It wouldn't hurt to have a Marvel Comics scholar gobbling popcorn by your side as the plot of X-Men: Days of Future Past goes flying over your head. The story is madly convoluted, darting back and forth between past and future and hopping all around the globe as killer robots descend from the sky and everybody's favorite mutants—old vets mingled with their younger selves—kick butt and levitate real estate down below. Much of this may be baffling to non-scholars, but it doesn't really matter, writes Kurt Loder because director Bryan Singer, whose first two X-Men movies launched this 14-year-old franchise, is so attentive to his characters' feelings—to their by-now-familiar resentments and sorrows—and so inventive in staging action scenes amid the acres of digital effects on display that it's hard not to get swept along.
Nothing is more permanent than an “emergency” mandate.
Songs like "Gun Totin' Patriot" and "We Outside" might be ridiculous, Trump-worshiping schlock, but their embrace of controversial themes breathes some rebelliousness back into rap.
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Democrats, now in control of both chambers of Congress, say they will push ahead with marijuana reform with or without the support of the White House.