“Signature” is a popular episode of “Law & Order: SVU,” but the twist of Special Agent Lauren Cooper (Erika Christensen) being a criminal in the case she’s investigating muddles things. The episode follows the SVU team’s investigation into an elusive, sexually perverse serial killer known as “The Woodsman.”
Cooper has been tracking this killer for years and is further motivated to find him after the case pushed her mentor, Dr. Carl Tillman, to commit suicide. She seems like the perfect detective to help find The Woodsman, but the search eventually reveals that she is guilty of murdering the suspect instead of bringing him to justice.
Cooper’s impulsive decision to murder The Woodsman when she found him in the middle of committing a heinous crime resulted in the death of his final victim, a tortured woman hidden in an unknown location. Detective Olivia Benson (Hargitay) pleads with her to accept a deal and face the consequences of her actions because everyone will understand why she did it.
However, Cooper refuses and admits that she has nothing to lose anymore. “Those who fight monsters should make d*** sure they don’t become one,” she tells Benson moments before committing suicide.
The extreme toll of the work led her to go rogue, and as understandable as her actions may be, her emotional connection to the case got in the way of her commitment to protecting victims. It’s a devastating case all around and makes her one of the most unfortunate criminals in Season 9.
Scott Derrickson Says Walking Away From Doctor Strange 2 Was 'Most Difficult Decision' of His Career
There is no way to deny that Doctor Strange in the Multiverse of Madness has been a psychedelic trip to success for Marvel Studios and director Sam Raimi. While there has been a lot for Raimi fans to enjoy in the latest MCU blockbuster, it could have been very different if original director Scott Derrickson had remained at the helm. Although there were certain things already in place when Raimi was drafted in to replace Derrickson, Raimi’s style of filmmaking is all over the movie. Now Derrickson, who directed 2016’s Doctor Strange but left the sequel over “creative differences,” has called the choice to step away one of the most difficult choices he has ever made.
Scott Derrickson seemed like the perfect choice to make the MCU’s first “horror movie,” having helmed Doctor Strange’s debut movie and also directed terrifying cinematic offerings such as Sinister and The Exorcism of Emily Rose. However, not long into the production schedule of Multiverse of Madness, Derrickson left the project in what he has now addressed as “the hardest decision of my career.” In a new interview with Empire magazine, Derrickson explained that in the end, the decision was more about his personal mental well-being than the movie. He said:
Instead of continuing with Multiverse of Madness, Derrickson moved on to co-write and direct The Black Phone, a film based on a short story by Joe Hill that he described as his “most personal film yet.” It centers on the kind of serial killer violence that was almost the norm in his childhood, thanks to the likes of the Mansons and Ted Bundy. Derrickson even recalled a friend whose mother was “abducted, raped, wrapped in a phone cord and thrown in the local lake.”
Although the departure of anyone from a big production always comes with lots of rumors and speculation about disagreements on set between cast and crew, Derrickson is quick to make sure everyone knows that there was no animosity at all around his parting ways with Marvel Studios, something that should already be apparent from his public comments and praise for the movie. He said to Empire:
With early comments suggesting that Derrickson’s The Black Phone is a movie that will undoubtedly leave a lasting mark on those who see it, the film’s release on June 24 will be one to remember for horror fans. Meanwhile, Doctor Strange in the Multiverse of Madness is about to become the highest-grossing movie of the year so far as it continues to enchant audiences at the worldwide box office.
Is Toscana Based on a True Story?
Mehdi Avaz helmed the Danish-English bilingual feel-good romance movie ‘Toscana.’ At the intersection of culinary genius and the natural splendor of the vast countryside, the film reminds us to follow our hearts despite the jitters. The story unfolds from the perspective of Theo, who, at the brink of an established Michelin-star-laden career in Denmark, returns to his village in Tuscany to sell his father’s sprawling mansion. The mansion is in bad shape, and Theo needs the money to save his restaurant.
In the meantime, Theo meets Sophia, an unapologetic attendant at the modest restaurant of Theo’s father. As they are drawn closer, Sophia shows Theo the beauty of a more simplistic way of life. The ending is subdued and serene, in accordance with the rest of the movie. Beautifully shot, poignantly written, and with a calming progression, the film manages to make something unique and refreshing out of its moderately conventional development. However, you may wonder whether the movie is based on a true story. In that case, we have your back.
Is Toscana a True Story?
No, ‘Toscana’ is not based on a true story. However, the feel-good ambiance and the culinary extravaganza lend the movie a magical attire, and its insistence on staying in the present gives the story a universal charm. Mehdi Avaz directed the film from a story he penned with acclaimed screenplay author Nikolaj Scherfig of ‘Heartless’ fame. With brothers Misam and Milad Avaz, Mehdi forms a dynamic trio. The Avaz brothers made quite an uproar with their 2017 breakthrough success, ‘While We Live.’ Two years later, Mehdi helmed a drama named ‘KOLLISION,’ which wowed the audience and the critics, selling nearly two hundred and fifty thousand tickets.
In 2020, the brothers teamed up again to release their dream-project, TV 2 Zulu crime series ‘Alfa,’ which was a rating magnet in the network. Following the series, the brothers parted ways to rear their visions while helping each other. Mehdi’s life and focus were drastically changed when he became the father of two frolicking boys and the urge to enjoy life figures in the movie. Consequentially, ‘Toscana’ marks the first feature film for the director with a life-affirming charm. As the director preaches in his own words, ‘They must dare to give in, re-saddle and let new people in.’
The movie aspires to make us believe in ourselves and propel us to make the best of a situation. It aims to show that all the struggle and effort you put into bettering your heritage and community is worth it. As we are in a world that seems averse to change, we should also remember why we must root for art, do what we love, and remember the past. The resulting soiree is vulnerable, honest, and touching. In part, the movie’s charm lies in Anders Matthesen, as it features the famed comedic actor in a role out of his comfort zone. However, the actor proves that he is comfortable with a vast range of emotions, as he commendably brings out the essence of the character.
Apart from the star present, however, the movie shines in its comprehensive depiction of Tuscany, with lights, life, people, music, dance, and food. The dishes, especially the first dish that Theo makes with bacon, come off as art pieces. We do not know about Anders Matthesen’s cooking skills, but the production took the help of a famous chef to pull off the magic on the plate. Thomas Herman, who has achieved global fame from his work at La Broche in Madrid, Arzak in San Sebastián, Falsled Kro, and King Hans Kælder, joined the team as a food consultant. Therefore, the movie crafted a magical ambiance grounded in mundane realism as all the ingredients fell in place.
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