Taylor Swift and Tom Hiddleston are dating. Perhaps you know about this from the The Sun. Perhaps you know about this from Taylor’s Instagram. Perhaps you know about this from three sentences ago.
But they’re not just dating. They are a Thing. An Item. A Couple. (They might even get married.) They’ve been plastering PDA photos of their romantic travails across the Internet, in what seems like a desperate attempt to convince people of something they probably would have believed anyway. A few weeks ago, Hiddleston’s parents joined the movement. On the Fourth of July, a cadre of famous people like Blake Lively and Ryan Reynolds got in on the action.
And over July 4 weekend, so did the conspiracy theorists, of which I now consider myself one. (Much credit to Ellie Woodward of Buzzfeed UK for leading the charge on this important coverage.) The breaking point appeared to be the picture of Hiddleston sporting a gaudy “I Love T.S.” shirt that would be embarrassing if he were in middle school. It’s not a great look for the man who allegedly wants to parlay his T-Swift courtship into the dapper threads of 007. And, on the surface, none of this is a great look for Taylor Swift either. The charges frequently and often unfairly leveled against her — she fakes relationships for attention, she thrives on romantic drama with famous people, she perpetuates antiquated love fantasies and deludes her impressionable fans — don’t seem quite as unfair anymore.
On this episode of The M&M Report, Devin Mitchell and I looked back at the first three episodes of the new season of Saturday Night Live, remarking on the highs of Tracy Morgan’s triumphant return and the lows of Miley Cyrus’s…less triumphant return. Then we took previewed this week’s new episode with a discussion of whether it’s ethical, or advisable, to let Donald Trump host.
Since we recorded, the groundswell of groups urging NBC to cancel Trump’s stint has intensified. The network hasn’t backed down. Meanwhile, the customary promos featuring Trump and cast member Cecily Strong have generated controversy of their own.
Peruse the M&M Report category page for previous episodes of the podcast. Thanks for listening!
Here are six takeaways from last night’s season 41 premiere of Saturday Night Live.
This Saturday Night Live premiere was never going to be a classic.
Season premieres of Saturday Night Live often struggle, mostly because the show doesn’t operate on the schedule that people might assume. The show’s staff had the same number of weeks to write and prepare this week’s sketches as they do any other week: one. Much of what appeared to be sloppiness and laziness can be attributed to the gears on the SNL machine slowly shaking off the rust that accumulated over the summer.
I’ve spent all week trying to avoid finding something nice to say about this year’s VMAs.
I watched this year’s show live through the MTV app on my iPhone. By the end, I had a headache, but I couldn’t tell if it came from the small screen or the sugar high. The show was an overcaffeinated mess, drunk on its own excess and obsessed with its own artifice. There were missed cues, bum notes, off-color asides and racist undertones. What appeared spontaneous also felt calculated. What appeared calculated also felt cliched.
It’s been a year of Pharrell, and this week is particularly Pharrell-y. The number one song on the pop charts? “Happy,” by Pharrell. The best musical performance on the Oscars? “Happy,” by Pharrell feat. Lupita Nyong’o, Meryl Streep and Amy Adams. The most talked about hat? Pharrell’s Grammy hit, which just sold for $44,100 to Arby’s.
Oh, and Pharrell has a new album out this week. Is it any good? As I wrote in my review for The Eagle, it’s good enough. No one’s calling this a breakthrough for Pharrell, and for good reason. Some good songs, but nothing game-changing. It’s more The 20/20 Experience than FutureSex/LoveSounds, to put it in terms of Justin Timberlake, as the album’s throwback aesthetic does frequently.
No matter. “G I R L” will sell well, and it will keep Pharrell in the pop-culture conversation for at least a little while longer. Meanwhile, he’ll have to work a little to pursue that EGOT. Judging by his eternally fresh-faced complexion, he’s got plenty of time left.
Listen to Episode 14 here.
Welcome to the last 2013 episode of The M&M Report. This week, Devin Mitchell and I talked about some of our favorite albums and songs of the year. Keep in mind that Devin and I are far from comprehensive music consumers, so our musical tastes are limited to the genres we’ve enjoyed in the past. We’re open to tons of suggestions on new music we should try out, so bear with us and feel free to comment.
After we discussed six albums, we had a freewheeling conversation about the year in music, touching on everything from “Blurred Lines” and “Same Love” to Daft Punk and Miley Cyrus.
Here’s a Spotify playlist featuring some of the music we discussed during the show. Feel free to follow along.
Click through for the time breakdown and a bonus video from Local Natives, and we’ll see you in 2014!
I’ve already complained about the clunky telecast for the 2014 Grammy nominations in my piece for The Eagle. Nonetheless, I have a few more thoughts (three, in fact) on the nominations in general.
First, to quote from my piece:
“Despite some oversights, the nominations reflected the wide, if scattered, range of excellent pop music in 2013. Rising country star Kacey Musgraves nabbed three well-deserved nominations including one for Best New Artist. The Grammys embraced the anti-establishment alternative hip-hop of Lorde and the irrepressible smooth of Daft Punk. Taylor Swift’s excellent album Red ended up in the Album of the Year category, suggesting that the Grammys have longer memories than they are given credit for.”
Read on for three more thoughts.
Not caught up on the latest happenings in and around Hollywood? Fear not, because my Take 5 columns will catch you up in no time. Since September, we’ve lost two major pop culture icons in Tom Clancy and Lou Reed. We’ve ushered Breaking Bad off our television screens, replacing it with tons and tons of new fall shows, most of which aren’t as good as Breaking Bad. We’ve been graced with tons of compelling new music, from pop superstars like Justin Timberlake and Miley Cyrus to promising newcomers like Lorde and HAIM. We’ve come to terms with the breakup of the Jonas Brothers, but we’re not quite over talking about Chris Brown‘s depressing antics.
And I’ve been taking notes. Read on for the last seven editions of Take 5.
Even though I live-blogged the entire three-hour behemoth last night, I have lots to say about the 2013 American Music Awards. The live-blog format is necessarily limiting, and I’ve revised or expanded many of my opinions since the show aired. With that in mind, here are three big takeaways from this awards show (one of the silliest around, don’t forget.)
Sleazier than the Grammys, stuffier than the VMAs, less legitimate than either one, The American Music Awards are the unfortunate middle child of music awards shows. The only time anyone cares how many American Music Awards an artist has won is during the American Music Awards. This is the show that gave us David Hasselhoff dancing to LMFAO’s “Sexy and I Know It” in 2011 and crowned Justin Bieber the 2012 Artist of the Year. In other words, don’t expect high art.
And yet – the American Music Awards are a fun, if frustrating, thermometer for the current temperature of popular music. Last year’s show brought us Carly Rae Jepsen and PSY, but also Taylor Swift and Stevie Wonder. You have to take the good with the bad.
Whether the awards mean anything or not (they don’t), the show should provide some interesting moments. Will Justin Timberlake do something unexpected to cap off his busy year, or will he rest on his laurels? Will Miley Cyrus descend further into mayhem or restrain herself? Will Luke Bryan and Florida Georgia Line demonstrate why they’re country’s two hottest superstars right now, or will they continue to make us wish for Kacey Musgraves and Miranda Lambert instead?
Follow along starting at 8pm Eastern for my reviews of each performance on the American Music Awards, airing on ABC.