Usually, if I really work at it, I can find a logical reason for someone to appear on a reality TV show. There's a big prize, or they think it will advance their career, or they are willing to let someone pose them in front of a cruel three-way mirror so they can get some new clothes. With "Miss Advised" (Mon. 10 p.m. ET), which wraps up its slow spiral into crazy tonight, I'm scratching my head.
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It's a conclusion-themed Firewall & Iceberg Podcast — the first of two this week — as Dan and I wrap up our discussion of press tour, conclude our review of "Buffy the Vampire Slayer" season 1 (and table the idea of moving straight onto season 2) and review the final chapter of Christopher Nolan's Batman trilogy with some "The Dark Knight Rises" commentary. Oh, and we also talk about the best "Breaking Bad" of the season to date.
It was bound to happen eventually, and I had a feeling Fox was going to the company that finally made it happen.
Ever since Marvel Studios started making their own movies, fans have been wondering about the possibility of the characters that are currently owned by other studios making crossover appearances into the Marvel Universe that's been built, film by film, over the last few years.
Today, it looks like that's starting to happen, and it's a fairly exciting development in terms of what opportunities it sets up for this second wave of Marvel movies and also for one of the characters that is staying at Fox. David Slade recently left the "Daredevil" reboot that Fox has been developing, and now it looks like Joe Carnahan may step in with a take that is being described as a "Frank Miller-esque hardcore '70s thriller," which sounds like the exact right approach to the character. Carnahan hasn't commented officially, but he just Tweeted a very cryptic "DD - MM - 73," so feel free to interpret that as you see fit.
It sounds like it's still premature to say that's a done deal, but time is something that Fox does not have on their side right now. They have to make a "Daredevil" movie sooner rather than later, or the rights revert to Marvel. That's something Fox would like to avoid, and since they have a bargaining chip, it looks like they're going to play a lightning round of "Let's Make A Deal" where the real winner will be the audiences.
Planning a festival takes a lot of work. That’s the assessment of Mumford & Sons’ multi-instrumentalist Winston Marshall.
Like Metallica, who launched the Orion Festival in June, and Jay-Z, who is curating Made In America over Labor Day weekend, M&S debuted its own day-long, multi-artist festivals this summer.
Before its first U.S. festival took place this weekend in Portland, Maine, M&S hosted events in Huddersfield, England and in Galway, Ireland. Coming up are stopovers in Bristol, Va. (Aug. 11), Dixon, Ill. (Aug. 18), and Monterey, Calif. (Aug. 25). Among the acts playing one or more gig alongside M&S, who is headlining each date, are Dawes, Abigail Washburn, Grouplove, Gogol Bordello, Justin Townes Earle and more.
“The biggest thing we learned is that it takes a lot more than four people to put on a festival,” Marshall says, in an interview that took place before the Portland festival. He jokes that the band, which has played a number of festivals, will never take what it puts to put one on for granted. “There’s so many different departments, there’s food, how it looks, so much technical stuff. I could write a thesis on it,” Marshall says.
The group has learned to prioritize. “We had lots of ideas that we thought would be perfect and then you get to the point where you [realize how] expensive it is,” he says. “You have a dream, then clever people watching the costs come down with reality. You have to compromise.”
M&S decided to start the festivals because their experiences had been so enjoyable in playing a number of similar events. “These are small enough that it feels like there’s a community,” Marshall says. “We love playing massive festivals in America... Lollapalooza, Bonnaroo, Coachella...they’re amazing, but our favorite festivals have been smaller, where you can building up a relationship.”
The idea expanded to selecting cities where the band could keep it all local, from the beer poured to the food served.
When it came to selecting the talent for the four U.S. stopovers, M&S picked many acts that they had already played with at other festivals. “Then there are a couple of them that we haven’t played with but we’re massive fans of,” Marshall says. “I’m a massive Jeff the Brotherhood fan. I’ve met, but not played with, St. Vincent. And Haim, [M&S’s] Ben [Lovett] fucking loves them.”
