Spider-Man: Far From Home
Toy Story 4
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Meticulously crafted, Feud's "Pilot" proves a faithful recreation of a bygone era and the women who ruled it.
For the most part it's a good deal of fun, so maybe I'll end up loving it. Or I'll hate it, but goddammit I'll respect it.
Somewhat elegantly, their dueling points of view are presented as similar, but still at odds with each other.
And you thought there was no love lost between Jennifer Aniston and Angelina Jolie!
Like most of Ryan Murphy's work the ballsy intensity is all in the concept... the execution is rather more hit and miss.
Sarandon and Lange become Bette and Joan, bringing with them all of their personal and professional experience to breathe life into two of Hollywood's biggest stars.
[Bette's Baby Jane] is show-stoppingly weird. (I will say this: Accurate as it is, Sarandon's Baby Jane nevertheless looks about three times as polished and pretty as the original.)
Sarandon and Lange are having a blast -- and viewers probably will, too, if they embrace the high camp factor and go along for the ride.
Murphy has meticulously recreated the world of early 1960s Hollywood, in a candy-colored environment so perfect that practically every shot is framed like a painting.
"Feuds are never about hate. Feuds are about pain." The show gets that. Its actresses get that too.
One of the episode's best sequences, surprisingly, has nothing to do with their feud. Instead, it concerns the dissolution of Davis's fourth marriage to fellow actor Gary Merrill (Mark Valley).