A New Study Says That While Awareness of Hollywood’s Diversity Problem Is Increasing, Opportunity Is Not

Even as awareness increases and attitudes ostensibly shift, massive gulfs in opportunity remain. These detailed statistics make clear that the barriers to continued success are no less challenging to overcome. In the 2015 documentary Celluloid Ceilings, Twilight director Catherine Hardwicke spoke on this phenomenon in reference to the boom of Young Adult franchises in Hollywood. It’s difficult enough for women and people of color to get their foot in the door at all. Women and people of color were starkly underrepresented among directors of the past decade’s biggest films, a new report from USC Annenberg’s Media, Diversity, and Social Change Initiative has revealed. According to the study, of the 1,000 highest-grossing movies between 2007-2016, four percent of directors were women, five percent were black, and three percent were Asian. “After Twilight, people were excited about Divergent, people were excited about The Hunger Games—in fact, people were even inspired to write those books, probably, with the success of Twilight,” she explained. Further, while the women helming feature films tend to be in a relatively narrow age bracket, “the span of … males’ [careers] appears to be limitless.”
Explorations of behind-the-scenes representation in Hollywood continue to paint a bleak picture. Perhaps more notable is MDSCI’s testing of the “one and done” theory, which relates to directors struggling to continue making films beyond their breakout. According to the report, 83 percent of women of color and 79 percent of all women represented in the Top 1,000 had directed only one movie; conversely, of non-black and -Asian men behind the listed films, nearly half went on to direct additional movies. “It’s shown that there’s a desire, there’s an audience …  It’s disappointing that even though a female director directed the first Twilight—did the whole cast, set the whole look—that none of the other Twilights or The Hunger Games or Divergent … all books written by a woman and starring a woman … not one of them has been directed by a woman.”
You can access the full MDSCI report here. To quote one of the study’s bleak conclusions, “[T]here has been no meaningful change in the prevalence of female directors across the top films from 2007 to 2016.”
In that regard, this study best serves as confirmation of what other reports have previously documented, with its relatively large sample size only amplifying their significance and reliability.

Riz Ahmed Recruits His Itchy The Night Of Lawyer John Turturro to Raise Money for Syrian Refugees

If neither that worthy cause nor the prospect of winning Bodhi Rook’s approval are enough to convince you to contribute, Ahmed is also offering prizes, including signed Star Wars memorabilia and tickets to see his hip-hop trio, Swet Shop Boys. “With everything that’s going on right now, we’ve decided to extend our campaign, so we’re just asking you to go online and donate.” Trump’s recent executive order has effectively barred Syrian refugees, who are living under an extreme humanitarian crisis, from entering the United States indefinitely. “Yeah, sometimes I get very itchy,” replies Turturro, probably inducing some uncomfortably vivid flashbacks of his inflamed feet in Night Of fans. Demonstrators at LAX over the weekend used the lyrics from Swet Shop Boys’ song “T5” as a protest chant: Star Wars star Riz Ahmed is no stranger to hostility at the U.S. border; back in September, he penned a moving essay in the Guardian recounting incidents he faced while starting out as an actor and the dangers of being British-Pakistani in a post-9/11 world. But things have gotten even worse since then, so to help others, Ahmed recruited John Turturro, who played the eczema-afflicted lawyer in charge of defending Ahmed’s character on HBO’s The Night Of. “Do you some get the itch to just do something?” asks Ahmed. But Ahmed isn’t talking about eczema—he’s taking about his fundraiser with the Karam Foundation, which aims to provide food, shelter, and medical aid to the tens of thousands of people who have been evacuated from Aleppo, Syria. “It’s now harder and harder for them to flee the misery they’re suffering through no fault of their own,” Ahmed explains of the campaign, which has already raised more than $100,000.

Jon Stewart Turns a Late Show Bit About Trump’s Executive Orders into a Rousing Call to Action

The reason I, Donald J. How hard can it be? Just twelve days into the Trump administration, the president has already demonstrated a fondness for executive orders, issuing them to begin the repeal of the Affordable Care Act, reinstitute the anti-abortion “global gag rule,” and establishing a ban on immigrants from Muslim-majority countries, among others. Perhaps sensing our intense need for a laugh right about now, Jon Stewart once again emerged from the cabin in the woods where he’s been hiding to join buddy Stephen Colbert on The Late Show. Trump’s, presidency. And if we do not allow Donald Trump to exhaust our fight and somehow come through this presidency calamity-less and constitutionally partially intact, then I, Donald J. Trump, will have demonstrated the greatness of America. I, Donald J. There, Stewart read some alternative executive orders we might expect from the commander-in-chief in the weeks and months and (heaven help us) years to come. Just not the way I thought I was gonna. All actions will be necessary. No one action will be adequate. Trump, am exhausting because it is going to take relentless stamina, vigilance and every institutional check and balance this great country can muster to keep me, Donald J. Now we just need to sit back and await the anti-Semitic Tweetstorm that will surely follow. Trump, do declare by executive order that I, Donald J. (And no, it isn’t English.)
But executive order #3 took a more serious turn, with Stewart turning it into a passionate call for resistance:

I, Donald J. Trump, from going full Palpatine, with the lightning coming out of the fingertips and “fear leads to anger, anger leads to hate.”

We have never faced this before: purposeful, vindictive chaos. 11 fucking days. Trump, am exhausting is that every instinct and fiber of my pathological self-regard calls me to abuse of power. Parades with the tanks and the synchronized dancing, and why can’t they train 10,000 doves to spell out TRUMP in the clouds? Eleven! Trump, am exhausting. I, Donald J. But perhaps therein lies the saving grace of my, Donald J. It has been 11 days, Stephen. The presidency is supposed to age the
president, not the public. Trump, want—no,
deserve—not just your respect, but your adoration. They’re already flying. The segment started out as a riff on Trump’s policy incoherence, with Stewart-as-Trump’s first order a demand that “to secure our border, China shall immediately, and without hesitation, send us their wall.” And he even has a plan to make Mexico pay for it: “When the wall arrives at the southern border, we shut the lights and we pretend we’re not home.” Order #2 was in the same vein, establishing an official language for the United States.

While Donald Trump Was Deciding on a SCOTUS Nominee, Samantha Bee Decided on Dinner

Full Frontal host Samantha Bee also had a “very special decision” forthcoming on a livestream Tuesday night, one nearly as consequential as the future of the judicial branch: the nomination for “tonight’s dinner.” The two finalists may have seemed nearly identical, but watch closely and you’ll see: Bee’s agonizing over her own Very Important Announcement ultimately led to the right choice—or, at least, the cleaner one. (Okay, not really.)
Little did Trump know that he had some equally high-stakes counterprogramming to compete with. You may have heard that Donald Trump had a Very Important Announcement to make on Tuesday night—an Apprentice-style prime time spectacle in which the president finally, after great anticipation, announced the winner of his Supreme Court Justice Nomination competition, his latest demonstration of deference to and respect for the rule of law.

