Episode 10 68m. Episode 11 68m. Episode 12 65m. Episode 13 69m. Episode 14 69m. Episode 15 68m. Episode 16 69m. Episode 17 67m. Episode 18 68m. Episode 19 69m. Episode 20 68m. Episode 21 69m. Episode 22 70m. More Details. Sign us up. The bare-bones "mythology" of the premise could be summed up in the goofy "What is the weakness?
Still, unnecessary horror sequels can surprise you, and Emily Blunt is returning along with director John Krasinski. Maybe this one will be less quiet? Still, we'll take Oscar-winner Emma Stone mugging about in fantastic costumes if that's what we're getting.
This prequel set in the London s punk scene is directed by I, Tonya's Craig Gillespie, adding a bunch more potentially intriguing question marks to the endeavor. One can only imagine what the devil will make them do! James Wan won't be handling directing duties here, but stars Vera Farminga and Patrick Wilson are back to do some more creepy sleuthing as real-life paranormal investigators Ed and Lorraine Warren. Chu Crazy Rich Asians Why we're excited: Lin-Manuel Miranda made his mark before Hamilton with this musical ode to the neighborhood where he was raised.
Now it comes to the screen with rising star Anthony Ramos as protagonist Usnavi, the character Miranda played on Broadway. Chu back in Step Up mode, filming intricately choreographed, massive dance sequences on New York City streets. Release date: June 18 on Netflix Cast: Kevin Hart, Alfre Woodard, Melody Hurd, Anthony Carrigan Director: Paul Weitz Bel Canto Why we're excited: Kevin Hart hasn't gotten too many chances to show off his serious side throughout his career, but this drama, an adaptation of a memoir by the writer Matthew Logelin, should give the actor a chance to show his range as a father dealing with a painful loss.
Director Paul Weitz, who co-directed 's Hugh Grant coming-of-age story About A Boy and directed 's charming comedy Grandma , clearly knows his way around stories of familial struggle. Yes, we are expected to believe Vin Diesel and John Cena are brothers in this. Judging from the trailers, Black Widow looks like a lot of shooty, kicky, punchy, Russian spy fun.
Not to mention the story takes place between Civil War and Infinity War , so you might want to watch out for a familiar face or two you may not expect. According to the title of the latest entry, the follow-up to 's brutal prequel The First Purge , the Purge now lasts… forever?
That news does not sound good for the weary citizens for the Purge-verse, but it could make for a pretty intense movie. Sounds absolutely bonkers. We love it. Director David Bruckner, who helmed Netflix's sturdy hike-gone-wrong thriller The Ritual , knows how to make a movie like this tick. Lee Night School Why we're excited: While we're not getting the version of a Space Jam sequel directed by avant-garde filmmaker Terence Nance, which sounded very cool, we're still ready to slam with this new saga of basketball starring LeBron James and the Looney Tunes.
Welcome to the jam, indeed. Night Shyamalan looks like he's tackling a great micro-genre here: the " there's something creepy about this beautiful beach " movie. A family shows up on a seemingly idyllic spot of sandy land and find that it makes them age rapidly. Wanna bet there's a twist? Intrigued to see how Jaume Collet-Serra, the director of tense thrillers like The Shallows and… Orphan … handles this.
Watch the teaser. Will Grand Theft Auto and Zelda obsessives want to leave the house to see Deadpool wisecrack his way through a Ready Player One -like scenario they can't play themselves? It could be a tough sell. Still, the mix of snarky gags and goofy adventure worked for both the Jumanji movies in recent years, so it might work here.
Directed by Liesl Tommy, a renowned theater director making her first foray into feature films, we can't wait to see how the Oscar-winning Hudson interprets one of the greatest musicians of all time.
Now you're on board, right? The Cast Away star plays an inventor who creates a robot to travel the country in this science-fiction tale, which comes from Miguel Sapochnik, the director behind some of the biggest and best episodes of Game of Thrones.
