TIME Books

Cook Up Some Drug-Free Treats With the Breaking Bad Cookbook

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

The spoof recipe book promises “No meth-in around”

Action figures may be off the table for your favorite Breaking Bad fan this holiday season, but thankfully, something even better is hitting the market: a Breaking Bad cookbook, titled — what else? — Baking Bad. (This project is so ripe for puns, it’s a wonder it’s taken this long for someone to cash in.) For starters, there’s the mysterious bestselling author’s pen name, Walter Wheat. Then there are the recipes within, from Ricin Crispie Treats to Fring Pops.

The publisher promises that the recipes are “98% pure but 100% edible,” no Hazmat gear required — a regular old apron should do the trick. Some of the concoctions, like Mr. White’s Tighty Whitey Bite gingerbread cookies, sound appealing. Others, like the Tortuga Tart — which features a slab of ham perched atop a turtle-shaped pastry — appear better suited for presentation than for gastronomic pleasure.

The book goes on sale on Nov. 6, but until then, you can get cooking with a handful of recipes on BuzzFeed UK. It’s probably prudent not to send your kid to school with Meth Crunchie cupcakes, but you can certainly enjoy them at home — with the promise of nothing more than a sugar high.

TIME celebrities

Why People Love Reading About Supreme Court Justices’ Favorite Movies

Ruth Bader Ginsburg
Cliff Owen—AP

Ginsburg's defense of a controversial opera is the latest in a long series of culture-diet revelations from the judges

Every national election gets candidates talking about their taste in television and movies. This is how we found out, two years ago, that Modern Family was just about the only thing that Mitt Romney and Barack Obama agree upon. But candidates for office have to speak carefully in order to please their constituencies, whereas people with lifetime appointments can say whatever they like.

Supreme Court Justice Ruth Bader Ginsburg’s recent declaration that she didn’t find anti-Semitic tones in the controversial new opera The Death of Klinghoffer, about a Palestinian terrorist group’s hijacking of a cruise ship in 1985, is interesting on its face as another entry into the heated debate over the opera. It was also proof positive of Supreme Court Justices’ unique place in the culture: They’re people who are simultaneously able to speak their minds publicly without fear of losing their jobs (New York City Mayor Bill de Blasio, defending the opera, relied on a free-speech argument without getting into content), and are widely seen as especially learned. When they break their silence on culture, Justices are presumably speaking freely, and their statements, preferences, and cultural choices would seem to carry special weight.

Ginsburg and Justice Antonin Scalia are both outspoken opera fans, for instance, and have used the press to promote favorite opera recordings. This is in line with the ivory-tower expectations around Supreme Court Justices (though it also sheds light on Ginsburg and Scalia’s by-all-reports collegial relationship). Scalia’s professed fondness of Duck Dynasty and Seinfeld in a New York magazine interview last year was yet more revealing: This was a person, unlike a presidential candidate, who made no attempt to present as caught up with contemporary culture (which he dismissed as coarse). His declaration that he’d watched a single episode of the A&E reality show and had “some CDs” of the NBC sitcom showed a far broader audience his philosophy of staying aloof from the ups and downs of intellectual trends than any judicial opinion could have.

Clarence Thomas, who is the tersest of the justices during oral argument, has said he frequently watches Saving Private Ryan at home but “can’t tell you why except we have it and it’s about something important in our lives — World War II.” Sonia Sotomayor has helped to humanize her position through her well-publicized love of salsa music and Major League Baseball (in her confirmation hearings, she compared the associate justice position to that of an umpire). And Chief Justice John Roberts loves both Dr. Zhivago, which he discussed at such length at a judicial conference that the Christian Science Monitor compared him to a “USC film school grad.”

It’s easy to see why the Justices get asked so many questions about their cultural consumption in the Stars-They’re-Just-Like-Us era: It would seem to shed some light on what very smart people think is worth watching, and also gives us real insight into the inner workings of some of the most influential people in America, who have no incentive to answer dishonestly — or to answer at all. (Not every question asked, though, gets an answer: During her confirmation hearing, Elena Kagan couldn’t say whether she was “Team Edward” or “Team Jacob,” which may speak well of her.)

The Supreme Court remains the least visible of the three branches, because its members don’t have to do interviews about what frivolous culture they enjoy in order to keep their jobs; they could just keep influencing our lives without granting much insight into who they are and what they watch. That’s exactly why it’s so important that they do it.

TIME Music

Calvin Harris and Haim Team Up on “Pray to God”: Listen

The pop trio ventures into the world of electronic dance music

Calvin Harris’ forthcoming album, Motion, will feature several big names on its list of collaborators, from Gwen Stefani to Ellie Goulding. But perhaps most exciting is the DJ’s decision to team up with Haim, the Los Angeles-based trio of sisters behind the highly praised 2013 album Days Are Gone.

On “Pray to God,” Haim lends its poppy vocals and three-part harmonies to Harris’ synth-heavy beats, reprising the polished, refreshing melodies that made Days Are Gone so listenable — only this time, it’s prime for the dance floor.

Haim is no stranger to collaboration: In recent months, the sisters have sung alongside Stevie Nicks, A$AP Ferg, and Mumford and Sons. Now they can add electronic dance music to their ever-expanding repertoire.

Motion comes out on Nov. 4., and it’s available to stream on iTunes Radio this week.

TIME movies

Review: Interstellar Shows the Wonder of Worlds Beyond

Melinda Sue Gordon—Paramount Matthew McConaughey in Interstellar

Christopher Nolan's sprawling space epic is beautiful, ambitious and flawed

“We’ve forgotten who we are,” says Matthew McConaughey’s Cooper. “Explorers, pioneers — not caretakers.” That could be Christopher Nolan speaking about movies in this timid age of old genres endlessly recycled and coarsened. He’s the rare filmmaker with the ambition to make great statements on a grand scale, and the vision and guts to realize them.

Nolan is also a consummate conjuror. Memento, his amnesiac movie, ran its scenes in reverse order. In The Prestige, magicians devised killer tricks for each other and the audience. Inception played its mind games inside a sleeper’s head, and the Dark Knight trilogy raised comic-book fantasy to Mensa level. But those were the merest études for Nolan’s biggest, boldest project. Interstellar contemplates nothing less than our planet’s place and fate in the vast cosmos. Trying to reconcile the infinite and the intimate, it channels matters of theoretical physics — the universe’s ever-expanding story as science fact or fiction — through a daddy-daughter love story. Double-domed and defiantly serious, Interstellar is a must-take ride with a few narrative bumps.

In the near future, a crop disease called “the blight” has pushed the Earth from the 21st century back to the agrarian 1930s: the world’s a dust bowl, and we’re all Okies. In this wayback culture, schools teach that the Apollo moon landings were frauds, as if America must erase its old achievements in order to keep people from dreaming of new ones.

Farmer Coop, once an astronaut, needs to slip this straitjacket and do something. So does his daughter Murphy (Mackenzie Foy); she’s getting “poltergeist” signals from her bookshelves. A strange force leads them to a nearby hideout for NASA, whose boss, Dr. Brand (Michael Caine), drafts Coop to pilot a mission to deep space. With Brand’s daughter Amelia (Anne Hathaway) and two others as his crew, Coop is to find a wormhole near Saturn that may provide an escape route for humanity. “We’re not meant to save the world,” Brand says. “We’re meant to leave it.”

Coop, a widower, wasn’t meant to leave his children. Son Tom (Timothée Chalamet) can manage; but the precocious Murph sees abandonment and betrayal in Dad’s journey to save billions of humans. Coop, who thinks a parent’s main role is to be “the ghosts of our children’s future,” shares Murph’s ache. He needs her. He goes out so he can come back.

What’s out there? New worlds of terror and beauty. Transported by the celestial Ferris wheel of their shuttle, Coop and the crew find the wormhole: a snow globe, glowing blue. One planet it spins them towards has a giant wall of water that turns their spacecraft into an imperiled surfboard. Another planet, where treachery looms, is icy and as caked with snow granules as Earth was with dust. Interstellar may never equal the blast of scientific speculation and cinematic revelation that was Stanley Kubrick’s 2001: A Space Odyssey, but its un-Earthly vistas are spectral and spectacular.

