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Behold The 2018 Oscar Nominations, And Embrace The Most Unpredictable Oscar Race In Years

For the first time in recent memory, I have no idea what will win Best Picture. And that’s good!

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If you spend as much time reading about film on the internet as I do (which, come on, you do), you would know just how much time and attention is spent on predicting the Oscars every year. Deserved or not, they are a big deal in the field, both within the industry and in covering the industry, and much is made ever Fall season in trying to predict them. Usually, it’s an easy thing — the Best Picture frontrunner arrives months in advance, and tends to dominate all the other awards (PGA, WGA, SAG, Golden Globes, etc.) in its lead up to winning the big prize.

But, last year, something change. The Oscar frontrunner, La La Land, failed to win the big prize (and did so in a pretty memorable way, in fact.) Instead, underdog Moonlight won, which was as shocking as it was deserved (even for someone like me, who had La La Land as his number one film of 2016 — that film didn’t need any more awards to secure its legacy.) But giving Moonlight the big prize proved that the new Oscars (which underwent a massive membership change a few years ago after #OscarsSoWhite) would be far less predictable than in the past. And this year’s Oscar season has certainly proved that to be true.

It’s been a wild one for sure, with so much division amongst the big awards and critics circles in who gets the big prize. The Golden Globes gave Three Billboards Outside Ebbing Missouri its Best Picture prize…but being the Golden Globes, gave its OTHER Best Picture prize to Lady Bird, an equally worthy contender. The Producers Guild gave its Top Prize to The Shape of Water, who also has a chance simply due to Guillermo del Toro’s Directing win at the Globes. And then there’s Get Out, which is the clear audience favorite.

In recent weeks Three Billboards has gained momentum as a frontrunner, but I don’t think its lead over the others is as substantial as you might think. The film has its fair share of (I would argue unfair) backlash, and it’s very likely that it could end up the La La Land of this year’s Oscar race. But if it becomes La La Land, what the hell becomes Moonlight? I literally have no idea, which more than anything speaks to how strong a year it has been for film. Pretty much all the nominees (announced earlier today) are deserving of the big prizes, and though some categories are easier to predict than others, I think we’ll still be in for some surprises come Oscar night. Which, by all means, I approve of. Unpredictability can be fun, no?

But, for now, at least the nominations are set in stone. Below is the complete list of 2018 Oscar nominations, alongside some commentary for the bigger awards:


Best Picture

Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Come on Academy, you have 10 available slots! You couldn’t have thrown The Big Sick or The Florida Project in there? I don’t know why they unofficially decided nine nominees was the way to go (it’s been that way for a few years now), but it bugs the crap out of me. Go big or go home, Oscars!


BEST DIRECTOR:

Paul Thomas Anderson, Phantom Thread
Greta Gerwig, Lady Bird
Guillermo del Toro, The Shape of Water
Christopher Nolan, Dunkirk
Jordan Peele, Get Out

Commentary: No complaints here! Nice to see Paul Thomas Anderson squeeze in for the Phantom Thread, though it did take down Spielberg’s spot for The Post. Only so much room, unfortunately. And nice to see the Oscars correct the Golden Globes egregious mistake and give Greta Gerwig her due for Lady Bird.


ACTOR IN A LEADING ROLE:

Timothée Chalamet, Call Me by Your Name
Daniel Day-Lewis, Phantom Thread
Daniel Kaluuya, Get Out
Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

Commentary: Washington clearly subbed in for James Franco here — otherwise, I can’t see how something as forgettable as Roman J. Israel, Esq. could land an Oscar nom. Should have been Jake Gyllenhaal for Stronger, IMO.

ACTRESS IN A LEADING ROLE:

Sally Hawkins, The Shape of Water
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Meryl Streep, The Post

Commentary: This was the most locked category for a while now, with no real surprises here. But all five are fantastic, so no complaints here.


