TIME Television

Dancing With the Stars Watch: It’s Movie Night With Kevin Hart

ABC

The stars dance to big hits from the big screen

Great news, everyone: Dancing With the Stars is back down to one episode per week. That means we get a full night of performances with the cherry on top of an elimination. While fans may appreciate having their Tuesday nights free, for the stars of the show, it means getting all dolled up in their finest Spanx and spray tans to flash their best jazz hands and tango elbows knowing that they might get kicked off at the end of it all. Fun, right?

While Len Goodman is off judging Strictly Come Dancing, the panel of judges is inexplicably joined by comedian Kevin Hart. While everyone loves Kevin Hart, there is no reason for him to judge a dancing show. If we’re going to nondancing professional judges, how about Mindy Kaling, Jane Goodall or Neil deGrasse Tyson?

While we compile a wishlist, it’s time start the music, it’s time to light the lights, it’s time to get things started with a giant Marilyn Monroe–inspired floor show set to the very literal song choice of Pharrell Williams’ “Marilyn Monroe.”

Here’s what happened on Dancing With the Stars:

Randy Couture and Karina Smirnoff: MMA fighter Randy thinks it is “pretty cool” to dance a paso doble to his friend Sylvester Stallone’s movie, Rocky. Shouldn’t make poker night awkward at all. Randy hit the floor shirtless save for a vest that revealed not only his chest, but also a giant tattoo. Julianne Hough, whose title card has been updated to include the fact that she’s a two-time champion, wasn’t wild about his timing. Carrie Ann loved the power in the performance, but wants some finesse the next time around. Kevin Hart is too scared of Randy to give him a bad score. 26/40 and the couple already knows they are in jeopardy.

Alfonso Ribeiro and Witney Carson: The always dynamic duo did a quick step to Austin Powers: Goldmember, but before they could get to the ballroom, Alfonso had to not kill millennial pro Witney during rehearsal. It was a challenge after she pointed out that she was “literally carrying his fat ass” across the floor. He managed not to murder her or have a meltdown, though, and delivered yet another solid routine. Julianne encouraged him to “get low” on the dance floor, while Kevin Hart ogled his velvet suit. 32/40.

Betsey Johnson and Tony Dovolani: Before their contemporary routine to that song from Ghost, Betsey said the routine was “like the skydiving I never wanted to do.” The audience loved the fluid routine, but Carrie Ann thought watching Betsey dance was confusing, because she was simultaneously elegant and sloppy. Kevin Hart informed the designer that she “dropped it like it’s hot,” and Bruno announced that “no one can bend it like Betsey.” 29/40, including a 9 from Kevin Hart, which was counteracted by Julianne’s 6.

Lea Thompson and Artem Chigvintsev: When it’s movie night and Lea Thompson is in the house, there’s no doubt that she will be busting a move from Back to the Future. The routine started with a Delorean ride and ended with a fast-paced cha-cha that got the crowd cheering and the judges jeering, well not really, but it rhymes. Carrie Ann didn’t think it was her strongest routine, but Kevin Hart loved her smile, and that was enough to earn her a decent score. 31/40.

Michael Waltrip and Emma Slater: The NASCAR star is safe this week, but still reeling from the fact that America didn’t like his dance routine to “Girls in Bikinis.” For his waltz this week, Michael is doling out the NASCAR metaphors and stepping on the gas for his romantic routine to Bryan Adams’ “(Everything I Do) I Do It for You).” The judges loved the Robin Hood–themed routine with even stickler Julianne dubbing it his best routine yet. 28/40.

Antonio Sabato Jr. and Cheryl Burke: Thus far in the competition, Antonio has had a hard time acting like he’s having fun. This week he almost managed to smile during his foxtrot to “Ain’t No Mountain High Enough” from Guardians of the Galaxy. The judges appreciated the effort. 29/40.

Sadie Robertson and Mark Ballas: Dancing a Viennese waltz to the theme from Up is adorable, just so long as they end the routine before the part where they find out they are barren and then the wife tragically passes on. Aside from that: so cute. Carrie Ann said it was her favorite dance of the night, it made Kevin Hart a fan, and Julianne loved the choreography, restraining herself to only a few criticisms and pointers. 32/40.

Jonathan Bennett and Allison Holker: On a smoke-filled floor, Jonathan and Allison delivered a proficient tango to Beyoncé and Andre 3000’s “Back to Black” cover from The Great Gatsby soundtrack. The judges appreciated it, 32/40, but the couple knows they are in jeopardy.

