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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

“The White Lotus,” Mike White’s black comedy anthology series, is back on HBO for a third season. Times staffers love an escape, but since we can’t take a trip to Thailand to stay at a luxury resort, the next best thing is to immerse ourselves in the new season. Follow along with us for each episode as we discuss theories, observations and our favorite moments leading up to the finale. (Read our recaps: Episode 1, Episode 2, Episode 3 and Episode 4.)

It’s a full moon over on “The White Lotus” and several characters are grappling with their awakening, spiritual or otherwise.

Things begin with Gaitok (Tayme Thapthimthong), who after frantically poring over security camera footage for the missing handgun, concludes it’s Tim (Jason Isaacs) who swiped it. But his attempts to confront Duke’s finest white collar bandit are fumbled — Gaitok leaves the security kiosk unattended (again) and gets distracted by Mook (Lalisa Manobal) as she performs a traditional dance. (Gaitok, sweetie, a promotion is never going to happen this way!) When he does approach Tim in the bathroom, Gaitok lacks the imposing demeanor to intimidate him into fessing up to the theft, let alone returning the gun.

Victoria (Parker Posey), on the other hand, is concerned with a bullet that’s been fired at dinner. Piper (Sarah Catherine Hook) finally tells her parents the real intention for the trip was to check out a Buddhist meditation center she plans to join for a year. Tim is in a fog of lorazepam and dread, so the news barely registers, but its a SOO-NAH-ME of emotions for Victoria, who, unlike her husband, can’t temper her reaction with pills. It leads to another Grade A unchristian-like meltdown from the matriarch who is convinced the center could be a sex cult — ala NXIVM — and is not impressed that the monk who runs it has authored books: “So, Charles Manson wrote books! Bill Clinton wrote books. The list goes on. Hillary Clinton wrote five books … Look at the Catholics! Organized religion and deviant sex can go hand in hand.”

The other Ratliff members — Saxon (Patrick Schwarzenegger) and the little magician (aka Lochy, played by Sam Nivola) — are chasing their own highs, with blender boy trying to hype his younger brother into some escapades with their female companions. Chloe tries to gauge Chelsea’s willingness to cheat on their respective bald(ing) white guys, but Chelsea scoffs at the idea. Chloe isn’t so opposed, even while eerily acknowledging: “Gary might kill me. I honestly think he’s capable of it.” The foursome wind up high on some happy pills that, before long, results in an incestuous smooch that seemingly leaves Lochy in a state of content and Saxon … well, it’s hard to ever know what’s going on in that head.

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As Chelsea processes the sibling make-out sesh, Rick (Walton Goggins) is in Bangkok on his quest to avenge his father’s murder. He first meets up with a mysterious pal (Sam Rockwell) — maybe its Frank? — for an incredibly head-spinning catch-up session that touches on his sobriety, sexuality and spirituality. It leaves Rick flummoxed but he also can’t dwell on it too long because he needs another favor from this nameless friend, who brought a duffle bag full of items (a gun, among its contents) at Rick’s request as he carries out his plan.

Elsewhere, seeking their own wild adventures far away from the water guns and AARP crowd, Jaclyn (Michelle Monaghan), Kate (Leslie Bibb) and Laurie (Carrie Coon) are on the loose with Val (Arnas Fedaravičius) and his Russian besties at a night club, making small talk about ballet and dead parents. After a good stretch of dancing and drinking, the Super Soaked Trio decide to head back to their villa. Jaclyn suggests the men join them, much to the dismay of our bob-haired Independent voter. Once the rollicking at their villa’s pool is over and everyone turns in for the night, Jaclyn reaches out to Val — despite her endless pushing for Laurie to pursue him — for a luxury resort booty call. Jaclyn’s not alone in her late night rendezvous. When Belinda (Natasha Rothwell) learns from hotel manager Fabian (Christian Friedel) that Greg/Gary (Jon Gries) has been inquiring about her, she worries she’s in danger. Pornchai (Dom Hetrakul) promises to keep her safe and lands in her bed in the process.

