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Willow Smith gets to do what she does in part because she is Willow Smith, but her music wouldn’t stick if it weren’t for the sense that she’s coming into her own as a unique singer and an honest and self-effacing songwriter. The Smith kids seem preternaturally based, like callbacks to a storied brand of sophisticated bohemian. They make cool art; they’ve long questioned modern social mores; they push philanthropic and philosophical causes; and they leave us the hell alone.
101 Trippy Movies, Albums, Books, TV Shows, and More. Photo: Vulture Photo: Vulture This article originally ran in 2015, but you know why we’re republishing it today. A lot has changed in a few short years, but this won’t steer you wrong.
Pot has evolved from rebellious drug to mildly rebellious drug to widely legal aperitivo, but popular notions about what constitutes the best of stoner culture too often predictably rehash the Pink Floyds and Spicolis of the world.
A little over eight years ago, Jason Segel showed his penis for a fleeting moment in Forgetting Sarah Marshall and set the bar for going-for-it male nudity. This past weekend, with the release of Popstar, the Lonely Island’s Akiva Schaffer, Andy Samberg, and Jorma Taccone high-jumped well over that bar. (Spoiler alert from here on forward.)
In the movie Samberg plays Conner, the titular pop star, who made a name for himself after breaking up the band he got his start in, called the Style Boyz.
Last year, Jason Alexander spoke about why George Costanza’s fiancée, Susan, was killed off on Seinfeld. In her book, Seinfeldia, Jennifer Keishin Armstrong gives the full story behind the character’s death by envelopes. We’ve excerpted it below — for more behind-the-scenes stories from Seinfeld, listen to the latest edition of the Vulture TV Podcast with Armstrong. Tune in to the Vulture TV Podcast, produced by the Slate Group’s Panoply, every Tuesday, on iTunes or SoundCloud.
The Strain The Third Rail Season 1 Episode 11 Editor’s Rating 3 stars *** «Previous Next» « PreviousEpisode NextEpisode » The Strain The Third Rail Season 1 Episode 11 Editor’s Rating 3 stars *** «Previous Next» « PreviousEpisode NextEpisode » Abe Setrakian might have gotten along famously with Rectify’s Daniel Holden. Both are innately good but have been driven to dark reaches of the soul, to a point where it challenges the very existential notions of decency and evil.
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Last week, Nickelodeon announced that beginning this fall, they would start airing many of their most popular shows from the early- to mid-1990s, including All That, Clarissa Explains It All, and, my personal favorite, The Adventures of Pete and Pete, the ultimate nostalgic example of, “Nick’s not as good as it used to be.” There are so many things to like about Pete and Pete — the main cast, the odd plotlines that somehow made sense to all us kids, the music from Polaris — but the show’s most underrated aspect was its guest stars.
With heart, splendor, and yearning, co-writer and director Joachim Trier ends his Oslo Trilogy. Joachim Trier’s final film in his loosely constituted Oslo Trilogy is stitched throughout with the color of longing. He takes mundane desires and the attendant fears and elevates them to the level of the sacred, most sharply in a sequence just a little over the halfway point. In the eighth chapter of the film, the lead, Julie (Renate Reinsve), attends an intimate hangout with her new boyfriend, Eivind (Herbert Nordrum), where she encourages the small group to do ’shrooms.
Shah Rukh Khan and Deepika Padukone in Om Shanti Om. My favorite sequence in the 2007 Bollywood movie Om Shanti Om, a minor postmodern masterpiece from director Farah Khan, comes early in its nearly three-hour run time. It’s a song-and-dance number, and I’m hardly alone in my fondness for it. “Dhoom Taana” — which penetrated a wider consciousness in 2014, when the Indian American woman who would go on to win that year’s Miss America contest performed her version during the talent section — is a proper banger; its popularity is one reason the film set box-office records: melodically and lyrically catchy and mischievous; visually striking, with its stitched-together collage of old films; and, as a dance number, exuberant and elegantly athletic.