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Recent Entertainment articles from Daily Dot

older | 1 | .... | 70 | 71 | (Page 72) | 73 | 74 | .... | 354 | newer

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    He is the one who knocks, and when he asks you to prom on behalf of a starry-eyed teen, you listen.

    After a performance in All the Way on Broadway, Bryan Cranston took time out to sign autographs and meet fans. One in particular made the most of his encounter, convincing the Breaking Badstar to provide the perfect setup on his behalf.

    “Maddy,” he says in full Walter White mode, “if you don’t go to the prom with Stefan, then maybe your best course of action is to tread lightly.”

    The look on the teen’s face when he hears her response is pretty priceless.

    Here’s what it looked like for Maddy.

    Photo by zennie62/Flickr (CC BY-ND 2.0)


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    In Spotify Essentials, the Daily Dot curates custom playlists created by some of our favorite artists and writers. This week’s edition comes courtesy of critically acclaimed Norwegian indie pop band Highasakite.  

    I think this playlist somehow captures a little bit of every band member, things we have just discovered and things that we use as an inspiration to make music, drums, and moods.

    Highasakite consists of five quite different musicians, but that ends up being a really good match when we´re together and working on new songs.  

    In this playlist there are artists and songs that we used as an inspiration for starting the band, such as Joy Division. There are also brand new releases like the brilliant song "Red Eyes" from the War on Drugs and one tune from MØ´s great debut album. Fever Ray is also one of our favorite artists at the moment.  At least we´re always listening to her when we´re driving in the tour bus. 

    You can listen to Highasakite’s new album, Silent Treatment, on Spotify.

    Photo via Highasakite


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    We’ve chronicled women boast-rapping about their vaginas and their periods. Now, witness what might be the first ever rap about the importance of getting a pap smear.

    Nadia Kamil is U.K.-based performer, and her song “Pap Rap” has everything: hype puppets, references to Mary Wollstonecraft and Obamacare, and Kamil urging ladies to livetweet their paps, like she did in 2012, in an effort to destigmatize them. There’s even a hashtag, #SocialMediaSmearPioneer, so you know she’s serious about preventing cervical cancer.

    She also apparently has an amazing Etsy store where you can buy these.

    H/T Jezebel Screengrab via Nadia Kamil/YouTube


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    The team from Fox’s Kitchen Nightmares returned to Amy’s Baking Co. for a second helping of verbal abuse Friday nearly a year after the Arizona eatery became the most-despised restaurant on the Internet.

    In the season 7 premiere of chef Gordon Ramsey’s hit reality series, Kitchen Nightmares aired never-before-seen footage from May’s infamous episode. The clips punctuated what was already featured during their first meeting: owner Samy Bouzaglo refusing to confront his wife Amy about terrible food, former waitresses complaining about not receiving tips, and Amy’s refusal to hire men in the kitchen because of its small quarters. The episode also touched on the hundreds of parody videos and Facebook comment wars between Amy and alleged customers.

    But by far the most interesting part of Friday night’s episode came near the very end, when a Kitchen Nightmares staffer returned to Arizona to interview the infamous duo.

    “This time from Kitchen Nightmares's I want money,” Samy told Fox's staff. “You guys made so much because of us, and Gordon Ramsey tried to bury me alive. … You set me up. You tried to bury us alive.

    “Gordon Ramsey can go f**k himself.”

    The season premiere was a boom in ratings for Fox, with a 22 percent rise over last season's opener, according to Deadline.

    As is the case with any sort of press Amy’s Baking Co. receives, haters have filled up posts on the restaurant's Facebook page with negative comments.

    You can watch Kitchen Nightmares return to Amy’s Baking Co. here.

    Photo via Amy's Baking Co./Facebook


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    BY RYAN BASSIL

    On Nov. 17, 2013, “Sabrina O’Connor” posted a story on Examiner.com that claimed Lady Gaga’s Interscope label had spent $25 million on the promotion of ARTPOP—the most since Michael Jackson’s Invincible—resulting in redundancies at the label. 

    Within days this number had been treated like a limp-sock in a public-school dormitory; passed around by anyone desperate enough to use it. Business WeekVulture, and MSN all ran stories leading with the click-baiting $25 million loss and the figure has since been floated elsewhere; contributing to analysis and reviews of Gaga’s strongly unanimous fail of a record.

    The problem—Sabrina O’Connor doesn’t exist. Gaga has since denied the $25 million figure, and many sites—despite adding a small-print “according to Examiner.com” correction—still have their lead-story online.


     

    Examiner.com, a website that has a network of “100,000 contributors,” had been taking submissions from O’Connor and another writer called Angela Cheng–who some have speculated are the same person. Cheng, who once wrote that the “top reason to dislike Madonna” was because she “helped encourage the spread of aids,” had, alongside O’Connor, published a tonne of Gaga takedowns on Examiner.com. Here’s a screenshot.

    (via)

    Perez Hilton, notorious Gaga hater, is also a fan.


     

    It could just be the work of a crazed Madonna stan except, on Jan. 1, 2014, Cheng published another piece claiming that Bill Werde, former editorial director at Billboard.com, was to be fired from the company—a week later he was gone. The details may have been incorrect—he wasn’t fired—but the “scoop” gave slight credibility to Cheng’s previous claims. Was Cheng not just an Internet troll with spare time, but a credible, albeit very biased, source of information operating under a false identity? When BuzzFeed contacted Werde to discuss the story, he took matters into his own hands and embarked upon a super-slewing investigation.

    Read the full story on Noisey.


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    Last night, Seth Rogen hostedSaturday Night Live for the third time, and his opening monologue was pretty Rogen-y. He read from a “journal” he kept during the week, and after the requisite weed jokes, he mentioned he decided to prank James Franco by posing as an underage girl on Instagram

    “He seemed unphased,” Rogen added. 

    The girl he’s referring to is 17-year-old Lucy Clode, whom Franco apparently messaged on Instagram in early April. This quickly turned into an Internet scandal, and in the wake of the screengrab controversy, many wondered if this exchange was promotion for his new film, or a viral hoax. Franco eventually confessed it wasn’t a hoax, and that he was embarrassed by his actions, while websites collected Clode's "best" Instagram photos and the Internet commented on her body. Franco and Rogen get to yuk it up for laughs on national TV, but is Clode getting to laugh about it? 

    Rogen’s monologue — which also featured Zooey Deschanel and Taylor Swift — introduced a fairly uneven episode, but this CNN Pregnancy Test was pitch perfect. 

    Screengrab via Hulu

     


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    Oculus Rift disappointed a lot of its original investors by selling out to Facebook last month, but that doesn’t mean all those cool ideas for virtual reality headsets are dead just yet.

    Case in point: nature documentaries. Virtual reality isn’t just for video games and 3-D cyberpunk porn, after all. What could be cooler than a VR movie that plunges you straight into the kind of exotic locations we usually only get to see on the Discovery Channel?

    British wildlife documentary legend David Attenborough, former narrator of Planet Earth, may be 87 years old, but he’s always been on the cutting edge of filmmaking. He’s already working on an Oculus Rift documentary titled Conquest of the Skies. Using an eight-camera rig, the documentary will allow Oculus Rift viewers a 360-degree view of the skies of Borneo, presumably accompanied by Attenborough’s trademark voiceovers.

    After all the fuss over the Facebook takeover, it’s reassuring to know that Oculus Rift won’t all be Farmville and creepy social networking apps. David Attenborough is about as respectable as you can possibly get. 

    Photo via Wikimedia Commons


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    If you’ve ever walked out of a film thinking you could’ve written it better, this must be a dream come true. During superstar director James Cameron’s Reddit AMA, user AmishBob had a bone to pick:

    I've been wondering where the idea to ALWAYS have a character yell "Go, go go!" in your movies came from. Did it start as a conscious thing or did you notice it later and just continue on?

