1. “2014 Emmy Winners.” Breaking Bad, Modern Family Earn Top Emmy Awards in Night of Repeats and Upsets.
“In a night marked by a few upsets and a host of repeat winners, Breaking Bad grabbed its second consecutive Emmy for best drama series while Modern Family made it a record-tying fifth consecutive win for comedy series. The surprise wins at the 66th annual Primetime Emmy Awards came not from buzzed-about newbies such as Netflix’s Orange Is the New Black or HBO’s True Detective but lower-profile contenders including Sherlock: His Last Vow. HBO’s The Normal Heart and FX’s Fargo prevailed as expected for movie and miniseries, respectively, but the PBS drama Sherlock wound up leading the Emmy field overall with a total of seven wins—a result that no Emmy prognosticator managed to forecast. CBS’ The Good Wife got its moment in the sun with Julianna Margulies taking her second win for lead drama actress. Julia Louis-Dreyfus scored her third straight win as lead comedy actress for HBO’s Veep. And Allison Janney became a rare double winner in snaring supporting comedy actress for CBS’ Mom—a week after landing guest actress in a drama for her turn on Showtime’s Masters of Sex.”
2. “The Story of Kim’s Video & Music, Told By Its Clerks and Customers.” Bedford + Bowery turned up some fantastic stories from people who swore the place changed their careers and their lives.
“There was a mythos that everybody was an asshole there—like you would get serious attitude from the clerks. I’m a very jovial and gregarious person, and I didn’t play it like that. I talked about all the movies and all the staff really got along. When I was there, there was never any attitude that wasn’t fun. But I’d make mix tapes and always wind up playing them too loud. The customers would complain—they’re trying to pick a movie and the music’s blasting. All my connections today come from that job—everybody I work with now. The connections have like six degrees of separation, but it all goes back to Kim’s. Every once in a while I get recognized in far-flung places. ’You used to work at Kim’s.’” [Christopher Pravdica, member of Swans.]
3. “How Homophobic is Love is Strange’s R Rating?” Jason Bailey on the MPAA rating films with LGBT themes more harshly than their straight counterparts.
“It is the low-key story of a longtime gay couple who get married, and must drastically change their lives after that wedding causes one of them to lose his job. There are no sex scenes, and no nudity; the pair occasionally kiss, and have a scene of fully-clothed cuddling. And the MPAA gives the film an R, which has rightly raised some hackles. Leading the charge is the Star-Ledger’s Stephen Whitty, who uses his Love is Strange review to point out the utter ridiculousness of that R rating by comparing it to the week’s other new releases: Sin City: A Dame to Kill For (’It features nudity, sexual situations and substance abuse…There is violence and graphic gore, including one scene of a man having his eye plucked out and another of a man having his fingers broken with pliers’) and Jersey Shore Massacre (’It features nudity, sexual situations, substance abuse and ethnic and racial slurs. There is violence and graphic gore, including one scene of a woman being disemboweled, another of a naked woman getting her breasts sliced open and one of a man having his hands fed into a wood chipper’). Comparing those two titles to Love is Strange, Whitty writes (correctly!) ’If there’s an equivalence among these three films, and their equal unsuitability for anyone under 17, it’s lost on me—and, I suspect, on anyone but the censors at the MPAA.’”
4. “Inside, Around and About Notorious.” Adrian Martin on the Hitchcock classic.
“Another reading of Notorious, centring on Devlin and his evolution, is also possible. A particular line from that final sequence is one of the most resonant of the entire film: ’I was a fat headed guy full of pain…’ Today, one can experience the film as a male melodrama, a terse but trembling male weepie. Here, it would join a tradition running from certain of Nicholas Ray’s postwar films (especially On Dangerous Ground  and In a Lonely Place ) to David Cronenberg’s contemporary horror psychodramas (Dead Ringers , Spider )—movies that, beginning from an overwhelming sense of masculine guilt and self-loathing, confront the protagonist with his own inherently violent impulses, and force him somehow to work them out of his system so that he can finally rejoin the world of daily sociality and intimacy, or die unreconciled. Vertigo (1958), too, can be approached in this light.”
5. “Bombast: The Apple, After the Fall.” Nick Pinkerton on the 1980 musical and its maker, Menahem Golan.
“At the same time that Golan is aligning BIM and its lockstep followers with the fascists, he paints them with much the same brush that the Nazis used to paint their cultural enemies—depraved, barbaric, having altogether too much fun—though here the issue is degenerate pop instead of degenerate art. If I didn’t know who had made The Apple, I would be tempted to call entertainment magnate Boogalow, with his eyeshadow and his glitter-dusted beard and his Oriental sensuality, a caricature of Jewish cosmopolitanism—see the press conference in which he answers reporters’ questions in French, German, Italian, and American—but perhaps it is better to say that Boogalow is representative of the effeminizing effect of culture, and leave it at that.”
Video of the Day: David Fincher’s Gone Girl gets a new trailer:
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