HBO lost some clout around the water cooler when True Detective ended last night, but then came this is: a, shattering teaser for The Normal Heart that packs more emotional punch than some movies do in their entire running time. The Ryan Murphy-directed movie is based on Larry Kramer’s autobiographical 1985 play about the onset of the AIDS crisis in New York City. Mark Ruffalo stars at Ned Weeks, an activist who goes on to found an HIV advocacy group. Ruffalo, who is all raw emotion here, is joined by Julia Roberts, Matt Bomer, Taylor Kitsch, and Jim Parsons, all of whom appear to be on a mission to straight-up devastate you. The Normal Heart premieres this spring, and you can watch the teaser below.
Lena Dunham was the guest host on Saturday Night Live last night, and, fulfilling the sketch idea that we can’t help but think about every time Adam is onscreen on Girls, one of the funniest bits dropped Dunham and Adam played by [SNL guy] into the Garden of Eden. ”You’re like a part of me,” Adam says. “Literally. God made you from my rib, kid.”
Despite being able to see most of the gags coming, it’s still pretty great. Eve is totally going to eat the apple. “Seriously I know I committed original sin, but at least it’s original. I think I deserve some credit for that. Or at least a publishing deal.”
Here’s something you may not know: The people who perform in pornographic videos are human beings. Weird right? Sometimes they go to college. Sometimes they don’t. Sometimes they write op-eds for websites, like this one in particular, Belle Knox, did for xoJane, sending the internet into a lotion-gripped flurry of reactionary think pieces and scolding and reverse-scolding and slut-shaming and slut-shaming-shaming. Knox has been, sometimes eloquently, sometimes naively, arguing that she should not be judged for her decision to perform in porn. Agreed there. Especially as someone who consumes porn, I certainly have no right to judge. But there are plenty of people still out there, like her classmate, young Mr. Thomas Bagley, who find the idea of an actual walking, breathing, woman sex-haver in their midst a scandal worth gossiping about.
Bagley, who Knox says outed her to his fraternity brothers after she asked him not to, has caught a face-full of his own medicine of late from a porn CEO named Mike Kulich, who wrote an open letter speculating and/or doxxing about his taste in porn, which you can read below.
After a lot of push back about the idea of a porn company sharing a user’s private information, Kulich has clarified that he was not speaking from actual information about Bagley’s porn subscriptions, but rather making an educated guess.
First off, I would like to thank you for being such a fan of our business. For someone who subscribes to a site like Facial Abuse I want to commend you for spending the $200 a week your parents send you every week for living expenses wisely. Facial Abuse is a great site! There is nothing like watching a new girl getting a huge cock viciously rammed down her throat. I like your taste!
I want to also commend you on getting accepted into Duke. Great school! I am sure your parents are proud. I bet you pull straight A’s when you’re not whacking it to Facial Abuse and Casting Couch movies. I love our fans and I love you! You are the type of guy that makes our business move.
With that I would like to make you an offer. As I sit here in my office at 6:30 on a Wednesday night I am writing a check for $10,000 to pay to the order of Thomas Bagley. I want to give you the opportunity to live out all your fantasies. In addition to that 10K, there is a plane ticket and hotel room with your name on it out here in sunny Los Angeles. Screw the polar vortex. Get your ass out and come shoot for us! I will give you the opportunity to bang ANY porn star you want. We will make you a celebrity because it is apparent how much you love porn and attention.
10 Grand is a lot of money for a kid like you. Do you know how many porn memberships you could buy with that? That is more than a lifetime membership to Facial Abuse!
I ask that you seriously consider our offer. Any girl you want! Come out to LA and become a star. ALSO, for every inch you are packing over 4, I will throw in an EXTRA $1,000. Get your tiny pecker out here and become the next Ron Jeremy kiddo!
Here’s the bottom line: men and women perform in porn. Men and women consume porn. While one or both may not be for you, shaming people for either is the only thing anyone should be called out for.
Last Monday, Kieran Crilly‘s Facebook wall exploded with ecstatic messages that echoed this one: “A-ma-zing!! Congrats dude!” That’s because the night before, at the 86th Annual Academy Awards, Crilly’s film, The Lady in Number 6, won the Oscar for Best Documentary Short Subject, and Crilly’s friends could not quite believe that one of their own had worked on a movie that just won his industry’s top honor. The film, in which Crilly served as Director of Photography, is an uplifting portrait of Alice Herz-Sommer, a classical pianist and the world’s oldest Holocaust survivor and was considered the favorite going into the awards. Still, when Kate Hudson announced the winner, Crilly was stunned.
