Den of Geek SXSW 2023 Special Edition

FILM & TV

INSIDE THIS YEAR’S CROWD PLEASERS AND INDIE DARLINGS

CHRIS PINE A CAREER-SPANNING EXCLUSIVE WITH THE CHARISMATIC STAR

MUSIC SPOTLIGHT

EMERGING ARTISTS, TOP SHOWCASES, AND OUR 2023 PLAYLIST

C O NTENTS

SXSW 2023 FILM & TV

Check out our full breakdown of all the biggest movies and television series debuting at SXSW. PG. 24

SXSW AT THE OSCARS IN THE DEN WITH CHRIS PINE

Dive into the Den as we cozy up to Chris Pine, star of festival premiere Dungeons & Dragons: Honor Among Thieves. PG. 54

SXSW MUSIC PREVIEW

From headliners to unknowns and everyone in between, we spotlight some of our favorite artists taking the stage in Austin. PG. 42

From the Paramount Theatre to the Oscars stage: an inside look at how film festivals can shape awards campaigns. PG. 48

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COVER ART DESIGNED BY NEIL JAMEISON. IMAGE CREDIT: PRIME VIDEO & IMDB/COREY NIKOLS (BOOTS RILEY), WARNER BROS. (EVIL DEAD RISE), PARAMOUNT PICTURES (DUNGEONS & DRAGONS), PEACOCK (MRS. DAVIS), DEPTH OF FIELD (IF YOU WERE LAST), A24 (PROBLEMISTA), STEVE MARRUCCI (JOBBER), HBO MAX (LOVE & DEATH), ERIC ROJAS (ILE), APPLE TV+ (TETRIS), MATTHEW BAKER / GETTY (KILLER MIKE), LORNE THOMSON / GETTY (ENUMCLAW), EMMA MCINTYRE / GETTY (STEVE YEUN), GEORGE ROSE / GETTY (CHEER UP CHARLIE'S) / ADOBE STOCK (PARAMOUNT, AUSTIN SKYLINE, BRIDGE, STATESIDE THEATER) / LUCIA MACEDO, UNSPLASH (ANTONE’S)

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A MATCH MADE IN AUSTIN

IT JUST OCCURRED TO ME THAT if you picked up this magazine at SXSW, you might not be all that familiar with Den of Geek. You might know of us; at least, I’d like to think that you might, considering all of the amazing work this team does in the entertainment and pop culture space, but it’s possible that you’re not a regular reader, viewer, or listener. After all, most of our “real world” presence has been centered around events like San Diego Comic-Con or

New York Comic Con, the kind of events that are much more traditionally associated with the “geek” in our name.

But just as SXSW has started to become the kind of cultural hotspot that turns buzzy, up-and-coming genre fare like last year’s Everything Everywhere All at Once into this year’s Oscar darlings, it’s also where we like to spread our wings a bit and talk about some other elements of the entertainment industry and pop

culture that we’re just as passionate about. Take, for example, our music coverage (which you can also find on our website), where we try to spotlight the intersection between the expected Den of Geek topics and the other artists we love. So if you’re already a DoG fan, well, it’s nice to run into you here in Austin. And if this is our first meeting, welcome to the Den. We hope you stick around to check out all the other cool stuff we do.

BETTER CONNECTED

The Tetris director invites us into the story of a video game revolution that began behind the Iron Curtain.

JON S. BAIRD HAS JUST CLOSED

Twitter. The trailer for Tetris was released an hour ago, and the director’s been watching the online reaction closely ever since. There’s one joke that everyone seems to be making—where are the talking tetriminos?

“It’s absolutely not that at all,” the Scottish filmmaker tells Den of Geek with a laugh. “I hear that a lot, but I like that people are noticing that it’s a bit different.”

Tetris is certainly a different proposition from other video game movies. Rather than being about falling blocks that need to neatly fit into lines, Tetris tells the story of Henk Rogers, the mustachioed man who secured the rights to distribute the eponymous game around the

world. While that doesn’t exactly sound like the plot of a fun thriller at first glance, the fight to get Tetris on the Game Boy took Rogers into the heart of communist Russia, where the Soviet Union ruled and the Iron Curtain was up. Making things more difficult was the fact that two other suitors were hoping to take control of Tetris—and they had more money and better connections than Rogers.

“I’m probably less of a gamer and more of a thriller person,” Baird admits. “For me, it’s a thriller—it’s a mad story—that just happens to be about one of the most famous games there’s ever been.”

Before you start worrying about a non-gamer being trusted with such an important story in the medium’s

history, Baird wants to stress that although you won’t find him spending Sunday afternoons with a PlayStation controller in hand, he’s certainly not “anti-gamer.”

“I don’t want to lie and bullshit because I wasn’t a gamer, but I did play Tetris,” he says. “I wasn’t very good at the beginning, but honest, I’m pretty wicked at it now. I had to go into training for it because I didn’t want to meet Henk and Alexey and be shit at it, you know?”

The Alexey he refers to is Alexey Pajitnov, the creator of Tetris, who struck up a friendship with Rogers over their shared love of games. Both Rogers and Pajitnov helped with the movie’s development and brought an extra dimension of realism to the

story. “I’m a great believer in detail,” Baird says. “We got the guy who invented Tetris to write the code that we use in the movie. With Henk, it was about details like, ‘What were the border guards like? What was your hotel like? How gray was Moscow?’”

Baird brings some high-profile filmmaking credentials with him, having previously directed brilliant black comedy Filth and the BAFTAnominated Stan & Ollie, and it’s impressive what he’s achieved with Tetris. Although there are a few scenes of people using legal jargon in cold Russian offices, Tetris flies when Rogers is pulling sly tricks on the KGB to make sure he’s the person who lands the game rights. Oh, and there’s also a bombastic car chase toward the end.

“Henk sees himself as a bit of a movie star anyway,” Baird says. “He’s got that lovable rogue thing about him. The more stuff like [the car chase], the better for Henk. But 90 percent of it, we stuck to the [real] narrative. We just jazzed up the other 10 percent because it’s not a documentary.”

The movie is also propelled by Kingsman and Rocketman’s Taron Egerton, who gives Rogers a likable, approachable charisma and pathos. “I think this is his best performance,” says Baird, who originally intended to collaborate with Egerton on a different project before turning his attention to Tetris. “That may sound conceited, but I think he’s done something here that’s more subtle and grounded and really shows another aspect of how much acting chops he has.”

What’s more impressive is that those subtleties come through even when Rogers has a mustache that would give Mario a run for his money. “He hated that thing!” Baird laughs. “At the end of every day, he’d rip it off and he told me he would never do a film where he had to wear a mustache again.”

Another aspect that makes Tetris such great fun is the way Baird uses assets from the gaming world. One early scene sees Rogers trying to get a bank loan to purchase the rights to Tetris in Japan, and as he talks, those famous colorful tetriminos fall from

the ceiling. A few moments later, Hiroshi Yamauchi, the third president of Nintendo, makes an appearance, as does Howard Lincoln, the former chairman of Nintendo America, who reveals to Rogers a top-secret new

top-notch on this, and the whole car chase is a visual effects thing. None of it’s practical. I haven’t done much of that, but it turned out well.”

With Moscow and the Soviet Union playing such a central role in Tetris, the movie—set in the late ’80s—has become surprisingly relevant to the modern-day climate.

project: the Game Boy. And, of course, that famous, catchy Tetris music is used throughout.

“It wasn’t until post-production that we really started playing with [Tetris assets],” Baird explains. “At one stage, there was far too much of it, and it felt gimmicky. We tried putting a lot in, then we took too much out, and then didn’t have enough. We leveled up.”

Filming primarily took place in Aberdeen, and many establishing shots are stylized like classic eight-bit games. “We needed that because we couldn’t go to Moscow or Seattle or Tokyo,” Baird says. “It looked as though we meant it, which we didn’t really. The visual effects guys were

“In a strange way, it has become so relevant because of this horrendous situation in Ukraine,” Baird says, referring to Russia’s ongoing invasion of the country. “For people who were around at the time, it reminds them of how scary it was, and for younger people who weren’t around, it educates them. For Henk to put himself in Moscow back then, it was terrifying. People appreciate it more now because I wouldn’t fancy going to Moscow at this time to try and do something like that. It’d be a frightening prospect.”

With those political aspects in mind, Baird says they were originally aiming for a movie that felt like The Social Network and Bridge of Spies. “I don’t think the film has ended up as any of those,” he says. “It’s its own thing, which I’m really proud of. I don’t know how you describe this movie; I’ve got no idea, which is maybe a good thing.”

Like the game, Tetris is a unique proposition—and maybe it, too, will prove a real blockbuster.

FOR ME, IT’S A THRILLER—IT’S A MAD STORY—THAT JUST HAPPENS TO BE ABOUT ONE OF THE MOST FAMOUS GAMES THERE’S EVER BEEN”

— JON S. BAIRD

TASTE OF AUSTIN

Kristen Kish, award-winning chef and host of National Geographic’s Restaurants at the End of the World, and the staff of downtown hotspot Arlo Grey dish out an insider’s guide to Austin’s food and culture.

NOTHING NOURISHES THE SOUL more than a good meal. When I had the opportunity to open my restaurant, Arlo Grey, in Austin, I was inspired by the vibrant, welcoming city and continue to bring the creative and comfortable atmosphere of the city into our dining room. I should note I lived in Austin for a couple of years while we opened the restaurant, an all-consuming project, but I no longer reside there. However, the heartbeat of Arlo Grey—our amazing staff—has helped me compile some of the best spots in the city to enjoy a memorable meal and a fun day or night out.

While Austin is brimming with food and culture, I recently went on the adventure of a lifetime to check out restaurants located in some of the most remote places on earth for my new Nat Geo show Restaurants at the End of the World. Just like the distinguished chefs and tastemakers of Austin (we’ll get to them below), the chefs I’ve encountered in the show whip up the most incredible dishes, all inspired by the culture of their remote communities. The greatest tastemakers and creatives of our time are gathering inspiration directly from their surrounding community—it’s up to us to listen to them.

MUSIC VENUES

• Mohawk

• Antone’s

• Cheer Up Charlie’s

• Hotel Vegas

⊲ ALTERNATIVE TOURISM

• The Color Inside, A Skyspace by James Turrell at University of Texas at Austin

• Lady Bird Johnson Wildflower Center

• Donn’s Depot

⊲ AUSTIN FOOD TRUCK STAPLES

• Veracruz Tacos

• Distant Relatives

• Fil N’ Viet*

⊲ CROWN JEWELS OF THE AUSTIN FOOD SCENE

• Olamaie

• Barley Swine*

• Justine’s

⊲ MUST-TRY DISHES AT ARLO GREY

Our menu changes relatively often as we move through the seasons and creativity. However, there have been three items on our menu since we opened.

• Mafaldini pasta with champignon sauce.

• Crispy rice with crab, bacon, cucumber, saffron aioli.

• Lime sorbet with yuzu espuma, coconut meringue, pink peppercorn.

FROM AUSTIN TO THE END OF THE WORLD

Consider this the amuse bouche to her new National Geographic series as Kish recalls some of the memorable faces and findings from her expeditions.

BOQUETE, PANAMA: Chef Rolando

Chamorro / Restaurant: Hacienda

Mamecillo

What I loved seeing was Chef Rolando and Gabriela’s kids’ absolute knowledge and instinct with their surroundings… from slaughtering a chicken to knowing which plants to eat or not eat. It was a reminder that oftentimes the best schooling is

out in the environment. They knew so much, were fearless, adventurous and had an innate sense of survival that was impressive.

SVALBARD, NORWAY: Chef Rogier Jansen / Restaurant: Isfjord Radio

This was the most “at the end of the world.” It felt the most like a restaurant in which I’ve worked,

coupled with the complete sense of being out of place. We were in the middle of nowhere with supply chains truly out of the way, but somehow, the kitchen felt the most like my kitchen. I worked with a couple ingredients I’ve never had before and went on some pretty epic adventures that I don’t know if I would have taken myself.

NORTH HAVEN ISLAND, MAINE:

Chef Carolynn Ladd /

Restaurant: Turner Farm

Although this was the most familiar to me—I had been to this area before because New England was where I spent a lot of my adult career—what made it fully new was the point of view of Ben, the owner, and Chef Carolynn. Carolynn had quite literally started that job weeks before we came to film. It was a front-row seat to see the relationship form between Ben (who was also relatively new in his role) and Carolynn: her food came into focus; his vision became clearer; and we saw what the next phase of Turner Farm could look like.

PARATY, BRAZIL: Chef Gisela

Schmitt / Restaurant: Sem Pressa

A location that started with a 4.5-hour, very bumpy, narrow winding road was quickly met with Chef Gisela, who is a true businesswoman taking matters into her own hands. She not only creates supply chains, but she educates the fisherman in order to best serve her and her community. Cooking on a boat is fun and has its own challenges, but what I found most impressive was her ability to harness and create a reality for herself and her business that otherwise didn’t exist.

Restaurants at the End of the World premieres on March 21st at 10/9c on National Geographic, with all episodes streaming March 22nd on Disney+.

BRINGING THE ZOMBIES ALIVE

Rod Argent and Colin Blunstone take time to show what you need to live.

NO MATTER THE WEATHER, it’s always the perfect time of the season for The Zombies. Their new album is called Different Game, and everyone plays like they were dealt a perfect hand. But it’s the fingers of founding keyboardist Rod Argent, drummer Steve Rodford, guitarist Tom Toomey, bassist Søren Koch, and the throat of original lead singer Colin Blunstone that propel the music.

Director Robert Schwartzman’s documentary, Hung Up on a Dream, which will have its world premiere at SXSW, looks back at The Zombies’ 60-year career: the first British Invasion band to write themselves into U.S. pop history after The Beatles with “She’s Not There,” the Rock Hall of Famers’ Odessey and Oracle is in the Top 100 of Rolling Stone’s 500 Greatest Albums of All Time. But the group is looking forward.

“So often, people at our vintage put out something which doesn’t have the energy of previous stuff,” Argent tells Den of Geek. “I want to reflect when we’re on stage. There’s always a young component in the audience. It makes you play with more energy.”

The Zombies never sit still, forever extending their “Life Is A Merry-GoRound” tour, co-headlining with The Brian Wilson Band, and playing cruise ships with the Moody Blues’ Justin Hayward for relaxation. They are performers, even while making an album. “We build it up live in the studio,” Blunstone tells us. “When Rod writes a song, he calls me. We routine it, bring the band in, and record.”

Not wanting to track new material virtually, the group was temporarily grounded by the pandemic. “Because

of Covid, we hadn’t played together for two years,” Argent says. “But it gave me the unexpected benefit of being able to write nine of the ten songs.”

It also afforded more time for the arrangements. Rod, who formed the band Argent after the initial breakup of The Zombies, took an excerpt of a chord sequence from the piano solo

of their biggest hit, “Hold Your Head Up,” for the new album’s “Love You.” The song’s soft opening didn’t fully work with piano.

“Tom worked it out note-for-note on the guitar,” Argent says. “It sounded beautiful. I could imagine Colin starting to sing and everything else coming in. There are real ballads contrasted with the energy songs. It felt like the right balance.”