Janel Parrish and Val Chmkerovskiy: It’s rare that the ABC legal department gets a moment in the spotlight, but when Val and Janel wanted to do their jazz routine to a song from West Side Story, the legal types got in a huff and earned a spot on the show via a very dramatic phone call. The end result was that they could use the song “America” but couldn’t use any of the choreography from the show. Val was up to the challenge and they delivered an amazing routine. Bruno called it her “star turn” and Julianne was on her feet to applaud and called it perfection. It’s one of the rare DWTS routines that is worth googling the next day, just to see the skill with which they brought a Broadway show to life in three minutes flat. 40/40.

Tommy Chong and Peta Murgatroyd: Tommy knows how to tango, and he has no problem telling Peta how to do her business. They set their Argentine tango to the theme from the Al Pacino film Scent of a Woman, which Tommy uses as an excuse to sniff Peta, strictly for professional purposes, naturally. The judges were very impressed with the routine, but none more than Kevin Hart, who gave Tommy a 10. 34/40

Bethany Mota and Derek Hough: Gene Kelly’s wife Patricia stopped by the set to give Derek some encouragement before his jazz routine to Singin’ in the Rain. They made it rain inside the ballroom, but it didn’t dampen anyone’s spirits. The judges were stunned into submission by the routine. Kevin Hart admired the homage to Derek’s hero. Julianne said tonight Bethany “became a woman,” which may require a review of the tape, and while it probably killed Julianne to do it, she couldn’t help but give her brother a 10. 40/40.

Who Went Home: MMA champ Randy Couture, Mean Girls supporting actor Jonathan Bennett and professional hunk Antonio Sabato Jr. were all in jeopardy. At the end of the show, Randy was sent home to add some paso doble twists to his signature anaconda choke.

TIME Fine Art

Scientist Reveals Secrets Behind 500-Year-Old Leonardo Da Vinci Masterpiece

The painting by Leonardo Da Vinci  called "The Lady with Ermine", that goes on exhibit later this mo..
The Lady with Ermine by Leonardo Da Vinci photographed on Nov. 18, 1998. Stefano Rellandini—Reuters

The Lady With an Ermine is believed to have been painted in 1489 or 1490

Using a new light technique, a French scientist has revealed that one of Leonardo Da Vinci’s most famous paintings did not originally look as it does today.

The Lady With an Ermine is believed to have been painted in 1489 or 1490, and depicts Cecilia Gallerani, a young woman from the Milanese court in Italy who was the mistress of the Duke of Milan, holding a white ermine.

It was thought the painting had always depicted the ceremonial animal, but Pascal Cotte has just discovered that Da Vinci actually painted two previous versions, the BBC reports.

After three years of examining the work using a new reflective-light technique called Layer Amplification Method, or LAM, he learned that the first iteration was without the ermine and a second had changes to the lady’s dress.

Experts described the revelation as “thrilling.”

Cotte’s technique works by projecting a series of intense lights onto the canvas while a camera measures the reflections. From the measurements Cotte can analyze what was painted beneath.

“The LAM technique gives us the capability to peel the painting like an onion, removing the surface to see what’s happening inside and behind the different layers of paint,” he told the BBC.

The painting is usually housed at the National Museum in Krakow, Poland.

[BBC]

TIME movies

Netflix to Release First Original Movie

Crouching Tiger
Michelle Yeoh will reprise her role as Yu Shu-Lien in Crouching Tiger, Hidden Dragon: The Green Legend Netflix

Skip the line — or just skip the theater altogether

Netflix is planning to release its first original movie, a sequel to Ang Lee’s martial-arts epic Crouching Tiger, Hidden Dragon, and so charting new territory for the Internet-streaming firm.

Netflix said Monday that it is partnering with independent producer the Weinstein Co. to release Crouching Tiger, Hidden Dragon: The Green Legend to all subscribers on Aug. 28, 2015. The film, directed by Hong Kong’s Yuen Wo-ping, will also premiere at the same time on some global IMAX theaters — but it will not hit mainstream cinemas, Netflix said.

The deal between the streaming service and the production house threatens to upset to the traditional model of releasing movies: put them out first in cinemas and then wait months before making them available on DVD and streaming services, including Netflix. Indeed, Netflix said the film is the first of several feature movies it has in the pipeline.

Ted Sarandos, chief content officer at Netflix, told the New York Times that the deal would prove to Hollywood that moviegoers are consuming films in new ways — and are also ready for a new way of releasing films.

