Yes, Kim Novak’s face shocked us at the Oscars. But did she really deserve all the nip-and-tuck hate-tweeting?
The Oscars are invariably remembered as much (if not more) for the speeches, snafus, and outlandish red carpet outfits as for the awards. Last year, Jennifer Lawrence’s charming tumble over her couture when accepting her Best Actress award generated maximum buzz (Anne Hathaway’s nipples came in close second). This year’s highlights included John Travolta butchering Idina Menzel’s name, Ellen Degeneres’ celebrity group selfie and 81-year-old actress Kim Novak’s face—nipped, tucked, and stiff with silicone.
The Internet gasped in horror—or was it amusement? —when the Vertigo star took the stage with Matthew McConaughey to present the award for Best Animated Feature to Disney’s Frozen (an unfortunate coincidence, generating countless rudimentary puns on social media). A sampling of tweets, including several from well-known figures in the entertainment and media industries: Comedian Nick Youssef joked that “Kim Novak was just safely transported back to the Hollywood Wax Museum”; Chelsea Lately writer Fortune Feimster quipped, “I’m assuming Kim Novak was representing the movie ‘Mask’”; Huffington Post editorial director Howard Fineman broadened the mockery: “#AcademyAward for worst plastic surgery: tie between Kim Novak and Goldie Hawn.”
The Oscar nominated actor-cum-filmmaker opens up about his sauciest role to date as Gustave H., octogenarian-bedding concierge of Wes Anderson’s ‘The Grand Budapest Hotel.’
I’m at the midway point of a cappuccino-heavy interview with Ralph Fiennes, he of Schindler’s List, The English Patient, and He Who Must Not Be Named fame, when he begins chortling with glee. The catalyst for this rare burst of gaiety is Seinfeld—more specifically, the eighth-season episode entitled “The English Patient” wherein Elaine (Julia Louis-Dreyfuss) becomes alienated from her friends and boss due to her hatred of the aforementioned desert-set romance.
Fox Searchlight Pictures
“How could you not love that movie?” asks one of her friends. “How about, it sucked?”
Rahm Emanuel, the Mayor of Chicago, is eclipsed in a new CNN documentary series about the city by charismatic school principal Elizabeth Dozier.
Perhaps it isn’t strange that Rahm Emanuel, the mayor of Chicago, feels more comfortable and candid around a group of schoolchildren than adults. He can hold forth, and they are unlikely to challenge him, and certainly not call him “Murder Mayor” as the head of the city’s teaching union does. But still, the most telling scenes in CNN’s compelling new documentary series Chicagoland come when we see the vain Emanuel with a group of schoolchildren, to whom he delivers an astonishingly self-centered, boastful yet whiny summary of his simply-amazing career.
The series, with Robert Redford listed as one of the executive producers, aims, ambitiously, to cut across political, law enforcement, and social classes showing the component parts of a city in action. It has tonal and schematic elements of Veep, The Wire, and L.A. Law, with the kinds of linking shots of the magnificent Chicago skyline and teeming streets of an ambitious movie director. But can this portrait of a city be raw and honest, as well as salacious and sexy?
The princess of awards season is a rare Hollywood case: she won an Oscar for her first film and has nothing lined up next. What do we make of Lupita Nyong’o’s career prospects?
Lupita Nyong’o’s Oscar win for her performance in 12 Years a Slave was the missing glass slipper that finally fit the Cinderella narrative we’ve all cast her in, right down to the light blue princess dress and tiara-like handmade she wore while accepting her award.
The previously unknown actress, born in Mexico and raised in Kenya, stunned in her first-ever feature film acting performance—earning her invitation to the Oscar ball, winning Best Supporting Actress over America’s Sweethearts Jennifer Lawrence and Julia Roberts, and going home with her Prince Charming. (In this case, Charming’s name is “Oscar.”)
One of the heroes calls Christianity a 'fairy tale'—and one of the villains is a reverend. What is the HBO drama saying about religion?
Matthew McConaughey and Woody Harrelson star in HBO's show "True Detective." (Lacey Terrell/HBO)
This is healthy. Good literature isn’t “about” any one thing, and more than any show in recent memory, True Detective seems to aspire to be good literature (as well as good television). Most TV writers want to invent great characters and tell a great story. True Detective creator Nic Pizzolatto also wants to layer his show with meaning—or meanings. So he packs it full of the weird fiction of Thomas Ligotti, the cosmic horror of Robert Chambers, the nihilism of Friedrich Nietzsche, inter-dimensional string theory, and perhaps even Unsolved Mysteries. And we keep unpacking. The more Pizzolatto puts in there, from misogyny to Vietnam, the more there is for us to find.