But distress was all Tim was experiencing in his corner of the White Lotus. Feeling the full weight of his situation, the former altar boy scrawls a short letter to his family — “I’m so sorry. I love you all.” — just before raising the handgun to his temple. But as a sleepy Victoria shuffles in, his plan is diverted. The episode closes out with Tim calling to a higher power: “Oh, please, God. Please. Tell me what to do.”

Now it’s time for Greg Braxton and Yvonne Villarreal, platinum-status members of “The White Lotus” frequent guest program, to break it all down. They’re joined by new charter member, Mary McNamara, who will ride out the rest of this season’s voyage.

Belinda (Natasha Rothwell) is on edge, but Pornchai comes to the rescue.

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(Fabio Lovino/HBO)

Who do we think is the corpse this week? Does the gun in Rick’s possession change things?

McNamara: There were a lot of seemingly random shots in the opening scene, far too many for one handgun so it is possible that Rick’s gun makes it back to the hotel. The corpse in question appears to have dark hair and be dressed in gray or light blue. Zion flees from it, so it’s not Belinda. Tim has been rocking a lot of pastels (Isaacs in crisp linen is a high point of the series) and there would be irony in him contemplating suicide only to die in another way. But now I very much fear that it’s Pornchai; Belinda deserves a kind lover but this series is not big on happy endings. Either way, my scene-one theory remains fixed: Somehow a monkey gets hold of a gun (so many random shots) and some bright person (Gaitok?) is trying to play cowboy and shoot it. Result: mayhem.

Braxton: Although I had previously speculated that Chelsea was doomed because she felt she had cheated death twice during this vacation, I’m going to take a knee on any further predictions for now. In the previous two seasons, the victims seem to have been people who had made very poor choices which put them on a path to destruction. And almost every character in this episode makes some very, very horrible choices, so the field is wide open. Karma is coming.

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Villarreal: I, too, have wondered if one of our monkey friends could be the gunslinger responsible for the shootout in the season’s opening scene. But I still think the floating corpse met death another way. I’m growing more suspicious of Saxon’s blender. Maybe someone whipped up a smoothie with the poisonous fruit to avoid detection? But I am also stuck on Victoria’s dependency on lorazepam and her mention of grand mal seizures. Could her withdrawal lead to her death?

Do you think Tim would feel this doomed about his involvement in a white-collar crime in 2025? What kind of life could the Ratliffs set up in Thailand if they never went back home?

McNamara: The fact that he’s so rattled leads me to believe he does not regularly commit fraud — he does not appear well lawyered-up — so yeah, maybe. If this were not “The White Lotus,” I would say Tim, and potentially the whole family, would join Piper on her monastic quest. But it is, so at this point, I’m assuming that Tim will somehow get away with whatever he’s done and they’ll all return home. Including Piper.

Braxton: Tim hit bottom at hyper-speed. It’s only been what, a couple of days at a lavish resort, and he’s gone from agreeable man on vacation to drug addiction to putting a gun to his head?

Villarreal: After last week’s episode and Victoria’s observation that the yacht was full of scammers and tax cheats — as her husband sat next to her, no less — it certainly feels like Piper’s grand plan to live in Thailand is signaling an extended family stay. Saxon will adjust to life fine if his blender is nearby. And Lochlan will be fine if Saxon is nearby. (Please don’t mistake my sarcasm for encouraging incest!) Tim can be some kind of boatie. Victoria would need to get her prescription refilled to keep her functioning in this setting for a prolonged time. I would demand a spin-off to see how this plays out. What if Victoria reaches enlightenment and helps that monk write a book?

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What’s your read on Jaclyn’s behavior? Is it a midlife crisis?

McNamara: I don’t love the “forty-something actress needs to prove she’s still hot” storyline (possibly because we OD’d on it with “The Substance”), but I do like the simmering high-school tensions between the three women because high school is forever. One of my favorite images from this episode is Kate, sober in her jammies but trying to appear game while Jaclyn and Laurie cavort with the Russians before finally calling “bedtime.” I feel you, Kate!

Braxton: Both Jaclyn and Chelsea seem to crave validation from men for them to feel good about themselves, which is not terribly progressive. Chelsea is miserable without Rick, who is not nice to her, while Jaclyn is frustrated that she can’t get a call back from her significant other. They could both use a talking-to from Piper, who is trying to get to the essence of her identity without male validation. But in the end, what happens at the White Lotus stays at the White Lotus.

