickly said to him, “You’re right, you can’t write that.” But I knew I could.
He had another title and an outline in his back pocket, but I didn’t want it. I didn’t need it. That sentence was all I needed to go create a black odyssey that would ultimately become a meditation on blackness and what it truly looks like to search for freedom and joy that’s everlasting.
Aaron Taylor-Johnson and Sam Taylor-Johnson attend the Build Series to discuss ‘A Million Little Pieces’ at Build Studio December 02, 2019 in New York City. DOMINIK BINDL/GETTY IMAGES
James Frey’s book A Million Little Pieces could arguably be considered one of the most controversial books published in recent history.
The controversy surrounding its semi-fictional memoir-style made it one of the internet’s first viral scandals of the publishing world. But beyond the controversy—and the infamous interview Frey did with Oprah Winfrey in 2005—is a story about a person struggling with addiction and desperately trying to find a way out of it. That’s the story director Sam Taylor-Johnson told in her new film adaption of the memoir, starring and co-written by her husband Aaron Taylor-Johnson.
“I read it and loved it and went on the journey with James,” Sam told Newsweek Conversations. “I continued on the journey with James through what happened with the book and the controversy, public shaming and humiliation.”
Loosely based on Frey’s own journey, Aaron dived into the character by working closely with Frey, communicating regularly, going on a road trip together and even visiting the rehabilitation center where Frey first sought treatment.
“It was really overwhelming for him to step through those doors again,” Aaron told Newsweek Conversations. “He said he hadn’t been back in over 20 years. I guess the rawness of it is he was an addict and now, today, he’s 26 years sober. It’s phenomenal.”
Aaron, 29, and Sam Taylor-Johnson, 52, are no strangers to working together, having met making Sam’s directorial debut Nowhere Boy in 2009 — but adapting James Frey’s controversial 2003 book A Million Little Piecesmarked challenging new territory for the married couple.
The film adaptation of Frey’s addiction memoir, which he later admitted to partly fabricating, sees Aaron go to some very dark places to play a young drug-addled writer as he undergoes a grueling two-month detox program.
Below are excepts from PEOPLE’s conversation with the pair, who wed in 2012 and have two daughters together now, in addition to two from Sam’s previous marriage.
Sam and Aaron Taylor-Johnson Are One of the Most Private Couples in Hollywood—and They Intend to Keep It That Way
BY JAMES FREY; PHOTOGRAPHS BY MICHAEL AVEDON
Hang time. On Sam: Dolce & Gabbana bra and briefs. On Aaron: Lululemon shorts.
Between lingering kisses and adoring sidelong glances, artist turned filmmaker Sam Taylor-Johnson and her dashing actor husband, Aaron Taylor-Johnson, open up to friend James Frey (whose book A Million Little Pieces they have adapted for the big screen) about the coup de foudre they experienced when they first met—and how they keep that spark burning bright more than a decade later.
She was a world-renowned artist, her work hanging in museums around the world, selling for outrageous sums in galleries and at auction, the mother of two young daughters living in London and spending weekends in France or the English countryside. She had also survived cancer twice. She was healthy, brilliant, beautiful, and successful beyond her wildest dreams. She was about to direct her first feature film. Her life was full. Or so she thought.
“I wasn’t expecting anything that day. Just to see a bunch of actors pretending to be John Lennon.” He was an actor, working since he was six. He’d been onstage, in films, on television, successful enough to get by, but the breakthrough hadn’t come. He’d been preparing for this audition for six weeks. If he got the role, it would change his life.
“I remember it very, very clearly. I know exactly what she was wearing. This white shirt that she still has, that I love. It definitely changed my life, though not in the way I expected.”
“We were very professional through the entire film.”
“No funny business at all.”
“But everyone on set knew. And as soon as we finished, he told me he was going to marry me. We had never been on a date, or even kissed.”
“And a year to the minute after we met, exactly one year to the minute, I got down on one knee and asked her to marry me.”
“In the 10 years we’ve been together, we’ve only been apart for maybe two or three days.”
“And those were the worst days of those 10 years.”
When skier and filmmaker Chris Benchetler was brainstorming names for someone to narrate his new action-sports film featuring the music of the Grateful Dead, there was one that kept popping up due to the nature of the movie’s soundtrack: Bill Walton.
