‘Glee’ Recap: 4×06 ‘Glease’

1:15 pm EDT, November 16, 2012

This week on Glee… don’t say it, don’t say it… “Glease”… is the word. Damn, couldn’t help it. McKinley High stages Grease, and our New York posse comes to see the show, on a trip that ends badly for pretty much everyone involved. Other McKinley grads have a nicer return to Lima, and in case you haven’t noticed, Kitty is a psychopath. Read our full Glee recap below.

This week we open in the choir room where Will is making some bad life choices. Wow, must be Thursday. In this case, he drops the bomb about leaving for Washington and about Finn taking his McKinley position. Apparently it’s the first the club has heard of any of it – he didn’t cat-on-the-roof them at all. The older club members freak out – Tina, particularly, starts angrily shouting, and Artie objects saying “but Mr Schue, glee club is your life” in a not particularly complimentary way, which is the truth, while the newer members exchange looks of ‘what the hell is wrong with these people,’ “I mean, it’s not like we know him that well or anything,” Unique mutters to Marley and Jake. Tina continues to dress down Finn as the ex-captain tries to keep calm and convince the club that he will be competent, when they’re interrupted by Sue demanding Will and Finn’s presence in the principal’s office.

Sue, due to the fact she’s bugged the choir room’s portrait of Lillian Adler, has discovered Finn’s appointment as the new glee coach and she’s just a fraction more upset about it than Tina. “This is just another one of your ill-conceived, bizarrely sentimental schemes that displays absolutely no forethought and appears immediately ridiculous to everyone in America… except you,’ she says, but she actually makes some good points about why the plan is unreasonable. Figgins, however, points out again that glee is an extracurricular, so that teaching rules don’t apply, though his support of the situation may stem from the fact that Finn – the most level-headed one in the conversation – is apparently taking on this role without payment. When Sue’s objections are shot down on all fronts, she loses her cool, stating that if Finn is appointed, her shaky peace with the glee club will be over, and she storms out, overturning desks and bludgeoning students in the hallway, in a good old-fashioned Sue rage black-out. I guess Glee ran out of ideas of things for Sue to do, because it seems we have our season 1 antagonist back. Cool. Or something.

There are cameras in my eyes!
 

In the lovely NYADA dance studios, Cassandra July has called in some of her upperclassmen to partner the freshmen and help them improve. Brody makes a beeline for Rachel and as they jete across the floor they catch up on all the gossip, stuff like Rachel’s breakup, and Rachel’s first off-Broadway audition, and Brody’s forearms. Cassandra listens in on every word, tells Rachel that she’s not ready to work with the tough and crazy director, whom she herself has auditioned for before. Rachel non-abrasively says that she can manage it, but manages to insult Cassandra when suggesting that she should audition as well, for one of the older roles. Cassandra then pulls Brody aside and asks him to pledge his life and every waking minute to her as her new toy boy, I mean TA. Brody jumps at the chance, though requests some time off over the weekend to help Rachel prepare for her audition.

Backstage on the Grease set, Tina – who’s apparently still wardrobe bitch as well as playing a bit part, despite being promised the spotlight in her senior year – is fitting Marley for her costume, which just isn’t fitting. “Maybe it’s stress bloating,” Tina ungraciously offers, but we soon find out the real reason – when Kitty wanders over to berate Marley about her weight gain and genetics – “I usually don’t believe in the lame-stream media’s definition of ‘science,’ but it just makes sense that your metabolism is grinding to a halt. You’re getting the body you were destined to have,” – we see a flashback to Kitty sneaking in at night and altering Marley’s costume. Kitty does try to play a friend to the other girls, though, and talks about accepting who you are, the way she has accepted the fact that she’s a loner because everyone assumes that due to her popularity, she’s too busy. She claims she joined Grease to attempt to make some real friends, and invites Marley and the other girls – including, with reluctance, Unique – to a Grease-style sleepover at her house.

Look, on one hand, I like Marley’s mom, I do, but when Marley goes to her after this in order to debrief and ask when she could expect her own genetics to kick in, I’m not sure the advice of not being a quitter, taking control of her body and going on a diet is the best example of support. I get that Mrs Rose doesn’t want Marley to face the same unhappiness she did, but my first response would have been to say “You’re beautiful,” not “You’re thin and beautiful,” to say “you don’t look any different to yesterday, let’s weigh and measure you because something weird might be going on,” and to say “you just be you, don’t worry what people think.” Mrs Rose seems to have a very set idea of what will make Marley happy, and what’s important for her to achieve, and at this point I’m just not sure that the same things are important to Marley and she only feels like they are because other people make such a big deal of them.

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The upcoming 25th anniversary edition of Disney’s Beauty and the Beast includes a couple of first looks at next year’s live-action adaptation.

It’s hard to believe, but it’s been a quarter of a century since the animated Beauty and the Beast hit movie theaters. To celebrate the occasion Disney is putting out an anniversary edition, and its special features section includes a treat: Our first look at Cogsworth and Lumière in the live-action installment, as well as a glimpse of a scene within Gaston’s tavern.

As confirmed by producer Jack Morrissey on Facebook, this photo of Cogsworth (played by Ian McKellen) and Lumière (Ewan McGregor) is concept art, but it gives us a sense of the style that director Bill Condon is shooting for:

Read full article

The upcoming 25th anniversary edition of Disney’s Beauty and the Beast includes a couple of first looks at next year’s live-action adaptation.

It’s hard to believe, but it’s been a quarter of a century since the animated Beauty and the Beast hit movie theaters. To celebrate the occasion Disney is putting out an anniversary edition, and its special features section includes a treat: Our first look at Cogsworth and Lumière in the live-action installment, as well as a glimpse of a scene within Gaston’s tavern.

