TIME Television

Outlander Recap: Claire Discovers the Folkloric Key to Her Escape

Outlander 2014
Neil Davidson—© 2014 Sony Pictures Television

In this episode: a way out!

Things are getting intense on Outlander, and by “things,” I mean Claire Randall’s heaving bosom, which is literally begging to be unleashed all over the Highlands’ verdant pastures. Last week, Claire’s plan to go back to the future failed when she was made an official prisoner of Castle Leoch, and this week she spent most of her time finger-wagging, being wistful, and facing off against the evil demons who roam Scotland.

But before parsing through Claire’s life as a sexually charged sassenach, Outlander‘s third episode gifts us with a flash to the future, wherein Claire’s historian husband bids her farewell as she leaves for the front lines. Because yes, it’s Claire — not Frank — who occupied the trenches during World War II, and this reversal of traditional roles sets the viewer up for Claire’s insistence on challenging gender norms in 18th century Scotland. You know, where she enjoys life as a glorified witch-doctor / professional groper of shirtless man-breasts.

While Claire spends much of this episode diligently asserting her feminist beliefs (and getting to know an entirely different brand of feminism), we’re also re-introduced to the omnipresent supernatural, which — unlike almost every male on this show — might be an adversary that Claire can’t outwit. With that in mind, let’s take another trip to the rippling moors of Outlander, shall we?

Claire Experiences The Real-Life Version of Drunk History

Thanks to Claire humble-bragging about the fact that she’s a nurse every five seconds, she spends most of her time in a dank infirmary — the very same infirmary where Future Frank performed oral sex on her just days earlier. But rather than bemoan her new role as Castle Leoch’s doctor, Claire partakes in a cheerful montage of wound-tending (set to a Celtic jig), and happily conducts the unfortunate task of massaging Colum MacKenzie’s naked backside to ease the pain of his pycnodysostosis. Though the job is fifty shades of horrifying, it should be noted that Claire in a position of physical control over Colum. He might be her captor, but even his most demeaning treatment of Claire renders him physically vulnerable.

As a reward for Claire’s compliance, Colum invites her to a concert, which is essentially an opportunity for her to dive into yet another love triangle — this time between Jamie and Laoghaire Mackenzie, the damsel in distress whom he valiantly saved from a public beating last week. Laoghaire is obviously in love with Jamie (get in line, friend), but instead of Claire following through with her promise to set them up, she and Jamie get drunk and wander off to “dress his wound.” By now we know this is just an excuse for Jamie to muse about flogging while Claire strokes his shoulder, but the highlight of this particular bonding session is Jamie staring deeply into Claire’s eyes. They’re the windows to her soul, after all, and as a flag-waving feminist, Jamie knows that beauty is only skin deep. He’s so wise, despite his floggy malaise!

Claire Denounces Demons, Comes Down With An Acute Case of Love Sickness

Turns out everyone in the 18th century is full-on obsessed with demons, especially those that reside at the ruins near Castle Leoch. Apparently, this place is swarming with supernatural townies who love nothing more than possessing children, and Claire decides to protest an exorcism that’s being performed on one such child — the nephew of her friendly maid, Mrs. Fitz. Unfortunately, Claire’s attempt to save this bonny lad is thwarted by woman-hating Father Bain, and she fails to overcome the confines of her gender and seize control of the situation as she’d hoped. But is her failure really Father Bain’s gain? Or is Claire’s real foe in this situation the ever-intangible supernatural forces at play? Surely, if she can find a logical answer to Castle Leoch’s demon problem, she can find a logical answer to her own time travel conundrum.

More on that later, because important things are afoot: Claire catches Jamie kissing Laoghaire in a hallway. The good news? Jamie probably isn’t a virgin (I was worried). The bad news? He’s betraying his core belief system. Laoghaire obviously represents everything Claire doesn’t: she’s innocent, naive, definitely hasn’t read anything by Virginia Woolf, and most importantly, she’s all wrong for Scotland’s resident dreamboat. And considering that this semi-mulleted hero spent last week being the world’s best feminist, I’m slightly surprised that he’d so quickly fall into caricature by philandering with Laoghaire solely because she’s attractive. What about her personality, Jamie? WWBFD (What Would Betty Friedan Do)?

