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Who Plays Young Six In The Gray Man (The Boys Connection Explained)

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The Gray Man’s Young Six actor also stars in a notable TV show, with his Netflix character sharing apt connections to the arc of his more famous role.

WARNING! Minor spoilers ahead for The Gray Man and The Boys season 3!

The actor who plays young Sierra Six in The Gray Man’s flashbacks is already playing one of the most notable child roles on TV. Netflix’s The Gray Man is adapted from the 2009 book of the same name by Mark Greaney, following Sierra Six, a CIA mercenary who uncovers dark secrets about the agency while on a mission. Starring Ryan Gosling as Six, Ana de Armas as his CIA ally Agent Miranda, Regé-Jean Page as the antagonistic Denny Carmichael, and Chris Evans as the rogue mercenary Lloyd Hansen, The Gray Man continues Netflix’s trend of placing A-list stars in big-budget action thrillers.

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As The Gray Man uncovers how Ryan Gosling’s character became the ruthless agent Sierra Six, the Russo brothers’ movie cuts to his past with quick flashbacks. The Gray Man reveals that Sierra Six, whose real name is Courtland Gentry, was physically and emotionally abused by his father as a child, whose “unsound” methods of making him and his brother “macho” included drowning him in bathtubs and burning him with cigarettes. The flashbacks eventually uncover that young Six landed himself in prison at 15 years old when he shot and killed his father in order to stop him from murdering his brother.


While The Gray Man’s flashbacks only make up a small portion of Court Gentry’s depicted story, young Six is portrayed by a significant up-and-coming child actor. His face is largely hidden in the flashbacks, but it’s clear that The Gray Man’s young Six is played by Cameron Crovetti, who is best known for playing Ryan Butcher on Amazon Prime’s The Boys. As the son of the villainous superhero Homelander and Billy Butcher’s wife, Ryan plays an incredibly important role in The Boys, with Cameron Crovetti having to increasingly show his acting chops as his father influences his moral decay. The Gray Man’s Cameron Crovetti also starred in HBO’s Big Little Lies as Josh Wright alongside his twin brother, where his character was once again the son of a sociopathic father.


The Gray Man Proves How Incredible Ryan’s The Boys Season 4 Story Will Be

The biggest roles of 14-year-old Cameron Crovetti have seen him portray sons who must overcome the immorality of their fathers, with his portrayal of young Six being an apt precursor to his character Ryan’s arc in The Boys season 4. Crovetti’s young Six is trained by his father to lose any sense of morality as he preaches being physically strong with no sense of emotional attachment, which are the same lessons that Homelander tries to teach Ryan in The Boys. The sinister ending of The Boys season 3 sees Ryan smiling after Homelander is greeted by a cheering crowd when sadistically murdering a critic, suggesting his moral decay is already setting in.


Crovetti’s role in The Gray Man has already proven that he can portray a young teen being abused by his father, whose “methods” end up still turning him into a killing machine. Homelander’s way of raising Ryan will seemingly produce similar results, with Ryan also perhaps being the only way to truly kill Homelander. It’s hinted that Ryan could become evil in The Boys season 4, but the more likely scenario is that Homelander’s abuse will eventually turn his son against him, seeing a transition similar to Six in The Gray Man. Like Six’s skills with a gun and his fists making him useful for the corrupt CIA, Ryan’s superpowers make him a weapon for the government and Vaught, but this likely won’t become fully realized until he kills his father. Even if the stories end up diverging, Crovetti’s The Gray Man role perfectly sets up the core conflict that Ryan will face in The Boys season 4.


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Brett Goldstein Had Only Two Weeks to Train for Marvel Debut as Hercules: ‘I’m Doing 400 Push-Ups’ Day of Filming

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Brett Goldstein got the call to join the Marvel Cinematic Universe as Hercules just two weeks before he was going to need to film, the “Ted Lasso” Emmy winner revealed to The Playlist. Goldstein’s top-secret role as Hercules was never announced until the character popped up in the post-credits scene in “Thor: Love and Thunder.” The actor said the call to join Marvel came “literally out of the blue one night.”

“They turn around, and they reveal, ‘It’s Hercules; it’s you.’ And I went, ‘What?’ Just like, ‘Are you serious? Are you fucking with me? Is this a wind-up?’” Goldstein said. “So yeah, it was as surprising to me as I think it has been to other people.”

