TIME movies

Coming Soon: Guardians of the Galaxy Tunes on Cassette Tape

The Cinema Society With Men's Fitness And FIJI Water Host A Special Screening Of Marvel's "Guardians Of The Galaxy"
Actor Chris Pratt attends The Cinema Society with Men's Fitness and FIJI Water special screening of Marvel's "Guardians of the Galaxy" at Crosby Street Hotel in New York City on July 29, 2014 J Carter Rinaldi—FilmMagic/Getty Images

This chart-topping, ’70s-themed soundtrack is getting a period-appropriate release on cassette

The Guardians of The Galaxy soundtrack is getting a rerelease on cassette Nov. 17, giving film fans their own version of the ’70s mix tape the film’s star, played by Chris Pratt, is never without.

The Marvel film’s soundtrack — previously released on digital download, CD and vinyl — impressively topped the Billboard 200 over the summer, even though it has no original songs — everything on this tape is from the ’70s. Tracks include Blue Swede’s “Hooked on a Feeling” and David Bowie’s “Moonage Daydream.”

Meanwhile, Guardians of the Galaxy topped foreign box offices this week after a big release in China. The sci-fi movie has racked up some $732.6 million globally.

[Billboard]

TIME celebrities

See Celebrities Who Wore Oscar de la Renta

From First Ladies to Hollywood superstars

Oscar de la Renta, who succumbed to cancer Tuesday at the age of 82, first gained global attention for dressing Jackie Kennedy in the 1960s. Over the next half-century the Dominican Republic-born fashion guru became a household name, and designed exquisite gowns for several First Ladies and the cream of Hollywood society.

TIME remembrance

Oscar de la Renta’s Life in Photos

A look back at the life of the iconic fashion designer

Oscar de La Renta passed away Tuesday at the age of 82. Born in the Dominican Republic, the iconic fashion designer first became famous in the 1960s for dressing Jackie Kennedy, and since then has designed outfits for several First Ladies as well as the cream of Hollywood society. Take a look back at his life in pictures.

TIME remembrance

World-Renowned Fashion Designer Oscar de la Renta Dies Aged 82

2014 Medal Carnegie Hall Of Excellence Gala Honoring Oscar De La Renta - Concert
Designer Oscar de la Renta attends the 2014 Carnegie Hall Medal Of Excellence Gala Honoring Oscar De La Renta at The Plaza Hotel on April 24, 2014 in New York City. Brad Barket—Getty Images

Fashion guru shot to fame in the 1960s after dressing Jackie Kennedy

World-renowned fashion designer Oscar de la Renta passed away Monday at the age of 82.

He died after a long battle with cancer, with which he was diagnosed in 2006, ABC News reports.

De la Renta is famous for designing red-carpet gowns for the cream of A-list celebrities over the past 50 years.

He first became known internationally in the 1960s when he dressed Jackie Kennedy, and since then continued to cater for several First Ladies as well as Hollywood’s top stars. Michelle Obama wore him for the first time ever a couple weeks ago, and he also designed Amal Clooney’s wedding dress.

De la Renta was born in the Dominican Republic to an influential family, but left his homeland aged 18 to study painting in Spain. It was there that he became interested in fashion designing, and after an apprenticeship with designer Cristobal Balenciaga, he moved to Paris and worked in several French fashion houses.

In 1965, he launched his ready-to wear label and his work since then has made him a legend in the fashion world.

He is survived by his second wife, Annette, and adopted son, Moises.

TIME Art

Banksy Parodies Girl With a Pearl Earring in New Painting

The new Banksy depicting the painting 'Girl with a Pearl Earring' by Dutch painter Johannes Vermeer is see on a wall in Bristol Harbourside, England on Oct. 20, 2014.
The new Banksy depicting the painting 'Girl with a Pearl Earring' by Dutch painter Johannes Vermeer is see on a wall in Bristol Harbourside, England on Oct. 20, 2014. Paul Green—Demotix/Corbis

Recent reports of the artist's arrest are a hoax

The famous and elusive street artist Banksy has parodied Johannes Vermeer’s famous Girl with a Pearl Earring in a new painting in the English city of Bristol. The artist posted a picture of the work, reportedly titled Girl with a Pierced Eardrum, to his website.

The painting, photographed from different angles on the site, features an outdoor alarm box as the woman’s earring, the BBC reports. Banksy previously graced Bristol with the painting Mobile Lovers earlier this year.