Crilly is a cinematographer and producer based out of Montreal, a city where I spent some of the most hedonistic years of my life. I know him mostly in the context of late nights and earlier mornings. But back then he was still a driven filmmaker, and as a member of the Kidnapper Films collective, planted the seeds that led him to the Kodak Theater last Sunday. To see him reach this career pinnacle so early on is both surprising and somehow totally expected. I asked Kieran to take us through his night and what his might mean for the rest of his career. Even though he’s a big deal now, he graciously accepted.
So did you actually get a statue yourself?
Unfortunately no. Only two got handed out for the film. One went to Nick Reed the producer, and the other was for Malcolm Clarke the director. But I definitely tried to take as many pictures as possible with it to completely mislead everyone.
What did you think your chances to win were like going in? Did you read all the forecasts?
I think my attitude towards our chances changed back and forth every day after the nominations were announced. I’m working on a new film with the same director now, so we were forwarding every email and I saw all the forecasts that the producer would send Malcolm, so obviously that was encouraging. But when I got a chance to check out the competition, I couldn’t believe how moving some of those films were. Those stories were pretty amazing: a revolution in Yemen, a hospice run by inmates for inmates, an incredible artist in the desert, and a story of incredible forgiveness. After you see those films and meet those filmmakers, it really makes you wonder how anyone can predict what will happen. But yeah, we were going in with high hopes. Right up until the envelope got opened up, then it was like “Holy shit, we’re going to lose.”
What was walking the red carpet like? A surreal experience?
Are you kidding! It was insanely surreal!! In fact, it was such a rush that I snuck back out and did it a second time!
Describe what it’s like to actually walk the red carpet.
The red carpet is divided between nominees and guests, so if you’re the actual nominee, Nick and Malcolm, you go on one side of a velvet rope and you can interact with the press, and that’s where the big names are. Along with the other Canadians on the team I was on the other side, so we walked next to the celebs, but not along with them. Inside the theatre there was a big cocktail party for about two hours, so in there I met with other people in the industry, but not necessarily what you’d call celebrities. I got to meet and shake hands with one of the biggest cinematographers in the business, Roger Deakins, someone I really admire and look up to. For me, that was a bigger thrill than meeting say Angelina Jolie or Steve Carell. After the awards at the Vanity Fair party there were tons of big names walking around. We took a photo with Bill Murray, my girlfriend met Larry David, and I took a pee next to Bill Hader, but I’m not really someone who goes bonkers around celebrities.
And what’s it like approaching the Kodak Theater? Tight security?
Yeah, they don’t show that part on TV. They block off Hollywood boulevard (is it a boulevard?) for blocks in either direction and you have to drive through about four checkpoints before you even get close to the Oscars area. The LAPD have concrete blockades up, the sidewalks are fenced off, there’s a ton of people on the other side with posters and cameras, screaming every time a car or limo pulls up.
Did you have a flask of booze on you?
Ha, no. But there’s tons of free drinks inside, bars on every level of the theatre, and during the actual show you can get up and leave the theatre during every commercial break. The publicist we had, (little shout out to Dish Entertainment) was pretty awesome. They had us prepared for the whole experience and we brought some snacks in, knew exactly what to expect, and really shepherded us through the night. I can’t imagine going through that week without someone like that to really give you a heads up about every little detail.
What was watching the show like live?
The show itself was really impressive. Basically you’re watching the most professional people in the world put on the biggest entertainment show of the year. I guess the only difference from TV is that you’re taking photos and texting them to friends and seeing them write back “Holy shit that just happened on TV!” Of course, right after our category was announced we all ran downstairs to find Malcolm and Nick and hoist the golden boy. I guess that’s a pretty big difference.
What was going through your head after their name was called?
Um, I think my hand went up to my mouth in shock, and the first thing that happened was actually really awesome. The guy sitting right in front of me was Tom Christopher, the producer of one of the other short docs, Facing Fear, and he instantly spun around and grabbed my hand and shouted “Congratulations!” with a huge smile on his face. It was really that moment that you see on TV where the nominees really are happy for each other and it was really sweet of him. Then I jumped up and hugged the Canadian producer Frederic Bohbot, who was sitting next to me and we shouted and jumped up and down.
