Don't get me wrong: he's perfectly fine in the film. But I feel like his character is woefully underwritten by the script. At least what I felt watching the movie, Emma Stone's performance completely outshadowed his work in literally every scene. She deserved to win the Oscar, but in my opinion, he was not exactly nomination-worthy. (Crouches down for downvotes)

I recently ordered dune book 1 via Flipkart(paperback) and the quality was horrible as it was a pirated copy and returned it .....2 weeks later I ordered the same book again via Flipkart and I was a hardcopy...paid a higher price thinking that I would get the original but NO another pirated copy plus the one they sent me wasn't wrapped in any sort of box,bubble wrap etc ...so the book arrived damaged....im absolutely fed up with this shi.
If there is person who I can buy it off of(second hand or new don't matter as long as the book is in good condition )or a good and legit not so-expensive book store here in Noida pls DM me

Don't get me wrong: he's perfectly fine in the film. But I feel like his character is woefully underwritten by the script. At least what I felt watching the movie, Emma Stone's performance completely outshadowed his work in literally every scene. She deserved to win the Oscar, but in my opinion, he was not exactly nomination-worthy. (Crouches down for downvotes)

Well here we are, FG, our first decades tournament, the 2010’s. Thank you to everyone who nominated movies, and let’s get right into it!
Results of Round 1

• Spider-Man Into the Spider-Verse (2018) (9) beat 10 Cloverfield Lane (2016) (8) and Sorry to Bother You (2018) (6)
• Snowpiercer (2013) (11) beat 12 Years a Slave (2013) (7), and Spotlight (2015) (6)
• Skyfall (2012) (9) beat 127 Hours (2010) (8) and Spring Breakers (2012) (7)
• First Reformed (2017) (10) beat Skate Kitchen (2018) (3), and Steve Jobs (2015) (3)
• 1917 (2019) (9) beat Sing Street (2016) (6), and Stoker (2013) (6)
• Silence (2016) (14) beat 20th Century Women (2016) (4) and Stray Dogs (2013) (3)
• Sicario (2015) (17) beat Sunset (2017) (3) and 50/50 (2011) (3)
• Shutter Island (2010) (11) beat A Field in England (2013) (5), and Tabu (2012) (2)
• A Ghost Story (2017) (13) beat Short Term 12 (2013) (6), and Tehran Taboo (2017) (1)
• A Separation (2011) (7) tied with Shoplifters (2018) (7), and beat The Act of Killing (2012) (3)
• The American (2010) (8) beat A Silent Voice (2016) (2), and Shin Godzilla (2016) (2)
• The Assassin (2015) (11) beat Shame (2011) (7), and A Star is Born (2018) (5)
• Scott Pilgrim vs the World (2010) (11) beat Ad Astra (2019) (6), and The Avengers (2012) (4)
• The Babadook (2014) (10) beat All is Lost (2013) (7) and Rubber (2010) (4)
• Annihilation (2018) (15) beat Room (2015) (5), and The Babysitter (2017) (2)
• Roma (2018) (12) beat April and the Extraordinary World (2015) (4), and The Conjuring (2013) (3)
• The Big Short (2015) (7) beat Aquarius (2016) (5), and Right Now, Wrong Then (2015) (0)
• Arrival (2016) (16) beat Raw (2016) (3), and The Big Sick (2017) (1)
• Atomic Blonde (2017) (6) beat Rango (2011) (5) and The Captain (2017) (3)
  
• The Ballad of Buster Scruggs (2018) (8) beat Post Tenebras Lux (2012) (3), and Bait (2019) (1)
  
• Portrait of a Lady on Fire (2019) (10) beat Barbara (2012) (1), and The Counselor (2013) (1)
  
• The Death of Stalin (2017) (8) beat Popstar: Never Stop Never Stopping (2016) (6), and Beasts of No Nation (2015) (3)
  
• Birdman (2014) (7) tied Phoenix (2014) (7) and beat The Double (2013) (2)
  
