Latest news with #JasonMomoa
The Guardian
3 hours ago
- Entertainment
- The Guardian
TV's best (and worst) historical epics: from Wolf Hall to I, Claudius
Inflate thy balloons and unsheathe thy Party Rings, for here is Chief of War (Apple TV+) to remind us of the joy of the scowling historical epic. Here too, almost, is Battle of Hastings belter King & Conqueror (BBC, August). And Spartacus: House of Ashur (Starz, this winter). Also in the period-specific pipeline are second series for Disney+'s brilliant Shogun and Amazon Prime's terrible House of David. Historical epics, it would not be unreasonable to say, are everywhere. But which are the best and which should be catapulted, screaming, across a poorly rendered CGI battlefield? Given their abundance, some arbitrary judging criteria are clearly in order. Hence: no 'fantasy' nonsense (ie Game of Thrones) and nothing set after the early 1800s, the latter on the grounds that a) there are too many of the sods and b) Julian 'Downton Bloody Abbey' Fellowes has effectively tucked the era under his top hat and run off with it while honking like an overprivileged goose. Let battle commenceth… A barrel-chested wodge of Big History in which mountainous creator and co-writer Jason Momoa thunders through the based-on-true-events that led to the late 18th century unification and, ultimately, colonisation of his native Hawaii. And it's brilliant; from its predominantly Polynesian cast to the sense of doom that swirls perpetually around the scenic foothills of Mount Momoa. It may lean a touch too heavily on extended, subtitled brawls in which there is much [grunting], but this is heartfelt storytelling; as muscular and sincere as its loinclothed protagonist. Startlingly brutal middle ages od(in)yssey in which mud-caked peasants duck from the flailing mace of progress/death and Norsemen with calves like bowling balls stagger across fjords, their complexions suggesting they may not be getting their five a day. There are the obligatory fireside frottageings, but this is clever stuff, with complex characters, an atmosphere of thunderously oppressive gloom and dialogue that does not make one long to inter oneself, sobbing, in a flaming longship. The second adaptation of James Clavell's 1,100-page clomp through the late Sengoku period of feudal Japan, this US-produced saga leaves its beloved 1980 predecessor spluttering in its backwash, the latter's once sacrosanct USP (Richard Chamberlain blinking expressionlessly in a kimono) unable to compete with the former's rich, knotty script, riveting characterisation and steadfast attention to historical detail. Cue stoic samurai, scurvy-ridden sailors and preoccupied warlords in a succession of exquisitely indifferent terrains and everyone else sprinting for cover as the whole shebang is (justly) pelted with Emmys. Yes, the pace is slow, the sets perfunctory and the wigs apparently assembled from the contents of a vacuum cleaner. But still, 50 years on, the BBC's adaptation of Robert Graves' novels on the bastardry of the early Roman empire remains one of TV's finest achievements, with an unapologetically adult script and magnificent, pillar-rattling performances from John Hurt, Siân Phillips and Derek Jacobi, the last assisted by prosthetic makeup and a false nose that could dislodge the cobwebs from a triumphal arch. An object lesson, here, in how to deliver prestige historical drama without recourse to bums or bombast. Instead, there are exquisitely layered performances (Damian Lewis, Jonathan Pryce), quiet, adult explorations of difficult, adult things (grief, ageing) and many, many candlelit silences into which Mark Rylance's Thomas Cromwell glides, his expression, as always, that of a ferret saddened by developments in France. A monumental achievement, obviously, and in director Peter Kosminsksy and scriptwriter Peter Straughan's hands, a near-perfect adaptation of Hilary Mantel's three-piece masterpiece. Rome, 1492, and the Vatican is besieged by filth as director/co-creator Neil Jordan takes a stiff quill to non-secular skulduggery. Cue: tumescent priests, pouting strumpets and a never-wearier Jeremy Irons as Pope Shagger VI. Here, historical integrity is something to be bent over and humped, unconvincingly, behind a net curtain. The script? Pfft. The acting? Tsk. The plot? Possibly, although it's tricky to concentrate on the dynastic machinations of 15th century