STYLE SCOOP: Jessica Lange Fronts Marc Jacobs Beauty, Fashion Eyes LVMH Prize Finalists

Jessica Lange’s spoken word recording at the Marc Jacobs FW14 show seems to have only been a taste of her work with the designer — she’s been announced as the face of the Marc Jacobs Beauty campaign to appear at the Champs-Elysées Sephora flagship on March 6.

All 30 of the LVMH prize finalists flown to Paris for two days were the subject of scrutiny of some of fashion’s biggest figures — Karl Lagerfeld, Anna Wintour, Raf Simons, Nicolas Ghesquiere and just about everyone else (and Yeezy) included. The 40 jury members will vote for their favorites this week, narrowing finalists down to 10. The final winner is to be announced in May.

Sam Shepard Joins New Discovery Channel Miniseries, Let’s Celebrate With a Look Back at His Life

Sam Shepard: Pulitzer Prize-winning playwright, seasoned actor of stage and screen, and rock n’ roll jesus with a cowboy mouth. There’s no one quite like Sam—no one. And in the last forty years he has graced us with his unique and true American voice, creating brilliant plays and films that break out hearts and ignite the fire that lives inside of every man and every women. Needless to say, I love him dearly and in my mind, any day warrants a little Sam appreciation.

However, today we learned that he will now be replacing Chris Cooper in the Discovery Channel’s first ever scripted project, the miniseries Klondike. Naturally, Sam will be playing Father Judge, a man who "has come to town to atone for his violent past on a mission to save souls." Well, Sam you’ve already saved mine. And thankfully, this year we’ll see no shortage of him—first with Jeff Nichols’ upcoming Mud, then John Well’s August: Osage County, and Klondike. So, let’s take a look at Sam through the years, from his role in Terrence Malick’s Days of Heaven, to his reading from recent years. Enjoy.

 

 

Sam as The Farmer in Days of Heaven

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Sam and Jessica Lange in Frances

Sam, 1971

Sam as Chuck Yeager in The Right Stuff

Paris, Texas‘ "I Knew These People" Scene

Sam and Patti Smith Performing Their Play Cowboy Mouth

Sam Shepard on His Family Plays (Parts 2, 3)

Sam Shepard Talks Days of Heaven

 

Sam being Sam

The Moth and the World Science Festival present Sam Shepard

Sam Reads From Day Out of Days

More Sam and Patti Smith 

 

Sam Reads at Trinity College Dublin

‘American Horror Story’ Third Season Definitely About Witches

American Horror Story: Coven. It’s very clear here that the third season of Ryan Murphy’s batshit crazy, hypersexual anthology series will feature some witchy women. As we’ve reported, Jessica Lange, Taissa Farmiga, and Lily Rabe will all be back for the third season, as well as other regulars Evan Peters and Sarah Paulson. (Zachary Quinto assumes he’s not invited back to the party.) First of all, I’m pretty pumped for this upcoming season, because (#RememberThe90s) how great was The Craft, you guys? But also, it makes my theory that Jessica Lange is the head of a coven of Hollywood witches even more solid. Art imitates life, folks. 

[via Vulture]

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Lily Rabe Returns for ‘American Horror Story’ Third Season

Actress Lily Rabe, who was a part of our annual New Regime last month, has certainly received approval from TV honcho Ryan Murphy. After nabbing a featured role on the first season of American Horror Story and getting her name in the credits for American Horror Story: Asylum (and getting possessed by the devil, no big whoop), Rabe will be returning to the show for the series third season. The details are still pretty slight, but Rabe will be reteaming with season two regulars Jessica Lange, Sarah Paulson, and Evan Peters, as well as season one cast member Taissa Farmiga

[via EW; Photo by Emilie Elizabeth]
 

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Taissa Farmiga to Return to ‘American Horror Story’ for Third Season