What happens when the show is over, is it a nightmare to get out of there?
You wait. Right after the show all the nominees and winners go to a banquet called the Governor’s Ball where they eat, there’s some entertainment and you get the plaque screwed on to the statue. But that part of the night is strictly nominees and winners only, so we hang out outside drinking lattes and waiting till their done to head out to the party. We did try to sneak in to the Governor’s Ball but never even got close, and then ended up outside the theatre! It was a hassle getting back in to get the valet.
And so where did you party after? The Vanity Fair party?
Yeah, we headed to the Vanity Fair party. Basically, the Oscar is like a golden ticket. Whether you’re invited or not, it opens doors. On the way up Sunset Blvd. to the Vanity Fair party, there were barricades and state police, and every time you just stick the Oscar out the window and they’re like “Oh, cool, have a great night!”
What was the party like?
Pretty swanky. They had taken over a parking lot and built a massive series of tents and trailers. It was done up like a big banquet hall, lots of portraits on the walls, big open bar, people walking around giving out food and trinkets, and you couldn’t walk three steps without running into either a celebrity or someone swinging an Oscar.
And is your cell phone blowing up?
Oh dude, texts, emails, instagram, facebook, I’m still working my way out of it.
What do you think this means for the rest of your career?
I think that’s probably the hardest question to answer. Probably easier to answer in a few years, when I can look back at what has it done for my career, right? I mean, I hope that the film is seen by a wide audience, I hope that people enjoy it, and that maybe some of those people want to work with me. I’ve been doing documentary for a long time and I’m really ready to work in some other areas – commercial, creative web content, that kind of stuff really interests me right now. Also I do a lot of producing so I want to continue on that front – hopefully this opens some doors. And directing is something I’ve dipped my toes into before but now I’d like to explore that further. I think I’m going to make a move to Toronto soon so that’s exciting and obviously I’d love to do more in the US. Either that or this is where I peak and it’s all downhill from here, hahaha!
Did you ever expect a nomination might be possible, let alone a win? How did you find out about the nomination?
Well we knew we were shortlisted in the category for the short nomination in December. The Academy released a short list of 8 films and announced that between three and five of those would get nominated. Then on January 16th the nominations were announced. For me that was the biggest anticipation really, because after that no matter what, you’ve got a nomination on your CV, and really that’s a major accomplishment right there. I was in Washington DC shooting on the current film I’m working on, a feature doc about the relationship between the US and China. I was having breakfast with Malcolm, who is directing this one too, and we were watching the TV in the hotel restaurant. They announced all the big categories, but skipped the doc shorts, so we were sitting there waiting for about twenty minutes before our producer Fred Bohbot texted me from Montreal to let us know. It was totally surreal. I think that was the big moment where I had to stop and think about it, holy shit I have to go to LA, I need a tux, I need to figure out how to crash the parties….um, we just got nominated. The win was just too much to really hope for and hasn’t even begun to sink in yet.
The Lady in Number 6 is now available for rent or purchase on Vimeo.
Willem Dafoe is peeking his head out of a hotel-room door at the end of a hallway. “Heeeyyyy,” he says with that effortlessly comic Dafoe-ish menace. Seated on the floor with my laptop, I’m the only one who can see him, but Dafoe isn’t talking to me. He’s summoning his publicist, who’s just out of view in an enclave, letting her know his phoner is done and he’s set for the next interviewer (me). The scene is hilariously creepy. Given the setting, and the way Dafoe’s grin seems to curl on for days, he calls to mind one of the Shining twins crossed with The Grinch. Should I really go into that room? Of course I should. It’s Willem effing Dafoe.
One of the most brilliantly dependable and uniquely alluring actors in film, Dafoe is probably in at least two of your favorite movies, and soon, you might be adding two more to the list. First, Dafoe reunites with Wes Anderson for The Grand Budapest Hotel, a sweeping and moving dramedic epic like no other, and second, he re-teams with Lars von Trier for Nymphomaniac, which you might have heard about. In a suite that’s perfectly safe (not a hatchet to be found), the inimitable actor chats about both films, their directors’ similarities, and what he’d have done if he went to Sochi.
The Grand Budapest Hotel kicked off the 64th Berlin Film Festival last month, and it nabbed the Silver Bear for Best Feature. How was that experience for you? I know you’ve been spending a lot of time in Germany.