Walton, a confirmed Deadhead, seemed like the perfect person to bring aboard to narrate Benchetler’s Fire On The Mountain as the 27-minute film is set to seven tracks selected from the Grateful Dead’s massive vault of recordings by official band archivist David Lemieux.
Luckily for Benchetler, he actually had the retired NBA star’s email address as the two had gone road biking some years ago. “I didn’t expect him to remember me at all but I just hit him up and explained my passion for the Dead and for what we were doing,” Benchetler tells InsideHook.
Black Lives Matter themes on full blast in ‘Queen & Slim’
By Elaine Hegwood Bowen, M.S.J.
“Queen & Slim” is a story about a Black couple on the run who find themselves in an untenable position shortly after their first date. They are driving along and Slim had briefly passed his cell phone to Queen. She starts being nosey, as some women are wont to do, and he snatches the phone, causing the car to swerve a bit.
And, of course, seconds later, a Cleveland, Ohio, police officer stops the car. The cop’s initial reason for stopping Slim was no signal at a previous turn and that he suspected that Slim was under the influence. The “no turn signal” excuse made me think immediately of the late Sandra Bland, the Naperville, Illinois, woman who met her death at the hands of Texas police officers after a similar traffic stop—although they claimed that Bland committed suicide. An argument ensues, and Queen, who is a criminal defense attorney, questions the officer after he trains his gun on Slim. The officer shoots Queen in the leg, and Slim kills the officer, setting in motion their run from authorities.
Revolt! Scientists Say They’re Sick of Quantum Computing’s Hype
A Twitter account called Quantum Bullshit Detector reflects some researchers’ angst about overhyped claims and other troubling trends.
by SOPHIA CHEN
PHOTOGRAPH: GETTY IMAGES
This spring, a mysterious figure by the name of Quantum Bullshit Detector strolled onto the Twitter scene. Posting anonymously, they began to comment on purported breakthroughs in quantum computing—claims that the technology will speed up artificial intelligence algorithms, manage financial risk at banks, and break all encryption. The account preferred to express its opinions with a single word: “Bullshit.”
The provocations perplexed experts in the field. Because of the detector’s familiarity with jargon and the accounts it chose to follow, the person or persons behind the account seemed be part of the quantum community. Researchers were unaccustomed to such brazen trolling from someone in their own ranks. “So far it looks pretty well-calibrated, but […] vigilante justice is a high-risk affair,” physicist Scott Aaronson wrote on his blog a month after the detector’s debut. People discussed online whether to take the account’s opinions seriously.
“There is some confusion. Quantum Bullshit Detector cannot debate you. It can only detect quantum bullshit. This is why we are Quantum Bullshit Detector!” the account tweeted in response.
In the subsequent months, the account has called bullshit on statements in academic journals such as Nature and journalism publications such as Scientific American, Quanta, and yes, an article written by me in WIRED. Google’s so-called quantum supremacy demonstration? Bullshit. Andrew Yang’s tweet about Google’s quantum supremacy demonstration? Bullshit. Quantum computing pioneer Seth Lloyd accepting money from Jeffrey Epstein? Bullshit.
My tween will never know the sound of me calling her name from another room after the phone rings. She’ll never sit on our kitchen floor, refrigerator humming in the background, twisting a cord around her finger while talking to her best friend. I’ll get it, He’s not here right now, and It’s for you are all phrases that are on their way out of the modern domestic vernacular. According to the federal government, the majority of American homes now use cellphones exclusively. “We don’t even have a landline anymore,” people began to say proudly as the new millennium progressed. But this came with a quieter, secondary loss—the loss of the shared social space of the family landline.
“The shared family phone served as an anchor for home,” says Luke Fernandez, a visiting computer-science professor at Weber State University and a co-author of Bored, Lonely, Angry, Stupid: Feelings About Technology, From the Telegraph to Twitter. “Home is where you could be reached, and where you needed to go to pick up your messages.” With smartphones, Fernandez says, “we have gained mobility and privacy. But the value of the home has been diminished, as has its capacity to guide and monitor family behavior and perhaps bind families more closely together.”
The home telephone was a communal invention from the outset. “When the telephone rang, friends and family gathered ’round, as mesmerized by its magic flow of electrons as they would later be by the radio,” according to Once Upon a Telephone, a lighthearted 1994 social history of the technology. After the advent of the telephone, in the late 19th century, and through the mid-20th century, callers relied on switchboard operators who knew their customers’ voices, party lines were shared by neighbors (who would often eavesdrop on one another’s conversations), and phone books functioned as a sort of map of a community.