The Zombies always maintained a steady equilibrium, shifting weight as needed. “When we first got together in 1961, I was the rhythm guitarist, and

Rod was lead singer,” Blunstone says. “We swapped, but I still played. One of our covers, The Shadows’ ‘Wonderful Land,’ had a lot of chords, and I kept making mistakes. I could feel the natives getting restless, so I jumped before I was pushed and became an ex-rhythm guitarist.”

Signed with Decca after winning a London Evening News competition, the group’s first single was a hit, and its mysterious sound matched the enigmatic credit on the disc. “The name came from our original bass player, Paul Arnold,” Blunstone says. “I’ll confide in you; I had no idea what a zombie was.” Originally the domain of tropical island voodoo, George Romero redefined zombies with Night of the Living Dead, which came out the year The Zombies broke up.

“I still don’t know what a zombie is,” Blunstone admits. “Hopefully, you’ll

“WHEN GEOFF EMERICK ENGINEERED ‘TIME OF THE SEASON,’ I REMEMBER AT THE TIME THINKING: I DON’T KNOW WHAT IT IS. IT’S JUST THE BASS AND TOM-TOM SOUND, BUT THERE’S SOMETHING QUITE SPECIAL ABOUT IT.”

— ROD ARGENT

think of ‘She’s Not There’ and ‘Time of the Season’ and more recent references to analyze it.”

The Zombie apocalypse should be on record as an early wave of the British Invasion. “‘She’s Not There’ was the first British self-written No. 1 song in Cashbox after the Beatles,” Argent mentions. The achievement was as pioneering as the sound. The classic lineup, which included guitarist Paul Atkinson, bassist Chris White, and drummer Hugh Grundy, “was quite different from other groups,” Blunstone says. “We were a keyboard-based band featuring three-part harmony, which wasn’t fashionable at the time. Most bands were all guitars.”

The musical configuration confused network television. “Cameramen couldn’t get their heads around a piano player at all,” Argent laughs. “When we came to the solo, the camera went

straight to the drums. In their heads, if it wasn’t a guitar, they didn’t understand what was going on.”

The musicians, in turn, had to get used to soundstages, precariously playing on risers while effervescent dance troupes shook the world below. “Oh my god, the very first TV we did, they put Colin, singing ‘Summertime,’ on the top of a huge ladder,” Argent says. “He hates heights.”

It could have been worse. “Initially, they choreographed a full dance for us,” says Blunstone. “As rehearsals went on, they changed their minds. We tried. We gave it our all and failed miserably.”

But The Zombies passed the audition for their seat on the Dick Clark Caravan of Stars, touring with other artists on the hit parade. “There were some wonderful singers on that Caravan,” Blunstone says. “They used to sing into the night. To be accepted, they wanted us to sing for them.” The Zombies chose the Beatles’ “If I Fell” because “we’d done it as an amateur band and knew if we sang it acapella, the harmonies would sound quite striking. Luckily, they enjoyed it.”

As the song “New York” from their 2015 album Still Got That Hunger celebrates, The Zombies also played

the Brooklyn Fox Theater’s Murray the K Christmas shows. “Patti LaBelle and the Bluebells brought the house down every time they performed, and we had to follow them,” remembers Blunstone.

The band even visited Graceland, but Elvis Presley was shooting a movie. Elvis’ father told the musicians that the rock and roll icon would have loved to meet them and invited them in. “We did it really quickly because we felt he was just saying that about Elvis to be nice,” Argent recalls. “But I found out it was true many years later.” Elvis had three of The Zombies’ singles on his personal jukebox.

Odessey and Oracle was recorded at Abbey Road Studios after The Beatles finished Sgt. Pepper. If the song “Changes” sounds like it grew out of “Strawberry Fields Forever,” it might be because the roots are there. “It’s John Lennon’s Mellotron,” says Argent. “He’d left it in the studio. We were the next band. It was my first encounter with a Mellotron. I jumped on it and used it all over.”

It wasn’t the only toy left behind. “There was an electric harpsichord, bits and pieces of percussion that we picked up,” Argent says. The Beatles’ engineer, the late Geoff Emerick, also stuck around. “When Geoff engineered ‘Time of the Season,’ I remember at the time thinking immediately: ‘I don’t know what it is. It’s just the bass and tom-tom sound, but there’s something quite special about it.’”

Their best-known album, Odessey and Oracle, was released after the breakup of The Zombies, and the original band never got to play it live. “It was a bit frustrating,” Blunstone admits. “It would have been good to do a farewell tour on the back of ‘Time of the Season,’ but the other guys absolutely were not interested. They thought it was looking back. They didn’t want to go back. They wanted to think about the future.”

Cooking Vinyl Records will release The Zombies’ sixth album, Different Game, on March 31. Robert Schwartzman’s documentary Hung Up On A Dream premieres at SXSW.

The Zombies

1964 DICK CLARK CARAVAN OF STARS

“I remember, probably best not to name her, but there was one female singer on there,” remembers Blunstone. “She drew a gun on someone as we were driving along. The gun was taken away, and she was put off the bus and left by the side of the road with a suitcase. I felt rather sorry for her, actually. We just drove off and left her. There were little dramas every now and again.”

DISCOVERING ARETHA FRANKLIN

“Patti LaBelle took to us and used to hang out in our dressing room most nights,” says Argent. “I remember her vividly saying, ‘There’s one new kid on the block you’ve got to check out: her name is Aretha Franklin.’ That was before Aretha was with Atlantic and did the soul stuff; CBS had her doing cabaret things. But even then, we loved it. Wonderful piano player; a lot of people don’t realize she played on her own records, even ‘Respect,’ and Carole King’s ‘Natural Woman.’”

KICKSTARTING THE SHANGRI-LAS’ “LEADER OF THE PACK”

“They needed someone to drive a motorcycle on stage, and Hugh Grundy, our drummer, was into bikes,” Blunstone says. “Mary Weiss [lead vocalist of the Shangri-Las] was on the back, and he drove her on stage. That was exciting. A little bit of added color.” Argent adds: “During ‘Give Him a Great Big Kiss,’ I had to walk on stage and kiss Mary on the cheek.”

CRUISING WITH A SALTY DOG

“Even though I always loved Gary Brooker’s music and admired Procol Harum, I’d never really spoken to him,” Argent says. “On the ship together, we had an hour’s conversation. I suggested he play ‘Salty Dog’ on his onboard set. It just happened to be the most perfect, tropical night—still and warm. He started singing and said, ‘I was having a chat with Rod. He said maybe I should do this song. This is for Rod.’ Honestly, I just melted. It was just a real joy.”

The Zombies have been on the road since forever, and some things stand out.

Featuring special panels, exclusive screenings, Q&A’s, exhibitions, immersive events and more –

If you LOVE Cinema. If you LOVE Television. If you LOVE Action. T his is T HE event fo r you.

Dates to be announced soon.

PREVIEW GAMING

OVER THE PAST FEW YEARS, the games industry has increased its presence at SXSW, and now it’s a mainstay. In 2023, the festival’s Game Industry Track examines the cutting edge of interactive entertainment. What’s ahead for the medium, and how are new technologies and initiatives going to help it get there? Each of these panels has an eye on the future. Plus, a bit of esports action for FIFA fans!

SPACE INVADERS: CLOUD GAMING’S FUTURE

Thursday, March 14 from 2:30 p.m. to 3:30 p.m. CT

Fairmont | Manchester GG

Recent advancements in cloud technology have completely changed the way we game, making it easier to play all your favorite titles without needing to buy expensive hardware.

Streaming services like NVIDIA GeForce Now and Xbox Game Pass are bringing major AAA releases straight to your mobile devices and in the case of Samsung, right to your TV, making the medium more accessible than ever before. In this panel, experts from NVIDIA, Samsung, and Ubisoft discuss what this all means for the future of the industry.

REIMAGINING CITIES: CIVIC ENGAGEMENT W/ MINECRAFT

Tuesday, March 12 from 2:30 to 3:30 p.m. CT

Fairmont | Manchester EE

Thanks to new educational initiatives like Classroom Build Challenges, Mojang’s Minecraft, is now utilized by programs around the world to engage young learners and teach them about sustainable infrastructure, climate change, and other real-world issues. This panel, led by Microsoft, explores all the ways Minecraft is being used to shape our future thinkers.

EMLS CUP PRESENTED BY COCA-COLA

Tuesday, March 12 The FIFA franchise is an industry leader when it comes to esports, and one of its biggest competitions takes place in Austin: the eMLS Cup finals. The tournament returns to Austin after Paulo “PauloNeto999” Neto (Atlanta United) was crowned eMLS Cup champion in 2022 in front of an at-capacity crowd at Austin City Limits Live. Pro FIFA players, each representing one of the 26 real-life MLS clubs, face off for a prize pool of $100,000, the largest in the tournament’s history. But there’s an even bigger prize: the chance to become the best FIFA player in North America.

ESPORTS ENTERTAINMENT - THE NEXT DECADE

Tuesday, March 12 from 4:00 to 5:00 p.m. CT, Fairmont | Manchester GG

The world of esports has matured into a multi-billion dollar industry. And it isn’t just about video game competitions anymore. Representatives from League of Legends studio Riot Games, esports club Team Liquid, and influencer talent agency Loaded sit down to discuss the diversification of esports and what’s next.

DISRUPTING THE GAME: IP & THE FUTURE OF FRANCHISE

Wednesday, March 13 from 4:00 to 5:00 p.m. CT

Fairmont | Manchester EE

Mobile gaming is a booming business, but where do the category’s biggest franchises go from here? This panel, presented by Pixel United, argues that it’s time to make the jump to movies, TV, and streaming.

DEVELOPING THE NEXT GENERATION OF GAME INDUSTRY TALENT

Thursday, March 14 from 10:00 to 11:00 a.m. CT

Fairmont | Manchester EE Gaming is no longer a niche interest, and video game development has become one of the most sought-after career paths for students entering higher education. This panel interrogates the current state of game development degree programs.

HOW VOICE TECHNOLOGY WILL IMPACT TOMORROW’S GAMING

Thursday, March 14 from 4:00 to 5:00 p.m. CT Fairmont | Manchester EE

These days, Amazon Echo Dot or Google Next devices are about as commonplace in the home as a television set. And folks aren’t just using voice technology devices to control smart lighting, order products online, or listen to music. There are now whole gaming experiences that take advantage of this tech. Amazon, Yahoo, Sony, and Volley break down why voice gadgets, and the AI that powers them, are the next frontier in gaming tech.

TECH

With everything from artificial intelligence to virtual reality, SXSW has become the place to explore the newest of what the tech industry has to offer. Whether dealing with the future of technology in daily life, the latest in space exploration, or new ways of entertaining the masses, these technology panels will offer fans, speculators, and curious forward-thinkers unique opportunities to learn more about where the various fields are headed. There’s something for everyone, with guest speakers and panels on just about every topic imaginable. Here are some we think Den of Geek readers will particularly enjoy.

ROBOTS FOR BUILDING IN THE WILD

Saturday, March 11 from 11:30 a.m. to 12:30 p.m. CT

Hilton Austin Downtown | Salon K Robots aren’t just about unburdening the workforce from menial tasks; they also tackle dangerous construction jobs that could be nearly impossible for a human worker. Innovations in design have allowed these powerful machines to create structures previously never before imagined, and those that develop, operate, and maintain these skillful robots are artists themselves, taking their creations out “into the wild.”

Panelists will highlight the challenges and benefits of the growing field.

10 BREAKTHROUGH TECHNOLOGIES OF 2023

Saturday, March 11 from 4:00 to 5:00 p.m. CT

Hilton Austin Downtown | Salon C

MIT creates a list every year of new technologies that they believe will be the most impactful to the way we live and work in modern society. As you might expect, online interactive AI text and image generators are at the forefront of the discussion, but there are also a few items on the list that are likely unfamiliar to most attendees. The CEO and publisher of MIT’s Technology Review will present this year’s list, featuring innovations that will appeal equally to tech experts and novices alike.

HOW TEENS REALLY FEEL ABOUT SOCIAL MEDIA

Monday, March 13 from 10:00 to 11:00 a.m. CT

Hilton Austin Downtown | Salon K

It may seem like participation on social media is what makes teenagers happy, but with the way online technology has become wrapped up in young adults’ sense of self, there’s also potential for feelings of anxiety and depression. Although the big social media companies may try to hide this fact, the panelists in this session, including a Facebook whistleblower and a teen activist, will shine the light on how the industry can take steps toward making the online space a safer and healthier place to be.

LGBTQ+ DEI: QUEER REPRESENTATION IN STEAM

Monday, March 13 from 11:30 a.m. to 12:30 p.m. CT Hilton Austin Downtown | Salon K

Jobs in science and engineering have been among the last to embrace representation of marginalized groups, and although things are improving, there are still barriers for LGBTQ+ individuals to enter the STEAM fields. Panelists will share their experiences and suggest ways that those in STEAM careers can empower themselves and others.

THE FUTURE OF SEX

Tuesday, March 14 from 11:30 a.m. to 12:30 p.m. CT Hilton Austin Downtown | Salon H

Not for the inhibited, this featured session will explore “sextech.” Bryony Cole is a global sextech leader working with global venture studio Josephmark. The talk will explore how to build and scale early-stage concepts that combine sex, technology, and personal well-being.

DEEPFAKES: THE PRIMARY THREAT TO NATIONAL SECURITY

Wednesday, March 15 from 11:30 a.m. to 12:30 p.m. CT

Hilton Austin Downtown | Salon K

Deepfakes have been a fun distraction for fans of Tom Cruise and other entertainment personalities, but once things went political with simulations of world leaders, the technology took a dark turn. Rijul Gupta, co-founder and CEO of DeepMedia, will lead a panel of military and NGO experts sharing ideas about how to combat this new threat and how scrutiny could be a matter for global intelligence services.

CREATING HAPPINESS: THE ART & SCIENCE OF DISNEY PARKS STORYTELLING

Friday, March 10 from 11:30 a.m. to 12:30 p.m. CT

Austin Convention Center | Ballroom D

The immersive experiences at Disney’s theme parks go well beyond random character encounters and photo ops. In this SXSW featured session, Disney Parks, Experiences & Products Chairman Josh D’Amaro will share how these sometimes complex storylines are constructed specifically to create the most enjoyable narrative for the park’s guests. After all, it’s the simple moments that will create the most lasting memories!

COMBATTING CLIMATE CHANGE WITH AI

Wednesday, March 15 from 11:30 a.m. to 12:30 p.m. CT

Hilton Austin Downtown | Salon J Tech pundits are quickly discovering how world-changing the new generation of artificial intelligence and machine learning can be. Why not put that power to good use for the planet? This panel will explore how intelligent systems can provide strategies to limit climate change impacts, make better predictions transform the way we study our Earth’s climate, and lead us toward a bright future.

Dead ites Risin g

Director Lee Cronin brings gross-out scares and old-school terror to the latest installment in the Deadite-fueled franchise with Evil Dead Rise.

“Make sure there are scary Deadites, and use the book.”

When Lee Cronin assumed writing and directing duties for Evil Dead Rise, those were Sam Raimi’s specific requests.