The group wanted the line-up to feature acts who were “like-minded, not necessarily like-sounding,” Marshall says. “Jeff the Brotherhood sounds pretty different from Abigail Washburn. They’re a completely different kettle of fish.”
The idea, Marshall says, is to foster such a sense of bonhomie backstage that it spills over onstage. “If all the bands are having a good time, if everyone’s hamming backstage, everyone’s going to be excited about being there.”
Ideally, Marshall says M&S would like to expand to more cities, but that’s on the backburner. “This has been such a massive project, we can’t think into the future,” he says.
According to Rolling Stone, the Portland festival went off without a hitch and was “Portland’s biggest musical event in years,” drawing a sold-out crowd of 15,000. The group spent the weekend in the area, even going out on a boat with local fishermen. During their festival-closing set, M&S played “Lover’s Eyes,” “I Will Wait,” and “Lover of the Light,” as well as a number of other songs from its next album, “Babel,” which comes out Sept. 25.
Lady Gaga confirmed via Twitter that “ARTPOP” will be the title of her new album and, guess what, Little Monsters? It’s an acronym. It stands for “Artistic Revolution Through the Potential of Pop.” Wait, shouldn’t that really be ARTTPOP? We kid....And we’re not sure if that last part is official. Someone with the Twitter handle Marc/Lady Gaga tweeted the explanation and Lady Gaga retweeted it.
Seriously, Lady Gaga had already admonishes us via Twitter: “Make sure when writing about my new album/project ARTPOP that you CAPITALIZE the title, ‘it’s all in the details.’”
The fact that it may be an acronym is the only part that even remotely makes the pretentious move of insisting that the album title be written in all caps barely tolerable. We are Team Gaga, but this is way too precious. If the music is half as precious, which we bet it won’t be, there could be trouble. Hey, at least it’s easier to pronounce than “MDNA...” We're just saying....
As we reported earlier, last week, Gaga tweeted a photo of herself with a new tattoo of the word ARTPOP on the underside of her arm, and, yes, it is all in caps. Gaga Daily, a fansite devoted to all things LG, posted several days ago that Lady Gaga’s fourth studio album will comes out before Spring 2013, with the first single arriving before year’s end.
Lady Gaga had other news today: she announced the first dates in her fall Latin America run, which will start in Mexico City on Oct. 26. The remaining dates are here.
He doesn’t utter a word and he doesn’t even appear in real life, but Zach Galifianakis threatens to steal the show in My Morning Jacket’s new music video for “Outta My System.”
The James Frost-directed clip for the song, which is a lilting, wistful reflection on growing up and getting the wild living out of your system before settling down...or not, opens with lead singer Jim James walking in very furry boots and his cape (YAY! Long live the cape), walking down a desolate road. He jumps down a rabbit hole and turns into a one-eyed cartoon. The rest of his band, also now Cyclops themselves, show up, they jump into a flying car and go on a colorful, “Yellow Submarine” type journey. Overseeing it all is a cartoon image of Galifianakis as a wizard of sorts, who shoots lightning bolts out of his fingers. Of course, as it has in other clips, the freaky green eye from the cover of "Circuital" makes an appearance.
[More after the jump...]
Kathryn Bigelow's Oscar-winning "The Hurt Locker" changed her career and redefined her for audiences and studios alike. It was a great moment for a director who had been working in the margins for a while at that point, and there has been a great deal of attention on her follow-up to that film as a result.
Now, finally, we've got a trailer for "Zero Dark Thirty," which reunites her with "Hurt Locker" screenwriter Mark Boal. Even before Osama Bin Laden was actually killed, they were hard at work on a story about the hunt for the elusive Al Queda leader, and when he was found and killed, they were deep into pre-production. They were happy to reconfigure their film, though, since real life was kind enough to give them the perfect third act for the film.
