April 6, 2017

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Today in Movie Culture: 'The Matrix' Recast With Will Smith, Mark Hamill Hilariously Redubs Han Solo Dialogue and More

Here are a bunch of little bites to satisfy your hunger for movie culture:

Recast Movie of the Day:

What if Will Smith hadn’t turned down the part of Neo in The Matrix? The Unusual Suspect shows us what that looks like in this terrific mashup:

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Redubbed Movie of the Day:

In the latest edition of Bad Lip Readings, Mark Hamill guest-voices Han Solo’s lines in a redub of Star Wars: The Force Awakens:

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Movie Franchise Parody of the Day:

Since Logan is so popular with its R rating, XVP Comedy added R-rated content to the other Wolverine movies:

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Movie Franchise Recap of the Day:

With The Fate of the Furious coming out in a week, Burger Fiction runs through the evolution of the Fast and the Furious franchise:

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Vintage Image of the Day:

Barry Levinson, who turns 75 today, directs Steve Guttenberg and Tim Daly on the set of Diner in 1981:

Actor in the Spotlight:

While promoting the home video release of Rogue One: A Star Wars Story, Alan Tudyk reprises his voice roles from Zootopia, Frozen and more (via Geek Tyrant):

Movie Deconstruction of the Day:

This video by Zackery Ramos-Taylor shows the brilliant mirroring of shots in the two halves of Lion through side-by-side comparison:

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Fan Art of the Day:

Kong: Skull Island director Jordan Vogt-Roberts shared this tribute to both his movie and his beard:

This fan art of Kong with a beard cracks me up. pic.twitter.com/8XlQbnn8HE

— Jordan Vogt-Roberts (@VogtRoberts) April 6, 2017

Cross-Promotion of the Day:

Baby Groot and the Geico Gecko team up to sell car insurance and Guardians of the Galaxy Vol. 2 in this cute new ad (via Geek Tyrant):

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Classic Trailer of the Day:

With the remake of Going in Style opening this week, check out the trailer for the 1979 original starring George Burns, Art Carney and Lee Strasberg:

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and

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Comcast Goes Mobile With Cellphone Service For Existing Customers

Comcast is calling its foray into wireless phone service Xfinity Mobile.

Jeff Fusco/AP Images for Comcast

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Jeff Fusco/AP Images for Comcast

In telecom circles, Comcast’s plans and efforts to wade into the mobile market go back years. On Thursday, the company finally revealed the specifics of what its new service will look like.

Comcast is calling its cellphone program Xfinity Mobile, expected to launch in the next few weeks. Its target audience is existing Comcast customers — the company hopes they’ll be drawn by the savings from adding mobile service to a home Internet service or bigger bundles.

Here’s a quick rundown of the offer from The Wall Street Journal:

“Unlimited talk, text and data is $65 per line. But if you have one of Comcast’s more expensive internet and cable bundles, which start at $150 a month, the price for each unlimited line drops to $45.

“Comcast will also offer a pay-as-you-go option for $12 per gigabyte — a very cheap option for people who don’t use much data. … The prices are generally lower than what the major carriers charge. … But unlike Verizon or AT&T, adding more wireless lines doesn’t bring the price down.”

Both the Journal and Bloomberg have really handy price-comparison charts. A couple of caveats include a prerequisite, for now, that customers must purchase a new phone (options include Apple, Samsung and LG) and a note that unlimited plans may face slower speeds after 20 gigabytes.

Comcast is the largest cable operator, but its competition includes AT&T-DirecTV and Verizon FiOS, both of which are part of large — and growing — telecom conglomerates. Bloomberg reports that Charter, which recently bought Time Warner Cable, plans to launch a wireless service in 2018. The entire industry is trying to figure out how to make money in new ways, as people’s TV-viewing and data-consumption habits keep changing.

