John Krasinski Is Interested in an ‘Office’ Reunion

 

The cast of The Office has gone on to do some pretty incredible things: Steve Carrell is an Oscar nominee; Mindy Kaling is a blockbuster movie star and the creator of her own TV series; and, of course, John Krasinski recently wrote, directed and starred in the acclaimed horror smash A Quiet Place. 

Now, it seems, he’s ready to see his old pals again: in a new interview with VarietyKrasinksi has expressed his interest in revisiting his iconic character Jim Halpert.

“I need the incredible writers of our show to tell me what he’s doing because I’m kind of worried about him,” he told Variety. “He had a whole lot of hopes and dreams, he had a lot of zany ideas, and then he went to Austin to live his life, and I feel like the dreams are still in his head…so let’s see what he’s doing now.”

 

John Krasinski Will Be Making an Appearance on ‘Arrested Development’

We’ve all been patiently drinking our juice and counting down the days until Netflix unveils Arrested Development‘s revived new season on May 26th. And as the cult comedy was wont to do, the fifteen new episodes look to be chock-full of guest appearances—from Henry Winkler reprising his role as Barry Zuckerkorn and Scott Baio’s Bob Loblaw to  Liza Minelli as the vertigo-ridden Lucille Austero. And now, it appears that everyone’s favorite Office dude John Krasinski will be making a cameo appearance on the show as well.

With The Office sadly ending for good on May 16th, it will be a nice treat to see that goofy ol’ face on our screens, even if we’re not sure just what his role will be. The details on his role are hush hush as of now, but in the season, he’ll be joined by everyone from Isla Fisher, Andy Richter, Kristen Wiig, Conan OBrien, John Slattery, Ben Stiller, and Seth Rogen as guests.

So in the meantime, prepare yourself for the new season with some bloopers from the past.

 

 

Check Out the Hour-Long Writers Interview Featuring Michael Haneke, John Krasinski, and More

The Oscars may still be months away, but award season buzz has been in the air for months. One of the perks of the season is always getting to watch some of the year’s best talent sit down together and talk cinema. These good ol chats bring together the most unlikely of folks, giving us a truly unqiue conversation that we perhaps would never see otherwise. For example, Jim from The Office and Michael Haneke just hanging out talking about Schindler’s List. Now obviously John Krasinski is more than just Jim—he’s a fantastic writer, actor, and director—but it’s still funny to think about. Brought together by The Hollywood Reporter for this year’s discussion, John and Haneke are joined by four other writers who have penned some of 2012’s most celebrated films.

Krasinski’s had a big year, between starring in Ry Russo Young’s Nobody Walks and, most notably, penning Gus van Sant’s new film Promised Land with Matt Damon. Michael Haneke’s emotionally devastating Amour took home the Palme d’Or at Cannes this year and has been praised by critics and audiences alike since. The other writers include: Judd Apatow who penned the much-anticipated sort-of-sequel comedy This Is 40, Hurt Locker writer Mark Boal for the enigmatic upcoming thriller Zero Dark Thirty, Chris Terrio for the Ben Affleck-directed Argo, and David Magee for his Life of Pi adaptation. Yes, this is a group of men whose films have stood out for the year, but these type of year-end round tables tend to always be very male-centric, continuing to beg the question: why aren’t any female writers involved?

Check out the hour-long full uncensored video below:

 

Artist Brian Batt Talks ‘Gossip Girl’

If you haven’t yet heard of artist Brian Batt, you’ll be getting a glimpse soon, especially if you tune into Gossip Girl. We know that not everyone’s smitten for Upper East Side scheming, but this impressive painter makes a cameo in tonight’s episode, “Portrait of a Lady Alexander.” Indeed, the 33-year-old acting neophyte even delivers some lines, in the presence of Chuck and Blair, no less. Guilty pleasure, meet aesthetic skill.

Born and raised in Philadelphia, Batt made his way to Manhattan roughly five years ago. At the time, he was working for a Long Island-based band merchandising company, designing t-shirts and other fan-focused products. But, much as he loved it, in 2008 Batt threw in towel, determined to work for himself and bent on painting fulltime.

And now, that’s just what he does. Day in and day out, he collides with the canvas in his Lower East Side two-bedroom walk-up, though soon he’ll be relocating to Dumbo. We can appreciate his need for more space. With two pit bulls, Lily and Zoe, bounding about (not to mention fixating on our feet) and countless large-scale works scattered throughout the apartment, perched precariously against walls and otherwise making it a little difficult to walk without worry, he’s due for—and deserving of—a real estate upgrade.

