TIME States

Colorado Says Baker Didn’t Discriminate in Refusing to Make Anti-Gay Cake

Bakery owner Marjorie Silva, who refused to write hateful words about gays on a cake for a customer, stands inside her own Azucar Bakery, in Denver, on Jan. 20, 2015.
Ivan Moreno—AP Bakery owner Marjorie Silva, who refused to write hateful words about gays on a cake for a customer, stands inside her own Azucar Bakery, in Denver, on Jan. 20, 2015.

Colorado Civil Rights Division said she was within legal rights to deny cake orders featuring "derogatory language and imagery"

A Colorado government agency has ruled that a baker who refused to make cakes featuring anti-gay messages did not discriminate against the man who requested them.

Last year, William Jack asked Denver’s Azucar Bakery for two bible-shaped cakes featuring images of groomsmen crossed out with a red “X” and phrases like “Homosexuality is a detestable sin. Leviticus 18.2,” local ABC station NEWS7 Denver reports. The bakery’s owner, Marjorie Silva, told Jack she would make the bible-shaped cakes and provide icing for him to add his own message, but she wouldn’t apply such “hateful and offensive” messages because her bakery “does not discriminate.”

Jack complained to the Colorado Civil Rights Division, accusing Silva of denying him goods or services based on his religion. But the agency recently ruled that Silva’s refusal to make the cakes was motivated by the “derogatory language and imagery,” and not because of religious discrimination. “In the same manner [she] would not accept [an order from] anyone wanting to make a discriminatory cake against Christians, [she] will not make one that discriminates against gays,” the ruling stated. Last year, the agency ruled that another bakery in the state could not refuse a gay couple’s request for a wedding cake.

Silva, who is Catholic and whose bakery in the past has made cakes for Christian holidays that featured religious imagery, said she was pleased to learn she was “not [only] morally right but also legally right.”

Jack told 7NEWS that he plans to appeal the decision. “I find it offensive that the Colorado Civil Rights Division considers the baker’s claims that Bible verses were discriminatory as the reason for denying my claim,” he said.

[ABC 7NEWS]

TIME Music

Hear Carly Rae Jepsen’s Prince-Inspired Ballad ‘All That’

She performed the song on Saturday Night Live

Carly Rae Jepsen really really really loves the pop sounds of the 1980s. She made that clear when she returned this year with the John-Hughes-prom-song-that-never-was “I Really Like You,” and she’s driving the point home on her new ballad, “All That,” which the “Call Me Maybe” singer compared to classic Prince when she spoke to TIME earlier this year. The song, from her as-yet-untitled upcoming album, is a collaboration with in-demand producers Dev Hynes (Solange, Sky Ferreira) and Ariel Rechtshaid (Haim, Charli XCX), both of whom joined Jepsen for the song’s live debut on Saturday Night Live this weekend. That’s a fitting stage to debut new material, as New York City played a key role in the album’s origin story.

“One of my favorite memories of this album is Dev and me in my SoHo apartment,” Jepsen told TIME in March. “He was playing on keys. It was so my magical idea of New York. I was just singing and, half an hour later, we’d written this song together. We looked at each other like, ‘That was so crazy, I don’t even remember doing that!’ Those are the passion moments. This is what I’m in it for.”

Read next: How Carly Rae Jepsen Got the Coolest People in Music to Work on Her New Album

TIME celebrities

Watch Anne Hathaway Lip-Sync to Miley Cyrus’ ‘Wrecking Ball’

The actress flips off her competition while recreating the video

No, you are not dreaming a dream: that really is Anne Hathaway riding a wrecking ball and lip-syncing along to Miley Cyrus’ 2013 hit.

The Oscar-winning actress shows her commitment to her most unexpected role yet by slicking back her hair, sporting Cyrus’ white tank top and red lip stick and getting freaky with construction equipment on Spike TV’s Lip Sync Battle, airing Thursdays. (Tear-away pants even make a cameo.)