Of course, there were other ingredients for the fifth installment of The Evil Dead horror franchise —launched in 1981 by director Raimi, producer Rob Tapert, and Bruce Campbell—such as blood, gore, chainsaws, and boomsticks. But then the Irish filmmaker and lifelong Evil Dead fan reveals to us he had his own mission: “To bring you in, wind you

up, and then punch you in the face for an hour.”

Handpicked by Raimi, who was impressed by Cronin’s short film Ghost Train and first feature, The Hole in the Ground, filming began on Evil Dead Rise in New Zealand in June 2021. With all three serving as producers, Tapert joined the shoot on the ground while Raimi and Campbell supported his vision from afar.

“They wanted it to be something different,” Cronin says, and Raimi advised him to use his instincts and “do what you got to do.” What he had to do was “take it somewhere new.”

Cronin calls the original film, remake/sequel Evil Dead II (1987),

and the Fede Álvarez-directed “re-imagining” Evil Dead (2013) the “O.G. cabin in the woods teenager stories” (1992’s Army of Darkness and the 2015–18 TV series Ash vs. Evil Dead were sequels to part two, focused on Campbell’s iconic Ash Williams). So he wanted a “different angle” while keeping the “gorefest and rollercoaster ride of horror” elements.

To do so, he’s relocated the action to an urban domestic setting in a run-down Los Angeles apartment

building. Rather than teens, it’s a family reunion between Beth (Lily Sullivan), who travels with a band and doesn’t have her life together, and sister Ellie (Alyssa Sutherland), a newly single cool mom to three kids (Morgan Davies, Gabrielle Echols, Nell Fisher). Of course, there’s the evil force waiting to be discovered in a vault and a book bound in human skin that unleashes a whole lot of hell.

“I think that placing horror in recognizable domestic circumstances

is often a really great shortcut to connect with an audience, and I thought it’d be very interesting if we could take the malevolence of the Deadites into the city,” Cronin says. “Sam, Rob, and Bruce, being the protectors of all that is Evil Dead, were on board instantly and liked taking it into that space.”

Even if the cabin is mostly absent from this story, Rise fits within the series continuity. Cronin points to the scene in Army of Darkness when Ash encounters three books bound in flesh. That stuck with him, and he wrote with the idea that all three—the Naturom Demonto, Necronomicon Ex-Mortis, and simply, the Book of the Dead in Rise—exist in the same universe. There’s one in Raimi’s world, another in Alvarez’s, and a third here.

“They have slightly different edges to them in terms of what they can do, and there’s a little subtle change or two to the incantations,” Cronin says. Rise’s Book of the Dead is a “bastard cousin” to the others, with Celtic influences, Cronenbergian sketches, sharp teeth, and veins. This book also creates a pathway to “open up the door for more Evil Dead stories moving forward by changing it up.”

Regarding those incantations and atmospherics, Cronin reveals that Campbell visited the sound sessions in Ireland and brought a set of original Evil Dead audio files recorded on Nagra reel-to-reel, which they incorporated “so it’s all wrapped up inside the movie.”

Aside from books of evil and mocking Deadites “who want to have fun and play” by possessing humans, the series of films is still best known for chainsaws, shotguns (a.k.a. “boomsticks”), and Ash. Campbell has appeared in every Evil Dead, even in the 2013 film where Jane Levy starred as protagonist Mia, but Ash cameoed in a post-credits scene.

Sullivan’s blood-soaked Beth wears a blue denim shirt reminiscent of Ash’s, but he is not to be found in Rise Yet she is an imperfect hero, just like Ashley J. Williams.

“I remember having this discussion with Rob Tapert,” recalls Cronin. “When you watch the original, Ash is

ALYSSASUTHERLAND IS ELLIE

What’s the best part about being a Deadite?

I get to play and be wild and go all over the place. As an actor, that’s such a gift. In real life, I’m really quite a boring person. I am fairly risk-averse. I like to be quite well-behaved. So it was a chance for me to break down any barriers and feel completely free in a way that I’m just not in real life. I mean, I would never terrorize someone psychologically.

What was the grossest part about it?

The vomit rig was by far the worst. That was disgusting. They hide this rod attachment that goes into your mouth, and it shoots the vomit into your mouth and then bounces off this mouthpiece and comes back out. The force of that coming into your mouth, it’s foul. And I was really gagging from it. They kept asking, “Is the flavor okay?” I’m like, it’s not the flavor; this whole thing is disgusting.

Being a Deadite is physically demanding. Did you ever think your body was going to break?

No, I didn’t. Rob Tapert had given us this disclaimer that there’s going to come a point [where] you’re gonna break. But honestly, I come from the world of modeling, and I’m so used to having ridiculous things done, hair- and makeup-wise. I’m used to being out in the cold wearing next to nothing. We’re so protected as actors. There were a good couple of weeks there I was just drenched, soaking wet. Just the whole time. But the crew is so wonderful, standing by with hot water bottles.

LILYSUTHERLAND IS BETH

Who is Beth, and how did Lee Cronin describe her to you?

She’s an antihero to me. She’s definitely a runner, lost in the washing machine of tour life. She lacks that sense of home and doesn’t necessarily find herself there for people. Then she’s thrust into the most intense version of responsibility. I felt so scrappy and useless, in a way, trying to do certain scenes and deeply exhausted. Lee was just like: “That’s Beth. I don’t want you to look like you know how to use any of these weapons. I want the mess.”

How do you view Beth in comparison to Ash?

As soon as you get given an iconic chainsaw, I’m like, “I’m Bruce Campbell, man, I’m Ash.” But Beth is her own character, and I think that is the beauty of how this franchise can move forward as it takes and plucks different people and puts them into this extreme, wicked position.

What was the peak moment of absurdity where you thought, “Yep, this is my job”?

That would have to be when they’re about to drop a ton of blood from a slippery slide. Like, you’re coming out of an elevator, harnessed, and being smacked against the wall. You’re with your crew and the people who built this random slide on the scaffolding to burst out of the elevator doors. Just like, “This is my job, this is reality, and it’s goddamn nuts.”

not the hero right away; he’s not necessarily even the lead.”

Similarly, Beth “picks up the chainsaw and wears that mantle” but isn’t an action hero and doesn’t even know how to use a gun. “Even when she fires a gun, it throws her off balance,” the director notes. “All of those things add to making her feel real… but I never thought about trying to replace Ash; I just thought about her as somebody new with a certain pressure on her shoulders.”

Along with all that pressure, Beth ends up with a lot of blood on her shoulders. Production used 6,500 liters of movie blood (about 1,717 gallons), which required opening an industrial kitchen to cook up the sticky stuff. Expectedly, Cronin also conjures some incredibly gross-out gore moments.

Perhaps two that will be debated as favorites involve a dislodged eyeball and open mouth and the use of a cheese grater. The eyeball “gag,” one of Cronin’s personal favorites, is a twist on what’s been seen before. The novel leg-shredding grater came to him when he was writing the script, walked into his kitchen, and saw it as a eureka moment.

Rise also includes more Deadite dialogue than before, which Cronin says is justified by the intimate setting

and familial relationships. That leads to memorable lines from Sutherland’s Ellie—such as “Mommy’s with the maggots now”—which Cronin jokes will make it onto T-shirts. It is an obvious question if the success of Evil Dead Rise might lead to a sequel.

“I was never trying to bait for sequels,” says Cronin, who was only aiming to make a great movie. But he leaves up to four avenues of the story

open, including one that picks up 20 minutes after the final shot. There’s an intentional reason he closes out Evil Dead Rise the way he does.

“And it’s not for the story to just end when the credits roll.”

Evil Dead Rise premieres at SXSW and opens in theaters April 21.

PLACING HORROR IN DOMESTIC CIRCUMSTANCES IS A GREAT SHORTCUT TO CONNECT WITH AN AUDIENCE”

IF YOU WERE LAST

Anthony Mackie (that’s Captain America to you these days), Zoe Chao (Love Life), and Natalie Morales (Dead to Me) star in this romantic comedy—that’s also a sci-fi movie!—from first-time feature director Kristian Mercado and screenwriter Angela Bourassa, whose script for this landed on the 2020 Black List of best-unproduced screenplays. Two astronauts—a man and a woman—stranded for years in space manage to pass the time without sleeping together. But should they? Or will it ruin the delicate existence they’ve made for themselves? And what happens if they get rescued? The answers lie within.

DUNGEONS & DRAGONS: HONOR AMONG THIEVES

Although there have been three other movie adaptations (all of them regarded as pretty damn lousy), this Dungeons & Dragons certainly seems like the first modern, decently-budgeted attempt to create a new media franchise out of the legendary tabletop role-playing game. After a development process stretching back nearly a decade, Honor Among Thieves comes to the screen courtesy of writers/directors John Francis Daley and Jonathan Goldstein (Game Night, Vacation), with a cast toplined by Chris Pine, Michelle Rodriguez, Regé-Jean Page, and Hugh Grant.

The story follows a “charming thief” (we expect that’s Pine) who leads a band of unlikely adventurers on a quest to retrieve an ancient relic before the wrong forces get their hands on it. That’s about as generic a plot description as one might imagine for a fantasy film, but in this case, it’s more about the tone—the filmmakers are seemingly keen to pivot from the somber strains of Game of Thrones or The Lord of the Rings and aim for something a little funnier and more contemporary.

Paramount is no doubt hoping that a good buzz from a geekier festival crowd will catapult Honor Among Thieves to success when it arrives in theaters on March 31. The studio clearly wants to tap into the voracious fantasy audience as well as the game’s loyal fanbase—and collect all those sweet, sweet gold pieces along the way.

I USED TO BE FUNNY

Busy indie actress Rachel Sennott (also appearing at the festival in Bottoms) leads this dark comedydrama from Canadian writer/ director Ally Pankiw. Sennott plays Sam, an aspiring stand-up comedian and au pair whose recovery from past trauma coincides with the search for a missing girl she used to nanny for. As she decides whether to join the search efforts, Sam must come to terms with her own PTSD. Yes, this is billed as a comedy-drama, but it sounds like pretty serious stuff to us.

BOTTOMS

Teen sex comedies are a perennial favorite, and Bottoms seems poised to put a new slant on a timeworn but still often funny cinematic trope. Written and directed by Emma Seligman (Shiva Baby), the film follows two unpopular girls (Rachel Sennott and Ayo Edebiri), both in their senior year, who launch a fight club in school in order to impress cheerleaders in the hopes of hooking up with them. The goal: to have sex before graduating from high school. A queer spin on the narrative of high schoolers looking to leave their virginity behind, Bottoms takes a page from Booksmart and Superbad

FLAMIN’ HOT

Directed by Eva Longoria (Desperate Housewives) in her feature debut behind the camera, Flamin’ Hot tells the true story of Richard Montañez, a janitor working at the Frito-Lay food manufacturing conglomerate who claimed to have invented the popular Flamin’ Hot Cheetos flavor on his own. Whether his claim is true or not (and it has been disputed), his rise through the ranks from laborer to marketing executive—and link to the Latino/a community—seems poised to be an inspirational story. Jesse Garcia, recently seen in Michael Bay’s Ambulance, stars as Montañez, with support from Dennis Haysbert and Tony Shalhoub.

SCRAMBLED

Writer and actor Leah McKendrick returns to SXSW (where her thriller M.F.A., which she wrote and starred in, won a Grand Jury Prize a few years back) with her feature directorial debut, which she has also penned and is starring in. This time out, she ventures into rom-com territory as a woman named Nellie Robinson who watches everyone in her life getting married and decides to freeze her eggs as the dating scene around her provides little hope for a meaningful relationship. Yvonne Strahovski, Clancy Brown, and June Diane Raphael also turn up during the potentially funny/poignant proceedings.

SELF RELIANCE

PROBLEMISTA

Problemista is the writing and directing debut from breakout Saturday Night Live writer Julio Torres, who also stars in the film as Alejandro, a toy designer from El Salvador who has landed in New York City and aspires to bring his unusual designs to life. But he runs up against the immigration system when his work visa expires, forcing him to take a job with an eccentric outcast from the art world in order to stay in the country and hopefully fulfill his dreams. That art-world oddball is played by Tilda Swinton, adding to her ever-growing collection of offbeat performances, and the movie, billed as a “surreal adventure through the equally treacherous worlds of NYC and the U.S. Immigration system,” also features Isabella Rossellini (Blue Velvet) and RZA (The Man with the Iron Fists) in its eclectic cast. This is a new release from A24, the studio that scored big time last year with Everything Everywhere All at Once and started the buzz for that film right at this same festival (the company also premiered two other acclaimed films at the fest last year: X and Bodies Bodies Bodies). We’ll see if Problemista can work that magic again and provide a launching pad for Torres as a creative feature film force.

Actor Jake Johnson, known around these parts from his work in Jurassic World and Spider-Man: Into the Spider-Verse, makes his feature directing and writing debut with this black comedy about a man who participates for $1 million in a game in which hunters try to kill him. Now he just has to convince his family and friends the game is real—a tough sell since the assassins only attack when he’s alone. The cast includes Johnson himself, as well as Wayne Brady, Anna Kendrick, Andy Samberg, Natalie Morales, and the great Christopher Lloyd.

M I DN I G H T E R S

LATE NIGHT WITH THE DEVIL

BROOKLYN 45

Filmmaker Ted Geoghegan made his feature directorial debut in 2015 with rural horror We Are Still Here, following it up in 2017 with the equally acclaimed —and bloody—historical thriller Mohawk. Geoghegan, whose previous films were set in 1979 and 1814, respectively, sets his latest effort in December 1945, as five lifelong friends, military veterans all, assemble in a Brooklyn brownstone to support their troubled host and deal with their own post-war trauma. But when their host impulsively starts a séance, the ghosts of the past are called forth. Expect lots of blood and the kinds of eerie specters that Geoghegan was so good at deploying in We Are Still Here. The cast includes Anne Ramsay (The Taking of Deborah Logan), indie horror auteur Larry Fessenden (Jakob’s Wife), Jeremy Holm (Mr. Robot), and Kristina Klebe (Two Witches).

TALK TO ME

There is something genuinely unsettling about found-footage films that purport to be archival recordings of real broadcasts. This new effort from the writing/ directing team of Cameron and Colin Cairnes (100 Bloody Acres) takes it a step further by setting their tale on a 1977 late-night TV talk show. Ratings-challenged host Jack Delroy (The Suicide Squad’s David Dastmalchian) plans a Halloween special, only to unwittingly unleash evil forces into living rooms everywhere.

THE WRATH OF BECKY

“After living off the grid for two years, Becky finds herself going toe to toe against Darryl, the leader of a fascist organization, on the eve of an organized attack.” That’s the concise plot description of this indie thriller, directed and co-written by Matt Angel (Hypnotic, The Open House) and starring Lulu Wilson and Seann William Scott.

This buzzed-about horror has already made its mark at Sundance, and now Australian twin filmmakers Daniel and Michael Philippou bring their vision of a new genre franchise to Austin. The Lord of the Rings veteran Miranda Otto is the only well-known name in a cast of largely unfamiliar youngsters, as a group of friends discovers they can use an embalmed hand to open the door to the spirit world. Of course, opening that door leads to terrible consequences as supernatural forces are unleashed in the world of the living. The Philippous have already been praised for injecting fresh energy into a well-worn idea, and it shouldn’t surprise anyone that A24—home of recent horror groundbreakers like The Witch, Hereditary, and X—has picked up the U.S. rights to the film.