• Black Swan (2010) (11) beat Phantom Thread (2017) (8), and The Drop (2014) (3)
  
• Blade Runner 2049 (2017) (11) beat The Florida Project (2017) (9), and The House That Jack Built (2018) (2)
  
• The Grand Budapest Hotel (2014) (15) beat Blindspotting (2018) (2), and Paddington 2 (2017) (1)
  
• Blue is the Warmest Color (2013) (7) beat Only Lovers Left Alive (2013) (6), and The Great Beauty (2013) (2)
  
• The Handmaiden (2016) (11) beat Bone Tomahawk (2015) (7), and Only God Forgives (2013) (4)
  
• Once Upon a Time....In Hollywood (2019) (15) beat The Hateful Eight (2015) (8), and Bridge of Spies (2015) (4)
  
• Boyhood (2014) (7) beat Once Upon a Time in Anatolia (2011) (5), and The Hollars (2016) (2)
  
• O.J. Made in America (2016) (10) beat Parasite (2019) (9), and Brooklyn (2015) (5)
  
• Nightcrawler (2014) (12) beat Burning (2018) (7), and The Hunger Games: Catching Fire (2013) (1)
  
• Nebraska (2013) (7) beat The Hunt (2012) (4), and Byzantium (2012) (4)
  
• Mysteries of Lisbon (2010) (4) beat Carlos (2010) (3), and The Imposter (2012) (2)
  
• Carol (2015) (12) beat The Irishman (2019) (6), and mother! (2017) (3)
  
• The Lighthouse (2019) (9) beat Moonrise Kingdom (2012) (8), and Cemetery of Splendour (2015) (4)
  
• Moonlight (2016) (9) beat The Killing of a Sacred Deer (2017) (5), and Chappie (2015) (3)
  
• Molly’s Game (2017) (8) beat Coherence (2013) (7), and Cloud Atlas (2012) (4)
  
• The Master (2012) (11) beat Mission Impossible: Fallout (2018) (6), and The Martian (2015) (5)
  
• Cold War (2018) (5) ties Meek's Cutoff (2010) (5), and beats The Missing Picture (2013) (2)
  
• The Nice Guys (2016) (14) beat Contagion (2011) (5), and Mary Poppins Returns (2018) (2)
  
• Margaret (2011) (9) beat The Place Beyond the Pines (2012) (6), and Creed (2015) (2)
  
• Dawn of the Planet of the Apes (2014) (8) tied with The Raid 2 (2014) (8), and beat Maps to the Stars (2014) (3)
  
• Drive (2011) (17) beat The Revenant (2015) (6), and Mandy (2018) (4)
  
• Django Unchained (2012) (11) beat The Salesman (2016) (3) and Made in Dagenham (2010) (2)
  
• Mad Max: Fury Road (2015) (9) beat Train to Busan (2016) (5), and Diamantino (2018) (1)
  
• Eighth Grade (2018) (5) beat Elle (2016) (4), and Long Way North (2015) (2)
  
• The Turin Horse (2011) (10) beat Logan (2017) (9), and El Camino: A Breaking Bad Movie (2019) (0)
  
• The Way Back (2010) (8) beat Locke (2013) (5), and The Tree of Life (2011) (4)
  
• Embrace of the Serpent (2015) (10) beat Little Women (2019) (6), and The Whispering Star (2015) (2)
  
• Enemy (2013) (6) tied with The Wind Rises (2013) (6) and beat Like Someone in Love (2012) (3)
  
• Life of Pi (2012) (9) beat The Witch (2015) (8), and Evangelion 3.0 You Can (Not) Redo (2012) (1)
  
• The Wolf of Wall Street (2013) (7) beat Leave No Trace (2018) (6) and Exit Through the Gift Shop (2010) (3)
  
• Ex Machina (2014) (9) beat Thoroughbreds (2017) (4), and Le Havre (2011) (3)
  
• Three Billboards Outside Ebbing, Missouri (2017) (13) beat Ladybird (2017) (9), and Extremely Wicked, Shockingly Evil and Vile (2019)
  
• La La Land (2016) (13) beat 13 Assassins (2010) (4), and White Boy Rick (2018) (1)
  
• The Social Network (2010) (11) Four Lions (2010) (5), and Kung Fu Panda 2 (2011) (2)
  
• Get Out (2017) (7) beat Two Days, One Night (2014) (5), and Konosuba Legend of Crimson (2019) (1)
  
• Uncle Boonmee Who Can Recall His Past Lives (2010) (7) beat Girlhood (2014) (4), and Klaus (2019) (1)
  
• Under the Skin (2013) (13) beat Kingsman: The Secret Service (2014) (3), and God Bless America (2011) (2)
  
• Upstream Color (2013) (8) beat Killer Joe (2011) (7), and I Saw The Devil (2010) (4)
  
• Good Time (2017) (11) beat Joker (2019) (6), and Us (2019) (2)
  

View Poll

There's scenes in this movie where he seems like a perfectly fine, almost stoic husband. Then brilliantly Melton has scenes where you can tell this is still a teenaged boy trapped in a 35+ year old's body and that's what makes the movie so heartbreaking. The scenes with his kids, the scene with Natalie Portman in the bed, how Julianne Moore's character talks to him and how he looks up to her, etc. Brilliant acting all around and it really is a performance where your heart breaks for the guy as he realizes how that relationship might've screwed him up. The scene where this dude is watching his kids graduate high-school and he looks like he could pass for a college kid is jarring.

I will continue to update this post as reviews come in.
Rotten Tomatoes: Certified Fresh
Critics Consensus: A deceptively dark thriller that's also loaded with laughs, Hit Man is an outstanding showcase for leading man Glen Powell -- and one of the most purely entertaining films of Richard Linklater's career.

	Score	Number of Reviews	Average Rating
All Critics	96%	81	8.30/10
Top Critics	93%	27	8.00/10

