TIME celebrities

Matthew McConaughey Hopes the Redskins Don’t Change Their Name

GQ's November 2014 Cover GQ

Plus, he talks about gun control!

Matthew McConaughey has offered his two cents on the Redskins controversy. In an interview with GQ, the Interstellar actor compared the controversy over the team’s name to the gun control debate. Yes, really:

What interests me is how quickly it got pushed into the social consciousness. We were all fine with it since the 1930s, and all of a sudden we go, “No, gotta change it”? It seems like when the first levee breaks, everybody gets on board. I know a lot of Native Americans don’t have a problem with it, but they’re not going to say, “No, we really want the name.” That’s not how they’re going to use their pulpit. It’s like my feeling about gun control: “I get it. You have the right to have guns. But look, let’s forget that right. Let’s forget the pleasure you get safely on your range, because it’s in the wrong hands in other places.”

Confused? Same here. And why is McConaughey, who hails from Texas, a Redskins fan, anyway? “First, four years old, watching Westerns, I always rooted for the Indians,” McConaughey, who once played a football coach in We Are Marshall, said. “Second, my favorite food was hamburgers. The Redskins had a linebacker named Chris Hanburger.”

The interviewer asked McConaughey if he would be hurt to see the logo gone. “It’s not going to hurt me. It’s just… I love the emblem,” the Oscar winner said. “I dig it. It gives me a little fire and some oomph. But now that it’s in the court of public opinion, it’s going to change. I wish it wouldn’t, but it will.”

Alright. Alright. Alright.

TIME Music

Lorde’s Mockingjay Soundtrack Features Kanye West, Chemical Brothers and Charli XCX

Singer-songwriter Lorde called upon some influential friends when putting together the soundtrack for the newest Hunger Games installment

If you need further proof that Lorde is one of the most influential teens of 2014, look no further than the soundtrack she curated for The Hunger Games: Mockingjay Part 1.

The highly-anticipated soundtrack for the highly-anticipated film features a song from Lorde with a remix from Kanye West, a collaboration between Duran Duran’s Simon Le Bon and pop’s It Girl Charli XCX, a new track from the reclusive Chemical Brothers featuring Miguel and Lorde, and an unlikely collaboration between Belgian superstar Stromae and Lorde, Pusha T, Q-Tip and HAIM. Even Grace Jones is in the mix.

Lorde — the 17-year old singer born Ella Yelich-O’Connor — used the soundtrack to feature many emerging talents, including Tove Lo, Raury and Tinashé. Indie superstars CHVRCHES and Bat for Lashes also have contributions alongside Lorde’s three tracks, including “Yellow Flicker Beat,” she released earlier this month and “This Is Not A Game,” which is the first Chemical Brothers track in two years.

Listen here:


The only mystery on the soundtrack is track #5, which will apparently be revealed later.

Here’s the full tracklist for The Hunger Games: Mockingjay – Part 1:

01 Stromae – “Meltdown” (Feat. Lorde, Pusha T, Q-Tip, And HAIM)
02 CHVRCHES – “Dead Air”
03 Tove Lo – “Scream My Name”
04 Charli XCX – “Kingdom” (Feat. Simon Le Bon)
05 [Track 5]
06 Raury – “Lost Souls”
07 Lorde – “Yellow Flicker Beat”
08 Tinashé – “The Leap”
09 Bat For Lashes – “Plan The Escape”
10 Grace Jones – “Original Beast”
11 Lorde – “Flicker (Kanye West Rework)”
12 XOV – “Animal”
13 The Chemical Brothers – “This Is Not A Game (Feat. Miguel And Lorde)”
14 Lorde – “Ladder Song”

The Hunger Games: Mockingjay – Part 1 Original Soundtrakc is out 11/18 via Republic.

TIME Television

Why Nothing Is Getting Canceled (Yet)

It's not quite time for last rites for Mulaney just yet. FOX

It's not that every new show is a hit. It's just harder to figure out what a hit is nowadays.

We’re a month into the official fall TV season, and the big news so far is… nothing. As in: nothing has yet been canceled. (I realize, of course, that I may shake loose the season’s first cancellation simply by typing these words.)

What’s happened? Have the broadcast networks finally perfected their art, discovering the unerring secret of delicious, addictive entertainment? No. As usual, there have been some out-of-the-box hits (How to Get Away With Murder, in particular). And there have been a few thundering disappointments (at Fox, especially, where Mulaney just had its episode order trimmed back while vultures are circling above the Utopia compound).

Yet the Reaper has been pokier this season than last year, when, for instance, Lucky 7 had already come up snake eyes by now. Part of the reason may simply be that networks had been so quick to reach for the hook over the past several years–when cancellations after two or three episodes became common–that the slightest restraint looks like mercy. And at NPR, Eric Deggans offers a few explanations–for instance, that networks have done better at protecting new shows with better scheduling.

But a big part of the explanation goes back to something you should keep in mind when following any TV-biz news today: Nobody knows what is a hit anymore. At least not right away, and maybe not for a long time.

There are different kinds of hits: shows that a lot of people watch, and shows that make a lot of money (two factors that can be, but are not automatically, related). For the purposes of cancellation, a hit means the latter. If a show makes money, or is likely to, it stays on the air.

But how a show makes money, and how can you tell, are more complicated questions than they used to be. You need to know the ratings, of course–specifically, the ratings in the age demographics that advertisers will pay for.

That’s not so easy anymore–even if Nielsen doesn’t screw up the ratings for months as it did earlier this year. With DVRs, viewers may watch a show live, or later the same night, or later that week. So you may not know how popular a show is for weeks after it airs, once you get the DVR ratings such as “live plus seven”–the number of viewers who watched a show within a week of its airing. Now advertisers don’t pay for all those viewers; generally, they pay for what they call “C3″–not the measure of viewers within three days but the measure of commercials watched within three days. (If you have any sense, you skip the ads on DVR, and if advertisers have any sense, they know that.)

And all that assumes the relatively simple world of broadcast TV. It’s even more complicated on cable (where revenues like carriage fees from cable providers factor in), pay-cable (where HBO and Showtime make money from subscriptions, not ads) and streaming (where Netflix will never tell you how many people watch its “hits”).

So we wait longer for the ratings. In the meantime, networks–to counter the impression that a show’s a bomb from its live ratings–have begun issuing “projected” time-shifting ratings, which you should no more take seriously than you would fill out an insurance form giving your “projected” blood pressure six months from now after you finally give up French fries and start going to the gym.

But wait, there’s more! TV ads are still the main way broadcast shows make money, but they’re not the only way. There’s also the smaller but growing amount of online streaming, which shows up nowhere in those DVR numbers. And besides possible future syndication, there’s also the possibility of the sale of a show to Netflix down the road–a potentially lucrative deal that can make a relatively low-rated show like New Girl stick around. DVR ratings a week later may not be worth anything for ad sales, but maybe they indicate a fanbase that can be monetized later through streaming sales, or overseas sales, or… something else someone will invent soon.

For now, we wait, deciding whether to commit to new shows, while the networks wait and parse a growing mound of data, trying to decide whether to make the same commitment. For some shows, this more complex TV business could mean a longer life, as they get a second season to prove their worth. For others, it may just mean a slower death. Bottom line, the more ways TV has to turn viewership into money, the more complicated it becomes to turn new shows into old memories.

TIME celebrities

You Can Now Grope Benedict Cumberbatch’s Waxy Figure at Madame Tussauds

Madame Tussauds Unveil New Wax Figure Of Benedict Cumberbatch
The unveiling of the new wax figure of Benedict Cumberbatch at Madame Tussauds Fred Duval—FilmMagic

"What a weird and wonderful compliment," said the Sherlock and Imitation Game star

Benedict Cumberbatch’s beautiful, waxy figure debuted at Madame Tussauds London on Tuesday, and we have to admit that we’re a little concerned. After all, less than a year ago, Justin Bieber’s replication went into early retirement due to excessive groping — and with Cumberbatch’s die-hard following, it’s easy to assume that the Sherlock and Imitation Game star could suffer a similar fate.

