The Tale of Princess Kaguya Looks Like a Stunning Return to Form for Isao Takahata
The Tale of Princess Kaguya, Studio Ghibli’s latest film, was released in Japan last year to rave reviews. In March, independent distributor GKIDS announced that they’d bought the U.S. rights for the film, and they’ve finally released the first teaser for its stateside release. It’s a short glimpse that doesn’t reveal much plot, but what we see is haunting, beautiful, and more than enough to predict another Ghibli masterpiece.
Taylor Swift Shakes Off Her Haters—and Her Old Country Image—on New Single
In the video for Taylor Swift’s new single—the first off her next album—the polarizing superstar tries on a number of new looks. She hoists a boombox, Radio Raheem-style, beside some breakdancing hip-hop heads. She pirouettes with some ballerinas, sporting a tutu straight out of Black Swan. She dons a sparkly tracksuit apparently meant to convey some sort of EDM kid. She almost twerks. (Her new album is called 1989, but her references don’t exactly stick to that year.)
If this all sounds cringe-inducingly awkward, that’s the point.
How Movies and TV Shows Are Making Text Messaging Cinematic
We’ve featured Tony Zhou’s video essays before, on what American comedy filmmakers could learn from Edgar Wright, on how Martin Scorsese uses silence, and on what makes a Michael Bay movie a Michael Bay movie. In his latest video essay, Zhou looks at how a range of movies and TV shows are addressing one relatively new problem: how to depict text messaging.
Like Zhou, I favor the approach taken by Sherlock, which shows text messages in on-screen titles, though I’m not sure it would fit as well into movies and TV shows that are less stylish. And though Sherlock was the first show I noticed using this technique, Zhou points out that many movies that are less well-known had used it before—if, often, less well. Filmmakers may still not have figured out the best way to depict texting, but they would be wise to put some thought into it, perhaps by taking a look at this sharp analysis from Zhou.
David Byrne and Jonathan Demme Talk Stop Making Sense 30 Years Later
This summer marks the 30th anniversary of Stop Making Sense, the Jonathan Demme-directed Talking Heads concert film that captured the band at the height of its power as a live act. Filmed over three nights at the Greek theater in Los Angeles, the movie slowly builds as more and more performers join David Byrne on stage. It remains one of the most influential and beloved concert films ever made.
How Faithful Is The Giver to the Lois Lowry Novel?
The movie adaptation of The Giver, Lois Lowry’s Newberry Medal–winning YA novel, was years in the making. While Lowry has been blunt about the need for some changes—she told Hypable, “a movie has to have visual stuff, so there’s been action added that is not in the book”—audiences have been vocal from the start about their desire for faithfulness. When the first trailer came out in color (the world of The Giver is devoid of colors) fans were outraged. And as Laura Anderson writes in her review of the movie in Slate, the movie warps the source material so that it more closely conforms to all the teen-marketed dystopias that have come since.
So, sorry, middle school students: You won’t be able to write a paper based on the movie, with its drones and its love triangles.
Charli XCX’s New Song Proves Once Again That She Deserves to Be a Star
Two of the biggest hits of this summer and the last share one thing in common, and her name is Charli XCX. The 22-year-old singer-songwriter co-wrote Icona Pop’s breakout single “I Love It,” one of the biggest hits of last year, and she’s responsible for the “monster hook” in Iggy Azalea’s “Fancy,” this year’s still-reigning frontrunner for Song of the Summer. She’s now also achieved yet another top ten hit with her contribution to The Fault in Our Stars soundtrack, “Boom Clap.” But just in case there was still any doubt left she’s ready for solo stardom, today Charli XCX announced her sophomore album Sucker with a new song, “Break the Rules,” that proves once again that she’s a pop force to be reckoned with.
Fox Is Airing a New Stand-Up Series—but They’re Not Paying the Comics
Laughs is a new comedy showcase series airing on 11 Fox TV markets nationwide. It premiered on Aug. 2 and is running on Saturdays at 11 or midnight in most markets. Each half-hour episode features stand-up performed in clubs across the country, produced on a shoestring budget. The show is part of Fox’s new minor league-style in-house development plan, in which affiliate stations crank out first-run syndication shows so cheaply that the production costs are practically guaranteed to be offset by ad revenue. If a show takes off, they’ll make a bundle. But the shows will be profitable regardless of ratings, even if they only play in a few cities.
How does Laughs keep its costs down? By not paying its comics.
If Michael Bay Directed Pixar’s Up
Everyone loves the way Pixar made Up, but what if it was directed by Michael Bay? According to this video, it would be covered in anamorphic lens flares, drowned in overbearing music, and, well, you can probably guess the other big change he would make.
Of course, there’s much more to Michael Bay’s distinctive style that’s not included here. Hiscasual sexism, for example, and his fondness for lampposts. But this mock trailer, made by YouTube user MrStratMan7, nails the gist of it. As Dug the talking dog would surely say, “Shit just got real.”
Watch John Oliver’s Take on Ferguson and the Police
There was really only one story that John Oliver could devote his main story to on Sunday night’s episode of Last Week Tonight. And while he got in quite a few jokes in his long segment about Ferguson, Missouri, and the militarization of American police departments, he began solemnly and ended in anger.
Music Videos Set in Mental Hospitals: The Supercut
Last week, Lil Wayne released the mental hospital-set music video for his new single, “Krazy.” Wayne is far from the first to stage a video at a mental institution or psych ward. As Flavorwire pointed out a couple of months ago, musicians set their videos at mental hospitals all the time, and they do it for songs about all kinds of going “crazy” (be it from mental illness, love, or whatever the culprit). And again and again these videos recycle not just the concept, but also the same stereotypical and often outdated imagery—straitjackets, padded walls, crazy eyes, etc.