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How Keanu Reeves' Love for Riding Motorcycles Led to His New Series That Will 'Inspire People' and Pose 1 Big Question (Exclusive)

How Keanu Reeves' Love for Riding Motorcycles Led to His New Series That Will 'Inspire People' and Pose 1 Big Question (Exclusive)

Yahoo07-03-2025

Keanu Reeves' passion for riding motorcycles led to an exciting new series.
The John Wick actor and Gard Hollinger exclusively tell PEOPLE about their new series, Visionaries, which grew from their shared love of motorcycles.
Reeves, 60, says that he met Hollinger in 2007 to design a motorcycle. "That motorcycle was built. I went, holy cow, we should make more of those." ARCH Motorcycles was then founded in 2011
"And what came across through that was Gard's vision, Gard's way [in which] he creatively uses form and function to the aesthetics, to the practicalities," Keanu says. "And as the years have gone by, we had this opportunity to share that, or go into a show, to look into creativity and form and function aesthetics and that's what visionary is, to me, through this ARCH lens, which is Gard's eye."
Related: Keanu Reeves Drives Fans Crazy as Actor Makes Professional Racing Debut at Indianapolis Motor Speedway
"And we bring the audience along to meet these incredible artists, [and] people, and learn about their life journey." Reeves and Hollinger ask, where does creativity happen, exactly? What are these people doing?
"We hope that, hopefully, the show will inspire people," Reeves adds.
As for what Reeves and Hollinger love about motorcycles, they both agree that their physicality is attractive to them. "I love to ride them. I love looking at him," Reeves says. Hollinger adds, "There's a very visceral experience, it's, it's physical, the smells, it's dangerous."
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Reeves also calls the travel experience that a motorcycle offers as one travels "mechanically in nature." He enjoys the "physicality, openness, creativity" of motorcycling. "Getting into the flow of riding a motorcycle. It's a wonderful way to be transported, but also to spend time in your inner self."
Reeves and Hollinger's passion for motorcycling and how it inspires them creatively lends itself to Visionaries, their show on The Roku Channel. The show focuses on creators, inventors and innovators who are constantly creating and changing the world.
Related: Keanu Reeves Did Make a Surprise Cameo in Severance Season 2 Premiere Episode: Did You Catch It?
An official synopsis for Visionaries reads: "Keanu Reeves and Gard Hollinger are kindred souls with a bond built on a love of motorcycles and an insatiable curiosity about the world around them. In 2011, they founded ARCH Motorcycle to reimagine what a motorcycle could be."
"To them, ARCH is a mindset, a lens through which to see the world. This is a journey of curiosity, to understand where human creativity comes from and to shine a light on the visionaries who are pushing the bounds of innovation and changing our world."
Visionaries premieres on The Roku Channel on Friday, March 7.
Read the original article on People

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Billy Joel's first wife walked out on him in hospital bed after motorcycle crash that nearly killed him
Billy Joel's first wife walked out on him in hospital bed after motorcycle crash that nearly killed him

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Billy Joel's first wife walked out on him in hospital bed after motorcycle crash that nearly killed him

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'Tension' Rises Between Katy Perry And Orlando Bloom Amid Latest Backlash
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'Tension' Rises Between Katy Perry And Orlando Bloom Amid Latest Backlash

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The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. What makes the John Wick movies work isn't the premise—that John Wick, the character, is a man out for vengeance. Yes, that was the breathless elevator pitch of the first Wick installment, a cult hit in 2014 whose plot my colleague Sophie Gilbert effortlessly summed up as: 'An idiot killed his puppy and now everyone must die.' But Wick (played by Keanu Reeves) became the face of a billion-dollar franchise because of the strange, darkly cartoonish universe around him. Ballerina, a spin-off whose lumbering subtitle proclaims it as coming 'From the World of John Wick,' recognizes that true appeal only when it's half over. The story of Ballerina is generic to the point of hilarity; the original script was, in fact, a female-led action thriller unrelated to the Wick-iverse. As such, the film begins with the same setup as a hundred other revenge thrillers: A young girl, Eve Macarro (Ana de Armas), sees her father gunned down by a group of mysterious assassins. Spirited away by friendly faces from the primary John Wick entries, she swears vengeance, and is trained to be a killer in the mold of, well, John Wick. Her mentor is the Director (Anjelica Huston), the matriarch of the Ruska Roma, an organization introduced in John Wick: Chapter 3 that teaches its students how to punch, kick, shoot a gun, and take a fall among the best of them. For much of Ballerina's two-hour run time, I bemoaned that the film seemed to be a Wick clone without any of the stylistic flair. It wasn't a total wash: De Armas is a charming screen presence, throwing herself at fight scenes with aplomb. She moves with a lot more grace than Reeves, who appears to be slowing down after a quadrilogy in which seemingly everyone across the globe is on his tail. But unlike the mysterious, mythic Wicks, Ballerina lacks much intrigue—especially during its first two acts, when the viewer watches Eve go through training and then embark on a few jobs around town, mowing through goons in dimly lit nightclubs for no purpose to the plot. [Read: John Wick and the tragedy of the aimless assassin] The sense of aimlessness is an issue with so many spin-offs. Think Hobbs & Shaw (which derives from the Fast & Furious movies), Bumblebee (set in the Transformers universe), or the several attempts to generate new Star Wars adventures outside of the main saga: They have to exist on a scale equivalent to their progenitors to not feel totally irrelevant, but avoid disturbing the franchise's primary timeline. Although Ballerina ostensibly occurs between the third and fourth John Wick chapters, it strives to affect neither one; the chronological placement is only to justify how Reeves (who doesn't do much in his several brief scenes) manages to show up—though having watched the other Wick movies, I do not remember his character ever having enough downtime to take on a little side quest with Eve. Ballerina ultimately succeeds as a piece of junky fun, however, because it attempts to expand the Wick canon rather than deepen its titular protagonist. Take what follows after Eve becomes emboldened to hop off the regular mission treadmill and seek payback against the strange cult that killed her father: Her journey leads her into a quaint village in the Austrian Alps, where she learns that every single inhabitant is out to kill her. Considering stopping by the curiosity shop for some Hummel figurines? Just don't turn your back to any friendly clerks. 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One extended sequence sees Eve dueling an enemy while each wields flamethrowers; in another, she has to dispatch oncoming aggressors using belts of grenades without blowing herself up. The grim violence has a sense of humor and improvisation to it; de Armas doesn't exactly get the chance to crack jokes, but it harkens back to the Buster Keaton– and Looney Tunes–inspired mayhem at the core of John Wick. Whereas an offshoot like Hobbs & Shaw didn't understand what made its source series good (by largely ignoring the earlier films' wild internal logic), Ballerina eventually comes to terms with it—and then locks on. But despite its best efforts to appeal to the John Wick fan base, Ballerina opened below expectations during its first weekend. The box-office earnings are a possible indication of waning interest in the world of John Wick, which may be taken into account as Reeves weighs returning for another mainline entry. After all, a film like Ballerina ostensibly exists only to keep the franchise's devotees sated in the meantime. Perhaps this kind of business-minded cynicism is unhelpful, but it's unavoidable, as Hollywood flounders for ways to sustain people's interest in going to the cinema. If studios are going to spin off their biggest titles to keep those properties alive, they might as well do it as faithfully as possible. Article originally published at The Atlantic

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