Though a report that circulated on Monday claimed the mysterious artist had been arrested, Bansky’s publicist Jo Brooks told British newspaper The Independent that the arrest was a hoax. The false reports of his arrest and a raid on his studio recycled details from a previous hoax.

Read next: You Can Now Afford To Buy a Work of Art by Banksy (Sort Of)

TIME Television

Bryan Cranston Responds to Mom Against Breaking Bad Toys

Tread lightly, action figure haters

Multiple Emmy-winning actor Bryan Cranston became the One Who Tweets Monday afternoon, following an uproar over Toys “R” Us selling action figures of Breaking Bad‘s drug-dealing characters.

The action figures of chemistry-teacher-turned-meth-maker Walter White and his sidekick Jesse Pinkman (Aaron Paul) stirred controversy with a Florida mom.

Susan Schrivjer, based in Fort Myers, Fla., launched a petition to have the store remove the toys from shelves. Schrivjer was a fan of the AMC series, despite her opposing views on the toys’ appropriateness for children.

“I thought it was a great show,” she told a local TV station. “It was riveting!”

The petition calls for Toys “R” Us to stop selling the doll collection, which comes “complete with a detachable sack of cash and a bag of meth.” Cranston, however, got in on the fun:

Aaron Paul has yet to chime in, but seems to have no problem with children being involved in the fun of the characters.

As of Monday evening, the Breaking Bad action figure collection did not turn up in a search of the Toys “R” Us website. The company did not immediately respond to calls for comment.

TIME Music

Taylor Swift’s ‘Welcome to New York’ Is the Musical Equivalent of a Peppermint Latte

"The Giver" New York Premiere - Arrivals
Actress Taylor Swift attends "The Giver" premiere at Ziegfeld Theater on August 11, 2014 in New York City. Dimitrios Kambouris—Getty Images

The 1980s dance party arrived early

From Russia with love: the previously teased Taylor Swift song “Welcome to New York” was supposed to arrive in full on iTunes at midnight Tuesday, but thanks to time zones, as one astute Tumblr user pointed out, midnight came a little early overseas — and so did the song.

Swift says she named her album 1989 after the year of her birth because she was inspired by the decade’s pop music sounds. It showed on the Jack Antonoff collaboration “Out of the Woods,” but it’s even more obvious on “Welcome to New York,” which finds T-Swift dusting off cheesy synthesizers and a retro drum-machine beat as she sings of self-reinventing in the city that never sleeps. The lyrics are about as earnest as any fresh-off-the-bus New York transplant, but the song’s got enough pep to warm the frigid Grinch heart of at least one jaded New Yorker this season as they trek through snow and trash in search of a peppermint latte.

More importantly, “Welcome to New York” is the first 1989 track we’ve heard that features Swift doing something other than repeating the words of the title over and over again in the chorus.

Listen to the track here. 1989 comes out Oct. 27.

TIME Television

Zombies, Aliens and Robots: The ‘Walking Dead’ Producer on Her Greatest Hits

Producer Gale Anne Hurd at "The Terminator" 30th Anniversary Screening on October 15, 2014 in Hollywood, California.
Producer Gale Anne Hurd at "The Terminator" 30th Anniversary Screening on October 15, 2014 in Hollywood, California. Albert L. Ortega—WireImage

The executive producer of 'The Walking Dead' talks about the making of the hit show, the 30th anniversary of 'The Terminator' and how 'Aliens' got its name

This post originally appeared on Rolling Stone.

When The Walking Dead premiered on Halloween 2010, long before it would become AMC’s most popular show to date, one name in particular stood out in the opening credits. It was not Robert Kirkman, the cult hero/comic-book writer whose graphic novels (created with Tony Moore and Charlie Adlard) gave the series its sickening, gory source material. It was not Frank Darabont, the filmmaker best known for directing The Shawshank Redemption (1994) and The Mist (2007) who would be Dead‘s first showrunner and help set its course. It would not even be one of the cast member’s names, as most of these talented journeymen actors would become famous via the show later on.

No, the name that would give those in the know pause was one of five listed executive producers on the show: Gale Anne Hurd. For genre-film fans, this was the credit that suggested this serialized tale of zombies and survivors might be more than a Sunday night lark. If you grew up watching The Terminator movies, if you ever ran around your front yard pretending to be Ripley or Vasquez or Corporal Hicks from Aliens, if you remember when superhero films were still considered pulpy pleasures instead tentpole collossi, if you still love that certain B-movie thrill, then you knew what this pioneering writer-producer’s name on a project meant. And as The Walking Dead became a gigantic hit, lost key creative team members and experienced growing pains, viewers would come to realize exactly how important her continued involvement would be. Showrunners would come and go. Hurd’s hand on the wheel not only kept things steady, it insured that someone who understood what the series was really about was helping to call the shots. “The title doesn’t refer to the walkers,” she says. “It refers to the survivors. That’s the key to the whole show right there.”

Speaking to Rolling Stone as she was getting ready to attend the Season Five premiere in Los Angeles (“I’m literally trying to get into my dress as we’re talking, so my apologies in advance”), Hurd talked about where The Walking Dead had been and where it was headed, the 30th anniversary of the film that established her as a producer — the original Terminator — and how she and then-husband James Cameron turned the sequel to Alien into a template for blockbuster sci-fi action flicks.

MORE: The 10 Best ‘Walking Dead’ Episodes

Let’s go back to the very beginnings of The Walking Dead. Zombies were already prominent in pop culture, but not on TV. What made you think these comics would work as a series?
Anyone who’s read Robert Kirkman’s books can tell you that the story he’s telling…it’s not really about the zombies, or what you need to do to survive a zombie apocalypse — thought you will pick up some tips on that, definitely. [Laughs] They exist to ask a certain question: What does it mean to be human? More specifically, can you maintain your humanity in a world where there is essentially no civilization left, no law and order left? The zombies were simply a way to raise the stakes for the characters in a way that wasn’t, you know, “They are trying to survive in a warzone, they’re experiencing something that people actually went through.” I mean, you could not tell this story if it was set during a real war — it would be genuinely horrible! But you set it in a world beset by zombies, and look at these issues in a situation that could never possibly happen…

So you say!
I think it’s a pretty safe bet that this will remain a work of fiction [laughs]. I was impressed by the way Robert had set it up without losing the key questions behind everything. That, more than anything else, was what drew me to this.

Why not adapt it into a movie, then?
The idea that these characters were all on a journey, one which didn’t really have an end in sight — that meant something longform. That didn’t mean two hours. Frank Darabont, Robert Kirkman and I all shared a vision of doing this in a way that wouldn’t rush things and wouldn’t be camp. Thankfully, when we brought this to AMC, they didn’t want to turn this into something silly either. They were committed to taking something that might seem preposterous but playing it very straight, and very, very real.

Did the fact that the show was hugely popular right out of the gate surprise you? Horror TV shows have traditionally been cult hits, not pop-cultural phenomenons — so you can’t really chalk it up to genre.
I’ve thought about this a lot. I think it’s this sense we all have that each and every one of us is dancing on the edge of some sort of abyss. I think social media and the Internet has made every global catastrophe feel like it’s right next door. Whether it’s civil war, an Ebola epidemic , a tsunami, global financial collapse — we now get this news immediately, and it feels as if it’s happening right next door to us. So our characters are in the worst of all possible worlds — a world which, as I said, any one of us is very unlikely to encounter. But the moral and ethical dilemmas they face…we can all identify with those right now. You know, “What would I do if everything collapsed around me?” I think that struck a chord with everybody.

So it’s the moral and ethical dilemmas that keep people tuning in, you think?
If you go on social media after an episode airs, you’ll find a small percentage of people talking about the “kills” — and a large percentage of people talking about the choices and decisions these people had to make. We took a risk in doing an episode like “The Grove,” in which we had a character, Carol, who had grown to love these surrogate daughters — and then had to do something absolutely horrible. When we went on Twitter or Facebook once the episode had aired, we had no idea what to expect. And what we got was a lot of people admitting that they’d cried. That, and a lot of discussions over “What would you have done in that position?” It generated discussions like that for days afterward. They responded to the human element, not the fantastic elements. It made me think, “Okay, this is doing what it’s supposed to be doing. This is still working.”

MORE: No Guts, No Glory: The Rise of Gross-Out TV

There have clearly been a lot of behind-the-scenes changes that have gone on around the show, all of which have been widely reported. In a lot of ways, however, The Walking Dead seems to be very much the same show four seasons in that it was when it started. How has you managed to maintain a sense of consistency when so much was in flux?
[Pause] You know, the great thing about television is that it’s a collaborative medium. So, you absolutely have a showrunner — but you’ve also got a writer’s room, and you have a certain core of our actors have been there since the very beginning. The cast…they know who their characters are, and they would call bullshit if that changed.

It’s not like a movie where sometimes a sequel is really a remake, or it’s a complete reinvention. The world is the same, and you have to put any kind of upheaval aside and say, “You know what? We’re still telling Robert Kirkman’s story.” There is very much a universe, and as long as we stay within that universe and we work with people who embrace and understand that universe, it’s going to remain fairly consistent.

So what can you tell us about Season Five?
[Laughs] Ah, right. Well…we left our characters split up. Beth is gone; we assume she’s been kidnapped. We’ve got Carol and Tyreese with Baby Judith, separated from the rest of the group; we’ve seen a number of people reunited in the worst of all possible circumstances. And we’ve seen Rick come full circle to…it doesn’t matter how tough or bleak the circumstances, he’s embraced that mantle of leadership again. He’s no longer “Farmer Rick.” He’s, excuse my language “don’t-fuck-with-me Rick.”

So they’re in a fairly precarious position when we see them again, and it’s a question of who will get out of this situation and who won’t. There will also be a number of new characters getting introduced — some from the comics, and some not.

That was very deftly played. You managed to do that without really giving anything away.
I have to choose my words very, very carefully, here [laughs].

This year marks the 30th anniversary of The Terminator, which you co-wrote and produced. What do you remember about making it?
Oh God, I remember it all!

Is that a good thing or a bad thing?
[Laughs] Good question. You have to remember, both Jim [Cameron] and I worked for Roger Corman at the time. Jim’s first movie was Piranha II: The Spawning for Roger; had he not directed that, there would be no Terminator films! So Roger was the first person we took the script to, and I’m paraphrasing, but he said something along the lines of “I really don’t think you want to do this for me. You should do this for someone who will actually give you a budget.” [Laughs] Even he could see that this was not a quickie, do-it-for-no-money film. He was nice enough to know when someone had outgrown working with him, and that was the point when he basically told Jim and I, you should fly the coop with this.

MORE: In Pics: 8 TV Shows You Should Be Watching Right Now

Was there a moment when you realized that this would not be something that would just play on the back half of a drive-in double bill, and that it would have life 30 years later?
Oddly enough, it was the guy who was on the financial side of things, this industry veteran named Lindsley Parsons, who caught on very early that this would work. Actually, he saw a rough cut that didn’t even have any of the effects in there, and he still said, “This is going to be a classic.” We thought he was nuts. But that was what we needed to hear, because everybody else looked at it and called it a down-and-dirty exploitation film that they were embarrassed to have been involved in. It’s funny though, that the money guy is the one who had the greatest passion for it and protected us. He was there to make sure the interest of the bond company was represented, and when certain people were coming to take the film away from us, he was the one that threatened to post guards outside the editing room’s doors so we could finish cutting the movie. You just don’t get those kinds of ballsy individuals anymore.

You said in 2003 that The Terminator would not have been made in this day and age. Do you still think that’s true?
We could if we still made it for $6.4 million, sure [laughs].

Really? Because if you look at how the Comic-Con demographic has completely taken over mainstream culture, it actually seems like you get this made in a heartbeat today.
You have to realize that most people underestimated the fact that, once the quality of the entertainment based on genre books and and comic books had the production value and the talent to make them A-picture quality, the audience would show up. Most people in the industry looked down on genre stuff in a condescending way until the one-two-three punch of 2001, Jaws and Star Wars hit within a decade. And even then, it still took a while.

As someone who’s always loved genre movies, it’s an exciting time, but the fear — my fear — is that it’s going to be nothing but tentpole movies based on pre-existing material. So 30 years later, yes, people want to remake the Terminator movies. If it hadn’t been something people already knew, however — it doesn’t matter that sci-fi movies are now accepted. It wouldn’t get made.

So Aliens would get made today, but the Terminator wouldn’t?
Probably, yeah. But the funny thing is, in terms of Aliens…this was a time when people weren’t really making sequels, certainly not like they are now. What happened was, we were all set to make The Terminator, but Dino De Laurentis had Arnold [Schwarzenegger] under contract to make a sequel to Conan the Barbarian. So we knew we were making the movie, but we weren’t going to start for a year. In that time, Jim took a couple of writing assignments — one of which was Aliens, though it wasn’t called that yet.

The story, and it may or may not be apocryphal, was that Jim went into a pitch meeting with the studio executives and the first thing he said was “I am not making another gothic sci-fi film; I’m making a combat movie.” Then he walked up to a white board in the room, wrote “Alien” — and then added a dollar sign to it.

Alien$.
Exactly! That’s how he came up with the name. [Pause] Again, no idea if it’s true, but I’ve heard this story so many times from so many people, including Jim, that, you know…print the legend! [Laughs]

MORE: The Best TV of 2014 So Far

TIME celebrities

Martin Short’s Big Fat Funny Autumn

Actor Martin Short during the 52nd New York Film Festival on October 4, 2014 in New York City.
Actor Martin Short during the 52nd New York Film Festival on October 4, 2014 in New York City. Jim Spellman—WireImage

The dynamic comedian talks about his 'Mulaney' role, the joys of working with Paul Thomas Anderson and his famous last words

This post originally appeared on Rolling Stone.

Martin Short is having a bit of a moment. His memoir, I Must Say: My Life as a Humble Comedy Legend, is out in November, and he’s earning huge buzz for playing a drugged-out dentist in the upcoming Paul Thomas Anderson film, Inherent Vice. Right now, you can see him on Mulaney, the new Fox sitcom starring stand-up comic John Mulaney. Short plays Mulaney’s boss, Lou Cannon, a narcissistic TV game-show host who comes on to female guests and obsesses over how his eventual death will be covered on TV. “He’s a moron with power,” says Short, 64. “Those people are my specialty.”

It’s surprising that it’s taken you this long to become a regular on a sitcom.
Actually, my first job in America was a small role on a James L. Brooks sitcom called The Associates [in 1979]. It didn’t last a season. Then I was on another sitcom called I’m a Big Girl Now, which was about a think tank in Washington – but then, suddenly, by episode 12, we’d become a newspaper. No explanation whatsoever.

SCTV came soon after that, and SNL a little while later, so I found myself doing stuff that was either a late-night show or, eventually, the movies. At a certain point when you’re not struggling for rent money, you have the luxury of keeping yourself intrigued by something. The idea of being a regular on a series felt limiting; you know, you’re on a TV show every week, and that’s what you do. The eclectic nature of being able to do a sketch show and then a movie and then go out and do live shows with Steve Martin for a bit — that intrigued me.

However, Lorne Michaels, who I have a huge amount of respect for, called me up and said “You know, I know you’ve never really done something like this before, but John [Mulaney] is a great guy and I think you want to be part of this.” Once I met John, I got what he was saying. It made perfect sense. The voice of that show is very specific.

MORE: Fall TV Preview 2014: The Good, the Bad & the Gotham

How would you describe Lou Cannon?
Lou can’t comprehend why people wouldn’t be constantly thinking about what’s most important in life – which is Lou and his well-being.

I think you’ve just described 90% of people in show business.
Oh, absolutely.

Is the character based on anyone in particular?
President Harry Truman. [Laughs] Oh, I don’t know. Every character I’ve done has been based on one or two specific people, but then they’re colored by many, many other folks. It’s the same with Lou. He’s more of a type.

But you know, I do have famous friends who I’ve sat with over the years, and they’ll go on and on about themselves for so long that — since you tend to drift when these conversations take place — I wonder what they would think if they saw a transcription of this exchange. I think they’d be stunned. It’d be me going “Uh-huh” and then pages and pages of them droning on. [Pause] That’s my long-winded way of saying I’m not telling.

He’s essentially sort of a descendant of Jiminy Glick [the preening, clueless fake talk-show host Short played on Primetime Glick], who once said, ”You know, the problem with Charlie Rose as an interviewer is that he listens.” Lou would agree.

MORE: The Best Movies For Fall 2014

You originally came up with Glick when you were doing an actual talk show, right?
It was a syndicated talk show, and I wanted to create a celebrity interviewer who could go to junkets and looked nothing like me, so that people literally wouldn’t recognize it was me. Since my show was being broadcast at all sorts of different hours, including during the day, I thought, Well, I’d better take a look at daytime TV and see what it’s like. These were the pre-Ellen days, mind you; Rosie [O'Donnell] was on, and that was cool. But other than that, it was mostly people with large staffs and huge budgets who had no business being on TV whatsoever. To me, the notion that they’d be terrifying to the people who worked for them and that there would be some production assistant who’d be scared that they’d messed up someone’s tuna-fish sandwich order made me laugh. That’s where Glick came from.

You’ve got a busy fall: There’s your memoir, and you’ve got a small role in Paul Thomas Anderson’s Inherent Vice.
If you ever have a chance to play a horny, swinging, coke-snorting dentist, you really have to take it. I was expecting Paul to be this brooding auteur, but he’s really a regular guy. He likes doing fast takes, and lots of them. I’d improvise something and he’d say, ”That’s great, Marty, do some more of those.” ”You sure it’s not too big, Paul?” ”Nah, nothing is too big!”

