A White Cop and an Unarmed Black Man Brawl in Run the Jewels’ New Music Video
In a new music video from Run the Jewels (separately known as Killer Mike and El-P), a white cop and a young black man fight on a hauntingly empty street. But there are no guns or weapons involved—no one is killed. Instead, the two brawl until they are exhausted. Throughout the video, directed by A.G. Rojas, they’re panting and visibly reluctant to fight, and yet they continue to wrestle one another.
The song, “Close Your Eyes (And Count to Fuck)” might seem like an odd choice to pair with the video.Other songs from the duo, like “Early” off the same album, which focuses explicitly on police brutality, actually seem more directly relevant to the video’s subject. But the song’s hook, provided by Zach De La Rocha of Rage Against the Machine, gives the it a frantic energy that juxtaposes perfectly with the sight of the two men lethargically fighting for what seems like an eternity.
The Detail-Obsessed Designers Who Recreate the ’80s for The Americans
Each week on Slate’s TV Club Insider podcast, the creators, cast, and crew of The Americans reveal behind-the-scenes details about the making of the FX drama’s third season.
In this installment about the ninth episode, “Do Mail Robots Dream of Electric Sheep?,” costume designer Jenny Gering and production designer Diane Lederman join script coordinator Molly Nussbaum and executive producers Joel Fields and Joe Weisberg to discuss every detail that goes into bringing the 1980s back to life.
Note: This podcast contains spoilers and is meant to be enjoyed after you watch the episode.
You can subscribe to the podcast in iTunes or through our RSS feed.
How ’80s Cult Hit Moonlighting Laid the Groundwork for Community
Community has been on the chopping block since its first season. (“We call that Wednesday,” Dean Pelton might say.) Its small but fervid cult following can’t compensate for the alleged mammoth budget or the certifiably miniscule viewership, series creator Dan Harmon’s alleged difficulty, or Chevy Chase’s certifiable difficulty. But it returns, doggedly, season after season. NBC fired Harmon, only to bring him back a season later. Then NBC dumped the show, only for Yahoo to swoop in and save it, promising no diminished budget and no creative constraints. (The sixth season of Community now airs Tuesdays on Yahoo Screen.) Rare is the show that can survive so many near-death experiences; it’s almost as if Community has become one of the unkillable action heroes it lampoons. And in typical Community fashion, Harmon and Co. took the opportunity to turn their clinically endangered status into a running metajoke. The show’s pop-culture connoisseur Abed (Danny Pudi), whose grasp of reality is slightly wonky, assures us, “We’ll definitely be back next year,” before gazing lovingly into the camera. But as Abed surely knows, he isn’t the first television character to address his imminent demise to an audience. He’s approximately 30 years late to the party.
Why Genius Annotations Are Not the Storytelling Tool of the Future
On Wednesday, Electric Literature unveiled a short story, by science-fiction fabulist Charles Yu, with its own futuristic twist: digital annotations, courtesy of the close-reading behemoth Genius. “Hero Absorbs Major Damage” chronicles the epic quest of Hero and his magical band through 256 battles, at the end of which they will face “the final boss” and their destiny. Using Genius software to glaze commentary from the Hero’s elf guide, Fjoork, over the main narration, Yu adds layers to an already-complex set up, in which our world abuts and sometimes flows into a fantasy reality. “When the folks at Genius and I first discussed the possibility of annotating fiction, we were excited about the possibilities,” wrote Electric Literature editor Halimah Marcus in an introductory note. “A secondary character could finally have her say; an older, wiser narrator could look back on his misspent youth.” Fjoork’s commentary is clever and welcome—another thread in the story’s fugue of vantage points, and another deadpan delight in a tale studded with Easter eggs. But it doesn’t exactly point toward a brave new world of virtual storytelling.
Reading “Major Damage” can resemble (wink, wink) playing a video game, in that you range around absorbing secret totems and treats: a character muses that his body “looks like some kind of puppet, something to be … controlled and manipulated,” a swordsman confesses he’s “always wanted to get into Animal Empathy.” The elf-zingers are offered in the same puncturing spirit. “It felt like we’d been through just about everything there was to go through,” says the Hero loftily. “The elf really didn’t like the term ‘paycheck job,’ ” notes Fjoork. “If I didn’t know better, I’d think Krugnor [a sexy warrior-mystic, the Hero’s comrade and rival] had cast Infatuation on everyone,” grumps the Hero. “It was not the easiest thing for The Hero to deal with. No one likes feeling inadequate,” snarks Fjoork.
Yu first wrote “Major Damage” sans annotations, and it’s worth mentioning that the story feels complete without them. Fjoork’s glosses don’t provide a different kind of pleasure than the Hero’s first-person account; surreal, undermine-y jokes are already baked into the main narration. When Krugnor explains that, in order to become brothers-in-arms, he and the Hero will need to touch souls, the Hero tells hastily him “that I’m getting over a cold and don’t want him to catch it.” Not only does the epic deflate itself without Fjoork’s help, but the elf’s viewpoint necessarily holds less interest than the Hero’s. After all, Fjoork is not willfully suspending his disbelief or fending off external distractions. He lacks his captain’s double consciousness—the broader, high-stakes knowledge that makes statements like “I Am Here” and “Is it really going to end like that?” at once hilarious and profound.
