The Kingslayer dishes on one of the most disturbing scenes ever featured on HBO’s violence- and sex-fueled fantasy epic. [WARNING: SPOILERS]
Not five minutes into the TV series Game of Thrones, we were treated to the charming image of an adorable, cherub-faced young girl with big blue eyes…impaled to a tree…who turned out to be a zombie. Since then, we’ve witnessed a number of truly shocking scenes on HBO’s ultraviolent show. Talisa Stark, eight months pregnant, being knifed in the belly during the Red Wedding; Khal Drogo ripping the tongue out of Mago’s head; Joffrey forcing his betrothed, Sansa, to gaze at the decapitated head of her father, Ned Stark, mounted on a spike; the castration of Theon Greyjoy; and even the death of a newborn baby—in a whorehouse.
But, as far as sheer quantity of taboo-breaking goes, Sunday night’s episode may have boasted the most disturbing sequence in Game of Thrones history. In fact, when you put it in context, it may be the most screwed up sex scene ever broadcast on television.
Season 4’s third episode featured one of the most horrifying, taboo-violating encounters in the HBO series’ history. And that was just the tip of the iceberg. [WARNING: SPOILERS]
We’ve already seen plenty of horrifying things happen on Game of Thrones. That time Viserys Targaryen’s head was melted off with molten gold. That time Theon Greyjoy’s penis was cut off and sent to his family in Pyke. That time King Joffrey impaled a prostitute with his crossbow. And so on.
But none of that quite prepared us for the horrifying encounter between Jaime and Cersei Lannister at the start of “Breaker of Chains,” Sunday’s episode of Thrones. It’s as if showrunners D.B. Weiss and David Benioff set out to violate as many taboos in a single scene as they possibly could—and then violated a couple more, just for kicks. Rape is one thing. Raping your sister is another. Raping your twin sister is even more perverse. But raping her alongside the corpse of your incestuous son? That's a whole new level of wrong.
Christine Baranski on shooting the heartbreaking ‘Good Wife’ scene that left her sobbing—and then getting drunk and having a big laugh after his funeral.
After ping-ponging between stage, TV, and film roles for much of the past four decades, Christine Baranski thought she had seen it all. That is, until she started her fifth year as the elegant, masterful Diane Lockhart on The Good Wife. In just one season, her character was promised a state supreme court judgeship by Governor-to-be Peter Florrick (Chris Noth) only to have it cruelly snatched away from her, was almost forced out of her own firm after publicly throwing her co-managing partner Will Gardner (Josh Charles) under the bus, got married, watched her firm torn apart after high-profile defections from associates Alicia Florrick (Julianna Margulies) and Cary Agos (Matt Czuchry), and most tragically of all, in the March 23 episode, “Dramatics, Your Honor,” coped with the shocking death of Will, who was gunned down in court by his own client.
And it’s not over yet: there’s still a month to go before the CBS drama’s season finale. “It’s been a highly traumatic year!” says Baranski, 61, finally taking a breather just days after wrapping the fifth season. “But I found it breathtaking.”
From a Taylor Swift bridal shower surprise to a flight attendant doing stand-up comedy, WATCH our countdown of this week’s buzziest videos.
5. Rapping Staff Sergeant
Taking appropriate care of a broken leg in a cast can be a tall order for a young girl. But after this bumpin’ hip-hop lesson, remembering the protocol ain’t no thang.
The directors of the documentary ‘Tomorrow We Disappear,’ now playing at the Tribeca Film Festival, on India’s legendary Kathputli slum, the last home to magicians, acrobats, and puppeteers.
“But no, I must stop all this, and tell the story as simply as possible: while troops chased arrested dragged magicians from their ghetto…while bulldozers moved forwards into the slum, a door was slammed shut…but not all the magicians were captured; not all of them were carted off…and it said that the day after the bulldozing of the magicians’ ghetto, a new slum was reported in the heart of the city.”
It was these words in Salman Rushdie’s Booker Prize-winning Midnight’s Children that first brought us to New Delhi’s Kathputli Colony, the legendary slum of magicians, acrobats, and puppeteers. Midnight’s Children captured the first time the slum was destroyed, in the ‘70s during Indira Gandhi’s Emergency, but like a futile game of whack-a-mole between artists and the government, Kathputli popped up again just a few months later.
The clone saga ‘Orphan Black’ is pulpy, adrenaline-fueled television at its finest. But how long can a show depend on the spellbinding performance of one actress?
Suburban soccer mom Alison tortures her husband with a hot glue gun, has sex with her friend’s husband in a minivan, and watches that friend choke to death after her scarf gets snagged in a garbage disposal. If she sounds like a character from a telenovela or Bollywood movie, that’s because she totally does.
This is the dark and often absurd humor that makes BBC America’s clone conspiracy saga Orphan Black so delightful. Alison is played by the marvelous Tatiana Maslany, an actress who hails from Regina, Saskatchewan. That’s the awkwardly pronounced capital of the prairie province and hometown of the late Leslie Nielson. That Maslany was able to rise from Regina to Hollywood stardom is remarkable; that the 28-year-old is able to play at least nine compelling characters in one television show is simply spellbinding.
The documentary ‘When the Garden Was Eden,’ premiering at the Tribeca Film Festival, focuses on the ‘70s New York Knicks, and how the basketball team served as a refuge for a city plagued by crime.
“Now here comes Willis... and the crowd is going wild!”
