Julia Davis on awful characters and awkward sex scenes

What do Julia Davis’s comic creations say about Julia Davis? Hmmm. We could be here a while.
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Conor McGregor vs Khabib: New video footage of post-fight brawl reveals what instigated shocking scenes

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America’s Art Scenes Off the Beaten Track

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Behind the Scenes of Queer Eye Season 3: The Laughs, the Hugs, the Outfits

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Kendall Jenner Was a Huge Fan-Girl Behind the Scenes at the Globes

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Jason Derulo, Antonio Brown Go Behind the Scenes at LVL XIII Fall Campaign

Jason Derulo walks the talk. Even though the singer is not doing one of his trademark backflips or dance routines at the moment, he’s ever mindful of keeping up his powerful physique, and his growing profile as a fashion trendsetter. He settles into a director’s chair to eat poached salmon and asparagus (which he has ordered for his small posse as well) at the glam station before the fall shoot for his and Antonio Brown’s LVL XIII label commences in Los Angeles.
“It’s crazy,” he said, of how the label he is growing with Atlanta-based designer Brown (he, his manager and Brown are all equity partners in the business) has grown from a sneaker line into a full-fledged fashion collection that will enter Bloomingdale’s this fall. “Everything just happened naturally. We didn’t force it or weren’t aiming toward anything at first. But we definitely had a vision for doing both shoes and clothing.”

Jason Derulo wears LVL XIII’s colorblock T-shirt and dress pant. 
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Of how he and Brown collaborate together from different cities — Derulo is based in L.A. and Brown hops between Atlanta, New York and L.A. — he said, “Bouncing ideas off each other, being brutally honest. We don’t care about each other’s

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PEOPLE’s Jess Cagle Takes You Behind the Scenes of Oscars Sunday

It’s finally Oscar Sunday, and PEOPLE is taking fans right to the center of the action.

Jess Cagle, Editor-in-Chief of PEOPLE and Editorial Director, Time Inc. Style & Entertainment Group, is prepping for ABC’s official Oscar pre-show, Oscars Opening Ceremony: Live from the Red Carpet. The pre-show, which is hosted by Good Morning America anchors Robin Roberts, Lara Spencer and Michael Strahan, will feature Cagle as a contributor alongside Marie Claire‘s Nina Garcia and Vanity Fair’s Krista Smith.

Of course, one can’t head to the biggest night in movies without a full stomach. Cagle and his date (and partner) Matt Whitney, writer for the TV show Timeless, grab a bite to eat in West Hollywood before heading to the Dolby Theatre for the night’s festivities.

Cagle also offered a view of the cloudy skies above Hollywood, where rain is predicted to threaten the awards show’s red carpet. Luckily, he shared yesterday that a rain structure is already in place to keep celebrities (and their fashion choices) protected from any unfavorable weather conditions.

After a good meal, the final step before heading to the Academy Awards is looking the part. Cagle assisted Whitney in getting picture-perfect for the red carpet, giving a tutorial on how to successfully tie a bow tie.

Oscars Opening Ceremony: Live from the Red Carpet airs on ABC at 7 p.m. ET. The Oscars themselves will air at 8:30 p.m. ET and The Oscars: All Access live stream from the red carpet and backstage will begin at 7 p.m. ET.

For more Oscars fun, watch the PEOPLE & EW Red Carpet Live Oscars pre-show on Feb. 26 at 5 p.m. ET/2 p.m. PT on the People/Entertainment Weekly Network (PEN). Go to PEOPLE.com/PEN, or download the app on your favorite device. Then watch our Red Carpet Fashion Wrap-Up after the Oscars!

But before you do any of that, be sure to get your own Oscars ballot to play along during the show.


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Behind the scenes at All-Star Media Day (Yahoo Sports)

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KKK Members Claim They Were Paid To Fabricate Scenes For A&E Show

Members of the Ku Klux Klan who were participating in a now-canceled documentary series for A&E are claiming producers paid them to fabricate scenes for the show.

The show, “Escaping the KKK: A Documentary Series Exposing Hate in America,” was scheduled to premiere Jan. 10.

A&E canceled the series after learning cash payments were made “to facilitate access” to the film’s subjects by the production company, This Is Just a Test (TIJAT).

The show was initially titled “Generation KKK,” but A&E changed it to make it clear the film is a work of documentary journalism rather than reality-TV entertainment.

However, KKK leaders tell Variety that they each were paid hundreds of dollars in cash a day during filming to participate in fabricated scenes designed to fit a predetermined narrative of tension between Klan members and relatives who wanted to get out.

KKK leaders also say they were presented with scripted scenarios, encouraged not to file taxes on the cash payments, instructed about what to say on camera and directed to re-enact camera shoots until the production team got what it needed.

Multiple sources told Variety the production team even paid for material and equipment to make Nazi swastikas and to construct and burn wooden crosses.

One of the featured subjects, Richard Nichols, the grand dragon of a KKK cell known as the Tennessee White Knights of the Invisible Empire, said producers encouraged him to use the word “n****r” when being interviewed.

“We were betrayed by the producers and A&E,” Nichols said. “It was all made up ― pretty much everything we said and did was fake and because that is what the film people told us to do and say.”

The Huffington Post reached out to TIJAT but has received no response. The company had issued a statement to TheWrap.com.

“We take these allegations very seriously and in partnership with A&E we will be looking into them fully,” the statement said. “We fully expected opposition from hate organizations who wish to disparage this series.

“We have been told that participants in the series have received threats and coerced into speaking out against the authenticity of the show.”

The company also addressed A&E’s decision to cancel the series before the airdate:

“We had many many long conversations about how to tackle this subject matter, and we are proud of the program we made. We feel the backlash over the announcement of this series has led to a shoot the messenger mentality.”

 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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On Jan Fabre, part 2: Scenes from the Moral Education of the Human Race

This second article in my series about the absurdly productive trans-national art star Jan Fabre (the first is here) has very little to do directly with him or his work. Rather, it is about the State Hermitage Museum, one of the wonders of the world. We take a look at it because it is on this field which Fabre agreed to stake a claim. The Hermitage is interesting in itself, but it is also difficult to evaluate Fabre’s work in his sprawling solo show “Knight of Despair/Warrior of Beauty” without some sense of the museum in which it is set.

As in real life, there is too much of the Hermitage for it to be adequately covered in any one session. How can I tell you the entire story of the thrones and crimson cloth, the robot peacocks and gold chandeliers, the frescoed arches and dim forgotten halls? I can’t, and I saw only the tiniest fraction of it myself.

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Jordan Staircase at dusk, Winter Palace, State Hermitage Museum

Therefore we narrow our view to a few of the masterpieces in this realm of wonders, and let them stand for the rest. A museum with these alone would be enough. But of course there is endlessly more to the real thing.

The first is Rembrandt’s The Return of the Prodigal Son. I have written about this painting before, but now I’ve seen it for myself. Here is what I had to say previously:

“Consider for a moment the father and son in Rembrandt’s The Return of the Prodigal Son. Having returned to his father, the son kneels, clothes tattered, one foot bare where his shoe has fallen apart. He slumps against his father, head shaven and bowed, eyes closed. The father hunches over the son, bowed as well, worn with age and concern, blinded by his emotion. He has returned to the realm of touch: he rests his hands on his son’s shoulders, in an all-encompassing gesture of relief, of forgiveness and ingathering. It is impossible to look at this painting without being struck blind, like the father, and awakened to the inner truths it conveys: that we are all going home, that we all need to be forgiven and don’t deserve it – and that we are all waiting for those who have left, and that we have already forgiven them for their part in whatever it was that drove us apart.”

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Rembrandt, The Return of the Prodigal Son, 1668

Having seen it for myself, I have only one thing to add: the prodigal son really does look just like my friend Max Ritvo, an accomplished poet who passed away in August at the age of 25. Max’s chemotherapy stole his hair, as the prodigal son’s hair is lost. Max’s face was tall and thin, with a strong jaw, prominent cheekbones, and a sharp nose, like Rembrandt’s prodigal son. Like Rembrandt’s prodigal son, Max tended to tuck his head into a hug. Like the prodigal son in the Gospel of Luke, Max was wealthy – in talents and gifts: knowledge, humor, wit, eloquence. And like Luke’s prodigal son, Max had to abandon all his riches and return, though he would object to the phrasing, to his Father. Max isn’t here to object, so I can phrase it as I please. The hands that embrace the prodigal son need not be that Father’s in particular. They could be anyone’s. They could be mine. These things I thought when I looked at this painting, which is enormous, and also mighty, in person at the Hermitage.


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detail, Rembrandt, The Return of the Prodigal Son

Let us turn to another Rembrandt at the Hermitage, Sacrifice of Isaac. Rembrandt evokes the drama of the scene with a painfully vertical composition – Isaac below Abraham below angel. Each figure is connected to the others by the hands – Abraham’s left hand covers Isaac’s face, and the angel’s hand pulls Abraham’s right hand, his killing hand, away. The angel’s other hand rises up toward heaven, whence his order came. As for Isaac, with his oddly womanish chest, his hands are bound beneath him and invisible. The hands rise from powerlessness toward power in this arcing vertical composition. At the mid-level, from Abraham’s killing hand, the knife is falling. The painting catches it mid-air. An instant of time passes in Sacrifice of Isaac, short enough for that knife to appear suspended in empty space.

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Rembrandt, Sacrifice of Isaac, 1635

Consider first the psychology of this painting, especially of that hand covering Isaac’s face. It has several meanings. First, it is a utilitarian gesture: pushing back the head, as if Isaac were a farm animal, exposes his neck and chest to the blade. Second, it is a gesture of mercy: though Abraham operates under the necessity of God’s cruel order, he retains the freedom to spare his son the sight of the descending knife, to impotently attempt to spare him some measure of terror, of hopelessness. And finally, it is a gesture of self-preservation: Abraham cannot bear to look Isaac in the face as he murders him. In hiding his face, he already makes his son into a thing. It is just about possible to apply the blade to a thing, but not to his son, surely not his son. We did the same in gross anatomy: a linen shroud over the face of the cadaver, and these were the bodies of strangers already dead, on whom we worked with our scalpels, but the linen helped, even so.

Above psychology, however, is philosophy. This is a painting of a turning point in the history of civilization and religion: the emergence of a god who rejects human sacrifice. Before the god of Abraham is the savage age of Moloch and Taranis and Huitzilopochtli – not “before” chronologically, but morally before, eons before. Before the god of Abraham, human beings are treated as objects, as instruments of utility. Everything miraculous about them may be demanded as a burnt offering to the god. The god creates, and devours his creation. I believe the Elohim who sends Abraham up that awful Mount Moriah is the same kind of monster as those forgotten older gods. But the Yahweh who sends the angel to stop him is a god horrified at his own command, a god who can learn and has learned. After Moriah, there is a better way. Men begin to worship an asymmetric god, a god who creates but is constrained from destroying. After Isaac, the life of man is an end in itself. It is no longer available as the meal of the divine.

We take this for granted, and have taken it for granted for thousands of years. But all good ideas have a beginning. We do well not to forget. Rembrandt has not forgotten. His mastery of light and dark, of composition and anatomy, allows him to express his deep understanding of psychology. His psychology, in turn, serves to illustrate his insight into the philosophy of god and man. A sufficiently good artwork is not an artwork. It is a truth, and not just any truth, but a truth of the most utter and necessary kind.