Now, some of that behavior might not be becoming of a princess of Genovia, but judging by the middle finger Hathaway flashes halfway through — it’s ostensibly directed at her competitor, Emily Blunt, but it could also double as a message to her haters — she doesn’t really care.

TIME Television

Mad Men Recap: ‘Severance’

Don Draper is haunted by his past in the first of Mad Men's final seven episodes

Mad Men returned Sunday night with a scene that, on paper, sounds straight out of a rap video: A man who went from rags to riches surrounds himself with women in mink coats and says things like, “It’s Chinchilla, and it costs $15,000. How does that make you feel?” But instead of Jay Z boasting into Beyoncé’s ear, we have Don Draper ordering around a model in what’s revealed to be—after some cleverly misleading camera-work—yet another in a series of casting sessions so shameless even the secretaries are making comments. And that’s not the only fake-out viewers get in the first of the AMC drama’s final seven episodes.

While Don and the boys are ogling models in the office, Joan and Peggy are having a hard time being taken seriously by their male colleagues as they try and launch a high-end department-store line of Topaz Pantyhose to compete with growing low-cost competitors. Despite the fact that they are the only ones at SC&P getting any real work done, one of their meetings is nearly derailed by the sexist and lecherous comments hurled Joan’s way. Still, that encounter is nowhere near as tense as the subsequent elevator ride, when Peggy tells a visibly frustrated Joan that she can’t expect to be respected if she continues dressing the way she does. As Joan retaliates with a sharp remark about Peggy’s own physical appearance, it’s clear the two have opposite problems in the quest for the elusive work-life balance.

Last year Peggy had a confidence crisis at work when she clashed with a petulant Don Draper over the Burger Chef account, but after their mentor-mentee relationship gelled into a happy little work family, that crisis gave way to anxieties about turning 30 and her lack of romantic prospects. Meanwhile, Joan may have turned down Bob Benson’s unconventional marriage proposal, but as Peggy notes in the elevator, she’s filthy rich—Joan’s personal life may not be perfect, but it affords her a kind of freedom and agency she clearly can’t find at work. Unfortunately, neither character find much solace by the end of the episode: the client harassment drives a Joan to retail therapy (her new purchases don’t appear any more conservative than her usual outfits), while Peggy gets carried away on a blind date with her co-worker John Mathis’ brother-in-law, Stevie. Their initially frosty encounter only warms up once Stevie tells Peggy what Mathis said about her—that she’s fearless and funny and takes nothing from nobody—but several drinks and overeager romantic confessions later (not to mention a botched Paris getaway), Peggy’s just hungover and embarrassed about how desperate she is for a fairy-tale romance.

While Joan and Peggy try and get the job done, the men of SC&P are wrestling with the big questions about what makes a meaningful life. After Ken Cosgrove’s father-in-law retires, his wife encourages him to quit his job, devote himself to writing full time and chase his dreams. “You gave them your eye —don’t give them the rest of your life!” she urges, noting that they’re more than well-off financially. But Ken resists the idea that he’s just a cog in a machine, at least until a grudge-holding exec at McCann-Erickson—SC&P’s new parent company and Ken’s former employer—tells Roger Sterling to fire him. A betrayed Ken tells Don he’s taking the dismissal as a sign to go for what he wants, but it turns out writing wasn’t really the dream—feeling important and powerful was. So after briefly considering writing a juicy book about an advertising agency, Ken finds a sweeter form of revenge when he becomes the head of advertising at Dow Chemical and promises to be the client from hell to Pete and Roger. “I hate to tell you, I’m very difficult to please,” he warns.

Don Draper, too, spends a lot of time rethinking his life choices, their consequences and—refreshingly, given that he’s a dude—what it means to have it at all. Last year, Don took steps toward redemption by applying the campsite rule—leave it better than how you found it—to the other people in his life. He struggled to work alongside Peggy when he made his rocky return to the company, but it wasn’t long before he was fighting for her future; his marriage with Megan collapsed, but he promised to always take care of her; he even showed concern for what he was passing along to his kids, valuing his relationship with them more than ever following a few reminders of his own mortality.