How Texting Enlivened the Modern Romantic Comedy

There are many delightful things about watching historical romances, including the costumes, giant estate houses, carriage rides, and that one inevitable group dance scene where everyone does a gavotte and the protagonists send each other smoldering glances. So Liza texts her shortly into the meal, offering Kelsey an excuse for leaving. It’s intercut with shots of Jane, who watches Raf texting her with the three telltale iMessage bubbles, and who never sees the unsent “I love you.”
The unknowability of someone else’s mind is one of the deepest frustrations (and reliefs) of being a person, and it’s one of fiction’s strongest appeals, especially in a romantic-comedy genre. We get to know he loves her, even if she doesn’t yet. But texting has given TV a way to create a new, familiar set of dramatic (and often comedic) scenarios out of the confusing, emotionally fraught mess of love and relationships. The number of TV characters who send texts and are ghosted in return—or who do the ghosting—has gone up dramatically in the last several years. If you got a letter from a suitor, it’s probable you put in effort analyzing it and wondering how quickly to respond, just as you would with a text today. In life, those rules were likely as ambiguous as any similarly universal dating rules feel now. This article originally appeared in Vulture. Not every show is good at onscreen texting, and even the good ones trip up once in a while. The tension around the season finale of Younger hinges on Liza frantically trying to text her boyfriend Josh to talk things out, and his complete communication blackout in response. And so, inevitably, do the stories we tell about romance. Take the final moments from season two of Catastrophe, as Sharon and Rob are finally reconciled and happily eating pizza together. Whenever technologies of communication change, the language around how people fall in love changes, too. (Remember when Rory got a Sidekick? On Jane the Virgin, Jane somehow still has the keyboard click sounds activated on her phone, which would suggest that she’s a variety of monster that the show has given us no other evidence to support. The exact thing that makes texting so occasionally frustrating in real life—the knowledge that you do not have someone’s full attention, the awareness that you’re with someone in real life and would really rather just be paying attention to your phone—is a huge boon to romantic comedy dramatics. Oh sure, you can quibble about whether someone’s emoji looks weird, and it’s taken a while for writers and directors to figure out the best uses of texting as both onscreen images and structural devices. Texting becomes a way to quickly and smoothly introduce characters and information into a scene, and the cell phone becomes a convenient, compact ticking narrative time bomb. You can use the language of cinematic storytelling to suggest things about what a character thinks and feels, using ever-popular devices like the close-up, the montage, the musical cue. In the age of modern romantic comedies, though, texting has been more of a boon than you’d think. The question of how long to wait after responding to a text pops up on shows like The Mindy Project and New Girl. The text message edit is more immediate, intimate, and casual than those. Veronica Mars had one too; those things were pretty cool, apparently). Even though everyone still leaves the damn keyboard click sounds on. Their phones keep buzzing; they can’t even really speak to one another. It’s awkward to watch a character write and then cross out the words “I love you”—it’s stilted and unusual. Maybe the best example of this is a show like Master of None, which has an entire episode that dramatizes Dev’s struggle to negotiate a complex and delicate multiplayer text situation surrounding an open concert ticket and several women he’s potentially interested in dating. See also: The 34 Best Romantic Comedies of the Past Decade, and Where to Stream Them Texting is particularly awkward, in aesthetic and implementation, on The Mindy Project. It’s even better when you get a visual of both sides of the conversation—on Jane the Virgin, you watch Rafael type “I love you,” delete it, and then end up sending a bland response. We can watch a character say “I love you,” but again, we’re confronted with having to look at their face and wonder what they really feel. (His friend Arnold’s suggestion for how to break through a texting freeze is to send a picture of a turtle crawling out of a briefcase.) When it’s done well, texting becomes a handily universal language for how to illustrate tension and shifts in a character’s love life, especially when the romance teeters back and forth between drama (the breakup text, ghosting, the evidence-of-cheating text) and comedy (the inscrutable emoji, the sext sent to the wrong person). One of the trickiest things about telling visual stories—movies and TV alike—is how exactly you dramatize what’s going on in someone else’s head. In particular, texting has a way of letting a scene between two people weave in other voices and other perspectives, and of dramatizing that expansion. Oh sure, you can rely on the staid and often incredibly dumb voice-over trope. Scenes can grow and shrink easily. It’s also an ideal way to introduce the tension side of any romantic story—what better way to represent the conflict of a love triangle than two people in a room together, with one person receiving text messages from a third character? You’ve Got Mail is the most infamous leap into digital courtship. And we, the audience, get that delicious voyeuristic frisson of peeking into someone’s mind. The same thing happens to her date, who gets multiple check-in texts from his friend to give him an out. What are people thinking? Take what is now a familiar kind of scene from Younger: Kelsey’s on a first date with someone she met on a dating app, and she wants to make sure she has an out in case the date is terrible. New rules and how to break them. My favorite of these is the onscreen edited text message, where we watch a character type, delete, and then retype something else. Radio dramas had to figure out how to tell love stories almost entirely through direct dialogue and sound effects. Usually, TV and movies are usually stuck with exteriority. When it works, though, good texting has become an incredibly useful way to tell stories, especially stories about love and relationships. And any aesthetic or device will quickly become a way to date a TV show, making it that much harder for audiences to become immersed in the fictional world even a few years after the show gets made. Enter the text, which is not a perfect, all-encompassing solution, but does offer some intriguing possibilities for glimpses inside what a character’s thinking at any given time. Sharon gets a text from Nico, a guy she has no memory of possibly sleeping with the night before. There are countless close-but-not-quite phone operating systems that will happily distract you with their unrealistic layouts and implausible notifications. And then it easily, readily tips into gentle romance when they make a mutual decision to turn off their phones. In the 18th century, rising literacy rates and an increasingly robust postal system led to the popularity of the epistolary novel. One of the chief appeals, though, is the sense that there are rules and set expectations for how exactly a courtship works: chaperones, calling hours, and, of course, correspondence. Two people (romance) moves to four people (comedy) and then back to romance again. In the era of the modern rom-com, texting has proven to be a surprisingly useful narrative device for stories about love, hooking up, and maintaining relationships. It’s a perfect romantic comedy setup—two people sitting together at a table, being interrupted by outside voices in a way that’s lightly funny.