ACTOR IN A SUPPORTING ROLE:

Willem Dafoe, The Florida Project
Woody Harrelson, Three Billboards Outside Ebbing, Missouri
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
Sam Rockwell, Three Billboards Outside Ebbing, Missouri

COMMENTARY: Excited about Richard Jenkins getting in (he’s incredible in The Shape of Water), but disappointed that Michael Stuhlbarg couldn’t get SOMETHING. And though it was the longest of long shots, Patrick Stewart REALLY deserved a nom for Logan, in a perfect and just world.


ACTRESS IN A SUPPORTING ROLE:

Mary J. Blige, Mudbound
Allison Janney, I, Tonya
Lesley Manville, Phantom Thread
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

COMMENTARY: A few surprises here, including Mary J. Blige in Mudbound, Lesley Manville in Phantom Thread (which overall performed much better than I thought it would at the awards), and Octavia Spencer in The Shape of Water. All deserving I suppose, although it sucks that it pushed Helen Hunt out of the race. She was so damn good in The Big Sick.

Best Writing (Adapted Screenplay):

Call Me By Your Name
The Disaster Artist
Logan
Molly’s Game
Mudbound

Commentary: Overall, a solid list. It was kind of a light year for Adapted Screenplay (surprisingly), but some good stuff here. LOVED Logan scoring a nod, because at least it got SOMETHING. Shame Blade Runner 2049 couldn’t shove in here too, though.


Best Writing (Original Screenplay)

The Big Sick
Get Out
Lady Bird
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: No beef here with any of these. And at least The Big Sick got a screenplay nod, even though it was pushed out of Best Picture. :/


Best Animated Feature:

The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent

Commentary: THE BOSS BABY?? THE FREAKING BOSS BABY? Shameful, Academy, especially because The Lego Batman Movie absolutely deserved the nod. What is with the Oscars and their hatred of the Lego movie franchise? They must be a MegaBlocks organization.

Best Cinematography:

Blade Runner 2049
Darkest Hour
Dunkirk
Mudbound
The Shape of Water

COMMENTARY: YEAH, GO DEAKINS. FINALLY GIVE THIS MAN AN OSCAR FOR THE MOST BEAUTIFUL FILM OF 2017, ACADEMY. C’MOOOOOOON.


Best Film Editing:

Baby Driver
Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Commentary: Sweet to see Baby Driver here, because man is the editing in that film wonderful. But this is Dunkirk’s Oscar to lose, and I would argue deserves the prize with its hands tied behind its back.


Best Visual Effects:

Blade Runner 2049
Guardians of the Galaxy Vol. 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

Commentary: Oh man, I am so torn on this one between Blade Runner 2049 and War for the Planet of the Apes. Both look absolutely amazing, but my gut says the Academy will give it to Blade Runner. We will see, though.

Best Original Score:

Dunkirk
Phantom Thread
The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri

Commentary: Overall a great assortment of scores. I would have loved for Giacchino to get something for his incredible work in War for the Planet of the Apes, but other than that can’t complain. The fact all of them conceivably have a chance to win is telling.


And here’s the rest of the categories, which I have no particular comments on.

Best Foreign Language Film:

A Fantastic Woman (Chile)
The Insult, Ziad Doueiri (Lebanon)
Loveless, Andrey Zvyagintsev (Russia)
On Body and Soul (Hungary)
The Square (Sweden)

Best Documentary Feature:

Abacus: Small Enough to Jail
Faces Places
Icarus
Strong Island
Last Men in Aleppo

Best Production Design:

Beauty and the Beast
Blade Runner 2049
Darkest Hour
Dunkirk
The Shape of Water

Best Costume Design:

Beauty and the Beast
Darkest Hour
Phantom Thread
The Shape of Water
Victoria and Abdul

Best Make-Up and Hairstyling:

Darkest Hour
Victoria and Abdul
Wonder

Best Original Song:

“Mighty River,” Mudbound
“Mystery of Love,” Call Me By Your Name
“Remember Me,” Coco
“Stand Up for Something,” Marshall
“This Is Me,” The Greatest Showman

Best Sound Mixing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Sound Editing:

Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Short Film (Live-Action):

Dekalb Elementary
The Eleven O’Clock
My Nephew Emmett
The Silent Child
Watu Wote/All of Us

Best Short Film (Animated):

Dear Basketball
Garden Party
Lou
Negative Space
Revolting Rhymes

Best Documentary (Short Subject)

Edith+Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop

The 90th Annual Academy Awards airs on ABC on March 4.