But now, instead of trying to correct his past, he’s haunted by it in the form of two women. The first is former flame Rachel Katz (née Menken), whose relationship with Don fell apart many seasons ago after she realized Don didn’t want to leave his family for her—he just saw her an escape route for his life. Don thinks he sees her audition during a bizarre is-he-dreaming-or-not casting session, but when he tries to reconnect—under the guise of a business meeting to help the new Topaz line get into department stores—he’s shocked to learn she passed away. He crashes her family’s shiva, meets Rachel’s sister (who’s not a fan of Don, to say the least) and learns she died of leukemia. “She lived the life she wanted,” her sister says acerbically. “She had everything.” What does “everything” mean in this case? Kids? A spouse? A job? Don has or has had all three of those technically, but from the damaged, glassy-eyed look on his face, it’s clear that whatever “everything” is, he doesn’t have it.

The other woman haunting him has nothing to do with Rachel, or maybe everything to do with Rachel. She’s a diner waitress (played by Elizabeth Reaser) whom Don believes he recognizes but for some reason can’t place. (Maybe she had facial reconstruction surgery!) His fascination with her becomes a mild obsession: after first noticing her while dining out with Roger and some lady friends, Don returns another night and ends up getting freaky with her in the alleyway (she implies that Don paid for the encounter with the $100 bill he left the first night, but that was just Roger’s generous way of settling the bill after teasing her all night). When Don returns a third time at the end of the episode, she basically tells him to get lost—but not before giving him some advice that’s just as valuable for the audience, too.

Part of the mystery surrounding every Mad Men season, especially these final episodes, is the calendar: what year does the show famous for its attention to historical detail take place? The question has been looming over tonight’s premiere, and we get a clue when a sleepless Don catches a Nixon speech about Vietnam that occurred on April 30, 1970. But as Don tells the waitress about seeing Rachel in what is now clearly a dream, she tells him not to trust his version of events. “I want you to think very carefully about when you had that dream because when people die, everything gets mixed up,” she warns. “When someone dies, you just want to make sense out of it.” The implication? As you’re trying to make sense of Don Draper’s fate and his final days, don’t put much stock in chronology, either.

Read next: This Is the Nixon Speech Don Draper Was Watching on Mad Men

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TIME Television

Lucy Lawless Explains the Gruesome History Behind Salem’s ‘New Kind of Horror’

The actress talks season two of Salem and Xena's surprising second life

The landscape for fantasy shows on television has changed a lot since Xena: Warrior Princess first graced screens 20 years ago: try darker, extra twisted and loaded with more OMG moments than ever. “When I was coming out, with Xena and Buffy, that was kicking-ass girl hero stuff,” says Lucy Lawlesss, who joins the cast of WGN America’s Salem for its second season. “This is women kicking ass but in an extremely negative way. It’s like all the heroes are anti-heroes, and you have to be good with that to handle a show like Salem.”

In Salem, which returns this Sunday at 10 p.m., Lawless plays Countess Marburg, the last in a long line of ancient Germanic witches who poses a threat to Salem’s most powerful witch (Mary Sibley, played by Janet Montgomery) when she makes her way to the 17th century town. TIME caught up with the actress to talk about pop culture’s witch renaissance, the modern-day relevance of the Salem witch trials and what happened to the Xena costume.

TIME: The last time I saw you on television was Parks and Recreation. Is it nice to be back in the fantasy realm?

Lucy Lawless: It is! The form of this shooting was how I was raised in the business. I actually started out in comedy, but where I really grew up was in one-hour dramas. It is a bit of a home-coming, actually.

Salem is about witches, obviously, but the character you play is no ordinary witch.

I come from a very old line of witches that have had many incarnations and have made names. These are famous witches in history called Hecate. Contemporary accounts have given us quite a lot of stories about these witches. Whether they were rumor or not, we’ve got lots of great information about how they’ve lived and what made them so terrifying. I cherry-pick some of those awful awful stories and feed them into my character. The horrifying things that she does — like her beauty regime, for example — are stolen from historical accounts of witches in history.

