We need Jack Black to perform ‘Peaches’ from ‘The Super Mario Bros. Movie’ at the 2024 Oscars

Peaches, peaches, peaches, peaches, peaches.

The 2024 Academy Awards is already shaping up to be a lot of fun.

Air debuted in theaters earlier this month and garnered a lot of good marks from critics, signaling potential nominations for bros Matt Damon and Ben Affleck. We’re also getting films later this year from Martin Scorsese, Christopher Nolan, Greta Gerwig, Wes Anderson, David Fincher, Bradley Cooper, Michael Mann and Ridley Scott.

But there’s one thing we really need at next year’s Academy Awards to put the show over the top.

That’s right.

We need Jack Black.

We need a nomination for The Super Mario Bros. Movie.

We need “Peaches.”

For those unfamiliar with the song whose music video has been viewed more than 7.8 million times on YouTube in the past five days, “Peaches” is an original song co-written and performed by Jack Black and is about, yes, the fictional video game character Princess Peach from the Super Mario Bros. franchise.

Black plays Mario’s arch-nemesis Bowser in the recently released The Super Mario Bros. Movie, which had a $146 million debut at the domestic box office.

And Black’s original power ballad in the film – an ode to Princess Peach – is eligible for Best Original Song at the 2024 Oscars, according to Variety.

“Mario, Luigi, and a Donkey Kong, too. A thousand troops of Koopas couldn’t keep me from you.”

It’s worth noting that the Oscars have not always embraced comedic songs in the past. “Stu’s Song” from The Hangover was omitted from the show in 2010. But in 2000, “Blame Canada” from South Park: Bigger, Longer & Uncut was nominated and sang by the late Robin Williams in an all-time memorable performance.

If the Oscars wants to boost its ratings for next year, there’s only one thing to do: Nominate Jack Black, dress him up like Bowser, put him in front of a piano and let him rock.

Besides, the Academy owes him an Oscar from the 2004 show for School of Rock.

Resident Evil 4 remake speedrunners are setting incredible records

Resident Evil 4 remake speedruns are already off to a strong start, despite the horror game being less than a month old

Resident Evil 4 remake speedruns are already off to a strong start, despite the horror game being less than a month old. One speedrunner, YouTuber spicee, recently set the record for completing the game’s hardest difficulty mode in under two hours, clocking in at 1:58:47 – and they’re just getting started (thanks, GamesRadar).

Some runs have shaved nearly 10 seconds off that time, but they weren’t specifically completed on Professional difficulty.

Spicee uploaded a video of their final run on YouTube, and unlike some runs, this category lets you use glitches. Spicee takes advantage of several bugs and shortcuts – though no mods and no Moushley – many of which involve changing framerates at the right time, but the most important strategy is just treating it like a survival game instead of an action game.

Spicee avoids almost every enemy, taking on only those you can’t avoid or ones who drop certain items. That’s particularly handy considering enemies on Professional difficulty take significantly more effort to defeat.

Of course, an encyclopedic understanding of Resident Evil 4’s maps, enemy behavior, and tips for quickly defeating bosses goes a long way in making the run smoother as well.

Impressive as spicee’s run is, they say there’s much more room for improvement and optimization, so expect even faster, more creative runs in the future.

Resident Evil 4 remake released at the end of March and smashed Capcom’s sales records and the series’ record of concurrent players on Steam.

Written by Josh Broadwell on behalf of GLHF

[mm-video type=video id=01fhdfsn9zp1cyet50rj playlist_id=none player_id=01gp1x90emjt3n6txc image=https://images2.minutemediacdn.com/image/upload/video/thumbnail/mmplus/01fhdfsn9zp1cyet50rj/01fhdfsn9zp1cyet50rj-51296427f1b07fd3061beac6325d9e8e.jpg]

The 4 major takeaways from The Marvels trailer, including Iman Vellani’s big screen debut

Nick Fury! Flerken kittens!

Buckle up, The Marvels is coming. Marvel Studios gave us our first glimpse of the trio of Captain Marvel (Brie Larson), Monica Rambeau (Teyonah Parris) and Kamala Khan (Iman Vellani) in November’s new entry in the Marvel Cinematic Universe (MCU).