Batt’s style has certainly evolved over the years, and currently it’s all about gridding and dots. Some depictions we encountered during our visit were of Russell Simmons, Frida Kahlo, and Karen O of the Yeah Yeah Yeahs. Just blocks and dots of color making for a magnificent and entirely fresh perspective. No Lichtenstein or Seurat to be seen here.

Our personal favorite Batt original would have to be Venus, which features a gorgeous girl (who looks a lot like Lana Del Rey). She sports a letterman jacket and oversized sunglasses, her long locks billowing in the wind before a body of water. The closer you stand, the more out of focus it is. But back up a bit and the beauty comes together, well, beautifully. We really dig the illusion, not to mention the evident meticulousness. And we aren’t alone. Batt counts among his collectors the likes of Reese Witherspoon and John Krasinski, amid myriad more. Though he can command up to $25,000 per piece, prints are available on his site, signed and embossed, for only $90.

Jolly and totally down to talk shop, Batt opened up to us about his craft, breaking into television (if only once…so far), and his relationship with L.A. Spoiler alert: New York City wins.

Let’s begin at the beginning. Have you always been into art, even as a kid?
I was always drawing. And, I went to college for illustration at Hartford Art School in Connecticut. Also, my dad was an artist, too.

That’s awesome. Who is your favorite artist, apart from pops of course?
My primary influence is Chuck Close. Chuck Close is the man.

I can see that, for sure. You have a couple reminiscent, albeit distinct, aesthetics. What would you call them?
Pixilated paintings and dot style[, respectively]. [The former] is influenced by the digital era. The reference is like a bitmap. [The latter is] like look[ing] at a newspaper [if] you zoom way in; it’s all dots. It’s influenced by print.

What does this endeavor mean to you?
I’m just so motivated to be painting every day, as much as possible. Definitely more motivated now than ever before. I spend a lot of time; I’m working at least twelve hours a day, seven days a week. There’s so much I want to do, so much I’m set up to do right now. Commissions and pieces I’m compelled to do. I’m the only one here to do it, too. I don’t have assistants or anything, so I just have to be as productive as I can. I work really hard.

It shows. How do you create these pieces? Like, where do you source the initial images?
This [Russell Simmons image] is taken from a photo on the internet, which is something I’m trying to avoid. I want them to be original. Like, with Gossip Girl, I couldn’t show this because I didn’t take this photo, you know?

It’s tricky. So, how did you initially get involved with Gossip Girl?
The head writer bought two of my paintings at a show I had in L.A. They wanted [to feature] a New York artist and were trying to write me into the script. They wanted me to play myself for authenticity. When they first told me, I really [didn’t] expect it to happen. [After some back and forth,] they invite[d] me to do a cameo on the show.

Were you stoked?
I was very interested.

Then what?
They explained what the scene was going to be; Chuck and Blair come to my studio to talk about a painting. They wanted me to read in front of the camera. That was the final test. I was super nervous, because I’d never done that sort of thing. They just wanted me to be myself.

Did Gossip Girl film here?
They wanted to. Because of the walk-up, it was an issue. So, they came, picked up, like, 18 of my paintings, and recreated my studio out on Long Island. It was cool to see it all recreated.

I bet. So, what was the end result?
It was amazing. The experience was great. They made me feel really comfortable and were really enthusiastic about the work. It was so surreal. It should be great exposure.

Beyond the head writer of Gossip Girl, who else invests in your work?
Probably the most famous person who’s bought work from me is Reese Witherspoon. I did one for John Krasinski a couple years ago, too. It was commissioned by a friend of his. He loves JFK…

Are you bent on depicting famous faces or are you also into lesser-known subjects?
It’s both. I don’t feel as comfortable submitting pieces where I didn’t take the photograph.

And that largely ties back to portraying folks you know or have easier access to than the celebrity (or deceased) set. Tell me about your Frida Kahlo painting.
I think it’s important [to represent] the power of women. There’s not as many female artists. There’s not as much of a presence of female artists. That’s what inspired me. I like subjects who are game changers, who overcome adversity, who stand up for something. To me, Frida totally represents that.

Absolutely.
It’s also about doing more obscure icons. People I think are amazing but don’t necessarily get the recognition of, like, Bob Marley, who’s on posters everywhere. [For example,] this is Karen O. from the Yeah Yeah Yeahs. I love Karen O.

Does anyone ever sit for a portrait?
Used to. But now I take a photograph because I don’t want to make someone wait so long.

Speaking of waiting, what’s your waiting list like?
A year. Some are priority. Some people are anxious to get something; others are, like, Whenever. I’m happy to have a bunch of commissions lined up.

It must be awesome to be an artist who isn’t starving.
It’s the best. I’m starting to pick up some momentum now.

Yes, you may even make it to Art Basel this year. Tell me more about the piece you anticipate showcasing there?
I’ve probably put in 1,000 hours so far. It’s tedious. I really hope they take it.

For sure. So, does New York inform your art? This area?
It’s always inspiring to walk around the neighborhood. I’m lucky I have dogs. Gets me out of the apartment.

But soon you’ll be abandoning the Lower East Side for Dumbo. Are you ready to say goodbye to Manhattan?
I’m freaking out. I’m majorly freaking out.

I would be, too. Lastly, your manager’s based in L.A. Can you describe your relationship with the West Coast?
There’s so many opportunities for artists out there now. It’s really refreshing to have New York artists [going] to L.A. The general population in Los Angeles is all about it. There’s so much to take advantage of. It’s really positive and beneficial to be involved in some way. It’s also nice to recharge a little bit, too. I love going back and forth, absorbing what both places have to offer. I don’t think I could live there full-time, though. New York is just so amazing.

Lena Dunham’s Newest Movie ‘Nobody Walks’ Gets Trailer

Nevermind that John Krasinski doesn’t look old enough to have a teenaged daughter. The trailer for Lena Dunham’s latest movie Nobody Walks has "I’m seeing this" written all over it.

Nobody Walks, co-written by Dunham and director Ry Russo-Young, stars Krasinski as a married sound editor who invites Olivia Thirlby to stay in his guest house while he assists her with a project. Romantic little sound-related overtures to each other are made and wife Rosemarie DeWitt is getting jealous. But she’s got a clandestine relationship of her own: a therapy patient who has the hots for her.

It’s the kind of movie where characters say things like "Marriage is complicated!" … but that won’t stop me from seeing it. Both Rosemarie DeWitt and Olivia Thirlby deserve to be much more famous than they are and the Nobody Walks trailer just adds more evidence to that theory.

 

Plus, it’s a bit of a darker turn for Lena Dunham, writing-wise. Oh, and did I mention Dylan McDermott is in it?

Afternoon Links: Adam Lambert Arrested In Finland, Love On The Set of ‘Trapped In The Closet’

● Adam Lambert was arrested outside a club in Finland last night for fighting with his boyfriend, all of which he blames on "Jetlag+Vodka." "Lesson learned," he then assured on Twitter, adding that "Sauli+Adam+hangover burgers= laughing bout it." [EW]

● A Radiohead demo from the early ’90s has surfaced on the internet, rounding out a rather benevolent year for Radiohead fans. [FlavorWire]

Workaholics star Blake Anderson fractured his spine during a roof-to-beer-pong-table jump, and the grizzly party trick was caught on tape. More expert jumper Tyler, the Creator was reportedly in attendance. [TMZ]

● And so it seems, the actors who played Rufus and Cathy in the original 22 chapters of Trapped in the Closet managed to overcome their "cheating couple" casting to find true love. The two have been married since! [TMZ]

● Rumor has it that Prince William is getting Kate a puppy for Christmas, but SHHH, let’s not ruin the surprise like the press has for the Obama girls. [Us]

The Office‘s John Krasinski is just too cute in this Sesame Street bit about soggy things. [EW]

● If there’s nothing more you want for Christmas but Santa himself, well, the unusual number of "Sexy Santa" stock-photos suggest you are not alone in your longings. [Gawker]

Morning Links: Martha Stewart’s Dog Bites Back, Justin Bieber Rushed to Hospital

● Martha Stewart needed nine stitches after her startled french bulldog, Francesca, knocked her in the face. Full story, including a 34-photo slide show and critique of the hospital wallpaper (“could use some updating”), on her blog. [Martha] ● Someone sent The Office star John Krasinski’s prom picture to Gawker for judgment. Krasinski is swimming in his jacket, but his date’s dress looks a little Christopher Kane SS11. As far as prom pictures go, we’ve seen worse. [Gawker] ● Another one? We are running out of jokes so we’ll just cut to the chase: Selma Blair and her fashion designer boyfriend, Jason Bleick, are pregnant with their first. [People]

● Justin Bieber was swept from the set of CSI to the hospital after he began “having trouble breathing due to an allergic reaction.” [Celebuzz] ● Lindsay Lohan is back to work designing a new line of shoes for her 6126 brand. Inspired by “old Hollywood glamour” and priced between $100-$450, it could be a line no shoe addict will want to quit. [NYPost] ● Brendan Fraiser left a $60 tip on his $16 pedicure the other day. “You need to charge more,” he told the technician. Was he truly impressed or just distracted by his iPad? [TMZ]

Away She Goes: John Krasinski Talks to Maya Rudolph

“We wrote the script with Maya and John in mind,” says writer and editor Vendela Vida, who, alongside her husband, Pulitzer Prize finalist Dave Eggers, created the screenplay for director Sam Mendes’ Away We Go, a quietly soulful meditation on love and family. “Still, it was sort of surreal when they were actually cast.” The film’s stars, John Krasinski and Maya Rudolph, weren’t exactly obvious choices to play Burt and Verona, a young, indivisible couple who travel the country in search of a place to raise their unborn baby. Krasinski is best known as Jim Halpert, the loveable cynic on Greg Daniels’ hit sitcom The Office. Rudolph, after nearly a decade spent lampooning celebrities on Saturday Night Live, has become inseparable from her over-the-top Donatella Versace and Oprah Winfrey impersonations.

“Maya added a pensiveness that I wasn’t fully expecting. You just look at Verona’s face in the film and see that she’s experiencing the full emotional weight of becoming a mother when she herself is motherless,” says Vida of Rudolph’s performance, a challenging role for the actress, whose mother, the late soul legend Minnie Riperton, passed away when she was still a child. “With John,” Eggers adds, “You’re definitely seeing a depth that he hasn’t been able to show in the vehicles he’s been in.”

Of the off-brand casting choices, Eggers points to Adam Sandler’s heralded performance in Punch-Drunk Love, a film directed by five-time Academy Award nominated writer-director Paul Thomas Anderson, Rudolph’s partner and the father of their young daughter, Pearl. (Days after this interview, Rudolph announced that she is pregnant with her second child). “It’s been said many times, but funny people have to know pain pretty well,” says Eggers. “It’s the source of the humor, bending rage or despair into some kind of happy balloon animal. That’s comedy, right?”

JOHN KRASINSKI: I’m going to kind of improvize this one. BLACKBOOK: That’s perfect. And if there’s ever any lull, I’ll jump in with questions.

JK: You’re not going to highjack this goddamn interview, goddammit. MAYA RUDOLPH: This is how we do [Sings Montell Jordan’s hit single from 1995.] This is how we do it.

JK: Hi, BlackBook. I’m here with Maya Rudolph. MR: Who?

JK: Now, Maya … First of all, I’d like to start from the beginning … MR: This is weird.

JK: By the way, I’m using all of James Lipton’s quotes. [laughter] And I’ve got a stack of cue cards in front of me. Before we get to the movie, could you please give us a brief insight into your relationship with SNL and what it meant to you before you were on the show? MR: Good question, John.

JK: How do you like that, BlackBook? MR: I fell in love with Saturday Night Live when I was a little girl — and I don’t know how old I was, but we didn’t have a VCR, so I must have been old enough to sneak into my parents’ bedroom when they were watching it. They were in bed watching it, and I remember coming in and saying, “I have a tummy ache!” The “Landshark” [skit] was on, I do remember that. When I was old enough to understand that I was watching the same actors in different costumes and wigs, I gravitated toward [Gilda Radner’s recurring character] Roseanne Roseannadanna, because I liked doing impressions. I started impersonating her and then people started laughing, like my aunts and neighbors. I enjoyed the buzz.

JK: Most people would say that getting a job like that would be a dream come true. But there must be a more complex answer than that. MR: It was the only dream I’ve ever really, truly had, other than being a mother. I used to say, One day, I’m going to grow up, and I’m going to work there with those people. I just really wanted that to be my life. And I wanted to have this thing where it was like some weird, natural extension of some fucked-up aspects of my personality — but in a positive way, via my job. Once I found people like me who did it, too, that’s when I started to feel normal for once. And you can tell I’m normal now, so that’s really been working really well for me.

BB: What was it like for you, immediately prior to your first performance on the show? MR: The first show was a hard one, because I started with only three episodes left in the 25th season. I was thrown in, which was probably a great way to do it, but also really intimidating and terrifying. The first show I ever did, I played Ananda Lewis, who, at the time, was a VJ on MTV. I remember I was wearing a leather bikini and a trench coat — which was great when my grandma and I got to talk about it. And I remember I was holding a microphone because I was VJ-ing — I swear, it’s not a dirty word — and my hands were tight and my knuckles were white because I was holding the microphone so tightly, while concentrating on the cue cards … and I broke my SNL cherry that night.

JK: Do you have any other questions or can I go again? BB: No, please, go ahead.

JK: Bitch! Whose show is this? MR: You’re railroading it, goddammit!

JK: Here’s something you’ve probably heard a lot, but I love talking about this: what is your theory on comedy acting versus dramatic acting? Because I always find it weird when people are like, “Don’t you want to do dramatic acting?” It’s like, Yeah, of course I would like to do that. MR: It’s like there’s this line that people feel you’ve crossed, like, “Oh, you’ve left the Comedy State? And now you’re in a Drama State? Welcome. Welcome to the Drama State.” I think I had always hoped to make a movie like this, but I thought I’d be super-old by that point, as I’ve heard you say about yourself, like, you know, in my Meryl Streep years — which is weird, because I’m not Meryl Streep, so we’ve got a problem. But I like that it’s taken people off-guard.

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JK: In Away We Go, you and I are pregnant. And, throughout the movie, our characters wonder what it’ll be like to have a baby. How did you incorporate your own pregnancy into this part of the movie? MR: Good question, John. Thanks for asking. I definitely drew upon my life before I had a child, and having absolutely no fucking clue what’s coming next, and those moments of, “Holy shit, I’ve got to get my life together. Who am I? What am I doing? Where am I having this baby?” But for me, it was actually kind of a sweet relief. I got to enjoy this really, wonderfully delicious, selfish time when I didn’t have a kid, so I wasn’t really responsible for anything, like feeding another human being. Remembering what my life was like was fun, and it made me actually feel a hell of a lot younger. The love I’ve experienced as a mother kind of hits me all the time, and, obviously, there is a love between our characters, Burt and Verona, which isn’t a child-and mother kind of love, but it’s just a very real and honest and unapologetic love. And I almost feel like my heart got a little bit … bigger.

JK: I’m going to cry! One of my favorite parts in the movie is when we’re in bed in the hotel room and you roll over and you’re visibly upset, because you’re so confused and befuddled at how two people can love each other so much. And using what I’ve heard about pregnancy, because I’ve never been pregnant — MR: It would be weird if you had been.

JK: Did you set out thinking that you’d be a specific type of mother to Pearl? MR: There’s definitely this fantasy that’s like, “I’m not going to be a mother, I’m going to be Mother-fucking-Theresa.” And then you realize that you’re still the same person, the same things still bother you, you’re not perfect, but you can still be someone’s parent, someone’s mother, and it can still be okay. There’s no question that you want to give them everything and you want their lives to be perfect. Has any human achieved that? No, probably not.

JK: Once Pearl was born, was she just as you imagined she’d be? MR: We didn’t know if she was going to be a boy or a girl, and, when she finally came out, there was a really quick snip and suddenly, she was resting on my chest, staring at me. And her eyes were super-black. She looked like Marlon Brando in The Island of Doctor Moreau, because she was covered in all of these white blankets staring at me. I remember, in that moment, thinking, Yes, this is my baby. I’d always tried to picture what my baby would look like, and in that second, I was like, Yes, this is the baby I’ve been expecting. And then the doctor said, “Oops, we forgot to see what it was.” I didn’t know if it was a boy or a girl, but I knew it was my baby — you spend so much time being pregnant, not knowing who the hell is coming.

JK: It’s like leaving the door open for Elijah. MR: And when he comes to your house, you sure hope he doesn’t take all your shit.

JK: Having met Pearl, and bestowing upon her the honor of Coolest Girl I’ve Ever Met, I’m wondering how it’s been for you to watch a person forming her own world, using you as her mothership and then going off on her own. MR: I appreciate the mothership reference. There’s no question: you get that proud mom grin sometimes, when it’s like, Check it out. That’s my kid. But, yeah, she is who I thought she’d be in a lot of ways. Let’s put it this way: If she had come out as a total wallflower, and said stuff like, “I hate reading and I don’t like to perform,” then I’d be like, That’s not my kid. So it doesn’t really surprise me that she’s like, “Hey, I’m funny and I like to hang out.”

JK: One of my favorite things and least favorite things about this movie is the same thing. MR: The first scene?

JK: No, it’s this: You would have been the kid I hated in high school who was like, “Oh my God, I totally just failed that test.” And then you’d get it back and get an A, and you’d be like, “Oh my God, I got an A!” Meanwhile, I always thought I’d get a C, and, yep, I got a C. MR: See, you’re saying that, but I’m the one who thinks they’re going to get a C, and gets a C.

JK: When we were doing the movie, almost every day you’d say, “I’m lying, I’m not an actor.” And I thought that was so incredibly insane because only the best actors can hack it on SNL. And then I thought I was going to lose my job because you had been turning in such an incredible performance. How do you feel about that now, honestly, and at what point in the movie did you break through and give yourself the credit you deserve? MR: First of all, if I were you, I’d shoot me because that sounds so obnoxious. I don’t know why I psyched myself out so hard; I was doing fine. I think I was really saying, I don’t know what the fuck I’m doing, and I hope that’s okay. But having a partner like you, John, emphasized the fact that I wasn’t acting in front of my mirror with a soap-ona-rope microphone. Within our weird little bubble, it was okay. I’ve done movies before, but they’ve never been my movies; I’ve never shared a movie with anybody in this way

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Photography by Melodie McDaniel Styling by Penny Lovell
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The 10 Sundance Films Everyone Will Be Talking About

There are so many movies screening at the Sundance Film Festival in Park City this year that it’s nearly impossible to choose ten that are most buzzworthy. I say nearly impossible, because I just pulled it off.

Adventureland – Because this coming-of-age story set in an amusement park is from the director of Superbad. Because it has two of our favorite Kristens, Stewart and Wiig. Because of these clips. And because this is this year’s “This year’s Little Miss Sunshine.”

Big Fan – Because it’s the directorial debut of Robert Siegel, former Onion editor and screenwriter of The Wrestler. Because the story of a Giants fan (Patton Oswalt) from Staten Island who gets into a violent altercation with his favorite player at a strip club couldn’t be more timely. Because this could be the birth of a bright new voice in American cinema.

Rudo y Cursi – Because it reunites Y tu mamá también costars Diego Luna and Gael García Bernal as rival brothers on the same soccer team. Because those two actors helped give Alfonso Cuarón his big break in Y tu mamá and will try and do it again for his baby brother Carlos, who directed this.

Brooklyn’s Finest – Because Michael Martin was a tollbooth worker when he wrote this script to finance repairs on a car he totaled. Because Michael Martin is still a toll booth worker despite Richard Gere, Ethan Hawke, and Don Cheadle starring in his movie. Because the last time Antoine Fuqua directed a gritty cop drama, Denzel Washington won an Academy Award for Training Day.

I Love You Phillip Morris – Because even though this “indie” features superstars Jim Carrey and Ewan McGregor, it features them as gay lovers who fall in love in prison. Because it comes from the twisted minds behind Bad Santa. Because it’s Brokeback Mountain for the Apatow set.

Dead Snow – Because it’s about zombie Nazis. Because I’m not lying.

Tyson Because even Mike Tyson was surprised at the ovation this documentary received at Cannes. Because it will make a convicted rapist, ear biter, and all-around thug seem compassionate, vulnerable, and human.

The September Issue – Because it’s a rare account of the months leading up to Vogue’s biblical September issue. Because you might see Anna Wintour smile, or even laugh. Because she’s more intimidating than Tyson.

Brief Interviews with Hideous Men – Because this could be the breakout role for Law & Order: Criminal Intent’s Julianne Nicholson. Because instead of giving the camera knowing looks on The Office, John Krasinski is behind it. Because based on his short stories, it will remind us of the genius of the late David Foster Wallace.

The Missing Person – Because it’s a noirish private eye yarn set in a post-9/11 landscape. Because after Shotgun Stories and Revolutionary Road, a Michael Shannon performance has suddenly become can’t-miss. Because Amy Ryan is no slouch either.