Claire Bests the Paranormal, Forms Cunning Plan

After mooning over Jamie atop yet another buttress, Claire visits her friend Geillis and meets Arthur, a flatulent fellow who dispenses justice among the locals. This is a learning moment for Claire, as she’s introduced to a conflicting brand of feminism when Geillis uses her “wiles” to convince Arthur not to chop off a little boy’s hand as punishment for stealing. While Claire attempts to reason with Arthur as one intelligent person to another, Geilles uses prototypical gender roles to her advantage and succeeds in changing his mind (though the poor boy still gets his ear nailed to a post). The question is, will Claire abandon her scruples and embrace new-wave feminism?

Claire doesn’t have to ponder this issue for too long, because Jamie wanders in and (after releasing the boy’s ear) whisks her off to the possessed ruins near Castle Leoch so they can discuss demons. (Not to be confused with flogging, which was shockingly not discussed.) It only takes Claire about five minutes to realize that Scottish children are being “possessed” thanks to their consumption of lily of the valley, which they binge-eat like it’s going out of style. Claire’s discovery not only shows that she’s smarter than her haters, but also that she’s rationalized the pervasive supernatural element in this episode. She’s found an explanation for demons, and now she’s free to find one for her own inexplicable journey through time.

Claire stumbles upon the answers she’s looking for after saving Mrs. Fitz’s nephew, and though she initially fears that she’ll forever be Castle Leoch’s “miracle worker,” she comes to an epiphany while listening to a folk song about — you guessed it — time travel. The key to Claire’s escape according to folklore? Returning to Craigh na Dun at night and touching the stone that whisked her to the 18th century. Claire might not know what she’s up against, but she’s ditching Castle Leoch with or without permission from her captors. Way to reclaim your agency, Claire, but I can’t be alone in hoping you stay long enough to educate Jamie in the ways of 20th century sex. Who’s with me?

TIME Television

See the Other Roles Played by the Doctors of Doctor Who

From Time Lords to crime lords, see the actors who played the doctor's second most famous roles


In the world of Doctor Who they are simply known as ‘the doctor,’ but those who have portrayed the Time Lord are some pretty big names in Hollywood.

Children’s shows, fantasy epics, and blockbusters have starred former and future doctors for 50 years since the series first started in 1963.

Step into the TARDIS and let TIME take you through wibbly-wobbly timey-wimey to find the doctors acting in their second most famous roles.

TIME Television

Hank Azaria: I’ve Lived The Simpsons Marathon

The Simpsons
Hank Azaria plays the town barkeep, Moe Szyslak, as well as a wide cast of male characters ranging from Chief Wiggum and Apu to Duffman (can't breathe! oh no!). Brad Barket—Getty Images; Fox

Hear from the voice of Moe, Apu, Chief Wiggum and so many more

If there’s a vocal equivalent of rubber face, Hank Azaria’s got it. The 50-year-old actor joined The Simpsons when he was just 22, and has collected four Emmys for an impossibly long list of oft-imitated and diverse creations: Moe, Chief Wiggum, Professor Frink, Dr. Nick Riviera, Apu, Cletus—and on and on.

To mark the show’s 25th season, and the 552-episode marathon on FXX that threatens to keep fans in doors for days, Azaria talked to TIME about what it’s been like to embody some of the funniest characters on television for more than half-a-lifetime—as well as what he remembers about the late, great Robin Williams, with whom Azaria worked on the 1996 comedy The Birdcage.

TIME: Are you going to be watching any of the [FX] marathon? What is the most hours you’ve spent watching your own show in a row?

Hank Azaria: Well, I’ve lived the marathon. Really. I’ve been doing this for over half my life now. Every few years I’ll sort of binge-watch the last crop of episodes. I’m due for another one of those.

TIME: How do you continue to find surprises within these characters and make sure that it stays interesting for you as an actor?

