Posters for the movies from Seinfeld.
I love these so much more than I should. I can’t believe it took until August of 2013 for to make this happen. Based on posters alone I would see Check Mate, Prognosis Negative, Death Blow, and Rochelle Rochelle (obviously).
Cry, Cry Again is obviously Oscar bait, and Chunnel looks like garbage. I bet the converted it to 3D in post.
1. This is very funny. Cookie Monster is the best. It’s amazing.
2. Ben Blacker of the The Nerdist Writer’s Panel spoke with the Sesame Street writers a few weeks ago. They talked about the emotional lesson of this particular parody. It’s a great listen.
3. And there’s a Hunger Games parody - The Hungry Games
Peeta is a piece of pita bread. Great.
Jennifer Szalai explains why she despises the term “guilty pleasure”: http://nyr.kr/1gWx5o5
“The guilty pleasure seems to me the distillation of all the worst qualities of the middlebrow—the condescension of the highbrow without the expenditure of effort, along with mass culture’s pleasure-seeking without the unequivocal enjoyment. If you want to listen to Rihanna while reading the latest from Dean Koontz, just go ahead and do it. Don’t try to suggest you know better.”
Illustration by Hannah K. Lee.
Original tweet written: 12/12/11. Headline published: 12/10/13.
Illustrators, David Plunkert, Vidhya Nagarajan, Matt Chase, and Iaian Burke imagine what Washington, D.C., might look like if skyscrapers were allowed to invade the city.
Pitchfork wrote up a fascinating examination of the soundtrack to Robert Altman’s Nashville. The music in this (and all Altman films) is great, but Nashville is particularly charming because the actors were supposed to have written and performed the music themselves. Indeed, many of the actors were musicians who did wrote songs that appear in the film — whether or not they were written FOR the film and BY the character. For a very Cool analysis read the Pitchfork article.
One (of many) of the songs that isn’t on the album is “Since You’ve Gone” performed by Bill, Tom, and Mary. It’s a pretty simple tune - one I’m surprised someone like Conor Oberst hasn’t covered. It’s also written by GARY FUCKING BUSEY. Crazy right?
It makes sense that it’s not on the record because this scene in the movie is incredibly dense with overlapping stories. The audience starts singing another hit - the ubiquitous “It Don’t Worry Me” - as the band takes the stage. Tom has been avoiding bandmates Bill and Mary - who are married to each other - all week. Mary has cheated on Bill with Tom. Three other women in the audience — Linnea, Opal, and LA Joan — are also vying for Tom’s attention. Opal, BBC reporter stuck in old-world British culture, treats Norman, wanting soooo badly to be inside, like shit.
It’s a great scene that manages to be a sort of counterpoint to the final singing of “It Don’t Worry Me.” From the article:
"It Don’t Worry Me" becomes damning indictment not simply of country music but American pop culture at large, which distracts us from the tragedies and injustices that happen every day, assuaging our fears and numbing our outrage. The ending is at once cathartic and intensely cynical: a bicentennial bringdown that still resonates so many years and hit singles later."