I t’s a Wo n de r f u l “L i f e D ay”

worked on it, and it was just another thing that came through. If you were 45 when this came out, you didn’t care about Star Wars, and they didn’t.”

This is probably the most important insight in the documentary: it’s not that the Star Wars Holiday Special is all that strange; the phenomenon of Star Wars itself is strange. Since 1977, the first Star Wars film has been elevated by critics and fans into some kind of untouchable pop culture masterpiece. But one year after the movie came out, it was just a movie.

In 1978, Star Wars was almost ruined. Or was it? A Disturbance in the Force sets the record straight.

On November 17, 1978, Princess Leia sang these lyrics to the melody of John Williams’ Star Wars theme: “We celebrate a day of peace/A day of harmony/A day of joy we can all share/Together joyously.” It’s a rough moment in Star Wars history, and certainly, even the children of 1978 were uneasy about putting words to that iconic music. Chewbacca was wearing a red robe, Luke Skywalker had a haircut that didn’t make him seem like Luke at all, and Han Solo looked like he wanted to be somewhere else. This was the ending of the Star Wars Holiday Special—a bizarre TV event that aired only once. And, when Star Wars blossomed into a lasting and serious cultural phenomenon, George Lucas tried to make it seem like it had never happened.

“You can’t blame the people who were just doing their jobs,” says Jeremy Coon. He’s the co-director of a new documentary called A Disturbance in the Force: How the Star Wars Holiday Special Happened. Along with Steve Kozak, Coon keeps this documentary away from any kind of fan outrage and firmly focuses on answering that question in the doc’s subtitle: How?

A Disturbance in the Force doesn’t aim so much to debunk the myths surrounding the holiday special, but to push back against the collective mood. The delightful film—which

debuts at SXSW—isn’t trying to make some outrageous claim that the holiday special is somehow secretly brilliant. “I don’t find it very enjoyable to watch,” Coon says with a laugh.

“When I first set off to do this, I was like, ‘Oh Disney, those jerks, they should release this.’ But I’ve actually

For those of us who came of age in an era in which Star Wars has always been on VHS or DVD, it’s important to remember things used to feel very different. If something was on TV and nobody was around to record it, it basically didn’t happen. For Coon, this kind of ephemera is of specific interest. Along with Tim Skousen, he directed Raiders!, the 2015 doc that told the story of a 1989 shot-for-shot fan recreation of the first Indiana Jones film.

“I like the idea of going back in the past,” Coon says. “There’s so much video out there that’s just forgotten. Until 2002, I thought the Star Wars Holiday Special was an urban myth because it’s so hard to find.”

The legacy of the Star Wars Holiday Special is still with us. As Coon points out, the special includes a wonderful cartoon interlude that introduces Boba Fett a full three years before his first appearance in The Empire Strikes Back. In fact, the rifle used by the title character in The Mandalorian season one was a direct homage to Boba Fett’s weapon in the holiday special, even if George Lucas didn’t care.

come around to the other side. I understand their position because you can’t watch the special out of context.”

That context is 1970s TV. In order to understand the holiday special, A Disturbance in the Force places it in the correct pantheon of its peers: other weird ’70s random TV specials, such as Wayne Newton at SeaWorld or The Brady Bunch Variety Show

“The Star Wars Holiday Special was a product of its time,” Coons explains. “We tracked down almost everyone who worked on it who’s still alive. And a lot of them were older when they

Hilariously, A Disturbance in the Force reminds us that the creator of Star Wars doesn’t even want to talk about the good things from the holiday special. But even if Lucas wants to pretend like he had nothing to do with it, there’s a paper trail proving that’s not true, including a five-page treatment written by Lucas himself.

“I feel for him because at the time he’s in his 30s and he’s made the biggest film ever,” Coon explains. “He’s getting these things thrown at him, and he’s getting ready to do The Empire Strikes Back. You can’t really blame him.”

UNTIL 2002, I THOUGHT THE STAR WARS HOLIDAY SPECIAL WAS AN URBAN MYTH BECAUSE IT’S SO HARD TO FIND.”

ANOTHER BODY

The rise of the scarily convincing, AI-led technology known as deepfakes—otherwise known as “the 21st century’s answer to Photoshop”— is all well and good when it’s used for amusing viral videos of, say, Jim Carrey replacing Jack Nicholson in The Shining. But what about when it’s used for something more sinister? That’s the concept behind Sophie Compton and Reuben Hamlyn’s Another Body, which documents a college student’s fight for justice after discovering deepfake pornography of herself circulating on the internet.

THE NEW AMERICANS: GAMING A REVOLUTION

Sundance award-winning documentary veteran Ondi Timoner (director of celebrated music wars doc Dig! and dot.com dissection We Live in Public) orchestrates this self-styled “meme-ified punk rock manifesto,” which examines how online culture and social media have fanned the flames of modern “revolutions” such as the GameStop squeeze and the Jan. 6 insurrection. Timoner promises a “wild meme-driven ride” that asks the important (and terrifying) question: Are algorithms amplifying our worst impulses and threatening the very foundations of our democracy?

BEING MARY TYLER MOORE

American sweetheart Mary Tyler Moore is the subject of this definitive doc from director James Adolphus, who uses impressive access to the actor and advocate’s friends, family, and colleagues—alongside archival footage—to paint a picture of a complex and compassionate icon. The Emmy-winning and Oscar-nominated star of The Mary Tyler Moore Show and Ordinary People, Moore revolutionized the portrayal of women in media and redefined their roles in Hollywood—and the significance of her on and off-screen work is celebrated here.

QUEENDOM

Sundance-backed filmmaker Agniia Galdanova brings us a fascinating and relevant portrait of Russian artist Gena Marvin, whose bold, surreal work has taken TikTok by storm and brought queer activism to Moscow. Born and raised on the harsh streets of Magadan, a small town in Russia, 21-year-old Gena now stages radical public performance art that brings attention to LGBTQ+ harassment in her notoriously homophobic homeland. But her bravery comes at a price—one that puts her life in danger.

JOIN OR DIE

What’s the best way to fix America’s current democratic crisis? Joining a club, reckons Robert Putnam. The legendary scientist behind the seminal “Bowling Alone” research, Putnam explores the concept of social capital and the dangers of its decline in this glossy documentary, which looks at how a focus on community and “connections with other people” can make democracy work again. Directed by brother/sister duo Pete and Rebecca Davis, Join or Die also features big names like Hillary Clinton and Pete Buttigieg.

RIDERS ON THE STORM

Sporting glory meets political turmoil in this Afghanistan-set doc, which captures a pivotal moment in the country’s recent history through the lens of buzkashi: an ancient and celebrated national game in which teams of horse riders battle for control of—and to score goals with—a headless goat carcass. The film follows horseman Khaiber Akbarzada, who rises through the ranks to become one of the sport’s star players. Success proves to be a doubleedged sword, though, as Akbarzada’s new-found fame makes him a target for the Taliban militants who are about to seize control. Jason Motlagh, who co-directed with Mark Oltmanns, says that they wanted to bring the “raw intensity” of buzkashi to the screen and a unique insight into a rarely seen subculture that “inspires hope and awe among a war-weary population.”

YOU CAN CALL ME BILL

Billed (no pun intended) as an “intimate portrait of William Shatner’s personal journey across nine decades of a boldly lived and fully realized life,” this love letter to the man behind Captain James T. Kirk is one of the most anticipated docs at the fest. In fact, so beloved is the Star Trek and spoken word legend that this crowdfunded project made $790,000 in just four days, turning thousands of fans into shareholders.

BLACK BARBIE: A DOCUMENTARY

With the release of Greta Gerwig’s big-budget Barbie movie, starring Ryan Gosling and Margot Robbie, scheduled for this summer, the iconic figure is back in the spotlight. So what better time for someone to tell the story behind the first Black Barbie? That someone is director Lagueria Davis, whose charismatic aunt, Beulah Mae Mitchell, worked on the Mattel assembly line in the ’70s and asked her boss, Barbie creator Ruth Handler, “Why isn’t there a doll that looks like me?” Davis uses her aunt’s story to anchor a broader look at the importance of representation.

From fronting one of the world’s biggest sci-fi franchises to making a literal—and historic—trip to space last year, the “91-years-young” actor’s stellar experience and maverick personality make him the perfect subject. So why has it taken so long? Shatner says he turned down numerous offers because they weren’t the “right fit,” but production company Legion M’s funding model won him over. “Fans have been responsible for my career,” he says. “It only seems right that they should own this doc.”

The Nun and The Machine

landscape. “How close are we now to a viable artificial intelligence saying it’s Jesus?” Lindelof asks, citing the rise of OpenAI bots like ChatGPT. “It could be programmed really well, incorporating all scripture to guide you. What would Jesus do? He’ll tell you, and that’s scary.”

When working on Peacock’s sci-fi series Mrs. Davis, lead Betty Gilpin (GLOW) never quite got used to explaining the plot to guest actors and extras.

“I would try to summarize what the whole show was about every time and be like, ‘They didn’t tell you anything? Okay. It’s about, well, oh God….’”

Gilpin even recalls performing an entire scene opposite an actress, only to discover she had a fundamental misunderstanding about who, or what, her character was. “She was amazing. And then she was like, ‘Wow, that was fun! That was my first time playing a hologram.’ I was like, ‘Oh, you’re not a hologram. You’re a real person.’”

Mrs. Davis is an ambitious and, at times, confusing television endeavor. Thankfully one of its creators, Damon Lindelof (Lost, Watchmen), has a simple enough elevator pitch: “Nun vs. A.I.: Who ya got?”

The nun in question is not Mrs. Davis but rather Sister Simone (Gilpin). Plagued by a (literally) painful childhood, Simone donned the nun’s habit to live a life of quiet contemplation—honoring God and making jam preserves with her convent in the American desert.

While Simone secluded herself from society, humanity found itself a new Alexa-like artificial intelligence to fall in love with. The algorithmic entity, known by the matronly moniker “Mrs. Davis,” claims to have solved all of humanity’s problems. War is over, everyone is fed, and all that’s left is to settle into a life of rest and relaxation —provided you keep your eye out for Mrs. Davis’s next “quest” that could earn you your “wings.”

For as high-concept as that Deus vs. Machina premise already sounds, that’s only scratching the surface of the madness Mrs. Davis has in store for viewers. The series’ first two episodes incorporate enormous twists seemingly every minute, Las Vegas showman-style magic (Teller of Penn & Teller served as a consultant on the show), and even an unexpected Western-meets-slapstick tone.

“It’s ‘No Country for Old Looney Tunes’ in the best way,” Gilpin says.

Through it all, however, is the central theme of science vs. faith. Faith has been a consistent presence through Lindelof’s previous work like Lost, The Leftovers, and Watchmen. But never has it loomed so large as it does here. Part of that is undoubtedly due to the changing techno-sociological

Perhaps there’s another reason for Mrs. Davis’s faithful leanings as well. The show’s creation is a story of divine intervention—three specific divine interventions, in fact.

The first was the meeting of two like-minded writers. Coming off the success of HBO’s Watchmen, Lindelof concluded that he needed a break from the arduous task of showrunning. “I don’t want to run shows anymore,” he says. “Other careers, like athletes, get to retire and move into coaching positions. I felt like it would be really exciting to partner with someone who took the lead position.”

The search for a partner led him to a script from Tara Hernandez. As a longtime scribe for The Big Bang Theory and Young Sheldon, Hernandez had precisely the nuts-and-bolts television experience Lindelof sought. And she had an excellent spec script to boot.

“[Hernandez’s script] was this out-there, post-apocalyptic concept, but from a much different perspective,” Lindelof says. “It was about nuns who are taking care of these kids who have these dates stamped on the bottom of their feet. It was funny and weird.”

After the two teamed up, the second divine intervention arrived, and it might be the one you’re expecting….

Betty Gilpin returns to streaming television as a nun trying to take down an artificial intelligence. And that’s just the tip of the Mrs. Davis iceberg.

BY ALEC BOJALAD

“IT WAS ‘NUN PLUS A.I.’ THAT WAS THE VERITABLE CHOCOLATE AND PEANUT BUTTER THAT BECAME MRS. DAVIS.”

— DAMON LINDELOF

“While this is not a pandemic show, creating TV within that time certainly influenced the process,” Hernandez says. When the Covid-19 pandemic shut down Hollywood writers’ rooms, Lindelof and Hernandez enjoyed long phone conversations about their craft as they walked around their respective neighborhoods. That’s where the idea of an all-powerful A.I. began to seep into their discussions.

“If you can remember that early stage [of the pandemic], we had no clue what to do, “Hernandez says. “So that became ‘what if we had this artificial intelligence?’ What if we had something that could just tell us what to do and guide us through this very confusing time in our lives.”

“It was ‘nun plus A.I.’ That was the veritable chocolate and peanut butter that became Mrs. Davis,” Lindelof adds.

And then, finally: the third intervention. With the show’s titular character not corporeal or tangible in a conventional sense, so much of the plot’s success lies solely on Simone’s shoulders. Finding the nun whose faith would never be shaken in this titanic

battle between faith and technology would be key, and the duo knew exactly who they wanted. Having worked with Gilpin previously on The Hunt (a film that became a political lightning rod and then a Covid release

Davis got its Simone. “It’s everything I’ve ever wanted,” Gilpin says of the role. “I’ve been told to tone down my ‘slapstickness’ for 30 goddamn years. It was very interesting to play scenes where the stakes were as high as life or death, and also there were pratfalls.”

Three acts of divine intervention brought Mrs. Davis to life, but will it require more to find an audience and receive a second season? As for the latter, both Hernandez and Lindelof promise that the eight episodes that make up season one constitute a “closed loop” with a conclusive finale. The concept of a season two will be a mystery to confront at a later date.

casualty), Lindelof was certain she was the right fit for the role.

“Betty just goes all the way every time. You have to cast someone who believes. And I imagine little Betty watching Peter Pan clapping to save Tinkerbell, screaming at the top of her lungs and standing on her seat. She’s just that person.”

Gilpin was already contracted to Netflix’s wrestling drama GLOW, but after that show was canceled, Mrs.

As for the former question, Gilpin is confident that Mrs. Davis has the goods. “It doesn’t stop until the last episode,” she says. “I can’t believe all the things that happen in this series. I can’t believe it’s only eight episodes. Whatever the good version of PTSD flashbacks are, I’m having them now, and it’s wild.”

Mrs. Davis premieres its first four episodes Thursday, April 20 on Peacock.

IT’S ‘NO COUNTRY FOR OLD LOONEY TUNES’ IN THE BEST WAY.”

— BETTY GILPIN

LUCKY HANK

Few television actors have had more eclectic careers than Bob Odenkirk. First known as a comedic writer and performer for Saturday Night Live and Mr. Show with Bob and David, for years, Odenkirk seemed content to fulfill the role of Comedy Professor Emeritus… but then came a call from Albuquerque. Roughly 10 seasons of Breaking Bad and Better Call Saul later, Odenkirk’s Saul Goodman has reached TV icon status. What does the actor have planned for his AMC follow-up, then? A story of a mid-life crisis, naturally. Based on Richard Russo’s 1997 novel Straight Man, Lucky Hank will end Odenkirk’s brief TV hiatus as he plays William Henry Devereaux Jr., the chairman of the English department in a badly underfunded college. Armed with a gray beard and a scowl, Odenkirk will look to continue his legacy of portraying difficult TV men alongside co-stars Mireille Enos, Olivia Scott Welch, Diedrich Bader, Suzanne Cryer, Sara Amini, and Cedric Yarbrough.

