Elisabeth Moss

Jon Hamm Was Almost Too Hot to Be Don Draper, and More From ‘THR’s’ Oral History of ‘Mad Men’

It’s hard to believe, but Mad Men and its sexy world of advertising pricks (and Peggy Olson), has been… Read More

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The 5 Best Movies to Buy or Stream This Week: ‘Mockingjay,’ ‘Listen Up Philip’

Your film editor was out on assignment last week, so apologies if your home viewing needs went unmet, but never fear: this week, we’ve got good stuff for Netflix subscribers, Amazon Primers, and disc buyers alike. And, as usual, variety is the spice of life, so we’ve got one of last year’s biggest blockbusters, one of its most acclaimed art-house pictures, a celebrity documentary with bite, an ‘80s fave, and a slice of vintage French New Wave. … Read More

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How Much Do ‘Mad Men’s’ Enigmatic Posters Really Reveal?

Last week, the final Mad Men promotional poster was released into the world, and we got to see just what symbol may be driving the final half of Season 7: Don’s Cadillac Coup de Ville, setting off from (or beyond) New York into (or away from) the setting sun. Don is well dressed, with a loosened tie, looking into his rearview mirror. … Read More

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Everything We’ve Learned About ‘Mad Men’ From This Week’s Early Press

Jessica Paré’s bare belly, err, I mean the highly acclaimed AMC drama known to all of us as Mad Men, dove right back into the cultural conversation this week. This was thanks to a number of careful little drips and drops of information, from new interviews with the show’s stars and the release of some stunning photos of the cast draped in plaids, ruffles, florals and bell sleeves. … Read More

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Alex Ross Perry Is Not an Asshole: The Director of ‘Listen Up, Philip’ on Roth, Pynchon, and New York

If you’ve seen the trailer for Alex Ross Perry’s Listen, Up Philip — or really any of his films, including Impolex and The Color Wheel — you may wonder aloud, to friends, if he’s an asshole. Many of his characters are miserable egoists — like the self-absorbed novelist Philip, played by Jason Schwartzman — and it would surprise no one to find a one-to-one correlation between the roles he writes and his own personality. This is not even to mention that Perry routinely cites the egographomaniacal Philip Roth as an inspiration. One might consider, too, that given the critical praise his new film has already received from critics like Richard Brody (at The New Yorker) and Ignatiy Vishnevetsky (at Mubi), Perry has all the more reason to be a prick. … Read More

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Staff Picks: Flavorwire’s Favorite Cultural Things This Week

Need a great book to read, album to listen to, or TV show to get hooked on? The Flavorwire team is here to help: in this weekly feature, our editorial staffers recommend the cultural object or experience they’ve enjoyed most in the past seven days. Click through for our picks, and tell us what you’ve been loving in the comments. … Read More

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Flavorwire’s Guide to Indie Flicks to See in October

It’s an odd time of year at the cinema — with fall studio movies rolling out and Oscar Season™ in full swing, the multiplex is presumably filled with the kind of smart, adult-minded fare we usually head to the art-house to see. But don’t be fooled; there’s bound to be some wolves in sheep’s clothing out there, and the indies have got you covered this month just in case, with the help of several sharp documentaries, terrific new movies from the likes of Lynn Shelton, Gregg Araki, and Alex Ross Perry, and the smartest social satire in many a moon. Here are the indie movies you can’t miss this month. … Read More

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Watch Jason Schwartzman and Elisabeth Moss in the First Trailer for ‘Listen Up Philip’

The idea of Jason Schwartzman playing a socially problematic yet brilliant writer isn’t exactly a new one, but writer/director… Read More

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How ‘The One I Love’s’ Twisting Narrative Addresses Serial Monogamy

*Spoiler alert: This whole article is about the twists critics were asked not to talk about before the film was released. Proceed very carefully, knowing full well that if you haven’t seen The One I Love, you’re fucking yourself over.*

As Jason Bailey recently wrote, the final “twists” of The One I Love aren’t that twisty compared to its first major twist, which itself wouldn’t have been particularly twisty if the film had been marketed less opaquely. Aptly (and unavoidably) likened to Charlie-Kaufman-lite, The One I Love takes a fundamental but abstract element of human relationships and removes it from the realm of the abstract. What if the ideals we project onto the people we love (or are ceasing to love because they don’t match said ideals) actually coalesced to form entirely different people? This is the fundamental question of the film, at least until it begins branching off into another, more convoluted, pseudo-twisty (yet more interesting?) question towards its end. … Read More

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