Unless you’re Tatiana Maslany, you can’t be two (or six) people at once. But you can do the next best thing and dress up like an Orphan Black clone for Halloween!
With the help of this handy article, you’ll figure out which clone costume best suits your personality and how you can achieve a look worthy of Clone Club initiation.
The most important aspect of this costume is attitude. If you’re not sporting major ‘tude, you’re doing it wrong. As a British punk grifter-turned-unofficial ringleader of the clones, Sarah’s got sass to spare. Make sure you wear your hair in messy waves and smudge on some eyeliner so it looks day-old. Throw on a hoodie, a leather jacket and some combat boots and you’re ready to take on your enemies!
Helena is probably the most Halloween-worthy of all the clones. Simply because she’s the scariest. She’s got a wild mop of blonde hair and even wilder eyes, and if there’s food around, chances are she’s shoving it into her mouth. Just one of Helena’s many…quirks. To fully become Helena, speak with her Ukrainian accent (“My seestra”), wear a white nightgown smeared in fake blood and tear into those Halloween snacks.
One suburban soccer mom clone coming right up! Are you a Type A personality with a dark side? Do you feel as comfortable holding a glue gun as you do holding a real gun? Then Alison is the clone for you! (And also you might need some help.) Fasten your hair into a tight ponytail and get some clip-on bangs. Put on your best yoga pants and puffer vest, grab a nice glass of wine, and you’re all set to do some arts and crafts…or bury a body in your garage, whatever.
If “sexy nerd” is how you’d generally describe yourself, a Cosima costume might be for you. She’s a pot-smoking science geek with a head full of dreads and a thing for French chicks. To transform into Cosima, twist your hair into some faux-dreadlocks, then throw on a pair of geeky glasses, a fake nose ring and a lab coat. A swooping cat-eye will complete your look.
Rachel is the ice queen of clones. Cold, calculating and (almost) always in control, Rachel loves antagonizing her fellow clone sisters. You’ll need a proper British accent, a poker face, and some well-tailored business attire to embody the character. Top it off with an asymmetrical blonde bob and you’ll instantly become a force to be reckoned with. (Bonus points if you can make it look like a pencil is sticking out of your eye. If you watch the show, you’ll most certainly get that reference).
Tony (aka the trans clone) caused quite a stir when he appeared on the show for one episode in season two. We only got a brief glimpse into his character, but so far we know he’s cocky, confident and a tiny bit criminal. You’ll need a goatee, a long mullet and some swagger to pull off this costume.
Helena as Sarah as Beth
This show – and the acting prowess of Tatiana Maslany – frequently blows people’s minds. And with a costume like this, you can too! For a head-spinning scene in season one, Helena pretends to be Sarah, who’s pretending to be Beth (the cop clone who offed herself in episode one). Get yourself a button-down shirt, a blazer and a beanie to cover your hair. Use some eye shadow to achieve Helena’s dark circles, and there you have it – you’re officially a triple threat!
If you’re still having trouble deciding, round up a bunch of your friends and be ALL of the clones! Clone dance party, anyone?
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"I think it's an insult... I don't see the point of going back and doing it all over again. Johnny Depp, I think, is a good actor, but I don't care for that director. He's a talented man, but I don't care for him doing stuff like he did." Gene Wilder is not a fan of Tim Burton's Charlie & the Chocolate Factory remake. Wilder played candy man Willy Wonka in the first movie adaptation of Roald Dahl's book in 1971.
Mad Men star Vincent Kartheiser is set to make his New York stage debut in director Garry Marshall's production of Billy & Ray. The actor will portray Hollywood screenwriter Billy Wilder opposite Larry Pine as author Raymond Chandler in the Off-Broadway comedy, about the odd pair's mid-1940s collaboration on the movie adaptation of Chandler's novel Double Indemnity, which led to the birth of the film noir genre.
Sophie von Haselberg and Drew Gehling have also been cast in the play, which begins previews at the Vineyard Theatre on 1 October (14), ahead of an official launch on 20 October (14).
Kartheiser, who started out in the theatre in his native Minneapolis, previously returned home last year (13) to play Mr. Darcy in a production of Jane Austen classic Pride and Prejudice.
We thought we wanted serious Johnny Depp. We were wrong.
After watching Depp struggle through a dry turn as a megalomaniacal calculator in Transcendence, a performance that was about as dull as a couple lines of binary code, we realized that we missed the old Johnny Depp. We missed the actor that could bring the swaggering pirate Jack Sparrow to life, the actor who could capture the horror and ecstasy of a drugged-up Raoul Duke in Fear and Loathing in Las Vegas, the actor who could put his own spin on Willy Wonka without succumbing to a stale impersonation of Gene Wilder. The actor we see in this first trailer for Mortdecai.