Also published on Medium.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)

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The Captain Marvel Teaser Trailer Is Here, And…It’s The First Trailer for A New Marvel Movie, All Right

Not that there’s anything wrong with that.

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The release of the Captain Marvel teaser trailer has been pretty hotly anticipated, arguably more so than many of the other Marvel movie trailers that have come before it. The primary reason for the excitement is of course due to the conclusion of Avengers: Infinity War, which I’m going to spoil because come on now, you’re reading this article, I know where your interests lie. Suffice to say, the downer ending of Inifinty War, in which seemingly all of Marvel’s newest characters up and fade away into nothing, has fans buzzing to see what is coming next. And with the trailer for Avengers 4: Titles Are Dumb still many months away, Captain Marvel represents our best shot yet at seeing just what Marvel intends to do with this universe going forward, and how the titular character will ultimately factor into it.

But even removing the snap from the equation, there’s plenty of reason to be eager about Captain Marvel on its own merits. This has been one of those MCU movies that was seemingly announced forever ago, and to paraphrase Marvel’s other big female superhero with her name in the title, it’s about damn time we actually get to see Marvel Studio’s first female-fronted superhero project. It might come as a shock to no one that the trailer shows the answer to that being, well…a Marvel superhero movie. Whether or not that excites you largely depends on your attachment to the brand overall.

Myself? I’m already in the bag for this cinematic universe so, really, this trailer could have been two minutes of Kevin Feige jet-skiing on his bag of money while smoking a very well put together Dollar Bill Blunt™, and I still would have had the movie on my list of most anticipated films of 2019. And with the MCU on a hot streak of, like, ten good-to-great movies in row, I would feel no regrets at all about doing so. As I have written many times in the past, Marvel Studios has earned my trust, in pretty much everything they do.

But to dive into the nitty-gritty of the trailer itself? It’s perfectly fine. It follows the modern blockbuster teaser trailer to a T, with the loud symphonic music playing over a bunch of vague money shots of CGI and action moments, paired with an equally vague but well-delivered monologue about, well, anything really. The fact that said monologue is coming out of the mouth of Samuel L. Jackson’s Nick Fury (as they so often do in the MCU) is extra points, though. Paired on top of that is the fact that said Nick Fury is looking all young and two-eyed, with disturbingly little uncanny effect to speak of in digitally recreating a mid-90’s Samuel L. Jackson. Which I’m aware is ironic, considering that the Uncanny Effect in and of itself speaks to the idea of something being so photo-realistic that the human mind, in turn, perceives it as unnatural. This is so photo-realistic and natural in the moment that, only upon true reflection, do I get really creeped out. Call it the Uncanny Uncanny Valley Effect Effect.

Like he looks real but he shouldn’t look real, you know? Crazy.

Oh right, the Captain Marvel trailer! So yeah, it’s one of those things where the most noteworthy aspect of the trailer lies in how unnoteworthy it is. Really it’s hard for me to gauge what exactly this movie will be, with the two-minute teaser doing little to fill in the tone or mood of the piece outside of “new superhero movie.” There’s some weird stuff going on timeline wise which, in the movie, might be really cool and unique. In the trailer, however, it’s kind of so jumbled up in editing that I’m not entirely sure what’s going down (so Carol Danvers has amnesia, or…?) Even more disappointing is the lack of a real “trailer moment,” something big and memorable ala Thor’s reaction to Hulk’s arrival in the Thor: Ragnarok tease, or Black Panther’s car flip, or even the lie that was the Avengers running together in the Infinity War trailer. The closest this trailer comes to a noteworthy shot is Carol Danvers sucker punching an old lady which, really, is only memorable for the “WTFness?” alone. I did like the brief image of Captain Marvel running up the side of the train, though, and some of the rotation shots at least point to an interesting style that directors Ryan Fleck and Anna Boden could be employing. That’s really the only hint of a unique approach or style in this trailer, though.

