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A quick review of the "Raising Hope" season finale coming up just as soon as I get to meet Ed Begley Jr. ...
Did you have a chance to read Guy Lodge's thoughts on spoilerphobia today?
I have a friend who pretty much knows everything about "Prometheus." He didn't actually work on it, but he was in a position to sort of see everything. As a result, he's been dying to tell me everything for months now. If the film comes up, I can see the actual physical effort it takes for him to not tell me every single detail that he knows, and even with him being as well-behaved as humanly possible, I've probably heard more than I should have.
Even so, I don't feel like the film is ruined for me. When you go see a Ridley Scott film, I'd argue that the most important thing is the visual delivery of the ideas. He has a painter's eye, and until you actually see a Ridley Scott film, I don't believe it can be "spoiled," per se.
Fox has been very, very careful about how they've sold this film, and there are a few things they've guarded, even while hiding them in plain sight. I think they're having real fun in terms of what words they use when discussing the film, whether it's Damon Lindelof or Ridley Scott or the cast, and they've said more than people think they've said.
A quick review of tonight's "Cougar Town" coming up just as soon as my house is haunted by a ghost dentist...
I am increasingly disheartened and disturbed by what appears to be an unstoppable uptick in open misogyny. I’ve touched on this previously in a piece on Women and Oscar, but the subtle and not so subtle flames of gender bias are currently increasing rather than abating.
The female sex seems to be taking two steps back in Congress, in the workplace (where, for many, equal pay is still a longed-for dream rather than a well-established reality) and of course, in the media, where appearance is both target and weapon of choice. We are circling the same drain ad nauseum and ad infinitum in this arena where even women endowed with close to physical perfection are repeatedly subjected to our scathing societal eye.
Just this past week the release of "Titanic 3D" has reignited criticism of Kate Winslet's perfectly natural and gorgeous body in that film. Though many have been supportive, the Twitterverse, as ever, was at the ready with scathing remarks. Perhaps in an effort to preemptively defend against the onslaught she faced at 22 when she made the film, the actress castigated herself upon viewing the 3D version. "The second it came up I literally went, 'Make it stop, make it stop, turn it off. I'm blocking it off,'" the actress said to ABC News."Do I really sound like that? Did I really look like that?'"
After years and years of what Michael Fitzpatrick calls “failing,” Fitz & the Tantrums are finally having good years. In fact, 2012 is already shaping up to be their best.
After revealing which teams would play each other in the 2012 football season a few months back, the NFL has just announced the official schedule with dates via a prime time special on the NFL Network. (I plan to be in DC for the Falcons in October, thank you.)
It got me thinking. Why debut this kind of thing at 7pm ET and miss the day's news cycle entirely? The answer, of course, is ratings, monetizing the information and its dissemination. And suddenly it occurred to me: Should the Academy take a similar tack in revealing its annual list of Oscar nominees?
This isn't a new idea. The concept of transforming the nominations announcement into a prime time special has been whispered about for years. Recently, the LA Times' Patrick Goldstein offered up his thoughts on the idea back before this year's Oscarcast and David Poland voiced his approval. Goldstein even mentioned sports in his piece to further his point.
Maxwell will hit the road, in a very limited way, for the first time in two years this summer when stops in three cities to perform his four albums in their entirety.
Taking a page from acts like Steely Dan and Bruce Springsteen, the R&B superstar will devote the evening’s performance to “Maxwell’s Urban Hang Suite” and “Embrya” or the combo of “Now” and “Blacksummers’night.”
We’ll have whatever Jason Mraz is smoking, please. On “Love Is A Four Letter Word,” out today, Mraz is at his hippie-dippiest, peace-loving, live-in-the-now best. If you thought he was mellow before, just wait until you check out the new material. Throughout the album’s 12 songs, he explores love in all its forms and it’s safe to say, he’s for it.
In these troubled times, Mraz is here to tell us that everything is just as it should be, right here and right now. It’s Up With People set to a slight reggae beat. If such affirmations were used sparingly, it would be fine, but “Love” drowns in them so aggressively that it feels like the album should come complete with rainbows, unicorns, fluffy puppies, and tweeting love birds.
For those playing at home, that producer was the same hitmaker behind Lil Wayne and Eminem's "Drop the World and Kanye West and Jay-Z's "N*ggas in Paris," and is a firm associate of Ye's G.O.O.D. Music label. (Perhaps he'll be contributing to that forthcoming compilation?)
"Goldie" is off of A$AP's forthcoming RCA debut "LongLiveA$AP," out in July, not to be confused with recently re-released mixtape "LiveLoveA$AP." The track features an easy beat and Rocky dropping his vocals an octave for the refrain, a la Tyler's Golf Wang Goblin growl. No zingers stand out more than others, though I could swear there's a Naked And Famous name-drop in there and I could definitely do without the "ch*nk eyes" reference. However, his voice fits in a perfect mix range, where the rhymes rattle off like a drum. He's got a good grip on Hit-Boy's particular brand. Hopefully there will be another pairing in the future.
"I hope you die." "Were you bullied as a child?" "Go fuck yourself." "Learn how to write." "You're a haemorrhoid." "How do you still have a job?"
Any film critic even passingly acquainted with the internet must by now have got used to the idea of being reviewed themselves. Twitter, blog culture and the decidedly mixed blessing of commenting facilities have made it easier than ever for disgruntled readers to let critics know precisely how much they disagree with them, and in some more simple-minded cases, how inept this difference in opinion makes them. Some may say professional criticism is an increasingly irrelevant art, yet the critic-reader dialogue has never been so active.
Even in this climate, however, the comments above -- culled from reader responses to a single review last week, some of them corrected for spelling and grammar -- are exceptional in their biliousness. These are not the standard dull-witted complaints from movie fans struggling with the concept of objectivity; in many cases, they're from readers who haven't yet watched the film in question. These are the complaints of viewers, or potential ones, who somehow feel that their filmgoing experience has been violated. The film is Drew Goddard's acclaimed po-mo horror flick "The Cabin in the Woods," the critic Mark Olsen of The Village Voice. The crime: a spoiler.