Latest news with #MementoMori
Business Insider
19 hours ago
- Entertainment
- Business Insider
The ending of '28 Years Later' explained and how it sets up the sequel, 'The Bone Temple'
Fans waited nearly 20 years for " 28 Years Later" — and its cliffhanger ending will likely leave them with more questions than answers. The film is set three decades on from when the Rage Virus escaped from a lab in Britain, causing the infected to become mindless and bloodthirsty zombie-like killers. It is essentially a coming of age story about a 12-year-old named Spike, who lives on an island that is cut off from the mainland during high tide, which protects his community from the infected. The opening scene of "28 Years Later" shows the infected attacking a young boy named Jimmy at the start of the outbreak. It then jumps forward to Spike's father, Jamie (Aaron Taylor-Johnson), taking him hunting on the mainland as a rite of passage. They leave behind Spike's mother, Isla (Jodie Comer), who is bed-bound by a mystery illness that causes amnesia. Here's the ending explained, and how it sets up the sequel "28 Years Later: The Bone Temple." "28 Years Later" follows Spike as he tries to save his mother. After Spike spots a fire in the distance while on the mainland, Jamie tells him of a man called Doctor Kelson (Ralph Fiennes), whom he saw nonchalantly burning hundreds of bodies when he was younger. He warns Spike of how dangerous even the uninfected can be. However, Spike ignores him and decides to sneak Isla onto the mainland in the hopes the doctor can cure her. He creates a distraction by burning a general store and leaving during low tide. On the mainland, Spike and Isla meet Eric (Edvin Ryding), a Swedish NATO soldier whose squad washed up in England after their boat sank. He saves them from a number of infected, but threatens to kill them when Isla helps a pregnant infected woman give birth to an uninfected baby. However, he's stopped by a variant of the infected called an Alpha, who rips Eric's head and spine off his body. As they escape, Kelson suddenly appears and drugs the Alpha (Chi Lewis-Parry) with a blowdart, and provides Spike, Isla, and the baby with sanctuary in an area where he has built huge towers out of bones and skulls. He calls it the "Memento Mori," Latin for "Remember you die." In one of the film's quieter moments, he diagnoses Isla with cancer, which has spread to her brain. This explains her memory loss and extreme headaches. She chooses to let Kelson euthanize her and she tells Spike that she'll always be with him. She walks off into the darkness with Kelson, and he returns with her skull. In a heartbreaking moment, he lets Spike pick a spot in the Memento Mori to place it, and he climbs to the top of the tower, positioning her skull so that she's forever looking out onto the world. After Isla's death, Spike embraces life on the mainland. The next morning, Spike treks back to the island and leaves the baby outside the gate with a note explaining that she isn't infected, and that he's named her Isla. In a moment of rage and grief, Jamie races out to the sea at high tide to try to find Spike, but he has already disappeared. Spike's decision to leave the safety of the isolated island to explore the mainland alone appears to symbolize that he's left his childhood behind. But a group of infected soon find him while he's cooking fish, and he flees his camping spot. In the film's most surprising moment, he's saved by a man in a bright purple tracksuit and gold jewelry who calls himself Jimmy (Jack O'Connell). Most importantly, he's the boy who survived the film's savage opening. Jimmy is joined by several other young people with long blond hair and matching, colorful tracksuits who kill the infected with large spears. Their appearance is a stark contrast to Spike and the other island survivors, who are haggard. The group's look is reminiscent of Jimmy Savile. The once hugely popular British television presenter who after his death in 2011 was revealed to be a prolific sexual abuser of children and adults. It's possible that in the universe of the horror franchise, Savile's crimes were never uncovered. Jimmy asks Spike if he'd like to go with him, and the film ends there. The scene sets the stage for the sequel, "28 Years Later: The Bone Temple," which arrives in theaters on January 16, 2026.