We’ve already shared Ryan Murphy’s bat-shit crazy idea (as if there is any other kind) for the third season of American Horror Story: something about Jessica Lange playing a "glamour cat". But it looks like an old friend will also be returning to the show. Taissa Farmiga, who played the troubled daughter of Dylan McDermott and Connie Britton in the first season, will be reuniting with Murphy on his bizarre horror journey. Murphy tells Entertainment Weekly, “I missed her this season. There wasn’t really a role for her. I feel very protective of her and I didn’t want her to go back into the loony bin—it was too dark. So I thought well ‘I want Taissa to be one of the leads next year.’ I called her up and pitched her the character for the season and she loved it and she said, ‘Yes let’s do it.’" Now if we can only confirm a cameo from Connie Britton’s hair…

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Ryan Murphy Hints at Third Season of ‘American Horror Story’

I gave up on American Horror Story: Asylum around the time that Anne Frank showed up, because when Anne Frank shows up to the party, it’s time for me to leave. I think that’s a pretty fair mantra! But, since I loved the first season of the show, and since the next season will have a completely new cast and story line, I figured there’s still a chance that it’s worth watching. And luckily, Jessica Lange will return to her new BFF Ryan Murphy’s crazy-ass fever nightmare. 

Murphy is slated to sit down with the show’s writers to come up with a third season story line next week, but he’s already dropped some hints about what’s up there in that brain of his:

Season three is “really about female power,” Murphy said, adding that the enigmatic figure next year (i.e. Rubber Man and Bloody Face) will also be female. So far, Lange, Sarah Paulson, and Evan Peters have all signed to return. “I got Jessica to do it because I did everything she asked … and I also told her she will have hair, makeup, and the best designer gowns ever made. She’s going to play a real glamour cat sort of lady.” Murphy said he’s currently reaching out to several actors who Lange asked to work with, but wouldn’t say who they are. “She’s sort of become an uncredited producer now,” he said.

A glamour cat? Like Grizabella?! I’m sold! Also, I’m crossing my fingers pretty hard that Lange wants to reunite with her Crimes of the Heart sisters, Diane Keaton and Sissy Spacek. Hell, Ryan Murphy should just hire me to cast this show already. I’ll pretend that I don’t hate The New Normal, I promise! 

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‘American Horror Story’: No More Mommie Dearest Jokes

The gang’s all here (again)! Now that the second season of American Horror Story is pushing toward its grand finale, we’re seeing a lot of nods towards last season. Like now, we know Bloody Face has a son–not a daughter, like I previously assumed, my bad! And guess who it is? That’s right, last year’s wooden protagonist, Derbil McDillet!

Hi, Derbil! The show opens with Derbil talking to a therapist specializing in compulsions, and he reveals that the habit that he can’t quit involves skinning people alive. Guess who the therapist is? GUESS!

DING DONG, PUT THE LOTION IN THE BASKET, BROOKE SMITH!

brooke smith ahs

Very clever, wink-wink. Easter egg for the super fans!

Meanwhile, back in the past, a lot of stuff is happening. Lana is pregnant with Dr. Thredson’s baby, which she finds out through THE DEVIL, who won’t let her abort it. Then she tries to Mommy Dearest it out of her vagina and that seems to do the trick (oh, the ’60s, when even lesbians knew how to perform back-alley abortions), until Sister Mary Eunice performs some devil magic to reimpregnate her and is all "Also, it’s a boy." So we’re also back to last season’s anti-christ pregnancy plot? Once again, AHS is unable to tell the difference between an homage and just clumsily stealing the imagery from a superior piece of work. Even though in this case, it’s trying to just cop its own last season.

We finally got to see Sister Jude strapped down into a bed at Briarcliffe with that metal cage on her head, just like she did to Lana in the first episode! It definitely would have had more punch if they hadn’t reused that imagery already two weeks ago when Lana was returned to the asylum. Despite stabbing psycho Santa from Deadwood in the neck, he’s still alive and willing to forgive Sister Jude for her sins—but that doesn’t stop him from framing her for Frank’s death along with Sister Mary Eunice, Arden, and Monsignor Timothy Howard to a…stenographer?…that comes and takes everyone’s official statement about the Christmas incident.