Don't say his name! This is one of the most anticipated movies of last year that got bumped because of the pandemic, and we remain really pumped to see how DaCosta and company have translated this story about racism and gentrification for the 21st Century. The Avengers have no idea what's coming. The Led Zeppelin case was filed first, but it only got resolved in Afterwards, it went up to a quarter million. So the attention worked for them. I get how you can say they sound the same, but does it matter that Katy Perry probably had never heard that song before?
Courts do consider whether or not someone has had access to the prior work, or whether or not these were independent co-creations of the same idea. That is a factor, actually less and less now, in how courts decide cases. But it is a piece of it. The bigger issue here is, do they share an original piece of musical material, which is objectively creative and protectable?
And I think this is a very wise decision. Because you basically have a mi-re-do sort of melody descending over a very common rhythm.
And plenty of great analysis has been done about this; I especially point to the YouTuber Adam Neely who shows that Bach has used this exact same melody. Countless people have used melodies just like it. These are not the same songs. Katy Perry initially loses, but wins in appeal. And especially because they were used differently. This suggests that both because of the usage and the actual amount of material used, and the kind of material, these are not the same song.
And so it sets up this case where we have to think about, can a simple eight-note musical phrase be something open to copyright? Maybe one of the most famous rock songs of all time. It came out in In , a band called Spirit sued Led Zeppelin. But the melody on top, not the same. This goes back to the question of building blocks. And just for the sake of it, when I think about playing guitar, A minor is one of those first chords that a guitarist learns.
One of those is Led Zeppelin; they won in There was an appeal. The Led Zeppelin case only came to a close in , which is an extraordinarily long time to discuss some very basic guitar progressions, and they won again. At the same time, Olivia Rodrigo had a hit, and the internet decided that Paramore needed a credit, and she handed off the credit.
It seems like she could have taken this to court and won. This is an interesting case because I think the main concern here is about whether or not people want to deal with what can happen in court. Court is expensive. The Isley Brothers. And the thin copyright test says that if someone was to borrow from the Isley Brothers, like Michael Bolton supposedly does, that they would need to be substantively similar.
They would have to use many of those same elements. They share more or less the same song structure. They have similar melodic contours. The chord progressions change in a really similar way. The verse chord progression is the same in both songs. The chorus chord progression is the same in both songs. The choruses both start on the same melodic note.
They both use a lot of rhythmic syncopation. Well, this was infringed. I think that is the fear. I apologize. This idea of thin copyright, and the idea that you might be copyrighting the curation of all of these different elements together.
Litigation risk, always. You might lose. But as I said, the worst thing is you might lose, and you might get a new precedent that might fundamentally alter the music business. So this is playing out now in the music industry in a variety of ways. Which is an unsample-able song, even for Drake. Generally, I think so. I think rhythms are hard to copyright. Every drummer does that same thing. So we are getting into situations of building blocks.
They handled this one expertly to just avoid any potential conflict. They gave her the interpolation credit. I did not at all hear it until I played them back to back. I get it. Now, does that make people equal songwriters? But yeah, Olivia Newton-John has a credit on this song for something which is, some courts might argue, de minimis. I wish that I had deeper reporting to answer that very specific question, but yeah, there are three major labels.
Hold up if you want to go and take a ride with me. Better hit me, baby, one more time. I mean, look, nostalgia sells. To pay out to those artists, to pay out to publishing, to spur sales of those songs? Go create interpolations off of those and see if we can create new hits. What is the state of play for artists and songwriters right now? How are they even approaching this? Because it seems remarkably unstable. What I hear from my reporting is that songwriters are more nervous than ever, and songwriters and artists are speaking a lot less candidly about who their influences are because of a fear of a Olivia Rodrigo-type situation.
And I think that we are seeing songwriters deeply anxious about whether or not they are unintentionally borrowing and are going to lose the potential fortunes that they could make off of US radio hits. What does this mean for creativity? I think that any time that we are starting to litigate the building blocks of an art form, we start to inhibit the way in which people express themselves. To me, that goes directly counter to the purpose of setting up copyright protection — which is there to incentivize the creation of new modes of expression, not to tamp down free speech.
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