HA: I love these characters so it’s really fun for me to do them. It’s script to script. There aren’t as many new ideas on episode 512 as there were on episode 12. That said, we’ve never repeated a joke. I can’t recall saying the same thing. I think certain tropes come back. You know, Moe has fallen in love, what, four or five times. So some of it becomes an ongoing story that you’re telling. You learn more about them. You’re inside a character and you’re exploring a character and his relationships or ambitions. That’s really a writer question. They’re the ones that really have to dig deep.

TIME: What’s an episode that you felt handled a current event or a zeitgeisty thing in the news really well?

HA: One episode recently, called The D’oh-cial Network, about social media. I thought that was a great statement on how we’re a completely Internet obsessed society. [And] going way back, when the aliens Kang and Kodos took over [Bill] Clinton’s and [Bob Dole’s] bodies and sort of made this ridiculous election.

TIME: On Simpsons Wikipedia, that very reliable source, there’s something that describes all your characters and who they may have been based off of: Moe is based off your impression of Al Pacino and Dr. Nick Riviera is a bad Ricky Ricardo and Chief Wiggum is Edward G. Robinson. Did a lot of these voices start out as celebrity impressions you had done over the years? How did you warp these more familiar voices into something of their own?

HA: I’m a mimic at heart so, yes, they were based on a lot of celebrity impressions. Or whoever—they didn’t have to be celebrities. They were people I knew, people I met. Family members, college buddies. Whoever’s voice stood out to me that I could imitate.

TIME: Who is Comic Book Guy based off of?

Comic Book Guy of The Simpsons FOX

HA: Comic Book Guy is based on a guy who lived next door to me freshman year of college. Everybody back then had those dry erase boards where they left messages for each other—before cell phones—and he would put a listing, a ranking of the top 5 or bottom 5 people in the dorm–people he liked and didn’t like. In CBG voice: You just made the top of my list.

TIME: So he was extremely popular?

HA: Oh, he was big man on campus. But yeah, he sounded like that, except with a Boston accent.

TIME: What character would you say is the most like you?

HA: The character that seems the most rational and that I relate to is Lou the cop. Even though his vocal quality is kind of based on [Sylvester] Stallone, he’s sort of the sensible, normal guy. I relate to Moe a lot. He has a big New York accent—which, I grew up in Queens. I was a bartender. I joke that if I didn’t become Moe the bartender I’d probably still be Hank the bartender. He’s such a miserable guy, like the dark side of my personality.

Moe of The Simpsons FOX

TIME: I saw the segment with all of the cast, Dan [Castellaneta], Nancy [Cartwright], you, etc. on Inside the Actors Studio. I was struck by was how easily you guys were able to banter with each other in these characters’ voices. Are you guys comfortable enough with each other and with the writers where you improvise to come up with scenes? How has that changed over the years?

HA: That’s always been permitted and encouraged. Honestly, it’s hard to remember at this point what the beginning was like. It was so freaking long ago. But basically, if you do four takes, you want to do two completely as-written, word-for-word, and then a couple where you can play around a little bit. Sometimes, if you feel a joke isn’t working, you say, ‘maybe you try it this way, maybe he’s not so angry,’ you make a little suggestion. Then there are times where it really does feel like two characters should improvise with each other. Play off each other, play around. Every once in a while, we’ll do that when it calls for it.

TIME: Were there any characters you wanted to do, or the writers wanted you to do, that ended up on the cutting board?

HA: None. Because I’ve really only ever suggested one character and that’s [Professor] Frink’s father. And Jerry Lewis ended up playing him. Professor Frink was so inspired by Jerry Lewis in The Nutty Professor that I always thought it would be great if we could do that. And I nagged them enough that they finally did it.

I have these voices ready that I think are amusing, or entertaining. And then when the time comes, a character gets presented and then in my brain, I go ah, great.

TIME: You said you’re constantly developing new voices. Is there anything you’re working on now?

HA: This process is so organic. It’s not, ‘ok let me take the next hour and develop the voice.’ It’s just something I’m always doing. I love it. To me it’s like a toy. It’s really fun. [But] over 26 years, I’ve sort of hit the limit. There are new people I try and get now as things come up. We did a monologue [recently]–remember the movie Network? Remember Ned Beatty’s rant?