The priest seems like a weird choice to vote against Jude, since he saw himself Santa try to kill Frank, but Arden still has him under his thumb, and Sister Eunice is wooing him with images of Popedom in Rome. Too bad for him, Santa Claus seems to have a change of heart after praying, and instead of becoming Tim Howard’s "miracle" of reformation, he drowns the Monsignor in a bath of holy water. See, who said that Santa doesn’t keep his naughty list updated? It makes us wonder if his forgiveness of Jude is sincere—will he help her take on the THE Devil and Arden now, too?

Sister Jude—well, she’s not really a sister anymore, so she’s just Jude Martin, crazy lady—is making her own alliances with Lana. At first the traumatized journalist is like "HELL NO," because obviously, Jude is the reason her girlfriend is dead and she’s been raped and tortured and impregnated by a serial killer and possibly also THE DEVIL. But Jude gains her trust by turning off that stupid French song that plays on a continual loop in the common room and breaking the record with her hands. So obviously, that grand gesture erases all the bad blood between them and Jude gains Lana’s trust. Which is how I plan to start refriending everyone I ever fucked over. "Don’t trust me? Well how about I delete this iPod track? Yeah, I thought that would do the trick."

Speaking of stupid reasons to trust people, Nazi Arden comes to Kit and tells him that he has also seen the aliens and he thinks he knows how to entice them to come back: All he needs to do is kill Kit for a short period of time. See, the aliens are using Kit as a test subject for their studies on human mating, and every time he sexes up a lady, they come to take her body—hence Alma and Grace. And if the aliens think they are in danger of losing their prime breeding bull, they will come and intervene and save Kit’s life.

"Trust me," Arden doesn’t say, "I’m a Nazi doctor. We know a couple of things about eugenics."

"Sounds good," says Kit, who really deserves to die for being that goddamn dumb.

But before he makes a deal with Mengele, he and Lana deal with Bloody Face in the closet: Still tied down in the storage room, Dr. Thredson holds the key to exonerating Kit, since only his confession will get the innocent boy out of the electric chair. (Though so far Briarcliff is doing a great job offering him sanctuary.) Lana comes up with a plan: She threatens to abort the psychotic psychiatrist’s baby unless he tells her about his murders. Thredson, who really, really wants a baby Bloody, sobbingly complies, and when Kit pops out from behind some mattresses with the world’s oldest and heaviest recording device, Thredson cannot believe he was hoodwinked in the same way as he got Kit to give a false confession.

As icing on the cake, Lana tells him she aborted the kid with a wire hanger (which she doesn’t know THE DEVIL has revived yet), and Thredson screams "You are a bigger monster than me! You murdered an innocent child!" Which, fair enough, is probably how most people in the 60s thought. Serial killing < Abortion in terms of evil crimes.

Lana promises to come back and kill Thredson after she gets a knife, which, no d’oi, she cannot obtain because she is a goddamn INMATE, so she makes her own version of a shiv using the same wire hanger she used the night before. It turns out wire hangers are extremely deadly, so I guess Joan Collins was kind of right to want them out of her house. But when Lana returns to find Thredson, he is no longer in the room (no d’oi), and Sister Mary Eunice is waiting for her, ready to deliver the good news about her baby boy. The upside was that Kit was able to hide the confession tape in time. The downside is that it won’t really matter, as Arden sticks a needle into a compliant Kit’s heart to make it stop beating. Suddenly, the lights begin to flicker…

And back in real time, a new patient comes by the compulsion therapist’s office, only to find that Buffalo Bill has gotten his revenge after all. She gasps and walks backward…right into a very Bloody Derbil McDillet!

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Five Of Your Favorite Novels Head To The Big Screen in 2013

With a slew of new page-to-popcorn films in the works, here’s a look at what will be making its way onto the silver screen next year.