“What I am hoping is that it will be a proof point that the sky doesn’t fall,” he said. “These are two different experiences, like going to a football game and watching a football game on TV.”

Netflix, which this month expanded into the European market, has already released its own original series, including hits like House of Cards and Orange Is the New Black. The company releases all episodes of each show all at once, letting consumers binge-watch rather than suffice with weekly doses.

“The moviegoing experience is evolving quickly and profoundly, and Netflix is unquestionably at the forefront of that movement,” said Harvey Weinstein, co-chairman of the Weinstein Co., in a statement.

Netflix’s new film will star Michelle Yeoh, who will reprise her role from the original film as warrior Yu Shu Lien. Donnie Yen, of the Ip Man franchise, will star as Silent Wolf.

TIME Social Media

Anger Abounds Over Lena Dunham’s Book Tour Acts Not Getting Paid

But for different reasons

Lena Dunham has long advocated for struggling artists — publicly complaining about rising rents pushing the creative class out of Manhattan last year, for instance. So it was surprising to read in the New York Times that within Dunham’s “literary circus” or “roving Burning Man festival” of a book tour to promote her hot-off-the-presses Not That Kind of Girl, that the seven opening acts performing at her 11-city tour will be “performing free of charge.”

Not only that, but there was desperate competition for the unpaid gig:

Nearly 600 people responded to an open call for video auditions on her website, including a sand artist, a ukulele player, a cappella singers, gymnasts, performance artists and stand-up comics, even some exceptionally charismatic babies.

After Gawker’s Hamilton Nolan pointed out, however, that Dunham earns an estimated $6 million a year, with her book advance $3.6 million alone and her book tour revenue around $304,000 — people immediately took their furious indignation to Twitter. And the Twitter-firestorm Monday won, prompting Dunham to share the wealth.

Here’s how things went down. First, many people displayed anger at Dunham, personally, for not paying participating artists:

Others wondered why Dunham, rather than her publisher Random House, was getting the blame:

Some questioned fans’ needs to constantly defend the star:

Others were wary of people who take any opportunity to bash the polarizing figure:

At first, Dunham didn’t respond directly to the controversy. Although she did riff on a quasi-relevant Jay-Z lyric, so there’s that:

When she participated in an iBooks Twitter interview later Monday, she steered clear of questions related to the unpaid artists (she also evaded queries about the Bill Murray pajama top she was wearing).

Shortly thereafter, however, Dunham announced that the artists would now be financially rewarded for their service:

And then she bashed Gawker for good measure:

And that just about sums things up:

Random House did not respond to comment about the kerfuffle.

TIME celebrities

Walmart Faults Tracy Morgan for Not Wearing Seatbelt in Limo Crash

Spike TV's "Don Rickles: One Night Only" - Show
Tracy Morgan speaks onstage at Spike TV's "Don Rickles: One Night Only" on May 6, 2014 in New York City. Theo Wargo—Getty Images for Spike TV

Injuries suffered by Morgan and fellow passengers "were caused, in whole or in part, by plaintiffs’ failure to properly wear an appropriate available seatbelt restraint device," company says in legal filing

Updated: 6:01 p.m.

Walmart said Monday that comedian Tracy Morgan and several others injured in an accident on the New Jersey Turnpike in June were partially responsible for their injuries, for failing to wear seatbelts.

A speeding Walmart driver allegedly hit Morgan’s limo on June 7, badly injuring the comedian and killing friend and colleague James McNair. Morgan and three others brought a suit against the company in July, alleging that driver Kevin Roper was fatigued and that Walmart acted negligently.

In a response Monday, the company largely refrained from responding to the allegations brought in the suit, citing National Transportation Safety Board regulations regarding ongoing investigations.

But in a list of affirmative defenses, the company said that the injuries “were caused, in whole or in part, by plaintiffs’ failure to properly wear an appropriate available seatbelt restraint device.”

“By failing to exercise ordinary care in making use of available seatbelts, upon information and belief, plaintiffs acted unreasonably and in disregard of plaintiffs’ own best interests,” the response says. “Accordingly, all or a portion of the injuries could have been diminished or minimized by the exercise of reasonable conduct in using the available seatbelts.”

Brooke Buchanan, a company spokesperson, provided an emailed statement on Monday.

“Walmart filed its official response to the plaintiffs’ lawsuit earlier today, and the company continues to stand willing to work with Mr. Morgan and the other plaintiffs to resolve this matter,” said Brooke Buchanan, a Walmart spokesperson, in an emailed statement.