TIME: That’s a great scene.

HA: What I’ll do is just listen. I’ll get a recording of it, just listen to it, try to work it out. The good thing about it is—let’s say I do it and it’s not that great. Dan or Harry will take a whack at it.

TIME: [The Simpsons has] had a lot of guest stars over the years. Is there anybody that you felt giddy and nervous and excited in a big way to work with?

HA: This is an interesting phenomenon, I find, because you don’t know who you’re going to freak out at. The year Dustin Hoffman won for Rain Man—I was at that Oscars, and Vincent Price walked in and I lost my mind.

TIME: Did you actually say hello to him?

HA: I didn’t. I was too thunderstruck. But down the line, I’d say it’s the rock and roll performers that have gotten to me. The top would be Mick Jagger. It was like viewing history. I flipped out. All those guys. Tom Petty, Elvis Costello, David Byrne, Steven Tyler in Aerosmith. Maybe because I’m used to actors. I so admire people who can make music like that.

TIME: You guys recently combined the Simpsons and Family Guy, which is obviously influenced by the Simpsons. I was wondering what that experience of being a guest star as a character was like. Was it on Family Guy rules? What was it like joining up with them and getting to do the same role but in a different way?

HA: It was very much a Family Guy driven episode. It was technically their show. I love Family Guy, and whatever it’s borrowed from the Simpsons, it’s certainly become its own thing that is funny and original [and] in its own way deserves a lot of credit.

TIME: On Twitter recently you said that Cape Fear was one of the episodes you can watch over and over. What’s a bit that makes you crack up the most?

HA: From Cape Fear, the part about [Sideshow Bob] stepping on the rakes… It really hits my funny bone. No pun intended. Homer being really stupid cracks me up. Like when he hops on the scale and it’s wavering back and forth and he says ‘woo-hoo!’ or ‘d’oh!’ depending on literally whether the scale’s on the high end or low end. There was a while where for no reason Homer just adopted a southern accent and spoke like a girl thinking he’d be disguising himself. That really killed me.

TIME: So Homer’s stupidity is a gold mine.

HA: And Ralph Wiggum. The writers say that Ralph is the hardest character to write, by the way, because he has to be so stupid in just one sentence all the time that it’s almost like writing poetry, like writing comedy haiku. I think my favorite Ralph moment is when he walks into the adult section of the comic book store. The joke they didn’t use, because they censored it, was Ralph saying, ‘She’s hungry!’

TIME: One of your best-known live action movies was The Birdcage with the late Robin Williams. How did Williams affect your sense of comic timing or influence you as a comedian?

HA: Robin on that movie was really reining himself in. It was almost physically painful for him to do that. Mike Nichols was really sort of iron fisted with all of us about keeping it tight, and keeping it moving. I really admired the way Robin handled that. He would absolutely throw himself into the completely scripted version and give Mike exactly what he wanted, and then literally beg for what he called ‘wild takes,’ where he could just do whatever he wanted and go nuts. I think mostly it was very purging to Robin. Like if he didn’t let that out, I think he was going to go cuckoo. I was impressed how he took care of himself in that way. He was really gracious and didn’t argue with the director. He gave him what he wanted, which is smart, but also really advocated for his own process and did his thing.

The other thing I have to mention—as an actor, [Williams] was an amazing listener. He was always paying attention and responding. He was really there with you for whatever you might wanna try. He was very surprising, and a generous laugher.

This interview has been condensed and lightly edited for clarity.


TIME Music

Pound the Alarm! Nicki Minaj’s ‘Anaconda’ Video Breaks Record

It came in like a "wrecking ball" (and demolished "Wrecking Ball")

It’s quite an ass-essment: the music video website Vevo has announced that Nicki Minaj’s “Anaconda” got 19.6 million views in a day, setting a new record for the most views in 24 hours. The previous record, 12.3 million, was held by Miley Cyrus’s “Wrecking Ball.”

