MARCH 29, 2012 • VOL. 30, NO. 6
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
MAD MEN
The best show on TV returns
THE HU
• JOU S E M A G R NGE
RNEY
ON • T T Y M M O •T
HE SHIN
NINJA G S • BENT •
AIDEN 3
Page 2
March 29, 2012
INSIDE BEAT
Writers Writing About Writing BY SASKIA KUSNECOV ART EDITOR
Writers writing about writing — it’s a growing trend that I’ve noticed in the world of film and theater, and I’m not quite sure if I like it. The problem always arises in the execution; when you’re writing about your own craft it might be tempting to fit everything you want to say in all at once, and while that may be alright in “ye olden days,” it doesn’t play out as well in live or filmed productions. In the charming 2010 indie film Happythankyoumoreplease, director and writer Josh Radnor turned his existential dilemma of not being a tragic enough person to be a good writer into a playful
pathology. In the starring role, Radnor shapes his own literary tragedy once he finds a real-life muse in a lost orphan on the subway. It’s clean and clever, and the plot development unravels aspects of Radnor’s psychology that aren’t immediately apparent. Happythankyoumoreplease is a prime example of how turning writing on itself can work out. However, for ever y positive, there’s a negative; Pulitzer prize nominee Theresa Rebeck’s Seminar is a notable example which is somehow still on Broadway through April 3. The summary of Seminar’s plot is intriguing for those interested in both writing and theater: four young novelists sign up for a personal writing
seminar with famous author Leonard (Alan Rickman), and learn about the hardships of life, love and writing over the course of their few weeks with the jaded, intensely critical Leonard. It was a frigid January day when I saw Seminar. The advertisements successfully pulled in an abundant audience with the expectation that the play would be as multi-dimensional as the conflict of the aspiring New York City writer. The lines to get into the theater stretched down the sidewalk, and I was excited. However, as it turns out, the hype of Seminar comes crashing down within minutes of the play’s inception. As opposed to creative, metaphorical one-liners that revealed the psychological flaws
RYAN SURUJNATH......................................................ASSOCIATE EDITOR ASHLEY PARK............................................................ASSISTANT EDITOR FREDDIE MORGAN..............................................................................TV EDITOR EMILY GABRIELE.........................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR SASKIA KUSNECOV............................................................................ART EDITOR JILLIAN PASON...............................................................................COPY EDITOR ALEX NATANZON............................................................................FILM EDITOR JASON PEARL...............................................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR
and resolve in the average length of a play or movie. They also both tried to maintain a realistic, organic overtone that remained relatable to the viewer. But while Radnor gracefully approached it anecdotally, Rebeck dove headfirst into the overwhelming psychology of the struggling writer. Her creation rapidly lost focus and depth in the poorly developed, overly-literal neuroses of the five main characters, while Radnor’s remained fluid. If you’re going to tr y tackling something as existential as the psychological and material dilemmas of the modern day writer, you have to approach it in a creative manner. If you’re going to write about writing, don’t forget to tell a stor y.
INSIDEBEAT
EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR
haunting the writers, Rebeck has her characters state bluntly and abruptly aspects of themselves that could have been carried out more poetically. Small developments in the plot would tease the viewer into thinking that something of substance was going to happen. Instead, they would immediately collapse into the same superficial static once again. Worst of all, Alan Rickman looked bored, as if he knew his character was saying nothing of substance. Seminar failed where Happythankyoumoreplease succeeded in executing the trials and tribulations of the writer — both were similar in that they were modern interpretations of universal, human dilemmas that are not easy to identify
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Joseph Brown Diana Cholankeril Gabrielle Gatdula Josh Kelly Ryan Lizotte Shani Pleasants Kevin Salvador Peter Wertz
Cover Photo Courtesy of Lionsgate Publicity
Rutgers Student Center 126 College Avenue, Suite 431 New Brunswick, NJ 08901 Phone (732) 932-2013 Fax (732) 246-7299 Email beat@dailytargum.com Web www.inside-beat.com Advertising in Inside Beat, Call (732) 932-7051 Monday through Friday, 8:30 a.m. to 4:30 p.m.
Page 3
March 29, 2012
INSIDE BEAT
Eye On... Tommy Ton Kim Kardashian and bodyguard
BY DANIELA WEINAPPLE STAFF WRITER
Street style blogs have redefined the way in which we discover and discuss all things fashion. These blogs have become increasingly relevant thanks to their ability to show readers what living, breathing people are wearing on the streets of the world’s most fashionable cities. Blogs have the upper hand when it comes to displaying fashion trends on a personal, attainable level, a trait that model-filled fashion magazines tend to lack. Of course, this new level of fashion documentation would not exist without the men and women behind the camera lenses. Meet Tommy Ton, the 28-yearold mastermind behind fashion blog JakandJil.com and arguably one of the most influential street style photographers today. Ton, who is of Vietnamese ancestry, was born in Canada. His love of fashion began at the early age of 13. He often tells an anecdote in which he fell in love with the glam-
our and elegance of designer Tom Ford after watching an episode of Fashion Television: “The makeup, the hair and the way Tom spoke so intelligently about fashion — I was hooked,” he said. In 2005, Ton launched the blog Jak and Jil. What started off as a lifestyle website has developed into one of the most popular street style blogs on the Internet. Jak and Jil showcases a beautiful collection of Ton’s striking street style photographs taken in major cities. Take a scroll through the blog, and you’ll see pages of brightly colored, crisp images set neatly against a plain white background. The layout is simple, chic and sophisticated. Ton has a unique approach to street style photography that helps him to stand out among the long list of current photographers. Instead of photographing subjects in the traditional head-totoe form, he opts for candid shots. He often focuses on one part of a look, such as shoes or a scarf, showing off its texture and detail. Ton is also highly admired for his
ability to identify articles of clothing or shoes by designer, collection and year — a surprising talent for anyone to have, especially at such a young age. Thanks to his fresh take on street style photography, Ton developed into a well-known name in the fashion world, and his popularity is only growing larger. He now not only shoots for his fashion blog, but also covers the street style scene outside of major fashion shows for Style.com and GQ Magazine. He has also shot for magazines, his most recent being a spread in the March issue of Harper’s BAZAAR magazine, styled by senior market editor Joanna Hillman. From the success of his blog to his popularity with fashion editors and lovers alike, it is obvious that Tommy Ton’s place in the fashion blogosphere will only continue to grow stronger. Perhaps the most important trait that sets Ton apart is his genuine passion. “What’s relevant for me is what’s happening in fashion, not what’s happening in the world,” he said.