TIME Music

Like Many Classic Songs, Fergie’s New Single Is Just a List of Random Cities

Fergie Duhamel Promotes Fergie Footwear At Macy's At The Fashion Show Mall
Singer Fergie Duhamel appears at Macy's at the Fashion Show Ethan Miller—Getty Images

So many cities — just three minutes

Fergie released her first single in six years Monday, and the song, called “L.A. LOVE (La La),” employs one of our favorite musical tropes of all time: It’s a pop song that lists off as many random city names it can in approximately three minutes’ time. A beloved but often unheralded genre, it’s long overdue for some recognition.

The American populace as a whole might have difficulties identifying important locations on maps, but not pop stars. And just as Coldplay schooled us in science, Brian McKnight in math, Gwen Stefani in spelling (B-A-N-A-N-A-S!), Barenaked Ladies in history and, of course, Olivia Newton John in physical education, it’s now time to study abroad.

Here are songs that celebrate artists’ illustrious travel itineraries:

Fergie, “L.A. LOVE (La La)”

As the title implies, we begin in California — “Hollywood to the slums,” if we are being specific. Then “like a gnat on a jet,” (because what self respecting insect flies commercial?), we head to New York to London to Brazil to Quebec to Russia to Venice.

Fergie’s travel itinerary is nonsensical. This lady doesn’t care how big her carbon footprint is! In order, we travel with her to: Brooklyn, Hacienda, Vegas, Rio, Tokyo, “Down Under,” Miami, Jamaica, Atlanta, Texas, back to Miami and back to London and Jamaica, then to France, L.A., Moscow, Espana, Kingston, San Diego, Chi-town, Germany, La Puente, Ibiza, LA, Amsterdam, Frisco, Switzerland, Jo’burg, Mexico, Stockholm, back to Jamaica, and back to L.A. (La la).

Jennifer Lopez, “On the Floor”

Artists love “La la la-ing” around the world. J.Lo danced the night away in “Brazil, Morocco, London to Ibiza, straight to LA, New York, Vegas to Africa.”

Johnny Cash, “I’ve Been Everywhere”

Johnny Cash, on the other hand, leans more towards Oskaloosa than Ibiza. More specifically:

Boston, Charleston, Dayton, Louisiana,
Washington, Houston, Kingston, Texarkana,
Monterey, Faraday, Santa Fe, Tallapoosa,
Glen Rock, Black Rock, Little Rock, Oskaloosa,
Tennessee to Tennesse Chicopee, Spirit Lake,
Grand Lake, Devils Lake, Crater Lake, for Pete’s sake.

For Pete’s sake, indeed!

Ludacris, “Pimpin’ All Over the World”

But not all musicians aimlessly wander the globe. When customs officers ask Ludacris about the reason for his visit, he has but one answer: Pimpin. He pimps in the Virgin Islands, Miami, Hawaii, Madriga, and, of course, Howard University, because his pimping styles lean towards the well-educated lady.

Ludacris, “Area Codes”

The “list off locations” genre appears to be one of Luda’s favorites. He even boasts of memorizing the various numbers of his “hoes in different area codes.” Ludacris has a lot of fun with rhymes in this one:

I bang c*ck in Bangkok
Can’t stop, I turn and hit the same spot
Think not, I’m the thrilla in Manilla,
Schlong in Hong Kong

Beach Boys, “California Girls”

Really, Ludacris is just perfecting a genre that the Beach Boys toyed with in 1965. Although the Beach Boys rattled off regions — oh, those Northern girls with the way they kiss! — instead of specific city names, they still deserve recognition for their contributions to the genre.

Lupe Fiasco, “Paris, Tokyo”

Lupe Fiasco, on the other hand, travels in the name of monogamy. He sings, “Let’s go to sleep in Paris, and wake up in Tokyo. Have a dream in New Orleans, fall in love in Chicago, maybe. Wherever I go she goes.”

Nelly, “Country Grammar”

Nelly shimmies his cocoa whats “From Texas back up to Indiana, Chi-Town, K.C. Motown to Alabama, L.A., New York Yankee n—-s to Hotlanta.”

Lil’ Kim, “Lighters Up”

This song genre can prove unifying. Lil’ Kim, for example, wants people from L.A, V.A., Texas, and so on to “put ya lighters up” in solidarity.

Sir Mix-A-Lot, “Jump On It”

Sir Mix-A-Lot wants the people of Denver, Columbus, St. Louis and Tacoma to “jump on it, jump on it, jump on it.” (Consider it jumped on).