Villarreal: As someone who feels like I’ve been slapped by Mother Time when I learn someone was born in the 2000s, I get it. And, sure, the pressure is heightened for someone like Jaclyn because her job as an actress is to look young and glamorous. Plus, her younger hot husband is leaving her on read. It’s just funny to me that the woman who is lugging a ludicrously capacious Erewhon tote bag — by the way, that detail led me down this rabbit hole — to a nightclub is spiraling this much on vacation over that.

A woman with blonde wavy hair looks over her shoulder on the dancefloor of a club.

Jaclyn (Michelle Monaghan) takes the party home from the club.

(Fabio Lovino/HBO)

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What do you make of the story Rick’s friend shared over chamomile tea? And how are you feeling about the addition of Rockwell to the cast?

McNamara: I have watched that scene like four times because it is such an off-the-chain exploration of privilege, not to mention addiction, and a master class in acting. Rockwell deserves an Emmy for best delivery of most bizarre over-drinks-catch-up in the history of television. Here’s hoping his character makes his way to the White Lotus (to maybe hook up with real-life wife Bibb?), in which case, I might have to ditch my “monkey with a gun” theory. Or not.

Braxton: Off the chain? In a season that has already highlighted jaw-dropping moments like Tim’s accidental “package” reveal, that whole sequence seemed so abruptly dark and extreme. I felt I was watching a different show. Hopefully there is a point to that interaction other than shock value and Rick reacting in slack-jawed silence. If I had been reconnecting over drinks with a friend I hadn’t seen in awhile, and he lays down a story out of the blue with the detail of how he’s hiring a strange woman watch him have drug-fueled bizarro sex, punctuated with the line, “I am her, and I’m f— me,” I would not be happy having that visual in my head. Not your usual, “I’m having a drink with the guys.” At that point, it would have been “Waiter, check!” or “Could I have another, and make it a double? Forget that. Just bring the bottle!” It’s a lot.

Villarreal: I immediately messaged our editor and told her it felt like I watched an entire season of “Severance” in that one scene. “White Lotus” is all about exaggerated stereotypes and cultural conflicts and prejudices. And this reveal from Rockwell’s character, which touched on his experience with kathoey, Thailand’s ladyboys, who have long been part of the country’s cultural landscape, as a privileged westerner grappling with existential sexual curiosity and identity (or is he?) left a striking impression — as it was undoubtedly meant to do. The pairing of Rockwell and Goggins, simply sipping on scotch and chamomile tea as it all unfolded, was stunning to watch.

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Do you think Chloe knows more than we suspect about Greg/Gary? And why would Fabian downplay Belinda’s concerns about him?

McNamara: Well, she obviously knows enough to be a bit afraid of him, but not enough to, you know, get the hell out. Fabian remains a conundrum — is he just a “don’t rock the boat” ladder-climber or is it more sinister? I still find it hard to believe that no one at this White Lotus knows about Tanya’s death, or Gary’s potential involvement. I feel like there would have been a corporate seminar or at least a memo.

Braxton: I’m still trying to figure out why Chloe and Gary/Greg are hanging out at the White Lotus when he has a fabulous house? And why the massive yacht since they apparently have no one to hang out with other than strangers from the resort. As for Fabian, he does not strike me as the sharpest knife in the drawer. And is Belinda really that scared of Gary/Greg, or did she just want to find a clever excuse to get Pornchai into bed with her?

Villarreal: Greg, to your point, I feel like Greg/Gary may be some sort of secret investor in the White Lotus — because you’ll remember when that one retiree that repulsed Jaclyn at the other pool, she claimed she couldn’t get access to the White Lotus pool because she wasn’t a guest. If Gary/Greg isn’t a guest either, there has to be a reason they let him in … and maybe why Fabian is reluctant to assist Belinda in her suspicions about him? Or maybe he’s been given consolation vouchers after the death of Tanya? I don’t know how much Chloe knows about Greg/Gary’s past misdeeds, but I wonder if she’s clued in on his current plan and that’s where this awareness comes from? Are they scoping out the place, with Chloe always there to figure out its weak spots (Gaitok!) so they know where to make their grand move? It’s really getting hard carrying all these questions in my brain.