    A relatively minor question, but one that Cameron had apparently never noticed. The man behind Titanic, Avatar and countless other blockbusters remarked that “it must just be the way I talk! In fact I just wrote a scene yesterday where a character says ‘Go Go Go!’ The page is open on my computer right now.”

    Cameron said he even spoke like it on his famous underwater dive because if “something is really important, you say it three times.” But he thought about it and decided to scratch the line:

    “I’m going to change that scene now. Nobody wants to be predictable.” 


     

    Redditors remarked that this was an anecdote that AmishBob was going to be able to tell around the table for a long time to come. Except Bob will be watching Avatar on repeat, preparing for Cameron’s next AMA.

    Cameron could always be pulling our leg, of course. We'll find out when we see Avatar II

    Photo via Flickr/Steve Jurvetson 


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    The Internet is full of reaction videos: Dogs reacting to magic, grandmothers reacting to Beyoncé, kids reacting to rotary phones. Now porn stars have figured out a way to jump on the trend, by reacting to... themselves.

    WoodRocket, home to classics like The Knobbit and Game of Bones, recently debuted a new series called Look at Me Now, which asks porn stars to watch themselves having sex in films, and reflect on their performance. Coco Velvett is the inaugural reviewer, and she gets pretty real (“I look like an inchworm”). Also: Hearing the audio of this clip without visuals is terrifying.

    Stoya, James Deen, and Veruca James will also participate in this critical analysis. You can watch the video on WoodRocket, but here are a couple of the emotions:

    Images via WoodRocket


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    The Internet is full of reaction videos: Dogs reacting to magic, grandmothers reacting to Beyoncé, kids reacting to rotary phones. Now porn stars have figured out a way to jump on the trend, by reacting to... themselves.

    WoodRocket, home to classics like The Knobbit and Game of Bones, recently debuted a new series called Look at Me Now, which asks porn stars to watch themselves having sex in films, and reflect on their performance. Coco Velvett is the inaugural reviewer, and she gets pretty real (“I look like an inchworm”). Also: Hearing the audio of this clip without visuals is terrifying.

    Stoya, James Deen, and Veruca James will also participate in this critical analysis. You can watch the video on WoodRocket, but here are a couple of the emotions:

    Images via WoodRocket


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    EMA’s latest album, The Future’s Void, opens with a quick wash of noise. It’s unsettling, harsh—and “Satellites,” a song about surveillance, is our entrance into the void.

    The Future’s Void is singer and guitarist Erika M. Anderson’s meditation on virality, dissociation, and identity. On the album’s cover, she wears an Oculus Rift headset, the cord disappearing out of frame, plugged into everything and nothing at once. On “3Jane,” the album’s linchpin, Anderson sings: “Feel like I blew my soul out / Across the interwebs and streams / It was a million pieces / Of silver and I watched them gleam.”


     

    The conflicted self is a theme on The Future’s Void, the followup to her 2011 critically acclaimed debut, Past Life Martyred Saints, and it takes a couple listens to sink in. But it’s not all dystopian visions; there’s an emotional core, one of self-exploration. Anderson wrote about “3Jane” on her website, after Facebook announced it’d bought Oculus Rift, and touched on the digital divide:

    “No one was really ever that mean to me on the internet. I never had that ‘thing’ that happens when you wake up one morning and somehow your life is ruined because a mortifying picture goes viral or a ‘funny’ tweet becomes horribly misread. Sure, there were bitchy things in the comments of videos, but organized trolls never unleashed a wave of death threats on me, and only a few people suggested that I kill myself.

    “So the internet never actually did that to me. But it did that to somebody. And now we all have this stupid crippling fear that someday it will happen to us. And the likelihood increases as you move from relative obscurity to becoming more broadly visible on the internet. There are more cameras on you, more chances to be quoted saying something stupid, and more people out there who relish seeing successful people disgraced and dethroned.”

