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Recent Entertainment articles from Daily Dot

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    Lele Pons has a new mobile destination for fans. On Thursday the most-looped Vine star of all time launched her official Lele Pons app using Victorious, the mobile platform which builds superfan and community-based apps for digital creators.

    As the first Viner to use Victorious, Pons created her mobile app as a go-to hub for all her offline and retail projects. The Vine star, who boasts more than 9.4 million followers and more than 6.9 billion loops, will also use her app to debut exclusive mobile programming and host fan-created content. To celebrate the launch of the app, the Vine creator is hosting a giveaway dubbed #firstfan for the most-engaged user on her app on its release date.

    “There isn’t a place we can all be together and create different kinds of content 24/7. It’s about giving my fans somewhere to go between videos, and connecting with them,” Pons said in a release. “My fans enjoy the content I create, but I want to see all the funny things they make, and give them a positive space to make friends with each other. These features were really important to me when I built my app.”

    Pons isn’t the first digital star to release a personal-brand app using Victorious. YouTuber Ryan Higa and digital news network the Young Turks were some of the first creators on board with the mobile app platform. More recent networks and YouTube stars to use Victorious to release apps were Lilly Singh (aka IISuperwomanII)Machinima, and FailArmy.

    You can download the Lele Pons app from the iTunes Store or Google Play.

    Photo via Lele Pons/Twitter

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    Jimmy Kimmel has steadily recruited celebrities, musicians, basketball players and even the president to read the terrible things people say about them on Twitter, but the stakes are even higher when they have to do it in front of a live audience.

    Everyday this week, Kimmel gave celebrities the stage as they read a mean tweet, putting even more pressure on them. They only get one shot to nail the perfection reaction, which turns out to be even better when it’s not planned—like Andrew Garfield bursting into laughter after someone said he looked like a pedophile.

    According to Twitter, Bette Midler has the biggest penis in Hollywood, George Clooney is one of the original fuck boys, and Tobey Maguire isn’t a hamster inside of a robot (but Toby Maguire is). And sure, Benedict Cumberbatch doesn’t deny the insult directed toward him, but everything seemed to work out for him in the end.

    Screengrab via Jimmy Kimmel Live/YouTube

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    “Chanel No. 9, Chanel No. 5—well you got ’em both.”

    And with that, rappers Drake and Future beamed a new, collaborative record onto the Web late Sunday. The resulting What a Time to Be Alive is a focused effort that cracks open the padlock and lets loose two of music’s most turbulent ids. It bangs like the hardest NBA-arena music—specifically the trap anthems blared during pregame drills, before the rich people file in—but also makes abrupt turns and the bold choice to not worry about thematic unity and yielding the floor. 

    This is not a Watch the Throne situation, where accomplished talents like Kanye West and Jay Z cut loose and make snow angels. Here, Drake and Future are attending a team-building retreat, using it as therapy to let out demons.

    It’s also the album of the year. It’s not the best album of 2015, but it exemplifies customs and perils of the moment. It will be a wellspring of nostalgia in 10 years for the millions of teens getting to and from their shifts at Chick-fil-A. It will be remembered fondly. Here are 10 reasons why.

    1) What a Time to Be Alive was immediately praised as “fire”

    Today an album can be booked and judged with a status update. For it to soar into more broad channels, it needs an immediate series of memes to swim.

    The album also needs an elevator pitch. Can you explain its purpose in a single post? 

    2) When Future first works in his album’s title and it floors you

    On “Big Rings,” Future first says his project’s title and lays out the album’s mission statement. 

    “What a time to be alive: I’m drinking lean. I thought I died.”

    On “Live From the Gutter,” Future raps “these the times we gotta live through.” On “Diamonds Dancing,” that he’s “sipping on Dom Pérignon for no reason.” On “Scholarships” that he’s “balling out of control,” which is common slang, but Future means it literally. It makes for tense, backed-into-a-corner raps that lunge.

    3) Metro Boomin as the third heat

    The St. Louis-raised producer, Metro Boomin, stamps the project with his spaceship-breaching-Earth’s-atmosphere soundscapes. Born Leland Wayne, the 22-year-old has spent the past three years hulking out with a quartet of beautiful singles, “Where Ya At,” “I Won,” “Tuesday,” and “3500.”

    He executive produced What a Time to Be Alive, working on seven of the 11 songs during its Atlanta sessions. 

    4) That Drake line about Robitussin

    On a certain level, I feel absurd parsing the words because this project is less about fishing out subliminal Meek Mill disses than it is an ode to melting down in a studio. It almost recalls Free (Based Freestyles Mixtape), another dynamic-duo release from Lil B and Chance the Rapper last month where the gimmick is that lyrics are presented via extended freestyles.

    But it’s also subtle and pointed. On “Jumpman,” Drake rhymes “them boys up to something” with “uh, uh, uh I think I need some Robitussin.” As Genius points out, beyond the stitched-together lyricism is a rim-hanging reference to that time Michael Jordan had the flu but balled out anyway during Game 5 of the 1997 Finals.

    And then of course you have that sequence where Future makes “jibber-jabber,” “kidnapper,” “official trapper,” and “car-jacker” into gorgeous phrasing.

    5) When Drake raps “I rock Kentucky blue on these hoes” during “Scholarships”

    And we get to revisit a classic...

    6) The album sounds like when you’re driving around late as a minority and start to get unsettled about being pulling over by the police

    And immediately you’re like “shit do I have weed on me? OK great I don’t. Let’s turn down the Future at this red light just to be safe.”

    It’s a conditioned reaction, and the album taps into its reclusive paranoia and shares with you this common American experience. Drake writes blockbusters, he wound up alongside dark, Halloween-basement beats. Just listen to the harrowing boom of “I’m the Plug.”

    7) The cricket chirps on “Plastic Bag”

    The track has lengthy, kind of unsatisfying similes: “I be in the club with them bands like I got the keyboard and the drums with me.”

    Then Future slides in and name-checks all of the strippers he’s friendly with and shouts out going to idyllic Atlanta gentleman’s club Magic City on a Monday.

    8) The part where Drake asks you to Google a car that he owns

    On the album closer “30 for 30 Freestyle,” Drake raps: “I just got me the Mercedes Pullman / You niggas never heard of it, you gotta hit up Google.”

    Savvy content editors immediately did their search engine-optimizing due diligence and whipped up a functional headline like “This is the pricey Mercedes Drake wants you to Google,” then a condensed explainer. Thanks for the hot service-journalism tip, Drizzy.

    Fine, I’ll bite. As notes:

    The Mercedes Pullman, which relaunched for 2016 after last being produced in 1981, is essentially an expansion of the already large Mercedes S600.

    It comes in at over 21 feet long  — four feet longer and four inches higher than the S Class — big enough to have two chairs facing forward and rearward in the back. Under the hood, it boasts a 523-hp 6.0-liter twin-turbo and a V-12.