COURTESY OF GETTY IMAGES
CATWALK TALK BY DEANNA HENDRICKS STAFF WRITER
There’s no doubt that the sultry and seductive voice of Adam Levine can be pinpointed by any crazed fan. This May, however, fans are urged to look out for his new perfume and cologne, 222. Said to reflect his “personality and style,” anyone who wants a piece of Levine for themselves must check it out. Kim Kardashian did not receive much love this week, as she was the target of a “flour bombing” at the launch of her fragrance True Reflection at the London Hotel in West Hollywood, Calif. The miscellaneous white powder was eventually found to be flour. The unidentified woman tried to run away but was detained and later released. Kardashian decided not to press charges.
For something cheerier, April moms-to-be can look forward to Heidi Klum’s maternity line, Loved. The Spring 2012 collection is inspired by visits to her favorite hotel, Hotel du CapEden-Roc on the French Riviera and will be appearing in Motherhood stores. This 19-piece collection will include knitted tops, skinny jeans and dresses. While Klum launched her own collection, Kate Hudson was chosen to be the faceof Ann Taylor’s Spring/Summer 2012 collection. “When I think of the new Ann Taylor, I think chic, modern versatile clothes and bold, brilliant color — style that transcends generations and can make ever y woman look and feel beautiful, no matter where the day may take her,” Hudson has said.
STYLE FOR LESS Spring Fashion BY DANIELA WEINAPPLE STAFF WRITER
This winter has been unseasonably warm, but that doesn’t mean we can’t get excited for the arrival of spring! It’s time to step away from that North Face fleece jacket and update your wardrobe for the warmer weather. This season’s trends are full of feminine flare: think peplums, pastels and pleats. Check out some affordable outfit ideas inspired by this spring’s runway looks.
Colored jeans are in bloom this season! Try a soft hue like pale pink or yellow.
Pair a pleated skirt with a breezy blouse for an instant spring outfit.
Sheer blouses are on-trend and perfect for sunny days. Try a soft color like mint or rose.
The peplum silhouette is everywhere right now. Ease into it with a sleek dress in a neutral shade.
TOP: THE ROLLER PASTEL MID-RISE BOYFRIEND-FIT JEANS (CURRENT/ELLIOTT), $180, NET-A-PORTER.COM
TOP: PLEATED SILK-CREPE MAXI SKIRT (TIBI), $330, NET-A-PORTER.COM
TOP: THORNBURY SHIRT (THE ROW), $675, BARNEYS.COM
TOP: ALICE+OLIVIA SHORT SLEEVE PEPLUM DRESS, $264, NET-APORTER.COM
BOTTOM: RINKLED HI-LOW MAXI SKIRT (MUDD), $54, KOHLS.COM
BOTTOM: SPARKLE & FADE PLEATED SILKY BLOUSE (SPARKLE&FADE), $59, URBANOUTFITTERS.COM
BOTTOM: MOSSIMO SUPPLY CO. JUNIORS SKINNY DENIM IN BUTTERCUP (MOSSIMO), $22.99, TARGET.COM
BOTTOM: ZARA DRESS WITH FRILL AT THE WAIST, $99, ZARA.COM
Page 4
March 29, 2012
INSIDE BEAT
An Ode to the Whitney Museum of American Art BY SHANI PLEASANTS STAFF WRITER
Standing prominently on the corner of Madison Avenue and 75th Street is one of the United States’ most distinguished museums of American art: the Whitney Museum of American Art. The Whitney’s strikingly beautiful granite surface complements its oddly elegant shape that can be best described as an upsidedown staircase. It all began when sculptor Gertrude Vanderbilt Whitney recognized the struggles artists dealt with in the early 20th century; it was nearly impossible for living American artists to exhibit or sell their work in the United States. Whitney began purchasing and showing off select pieces. This eventually led to the founding of the Whitney Museum of American Art in 1930 as a unique museum dedicated to the works of living American artists. Since then, the Whitney has had much success with its collections, especially after it became the first museum to establish corporate-funded branch facilities and a program of collection-sharing with another museums in order to increase its collection
volume. Though the Whitney showcases the work of living artists, it also houses its permanent collection of Gertrude Vanderbilt Whitney’s personal holdings of 600 works that were the first exhibit when the museum first opened in 1931. This collection includes notable American artists such as Thomas Hart Benton, George Bellows, Stuart Davis, Edward Hopper, Maurice Prendergast and John Sloan. Throughout Gertrude Vanderbilt Whitney’s lifetime, she never stopping purchasing and showing work; even after her death the collections continued to grow. Today, the Whitney still sticks to its original intentions of supporting living American artists. It’s refreshing to walk into a museum to see works from 2011 and 2012, whereas many other museums mostly exhibit classic, dated works. This just goes to show that art is not a dead or dying career path. Currently, the Whitney is having its 2012 biennial exhibit showcasing sculpture, painting, installations and photography curated by Elisabeth Sussaman, Sondra Gilman and Jay Sanders. A trip to the Whitney Museum of American Art is one that is sure to not disappoint.
