Ice Cube casually dropped a bombshell: that Dr. Dre is releasing a new album, perhaps as soon as this Saturday. But even the most trusting and faithful of fans have reason to be a tad skeptical about the notion of a new Dre record. And here’s …Read More
Daniel Radcliffe recently did something awe-inducing (apart from starring in the film-within-a-film in Trainwreck as a sexy dog-walker): an impeccable karaoke rendition of Eminem’s 1999 hit “The Real Slim Shady.”
Jake Gyllenhaal transformed himself into an overly muscled beast for the role of a boxer in Southpaw, the upcoming film (out July 24) penned by Sons of Anarchy creator Kurt …Read More
Ahead of his Late Show debut on September 8th, Stephen Colbert is brushing up his hosting skills in a low-pressure market: east Michigan public access TV.
Colbert hosted a full, 40-minute episode …Read More
Yeah, this one right here goes out to all the semi-colons, commas. Dashes, full stops with dramas (!)…Actually, this one just goes out to the quotation mark, which I intend to wield with an unapologetic and facetious fury today—one of the keys to unleashing its “unacknowledged power.” For instance, are a tenth of the UK’s 12-year-olds really “addicted’ to porn?” Is this Japanese artist actually being inspired by “real” food to make jewelry and accessories that are “good enough to eat?”
This week, Olive Films is releasing, for the first time on Blu-ray, The Road to Hong Kong, the last of the seven “Road” buddy comedies starring Bob Hope and Bing Crosby. Hitting theaters a full decade after the penultimate entry, Hong Kong is an occasionally funny and occasionally wheezy bit of business, with one honest-to-God great sequence: an unbilled cameo by Peter Sellers, who strolls into the picture and steals the damn thing outright. Hope and Crosby were early adopters of the kind of inside-joke comedy that yielded such cameos, which became increasingly common in the years that followed; we’ve gathered up some of the funniest in movie …Read More
Following last year’s mass gay marriage, the Grammys got political again during last night’s ceremony. Beyoncé, Common, and John Legend honored Selma and all that the film represents, while Prince shouted out “Black Lives Matter” from the stage. Sam Smith thanked the man who inspired all his love songs, in the process acknowledging his sexual orientation in pop’s most public arena. Most pointedly, Katy Perry, President Obama, and activist Brooke Axtell presented a three-part PSA and performance against domestic violence and sexual assault. It was a touching gesture, but with Chris Brown, R. Kelly, and Eminem all up for (and, in some cases, winning) awards last night, it also felt disingenuous coming from an Academy — and an industry — that continues to support real assailants.
As long as there’s been music, there have been unpleasant lyrical descriptions based on the subject’s gender — songwriters have long been relying on stereotypes and/or on demonizing the opposite sex as a way of expressing their pain and heartbreak and resentment and whatever else is troubling them. None of this, of course, means that doing so is anything less than obnoxious, so as an exercise in symmetry, over the next couple of days, we’re looking at both misogyny and misandry (because, y’know, that’s a real thing!) in music. First, then, the misogynist side of the …Read More
Are you obsessed with “Too Many Cooks”? No? Don’t know what it is? Well, it’s the 11-minute, Casper Kelly-directed (read Gawker‘s interview with him here) Adult Swim feature that parodies ’70s and ’80s television title sequences while slowly introducing a serial killer plot-line into the mix. It’s been viewed nearly two million times. And that’s baffling! The fact that an absurdist piece of entertainment has succeeded in infiltrating the Internet’s most mainstream channels, and has not been strictly relegated to the most underground Reddit subs and /b/ threads, is a sign that people are either really, really bored at work, or just really into delightfully well-produced nonsense.