    The rebooted Pullman can be thought of as the heir to the Maybach, which Daimler AB discontinued in 2013.

    It will certainly hit your wallet like one. The Pullman is said to start at 600K. But for the tricked out version Drake would be driving around in the price could flirt with seven figures.

    9) What a Time to Be Alive perfectly shows how high-end album events will forever happen

    You partner with a streamer of choice, in this case Apple Music. (The album played first late Sunday on Drake’s label’s OVO Sound Beats 1 radio show, an Apple Music exclusive.) You announce it suddenly and without warning. You play up the timeliness of the project. (What a Time to Be Alive was reportedly recorded in six days, which seems laborious but also excuses any sloppy edges; more importantly this factoid dials in on the recent past and how it shaped your current message.) When possible, you call this project an unofficial mixtape for the fans and thereby continue to build tension toward the official album release.

    10) What a Time to Be Alive sounds like a video game where an alien travels to the ice planet Hoth and helps defeat bosses like Meek Mill, Drake’s exes, and sanctimonious fans of “real” rap 

    Does Drake continue to be somewhat clueless about his gross condescension toward how the women in his life should behave? All day—check the last two minutes of “Diamonds Dancing,” where he tells an ex that her mom would be “ashamed” that she’s acting so “ungrateful.”

    But he warrants praise for ditching the comfort of his Toronto well-wishers and best buddy and production architect Noah “40” Shebib to try and hang in Nayvadius DeMun Wilburn’s Atlanta. Future is one of the last presidential cycle’s most innovative voices, and he just coaxed rap’s leading man to hang out in his living room, stash the cocaine in the couch, and peak through the blinds. 

    Screengrab via Complex/YouTube

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    After a swirl of rumors and one episode veering a little too close to reality, Black Mirror is officially heading to Netflix

    The streaming site ordered 12 new episodes of the show, which will be helmed by creator Charlie Brooker. In a statement, he said: "Netflix connects us with a global audience so that we can create bigger, stranger, more international and diverse stories than before, whilst maintaining that Black Mirror feel. I just hope none of these new story ideas come true."

    Brooker might have been referencing the David Cameron #piggate story that captured our hearts and minds earlier this week, and mirrored the first episode of the series, "The National Anthem," a little too closely. 

    Netflix released a short teaser trailer today, which cannily incorporates its logo into the plotline from Season 1's final episode, "The Entire History of You." 

    With Black Mirror's focus on the future shock of technology, this new order couldn't have come at a better time. 

    Guess it's time to spend the weekend binge-watching the first two seasons again.  

    H/T Entertainment Weekly | Screengrab via Netflix 

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    James Bond’s next grand entrance is finally here, courtesy of one of the U.K.’s biggest pop stars.

    The theme song to Spectre, “Writing’s on the Wall,” has been posted on SpotifySam Smith performs the song, which he cowrote with Jimmy Napes, making him the first British male solo artist to perform a Bond theme since 1965.

    Although Smith initially denied that he would be performing the theme, it was confirmed earlier this month. In a statement, Smith called it “one of the highlights of my career.”

    “I am so excited to be a part of this iconic British legacy and join an incredible line up of some of my biggest musical inspirations,” he said. “I hope you all enjoy the song as much as I enjoyed making it.”

    The somber “Writing’s on the Wall” fits right in with the rest of Smith’s discography, with lyrics such as “If I risk it all, could you break my fall?” and “How do I live? How do I breathe? When you’re not here I’m suffocating” The song pairs these lyrics with strong brass and violins. You'll probably be listening to this on repeat until Spectre arrives in theaters later this year.

    Considering that the last Bond theme, Adele’s “Skyfall,” won both the Golden Globe and the Academy Award for Best Original Song, “Writing’s on the Wall” has some big shoes to fill.

    H/T The Hollywood Reporter | Photo via Side Stage Collective/Flickr (CC BY ND 2.0)

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    Actress Zoe Saldana (AvatarStar TrekGuardians of the Galaxy) and her production company Cinestar have signed a deal to executive produce two series and create a YouTube channel for Awestruck, a new lifestyle brand and multichannel network from AwesomenessTV that will be available on YouTube, Facebook, and Verizon’s Go90 service.

    Debuting in the fall of 2015, Awestruck will feature a mix of female-centric scripted and unscripted programming formats, from comedy and drama series to docu-reality and talk shows, showcasing a mix of digital influencers and celebrities.

    Cinestar is a production company Saldana co-founded with her sisters Mariel and Cisely Saldana. The Saldanas will partner with Awestruck on both un-scripted and scripted content, of which Zoe will serve as the executive producer. They will also create the Cinestar YouTube channel for the Awestruck MCN. It will mark their first foray as online creators.

    “Zoe epitomizes the talent we are seeking for Awestruck. She marries a strong creative vision and an existing fan base with the experience of being a new mom,” said Sarah Penna, head of Awestruck and co-founder of MCN-turned-management firm Big Frame (now a division of AwesomenessTV).

    Saldana and her husband Marco Perego welcomed twin sons in November 2014. Penna is also a relatively new mom: In September 2014, she and her husband Joe Penna (aka MysteryGuitarMan) welcomed their first child, son Jonah Lane Penna.

    Photo via Gage Skidmore/Flickr (CC BY SA 2.0)

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    Ever wonder what “B***h Better Have My Money” would have sounded like by a barbershop quintet? Who hasn’t?  

    Last night on The Tonight ShowJoseph Gordon-Levitt took some time out from becoming Edward Snowden to channel Rihanna with Jimmy Fallon and the Ragtime Gals. The group’s performance erases the song’s edge and Rihanna-centric message, replacing it with enough sugar to make your fillings hurt. 

    Screengrab via The Tonight Show Starring Jimmy Fallon/YouTube 

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    Brace yourself for heartbreak in Troye Sivan’s newest video for "Fools."

    The clip is the second in the three-part series “Blue Neighborhood,” and it continues the narrative of puppy love between Sivan and his co-star from the “Wild” video into adolescence. The video weaves together shots of the two boys getting intimate and scenes of one boy’s father reacting abusively to his son’s homosexuality. While the lyrics talk about how Sivan sees “a little house on the hill and children’s names,” the two boys are torn apart.

    Even though the clip ends with some blatant product placement for HP, Sivan turns that into an essential moment by previewing the dramatic conclusion of the trilogy, which features a funeral. No audio accompanies, but die-hard Sivan fans can probably figure it out by lipreading what Sivan is singing in the clip.

    Sivan coupled the video release with the announcement of his first U.S. tour, which kicks off Oct. 15 in Seattle. Tickets went on sale immediately (Update 4:06pm CT: Tickets sold out within 30 minutes), with Sivan promising that he’ll eventually visit more cities than just the eight available for this run.

    Sivan’s most recent EP, Wild, hit No. 5 on the Billboard charts. The first music video from the trilogy has already amassed 4.4 million streams in less than a month.

    Screengrab via TroyeSivanVEVO/YouTube

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    At first glance, Ophir “Kutiman” Kutiel and Samantha “Princess” Shaw seem to have little in common. Kutiel is an Israeli musician and composer; Shaw is a nurse who lives in New Orleans. Despite these disparate backgrounds, Kutiel and Shaw’s paths crossed in 2014 when Kutiel included a clip of Shaw in a mashup video he created for YouTube. This unlikely partnership is the main story within Thru You Princess, a documentary that made its North American premiere on Sept. 12 at the Toronto International Film Festival.

    Shaw has a passion for singing and a strong, soulful voice, and in 2013, she started posting videos of herself on YouTube. A year later, Kutiel plumbed the depths of YouTube to find musicians who he could fit together to form coherent songs. Many pages into his search, he found one of Shaw’s clips. “When I found Princess,” he tells Wired, “it was just magic.”

    Shaw’s voice ended up becoming the centerpiece of “Give It Up,” one of seven tracks from Kutiel’s 2014 release Thru You Too. The album is a follow-up to 2009’s Thru You, which gained attention from the media surrounding its release. Thru You Too, like its predecessor, received international press coverage, and “Give It Up” emerged as the album’s most popular song. Shaw gained a significant boost as a result; she went from total YouTube anonymity to more than 68,000 views. That total is a drop in the bucket for today’s top-tier YouTube stars, but for Shaw, who has now shared her passion with many new viewers, it is a significant amount.

    The story of these two strange bedfellows caught the attention of Israeli filmmaker Ido HaarThru You Princess is Haar’s 80-minute profile of Kutiel and Shaw, who during the course of the film meet in real life for the first time. The film has received a warm reception from the media since its premiere, with MTV calling it “a total delight.” An article about the film from Wired includes a clip:

    Beyond its status as a heartwarming tale of two people who unexpectedly managed to enrich each other’s creative pursuits, Thru You Princess is also a reminder of YouTube’s power as a great unifier. No matter who you are, you can find an audience, so long as you display your talent and get some good fortune along the way. If you’d like to check out the film, you can see it at the International Documentary Film Festival in Amsterdam, which runs from Nov. 18-29.

    Image via Atzmor Productions 

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    On a warm Monday night in Los Angeles, Josh Fadem and frequent collaborator Johnny Pemberton performed at Upright Citizens Brigade Theatre while tied together with 30 feet of nautical rope.

    The two comedians, both dressed in comically oversized suits, fell down and doused themselves with water. Between doing a variety of bizarre characters, Fadem and Pemberton periodically yelled, “Oh no, Mom’s home!” By the end of the night, Fadem had swallowed two or three raw eggs, covered his head in packing tape, and given birth to a rotisserie chicken.

    The show, titled Roped, is spontaneous and seemingly improvised—although later Fadem tells me it was somewhat planned out—and toes the line between comedy and performance art. When we meet after the show, I tell Fadem that I’m excited to interview him. 

    “How do you know who I am?” he responds. 

    Fadem is perhaps best known for his appearances on 30 Rock—where he also dons an oversized suit—as Liz Lemon’s adorably clueless agent Simon Barrons. He's also appeared on It’s Always Sunny in Philadelphia, The Whitest Kids U’Know, Key & Peele, Comedy Bang! Bang!, and Better Call Saul; written for The Eric Andre Show; and produced hilarious YouTube videos and vines. Fadem's dog, Bobby, has become a Vine star. 

    Recently, Fadem gained recognition for “Space Jam 2,” a bizarre parody of the Michael Jordan classic. He posted it less than two months ago, and it’s already reached more than 100,000 views.

    Unsurprisingly, “Space Jam 2” is not the weirdest video on Fadem’s channel. In “Josh Fadem Slept in His Clothes,” he shows off his physical comedy chops, reminiscent of Buster Keaton and Groucho Marx, and manages, again, to gracefully swallow an egg.

    Fadem was born and raised in Tulsa, Oklahoma, where he was one of the few Jewish kids. It’s clear that being different from his peers informed the type of comedy he does, which celebrates a sort of wild absurdity. In perhaps his most well-known standup bit, he struggles with holding the microphone, getting tangled up in the chord and gleefully falling all over the stage. (In recent years, he actually broke his wrist doing this, but hey, suffer for your art.)

    “The comedy comes from watching a lot of comedy and movies growing up and also being a little different,” Fadem explained. “But I don't think that story is more unique than anyone else’s. ...Maybe you could say I was born in a pothole and it wasn’t filled until there was a city petition to fill the pothole that I went to school. That’s what forced me to move to L.A.

    “Also I escaped 9/11,” he joked, referencing the recent Steve Rannazzisi controversy. “Wait, I actually escaped Pearl Harbor. I didn’t see the laughter until I escaped Pearl Harbor and 9/11. Essentially, I escaped a fake tragedy to make myself more interesting because I couldn’t find a real one. And it was less emotionally traumatic.”

    While many comedians find their humor through self-deprecation, Fadem’s work evokes a sense of earnestness while still being laugh-out-loud funny. I came to understand how his personality informs his stage persona, with a little cajoling.

    Your work is very absurdist and reminiscent of video art. Does that inform your comedy?

    Yes. No. I don’t know. Sometimes. Maybe.

    That’s the worst answer I’ve ever received.

    Well, sometimes. I’ve heard actors say if you can’t memorize the lines, the writing’s bad.

    But my question?

    Oh, yeah. What was the question? Do I like video art?

    Well, is that something that influences you?

    If it’s not boring… I don’t know… I’m reluctant to say what video art is good because maybe there’s some video art expert connoisseur reading and they think, “Oh, that’s the most obvious thing to say!”

    Oh my god, don’t be self-conscious. That’s going to make the interview bad.

    Oh, right. Well maybe that’s also my secret, what video art I like.

    OK, well, I’m not going to make you look stupid in the article. Also, I’m interested in vulnerability. That’s, like, my life goal. And I want my readers to get to know you, which means you actually have to answer my questions.

    Right. Well, maybe I should just say whatever the answer is instead of trying to figure out the perfect answer.


    Do I like video art? Yes. I like weird, different stuff that takes a left turn. I like Paul McCarthy. Probably the show we did the other night, Roped, had some Paul McCarthy influence. When I worked on The Eric Andre Show, Eric and I bonded over our mutual appreciation for Paul McCarthy. I’ve seen some William Wegman video art from the ‘70s and I like him. I have a big stack of VHS tapes of rare video artists—I don’t remember their names—but I have a whole bunch of stuff like that, hard-to-find stuff, and I worked at a video store for 10 years, so you just throw things on and find weird stuff. I’m naturally someone who likes to dig for stuff that’s not easy to find.

    Great! Oh, OK. You’re not going to like this question.

    What? Did my dad abuse me?