Aaron Taylor-Johnson and Sam Taylor-Johnson attend the Build Series to discuss ‘A Million Little Pieces’ on December 02, 2019 in New York City. Getty Images—2019 Dominik Bindl
“Do what you want with it.” That was more or less what James Frey told the director Sam Taylor-Johnson when she and her husband, the Golden Globe-winning actor Aaron Taylor-Johnson, approached him about bringing Frey’s 2003 book A Million Little Pieces to the screen. “I’m not going to be there,” Sam remembers Frey saying. “I’m not going to read your script. I may not ever see the movie. But if you respond to the material and you like it, do it!”
For Sam, director of Nowhere Boy and Fifty Shades of Grey, adapting Frey’s bestseller about his struggle to get clean from drugs and alcohol in a Minnesota rehab was a longtime dream. It also ended up proving a challenge: “Every step of the way with this movie has been pushing a boulder up a hill,” she says now.
‘Queen & Slim’ is more than an “outlaws on the run” story
by Ann Hornaday, The Washington Post
PHOTO CREDIT: Andre D. Wagner
“Queen & Slim” is a movie we’ve seen before, whether in the form of “Bonnie and Clyde” or “Butch Cassidy and the Sundance Kid.” Two attractive outlaws on the lam, running from the clutches of the law, their banter, adventures and funny or violent or romantic encounters punctuating an epic and ultimately fatalistic journey.
“Thelma & Louise” is part of that tradition and, much as sexism motivated and contextualized the events of that outlaw picaresque, racism provides the crucial frame for “Queen & Slim.” The movie begins with a young couple in a diner, in the middle of an awkward first date: When the young man (Daniel Kaluuya) asks his female companion, an attorney played by newcomer Jodie Turner-Smith, why she finally responded to him online, she explains that one of her clients was just scheduled for execution and she was seeking a distraction. “So you turned to Tinder,” he says joshingly.
The characters are unnamed throughout most of the movie, but when a pivotal confrontation on their way home sends them on a desperate escape from Cleveland through the American South and finally to Florida, their identities go through all manner of changes.
The iconic homunculus was devised by Penfield as a teaching tool to aid memory, and was drawn by Hortense Cantlie, a medical illustrator at McGill. She rendered the complex idea simply for its first appearance in 1937 as an acrobat hanging from a trapeze by his knees, with his head tilted up to look at the audience. The areas devoted to the opposable thumbs, necessary for grasping tools, and to the tongue and lips, necessary for speech, are disproportionally large, reflecting their relative importance with respect to human experience.
Someone ate a really expensive snack at Art Basel Saturday afternoon — to the tune of $120,000.
For one banana.
By now you have probably heard of the now world-famous banana duct-taped to Emmanuel Perrotin’s outer gallery wall at Art Basel Miami Beach. The piece that sold to an art collector for $120,000.
The $120,000 banana — a real, rather ripe and edible one — is the work of Italian artist Maurizio Cattelan and titled “Comedian.” The work comes with a Certificate of Authenticity, and owners are told that they can replace the banana, as needed.
Instructions on how to replace the banana are not included.
Rising queer star Lena Waithe drops trailer for new series
Lena Waithe (Image via Facebook)
Lena Waithe, the out lesbian woman of color who has been among those at the forefront in the struggle to bring more visibility and representation to the entertainment industry, is on a roll as 2019 comes to a close.
On the heels of an impressive opening weekend for her debut feature film, “Queen and Slim,” the Emmy-winner dropped the trailer for her upcoming television project on BET. Titled “Twenties,” it’s the first series in the network’s history to be centered on an LGBTQ character.
“Queen and Slim,” the rising industry powerhouse’s first feature film screenplay (from a story she co-wrote with James Frey), surpassed industry expectations by making the top five box-office list for Thanksgiving weekend.
There is something both shocking and weirdly gallant to see Aaron Taylor-Johnson as James Frey completely unhinged and out of his skull — and clothes — as “A Million Little Pieces” opens.
The brief sequence immediately establishes the mindset of a self-destructive druggie and Taylor-Johnson’s willingness to go wherever to tell a familiar story of rehab and redemption.
Co-written by real-life couple director Sam Taylor-Johnson (“Fifty Shades of Grey”) and Aaron, “Pieces” is an adaptation of Frey’s once notorious but still in print bestselling memoir from 2003.