In the film, Depp plays the eponymous Charlie Mortdecai, a debonair and extremely European art dealer who is part-time rogue, full-time buffoon. In the clip, we see Mortdecai, fully equipped with his own man servant and a world-class moustache, traipsing around the world and getting into trouble with both women and the law. The teaser is light on actual plot, but there appears to be a ton of fun shenanigans heading our way, thanks to a cast filled with the likes of Ewan McGregor, Gwyneth Paltrow, Paul Bettany, Aubrey Plaza, and Olivia Munn.
While we admire Depp's recent attempt to play a more serious role after years of playing wacky eccentrics, but serious shouldn't be synonymous with boring, and given the two options, we’d much rather see Depp let loose and embrace his wilder inclinations. Depp has a certain silliness that allows him to play such absurd characters better than just about anyone else in Hollywood, and it's good to see the actor back in his kooky comfort zone. Stay strange Johnny!
Filmmaker Garry Marshall is set to make his return to the New York stage after two decades to direct a play about Hollywood screenwriter Billy Wilder and author Raymond Chandler. The Pretty Woman director is bringing Billy and Ray to New York's Vineyard Theater this autumn (14), after taking charge of the play's world premiere in Burbank, California last year (13).
Billy and Ray is a comedy about the clash of the two duelling writers as they collaborated on the 1944 movie version of Chandler's novel Double Indemnity, inventing the film noir genre in the process.
Marshall's last New York directing credit was in 1993 for his production of Wrong Turn at Lungfish, starring George C. Scott and Tony Danza.
Billy and Ray is set to begin previews on 2 October (14).
Sony Pictures via Everett Collection
When Hollywood movies were very much "a certain thing," Woody Allen's weren't. An innovator from the get-go, Allen celebrated the possibilities of cinema by contorting and creating, giving us in everything from What's Up, Tiger Lily? straight through his '80s string a filmic style that America hadn't yet seen. Now that he's done his due diligence, Allen seems content to make the sort of pictures that snagged his heart in the first place: the romantic comedies of the '40s and '50s — appropriately, Magic in the Moonlight borrows the Jazz Age setting of classics like Some Like It Hot — that operated in a certain straightforward, delightful fashion. Allen's latest follows the swath of Billy Wilder, Blake Edwards, and Howard Hawks, but aims for the Woody brand with muted doses of his signature nihilism and cantankerous banter. But seven decades after this cinematic golden age and four past Allen's heyday, Magic in the Moonlight's charms wear thin and familiar rather quickly.
Magic in the Moonlight doesn't carry too many surprises; kind of a shame for a flick about magicians and mediums. But it's not the premise that is in principal need of reconstruction, it's the Allen chatter. The movie opens immersed in the fun inherent in the rantings of a misanthropic blowhard illusionist (Colin Firth, whose comic delivery in the early scenes of this movie is markedly impressive) who knows the margins of reality and can barely stomach the thought of some charming charlatan passing as a psychic (Emma Stone) pulling the wool over the eyes of a gaggle of unsuspecting millionaires... whom he also detests for their stupidity, but it's the thrill of the "A-ha!" that drives him to prove the clairvoyant a fake.
Sony Pictures via Everett Collection
Firth's comical butting of heads — both with the enamored aristocrats (Hamish Linklater plays the hysterically doe-eyed son who is smitten with Stone's Sophie; Jacki Weaver is a giddy matriarch longing to connect with her dead husband) and with the alleged swindler — ensues, opening up an unmistakably Allenian world of privilege-induced idiocy and shirt-stuffing. But what kicks off as great comedy grows tired by the fifth or sixth time we have to hear the curmudgeonly Stanley (Firth) pronounce his skepticism or watch the entrancing Sophie declare her devotion to possibility. After a while, what started out as a classic-era throwback reveals itself to be something with very little to show off, new or otherwise.
Still, even in its most redundant hours, Magic in the Moonlight never dips to levels of unpleasant. Firth and Stone are always a joy to watch, especially when playing rounds of combat. Allen's diatribes about mortality and meaning tire, but never fall dead asleep. And there is something consistently funny about Linklater playing a dead-from-the-neck-up Pittsburgh WASP serenading Emma Stone with a ukulele.
Ultimately, Magic in the Moonlight won't be a memorable trip back to the age of Wilder or Hawks, or a reminder of why you started watching Woody Allen movies in the first place. Instead, it's just a pleasant enough romp with a few hearty laughs and ample opportunities to let your mind wander back to your favorite scene in Sleeper. Ha, yeah, Sleeper. That was a good movie.
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A publicist for The Big Bang Theory star Simon Helberg has confirmed reports suggesting the actor is a new dad. Helberg's wife Jocelyn Towne gave birth to the couple's second child, a son called Wilder, on 23 April (14).