Lack of style isn’t exaclty bad, really, but not exactly fodder for overwhelming excitement either. Compared to something like Guardians of the Galaxy’s first trailer (where the “Hooked on a Feeling” scored edit made clear just exactly what kind of film we were dealing with) or Avengers: Age of Ultron’s first trailer (which wowed through pure mood and imagery alone), Captain Marvel falls short. Not bad, just short.

But, seriously, how amazing is it that this scene made it into the trailer? As a Marvel person I get the old lady is probably a Skrull or whatever, but to general audiences, this just represents their newest superhero punching a nice old lady FOR NO GODDAMN REASON. Glorious.

All that being said, it’s not like being merely “good” puts Captain Marvel significantly behind the first looks of other MCU films. In fact, I would say the majority of first trailers for Marvel Studios films have only been good, with only a few really strong ones being truly excellent in my mind. And with all but a handful of those films being great at the end of the day, I have no doubt Captain Marvel has the goods to keep Marvel’s winning streak going. We’ll find out when the film hits theaters March 8, 2019.


Also published on Medium.

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James Gunn Fired From Guardians of the Galaxy Vol. 3 Over Offensive Tweets…And Fuck If I Know How To Feel About It

Is it the right thing? Is it the wrong thing? Does it even matter? Who the fuck knows.

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Ever since Weinstein (or longer, really, with the Film Twitter outing of people like Devin Faraci and Harry Knowles feeling like the true kick-off in my mind,) I’ve become accustomed to seeing people I admire be suddenly and without much warning outed as bad people, and dropped like a hot potato from Hollywood at large. For a while there, it almost became something of a daily ritual: wake up, take a shit, find out someone I love is shit, put out a shitty response on a shitty certain network (you know the one), and continue with my day. It might hurt for a while, but ultimately I’ve viewed this entire #MeToo thing as a necessary pain for both the industry and our culture: bad people being outed and shamed for doing bad things, from Louis C.K. to Roseanne, was a necessary step in the betterment of our society. Even if things debatably went “too far,” (which I would argue was rarer than the alternative), I was pretty resolute in my opinion that everything going on was “right.”

I still feel this way, in regards to #MeToo. But today’s piece of Hollywood shaming is not about #MeToo, at least not directly. This isn’t an example of a person mentally or physically abusing someone, and getting away with it for years. Nor is it an example of a person saying something offensive or reprehensible, and facing swift punishment for it. No, James Gunn getting fired from Guardians of the Galaxy Vol. 3 comes in the form of tweets….really bad tweets…from over a decade ago.

The background, just in case you need it: James Gunn has been the writer/director of the Guardians of the Galaxy franchise thus far, a task he has handled with aplomb. They are critical hits, audience hits, and box office hits. And perhaps more than any other current MCU series (give or take a Thor: Ragnarok), Gunn’s unique voice is clear throughout both films, in the musical choices (all his) to the jokes and gags (mostly his.) He puts one hell of a unique stamp on the MCU, and even if the Guardians movies aren’t my absolute favorite of the franchise overall (hint: you can see where they both rank here), they are dependably great in large part because of him. So regardless of the reasons for his firing, this would be a damn shame, and a massive blow to the future of the MCU post Avengers 4. 

But the circumstances of his firing turn things into, frankly, a clusterfuck of political and ethical and moral quandaries that I’m far figuring out my exact position on. I will make one thing completely clear though: the tweets in question that lead to Gunn’s firing are UNACCEPTABLE. They are in incredibly poor taste, stink of someone trying way too hard to be “edgy” (one of my least favorite character traits in a person, really), and are not even the slightest bit funny. Even just putting the morality of the tweets aside, everything about the ethos behind the tweets represents someone I would never want to encounter, nor want to support. Not just because the subject matter is bad, but because the sentiment behind it (SHOCKING and IN YOUR FACE and NOT AFRAID TO GO THERE humor) is so unbearable.