Right. I love Berlin. And the film had a good feeling—it was nice to open there. It was good seeing a lot of people from the movie. And yeah, I’ve actually spent a lot of time in Germany in general, between theater and films that I’ve shot. But, last year, I shot three films in Germany, which are coming out now: Nymphomaniac, Man Most Wanted, and Grand Budapest. They were all in Germany and shot around the same time.
Tell me about Man Most Wanted.
I don’t know when they’re going to release it, but I like it very much. It’s directed by Anton Corbijn, based on a John le Carré novel. It’s one of Philip Seymour Hoffman’s last roles.
Were you close with Philip?
You know, it was great working with him. I didn’t know him so well, but of what I know, I liked him very much. Tragedy.
Yeah, for everyone, it seems. I’m going to shift back to Grand Budapest—one of the things that struck me about this thug character that you play, J.G. Jopling, is that he’s reminiscent of the Rat, whom you voiced, in Fantastic Mr. Fox.
Is that something that you and Wes discussed?
No, no! But it makes sense. Just because they have very strong actions, and they’re just kind of bad to the bone, and there’s no real fuss about anything, and no apology. They’re like…just bad!
What about that great, fantastic coat Jopling wears in the film, with the front that opens to store weapons and a flask?
It is fantastic. Prada made that. I mean, of course, it was designed by Milena [Canonero], the costume designer, with—I’m sure—a lot of input from Wes. Pretty great costume.
Did you get to keep it?
No. I don’t think they even offered it. But you know, where am I gonna wear that?
Ugh, anywhere. Everywhere. It’s great. You know, I really, really wish I could say I’ve seen Nymphomaniac, but I’m not seeing it until next week.
I haven’t seen it yet! Now, keep in mind my involvement is…well, I have two scenes. Compared to Manderlay or Antichrist, the two other times that I’ve worked with Lars, it’s quite minimal involvement. But still, it was good. And I haven’t seen it, but what I saw looked really good.
If you had to say one thing about the experience of shooting that, what would it be?
It was just nice to be reunited with Charlotte [Gainsbourg]. But [Lars] showed me a script and said, “I know Charlotte’s gonna play this role, and Stellan Skarsgard’s gonna play this role—what role would you like to play?” And I really didn’t want to do a sex thing.
Because I feel I had done that a little bit. And while there are aspects about that that I enjoy and that are challenging, I don’t want to be the go-to middle age guy who drops his pants every time he’s asked to. I want to mix it up. And I found a role that I really liked—it was a cool part of the story, and the scenes are with Charlotte, so that was nice, too.
For me, Lars is one of the greatest living filmmakers. Very few directors can reach me the way he does, for better and for worse. What I hear of Nymphomaniac is great, and Grand Budapest might be the best film by Wes, so this is an exciting time, for you in particular.
It is! I’m with you. The beautiful thing about Wes is he gets more and more articulate and more and more mature, I think, with each movie.
And this feels like his most worldly film. It’s his world, but it’s of the world.
I think that’s because it has these different kinds of themes and elements that he hasn’t dealt with before. In the end, it’s personal, and the story’s a personal story, but it’s not just about fathers and sons, or identity. It’s about the way we live and how we treat each other, and even in what direction civilization is going, sort of, which is pretty big stuff. He’s more worldly, he’s more adult, he’s more articulate as a filmmaker. I worked with him on Fantastic Mr. Fox for a voice, and also The Life Aquatic [with Steve Zissou], and they were fantastic, great experiences. But he would find things on the set much more, and he was sort of making [the films] on the set more. This was much more evolved and developed and precise, and I’m not saying that process is better, but you’re struck by it. The thing that I can say about Wes is, probably more than anyone I know, he makes the movie he sees. It’s incredible how tenacious he is.
More than Lars?
Yeah, because Lars has ideas, but he’s also interested in finding them in the making. I think Wes has a very strong idea to start. He sees it, and then, of course, it gets a new dimension as he’s making it—it’s not just a canned thing, which some people would assume would be no fun—but it’s so articulate in its design. With someone like Lars, he has that same kind of talent and has very strong structural ideas, but then there’s huge pockets of areas where he wants to find it. I mean, for example, he prohibits rehearsal, and sometimes is very fluid with the camera. Wes, by contrast, is more designed and much more structured. Although, it’s funny, and it was Wes who told me this, which I think is just kind of intellectually interesting: If you look at Lars and Wes, there are definite similarities. The thing of calling characters by letters or numbers, the chapters, a certain kind of formal structure. This was not lost on Wes, and if you like both of them, think about that for awhile. I’m sure you can find common points.