Behold da Vinci’s Benois Madonna, the Madonna and child with flowers, that dear, dear painting:

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Leonard Da Vinci, Benois Madonna, 1478

Like so much of da Vinci’s work, the superficial beauty of the thing is virtually an obstacle to comprehending its greatness (attribution of the painting is disputed; I don’t care; it’s great even without the Name). Its parts are harmoniously orchestrated into a pleasing whole, its lights and darks swirl around one another, the faces have the exactly-so grace of da Vinci’s sense of features. Zoom for a moment into the flowers the infant Jesus is playing with:

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detail, Leonard Da Vinci, Benois Madonna

They are cruciform flowers. The scene appears lilting and innocent, but da Vinci prefigures the end at the beginning. This is not particularly what makes the painting so special. It is a common trope in Madonna and child paintings. No, what makes the painting special starts, as with Rembrandt, in psychology, and uses psychology as a springboard to moral philosophy. Zoom back a little bit and consider the scene.

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detail, Leonard Da Vinci, Benois Madonna, 1478

A very young Madonna is laughing as she holds up the sprig of Cruciferae flowers to Jesus. Her gesture is like her expression: she holds the flowers delicately, with humor. Jesus, on the other hand, is all business. He is before the age at which infants first laugh. He is very serious as he seizes hold of her hand with his left hand, and touches the flowers with his right. He inspects the flowers carefully. This is what play is like at its earliest infant stage – intensely curious, unselfconscious, unsmiling. Jesus’s solemn concentration is what has made Mary laugh. She laughs because he’s funny, and she loves him, and she’s happy.

There is absolutely nothing special about this scene. All decent mothers of healthy children have experienced it. Da Vinci minutely observes and records here a thing that happens every single day under every flag in the world. There are many Madonna and child paintings, but very few in which the humanity of Jesus is so adeptly translated into a gesture so common as to be universal, and yet simultaneously miraculous, one of the constant real miracles of life on Earth.

This has a meaning. The great lesson of Abraham and Isaac is that no human life should serve any longer as a mere tool of the god. This lesson was learned long ago, but it still demands Rembrandt to teach it to us again, to help us understand its profundity. The great lesson of Mary and Jesus is that each individual human being is precious. No life is the same as another life. We are not fungible. The loss of any one life is a specific and unique tragedy beyond comprehension. Because Jesus condescends to be human, his death is able to stand for all deaths, and not only for all deaths, but for each death. Each death becomes monumental, as his death is monumental. In approaching him, we are forced into individual dignity. This is one of the paths by which he redeems us.

Da Vinci teaches this lesson, which also needs to go on being taught, by depicting Mary as just some girl, and Jesus as just a little baby, anybody’s baby, hers, mine, yours.

Now look, I’m Jewish, and very proudly so. But I am not parochial in my admirations. What we are talking about here are two of the milestones in the moral history of the human race. The majesty of what we conceive of as human has a long history. It took a lot of building. Isaac and Jesus and their grieving parents helped to get us so far as we have come. And alongside the development of moral philosophy, it was necessary for these discoveries, these innovations, to be taught. Rembrandt and da Vinci are two of the great teachers of humankind, and these paintings we have been talking about are pivotal scenes in the moral education of the human race.

They are housed some dozens of yards from one another in the State Hermitage Museum in Saint Petersburg, Russia. They are among the several reasons it is a wonder of the world.

Next time we talk about scientists and magicians, and finally make our way to Jan Fabre.

To be continued.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Bryce Dallas Howard’s High-Heel Workout From Behind the Scenes at Jurassic World

Much ado has been made about Bryce Dallas Howard‘s high heels from Jurassic World—specifically, the fact that she wears a pair the entire time, running from dinosaurs and all. Costar Chris Pratt parodied her running, and Howard savvily answered questions about it at the film’s premiere, telling reporters “it’s way better than running barefoot in a jungle, I’ll tell you that.”

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Howard was the one who green-lit the Sam Edelman heels after hurting her ankle while shooting a take in platform wedge sneakers that the crew had spray-painted to look like nude heels (which must have been an intriguing look too). After the heel decision had been made, Howard told People she “fixated on having the strongest ankles imaginable” and made a wooden platform contraption specifically for working out her feet.

“I’d put my foot on it and do calf raises and then stay on my tippy-toe and do squats. Then I’d turn perpendicular and exercise each side of my foot. Just to practice the stabilizing muscles.”