Someone on the icy planet says, “Our world is cold, stark but undeniably beautiful.” Shuttling between the grad-school blackboard and the family hearth, this undeniably beautiful film blows cold and hot, stark and sentimental by turns. Taking the visual wow factor as a given, you may feel two kinds of wonder: a child’s astonishment at the effects and a bafflement that asks, “I wonder why that’s happening.”

It’s not just that the rules of advanced physics, as tossed out every 15 minutes or so, are beyond the ken of most movie-goers. It’s also that some scenes border on the risible — a wrestling match in space suits — and some characters, like Amelia, are short on charm and plausibility. In story terms, her connection with Coop is stronger than that of the two astronauts in Gravity. But Sandra Bullock and George Clooney gave their roles emotional heft, in a film more approachable and affecting than this one.

If the heart of Interstellar is Coop’s bond with Murph, its soul is McConaughey’s performance as a strong, tender hero; in the film’s simplest, most potent scene, he sheds tears of love and despair while watching remote video messages from his kids. He is the conduit to the feelings that Nolan wants viewers to bathe in: empathy for a space and time traveler who is, above all, a father.

With Interstellar, Nolan’s reach occasionally exceeds his grasp. That’s fine: These days, few other filmmakers dare reach so high to stretch our minds so wide. And our senses, all of them. At times, dispensing with Hans Zimmer’s pounding organ score, Nolan shows a panorama of the spacecraft in the heavens — to the music of utter silence. At these moments, viewers can hear their hearts beating to the sound of awe.

Read next: Watch an Exclusive Interstellar Clip With Matthew McConaughey

TIME beauty

Julia Roberts: In Hollywood, Not Getting Plastic Surgery Is a ‘Big Risk’

Star speaks out about Hollywood pressures

On the heels of the brouhaha surrounding Renee Zellweger’s new, more youthful look, Julia Roberts said in an interview that for older women in Hollywood, not getting a plastic surgery touchup is a “big risk.”

“By Hollywood standards, I guess I’ve already taken a big risk in not having had a facelift, but I’ve told Lancome that I want to be an aging model – so they have to keep me for at least five more years until I’m over 50,” the Pretty Woman star told Mail on Sunday’s YOU magazine. (Though from the outraged reaction to changes in Zellweger’s face and accusations that she got drastic plastic surgery, it’s just as risky to look too young.)

The 47-year old mother of three said that when she’s not on set, she rarely worries about how she looks. “Mornings are a high-humor scene. You just have to make sure everyone looks and smells clean. That’s all that matters. If I actually manage to get my teeth brushed and lip balm on, I’m good.”

She also notes that her success as a movie star means she doesn’t have to worry about some of the things other working moms have to deal with. “I often think about the reality of my life versus a mother who, say, lives in Kansas City and is struggling to pick up the kids when she gets off work, or who doesn’t get to choose not to go to work because she wants to stay at home with the kids.”

“Those mothers are my real-life heroes, and they include my girlfriends, who do this with joy and grace and with full-time jobs. I don’t have to worry about it and I’m grateful for that.”

Roberts, who won a Best Actress Oscar for Erin Brockovich in 2001, lives with her family in New Mexico when she’s not filming in Hollywood.

[The Telegraph]

TIME Television

Watch Blood Orange’s Beautiful, Choreographed Performance on Jimmy Kimmel

The singer (real name: Dev Hynes) made his network TV debut

Last night, singer and producer Dev Hynes — best known as Blood Orange — dropped by Jimmy Kimmel Live! to perform on network TV for the first time. First, he performed “It Is What It Is,” from his 2013 album Cupid Deluxe, surrounded by choreographed dancers. About a minute in, he’s joined by Samantha Urbani, his girlfriend, on vocals.

Later, Hynes returned to the stage to perform a soulful, solo rendition of “Time Will Tell,” from the same album. Make sure to watch all the way through the end so you can enjoy his dance moves:

TIME Music

Watch Taylor Swift Perform ‘Welcome to New York’ on Late Show with David Letterman

“If the world doesn’t need a little enthusiasm, what does it need?”

