Not only will all these hunks be at San Diego Comic Con 2013, but they’ll actually be on a panel TOGETHER, on Thursday July 18! Memoirs of a Fangirl Podcast will definitely doing all we can to get into that panel! Make sure to listen to hear what we have to say!
Entertainment Weekly has revealed four new collectible covers that will grace their upcoming issue featuring the stars of AMC’s The Walking Dead including Andrew Lincoln, Norman Reedus, Steven Yeun, Lauren Cohan and Danai Gurira.
“Maybe it’s a cultural thing, being Korean, but my first reflex has always been to exude humility - but it doesn’t help you in acting. For acting, humility isn’t the best thing. It’ll weaken your work.” – Steven Yeun.
The Father – David Parfitt, Jean-Louis Livi, and Philippe Carcassonne
Judas and the Black Messiah – Shaka King, Charles D. King, and Ryan Coogler
Mank – Ceán Chaffin, Eric Roth, and Douglas Urbanski
Minari – Christina Oh
Nomadland – Frances McDormand, Peter Spears, Mollye Asher, Dan Javey, and Chloé Zhao
Promising Young Woman – Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara
Sound of Metal – Bert Hamelinick and Sacha Ben Harroche
The Trial of the Chicago 7 – Marc Platt and Stuart Besser
BEST DIRECTOR
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman
David Fincher – Mank
Thomas Vinterberg – Another Round
Chloé Zhao – Nomadland
BEST ACTOR
Riz Ahmed – Sound of Metal as Ruben Stone
Chadwick Boseman (posthumous nominee) – Ma Rainey’s Black Bottom as Levee Green
Anthony Hopkins – The Father as Anthony
Gary Oldman – Mank as Herman J. Mankiewicz
Steven Yeun – Minari as Jacob Yi
BEST ACTRESS
Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey
Andra Day – The United States vs. Billie Holiday as Billie Holiday
Vanessa Kirby – Pieces of a Woman as Martha Weiss
Frances McDormand – Nomadland as Fern
Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas
BEST SUPPORTING ACTOR
Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman
Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton
Leslie Odom Jr. – One Night in Miami… as Sam Cooke
Paul Raci – Sound of Metal as Joe
Lakeith Stanfield – Judas and the Black Messiah as William “Bill” O'Neal
BEST SUPPORTING ACTRESS
Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan as Tutar Sagdiyev
Glenn Close – Hillbilly Elegy as Bonnie “Mamaw” Vance
Olivia Colman – The Father as Anne
Amanda Seyfried – Mank as Marion Davies
Youn Yuh-jung – Minari as Soon-ja
BEST ORIGINAL SCREENPLAY
Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Will Berson, Shaka King, Keith Lucas, and Kenny Lucas
Minari – Lee Isaac Chung
Promising Young Woman – Emerald Fennell
Sound of Metal – Screenplay by Darius Marder and Abraham Marder; Story by Darius Marder and Derek Cianfrance
The Trial of the Chicago 7 – Aaron Sorkin
BEST ADAPTED SCREENPLAY
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, and Lee Kern; Story by Baron Cohen, Hines, Swimer, and Nina Pedrad; Based on the character Borat Sagdiyev by Baron Cohen
The Father – Christopher Hampton & Florian Zeller, based on the play by Zeller
Nomadland – Chloé Zhao, based on the book by Jessica Bruder
One Night in Miami… – Kemp Powers, based on his play
The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga
BEST INTERNATIONAL FEATURE FILM
Another Round (Denmark) in Danish – directed by Thomas Vinterberg
Better Days (Hong Kong) in Mandarin – directed by Derek Tsang
Collective (Romania) in Romanian – directed by Alexander Nanau
The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania
Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić
BEST ANIMATED FEATURE FILM
Onward – Dan Scanlon and Kori Rae
Over the Moon – Glen Keane, Gennie Rin, and Peilin Chou
A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher, and Paul Kewley
Soul – Pete Docter and Dana Murray
Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants
BEST DOCUMENTARY FEATURE
Collective – Alexander Nanau and Bianca Oana
Crip Camp – Nicole Newnham, Jim LeBrecht and Sara Bolder
The Mole Agent – Maite Alberdi and Marcela Santibáñez
My Octopus Teacher – Pippa Ehrlich, James Reed, and Craig Foster
Time – Garrett Bradley, Lauren Domino, and Kellen Quinn
BEST CINEMATOGRAPHY
Judas and the Black Messiah – Sean Bobbitt
Mank – Erik Messerschmidt
News of the World – Dariusz Wolski
Nomadland – Joshua James Richards
The Trial of the Chicago 7 – Phedon Papamichael