Metacritic: 82 (21 Reviews)
Sample Reviews:
“Hit Man” is studded with delicious moments, but as amusing as the movie is it has a plot that sprawls forward in a rather ungainly fashion, and it goes on for too long. - Owen Gleiberman, Variety
Smart and steamy screwball fun. - Leslie Felperin, Hollywood Reporter
The comedy is a deliriously entertaining star vehicle for actor Glen Powell. - Ben Croll, TheWrap
“Hit Man,” Linklater’s latest film, falls into the fun-with-a-heart (and brain) category. It’s got a lot going for it. For one thing, there’s Linklater’s deft touch, particularly when juggling comedy and romance (with a little crime drama thrown in). 4/5 - Bill Goodykoontz, Arizona Republic
A smartly written, sublimely comedic, and sexy human-scale relationship story with a touch of just enough suspense and hints of criminality to prove that its title is not a complete misnomer. 4/5 - Cary Darling, Houston Chronicle
In the hands of a lesser director, Hit Man would surely have felt rather thin and disposable. But Linklater is a pro, and he manages to make the film’s fripperies feel borderline profound. 4/5 - Xan Brooks, Guardian
An intelligent comedy that contains plenty of laugh-out-loud moments and references Kant and Nietzsche, it is also a thriller that is darker than it first appears. - Jo-Ann Titmarsh, London Evening Standard
Hit Man trips along on great writing, Linklater’s witty, light-touch direction and a rich sense of place, but what makes it especially pleasurable is Powell and Arjona’s naturally steamy rapport. 4/5 - Robbie Collin, Daily Telegraph (UK)
... An effervescent comedy from Richard Linklater that simultaneously snubs its nose at the entire genre while easily nabbing the honour of most purely entertaining film to grace the Lido so far. 4/5 - Kevin Maher, Times (UK)
Another, crueller writer-director would have pivoted to scenes of bloody violence, but Linklater prefers to ponder the question of whether you can will yourself into becoming a different person. 4/5 - Nicholas Barber, BBC.com
A sorta-true story about an average guy who finds himself caught in a web of crime and deception, Hit Man is a cute and clever (sometimes overbearingly so) showcase for Powell’s magnetic charm. - Richard Lawson, Vanity Fair
The police scenes are just light enough to be funny, the screwball sequences are just dark enough to keep you on the edge of your seat, and Powell... is obviously elated to be handling such twisty material. - Shirley Li, The Atlantic
This genial comedy/noir is a genuine crowdpleaser – funny, sexy, clever and confident in building a low-key humour which hits the target over and over again. - Fionnuala Halligan, Screen International
It’s a genuinely riotous time at the cinema and concrete proof Powell is perhaps our brightest hope when it comes to keeping the notion of the movie star alive. - Hannah Strong, Little White Lies
Hit Man is hot and hilarious, a winning combination amplified by a story that gets knottier at every turn. - Nick Schager, The Daily Beast
Powell’s ability to power through some dull material on charm alone only reaffirms the credibility of his stardom, and the film’s general lack of ambition keeps things from going awry whenever a joke doesn’t land. Aim small, miss small. B- - David Ehrlich, indieWire
I’s just fun to watch good old-fashioned comedy in which love, danger, and happy endings are all part of a damn fine evening at the movies. - Alissa Wilkinson, Vox
With Richard Linklater’s Hitman, the charismatic Glen Powell has been offered a plum opportunity to shape his image into something more complicated and often poignant. 3/4 - Zach Lewis, Slant Magazine
[A] light-and-lively comedy. - Jordan Hoffman, The Messenger
Comfortably Linklater’s best movie since Boyhood, Hit Man stands alongside School of Rock for big laughs and good vibes – albeit with a darker streak that slowly kicks in. 4/5 - Philip De Semlyen, Time Out
Powell and Linklater would have done better to take Johnson’s story as a launching point and then spun off into their far more complicated version of his life without literally tethering the movie to a real person. - Alonso Duralde, The Film Verdict
Linklater has long had a gift with playful humor, and he nails the tone here without turning “Hit Man” into the slapstick it could have become. - Brian Tallerico, RogerEbert.com
A comedy/thriller that’s in equal parts charming, nerve-wracking, and ethically challenging. - Glenn Kenny, RogerEbert.com
Every interesting aspect of the true story and the imagined story are smoothed out. - Drew Gregory, Autostraddle
The smoldering, wily, wild-but-true Hit Man returns Linklater to his loquacious take on romance, with a man using his gift of gab to shrug off himself. - Charles Bramesco, Inside Hook
A witty, relaxed, and cheerfully fictionalized comedy-caper-romance; in the bargain there’s some light philosophical meditations on the impermanence of personality. 4/4 - Ty Burr, Ty Burr's Watch List
It’s as if Linklater is playing posthumous wingman for his subject, giving him the rom-com-slick Hollywood ending he never got in life. - Keith Uhlich, (All (Parentheses))
SYNOPSIS:
Oscar-nominated director Richard Linklater’s sunlit neo-noir stars Glen Powell as strait-laced professor Gary Johnson, who moonlights as a fake hit man for the New Orleans Police Department. Preternaturally gifted at inhabiting different guises and personalities to catch hapless people hoping to bump off their enemies, Gary descends into morally dubious territory when he finds himself attracted to one of those potential criminals, a beautiful young woman named Madison (Adria Arjona). As Madison falls for one of Gary’s hit man personas — the mysteriously sexy Ron — their steamy affair sets off a chain reaction of play acting, deception, and escalating stakes. Co-written by Linklater and Powell and inspired by an unbelievable true story, Hit Man is a cleverly existential comedy about identity.
CAST:

• Glen Powell as Gary Johnson
• Adria Arjona as Maddy Masters
• Austin Amelio as Jasper
• Retta as Claudette

