av club

anonymous asked:

I just read the comments to the last AV Club review and it warms my heart to see so much praise for Alex. For many he seems to be the stand-out and his performance Emmy worthy. I hope he gets nominated for something. I'd love to see him at a serious awards show.

Hello - yes! It warms my heart too! Thanks for pointing out that AV Club review. Alex parts:

It’s that power aspect that Celeste’s husband Perry most objects to. Such is the acting chops of Alexander Skarsgård that we start to tense up now pretty much every time he enters a room, he’s steeped in so much menace. This episode deftly played that up slowly, until the final grab at the end. Celeste is saved by one of her sons, who must be taking in much more than they realize.

They gave it a B+ for this episode (04 - Push Comes to Shove).

EW.com gave it an A- in their review.

Although it’s difficult to see Alex play such an incredible douchebag (it makes me thank my lucky stars I’m NOT married to a guy like Perry), it is so good to see how he can switch on a dime from sweet, loving daddy/husband to crazed tyrant the next. I would be so ridiculously happy if Alex got an acting nomination for his work in this show. 

I will also say kudos to the wardrobe department. I’ve loved everything they put him in so far but the I really wish that closet had better lighting because it’s too damn dark in there to appreciate the view!

Thanks for writing and giving me an excuse to post more of my caps!

Beyoncé’s Lemonade isn’t a breakup album, it’s a black album

By Ashley Ray-Harris

Beyoncé’s Lemonade is a black album. Before we can talk about the visuals, the poetry, the symbolism, or anything else, we have to start with the premise of blackness. While many of Beyoncé’s earlier feminist anthems walked right up to the line of a specifically black experience—“7/11,” “Feeling Myself,” “Flawless”—Lemonade wants you to know the line has been crossed and you’ve been offered a rare glimpse to the other side. From the words of Somali-British poet Warsan Shire to Serena Williams twerking, Lemonade is a collection of experiences and signifiers centered around black womanhood. Specifically,Lemonade looks at a version of black femininity that is rooted in Southern traditions and customs. As the videos unfolded, I remembered my own Texas family—my mother pressing my grandmother’s hair, my aunts and sisters joined together in prayer circles. I saw the rituals of black women laid bare; rituals that are so often dismissed in society. 

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New Girl S6 Positivity Post #2: Nick’s Character Development

In response to Nick being dumbed down:

The character has always been wilfully ignorant. There is a thin line between ignorance and dumbness, but it exists all the same. In real life, people’s traits do become more exaggerated as time goes on – for good or worse, is entirely subjective.

For example, two years ago, I was a pun-free machine. Now I’m a pun-hit punder, cracking puns left, right, and centre. People groan. People sigh. People roll their eyes. If I went to Nick’s bar, I’d be a punter. Nevertheless, this part of my personality is only going to progress (or regress, depending on your view of puns).

You could say this about Nick. Whether you choose to recognise it or not, he has undergone a tremendous amount of growth, however subtle it may be.

I see a lot of comparisons to Season 2 Nick. Let’s go back to Season 1.

In Season 1, Nick was an angry bartender who despite his demeanour, seemed perfectly happy to remain in an irritable stagnation for the rest of his resigned life.

I can’t just jump into something if I don’t know what’s gonna happen. I never have been that guy…I’m the guy that, if I don’t know what’s gonna happen, I don’t do something. Ever. I don’t care how bad I want to do it. I don’t do it. Like, if everybody would go into the ocean and jumped in the water, well, I’m the guy on the beach guarding the wallets.”

- Injured, 1x15

But then Nick starts taking risks. He goes to the ocean and jumps into the water, and Jess guards his wallet. He jumps from a safe life with Caroline back into Apartment 4D for Jess – though he may not have realised that at the time. He kisses Jess. He kisses Jess again and they start something and it feels right, and perfect, like it was meant to be, and it doesn’t matter that he doesn’t know what’s going to happen because he’s so happy and it has to work out, it has to. Things are going right.

I’m all in. I’m, like, weirdly, all in.

- All In, 3x01

(Since when did Nick throw himself completely into something?)

It doesn’t work out. And that’s okay, it was worth it. Nick feels like he’s gained something, and he hopes Jess feels that way too. He’d rather have Jess as a friend than not have her in his life at all.

I don’t deal with exes. They’re part of the past. You burn ‘em swiftly and you give their ashes to Poseidon.

- Exes, 3x15

We are the best ex-couple in the world.

- Cruise, 3x23

He carries on taking risks.

Ending a long-term relationship was a big risk in itself, and so was continuing it as a friendship. At the beginning of Season 1, it was Caroline who broke up with him. I’d wager that his relationship with Jess was his first and only mutual breakup. Jess is most definitely the only ex with whom he has remained on such close and friendly terms.

He becomes part-owner of the bar. Not only does he take another leap, he takes the steps towards it. He could have easily given up when told he and Schmidt didn’t have the necessary funding – he didn’t.

Then the girl he likes goes away, and he prepares a Goosebumps Walkaway™ because he’s never going to see her again – except, he decides that, yeah, he doesn’t want that to be the case, and goes to make a move, although she does beat him to the punch by a matter of seconds.