Exercise kinda like you’re prepping to run from dinos with this squat and calf-raise combo:





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King’s Quest Behind the Scenes: A Hand Painted Game

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Queen Latifah Opens Up About Those Lesbian Love Scenes In ‘Bessie’

On-screen love scenes, gay or straight, should not be a matter of controversy, according to Queen Latifah.

Latifah spoke with BET about a same-sex kiss in the upcoming HBO biopic, “Bessie,” in which she stars as legendary blues singer, Bessie Smith, who was bisexual.

“You know, people feel a type of way when they see any sexuality on-screen, to me, and I think it’s almost human nature,” she said. “People are so fascinated by it. There shouldn’t even be a discussion, but it is because people are still curious and people still wonder how they feel about things. At the end of the day, I don’t really care if someone feels uncomfortable about it. It is what it is, and it’s life. So you either deal with it or not, you know? That’s your choice. It’s just part of who she is. I had to tell the story honestly.”

Latifah, who bares it all in “Bessie,” added that she hopes viewers don’t focus only on Smith’s romantic interests.

“I hope that it doesn’t become the sole issue because it’s really not just, you know, one thing about Bessie. There’s so many parts of who she was. [Her sexuality] was just part of it,” Latifah said.

In the April/May 2015 issue of Uptown magazine, the actress, who has faced rumors over her own sexuality, said she thinks that “people’s ideas in general are antiquated when it comes to who you love” and that society has not progressed quickly enough.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Billy Crystal: Gay Scenes On TV Sometimes ‘Too Much For Me’

Billy Crystal was one of the first actors to play a gay character on television, but that doesn’t mean he isn’t wary of some of the gay content that ends up on the small screen.

The beloved comedian opened up about his feelings regarding the nature of gay scenes on television while speaking at a panel for the Television Critics Association on Sunday in Pasadena, California, the Independent reports.

“Sometimes I think, ‘Ah that’s too much for me,'” Crystal said. “Sometimes, it’s just pushing it a little too far for my taste and I’m not going to reveal to you which ones they are.”

As Deadline reports, Crystal also spoke about his groundbreaking gay character, Jodie Dallas, which he played on ABC’s “Soap” from 1977 to 1981.

Crystal spoke about the role on Sunday, ET Canada reports:

There were times where I would say to [the actor who played his boyfriend], ‘Bob, “I love you,’ and the audience would laugh nervously, because, you know, it’s a long time ago, that I’d feel this anger. I wanted to stop the tape and go, ‘What is your problem?’ Because it made you sort of very self-conscious about what we were trying to do then. And now it’s just, I see it and I just hope people don’t abuse it and shove it in our face — well, that sounds terrible — to the point of it just feels like an everyday kind of thing.

Crystal is currently promoting his upcoming new FX series “The Comedians,” which is his first television series since “Soap.”

In recent years, more and more queer content is making its way onto the airwaves. Lesbian, gay, bisexual and transgender characters and storylines can be seen in popular shows like “Looking,” “Modern Family,” “Empire,” “Transparent,” “Orange is the New Black,” “American Horror Story” and “Glee.”

Earlier this month, comedian Kevin Hart also sounded off on gay roles in Hollywood. “I can’t [play a gay character] because I don’t think I’m really going to dive into that role 100 percent, because of the insecurities about myself trying to play that part,” he told hosts of the Breakfast Club on New York’s Power 105.1. “What I think people are going to think while I’m trying to do this is going to stop me from playing that part the way I’m supposed to.”
Comedy – The Huffington Post
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Allison Williams on How Her Dad Gets Through Her Girls Love Scenes and More Major Moments for Women and TV This Week

It was Thanksgiving all week on TV, and two shows (Marry Me and Modern Family) had gags about women preparing backup turkeys because they were just too scared a dinner would be ruined. Cute, but…




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Behind the Scenes at Parenthood’s 100th Episode Celebration

I don't want to make you cry more than you already do each Thursday, but we're down to the last six episodes of Parenthood. (I'll pause to let you grab the tissues.) That isn't lost…




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Behind the Scenes at Parenthood’s 100th Episode Celebration