Engadget
6 days ago
- Entertainment
- Engadget
Star Trek: Strange New Worlds' third season falls short of its second
This is a spoiler-free preview of the first five episodes of season three. Star Trek: Strange New Worlds ended its second season with arguably the single strongest run of any streaming-era Trek. The show was made with such confidence in all departments that if there were flaws, you weren't interested in looking for them. Since then, it's gone from being the best modern Trek, to being the only modern Trek. Unfortunately, at the moment it needs to be the standard bearer for the show, it's become noticeably weaker and less consistent. As usual, I've seen the first five episodes, but can't reveal specifics about what I've seen. I can say plenty of the things that made Strange New Worlds the best modern-day live-action Trek remain in place. It's a show that's happy for you to spend time with its characters as they hang out, and almost all of them are deeply charming. This is, after all, a show that uses as motif the image of the crew in Pike's quarters as the captain cooks for his crew. Its format, with standalone adventures blended with serialized character drama, means it can offer something new every week. Think back to the first season, when 'Memento Mori,' a tense action thriller with the Gorn, was immediately followed by 'Spock Amock,' a goofy, starbase-set body-swap romantic comedy of manners centered around Spock. Strange New Worlds is the first Trek in a long while to realize audiences don't just want a ceaseless slog of stern-faced, angry grimdark. And if they want that, they can go watch Picard and Section 31 . Marni Grossman/Paramount+ But, as much as those things are SNW's greatest strength, it's a delicate balance to ensure the series doesn't lurch too far either way. And, it pains me to say this, the show spends the first five episodes of its third season going too far in both directions (although, mercifully, not at the same time). No specifics, but one episode I'm sure was on the same writers room whiteboard wishlist as last season's musical episode. What was clearly intended as a chance for everyone to get out of their usual roles and have fun falls flat. Because the episode can never get past the sense it's too delighted in its own silliness to properly function. Marni Grossman/Paramount+ At the other end of the scale, we get sprints toward the eye-gouging grimdark that blighted those other series. Sure, the series has gone to dark places before, but previously with more of a sense of deftness, rather than just going for the viscerally-upsetting gore. A cynic might suggest that, as Paramount's other Trek projects ended, franchise-overseer Alex Kurtzman — who has pushed the franchise into 'grittier' territory whenever he can — had more time to spend in the SNW writers' room. Much as I've enjoyed the series' soapier elements, the continuing plotlines take up an ever bigger part of each episode's runtime so far. Consequently, the story of the week gets less service, making them feel weaker and less coherent. One episode pivots two thirds of the way in to act as a low-key sequel to an episode from season two. But since we've only got ten minutes left, it feels thrown in as an afterthought, or to resolve a thread the creative team felt they were obliged to deal with (they didn't). In fact, this and the recently-finished run of Doctor Who suffered from the same problem that blights so many streaming-era shows, which is the limited episode order. Rather than producing TV on the scale broadcast networks were able to — yearly runs of 22-, 24- or 26 episodes, a lot of (expensive) genre shows get less than half that. The result is that each episode has to be More Important Than The Last One in a way that's exhausting for a viewer. But Strange New Worlds can't solve all the economic issues with the streaming model on its own. My hope is that, much like in its first season, the weaker episodes are all in its front half to soften us up for the moments of quality that followed toward its conclusion. ASIDE: Shortly before publication, Paramount announced Strange New Worlds would end in its fifth season, which would be cut from ten episodes to six. It's not surprising — given the equally-brilliant Lower Decks was also axed after passing the same milestone — but it is disappointing. My only hope is that the series doesn't spend that final run awkwardly killing off the series' young ensemble one by one in order to replace them with the entire original series' roster as to make it "line up." Please, let them be their own things.
Forbes
18-04-2025
- Entertainment
- Forbes
‘Velvet El Nuevo Imperio' Gets Debut Date, Telemundo Releases First Look Trailer
Samantha Siqueiros and Yon González in a scene from "Velvet El Nuevo Imperio." Telemundo has released the first official trailer for its upcoming original series Velvet El Nuevo Imperio, a modern remake of Spain's international hit Velvet, giving audiences a first look at the reimagined romantic drama. Yon González (Las Chicas del Cable, Memento Mori) and Samantha Siqueiros (Casa de Papel: Berlin, Señora Acero) star in the lead roles of Alberto Márquez and Ana Velázquez in this new version of the love story, set against a backdrop of jealousy, ambition, power and intrigue. Alberto, the heir to the Velvet fashion empire, returns home to save the family business and rekindles a romance with Ana. Their relationship becomes complicated with the arrival of Cristina Otegui, portrayed by Carolina Miranda (Fake Profile, ¿Quién mató a Sara?), as well as the weight of family responsibilities and expectations. The network's 2025 adaptation of the Spanish hit romantic series - originally set in a 1950s Spanish fashion house - introduces several changes, including moving the storyline to present-day New York. However, core elements of the story remain. In the trailer, fans of Velvet will recognize the star-crossed lovers on a rooftop escapade, with Ana looking stunning in a bright red dress - just as she did in the original series. 'Velvet El Nuevo Imperio is not a continuation, it is a reinvention,' says Javier Pons, who led the development of the production and was recently promoted Chief Content Officer and Head of Telemundo Studios. 'With a fresh narrative, unforgettable characters, and a star-studded cast, this contemporary retelling honors the original that fans fell in love with, while introducing the world of Velvet to a whole new generation.' The cast also includes legendary Mexican actor and producer Humberto Zurita (La Reina del Sur) as patriarch Benjamín Márquez, Chantal Andere (El maleficio, El Conde: Amor y honor), Itatí Cantoral, and many other notable actors. Velvet El Nuevo Imperio debuts Monday, May 19 at 9 p.m. ET/PT/8 p.m. CT on Telemundo. Episodes will be available to stream the next day on the Telemundo app and Peacock.