Comcast’s new wireless service will rely on Comcast’s own Wi-Fi network and Verizon’s phone network, for which Comcast struck a resale contract years ago. (Charter has a similar deal.) Major wireless companies already rely on Wi-Fi hot spots to offload some wireless traffic to mitigate congestion, and some companies have tried to do a cellphone service fully based on Wi-Fi.

As The Associated Press points out, Comcast’s “pay-per-gigabyte approach is similar to what Google is doing with its wireless service, Google Fi. … But Google Fi hasn’t caught on, in part because it works with only a few Google-branded phones and uses networks from T-Mobile, Sprint and U.S. Cellular, which aren’t as robust as Verizon’s.”

Comcastwill benefit from access to Verizon’s network, and for now, Comcast says phone calls won’t travel over Wi-Fi. The company has 16 million hot spots around the country, a network built largely through consumer hot spots. Comcast says Xfinity Mobile users will automatically connect to hot spots and toggle between Wi-Fi and mobile broadband. Wi-Fi reliability remains a challenge for all companies attempting this.

Roger Entner of Recon Analytics says Comcast’s new wireless service might boost the company’s bottom line, while having a relatively low impact on competition.

“I just don’t see Xfinity Mobile being designed to be a market disrupter,” he says. “I think the rest of the wireless industry breathed a collective sigh of relief after this announcement.”

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Fentanyl Adds A New Terror For People Abusing Opioids

Allyson and Eddie, clients at the AAC Needle Exchange and Overdose Prevention Program in Cambridge, Mass., say they carry naloxone and try to never use drugs alone to reduce the risk of overdosing.

Robin Lubbock for WBUR

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Robin Lubbock for WBUR

There’s a clear culprit in the rising drug overdose death count in Massachusetts, but it’s not heroin. It’s the synthetic opioid fentanyl.

Seventy-five percent of the state’s men and women who died after an unintentional overdose last year had fentanyl in their system, up from 57 percent in 2015. It’s a pattern cities and towns are seeing across the state and across the country, particularly in New England and the Rust Belt states.

Fentanyl may be especially lethal because it’s strong, it’s mixed with other drugs in varying amounts unknown to the user, and it can trigger an overdose within seconds. “It happens so fast, like instantly, as soon as you do the shot,” says Allyson, a 37-year-old woman who started using heroin in her late teens.

“In the past, it [an overdose] was something that you saw happening, like, you could see the person start to slow down, their color would start to turn blue, and then they would go out, within 10 minutes or so,” Allyson says. With fentanyl, there’s no progression. “Now it’s instant,” she says.

Allyson leans back in a chair at the AAC Needle Exchange in Cambridge, Mass., and tugs the hood of her gray sweatshirt down to her eyes. We’ve agreed not to use her full name or the full names of any people in this story who buy illegal drugs, so as not to harm their future job prospects.

Allyson is a regular client at the needle exchange, where manager Meghan Hynes urges everyone to carry naloxone, the drug that reverses an overdose. Hynes uses her own kit every few weeks.

“Recently we had a guy leave the bathroom and all the color just drained from his face, like immediately, and he just turned blue,” Hynes says, describing what’s become a typical fentanyl overdose. “I’ve never seen anyone turn blue that fast. He was completely blue and he just fell down and was out — not breathing.”

Hynes bent over the man turning blue to pump his heart, but she couldn’t. He was hit with “wooden chest,” a side effect of fentanyl that may be increasing the death toll.

“Your chest seizes up. You literally have paralysis and that’s obviously really dangerous, because if someone needs CPR, you can’t do it,” Hynes says. “And in this situation it spread, so he had lockjaw and his mouth was only open a tiny, tiny bit. And so I could hardly even do rescue breathing for him.”

Breathing for overdose patients is critical because brain cells can die after just five minutes without oxygen. Hynes revived the man on the floor. Because of the increasing overdoses she sees with fentanyl in the mix, she urges clients to stick to a dealer they know, and use with a buddy.

Many drug users also inject a small amount before they give themselves the full shot.