And Conan O’Brien will host MTV Movie Awards.
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Idina Menzel Renamed Adele Dazeem in Playbill. The editors of the If/Then program won’t let it go, because it was just so funny. New York Daily News
Nude Justin Bieber videos released. It shows Bieber urinating for a drug test, but the judge ordered his private parts blurred. Miami Herald
Michael Bay and Mark Wahlberg present robot dinosaurrs.
A mechanic stumbles upon an old truck. But it’s not a truck! It’s Optimus Prime. And that isn’t just any mechanic! It’s Mark Wahlberg. That is essentially the plot of Michael Bay’s Transformers: Age of Extinction, the fourth-installment of the blockbuster franchise.
The trailer reveals that the government finds out about Marky Mark’s discovery, chaos ensues, and there are a ton of cool-looking explosions and epic robot battles. (This is all done with the subtlety of someone wielding a jackhammer.)
What really caught our attention—and the attention of hardcore Transformers fans—is the Dinobot at the end. These, as the name would suggest, are robots who transform into dinosaurs.
As he took the stage on Sunday night, John Travolta probably had no idea that he was about to launch an entire career (of a fictional person).
The biggest star of this year's Oscars wasn't Jared Leto's ombré or Lupita Nyong'o's ribcage. Rather, it was a newcomer on the Hollywood scene: Adele Dazeem. Never heard of her? That's because she doesn't exist.
John Travolta’s role at the Academy Awards was to introduce singer Idina Menzel’s performance of Frozen’s “Let It Go.” As he took the stage on Sunday night, he probably had no idea that he was about to launch an entire career (of a fictional person). The actor, who appeared to be suffering from a serious case of too-tight toupee, struggled with Menzel's name, eventually landing on the comically mispronounced Adele Dazeem.
It’s one of the most pirated television shows that you probably don’t watch. As USA darkens its palette of dramas, ‘Suits’ is poised to take over as the network’s flagship series.
Vince, Turtle and Johnny Drama as…investment bankers? That was Aaron Korsh’s initial idea when he sat down to write the show that would eventually become Suits. As he struggled during the 2007-2008 writers strike to get out of a professional rut, “My agent said, ‘You're always telling me these Wall Street stories, why don't you write about that?’” recalls Korsh, who had graduated from Wharton and worked as a Manhattan investment banker in the late ’80s/early ’90s before turning to writing. “So I set out to write a half-hour, Entourage-type show about investment banking.”
Patrick J. Adams as Michael Ross, Gabriel Macht as Harvey Specter (Ian Watson/USA Network)
Instead, he ended up with something “much weightier,” which has since become one of USA network’s most popular shows. Suits tells the story of brilliant-but-troubled Mike Ross (Patrick J. Adams), who has a photographic memory and was once Harvard Law School-bound, but was instead expelled from college for selling the answers to a math test. In the pilot, Mike crosses paths with Harvey Spector (Gabriel Macht), a headstrong senior partner at Pearson Hardman tasked with hiring an associate from Harvard Law. Instead, Harvey offers the position to Mike, despite the fact that he does not have a law—or even a college—degree.
She reads aloud while simultaneously masturbating with a Hitachi Magic Wand. ‘Hysterical Literature’ creator Clayton Cubitt on the high price of filthy business.
Conventional wisdom says that sex sells and the best way to keep a secret is to put it in a book.
“I like fucking with people,” Clayton Cubitt says. “I like subverting expectations.”
On the new Comedy Central series 'Review,' Andy Daly judges not movies but real life experiences: addiction, racism, even armed robbery.
You know the type. Actually, maybe you don’t, because who are these people?
The people who review.
Andy Daly and Fred Willard (Michael Yarish/Comedy Central)
We track down the secretive DJ who’s created a new remix phenomenon where the chorus to a song like Miley Cyrus’s ‘Wrecking Ball’ is replaced by off-tune recorders.