THÉRÈSE

French writer Émile Zola’s novel-turned-play Thérèse Raquin has been adapted for the screen many times, but this December we’ll get a taste of director Charlie Stratton’s take on the haunting classic. The psychological tale of affaires de coeur and betrayal centers on Thérèse, a young woman forcibly married to her first cousin, who soon begins a turbulent affair with her husband’s friend. After the lovers conspire to murder her husband, they find themselves haunted by his ghost as their love turns to fiery rage. Elizabeth Olsen takes the reins as Thérèse, with Jessica Lange, Tom Felton, and Oscar Isaac adding to the cast of tortured characters.

CARRIE

After Brian De Palma released his cult-classic adaptation of Stephen King’s novel in 1976, who knew there needed to be another one? But as Hollywood is wont to do, audiences are in store for a new spin on the bloody story of a shy high school outcast who taps into her newly discovered telekinetic powers to exact revenge on her bullying schoolmates. Helmed by Boys Don’t Cry director Kimberly Peirce, the film stars budding ingénue Chloë Grace Moretz in the titular role alongside Julianne Moore and Judy Greer in the new adaptation of one of the most frequently banned books in the U.S.

THE GREAT GATSBY

Like a boat against the current “borne back ceaselessly into the past,” F. Scott Fitzgerald’s most celebrated work of obsession and tragedy will make its way to the screen once again this spring. The long-awaited adaptation will reunite director Baz Luhrmann with Leonardo DiCaprio, as Gatsby, and stars Carey Mulligan as his unattainable love, Daisy. After being pushed from its December release to May, anticipation for the film has only increased, with audiences wondering just what Luhrmann’s theatrical aesthetic will add to the beloved tale.

THE SEVENTH SON

Adapted from Joseph Delaney’s 2004 children’s novel, The Spook’s Apprentice, this 18th Century adventure film centers around a mystical young boy, Thomas, who becomes an apprentice to the local Spook (a cloaked man who travels the country fighting evil spirits for those who cannot) in order to learn the supernatural trade. Directed by Sergei Bodrov, the film will star The Chronicles of Narnia’s Ben Barnes in the lead role, with Julianne Moore as a cannibalistic, mischievous witch named Mother Malkin. Jeff Bridges and Alicia Vikander also join the cast.

ENDER’S GAME

Orson Scott Card’s science fiction thriller has been inching its way to the screen for years. First published in 1977 as a short story, the futuristic tale of alien warfare and adventure is set to hit theaters in November. Featuring Hugo’s Asa Butterfield and Little Miss Sunshine’s Abigail Breslin, the film tells the story of a gifted boy sent to a space-based military school to prepare for an alien invasion. The sci-fi classic will be directed by actor/director Gavin Hood, who leads Hollywood veterans Harrison Ford and Ben Kingsley into the dystopian future.

‘American Horror Story’: Silent Night, Deadly Night

I’m not sure if you guys are big fans of Homeland, but if you are, well, you’ll totally understand what I’m saying here about American Horror Story: Even if you are writing about the most implausible, suspend-your-disbelief from a 90-foot crane kind of crazy, you still need to be internally consistent within the dream world you make up. So for instance, no way would Carrie have ever been let back in at the CIA, even if she was right about Brody. That’s just not how it works. She has a mental problem, and it clearly makes her batshit insane, and she hid that information—a matter of national security–and don’t even get me started on this Dana storyline…whatever.

The point is: That is how this season of American Horror Story is shaping up. While it’s certainly more fun to watch than the first three episodes, when things were so staid and boring, right now the show is so cuckoo for Cocoa Puffs that it doesn’t even make sense within the logic of a program about Nazi zombies, the devil, and Jessica Lange’s accent.