DJ Khaled, “We Takin Over”

Other rappers rattle off city names as potential future conquests on the battlefield. DJ Khaled, for example, is planning a takeover “from down in Miami where it warm in the winter, on up to Minnesota where it storm in the winter.”

Boyz II Men, “All Around the World”

And finally, Boyz II Men. Let’s be honest — do people actually remember any of the lyrics past “Houston, Phoenix, Carolina…”?

TIME Video Games

12 Fascinating Indie and Lower-Profile Games to Watch This Fall

A collection of some of the fall's most intriguing games you might or might not know about.

Welcome to our followup to the “biggest games of fall 2014” list, but don’t read the title designations “indie” or “lower-profile” as secondary in any way. In fact, several of the games in this spread sound vastly more intriguing than anything else out this season.

As before, keeping to my requirement that games on these lists have actual release dates, I’ve had to leave off a few I might otherwise have included, notably This War of Mine (still listed as Q4 2014).

  • The Long Dark

    A first-person survival simulation set somewhere in the “Northern wilderness” after a global disaster that knocks out the power, The Long Dark taps into that almost primordial fear of being stuck in the middle of cold, dead, godforsaken nowhere, the day fading to dusk and then blackness, the raw elements (and your hierarchy of human needs) scraping at the door. Food and water are in short supply, and you’re not completely alone: there’s the wildlife to consider, and then you’ll wind up bumping into other survivors, resorting, one assumes, to the kinds of disquieting things survivors do.

    The version I’m talking about here won’t be final, fair warning: it’s part of Steam’s Early Access program, whereby you swap money with the developer in exchange for a chance to peek at the game in the throes of development, absent some of its release features.

    September 22 / OS X, Windows

  • Sherlock Holmes: Crimes & Punishments

    Arthur Conan Doyle meets Dostoyevsky, figuratively speaking, in this latest Sherlock Holmes-ian meta-fictive mashup from Focus Home Interactive. It’s a contemporary adventure game with an adventure game’s more sedate pace, yes, but don’t let that dissuade you: developer Frogwares’ past work on this off-kilter series–a Cthulhu mystery (The Awakened) and chance to square off against Jack the Ripper (Sherlock Holmes Versus Jack the Ripper)–were very well received.

    September 30 / PlayStation 3 & 4, Windows, Xbox 360 and One

  • Costume Quest 2

    Studio Double Fine and founder Tim Schafer’s sequel to 2010’s generally well-liked trick-or-treat sim (a.k.a. “spooky roleplaying game”) adds “new costumes, features and gameplay,” but since Double Fine doesn’t specify what any of that means, it’s probably a safe bet that it’s mostly Costume Quest redux, not a radical makeover.

    October 7 / Linux, OS X, PlayStation 3 & 4, Windows Wii U, Xbox 360 & One

  • Gabriel Knight: Sins of the Fathers

    Before Nic Pizzolatto’s Rust Cohle and Marty Hart scrutinized ritualistic murders, we had insouciant horror novelist-turned-snoop Gabriel Knight.

    Creator Jane Jensen’s groundbreaking adventure game returns under her guidance for a 20th anniversary edition, with remastered backdrops and characters, re-orchestrated music, new puzzles and a fresh stable of voice actors. Barring technical issues or quibbles with the new voice actors (I’m going to miss Tim Curry as Gabe and Mark Hamill as Mosely), this should be a treat while we’re waiting for Jensen’s planned continuation of the series.

    Sins of the Fathers was a mammoth storytelling leap forward in 1993. Never mind King’s Quest or Quest for Glory or Leisure Suit Larry, Gabriel Knight is the series Sierra deserves to be remembered for, and if you’re too young to remember it yourself, here’s your chance to see why.

    October 15 / OS X, Windows

  • Fantasy Life

    We celebrate Japanese studio Level-5 for games like Dark Cloud 2, Dragon Quest VIII and the Professor Layton series, but they’ve had a few fantasy misses, namely the White Knight Chronicles games. It’s thus hard to know what to make of Fantasy Life, an older 2012 3DS game just now seeing light of day in the West.

    On paper, it’s an Animal Crossing-like roleplaying mashup that has you partaking in the mundane (crafting, fishing, mining) as well as the fantastic (casting, battling, exploring). Japanese and Western audience reactions don’t always align, but the game fared reasonably well with Japanese tastemaker Famitsu (35 out of 40), and sold over a quarter of a million copies.