It’s been a big week for Taylor Swift. Since Monday, she’s released a new album, 1989, announced her new position as Global Welcome Ambassador for New York City, and served as a guest coach on The Voice. She continued the streak last night with a performance of “Welcome to New York” on Late Show with David Letterman.

In her interview with Letterman, Swift discussed her enthusiasm for New York, the genesis of her friendship with Lena Dunham, and why she invited several hundred fans to listening parties in the living rooms of all three of her abodes. Of her appointment as the face of New York City tourism, she imagined how the powers-that-be decided to choose her. “She’s the most enthusiastic, obnoxious person to ever love New York,” she said of herself. “She loves it with, like, 18 exclamation points after it, underlined.”

Watching these two sharing a stage is the very picture of old New York meets new New York. Letterman’s been an institution for decades, whereas Swift moved into her downtown apartment just last winter. But as he congratulated her on her performance, he caught their image in a monitor and gushed, “Look at what a lovely couple we make.” Let’s assume he meant, “What a lovely couple of New Yorkers.”

Swift’s week should end on an even better note than it started on: Her album is expected to sell more than 1 million copies by the time we turn the clocks back this weekend. Hopefully we won’t wake up Sunday morning to find that it’s 1989.

TIME Video Games

Nintendo Just Turned Profitable and Wii U Sales Are Past 7 Million

Wii U sales more than doubled between April and September 2014, bolstered by sales of Mario Kart 8.

Surprise, Nintendo just made a pile of unexpected money: 14.3 billion yen in net income, or about $132 million, for the six month fiscal period that ended in September. For the same period last year, the company posted just 600 million yen in net income.

And in the last three months, July to September, the company’s had unexpected quarterly operating profits as well, reaching 9.3 billion yen, or about $86 million, reports Reuters, which adds that the weaker yen boosted overseas earnings. Analysts had predicted a significant loss for the quarter.

The unanticipated turnaround means Nintendo could see its first annual profit in four years. And the company’s sticking with its full-year prediction, made back in May, of 40 billion yen (versus a 46 billion yen loss last year).

Wii U sales look considerably better, too, with 1.1 million units sold between April and September — more than double the prior year’s sales. Software sales were 9.4 million units for the period, up from 6.3 million units the prior year, and Nintendo cites Mario Kart 8 and Hyrule Warriors as key drivers. The Wii U is now sitting at a relatively healthy 7.29 million units shipped worldwide, behind Sony’s more than 10 million PlayStation 4s sold (reported in August) and ahead of Microsoft’s 5 million Xbox Ones shipped (reported in April).

The only downer for Nintendo here is 3DS hardware sales, which dropped from 3.89 million units April-September 2013 to 2.09 million units for the same period this year. Nintendo says it sold about 23 million software units for the period, down from about 27 million units the prior year. (Note that Super Smash Bros. for the 3DS, the likely game-changer for 3DS hardware sales in 2014, only arrived a few weeks ago — late September in Japan, early October everywhere else.)

But the takeaway seems clear: Nintendo’s skating these systems from first-party release to first-party release, and seems to be making serious headway — so far, anyway. Long-term survival on that basis sounds improbable in theory, but then you look at the Mario Kart 8 phenomenon, and the breaking Super Smash Bros. for 3DS one, and all the glowing reviews for Bayonetta 2, then ahead to amiibo and Super Smash Bros. for Wii U, and — moving on to 2015 — a formidable-looking lineup that includes Splatoon, Mario Maker, Mario Party 10, Yoshi’s Wooly World, Xenoblade Chronicles X and the next Legend of Zelda.

TIME Television

Jane the Virgin Is the Keeper of This Fall Season

Jaime Camil as Rogelio and Gina Rodriguez as Jane in Jane The Virgin.
Patrick Wymore—The CW Jaime Camil as Rogelio and Gina Rodriguez as Jane in Jane The Virgin.

The accidental-pregnancy premise sounds absurd--and it is--but Jane's playful, good-hearted humor makes the unbelievable believable.

The networks, with their vast new fall schedules, are like a species of sea turtle that lays dozens of eggs to perpetuate the species. Some of the eggs never hatch. Some hatchlings are eaten by sharks. Others scamper to shore and carried off by seagulls. Only a hardy few make it.