COURTESY OF SHANI PLEASANTS
COURTESY OF LUCAS GROGAN
Lucas Grogan:The Professional Artist BY SASKIA KUSNECOV ART EDITOR
Melbourne, Australia-based artist Lucas Grogan realized very early that if he was going to succeed in the art world, he had to make small sacrifices. “I didn’t think I was good enough to pursue an art career,” Grogan said, “but that’s how it all worked out.” The first change came in 2009, when he left Sydney to start over in Melbourne. In Sydney, Grogan had worked at public galleries, auction houses and commercial galleries. It wasn’t until he moved to Melbourne that he began really working on his own art. “I had become a huge party animal and wanted some space between
my friends,” Grogan said. “I wanted to focus more on my own practice and give it the time I felt it deserved.” While he loves needlework and quilt making, Grogan’s main practice is drawing. He typically uses a blue or black base and a quill dipped in white China ink to start and goes into every drawing organically, never sketching his subjects out first. His subjects are typically men and — with or without the inclusion of text in some of his drawings — they carry philosophical undertones. A good example of this would be his ink, enamel and watercolor on matt board piece, titled Time Will Tell (Two Islands). The piece features distorted male figures, one strangling the other while also drinking heavily.
“They are two drawings that mirrored one another,” Grogan said, “seeming in opposition to one another, though neither realizing how close they actually are.” When he is working on a quilt, he takes little patches of it with him while in transit to make the process faster. His largest quilt to date is titled Private Islands — about seven feet on each side. Private Islands features a series of icons — from fish to profound scenes of man — that all seem to sit neatly on their own patch of quilt. The artist’s statement about the work claims that the quilt “acts as both a safe warm refuge and as a proactive shield-like second skin” from the isolation of man. There is a heavy indigenous cultural influence over much of Grogan’s
work, which proved to be complicated once he tried having galleries showcase his work. Nearly every gallery in Australia has an entire section devoted to indigenous, Aboriginal artwork. Galleries in Sydney rejected his work because of its close ties to indigenous art; with its black base and white lines, he differed very little in the eyes of curators from work already on display. To resolve this, Grogan switched to using a blue base after he moved to Melbourne. “The conversations surrounding the problematic appropriation of indigenous art and my work ceased when I made the swap,” Grogan said. “Though the works still are technically one and the same.” While Grogan can attest to the struggles of being a professional artist, his is
becoming more a success story thanks to the use of social media. “My work in the last year or so has gone viral though thanks to a few choice blogs that have covered it,” Grogan said. So far the young artist has had gallery exhibitions in Hong Kong and New York. His advice to budding artists is to have an online presence no matter how plain or small and to collaborate with other artists for more exposure. “You’ll notice that artists move in groups — generally those who studied together continue to support one another.” From experience, Grogan also suggests that those who want to be professional ar tists work in a galler y at some point. “Understand the beast you’ll later rely on.”
Page 5
March 29, 2012
INSIDE BEAT
Bent
NBC, Wednesdays at 9 p.m.| BBY GABRIELLE GATDULA STAFF WRITER
COURTESY OF POPTOWER.COM
The Sushi Room Located at 130 Easton Avenue| B
BY DIANA CHOLANKERIL STAFF WRITER
The Sushi Room made its splash onto the college New Brunswick food scene only recently. Within a year, the trendy restaurant became a dining establishment with staying power, which says a lot, since many of the eateries below the University Center parking deck have come and gone over the last 10 years. Although the restaurant isn’t one for the histor y books, the cuisine is tasty and af fordable, and the décor creates a pleasant, calming atmosphere. Given the dim lighting and the elegant set-up, one would expect the prices of the dishes to be pretty steep. On the contrary, the prices are very reasonable, so students should not shy away from sampling multiple dishes. One dish in particular is the tuna pepper seaweed salad. Although the chefs could add some more slices of tuna, the combination of its peppery flavor and the sweet yet slightly salty seaweed will keep foodies wanting to order the same dish again. The portion size for this appetizer is great — it’s not too filling and leaves room for a main course along with dessert. Of course, there are also some duds. The calamari salad at The Sushi Room has a bit of a dry taste and could be tossed a bit better when being made. The calamari
itself is actually quite nice; it’s not overly breaded like most calamari. However, since there isn’t any dipping sauce as there is with the stand-alone calamari dishes, the salad needs a better dressing to mix the seafood. Luckily, the chefs at the restaurant love customer feedback. The chef on staff, Benny Zou, said, “I love when customers want to talk to me!” The chefs take comments very seriously and want to make every person’s meal as enjoyable as possible. One of Zou’s successes is the Pink Lady Roll, an explosion of chopped jalapeno pieces and avocado chunks rolled up in thin pink sheets and crunchy fried tempura flakes. This sushi roll should be one of the restaurant’s signature pieces because of its eclectic assortment of elements yet surprisingly familiar taste. This “familiarity” extends into the restaurant’s soundtrack, which offers a range of psychedelic and tropical tunes. The varied music somehow works for this dining establishment, as it doesn’t strain itself in any attempts to maintain a strictly authentic Japanese aura. The menu itself is full of sushi rolls and seafood dishes, but with distinctly American touches such as lobster-fried rice and the classic Caesar salad. The Sushi Room truly is a Japanese-American establishment and in this day and age, a foodie can’t expect any better.