    Anderson spoke to the Daily Dot about the Internet, Second Life, and controlling her online image.

    I read your blog about Facebook’s purchase of Oculus Rift. Is that something that interests you? Do you feel like it’s a progressive movement, or is it unsettling?

    I feel like Facebook buying Oculus really completed the meaning of the cover and actually tied it in in a way that was not even possible for me to do. And yes, it sounds horrifying if you read [Zuckerberg's] statement. He’s like, “We can’t wait until billions of people are on this.” With the record, I think people read the lyrics as sort of this didactic, lecturing, anti-Internet record, which to me, it’s not. There are certain parts that talk about my personal feelings, but one thing I’m realizing is, with a song like “Neuromancer,” I think that’s actually getting interpreted wrong.  When I’m saying, “Making a living off taking selfies, such a narcissistic baby, such a new millennial baby,” I’m actually talking about things that have been said to me. Is it true? Do you believe what they say about you? Or us? … I think it’s a bit more complex than people are actually reading it as.

    You mentioned image on the blog, too. Have you had a hard time controlling your image on the Internet?

    It’s difficult, because people kind of listen to whole records now, but most people are going to get some idea of who I am by scanning the headline next to a picture of me, and they’ll be like, “Oh, someone told me this album sounds like this, and it’s about the Internet.” But yeah, that aggregate of photos and words: The photos are usually not taken by you, the words are not written by you, but that starts to be your weird avatar, and people think they know you or have an understanding of your work. And if that thing becomes sort of like you but starts to veer at some point, you get a sense of vertigo, of dissociation. … In the future, I don’t even know if there will be a relevant distinction between someone’s online persona and in-real-life persona. They might not have this vertigo.


     

    It will be more seamless.

    Yeah, hopefully. Who knows? So, one of the reasons I took those sad Second Life photos, as I’m calling it, is because I realized if I’m complaining about the way I’m represented, or I feel weird about it, the only thing I can do in a constructive way is to try to generate my own images.


     

    Do you participate in Second Life?

    We played around with it, because we discovered this YouTube series called Soda Gnome, and so we got kind of obsessed. So it was like, let’s put me in some funny ones—let’s put me in a virtual realm. And we just kept seeing all these virtual lap dances, and this sort of sad, dystopian R&B song, like a Weeknd song. So it wasn’t like I set out to pose really sad in front of, you know, weird porn. It just sort of happened as we were browsing through things. … I don’t have any real didactic worldview on whether online interaction is bad or good. I’m just watching it go through growing pains, watching with awe. It’s like looking out at the galaxy, you know? Humans are crazy.

    Sort of related to the issue of image: Do you read comments on social media?

    I’ve been reading my reviews for this record, and a lot of them are good, and some are bad. I knew this record would be more polarizing than the last. The subject matter and words would be more polarizing, and some people would hate it. But what can you do? It’s cool as an artist to make something that’s debated a bit. The one thing you don’t want is for someone to look at your picture, and look at the number next to it, and keep clicking.


     

    I wanted to ask about “Dead Celebrity,” because social media has turned into this new mourning ground for people we didn’t even know. Do you see a difference in the way women are treated, as opposed to men?

    I know there’s this whole idea that fame can be destructive. It’s an old story. But there seems to be this super strain that’s affecting you women pushed into the spotlight. The Britney insanity, the Amanda Bynes breakdown, Amy Winehouse. I remember reading later—I think I’d already written “Dead Celebrity”—that the night she died, she’d been watching YouTube videos of herself, which was the saddest thing to me. Because you know the comments are going to be awful, ripping her apart. I do have a certain real sadness for these young women in the spotlight. It just seems to affect them disproportionately.

    I was reading an article recently about online harassment, which asserted that the women who might be most capable of enduring it are the ones who can shut down a part of themselves to deal with it. And that sort of blew my mind.