    The question is: How did you get into comedy? Tell me about your journey.

    I moved out to L.A. I was going to go to film school, but I was a shitty student, an ADHD kid. So I took some Groundlings classes and tried to take some community college classes. Well, let me just tell you the long story I’ve told on a million podcasts.

    Yeah, just tell me!

    I don’t know why I’m getting so self-conscious. I guess it’s you who I’m getting self-conscious about.


    I don’t know.

    Well, I’m simultaneously a judgmental person and a nonjudgmental person…

    I don’t even know if it’s that. Maybe it’s just that I think it’s not that interesting.

    It’s interesting to me, I promise.

    I’m from Oklahoma. I graduated high school. I didn’t go to college. I wasn’t a great student. I was really good at art and speech and I flunked a bunch of other classes. I had to go to summer school and I barely graduated because I was on a bunch of meds and couldn’t pay attention. Wait, hold on, I need to pull up my script. It’s in my brain. I know the story.

    No, speak from the heart.

    It is scripted though, at this point. So I moved out to Los Angeles at 20 years old. I was trying to go to film school, but then I realized I didn’t like school so I didn’t apply. So I made some friends and I did standup once. I was terrible, so I thought, “I’ll never do that again.” A while after that someone asked me if I wanted to host a weekly show and I still didn’t really know what I was doing—by this point, I had just turned 23—and I said yes! When I did it, I did a character, instead of myself, because I had bombed as myself. This character I created was dumb. I wrote a bunch of really stupid jokes for him. But this character had a strong point of view and that got laughs. As soon as I got laughs, I just started saying, “I’m a comedian,” so I consistently tried to do standup after that.

    I wanted to ask you about Roped. What was your process like for figuring out that show?

    Well, no one will have seen it but I can tell you anyway… Mike Still [the artistic director at UCB L.A.] asked Johnny and I if we wanted to do a one-off show for an 11 o’clock spot. Johnny and I [had] been working on a weird two-person show for a while. We’re both at similar points in our careers. We also both look really young. And we decided we wanted to do something really crazy.

    I was sort of waiting for it to get even crazier. Like, I thought you guys would take out your dicks or something.

    I’m not a “take my dick out” kind of guy. I feel like people thought it should go there. I wonder if it needed to go there.

    I don’t know. Every time I’ve seen a dick in a comedy show, I’m like, “That didn’t need to happen.”

    That’s how I usually feel. When I see people do that, I find myself grinning laughing in the context they were doing it in, but it’s still taking your dick out. You can’t not react, but at the same time... of course everyone is going to react that way, it’s a dick. It’s the same as whenever you laugh at a fart joke. You’re kind of like, “Why did I laugh at that?”

    So I’m OK with underwear. I’m OK with gross stuff, but I think when you move into that territory it becomes something else. Maybe I’ll change my mind about that, though.

    OK, so I’ll make the headline: JOSH FADEM, NO DICKS.

    No dicks! At least not mine. But I’m all about baring the embarrassing things in my act. There’s an element of—wait, I don’t know what I’m talking about.

    No, you do know what you’re talking about.

    Right. Well, I could keep articulating it. I prefer saying these things behind closed doors as opposed to declaring my opinions about comedy rules.

    I don’t think you are. I think you’re expressing an interesting opinion, and obviously, I want my article to be interesting, but I think you should be more comfortable expressing yourself on the record, because what’s wrong with what you have to say?

    Because I could be wrong!

    But we could all be wrong. That’s art.

    I could say this now, and see something and realize that I disagree with what I said to you. I could be like, “Oh, I really like that guy’s dick.”

    Well, I don’t think you’re saying that all dicks are bad. I think you’re saying, often times showing your dick in a comedy show doesn’t work, which is true.

    Anyways, when Johnny and I were planning out Roped, we made lists of every crazy thing we wanted to see on the stage and which characters we wanted to do. We made an agreement to always keep the ball in the air, metaphorically speaking. The show is just a mashup of everything we’ve been doing for years. I’ve been acting stupid on stage for years.

    I actually saw you sitting in the audience during the show, and you had a very dead-eyed look on your face. You did not seem into it.

    I was enjoying it the whole time! I guess I just have “bitchface” or whatever.

    I’m always, as a standup, spotting “bitchface.” Sometimes I have to look away to keep the show going. Other times, like when I do my weekly show, if I spot “bitchface” I’ll turn it into 10 minutes of like, “How are you doing today? You look so unhappy,” or whatever.

    Oh man, I sort of hate that. I hate that I always have an unhappy look on my face.

    Well, what are your expectations when you go see a show? Are you like, “Make me laugh”?

    It depends on what show I’m seeing. I was expecting your show to be good and weird, so you fulfilled my expectations.

    That’s good, I guess.

    So, what’s your favorite part about performing?

    There’s nothing I love more than playing dress-up, getting on the stage, putting on a silly wigs and oversized pants, and becoming a character. That’s the most fun thing ever. I love to play off of a crowd, to find the timing that they’re relating to. Oh man, that feels like a pretentious thing to say. Mostly I like it when it’s fun. I don’t know what else to say.

    What are some other good questions you got?

    I guess I want to know more how you feel about your career, how you feel about your successes and failures.

    I think that having a lot of failures in your career is important and healthy. I don’t think it’s good for someone to get too big too quick because they can often get lazy.

    I’ve had my fair share of rejections in my career, but I’ve used that to inspire me to do new things I have more control over. Like my friend suggested I write a page of something everyday. So I wrote a one-page story every day for a week and then that turned into a month, and eventually I ended up writing 365 one-page short stories and put them up on my blog. That project actually came to a close a couple weeks ago. The point of that project was to make sure I was making art everyday and not having that in anyone else’s control. And to practice and get better.

    [Fadem glances at my notes] Now I see you wrote down “Make article as weird as Fadem’s comedy.” How would you do that?

    Well, I guess I didn’t want to write another traditional profile of a comedian where all I ask is “How did you get into comedy?” I wanted to make it a legitimate conversation between us.

    Maybe there’s just something we talk about where it’s like, we got on another topic and it ended up being a good topic, where’s it’s like, “Eve and Josh talk about fruit salad!” Do you love it? Or you don’t? Do you feel indifferent about it?

    I’m pretty indifferent about fruit salad.

    Maybe you should write that we talked about fruit salad, and we both decided that we were pretty indifferent about. I suppose if it’s a side for something salty, and you’re thinking, “I shouldn’t eat French fries,” you can suffer through some fruit salad.

    But why not some mixed greens?

    Maybe they’re only offering fruit salad.

    What the fuck kind of place would only offer fruit salad?

    “Why does there need to be fruit salad?” is the question we’re pondering! Listen, in America, we should have the right to at least have fruit salad as an option.

    I disagree.

    You want to take away our right to fruit salad?

    I just think a salad should be a right.

    But we’re in the United States of America, and if a fruit salad wants to exist, it has the right.