DIRECTED BY: Richard Linklater
SCREENPLAY BY: Richard Linklater, Glen Powell
BASED ON THE TEXAS MONTHLY ARTICLE BY: Skip Hollandsworth
PRODUCED BY: Mike Blizzard, Richard Linklater, Glen Powell, Jason Bateman, Michael Costigan
EXECUTIVE PRODUCERS: Stuart Ford, Zach Garrett, Miguel A. Palos Jr., Shivani Rawat, Julie Goldstein, Vicky Patel, Steve Barnett, Alan Powell, John Sloss, Scott Brown, Megan Creydt
DIRECTOR OF PHOTOGRAPHY: Shane F. Kelly
PRODUCTION DESIGNER: Bruce Curtis
EDITED BY: Sandra Adair
COSTUME DESIGNER: Juliana Hoffpauir
MUSIC BY: Graham Reynolds
MUSIC SUPERVISORS: Randall Poster, Meghan Currier
CASTING BY: Vicky Boone
RUNTIME: 115 Minutes
RELEASE DATE: May 24, 2024 (Limited Theatrical in US; Wide Theatrical in Canada) / June 7 (Netflix)

Bio from The Festival Voice

Artist Biography by Daniel Karasek
Pretty Lights is a music project out of Colorado started by Derek Vincent Smith. He started making hip-hop in high school and dropped out of college during his freshman year at the University of Colorado at Boulder to pursue a career in producing music. Derek released his debut album in 2006 titled Taking Up Your Precious Time under the moniker Pretty Lights. He toured on this album supporting STS9, the Disco Biscuits, and Widespread Panic. By 2010, Derek had released two more albums and had toured major festivals including Coachella, Ultra, Movement, and Electric Zoo. The next year he created his Pretty Lights Music imprint to release albums by Michal Menert, Gramatik, and Eliot Lipp. In 2012, Derek started working on Pretty Lights’ fourth album, which featured drummer Adam Deitch, Soulive’s Eric Krasno, the Harlem Gospel Choir, and members of the Preservation Hall Jazz Band and the Treme Brass Band. The idea behind the album was to capture a vintage sound while making it sound like what Pretty Lights had been known to produce. The resulting album, A Color Map of the Sun, was nominated at the 2013 Grammy Awards. The Hidden Shades EP came the following year featuring remixes and B-side tracks. Later in 2014, Derek moved to New Orleans to form a band he called Pretty Lights Live. This lineup toured for a few years with some Red Rocks shows included on the tour. Then, Derek fell off the map and became a whisper in the music community. He had to get himself sorted out with rumors of substance abuse being what stole him from the world and his fans. Then, after five years and a global pandemic, Derek rose from the ashes with Pretty Lights Live, featuring Alvin Ford Jr. on drums, Borahm Lee on keys, Michal Menert on guitar, and turntablist Chris Karns. The band toured in 2023 to sold-out venues across the country. Their live show now features drones, Lidar-crafted visuals, and free live streams that are available on YouTube.
To give a very simplified overview of how their set works, Derek acts as a conductor of sorts for all the other band members. Each member plays their instruments as a jam band and feeds in their audio to Derek. Derek then live mixes these sounds with a custom modular synthesizer to create what comes out of the PA systems at a show. Additionally, Derek will incorporate his own noise into the mix as well. While all this is going on, there are Lidar sensors onstage that are taking live 3-D mappings of the stage and sometimes the crowd and venue. On the screens behind the band, they project these mappings for visuals during the show. Oh, and they have a ton of lasers that light up the sky. And if that wasn’t enough, the rumor for Bonnaroo is that there will be a drone show above Pretty Lights on Thursday. I’ve seen what drones can do while I was at the Texas Eclipse Fest this year. It will be the best show of their 2024 tour.

 
Genre: EDM, Electro Soul, Hip-Hop, One of the Greatest Artists of the 21st Century
Scheduled: Thursday and Sunday morning to beckon the sun
Songs & Sets:
Pretty Lights Live at The Eastern Day 2 Both Sets Friday 8.25.23
Pretty Lights Live at The Brooklyn Mirage Day 2 Both Sets Sunday 10.1.23
Pretty Lights Live at the Caverns Day 1 Friday 11.3.23
Pretty Lights Live at Hulaween Day 1 Saturday 10.28.23
Have you seen Pretty Lights before? Please share your experience and favorite songs.
 