    Gender on the Internet is so interesting, because, on one hand there’s this frustration and hate. But, in the beginning, some of the first people to make money on the Internet were webcam girls. Those words are always there, those slurs, those threats of violence, but there are a lot of women in power on the Internet; they have a perceived sense of popularity, and they take beautiful pictures of themselves all day, and people become fascinated. And there are those who wish they had that power. There’s this power dynamic. It’s complex. But like I said, there’s that super strain.


     

    On Twitter, you mentioned that you were angry when you wrote this album. Have you been able to pinpoint why?

    Well, maybe my intellectual self tries to make these points—There’s this! And what about this!—but what is my emotional self really feeling? Some of my emotional self was just fucking pissed. I don’t know how to put it into words. I don’t know if it was the act of having to be on an extended advertising campaign for yourself, or people misunderstanding you. …I don’t know if it was the constant having to sell yourself, act like everything's cool, or take pictures. I don’t know, I can’t really name it.

    I’ve thought, “Why didn’t I just make something that wasn’t as mad?” But, fuck it. If I was mad, there was a real reason why I was. That feeling that you keep needing to feed the beast; you keep needing to put up more photos and more things. And I can’t tell if that’s the Internet, or if that was the same in the ‘80s, when you needed more and more pictures. But I’m trying to be very even-handed with things. It’s the Midwesterner in me. I think it’s empathy. I don’t really want to judge people; I want to understand them.

    I’m a person who was terrified of the Internet, who’s just now getting back on the Internet, but I have this hope that we’re about to turn a corner on things. I think we’re going through some growing pains right now, but I have a hope certain things will settle. The thing I fear more than [trolls] is that we’re about to get into a super-capitalist advertising takeover, even though we’re kind of already there.

    Photo via Matador Records


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    If there’s one song that’s endured in the viral marketplace over the last six months, it’s Pharrell’s “Happy.” And if there’s one person who knows how to turn celebrities into sobbing messes, it’s Oprah.

    Pharrell was a guest on Oprah’s OWN talk show, Oprah Prime, and the two spoke about the success of the song, as well as his childhood and his grandmother. With Pharrell and his Vivienne Westwood hat already emotionally primed, Oprah showed him a montage of fan-made “Happy” videos, documenting people across the world dancing to his song. Afterward, Pharrell tears up and can’t speak for about a minute.

    “Why am I crying on Oprah?” he asks.

    Because when Oprah says, “Can we roll the tape of that,” your tears are going to be released from eye jail.

    Screengrab via 202A Entertainment/YouTube


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    “Slam poetry” gets a bad rap these days, but what Jesse Parent expresses in this video really is poetic. Filmed at the College Unions Poetry Slam Invitational in Boulder, Colo., this clip, titled “To the Boys Who May One Day Date My Daughter,” features Henry Rollins lookalike Parent listing all the ways in which his daughter’s future suitors should tread lightly.

    Despite his militant verses about years of training to kill these men, and his “room with a rubber mat and a drain,” Parent’s descriptions are quite beautiful. Addressing violence towards women, he says, “She will not keep your secret. You can’t make fire feel afraid.”

    His addendum at the end ties it all together, too.

    H/T Digg Screengrab via Button Poetry/YouTube

     


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    No record is safe from HBO’s Game of Thrones.

    More than 6.3 million people tuned in live to see Sunday’s second episode “a 48 percent increase for Season 4's second episode as compared to last season,” TheWrap reported.

    Another 1.5 million downloaded the episode within 24 hours via BitTorrent, a peer-to-peer file sharing protocol. The file for Game of Thrones’s “Purple Wedding” also set records with 193,418 people sharing a single torrent, a file that contains “text and point out the trackers for a download to begin downloading from distributors (known as seeders) and requesting clients (known as leachers),” whatis.com states.