The actor confirmed he was set to become a dad again on the red carpet at the Screen Actors Guild Awards in January (14) - two years after making a similar appearance when Towne was expecting their first child, daughter Adeline.
Joking about the pregnancy with U.S. news show Entertainment Tonight, Helberg quipped, "About eight months before (the SAG Awards) I get really the urge."
Helberg wed Towne in 2007.
Sony Pictures via Everett Collection
A long way from their little watched but brilliant animated MTV comedy Clone High, Phil Lord and Chris Miller have risen meteorically over the past few years, and have quickly become the brightest comedy duo in Hollywood. The two have been working together for nearly 20 years and have become masters of taking seemingly soulless adaptations and crafting smart and hilariously self-aware comedies. Only a few months after the release of The Lego Movie, the duo's latest, 22 Jump Street, is set to hit theaters on Friday. We got a chance to sit down with this symbiotic comedy writing/directing machine as they discuss the struggles of having two people and only one director's chair, how their particular college experiences made it into the film, and why the best jokes are the ones that not everyone gets.
Lord and Miller discuss the challenges of having two directors working on one film:
Phil Lord: "We’re both creative people. We both have a vision of how it should be. Things can’t always be exactly the same, and you have to have the humility to let it be the other guy’s idea sometimes."
Chris Miller: "It’s a big fear for an actor, that one of us is going to say one thing in one ear while the other is going to say the opposite in another and their brain is going to explode. We develop the scripts for a while, and we talk about the scenes a lot and we have a similar sensibility and the same goal for the movie. So when we come into a scene we’re pretty much aligned in what we want to get out of it. In the times where we have a disagreement about what we want to get out of a scene, that’s why you have multiple takes."
Lord: "It takes just as long to do another take [as] it does to argue about whether you should do another take. Just do one. And I trust this guy if he has something that he wants to do, we should just do it."
Miller: "Yeah, if one of us wants to get a sweeter version or a real wild version, you can figure it out in the editing room."
But sometimes there's trouble in paradise:
Lord: "We’ve had those moments, like, 'I’m going to lunch with someone else.'"
Miller: "We’re like brothers, where we fight and love each other and respect each other. We’ve had such a long history together. We’ve known each other for 20 years."
Lord: "Like many men, our strategy of working out our conflict is: get pissed off, walk away, and then never speak of it again."Miller: "Avoidance. It works!"
The directors discuss how they infuse their own personal brand of humor into their work, even if not everyone gets it:
Miller: "We find that we’re trying to make ourselves laugh. Some of that stuff that only a small percentage of the audience gets, it’s kind of fun if you’re one of the people that gets it. You’re part of the club, and if it goes by quickly and doesn’t sit there like it’s a big swing, then you can sort of get away with it. Sometimes we’ve tried things that are too obscure but were clearly attempts at jokes. And the audience didn’t respond, so we [took] them out ... It’s been our philosophy to not talk down to the audience."
The duo discusses their shared comedy touchstones in college:
Miller: "When we met, we had Harold and Maude, The Jerk, Billy Wilder, Young Frankenstein. We bonded over the same movies."Lord: "You don’t like Howard the Duck as much as I do."Miller: "This is true. See, there you go. We’re not exactly the same."
And how their own college hijinks inspired a party scene in the film:
Lord: "Well, we have the best pong-playing [scene] in the history of cinema. Or the most accurate, I should say. We had to teach Channing [Tatum] and Wyatt [Russell] how to play..."Miller: "Dartmouth style."Lord: "Very specific Dartmouth rules. Lob only, you gotta use paddles. None of this Beirut throwing nonsense. So we’re just off-screen playing in those shots."
Pop icon Gary Numan enlisted the help of rockers Trent Reznor and Dave Navarro to support his application for a permanent U.S. visa. In 2011, the British singer made plans to emigrate to California with his wife, Gemma, and three daughters, and he asked his famous pals to provide testimonies about his character and work ethic when applying to the U.S. Government for permanent residency in the country.
He asked the Nine Inch Nails frontman to vouch for his talent, hoping Reznor's recent Oscar win for Best Original Score for The Social Network would help strengthen his application, along with several other famous friends.
Numan tells Australia's Herald Sun, "It was about two weeks after he won the Oscar that we filed the application with his testimonial letter, so that was quite good timing and quite helpful.
"Dave Navarro from Jane's Addiction wrote one, Alan Wilder from Depeche Mode, I had some really cool people coming to help me out. It's embarrassing calling up your friends and saying, 'Do you mind writing a letter to tell the U.S. Government how amazingly brilliant I am?'"
Numan relocated to America in 2012.
The comic adventures of marrieds Steffi and Sam Wilder, a television writing team who see each other at work, see each other at home, and sometimes wonder if they just don't see too damn much of each other all the way around.