MORE: Secret Invasion trailer shows Nick Fury is ready for “one last fight”

In just under two minutes, the teaser trailer shows us a LOT and sets the stage for what could be an epic adventure. Slated in Phase 5 after May’s Guardians of the Galaxy Vol. 3 and the Secret Invasion series on Disney+, The Marvels will tie together several storylines while moving things forward.

Here are four big takeaways from the trailer.

DC’s Creature Commandos cast is absolutely LOADED

David Harbour leads the way on an impressive cast.

Earlier this year, James Gunn revealed all the movies and TV shows that would be a part of the first chapter of his new relaunch of the DC cinematic universe, beginning with an animated series written by Gunn called Creature Commandos. This series is based on one of the weirder and more obscure comic book titles in the DC library (a specialty of Gunn’s) focusing on a team of monsters fighting in World War II.

We’ve known nothing specific about the series, or indeed any of the upcoming DC titles, but now the cast of Creature Commandos has been revealed and frankly, it’s pretty impressive. James Gunn is coming out swinging with his first project as the head of DC, and we’re ready to dive into this brave new DC universe.

Lucasfilm wanted a much different Star Wars Jedi: Fallen Order

Respawn’s Star Wars Jedi game was so popular that it’s getting a sequel soon, but Lucasfilm originally had some big doubts

Respawn’s Star Wars Jedi game was so popular that it’s getting a sequel soon, but Lucasfilm originally had some big doubts. Star Wars Jedi Survivor director Stig Asmussen told The Guardian that Lucasfilm expressed concern over making Cal Kestis, the protagonist, a Jedi.

“We wanted to do third-person action adventure, and we wanted to have a Jedi with lightsabers. And then they’re like – wait,” Asmussen said. “At that point, to Lucasfilm, the Jedi are like the holy grail. I mean, it’s something that they’re probably the most protective of, except for maybe Baby Yoda. So we had to kind of earn that. We had to go through a whole process of, why do you want it to be a Jedi? What do you want to do with the Jedi? They were really uncomfortable with Jedi.”

Asmussen said Lucasfilm tried convincing Respawn to change the focus and use a smuggler as a hero or even to make a first-person shooter starring a bounty hunter. However tantalizing the prospect of a Star Wars Bounty Hunter made by Respawn might be to some fans, it wasn’t what Asmussen wanted.

“I’m like, ‘well I think you have the wrong person for the job,” he said. “That’s not my background. My background came from God of War … I’ve never worked on a shooter, and you need a different team to do that.’ And eventually over time, we built that trust to the point where we ended up calling [the franchise] Jedi.”

Aside from combat, Asmussen said telling the Star Wars story from a fledgling Jedi’s viewpoint just fit with the team’s vision. Asmussen wanted to take players on a journey of growth, from being an isolated trainee who wasn’t even fit to be a Padawan to a proper warrior with a deeper understanding of the galaxy.

Jedi Survivor tells the story of what happens next, with a grimmer, more determined Cal facing the might of the Empire with a handful of allies. It launches for PS5, Xbox Series X|S, and PC on April 28, 2023, and you can check out the final trailer now.

Written by Josh Broadwell on behalf of GLHF

[mm-video type=video id=01g26xhyv1zt46fznr88 playlist_id=none player_id=01gp1x90emjt3n6txc image=https://images2.minutemediacdn.com/image/upload/video/thumbnail/mmplus/01g26xhyv1zt46fznr88/01g26xhyv1zt46fznr88-a010dff5394228480a72eccfc1944f12.jpg]

Crusader Kings 3’s Game of Thrones mod is coming soon

One of the most popular Crusader Kings mods is getting a re-release for Crusader Kings 3 on PC, bringing Game of Thrones to the history game

One of the most popular Crusader Kings mods is making its way to the latest version of the strategy game, adding some Westeros flair to the history game (thanks, Kotaku). You can get your hands on the mod starting April 14, 2023.

Fans originally created the Crusader Kings mod “A Game of Thrones” years ago for the original CK game and then recreated it for Crusader Kings 2. The CK3 version will launch with just one chapter, Robert’s Rebellion, some substantial improvements and expansions in features such as Mega War, and the promise of much more – including Essos – to come.

Mega War is one of the mod’s cornerstones, and the team is promising a bigger version of it this time. It builds on the idea of family ties influencing politics across the continent and makes it possible for regional conflicts to turn into national wars. You could win big if you ditch your liege and pick the right side – or your family could be ruined forever.