    October 24 / 3DS

  • Freedom Wars

    One of the season’s rare PS Vita-only games, Freedom Wars is a third-person action/strategy shooter set in our pollution-choked, resource-starved future, where prisoners from penal colonies square off over what’s left in hopes of reducing their sentences.

    Fight alongside androids you can deploy as tactical aids and play with up to eight players cooperatively as you work to conquer Japan’s prefectures (called “panopticons” in the game) to secure resources and climb the leaderboards.

    October 28 / PS Vita

  • Farming Simulator 15

    Wait, you’re saying. Farming Simulator 15? They’ve made 14 versions of a game about growing crops, raising livestock and trundling around in a tractor?

    Just five, actually, counting this one, and those are corresponding release years, not serial enumerations. But yes, it’s a farming simulator, which sounds as riveting as simulation ideas like “Watching Paint Dry” or “Cleaning Your Cuticles.” Then again, sometimes humdrum-sounding games are more than the sum of our assumptions.

    Plus, Farming Simulator 15 looks kind of incredible in the trailers (the Crysis series has nothing on this thing). You’re getting wood-cutting (forestry), several new brands, a new Nordic environment and “wash stations” to play with.

    October 30 / Windows

  • Never Alone

    A puzzle-platformer in which you alternate between Nuna, an Iñupiaq girl (Alaskan Inuit), and her arctic fox, grappling with the ramifications of a perpetual blizzard. The game’s developers say Never Alone is in part about reflecting on the passage of wisdom from generation to generation by way of Alaskan stories, several of which appear over the course of the game.

    Never Alone was also designed with the assistance of the Cook Inlet Tribal Council, a non-profit Alaskan advocacy group that works with eight federally recognized tribes in the Cook Inlet region (Alaska’s most densely populated area), and a portion of the game’s sales will apparently go toward funding the CITC’s education-related activities.

    November 4 / PlayStation 4, Xbox One

  • The Binding of Isaac: Rebirth

    This hard-to-categorize (kinda-sorta roguelike) game that touches on controversial topics including, in the developer’s own words, “child abuse, gender identity, infanticide, neglect, suicide, abortion, and how religion might negatively affect a child,” gets a remake and hops to consoles (the original version was for PCs only).

    New to the game: it’s rendered as a 16-bit visual tribute, includes two-player cooperative play, new music (with remixes of the original’s tunes), new playable characters, fleshed out content (more items, room and enemies), plus the Wrath of the Lamb expansion as well as a new finale and epilogue.

    November 4 / Linux, OS X, PlayStation 4, PS Vita, Windows

  • Tales of Hearts R

    Another rare PS Vita exclusive, Tales of Hearts R is a remake of original 3DS game Tales of Hearts, the eleventh entry in Bandai Namco’s Tales series. Like all Tales installments, it’s premised on story-heavy roleplaying, and tweaks the series’ action-oriented battle system slightly: in this case, adding the option to “chase” and combo-attack an enemy after knocking them skyward, thus the designation “Aerial Chase Linear Motion Battle System.”

    November 11 / PS Vita

  • Persona Q: Shadow of the Labyrinth

    Subtract all the really, really, really long-winded storytelling and passive explorations in the Persona games, and you wind up with something like Persona Q: Shadow of the Labyrinth, a.k.a. mostly the dungeon-crawling stuff.

    In Persona Q, you can still poke around a Japanese high school (and listen to pretty bad, if endearing, J-pop). But the lion’s share of your time’s going to be spent navigating the game’s eponymous labyrinth, fighting with up to five characters against shadow enemies, manipulating a combat system reminiscent of the Etrian Odyssey roleplaying series, but with Persona-related quirks.

    November 25 / 3DS

  • Lara Croft and the Temple of Osiris

    With all the attention of Crystal Dynamics’ acclaimed Tomb Raider reboot, it’s easy to overlook the fact that the Tomb Raider series’ comeback actually started several years earlier with the studio’s cooperative-angled platformer, Lara Croft and the Guardian of Light.

    Lara Croft and the Temple of Osiris revisits Crystal Dynamics’ isometric approach to Lara’s archaeological adventures, whisking the intrepid globetrotter off to Egypt, where she’ll do the usual things–explore, fight, solve puzzles, avoid traps–on the way to a showdown with the Egyptian god of storms and violence, Set.