BEST FILM EDITING
The Father – Yorgos Lamprinos
Nomadland – Chloé Zhao
Promising Young Woman – Frédéric Thoraval
Sound of Metal – Mikkel E.G. Nielsen
The Trial of the Chicago 7 – Alan Baumgarten
BEST PRODUCTION DESIGN
The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone
Ma Rainey’s Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Sroughton
Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan
Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
BEST COSTUME DESIGN
Emma – Alexandra Byrne
Ma Rainey’s Black Bottom – Ann Roth
Mank – Trish Summerville
Mulan – Bina Daigeler
Pinocchio – Massimo Cantini Parrini
BEST MAKEUP AND HAIRSTYLING
Emma – Marese Langan, Laura Allen, and Claudia Stolze
Hillbilly Elegy – Eryn Krueger Mekash, Patricia Dehaney, and Matthew Mungle
Ma Rainey’s Black Bottom – Matiki Anoff, Mia Neal, and Larry M. Cherry
Mank – Kimberley Spiteri, Gigi Williams
Pinocchio – Dalia Colli, Mark Coulier, and Francesco Pegoretti
BEST VISUAL EFFECTS
Love and Monsters – Matt Sloan, Genevieve Camailleri, Matt Everitt, and Brian Cox
The Midnight Sky – Matthew Kasmir, Christopher Lawren, Max Solomon, and David Watkins
Mulan – Sean Faden, Anders Langlands, Seth Maury, and Steven Ingram
The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones, and Santiago Colomo Martinez
Tenet – Andrew Jackson, David Lee, Andrew Lockley and
BEST ORIGINAL SCORE
Da 5 Bloods – Terence Blanchard
Mank – Trent Reznor and Atticus Ross
Minari – Emile Mosseri
News of the World – James Newton Howard
Soul – Trent Reznor, Atticus Ross, and Jon Batiste
BEST ORIGINAL SONG
“Fight for You” from Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
“Hear My Voice” from The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
“Husavik” from Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus, and Rickard Göransson
“Io Sì (Seen)” from The Life Ahead – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
“Speak Now” from One Night in Miami… – Music and Lyric by Leslie Odom Jr. and Sam Ashworth
BEST SOUND
Greyhound – Warren Shaw, Michael Minkler, Beau Borders, and David Wyman
Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance, and Drew Kunin
News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett
Soul – Ren Klyce, Coya Elliot, and David Parker
Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes, and Philip Bladh
BEST LIVE ACTION SHORT FILM
Feeling Through – Doug Roland and Susan Ruzenski
The Letter Room – Elvira Lind and Sofia Sondervan
The Present – Farah Nabulsi
Two Distant Strangers – Travon Free and Martin Desmond Roe
White Eye – Tomer Shushan and Shira Hochman
BEST ANIMATED SHORT FILM
Burrow – Madeline Sharafian and Michael Capbarat
Genius Loci – Adrien Mérigeau and Amaury Ovise
If Anything Happens I Love You – Will McCormack and Michael Govier
Opera – Eric Oh
Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson
BEST DOCUMENTARY SHORT SUBJECT
Colette – Anthony Giacchino and Alice Doyard
A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers
Do Not Split – Anders Hammer and Charlotte Cook
Hunger Ward – Skye Fitzgerald and Michael Shueuerman
A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan
HERE you can find 239 high-quality gifs of Steven Yeun in Minari as Jacob Yi. All of the gifs were made by me; please respect my rules and do not repost them and/or edit them. Please, like or reblog if you find them helpful or use them. Thank you and enjoy! Trigger Warnings: Smoking, food.
lee chang dong parades his literary roots in burning, which blends murakami’s barn burning and faulkner’s barn burning to create a wholeheartedly korean tour de force. absolutely insane.
the film starts off with an unemployed and hapless jeong-soo (yoo ah-in), who is working side jobs to make ends meet but dreams of being a novel writer. he meets his paju childhood friend hye-mi (jeon jong seo makes her grand debut), who is a free-spirit compelled by a “greater hunger” for self-actualisation and fulfilment in life. jeong-soo and hye-mi begin an intimate relationship, which comes under threat when hye-mi returns from a trip to africa with her new friend ben (steven yeun). ben, with his wealth and generous personality, seems better able to materially and emotionally provide for hye-mi than jeong-soo, who stays in a humble farm and is often caught off guard by her unusual behaviour.