We actually spoke before, about a year and a half ago, I think, and it was when you were starring in The Hunter and 4:44 Last Day on Earth. In those films, you’re really driving the piece as the lead, as opposed to these new projects where you’re part of an ensemble. Is there a different kind of pressure?
Totally. It’s a different kind of pressure and also it’s a different level of collaboration, where you’re just placed in the structure of the piece. But on the other hand, when you’re the principle character, there’s more pressure to deliver the goods but there’s less pressure to be precise, because it’s a slower reveal so you get more time. You can go a little deeper and you can be a little slower. You are what you are, and that becomes the movie. But when you’re an accessory, or you’re something that is a device that works in the moving along of the story or making the thing work, you have a different gun to your head because you have to be precise. You can’t sit in anything; you’ve got to serve a purpose and be conscious of that. So they both have different kinds of pressures and different kinds of pleasures.
The scene in Grand Budapest that seems to be a favorite among viewers is the downhill, ski-slope chase, where Ralph Fiennes and Tony Revolori hop on a sled and head after your character, who’s skiing.
Since we’re in pretty close proximity to the Olympics?
Yup, yup! It wasn’t lost on me! I didn’t watch hardly any Olympics, but there’s one little shot where I jump out of this little house that’s, like, the beginning of a ski jump. And then there’s a shot where the doors open and I kind of jump out and I go down. Well, they set this up in a little abandoned lot, so they built a little, mini-Olympic ski jump and it was extreme! It was steep, and it was, like, plywood, and they covered it with snow. It was the most dangerous thing in the world! Two stuntmen [nearly] killed themselves doing it before me, and then I had to do it. We worked on it for a long time just to get the mechanics of it right, and you know, this is a 10-second shot. Welcome to the world of Wes!
So, if you were to try out one winter Olympic sport, which one would it be?
Well, I was watching some the ski jump stuff…what do they call it? Ski jumps? The one where they go down and they fly through the air and they try to go as far as they can? That’s sort of terrifying and attractive. That’s really beautiful and I’m not sure I could do that. But it calls me. It calls me. And I got a little taste of that playing Jopling.
You ever have that little fantasy around Oscars time, wondering what it might be like if you got to go? What would you wear!? Would Hollywood be exactly like you’d always imagined behind the scenes? Or would it be refreshingly normal, just another workplace office party with more attractive people? Would Jared Leto fall in love with you and whisk you away to a neo-grunge yoga retreat in the Alps or whatever it is he does on his off days? Laura Simpson got to find out first hand, when her longtime friend Jennifer Lawrence brought her along as her date. (Jlaw is gay rumors!) She wrote about it for Myspace, and it’s a pretty funny, and enlightening account. Some highlights:
While every girl I knew squealed and asked what I was wearing I was riddled with anxiety. The day before the Oscars I had a fitting with Dior where I got to try on some beautiful dresses. I was between two dresses: the Carrie Bradshaw all-you-can-eat dress and the Angelina Jolie sexy leg kimono. I really wasn’t sure if I would ever get back to the Oscars so I let my inner Carrie Bradshaw take over and went with the dress with eight pounds of tullle.
And, like Carrie, she quickly fell into the trap of thinking it was all about her, she writes.
The most interesting thing you don’t get to see? The streets outside the event are line with men with machine guns and screaming Jesus freaks. Although that sounds like most streets in America, so maybe not.
Right before you get to the red carpet, you get to Westboro Baptists with huge yellow signs of pictures of Phillip Seymour Hoffman and Paul Walker saying “BURNING IN HELL” and other despicable things. It’s so surreal and hate-filled, I feel like I am heading to my own personal Salem Witch Trial. One thing is for sure: They think we’re all going to hell.
And then the big moment: THE FALL. That was her head JLaw grabbed as she fell.
We finally arrive at the red carpet and as we exit the car, my date eats shit and uses my freshly done Lauren Conrad up do to break her fall. The crowd goes wild. There are flashbulbs and people circling yet no one asks if I need any help because unless you are famous at the Oscars, you are completely invisible. I have never experienced anything like it. The only time anyone talks to you is if you are in the way of his or her photo. Oh and photographers on the carpet yell “YOU IN THE HUGE DRESS, GET OUT OF THE FUCKING SHOT.” It’s incredible. It is no wonder actors are crazy.