The memoir was notoriously targeted by Oprah Winfrey for exaggeration and embellishing, which today seems quaint and completely out of proportion for the lies told daily in the national conversation.
What the Taylor-Johnsons have done is smoothly engrossing with a first-rate cast.
Aaron Taylor-Johnson plays James Frey at his addictive low point in “A Million Little Pieces.” Momentum Pictures
“I’ve lived through some terrible things in my life, some of which actually happened.” – Mark Twain, quoted in “A Million Little Pieces.”
You had to feel for James Frey.
In January 2006, the School of the Art Institute grad turned best-selling author took arguably the most brutal verbal beatdown in the history of “The Oprah Winfrey Show.”
Granted, Frey brought it upon himself, when it was revealed his mega-successful addiction memoir “A Million Little Pieces” contained major exaggerations and fabrications.
Oprah, who initially had championed the book, was not amused. She called Frey on the carpet in front of a studio audience and millions of viewers.
It seemed excessive. It was painful to watch.
A few years later, Oprah said she owed Frey an apology. By then, Frey had bounced back in a big way, with a seven-figure deal to write novels for Harper Collins. Since then, his career has continued to thrive, most recently with a “Story By” credit for the acclaimed theatrical release “Queen & Slim.”
Now, some 16 years after the publication of “A Million Little Pieces,” a film adaptation from director/co-writer Sam Taylor-Johnson (“Fifty Shades of Grey,” no relation) is getting an understated release, and it’s reasonable to assume a good percentage of viewers will have little or no knowledge of the controversial story behind the source material.
Not that it should matter. As a stand-alone work of cinema fiction, “A Million Little Pieces” is an effective blunt instrument of a film — a rough-edged, unvarnished, painfully accurate portrayal of addiction and rehabilitation.
Sam Taylor-Johnson directs her husband, Aaron Taylor-Johnson in a scene from A MILLION LITTLE PIECES / Photo by Jeff Gros
Sam Taylor-Johnson knows willpower. Four years ago, it powered an iron stomach through the contentious making of “Fifty Shades of Grey.” Now, it’s propelling her James Frey movie into theaters.
On Friday, the director’s new film, “A Million Little Pieces,” arrives in theaters, starring her husband, Aaron Taylor-Johnson, 29, as the recovering alcoholic who found himself at the center of one of the biggest memoir publishing scandals in modern history.
Grammy-winning music video director Melina Matsoukas is known for using her work not only to highlight African -American culture but also reflect pertinent issues in the community. That’s what made Queen & Slim the apt project for her feature directorial debut.
“The script for me was everything,” Matsoukas said at Deadline’s Contenders Los Angeles event. “It was political. It was saying something. It was illuminating issues in the black community with police brutality and so many of our struggles. But mostly because it was this beautiful love story as well. It really staddles the line between all kinds of genres. … We get to enjoy this beautiful journey between two black people.”
Lena Waithe Explains Police Brutality Focus In ‘Queen & Slim’
“For me, this is a battle cry.”
Written by Alexis Reese
With one of the most anticipated Black films of 2019, Queen & Slim, to be released before the start of the new year, producer and writer Lena Waitheis spinning the traditional police brutality narrative.
Sitting down with BET Digital, Waithe speaks to the importance of the film, her vision behind the screenplay, the current state of America’s police force and more.
The drama follows two strangers, Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya), who find themselves responsible for the death of a police officer after going on a first date. Waithe transformed a small anecdote she got from her co-writer James Frey into a fully formed narrative, then brought on Melina Matsoukas as director. With police brutality at an all-time high, the need for the film was urgent if not crucial. “I think for Black people, police have never represented to us an organization that protects or serves us. We almost feel more oppressed by the police. That is something that is an issue and is a problem in our society, because we are citizens just like anyone else. But we feel policed, you can’t live freely in that way,” Waithe says.
Queen & Slim: How Black Panthers, Diahann Carroll Inspired the Film’s Designer Costumes
Costume designer Shiona L. Turini walks us through the film’s sleek sartorial choices, from Slim’s custom red tracksuit to Queen’s Brother Vellies boots.
(L-R) Director Melina Matsoukas, Indya Moore and costume designer Shiona Turini on the set of Queen & Slim. BY LELANIE FOSTER/UNIVERSAL.