Is Gaitok more likely to get a promotion, land a date with Mook or die?

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McNamara: Gaitok is absolutely the worst security guard ever. Despite the earlier robbery, he repeatedly abandons his post, not to mention leaving a loaded handgun out in the open. And then, when Tim stonewalls him about stealing a gun, Gaitok doesn’t respond with the obvious “dude, there’s video.” He just backs off. I mean, come on. Does he want blood on his hands? He doesn’t deserve any of these things but since “The White Lotus” is more about underlining injustice than resolving it, he might wind up achieving all three.

Braxton: Gaitok will wind up alone and working at the snake shop, driving snake-bitten customers to the hospital.

Villarreal: I need Gaitok to watch “Paul Blart: Mall Cop” to hype himself up in this role. The promotion will never happen. I can see him landing a date with Mook, only because it’ll be part of whatever grand plan she may be involved in. Because of the lack of screen time for Manobal, the Blackpink K-Pop singer and one of the most famous people in the world, it must mean there’s something up her sleeve that will reveal itself soon enough.

Two young men stand with small buckets on their wrists and smile at one another.

The Ratliff brothers (Sam Nivola, Patrick Schwarzenegger) get a little too close for comfort.

(Fabio Lovino/HBO)

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Do you think the Internet will be OK after the brother smooch?

McNamara: Um, no. The ick factor between the siblings has been pretty high already. It’s easy to hate Saxon and love Loch but something about their opposing swagger and innocence spells trauma to me. I’d say everyone needs to stay away from Chloe, who clearly thrives on stirring up trouble, but it’s obviously too late.

Braxton: It was a riff on “Challengers.” Almost expected Zendaya to show up.

Villarreal: I’m scared and I’m scarred.

Who gets your Best Facial Expression award this week?

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McNamara: Rick, during his friend’s insane sexual identity story. Frozen panic struggling with non-judgmental empathy. I would give anything to see all the takes from that scene.

Braxton: Jaclyn’s wide-eyed “I just hit the lottery” amazement lying in bed after Val unveils his six-pack abs.

Villarreal: I’m with Mary. I felt like I was looking in the mirror when the camera panned to the evolution of Rick’s reactions to his friend’s story. The shift in his delivery of “really?” over a five-second span was perfection.

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Movie Reviews

Film Review | Witherspoon and Ferrell Lack the Rom in ‘You’re Cordially Invited’

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Film Review | Witherspoon and Ferrell Lack the Rom in ‘You’re Cordially Invited’

Set on a stunning lake in Georgia, You’re Cordially Invited brings together two comedic powerhouses — Reese Witherspoon and Will Ferrell — for what is apparently a rom-com. The film relies almost entirely on the “com,” which sadly falls flat as the slapstick humor rarely lands.

The film’s premise? A classic, tired Hollywood trope of two warring wedding parties forced to share the same venue. I would say that this film, directed by Nicholas Stoller, whose career has been primarily mediocre comedies, is not his best.

The more unique spin the film attempts to have is that the only two warring people are not the brides but the family members planning the wedding. On one side is an overly loving, single father, Jim (Ferrell), who books the wedding venue for his Gen Z daughter (Geraldine Viswanathan) and her DJ boyfriend (Stony Blyden.) On the opposing wedding party, you have the tiny spitfire Margot (Witherspoon) planning her sister’s (Meredith Hagner) shotgun wedding. Margot, who left the South to pursue her career as an LA television producer, rarely returns home — a choice that has left her feeling like the family’s outsider. Her ambitious lifestyle and fast-paced career are a stark contrast to her family’s more traditional values, adding tension to her already chaotic visit. However, this spin relies heavily on overused Southern stereotypes, typical Will Ferrell antics, and cringe-worthy monologues that feel inauthentic.

Witherspoon and Ferrell, both incredibly talented in their styles and film history, feel completely mismatched. Their bickering is somewhat digestible, but their chemistry? Nonexistent. Their forced romantic tension is not just unbelievable but borderline painful to watch. When they finally kiss, it’s not a moment of triumph — it’s a moment that feels forced, like a check off the list.