Read the rest of the piece here.
While it sounds like a disastrously stupid idea when you first hear about it, the Game of Thrones hip hop mixtape sort of makes sense. Both worlds are violent, always arguing over who is king, treat women horribly, and are obsessed over on the internet constantly by huge dorks. Some marketing genius at HBO saw that synergy potential and ran with it, and so here we are with Catch The Throne, for which acts like Wale, Daddy Yankee, Big Boi, and Common have written original tracks based on the fantastical realm of dragons and tits and dragon tits.
The first of the songs, available on Soundcloud, was “King Slayer” from Wale, and I was just as surprised that you were that it turned out to be pretty good. Cutting up and looping the show’s theme song and throwing a skittering beat under it is inspired, if obvious, but it really sells the drama. Big Boi’s “Mother of Dragons” has all the imposing size of an approaching horde.
Here’s the full tracklist below. Check out the rest here.
1. Big Boi – “Mother of Dragons”
2. Magazeen – “Iron Throne”
3. Bodega Bamz – “Win or Die”
4. Kilo Kish – “Magical Reality”
5. Daddy Yankee – “Born to Rule”
6. Dominik Omega – “Arya’s Prayer”
7. Snow – “Fire”
8. Dee Goodz – “The Parallel”
9. Common – “Interlude/The Ladder”
10. Wale – “King Slayer”
Earlier today, Page Six lit a fire underneath Andrew Garfield’s ass when they reported that the Spiderman star backed out of a tearjerking segment at last Sunday’s Academy Awards because he was unhappy with his lines. The plan was to have Garfield appear on stage with 5 year old Miles Scott, who late last year became known as “Batkid” when the Make-A-Wish foundation turned sections of San Francisco into Gotham City so Scott, who is a leukemia survivor, could live out his superhero fantasy.
Academy producers had planned to have Garfield—the closest thing to a real-life superhero we have, sorry firefighters and police officers and soldiers and everyone else who risks their lives to save others—appear on stage with Scott to officially anoint him as a superhero. According to Page Six, “Garfield refused to go by the script. He came up with his own lines. The producers felt that Garfield’s [rewrites] were not appropriate. Garfield had a tantrum. He stormed off. Miles and his family, who were at the rehearsal, were devastated.”
That is not a good look for any human being, let alone one who’s carrying a billion dollar franchise about a professional do-gooder. So, his Spidey sense telling him that shit was about to hit the fan, or maybe because he’s actually just a good dude, Garfield spent the next day at Disneyland with Scott and his family, according to a statement from the Academy, who also denied that it was Garfield who canned the segment:
“Due to the nature of a live show, hard decisions sometimes must be made which require the Academy to cut segments due to the logistics of production,” a rep for the Academy told Fox411 of why the planned bit was scrapped at the last second. “Andrew Garfield understood that his segment had to be omitted, and he drove to Disneyland on Monday to spend time with 5-year-old Miles Scott (Batkid) and his family.”
So to recap, Miles Scott is a real life hero, Andrew Garfield is an image-conscious actor, and I’m some dude who just wrote this for no apparent reason.
Every word you’re about to hear from Lindsay Lohan, narrating the first clip to her upcoming “docu-series” “Linday”, is true, but it’s also a lie:
“There’s nothing left in having a drink for me. What’s left in that feeling? Nothing. There’s no party I haven’t gone to, there’s no person that I haven’t hung out with. There’s no situation I haven’t been exposed to.”
The series, which premieres next Wednesday on the OWN Network, follows the “troubled” “actress” as she tries to get her shit together. It doesn’t always go smoothly.
“This is exactly what everybody said was going to happen. And I believed differently,” Oprah says, when it’s explained to her that LiLo isn’t showing up for her commitments on time. OH SHIT OPRAH IS IN THIS? Setting DVR now.
Lena Dunham is hosting Saturday Night Live on Saturday night, live. As is tradition, she and an SNL cast member, in this case Kate McKinnon, got together to shoot some promos. Here, Dunham pokes fun at her feminist persona, the fact that she writes, directs, and produces her own show (control freak!) and a bunch of other things that should get you sufficiently excited for this Saturday. Promo successful!