Are you a history buff? Do you find yourself in late-night Wikipedia spirals?

The show presents me with all the challenge I can handle. There are times when I collapse my hand to my forehead and think, “How can these guys write this horrible stuff?” Just when you’re about to accuse [Salem creators] Adam Simon and Brannon Braga of being really sick, they’ll show you, “Here’s anecdotal evidence of people at the time!” These are real historical characters, which is the most horrifying thing. What you think is twisted fantasy, turns out somebody’s done it!

Well, you know what they say, the truth is stranger than fiction.

So much stranger! I was raised watching a lot of horror, and Dracula tales were very popular in my home, but this is a new kind of horror.

What makes it so?

The temptation is when you look at it, it’s a beautiful historical drama, but it’s not. It has that sumptuousness. The acting is so beautifully filmic, and nobody’s shooting thunderbolts or got a wand or anything goofy like that. Horror when I grew up was cheesy and you knew you were watching it. This is so high-end that you could be forgiven for thinking it is a historical account of something. In fact, it’s very educated horror. This is so high-end.

Sounds like sneak-attack horror — you don’t even know you’re taking part.

Oh I know, and the water-cooler moments! These days you have to have one or two of them in every show, things that nobody’s ever seen on television before. There’s some pretty twisted stuff.

Like the scene in the first episode in which a man’s genitals are magically replaced with a raven’s head?

Now, we’re not saying that that ever happened. But there will be a historical account where there rumor was somebody did that. Adam Simon is quite the historian himself. He’s done a great deal of research.

What parts of the supernatural does Salem explore that you haven’t seen before?

Well, there’s the replacement of some body parts with animal heads, but my character really doesn’t indulge in that jiggery-pokery. She’s a much more serious piece of work. Despite her charms and her wits and her elegance and her generosity, she is the soul of violence, and don’t you forget it!

With this show, American Horror Story: Coven and the news that Orange Is the New Black creator Jenji Kohan is developing a show also about the Salem witch trials, are witches having a pop-culture renaissance?

Yeah, that’s interesting, eh? When I was coming out with Xena and Buffy, that was kicking-ass girl hero stuff. This is women kicking ass but in an extremely negative way. It’s like all the heroes are anti-heroes, and you have to be good with that to handle a show like Salem.

When Breaking Bad was winding down I felt like everyone wanted to know where the female antiheroes were, where the female Tony Soprano was. Have they just been in fantasy and sci-fi?

Oh, I never even thought of that — it seems to be! That was quite shocking to me, to be honest, when I watched it. I’m used to the hero being aspirational, like Spartacus. You relate to them and they are carrying your hopes and dreams with them. Not anymore! The storytelling is much more complex than it used to be.

And I believe there is some sort of uptick of interest in Wicca in America. I don’t know really what that means. I’m quite interested in dealing with real things like climate change and getting your kids through school in one piece rather than looking for trouble in the occult. But I believe that Wicca has caught a bit of a wave.

What is it about the Salem witch trials that makes them so relevant for modern reinterpretation?

Witch trials are really about the suppression of ideas. When conventional religious constructs become bullies, as we see happening in the Middle East or many places of the world, you’ve got rich pickings for a television show. It’s happening everywhere. It happens in the South.

I didn’t even think about the Middle East relevance — the story of Salem is so tied up in early American history for me.

I’ve experienced it myself as a protester in liberal New Zealand. You can’t believe the world of blowback you get for just daring to go up against an oil company. “How dare you? Who do you think you are that you should climb an oil rig and protest climate change?” As if you’re being a showoff! It’s the bullying and the herd mentality of expressing an opinion that is contrary to the mainstream.

What’s the best part about playing a witch?

Delicious subterfuge.

Are you all superstitious on set?

No, we’re in the buckle of the Bible Belt here, my friend! [The show films in Louisiana.] People are very, very religious, and they take their religion straight-laced — they like it neat. I’m often being invited to church. I haven’t gone yet. But even though we’re in the Bible Belt, there’s no weirdness, which is a good thing. I bet if you go to some churches, you’ll be prayed over just for being on a witchy show.