The actor continued, “When I spoke to Taika, I said, ‘You know I’m basically like a skinny comedian?’ I said, ‘When is this filming?’ It was like in two weeks, and I was like, ‘I mean, I’ll do my best, but two weeks feels …’ I said, ‘He doesn’t have to be as big as Thor, does he?’ And look, on the day, I mean, I’m doing 400 push-ups that day. I was fit to explode. I did the best I could on that day.”

Goldstein’s role was so top secret that he didn’t even tell his parents, who found out about his Hercules casting just like the rest of the world when they watched “Thor: Love and Thunder” on the big screen.

“I didn’t tell anyone because Marvel put a chip in my neck that said ‘If you talk about this you’re dead,’” Goldstein joked to Variety last month. “My mom and dad, I sent them a text and said, ‘I’ve just seen “Thor.”‘ I knew it’s not the kind of film they’d see. I said, ‘You should go see it. It’s funny.’”

“My mom is texting me all the way through the film giving me a running commentary,” Goldstein continued. “I’m like, ‘Just watch the film!’ It gets to the end bit, where it shows Russell Crowe… My mom texts me ‘Russell Crowe’s in it again, he’s very funny.’ I go, ‘Fucking look up at the screen!’”

Goldstein knows “nothing” about his future in the Marvel Cinematic Universe. “Thor: Love and Thunder” ends with Zeus (Russell Crowe) commanding his son, Hercules, to go out and hunt Thor down. Presumably, Goldstein and Thor actor Chris Hemsworth will face off in the future.

“I truly, honestly — this isn’t me lying or being coy — I know nothing,” Goldstein told Variety about his MCU future. “All I know is what I did that day and that’s it. That could be it. It was a fun three seconds.”



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Timothée Chalamet Is A Heartthrob Cannibal In Bones & All Trailer

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The Bones & All teaser trailer reveals the first footage of Timothée Chalamet’s romantic cannibal in his reunion with director Luca Guadagnino. The two first collaborated on the 2017 LGBTQ+ romantic drama Call Me By Your Name, which resulted in Oscar nominations for both Chalamet and Guadagnino. Now, the actor and director have reunited for another coming-of-age romance based on an acclaimed novel. Bones & All was written by Camille DeAngelis and adapted for the screen by Guadagnino’s frequent screenwriter David Kajganich.

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Chalamet and Escape Room‘s Taylor Russell lead the Bones & All cast as Lee and Maren, two young cannibals living on the margins of society who meet and set out together on a thousand-mile road trip. The film touts an impressive supporting cast that includes Mark Rylance, Michael Stuhlbarg, André Holland, Jessica Harper, Chloë Sevigny, Francesca Scorsese, and Halloween director David Gordon Green. The first Bones & All images revealing Chalamet and Russell’s lovesick flesh eaters arrived late last month, but now audiences are finally getting a glimpse of some footage.


A month ahead of the film’s premiere, Chalamet shared the first Bones & All trailer on Twitter. The 30-second teaser reveals the first footage of Chalamet and Russell’s infatuated teenage cannibals as they embark on a perilous cross-country odyssey, featuring an original score by Oscar winners Trent Reznor and Atticus Ross. Watch the trailer below:

There are only two lines of dialogue spoken in the 30-second teaser, beginning with Lee asking his love interest, “You don’t think I’m a bad person?” and ending with Maren’s reply, “All I think is that I love you.” Still, the trailer’s short runtime is more than enough give audiences an idea of Bones & All‘s overall tone, which includes some prevalent horror vibes largely due to Rylance’s unsettling character. Romance and horror seem to be Guadagnino’s preferred genres, so an amalgam of the two would an appropriate next step for the director. His past two feature films were Suspiria, a supernatural horror, and Call Me By Your Name, a slow burn romantic drama.


In between Bones & All‘s tenderly romantic moments, it appears there will be plenty of thrills as Lee and Maren have to evade the many dangers lurking in the “back roads, hidden passages and trap doors of Ronald Reagan’s America,” as the official synopsis indicates. Based on this first footage, Bones & All is shaping up to be another must-see collaboration between Chalamet and Guadagnino. The film is set for a world premiere at the Venice Film Festival next month, after which it will be released in theaters on November 23.