It’s a television trope viewers have seen before: the “willthey/won’t-they” between the laidback charmer and the uptight go-getter. Though NBC’s Bent has charming leads, it’s hard to overlook that the show isn’t treading new territory. Lawyer Alex Meyers (Amanda Peet, Please Give) and contractor Pete Riggins (David Walton, Perfect Couples) immediately butt heads when Alex hires Pete to renovate the kitchen of her new home. Alex is recovering from divorce; Pete is recovering from gambling addiction, and they both attempt to start anew through this project. Alex promptly tells Pete that there will be no “monkey business” between them given his past of fraternizing with clients, but soon, they’re already far more entangled in each other’s lives than they anticipated. From the beginning, Bent is guilty of every romantic comedy cliché in existence. The idea of polar opposites flirtatiously bickering is a predictable story viewers have been fed before. However, the fact that the show is well-executed considerably sets it apart. What could’ve been a stale script is brought to life by the acting chops of an experienced cast. Pete’s actor father, James (Jeffrey Tambor, Arrested Development), fits in well with Pete’s crew, avoiding any generation-gap awkwardness. Clem (J.B. Smoove, Curb Your Enthusiasm) is an amusing crewmember who pronounces the word “smitten” with odd inflections. Even Alex’s daughter, Char-
lie (Joey King, Ramona and Beezus), holds her own. Instead of being a passive accessory to her mother, Charlie tries to start fresh, too, attempting to carve out her own identity in the wake of her father’s absence. Romance-wise, this genre is often plagued with unlikable characters that are slapped together with little to no chemistry. Bent, on the other hand, is blessed with the saving grace of Amanda Peet and David Walton. Together, Alex and Pete are a dynamic force that displays great rapport in every interaction. Their first confrontation shows undeniable chemistry, and their regular banter is entertaining. In one amusing scene, Alex acknowledges just how clichéd their situation really is. Any show that can make fun of itself definitely deserves some credit. Even when Alex and Pete aren’t together in a scene, they’re still genuinely likable people. Alex may be type-A, but her determination to rise out of the ashes of her failed marriage comes off more positive than bitter. Amanda Peet is always a joy to watch on screen, and that’s no different in Bent. Alex’s match is met in Pete, a typical ladies’ man with convincing charisma. On the surface, he may seem superficial, but this is a womanizer you can root for. Pete seems to genuinely want to better his life instead of falling prey to his demons. However, as likable as the characters are, it doesn’t completely erase the tired plot. Ultimately, Bent is a tolerable but forgettable NBC addition that probably won’t survive beyond a few episodes.
IT’S A MAD WORLD Inside Beat has long anticipated Mad Men’s return to television, but during its hiatus, there were gentle reminders that we weren’t the only ones jonesing for some Joan. From a clothing line at Banana Republic to a revived interest in minimalist advertising, the roar of Mad Men’s fourth season reverberated throughout culture’s kingdom. Read on as Inside Beat investigates television’s most groundbreaking drama, just in time for the fifth season’s debut.
PHOTOS COURTESY OF LIONSGATE PUBLICITY
ENTER SEASON FIVE BY A.J. BARSANTI STAFF WRITER
Sometimes, television is easy. The hero may both encounter and conquer a host of problems within one episode, and by the next week, all is forgotten and the formula repeats. However, AMC has never been known to let viewers off that easily. Addictively entertaining, Mad Men is simultaneously the most challenging and rewarding program on television. With a superb writing staff capable of toeing the line between melodrama and sappiness, this period piece is rightly deserving of the numerous accolades it has received. Simply put, Mad Men follows the fading American advertising aristocracy through the 1960s. Characters are quickly identified
by their archetype — Peggy (Elisabeth Moss, The West Wing) is a talented secretary-turned-copywriter who inserts herself as an integral part of the staff; Joan (Christina Hendricks, Firefly) is an oppressed management-type who has clearly hit her glass ceiling for much of the series’ run; Pete (Vincent Kartheiser, Angel) is an ambitious advertiser working in the considerable shadow of his mentor. These characters, along with many more, all orbit around Don Draper’s sun, powerfully acted by Jon Hamm. Enigmatic, charming, brilliant and handsome to a fault, Draper is the primary draw of the series. And yet, beneath the glossy scenery, costumes and sleek opening graphics lie a tumultuous web of secrets, deceit and power plays
far more intricate than a few character interactions. A constant problem with television is that all too often, the whole is not really greater than the sum of its parts, but four consecutive Emmy awards for Best Drama prove Mad Men breaks the mold. Costume and set directors maintain an engaging and historically accurate world, the writers craft various layered plotlines and the actors well represent creator Matthew Weiner’s daunting vision. As season five approaches, there are several long-standing plot threads to note. For years, Pete Campbell has been emasculated by the mere presence of Don Draper. Now in Sterling Cooper Draper Pryce, the two have both been made partner,
and Pete seeks an opportunity to establish himself as the alpha male of the office. We see Pete as a boy desperate to enter the exclusive elite of men, though we are tempered by the knowledge of the ’60s and know that he will never make it. Peggy and Joan represent two sides of the same coin of ’60s femininity. The former is a proto-career woman, the latter an unfor tunate victim of being born a few years too early. The tragedy of Joan is reflected in the optimism of Peggy, and we can see success for the younger woman as something likely, whereas the slightly older Joan seems almost cruelly confined to her social status as nothing more than a secretar y no matter what she offers.