Reese Witherspoon and Will Ferrell in ‘You’re Cordially Invited’ (2025) | Photo: Glen Wilson/Glen Wilson – © 2023 Amazon Content Services LLC

The movie lacks any real ingenuity. It’s not unfunny, but unlike the belly laughs Ferrell has managed to summon from me in the past, I never emitted more than a small giggle. The film tries hard to poke fun at woke-scolds, but it feels like it’s tiptoeing around them too much for the jokes to work. Even the comedic bits — where you’d expect Ferrell to shine—are lackluster, veering into corny and, at times, outright cringeworthy territory.

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The film relies too much on exaggerated antics and predictable gags rather than genuine wit.

The underlying, meaningful message of family dynamics –  a father’s happiness riding on his daughter’s versus a misunderstood daughter and sister feeling like the black sheep in a family that genuinely does miss her. However, this theme takes a backseat to surface-level humor, only to be neatly wrapped in a quick, boxed-in resolution at the very end.

If you are looking for a movie that will turn your brain off, a comedy that feels silly and ludicrous, then look no further — you have arrived. However, suppose your brain remains on, and you notice the utter lack of romance and the random, scatterbrained nature of the scenes. In that case, you may find yourself ending the movie early.

But beware if you have children. The R rating feels forced, as the scenes constantly bolster profanity that is unnecessary and does little to add to the humor.

Ultimately, You’re Cordially Invited is a movie that contains so much talent yet is entirely too forgettable. At least the setting is beautiful. But if you get an invite to watch this, consider eloping instead.

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View trailer here.

Emotional, All-Night School Board Meeting Ends with Layoff Notices to 85 Santa Barbara Unified Teachers

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SAG-AFTRA reaffirms 'unwavering commitment' to DEI as Hollywood studios scale back

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SAG-AFTRA reaffirms 'unwavering commitment' to DEI as Hollywood studios scale back

SAG-AFTRA is sticking with diversity, equity and inclusion, even as major forces in Hollywood distance themselves from such measures.

The Screen Actors Guild-American Federation of Television and Radio Artists’ national board adopted a resolution on Saturday that made clear the union is doubling down on its DEI efforts.

“[D]iversity, equity, and inclusion are not only moral imperatives but also crucial to the creative and economic vitality of our industry, ensuring that stories told on screen resonate with and reflect the lived experiences of all audiences,” the resolution stated. “[S]ystemic barriers to full and fair inclusion, equal employment opportunity, and accessibility persist, requiring continued vigilance and advocacy to ensure that progress is maintained and accelerated.”

The SAG-AFTRA board acknowledged that “substantial work” still needs to be done in order for people from all paths of life to feel “equitably represented both in front of and behind the camera.”

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In 2020, amid repeated calls for racial justice, studios and entertainment companies committed to donating millions of dollars to civil rights and anti-racist organizations, established in-house talent development programs to nurture underrepresented creatives, and instituted new requirements for diverse hiring and inclusive business practices.

Saturday’s resolution stated that the union reaffirmed its “unwavering commitment to equal employment opportunity, diversity, equity, inclusion, and accessibility as fundamental to the mission of our union and the future of our industry.” It added that it longed to continue holding the entertainment industry accountable to abiding by contractual obligations that ensure DEI initiatives are met.

According to its website, SAG-AFTRA “represents approximately 160,000 actors, announcers, broadcast journalists, dancers, DJs, news writers, news editors, program hosts, puppeteers, recording artists, singers, stunt performers, voiceover artists and other entertainment and media professionals.”

SAG-AFTRA’s mission to “reflect the richness and depth of the American Scene in all its infinite diversity in infinite combinations,” comes at a time when other major players in the Hollywood studio system have gone in the other direction.

The reversals and restructuring of Hollywood’s DEI programs came after President Trump issued an executive order in January that tasked the U.S. attorney general with going after private-sector DEI programs that, according to the president, constitute illegal discrimination based on race and sex. Soon after the mandate, the Federal Communications Commission launched an inquiry into NBCUniversal owner Comcast Corp. to “root out” DEI-based initiatives.