    Screengrab via joshfadem/YouTube 

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    After releasing an original song off their upcoming album, Pentatonix is returning to soulful and creative a cappella covers in a big way with their latest.

    Jack Ü’s “Where Are Ü Now” is already a hit on its own, but add in Pentatonix’s vocal harmony and expert beatboxing and they easily transform a club-friendly hit into something more mellow and soulful.

    Pentatonix skips the technicolor makeover of the original video, instead going for more subdued hues. But with their voices transforming the place on their own, they don’t even need it.

    H/T Huffington Post | Screengrab via PTXofficial/YouTube

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    Fans are offering support after rapper Fetty Wap was involved in a motorcycle accident on Saturday. 

    The "Trap Queen" star was reportedly riding his motorcycle in his hometown of Paterson, New Jersey, when he collided with a car. From photos taken by bystanders at the scene, he appears to have been conscious before he was taken to the hospital. 

    The hashtag #PrayForFetty has been circulating on Twitter, where news of the accident first broke. He appears to now be in stable condition. 

    Fetty Wap just released his self-titled album on Friday. 

    We've reached out to his management for comment, and will update if and when we hear back. 

    Screengrab via harlem fetty/YouTube 

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    YouTube takes up a lot of digital real estate, but that company’s presence has grown leaps and bounds in the physical space as well, with the opening of creator-centric production facilities.

    With seven spaces up and running since 2012 and two more on the way, YouTube Spaces have become international hubs of production and networking for the growing community of digital creators. While they vary in assets and in access, we’ve got a guide to which YouTube Space is for you, from your own backyard to across the globe.

    Los Angeles

    Los Angeles is the center for all things entertainment, so it’s no surprise that YouTube’s flagship space is Hollywood-adjacent. The Playa Vista location plays host to creators all year round, with nearly 41,000 square feet of space dedicated to production, post-production, and simply networking. Channels need 10,000 subscribers to access the space, but the space is also hosts special programming and events for everyone from novices to top-tier YouTubers to meet and mingle.

    New York

    The U.S.’s second space takes up residence at Chelsea Market, accessible by an elevator marked with YouTube’s unmistakable logo. This space is especially geared toward brands and agencies, which are central to the New York entertainment economy. The space is half the size of Los Angeles’ at 20,000 square feet, and it has proportional access restrictions: YouTube Space NYC only requires 5,000 subscribers for a creator to gain access. 


    Los Angeles might get all the shine, but YouTube’s first global space was in London, opened in 2012. Located in posh Soho, the space only requires European creators to have 5,000 subscribers for access, and it boasts everything from production studios to green rooms to designated “hangout rooms” for connecting with other creators.


    Asia’s only YouTube Space currently, YouTube Space Tokyo caters to creators in the region with culturally specific sets and meeting spaces for networking. This includes a traditional Japanese home set, a classroom set, and a modular set that functions for game shows. Located in Roppongi Hills, the facility also boasts also a training room and recording studio for creators.

    São Paulo

    Opened in partnership with Instituto Criar in 2014, YouTube Space São Paulo is aimed at fostering Brazilian talent. Instituto Criar has been serving underprivileged youth since 2004 as a space for them to learn about filmmaking, and since joining forces with YouTube São Paulo, it has been part of several global set initiatives, including Halloween sets each year, as well as the recent superhero sets.


    To add another European hub to the schools in April 2015, YouTube partnered with MET Film School for a Berlin campus. For creators to get in and start shooting, they only need 1,000 subscribers, making it a much more easily accessible space than many of the other offerings.


    While not officially open yet, Mumbai will host India’s first YouTube Space through a partnership with Whistling Woods International film school. India is a thriving entertainment center, both on YouTube and in the traditional media world, so it should have no shortage of creators signing up to use the facilities when the location opens.

    Paris and Toronto

    Toronto and Paris were both announcedas upcoming Spaces for the company in 2015, although they are not yet listed on YouTube’s website. No images or information exist yet, but if the other spaces are anything to judge by, Canada and France’s first YouTube Spaces will quickly become a hub for their countries’ creators.

    Photo courtesy of YouTube Space LA

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    Ever since the Nationals acquired closer Jonathan Papelbon in a trade from the Phillies in July, things have not gone well for Washington. The team slowly sunk its way out of the playoff picture, as Papelbon reportedly has not made many friends among his teammates.

    Meanwhile, Bryce Harper is a potential MVP candidate and one of the best young players in the league.

    But when Harper didn't run out a fly ball during Sunday's game, Papelbon had words for him as he strolled back to the dugout. Harper responded in kind before Papelbon put his hand around Harper's throat, pushed him against the dugout wall, and started a brawl.  

    It's not often you see baseball teammates take swings at each other in this way, and it's not often you see a manager who just witnessed two of his players brawl send one of them back onto the field the next inning. But that was the decision made by Matt Williams, who is in massive danger of being fired for his team's performance in the second half of this season.

    Say what?

    Here's what Harper had to say after the game.


    Or, as Washington Post scribe Thomas Boswell tweeted: "Final: Phils 12-5. Chaos 1M, Nats 0."

    Photo via ShashiBellamkonda/Flickr (CC BY 2.0) 

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    At Friday’s press breakfast at the redesigned Daily Show studio, Trevor Noah made it clear that he wasn’t merely replacing Jon Stewart, but transforming the show into something that’s his own, something for the multicultural millennial generation.

    Although they’ve kept the same announcer, that voice now booms, “From Comedy Central world news headquarters, this is The Daily Show with Trevor Noah,” and the studio displays a new Daily Show logo, sporting a sleeker and decidedly more modern sans serif font.

    “It’s still TheDaily Show,” Noah emphasized, but it seems like a lot is changing. He told reporters that he wants to have more musical guests than his predecessor. Ryan Adams, who recently released an album covering Taylor Swift’s 1989, will perform on the show this Thursday.

    He also plans to focus the show's content to the online realm, as opposed to cable news outlets. “Stories are made on Twitter,” he said.

    Last month, it was announced that TheDaily Show will be producing more original online content, with Noah playing an active role. Comedy Central also announced that Baratunde Thurston, the former digital director of The Onion and a New York Times bestselling author, will lead the way in creating this digital content. Correspondent Jessica Williams deemed him a “wizard” when it comes to his Internet skills.

    “He’s a young, handsome, black Dumbledore,” she told the Daily Dot.

    Williams plans to play an active role in TheDaily Show’s new platforms, specifically when it comes to blogging and Snapchat. “That’s what’s fun about doing this new show with Trevor Noah,” she continued. “We really get to dive into the digital world.”

    Williams became a correspondent at age 22, so “the transition was very vulnerable," she said. "It was like comedy grad school… Jon was my favorite teacher.” She added that Stewart taught her not to go for the obvious joke and working with him made her sense of humor more sophisticated.