“But it’s really hard to tell these days, even if you do a tester shot,” Allyson says, because the grains of fentanyl that could kill you aren’t mixed uniformly in a bag. That’s a lesson she learned one death-defying night a few months ago.

Allyson, who is homeless, spent the night in a tent with a friend. She woke up and used the last of a bag from the day before to get herself going.

“And I actually said to my friend, I said, ‘Wow, I can’t believe I only saved myself this much.’ It was a very small amount, like a third of what I did the night before,” Allyson says, shaking her head. “I overdosed on it.”

The friend had enough naloxone in the tent, which was far from a road or hospital, to bring Allyson back from the dead.

Fentanyl is an opioid 50 times more powerful than heroin. There’s a legal, Food and Drug Administration-approved version. But labs in China are churning out cheap versions of fentanyl that dealers are selling on the streets mixed with fillers, heroin or other drugs.

Buyers have no idea how much fentanyl they are getting or how much risk they are taking with every injection. So, these days, drug users who frequent this needle exchange assume there’s fentanyl in every bag they buy.

“Most of us know that that’s what we’re getting,” says Sean, who started using heroin more than 20 years ago. “And if you don’t believe it, you’re living in a fairy tale world.”

There’s no reliable way for drug users to test the contents of bags bought on the street. Eddie relies on taste.

“It’s slightly bitter, but it’s mainly sweet if it’s fentanyl. If it’s heroin, you can tell right away because it’s got a bitter taste and it’s a long-lasting aftertaste,” Eddie says. “I will not put anything in my arm before I taste it.”

Eddie and Allyson say they try to avoid fentanyl. But when their last dose of drugs starts to wear off, they’ll take anything to avoid withdrawal, which they describe as the flu on steroids with fever, vomiting, diarrhea and high anxiety.

“It literally feels like your skin is crawling off. You’re sweating profusely,” Allyson says. “Your nose is running, your eyes are running. And that’s all you can focus on. You can’t think.”

Some drug users seek fentanyl because it’s a more immediate rush and intense high. But Allyson doesn’t like it. She says a fentanyl high fades much more quickly than heroin’s, which means she has to find more money to buy more drugs and inject more often, which leads to more risk.

When fentanyl fades, she and Eddie say, they are more likely to take other drugs. “You’re getting a fast rush but it doesn’t last, so people are mixing,” Allyson says.

At 37, Allyson is having experiences most Americans don’t face until much later in life. “As of two days ago, 30 people that I know have passed away. Basically my entire generation is gone in one year,” Allyson says. “It’s the fentanyl, definitely the fentanyl.”

Older drug users who have been through other epidemics say this moment with fentanyl is the worst they’ve seen. A man named Shug twists a towel in his hands.

“Addicts are dying, like, every day. It’s crazy, man,” Shug says, his eyes filling with tears. “Nobody seems to give a damn.”

Shug is grateful for the needle exchange, which hasn’t lost anyone to an overdose. But on the streets outside, the death toll keeps rising.

This story is part of a reporting partnership with NPR, WBUR and Kaiser Health News.

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In 'Important Step,' U.S. Women's Soccer Team Reaches New Labor Deal

Crystal Dunn (left) celebrates with Alex Morgan after Morgan scored during a friendly match against Japan last year. The World Cup champion team and the U.S. Soccer Federation have settled on a wage deal, ratifying a contract that runs through 2021.

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The U.S. women’s national soccer team has agreed to terms on a new collective bargaining agreement with U.S. Soccer, concluding a protracted dispute over their union contract.

The deal will “continue to build the women’s program in the U.S., grow the game of soccer worldwide, and improve the professional lives of players on and off the field,” the federation and the players association announced in a joint statement.

U.S. Soccer and the USWNT Players Association ratify collective bargaining agreement through 2021.