Just so, when I see the new network pilots, there are many I know I’m done with after one episode. Others go on a wait-and-see list, but as the weeks pass, I drop one and another off the list, from the truly bad to fine-but-the not-good-enough-to-make-time-for. I’m left with a few survivors on my season pass list: last season, e.g., Sleepy Hollow, Brooklyn 9-9 and Trophy Wife (which, alas, was devoured by the orca of cancellation).

We’re a month into the 2014 season, and so far, Jane the Virgin is my turtle.

The CW series–a comic telenovela about a chaste woman who’s inseminated through a gynecologist’s mistake–had a strong, elegantly constructed pilot, and the luminous Gina Rodriguez was instantly winning as the title character. But a pilot is only a pilot: what’s won me over is that, having seen four episodes (next week’s included), each is as good as or better than the last. Here’s why:

This Show Is Having Fun. There’s a difference between a show being fun, or trying to be–which can sometimes be a forced exercise–and communicating a sense that its makers are having the time of their lives. Jane in its early days has something in common with other fresh, full-of-voice network hours like Scandal and The Good Wife: a sense of play. The rico-suave voiceover and cheeky screen captions bounce commentary off the storylines, and the show gets a particular kick out of visual and dialogue-based twists, as when Jane and her fiance have a conversation seemingly related to having sex for the first time, which takes a weird turn (“I promise it’ll be quick,” he says, “in and out”) until we see he’s accompanied her to an appointment. And the episode-three musical sequence where a guilt-wracked Jane imagines her entire church scolding her for considering losing her virginity–complete with a Clutch Cargo-style solo from a Virgin Mary statue–is one of the great TV moments of 2014.

Jane’s a Virgin, but Not a Saint. Jane has her reasons for waiting until marriage–guilt, family influence (pro and con), a certain personal cautiousness–but the show doesn’t make her a paragon; she’s just a sharp, complex young woman figuring out how she wants her life to go. She’s still a sexual being. She can be “judgey,” she admits, but she’s not a moralizer, and she’s self-aware of her judginess. The show foregrounds her virginity–it’s in the title, after all–but it doesn’t portray it as either a burden or a crusade.

It’s Culturally Specific. And by that, I don’t just mean, “It’s a show about Latino Americans.” It is, and the diversity’s welcome on TV; but it also has a very particular feel for things like Catholic culture in the 21st century, the generational differences in Jane’s family and her place in all of it. It’s the difference between a show that feels like it takes place in the world, and one that feels like it takes place on a TV set.

It’s a Soap Without Soap Opera Villains. Jane the Virgin is pretty plainly not going to skimp on the telenovela twists–beyond the title predicament, we’ve already seen a guy defenestrated and impaled on an ice sculpture–but it plays them out with characters who react genuinely. There isn’t, so far anyway, much mustache-twirling or vampy scheming, even among the antagonists and competing love interests; there’s a sense that on some level, everyone has good intentions, which makes for more interesting conflict. And the multigenerational dynamic among Jane, her mother and her abuelita is really something: Grandma is showing herself to be more than the pious scold you might have guessed from the opening “flower” scene, while Jane’s cautionary tale of a mom seem, at heart, to genuinely want to do right, even when she seems more like the child in the relationship. It all goes a long way toward making the unbelievable believable.

If you’ve been holding off because the show sounded ludicrously soapy, give Jane a shot. And if you didn’t want to commit for fear of getting your heart broken, good news: The CW has decided to carry the show to term, as it were, with a full season order. Whatever your position on virginity itself, Jane is worth keeping.

TIME movies

Watch The Avengers Try to Lift Thor’s Hammer

Marvel reveals new scene from Avengers: Age of Ultron

Not content with revealing five years worth of superhero movies Tuesday, Marvel also revealed an extended look at the next Avengers movie.

Set for theaters on May 1, 2015, Avengers: Age of Ultron will follow Tony Stark’s attempt to push a dormant peacekeeping program, but ends up leading to a showdown between the villainous Ultron and The Avengers team.

This preview features the average cocktail party: a dozen superheroes in a room attempting to lift Thor’s hammer. The party is broken up by an unwanted guest.

Read next: Marvel Unveils Superhero Five-Year Plan

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