CK3AGOT: What to Expect
by u/Gaytriarch in CK3AGOT

A new council system gives you more control over your lands, and the lord of the Iron Throne even gets a special set of bodyguards to (theoretically) keep their family members safe. If all of that sounds too tame, you can play as the Lord Commander of the Night’s Watch and oversee the battles with Wilding clans from beyond the wall.

That’s barely scratching the surface of this behemoth mod. It features support for custom characters, delves into Westeros’ culture and religions, and will eventually expand even further to include a larger map, more Game of Thrones events, and iconic creatures from George R.R. Martin’s series, including White Walkers and, of course, dragons.

Written by Josh Broadwell on behalf of GLHF

[mm-video type=video id=01fqpcc5fy4z69j31mar playlist_id=none player_id=01gp1x90emjt3n6txc image=https://images2.minutemediacdn.com/image/upload/video/thumbnail/mmplus/01fqpcc5fy4z69j31mar/01fqpcc5fy4z69j31mar-5fd567aebf1e13ea394e4522425d1f3f.jpg]

Avoiding major Succession spoilers is simple: Watch it live. It’s appointment TV.

If you weren’t watching live, it just … isn’t the same.

This is the online version of our daily newsletter, The Morning WinSubscribe to get irreverent and incisive sports stories, delivered to your mailbox every morning. Here’s Bryan Kalbrosky.

Streaming services like Netflix got us all comfortable either binge-watching TV or watching shows at our own pace. That isn’t always a good thing, however, especially when it comes to series released episodically.

I’ve seen headlines arguing that Succession fans ruined the show’s most anticipated moment Sunday night by flooding social media with immediate reactions. I fully disagree. It’s far more enjoyable to tune in at the same time as everyone else, and it is an immersive experience.

Justin Kirkland helped explain this powerful feeling (via Esquire):

“All of us, as it turns out, are looking for some semblance of structure in our lives. And as silly as it sounds, I think that appointment television represents this weird human connection to look forward to—a friendly interaction, if you will, that you can rely at the same day and time. In an era when everything feels so uncertain and fleeting, appointment television has reemerged as this reliable totem of time and consistency.”

During the final credits, I immediately pull out my phone and check for other reactions, memes, and analyses.

These pesky posts act as spoilers for fans who didn’t get a chance to watch it live. But this show just hits harder when we can all react simultaneously — and there are a lot of people who are tuned in. The premiere episode of the final Succession season drew 2.3 million live viewers across HBO Max and other linear telecasts. (That’s more than the opening night TV ratings (2.2 million) for Nets-Bucks on TNT in 2021-22.)

It is exponentially much more fun and only natural to freak out with everyone else when Succession showrunners shock us collectively with a jaw-dropping plot twist. It’s not dissimilar to reacting with everyone else on Twitter when an NBA star hits a buzzer-beater.

Speaking of basketball: During the 1970s and the 1980s, the NBA would occasionally broadcast playoff games on tape delay. Leigh Montville, in 1980, wrote about why that was so absurd (via Boston Globe):

“A delayed-tape presentation of a sports event is almost worse than not presenting the event at all. It is dried milk as opposed to normal milk. It is mashed potatoes without butter or salt or pepper. The flavor, the excitement are taken away artificially. Even if the viewer doesn’t know the score, if he has steeled himself for the 2½ necessary hours in an airtight bunker, impervious to news reports, wire reports and loud-mouthed friends and family . . . even if he has done all that, hard as it may be, the game is not the same.”

Forty years after that column about basketball, I now feel the exact same way about Succession. Even if you’ve managed to avoid the plot spoilers, if you weren’t watching live, it just … isn’t the same.

RELATED: Succession’s Connor Roy singing Leonard Cohen at Maru Karaoke Lounge will break your heart

Montville mused that the NBA playoffs were “not a show,” but instead, news. I’d argue that the same is true of Succession and any other show that reaches a similar level of success and cultural relevance. Even the Los Angeles Times covered Sunday’s episode as if it actually happened to someone who isn’t a fictional character. That may have annoyed some fans, but it was brilliant work.