More: https://t.co/ElVwpIlc4Jpic.twitter.com/3IfecnurYO

— U.S. Soccer WNT (@ussoccer_wnt) April 5, 2017

The collective bargaining agreement announced Wednesday runs through 2021, meaning that the union has committed to playing under the contract for the 2019 World Cup in France and the 2020 Tokyo Summer Olympics.

Neither the union nor U.S. Soccer has released the specific terms of the agreement, though The Associated Press reports the players will get better base pay, bonuses and travel provisions, as well as “some control of certain licensing and marketing rights.”

The New York Times places the boost to base pay at 30 percent, which when coupled with match bonuses could double some of the players’ incomes, according to the newspaper.

“We believe our continued partnership will ensure a bright future for our sport for years to come,” U.S. Soccer President Sunil Gulati said in a statement.

pic.twitter.com/G941W08UC8

— Sunil Gulati (@sunilgulati) April 5, 2017

For a while, that partnership appeared in danger of running aground.

As NPR’s Bill Chappell reported, the players’ previous CBA expired at the end of 2012, though it was extended by a memorandum of understanding while contract negotiations unfolded. But those talks were far from smooth, as players resorted to the courts to open the possibility of going on strike to protest a lack of progress at the negotiating table.

U.S. District Judge Sharon Johnson Coleman ruled against them last year.

The new deal represents a marked improvement in players’ financial terms, though the Times reports it falls short of complete pay equity with the men’s national team, a sticking point in both these negotiations and a separate complaint filed last year by five star players for the women’s team.

The latter wage-discrimination complaint is ongoing.

In the meantime, soccer officials and players alike cast the new CBA as a sign of progress to be celebrated.

“It felt very empowering,” national team player Alex Morgan told the AP. “Because there is a whole issue going on in the country as far as equal pay and the fight for the gender pay gap. And I felt really happy with the agreement that we reached and the fact that we can now do what we came for and play soccer.”

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First Listen: Spoek Mathambo, 'Mzansi Beat Code'

Spoek Mathambo’s new album, Mzansi Beat Code, comes out April 14.

Kent Andreasen/Courtesy of the artist

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Kent Andreasen/Courtesy of the artist

Mzansi Beat Code is Spoek Mathambo’s fifth solo album, the latest salvo of a decade-plus-long career during which the rapper/producer has established himself as one of South Africa’s primary contributors to the global dance-music zeitgeist. It is also a far-flung, sociopolitical unification statement that, in one form or another, isn’t new to Spoek. But unlike prior attempts, Mzansi Beat Code doesn’t simply consider and curate the diverse sounds of South Africa’s nine provinces; it is a fully formed point of view that places the 34-year-old musician at the country’s creative center.

The focus, as it’s often been for Spoek (born Nthato Mokgata), is to “de-exoticize” South Africa’s post-Apartheid cultural history, its internal struggles, and its place in the global slipstream. In his music, such goals have rarely taken the form of straightforward political lyrics. Instead, as a product of the hip-hop/house era who in his teens created a music ‘zine that chronicled SA’s sonic networks, Mathambo has always been more focused on freeing and uniting posteriors. That’s appropriate, since in Mzansi, a widely adapted Xhosa word for the republic, there are more beat codes than tribal languages.

Throughout his career, Spoek has complemented his own recordings of rap-meets-dance music (“Township Tech” to some) with projects like 2009-10’s H.I.V.I.P. DJ mixes, 30-40-minute bursts of local kwaito/house/rap/electro from all over SA that became Internet sensations, and used the social paranoia of the country’s AIDS pandemic as its thematic jump-off point. Or there wasFuture Sound of Mzansi, the 2015 documentary Spoek directed with filmmaker Lebogang Rasethaba, profiling SA’s biggest electronic artists, DJs and dance-music styles, still segregated from one another 20 years after Apartheid’s end. The past two years found him partnering with musicians he met making Future Sound; in the bands/collectives Batuk and Fantasma, Mathambo brought together some of SA’s finest talents under the rhythmic ideals of the worldwide funkadelic.