Cumberbatch himself, however, appeared unconcerned about melting, and was instead excited at the prospect of finally being able to photobomb himself.

“What a weird and wonderful compliment… I’ve been accused of being wooden in my work but never waxy!” he said in a statement. “Also my agents will be thrilled, they’ve wanted a clone of me for some time!”

We just hope that, given Madame Tussauds’ open-door policy allowing visitors to “get up, close and personal… in a fully interactive experience” that the Cumberbabes will be more gentle than those fiesty Beliebers were.

TIME Television

Watch Alan Cumming Share His Side of the Shia LaBeouf Cabaret Incident

LaBeouf was arrested in June and later pleaded guilty to disorderly conduct

Alan Cumming finally dished about Shia LaBeouf’s wild night at Cabaret during a sit-down with Conan O’Brien on Monday.

Cumming, who starred in the Broadway performance this summer, was onstage when LaBeouf was removed from the theater for erratic behavior and arrested. (He later pleaded guilty to disorderly conduct.)

“He was just wasted, and he was wasted from the second he walked into the thing, so there was an atmosphere when I went to go down onstage and start the show everyone’s freaking out because there was, you know, somebody seemed to be a crazy person shouting,” Cumming recalled.

LaBeouf is currently promoting Fury, and Cumming is starring as Eli Gold in CBS’ The Good Wife.

TIME Arts

Hundreds Protest Met’s New Opera for ‘Romanticizing Terrorism’

Protestors Hold Vigil, Rally Condemning "Klinghoffer" Opera Outside Lincoln Center
A protestor holds up a sign outside the Metropolitan Opera at Lincoln Center on opening night of the opera, "The Death of Klinghoffer" on October 20, 2014 in New York City. The opera, by John Adams, depicts the death of Leon Klinghoffer, a Jewish cruise passenger from New York, who was killed and dumped overboard during a 1985 hijacking of an Italian cruise ship by Palestinian terrorists. Bryan Thomas—Getty Images

"The Death of Klinghoffer'' is about the murder of a disabled Jewish man by Palestinian extremists

The Metropolitan Opera House’s opening night of 1991 opera The Death of Klinghoffer received a standing ovation in New York City Monday. But the noise made by crowds outside of Lincoln Center before the curtain rose may have rivaled the cheers inside the opera house.

Hundreds of protesters, including former New York City Mayor Rudy Giuliani, railed against the John Adams opera about the 1985 murder of disabled cruise passenger Leon Klinghoffer by four members of the Palestinian Liberation Front, on charges that it is anti-Semitic and glorifies terrorists who shot a 69-year-old Jewish man in his wheelchair and then pushed him overboard.

“If you listen, you will see that the emotional context of the opera truly romanticizes terrorism,” Giuliani told crowds across the street from Lincoln Center. “And romanticizing terrorism has only made it a greater threat.”

The Met disagreed that the opera, which premiered in Brussels more than 20 years ago, glorifies terrorism.

“There’s no doubt for anyone who sees this opera that… it’s not anti-Semitic,” Peter Gelb, the Met’s general manager, told the BBC. “It does not glorify terrorism in any way. It is a brilliant work of art that must be performed… At the end of the day, anyone with any sense of moral understanding knows this opera is about the murder of an innocent man.”

The AP reports that there were a some orchestrated disruptions, including shouts of, “The murder of Klinghoffer will never be forgotten!” from the balcony, during the show, though the heckling was muffled by cheers when the cast took a bow.

TIME Opinion

50 Years Later: Why My Fair Lady Is Better Than You Remember

Audrey Hepburn In 'My Fair Lady'
Audrey Hepburn in a scene from the film 'My Fair Lady' Archive Photos / Getty Images

Think it's a sexist relic? Think again

I know what you’re going to say about Eliza Doolittle and Henry Higgins. A snobby British guy in a Sherlock suit tries to “improve” a working woman by teaching her to talk pretty and look bangin’ in necklaces?! Screw you, Henry Higgins! Lean in to the flower business, Eliza! There’s nothing “loverly” about misogynistic woman-shaping narratives! Put My Fair Lady in a folder with all the other movies that “send bad messages,” like Grease and Gone With the Wind!

Screw Henry Higgins, indeed, but please do not underestimate My Fair Lady, a movie that, on Tuesday, celebrates the 50th anniversary of its premiere. And although it may be easy to dismiss the 1964 movie musical as an outdated rom-com from the shady period before feminism got rolling, it’s much more than just a relic of a sexist time. The movie itself isn’t misogynistic– it’s about misogyny.

First, a little history: The 1964 Audrey Hepburn movie version of My Fair Lady is based on the Broadway musical (starring Julie Andrews) with songs written by Alan Jay Lerner and Frederick Loewe. The musical was based on George Bernard Shaw’s 1912 play, Pygmalion, which was itself based on the part in Ovid’s Metamorphosis when a sculptor named Pygmalion falls in love with his statue of the perfect woman. That part of Metamorphosis was based on every guy who ever thought he could create the girl of his dreams (specifically, Freddie Prinze Jr. in She’s All That, of which Ovid was reportedly a mega-fan).

Even studio execs are always trying to cultivate the perfect girl, and that led to a bit of behind-the-scenes drama when it came to casting Eliza Doolittle. Julie Andrews had played Eliza on Broadway, and had already mastered the character and the vocals, and her stage co-star Rex Harrison was going to play Higgins in the movie. But studio head Jack Warner didn’t think Julie Andrews had the name recognition or glamor to carry a major motion picture. “With all her charm and ability, Julie Andrews was just a Broadway name known primarily to those who saw the play,” Jack Warner wrote in his 1965 autobiography My First Hundred Years in Hollywood. “I knew Audrey Hepburn had never made a financial flop.” But Andrews got the last word — losing the My Fair Lady role allowed her to make Mary Poppins, for which she won a Golden Globe and Oscar for Best Actress.

Audrey herself was still pretty good, even if she had to have her songs dubbed by another singer. As TIME wrote after the movie came out in 1964:

The burning question mark of this sumptuous adaptation is Audrey Hepburn’s casting as Eliza, the role that Julie Andrews had clearly been born to play….after a slow start, when the practiced proficiency of her cockney dialect suggests that Actress Hepburn is really only slumming, she warms her way into a graceful, glamorous performance, the best of her career.

From Ancient Greece to Edwardian England to 1960s Hollywood, the narrative remains the same: an overbearing male “genius” who transforms a pliable (read: vulnerable) woman from her meager, inadequate self into his personal ideal of womanhood. But thanks to Lerner and Loewe’s songs, My Fair Lady critiques that narrative as much as it upholds it. Their musical is not about a genius attempting to transform a weak woman. It’s about a strong woman attempting to retain her identity in spite of the controlling machinations of a small-minded man.

Take, for example, the undisguised misogyny in nearly all of Henry Higgins’s songs (spoken, with droll irony, by Rex Harrison). This is from a song near the end, fittingly titled “A Hymn to Him,” in which Higgins asks “Why can’t a woman be more like a man?”:

Why is thinking something women never do?
Why is logic never even tried?
Straightening up their hair is all they ever do /
Why don’t they straighten up the mess that’s inside?

This comes shortly after he says women’s “heads are full of cotton, hay and rags” calls men a “marvelous sex.” That’s not the only song where he drones on about how amazing he is compared to women: in “You Did It,” he takes complete credit for everything Eliza does, and in “I’m an Ordinary Man,” he idealizes his woman-free “bachelor” life.