Days Until Bonnaroo: 23

Remember to drink water and warm up those high fives!
 
Link to previous AotD post

Spencer Tracy won back-to-back Oscars for his performances in Captains Courageous (1937) and Boys Town (1938).
While I do not think these are terrible performances as they are both charming supported by Tracy having great chemistry with his the respective Supp. Leads in each of those films (Freddie Bartholomew and Mickey Rooney). I feel like he has had work that was 10× better than that.
His ending speech and final scene with Burt Lancaster in Judgement At Nuremberg are some of my favorite movie scenes. I feel like these two scenes alone highlight the best of his ability as an actor than both Captains Courageaous and Boys Town combined.
I would also say his performances in "Bad Day At Black Rock", "Inherit The Wind", "The Old Man And The Sea", "It's A Mad, Mad, Mad, Mad, Mad World" (he should have gotten a Supp. Actor Nomination that year), and "Guess Whos Coming To Dinner" are much better performances. Though the competition was tough in each of the years he was nominated. I feel like Judgement At Nuremberg was the closest he was to winning a 3rd Oscar.

View Poll

A bond with a gross coupon rate of 4% and a nominal value of EU2,000 was issued below par (at 98%) on 01/01/2010 and will be redeemed above par (at 102%) on 01/01/ 2040. Determine the price on 01/07/2022 so that you realize an annual net return of 6% when you hold the bond until maturity. The RH is 30%.

Welcome everybody to the third SotW of May! This week, we'll be listening to a song that was often used as a powerful opening track for Em's concerts in the Recovery era. Most of you probably know what song I'm talking about. This week's track is 'Won't Back Down', featured as the fourth track on Em's seventh studio album, 'Recovery'.
Upon the release of Recovery, the song received generally positive reviews from music critics, who praised its aggressive nature and production. Although not released as a single, 'Won't Back Down' appeared on four national charts. It was used in the game Call of Duty: Black Ops and its trailer as well as the trailers for the films Mission: Impossible - Ghost Protocol and Hitman: Agent 47.
Along with most of the songs from Recovery, 'Won't Back Down' was recorded at 54 Sound and Effigy Studios in Ferndale, Michigan, with recording carried out by Mike Strange. The song is one of the only Eminem songs not in a 4:4 time signature, along with Untitled (also from Recovery) and Underground (from Relapse).
Originally, the song was set to be a solo record, with Eminem singing the chorus himself. Later, Liz Rodriguez, who is also featured on Recovery's '25 to Life' and 'Almost Famous', recorded the song's chorus. Eminem however, explained in an interview that after recording his vocals for the song, he decided to include Pink on the song as he "felt like she would really smash this record.".
Although 'Won't Back Down' was not released as a single, it charted on four national charts worldwide due to digital sales on the release of Recovery. The song reached its highest position on the US Billboard Hot 100, where it peaked at number 62 on the chart for the week ending of July 10, 2010, although it fell off the chart the following week. The song also charted in Australia, Canada and the United Kingdom, peaking at number eighty-seven, sixty-five and eighty-two on their respective national charts, although on all three the song again only appeared for one week.
As stated before, upon its release, 'Won't Back Down' received generally positive reviews from most music critics. David Jeffries of Allmusic wrote positively of the song, describing the song as a "lurching heavy metal monster" that "could be used as the lead-in to 'Lose Yourself' on any ego-boosting mixtape", but wrote more critically of the lyrics, denouncing the pop culture jokes featured throughout the song, particularly ones aimed at Michael J. Fox, calling the line "Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch" "less effective" than other jokes aimed at him. Steve Jones of USA Today described it as "rock-tinged" and stated that Pink's appearance provides "outside star power".
A remixed version of the ESPN trailer of the game Call of Duty: Black Ops featuring 'Won't Back Down' was released on June 14, prior to the E3 Activision conference for which he also performed. The song was also featured in the game's credits and zombie mode map 'Five' as an easter egg.
Em has performed the song on live sketch comedy show Saturday Night Live accompanied by Lil Wayne and Mr. Porter. Idolator reacted positively to Eminem's performance, stating that he proved "once again what a dynamic and energetic live performer he is on this exceptionally angry tune (even by Slim Shady standards)." He also performed the song on Late Night with Jimmy Fallon.
Every week there will be a new song that gets featured at the top of the subreddit. Users can leave a comment and the song that gets the most votes might be the new Song of the Week. Suggestions for improving the next post are encouraged.
This week's Nominator: PokemonBwLowHealth
The Song: Won't Back Down - iTunes
In-App link(s): spotify:track:5KzRfDOUpMVaB4eYugEVjE
Featuring Artist(s): P!nk
Length: 4:25
Recorded: 2009 - 2010
Release: June 18, 2010
Album(s): Recovery - iTunes
In-App link(s): spotify:album:3PogVmhNucYNfyywZvTd7F
Sample(s): None
Media: Album: Cover / Alternative - Back
Label(s): Shady Records, Aftermath, Interscope
Format: Digital, Disc, Vinyl
Producer(s): DJ Khalil
Extra: Lyrics Video: Fan-made Music Video - Lyric Video Full header image
Live Performances: Comerica Park 2010 (From Unreleased Recovery Documentary), Live on SNL, Jimmy Fallon 2011, Pukkelpop 2013, E3 2010
This is an open thread for you to share your thoughts on the current SotW or to nominate a new song. Avoid vague statements of praise or criticism. This is your chance to practice being a critic.