Italy when Irons in a mitre keeps shouting 'WHORE'. A catastrophic attempt by the BBC to replicate the success of I, Claudius by squeezing Grade II-listed hams into togas and forcing them to SHOUT at punishing length about the PTOLEMAIC DYNASTY in what appears to be an abandoned REGIONAL LEISURE CENTRE. The upshot? Tedium. Plus? Bald caps, flagrant boobery, Richard Griffiths 'working' a 'smoky eye', the line 'Let's get out of Egypt!' and trembling extras gulping in horror as the plot catapults yet another flaming ball of exposition at the studio floor. Manacled jocks go loincloth to loincloth in a US production comprised almost entirely of buttocks. There is, occasionally, other stuff: blood, knockers, airborne viscera, Americans in sandals decapitating other Americans while shouting 'ass', some 'plot' or other involving revenge, John Hannah (as dastardly slave trader Batiatus) bellowing 'BY JUPITER'S COCK!' at 30-second intervals etc. But it is mainly buttocks. Watch it on fast-forward and it's like being shot in the face by a pump-action bum-gun. One, two, swashbuckle my shoe: abject 'international co-production' tosh here from the Beeb as Alexandre Dumas's novels are reimagined for whichever generation it is that is supposed to be interested in this sort of thing. And lo, much adolescent tomfoolery doth ensue, with PG-rated punch-ups, tiresome hunks smirking in pleather and dialogue of the 'Things just got complicated!' genus. The result? Hollycloaks. Peter Capaldi does his best as Cardinal Richelieu but it would take more than thigh boots and nostril-flaring to lighten this particular load. Verily, my liege, this idiot Canadian-Irish co-production does dance a merry jig upon the very concept of historical accuracy, with its Irish Henry VIII (Jonathan Rhys Meyers), its ripped courtiers and Joss Stone as Anne of Cleves. There is the occasional grudging nod to Actual Historical Stuff (the Reformation, wives etc). But it's mostly just Henry banging his way around Tudor England, his bum cheeks jack-hammering with such ferocity that they are little more than a meaty blur, like a deli counter viewed from the top deck of a speeding bus in the rain. Chief of War is on Apple TV+ from 1 August.
The Guardian
7 hours ago
- Entertainment
- The Guardian
TV's best (and worst) historical epics: from Wolf Hall to I, Claudius:
Inflate thy balloons and unsheathe thy Party Rings, for here is Chief of War (Apple TV+) to remind us of the joy of the scowling historical epic. Here too, almost, is Battle of Hastings belter King & Conqueror (BBC, August). And Spartacus: House of Ashur (Starz, this winter). Also in the period-specific pipeline are second series for Disney+'s brilliant Shogun and Amazon Prime's terrible House of David. Historical epics, it would not be unreasonable to say, are everywhere. But which are the best and which should be catapulted, screaming, across a poorly rendered CGI battlefield? Given their abundance, some arbitrary judging criteria is clearly in order. Hence: no 'fantasy' nonsense (ie Game of Thrones) and nothing set after the early 1800s, the latter on the grounds that a) there are too many of the sods and b) Julian 'Downton Bloody Abbey' Fellowes has effectively tucked the era under his top hat and run off with it while honking like an overprivileged goose. Let battle commenceth… A barrel-chested wodge of Big History in which mountainous creator and co-writer Jason Momoa thunders through the based-on-true-events that led to the late 18th century unification and, ultimately, colonisation of his native Hawaii. And it's brilliant; from its predominantly Polynesian cast to the sense of doom that swirls perpetually around the scenic foothills of Mount Momoa. It may lean a touch too heavily on extended, subtitled brawls in which there is much [grunting], but this is heartfelt storytelling; as muscular and sincere as its loinclothed protagonist. Startlingly brutal middle ages od(in)yssey in which mud-caked peasants duck from the flailing mace of progress/death and Norsemen with calves like bowling balls stagger across fjords, their complexions suggesting they may not be getting their five a day. There are the obligatory fireside frottageings, but this is clever stuff, with complex characters, an atmosphere of thunderously oppressive gloom and dialogue that does not make one long to inter oneself, sobbing, in a flaming longship. The second