Now, it’s entirely possible that Lerner and Loewe were themselves misogynistic jerks, and these songs were meant as appreciative bro-anthems. Maybe if they had been alive today, the music videos would have featured naked models on leashes. But more likely, they wrote these songs to humiliate Henry Higgins, to show the audience that he’s a jerk and they know it.

And Eliza Doolittle has plenty of songs that demonstrate she is anything but a statue; after all, the entire musical is written largely from her perspective. By far the best is “Without You,” which is pretty much the Edwardian-showtune version of Beyoncé’s “Irreplaceable:”

Without your pulling it, the tide comes in
Without your twirling it, the Earth can spin
Without your pushing them, the clouds roll by,
If they can do without you, ducky, so can I.

There’s also “Show Me” (where she tells her loser boyfriend Freddy that actions speak louder than words) and “Just You Wait” (where she fantasizes about leaving Henry Higgins for him to drown in the ocean while she goes to meet the King). Lerner and Loewe could easily have made Eliza into a love-sick ingenue, just by writing a few more songs like “I Could Have Danced All Night” (where she’s crushing on Higgins because they danced for a hot second, remember it’s 1912.) But they didn’t.

Of course, the whole Eliza-is-a-strong-woman argument gets compromised by the ending. Because after all her proclamations that she can “stand on her own,” Eliza comes back to Higgins. And when he asks “where the devil are my slippers?” she brings them to him. It’s an ending with the same ashy taste as the ending of Grease, because it seems incongruous: Eliza has no business being with Higgins, and it’s clear she’s independent-minded enough to know it.

Except, it’s 1912. And Eliza has no family connections, no money and no formal education, which means she has nowhere to go but back to the streets (or away with the insipid and financially dubious Freddy). She isn’t brainwashed or stupid — when given the choice between an emotionally abusive man and destitution, she chose the man. Choosing the man doesn’t make My Fair Lady a sexist movie; it makes it a movie about a sexist time.

Of course, 50 years later, there’s another version of My Fair Lady: Selfie, on ABC, is the newest to take up the Pygmalion mantel, when a male marketing exec “rebrands” a girl who has fouled up her social media presence. Let’s see how they do it without Lerner and Loewe.

Read TIME’s 1964 review of My Fair Lady, here in the archives: Still the Fairest of Them All

TIME movies

The Best Soundtracks of All Time, As Chosen by Directors and Composers

From The Wizard of Oz to American Beauty, Hollywood's finest pick the soundtracks and scores that made the biggest impact in the movie industry and beyond

  • John Landis

    (Director, Animal House, The Blues Brothers)

    Various

    The best needle drop example I can think of is the way Stanley Kubrick used an existing Deutsche Grammophon recording of “The Blue Danube” by Johann Strauss as the music for the space station sequence in 2001: A Space Odyssey. George Lucas’s use of rock and roll in American Graffiti and Marty Scorsese’s use of rock and roll in Goodfellas are two more terrific examples of “needle drop.”

    As for scores written for specific movies, there are many wonderful examples, from Elmer Bernstein’s rousing music for The Magnificent Seven to his very different scores for The Sweet Smell of Success, The Great Escape and To Kill a Mockingbird. Bernard Herrmann’s Hitchcok scores are all wonderful, as are the Maurice Jarre collaborations with David Lean.

  • Amy Heckerling

    (Director, Clueless, Fast Times at Ridgemont High)

    American Graffiti

    When I first saw it, I was a teenager, and I just went crazy for it. I had never been to California, and suddenly there was this sparkly land of cute people and tons of music, and they were in cars, and I thought you had to be really rich to be young and have a car! It just seemed incredibly magical to me, and I had no idea that such a place existed.

    I always loved movies with tons of music, and I was always a fans of musicals. In American Graffiti, it was so organic, because you have car radios, so it made sense. It was automatic to what they were doing, which was running around in cars, and cars have soundtracks. There was a sense of humor to the way it was used. You didn’t feel like, oh, here’s a sad guy and they’re playing a sad song. It was Richard Dreyfuss — who was, I think, about the cutest human being there could be then — “The Great Pretender,” and hanging around with the gang, the Pharaohs, but he was obviously the smart nerd guy. It was just adorable the way it fit together. And then when he goes to the radio station and hears “You Saw Me Crying in the Chapel”? Well, it was a radio station and not a chapel, but it was a form of religion. But it wasn’t saying that in a serious way — it was saying it in a humorous way.

  • Pete Docter

    (Director, Up, Monsters, Inc.)

    Alexander Nevsky and Raiders of the Lost Ark

    My parents are classical music lovers and I was introduced to the music from Alexander Nevsky (1938, by Sergei Prokofiev) years before I ever saw the film. It’s bold and sweeping, with themes that get stuck in your head, and dramatic moody parts. I love the “Battle on the Ice” sequence — it starts quietly with great tension, and builds slowly to a driving peak. I used this as the soundtrack for many films I made as a kid, which created the illusion of them actually being interesting. Apparently Prokofiev wrote the music after seeing a rough cut from director Sergei Eisenstein. Inspired, Eisenstein reshot and cut footage to the music — an unusual way to work, which tells of their mutual respect and admiration for each other’s work. It was kind of a shock to me when I finally saw the film; it sounds like they recorded the soundtrack on tin foil and used that to wrap borsht. It’s tinny and thin, a completely inadequate representation of Prokofiev’s dynamic, powerful music. Luckily there are many great re-recordings of the score available.

    I was 12 when Raiders of the Lost Ark came out (in 1981, with music by John Williams), and it instantly lodged in my brain. I came out of the theater humming the theme, and to this day it conjures up images from the film whenever I hear the music. The musical themes evolve along with Indy; the music tells the story. It’s an integral part of the film; you can’t imagine the movie without this score. If that’s not a great movie score, I don’t know what is.

  • Kristen Anderson-Lopez

    (Composer, Frozen)

    The Wizard of Oz

    If I have to pick one (which is unfair because I’d really like to make my top 100 list), I’d have to say The Wizard of Oz (songs by Harold Arlen and E.Y. “Yip” Harburg) is the biggest game-changer [and the] most entertaining score of all time. Ask anyone age 5 to 105, and chances are they can sing the iconic melody of “Over the Rainbow,” but more importantly, they can point to a moment in their own experience when they felt what Dorothy feels when she looks to the sky and sings: “If happy little bluebirds fly beyond the rainbow / why oh why can’t I?” The story structure is referenced in every single writers’ room on the planet. And let’s not forget: it has a strong female protagonist driving the story.

  • Robert Lopez

    (Composer, Frozen, Avenue Q, Book of Mormon)

    South Park: Bigger Longer and Uncut

    South Park: Bigger Longer and Uncut (songs by Trey Parker with Marc Shaiman) is by far the funniest movie musical of all time and one of the greatest. The songs (“What Would Brian Boitano Do,” “Blame Canada,” to name two out of the 11) are all shockingly hilarious spoofs, as you’d expect — but also carry the story forward engagingly with grace and masterful economy. Without this movie there would be no Avenue Q or Book Of Mormon – it changed everything for me.

TIME movies

Key and Peele Are Doing a Movie Together and It’s About a Cat

AOL's BUILD Series Presents: Comedians Key And Peele
The comedic duo Key & Peele pose for a portrait at AOL Studios in New York City on Oct. 10, 2014 Taylor Hill—Getty Images

Production begins next spring

Keegan Michael-Key and Jordan Peele, better known together as the comedic duo Key & Peele, have just signed on for their first movie together.

The film, titled Keanu, tells the story of a kidnapped cat and will begin production next spring, according to the Hollywood Reporter. The film will be under the banner of New Line Cinema, with whom the two comedians recently agreed to produce a remake of the iconic Police Academy franchise.

The pair’s hugely popular sketch show Key & Peele just entered its fourth season and has been nominated for five Emmy awards.

Although Key and Peele have done individual roles in films like The Lego Movie and Little Fockers respectively, this is the first feature film on which they will be working together.

[THR]

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