We are lucky to have prestige shows like Succession (or White Lotus and The Last of Us) that are must-watch live events and that are still a quality watch even if the plot does get spoiled. If you want to avoid spoilers, you have to try your best to stay offline until you’ve seen the show. Otherwise, it feels like you’re complaining about someone spoiling the score of last night’s game.

Quick Hits: Jon Rahm won the Masters! … Hot MLB mics … NBA teammates throwing punches? … and more

Danielle Parhizkaran-USA TODAY Network

— Masters champion Jon Rahm blamed his double bogey start at Augusta on a text from Zach Ertz

— NBA fans crushed Rudy Gobert after he threw a punch at his own teammate during a timeout

— Saturday Night Live did a very fun impression of LSU’s Angel Reese during Weekend Update

— Mics picked up what a livid Seby Zavala said to Oneil Cruz before benches cleared in Pittsburgh

Did Pat Sajak mishearing a contestant’s Wheel of Fortune answer cost her $100,000?

Did a contestant say “just winging it?”

We’ve got ourselves a new “did they say Laurel or Yanny” debate, courtesy of Pat Sajak and Wheel of Fortune.

Here’s the situation: In a final puzzle, a contestant ended up with __ST _IN_IN_ IT, with the clue of “What are you doing?”

At first, you’ll hear her guess something that sounds, to me, like “Just winning it.” But some viewers heard her say “Just winging it,” which was the correct answer.

She didn’t end up winning the prize of $100,000. And when she found out the answer, she didn’t argue that she had said “just winging it,” which tells me she said “just winning it.”

Not everyone agreed!

Octopath Traveler 2 interview: “Lifting off the ground was necessary”

The Octopath Traveler 2 team tells GLHF how they strove to balance the familiar and the new to make a bolder, but still recognizable, RPG

When Square Enix and Team Asano set out to make Octopath Traveler 2, they had a difficult task ahead. The design team wanted to elevate the sequel, making it bigger and better than the first game. That meant addressing criticisms levied against it, including complaints that the stories, exploration, and action quickly grew monotonous. However, the team knew that fan dedication to the original was the only reason they could make a sequel at all, and they tell GLHF that they had to innovate carefully. 

Director Keisuke Miyauchi said he started the process with two goals: to improve the world and to make each character’s story feel like a standalone RPG.

On the art and world design front, Miyauchi said the team created roughly 200 maps and lavished attention on detail and scale in a bid to create more interesting locations.

 

“One thing I was very mindful of was ‘the excitement of exploring the map,’” Miyauchi tells us. “So I felt I needed to supervise this myself, so that we can maintain consistency while making sure the areas don’t all look similar.”

Miyauchi said the goal wasn’t just designing interesting environments. He wanted them to look beautiful at any angle to such a degree that players could take a screenshot anywhere, and it would turn out as “a gorgeous piece of pixel artwork.”

“It was quite the undertaking, but I was very satisfied with the results, including the consistency with the story and the balance of how each area looked,” he said.

Rather than creating a new set of eight jobs for a new cast, the team introduced subtle changes to help balance the familiar and new. Some of these changes are more obvious than others. Partitio is a merchant like Tressa in the first Octopath Traveler, but his story centers on the actual wheeling and dealing of trade, and he even has side chapters devoted to finding business opportunities. Ochette is another hunter like H’aanit, though her tale and battle prowess change slightly depending on which animal partner you befriend when her journey begins.

Not every character has these marked differences from their Octopath 1 counterparts. Character designer Naoki Ikushima used these characters’ appearances to help distinguish them from their predecessors in the first game and even lay the groundwork for their actions in battle.

“You may recognize the same jobs, but I’ve differentiated the characters so they fit the world and lore,” Ikushima said “The Warrior from the previous installment, Olberic, had a rugged physique and focused more on power, whereas in [Octopath Traveler 2], Hikari has a smaller frame and focuses more on his skill than brute strength. The previous Dancer, Primrose, was a woman with a dark past, whereas in this title, Agnea has a sunny personality.”

Though he later grew confident in Octopath Traveler 2’s designs, Ikushima said fans’ strong reception to the previous cast initially gave him concerns that a new set of travelers wouldn’t meet with the same warm reception.

“Despite those fears, I kept drawing, and I came to love all eight of them,” Ikushima said. “The package art was the first opportunity to draw the eight of them together, [and] I felt that was the time I got a good grasp of the distance and camaraderie between each of the characters, which helped me get on a roll.”