This is a teaser in every sense of the term. There's very little actual footage here. It's more mood and little snippets of soundtrack and a couple of quick glimpses of cast. She's lined up an amazing collection of actors for the film, so I'm hoping there's another trailer soon that shows us more of the cast together. Jessica Chastain, Joel Edgerton, Mark Strong, Jennifer Ehle, Chris Pratt, Kyle Chandler, Harold Perrineau, Edgar Ramirez, Mark Duplass, Stephen Dillane and ass-kicker supreme Scott Adkins are all part of the ensemble, and I think Chastain is the only one I was able to actually spot in the trailer.
Well, that's disheartening. Every Oscar season has its share of prestige dropouts, and this year's first is a big one: Baz Luhrmann's 3D adaptation of "The Great Gatsby," initially scheduled by Warner Bros. for a Christmas Day release, will now not reach theaters until next summer. (It's the second high-profile title Warners have bumped to 2013, after the all-star "Gangster Squad" was relegated to the January doldrums.)
No precise reason has been given for the shift, with Warner distribution president Dan Fellman simply saying that they want "to ensure this unique film reaches the widest audience possible." You can read that as you will. Perhaps they believe the film has genuinely strong commercial prospects and deserves art-blockbuster positioning. Perhaps, regardless of the film's quality, they're anticipating critical slingshots -- some are inevitable, I'd say, given the scale and eccentricity of the project -- and don't want to subject it to the pressure of a prime awards-bait slot. Perhaps reshoots are on the cards and they simply need more time.
You may have noticed that Blur turned 21 this past week. In America, I suppose that means the band can finally drink. But for these groundbreaking British rockers... that means they re-released their entire discography in eye-popping boxed sets.
In order to celebrate Blur's big birthday, Immaculate Noise is two sets of Blur's entire discography -- all seven catalog albums on 2-disc special edition remastered CDs, and all seven albums on special edition vinyl. Two different prize packs, y'all.
Each to the two different prizes include "Leisure" (1991), "Modern Life Is Rubbish" (1993), "Parklife" (1994), "The Great Escape" (1995), "Blur" (1997), "13" (1999) and "Think Tank" (2003), plus a Blur poster.
Get a complete description of the tracklists off of the CD remasters, check out the Blur's page on the new editions.
How do you ***WIN*** one of these hot items?
1. Follow me, Katie Hasty, @KatieAPrincess on Twitter
2. Follow HitFix @HitFix on Twitter
3. Tweet @KatieAPrincess, @HitFix and the hashtag #BlurCatalogGiveaway and specify if you want CD or vinyl or either format somewhere in the Tweet.
That's it. The Tweet doesn't have to be entertaining or funny or include your favorite Blur tune or something even more obscure than what is described above. But extra fun certainly can't hurt your chances (or your Twitter feed).
You must Tweet your entry by 11:59 p.m. PST on Wednesday, Aug. 8. Winners are selected at random.
Don't say HitFix never did anything for you. All we do is love you. And Damon Albarn.
A review of last night's "The Newsroom" coming up just as soon as I go to WebMD to look up some symptoms...
If last week's cliffhanger was a bit ambiguous -- did Bill's suggestion to blow up all the Tru Blood factories signal a genuine shift to the dark side, or did he have something bigger up his sleeve? -- this week seemed to erase any doubt that Bill has indeed lost his damn mind. (Or he's playing an incredibly savvy long game.) And that's just one way that the floundering series stepped up its game this week.
For a show severely overstuffed with storylines and characters, "True Blood" can seem maddeningly slow going. It doesn't help that the multitude of plot threads vie for slivers of screen time week after week. But "Everybody Wants to Rule the World" kicked off the season's final third by giving us real progress on several fronts.
In celebration of the forward momentum, I'm departing from the usual Good/Bad breakdown to focus on the four storylines the episode advanced in meaningful ways: