TIME Television

This Is the Greatest Professional Wrestling Entrance Ever

You can't top an actual tank

The wide world of wrestling is no stranger to tender geopolitical fault lines.

At the first WrestleMania in March 1985, tag team partners The Iron Sheik and Nikolai Volkoff ratcheted up the Cold War a few degrees before squaring off with the aptly named American duo, the U.S Express. Before the match, The Iron Sheik proudly waved the Iranian flag, while Volkoff gave a throaty rendition of the Soviet national anthem. The tens of thousands of American fans in attendance at Madison Square Garden booed and chucked trash at the ring in response.

Thirty years later, little seems to have changed. With relations between Washington and the Kremlin in a downward spiral again, “Russian” wrestler Alexander Rusev (who is actually Bulgarian) entered Wrestlemania 31 on Sunday in unbelievable fashion: In a tank waving the Russian flag, while being escorted by what appeared to be a platoon of Russian troops.

Who cares that the hitherto undefeated Rusev went on to lose the United States Championship belt to red-blooded American wrestler John Cena? In terms of his entrance, he was a winner all the way.

TIME Television

Watch ‘The Rock Obama’ Throw John Boehner Through a Window on SNL

And see the first appearance of "She Rock Obama"

Dwayne Johnson reprised his role as “The Rock Obama” on the March 28 episode of Saturday Night Live.

In the cold open sketch, the “normal” President Barack Obama (Jay Pharoah) loses his temper with House Speaker John Boenher (Taran Killam), who unilaterally invited Israeli Prime Minister Benjamin Netanyahu to address Congress; Texas Senator and 2016 presidential candidate Ted Cruz (Bobby Moynihan), who called Netanyahu an “extraordinary leader” upon his recent election victory; and Sen. Tom Cotton, who sent a letter to Iran behind Obama’s back regarding a potential nuclear deal.

The President then transforms into “The Rock Obama” (Johnson—”Oh my god, it’s happening!” exclaims Michelle (Sasheer Zamata)—before he shows his political foes who’s in charge. But it turns out the President isn’t the only one with a hulky alter ego: find out who angers Michelle so much that she transforms into “She Rock Obama” (Leslie Jones).

TIME Television

The Walking Dead Spinoff Series Has a Title Now

Danai Gurira (L) and Andrew Lincoln (R) in episode 13 of AMC's 'The Walking Dead.'
Gene Page—AMC Danai Gurira (L) and Andrew Lincoln (R) in episode 13 of AMC's 'The Walking Dead.'

The series will debut in late summer

Walking Dead creator Robert Kirkman just broke some big news, confirming the title of AMC’s upcoming The Walking Dead companion series. And that title is…Fear the Walking Dead.

As previously reported, the new version is scheduled to debut in late summer with a six episode first season, and season 2 airing in 2016. The new show will take place in Los Angeles and stars Kim Dickens, Cliff Curtis, Frank Dillane, and Alycia Debnam. And now it has it’s title. Here’s Kirkman’s tweet breaking the news. All that’s left is to figure out what they will call the inevitable Chris Hardwick companion talk show to follow: Talking Fear the Walking Dead?

This article originally appeared on EW.com.

TIME Television

Sherlock Creator Says Season 4 Will Be ‘Bloody Frightening’

BBC

"There are answers coming to questions which nobody has asked"

Sherlock co-creator Steven Moffatt won’t reveal much about season four of the Benedict Cumberbatch show, but he does hint at a dark turn for the show, in an interview with Entertainment Weekly.

The theme of the season, said the writer-producer, will be consequences. “Chickens come to roost,” he says. “It’s dark in some ways—obviously it’s great fun and a Sherlock Holmes romp and all that—but there’s a sense of… things… coming back to bite you.”

He continued: “It’s hilarious and exhilarating some days, but some days it’s going to be bloody frightening”

Read more about the fourth season, which kicks off in the United Kingdom with a Christmas special later this year, at EW.com.

TIME Television

Mad Men’s Final Word on the 1960s … And Today

Jon Hamm as Don Draper - Mad Men _ Season 7B, Gallery - Photo Credit: Frank Ockenfels 3/AMC
Frank Ockenfels 3/AMC Jon Hamm as Don Draper in 'Mad Men'

The final season will show if Don Draper is, at heart, Dick Nixon or Ronald Reagan

History News Network

This post is in partnership with the History News Network, the website that puts the news into historical perspective. The article below was originally published at HNN.

April 5 marks the beginning of the end for Mad Men, and viewers anxiously await a final coda to creator Matthew Weiner’s tale. Will advertising executive Don Draper’s tumultuous peaks and valleys experiences of the 1960s conclude with happiness or tragedy?

The 1960 film, The Apartment, and presidential history during that decade, may hint at an answer.

Mad Men creator Matthew Weiner has cited this Academy Award winning movie as an important inspiration for his serial drama. Since The Apartment ended on a positive note with the main character finding love, viewers might expect a similar conclusion to Weiner’s production. More significantly, The Apartment stands as a cultural symbol of the youthful optimism for social change that many Americans associate with the 1960s. Along with the defeat of Richard Nixon by the youthful, vigorous John Kennedy in the 1960 presidential election, The Apartment’s director, Billy Wilder, helped create today’s conventional wisdom that the year 1960 represented a break from the staid conformity characteristic of the 1950s.

In The Apartment, Director Wilder presents protagonist C.C. “Bud” Baxter as a young, bored number-cruncher (played by Jack Lemmon) in the accounting division of a corporation known as Consolidated Life Insurance. There are two primary settings where the characters interact—the vast 19th floor of seemingly endless rows of desks in the skyscraper where Baxter works, and Baxter’s small apartment in New York City.

The story’s problem emerges when Consolidated Life’s personnel director Jeffrey Sheldrake asks Baxter if the rumors are true that married senior executives have borrowed Baxter’s apartment to conduct secret extramarital affairs. Sheldrake’s intent, we soon discover, is not to reprimand Baxter, but to borrow his key so that Sheldrake may have exclusive privileges to bring his own mistresses to Baxter’s den of iniquity.

Although Sheldrake rewards the junior executive with a 27th floor private office and a bowler hat to boot, Baxter soon regrets the decision when he finds himself having to choose between his career and his love for Fran Kubelik, an elevator operator (played by Shirley MacLaine) in his company’s building. When Baxter discovers that Kubelik is one of Sheldrake’s conquests, he must either cling to his newfound place on the corporate ladder or fight for this damsel in distress. In witnessing Baxter’s decision to abandon the company in exchange for romantic love, we recognize a rejection of the 1950s culture of conformity which sociologists, novelists, and journalists portrayed in books such as The Power Elite, The Man in the Grey Flannel Suit, and The Organization Man.

The Apartment concludes with Baxter’s rejection of conformist and debased corporate culture, but Mad Men presents Don Draper as still engaged in the struggle to maintain individual autonomy in the complacent, risk-averse, and conformist white-collar world. In order to carry the drama forward through the 1960s, Weiner created a character more complex than Wilder’s Baxter. Viewers balance Don’s misogyny against his elevation of his secretary Peggy Olson to a position of copy editor. His infidelity is placed in the context of his troubled past growing up in a whorehouse. In the Darwinian jungle of corporate America, furthermore, Draper’s ambition and authoritarianism appear somehow necessary for a man who began without inherited wealth or business contacts.

In Season One, Weiner used the Nixon-Kennedy presidential contest as a Hegelian thesis-antithesis recasting of The Apartment’s theme. Nixon hires Draper’s advertising firm, Sterling Cooper, to help publicize his 1960 presidential campaign. The upstart Kennedy’s victory appears as a tragic defeat for the company’s corporate elite that seeks to perpetuate the conformist 1950s. The image of a triumphant Kennedy symbolizes the hope for change in the new decade, and Draper appears to represent this icon of youthful optimism. In one episode, a character describes the youthful, handsome, and decisive Draper as Kennedyesque—distinct from the common corporate type–saying “You’re JFK!”

But Draper identifies more with Nixon. Somewhat surprisingly, Weiner’s protagonist thinks Nixon’s defeat says more about how the candidate’s handlers failed to present his background than about the spirit of the age. When Draper sees Nixon, he says, he sees himself—a self-made man of the people. Draper’s self-image is not as a member of the power elite, but neither as an idealist. He is a working class man pursuing the American Dream. While many of the Mad Men characters—including Draper—appear to admire Kennedy, the president’s tragic assassination in 1963 casts a pall over the ebullient optimism which Draper, his family, and work associates embodied in the first three seasons.

Given that the program is concluding during 1969—Nixon’s first year as president–Washington Post opinion writer Alyssa Rosenberg has posited that Nixon was “the key to understanding Don Draper.” In Rosenberg’s view, Nixon’s ability to come back from multiple political defeats—including the 1960 presidential campaign and a failed 1962 bid for governor of California—appeared as the model for Draper’s similar skill at surviving setbacks by reinventing himself.

The Kennedy-Nixon dialectic certainly serves as one way of understanding the tension between hope and cynicism in Mad Men, but another politician–Ronald Reagan—may provide the model that Weiner has in mind for Draper’s ultimate fate. Draper’s creative genius and macho cool seems more similar to Reagan’s Hollywood confidence and calm than to Nixon’s calculated professionalism. While Nixon and Draper certainly reinvented themselves multiple times, Draper does not seem to share the dark side that Nixon’s closest aides identified in the former president.

Reagan’s sunny optimism wedded to “tough love” conservatism seems to embody the synthesis that Draper will need to embrace in the years following the Kennedy and Nixon administrations. Similar to Reagan, who was elected governor of California in 1967 (and again in 1971), Draper survived by balancing artistic and practical responses to challenges. Hollywood plays an important role in Draper’s professional and personal lives. Reagan’s divorce and remarriage serve as another parallel with Draper (and not with Kennedy or Nixon). Finally, Reagan’s penchant for concealing his inner self appears akin to the mysterious Draper, who hides his true identity as Dick Whitman from even his closest friends, who are few.

If The Apartment served as a Muse for Weiner’s Mad Men, viewers can expect Don Draper to walk off the screen this year facing a sunny future. Just as Billy Wilder’s film portrayed the protagonists as rejecting 1950s corporate conformity, Mad Men began in 1960 with a theme of individual liberation. The Apartment did not require C.C. Baxter and Fran Kubelik to sacrifice the ideal of romantic love, and Mad Men has vindicated that choice by celebrating the 1960s office culture as a space of social revolution.

But as 1969 draws to a close, Draper will need to engage with the rise of corporate power during the Age of Reagan, as historian Sean Wilentz has characterized the 1974-2008 United States. Indeed, one of the subtexts of Mad Men has been the rising importance of work in the lives of Americans. Weiner’s narrative has shown how corporate America’s adoption of the 1960s liberation movements strengthened rather than weakened capitalism’s roots in the United States. In many cases, Don Draper and his colleagues Pete, Ron, Joan, and Peggy formed closer relationships with their colleagues and their firm than with their own wives, husbands, and children. Weiner surely knows that the show’s fans want those bonds to last a lifetime.

Thomas J. Carty, Ph.D., is an Associate Professor of American Studies at Springfield College.

TIME Television

Jimmy Fallon Singing With Five Wax Dummies of Himself Is the Stuff of Nightmares

"Barbara Ann" never sounded so creepy.

On The Tonight Show Thursday night, thanks to what looks like an accident in the laboratory of an Internet-savvy mad scientist, host Jimmy Fallon sings with five wax copies of himself.

While, theoretically, it should be entertaining to watch the comedian sing the Beach Boys’ classic “Barbara Ann” alongside the wax doppelgangers borrowed from Madame Tussauds, the result is unsettling and just plain creepy.

That said, it’s also hard to look away. But when Questlove crashes the singing party, he speaks for us all when he shakes his head and walks away.

TIME Television

Jeremy Clarkson’s Dismissal from BBC Celebrated by Argentinians

Jeremy Clarkson in London in 2012.
Ian Gavan — Getty Images Jeremy Clarkson in London in 2012.

BBC announced Wednesday it would not be renewing Jeremy Clarkson's contract after an 'unprovoked physical attack' on producer Oisin Tymon

Many Argentinians were delighted to hear the news of the BBC refusing to renew Jeremy Clarkson’s contract as host of Top Gear, after a controversy sparked during filming in the South American country last year.

Clarkson drove a vehicle with a license plate apparently referencing the bloody 1982 Falklands War, which left 649 Argentine and 255 British military personnel dead. Clarkson’s ‘H982 FKL’ license plate sparked outrage among locals, who pelted the Top Gear crew’s vehicles with stones.

The BBC said the license plate was a coincidence and not intended to reference the war, while Clarkson wrote on Twitter that they had done “nothing wrong.” The Argentinian ambassador to the U.K., Alicia Castro, demanded an apology from the BBC and accused Clarkson of “fabricating a horror story” and seeking “to portray Argentinians as savages.”

A few months on, Argentinian news articles discussing the end of Clarkson’s career at the BBC have seen a flurry of comments from Argentinians who are overjoyed to see the presenter go. One commented on the Clarin newspaper’s website: “This is what happens when you mock the Malvinas,” using the Spanish name for the Falkland Islands. According to the Daily Express, one person called Clarkson a “disrespectful pig” and another merely said his fate was “Karma.”

Read next: Russian military TV offers Jeremy Clarkson a job

TIME Television

Watch George Lucas Assure Fox News He’ll Only Make Patriotic Movies Now

Get ready for The Clinton Menace and American Exceptionalism Graffiti

The Daily Show
Get More: Daily Show Full Episodes,The Daily Show on Facebook,Daily Show Video Archive

After Megyn Kelly complained that Fox News doesn’t get enough credit for good reporting on sensitive stories, Jon Stewart decided to send up that network’s egotism with a congratulatory cake: Carvel’s Fudgie the Whale, since Fox News is “a whale of a network.”

The icing on top? George Lucas promises that thanks to all the groundbreaking work they’ve done, he’ll now only make movies “that are blindly uncritical of America—like The Empire Strikes Back, Justifiably.” Buy your tickets now, folks, it’s sure to be a summer blockbuster.

Read next: 11 Movies Starring Women That Will Rival Summer Blockbusters

Listen to the most important stories of the day.

TIME Television

Watch Will Ferrell Pretend There Is Not a Bird on His Shoulder on Conan

"I don't want to talk about my personal life, okay?"

It’s so hard for celebrities to maintain a sense of privacy these days. So when Will Ferrell visited Conan O’Brien on Thursday night, he just wanted to be left alone when it came to questions about the bird sitting on his shoulder, Professor Feathers. Doesn’t anyone have boundaries anymore?

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