Finally we approach the flagship of Don Draper, a man who has no real identity. With his personality as fickle as the changing wind, Don begins the season with a new family, and therefore an opportunity to define himself at last. Viewers are most eager to see the final few chapters of this complex character’s storyline. Ultimately, Mad Men is not a show that lends itself to cheap viewing. The show, touted as the best drama in television history, is fraught with elaborate layers that require you to constantly question, interpret and unpack them, and that only begins to scratch the surface of this revolutionary show. If you’ve lost faith in the quality of television, you cannot do much better than AMC’s Mad Men to restore it.
COOK LIKE BETTY, DRINK LIKE DON BY ASHLEY PARK ASSISTANT EDITOR
If you were to have dinner with three characters from Mad Men who would they be? Or rather, a better question: what would you ser ve? Luckily with The Unof ficial Mad Men Cookbook, readers can concoct a ’60sstyle meal from appetizer to desser t. Specially created for fans, the cookbook pinpoints the episode in which ever y recipe arises and provides a histor y of each dish and drink. For example, the recipe for the oyster entrée Roger Sterling is so fond of is from the Grand Central Oyster Bar, which opened in 1913.
The restaurant is famous for its Oyster Rockefeller — dozens of delicate raw oysters steeped in creamed spinach and hollandaise sauce. A proper Mad Men cookbook would never neglect the alcohol. Become a ’60s bartender and drink like a Mad Man! Choose from a long list of cocktails from Draper’s Old Fashioned to Jane Sterling’s Mint Julep. Don’t forget to drink responsibly. The cookbook is as well-researched and period-obsessed as the show itself. Authors Judy Gelman and Peter Zheutlin recreate the potatoes au gratin Betty orders in the second episode of the first season — an interpretation
based on the recipe by ’60s “French” chef Julia Child. A potato au gratin is a rich and savory dish of creamy potatoes dressed in buttery onions and sprinkled with Swiss cheese. Follow this heavy entrée with a lighter dessert — pears baked in red wine alla Pietmontese, in which subtly sweet pears speckled with cloves and cinnamon are baked in red wine and served with a red wine sauce. Other mouthwatering desserts include pineapple upside-down cake and festive popcorn balls. The Unofficial Mad Men Cookbook is for epicureans and fans alike and definitely provides the right flavor palette to complement the fifth season of Mad Men.
Mad Men star Roger Morse
MAD FOR THEATER BY JAMIE MIRANDA STAFF WRITER
Mad Men: The Musical? Can you imagine? Although the thought is a mere pipe dream, AMC’s most beloved series would certainly have the talent to fulfill it. If only Matthew Weiner could incorporate a musical number into a future episode… Bertram Cooper’s Robert Morse learned all he needed to know about the advertising biz starring in the award-winning How to Succeed In Business Without Really Trying. In 1962, his portrayal as J. Pierrepont Finch won him the Tony award. Over the course of his
Broadway career, Morse accumulated three Tony nominations for Say, Darling, Take Me Along and Sugar, the musical interpretation of Some Like It Hot. He also won a second Best Actor Tony for his depiction of Truman Capote in 1990’s Tru. As Cooper’s impossibly goodlooking business partner Roger Sterling, John Slattery also had his time in the vaudeville spotlight. Between Broadway productions of Rabbit Hole, Betrayal and Laughter on the 23rd Floor, Slattery also had a footnote in offBroadway productions, including Three Days of Rain. Mad Men’s newest theater star is Christina Hendricks,
when she busted through the Broadway doors in a production of Company starring Neil Patrick Harris. While we were all yearning for the next season of Mad Men to begin, Hendricks lit up the stage in this Stephen Sondheim musical about a single middle-aged New Yorker searching for love. Borrowing her cunning sex appeal from her Mad Men character, Hendricks dazzled audiences as a flir tatious flight attendant named April. Alongside Patti LuPone, Anika Noni Rose (Dreamgirls) and Stephen Colber t, Hendricks spent her Mad Men hiatus among talented company.
MAD MEN COPY CATS BY ZOË SZATHMARY INSIDE BEAT EDITOR
With Mad Men firmly established as a critical darling with a cult fan following, several shows have tried to copy its slinky appeal. Last fall’s network television lineup included Pan Am on ABC and The Playboy Club on NBC. Both shows depict the professional and private lives of its characters, attractive service industry employees — flight attendants in the former and Playboy bunnies in the latter. They also include a heady mixture of drink, sex and social issues. Despite this recipe for success — or at least water cooler chat —
neither show did particularly well; The Playboy Club was cancelled after only a few episodes. Pan Am fared slightly better and managed to finish its first season, but fans were concerned with ABC’s alleged cancelled production schedule. The Hour, a BBC series chronicling the production of a news program with the same name during the heyday of the Suez Canal crisis in 1956, fared well with American critics. It even garnered several Golden Globe award nominations. One of The Hour’s plotlines, featuring a reporter’s investigation of his childhood friend’s apparent suicide,
included enough noir elements to differentiate from its peers. A second season was subsequently ordered for fans. Premium cable will soon join the Mad Men bandwagon with Starz’s upcoming show, Magic City. It stars Jeffrey Dean Morgan (Grey’s Anatomy) as Ike Evans, hotel owner of the Miramar Playa in Miami, Florida. Set just after Castro’s takeover of Cuba, Evans’s idyllic world is complicated by the controlling mafia and their desired stake in Miami. Expect martinis, striped bikinis and murder.