As The Wrap points out, this isn’t Minaj’s first Vevo record: “The rapper previously set Vevo’s most-watched record, twice — her collaboration with Justin Bieber for “Beauty and a Beat” received 10.6 million views in October 2012, and “Stupid Hoe” got 4.8 million viewers in January 2012.”

Minaj will be performing “Anaconda” at MTV’s Video Music Awards on Sunday, August 24 — and if the reports are true, Minaj and Cyrus could be sitting next to each other at the event, so now they’ll have something to talk about. That said, it could get real awkward real quick — especially in light of Cyrus’s spoof of the “Anaconda” cover art.

TIME Television

The Real Problem With Sex Box Is That It’s Boring

WE tv

People are already getting worked up over WE tv's upcoming reality show Sex Box, where couples copulate on-air and then chat about it

WE tv caused a stir on Thursday when the cable channel — a subsidiary of AMC — announced that they had ordered a reality series called Sex Box to air in 2015.

Based on the U.K. series of the same name and produced by Relativity Television, Sex Box is billed as an “extreme therapy reality concept” where couples appear on television to discuss their relationship, before they head off to a camera-free, soundproof box where they — you guessed it — have sex. The couples then come out and, as per WE tv’s announcement, talk about their “experiences in the box and most intimate personal issues” with a panel of experts. Also, in front of a studio audience. Also, in front of everyone watching at home.

The idea behind the show is ostensibly that couples are more trusting and open post-coitus; therefore, they’re more able to communicate and work out their issues. In addition to the love hormones supposedly coursing through their bodies, a team of experts will be on hand to help — celebrity relationship psychotherapist Dr. Fran Walfish, clinical therapist and nationally certified sex therapist Dr. Chris Donaghue and Pastor Dr. Yvonne Capehart. But with its over-the-top premise and insistence that the sex take place in-studio, it’s really not surprising that the show has already been branded a “low point for reality television.

Yet if the show’s British godfather is any indication, Sex Box won’t be titillating or smutty or something to watch as a guilty pleasure. It’ll be boring.

While the logic might follow that couples are more open after they’ve had sex, it’s typically with one another — not so much with a host of strangers and millions of viewers. In the U.K. version of Sex Box, the couples — while all nice, chatty people — weren’t so overtaken by sex endorphins that they actually revealed anything vivid or shocking. It was all pretty tame, polite, slightly awkward at times and, overall, just dull. Not even the show’s panel could spice things up — and the U.K. version had Dan Savage as one of its experts.

So for all the voyeurs out there who are hoping to catch a glimpse of something risqué — or the pearl-clutchers looking for something to be outraged over — Sex Box probably isn’t for you. Who it is for, exactly, is anyone’s guess.


TIME Television

Lena Dunham Teases World With Shortest Girls Season 4 Clip Ever

Really, Lena, That’s it?

We guess we should be excited about the fact that Season Four of HBO hit series Girls is currently in production, but the clip the show’s star Lena Dunham posted on her Instagram account Friday wasn’t nearly enough to satiate our Girls needs.

Nevermind the terrible bike skills, why is Hannah even on a bike? Where is she going? Are those Timberland boots? We need more answers!

One thing is clear, though, Season Four production is underway, which hopefully means our favorite Girls are coming back soon.

TIME Television

Emmys 2014: What to Expect When Bryan Cranston, Jon Hamm and True Detective Compete

Jesse Pinkman (Aaron Paul) and Walter White (Bryan Cranston) - Breaking Bad _Season 5 - Photo Credit: Frank Ockenfels/AMC
Frank Ockenfels—AMC

Who will win, who should win, and everything else you need to know about Monday's show

The 2014 Primetime Emmy Awards air this Monday (not a typo!) Aug. 25th at 8pm E.T./5pm P.T., giving Bachelor in Paradise some stiff competition for Nielsen ratings.

Hosted by Seth Meyers of NBC’s Late Night, the show will honor the best that the television industry has to offer, which is a lot these days — if you’re not on boring old network television, that is. Between HBO’s True Detective, Veep and Game of Thrones, Netflix‘s Orange is the New Black and House of Cards and FX’s Louie and Fargo, cable and Netflix are likely to take the big prizes — especially HBO, as the network received a jaw-dropping 99 nominations.