    “Jon was always willing to explain jokes to me,” she reminisced.

    When asked about her philosophy as a correspondent moving forward, she did not hold back: “Everyone at the end of the day wants to talk about white male politics. And I don’t give a fuck about that.”

    Trevor Noah’s Daily Show will be the same in a structural sense. When Noah was asked whether the show would have a more international focus, he said that he performs around the place that he’s in. “I see myself as a citizen of the world,” he explained. “The show will be international by the fact that it’s in the world.”

    Noah has diversified the Daily Show staff by bringing in people who have worked on similar shows from around the world. In addition, they hired three new correspondents. Desi Lydic, whom you may recognize from MTV’s Awkward, and Roy Wood Jr., a seasoned standup, both hail from the United States. The third correspondent, Ronny Chieng, will certainly bring an international perspective to the show; he was born in Malaysia, raised in Singapore and New Hampshire, and rose to comedy stardom in Australia.

    When asked how Daily Show writers have changed the way they write material, Noah spoke about watching the Republican debates. “That was the first time we encountered specific subject matter that TheDaily Show had specialized in, that was the brand of The Daily Show,” Noah said. “We had to sit down and figure out: How do we approach this topic in a way that feels authentic to Trevor, but at the same time, still speaks to what The Daily Show stands for?

    “I’m watching the debates and someone says something about what one of the politicians did 10, 15 years ago, and they go, ‘That’s like the time that happened.’ And I’m the person going, ‘Why is that funny? What is important about that?’ 

    "I come in on a clean slate with a lot of the politicians and news media outlets,” Noah continued. “Myself and Steve [Bodow, Daily Show executive producer] were watching the debates together and I was complimenting every single thing that Rand Paul said… Steve was like, ‘Just you wait. He’s gonna break your heart.’...So I said, ‘Let that happen. Let my heart get broken. But I want to be in the position where I get to start off fresh with some of these people.’”

    Noah explained that he’s not going into the show with any preconceived notions or chosen targets: “I get to discover the person I will come to loathe and hate.”

    Throughout the Q&A, Noah's quips had a gentle tone, showing how much he’s matured comedically since the media unearthed his offensive tweets. He said he was excited to embark on this new adventure, and he’s not afraid to admit what he doesn’t know about American politics. 

    “I am neither left or right,” he said. He identifies as progressive, but was careful to assert that progression can come from the left or the right. 

    “I’m not politically progressive,” he said. "What makes me progressive is that I try to improve myself and… the world that I’m in, in the smallest ways possible. I know that I cannot change the entire world, but I’ve always believed that I can at least affect change in my world… Progression, in my opinion, is identifying your shortcomings. ...Progression in America, because of the partisanship, became identified with one group over another. But I don’t believe that that’s true. I believe progression can come from both sides. In my opinion, liberal and conservative should instinctively be a place where people are saying, ‘This is how we aim to progress’... as opposed to saying, ‘We don’t want to progress.’

    “Truth is truth regardless of who is saying it.”

    The show’s first week of guests, which include comedy superstar Kevin Hart, Bumble CEO Whitney Wolfe, Republican presidential hopeful Chris Christie, and Ryan Adams, set a tone for what’s to come. Noah made sure to emphasize that although TheDaily Show is political, “it’s a comedy show first and foremost...You use humor to enlighten people without preaching to them.”

    Illustration by Max Fleishman 

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    I was around 10 when I started reading Seventeen magazine.

    Clearly I was younger than the namesake age for the publication, but I wasn’t truly outside its demographic. By the time I was 17, I was reading college guides and dipping my toes in Cosmopolitan. Seventeen provided the training wheels for me to learn how to be a teenage girl. I could avoid all the embarrassments of those “It Happened to Me” columns if I studied them hard enough. No dropped tampons in homeroom, no getting my braces stuck to some boy’s braces during a first kiss. I’d master the art of the grown-up girl slumber party. I’d become the model teen by osmosis, and ahead of my time.

    Teen magazines still thrive, but teen and young adult digital influencers have supplanted them as the go-to for advice and tips to shape tweens into full-fledged teens. Nowhere is that on more display than at Fullscreen’s Girls Night In, an 18-city tour featuring a combined social power of more than 14.4 million subscribers among its six female headliners.

    While other events for digital stars, like DigiTour or VidCon, are flush with female fans, Girls Night In was exclusively so. Usually the YouTube star dynamic showcases the screaming female fans obsessed with attractive young boys, both gay and straight. On other tours, there’s usually only a small percentage of female creators alongside the boys, but at the Los Angeles Girls Night In stop, only the second on their trek, the only men in sight were two band members accompanying musician Andie Case and a motley crew of dads and industry players wandering around the empty back bar.

    Everywhere else you looked were girls. Young girls, too: Some were as young as 8 with most hovering around 12. After Case opened with a musical set, the remaining five girls appeared on the bedroom-themed set for a scripted bit about their joint sleepover and set up the context of the show through video clips: Eva Gutowski, Meredith Foster, Sierra Furtado, Alisha Marie, and Mia Stammer were tasked with saving the whole Internet by creating and uploading the five best videos they could before morning. That meant staying up all night, and pulling up ever-younger fans to help them go through a series of challenge videos like the smoothie challenge (in which one team choked down a concoction of anchovies, lemon juice, and chocolate milk) and a lip-reading challenge, where they tried to decipher what another girl was saying while listening to incredibly loud music on headphones. It’s the bread and butter of YouTube, acted out live for a more-than-willing crowd.

    “I wanted the show to be inspiring and have a storyline,” Gutowski told the Daily Dot. “I wanted it to be really true to the videos we do on our own channels. I didn’t want it to just be a variety show. I wanted an overall arc of positivity and girl power in general. In this day and age, the Internet is so big, and it could be a really happy place, and we want everybody to know that.”

    The Girls Night In brand of girl power, gossip, and fun might be the modern answer for a teen magazine.

    The women of Girls Night In are post-teenagers who spent part of their young lives building a following on YouTube. Now they’re some of the platform’s biggest success stories, and the rapt attention of their fanbase proved it, even if that fanbase felt smaller in person than their social numbers would indicate. The Los Angeles venue of Club Nokia felt underattended, although that speaks as much to the choice of venue as the attendance numbers: The tour is intended to feel intimate, and the crowd of girls in attendance had bellied up as close as humanly possible to the stage to stay within selfie range of their favorites.

    With the world saved, the night circled back to the opening sketches and a celebratory karaoke singalong on a CD player karaoke machine the girls on stage called “old.” The underlying message of the night was girl power, the ability to be whomever and whatever you want to be if you put your mind to it—especially if what you put your mind to is YouTube stardom. “A simple YouTube can inspire so many people,” the girls shouted from the stage. “What makes you different makes you beautiful!” These rallying cries have turned individuals uploading videos from their bedrooms into household names for the tween set in a few short years.