Source: Timothée Chalamet/Twitter



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‘Mack & Rita’ Review: Diane Keaton is a Millennial Misfit Embracing Granny Chic in a Confused Body-Swap Comedy

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“Mack & Rita,” the third film by Sundance darling Katie Aselton, is a bewildering generational culture-war comedy that sides with every j’accuse that baby boomers hurl at millennials. Mack (Elizabeth Lail), an awkward author turned reluctant influencer, describes herself as a “70-year-old in the body of a 30-year-old.” She tiptoes through life terrified to be out of step with her cohorts’ harsh judgments. Here, according to screenwriters Madeline Walter and Paul Welsh (both of “Brooklyn Nine-Nine,” who aren’t so much satirizing stereotypes about their own demographic as endorsing them), millennials recoil at reading, diners, scarves, carpeting, silence, sensible shoes, chain restaurants and non-conformity. In one scene, 50% of millennials don’t even understand the word “lothario.”

Exhausted from the pressure to sport thigh-high, spike-heeled snakeskin boots to a bottomless mimosa brunch, Mack stumbles across a shady huckster (“Red Rocket” star Simon Rex), collapses in his regression tank — and emerges in the body of Diane Keaton. The body-swapping contrivance is easier to believe than anything the film does with it. Introducing herself to the world as Mack’s Aunt Rita, the character unchains herself from youthful expectations and finds herself instantly embraced by the young as an elderly Instagram influencer: a “glamma,” in the words of her ferociously callow agent (Patti Harrison).

On its own, that twist isn’t so hard to believe in a summer where teens and twenty-somethings on TikTok have made trends of granny-chic classics like embroidered LL Bean tote bags and white linen trousers, as popularized by Keaton herself in her collaborations with Nancy Meyers. (A sequence where the newly transformed Aunt Rita picks up a kooky blazer and wide belt is presented with the anticipation of Bruce Wayne reaching for his cowl.) What’s mystifying is that the film has no grip on what it means to say about Aunt Rita’s overnight ascension into a millennial style icon. Were Mack’s hangups all in her head? (Not according to the opening scenes.) Is oddball fashion okay only when older people do it? (Not according to the ending scenes.) Should Mack/Rita embrace being an influencer after all? (No, but then yes, but then no, but wait — yes!)

Most audiences will give up sifting through these mixed messages by the time Aunt Rita squires her decades-younger neighbor Jack (Dustin Milligan) on a defiantly dorky date to a California Pizza Kitchen. The scene is about the two bonding over being uncool. But the film’s hummingbird attention span immediately discards its own setup for a throwaway joke where Rita gets jealous that their lunch is interrupted by a hipster babe in a midriff-baring top who also happens to be eating there.

“Mack & Rita” does as little with its ambition to turn Rita and Jack’s romance into an updated “Harold and Maude” as it does with its own grandstanding against agism. Agism is wrong, we’re told. Except when it comes to the shameful fact that Jack continues to skateboard as a man in his early thirties — a hobby that every character, including Rita, agrees is totally lame — in which case agism is totally correct. Momentarily, the film argues that getting old gives Rita the perspective to better stick up for herself — but this thesis, too, about-faces when Rita finds herself cowed into a situation that results in her literally being set on fire.

Keaton does her best with the material. Her own inner youth shines through the character even when the script lets her down, forcing her to wail in distress at the sight of her hair and breasts, or putting her through a punishingly long physical comedy scene where she struggles to use a pilates machine. The film does, at minimum, convince us that most people would want to transform into Keaton if given the opportunity.

Even more so, it convinces us that most actors are ecstatic to work alongside her: Keaton’s presence is the only reason one can imagine that talents like Taylour Paige, Loretta Devine, Wendi Malick, Lois Smith, and Nicole Byer signed on to this project to play the various friends and acquaintances in her orbit, each part more underwritten than the next. As for Rex, essentially cast as a human Voltar machine, he’s a funny blend of scuzzy smooth-talker and baffled inventor when his hand-painted tanning bed zaps the plot into motion. “Time is merely a construct!” he barks. That mantra may help the film go by faster.



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