All that being said…this is a lot more complicated than simply being about bad tweets. The timetable for one is important, as pretty much all the tweets are from nearly a decade ago, and Gunn hasn’t exhibited the same penchant for that type of “humor” in the years since joining Disney and Marvel. Gunn also seems to be expressing remorse about the jokes, lauching a Twitter thread owning the horrid nature of the jokes, while still trying to explain how he has moved forward as a person and changed in the years since making them:

He was equally as remorseful in a written statement he released following Disney’s official decision to cut ties with him:

My words of nearly a decade ago were, at the time, totally failed and unfortunate efforts to be provocative. I have regretted them for many years since — not just because they were stupid, not at all funny, wildly insensitive, and certainly not provocative like I had hoped, but also because they don’t reflect the person I am today or have been for some time.”

“Regardless of how much time has passed, I understand and accept the business decisions taken today. Even these many years later, I take full responsibility for the way I conducted myself then. All I can do now, beyond offering my sincere and heartfelt regret, is to be the best human being I can be: accepting, understanding, committed to equality, and far more thoughtful about my public statements and my obligations to our public discourse. To everyone inside my industry and beyond, I again offer my deepest apologies. Love to all.”

So yeah: the tweets were bad then, are bad now, and everybody involved is aware of this. But is Gunn’s stupid jokes from a decade ago enough to take everything away from him? Furthermore, the tweets were a matter of pubic record for years: did Disney really not search Gunn’s history to see examples of his past public behavior? Did Gunn really not consider, in his years of reflection, that these tweets were terrible and should be purged before they got him in trouble? Apparently not, although I’m sure both parties will consider that a high priority moving forward. We’ve seen people get in trouble for bad tweets, even ones that were many years old (I remember Trevor Noah’s sexist “controversy,” do you?), but this is the first time I can remember that a studio actually had to respond to it in such a strong manner. Like with Roseanne before him, Disney has shown they are willing to cut ties with people they deem to be even a little bit controversial…for better or worse, really.

Of course, I can’t ignore the political angle of this, which adds just another shit nugget to the entirety of the proceedings. The main reason these tweets came to light in the first place was due to a concentrated effort of right-wing trolls (led by human diarrhea bag Mike Cernovich) to basically knock Gunn down a peg, and show that the outspoken director was guilty of his own bad behavior in the past. I want to make it clear: nothing that Cernovich or his ilk do, in my mind, is “right.” But the unfortunate, ugly truth of the matter is that this outcry had the desired effect — Gunn lost his job, and has been Publically Shamed on the Internet™. This counts as a gross win for them, but should we just pretend this is better than it is, because it benefits a bunch of people who are awful?

While there’s certainly a part of me that wants to rally against the forces that conspired to take down Gunn, it’s a lot harder to do that when actually looking at some of the tweets that he made. Would it not be hypocritical of me to cheer on the collapse of Roseanne Barr, while at the same time trying to defend Gunn and his actions? One of my least favorite things in the whole goddamn world is hypocrisy, and there’s plenty of that all-over today. Case in point: the alt-right cheering on the public shaming of an “enemy” over the “jokes” he made, when the same fuckers probably would be bemoaning about policial correctness and “social justice warriors” if it was someone they viewed to be on their side. Equally as hypocritical is some of the response I’ve seen from more left-leaning people: now they are the ones using the tactics of “it was a long time ago!” and “they were just jokes!” and a myriad of other ways of rationalizing Gunn’s behavior. That shit hasn’t excused past people celebrities who were Publically Shamed on the Internet™, and I don’t think it’s right to give Gunn the benefit of the doubt just because we like him.