In Queen & Slim, the sweeping road movie thriller directed by Melina Matsoukas and written by Lena Waithe, the costumes are culled from a world of rich cultural sources. The revolutionary Black Panthers, blaxploitation movies, and Diahann Carroll were all used as reference points by designers like Kerby Jean-Raymond of Pyer Moss, Dapper Dan,and Aurora James of Brother Vellies, all of whom contributed looks to the film about a young black couple (Daniel Kaluuya and Jodie Turner-Smith) who go on the run after killing a racist, jumpy police officer. The end result is a film that is equal parts thought-provoking and impossibly stylish, a sartorial vision funneled through the eye of one specific person: costume designer Shiona L. Turini.
Queen & Slim is a first feature for many involved: It’s Matsoukas’s debut as a feature director (she rose to fame after helming sleek music videos for the likes of Beyoncé and Snoop Dogg); it’s Waithe’s first feature screenplay; it’s Turner-Smith’s first time carrying a film. It’s also Turini’s first time costuming a movie. The designer, a former editorial stylist and director who worked at magazines like Cosmopolitan and W, first turned to the screen after a chance meeting with Matsoukas.
“We met on a camping trip in Joshua Tree for one New Year’s Eve and we really just hit it off,” Turini tells Vanity Fair. “We work very similarly, we’re the same age. It was a very instant connection.”
By that point, Matsoukas was already an established music video director (she first worked with Beyoncé in 2007), but Turini had no clue about her friend’s status in the industry. She only realized later when she was making a professional website and asked to see Matsoukas’s site; the director didn’t have one, but pointed her in the direction of her management team, who had catalogued her work thus far.
Actor Daniel Kaluuya has gone from success to success. (Jay L. Clendenin / Los Angeles Times)
Daniel Kaluuya is used to getting people talking.
After appearing in the first season of Charlie Brooker’s dystopian anthology series “Black Mirror,” the British actor went on to deliver a breakout performance in Jordan Peele’s genre-redefining psychological horror film “Get Out,” for which he was nominated for an Oscar.
In the two years since, he’s had memorable turns in Marvel’s megahit “Black Panther” and Steve McQueen’s critically acclaimed “Widows” before once again taking the lead in the Thanksgiving release “Queen & Slim,” directed by Melina Matsoukas from a script by Lena Waithe.
“It’s a blessing, man,” he said over a late October lunch at Mid-City’s Paper or Plastik cafe. “I realized I’m always there at the beginning of things: Doing Jordan’s first [directed] film and then Lena’s first film, the first [season] of ‘Black Mirror,’ ‘Black Panther.’ It’s a nice thing to affirm something that could be in the zeitgeist.”
In the same way that “Get Out” and “Black Panther” sparked broad and unexpected cultural conversations when they were released, “Queen & Slim” is primed to do the same. A love story about an unlikely black couple on the run after an altercation with a police officer, the film was intended as a meditation on police brutality and feels decidedly of the times.
Daniel Kaluuya and Jodie Turner-Smith in ‘Queen & Slim,’ directed by Melina Matsoukas. – Andre D. Wagner/Universal Pictures
Racial justice and the outrage at its absence courses through the visual and emotional powerhouse that is Queen and Slim. There’s also the exhilaration that comes from watching talents new to movies seize their moment with a passion that pins you to your seat. Director Melina Matsoukas — and artist of Greek and Afro-Cuban heritage — is best known for music videos such as Beyonce’s “Formation”; she also helmed Master of None‘s brilliant “Thanksgiving,” episode of Master of None, the same episode that made screenwriter Lena Waithe the first black woman to win an Emmy for writing a comedy. Now they’ve teamed up on what’s being labelled “the black Bonnie and Clyde.”
Queen & Slim is more than that, of course — way more.
Jodie Turner-Smith started off in modeling and has appeared in TV series such as Nightflyers,The Last Ship and True Blood and has appeared in feature films like The Neon Demon. She now stars opposite Daniel Kaluuya in the Melina Matsoukas-directed Queen & Slimwritten by Lena Waithe (opening November 27). The film is garnering critical acclaim and awards season buzz for shedding an authentic light on the Black experience, flipping the script on the timely narrative about police violence against the Black community. As her first lead role in a major feature film, Turner-Smith stopped by Deadline’s New Hollywood Podcast to tell us all about it.
3BlackDot is unveiling its MisBits, which is a multiplayer combat game set in a sandbox cartoon world. The PC title is entering closed beta testing now and should launch on Steam in 2020.