El Paso voters left some races undecided in the March primaries, sending a handful of Democratic and Republican candidates into a runoff election for their party’s nomination.
Three high-profile races – El Paso County district attorney and sheriff, as well as District 77 state representative –will be on the May 28 Democratic ballot. The other undecided Democratic race is the Precinct 1 constable seat. On the Republican side, the nominee for Texas’ 23rd Congressional District will be on the ballot.
The winner of each runoff race will head into the November general election to face the challenger in the opposing party where there is one. If there’s no challenger in November, the winner of the primary runoff will be considered to have won the seat.
Here is what's on the ballot:
In El Paso, the primary runoff election will consist of five races:

• District attorney: Walmart shooting case, migrant prosecutions play large in El Paso district attorney primary runoff election
• Sheriff: El Paso County sheriff candidates in primary runoff tout experience, leadership styles
• District 77 state rep: State rep candidates Vincent Perez, Norma Chávez call out each other’s records
• District 23 U.S. rep: GOP congressional candidate Brandon Herrera makes El Paso campaign stop with Kyle Rittenhouse
• Constable, Precinct 1: Meet the Democratic candidates for constable in Precinct 1 in Primary Runoff

You can find more information and a full guide on early voting at https://elpasomatters.org/2024/05/20/what-to-know-about-el-pasos-primary-runoff-as-early-voting-begins-monday/
Still have questions? Let us know in the replies!