So — Xena turns 20 this year.

Funny, she looks older!

Ha! I really want to know where the outfit is. Do you have it at home, or is it in a box in a warehouse somewhere?

I think I sent it to the Smithsonian, which had it mixed in with Fonzie’s jacket for a while, but I don’t know where it is now.

Did the museum lose it? Let’s hunt it down.

Maybe!

As newer fans discover you from Parks and Recreation or Veronica Mars

No, they’re watching Xena!

Really?

They just had a convention in Los Angeles. Because it was the last one, I went to honor the early fans, and one third of the audience was new fans from Netflix! A third! A third of the audience was brand-new! So, yeah, that show’s got legs. Xena — she’s got legs.

TIME Music

Becky G Is Back With Another Catchy Song About Young Love

The "Shower" singer slows things down for her new single "Lovin' So Hard"

TIME’s influential teen Becky G is all grown up — kind of. The voice behind last year’s infectious “Shower” turned 18 last month, and she’s celebrating that milestone with a more mature take on her breakout hit. On “Lovin So Hard,” a lovesick Becky has come down with some familiar symptoms over a guy: she can’t describe what he does to her, he’s the first thing she thinks about when she wakes up, he lights her up inside (this time like dynamite, not the Fourth of July), etc.

Unlike its deceptively titled predecessor “Can’t Stop Dancin'” — we see you, Becky, and you have definitely stopped dancing — “Lovin So Hard” at least tries to make good on its promise to go hard with a beat that resembles a grittier take on mid-2000s Stargate productions. (Thanks, Dr. Luke.) It’s also much more likely to get you singing in the shower again.

Read next: 5 Ways Becky G Knew “Shower” Was a Hit

TIME Music

You’ll Never Guess Who Stars in Sia’s Video for ‘Big Girls Cry’

Surprise! It's Maddie Ziegler again

In 2006, Fergie told us that big girls don’t cry. Today, Sia is swooping down from her chandelier to say “Not so fast!” with her new video for “Big Girls Cry.” She’s joined by a familiar face who is not Shia LaBeouf: Maddie Ziegler, who used to be known as the girl from Dance Moms but now—like the kid from those early 2000s Missy Elliott videos—will probably be forever known as the girl from all those Sia videos.

This clip is the simplest of the three, perhaps because the last one upset a few people, but—like any dance routine that requires a 12-year-old to pretend someone is trying to smother her—it’s just as unsettling.

TIME movies

Aubrey Plaza on Life After Parks, Playing a Witch and Hating the Word ‘Deadpan’

Aubrey Plaza
Jack Plunkett—Invision/AP Aubrey Plaza at SXSW.

The actress talks to TIME about all her upcoming movies

It’s been a little more than a month since Parks and Recreation bowed out, and Aubrey Plaza — almost in April Ludgate fashion — doesn’t know what her future looks like. In fact, after seven seasons of playing the slacker intern-turned-bureaucrat, she prefers it that way. “Right now I’m just really excited about the idea of having my entire year open,” the actress tells TIME. “There are so many things in the past couple of years that I haven’t been able to do because I’ve been booked for half the year.”

If her recent, prolific filmography is any indication — she’s been in five films since August, if you count Lifetime’s Grumpy Cat special — expect to see plenty more of her. “I really like working, and there’s no reason for me not to go crazy right now,” Plaza says. Two of her newest films are already on video-on-demand: in Hal Hartley’s Ned Rifle, available on Vimeo, she plays Susan, a mysterious poetry grad student who seems obsessed with the title character’s Nobel-laureate uncle; she also plays performance artist Mallory in Playing It Cool, a rom-com about a reluctant rom-com writer (meta!) that stars Chris Evans and Michelle Monaghan and is available on iTunes.

TIME caught up with the actress to chat about her recent SXSW excursion, the challenges of being typecast and the perks of playing Natasha Lyonne’s love interest.

