Cate Blanchett Was Secretly Part Of An Iconic Group Love Scene And You Didn't Even Notice

Unsurprisingly, she absolutely nailed it.

There are four things that are certain in life: taxes, death, Cate Blanchett being the best part in whatever film she’s in, and a never-ending appreciation of the late Stanley Kubrick’s work.

Now the iconic director’s final film, Eyes Wide Shut, wasn’t his best work but it does contain one of his most iconic scenes: the ritual orgy scene. The scene is excessively eerie due to details like the setting, the creepy Illuminati outfits and the masks. But the most memorable part is the mysterious masked woman, who really sold the whole sequence when she started chanting spine-chilling stuff.

So what does Eyes Wide Shut have to do with Cate Blanchett? Well, it turns out that Cate is the voice behind the chanting masked woman.

In an oral history of Eyes Wide Shut with Vulture for the film’s 20th anniversary, Kubrick’s assistant, Leon Vitali, revealed that the director wanted a voice that’s “warm and sensual” but could also “be part of a ritual”. Kubrick sadly died before he could find someone so the production crew were tasked with that responsibility.

After Tom Cruise and Nicole Kidman suggested Cate, who happened to be in England where they were shooting, the crew got her to come around to chant creepy stuff into a microphone for a few hours.

It ultimately proved to be a genius move as Cate’s voice was like the pièce de résistance of the whole orgy scene, which you can watch right here.

Just a heads up, it’s incredibly NSFW on quite a few levels so watch at your own discretion. For those who can’t stomach it, here’s a puppy.

As for the woman who physically played the masked woman, Abigail Good, she has no hard feelings about Cate’s voice being used instead of hers as she was happy to have worked on what would be Kubrick’s last film and really cherished her time being on set with both the director and Tom.

So there you have it, Cate Blanchett was (technically) in one of film’s greatest orgy scenes that was directed by Stanley Kubrick and you didn’t even notice. That’s a hell of an thing to have listed on your resume.

Margot Robbie's New Harley Quinn Look In Birds Of Prey Finally Gives Representation To Fans With A Janitor Fetish

Harley's about to kick arse and fix your toilet.

We haven’t been treated to much in the way of info regarding the upcoming Birds of Prey movie, but what little we have seen confirms one thing: Harley Quinn is going to be rocking a heap of interesting outfits.

Someone with enviable connections has leaked a new image of one of Harley’s new looks and it seems like Birds of Prey will finally be catering to fans who have a lowkey janitor fetish.

After raiding P. Diddy’s wardrobe between films, Harley’s skimpy Suicide Squad outfit has been replaced with golden overalls (tastefully unzipped), a pink tank top and slightly shorter pigtails, though she’s decided to keep her trusty hammer around.

She looks like she’s ready to kick arse and fix your toilet at the same time, and I’ll all for it.

Margot Robbie has previously said that she and the filmmakers behind Birds of Prey are actively trying to make Harley “less male gaze-y“. Based on what we’ve seen so far with the character’s basic festival chick look and her new janitor outfit, it appears that they’ve managed to do just that while retaining everything that makes the character so oddly charming.

Here’s hoping we see more info about Birds of Prey and Harley’s other outfits soon because February 7, 2020 is a long time to wait for the film to drop and we need our Harley Quinn fix now.

Parasite's Social Commentary Is Brilliant But Its Portrayal Of Savvy Young People Is Even Better

It's no surprise that Parasite is arguably 2019's best film.


Parasite is a strange film, though that can be said about all of Bong Joon Ho’s filmography. Much like his previous works, Parasite doesn’t fit into any established genre. Instead, it blends a domestic thriller, socially conscious commentary, dark comedy, tense heist, and bloody horror into some odd mutant hybrid.

This isn’t a criticism in any way. In fact it’s the complete opposite as not only is Parasite arguably 2019’s greatest film, it is the latest example of how Bong Joon Ho is his own genre and he is able to convey so much with his unorthodox approach.

The film tells the story of a zero-income family – middle-aged parents Kim Ki-taek and Choong-sook, and their 20 something children Kim Ki-woo and Kim Ki-jung – who are so far below the poverty line that they need to scab Wi-fi from the cafe next door just to check their phone messages.

Things take a turn when Ki-woo’s college friend offers him a lucrative gig as a tutor for a rich high school student. As he takes up his new job at the mansion of the upper-class Park family – Mr Park, his wife Yeon-kyo, their teenage daughter Da-hye, and their hyper-energetic son Da-song – Ki-woo sees his employers as a way to elevate his family’s social standing (hence Parasite, geddit?).

Parasite offers up a biting critique on the broken social system but without sacrificing the sympathy of any of the characters, and Bong’s seemingly unusual creative choices remain utterly brilliant. Some peaceful scenes are shot like a thriller to impart a sense of dread while others are cleverly limited in its framing to really hammer home themes like hierarchy and class.

But perhaps the aspect that stood out most to me was how Bong characterised the younger main characters in Parasite as savvy, competent people rather than their parents.

At a time when younger voices are being stymied by older generations who stubbornly refuse to cede power or listen to legitimate concerns, it is refreshing to see the older characters in Parasite take on more reactive roles.

The plan to infiltrate the Park family is the brainchild of Ki-woo and Ki-jung, both of whom carefully figure out every step of the ruse. Their parents on the other hand are nothing more than pawns in the whole thing and willingly go along with the plan without any questions.

When Ki-woo’s plan goes sideways due to the interference of an unexpected third party, Ki-taek claims to have his own plan to fix everything only to later reveal his “plan” was to basically wing it. It’s almost like Bong is telling the older generation to make way for younger folk because they have the answers to the problems being faced today.

As great of a commentary Parasite offers on themes like class, greed, and twisted social hierarchies, it is the subtle exploration into young people and the amount of stuff they can accomplish if they be given the power to do so that really stands out.

Bong has no problem showing people the ugly sides of life in his work, all of which is tinged with drips of cynicism. But the emphasis on Parasite‘s younger characters seemingly tells us that while Bong views the present as being messed up right now, he has a surprising amount of hope that the next generation can fix it.

Pop-up Channel

Follow Us