A SMALL LIGHT

Holocaust survivor, political activist, and renowned author Elie Wiesel once put forward that “We must always take sides. Neutrality helps the oppressor, never the victim.” It’s hard to think of someone who more embodies the spirit of Wiesel’s quote than Miep Gies. Known to many schoolchildren across the world from The Diary of Anne Frank, Gies was an Austria-born Dutch citizen who helped hide the Frank family and four other Dutch Jews during the Nazi occupation of the Netherlands. Now, Gies’ story of courage and empathy will be told in A Small Light, an eight-part limited series coming to National Geographic and Disney+ this spring. Bel Powley stars as the young, carefree woman who will soon have to harden herself into the Frank family’s protector. Through it all, the series will challenge viewers to imagine what they would do if they faced such dark, difficult times.

I’M A VIRGO

With his 2018 black comedic satire Sorry to Bother You, acclaimed writer/ director Boots Riley opted to save the magical realism for the film’s third act. With his latest series, I’m A Virgo, Riley is putting it all out there. Jharrel Jerome (When They See Us) plays a 13-foot-tall young Black man from Oakland, California in another surreal

RABBIT HOLE

It’s been too long since television was blessed with “The Voice”…. You know: the gravelly one that emerges from Kiefer Sutherland’s vocal cords as he grapples with all manner of duplicity and trauma. We got to hear it through nine seasons of spy thriller 24 and three seasons of political thriller Designated Survivor. Now, Sutherland is putting his unnerving growl to use once again with Prime Video’s Rabbit Hole, in which he plays John Weir—a private espionage contractor for the corporate world. But when Weir is framed for murder, he must find and confront the Illuminati-like forces of power and influence that set him up, kickstarting a fight for democracy… and survival.

exploration of late-stage capitalism, race in America, and how they often violently intersect. In addition to the up-and-coming Jerome, the series stars Mike Epps, Carmen Ejogo, and an almost unrecognizable Walton Goggins. Though its ideas are big, I’m a Virgo boasts a lead character with an even bigger heart—metaphorically and literally.

Like a Virgo

Musician, activist, and Sorry to Bother You director Boots Riley comes to SXSW with I’m a Virgo.

Boots Riley is not afraid to lead with magical realism. When the activist and lead vocalist of the influential hip-hop band The Coup first stepped behind the camera to write and direct 2018’s Sorry to Bother You, he presented audiences with something new right away. That film’s premise of Black telemarketer Cassius Green (Lakeith Stanfield) learning to adopt his “white voice” to put customers at ease quickly gave way to something even stranger, angrier, and yes: more political.

Riley is seeking to pull off a similar trick with his next project, I’m a Virgo. The Prime Video series, starring Jharrel Jerome, has an equally ambitious premise: it’s about a 13-foot-tall Black man in Oakland, who’s a Virgo. But like Sorry to Bother You before it, that’s just a jumping-off point for all the surreal social commentary to come. Before I’m a Virgo makes its premiere at SXSW, Den of Geek talked with Riley about what he describes as the “second track” of his filmmaking era.

THE BEST TV SHOWS SET IN TEXAS

Some of television’s best offerings hail from deep in the heart of Texas.

Where did this idea come from?

I had a general idea: “13-foot-tall Black man in Oakland.” That was my pitch. Then I sat down to write. Obviously, it ends up being about a lot more than that. And it’s called I’m a Virgo because that’s what he thinks is important about himself, even though nobody else would come up with that in their top five important things about him.

When did the zodiac idea come in?

It started forming as I was thinking about writing the script. If I told you what the original title of the show was, it would reveal so much about where the show goes. But the whole point is that you’re this giant, people are thinking about you in the context of

what they expect, what they’re afraid of, what they hope for, but they’re not thinking about you and how you feel.

Do you personally feel any kind of way about the zodiac?

I’ve been thinking about what I should say about this since it was coming up. I’ll just say this: our character does care about it, and that’s about it. It’s not something that I really subscribe to, but it’s something that I know is a part of human culture. I also thought, marketing-wise, we’ll get one-twelfth of the population watching the show. It’s like when people used to make songs for holidays: “It’s Thanksgiving, play this song every Thanksgiving.” That was this marketing trick.

⊳ FRIDAY NIGHT LIGHTS: High school football is king in Texas. And the Austin-based Friday Night Lights is the king of sports television.

What was it like assembling the cast?

We’ve got Jharrel Jerome, Mike Epps, Walton Goggins, Carmen Ejogo, Brett Gray, Olivia Washington, Kara Young, and then we’ve got a bunch of cameos that are amazing. I hear all sorts of stories about other productions, but this cast really got along. They hung out. If you were looking for them when we weren’t shooting, they were all hanging out. We lucked out in that way. You can have a movie where rhinos that look like they’re pencil-drawn 2D-style bust through the room, and as long as you believe the character’s reaction to that, you buy it.

What was it like filming with so many practical effects?

It’s more fun to do. We had a forced perspective. A lot of the stuff is just Jharrel closer to the camera with halfscale objects because his character is twice as tall as he is. And then we have puppets. We have all sorts of stuff like that. It’s a lot more fun. You’re looking through the monitor, and what you see is what you’re going to get, as opposed to looking at a sea of green and then being like, “Oh, we’re going to make this look good.”

What do you think it will be like to premiere this at SXSW, which started as a music festival, given your musical origins with The Coup? SXSW is our favorite festival to perform at. Last time we performed there, I think, was 2014, and in five days, we did 20 shows. And none of my band was complaining. My experience of it is that the crowds are rowdier and more fun than other film festivals. That’s how I’m used to going to movies. We used to pick the movie theaters we went to based on the crowd that was going to be there.

I’m a Virgo premieres Saturday, March 11 at 5:45 p.m. at the ZACH Theatre.

⊲ KING OF THE HILL: Mike Judge’s animated show is an ode to the working-class everyman everywhere… but mostly Texas.

LOVE & DEATH

“I’m very attracted to you. Would you be interested in having an affair?”

Candy Montgomery (Elizabeth Olsen) asks Allan Gore (Jesse Plemons) in the closing moments of the first teaser for HBO Max’s Love & Death. If there’s a better introduction to a David E. Kelley-scripted series, we’ve yet to hear it. The prolific TV writer and producer has covered the dark side of the American dream in everything from legal dramas (The Practice) to murder mysteries (Big Little Lies) to psychological thrillers (The Undoing). With his latest project, Love & Death, however, Kelley and his impressive cast are getting right to the heart of it all with a story of small-town true crime. Based on the real-life case of a Wylie, Texas axe-murder, Love & Death stars Olsen, Plemons, Lily Rabe, and Patrick Fugit as a handful of Texans confronting boredom, dissatisfaction, and a fatal attraction in the 1980s.

SWARM

“Murder. Sex. Music. This is not a work of fiction.” Thus reads the enigmatic full synopsis for Prime Video’s Swarm, a new show created by Atlanta mastermind Donald Glover and Janine Nabers, a playwright who contributed a script for Atlanta and was a supervising producer on Watchmen. The series follows Dre (Dominique Fishback), a superfan of a fictional Beyoncélike pop star, as her obsession takes her to dark, unexpected places. Swarm will have many big questions to ask about modern fandom, passion, and art. This is the first project borne from Amazon’s rich overall deal with Glover and also features none other than Malia Obama in its writers’ room.

THE SON: The saga of an 1849 cattle baron turned oil tycoon is as Texas as they come.

THE LEFTOVERS: The second season of Damon Lindelof and Tom Perrotta’s rapture drama takes place in Jarden, a.k.a. Miracle, Texas.

SLIP

Slip tells the story of Mae Cannon (Zoe Lister-Jones), who seems to be in a happy marriage but continues to feel restless and in need of an escape. But whereas most people might just ask their partner for a separation or try to start couples therapy, Mae goes on a journey through parallel universes to find out what she really wants out of life. As she experiences new relationships and other versions of what her life could have been, she realizes that all she wants is to get back to her partner—it turns out that the grass really isn’t greener on the other side of the multiverse.

DEMASCUS

Set in a not-too-distant future where therapy has been fully digitized, Demascus follows its title character (played by Okieriete Onaodowan) as he struggles to define himself as a 33-year-old Black man. This series will detail his journey of self-discovery as he learns how to balance his “enlightened” and educated self with his “hood” self through this new form of therapy. Demascus’ question of “Who am I?” is likely something most of us can relate to, and though his journey is a personal one, it evokes a feeling a lot of people have at different stages of their life. Unfortunately, Demascus was preemptively canceled by AMC and doesn’t currently have a place where it will stream or air after it premieres at SXSW. But hopefully, this genre-bending series will find a new home soon.

BEEF

Beef is not about Steven Yeun and Ali Wong starting a cattle ranch together (though we’d watch that, too), but is instead about the explosive aftermath of an incident between their characters, Danny and Amy. The “beef” begins with road rage but won’t take long to escalate over the course of the 10-episode series, as we learn about the pressures of their daily lives and what led them to take this singular moment so seriously. Beef is a dark comedy full of twists and turns and surprisingly moving moments that let Yeun and Wong truly shine.

AUSTIN CITY LIMITS: The longestrunning music program in television history, PBS’s Austin City Limits has now expanded well past its Texas origins.

REBA: Country star Reba McEntire’s self-titled show was set in the northern suburbs of Houston.

⊳ PREACHER: Only one state is big enough to house this adaptation of Garth Ennis’s comic.

AMERICAN BORN CHINESE

This series is more than just a reunion for Everything Everywhere All At Once stars Ke Huy Quan, Michelle Yeoh, and Stephanie Hsu, though fans of the movie will likely also connect with the show’s themes of identity, family, and belonging. American Born Chinese is an action-packed coming-of-age story that follows Jin Wang (Ben Wang) as he struggles with his identity. But not only does Jin have to contend with the messiness and drama of high school and discovering who he is as a person; he also becomes entangled in a battle between the gods of Chinese mythology after befriending a foreign exchange student from Taiwan.

SHATTER BELT

In his follow-up to the 2013 cult-classic Coherence, James Ward Byrkit offers a collection of interconnected stories that look at the unsettling, surreal, and mind-bending aspects of reality. Starring actors like Abigail Spencer and Patton Oswalt, Shatter Belt is an anthology series that dives into the mysteries of consciousness, free will, desire, and so much more across its episodes. Topics covered include AI gone wrong, an apple that breaks the fabric of reality at a tech start-up, and a restaurant whose food reveals the true desires of its patrons.

THE BIG DOOR PRIZE

What would you do if you found a machine that could tell you your purpose in life? Would you eagerly accept the answers it gave or skeptically wonder how it could know so much about you and your potential? In The Big Door Prize, the residents of a small town have to ask themselves these same questions when a mysterious machine called “Morpho” appears within the town’s general store, promising to reveal each person’s true potential in life. Based on M.O. Walsh’s novel of the same name, The Big Door Prize is a heartfelt look at humanity and how even just the possibility of a new life can inspire both small and large changes within a person, such as quitting your job as a doctor to become a magician, or simply deciding to make behavioral changes to maintain your relationship. Normally this is the kind of thing that you might expect from an episode of Black Mirror, but it seems as though this series approaches this concept with wonder and curiosity rather than fear and terror.

WALKER, TEXAS RANGER: Well, it’s all right there in the name, isn’t it? Chuck Norris starred as a member of the famed Texas Rangers.

DALLAS: This prime-time soap opera had everyone asking, “Who shot J.R.?”

UNDONE: This rotoscoped animated drama explores the nature of time from its San Antonio setting.

Don’t Call It a Gimmick

Brooklyn’s Jobber pairs muscular riffs and sugary hooks with songwriting inspired by the world of professional wrestling.

Does your 9-to-5 ever make you feel like a jobber?

In the world of professional wrestling, a jobber is someone who frequently and deliberately loses matches to help push another performer’s popularity. Usually, the anonymous jobber isn’t just meant to lose but to get absolutely squashed by the bigger name. Being a jobber in the hard-hitting world of professional wrestling isn’t all that glamorous, but really, does it sound worse than being a jobber in a normal office setting, where the physical beatings are replaced with spiritual and emotional ones?

The parallels of being a bottomof-the-card wrestler and an underappreciated gig worker sparked something in Kate Meizner, a Brooklyn-based songwriter who has

toured as a guitarist with Snail Mail and played in bands such as The Glow, Potty Mouth, and Hellrazor.

“I had a lot of really crappy jobs,” Meizner tells Den of Geek. “Even the jobs that are supposed to be good, I still saw a lot of the same bullshit, like people not paying you for your labor. Wage theft. Unfair treatment in the office, especially women and people of color getting treated like garbage. Contract workers being exploited by whoever they’re contracting with, without any health insurance. All these things I picked up, just being in the workforce for so long.”

With these experiences on her mind, Meizner started her new band Jobber, featuring former Ovlov and Speedy Ortiz drummer Mike Falcone, guitarist Michael Julius, and bassist Maggie Toth. The band’s sound pulls

BURIED: When a wrestler continuously loses and therefore loses their appeal.

from the greatest aspects of ’90s alternative, from sugary, synth-fueled hooks reminiscent of The Rentals, to muscular, heavy riffs akin to bands like Hum and Helmet. Conceptually, Jobber uses professional wrestling as a jumping-off point, addressing topics like labor issues and finding parallels between the worlds of touring musicians and sports entertainers.

“Wrestlers started speaking openly about the havoc that the lifestyle was wreaking on their physical and mental health and describing being overnight in a car for six hours, eating Wendy’s every night,” Meizner explains. “I saw the exact same

The wrestling business is full of unique terminology and jargon. To help decipher some of Jobber’s lyrics, here’s a look at some key phrases.

BABYFACE (OR FACE): The good guy or hero. The one fans are behind.

HEAT: When a wrestler generates boos or a strong, negative reaction from the crowd. Can also describe when two wrestlers or promoters have real-life issues.

HEEL

The bad guy or villain. The antagonist that is generating “heat.”

situation I was in. I was like, ‘Holy moly, this is really similar.’”

Meizner had a passing interest in wrestling as a kid, mostly because it was something her parents forbade her from watching. She was reintroduced as an adult when a bandmate from a past project was working as a music supervisor for World Wrestling Entertainment.

KAYFABE: The portrayal of staged events within the wrestling industry as genuine. Breaking kayfabe means acknowledging that an event or persona is not real.

“It just hooked me,” Meizner says. “I’m really drawn to any form of entertainment that is campy and involves a spectacle, but there’s also a lot to unpack about it.”

Finding the similarities between her life as a musician and a professional wrestler—including the potential of performing for an empty venue or even an openly hostile crowd—isn’t

TWEENER: Wrestler who is neither a face nor a heel.

TURN: When a wrestler switches from heel to babyface or from babyface to heel.