Page 8
March 29, 2012
INSIDE BEAT
PHOTOS COURTESY OF ALLMOVIEPHOTO.COM
THE HUNGER GAMES Directed by Gary Ross | B+ BY PETER WERTZ STAFF WRITER
With source material as exciting and allegorical as that of Suzanne Collins’ The Hunger Games, the odds are certainly in director Gary Ross’s favor to direct a powerful and politically resonant film. The audience is immediately introduced to a desolate civilization known as Panem (the future equivalent of North America), where 12 ravaged districts live in poverty and constant fear from their government. This fear and oppression is perpetuated through an annual televised event known as The Hunger Games, which pits together one boy and one girl from
A
the ages of 12 to 18 from each district to fight to the death. The audience is first introduced to District 12 and the heroine of the story, Katniss Everdeen. Strong-willed and an adept hunter, she provides food and stability for her family and is eligible, as is her 12-year-old sister Primrose, for the next Hunger Games. When Primrose is chosen to be the female tribute from their district, Katniss volunteers to take her place. At this moment in Katniss’s development, her righteousness and protective instincts shine through with the help of a tour-de-force performance by Jennifer Lawrence. Coming off her Oscar-nominated role in Winter’s Bone in which she plays a
character not too unlike that of Katniss, Lawrence creates a visceral characterization of Katniss that emotionally resonates with viewers. The other members of the cast also play their parts both convincingly and true to the source material. Elizabeth Banks (Zack and Miri Make a Porno) plays enigmatic guide Effie with appropriate camp and mentor Haymitch is given a warm likeability in the hands of Woody Harrelson (2012). Josh Hutcherson (Journey 2: The Mysterious Island) and Liam Hemsworth (The Last Song), who play Peeta and Gale respectively, portray the two love interests and both convey a sense of love and protection for her.
Ross’s own cinematic flair is also present in moving the film forward with fast and confident pacing. While the running time almost reaches two and a half hours, the movie never feels slow and is consistently gripping. The film is also complimented with a powerful film score composed by James Newton Howard (The Dark Knight) and he effectively captures the desperate and ravaged condition of Panem as well as the heightened intensity of the games. While the picture is detracted at times by erratic editing and shaky cinematography, the film is nonetheless an artfully made production. Fans of the series will also be pleased to find that the film adap-
tation stays true to the source material. Minor plot points from the book are missing, but Ross and Collins ensure that the heart of the story remains intact and that the integrity of the tale is not compromised due to an influential Hollywood hand. While many fans may have an issue with the PG-13 rating because the film is not able to show the graphic nature of the games, Ross skillfully allows the movie to show enough violence without underwhelming the viewer or dulling its impact. Minor issues aside, this is an excellent movie adaptation of a beloved series and it will certainly leave fans and newcomers alike hungry for the next installment.
S E P A R A T I O N
BY GABRIELLE GATDULA STAFF WRITER
Don’t let the subtitles or foreign nature of this film scare you: Asghar Farhadi’s A Separation, Academy Award-winner for Best Foreign Language Film, is a masterpiece drama that resonates beyond its Iranian borders. Set in modern-day Tehran, the movie centers on the conflict that enfolds when parents Nader (Peyman Moaadi, About Elly) and Simin (Leila Hatami, The Deserted Station) decide to separate over Simin’s desire to move abroad to create a better life for their daughter, Termeh (Sarina Farhadi), and Nader’s refusal to leave Iran to continue caring for his Alzheimer’s-afflicted father (AliAsghar Shahbazi). When Nader hires Razieh (Sareh Bayat, Devil’s Take), a deeply-religious, lowerclass woman, to assist him in taking care of his father, the story shifts from divorce to the harsh realities of the world they live in. A Separation's plot is brutally complex and emotional. The dialogue is incredibly fast-paced even from the opening scene where Nader and Simin argumentatively explain their reasons for wanting a divorce to a judge. However, at the same time, the dialogue is also incredibly conversational. It flows so naturally that it’s easy to forget it’s a movie and not real people interacting. Perhaps this is Farhadi’s point in writing the film in this way. Real
Directed by Asghar Farhadi | A
people don’t pause dramatically or make long-winded speeches; they speak from the heart, completely unrefined and unadulterated. The characters show what it means to be human: deeply flawed, but well intentioned. These characters make mistakes and hurt their loved ones intentionally and unintentionally. However, they also display their unwavering loyalty and deep love, if only in the vaguest way. Nader is the paragon of these conflicting sides — he is a man whose love for his father comes at the cost of the well-being of his daughter. When things spiral out of control, his pride and secrecy meant to protect his family blind him from the fact that it’s also costing his family ever ything. All the characters fall into this confusing moral gray area, even the seemingly innocent Termeh. It ultimately shows that the answers are never easy or simple solutions. It also helps that across the board, the acting is superb and startlingly compelling. Sareh Bayat’s Razieh is particularly poignant, playing her character for all the vulnerability and quiet strength she possesses. Words alone don’t do the complexity of A Separation justice. It covers the spectrum of societal woes including family loyalty, guilt, justice, truth, class, gender and religion. It’s a movie that re quires multiple viewings, but it’ll be time you won’t mind spending. It’s certainly a film you won’t soon forget.