    December 9 / PlayStation 4, Windows, Xbox One

TIME Music

Lorde Crafts a ‘Yellow Flicker Beat’ For The Hunger Games: Mockingjay Soundtrack

Lorde goes full-goth warrior princess on the new track

Lorde’s contribution to the soundtrack she curated for The Hunger Games: Mockingjay — Part 1 is here. In a statement posted on Tumblr, the 17-year old singer —Ella Yelich-O’Connor — wrote, “It’s my first offering from what I hope will be a soundtrack you love. It’s my attempt at getting inside her head, Katniss’. I hope you like it.”

In the track, Lorde sings: “I’m a princess cut from marble, smoother than a storm/ And the scars that mark my body, they’re silver and gold.” The lyrics, paired with the dusky and lilting tone of the song, show off Lorde’s skill at crafting a character that combines Katniss Everdeen’s toughness with her own gothic overtones; it’s cut in the same darkly grooving vein as her LP Pure Heroine.

Like so many other teenage girls, Lorde also took to Tumblr to post some thoughts on her journey into the dark heart of superstardom and her work on curating The Hunger Games: Mockingjay —Part 1 soundtrack:

i’m sitting up in bed, moving through desert halfway between utah and las vegas. yesterday was our ninth show in eleven days. every night, after i play, and say hi, and take pictures, and i walk up the stairs and we go on our way, i set up in this little bed office. i work from midnight until late on the soundtrack, singing into my computer, listening to demos and final mixes. my bus sleeps. we are almost at the end, the point where this soundtrack gets taken away from me and becomes something real. i’m reminded of this day last year, when pure heroine came out in this country. the feeling of something very solitary that i had worked on spinning around and around further away from me, becoming someone else’s, everyone’s. the past year of my life has seen everything around me multiply in size and number – the stamps on my passport, the number of people i have to ask before i ride on the ferris wheel after my set at a festival, the decibels that follow me when i walk around in public. the other thing that’s grown is me – my fitness, my mental stamina, my ability to think clearly and make decisions – but most of all, my capacity for love. the thousands upon thousands (wait, millions(?!!)) of you who bought pure heroine truly feel like friends to me – it’s no coincidence i’m posting this note here, where i feel the most happy and safe online, the place where i laugh the most and where every day, i feel like people get me. i never knew i could feel such a warm heart for this many people at once. thankyou for hearing about me all those months ago, and sticking around. thankyou for being here.

The Hunger Games: Mockingjay — Part 1 soundtrack is out 11/18 on Republic. The Hunger Games: Mockingjay — Part 1 opens in theaters on November 21st.

TIME Music

One Direction Say Don’t ‘Steal My Girl’ on New Single

Hear the first official single from the band's new album, Four

Attention, dudes of the world: boy-band wonder One Direction, known for stealing the hearts of teenage girls around the world, would prefer if you didn’t try and also steal their lady friends. On “Steal My Girl,” the first official single from their upcoming fourth album, Four, the band reminds male listeners that there are billions of fish in the sea for you to choose from — so long as you keep your hands off the women that “belong” to them. (Come on, fellas, why you gotta be so rude? Don’t you know Harry, Louis, Liam, Zayn and Niall are human, too?)

As for the actual music, 1D appears to be sticking with the “If it ain’t broke, don’t fix it” philosophy. Co-written by Louis and Liam, “Steal My Girl” takes some cues from the folksy “Story of My Life” and puts a mellow spin on the 1980s-arena-rock worship of their last release, Midnight Memories. Hear the track above, and catch Four in stores on Nov. 17.

TIME Books

Anne Helen Petersen on How to Build (and Bury) a Hollywood Scandal

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The author and expert on all things scandalous talks to TIME about her new book

Everyone loves a scandal — and no one did scandal better than old Hollywood. In her new book, Scandals of Classic Hollywood: Sex, Deviance and Drama From the Golden Age of American Cinema (out Sept. 30), writer Anne Helen Petersen delves deep into the back stories of some of old Hollywood’s most famous stars, including Elizabeth Taylor, Montgomery Clift and Mae West.

Yet Petersen doesn’t just dish the dirt; as a “Doctor of Celebrity Gossip,” with a PhD in media studies, Petersen also provides insightful historical and cultural context to stories behind the gossip. TIME spoke with Petersen about the nature of a scandal, how gossip repeats itself and how Hollywood has changed.

TIME: What defined a scandal in old Hollywood?

Anne Helen Petersen: The thing about scandals that I always say is that no action is de facto scandalous. It only becomes scandalous when it trespasses or transgresses the lines of the status quo. So something in the late ‘40s — like when Ingrid Bergman had an affair with her director and then had a child out of wedlock, she was denounced as an instrument of evil on the Senate floor. If you did that today, [the reaction would be different].