SHOOT: When a wrestler goes off-script, either by saying something unscripted or performing a legitimate fighting move.

the only thing that drew Meizner to exploring wrestling as a metaphor. Meizner earnestly believes that professional wrestling can be a sort of funhouse mirror reflection of life.

“[Wrestling] taps into a lot of the common emotions and motivations that people experience on a day-today basis,” Meizner says. “So it’s really easy to connect to emotionally for me, and I feel like a lot of the things, even in the storylines, can be relatable.”

Song titles like “Entrance Theme,” “Heel Turn,” and “Hell in a Cell,” also the title of their 2022 EP, play into the wrestling association hard, but while the lyrics may use some jargon familiar to fans of the squared circle, anyone can relate to themes about exploitation, personal accountability, and frustration. And anyone worried that Jobber will burn through the concept too quickly can rest easy.

“I’ve already written most of our follow-up full-length,” Meizner confirms. “I’m starting to explore other topics still tied into the wrestling realm, but more related to the interpersonal motivations and storylines and sort of extrapolating those into real-life situations. There’s a lot of ground to cover.”

Even the wrestling agnostic can appreciate a rich metaphor, but die hard wrestling fans should know this isn’t a cheap gimmick. Hardcore legend Mick Foley himself kicks off Hell in a Cell with a signature promo against the band, as fine a cred signifier as any.

While Meizner and Jobber are coming to SXSW as scrappy underdogs still working full-time jobs, it’s clear from one listen of Hell in a Cell that this is a band with heavyweight aspirations, with the wit and tunes to knock out any doubters.

WORK

Something that is scripted to happen. The opposite of a shoot.

WORKED SHOOT: Something that is scripted to give the appearance that it is actually “real.” Blending the lines of fact and fiction and exposing the inner workings.

[WRESTLING] TAPS IN TO A LOT OF THE COMMON EMOTIONS AND MOTIVATIONS THAT PEOPLE EXPERIENCE ON A DAY-TO-DAY BASIS”

Cascadia Supernova

Enumclaw are the buzziest band in the ’90s alternative revival, with the ambition to match.

Aramis Johnson is ready for festivals. The Enumclaw frontman and songwriter has noticed the size of the audience growing at his band’s shows, but he’s eager to adapt to bigger stages and audiences that may not be familiar with the Northwest’s buzziest alternative band.

“We still haven’t played enough festivals to grasp it,” Johnson says. “You have to figure out a way to translate what you do to a bigger stage and be able to leave an impression, which in this coming year, I’m excited to have the opportunity to try to get better at.”

That said, Johnson doesn’t count SXSW as one of those opportunities.

“It’s not like a real music festival,” Johnson says. “It’s just like a big week of showcases. It’s not a show. It’s just all these industry folks that get to stand around and decide if you’re gonna be the cool band or not.”

Beyond the band’s accessible hooks, anthemic songs, and heartfelt lyricism, quotes like that are why Enumclaw is getting the “cool band” treatment from music journalists; they’re unafraid to state their ambitions and say what’s on their mind.

The Tacoma, Washington-based band, comprised of Johnson, guitarist Nathan Cornell, drummer LaDaniel

Gipson, and bassist Eli Edwards (Johnson’s younger brother) quickly earned music blog attention by saying they wanted to be as big as Drake and Oasis, and they cheekily included the phrase “Best band since Oasis” on recent merch. The Oasis goalpost is fitting, not just because Johnson and co. have proven adept at delivering Gallagher brother-level pull quotes, but because Enumclaw are trying to create “Wonderwall”-sized smashes.

“There’s a lot of artists that come up now that look cool, and their music sounds cool. But there’s no song,”

bemoans Johnson “It’s all production and a vibe. The hooks aren’t there. There are not big songs like there used to be. I want to lead the charge making music that resonates with people.”

Enumclaw certainly are resonating with rock fans. Their 2022 debut LP Save the Baby improved upon their jangly, fuzzed-out 2021 “Jimbo Demo” EP with cathartic, simply-structured songs that are immediate yet convey their working-class background and personal struggles. Johnson’s tunes have an endearing everyman quality, even when he’s pulling from specific

personal experience, belied by the fact that Johnson only started playing guitar and writing music in 2019.

Enumclaw find themselves lumped into a burgeoning ’90s alt-rock revival, but the retro signifier is fine by Johnson. “I’m not mad at it. If that helps people get into it, I’m down for it,” he says, pausing before finishing his thought. “I just don’t like being called an emo band. Everything else is fair game.”

Though Enumclaw have the stadium-sized ambitions of those ’90s stalwarts, they still have to live with the realities of being a mid-sized band in 2023. In a post-pandemic world, touring is less lucrative than ever, with many artists going into the red just to reach fans at live gigs. Being able to maintain a life back home while on the road compounds things. There’s also more entertainment competing for people’s attention than ever, and self-promotion is a necessary evil that can distract from the goal of creating music. “Kurt Cobain never had to say ‘link in my bio,’” Johnson laughs.

Trading in mystique to reach a wider audience is something Johnson thinks about often, longing for the days in which artists could feel larger than life simply due to our limited access to them. Trying to decide how often to interact with social media tools like TikTok can be tricky.

“I could make myself look dumb and make a TikTok every day and overexpose myself for no reason,” Johnson says, “when maybe tomorrow, some kid in Iowa makes a TikTok with one of our songs and absolutely changes everything.”

Still, choosing how to promote your buzzy band is a good problem to have. Enumclaw have a slew of U.S. and European shows booked through spring, including stops at London Calling and the U.K.’s Wide Awake Festival, and Johnson is already pulling together the follow-up to Save the Baby How’s it shaping up?

“First and foremost, better songs. Catchier songs. Just turning up the energy a bit more,” Johnson says with excitement in his voice.

His candidness, and Enumclaw’s confidence, suggest that they’ll reach supernova status in no time.

MUST-SEESHOWCASES

FORCEFIELD PR SHOWCASE

13th Floor | 711 Red River Street

Fans of dream pop, funk-y disco, and Twin Peakschanneling gothic production styles look no further. Forcefield PR’s showcase on Monday at the 13th Floor (formerly known as Beerland, for you SXSW veterans) is a can’t-miss event—the perfect way to kick off your music conference: high energy yet relaxed, stacked with some of the greatest instrumentalists in U.S. DIY.

TROPICLUB BY LET’S

GIG BRAZIL & LATINXT FESTIVAL

Speakeasy | 412 Congress Avenue

Venture North on Tuesday and hit up Speakeasy, the massive three-floor club, for Tropiclub night, which will showcase the latest and greatest South American music. Brazilian eclecticists Tuyo headline a bill that includes pop Barranquilleros Paraísos, Guatemalan activist Sara Curruchich, and Rio’s bossa nova Rogê.

TIGER BOMB PROMO SHOWCASE

Velveeta Room | 521 East 6th Street

Tiger Bomb Promo is a non-commercial radio promotion firm based in Austin, and this year, they are really delivering at the Velveeta Room…. Need more psychedelic vibraphones in your life? That’s all koleżanka. Post-shoegaze alt-rock? That’s New York’s Dropper. Twinkly, mournful emo made for adults? That’s Chicago-via-North Carolina’s Gay Meat.

DON GIOVANNI RECORDS SHOWCASE

13th Floor | 711 Red River Street

Sometimes bopping around from showcase to showcase at SXSW just isn’t in the cards. Maybe you’ve found yourself networking successfully at an event on the East side, and you wouldn’t dream of locating an impossible-to-find Uber to maybe catch the tail end of another rapper you’ve been chasing all week. It happens! Luckily, we’ve identified a few that are worth sticking around at. MON 13 TUE 14 WED 15 THU 16

The most consistently great kind of showcase at SXSW is the one thrown by a trusted indie record label. Don Giovanni Records knows guitar rock will never die, so why not join them for a night stacked with Southern rock legends Lee Bains + the Glory Fires as well as new talent, like grunge-y, garage-y, queer as hell Michigan band Rodeo Boys? You won’t be disappointed.

MUSIC

iLe De Encanta

CAREFREEBLACKGIRL COOKOUT SXSW

Revival Coffee | 1405 E 7th St.

A 12-minute walk away from the famed Franklin Barbecue is Revival Coffee, where you can catch some of the best rappers in the game: Tennessee’s BbyMutha headlines, with Toronto’s LolaBunz, the Queenie herself Quanna, North Carolina’s smoky Lovey the Don, and countless others. Misogynists need not apply.

FRI 17 SAT 18

SOUNDS FROM UKRAINE

Inn Cahoots Outdoor | 1221 E 6th St.

Consider closing out your fest at the Inn Cahoots Outdoor Saturday night, where you’ll get to check out some rising talent from Ukraine: electrifying electro-folk group Go_A, melodic singer-songwriter Igor Grohotsky, 2022’s Eurovision winners Kalush Orchestra, and the avantrock of Balaklava Blues, a “reclamation of the violence perpetrated on their home country.”

TOMORROW’S ARTISTS TODAY

Five rising acts you must see in one-sentence descriptors.

iLe, the moniker of Puerto Rican musician Ileana Cabra Joglar, is both a veteran of the music industry and a rising voice, setting the stage for a new wave of Puerto Rican artistry. You may recognize her from her role as the youngest and only female member of the beloved Boricua hip-hop group Calle 13, or from her collaborations with Bad Bunny, or from her Grammy win back in 2017. Since releasing her debut solo LP iLevitable in 2016, iLe’s music has made a point to weave PR’s colonial history, political protest, and fight for independence across genres. Her latest album, Nacarile (a slang term that loosely translates to “No way in hell!”), moves from hip-hop and Caribbean folk to bolero, psychedelia, even reggaeton. Below, Den of Geek speaks to iLe about what fans can expect from her performances, and the current state of Puerto Rican representation.

Have you been to SXSW before? What do you make of the festival? I have. This is my second or third [time.] It’s super fun to listen to different types of music, different bands from different countries. I love the energy the festival has. I like the sense of musical community. And it’s nice to reconnect with musician friends you haven’t seen in a while and, at the same time, new people.

That’s the best part—how global the music community can be at SXSW. It’s a music business festival in Texas, a Latino place, a state with very complicated, conservative politics. When you play in a place

FROST CHILDREN Frenetic, clever hyperpop that is both present and the future, get on board. Stream this: “Fox Bop”

like that, does your music take on a different political meaning? It is complicated. But at the same time, SXSW can feel like an oasis in the middle of so many critical things happening. For me, music is the best life tool to connect and to heal, even if it’s just [through] dancing or listening and enjoying being present at a show. It can also happen with political songs that speak about realities we all go through—like where I come from in Puerto Rico— and relate to that humanity, to be empathetic and find ways to be closer to each other. It’s about finding ways to feel solidarity between us, and I feel that in spaces like SXSW,

DEBBY FRIDAY Industrial synth and falsetto flourishes that never break. Stream this: “So Hard to Tell”

This SXSW, there’s no missing iLe. Sounds of resistance meet Caribbean rhythms in her work, so we had to catch up with the much-talked-about talent.

BY MARIA SHERMAN

having the chance to play outside of Puerto Rico, it gives me the opportunity to connect.

It seems like Puerto Rico has more visibility around the world—through amazing talent like your collaborator Bad Bunny, but also through tragedy, like Hurricane Maria. Has that been your experience?

It definitely has changed a lot. I try to express the magnitude because a few years ago, a lot of people didn’t know that Puerto Rico existed. I remember talking to some stranger, and I told him that I was from Puerto Rico, and he was like, “What is that?” Now Puerto Rico is a conversation topic. A lot of North Americans that come to the island don’t even know that Puerto Rico was a colony. But I love that everyone is acknowledging that Puerto Rico exists and is trying

to find more information about our reality and what goes on here, our struggles and our culture. In The White Lotus, in the last season, they mention something about Puerto Rico being a colony. It’s a small moment, but it’s something we’re not used to. We’re used to feeling a little isolated from the rest of the world. It’s nice to feel that people know we exist.

Let’s talk about Nacarile. What were you thinking about while writing, and how does it connect to the island? My other albums absorb what was going on around me. This album is a pandemic album. Quarantine made it hard to concentrate. It was hard to be outside of myself, to deal with everything that was going on. Not only with Covid, but it was an election year in 2020, the government was mismanaging everything, and women

were getting killed in their houses. [Ed.’s note: She’s referring to a severe uptick in domestic violence in Puerto Rico during the pandemic.] The uncertainty of all that—being affected by that, trying to understand how I was receiving that, and trying to take care of myself as well, everything felt like a barrier. The album became a challenge of trying to go through that.

Do the songs transform live? Like catharsis—a celebration of getting past all of that—and finding joy at SXSW, no less.

Definitely. It sounds different with the live instrumentations—you keep finding new ways of experimenting. It’s energetic and healing. It’s like finally releasing all [the emotions]

I’d accumulated in the process of making the album and just embracing what we were all going through.

MILITARIE GUN Your favorite music blog’s favorite band’s favorite melodic punk band. Stream this: “Pressure Cooker”

BEVERLY KILLS Sweet and Swedish post-punk; so beautiful you might mistake it for hopeful.

Stream this: “Revellers”

DJ FIVE VENOMS As the official DJ for the Rolling Loud festival, Five Venoms can rock an original. Stream this: “Look At What I Did”

THE GOLDEN TICKET

Film festivals’ role

in

awards

season

continues to grow as Everything Everywhere All at Once prepares for its Oscar moment.

o four people huddled around their laptops and devices during the wee small hours of a Tuesday morning, it may as well have been the Super Bowl. Hearing your name and those of your colleagues uttered as the Academy of Motion Picture Arts and Sciences announces this year’s Oscar nominees has that effect. And to Jonathan Wang, producer of Everything Everywhere All at Once, it was nothing short of surreal as he realized their little movie with wobbly hot dog fingers was on track to score 11 Oscar nominations, making it this year’s de facto frontrunner.

“There’s a video of me in the Zoom being like, ‘We’re on pace for 11,’ and everyone’s like, ‘What are you talking about?!’” Wang recalls. “And then by the end of it, we did get 11, and we were standing and cheering.” It was a heck of a way to begin a workday for Wang, directors Daniel Kwan and Daniel Scheinert (aka “Daniels”), and stars Michelle Yeoh and Ke Huy Quan—now Oscar nominees all. Yet it also was the beginning of the end of a journey that started a long time ago. In Texas.

When the Oscars telecast beams out of the Dolby Theatre on Sunday, March 12, it will be one year and a day since Everything Everywhere

All at Once enjoyed its world premiere at the SXSW Film Festival. A dazzlingly original film that marries the existential weight of the universe to the intimacy of the American immigrant experience— and all by way of multiverse theory, martial arts, and those marvelous hot dog fingers—the movie appeared to be a perfect opening night film for a festival at the intersection of cinema, music, technology, and just plain old innovation. It made sense for SXSW, but the Academy?