The 2014 Emmys also mark the swan song of AMC’s Breaking Bad — and it’s likely that voters will want to mark the occasion by giving all the prizes to the one of the most critically acclaimed shows in recent memory (next to Barely Legal Pawn, obviously). In case you missed it when it was first announced, find a full list of nominees here.

Here are some predictions for the 2014 Emmys:

Best Comedy Series

It’s hard to underestimate the strength and appeal of both The Big Bang Theory and Modern Family, but if they end up splitting the vote, it may give Veep a shot at the laurels — which is just the sort of campaign strategy Selina Meyer would like. Orange Is the New Black is the new kid on the block, but if voters are headed outside the primetime box, they should head straight to Louie — the show had a brilliant, dark and difficult season that pushed the boundaries of comedy.

Will Win: Modern Family

Should Win: Louie

Best Actress in a Comedy Series

Taylor Schilling has incredible range as an actress, but the fact that Orange is the New Black isn’t a laugh-out-loud comedy may work against her in this category. Julia Louis-Dreyfus consistently delivers on Veep, which is why she has won the last two years. While any politician knows that incumbents tend to win, this time we’re rooting for the underdog politician: Leslie Knope. Amy Poehler’s work on Parks & Recreation is genuinely hysterical and seemingly under-appreciated, and while she may be the dark horse candidate, she deserves the win.

Will Win: Julia Louis-Dreyfus

Should Win: Amy Poehler

Best Actor in a Comedy Series

With three trophies in this category, it’s clear that Emmy voters love The Big Bang Theory‘s Jim Parsons. This year, though, he has some stiff competition in Louis C.K. who delivered an intense, if not exactly laugh-out-loud performance — as well as William H. Macy for his multiple death scenes in Shameless.

Will Win: Jim Parsons

Should Win: Louis C.K.

Supporting Actor, Comedy Series

While it’s hard to consider Girls a comedy, it’s nominated in the category, and Adam Driver did an excellent and nuanced job last season. Assuming the nominations of both Jesse Tyler Ferguson and Ty Burrell for Modern Family cancel each other out, expect Tony Hale to take home the title. It would be a well-deserved win, too — his work on Veep is understated, while also inducing actual LOLs. Though the same could be said of Andre Braugher’s work on Brooklyn Nine-Nine, Hale has the residual excitement over the return of Arrested Development in his favor.

Will Win: Tony Hale

Should Win: Adam Driver

Supporting Actress, Comedy Series

Out of the nearly-40 year history of Saturday Night Live, only two other actresses have been nominated for Emmys (Kristen Wiig and Amy Poehler) while that bodes well for Kate McKinnon’s future, she probably won’t be able to wrest the title from Allison Janney for Mom. That said, it would be nice to see Kate Mulgrew rewarded for her work on Orange Is the New Black, especially as she was overlooked for years for her appearances on Star Trek: Voyager.

Will Win: Allison Janney

Should Win: Allison Janney

Best Drama Series

True Detective generated a lot of buzz in its debut season, but this was Breaking Bad‘s swan song; it deserves a win and earned it fairly with its carefully constructed, fan-pleasing ending. As fans of Lost, How I Met Your Mother and True Blood know, that isn’t easy to pull off.

Will Win: Breaking Bad

Should Win: Breaking Bad

Best Actress in a Drama Series

Julianna Margulies did incredible work on The Good Wife this year, on a season filled with mourning, misery and accounting woes. Fingers crossed that voters recognize it. (Crossing different fingers that Lizzy Caplan will eventually take home an award for her fine work in Masters of Sex.) Still, Claire Danes is the woman to beat this year — and every year that Homeland is nominated.