Now I’m going to drink, ‘cause that’s my move.

- Elaine’s Big Day, 2x25

Months later, they’re barely a day into a brand new relationship when she asks him to go away with her for three months. Nick’s only ever been around her for a month. He hasn’t spent that much time with her, especially romantically. Jess gives him a little confidence, and boom, there goes his next jump.

Now we’re in Season Six.

Nick is a part-time owner of the bar. He is in a committed long-distance relationship. He is in the process of writing a full-length, quality book dedicated to Jess.

It’s a far cry from the resigned bartender who wasn’t over his ex after six months, whose writing consisted of spelling ‘rhythm’ incorrectly 38 times and a word search holding no words.

Some time ago, I read an old discussion in the AV Club comments (I forget which review, sadly), that agreed Nick wasn’t dumb. He was wilfully ignorant, because pretending to be dumb means that people wouldn’t have high expectations of him, and he wouldn’t need to meet them. And honestly, it makes complete sense. It’s not me trying to see the positive in things; it’s what I have observed of the character.

Nick doesn’t need to try lower anyone’s expectations now. He has proved himself to be perfectly capable over six seasons. He’s grown so much.

I think he knows it’s hand sanitizer, not ham sanitizer. I think he plays unaware because it makes life more amusing – it’s more fun to think that letterboxes are robots and that girl’s hair is a wig. I think it’s become a habit, and he doesn’t know how else to act now.

I am certain about one thing: Nick Miller is not dumb, and has had positive character development.

In an era of gimmicks, The Graham Norton Show keeps the conversation going

Norton has honed his formula over the years. His first talk show, So Graham Norton, ran from 1998 to 2002. His attempt in 2004 to recreate his success at an American network, Comedy Central, was packed with gimmicks and flopped. These days, Norton has no lengthy monologue; he gets straight into the chatter. A 2012 profile of Norton noted that he’s both “easy to talk to” and “he actively listens.” That attentiveness pervades his entire operation. His primary recurring bit isn’t an attempt to show off his singing or dancing. Instead, it speaks to his love of a good, well-constructed story. In the “red chair” segment that closes each episode, an intrepid person will take a seat in—you guessed it—a red chair, and try to weave a tale that impresses the host and whoever else happens to be on. If Norton and the day’s posse dislike what’s unfolding, someone will pull a lever and the seat will tip over, sending the brave soul backward.

You can find hints of Norton’s strategy in the U.S. On Watch What Happens Live, Andy Cohen shares Norton’s love for getting stars a little tipsy. But Cohen is primarily invested in getting dirt out of his visitors with segments like “Plead The Fifth.” The gossip comes more naturally on The Graham Norton Show. (Enjoying Watch What Happens Live also requires a passing interest in Cohen’s Real Housewives franchise, which not everyone possesses.) James Corden, meanwhile, copied Norton by having all of his guests on at once. It doesn’t work as well, though, because too often Corden makes the conversation all about himself. Norton is comfortable with letting others do the work, and is keenly interested in reaction and perception. “Harrison Ford and Robert De Niro will never represent their country in the Chatting Olympics, but our challenge is to put them on the couch with people they will enjoy so that they reveal themselves not through their own stories, but in how they react to the anecdotes of others,” he wrote in his book The Life And Loves Of A He Devil. On Graham the taciturn De Niro only has to respond briefly when Norton asks him about whether he enjoys people’s impressions of him. Then Norton can turn to Tom Hiddleston, who will start rattling off a series of imitations, culminating in a lengthy and extremely nerdy recreation of De Niro’s and Al Pacino’s face-off in Heat. Hiddleston is good, but De Niro’s face is better. He thoroughly enjoys Hiddleston’s Pacino, but is actually touched by the younger actor’s homage to him. “That was my favorite scene in the movie,” he says almost tenderly.

Check out the full article over on A.V. Club’s website or by clicking here. 

(Sheldon’s) suffered a loss and found art that made that pain, and the joy that preceded it, understandable. He finds art that speaks to him on a deeper level. That’s a big moment for Sheldon. For so often, and for a chunk of this season in particular, Sheldon’s pop culture choices have always spoken to his general feeling of being an outsider. With everything that’s happened between him and Amy, he’s no longer so closed off. Now he’s felt love and loss and found those feelings reflected in a pop song.
—  Kyle Fowle, AV Club
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TMBG and the AV Club Choir on the AV Club

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The A.V. Club interview with Teri Garr made me squeal with laughter and fall in love with her all over again.   A highlight is attached….

AVC: In your autobiography—

TG: So you did read it.

AVC: I read all the excerpts I could get my hands on without paying for it.

TG: God bless you.

AVC: I’ll send you a pro-rated amount for that, if you like.

TG: [Laughs.]Don’t worry about it, baby.You know I was originally going to call that book, Does This Wheelchair Make Me Look Fat? And they wouldn’t let me, because it might offend someone. And now I know—live and learn—that I don’t care. I should have done it.

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Ted Leo and the Pharmacists - Everybody Wants to Rule the World (cover)

This is one of the songs I listen to every day on the bus to work. It might be an on the nose cover, I love it.