PHOTOS COURTESY OF ALLMOVIEPHOTO.COM
Page 9
March 29, 2012
INSIDE BEAT
RESIDENT EVIL: OPERATION RACCOON CITY
COURTESY OF CAPCOM
Developed by Slant Six Games and Capcom | B+
BY KEVIN SALVADOR STAFF WRITER
Resident Evil has always been one of Capcom’s most important game series. At first, Resident Evilwas strictly a survival horror game that took place in a mansion, but its following two sequels expanded to Raccoon City. Since Resident Evil 4, the series has become more focused on action. Typically, Resident Evil games place the player in control of one of many established characters and place them in a situation where they must survive hordes of viral in-
fected foes, but the latest installment offers a refreshing new take on the series. With Resident Evil: Operation Raccoon City, players can now relive the nightmare of Raccoon City as a member of the Umbrella Corporation’s elite squad tasked with one mission: eliminate all the evidence of Umbrella Corporation’s involvement in the zombie outbreak, including any survivors. Unlike other Resident Evilgames, Operation Raccoon City focuses more on eliminating human enemies instead of the zombies. Since this is during the disastrous
Raccoon City incident that took place during past Resident Evilgames, zombies act as a third party in firefights and will attack players as well as their enemies. At the same time, the game allows players to choose one of four Umbrella Security Service agents, each one with their own distinct, special abilities that can be improved with experience gained from completing missions. As for the gameplay, players are finally able to move and shoot at the same time and can also take cover from enemy fire. On the plus side, the AI for the players' three com-
puter controlled allies is okay and even if they are killed, players can revive them easily. While this game is an improvement for the series, it does have its share of flaws. First off, the game retains the dated HP system instead of allowing players waiting it out to recover from injury, like most modern games do. Therefore, in order to recover from injury, players will have to use the herbs and first aid spray. Unfortunately, herbs cannot be stored and first aid sprays are used up when players are running low on health. This becomes a nuisance, as run-
ning low on health happens often, especially with human enemies instead of zombies. Similarly, while the game features a large arsenal of weapons, they cannot be upgraded, which is an odd feature to remove from previous games. Lastly, the game lacks local coop, despite the fact that all missions require four characters. Overall, the game is solid and is a step in the right direction for the series. It may not be perfect, but it is definitely an improvement. If Capcom can keep this up, Resident Evil 6 may indeed be a game to buy.
Page 10
March 29, 2012
INSIDE BEAT
Ninja Gaiden 3
COURTESY OF TECHMO
Developed by Team Ninja | D
BY RYAN SURUJNATH ASSOCIATE EDITOR
The Ninja Gaiden franchise is among one of the most illustrious in the gaming industry. From its roots on the NES to its Xbox reboot in 2004, Ninja Gaiden is renowned for its rich combat, distinctive enemies and crushing difficulty. Team Ninja’s latest creation, however, does not abide by this formula. Instead, Ninja Gaiden 3 throws out everything that made franchise successful in favor of a shallow, watered-down experience that is a blemish on the series’ good name. Ninja Gaiden 3 attempts to be more plot-centric than its predeces-
sors. Protagonist Ryu Hayabusa is contacted by the Japanese government and is promptly outsourced to London to combat a terrorist group called the Lords of Alchemy. More present, however, is the game’s attempt to humanize the mass murderer, Ryu. During a point in the story, Ryu’s arm is poisoned with the blood of his victims, supposedly forcing him to feel the pain of everyone he’s slaughtered. While Ninja Gaiden 3’s attempt to focus on narrative is admirable, the tonally dark and serious story falls flat on its face. The plot is such a tangled web of unclear motivations, unmemorable characters and cliché betrayals, it is difficult to care what direction the narrative takes. Usu-
ally, this would be acceptable in a Ninja Gaiden title, but Ninja Gaiden 3 goes out of its way to break up gameplay and force exposition down players’ throats. This is not to say, however, that combat is particularly enthralling either. The series’ trademarked difficulty is gone in a measure obviously meant to attract newcomers. While increasing accessibility is fine, the most surprising aspect of Ninja Gaiden 3 is that there is nothing even remotely resembling challenge. The problem goes beyond ease, however, as the experience is simply shallow. Whereas combat was once a careful dance of blocks, dodges and calculated
strikes, Ninja Gaiden 3 has been watered down to the point that it has become a mindless exercise in button mashing. Team Ninja has compensated for the lack of difficult enemies by simply throwing as much cannon fodder at Ryu as possible. Ryu, though, has a number of instant-kill moves that can annihilate most, if not all, enemies on the screen. Every other kill is also accompanied by a stylized animation and the confused camera schizophrenically zooms in and out as though it cannot keep up with the carnage. There are also a number of elements missing from previous games. The distinctive dismemberment system is gone as well as
the weapon diversity; Ryu is now limited to a single un-customizable sword and one spell. The plain combat coupled with the embarrassing amount of quick time events make Ninja Gaiden 3 a predictable bore from start to finish. While the bloodshed can, at times, be quite the visual spectacle, Ninja Gaiden 3 has otherwise unimpressive graphics. While Ryu looks fine, the environments are plain and featureless and the lack of diverse enemies is only matched by the lack of character models. Ninja Gaiden 3 is a travesty from an other wise great developer. With any luck, Team Ninja will forget about this misstep and move on.
Page 11
March 29, 2012
INSIDE BEAT
THE SHINS
COURTESY OF THESHINS.COM
Album: Port of Morrow| A-
BY JOSH KELLY STAFF WRITER
After a five year absence, James Mercer returns to The Shins with Port Of Morrow, the explosive follow up to 2007’s Wincing The Night Away. Port Of Morrow is the first album off of the band’s former record label Sub Pop. The band produced this record on
Mercer’s own Aural Apothecary label, which enabled The Shins to expand their creativity. With this project, Mercer was able to combine what he had learned from his Broken Bells endeavor with the band that won him fame. Time has seen changes to the group’s lineup however, seeing talents such as Modest Mouse’s Joe Plummer joining the group on
drums, and other members that are new to the band joining the cast for the record. Even with a rearranged lineup, the album is still a distinct Shins record; it is colorful, bright and playful. Yet it is able to show that Mercer and his musical projects have developed over time. His new relationships at home — such as his introduction to parenthood — have influenced Mercer’s work, which can
be observed in his lyrics. Mercer has grown up, and he isn’t afraid to share it. His maturity comes across as strength in his songwriting. Standout tracks from the album are the first single released, “Simple Song,” the album’s opener “The Rifle’s Spiral,” “Bait and Switch” and “40 Mark Strasse.” If you have been a long-time fan of The Shins, in no way does this
album disappoint. It is thoroughly enjoyable, proud and at times triumphant in its deliverance. If you are new to the group and their creations, this album is still absolutely worth a purchase — a nice dig into their earlier catalog is highly suggested, too. Por t of Morrow is a fantastic album, and a great companion for spring weather.