As confirmed by producer Jack Morrissey on Facebook, this photo of Cogsworth (played by Ian McKellen) and Lumière (Ewan McGregor) is concept art, but it gives us a sense of the style that director Bill Condon is shooting for:

cogsworth-lumiere-live-action-beauty-and-the-beast

While it’s nice to finally see a glimpse of a couple of the characters, a big question remains unanswered: How will these objects look once they have faces on them? (Cogsworth’s face might be hinted at in the center of the clock.)

Also on the Beauty and the Beast 25th Anniversary Edition is a shot from the the “Gaston” musical number. From left to right we see Alexis Loizon as Stanley, Josh Gad as LeFou (just over Gaston’s shoulder), and Luke Evans (with his back to the camera) as Gaston.

live-action-beauty-and-the-beast-gaston

Update: And here’s another look at the movie, courtesy of this person on Twitter — this time we get to see Dan Stevens as human Beast!

human-beast-dan-stevens

We’ll be curious to get our hands on the anniversary edition in September, because we expect we’ll see more from the new movie than the two stills above.

Disney released the first trailer for the live-action Beauty and the Beast in May. It was very much a teaser trailer, as it didn’t provide any looks at the characters — except Belle (Emma Watson), appearing through the glass casing protecting the film’s iconic rose.

In fact, the trailer’s first looks at the various settings (Namely the Beast’s castle) fell in line with the visual style we see in the above concept art.

Beauty and the Beast starring Emma Watson and Dan Stevens hit theaters March 17, 2017.

Apple — always one to push the boundaries by simplifying their products as much as possible — is reportedly looking to remove the all-important Home button in next year’s new iPhone.

Apple loves making their products as simple as possible. The iPod was a success because of how clean it looked compared to other MP3 players. With Apple TV, Steve Jobs bragged about how few buttons the device’s remote had.

But since 2007, every new iPhone has had the same number of physical buttons, switches, and ports: A ringer switch, a lock button, volume up/down buttons, a USB port, and a headphone jack.

Read full article

Apple — always one to push the boundaries by simplifying their products as much as possible — is reportedly looking to remove the all-important Home button in next year’s new iPhone.

Apple loves making their products as simple as possible. The iPod was a success because of how clean it looked compared to other MP3 players. With Apple TV, Steve Jobs bragged about how few buttons the device’s remote had.

But since 2007, every new iPhone has had the same number of physical buttons, switches, and ports: A ringer switch, a lock button, volume up/down buttons, a USB port, and a headphone jack.

That changes next month, when Apple is expected to announce that the iPhone 7 will be lacking a headphone jack. Instead, users will be listening to music via the Lightning port (which you currently use to charge and sync your iPhone).

And for 2017, Apple will reportedly go one step further by removing the Home button.

Ah, the Home button. It’s always been there for us — it’s our captain for navigating the iPhone. We use it to switch between apps, we use it to get to our Home screen, we use it to summon Siri, and we use it to read our finger print. Back in the “old days,” we used it to force quit apps when they froze on us.

In a new report, Bloomberg says Apple is planning to remove the Home button for the 2017 iPhone, which will presumably be called iPhone 7s. It’s billed as a “major redesign of the iPhone for 2017 that focuses more heavily on the display.”

Previous rumor mill reports have suggested that Apple will ditch the Home button in order to decrease the size of the top top and bottom bezels, thereby making the phone not as tall, or using the freed up space to add more screen.

Here’s a mock up of what that could look like, via TapSmart:

borderlessmockup1

What remains unclear is how users will be able to unlock and navigate their iPhone without the Home button. Reports have suggested that the whole screen will serve as a TouchID surface and a Home button (using the 3D Touch feature Apple launched last year).

Interestingly, next month’s release of iOS 10 will introduce a new way to unlock your iPhone: You’ll have to press down on the Home button to activate an unlocking. Previously, all you had to do was rest your finger on the Home button while your lock screen was awake.

Disney is making another live-action movie, and this time it’s James and the Giant Peach, to be developed by Director Sam Mendes.

To refresh your memory, James and the Giant Peach is the terrifying delightful children’s movie directed by Henry Selick and based off of the Roald Dahl story. It features nightmare-inducing adorable stop-motion animated bugs that helped James float away from his mean aunts in a — you guessed it — giant peach.

The original film was an interesting mix of live-action characters in the beginning and at the end, with stop-motion animated sequences throughout the middle.

Read full article

Disney is making another live-action movie, and this time it’s James and the Giant Peach, to be developed by Director Sam Mendes.

To refresh your memory, James and the Giant Peach is the terrifying delightful children’s movie directed by Henry Selick and based off of the Roald Dahl story. It features nightmare-inducing adorable stop-motion animated bugs that helped James float away from his mean aunts in a — you guessed it — giant peach.

The original film was an interesting mix of live-action characters in the beginning and at the end, with stop-motion animated sequences throughout the middle.

Now, according to Deadline, Disney is developing an all-live-action remake of the film. Nick Hornby will write the script, while Joe Roth is in negotiations to sign on as a producer.

If Mendes’ name sounds familiar, it’s because he directed the last two James Bond features, both Skyfall and Spectre, as well as 1999’s American Beauty.

You can check out the trailer for the horrifying original film below:

As of late, Disney has been announcing live-action versions of its properties left and right, including The Nutcracker (which has a huge cast of well-known actors), The Little Mermaid (with Lin-Manuel Miranda attached to help write the music), Beauty and the Beast (starring Emma Watson), and Cruella (starring Emma Stone), among others.

With the amount of remakes — especially in the live-action department — it’s no wonder James and the giant Peach is the latest to be announced.

Do you want to see a live-action ‘James and the Giant Peach’ movie?