    “These are unprecedented numbers–never before have 193,418 people shared a single file simultaneously,” TorrentFreak reported. “The previous record was set last year, when the season finale of Game of Thrones had 171,572 people sharing on a single track.”

    Following every new episode this season the Internet has overflowed with reaction videos, strange Game of Thrones remixes, and thousands of tweets. Game of Thrones was mentioned 251,000 times on Twitter, coming in second to the MTV Movie Awards with 2.4 million, TheWrap added.  

    It’s hard to imagine Game of Thrones losing any steam this season. As such, Reddit user snugglas posed an interesting and, as of right now, fictional scenario:

    Photo via vixenvarsity.com/


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    If you’ve seen Darren Aronofsky’s Noah, you may have noticed something a little weird about the semi-Biblical, semi-apocalyptic cast of the movie: they’re all white. Even the extras.

    Hollywood has a long history of casting white actors to play the roles of Middle-Eastern characters in Biblical movies, from Charlton Heston in The Ten Commandments to Jim Caviezel in The Passion of the Christ, to Christian Bale and Aaron Paul in the upcoming Exodus movie. There’s really no excuse for this type of casting, although the obvious explanation is that filmmakers don’t believe a Bible movie can be successful without a cast of white movie stars to prop it up.

    Luckily for Noah, its creators already had a ready-made rationalization for why Noah and his family were all very clearly caucasian: the movie isn’t set in a specific location or historical time period, meaning that no one could possibly criticize them for failing to cast non-white actors. Right?

    Yeah, not so much. Noah may have gotten pretty good reviews so far, but it’s also inspired a lot of backlash from people pointing out that it’s incredibly weird to create a supposedly “universal” apocalyptic scenario in which virtually every non-white race has been erased without explanation.

    In an interview with The Higher Calling, Noah screenwriter Ari Handel spoke about the reasoning behind the lack of racial diversity in the cast.

    “From the beginning, we were concerned about casting, the issue of race. What we realized is that this story is functioning at the level of myth, and as a mythical story, the race of the individuals doesn’t matter. They’re supposed to be stand-ins for all people. Either you end up with a Bennetton ad or the crew of the Starship Enterprise. You either try to put everything in there, which just calls attention to it, or you just say, ‘Let’s make that not a factor, because we’re trying to deal with everyman.’ Looking at this story through that kind of lens is the same as saying, ‘Would the ark float and is it big enough to get all the species in there?’ That’s irrelevant to the questions because the questions are operating on a different plane than that; they’re operating on the mythical plane.”

    In summary, white people are stand-ins “for all people,” and no other race could possibly qualify for “everyman” status. Ari Handel’s reasoning is that the only way to dispense with the issue of racism is to remove everyone who isn’t white. Asking what happened to all the other races is akin to nitpicking about whether the arc would float or not. It’s just silly, OK? “The race of individuals doesn’t matter,” which is why they made absolutely sure that all of those individuals were white. Or something.

    Unintentionally, Handel managed to illustrate everything that’s wrong with the ongoing attitude towards casting actors of color in major Hollywood movies. White people are the norm, and everyone else is just a distraction. God forbid anyone attempt to be as diverse as the cast of the Star Trek, which debuted in 1966 and included a grand total of two non-white characters.

    Handel frames the criticism of Noah’s all-white cast as a matter of accuracy, as if viewers are unfairly judging the movie for failing to represent the precise demographics of real-world racial diversity. In reality, a far more relevant criticism is to point out that both the film and its screenwriter are explicitly stating that the only way to tell a “universal” myth is to populate it with white people.

    By characterizing Noah as a mythological story, Handel is digging a grave for his own argument. Much like the way Lord of the Rings legitimized the existence of dragons and orcs but failed to stretch the imagination to the concept of a black hobbit or an Asian elf, Noah’s lack of diversity tells us far more about its creators than about the message they were attempting to impart in the first place. If you actively go out of your way to cast white actors because you think they’ll be more universally identifiable to the film’s worldwide audience, then the problem is definitely with you, not with your critics.