    “Our demographic is so broad, we reach so many different age groups,” said Foster. “A lot of them are in middle school and going through that. I think being able to give them advice is kind of like being an older sister to them. We’re all helping them, and we’re all having so much fun with them.”

    The Girls Night In brand of girl power, gossip, and fun might be the modern answer for a teen magazine, but instead of those tips of the trade being spouted from a New York publishing company, girls today are getting it directly from their idols’ mouths. With tours like this one letting the creators leap from the screen to the stage, the connection between tween and idol can only grow stronger.

    “It’s nice to show them that we’re people just like them,” explained Gutowski. “It’s really rewarding to be able to show people who are going through puberty or going through growing up, to show them someone older they can look up to and think of as a positive role model.”

    Update 12:26pm CT: After a last-minute shuffle, Sierra Furtado is the last guest on the lineup, not Meghan Rienks.

    Photo by Chris Martin

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    It’s one thing to casually be out as gay to friends and family. But for tireless corporate lackey Waylon Smithers (of The Simpsons), it’s entirely another thing to come out to the greedy, decrepit old billionaire you love.

    Long the butt of jokes on the never-ending cartoon series, the adoration that Smithers feels for the evil Mr. Burns is something that everyone but Burns has already noticed. In an interview with TV Line, executive producer Al Jean said that season 27 brings forth two—not one, but two— entire episodes devoted to the star-crossed love affair between the two characters.

    “In Springfield now, most people know he’s gay, but obviously Burns doesn’t,” Jean notes. “We deal with that in two episodes. … We actually do a lot with Smithers this year; he gets fed up with Burns not appreciating him and considers his options.”

    Could Smithers finally give up on Mr. Burns and look elsewhere for love? Will an ultimatum force Burns to look deep inside his heart and examine his own sexuality (which, we imagine, might center solely on love for himself)? Viewers who tune in for the big gay outing will hopefully soon have answers to all of their steamy soap opera-like questions.

    We can’t say exactly what will happen in the Smithers episodes, but we do know that he’s been holding a torch for Burns for 26 years—since the longest-running sitcom in history started running in 1989. Smithers has been dreaming of a sweet caress from Burns’ gnarled, money-grubbing hands since before Taylor Swift was born.

    To celebrate the impending outness of Smithers, watch these clips that show some of the best, most homosexual moments that reflect the endless love of submissive secretary Waylon Smithers for his sexy, cruel taskmaster Charles Montgomery Burns. 

    Photo via Phil Monger/Flickr (CC BY 2.0) | Remix by Max Fleishman

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    Podcasts are getting their own pilot season.

    Over the weekend, winners were announced for WNYC’s first-ever Podcast Accelerator contest, which sought to find new producers for pilots. In collaboration with the Online News Association (ONA), Podcast Accelerator was launched back in June, and the pitch contest was open to both known and new podcast producers. This weekend, the producers pitched their shows at the ONA conference in Los Angeles, and judges monitored feedback from Twitter, where audience members were weighing in on pitches as well.

    The honors went to The City, hosted by Chicago reporter Robin Amer, and Gaydio, an LGBTQ series hosted by Tobin Low and Kathy Tu. Dean Cappello, WNYC’s chief content officer, says the idea for Podcast Accelerator was a product of evolution.  

    “I think as we just watched where we were going to go next and how the environment is shaping up,” he said, “we’ve been very conscious about building the pipeline and building more volume in the pipeline, and becoming not just a public radio production company, but becoming a great content company, period. [It] really demands that we do something differently.”

    Last year, an initiative to develop new shows within WNYC—home to radio phenoms Radiolab and The Moth Radio Hour—led to the development of staffer Anna Sale’s Death, Sex & Money. This is the first time the station has opened up to non-internal producers.

    Cappello says WNYC is taking the “long view.” The “content ecosystem” of New York, and the inclusion of executives from AMC and the BBC on WNYC’s board, have given the producers more insight about talent, but Cappello reiterates that they’ve got to do something new.

    “The audiences that we’re serving are not the same as the audiences of five years ago,” he said. “For a public radio organization, everything is predicated on the broadcast platform, and while that’s still incredibly important to us, and we care about it, we know that if you create content with various personalities … you can aggregate people from across the country or around the world—on-demand content—and build things that otherwise don’t make sense for the radio.”

    It makes sense that podcasts are now being green-lit and approached much like Amazon pilots; they’re often consumed like TV and certain personalities could easily make the jump. But whereas Amazon and Netflix encourage the binge, podcasts reward (and bank on) the return listener. Popular podcast Serial could have theoretically made a transition to TV, but there was something more intimate about audio storytelling there; it allowed listeners to reconstruct the scene. 

    Cappello says the next step is actually pairing the podcasters with producers who will help shape the shows into something that could sustain a whole series. The City will focus on a story from a different American city every episode, and Gaydio will address issues of identity. What was it about these shows that convinced Cappello?

    “The way Robin [Amer] has sort of talked about the city mirrors what I’ve been looking to do,” he said. “She talked about it as, ‘What if The Wire were true stories that were told to you in a serial fashion?’… Gaydio, you know, there’s just nothing like that out there in our universe. … Opening up a conversation with all kinds of people about identity and orientation and all the things that come with it. Those of us who live in America in 2015, these conversations are happening all around us. We should provide a place where those things can happen that appeals to both a very broad audience and people intrinsically interested in that content.”

    Photo via Atul Srivastava/Flickr (PD)

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    Tyler Oakley knows his fans can't wait to read his first book, Binge, so he's giving them a taste early.

    Oakley posted the partial text of one chapter, "The One That Got Away," to Wattpad, a publishing site for amateur and professional authors, and its more than 40 million monthly users.  He promised on the site to reveal more portions of the chapter each Monday until the book is released.

    "This ain't fanfiction, but it does get JUICY," Oakley wrote.

    The chapter deals with Oakley's first boyfriend in college, and fans must sign up with the site to view the full text Oakley is leaking. It's the longest single section in the upcoming work, with 40 pages dedicated to the full story of Adam and Tyler's relationship.

    Binge hits shelves Oct. 20, and Oakley is supporting its release with a book tour across 22 international cities.

    Screengrab via Tyler Oakley/YouTube

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    We know how important having your Netflix queue in order can be, so we’ve put all the titles leaving this month in one place. 

    Take a look and plan accordingly. And if you’re curious about the comings and goings on Amazon or Hulu, we’ve got you covered there, too. 