but the film maintains a veiled sense of danger around ben and his apparent perfection, which is verified at the halfway mark, when ben reveals to jeong-soo his arsonist hobby of burning barns (or in this case - to localise to rural korea - greenhouses). ben lets in to jeong-soo that he burns barns once every two months, “a good pace”, and he’s decided that he would burn a barn near to jeong-soo very, very soon. jeong-soo, while also trying to find a vanished hye-mi, obsessively checks on the barns near him but even after a month no barns seem to be burning or have burned. when questioned, ben enigmatically advises jeong-soo that “sometimes you don’t see the barns that are closest to you”, and states that he had indeed burnt the barn 1 or 2 days after they last met, coinciding with the date of hye-mi’s disappearance.
jeong-soo begins to suspect that ben’s “barns” are not real barns, and his suspicions are further confirmed when he finds hye-mi’s watch in a drawer of random women’s accessories and hye-mi’s cat in ben’s apartment. luring ben to paju, jeong-soo stabs him with a knife, dumps his body in his porsche, douses the car in fuel, and sets it on fire.
the film is devoted in its adherence to murakami’s plot, but builds its characters with reference to faulkner and fitzgerald. jeong-soo’s character is constructed from both murakami’s and faulkner’s barn burning’s; his socioeconomic background and relationship with his father models faulkner’s protagonist’s, while aspiring to be the successful writer in murakami’s. ben’s character embodies the wealth of murakami’s accomplished protagonist with the dandy behaviour of fitzgerald’s gatsby. i found yoo’s performance as the insecure and genuine jeong-soo very stable and confident, and was surprised by steven yeun’s effortless transition into korean cinema. jeon jong-seo, who naturally possesses an air of mystery and lackadaisical rumination, must have made such a splash into chungmuro with this debut performance as well.
i really liked that lee chang dong, while creating the mix of characters across literary works, had managed to weave in a subtle but heavy critique of class inequality. lee makes clear to us that ben’s and jeong-soo’s worlds are clearly different - ben’s porsche in the fields of paju is as incongruous as jeong-soo’s white lorry in the hills of gangnam. ben’s generosity to jeong-soo and hyemi is also always twinged with a condescension that only the rich can afford.
ben’s insincere treatment to the poor is most obvious in his choice and treatment of his muses. his muses are always from lower socioeconomic backgrounds - hyemi worked parttime as a hostess at a shop event, and his next muse works as an assistant at a duty-free store that caters to chinese tourists. and he parades his muses in front of his circle of well-off friends, who goads hyemi to demonstrate the african “greater hunger” dance and encourages his next muse to talk about her disregard towards chinese tourists. the friends’ expressions belie holier-than-thou attitudes that mock the girls’ self-perceived worldliness, resting in the comfort of their gangnam homes that they would never need to encounter african salvation or chinese tourists. i found the echoing of these scenes (hyemi & his next muse) really effective - it hit home how deeply entrenched class divide is, beyond the superficial niceties exchanged between the rich and the poor. if parasite was a movie that delivered an absurdist criticism of class inequality, burning is a film that packs a subtle, realistic, and equal punch.
what i felt was a slight weakness to the film was the lack of development of hye-mi’s character. hye-mi’s character is a familiar one - the manic pixie girl whose gripes with life effortlessly charm the men she meets - and her easy servitude to ben was slightly off-putting. but her role, i guess, was a plot device meant to draw out larger themes in the film (e.g. hyemi is just one of the many poor girls that the rich play with, just as “there are many barns in korea’s countryside). more importantly, hye-mi’s unreliable character and her pantomime hobby - which bridges the real and the imagined, the present and the absent - weaves together themes of questioned memory and loss. is the tangerine real? does her cat exist? was there a well, and if yes did she fall into it? where.. is she?
as the film ends with jeong-soo’s gruesome act, we are reminded of hye-mi’s words at the beginning. she mimes peeling a tangerine to jeong-soo, who praises her. “you know why i am so good at it? the trick is to not think about whether the tangerine is present or not, but to not think about the tangerine at all.” – 9.5/10
