Will Smith, why so serious?

Adherence to a simple formula—kick ass, crack jokes, and churn out the blockbusters—turned the Fresh Prince into the box-office King. “I think he really is one of the last remaining people who can still open a movie, and that list is getting smaller and smaller in a shocking way,” Dave Karger, chief correspondent at Fandango, tells The Daily Beast. From 1996 to 2008, he starred in a whopping 12 films that grossed more than $100 million domestically.

It’s now been more than three years since the world saw the horrifying footage of the “Collateral Murder” video: civilians mown down in a ghastly battlefield error. Their would-be rescuer—a father taking his children to school—similarly shot to pieces by a U.S. helicopter gunship, its pilots chatting and laughing as if playing a video game.

And for those who kept watching, an aspect of the footage often forgotten: a Hellfire missile fired into a building, with no regard of the passerby just outside. Waiting a mere few seconds longer could’ve kept him safe—but no. Amid the revulsion at the earlier horror of the clip, this became a mere background detail.

On AMC’s Mad Men this season, Megan Draper (Jessica Paré), the actress wife of Jon Hamm’s Don Draper, has had some success in her own career, landing a meaty role on an ongoing daily soap opera where she’s now playing twins Colette and Corinne.

In this week’s episode (“The Better Half”), Megan took to the balcony of the Manhattan apartment she shares with her adulterous husband. Nearby, Peggy (Elisabeth Moss) has accidentally stabbed her boyfriend, Abe (Charlie Hofheimer), thinking he was an intruder. As he’s rushed to the hospital, Megan contemplates her future and her marriage to Don as nearby ambulance sirens fill the air. Crime is on the rise and tensions throughout the city are flaring.

Nick Offerman rapped me a song about his dick.

OK—not his dick per say, but dicks nonetheless. The actor, known for his array of masculine beards and the macho role of Ron Swanson on NBC’s Parks and Rec (delivering one-liners like “You had me at ‘meat tornado’” and “Fish meat is practically a vegetable”) will play a similarly minded character in The Kings of Summer, a coming-of-age story about an adolescent male who runs away from home because of his controlling and seemingly apathetic father (Offerman).

When parents send their children out into the world with hopes and dreams, about the last thing they want for them is the life of a professional fornicator. Yet sometimes, that’s exactly what happens. And then the question arises: “What went wrong?”

Few adult actors had the dream of performing in porn early on, so how did they get there? That question, along with the always popular “what’s it like?” and countless others are answered to some degree in the autobiographies of your favorite porn stars. Below is a look at 10 notable and fascinating porn star memoirs.

Love was in the air last week on the French Riviera. Just days after France legalized gay marriage, a lesbian love story scooped up the coveted Palme d’Or at the Cannes film festival. Blue Is the Warmest Color (original French title: La Vie d’Adèle) tells the tale of a high school student and the blue-haired young woman who precipitates her coming of age. Equal parts touching and shocking (audience members wondered if its explicit sex scenes will make it across the Atlantic), the film is based on a graphic novel and represents the latest in director Abdellatif Kechiche’s attempts to give a voice to France’s more marginalized groups. The jury decided to honor not only Kechiche, but also his two leading ladies, Léa Seydoux and Adèle Exarchopoulos, who commented after the ceremony that it was a universal story. “It’s a love story,” said Exarchopoulos. “If it’s also a hymn to tolerance, then that’s all the more gratifying.” The Steven Spielberg–led jury also paid tribute to the latest Coen brothers film, Inside Llewyn Davis, with the Grand Prix. A ’60s Greenwich Village folk-music film, it stars Justin Timberlake, John Goodman, and Carey Mulligan (who did double duty at Cannes with her recently released The Great Gatsby). The Japanese drama Like Father, Like Son, about a dad who learns his child was switched at birth, took home the Prix du Jury. Faring less well was the violent Ryan Gosling crime thriller Only God Forgives, which provoked boos from the notoriously cantankerous audience. Steven Soderbergh also went home empty-handed, getting no love for his Liberace biopic, Behind the Candelabra, another same-sex romance with steamy scenes between Matt Damon and Michael Douglas. “A Palme d’Or,” said Uma Thurman as she welcomed Spielberg to the stage, “can take place in Cherbourg, Rome, Paris, or in Texas. [It] can be about a man and a woman, a dancer in the dark, or a taxi driver. It could blow up like a pulp fiction, or trigger the apocalypse.” No matter what, though, the love is coming soon to a cinema near you.

Within minutes of speaking with Brit Marling, you realize she isn’t like most young actresses. Sure, she’s pretty—stunning, actually. She has a breezy aplomb, à la Emma Stone or Jennifer Lawrence, which makes you think, I’d totally grab beers with her.

The 29-year-old actress graduated from Georgetown University with an economics degree back in 2005, but turned down a job offer from Goldman Sachs after a summer internship in favor of trying to make a go of it in the film industry. Her big breakthrough came during the 2011 Sundance Film Festival, when two movies she co-wrote and starred in premiered—the sci-fi drama Another Earth, directed by her Georgetown pal Mike Cahill, and another college friend Zal Batmanglij’s Sound of My Voice, about a mysterious cult.

Now Marling has reunited with Batmanglij for the thriller The East. In the film, which she also co-wrote, she plays Sarah Moss, an operative working for a private intelligence firm who’s tasked with infiltrating an eco-anarchist collective known as the East. The group, led by Benji (Alexander Skarsgard) and Izzy (Ellen Page), executes covert attacks—or “jams”—on eco-unfriendly corporations, e.g., flooding a Big Oil CEO’s vacation home with crude. The more time she spends with the group, however, the more she finds herself adopting its point of view.

REACTIONS TO Season 4 of Arrested Development—all 15 of its episodes, which were released May 26 on Netflix—have been mixed. The original show, which ran between 2003 and 2006 on Fox and revolved around the travails of a wealthy and dysfunctional Orange County real-estate clan enmeshed in legal troubles, became virtually synonymous with smart, sophisticated humor in the early ’00s. Its topsy-turvy world of never nudes, Blue Men, racist puppets, and hook-handed motherboys was never a ratings draw, but it attracted a devoted cult of viewers.

Creator Mitch Hurwitz and Netflix teamed up to resurrect the show seven years after it went off the air, catching up with Michael (Jason Bateman), Lucille (Jessica Walter), Gob (Will Arnett), et al. after the housing-market crash. But for many this revival series is a shadow of its former self.

When Arrested aired, it had to be wedged into a 21-minute time slot to accommodate ad breaks, forcing Hurwitz and his writing staff to make judicious cuts. As a result, those episodes were muscular, taut, and perfectly paced. On Netflix, however, there are no such limitations, and the new episodes, which feel bloated and plodding, often clock in at 35 minutes. In fact, the Netflix format is so free that episode run times vary greatly.