by Ryan Stewart
“Their relationship is tender, and also drenched in blood.” – ”
– Matt Reeves
Tomas Alfredson’s brilliant Let the Right One In, which made SuicideGirls’ distinguished Top Ten Films of 2008 list, is no less brilliant for having been remade as Let Me In, the Americanized version in theaters this week. In fact, the exquisite direction of the remake by Matt Reeves (Cloverfield) has earned it surprisingly good reviews from critics still enamored with the original, and sparked a debate in some quarters about which version is the definitive one. Whichever you prefer, the very fact of this dark story now having been positively received twice in two years is proof of its poignancy and emotional heft. With the action moved from an apartment block in Sweden to the creepy suburb of Los Alamos, New Mexico, Let Me In retells the story of Oskar (now called Owen), a shy, possibly disturbed young boy who is seeking a respite from severe school bullying when a savior appears: a quiet, severe-looking girl named Eli (now called Abby), who teaches him to stand up for himself in exchange for nothing more than his companionship, at first.
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by Nicole Powers
“People are losing their skill to express themselves.”
– Chuck Palahniuk
“Chuck Palahniuk needs little by way of introduction on SuicideGirls, our very name being an hommage to the author of Fight Club, Choke and Snuff. We caught up with him by phone to talk about his latest novel, Tell-All. It’s a fictional gossip-laced memoir told in the voice of Hazie Coogan, the female assistant to “the glorious film actress” Miss Katherine Kenton who resides in Hollywood’s very real past – a glamorous world populated by the likes of Lillian Hellman, Darryl Zanuck, David O. Selznick, Clark Gable and Bette Davis, who are all names Tell-All’s characters love to drop. During our conversation with Palahniuk, we spoke about society’s need for the culture of celebrity, the nature of name-dropping, and the ultimate name to drop.
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by Nicole Powers
“Restraint means more to me now.”
– Jake Shears
When Scissor Sisters first burst forth with their debut self-titled filthy gorgeous album in 2004 their brand of hedonistic dance was too hot for mainstream America to handle (the CD was even pulled from Wal-Mart’s shelves). It was a different story across the Atlantic in the U.K. however, where the band were welcomed with open arms – and notable record sales. There the release spawned a total of five Top 20 singles, and became the country’s top-selling album that year (and the 9th biggest seller of the decade). The band’s follow up full-length, Ta-Dah, released in 2006, also fared much better outside of the U.S. It went straight to the top of the U.K. album charts, and the first single, “I Don’t Feel Like Dancin'”(a collaboration with Elton John), also hit the number one spot – and stayed there for four consecutive weeks.
The wide chasm in reception and record sales between the two continents – the Scissor Sisters’ first two albums each sold in excess of 3 million units across Europe – can easily be explained when looked at in the context of cultural attitudes. The more liberal Europeans have been dancing continuously since the ’70s and dance-based music is ingrained in the fabric of European life. In America however, seizing on the opportunity afforded by AIDS, the disproportionately influential Christian right whipped up a frenzy of anti-dance “disco sucks” hysteria, stopping the party in its tracks and creating a deep-seated prejudice against the genre as a whole that remains prevalent to this day in significant pockets of society.
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by Fred Topel
“Eventually I’ll have to do something so I earn some money.”
– David Cross
David Cross is so deadpan, you might not even be able to tell he’s joking. Certainly when you type his text out and read it, it feels totally straight. That’s why it’s funny. He says things that are inappropriate or ridiculous in casual conversation, then moves on. It’s not that he’s “on” like a lot of comedians who aren’t comfortable unless someone’s laughing. Cross might prefer if you didn’t get it and reported a sarcastic remark as fact. Not so fast, David Cross – we’re onto you.
His new show, The Incredibly Poor Decisions of Todd Margaret, gives Cross another vehicle for that type of humor. The IFC series stars Cross in the title role. He created and wrote the show about an energy drink salesman sent to England to head up the company’s U.K. sales force. Todd keeps lying about his accomplishments, his abilities and even his home address. It makes his bad decisions worse when he tries to cover for his fibs.
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by Nicole Powers
“I have a knack for penises,” isn’t the kind of confession you’d expect from a memoir penned by Samantha Bee, The Daily Show’s Most Senior Correspondent. But then I Know I Am, But What Are You? isn’t the kind of book you’d expect her to write. Leaving politics and talk of Jon Stewart & Co. mostly to one side, the collection of humorous essays sheds light on Samantha’s unconventional upbringing, which in turn sheds light on why her recipe for success includes a hearty helping of sexually explicit material – ergo her theory that “we need to bring more of a porn sensibility to our financial regulatory mechanisms” (see April 27, 2010 Sex-curities XXXchange Cumission report).
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by Ryan Stewart
“If you want to live a rock star lifestyle, that’s your prerogative.”
– Jonah Hill
Famously discovered by Dustin Hoffman, whose children were fans of his one-man plays in Manhattan’s East Village, Jonah Hill was already going places in the comedy business when he had the good fortune to acquire a second mentor in comedy mogul Judd Apatow — the rest is history.
After killing with smallish parts in Apatow-directed comedies The 40 Year-Old Virgin and Knocked Up, the acerbic young comedian (then 24) landed a lead role specifically tailored to his strengths in Superbad, a teen bromance more foul-mouthed and uninhibited than any of the ’80s comedies that inspired it.
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by Nicole Powers
“She’s a bit of a skank.”
– Rufus Dayglo
It’s been a couple of years since Tank Girl made her dramatic comeback. Since then she’s been kicking a lot of physical and metaphorical butt. After a hiatus of over a decade, the punk rock comic character is making up for lost time, with a slew of new adventures in book and comic form.
Created by anarchist wordsmith Alan Martin and artist Jamie Hewlett, Tankie (as she is affectionately known to those in the know) first made her debut in the pages of UK comic magazine Deadline in 1988. Her “fuck you” attitude instantly resonated with Britain’s disenfranchised, Thatcher-abused youth, and it wasn’t long before Hollywood came calling. However MGM’s 1995 film, which captured the look but not the spirit of the comic strip, pretty much stopped Tank Girl in her tracks.
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