On the same token…they were tweets. From a decade ago. And I’m not comfortably completely crucifying the man over them. But if it was someone I disliked…would I be? Would we all be? This matter is complicated as hell, and I’m not sure who is right or wrong here, or even if there is a true right or wrong. This kind of situation requires more nuance than I, or probably anyone sounding off on Twitter and the rest of the internet, can probably muster. All I know is that Guardians of the Galaxy Vol. 3 is going to suffer big time for this, and that Marvel is going to have to work hard on restoring the damage to the brand. I return to the business and fanboy matters because, honestly, that’s all I can rationalize without feeling like I am wrong in some way. Because when it comes to the mortality and ethics of what happened here today, I’ll reiterate:

Fuck if I know.


Also published on Medium.

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10 Other Members of The Americans Cast Who Should Be Put In A Star War (And The Roles That They Could Play)

Keri Russell should just be the start of alum from FX’s hit spy drama joining the Star Wars universe.

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The talk of the fanboy town this weekend was Keri Russell, a frequent J.J. Abrams cohort, joining the cast of Star Wars: Episode IX (or whatever it might end up being titled.) The think pieces came fast and furious from nearly the moment the casting was first announced, which shouldn’t be too much of a surprise: when any new detail drops about one of these Star Wars films, people will inevitably spend way too much time theorizing about what is to come, for better or (mostly) worse. But when it comes to my initial reaction to the casting, I only had two thoughts: 1) oh my god what is J.J. Abrams going to do to Keri Russell’s hair this time and 2) it’s so damn great to see The Americans cast get work.

Coming off of five years of being perhaps the best dramatic ensemble on television, I truly would be happy to see all of the cast members of The Americans land roles in huge films following the conclusion of the show. And not just huge films, mind you — I’m talking Star Wars huge films. Truly The Americans cast is versatile enough to land any role they could want in the galaxy far, far away, and with Russell’s casting, all I could think about (aside from how amazing she’s going to end up being in the movie, of course) was what her fellow cast members could also bring to the extended franchise.

And I’m a silly person who happens to have a blog so, sorry, you have to be present for my ramblings on such niche, unasked subjects! So here are 10 other members of The Americans cast who deserve a shot at a Star Wars gig and, for the hell of it, the character archetypes they would be great for in the universe. Thank me later, Kathleen Kennedy!


Matthew Rhys (Philip Jennings):

I’ll let my first post-Keri Russell casting tweet speak for itself here:


Holly Taylor (Paige Jennings):

Rey’s previously unmentioned bestie/roommate back home on Jakku. They stay up all night chowing down on dehydrated bread and talking about desert problems, as you do.


Noah Emmerich (Stan Beeman):

Maybe it’s recency bias, but I can’t help but imagine Emmerich playing a tough bounty hunter character. That being said, it will be pretty tragic when he realizes his co-pilot and best friend was his target the whole time. What a dramatic scene they will end up having in the Star Wars equivalent of a parking garage, though.


Brandon J. Dirden (Dennis Aderholt):

Brandon J. Dirden holds himself up with such calm and levelheaded prestige as an actor…making him a perfect choice to play a hapless senator trying to do the right thing, but missing the fact that OOPS an electric wizard is in control now. Bummer!


Costa Ronin (Oleg Burov):

I can definitely see Costa Ronin playing the cool, confident gangster type. He’ll also have a robot arm, for some reason. And he should keep his Season 6 beard, because DAMN does he rock the hell out of it.


Alison Wright (Martha):

Padme in a set of prequel remakes. Because if anyone could sell the anguish of being betrayed by someone they deeply loved for years, only for them to end up being a completely different person than who they thought they were, it would be her. Poor Martha…


Margo Martindale (Claudia):

It’s Character Actress Margot Martindale! Let her be whatever she wants! A Jedi master, a Sith Lord, a crime boss, a droid, a wookie, a gungan — she can do it all, dang it!


Frank Langella (Gabriel):

Let him be the kindest Jedi master ever. OR the most evil Sith Lord to ever exist. Frank Langella is somehow capable of channeling both.


Mail Robot (Mail Robot):

The new official droid mascot of Star Wars, duh! NEXT.


Keidrich Sellati (Henry Jennings):

…He can also be present.


Also published on Medium.

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