For his part, Wang freely admits the word “Oscar” never crossed his mind when reading the script for the film. He and Daniels go back 12 years, including when Wang and Kwan together brought the music video “My Machines” to Austin, where it won the Jury Award Prize in 2012, and Wang states assuredly that “our tastes have become a bit of a meld” ever since. They look for what makes them laugh, as well as the deeper meaning behind those chuckles. However, what they

believe is the deeper meaning in images that revel in our “fun, weird, flatulent contradictions” is not necessarily what the Academy thinks. Nonetheless, Claudette Godfrey, SXSW’s director of film festival programming, immediately saw the long-distance appeal of the film, knowing since opening night in 2022 that it could go far. Indeed, indie studio A24 screened Everything for the festival’s programmers months

“Even the most revered, famous filmmakers wonder, ‘Are they going to like it? Are they going to like me?’” Godfrey says with visible affection in 2023. “And I just looked [Daniels] in the eye and said, ‘Your whole life is going to change after this moment.’” Come Oscar morning, she found herself texting the directors two sentences: “Fuck yes! A thousand percent deserved.”

Godfrey saw the film’s potential as an awards contender that night, and over the next 12 months, even the most skeptical of Oscar prognosticators came around to agreeing. Everything Everywhere All at Once’s nominations are a major coup for SXSW, marking the first time a film that had its world premiere at the fest got into the Best Picture race (although previous documentaries and short films that premiered at SXSW have won Oscars). Other SXSW 2022 alumni like To Leslie star Andrea Riseborough and the animated film Marcel the Shell with Shoes On also were nominated in their respective categories.

before releasing the first trailer in December 2021, and the SXSW team instantly became its champions, referring to it among themselves as “the best movie ever.” Godfrey still remembers that euphoric opening night, too.

But while this is a feather in SXSW’s cap, the prospect of festival darlings becoming Oscar frontrunners is less a fluke than a fact of nature in today’s cinematic ecosystem. Ever since Crash (2005) became the first Best Picture winner to be acquired at a festival (the Toronto International Film Festival), fests have increasingly paved the path to Oscar gold. They, of course, played a role before 2005 as well, with DreamWorks and Sam Mendes’ American Beauty (1999) winning the top Oscar prize after premiering at TIFF.

“COME OSCAR MORNING, SHE FOUND HERSELF TEXTING THE DIRECTORS TWO SENTENCES: ‘F%CK YES! A THOUSAND PERCENT DESERVED.’”

That was a studio effort, though, and released during a time when movies like Gladiator and The Lord of the Rings: The Return of the King could still win Best Picture.

Twenty years ago, there were merely five Best Picture nominees, and only one of them premiered at a film festival (Roman Polanski’s The Pianist, out of Cannes). In 2023, nine of the 10 Best Picture nominees played at least one festival, including Top Gun: Maverick (also Cannes). Of the 131 films nominated for Best Picture in the last 15 years, nearly three-quarters premiered at a festival, including every Best Picture winner.

One source we spoke to, who’s close to several of this year’s Oscar nominees, explains, “[Festivals] create a kind of sustained word of mouth that eventizes the way of looking at it.” This includes not just world premieres, which are valuable to a festival’s bragging rights, but also regional fests across the calendar. Whether they play in Woodstock or Nantucket after Venice and Cannes, these movies are highlighted for general audiences and awards voters alike by sustained word of mouth.

131 BEST PICTURE NOMINEES FROM THE LAST 15 YEARS (2009-23) AND THEIR FESTIVAL WORLD PREMIERES

Venice Film Festival

Telluride Film Festival

Cannes Film Festival

Sundance Film Festival

Toronto International Film Festival (TIFF)

New York Film Festival (NYFF)

Other No Festival

Best Picture Winner

Clayton Davis, the senior awards editor at Variety, has been studying the awards and festival circuit his entire career and speaks candidly about the value that festivals bring to general audiences, and by extension, awards voters.

“If arthouse theaters are minimal now, then film festivals may be one of the last main stops for an adult drama or an indie project to get some eyeballs on it,” Davis says. “I’m looking at it in the regional game, [like] the Middleburg Film Festival.”

October’s Middleburg is also a good example of premiering awardsfriendly films that were already in limited release in the U.S. after debuting at other festivals (Tár, The Banshees of Inisherin, Decision to Leave) and those that still premiered elsewhere but were not yet out in general theaters, such as The Whale

In fact, months later and going into awards season, Academy and guild voters at special screenings of The Whale were still saying they showed up because Brendan Fraser got a standing ovation in Venice. They don’t care about who’s first,

necessarily; they just like hearing good things.

That said, most awards watchers and forecasters will contend Oscar season begins in early September when a spate of specific film festivals kick off nearly simultaneously.

“I would say there’s the big four of the fall: Venice, Telluride, Toronto, and the New York Film Festival,” Davis explains. “I see the distinction [between them], but the average person probably does not.” Nearly 44 percent of the last 15 years of Best Picture nominees, and over 85 percent of the winners, premiered at those festivals. Their popularity with studios and awards publicists extends partially from where they appear on the calendar. While the Cannes Film Festival is arguably the most prestigious festival (and older than three of those September events), Davis notes, “A lot of people don’t want to blow their load at Cannes because then you have to sustain the buzz for eight, nine more months.”

Among the big four of the fall, Venice is always the first since it’s also

the oldest festival in the world, beginning in 1932. Perhaps for that reason, the Italian festival has the largest tally of recent Best Picture nominee world premieres, although many of the films that debut there go on to play at one or two of the other major fall fests (but rarely all four). Studios are selective, and some fests demand exclusivity.

Says Davis: “I think for a filmmaker, you’ve got to just want to get into one, but there is prestige about certain ones that you want to debut and get your first eyes on you.” For instance, Venice, like Cannes, is an international and competitive festival with a higher propensity of European critics and journalists. It’s what makes Cannes attractive for certain films— like this year’s Palme d’Or winner, Triangle of Sadness—and also speaks to why the Academy, with its increasingly international voting body of recent years, can favor movies that American critics dismissed.

“Blonde debuted at Venice,” says Davis. “Makes perfect sense. I knew that Ana de Armas was in the Oscar race the whole time because what

people turn their nose up at here, across the pond, and in Europe, people were like, ‘This is cinema!’”

Meanwhile, the earliest festival of the year, like SXSW, has seen a recent boost in Academy prestige. Last year’s CODA marked the first time that a Sundance premiere won Best Picture. Traditionally, the January fest produces a lot of Best Picture nominees, but its wins tend to come from performances or young filmmakers’ innovations: Casey Affleck in Manchester by the Sea; J.K. Simmons in Whiplash; Emerald Fennell’s script for Promising Young Woman. Within the larger industry, Sundance is still perceived as an acquisition marketplace, spotlighting young and indie filmmakers on the rise. A24 even acquired Daniels’ Swiss Army Man there.

“Without Sundance, we wouldn’t have a career in filmmaking,” Wang acknowledges gratefully.

diverse, and international voters (which also could explain All Quiet on the Western Front and Triangle of Sadness’ over-performing nominations). But SXSW film head Godfrey isn’t too worried. Though she’s rooting for Everything Everywhere All At Once on Oscar night, she doesn’t seem to mind if the Academy is cool enough or not yet.

“I think it’s great to not be in the pressure position of being the first big film festival of the year or the festival that’s going to have all the Oscar nominees,” Godfrey says. “Those kinds of things are nice, but I think we have our own little spot. Having Dungeons & Dragons —what other festival does that work in the way it works at SXSW? We have a unique audience coming from all these other industries where they don’t go to film festivals, but they’re going to SXSW…. They are not going to be like, ‘Let me decide if this will be on the Oscar nominations list.’”

the activity around this business. So it’s important that it be healthy.”

For Wang, meanwhile, it was the beginning of a journey so pictureperfect that it feels like something out of a Hollywood movie.

“I have to give kudos to A24 for believing that this would be this sort of event that would be loud,” Wang says, acknowledging it was the studio who decided to submit for SXSW, as opposed to Sundance or TIFF, in part because of the festival’s more genre-loving, idiosyncratic audience. “Also, kudos to SXSW for curating such a welcoming and film-loving community. They really set us up for success.”

Perceptions can, of course, change. Davis, for one, says that SXSW is perceived as the “cool kids’ festival” in Hollywood, and he still wonders “how cool the Academy” has gotten, even with its recent influx of younger, more

Even so, her colleague, SXSW communications director Jody Arlington, notes Oscars’ rising tide carries all ships: “It helps lift the boats for films that aren’t part of that conversation,” Arlington says, “just because it fuels so much of

When we catch up with Wang, though, the journey is still not quite over. As he speaks from his Los Angeles home, the producer’s just finished the Oscar luncheon and is headed to the BAFTAs next. It’s the culmination of a year that’s been something of a blur—and made bearable because the Everything team has been staying in touch via group chat.

That closeness has even helped strategize a rollout and awards campaign that can occasionally be more intimate than a PR firm’s conference room. Wang, for example, accompanied Quan to Italy to do press and screenings after receiving a text that the actor didn’t want to go alone. And whether too cool for the Academy’s school of thought or not, Wang hopes Everything helps change the dialogue around awards films.

“I hope that not only will it change SXSW’s perception as a niche market into a big fun festival… but that it’ll blow the lid off of preconceived notions of what an Oscar movie is,” Wang says. “I think that what the Oscars stand for is excellence in cinema, not just excellence in dramatic cinema or excellence in these certain kinds of facets of cinema. So if we’re able to take our movie and have it be just a wedge in the door, that opens it up a bit so that other movies can keep coming in; I think that that would be a huge point of pride in my life.”

CHRIS PINE

He’s been a rom-com heartthrob, blockbuster action star, and writer/ director. Now he’s joining a rag-tag bunch of would-be heroes for DUNGEONS & DRAGONS: HONOR AMONG THIEVES. Chris Pine has range. We sit down with a reluctant A-lister.

hris Pine is not who you think he is. Sure, he’s the handsome, blue-eyed actor famous for roles combining action, intensity, and charm in Star Trek, Wonder Woman, and Into the Woods. But beneath the movie star is a man who grew up with deep insecurities. He loves his job and talking cinema but doesn’t enjoy talking about himself and would rather be drinking coffee and reading than being interviewed.

It is Valentine’s Day morning when we speak via Zoom, just a few days shy of the 20th anniversary of the E.R. episode “A Thousand Cranes,” Pine’s 2003 formal debut where he played a guy who got drunk at a blow-out Valentine’s party. The publicity machine is revving up for Dungeons & Dragons: Honor Among Thieves, his action-adventure vehicle based on the tabletop fantasy game,

but he’s also thinking of his directorial debut Poolman, which consumed much of 2022, and left him “wonderfully spent.” He becomes excited discussing a screening of the “thought-provoking, brave, multi-layered” Tár he attended the night before with a panel including star Cate Blanchett, writer/director Todd Field, and Los Angeles Philharmonic conductor Gustavo Dudamel.

Pine’s passion for acting might surprise those who relegated him to rom-com himbo status after his first film, The Princess Diaries 2: Royal Engagement (2004) or Blind Dating (2006), and before his star-making role as James T. Kirk in J.J. Abrams’ Star Trek in 2009. It is also surprising, considering Pine wasn’t even interested in acting before attending University of California, Berkeley, even though it runs in the family.

Pine was born in Los Angeles in 1980, the son of two actors. His dad, Robert “Buzz” Pine, is a character actor best known for co-starring in the late 1970s series CHiPs. After two decades of work, his mom Gwynne Gilford retired from acting and became a psychotherapist in the late 1980s. Her mother, Anne Gwynne, was an early scream queen in the 1940s, acting alongside Boris Karloff, Bela Lugosi, and Abbott and Costello.

Yet Pine suffered from debilitating acne as a teen, was shy, felt alone, and dealt with years of feeling “not being good enough.” Before graduating in 2002, Pine found a community in the Berkeley theater department. He was told he had talent, and as his acne cleared up, people called him handsome, which was edifying—even though it felt “so odd.” He viewed the rom-com jobs as ridiculous considering when he first began, he thought he’d be playing “wacky, fun, creative characters,” which he eventually did with action comedy Smokin’ Aces in 2006.

Ten years after The Princess Diaries 2, Pine slipped back into royalty as the good-natured but womanizing Prince in the 2014 musical fairytale send-up Into The Woods, the same year he appeared in action thriller Jack Ryan: Shadow Recruit and comedy Horrible Bosses 2

By the time he took a supporting role as Steve Trevor in the Gal Gadot-starring Wonder Woman in 2017, Pine had

GIMME FIVE

Fun facts and trivia about the actor/director.

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Chris Pine made his onscreen debut before his first birthday, appearing on the television series CHiPS, where his father Robert portrayed Sgt. Joseph Getraer. His mother, television actress Gwynne Gilford, guest starred in an episode as the sergeant’s wife, with her eightmonth-old son at her side. Pine got another chance to appear alongside his father on CHiPs when he was three years old, dueting on “Hurry, Hurry, Climb the Ladder” with his father.

You have Pine’s sister to thank for convincing the actor to take on the iconic role of Captain James T. Kirk in the recent Star Trek films. Pine was considering taking on a different project that ultimately did not come to fruition when his sister Katherine suggested that he perhaps wasn’t considering the artistic challenge of stepping into William Shatner’s shoes. Pine realized that Trek could be more artistically fulfilling, and the rest is history.

been established as a leading man. He says he tends to gravitate towards “real humans trying to do big things” and has made interesting career choices, such as with Oscar-nominated crime drama Hell or High Water. And he continues to balance thrillers like All the Old Knives and psychological dramas like Don’t Worry Darling—where he plays a charismatic villain—with blockbusters like Dungeons & Dragons.

Twenty years after that E.R. debut, Pine discusses the roles that shaped him, who first took notice of his range, and what he’s looking to tackle next.

You’ve played characters that are charming and maybe a little cocky. If you played them just slightly askew, they would be unlikable or arrogant. Is that a skill you actively tapped into, or did it come naturally?

I wish I could say I’d spent more concerted time thinking about it. Why it works, I’m not sure. I think, like most things, humor oftentimes is used as a deflection or the weapon of people who are insecure. It is a good crutch. Maybe it’s because it comes from my own years of insecurity and dealing with my own feelings of not being good enough.

What did you take away from working in the rom-com genre early in your career?

It was so early in my career; it was mostly just getting used to working. I wasn’t even actively thinking about romantic comedies, other than I was so new to working on a film set. I think the first couple of jobs, I was just getting used to the giant machine. What is the day like on the set? What’s expected from you? That’s what I was most worried about. In hindsight, I guess what I learned is they are based on two things: the chemistry between the two leads romantically, and comedy. So I can’t do much about people buying the romantic chemistry, but I certainly can do something about the comedy of it. I think in those early couple of films, I was probably exercising. Having watched a lot of Cary Grant growing up and thinking [about] what physical comedy looks like, what beats look like, how to play a moment, and comic timing.

Did you encounter a director early on who saw your range and potential and knew you weren’t going to be relegated to that genre?

That’s a good question. I hadn’t thought about it. I guess my gut would say, “Not really.” You know, in those early films, I think I was being cast because I probably looked the part, which is so odd to me because I was very insecure about my looks growing up. So to be cast as the handsome prince or whatever was ridiculous to me. I think the first person that took me seriously as someone that could act or do different things was probably [director] Joe Carnahan in the film

While Disney fans are surely aware, many forget that Chris Pine starred opposite Anne Hathaway as the dashing Lord Nicholas Devereaux in 2004’s The Princess Diaries 2: Royal Engagement, his first film role. Pine says it’s the part that allowed him to finally pursue acting full-time and quit his job waiting tables.