Not everyone grew as comfortable with the cast in the same way, though. Scenario writer Kakunoshin Futsuzawa said Ochette presented some difficulties and was a departure from the team’s usual creative standards.

“I had the opportunity and creative freedom to write just about everything that pertains to our eight characters–from their stories to their families, their friends, and even about dogs, [but] My biggest challenge was Ochette,” Futsuzawa said.

“Since Octopath Traveler operates under the motto of ‘a grounded world,’ the idea of depicting a character that was not human evoked some opinions urging me to tread more carefully. That said, I thought since we’re advancing to a new stage, lifting our feet half a step off the ground was necessary. If players come to love her, then I will deem that as my moment of success.”

Composer Yasunori Nishiki followed a similar philosophy and broadened his horizons to find the sounds of Octopath Traveler 2. Nishiki said he looked to the past and the “foundation of musical presentation” the team’s predecessors had established in the RPG genre to help root it in the expectations fans of the first game might still have. That freed him up to experiment in other ways.

“With the evolution of the visuals, I wanted the music to also feel a bit more expansive,” Nishiki said. “We recorded some of the songs–including the main theme–with an international orchestra. That was so that we can incorporate the fuller sound we get from a larger studio outside of Japan.”

“I didn’t make all of the songs like that, though, because I figured I shouldn’t take away parts that players may have enjoyed in the first title for the sake of my experiment. The challenge with a sequel like this is appropriately determining what should be changed and what should not.”

Part of Nishiki’s experiment included dabbling with different sounds and styles to give Solistia’s various regions their own personality, as opposed to the first Octopath’s uniform medieval western European style. Partitio’s neck of the woods, for example, includes a plucky segment of strings and harmonica in keeping with the Wild West nature of his background and story. In Hikari’s nation of Ku, however, you’ll hear instruments that fit with the team’s goal of making it resemble an Asian nation.

Nishiki also said Octopath 2’s day and night system gave him a chance to experiment more subtly, filling the night with softer, quieter variations of the themes he created for daytime exploration.

“Whether or not my choices to toss or keep an idea were correct will all depend on how the players take it,” Nishiki said. “So right now, I’m waiting for that result with apprehension.”

It seems that Nishiki’s apprehension was unfounded, though. Octopath Traveler 2 may have initially sold fewer copies in Japan compared to the first game, but it launched on PlayStation, Switch, and PC to largely positive reviews from critics and consumers alike.

Written by Josh Broadwell on behalf of GLHF

[mm-video type=video id=01gchpw2cy0590j7r4ea playlist_id=none player_id=01gp1x90emjt3n6txc image=https://images2.minutemediacdn.com/image/upload/video/thumbnail/mmplus/01gchpw2cy0590j7r4ea/01gchpw2cy0590j7r4ea-855a3881559771f93ca5dfbb3b594fa7.jpg]

Ben Affleck’s Air is the next great American sports movie

Ben Affleck’s Air is the next great American sports movie.

One of the more classic American sensibilities is our persistent stubbornness to give up on something when we believe in it.

You can track it all the way back to the Revolutionary War to find a bunch of scrappy, powdered-wig wearing forefathers who were so against paying those ridiculous taxes on their goods that they’d go to battle for freedom.

For all of the flaws that engulf the idea of “American exceptionalism,” we are an exceptionally headstrong people when we want something.

Ben Affleck’s Air walks the fine line in extolling these virtues. On one hand, there is a direct thrill in watching Affleck’s dramatization of how once-underdog shoe company Nike usurped the basketball competition giants of Adidas and Converse to land Michael Jordan’s sponsorship.

Affleck’s as gifted behind the camera as he is in front of it, and he knows how to ring from history a snappy, monologue-filled headrush of racing against the clock and defying the odds on the sheer power of belief and savvy corporate maneuvering.

You get all the archetypes of the underdog story: the guy we root for who powers himself on good-faith tenets (Matt Damon’s Sonny Vaccaro), the benevolent authority figure who pushes our protagonist when necessary (Affleck’s Phil Knight), the supporting players who fuel our protagonist’s efforts (Jason Bateman’s Rob Strasser, Chris Tucker’s Howard White, Matthew Maher’s Peter Moore) and the moral center who makes everything happen (Viola Davis’ Deloris Jordan).