Everyone who has been patiently awaiting a recorder remix of Miley Cyrus’s “Wrecking Ball” can finally rejoice. There is a majestically captivating and atrocious version of the song where Cyrus’s vocals are replaced by what sounds like elementary school students learning to play a screeching plastic pipe.
This newly-minted variety of music, a series of remixes where off-tune recorders replace popular bass drops, is called FluteDrop and its mastermind is a man named D.J. Detweiler.
With the series finale airing on Sunday night, here are the wackiest—and most logical—theories of how HBO’s addictive potboiler will come to an end. [Warning: Major Spoilers!]
On Sunday night, the saga of True Detective will come to an end. Over seven episodes, creator Nic Pizzolatto’s series has mesmerized audiences with the tale of Rust Cohle (Matthew McConaughey) and Marty Hart (Woody Harrelson), two Louisiana State Police homicide detectives on the hunt for a serial killer responsible for a string of sadistic, ritualistic murders. The series, directed by Cary Fukunaga, is set in three time periods and spans seventeen years.
The show has also, with its myriad references to the occult, recurring imagery, elliptical-philosophical dialogue, and general weirdness, prompted viewer's imaginations to run wild, cooking up far-fetched (and not-so-far-fetched) theories of how the show will wrap things up.
According to HBO, the final episode airing March 9 will be titled “Form And Void,” and comes with the following logline: “An overlooked detail provides Hart and Cohle with an important new lead in their 17-year-old case.”
Steve McQueen's acclaimed film is the new target of right-wingers who hate "white guilt" and love racial resentment.
If “Best Picture” is supposed to award the film that excels in all categories, then 12 Years a Slave was a worthy choice. From its performances to its cinematography and music direction, Steve McQueen’s story of Solomon Northrup—and his journey through the antebellum South—is a tremendous accomplishment. By any measure, it deserves its award.
Unless, that is, you’re a little critic named Rush Limbaugh. Then, the success of the film is just further evidence for your resentment and paranoia. To wit, here’s what he had to say about it on his radio show: “If it was the only thing that movie won, it was gonna win Best Picture. There was no way. It didn’t matter if it was good or bad. I haven’t seen it. It was going to win. It had the magic word in the title, ‘slave.’”
Limbaugh believes 12 Years won because of the power of liberal guilt. But if there’s anything to take away from Hollywood’s history with race, it’s that the industry is far more likely to award films that highlight liberal virtue. As Adam Serwer notes for MSNBC, “The film industry is a place where the stories of people of color are still rarely told through narratives they themselves create.” Indeed, if 12 Years had fit the mold of films likeThe Help, Crash, and Driving Ms. Daisy—that is, if it were about the redemption of a sympathetic white protaganist—then Limbaugh would have a point.
The acclaimed auteur discusses the making of his wacky, delightful comedy-caper, from his detailed filmmaking process—storyboarding the whole film through animatics—to grand feasts with his A-list cast in Görlitz.
Wes Anderson is alert. We’re seated across from one another in the bowels of a hotel in Downtown Manhattan, and the twee Texan is delicately balancing an espresso. He’s fresh off a plane from Paris—the self-admitted Francophile divides his time between the City of Lights and the Big Apple—and is talking a mile a minute, like an excitable kid bursting with ideas.
He has reason to be jazzed. Anderson’s latest film, The Grand Budapest Hotel, is his most intoxicating confection to date; a gleeful meld of his sardonic wit, pastel-infused palette, and polite brand of anarchy. Set in the fictional Republic of Zubrowska, an eastern European nation torn apart by war and oppression, the story-within-a-story-within-a-story begins in 1932, and follows the gonzo travails of Gustave H. (Ralph Fiennes), dashing concierge of the titular hotel. He’s a dandy—a cross between Peter O’Toole and Zsa Zsa Gabor—who, in addition to being “the most liberally-perfumed” man ever, has a penchant for bedding octogenarians.
Wesley Wales "Wes" Anderson is an American film director, screenwriter, actor, and producer of features, short films and commercials. (Gareth McConnell/eyevine/Redux)
When one of his elderly squeezes, Madame D (Tilda Swinton, in heavy aging makeup), croaks, it sets off a series of crazy events involving his new lobby boy, Zero (newcomer Tony Revolori), a priceless stolen painting called “Boy with Apple,” prison breaks, an SS-like squadron, shoot-outs, murderous henchman, and more. Or, in the words of SNL’s Stefon: “This film has everything.”
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