Cross-posted from boxoffice The story of this film is extremely cool.
The story begins in the year 2004. On the 50th anniversary of the creation of Godzilla, Toho’s last suitmation film, Godzilla Final Wars, released theatrically in Japan. The film has a massive budget for a Japanese film, and heavily underperforms. Toho decides to shelf Godzilla indefinitely. The company had tried in the last decade to export Godzilla to American filmmakers, with many distributors and producers being unwilling to provide the budget needed to bring a full American Godzilla production to life. Eventually, Tristar was handed the rights to the project, and they effectively handed full creative control to Tristar to make their own King of the Monsters. But Roland Emmerichs film greatly disappointed kaiju genre fans, who were isolated with an unloyal and heavily Jurassic Park derivative product. Now with both the Tristar Godzilla projects and locally produced Toho Godzillas indefinitely put on ice following their respective underperformances, it looked like the king of the monsters was headed to retirement. But unaware to Toho, the early stages of his most creative reimaginings were on the horizon, leading to him becoming reinvigorated and empowered in the eyes of the modern public.
The main light in the depths was from Japanese Godzilla vs Hedorah director and cowriter Yoshimitsu Banno, who sought to produce the next era of Godzilla projects. Banno had been seeking another studio to take the reins on an american Godzilla project since the rights expired from Tristar in the early 2000’s, but many studios were flighty about using the property, as production costs were likely to be well over 100 million USD for any attempt. In the late 2000’s, rumors of a project titled “Godzilla 3D to the Max” surfaced, which in reality was a pitch by Banno to american producers. One producer who was on board was american producer Brian Rogers, who worked with Banno to pitch this project to larger studios. Eventually, Legendary pictures was willing to step in, with the deal being confirmed in early 2010, beginning the production of the 2014 Godzilla, which was originally slated to be released in 2012 and was distributed by Warner Bros.
Godzilla 2014 exceeded Legendary’s expectations with a massive run of about 525 million USD. The financial and relative critical success of the 2014 Godzilla spurred internal creative discussions within Toho, who signed off on the development of a Godzilla film headed by Evangelion creators Hideaki Anno and Shinji Higuchi. This project would later be known as Shin Godzilla, which was a massive success in Japan with a gross equivalent to 75.4 million USD. At the same time, Legendary had acquired the rights of Toho costars Mothra, King Ghidorah, and Rodan, as well as pursuing the US rights of King Kong, to pursue a new cinematic universe of their own, the “Monsterverse” which would eventually lead to a rematch between Godzilla and King Kong. This coalesced into 2017’s Kong: Skull Island, which grossed 568.6 million USD at the global Box Office and was generally well received, and Godzilla King of the Monsters, which underperformed expectations at the global box office with only around 387 million USD.
After a significant underperformance of Godzilla: King of the Monsters, Legendary did extensive cuts and re-editing to their already-in-progress Godzilla vs Kong. Then Covid-19 hit in late 2019 and early 2020, and Godzilla vs Kong was delayed into 2021 due to the unsustainable environment at theaters. Eventually, an internal feud occurred when Warner Bros decided to launch Godzilla vs Kong on HBOMax for free on the same day as its theatrical release in the United States, leaving creative heads at Legendary Pictures furious, causing a public spat that caused Monarch: Legacy of Monsters to be shipped to Apple TV, as well as future collaborations between Warner Bros and Legendary to be under debate. In spite of the HBOMax release, Godzilla vs Kong had an impressive Box office performance of 470 million USD, on top of a 250 million dollar payment by Warner Bros for HBOMax day and date streaming rights, being the highest ever streamed movie on HBOMax until the release of Mortal Kombat later in 2021.
After Godzilla vs Kong, both Toho and Legendary proceeded to greenlight their latest major budget projects. Legendary began production on a Monsterverse live action series “Monarch: Legacy of Monsters”, which premiered on Apple TV with viewership far above average. A sequel to Godzilla vs Kong, earlier called “Son of Kong” in production but later called “Godzilla x Kong: The New Empire”, was greenlit based upon positive reception to Godzilla vs Kong. Toho began work on their own Godzilla project called Godzilla Minus One.
Godzilla Minus One, Godzilla x Kong: the new empire, and Monarch: Legacy of Monsters have put the King of the Monsters, a fictional character formerly on borderline retirement, into new heights. Godzilla Minus One acquired the Godzilla Franchise's first Oscar. Godzilla x Kong: The New Empire has become the highest grossing Godzilla movie in history. And Monarch Legacy of Monsters was popular enough to justify multiple Godzilla tv series getting the greenlight. This character is likely on the upswing, with no signs of slowing down, no matter what obstacles stand in his way.
Because of Godzilla 2014, the character has entered a new golden age which would have never happened without Banno. To this day, Monsterverse projects still include his name as a producer even though he passed in 2017.