In the game, toys have taken over a house. Players will build their own combat gear in a multiplayer action-adventure world. It’s a sandbox environment where there are no rules. It’s sort of like happens when Toy Story-style characters are set loose in a world where they can go berserk.
It’s the first game from a new game studio in Los Angeles, founded by industry veterans from Ubisoft, Monte Cristo, Cliffhanger Products, Sproing, and Purple Lamp Studios. MisBits aims to be the next generation of sandbox games, where anything can happen.
The founders include former Machinima executives Angelo Pullen and Luke Stepleton, along with top-ranked YouTube gaming influencers Adam Montoya (SeaNanners), Tom Cassell (TheSyndicateProject) and, Evan Fong (VanossGaming).
Collaborating for the first time since 2009’s Nowhere Boy, Sam and Aaron Taylor-Johnson are bringing A Million Little Pieces to the screen, a passion project which the married couple wrote together. Sam, who also directed the film, has had a special attachment to the material for years. A bond so strong that even when James Frey, author of the source material, was chastised for fabricating some of the details in his book, Sam was still eager to to tell this story.
The film, which stars her husband in the leading role, follows a version of Frey who, like in the memoir, is left in rehab to work the drug addiction out of his system.
We Got This Covered recently had the opportunity to speak with both Sam and Aaron about the upcoming film. You can check out our conversation with the director down below, in which discussed her experience partnering with her husband again, as well as working alongside the likes of Billy Bob Thornton, Juliette Lewis, and Giovanni Ribisi. Enjoy!
This article contains mild spoilers for the movie Queen & Slim.
Melina Matsoukas has directed some of the most influential music videos of the past decade. She placed Beyoncé atop a flooded car in “Formation” and built heaven and dystopia in Rihanna’s “We Found Love.” She introduced Lady Gaga’s zany theatricality to the world in “Just Dance.” Through her many conceptually ambitious and uniquely stylized works, Matsoukas shifted the modern ambition and aesthetic of the music video, bringing it closer to those of a feature film.
So it’s no surprise that her directorial feature debut, Queen & Slim, is deeply indebted to music. The film has been called a modern-day Bonnie & Clyde: it follows the two eponymous characters (played by Jodie Turner-Smith and Daniel Kaluuya) who flee south after Slim kills a police officer in self-defense. The pair spends much of their time alone on the road—but according to Matsoukas, music “becomes another character on their journey.” It seeps out of car radios, New Orleans homes and Mississippi juke joints, serving as a romantic spark, a chaotic agent and a soothing balm.
Aaron Taylor-Johnson Debuts Red Band Trailer of ‘A Million Little Pieces’ – Watch Here!
Aaron Taylor-Johnson keeps it cool and casual while the SAG-AFTRA Foundation Conversation screening of his film A Million Little Pieces held at SAG-AFTRA Foundation Screening Room on Thursday (November 21) in Los Angeles.
The 29-year-old Golden Globe winner sat down for a Q&A panel to dish about the American drama film, based on the book by the same name written by James Frey. The film is also co-written by Aaron‘s wife Sam Taylor-Johnson.
A Million Little Pieces follows the story of a 23-year-old alcoholic and drug abuser by the same name, James Frey.
Melina Matsoukas is known for directing some of the most compelling and visually striking music videos including Rihanna’s “We Found Love” and Beyonce’s game-changing “Formation” — both earned her an MTV Video Music Award. This year, she made her foray into the feature space with Queen and Slim. Written by Emmy winner Lena Waithe and starring Academy Award nominee Daniel Kaluuya and newcomer Jodie Turner-Smith, the film has been causing buzz ever since it was announced.
Dev Hynes is releasing his original score for Queen & Slim
by Lazlo Rugoff
Mellow operatic rhythms and delicate piano compositions.
Composer and musician Devonté Hynes, aka Blood Orange, is releasing his score for Queen & Slim this March via Domino, following its digital release on Friday the 22nd of November.
Written by Lena Waithe and based on James Frey’s original idea, Queen & Slim stars Daniel Kaluuya and Jodie Turner-Smith as a young couple on the run.
It follows the release of the film’s soundtrack, which includes new music from Lauryn Hill, Vince Staples, Megan Thee Stallion and more.
Queen & Slim is the second film score composed by Hynes, following his work for Gia Coppola’s 2013 Palo Alto.
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