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In February, Walt Disney Co. announced it would be shifting its internal DEI policies by replacing a “diversity and inclusion” performance factor for executive compensation planning with a “talent strategies” standard. This move signaled a shift from when the company combated Florida Gov. Ron DeSantis after it raised objections to Florida’s anti-LGBTQ+ state legislation. Recently, Disney removed a trans athlete storyline from its Pixar animated series “Win or Lose,” saying at the time that “many parents would prefer to discuss certain subjects with their children on their own terms and timeline.”

Warner Bros. Discovery stepped into the DEI waters by announcing it would rebrand its DEI initiatives as just “inclusion.” Paramount Global reacted by dropping staffing goals related to gender, race, ethnicity and sex.

This move away from DEI programs is not one specific to the Hollywood machine. Retail stores such such as Target, Walmart and Lowe’s have pledged that they will either end or cut back on diversity initiatives, many of which were put into place just a few years ago. Major tech companies, including Meta (Facebook’s parent company), Google and Amazon, are also scaling back on DEI.

The Times’ Company Town senior editor Ryan Faughnder and staff writer Samantha Masunaga contributed to this report.

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“The Electric State” Movie Review – Netflix Needs To Stop. (Rant)

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“The Electric State” Movie Review – Netflix Needs To Stop. (Rant)

We are under attack. One lousy script and 320 million dollars later, we are presented with the newest Netflix production led by The Russo Brothers. I repeat, the budget of “The Electric State” (starring Millie Bobby Brown and Chris Pratt) had an abnormal cost of 320 MILLION DOLLARS making it one of the most expensive movies ever made. That is about all the context you need for this one. As you can probably sense by now, I am completely baffled by this project and its potential implications as to where this industry is headed. “The Electric State” is simply awful.

Gone are the days of likable movie stars carrying even the shittiest of movies. Gone are the days of blockbusters containing any well directed set pieces and compelling ethos. Gone are the days of studios caring about the product as well as the filmmakers themselves. Netflix has a track record of making terrible things and patting themselves on the back. “The Electric State” is an attack on cinema and an insult to anyone that enjoys it.

This Might Be Money Laundering

Chris Pratt and Millie Bobby Brown in “The Electric State”

“The Electric State” having a ballooned budget of 320 million dollars sounds simply unbelievable. Watching it leaves more questions than answers as well. It looks like total shit. It’s a CGI hodgepodge filmed mostly on closed sets and green screens. You’d think maybe they’d have real goddamn robots on set with that kind of money.

It’s easy to harp on the budget continually, but this is a narrative that needs to be addressed. Films should not cost this much and leave so much to be desired. The Russo Brothers have their fingers in the Marvel pot and it makes too much sense that they make schlock for Netflix. Their lack of care for the craft is blatant and disgusting frankly. Zero effort directing this and zero attempts to even draw a lick of complement. The Russo Brothers insult everyone who dreams of being a filmmaker in some capacity while they direct slop like this and pass it on as their service to cinema.

Millie Bobby Brown and Chris Pratt (along with every other name in this movie) got their names drawn from a hat to play generic, badly written characters. They are so, so bad in this movie. I can tell they are not having fun with this project and why should I have fun? There was a time where even the worst of action blockbusters had some form of likability and amusement. This is just sad, dude. This makes cinema look like a dying art.

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So, yes, the budget is something that should be noted because there were likely other projects that suffered from it. Seeing a budget cut of a smaller passion project and having “The Electric State” piss it away must be demoralizing. The kicker to it all is this being a straight to streaming movie. We’re all stuck at home watching this garbage.

Netflix, Please Stop This

Netflix has been criticized for many business decisions and I think it’s all earned. Upping the price of their service continuously while adding ad interruptions and producing slop such as “The Electric State.” I know I’m being dramatic this entire review/rant, but it’s important to note what this may mean for the future. They have no problem shelling out hundreds of millions for these things. Hell, it’s not even in the theaters right now. What will happen when Netflix decides to produce projects like this forever?

“The Electric State” is a lifeless, terribly directed blockbuster that conjures up nothing that is enjoyable. It is generic, boring, ugly, and is completely insulting to watch. One of the most sizable budgets ever and it got put into this project.

I cannot in good faith suggest anyone watch this for any reason. It’s not even fun bad and the more watch minutes that go into it, the more Netflix believes they actually did something impressive. We cannot let them think that. Don’t watch.

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