    Photo via sweetsmellosuccess/Tumblr


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    If anyone knows the nuances of the fine art of emoting, it’s Jon Hamm. After all, he is the man responsible for the pitch-perfect SNL spoof of the Auto-Tune cry heard round the world. 

    Hamm stopped by Sesame Street to lend his emotive expertise to a very confused Murray, consternated by some new emotions. The twosome tackled guilt, frustration, and amazement, elevating all of our emotional maturity in the process. 

    The takeaway? More than just a deeper understanding of that thumping muscle called a heart, but a whole slew of Hamm-tastic mugs that should be printed on emotion flash cards so future generations can learn from his facial brilliance. 


     

    But that’s not all. If your tot needs a crash course in the emotional subtext of Entourage, Hamm has you covered with a “Hug it out!” moment that would make Ari Gold blush. 

    GIF via TraciGlee/Tumblr | H/T HyperVocal


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    Inviting Taylor Swift to your wedding is a bold choice. Haven’t you seen Swift’s Speak Now tour, which features a large choreographed routine of Swift breaking up some happy nuptials onstage to steal the groom away for her own?

    One Ohio fan took the risk regardless. Though Swift couldn’t attend the ceremony, she was free for the lucky lady’s bridal shower. Naturally, she showed up in Columbus with a camera in tow.

    The bride-to-be, Gena, even got to show off her best signature surprise face (see above).

    H/T Taylor Swift/YouTube


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    If you’re looking for some summer plans, Netflix just carved out at least a weekend’s worth of binge-watching time for you: A trailer for season two of Orange Is the New Black was released today.

    This season, we see a lot of the same faces from season one, as well as a new inmate, “Vee,” who seems to be an adversary of Red (Kate Mulgrew), and might have made Crazy Eyes (Uzo Aduba) her new acolyte. There’s also the promise that “It’s getting real” at Litchfield. This supplemental trailer featuring the cast attempting to describe the second season in three words features the word “deep” several times.

    Season 2 debuts on June 6.

    Screengrab via Netflix/YouTube


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    Hidden within the historically oppressive Soviet Union was a paradise known as the Hundred Acre Wood.

    While Disney made Winnie the Pooh into a multibillion-dollar industry, artists in the Soviet Union transformed A. A. Milne’s beloved children’s series into an animated cartoon called "Vinni Pukh.”

    Like Disney’s adaptation, the Soviets closely followed the honey-fueled adventures of Pooh and his friends Piglet, Owl, and Rabbit. The difference lies in how the Soviets decided to animate him as part of its three-part series released from 1969 to 1972.

    Pooh is depicted as a dark brown bear, Piglet is pink all over, and Rabbit could use a couple more pounds and some contact lenses.


     

    By far, the best parts of the Soviet Pooh are the music (which was arranged by Lev Zhurbin) and sound effects. Check out the three episodes below.

    H/T Reddit | Screengrab via YouTube


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    Depending on your level of fandom around the U.S. version of The Office, the recurring theme of characters reacting directly into the camera is either tiresome or hilarious. After nine seasons, it’s become a really old bit, but it was a trademark of the show, right up until the finale. 

    The Office Stare Machine is here to alleviate some of your frustration. It collected all the reaction shots from the show, and categorized them by emotion: happy, sad, worried, confused, annoyed, embarrassed, etc. It was created by Joe Sabia and Aaron Rasmussen, the same guys behind The Office Time Machine, which plucked out the show’s numerous pop culture references.

    You simply type in the emotion you’re looking for, and the Stare Machine provides you with an instant example. Taken out of the context of a punchline, these shots are actually funny. 

    Here’s annoyed:

     

    And worried, the most popular stare, which was beat to death by Jim Halpert:

     

    And sad:

     

    Those are the three workplace emotions, right? It also tells you how many stares you’ve endured. If only The Office did that! 


    Screengrabs via The Office Stare Machine 


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