I don't want to make you cry more than you already do each Thursday, but we're down to the last six episodes of Parenthood. (I'll pause to let you grab the tissues.) That isn't lost…




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Behind the Scenes at Parenthood’s 100th Episode Celebration

I don't want to make you cry more than you already do each Thursday, but we're down to the last six episodes of Parenthood. (I'll pause to let you grab the tissues.) That isn't lost…




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Call Now: 877-516-9953

Macy’s Back to School: Behind the Scenes with Cast and Crew

The Macy’s Back to School Lip Dub Contest is giving schools and colleges the opportunity to win up to $ 25,000! We invite you to go behind the scenes and sneak peek at the magic and collaboration that went into making our very own Lip Dub! For complete details, rules and regulations, please visit: YouTube.com/Macys
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Macy’s Back to School: Behind the Scenes with Cast and Crew

The Macy’s Back to School Lip Dub Contest is giving schools and colleges the opportunity to win up to $ 25,000! We invite you to go behind the scenes and sneak peek at the magic and collaboration that went into making our very own Lip Dub! For complete details, rules and regulations, please visit: YouTube.com/Macys
Uploads by Macy’s

Shop what’s on Sale now at macys.com

Vintage Tampa Storefronts and Scenes

Vintage Tampa Storefronts and Scenes


In Petula Clark''s 1964 smash hit Downtown, the singer describes a place where all troubles are forgotten and all cares are left behind with the glamour of bright lights, movie shows, and flashy neon signs that light up the city streets. During the 1940s and 1950s, downtown Tampa was a shining model of the American landscape. On every street corner, customers packed their shopping bags with the best to offer from dress shops, hat shops, shoe stores, and of course those beloved department stores of a bygone era, including Kress, Woolworth''s, and Grant''s. Locally owned stores and shops fueled by the entrepreneurial spirit of Tampa families also dotted the streets of downtown and flourished during Tampa''s postwar population expansion, offering an endless bounty of possibilities for success. These historic storefront photographs, compiled from private collections and local library archives, present a walking tour of downtown Tampa and other popular neighborhoods during a simpler time that is so well-loved and remembered.
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Making Scenes

Making Scenes


In 1996, Emma Baulch went to live in Bali to do research on youth culture. Her chats with young people led her to an enormously popular regular outdoor show dominated by local reggae, punk, and death metal bands. In this rich ethnography, she takes readers inside each scene: hanging out in the death metal scene among unemployed university graduates clad in black T-shirts and ragged jeans; in the punk scene among young men sporting mohawks, leather jackets, and hefty jackboots; and among the remnants of the local reggae scene in Kuta Beach, the island’s most renowned tourist area. Baulch tracks how each music scene arrived and grew in Bali, looking at such influences as the global extreme metal underground, MTV Asia, and the internationalization of Indonesia’s music industry.Making Scenes is an exploration of the subtle politics of identity that took place within and among these scenes throughout the course of the 1990s. Participants in the different scenes often explained their interest in death metal, punk, or reggae in relation to broader ideas about what it meant to be Balinese, which reflected views about Bali’s tourism industry and the cultural dominance of Jakarta, Indonesia’s capital and largest city. Through dance, dress, claims to public spaces, and onstage performances, participants and enthusiasts reworked “Balinese-ness” by synthesizing global media, ideas of national belonging, and local identity politics. Making Scenes chronicles the creation of subcultures at a historical moment when media globalization and the gradual demise of the authoritarian Suharto regime coincided with revitalized, essentialist formulations of the Balinese self.

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8 TV Scenes You Didn’t Know Were Improvised

Over on Reddit, humble users “TRULY_MAGNFICENT” and “MakeMeASteak” have been rounding up famous movie scenes that were “unscripted.” There’s Full Metal Jacket, The Shinning, and Good Will Hunting, among others, as well as hundreds of suggestions for other films from equally modest commenters. It’s a pretty decent read, so I thought I might be interesting to round up TV scenes that were either entirely or partially improvised.
Comedy – The Huffington Post
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