So by all means, come to “Hero Absorbs Major Damage” for the innovative format, and because signs show that Genius is poised to take over the world. Stay for the lovely storytelling. There are goofy touches (a hapless, mediocre god named Frëd) that open like trapdoors into metaphysical quandaries, and a cast of likeable, vulnerable schmoes whose big, nerdy, romantic dreams feel implicative. (This poignancy extends even to the hardiest gamer conventions—how the babe must love the hero, and the hero the babe—as if Yu were underscoring our powerlessness against the true clichés in our own lives.) There are wonderful George Saunders callbacks, as when the Hero observes his soul tugging “itself out of my mortal coil” and ghosting toward the edges of the screen:
My POV is floating up toward the clouds. I watch my body down there, fighting without spirit. Frëd help us, I cry out, in a moment of desperation.
I can’t see him, but I feel Frëd’s presence next to me. “I thought you didn’t believe in me,” he says.
“That seems sort of petty.”
Stay for a redolent hodgepodge of Norse myths (frost giants!), gamer-ese (“Darts of Moderate Pain”!) and chicken parts (the characters only eat chicken, for some reason). If “Major Damage” represents an effort by Electric Literature to demonstrate the indispensability of annotated fiction going forward, I’m not sure they succeeded. But if they wanted to publish an excellent story, they definitely did.
A Video Essay Breakdown of Jaws’ Iconic Beach Scene
There are a handful of movie moments that are so recognizable, so deeply embedded in cultural memory, that their images endure regardless of whether you’ve seen them. One such moment is the Jaws beach scene, a masterwork of narrative compression that announced the arrival of a young talent named Steven Spielberg.
So what makes the scene so good? In the first episode of new video essay series “The Discarded Image,” Julian Palmer suggests the answer is Spielberg’s knack for putting the audience in the place of the actor.
This Fan-Made Short Shows Star Wars From the Empire’s Point of View
This fan-made Star Wars animated short film, “TIE Fighter,” allows fans to experience a battle with the Rebel Alliance from the Empire’s point of view.
Drawn and animated by Paul Johnson, the video is an homage to a 1994 video game, also called TIE Fighter, and took four years’ worth of weekends to make, according to Kotaku. Turns out trading in orchestral scores for electric guitar-laden rock music completely changes the mood.
What It Really Means That Zayn Malik Is Leaving One Direction
Zayn Malik is officially leaving One Direction, and teens everywhere (as well as secret fans, myself possibly included) are feeling the loss. The band will continue on as a four-piece, but believe it or not, 1D is losing a lot more than just a chiseled jawline with Malik’s departure.
Deadline Says There Are Not Enough Roles on TV for White People. Poor White People.
Late last year, I, like most reasonable people with even a passing interest in race, gender, television (or all of the above) read Alessandra Stanley’s New York Times piece about Shonda Rhimes with a combined mix of fascination, shock, horror, and disgust. In that infamously tone-deaf piece about the successful showrunner behind Grey’s Anatomy, Scandal, and How to Get Away With Murder, Stanley referred to Rhimes as an “angry black woman” and equated Viola Davis’ age and dark complexion as being “less classically beautiful” than that of the younger, lighter-skinned Kerry Washington.
Vin Diesel Says Furious 7 Will Win Best Picture. Our “For Your Consideration” Ad Proves It.
“Universal is going to have the biggest movie in history with this movie,” Diesel tells Variety in this week’s cover story, speaking about Furious 7. “It will probably win best picture at the Oscars, unless the Oscars don’t want to be relevant ever.”
Diesel is right, of course. But why stop with Best Picture? We made this For Your Consideration ad to make clear just how many golden statues this awards juggernaut should go up for.
Mindy’s Baby Was the Worst Part of This Season of The Mindy Project
The Mindy Project has always been a roller coaster ride of reinvention—casually discarding plot lines along with characters in a desperate attempt to find its groove. At the end of Season 2, it tried to settle down—forgoing Mindy’s rotating cast of guest-star boyfriends for a steady relationship with co-worker Danny (Chris Messina), and culminating in a rooftop scene on the Empire State Building in an homage to Sleepless in Seattle (in an episode that also paid tribute to You’ve Got Mail). But, even after Tuesday night’s finale, the pregnancy plot has become the weakest part of the show.
It’s always difficult for a sitcom when the central will-they-or-won’t-they characters decide that they, in fact, will. Recently, New Girl tipped two of its core relationships into this zone, whereas Parks and Recreation managed to make Leslie and Ben’s marriage one of the most endearing parts of the show. In the case of Mindy, the main relationship gave the show the stability it was so greatly lacking. We finally had a central plot to follow and a consistent character in Mindy’s life—someone to play the straight man to her impossibly eccentric, politically incorrect, and yet wildly successful doctor.