Pink hair has thus far symbolized the punk rock queens of the 80s, the grunge-fiends of the 90s, pop stars experiencing psychosis in the aughts, and now the queens of the Top 40 charts have taken ownership. Here’s a look back at some of the best, worst and most iconic magenta to pastel pink strands of the century.

Sometimes the aim of a film is to distract we the audience from the fact that quite often, none of it makes sense. But just as often, events unfold within a film’s narrative that remind us of this, and of the reasons why we the audience don’t often bother trying this sort of nonsense at home.

This nonsense often takes the form of a plan formulated by the characters to achieve their desired goal. It could be a rescue mission, or a group banding together to fight a common enemy. It may be a survival strategy. Or they could just be stealing shit. While some plans are ingenious, others are poorly thought out. There’s ‘just crazy enough to work!’ and then there’s ‘that shit cray!’

The following plans fall into the latter category and comprise the Crème de la Crème (or Cray de la Cray, if you will) of the worst plans ever.

When You’re an Unwed Teenage Mother, Everyone’s Really Supportive

Do you remember that time on 16 and Pregnant where this girl got pregnant, and all of her friends decided to pitch in, her boyfriend proposed, later became a politician, and they all lived happily ever after? Me neither. Guess I missed that one.

Okay, so Sugar & Spice wasn’t a documentary. But farce aside, I’m sure most of us had at least one high school friend who was there whenever you needed them — well, short of planning a heist, but still.

Some bands just make it big, and make it big frustratingly quickly, don’t they? Consider this: British five piece Zulu Winter release their first single in November 2011 as relatively unknown, indie-Brit dudes; By May the following year they’re supporting Keane on a UK tour, they were the first announced headliner for Australia’s beloved Splendour in The Grass, and now they’ve got an impeccably shiny, totally beguiling and extremely cinematic clip to accompany their latest single, “Silver Tongue”. Those lucky bastards. And although the thought of “Silver Tongue” instinctively triggers Lisa Simpson and Hans Sprungfeld, what filmic artistry/magicianary director Alex Turvey has spun over this clip is nothing short of ravishing (yep we just called a video clip ravishing: ravishing LIKE A BEAUTIFUL LADY, OK?).

Apart from making excellent music videos, Turvey also spends his time making fashion videos, short films, commercials and art, i.e. he’s basically a manic artiste that we’re all jealous of (The Independent called him one of the “15 Creatives Who Will Define The Future of British Arts”, and his incredible website full of beautiful things is pure, jealousy-soaked torture for any budding filmmaker.

We’re not sure what floored us most about this clip; was it that car and those outfits, or was it the overwhelming feeling of being able to understand what pain has gone through those scarred characters? Was it the piercing reality — the full footed, whole bodied reality of it — from glazed over eyes and desperate stares, or was it just that glorious red and blue? Or was it simply the feeling of dissatisfaction at its end, because we felt as though we knew just a bit too much about that couple and that we deserve to, need to, know more? Whatever it was: a flawless clip makes for a floored audience.

We picked the brains of Alex Turvey mostly because we were dying to know, “How do you make such beautiful things?!?!!?” Alas, he was a little more eloquent, a little less hysterical, than we managed to be:

Portable: Had you always wanted to create a clip like “Silver Tongue” and had the idea before, or did the project come up and then Zulu Winter/”Silver Tongue” spark the idea?

Alex Turvey: I have been looking to create a cinematic music video for quite some time so there are a couple of ideas in the film that I had been waiting to bring to life with the right track, but 90% of what you see on screen was written specifically for “Silver Tongue” as a response to the music.

P: The art direction is amazing in your clip, how closely did you work with the art department/how important is that element in bringing a music video together?

Alex Turvey: Thank you! Closer than close is the answer to that one. Every single frame you see on screen I have obsessively illustrated by hand storyboarded and designed before the shoot.

When I first started working in film I would play every single role in production, even down to the effects (I actually did 95% of the effects and compositing on “Silver Tongue”, which hurt immensely!). I still design all of the sets, costumes and effects in my work, but the bigger the project the more crew you need.

I worked very closely with my good friend Art Director / Artist Christopher Jarratt to bring “Silver Tongue” to life. He has a good understanding of how I work and tolerates my absurd requests.

P: The clip has some really cinematic moments. What films and directors did you feed off (inspirationally) for the clip?

Alex Turvey: Although I didn’t directly reference him there’s a slight Lynchian vibe shining through unintentionally, as well as the more blatant tip of the cap to Hitch.

P: Have you developed the story and characters in the clip deeper than what the video reveals? Who is this couple? What are their scars?

Alex Turvey: I’m completely OCD when it comes to film preparation, so I ended up developing an unessercarily epic story behind each character considering how minimal the performance actually is.

I wanted to make sure both the amazing Anna Walton and Charlie Cattrall had enough background to bring life to their character and interpret the story in their own unique way.

The opening scene relies entirely on the subtleties and body language between the couple, I needed the tension between them to be real so we purposefully kept them apart on set to help create the awkwardness.

There are clues in the video as to why we are witnessing Charlie’s internal unraveling but I wouldn’t want to give it up, I like that the viewer can come to their own conclusion.

P: You’ve done music videos before, what do you find so special about the medium? How are the challenges different from, say, making a short film, or a fashion film?

Alex Turvey: The process of bringing any idea to life for me is an incredibly rewarding one. Its an amazing feeling when, on the actual shoot day you realise that you are stood inside a physical representation of an idea that only existed in your head a few weeks ago.

If, like the rest of us, you’ve fallen a bit head over heels with Turvey’s work, why not hop on over to London and check out his solo show? Guaranteed to be amazing.

All (above) film production stills by Richard Johnson.

It seems the world is ready for a little more vagina on their home television screens. The heavens parted this week and it was announced that perennial funny gal Mindy Kaling’s new show The Mindy Project was picked up by FOX and will begin airing this Fall. Thank GOD for that, considering the talks of cancelling 30 Rock, Parks & Recreation and Community (which has admittedly been plummeting downhill since its finale last year).

Kaling is best known for her work on The Office, a show which I’m not ashamed to admit, I never really got hooked on. It wasn’t until late last year, on a long ass bus ride back from Toronto to New York, that I fell in love with the comedienne, stumbling upon an essay written by her in The New Yorker. “Flick Chicks” was written like a page out of my very own journal (if I wrote in a journal… it’s 2012, so I obviously don’t).

It was an homage to the Romantic Comedy. A genre often taken for granted, and all but ignored in the post ‘00 cinematic realm. What happened to the Julia Roberts and Goldie Hawn’s? The Hugh Grants and Dylan McDermott’s? What happened to best friend’s weddings and runaway brides? WHERE HAVE ALL THE ROM COM’S GONE?

Well, the “chick flicks” of yesteryear have been replaced by a brand new, still kick ass form of chickness. The female comedian — somehow a revelation for the male-centric big wigs in Hollywood and the like — is the new big thing. With shows like Whitney, New Girl and Girls (obvi) and movies like the unbelievably successful Bridesmaids, women have taken center stage in the comedy world and we are all the better for it. Do I hate that it is somehow news that us gals have wildly inappropriate and hilarious wit and humour? Yes, I do. Personally, I’ve been thinking I was hilarious since I came catapulting out of the womb. But if there’s going to be a movement in pop culture, it may as well have a feminist undertone. It is the 21st Century after all.

Back to The Mindy Project. The three and a half minute long preview is chock full of all the puns and pop-culture references one could wish for in a post-Diablo Cody world.

“Please God. Bring me a man with the wealth of Michael Bloomberg. The personality of Jon Stewart. And the face of Michael Fassbender,” Kaling retorts in the opening scene, “And…the penis of Michael Fassbender.” Yes.

The references range from Bruce Springsteen — it’s a Springsteen Show, not a Bruce Springsteen concert, FYI — to Eat Pray Love. The wit is dry and self-depricating. And Mindy Kaling is more likable than we’ve seen her… ever. Here are some reasons Mindy Kaling is lady-crush material:

• She is unabashedly girly, and just doesn’t give a damn. Ya, I watched My Best Friend’s Wedding for the 40th time last night. And ya, I cried at end when she gives the happy couple her song. SO WHAT? (I’m serious, this all really happened last night).
• She doesn’t adhere to stereotypes of women, but also doesn’t shy away from addressing the effect they have on her.
• She’s fearless and funny and doing it for herself. Like any independent woman (thank you Beyoncé) should.

So check out this exciting sneak preview of The Mindy Project. Coming to a small screen near you sometime in the near future. I mean, how else are we going to complain about sexism once Girls ends for the season?

Let’s be real for a second; this season of Mad Men might as well be renamed “The Megan Draper née Calvert Show” (and we’ve got no complaints there). Jessica Paré is impeccable as the character we’ve seen transformed from secretary to the unparalleled Mrs. Don Draper to advertising wunderkind to dream chaser. When she debuted on Mad Men initial conversations dubbed her Betty 2.0, but the girl is so much more than that, being one of, if not the only adult character (along with, perhaps, the other copywriters at Sterling Cooper Draper Price) who is genuinely comfortable with the shifting cultural tide, able to float seamlessly and elegantly into the mid-60s without engaging the survival instinct that so many others — Don included — have kicked into gear.

Megan blossomed with the now iconic (perhaps so iconic it will go down in television history) “Zou Bisou Bisou” scene at Don’s birthday party, so what better way to start our ode to Megan than with this game changing scene. And indeed, Matthew Weiner should give himself a pat on the back for this stroke of genius; we can’t remember the last time a single scene on television resonated so deeply or so globally as to mark the moment indelibly in the timeline of pop culture. So take a moment to indulge yourself in Megan, the emergent butterfly, and her gorgeous Mad Men style…

Tributes to the Beastie Boys’ late Adam Yauch keep rolling out, and we think we may have uncovered a new favorite. The Beastie Boys’ famous Spike Jonze directed video for “Sabotage” (1994) has been remade — with kids reenacting the action. The video, created by Portland filmmaker James Winters, sees Winters’ own children and nephew in the roles of the Beastie Boys as the cops-and-robbers action-packed story unfolds. We’re not going to lie; it’s pretty damn adorable. You can watch the original below, or check out our archival ode to Adam Yauch, through the Beastie Boys in rare video.

Click here to view the embedded video.

[via Pitchfork]

The neon lights of NYC inspire the deepest of culture, the throes of fashion, and the cutting-edge of art. The lights of Broadway, Chinatown, Lower East Side bars. And sometimes the flashing lights of a police car mid-arrest work too. In a place like New York you just go with it — the city infiltrates your work, and you’re better for it.

Neon City Lights is a photoshoot-cum-fashion film from French Brooklyn-based photographer and director Guillaume Miquel, who organised and shot the film while participating in a fashion photography workshop at the ICP. Integrating the city culture and his experience in fashion media, Guillaume decided to create an editorial fashion film — short, sharp, sweet, edgy, and perfect for digital media.

Managing to gather together some models (Frenchie Lea Manon and New Yorker Wendi Lui), designers (Joel Cidenzi, Zenam Couture) and stylist Nurra Barry, the shoot became much more “independent fashion film.” Shot in NYC’s Chinatown and Lower East Side, they crew had to work around the spontaneity and interruption that is in the city’s nature.

“We had to be fast and deal with rain, low light and ‘night’s world’,” Guillaume said.  ”In some shoots, those flashing lights are from a police car that was carrying out an arrest right next to us.”

“We shot with light equipment and a small team to remain quick and spontaneous. Like most of these films we also used the existing light and dealt with the elements coming from reality and our actual environment.”

Apart from Guillaume’s inherent French influence, he cites the photography of this film as inspired by Asian directors like Wong Kar Wai or Hou Hsaio Hsien. The unnatural light and distorted reflections create a moodiness and sense of body and space that is confident — dragging you in, but only showing you glimpses of a whole story. Light is constantly featured as a part of the city and a part of the clothes.

“There are two aspects of light that I consider: the way it reveals the fabrics, color or transparency of the pieces and the dramatic effect that light can give to a story — the mood of a shoot,” Guillaume says. “The fashion films are often silent movies. Then the light, just like the attitude of the models or the decor, plays a very important role in the narrative.”

“Here the idea was to use the ‘natural lights’ of the night: colorful neon lights, and play with reflections and transparency, with sober outfits, black and white.”

“I wanted to create an atmosphere of blurred memories, like a partly erased story that the viewer could try to recover.”

We’re not talking about wet t-shirt competitions (sorry to all those on Spring Break) or anything Girls Gone Wild-ish (except for maybe in Wild Things, where girls do, indeed, go wild). That being said, a wet t-shirt is a very sexy thing, even when it appears unassumingly in a movie rain scene, or to add humor to the narrative, and especially where it’s intended to exacerbate a characters breasts (see above: Wild Things). So here we are, gentle reader, appreciating our favorite wet t-shirts in film, and the boobies that lie beneath.

As Good As It Gets (1997)

We couldn’t find a compatible video to embed, so click here to watch Helen Hunt‘s endearingly unintentional wet t-shirt. We’re going to go out on a limb and say this scene is the Emperor Of All Wet T-Shirt Scenes, Ever.

I was really hoping this week’s episode, “A Man Without Honour”, would lift several notches from last week’s exploitative jumble, and it does. The series desperately needed to rediscover its core values beneath the shock and gore, and it does so with some finely conveyed lore about the colonial history and gender relations of Westeros. The shock and gore, by the way, doesn’t so much as pause to draw breath, and this combination of depth and spectacle is what brings the show back to its best.

When Yara Greyjoy (Gemma Whelan) was unveiled in episode 2, I looked forward to her as the spearhead of strong female performances this season, with Cersei (Lena Headey) and Dani (Emilia Clarke) close behind. O-ho, but I was wrong. Instead, Yara has been contained in her quiet, one-dimensional arrogance, Cersei has mostly played embittered shrew, and Dani the helpless girl, while it is Arya (Masie Williams) with her nerves of steel, a version of Catelyn (Michelle Fairley) reinvigorated from George R.R. Martin’s arc, and now Ygritte (Rose Leslie), who champion the strong performances by women in HBO’s latest big deal.

Last first: Ygritte has Jon’s number throughout the episode. Her sizzling dialogue is amplified by a depth of complexity, what is earnestly referred to as an actor’s “choices”, as she seduces Jon right into the arms of his enemies. Or perhaps my feeble man-brain can’t cope with the idea of a woman being so sexually available, yet maintaining complete control, WHILE BOUND. She seems to break all the rules, as her carnal dance also manages some cute moves by the writers to paint in some of the colonial history that goes to the heart of the struggle between the wildlings and the invading Andals.

Ygritte with her first “You know nothing, Jon Snow.” What an uncomfortable
treat.

Whatever else it is, the wall is an instrument of indigenous suppression, like Hadrian’s Wall. We are also reminded the Starks’ ancestry harks back to both the Andals and the First Men, linking them to the wildlings as authentic ‘north men.’ “So why are you fighting us?” asks Ygritte. What will this mean for Jon, separated from his brothers, with the unnerving precedent of Mance Rayder’s defection from the Night’s Watch? As stated last week, I’ve been trying to figure why the show has so consistently bungled the motivations of everyone around Jon throughout both seasons, and it occurred to me this week that the TV-Night’s Watch is not at all meant to be sympathised with. It thus occupies a less ambiguous position here than in the novels. Confusing and curious, but time will tell if it pays off.