TIME: You had two films at SXSW. Did you get to see other movies and bands and eat breakfast tacos, or was it all business?

Aubrey Plaza: It was fun. It was, you know, like a film festival — it was fine. [Laughs] It was a lot of business, but I did get to see Busta Rhymes, which was pretty awesome.

Are you a big Busta fan?

I mean, who isn’t? And I definitely ate some late-night Austin food — I went crazy on the food trucks at one point.

You were a big fan of Hal Hartley’s work in the ’90s before you starred in Ned Rifle. Can you write a creepy, extensive dissertation on his work like your character Susan does in the film?

Oh yeah, I can do that, and I can stalk him! [Laughs] I love him, I really do. I think he’s so special and important. There’s just not a lot filmmakers around that are like him. I was so, so excited to work with him.

Your character walks the line between joking around and being serious. There were a lot of parts in this movie where I wasn’t sure if I should be laughing, which was unsettling at first, but then I think that’s what made the movie so thought-provoking and delightfully weird.

At SXSW, Hal and I were doing interviews, and someone brought up the word deadpan, which for me is a word that I’m like, “Ugh, please, God, I don’t want to hear that word anymore.” It has a weird, negative [connotation] for me. But Hal embraced it and pointed that what you’re saying when things are deadpan, or a character is deadpan, is that they’re saying things without an obvious subtext. You’re not sure if it’s supposed to be funny or if it’s serious, and it leaves the audience to decide, which I thought was kind of cool.

It is more interesting that way—you’re not really sure how to interpret a line of dialogue, or why someone is saying something. There’s a lot of that in his script. As an actor, I don’t think about what’s funny or what’s not funny. For me, it’s just all coming from a very sincere place of trying to express her, and myself, I guess. It never felt funny to me. I know it’s a dark comedy, but I never approached it like a comedy or anything like that. But there were moments on set when Hal would stop shooting and come over and say, “Don’t forget this is a comedy!” [Laughs] It’s hard to know! But that’s one of the reasons why I love his writing.

You’ve talked before about not wanting to be typecast, but looking at the different roles you’ve played, do you think there is some through-line or something they have in common that you’re drawn to?

I’m just like everyone else reading scripts and trying to get parts. There’s definitely the struggle that I have, always trying to convince people that I can play parts that are really different on paper from things I’ve done in the past. I like it — it’s a really fun challenge to audition for parts that people wouldn’t normally believe that I could pull off. But I don’t have perspective on myself in that way where I can look at all the characters. I mean, it’s me — I bring all I have to every character with my own experiences and my own approach to life, so of course there’s a through-line there. I’m sure that’s true with every actor.

How actively do you seek out roles that are different to challenge those perceptions?

All the time, but the opportunities do not present themselves to me as much as I would like. I’m shooting a movie right now called Dirty Grandpa with Robert DeNiro and Zac Efron. It’s a comedy, and there are two main girl parts: one is Zac’s love interest, who is funny and sarcastic [and whom] initially I was going to audition for. The other is this super slutty party girl who just wants to party. People would be thinking that I would want to seek out the sarcastic girl, but I didn’t. I actually wanted to audition for the other part. So I did, and they cast me in that part, and it was very exciting that the director believed I could pull this thing off.

But, you know, there’s a limited control that you have as an actor, and there are a lot of things that are offered to you [that are] unfortunately a lot of the same. Once someone sees you do one thing, they just want to see you do it over and over again. It’s tricky to navigate that, but I do my best. Mainly I just want to work with good filmmakers that I respect and pick parts that I really connect with.

You’ve been in so many movies since last August, when did you have time for them all? You were still shooting Parks last year!

I don’t know, I’ve just gone insane. I don’t know if I will continue to cram in 20 movies a year now that Parks is over, but I really like working, and there’s no reason for me not to go crazy right now. Right now I’m just really excited about the idea of having my entire year open. There are so many things in the past couple of years that I haven’t been able to do because I’ve been booked for half the year. I have hobbies and I’ll get there, but I’m just kind of really excited about working. I’ll probably just work all the time.

