1. Instagram Portraits of the day: Who knew all it took to class up MTV’s VMAs after last year’s Thicke/Cyrus twerking kerfuffle was hiring photographer Amanda de Cadenet to snap some rather slick backstage portraits (with requisite IG filters).

  2. forever-childish:

    Childish Gambino announces new mixtape S T N  M T N / K A U A I

  3. fionagoddess:

'American Horror Story': First Look at Freak Show Cast Art


    'American Horror Story': First Look at Freak Show Cast Art

    (via jssyca)

  4. Character Posters of the day: We, for one, welcome our new Natalie Dormer overlord. These new one-sheets for The Hunger Games: Mockingjay, Part 1(Also Featuring More Extraneous Subtitles) introduce us to some members of the District 13 rebellion;Liam Hemsworth reprises his role as Gale, Mahershala Ali will play Boggs, Evan Ross will play Messallla, Wes Chatham will play Castor and Elden Henson will play Pollux, whilst Dormer plays Cressida. Mockingjay - Part 1 is set for release on November 20th.

  5. Watch: Grimes - Go (featuring Blood Diamonds): Looks like we’re a few steps closer to that second Grimes album, as the video for the infamously originally-written-for-Rihanna “Go” has arrived. Directed by Grimes and her brother (collectively known as Roco-Prime), Grimes’ press release for the video states:

    Anyway, the video is a sci-fi homage to Dante’s inferno. In the inferno, people’s actions in life echo eternally. Mike (Virgil) and I (Dante) wander through the circles of hell. It’s not a traditional hell, it kind of reflects stuff thats going on today. We shot a bunch at the salton sea which is basically an apocalyptic wasteland filled with dead fish because of human carelessness, a hallway of bullet holes a la korn freak on a leash etc. If you look closely you can find clues. Haha, but in the usual fashion it is also abstract enough to just be a trippy visual accompaniment to the song.

    Yep, it’s definitely trippy. We wonder if there’s one particular desert that all popstars use for their desert-centric promos? The vid also features a voice cameo from David “Solid Snake” Hayter. According to the press release:

    My work has been super inspired by Xmen and the metal gear games lately so I was very honoured to have him read the opening lines of the inferno.

    An X-Men/MGS-influenced Grimes album? Can we have that ASAP please?

  6. Trailer: The Pyramid: It’s surprising that it’s taken the modern horror movie production line this long to use the lure of Ancient Egypt and its associated mythos. It’s been around a decade since the land of the pharaohs last made a major appearance in Hollywood (in The Mummy trilogy and its spinoff franchise The Scorpion King), but The Pyramid could see a bump in interest. With High Tension/Switchblade Tension duo Alexandre Aja and Gregory Levasseur reuniting as executive producer and director respectively, The Pyramid sees a group of archaeologists discover and enter an ancient Egyptian tomb, where they’re terrorised by numerous traps and unseen things in the dark. Fortunately, they brought a camera with them so we get to experience and enjoy their predicament. An Egyptian tomb seems like the place found footage horror was made for, doesn’t it?

    The Pyramid is out in the UK on November 5th and in the USA on December 5th, and stars Chronicle's Ashley Hinshaw, American Horror Story's Denis O'Hare and The Inbetweeners' James Buckley (something something sand wankers).

  7. Listen: Girl Band - I Love You
    The trademark sounds of Ireland’s Girl Band and US lo-fi pioneers Beat Happening are distant cousins but you wouldn’t exactly expect the former to cover the latter. Upgrading the scruffy, mumbly jangles of the original, Girl Band transform “I Love You” into a fearsome militant maelstrom. It’s easy to see why they’re being hailed as one of the finest hopes in underground rock.

  8. Next year Doctor Who will have been back on our screens for a decade. How difficult it is now to remember a time before 2005, when the resurrection of the BBC’s dust-gathering time travel franchise must have seemed as unwise as it was unlikely. Fast forward to 2014 and it seems equally as inconceivable that a new series of Doctor Who could be anything other than a major television event. Doctor Who has risen from one of television’s museum exhibits to one of its flagship productions.

    It has also been, at least in recent years, a flagship where mutinous murmurs of dissent have abounded. Showrunner Steven Moffat has claimed that he based the revamped clockwork-based opening title sequence on a fan-made version he found online. If he was indeed venturing into the world of Doctor Who's online fandom, he could hardly have failed to notice the scathing criticism of his own performance as showrunner. Common targets of backlash include his tendency for incomprehensible plotting, the Doctor's increasingly unlikeable messianic streak and the shivery vein of barely concealed misogyny that had crept into the writing. Series opener “Deep Breath” arrived with two unenviable tasks: introduce a new Doctor in the form of The Thick of It's Peter Capaldi, and reassure fans of the direction being taken by the entire show.

    For a tense half an hour, it seemed as if “Deep Breath” might succeed in neither goal. Where previous episodes tasked with selling us a new Doctor have felt the need to be a major event, this was a lower-key first outing: a steam-punk penny dreadful that ended not with a grandstanding finale, but with a much more sedate and contemplative confrontation between the Doctor and his foe. The production design and cinematography were more gorgeous than they ever have been, and it was all solidly orchestrated by rising star of British horror Ben Wheatley (director of cult classic like Kill List, A Field In England, and Sightseers), but there seemed on first glance to be something lacking. It wasn’t until nearly halfway through, when Capaldi was discussing his new appearance with one of Victorian London’s homeless poor that the brilliance of this more unassuming approach came into focus. Moffat had simultaneously rectified two fan complaints by avoiding his tendency to get lost in his own narrative acrobatics, and by allowing some space to establish a new character for the Doctor and a new direction for the show. “I’ve made many mistakes,” declared Capaldi’s Doctor, and in his regret it was hard not to hear the closest we’ll ever come to Moffat offering an apology for the derailment of the show that occurred on his watch.  

    Arguably the single biggest beneficiary of Moffat’s change of gear was Jenna Coleman, an extremely talented actor who until this point had been struggling in vain to save a character so staggeringly ill-defined and two dimensional it was a wonder she never simply vanished from existence. Here, for the first time, Coleman’s Clara seemed to coalesce into an actual character capable of expressing actual emotions and thinking actual thoughts. “Deep Breath” certainly had the least dubious gender politics of any episode in quite a long while, even going as far as acknowledging previous misguided attempts at creating sexual tension between the Doctor and his companions. If the rumours of Clara’s departure at Christmas are true, it will be sad to see Coleman leave the show just as it has figured out what to do with her. 

    Which is not to say that the episode didn’t give hope for the future: in so many ways “Deep Breath” belonged to Capaldi. It hardly seems necessary to state at this stage in his career that he is a brilliant actor, but it was thrilling to see him take less than an hour to escape the formidable, sweary shadow of Malcolm Tucker and cement himself as a genuinely iconic figure. After too many years of cheeky, handsome young men with floppy hair, here was a darker, more fire-and-brimstone Doctor who ends the episode on a note of chilling moral ambiguity. This is not to say that Capaldi cannot be charming and witty, as he patently can. But he has succeeded in doing something that nobody has been able to do in years, perhaps even decades: he has made the Doctor an enigma again. It is this enigma that will hopefully now become the driving force of the show, as the Twelfth Doctor sets out on his own distinct path. I don’t know where this path is likely to lead, but I do know that for the first time in years, I’ll gladly be watching.