Will Win: Claire Danes

Should Win: Tatiana Maslany for Orphan Black — but because she wasn’t nominated, Julianna Margulies

Best Actor in a Drama Series

While Woody Harrelson and Matthew McConaughey both did phenomenal work in True Detective and Kevin Spacey wowed as a driven politico in House of Cards, this award belongs to Bryan Cranston. Sorry, Jon Hamm, but this is why AMC split the final season of Mad Men in two.

Will Win: Bryan Cranston

Should Win: Bryan Cranston

Supporting Actor, Drama Series

This is Aaron Paul’s last chance to win for his excellent work in Breaking Bad, so it’s likely that Emmy voters will reward his hard work (again). That said, Peter Dinklage took the role of Tyrion Lannister and infused it with humor, pathos and poignancy. In a show as jam-packed with talent as Game of Thrones, Dinklage still manages to make Tyrion the star. If there’s a dark horse in the race, it’s Josh Charles for his heartbreaking, vengeful work during his final season of The Good Wife.

Will Win: Aaron Paul

Should Win: Peter Dinklage

Supporting Actress, Drama Series

Lena Headey rules as Cersei Lannister in Game of Thrones and while the last season of Downton Abbey wasn’t great, Joanne Froggatt delivered a memorable performance in a forgettable season. However, it’s Anna Gunn’s turn to take home the trophy for her role as Skyler White in Breaking Bad. To allay any doubts, go watch the scene where Gunn stabs her husband to save the children and then collapses on the ground as Walt walks out the door with the baby.

Will Win: Anna Gunn

Should Win: Joanne Froggatt

Best Miniseries or Movie

Ryan Murphy’s HBO film The Normal Heart wasn’t nominated, theoretically to clear the way for an American Horror Story: Coven win. But that show has some serious competition from HBO’s Treme, as well as FX’s Fargo. The television adaptation of the Coen brothers movie was unexpectedly thrilling, tense, gory and fun — but it will most likely have to take a bow in the wake of Treme‘s final season.

Will Win: Treme

Should Win: Fargo

TIME movies

National Ghostbusters Day Is August 28. Who You Gonna Call?

Columbia Pictures – Getty Images

In honor of the 30th anniversary theatrical re-release of film

Have you been waiting for just the right moment to wear your Proton Pack in public? You’re in luck: National Ghostbusters Day is August 28.

The holiday is pegged to the 30th anniversary theatrical re-release of the 1984 film starring Dan Aykroyd, Bill Murray, and the late Harold Ramis, according to a news release by Sony Pictures Entertainment. A limited theatrical engagement starts August 29, and a Ghostbusters 30th Anniversary Edition comes out on Blu-ray September 16.

If you are looking for a Ghostbusters fix in the meantime, though, this LEGO version is making the rounds:

MORE: Ghostbusters Needs a Reboot, Not a Sequel

MORE: Ivan Reitman Remembers Harold Ramis: “The World Has Lost a Truly Original Comedy Voice”

TIME movies

REVIEW: Eva Green Is the Dame to Kill For in Sin City 2

SIN CITY: A DAME TO KILL FOR, from left: Eva Green Josh Brolin, 2014. ph: Rico Torres/©Dimension
From left: Eva Green, Josh Brolin in Sin City: A Dame to Kill For, 2014. Dimension Films

The actress brings sex and violence in one killer package to this second installment of Frank Miller's neo-noir

“You cannot defeat the goddess,” says her protector, the brute Manute (Dennis Haysbert). “She cannot die.” He’s talking about Ava Lord (Eva Green), the wife of a Basin City plutocrat and the embodiment of irresistible evil in Frank Miller’s Sin City: A Dame to Kill For. Green has described Ava as less a woman — and she is all woman — than a weapon, an improvised erotic device that explodes in the heart, guts and gonads of every man she meets — like Dwayne McCarthy (Josh Brolin), a crime photographer whom Ava played and betrayed some years back. He knows she’s poison, telling her, “I was born at night, but I wasn’t born last night,” yet he returns for another toxic dose. The woman is bad.