New York Knicks Jerry Lucas, Walt "Clyde" Frazier, Willis Reed, and Phil Jackson celebrate after defeating the Knicks in Game 5 to win the NBA Championship at the LA Forum in Los Angeles, California. (George Kalinsky)
That was Marv Albert’s call on the radio for Game 7 of the 1970 NBA Finals, and even though New York City is seen as some kind of secularist’s utopia or dystopic hellscape depending on your point of view vis-à-vis organized religion, Reed’s entrance is practically a shibboleth for Gotham basketball fans; flash a few stills from the grainy TV footage, and the entire gloriously improbable tale comes spilling out in gushing, reverent tones, as if retelling the deeds of saints.
From doctors doing surgery without masks on to Wolverine’s true love dying via diuretic, TV and film are full of medical errors.
Oh, “Scandal,” you frothy mess of a show. Between your increasingly despicable characters and your ludicrous, often contradictory plotlines, I don’t know why I watch you. (That is not technically true. I watch you because my husband makes me.) That finale had me rolling my eyes so hard I think I pulled a muscle.
[SPOILER ALERT: I will not only be discussing the big reveal of the “Scandal” season finale, I will also be giving away plot points of an old episode of “Sherlock” and a particularly silly “X-Men” movie, as well as grousing about “ER.” Some of those things are so old in pop culture terms they’re practically Pleistocene, but if you’re touchy about such matters, consider yourself fairly warned.]
As Bryan Singer contests allegations he sexually assaulted a 17-year-old teenager, one attendee of the Hollywood director’s infamous pool parties recalls wild nights of no clothes and lots of alcohol.
In gay company, use of the word “twink” is typically paired with a rolled eye and a condescending tone. At its most pejorative, the term describes a uniquely disposable kind of young gay man: Hairless, guileless, witless. The term’s namesake is Twinkie, a junk food containing shiny packaging, a sweet taste, and zero nutritional value.
It’s a label that mitigates the need for names or personalities or agency: “twinks” can be bussed into parties, thrown into pools, put into a tiny Speedo—or no tiny Speedo at all—and ornamentally placed around the water’s edge like living, breathing, giggling statuary.
A new documentary premiering at the Tribeca Film Festival explores how and why General Tso’s chicken became a cultural touchstone.
It’s a taste both foreign, and familiar. Chicken is diced into square inches, marinated, and deep-fried in a wok, followed by a quick toss in brown sauce. The sauce is a mélange of flavors—tangy, salty, and sweet—lathered on a crisp shell encasing the warm, tender meat.
General Tso's Chicken (Ian Cheney)
General Tso’s Chicken has become a staple of American dining; a dish that, were it not for pizza, could be crowned the most popular ethnic food item in the country. And it’s a total cash cow. The dish is carried in most of the 50,000 Chinese restaurants in the United States, produced very cheaply, and sold for about $10 a pop, resulting in billions of dollars in tasty revenue.
Michael Tubbs, a 23-year-old councilmember in Stockton, California, and the star of the documentary ‘True Son,’ says that now is the time for young people to engineer social change.
“What are you going to do after you graduate?” was a question I grew to loathe during my senior at Stanford University. The pressure was immense as I was fully expected to add another prestigious institution to my resume, whether a high-profile company, a top graduate school, or a renowned fellowship. For months, I struggled with the decision and after being rejected as a finalist from a fellowship I found myself at a crossroads. Until that point, public service was the thread that tied my extracurricular and academic pursuits in college together, but it wasn’t something that I saw as a viable full-time pursuit. I struggled to make a decision, until I reflected on a traumatic experience from the year before.
Stockton City Council District 6 Councilmember Michael Tubbs photographed at Stockton City Hall, April 24, 2013. (Robyn Twomey/Redux)
During the fall of my junior year, I interned in Intergovernmental Affairs in The White House with a focus on outreach to local elected officials. Although I hated the menial tasks the job required, it gave me a window into the power of local government. During my internship, my cousin was murdered in Stockton, one of 50 homicides that year. In the midst of grieving, I began to feel that I had a special responsibility to use the resources I had been given to make the world a better place, although in which capacity was still unclear. It wasn’t until a year later that I achieved clarity when I decided to run for city council in Stockton—with no money or political experience. The impetus behind this decision was a desire to change the odds for children like my cousin and me.
In his one-man show, ‘700 Sundays’, Crystal interweaves the bitter and sweet—growing up Jewish in Long Beach, being the token Munchkin on the school basketball team—and reminds us what great comedy is.
We were all born to tell the stories of our lives; the problem lies in scaring up an audience. Billy Crystal is one of an elite that can draw throngs just by talking, and he gets a chance to prove his story worth telling and worth hearing in 700 Sundays, the one-man show taped for HBO during its recent Broadway run. It premieres tomorrow night, and yes, Crystal’s life easily merits two hours of yours.
Billy Crystal’s “700 Sundays,” one of the most-acclaimed and highest-grossing plays in Broadway history, comes to HBO. (Carol Rosegg/HBO)
This isn’t a “my greatest hits” revue in which Crystal reprises his best-known comic inspirations, although he does note in passing his immortal tribute to cockamamie castings of Hollywood: Edward G. Robinson as a disgruntled Israelite in The Ten Commandments, invoked by Crystal with a gangster-ish growl of “So, where is your Moses now?” It is legendarily funny.
In a given year, 4 percent of married people have extramarital affairs. Find out more stats about infidelity tied to the new comedy ‘The Other Woman,’ with Cameron Diaz and Kate Upton.
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