Right. And a lot of actors and actresses had affairs, the public just never heard about. How much of that secrecy was a factor of the old Hollywood system, where stars had contracts with studios that were in turn invested in keeping their images clean?

The studio system functioned in symbiosis with the gossip apparatus — so the gossip magazines, the gossip columnists, the people who were in charge of mediating the information about the stars. It was never down on paper, but it was understood that [the gossip media] toed the studio line and in exchange for that they received a constant stream of information— maybe not true information, it was often times very fabricated information — about the stars.

Elizabeth Taylor Hulton Archive/Getty Images

In a lot of your writing you connect certain scandals that took place in old Hollywood with the scandals that take place today. In particular, I know you’ve compared coverage of the Elizabeth Taylor/Eddie Fisher/Debbie Reynolds love triangle with the ongoing Jennifer Aniston and Brangelina tabloid saga. I’m wondering if scandals in Hollywood have actually changed at all since the golden era?

I think certain tropes of what we expect of a woman or of a man or of a relationship have shifted over the last 100 years, but we’re still very much engaged in policing those [expectations] as a society. So the reason it’s so easy to relate scandals that are happening now to scandals that have happened historically is that it’s the same sort of policing taking place. So while the specifics of the scandal may change, the actual ways that society and media treats it has not.

Were there any differences in the types of scandals that actors versus actresses faced?

In the book, some scandals aren’t scandals at all. With the story of the affair between Clark Gable and Carole Lombard or the relationship between Humphrey Bogart and Lauren Bacall, it’s a story of how something didn’t become scandalous. Because if you were a white straight male, you could handle a scandal. Unless you were a white straight overweight male like Fatty Arbuckle.

Fatty Arbuckle Library of Congress

But the real tragedies of the book are all women. Today [it's not quite so bad]. When Kristen Stewart was caught cheating with a director, it was a scandal, but [not in the same way it was for] Ingrid Bergman, where it ruined her career.

What effect has the rise of entertainment media had on Hollywood?

Even in classic Hollywood there were always people who wanted to know the dirt and tried really hard to get it. But what happened with the demise of classic Hollywood — and you see this in my book in the last section about Montgomery Clift and Marlon Brando and James Dean — is that there were these stars who weren’t on studio contracts and that allowed for all sorts of scandalous material to come out about them.

Marlon Brando Library of Congress

As I see it, there are the two modes of reporting on celebrities: you have the people who want to serve up stories that affirm that celebrities are exactly who we think they are. And then there is the mode that kind of tears down the celebrity. There are just more outlets on either side, whether they are bolstering or tearing down stars. So it makes it harder to have a really coherent image of a particular celebrity. I think that’s the reason that people really seem to like Jennifer Lawrence, because she’s just so on message.

‘On message’ is an interesting concept. Do celebrities have more control over their own image today because of things like social media or a more savvy awareness of branding?

Well, we think we have more access to the stars with social media, like there’s this real semblance of authenticity and that we somehow have a direct conduit to everything that a star is doing. But actually I think that it’s a way that they can control their brand message even tighter.

The way I think of the history of Hollywood is this cycle of control and rupture, control and rupture. So in old Hollywood everything is locked down, as with the studio system. And then there’s the rupture of the 1950s, [where actors were beginning to work without long-term contracts]. In the ‘80s and ‘90s, everything was very controlled and locked down again by these incredible publicists. Then, with the rise of digital technology, you have TMZ and gossip bloggers like Perez. The crazy gossip period of 2005 to 2008 is again this time where people are trying to reconfigure [celebrity]. Now, a star thinks, People can take a picture of me anywhere and I can connect with my fans directly through Twitter. How do we [make this work for] our message?

Scandals of Classic Hollywood is based on your popular column over at The Hairpin. What can your regular readers expect from the book?

It’s based on the same concept as the column but it’s all new content. My goal for the book — and really for all of the writing I do now — is to do this hybrid, where I take the ideas that I know from academia and then write them in a way that’s accessible to a wider audience.

Dorothy Dandridge Library of Congress

What’s next for you?

I think that my next book will take contemporary icons — people like Jennifer Lawrence or Kanye West or Beyonce — and look at their antecedents from, say, 20 years before. So I’ll look at Princess Diana in the 1980s and then I’ll look at Kate Middleton. Then there will be the tortured genius, so I’ll look at Michael Jackson and Kanye West. It will still use the historical context, but it won’t go as far back in history.

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