Are you open to going back to TV, or are you sticking with movies for now?

I’m open to it for sure, but it would have to be the right thing. I don’t have any prejudice against television or anything like that. The quality of television programming is so good right now that it would be silly not to not to do another TV show. But there’s something about movies that I find so satisfying, just that it has a very clear beginning and end. I really like going through those experiences.

Another movie of yours is Playing It Cool, which, like Ned Rifle, is on video-on-demand now and will have a limited run in theaters. That movie seems like a pretty self-aware rom-com, which is refreshing.

I did that movie because I really liked the idea of playing a performance artist, and in the script, there’s a scene where you see my character do her performance art. The director told me that I could write that show, and I could do whatever I wanted, so that’s why I did that movie. Of course I liked all the other elements too, but I selfishly really wanted to play this performance artist and do something crazy.

How crazy?

I don’t even know what they ended up using because I haven’t seen it. It’s bizarre. I believe I’m in my underwear, and I’m fake giving birth to different baby doll parts and pulling them out of my vagina.

That is bizarre. And then you’ve got Fresno, in which you play Natasha Lyonne’s love interest.

Yeah, I play a lesbian krav maga instructor, which is a really different part for me — the reason why I did that movie. I thought it’d be fun to play a really physical part and to play a gay character, which I haven’t done before. Natasha and I are friends in real life, so I thought it would be really fun to play opposite her. And it was not hard to be attracted to her, because I am.

I was recently talking with Lucy Lawless, who’s on the new season of Salem, about why witches are having a pop-culture moment. As someone with the Twitter handle @evilhag, do you have any insight?

I had no idea! That’s so exciting. Witches go in and out as being popular. I remember when I was in high school and The Craft came out, that was a huge thing for me. I loved that movie so much. They’re fascinating. I would love to play one.

So you’re game for a role in the fantasy and sci-fi realm?

I would do anything if it was good. Really! It would be so fun to do something in the fantasy world. That’s the reason I wanted to be an actor — so I could do things that don’t happen in reality. I would love to do that some day. Any kind of magical powers, that’s very appealing to me.

TIME celebrities

Patton Oswalt Had a Lot to Say About the Trevor Noah Backlash

Try 53 tweets about the incoming Daily Show host's controversial jokes

Within 24 hours of being named Jon Stewart’s successor on The Daily Show, South African comedian Trevor Noah found himself in hot water over some old tweets that critics deemed sexist, anti-Semitic and fat-shaming. “To reduce my views to a handful of jokes that didn’t land is not a true reflection of my character, nor my evolution as a comedian,” Noah wrote in response.

Enter Patton Oswalt, who is no stranger to criticizing what he thinks is unnecessary political correctness infiltrating comedy (for the worse). Last night Oswalt came to Noah’s defense with an elaborate, 53-part Twitter joke that took aim at trigger warnings, disclaimers and the way people talk about privilege on the Internet. The gist of his argument is basically, “So what if jokes are offensive? Deciding who or what is off-limits—or going out of your way to placate—is terrible for comedy.” But you can read the whole thing (excerpted below) over at his account and decide for yourself.

TIME Vatican

Pope Francis Says St. John Paul II Was Shining Example of ‘Suffering With Joy’

The Pope spoke on the eve of the 10th anniversary of John Paul's death

Pope Francis said St. John Paul II showed sick people how to “carry the cross of suffering with joy” on the eve of the 10th anniversary of the Polish-born pope’s death.

Pope Francis spoke to tourists and pilgrims during his weekly general audience in St. Peter’s Square on Wednesday, the AP reports. John Paul died on April 2, 2005, at age 84, in the Apostolic Palace next to the square where Pope Francis spoke. John Paul became the Catholic Church’s first non-Italian pope since the 15th century when he was elected in 1978. He served until 2005, the second longest pontificate in history.

“We remember him as a great Witness of the suffering Christ, dead and risen,” Francis said.

[AP]

 

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