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Jacob Elordi's good looks get the spotlight in the first 'Saturday Night Live' of 2024

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Jacob Elordi's good looks get the spotlight in the first 'Saturday Night Live' of 2024

“Saltburn” and “Euphoria” actor and apparent “babygirl” Jacob Elordi hosted “Saturday Night Live” in an episode that inverted the usual “hot girl host” dynamic (see: Emma Stone, Ana de Armas). Instead, multiple sketches featured female cast members fawning over the handsome and very tall Australian actor. They included a “Bachelorette”-type sketch in which Elordi’s height alone secures him a win on a show with otherwise diminutive bachelors called “Crown Your Short King”; one about a women’s AA group that accommodates a man (Elordi) only because he’s handsome and a sex addict (it was as bad as it sounds); and a piece about an acting studio with a guest celebrity (Elordi) who has never had to audition or struggle as an actor because of his good looks.

It would seem like egregious piling on (we get it: he’s good looking!) if Elordi had blown the barn doors off the other sketches in the show that weren’t about his physical appearance. Instead, he struggled with microphone issues throughout the episodes, delivered flat comedic line readings, and never seemed to be in his element anywhere but in the monologue, where he came across as sincerely humbled to be hosting. He’s a fine actor, as “Saltburn” proves, but as a guest host performing sketch comedy…? Let’s just say he was great in “Saltburn.”

Elsewhere on the show, Ego Nwodin played Katt Williams in an ad for an 8-hour version of his infamous “Club Shay Shay” interview, “Entertainment Tonight” brought in lip-reading experts to badly interpret celebrity footage, and a wedding that goes wrong when Garrett from Hinge shows up to disrupt the proceedings.

Elordi was joined on the show by musical guest Reneé Rapp who starred in “Mean Girls,” both the stage musical and film versions. She performed “Snow Angel” and “Not My Fault,” the latter featuring Megan Thee Stallion and was introduced by original “Mean Girls” star Rachel McAdams. McAdams also appeared in the acting studio sketch as a student named Natalie Partman who has the bad luck of looking just like famous actress Rachel McAdams.

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This week’s cold open returned to politics after the final “SNL” cold open of 2023 detoured into pop culture with a mock awards show after a disastrous cold open the week before that centered on college campuses and antisemitism hearings. James Austin Johnson took the spotlight with his reliable, and still very accurate, Donald Trump impression. But the shine on the performance may be wearing off a little, despite Trump’s Iowa Caucus win this week. Appearing from a Lower Manhattan U.S. District Court, Johnson’s Trump riffed on his Republican rivals including “Ron DeStupid” and “Darling Nikki” [Haley], promised he’s fine mentally (“Doing great with cognitive. I’m more cognitive than ever!”) and claimed he’s “back like ‘Mean Girls!’ ” before lamenting that actress Lacey Chabert does not appear in the new “Mean Girls” movie. He encouraged old people to, “stay alive till November, pull that lever, and drop dead!” Maybe it’s the fractured Republican presidential race or Trump’s many exhausting trials, but the bit just didn’t feel as fresh or funny as previous openers with Johnson as Trump.

In the monologue for what Elordi described as “the first and so-far best show of 2024,” the actor referenced the viral TikTok videos inspired by “Saltburn” and did a Q&A with the audience, which, again, focused on his how attractive the actor is. It ended on a non-sequitur, name checking a movie from earlier in Elordi’s career, “The Kissing Booth,” which led to Kenan Thompson appearing as a man who apparently kisses a noble elephant he owns. It was in response to Elordi’s question, “Can you name one other animal that kisses?” The monologue ended sincerely with Elordi thanking everyone including the audience for his success. “Because of you, I’m here. So thank you, thank you so much.”

Best sketch of the night: Alaska Airlines is grounded

Alaska Airlines got roasted, unsurprisingly, given the negative attention it’s received after a hole opened up on the side of one of its planes mid-flight earlier this month. In a mock commercial, the airline flips the script on the incident by telling passengers who went through the trauma, “You didn’t die and you got a cool story … Other airlines let you watch movies, but on Alaska, you’re in the movie!” The airline promised a commemorative $50 photo, similar to what you’d get on a Six Flags roller coaster, with every flight and said it plans to employ Sully Sullenberger (Johnson). The sketch’s final insult? “Still better than Spirit!”

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Also good: Bowling alley animations get more dramatic

You know those cheesy animations that appear at the bowling alley when you hit a strike or throw a ball into the gutter? A couple on a date (Elordi and Heidi Gardner) are served increasingly elaborate and dramatic mini movies featuring cast members dressed as bowling pins. They include a sad divorce (for “SPLIT!”), a pin getting beat up for not respecting labor unions (“STRIKE!”) and a press conference for a serial killer who has killed NINE! An incredibly silly idea that only rises to the level of second-best sketch of the night due to lack of any other viable candidates.

‘Weekend Update’ winner: A courthouse jumper speaks his peace

Devon Walker appeared as South Carolina Senator Tim Scott, who recently dropped out of the presidential race, but he was edged out as the best part of this week’s “Weekend Update” when Punkie Johnson appeared as a defendant from a viral video, who jumped and attacked a judge during a trial. As the defendant, Deobra Redden, Punkie Johnson expressed surprise that the judge wasn’t surrounded by glass (“Even CVS shampoo have some glass, man!”) and praised his own athleticism in the video. It wasn’t the greatest “Weekend Update” guest segment of late, but as with the rest of the episode, it was slim pickings this week.

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Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

 

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

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My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

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Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

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According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

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Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

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‘Hoppers’ review: Pixar’s best original movie in years

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‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway. 

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

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That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged. 

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

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HOPPERS opens in theaters Friday, March 6th.

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