People have always liked television. But now that we have the Internet at our disposal, we can like television in new, inventive, absurdly time-consuming ways. For instance: Mad Rock, a Tumblr devoted to celebrating the AMC drama mad Men and our dear departed NBC friend 30 Rock. Although on the surface the two couldn't be more different (despite their shared investment in Jon Hamm and Old Spanishes), the ingenious creators of this website have managed to find some common ground between the small screen favorites. Mad Rock takes quotes from 30 Rock's 7-season run and places them in the mouths of Mad Men characters, oftentimes in scenes that dedicated fans can recognize as thematically similar.
With occasional variation, Don Draper takes on the role of Jack Donaghy, Peggy Olson becomes Liz Lemon, and Roger Sterling embodies none other than Tracy Jordan. Mad Rock offers a familiarity with and appreciation for both sets of characters that results in hilarity. Peruse, if you have an hour to spare (we're still scrolling through the many pages on the Tumblr over here... our afternoon is doomed, in the best possible way).
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How can you make Mad Men better? That's a silly question; you can't. But how do you make it more Internet-friendly? This one's easy: you add cats!
And that's just what Blip.tv did with their inspired Mad Men parody video, "Meow Men." A chorus of meows replaces the standard strings in Mad Men's famous theme and feline silhouettes usurp human ones in the title sequence's iconic cut-out animation. The best part is the "Hang in There" poster on the wall that features a man clinging to a tree instead of a fluffy kitten.
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Mad Men creator Matthew Weiner has dismissed reports suggesting Jessica Pare's Megan Draper character will be murdered in the upcoming season finale, insisting fans are reading too much into the T-shirts she wears on the show. Pare, who plays Don Draper's aspiring actress wife in the 1960s-themed drama, sent viewers into a frenzy when she wore a red star T-shirt similar to the one moviemaker Roman Polanski's wife Sharon Tate wore for an iconic 1967 Esquire magazine shoot during an episode that aired in the U.S. on 26 May (13).
Tate became a victim of the Manson Family, and was murdered during a killing spree in 1969.
But Weiner tells TV Guide magazine the fact that his leading lady wore Tate's shirt is "just a coincidence", adding, "I've wanted Megan in a real T-shirt (from the era) for a couple of seasons.
"There's a lot of death on this show, and sometimes the audience mistakes symbolism. I hope the audience finds our finale intriguing and emotional."
And Pare isn't revealing anything - she says, "I think we're all gonna die one day... I don't know what's gonna happen. You'll have to wait and see."
The season finale will air in America on 23 June (13).
This is the kind of conspiracy theory Reddit was made for. On Sunday's episode of Mad Men, "The Better Half," Jessica Paré's Megan Draper wore a white T-shirt with a big red star. I know, you all thought at first that she's a big fan of Macy's! But, actually, it was a reference to the T-shirt tragically-murdered actress Sharon Tate wore for a 1967 Esquire magazine photo shoot. Mad Men costume designer Janie Bryant confirmed on Twitter that this was "no coincidence," after the daughter of the Esquire photographer who snapped that photo pointed out the similarity.
Two years after that photo was taken, Tate, then eight-and-a-half months pregnant, was brutally murdered by the Manson family. A whole thread on Reddit has sprung up wondering whether this is some grim foreshadowing on Mad Men creator Matthew Weiner's part for what may ultimately be Megan's fate on the show — especially given all the references in recent episodes to rising crime rates in 1968 New York.
But if Megan's meant to be an avatar for Sharon Tate, does this mean her husband Don Draper (Jon Hamm) is symbolic of Tate's husband Roman Polanski? It would certainly fit, since both Polanski and Draper are tireless skirt-chasers with a flair for kinkiness — and even criminality. Something dire may be on the horizon for Megan, but Don may be in trouble as well. Maybe he'll finally suffer the consequences of his sexual improprieties as Polanski did after pleading guilty to rape in 1977 and being an exile from America ever since. It'd be a fitting comeuppance for horndog Don.
Unless we're reading this all wrong and that woman who invaded the Draper's apartment in "The Crash" was supposed to be Charles Manson?
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.