Eva’s Ava is the essential new ornament to the gaudily entertaining, occasionally wearying sequel that Robert Rodriguez has spun out of Miller’s Sin City comic books. Using motion-capture technology to duplicate the pulp originals — same settings and visual points of view, same dialogue, same black-and-white palette dabbed with flashes of lightning and splashes of blood — this movie and its 2005 predecessor proudly brandish the neo-noir aesthetic (or faux noir, if you think it doesn’t work). The men are tough, growly and haunted; the women are all sexy, and either sisters of mercy or, like Ava, angels of death. The viewer is encouraged not to hover above the dank, alluring milieu but to wade in and wallow there, to get as dirty as its denizens. It’s a movie mud bath that I found nearly as restorative as a spa treatment at the Dead Sea.

(READ: Lev Grossman and Corliss for two takes on Frank Miller’s 300)

The four stories in Sin City 2 reconvene many of the first film’s characters. Marv (Mickey Rourke in a more battered face than he displayed in The Wrestler) enforces his own outlaw law with the maxim, “Nothin’ wrong with killin’ a bunch of bad guys. It’s practically my civic duty.” He watches over Nancy Callahan (Jessica Alba), a sad stripper whose old protector John Hartigan (Bruce Willis) got killed last time but keeps a postmortem watch, his forehead bearing the X scar of a villain’s bullet.

Down in Old Town dwell a flock of Valkyries — righteous babes skilled in archery and knife-craft, led by the dominatrix Gail (Rosario Dawson, outfitted in the world’s bustiest bustier). Senator Roark (Powers Boothe) dishes out pain to those who would challenge his corrupt hold on the city, and Dwight (Brolin taking over the role from Clive Owen) is again on the receiving end of broken hearts and limbs.

(READ: Corliss’s review of the first Sin City)

A few newbies are added into the mix: Johnny (Joseph Gordon-Levitt), a cocky card sharp who underestimates the price of beating Roark at poker; Kroenig (Christopher Lloyd), a shady medic who tends to Johnny’s busted fingers; the sado-master Joey (Ray Liotta), photographed by Dwight during a sick tryst; the entrepreneur Wallenquist (Stacy Keach, encased in Jabba the Hutt facial flab and a polka-dot bow tie), whom Ava has use for; and Mort the cop (Christopher Meloni), who falls hard for Ava, directly to his doom.

Movies are rated R for sex and violence, and A Dame to Kill For has plenty of both. There are no fewer than three eyeball-ectomies, and a cutlery scene that turns a villain’s redoubt into a decapitorium. A despondent Nancy scars her own face, leaving phosphorescent Frankenstein stitches. But the mayhem is mostly aestheticized by the black-and-white-and-red-all-over visual scheme. A fight may be shown in silhouette against a brick wall — a throwback to the first animated feature, Lotte Reinger’s The Adventures of Prince Achmed, and an old trick wielded by Rodriguez, the try-anything magician. Even if you don’t care for the characters or the story, you should agree with Dwight, after he takes his snoop photos of Joey: “The sad thing is, some of the compositions are pretty good.”

(FIND: The Adventures of Prince Achmed in the all-TIME Top 25 Animated Features)

As for the sex: that’s Ava. She is the prime force of evil, and Green is the new movie’s reason for being. In a film era that mostly ignores womanly allure for guy-on-guy battles and bromance, Green has played the unregenerate temptress from The Dreamers (her debut) to 300: Rise of an Empire, with the miniseries Camelot and Penny Dreadful in between. But Ava was the role waiting for her. Her huge emerald eyes glare above a blue silk gown in the monochrome murk; her body is often shown nude, in a swimming pool or on a bed, in the Cubist caress of Venetian-blind slats. Ava’s siren call summons Dwight there, imploring him to take his revenge on her body: “Make me hurt like I hurt you.”

Sin City: A Dame to Kill For is heavy on comic-strip hurt. It’s a big hurt but, for a late-August time-waster, a good one.

TIME Television

Little Kids Reenacting Emmy-Nominated TV Shows is the Only Emmys Reel You Need

Watch out, McConaughey


In case you need to brush up before Monday night’s Emmy Awards, Mom.me created a reel starring adorable children reenacting nominated shows that they definitely aren’t old enough to watch yet.

You’re welcome.

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