Ben Affleck as Phil Knight in Air Photo: COURTESY OF AMAZON STUDIOS © AMAZON CONTENT SERVICES LLC

The villain is more of an obelisk, a system that seeks to use sponsorship to build up product rather than the other way around. Vaccaro’s genius in seeing Michael Jordan’s potential was understanding that he was the marquee event, not the sneaker he was sporting. As a couple of our main players note throughout the film, it’s not about the shoe as much as the person who was wearing it.

As your sneaker closet may spoil for you, Nike succeeded in courting Jordan against the firm pushes of Adidas and Converse. The Air Jordan absolutely changed the basketball shoe world. The deal revolutionized the way we market products around athletes and forever altered the means of compensation on sponsorship deals to build up the individual as much as the company. In a little boardroom in Oregon, sports shifted for good.

Affleck’s film successfully rallies around the underdog narrative with the same gleeful disruption of sports movies like Jerry Maguire and Moneyball. Those pillars of sporting films – the former fictional, the latter inspired by real life – dealt directly with merry marauders who pushed against the old guard of athletics and found a new way forward.

Air is an outstanding example of how to execute that story with enough gravitas to get you cheering in your seat when a billion-dollar company is able to schedule a meeting with an NBA player for a marketing pitch.

It’s a hair-raising, chest-pumping sprint to the finish, built on inspirational platitudes and fiercely written exchanges about ideals. Alex Convery’s script would make Aaron Sorkin proud, and its entertainingly clinical dismantling of power structures would have Steven Soderbergh foaming at the mouth.

Matthew Maher as Peter Moore, Matt Damon as Sonny Vaccaro and Jason Bateman as Rob Strasser in AIR Photo: ANA CARBALLOSA © AMAZON CONTENT SERVICES LLC

Damon is the perfect fixture point, with he and Affleck’s scenes together channeling that uncanny chemistry that they’ll always have. They’re the closest thing we have to a Jack Lemmon/Walter Matthau partnership. Tucker, Bateman and Maher, all tremendous, further humanize Vaccaro’s quest, and Davis turns in one of her better performances as the Jordan family’s steely, empathetic matriarch who is hellbent on making sure her son’s generational potential is realized on the most just path.

Throw in Affleck’s quirky take on Knight and Chris Messina’s smarmy, full-throated imagining of sports superagent David Falk, and you’ve got one of the finest ensembles we’ve had in ages. This film can’t work without its cast.

Affleck’s direction is as precise and energetic as it was with Argo, another story about determined Americans racing against the clock to defy the odds. However, his film isn’t shallow enough to not address the Nike-wearing elephant in the room.

Indeed, while there is clear inspiration to the Jordan/Nike story, there is also the finicky trouble with hyping up a billion-dollar corporation’s quest to make a crap ton of more money. The means of production so often leaves behind the worker who makes it possible, and Air savvily takes the Air Jordan deal and adds vital context in the third act about the thankless system that largely governs our economic groundswells.

Matt Damon as Sonny Vaccaro and Viola Davis as Deloris Jordan in AIR Photo: COURTESY OF AMAZON STUDIOS © AMAZON CONTENT SERVICES LLC

The film shows that Deloris Jordan wanted her son to get a cut of the Air Jordan shoe sales because she knew Michael was going to be a megastar, and she didn’t want him to get lost in the tidal wave of unpredictable American commerce. Jordan is one of the richest athletes to ever play because of the terms of the Nike shoe deal, and many athletes have benefitted from that over time.

Affleck’s film tries to show the importance of what the Air Jordan deal gave athletes all while making the quest to secure that sponsorship as exciting as overtime in a Game 7 of an NBA Finals. The film is too smart to ignore the corporate greed and risky optimism that can fuel our biggest corporate achievements, but it’s also nuanced enough to celebrate the marriage of good-faith economics and pure belief.

The Air Jordan deal left plenty of winners, and it’s easy to root for the victory. You have to remember that this is a story told through Hollywood’s purview, one that can’t fully unpack the complexities of Nike and its business dealings. However, Air can unpack the brazen foundation that builds all of our competitive successes, and Affleck’s film does so masterfully. It’s a film that inspires you to fly all while reminding you what it takes to have wings.