DIGGY SIMONS Album: Unexpected Arrival| C
BY JOSEPH BROWN STAFF WRITER
Diggy Simons — fourth child of the notorious Reverend Run of RUN-DMC — has released his debut album Unexpected Arrival. While his sound is heavily produced and his content is seemingly meant for young teens, he still provides a solid lyrical output. “88,” featuring Jadakiss, is one of the strongest songs on the album. On the track, Simons raps hard and listeners can hear his wittiness, not to mention a solid verse from Jadakiss. The single “Do You Like” featuring Jeremih is too typical, even for major radio spins. Simons is still developing his sound and essentially is a rookie to the hip-hop game. He needs to let go of his
Lupe Fiasco-esque style and work more on his the personalization of his own flow. In the song “Unforgivable Blackness,” it is clear he draws inspiration from Fiasco’s “All Black Everything.” This is not a bad thing; it’s just obvious and lessens his personal skill because it copycats another’s song. An upbeat track that is worth giving Simons major credit for is “Special Occasion,” featuring Tank. This track is thoughtfully put together. Like a beautiful day, Simons paints a pretty picture and Tank’s smooth hook provides the bounce to anyone’s heads. “Need to Know,” “Glow in the Dark” and “4 Letter Word” are nothing special; sadly, they merely fill space. Simons has the potential to be great one day, but Unexpected Arrival leaves listeners unsatisfied.
COURTESY OF FACEBOOK.COM
Page 12
March 29, 2012
INSIDE BEAT
Esperanza Spalding Album: Radio Music Society | B
COURTESY OF FACEBOOK.COM
Odd Future Album: The OF Tape Vol. 2 | B+
BY RYAN LIZOTTE STAFF WRITER
Rap group Odd Future has proven that it deserves to be listed among hip-hop’s elite. The collective’s first official studio album, The OF Tape Vol. 2, features some of the best verses and beats that Odd Future has released to date, while keeping the same immaturity and shock factor that the group is known for. Tyler, the Creator steps up his production immensely; “Doms” easily becomes the most addictive beat on the album. As far as Tyler’s verses go, “NY” and “Sam (Is Dead)” boast tons of lyrical development, showing less of Tyler’s demonic side and focus more on his
clever references and punch lines. Smooth singer Frank Ocean steals the spotlight on Tyler’s “Analog 2,” and gets his own solo track. Even the more low-key members of Odd Future get their moments, especially Hodgy Beats and Domo Genesis, who are both featured extensively on the album. The gem on this album is “Oldie,” which has every member contributing a verse, even Earl Sweatshirt, whose grandiose return verse stands out, along with Mike G’s surprisingly-technical fourth verse, in this 10 minute long opus, backed by one of Tyler’s mellowest beats yet. The OF Tape Vol. 2 easily stands as Odd Future’s best work thus far.
COURTESY OF CARLOS PERICAS
BY EMILY GABRIELE MUSIC EDITOR
Think back to the 2011 Grammy Awards: many were shocked that the award for Best New Artist was given to Esperanza Spalding and not Justin Bieber. Spalding’s win left some viewers especially confused because a good majority of voters were unaware who Spalding even was. As the first jazz artist to ever receive the award for Best New Artist, she had a lot to live up to. Radio Music Society is Spalding’s first release since her Grammy win, and the album overall is a majestic display of her musical talent. “Black Gold” — the album’s first single — is a ver y uplifting and encouraging track. Spalding passionately belts, “Hold your head as high as you can/High enough to see who you are little man/Life sometimes is cold and cruel/Baby no one else will tell you so remember
that you are black gold,” as the song’s refrain. Spalding’s effort offers optimism tinged with some realist ideas — the album contains statements about social injustices, while remaining all the while hopeful. Throughout the project her voice is soulful and is complemented by noble trumpets and saxophones as well as thumping, funky bass lines. Album highlights include “Cinnamon Tree,” “I Can’t Help It” and “City Of Roses.” “Cinnamon Tree” is a suave and sweet song; roughly fiveand-a-half minutes long, it begins with bittersweet string and bass elements. As the track picks up, a fervent electric guitar pops up between Spalding’s image-heavy lyrics. “I Can’t Help It” is one of the most upbeat songs on the album. The beat throughout the whole song is undeniable — it’s definitely sway-inducing. Another effervescent track is the nearly sevenminute-long song “Endangered
Species.” It can be argued that the song is too long, however its fastpaced tempo keeps it from being pigeonholed into a boring category. “City Of Roses” is the penultimate track on the album — again, Spalding croons in pleasurable arrangements about vivid imagery. The track is a poetic apostrophe to a place that feels like home. Her lyrics pay homage to the beauty of a city and stress the album’s undying optimism. Though Radio Music Society is unquestionably a solid project by Spalding, it is not strong enough to quiet the critics and music listeners alike who doubted Spalding’s Grammy win. It’s a smooth album, but at times the instrumental breaks linger for a bit too long and Spalding’s vocals can flirt with insipidness. The album is not to be overlooked by any means; it is a genuine effort and leaves room for Spalding to continue to prove her musical talents.