TUNICA is an art publication. 
It’s a worldwide contribution from all different kind of cultures and languages, but set in Brooklyn, NYC. 

5:59 pm  •  6 June 2013

“Product placement is one thing; building a whole movie around the glorification of a multinational corporation is something else entirely. Essentially a feature-length sponsored post, The Internship casts Vince Vaughn and Owen Wilson as middle-aged salesmen who find themselves competing against braniac college kids for a job at Google. As the film incessantly reminds viewers, the company—envisioned here as a professional paradise, where the food is free, diversity is key, and cars drive themselves—is regularly voted the greatest place to work in America. Characters go further, describing it as an “engine for change,” the “Garden of Eden,” and “the best amusement park you’ve ever been to, times a million.” If this excessively flattering farce is to be believed, Googliness is next to godliness.”

— The Internship | Film | Movie Review | The A.V. Club

12:43 pm  •  6 June 2013  •  1 note

In an effort to recognize the many immersive joys and subtle nuances of the written word, the Writers Guild Of America has honored the best-written TV shows of all time by ranking their titles in a list. “This list is not only a tribute to great TV, it is a dedication to all writers who devote their hearts and minds to advancing their craft,” WGA West and East presidents Chris Keyser and Michael Kinshipsaid of their “TV 101,” which rewards a writer’s craft by putting numbers next to it, so that others can now say definitively that one writer’s devotion was greater than another’s by a clear numerical factor. Furthermore, the list was also compiled through online voting, lending it the total infallibility of the democratic process. Quibbling with the idea that The Sopranos is the best-written show, you may as well be quibbling with math.

No more will anyone argue whether, say, Mad Men is a better-written show than Breaking Bad. We now know it is six better. Houses bitterly divided over whether Sex And The City is better thanJustified can forego marriage counseling: Sex puns have bested laconic threats by a factor of nearly 50. Freaks And Geeks and Moonlighting? Everybody Loves Raymond and South Park? 24 andRoseanne? All numerically indistinguishable. The densely layered narratives of The Wire that are so often championed as one of the greatest achievements in this or any medium—they’re good, but notCheers good. Meanwhile, more modern favorites Parks And Recreation or Community exist beyond the list as some incalculable uncertainty only Stephen Hawking could probably define, like string theory or Charles In Charge.

Here’s the complete list, which you can clip and save for any such future arguments. 

10:54 pm  •  3 June 2013

9:57 pm  •  2 June 2013

“I love vulgarity. I am very attracted by bad taste – it is a lot more exciting than that supposed good taste, which is nothing more than a standardized way of looking at things… I don’t practise photography for myself, not for art. If the art world rejects me, all I can say is, “Good luck to the world of art.” If I look for a real point of view, I’m not going to start by looking at what art will accept so I can conform to that. That’s why in Sleepless Nights all that sadomasochism still seems interesting to me today. I always carry chains and padlocks in my car trunk, not for me but for my photos–and by the way, I never make the knots real tight.”

—

I Am A Pornographer | BlendBureaux

a retrospective on the work of photographer Helmut Newton opened at the Swedish Museum of Photography (Fotografiska).

1:47 pm  •  31 May 2013

1:46 pm  •  31 May 2013  •  1 note

1:44 pm  •  31 May 2013

vulgarauteurism:

Fast Five (Justin Lin, 2011)

3:02 am  •  31 May 2013  •  8 notes

5:24 pm  •  30 May 2013

“It truly is surprising how barren the movie is of humor. There’s one funny exchange early on that relates to Stu’s sexual travails in the second Hangover film; later, there are some bits involving Melissa McCarthy as a pawn-shop owner who sparks some chemistry with Alan. And that’s about it. Indeed, the film’s unfunniness may be the joke. Consider some of the advertising for the film, with posters showing Ed Helms carrying a seemingly lifeless Jeong with the words “It all ends here.” “Wouldn’t it be funny,” you imagine the writers and the director asking, “if we went totally genre and forgot about the comedy altogether?” So, this Hangover actually has a body count; as in, people die in this movie. “But that IS the joke!!” you can hear the filmmakers insisting. “But it’s not funny!” you want to yell back.”

— Movie Review: The Hangover III Is Oddly Unfunny — Vulture

4:23 pm  •  30 May 2013

11:02 am  •  30 May 2013

“It’s interesting—the fashion business takes women who wear no makeup very seriously, which I think is kind of great. If you look at what you’d call the more ‘senior’ members of the fashion class, they don’t wear a ton of makeup. So… do you have to wear makeup to be taken more seriously? No. It’s just a matter of what your look is and how you feel about it.”

— Robbie Myers, Editor in Chief, Elle | Into The Gloss

10:24 pm  •  29 May 2013

“Remember how annoyed you were when that massive three-minute Man of Steel trailer came out and you felt like you basically saw the whole movie? Well, the owners of movie theaters nationwide were equally annoyed. The Hollywood Reporter writes that the National Association of Theater Owners (NATO for short, which is pretty funny) is pushing to limit the length of trailers to two minutes — 30 seconds short of the now standard 2.5 minutes. NATO argues that they are on the front lines with movie patrons and are constantly fielding complaints that the trailers are too long and give away too much of the plot. The studios obviously like their long trailers; that’s why they make them that way. One studio executive told THR, “My trailers are 2.5 minutes because that’s what we need to send the right message,” adding, “This could be a paradigm shift. Thirty seconds is a long time.” There is also the possibility that after the change, theaters will just end up using the saved time to air more trailers, something they are paid to do. How about no trailers before the movies and instead we’ll find a digital location — let’s call it “the Internet” — in which people, at their own discretion, can access trailers of varying length at all times.”

— Movie Theaters Want Studios to Shorten Trailers — Vulture

10:19 pm  •  29 May 2013

É impossível não gostar do Jeff Garlin. Há uns meses, ele começou um podcast com um espectáculo que tem ao vivo em que fala com amigos e gente que admira e é, como seria de esperar, delicioso. Tem-se tornado dos meus entrevistadores favoritos. Este foi o último episódio, mas foi gravado em 2011, e ele fala com o Matthew Weiner, o criador do Mad Men, sobre a carreira e a vida dele e afins.
Sem grande ordem, isto foi o que aprendi com ele:

11:43 pm  •  28 May 2013

“But to be sure: This sucker is slow-paced. The first two hours make Rectify look like Scandal. The fact that all five episodes are available for immediate consumption may provide an easier path toward wading through the initial two installments; on the other hand, the sheer volume of other content on Netflix might also give a viewer tens of thousands of reasons to watch anything else but another minute of this show. There’s a central spine of a story here to which everything adheres, but pulling that story into focus takes a lot of time, and I would easily understand why someone might stop before things start getting good.
It’s important to understand up front that this isn’t a “whodunit,” but rather a “whydunit.” The Fall reveals the identity of the killer within the first few minutes of the first episode. If you don’t want to know anything about the identity of this killer, it’s probably best to stop reading right now. But rest assured, to identify who it is here doesn’t really spoil The Fall in any meaningful sense. Who this killer is matters only insomuch as it gives the Police Service of Northern Ireland (PSNI) someone to track. But in reality, The Fall is about duality, or “doubling,” as Gillian Anderson’s Detective Superintendent Stella Gibson terms it at one point late in the fifth installment.”

— The Fall  | Other Shows | TV Club | TV | The A.V. Club

11:32 pm  •  28 May 2013