adaptation of James Clavell's 1,100-page clomp through the late Sengoku period of feudal Japan, this US-produced saga leaves its beloved 1980 predecessor spluttering in its backwash, the latter's once sacrosanct USP (Richard Chamberlain blinking expressionlessly in a kimono) unable to compete with the former's rich, knotty script, riveting characterisation and steadfast attention to historical detail. Cue stoic samurai, scurvy-ridden sailors and preoccupied warlords in a succession of exquisitely indifferent terrains and everyone else sprinting for cover as the whole shebang is (justly) pelted with Emmys. Yes, the pace is slow, the sets perfunctory and the wigs apparently assembled from the contents of a vacuum cleaner. But still, 50 years on, the BBC's adaptation of Robert Graves' novels on the bastardry of the early Roman empire remains one of TV's finest achievements, with an unapologetically adult script and magnificent, pillar-rattling performances from John Hurt, Siân Phillips and Derek Jacobi, the last assisted by prosthetic makeup and a false nose that could dislodge the cobwebs from a triumphal arch. An object lesson, here, in how to deliver prestige historical drama without recourse to bums or bombast. Instead, there are exquisitely layered performances (Damian Lewis, Jonathan Pryce), quiet, adult explorations of difficult, adult things (grief, ageing) and many, many candlelit silences into which Mark Rylance's Thomas Cromwell glides, his expression, as always, that of a ferret saddened by developments in France. A monumental achievement, obviously, and in director Peter Kosminksy and scriptwriter Peter Straughan's hands, a near-perfect adaptation of Hilary Mantel's three-piece masterpiece. Rome, 1492, and the Vatican is besieged by filth as director/co-creator Neil Jordan takes a stiff quill to non-secular skulduggery. Cue: tumescent priests, pouting strumpets and a never-wearier Jeremy Irons as Pope Shagger VI. Here, historical integrity is something to be bent over and humped, unconvincingly, behind a net curtain. The script? Pfft. The acting? Tsk. The plot? Possibly, although it's tricky to concentrate on the dynastic machinations of 15th century Italy when Irons in a mitre keeps shouting 'WHORE'. A catastrophic attempt by the BBC to replicate the success of I, Claudius by squeezing Grade II-listed hams into togas and forcing them to SHOUT at punishing length about the PTOLEMAIC DYNASTY in what appears to be an abandoned REGIONAL LEISURE CENTRE. The upshot? Tedium. Plus? Bald caps, flagrant boobery, Richard Griffiths 'working' a 'smoky eye', the line 'Let's get out of Egypt!' and trembling extras gulping in horror as the plot catapults yet another flaming ball of exposition at the studio floor. Manacled jocks go loincloth to loincloth in a US production comprised almost entirely of buttocks. There is, occasionally, other stuff: blood, knockers, airborne viscera, Americans in sandals decapitating other Americans while shouting 'ass', some 'plot' or other involving revenge, John Hannah (as dastardly slave trader Batiatus) bellowing 'BY JUPITER'S COCK!' at 30-second intervals etc. But it is mainly buttocks. Watch it on fast-forward and it's like being shot in the face by a pump-action bum-gun. One, two, swashbuckle my shoe: abject 'international co-production' tosh here from the Beeb as Alexandre Dumas's novels are reimagined for whichever generation it is that is supposed to be interested in this sort of thing. And lo, much adolescent tomfoolery doth ensue, with PG-rated punch-ups, tiresome hunks smirking in pleather and dialogue of the 'Things just got complicated!' genus. The result? Hollycloaks. Peter Capaldi does his best as Cardinal Richelieu but it would take more than thigh boots and nostril-flaring to lighten this particular load. Verily, my liege, this idiot Canadian-Irish co-production does dance a merry jig upon the very concept of historical accuracy, with its Irish Henry VIII (Jonathan Rhys Meyers), its ripped courtiers and Joss Stone as Anne of Cleves. There is the occasional grudging nod to Actual Historical Stuff (the Reformation, wives etc). But it's mostly just Henry banging his way around Tudor England, his bum cheeks jack-hammering with such ferocity that they are little more than a meaty blur, like a deli counter viewed from the top deck of a speeding bus in the rain. Chief of War is on Apple TV+ from 1 August.
Yahoo
10 hours ago
- Entertainment
- Yahoo
Jason Momoa says 'Aquaman' was 'the biggest gamble of my life.' He cashed in those chips to make 'Chief of War.'
Wearing a malo for nine episodes was no problem for the Hawaiian actor. "I am not a big fan of wearing clothes," he tells Yahoo with a laugh. Jason Momoa hadn't always considered himself a betting man, but in 2014 he went all in on himself. By the time he was cast in the titular role of Aquaman, the superhero film had been in development, in one form or another, since 2004. Many in the industry had written it off. But Momoa knew the risk could be worth it. 'That was probably the biggest gamble of my life,' Momoa tells me over Zoom. The 2018 film shattered expectations and instantly made Momoa one of the most sought-after stars in Hollywood. 'It went for the best,' he says. 'We were taking a character that was the laughingstock of comic books and trying to make something out of it. But after [it was released in theaters], it was the first time kids were coming up to me [in public] saying, 'Aquaman!' It changed everything.' Suddenly, Momoa was catapulted to a level of fame most actors only dream of. 'I put in the hard work,' he tells me. 'I proved myself.' For some stars, reaching superhero status means buying the dream house, the dream car — probably both. But for Momoa, it meant setting his sights on something bigger. After years of playing roles in other people's stories, he is finally telling his own: the story of his ancestors, which is the basis for his new television series, Chief of War. 'If someone were to ask me, 'What would you want to do?' This is it,' he tells me about his passion project, which premieres on AppleTV+ Aug. 1. 'I would like to tell the story of our people.' 'This is me, dumping my soul into this show' Momoa's heritage is a blend of his Hawaiian father's roots from Nanakuli and his mother's Midwestern upbringing in Norwalk, Iowa. But it's his connection to Hawaii, where he was born, in Honolulu, that shapes much of his identity and drives his passion for telling stories that honor his cultural background. Momoa's charm and humor are on full display as we chat for almost 30 minutes on a laid-back Zoom call. It's clear he's not just a hero onscreen but also a storyteller with a heart as big as his larger-than-life persona. Chief of War is his soul laid bare. The series is more than just a career milestone; it's the culmination of 27 years of hard work and passion and a deep commitment to sharing his culture's history with the world. 'Growing up, you see films like The Last of the Mohicans and The Last Samurai — stories that represent warriors, but we've never had that for our people. I wanted to make sure this was something that truly represented who we are," Momoa tells me. Chief of War is a nine-episode historical drama created by Momoa and Thomas Pa'a Sibbett, who share native Hawaiian heritage. It's based on true events and follows warrior Ka'iana (played by Momoa) as he strives to unify the Hawaiian islands before Western colonization in the late 18th century. Told from an Indigenous perspective, it features a predominantly Polynesian cast. As star, writer and executive producer, Momoa knew he had to walk a fine line as he balanced aligning historical significance with his creative vision, as well as creating a television show audiences will stream. After watching the whole season, it's hard not to draw comparisons between Chief of War and Game of Thrones, the Emmy-winning series that gave Momoa a huge career boost in 2011. Both are rooted in complex power struggles and rich cultures and have epic battle scenes. Momoa is quick to note one key difference, though. "[Game of Thrones is] a fantasy world," he says. "Obviously, there are many different things that match, but these are all historical things that happened" in Chief of War. The series features no dragons, but the battle scenes are just as intense. In it fans can see Momoa riding sharks and kicking a lot of ass. When I ask him if physically preparing for this warrior role felt different at age 45 than it did in his 30s when he was on Game of Thrones, he laughs. "Yes, it does," he says, mostly because back then, he did action scenes without stunt doubles. Momoa has been revisiting some of his old projects with his 16-year-old son, Nakoa-Wolf, who's also interested in acting. As he shows the teen some of his past work, he is reminded of how physically demanding those roles were and how much his body paid the price. "We were watching some shit and I realized: You delete the pain," the actor says. "You forget about it, and then I watch all this stuff again, and I'm like, 'Oh, that's why I hurt. That's exactly why I f***ing hurt.'" Momoa says the challenge for Chief of War wasn't getting into physical shape. It was gearing up for the emotional endurance the project required. "You're overseeing the whole vision of everything, you're involved in every department, learning a language that you don't know, being responsible for your culture and making sure you get it all right. I was shitting my pants on many levels," he admits. Onscreen, Momoa is mostly pantsless. Making a show true to its cultural origins means male characters wear a malo, a traditional Hawaiian garment that consists of a simple wrap-around cloth. "It's really comfortable," Momoa says. "I'm not trying to attract any more attention to myself, but I actually don't mind wearing a malo. It gives you a lot of strength, a lot of power and makes you feel like a man. It's a really beautiful thing." When I ask Momoa if he had to mentally prepare for being shirtless for nine episodes, he chuckles. "I am not a big fan of wearing clothes," he says. "I'm fine walking around with a malo; it's just everybody else makes it awkward." During our conversation, Momoa's camera was off. It's then that he flips on his video, showing me he's bare-chested. "I'm in shorts, it's cool," he smiles, flashing his signature grin. "I figured I shouldn't be sitting here naked — we're doing an interview." "Hey, be free!" I reply. "In all honesty, you see more of me on the show than you do on this Zoom," he jokes. (It's true.) Manifesting a legacy Much like his physical presence onscreen, Chief of War allows Momoa to be unapologetically himself — not just in body, but in soul. The series is far more than a career milestone; it's a reflection of his heart. Every aspect of the show, from the casting to the costumes, is infused with his passion for telling an authentic. respectful story. His commitment to his heritage shines through, down to the tattoo on his head. "I had the aumakua put on my head for this role," he says. Momoa's aumakua, a kind of ancestral guardian in Hawaiian tradition, is shark teeth. He has the pattern tattooed on his arm as well. "We weren't even greenlit yet [by AppleTV+], but I put that on, willing it." For Momoa, getting the tattoo on his head — a permanent mark that connects him to his roots — was a powerful act of commitment. He's also dedicated to the roles he plays offscreen, especially dad. The actor's biggest motivation is his kids. Momoa has Nakoa-Wolf and a daughter, Lola, 17, with his now ex-wife, Lisa Bonet. "Right now they get to see their father doing what they love to do. I can't say that was true when they were first born. I was just trying to make it as an actor. But now, [I get to work on] things I've wanted to do my whole life. And I expect that out of them too. For them to live their dreams and fight for it — it's not easy, and they know that.' Like any actor, Momoa took roles early in his career that didn't always fuel his passion. Aquaman afforded him different opportunities. Momoa quickly became one of the most sought-after stars in Hollywood, landing more roles in the DC Universe and other blockbuster franchises like Dune and Fast & Furious. This year, he starred as Garrett 'the Garbage Man' Garrison in A Minecraft Movie, which is close to passing the $1 billion mark at the global box office. He says it's 'pretty cute' how many kids come up to him now about a role other than Aquaman. 'I get 'Garbage Man' now, and it's the f***ing greatest thing in the world,' he says. There's a reason why it holds extra meaning. 'You're the only person I've ever told this to, but my father was a garbage man," he says. Momoa then describes how his dad, Joseph, would begin his route at 4 a.m. After finishing, Joseph would go home to sleep for a few hours, then spend the rest of the day painting. "When I was little, he would paint all night, then he'd do his garbage routine," Momoa says, reflecting on his father's unwavering passion for both his craft as an artist and his job. From a young age, Momoa absorbed the dedication required to pursue one's dreams, no matter the sacrifices. 'I'm like, f*** yeah! I am the garbage man," he says. "My dad was a garbage man. ... So many of these people are doing the job they have to do, to do what they love to do.' As Momoa reflects on his career, it's apparent that his success isn't just about accolades or box office numbers — it's about creating a life he can share with those he loves. 'At the end of the day, I'm doing everything in my power to make an impact, whether it be on- or offscreen,' he says. And with Chief of War, he has finally created something he can proudly call his own, a project that not only honors his past but also shapes the future for his children.