Pine has Michael Shannon’s temper to thank for his role in 2006’s Smokin’ Aces.

3 4 5

Shannon was apparently fired over an argument he had with a costume designer, which led to Pine being hired to play hitman Darwin Tremor just 10 seconds into his audition.

Director Joe Carnahan reportedly said: “If I could take 10 percent of what I’m going to make the rest of my career and bet on somebody, it would be that kid.”

In an alternate universe, we could have been watching Chris Pine in James Cameron’s Avatar: The Way of Water this past winter. The actor auditioned for the lead role of Jake Sully in 2009’s Avatar, which would have seen him reteaming with his Star Trek co-star Zoe Saldana, but Pine struggled to get into the part—he reportedly shook the casting director’s hand and walked out midway through. The role eventually went to Sam Worthington.

Smokin’ Aces, where I just got to play what I always thought I’d be playing when I got involved in the business, which is wacky, fun, creative characters instead of the more bland milquetoast version of a human being.

You were still getting the rom-com roles, so did you think Smokin’ Aces—where you play one of these tweaker neo-Nazi hitman brothers—would put you in a different direction?

I had to fight for the part, which I loved. I love that I had to prove to Joe I could do it. I was so thankful at that point to just get to play something interesting and use my imagination to create a character. And yeah, maybe I thought people would see it and say, “Hey, that guy can do X, Y, and Z.”

That definitely didn’t happen, but it didn’t take away from the fact that I fucking loved playing that part. It was a real chance to disappear. When you’re playing opposite Lindsay Lohan or Anne Hathaway, part of the work is you just have to show up and be handsome or something. As I said, since I didn’t feel that inside of myself, I felt like a fraud. Whereas, you know, when you get to shave your head, put on tattoos, and play a fucking freak that was like, “Oh, well, that feels more like me. That’s something I can do.” I had great joy doing that.

Two-and-a-half years after Smokin’ Aces, Star Trek opens. That had to be a radical shift and unlocked the ability to move back and forth between comedy, action, and drama.

I think the big learning lesson of a film like that was—and interestingly I talked to Kevin Costner about this years later when I did Jack Ryan with him—is kind of the art of the leading man. It is in the same archetypal landscape as the romantic foil in a romantic comedy, but the biggest

gift you can bring a part like that is bringing yourself to the part. I’m not creating a character so much as bringing myself to bear on the character, and so that requires a pretty, in many ways, a brave form of relationship with the camera where you’re not hiding behind anything. It is a movie-star role, and I had to learn how to do that and be comfortable doing that.

It ended up being a critical and commercial success, but stepping into an iconic role made famous by William Shatner must have been a challenge. Is fear a motivating factor for you?

Yeah, I guess so. I mean, you’re touching on the old adage of whatever scares you is the thing you should do. I guess I would view it more as a challenge. I just co-wrote, acted, and directed in this film [Poolman], and I wasn’t scared of it. I was invigorated by the prospect of doing something different. I guess I wouldn’t look at it as fear so much that motivates me, as much as I can feel if it is going to be something I want to dive into.

With Wonder Woman, you played a heroic character in Steve Trevor but didn’t diminish the protagonist of Gal Gadot’s Diana. What did you take away from the job? There were definitely moments in the first one where I’d be kind of on a rant, asking or getting into Steve Trevor’s psyche or what was going on and realizing—from the impatient look in Patty Jenkins’ eyes—that the movie is not Steve Trevor’s film. The movie is Wonder Woman’s film. Having been the lead of films myself, I could see my ego

was coming out. I was kind of unwilling in those moments to let go of the fact I wasn’t the first banana but the second banana. There was great humility in learning the joys of being number two and the joys of supporting someone else’s journey and flight.

In many ways, Steve is a version of Kirk, and these characters that I like to play. In an era of superheroes, I have found my niche playing characters that aren’t fabulously successful or aren’t incredibly, supernaturally talented. They’re fallible, normal human beings who are trying to be extraordinary.

You starred in, and executive produced with Patty Jenkins, the television miniseries I Am the Night. Is TV something you’d be willing to do more of? Yeah, I’d have no problem doing that if something was good and interesting with a filmmaker I enjoyed. Just like cinema projects, I hope it would be shot on film instead of digital. I’m still a romantic at heart when it comes to being an actor on the big screen, especially having seen Tár last night at the Geffen Theater at the Academy Museum, which just reminds you of the power of the projected face on the screen. I don’t want to give up on that.

You joined Dungeons & Dragons: Honor Among Thieves in December 2020 and filmed throughout spring and summer 2021. What was it about this big-budget film that drew you in?

I respected the guys, [directors Jonathan Goldstein and John Francis Daley]. I liked the story [by Chris McKay and

Michael Gilio]. I knew this character played to some of the strengths that I have. And knowing that I was going to work opposite Michelle Rodriguez was exciting. And so in terms of how it’s going to be perceived, I have definitely learned after my time doing bigger-budget things you can’t control that.

How does the Dungeons & Dragons role fit within the scope of other characters you’ve played?

It seems to fit in nicely with the kind of characters I seem to like to play, which are normal dudes that task themselves with doing big things, even though they may not be good at it, or don’t have special powers, or don’t believe in themselves all that much. I haven’t ever played a character with extrasensory, special powers. I seem to like playing real humans trying to do big things. So I think it’s all in line.

What challenges are you still seeking?

I have to say, I really enjoyed my time directing. I enjoyed writing. And I began the year maybe in a sort of post-movie depression, having finished my film, which took up all of last year and left me feeling wonderfully spent but spent nonetheless. I’m looking for something that requires the same kind of focus and drive and is close to what I just came out of. And I don’t know if that’s going to be writing something or directing something, but if I’m going to act in something, I’m going to have to want to do it with an actor or artists I want to work with.

Does that mean you see a path where you’d be ready to transition entirely to writing and directing?

No, I actually can’t. I can’t see myself just directing. I had a lot of fun doing both. And I think I liked it because there was no chance to sit down. If you’re acting, you’re waiting a lot. If you’re directing, you’re waiting a lot. But if you’re acting and directing, you’re not waiting at all. I really, really loved it. But I love my job too much. I’m not ready to give up acting, and I want to act for the rest of my life.

Dungeons & Dragons: Honor Among Thieves premieres at SXSW and opens in theaters on March 31.

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This story is part of an editorial series presented by eBay.

Music is so much more than the soundtrack of our collective experiences; it serves so many crucial and often underappreciated roles in our lives. It can act as a balm when we are at our lowest, giving us hope through melody and lyrics written by strangers who somehow captured in amber exactly what we were feeling—a gentle reminder that we are not alone, that someone cares. Conversely, music can get us pumped up before a big event—be it a night out or a championship game. At its best, music makes us (if only temporarily) put aside our differences to enjoy a song or a performer who has the truly magical ability to unite.

It’s no wonder, then, that so many of us are obsessed with music and choose to surround ourselves with it 24/7. And not just in terms of buying digital music or physical media such as LPs or CDs, but with collectibles that serve a totemistic purpose as reminders of how music has helped shape who we are as a society. With that in mind, here is an overview of the most incredible music collectibles available on eBay… with a Den of Geek twist.

Rogue One: A Star Wars Story (Expanded Edition) | ($75-$200)

In the aftermath of Andor’s fantastic first season, we’ve found ourselves devouring anything and everything Rogue One-related. This is certainly the case with Mondo’s lavish 4LP set of music that Michael Giacchino crafted for the film, much of it gathered here for the first time on 180-gram black vinyl.

Music lovers rejoice! We’ve rounded up the geekiest collectibles available on eBay for the hardcore music fan.

Culture Club’s “Karma Chameleon” remains one of the defining songs of the 1980s. Weirdly enough, it was such a sensation that it spawned a truly bizarre piece of spin-off merchandise, a telephone that plays the song when a call comes through. That would be wondrous in and of itself, but the Karma Chameleon telephone struts the extra mile into Crazytown by featuring a lizard whose stomach lights up (red, gold, and green—the colors mentioned in the tune, natch) and, for reasons best left unexamined, a ladybug who plays the earworm’s harmonica solo. This truly bonkers piece of merch was sanctioned by Boy George, who appears in the phone’s jaw-dropping ad. (Watch it on YouTube, trust us.) Loving would be easy if your colors were like my dreams, and with this phone, they are. Astonishing.

Slightly understating things, the packaging for LJN’s Michael Jackson doll calls him a “superstar of the 1980s.” At the time of its release in the early 1980s, no one could have predicted the tragedy of Jackson’s future, so this product serves as a physical representation of a more innocent time. LJN had such a hit with this toy that they offered other outfits for it. As you may have guessed though, it’s his “Thriller” ensemble that remains both the most available and desirable on the secondary market.

At this point, we feel obligated to tell you that in 1984, LJN Toys released a Boy George doll. (We swear this list will feature nonCulture Club products). It was a modest seller but nowhere near as popular as LJN’s other rock doll…

The Last of Us: Original Score Vols. 1 & 2

($150-$350)

Thanks to the current HBO series starring Pedro Pascal, everything related to The Last of Us is exploding in interest and value. Case in point, Mondo’s stunningly beautiful packaging of Gustavo Santaolalla’s score for the game. Featuring art from fanfavorite Sam Wolfe Connelly, this four-record set captures all of the unsettling soundscapes from the game. A word to the wise, grab this while you can, as Mondo releases tend to skyrocket in price.

Robert Smith Funko POP! | ($30-$50)

Originally a Hot Topic exclusive, this hard-to-find Funko POP! of The Cure frontman Robert Smith is styled after his Boys Don’t Cry-era look, making this a must-have item for once and future goths everywhere.

Morrissey Funko POP!

($20-$35)

If you were more into The Smiths than The Cure, you’ll be pleased to know that Funko offers a POP! of Morrissey, inspired by his gladiolawaving period of the 1980s (i.e., before the band broke up and he became an embarrassment/object of derision due to his increasingly bad politics).

Underrated Movie Soundtrack Vinyls To Scoop Up On eBay

1. Times Square

The only thing missing from the soundtrack to Allan Moyle’s Times Square is a song from Tim Curry, who plays a radio DJ. The cult film captured the underground sound of 1980, with cuts from The Pretenders, Talking Heads, and Ramones. Even the teen runaway stars of the film get to sing with David Johansen.

2. Natural Born Killers

Produced by Trent Reznor of Nine Inch Nails, the soundtrack to Oliver Stone’s Natural Born Killers is a sonic crime spree capturing the frenzy of the two murderous lovers on the run with some guns. Snoop Dogg, Dr. Dre, Jane’s Addiction, Cowboy Junkies, and Patti Smith slay the vibes.

3. All This and World War II

Nobody saw the film, but everyone loves the Beatles. All This and World War II lets an all-star cast of diverse pop voices, from Tina Turner to Frankie Lane, tell its story by rifling through the Lennon/ McCartney songbook. Rod Stewart’s “Get Back” and Peter Gabriel’s “Strawberry Fields Forever” are particular standouts. Isn’t it a pity there are no George Harrison songs.

4. Super Fly

Curtis Mayfield was a genius who made music that mattered since leading the Impressions. If Super Fly wasn’t a movie, the soundtrack would be considered one of the greatest concept albums in modern music history. “Freddy’s Dead” was the hit, but “Little Child Runnin’ Wild” gives you goosebumps.

5. Jungle Fever

It’s not up there with Talking Book or Songs in the Key of Life, but Stevie Wonder’s soundtrack to Spike Lee’s Jungle Fever is a solid album. Wonder lets every emotion coming from both sides of a biracial romance play out in the grooves. From feverous funk to soulful ballads, Stevie’s got a song for every mood.

6. Harold and Maude

Cat Stevens, now Yusuf Islam, had just brushed off pop stardom and was about to reemerge as a songwriter on his own terms in 1971. Hal Ashby’s Harold and Maude does the same. Suicidal teen Harold (Bud Cort) meets elderly Maude (Ruth Gordon), who redefines living. They couldn’t have done it without the songs.

7. Phantom of the Paradise

Before The Rocky Horror Picture Show, Brian De Palma’s Phantom of the Paradise rocked horror and rolled Faust. The devil comes in many forms, but no one would have expected crafty songsmith Paul Williams to bring evil into the world. Even the sock-hop retro tunes have death at the center. Williams seals the deal with, and for, “The Hell of It.”

8. After Hours

Hey, you like the Monkees? Maybe Joni Mitchell’s “Chelsea Morning” would be more appropriate. Either way, the soundtrack to Martin Scorsese’s After Hours sets the mood. The song collection is as satisfying and frustrating as the dark night it accompanies, from Bad Brains to Bach. It brilliantly comes together through pieces of Howard Shore’s score.

Super7’s fantastic line of music ReAction Figures pays tribute to the peerless Notorious B.I.G. with this release that comes on a card with imagery from his legendary “Ready to Die” LP.

DC Comics Record Player | ($40-$200)

Themed record players are a whole collectibles Pandora’s Box in their own right, so in the interest of brevity, we will just include one on this list—this 1970s model based on DC Comics. Showcasing illustrations of Batman, Wonder Woman, Superman, and Robin, this would be a great player to listen to those old Power Records on.

Spider-Man: Rock

Reflections

of a Superhero | ( $40-$300)

Originally released in 1975 by the small label Lifesong Records, this LP is best described as what would happen if The Who’s Tommy donned the Infinity Gauntlet. Narrator Stan Lee (in typical bombastic fashion) masterminds this concept album about Spidey’s life that features incredibly catchy jams like “Peter Stays and Spider-Man Goes” and “Doctor Octopus: Part II” in which Doc Ock savagely insults the members of the Marvel Universe. Throw in cover art from John Romita, and you’ve got a Spidey album that is a must-hear and proof that it’s what Spider-Man: Turn Off the Dark should have been. It was issued on LP and CD, both of which are long out of print, but with some perseverance, you can grab one at a reasonable price.

COLLECTOR’S DIGEST

The Lord of the Rings: The Rings of Power: Season One LP | ($40-$50)

Presented on two beautiful gold-colored LPs, this collection of Bear McCreary’s music for the first season of Prime Video’s The Lord of the Rings: The Rings of Power soundtrack transports you smack into the adventure and intrigue of Middle-Earth. This is another Mondo release, and as such more than lives up to the sound and packaging standards that the company is known for.

The Beatles Yellow Submarine Lego Set ($150-$500)

Lego Ideas has offered a ton of truly inspired sets over the years, but perhaps none capture the whimsy of their source material better than this kit based on The Beatles’ Yellow Submarine film. Originally released in 2016, this set is certain to bring together Beatlemaniacs of all ages while illustrating that “All You Need Is Love” (and some Legos) to have a great life.

Slick Rick ReAction

Figure | ($25-$30)

Super7 continues to prove itself as a toy iconoclast by shining a spotlight on hip-hop groundbreaker Slick Rick, seen here in his posable ReAction Figure form with accessories.

Freddie Mercury

Funko POP! | ($25-$30)

Let’s close out this collection with a true showstopper: The late, great Freddie Mercury. Seen here in his on-stage action pose, the Queen frontman-turned-collectible is the ultimate music conversation piece!

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