    Oct. 1

    A Nightmare on Elm Street

    American Masters: Billie Jean King

    Analyze That

    Analyze This

    Angela's Ashes

    Annie Hall

    Baby's Day Out



    Beyond Borders

    Bizarre Foods with Andrew Zimmerman Collection

    Buying & Selling: Season 1-2

    Caprica: Season 1

    Charlie Bartlett


    Cold Mountain

    Days of Heaven

    Dead Man Walking

    Destination Truth: Season 4

    Domestic Disturbance

    Down to Earth

    Ella Enchanted

    Hawaii Five-O: Season 11-12

    Hotel Impossible: Season 1-2

    Interview with the Vampire

    Kangaroo Jack

    L!fe Happens

    L'Auberge Espagnole


    Nature: Ireland's Wild River

    Nature: Leave It to Beavers

    Nature: Love in the Animal Kingdom

    Nature: My Bionic Pet

    Nature: Parrot Confidential

    Nature: Saving Otter 501

    Nature: Snow Monkeys

    Nature: Touching the Wild: Living with the Mule Deer of Deadman Gulch

    Off Limits Collection: Collection 1-2

    Pee-wee's Big Adventure

    Plankton Invasion

    Restaurant: Impossible Collection: Impossible

    Rob Roy

    Romeo + Juliet

    Saturday Night Live: The 2010s: Season 37

    Sid the Science Kid: Season 1

    The Beautician and the Beast

    The Big Lebowski

    The Crocodile Hunter: Collision Course

    The Dead Files: Season 1-2

    The Devil's Rejects

    The Exorcist

    The Hunt for Red October

    The Phantom of the Opera

    The Pioneer Woman Collection: Collection 1

    The Producers

    The Scorpion King 3: Battle for Redemption

    This Is Spinal Tap




    You Got Served

    Oct. 4

    Wolverine and the X-Men: Season 1

    Oct. 7

    Alpha and Omega 2: A Howl-iday Adventure

    Alpha and Omega 3: The Great Wolf Games

    Oct. 8

    Snoop Dogg Presents The Bad Girls of Comedy

    Oct. 9


    Oct. 12

    Bratz Kids: Fairy Tales

    Oct. 15

    Good Luck Chuck

    Pinky Dinky Doo: Season 1

    Play with Me Sesame: Season 1

    Sesame Street: Animals and Nature: Season 1

    Sesame Street: Classics: Vol. 1-2

    Sesame Street: Cookie and Friends: Season 1

    Sesame Street: Creativity and Imagination: Season 1

    Sesame Street: Elmo and Friends: Season 1

    Sesame Street: Everyday Moments: Season 1

    Sesame Street: Music and Dance: Season 1

    Sesame Street: Numbers and Letters: Season 1

    Oct. 16


    Chico & Rita

    Oct. 20


    Oct. 22

    Machine Gun Preacher

    Oct. 25

    Nanny 911: Season 1

    Oct. 26

    Bratz: Genie Magic

    Oct. 27


    Oct. 29

    America's Sweethearts

    Oct. 30

    Life in Our Universe: Season 1

    Oct. 31

    Braxton Family Values: Season 3


    Sept. 1

    Agent Cody Banks 2: Destination London 

    Better Than Chocolate 

    Bratz: Rock Angelz 

    Care Bears: Big Wish Movie 

    Care Bears: Journey to Joke-a-Lot

    Crouching Tiger, Hidden Dragon 

    Curious George 2: Follow That Monkey! 

    Doomsday Preppers: Season 1-3 

    Electrick Children 

    FernGully: The Last Rainforest 

    Ink Master: Season 2 

    Jackie Brown 

    Lock, Stock and Two Smoking Barrels 

    Mortal Kombat: The Movie 

    Patch Adams 

    Perfume: The Story of a Murderer 

    Rugrats in Paris: The Movie 

    Rules of Engagement 


    Sarah's Choice 

    School of Rock 

    She's the One 

    Sleepless in Seattle 

    The IT Crowd: Series 1-4 

    The Lost Boys 

    Total Recall 


    Sept. 2 

    Cheech & Chong's Hey Watch This 

    Sept. 3 

    Dinosaurs: Season 1-4 

    Sept. 4 

    Delta Farce 

    Sept. 5

    Marilyn in Manhattan 

    Sept. 7 

    Ramsay's Best Restaurant: Season 1 

    Sept. 9

    Bratz: Friendship Is Always in Style 

    Kicking It 

    Sept. 10 

    100 Below Zero 

    Becoming Chaz 

    Crash & Bernstein: Season 1-2 

    War Witch 

    Sept. 13 

    High Fidelity 

    Sept. 14 

    Corky Romano 

    Sept. 15 

    Best of Teletubbies 

    Bratz: The Video: Starrin' & Stylin' 

    Coach: Season 1-9 

    Spiral: Season 4 


    Sept. 16 

    Hank: Five Years from the Brink 

    The Slap: Season 1 

    Sept. 20 


    Sept. 22 

    National Geographic: Inside Guantanamo 

    National Geographic: The Battle for Midway

    Sept. 26 

    Indy 500: The Inside Line 

    Lethal Force 

    Ron White: A Little Unprofessional 

    Sept. 27 

    LEGO Ninjago: Masters of Spinjitzu: Season 1-2 

    My Boys: Season 1-4 

    Sept. 28 

    Undeclared: The Complete Series 

    Sept. 29 

    Bratz: Desert Jewelz 

    Comic Book Men: Season 2 


    Sept. 30 

    Anchorman 2: The Legend Continues 

    Apocalypse Now 

    If I Stay 

    Jack Ryan: Shadow Recruit 

    Jackass Presents: Bad Grandpa 



    Star Trek: The Motion Picture 

    Star Trek Into Darkness 

    The Expendables 3 

    The Good Guy 

    The Hunger Games: Catching Fire 

    The Prince 

    The Skeleton Twins 

    The Wolf of Wall Street 

    Transformers: Age of Extinction 

    World War Z 


    Aug. 1

    Bad Girl Island 


    Beauty Shop 


    Chitty Chitty Bang Bang 

    Digimon Adventure: Seasons 1-3

    Driving Miss Daisy 


    Fools Rush In 

    Gangsters: Faces of the Underworld: Season 1


    Hot Pursuit 


    Inside Fendi

    Joe Dirt 

    Kiss the Girls 

    Pumping Iron 

    The Pitch: Season 1


    The Fifth Element 

    The Longest Day



    Voyage to the Bottom of the Sea 

    We’re No Angels 

    Aug. 6

    The Raven 

    Aug. 8

    Albert Nobbs 

    Explorers: Adventures of the Century: Season 1 & 2

    Aug. 15

    Family Ties: Seasons 1-7

    Immortalized: Season 1

    The Forsyte Saga: Series 1-2

    Aug. 23

    Jiro Dreams of Sushi 

    Aug. 24

    My Fair Wedding: Season 5

    Aug. 25


    Aug. 27

    LEGO Atlantis 

    LEGO: Hero Factory: Breakout 

    LEGO Ninjago: Masters of Spinjitzu: King of Shadows 

    LEGO Ninjago: Masters of Spinjitzu: Way of the Ninja 

    The Moth Diaries

    Aug. 31

    Spider-Man and His Amazing Friends: Seasons 1-3

    Illustration by Max Fleishman

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