For instance: Sister Mary Eunice. Is she just really bad at being the devil? At this point, she seems more like a bitchy Carrie. Her powers are super limited—she can’t see all/know everything, her murdering abilities are the same as normal psychopath, and when she does use her "gifts" they seem totally arbitrary.

For instance, this week when Sister Jude comes back into Briarcliff to kill her (which, by the way, highlights the inconsistency of the institution’s door policy if every disgruntled ex-employee with a knife can just walk in), Mary Eunice uses her MIND POWERS to throw open the cabinet with all the canes on the floor and scatter them about. But like, that’s it: a telekinetic temper tantrum. Then she "takes care" of Frank, the guard who shot Grace last episode and now wants to go to the police, by freeing a crazy-Santa freak inmate and concocting an elaborate plan to have St. Nick murder him? Crazy Santa can’t even do the job, so Sister Mary Eunice has to do it for him by slitting Frank’s throat herself.

Even for THE DEVIL, that seems like a lot of extra work.

And yikers, can we back up and talk about the insane Santa plotline? Because the most far-fetched aspect of this episode was that the producers somehow managed to get IAN MCSHANE to play a convict who, Jean Valjean-style, goes to jail for stealing a loaf of bread only to get raped by five cops in Santa outfits. So, obvs, when he gets out he takes the jolly red suit of his oppressors and becomes a rape-obsessed psycho murderer. The entire episode I was like, "Man, whoever they got to play Santa looks a LOT like Ian McShane." So good twist, when I got to the credits and saw how the mighty Deadwood has fallen. I wonder if he just went back to his trailer and cried at the indignity of what his 30+ years of thespian training in England has brought upon him.

He delivers lines like, "There is no God, but there is a Santa Claus!" or, after caning Sister Jude, "Are you soft enough yet to receive my light? Except it won’t be light you’re receiving." (It will be his penis.) Luckily, Jude stabs him in the neck with a letter opener, which puts her exactly on par with THE DEVIL in terms of magical murdering tricks. Like, she literally just foiled Mary Eunice’s plan, and why wouldn’t THE DEVIL just go kill Jude herself? Also, why would Jude need to be tricked into coming back to Briarcliff in a double-cross by Arden, after he pretends that he now sees how evil Mary is? It seemed unnecessary. Obviously, it is Jude’s top priority to be locked in a room with Mary Eunice, both making vague threats and maybe pulling each other’s hair, and she’s free to come any time thanks to Briarcliff’s open-door policy.

It was especially weird because of the preceding scene, where Arden gives Mary Eunice giant ruby earrings he’d been saving from the bowel movements of a rich Jewess in his Auschwitz days. Instead of being like "Gross, why have you been caring around shit-crusted rubies for years like you were Christopher Walken in Pulp Fiction?" Mary Eunice loves them. And Arden gets upset, because apparently that was a test to see if she was really evil/had a human reflexive gag instinct, and he is obviously torn about his new partner in crime. But I guess he got over it, because the next thing you know he’s helping murder Sister Jude.

Oh, and speaking of that open door policy, someone invited Dr. Thredson to pay a visit to Lana Winterss, despite the fact that his last encounter with Briarcliff was giving it the middle finger. Well, whatever, he finds Lana because "all the newspapers" were talking about the escaped mental patient who came back to Briarcliff after a car accident. Which is off, because Lana tells Kit earlier in the episode that they are stuck at Briarcliff because "no one knows we’re here." Except for all those newspapers.

Anyway, Thredson is about to kill Lana, but Kit, who has been sedated on a morphine drip after he allegedly kills a nun (but it was actually one of those zombie creatures), comes to the rescue and hits Thredson over the head with a trashcan. Then they tie him up and put him in a spare room while they think of a plan. The best minds of their generation, these two.

While disposing of Grace’s body, some aliens appear to Arden in the tuberculosis "death chute" and make Grace disappear. Arden looks mildly shocked, but then again, what’s he going to do? Another day, another dollar full of post-apocalyptic zombies and taking orders from Satan. He doesn’t even have time for this shit.

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