Mzansi Beat Code reunites many of these collaborators back at Spoek’s house, building on his lifelong pursuit of a pan-Mzansi aesthetic while also widening the garden of SA’s delights to incorporate global vibes. House music being SA’s hometown sound, it is the album’s cornerstone. Yet in Mzansi, house is less a genre than an assortment of adjacent galaxies — and it’s the variety encompassed in this universe that provides the album’s best thrills.

At times, the music is extraordinarily catchy, direct without being obvious. “Want Ur Love” and “I Found U,” a pair of tracks that feature Kajama (the singing sisters, Nandi and Nongoma Ndlovu) and members of Fantasma (guitarist Andre Geldenhuys, multi-instrumentalist Bhekisenzo Cele and Bacardi house mastermind, DJ Spoko) are easily understood, popular attractions — deep house grooves, by turns ribald and soulful. Yet the former is a loud, sometimes coarse, proclamation in favor of same-sex love, while the latter is steeped in sexual melancholy that is almost spiritual.

More often, the fusion of sounds speaks directly to SA’s growing reputation as a prime electronic music melting pot, with Spoek as one of its most forward-thinking chefs. The tracks with Johannesburg singer/songwriter Loui Lvndon include a slice of over-sexed industrial soul (“Landed”) and a break-up pop-soul confection that sounds like an alternate-world R. Kelly production (“Nothing’s Ever Perfect”). “Volcan,” a Spanish-language collaboration with Mexican singer Ceci Bastida, spotlights the hyperactive kinship of punk rock, soca and shangaan electro. And then there’s “The Mountain,” with Mathambo orchestrating a meeting of rhythm giants — Spoko, Pretoria DJ Mujava (whose 2008 track “Township Funk” was one of SA dance-music’s biggest hits) and American jazz drummer Guillermo Brown in his soul-singing Pegasus Warning guise — into a martial-beat, Bacardi house stormer.

After all the hybrid futurism, it’s extraordinary and appropriate that “Pula,” the track which ends Mzansi Beat Code, opens with a groove that discerning Western listeners of a certain age will find quite familiar: the jaiva, or township jive, that was lifted for both Malcolm McLaren’s “Double Dutch” and much of Paul Simon’s Graceland. It is a reminder that Anglo artists have been biting parts of this beat code for quite a while, without unlocking it. Of course in Spoek’s house, such obvious reminders are only a gateway. By the end of its five minutes, “Pula” has brought back Spoko, but also added the young producer Mash.O, the chanting kids of the rural community of Platfontein, and contemporized that jive.

Mzansi Beat Code is out April 14 on Teka Records.

Spoek Mathambo: Mzansi Beat Code

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Courtesy of the artist

First Listen: Spoek Mathambo, ‘Mzansi Beat Code’

01Want Ur Love (feat. Kajama & Fantasma)

2:57

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    02Black Rose (feat. Damao, Suga Flow & Tamar)

    6:36

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      03Blast Fi Mi (feat. Loui Lvndn)

      5:17

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        04Landed (feat. Loui Lvndn)

        3:58

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          05The Mountain (feat. Pegasus Warning, DJ Mujava, DJ Spoko & Machepis)

          5:41

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            06Volcan (feat. Ceci Bastida & Fantasma)

            2:24

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              07Libalela (feat. Langa Mavuso) / Thapelo ea (feat. Morena Leraba)

              5:53

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                08I Found U (feat. Kajama & Fantasma)

                5:32

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                  09Nothing’s Ever Perfect (feat. Loui Lvndn)

                  3:38

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                    10Sifun’imali Yethu (feat. Jumping Back Slash)

                    3:47

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                      11No Congo No Cellphone

                      4:11

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                        12Spoek Mathambo International Airport (Border Patrol Dub)

                        3:03

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                          13Pula (feat. Mash.O, DJ Spoko, Thulasizwe, Andrea, Vukazithathe & Plaatfontein Youth)

                          5:01

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