Edmonton Journal
a day ago
- Entertainment
- Edmonton Journal
Must-see TV: Jason Momoa's 'Chief of War' tops this week's watch list
Chief of War Debut Executive produced and written by Jason Momoa, the nine-episode series is based on true events and follows warrior Ka'iana as he tries to unify the islands of Hawaii before Western colonization in the late 18th century. When: Friday on Apple TV+ Article content Dexter: Resurrection New Episode After dispatching the murderous 'Dark Passenger,' Dexter Morgan (Michael C. Hall) accepts an invite to a dinner party where all the guests are serial killers — just like him. When: Friday on Paramount+ Article content Article content Article content Live Aid: When Rock 'n' Roll Took Over the World Special CNN goes behind the scenes to reveal how Boomtown Rats frontman Bob Geldof and singer-songwriter Midge Ure organized a star-studded benefit concert that brought in more than $127 million for famine relief in Ethiopia in 1985. When: Sunday on CNN Article content Article content Article content Trainwreck: P.I. Moms Documentary Investigates an early 2000s reality show about private eye moms and the drug scandal that sabotaged the series and its stars. When: Now streaming on Netflix Article content
Daily Mirror
a day ago
- Entertainment
- Daily Mirror
Chief of War on Apple TV+: Everything you need to know about Jason Momoa's 10-year passion project
Jason Momoa has been working on Chief of War for a decade and the historical epic drama will finally be released later this week Jason Momoa is set to captivate audiences in the upcoming historical epic, Chief of War, where he not only stars but also takes on the roles of executive producer and co-writer. Touted as the next big hit following Game of Thrones, the Hawaiian-American icon, known for his roles in Aquaman and A Minecraft Movie, has been developing this project alongside showrunner Thomas Paʻa Sibbett for an impressive ten years. The inaugural nine-part season of Chief of War is set to make a grand entrance with a two-part premiere on Apple TV+ later this week, promising to unveil Hawaii's rich and tumultuous history like fans have never been seen before. Adding to the show's authenticity, the cast will deliver most of their lines in the native Ōlelo Hawai'i language, which Momoa admits was even more challenging to master than Dothraki. As we gear up for one of the most anticipated new historical dramas, let's delve into what we know about Chief of War, reports the Mirror US. What is Chief of War about? For the first time in a major television production, Chief of War shines a light on Hawaii during the pivotal 18th-19th Century era. Stepping into the shoes of Ka'iana, a renowned warrior of Hawaiian nobility, Game of Thrones star Momoa portrays the character's struggles with political power and encroaching Western settlers during a critical time for the Pacific Islands. His character, Ka'iana, becomes an iconic figure in Hawaiian lore after his travels abroad and subsequent return to engage in a fierce battle that will decide the destiny of his homeland. The series sets the stage with a synopsis stating: "The story begins at the turn of the 19th century when the four major kingdoms of the Hawaiian Islands were in a state of war. "The series follows Kaʻiana, a warrior chief (aliʻi) of Kauaʻi who travels outside of the islands as the 'most famous Hawaiian in the world ', returns home and joins a bloody campaign until, at the last minute, he rebels against the unification of Hawaiʻi that took place from 1782 to 1810 under Kamehameha I." Who is in the cast of Chief of War? Jason Momoa takes centre stage as the infamous warrior Ka'iana, hot on the heels of his blockbuster appearances in Minecraft, Aquaman and Fast X. He's accompanied by a predominantly Polynesian ensemble, featuring both seasoned performers and emerging talent. The lineup boasts Star Wars legend and Momoa's Aquaman colleague Temuera Morrison as Chief Kahekili, The Night Agent's Luciane Buchanan as Kaʻahumanu and Avatar and The Meg's Cliff Curtis. Completing the supporting ensemble are fresh faces including Te Ao o Hinepehinga, Kaina Makua, Te Kohe Tuhaka and Moses Goods. Additional cast members comprise Siua Ikaleʻo, Brandon Finn, James Udom, Mainei Kinimaka, Siaosi Fonua, Benjamin Hoetjes, and Erroll Shand. When will Chief of War be released? Anticipating fans won't have to wait much longer as Chief of War debuts this Friday, 1st August. The opening two episodes will drop at midnight. It will subsequently maintain a weekly release pattern of fresh episodes, continuing through until Friday, 19th September. While the drama was initially commissioned as an eight-episode miniseries, the inclusion of a ninth episode in the first series might suggest that Momoa and Sibbett have intentions for the drama to carry on. However, there's no confirmation about a second series at this point.