He keeps a very relaxed, cool vibe on his sets, which is something he and Mulaney have in common. You have some actors where they need the World War III of it all to be creatively juiced; unnecessary tension stifles my creative instincts. I just find that to be such pretentious bullshit. But those guys aren’t like that at all. They keep it loose. The best stuff happens that way.

MORE: The Best TV of 2014 So Far

SNL is coming up on its 40th anniversary. Do you have fond memories of your time on the show?
I was on during the Dick Ebersol years – or the George Steinbrenner years, as we called them, since that was when he brought in a bunch of players who were already well-known and gave us one-year contracts. You’ll get horror stories from some folks, but I was treated like a prince.

My situation, of course, was very different. Having just come out of doing SCTV for three years, there was a part of me that really wasn’t sure whether I wanted to jump back in to something like that. Dick called me up and said “We’d love to have to have you on the show for the next year, along with Billy Crystal and Christopher Guest.” I thought, well, they certainly aren’t going to do it, so I said “Hey, as soon as they agree, phone me, Dick!” I figured I was safe until they’d called a press conference announcing those guys had joined, so I jumped aboard at the last minute.

Since I knew I was only going to be there for a short time, I treated every show like a stand-alone TV special. I drove myself crazy, putting all this pressure on myself, so it was like final exams every week. That’s my only regret, that I didn’t enjoy it a bit more or be a little more open to the idea of staying for a few seasons and seeing what I could have done with it more.

Is there a surefire way to get a laugh?
You know, I had done some stage work in the Seventies and was a funny guy at parties but having to come up with it on demand? But as I watched a bunch of my friends go to Chicago when Second City opened up a sister company in 1973 — people like John Candy, Eugene Levy, Gilda [Radner], Danny [Aykroyd] — and thought, well maybe I could do that. It still took me four years to join them, of course.

But what I quickly leaned was that it was usually the reaction that got a laugh. The fact that you could have a drycleaner sketch and you could say “I cleaned your stain out, mister” — and if you said it right, you could get a laugh. When I first played Ed Grimley at Second City, I’d stick his hair straight up to try to make [scene partner and Danny's younger brother] Peter Aykroyd laugh. Then the audience laughed too. So, basically, a funny look is a surefire way to get a laugh. That, and falling down.

Lou’s ideal last words are “I did it for the laughs”. What would yours be?
Something more practical: ”Pass me a tissue,” maybe. ”Could you hold this for just a second?”

MORE: The 50 Funniest People Now

TIME Video Games

Anyone Claiming There’s a Grand Theft Auto V Beta Is Still Lying

It's not clear when or where the scams are occurring, but they're scams, each and every one.

For once, I’ve learned about a bizarre scam from the object of the scam instead of the scammers: Rockstar would like you to know that if you happen upon a site or person or email claiming there’s a Grand Theft Auto V beta, you risk being duped.

“Please note,” writes Rockstar in an undated web notice, “there is no pre-release ‘beta’ test for Grand Theft Auto V. If you see ads or solicitations to join a beta program, beware as this is likely some type of online phishing scam.”

If that parses a little weirdly to you, it’s because you’re probably thinking, “But Grand Theft Auto V’s already out, isn’t it?” Indeed, the game arrived last September for PlayStation 3 and Xbox 360. This presumably relates to the upcoming PlayStation 4 and Xbox One versions due on November 18, followed by a Windows version on January 27, 2015. I’ll say again: presumably.

I’m assuming it’s not some kind of bizarre prerelease viral marketing thing, though it is a little odd-looking, poking around the echo chamber and finding no paper trails. No one seems to have evidence of the scam itself, and sites writing about supposed fake Steam betas and 19GB of virus-choked malware all seem to be linking to a site called Xboxer360, which hasn’t posted a news update in 10 months, and whose story about a Grand Theft Auto V beta scam is over a year old. Search on the phrase “GTA V PC torrent” and you’ll find a variety of links to obvious (well, obvious to me) shysters, but whose fake listings are pretty old.

I’ve asked my contact at Rockstar to verify this beta notice is indeed new. In any event, now that I’ve expended over 300 words writing about it, whether the scams are fresh or you’re a time traveler about to embark in your TARDIS on a trip to visit the nefarious corners of the interwebs circa late 2013, beware Grand Theft Auto V beta claims: they’re phony bologna.

[Update: I knew it. My Rockstar contact just confirmed the link up top is to an old 2013 warning. So consider yourself warned. Again.]

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