The Best Movies and TV Shows Coming to Netflix, HBO, Amazon Prime, and Hulu in February

10)
Hulu
Must Watch
There Will Be Blood (2007)
Good Watch
The American President (1995) The Station Agent (2003) From Dusk till Dawn (1996) Sabrina (1954) I Love You Phillip Morris (2009) (Feb. 3) Margin Call (2011) (Feb. 24) Captain Fantastic (2016) (Feb. (1928) From This Day Forward: A Trans Love Story (2016) Gun Runners (2015) Hell-Bound Train (1930) Highly Strung (2015) Hot Biskits (1931) I Am Sun Mu (2016) Invincible (2006) Les beaux malaises: Seasons 1-4 (2014) Masha’s Spooky Stories: Season 1 (2012) Mother With a Gun (2016) Project X (1987) Silver Streak (1976) The Furchester Hotel: Season 1-2 (2014) The Girl From Chicago (1932) Twilight (2008) Woman in Gold (2015) Frequency: Season 1 (Feb. 19) Crashing Series Premiere (Feb. 5)
Family Watch
The Princess Diaries 2 Royal Engagement (2004)
Nostalgia Watch
Sixteen Candles (1984) The World According to Garp (1982)
Mo’ Good Spike Watch:
Mo’ Better Blues (1990) Crooklyn (1994) Clockers (1995)
If You’re Bored
42 (2013) Bridget Jones: The Edge of Reason (2004) Crossroads (2002) December Boys (2007) Earth Girls Are Easy (1989) Hard To Kill (1990) Journey to the Center of the Earth (2008) Just Married (2003) Men in Black II (2002) Out For Justice (1991) Rendition (2007) Rosewood (1997) Snow Dogs (2002) Unfaithful (2002) The Huntsman: Winter’s War (2016) (Feb. 2) Crazy Ex-Girlfriend: Season 2 (Feb. 6) Devious Maids: Season 4 (Feb. (2016) Payback (1999) Rob Roy (1995) Sabrina (1995) Soapdish (1991) Teen Wolf (1985) Untamed Heart (1993) Wild Bill (1995) Yellowbird (2014) (Feb. 25)
New Original Programming
Solitary: Inside Red Onion State Prison (Feb. 15) Before I Go to Sleep (2014) (Feb. 12) Puppy Days: Season 1 (Feb. Simpson (2016) (Feb. 21) Touched With Fire (2015) (Feb. (All titles arrive Feb. 27)
Nostalgia Watch
Hook (1991) Pretty In Pink (1986) The Running Man (1987)
Family Watch
The Care Bears Movie (1985)
Binge Watch
The Americans: Season 4 (Feb. 4) Hostile Border (2015) (Feb. 19) Chumel con Chumel 2017 Premiere (Feb. 4) Sinister 2 (2015) (Feb. 16) Kill Ratio (2016) (Feb. We’ll let you decide which service has the best new titles. 13) Magicians: Life in the Impossible (2016) (Feb. 26) Brazilian Western (2013) (Feb. 3) Hostile Border (2016) (Feb. 6) APB Series Premiere (Feb. 24) Legend Quest: Season 1 (Feb. Undercover: Season 2 (Feb. With so many different streaming services, it can be hard to keep track of them all—especially if you belong to more than one service. 27)
“Estrenos en Español”
El Hueco (AKA The Hole) (2015) Brillantes (AKA Brilliants) (2014) (Feb. Pol Season 10 Premiere (Feb. 15) The Tunnel: Season 1 (Feb. 16)
Family Watch
Finding Dory (2016) Balto (1995) Balto 2: Wolf Quest (2001) Balto 3: Wings of Change (2004) The Chronicles of Narnia: The Lion, the Witch & the Wardrobe (2005)
Binge Watch
American Crime Story: The People v. Below, we present to you the ultimate streaming guide. 4) Clouds of Sils Maria (2014) (Feb. 14) Aram, Aram (2015) (Feb. 6) The Look of Love (2013) (Feb. 19) When Calls the Heart: Season 3 (2016) (Feb. 14) Chef’s Table: Season 3 (Feb. 28) The Voice Season 12 Premiere (Feb. 16) 10 Cloverfield Lane (2016) (Feb. 5) Girls Lost (2015) (Feb. 14) 8) Kampai! 13) King Cobra (2016) (Feb. 10) Stronger Than the World (Feb. 11) K.C. 17)
Amazon
Must Watch
Thelma & Louise (1991)
Good Watch
Into the Wild (2007) Margin Call (2011) (Feb. 28) When We Rise Series Premiere (Feb. 28)
Original Programming
The Mindy Project Season 5B Premiere (Feb. 24) Mike Birbiglia: Thank God for Jokes (Feb. 19) Night Will Fall (2016) (Feb. 8) Code: Debugging the Gender Gap (2016) (Feb. 14) White Nights (Feb. 17) The Seven Deadly Sins: Season 2 (Feb. 12) Snake City Season 3 Premiere (Feb. 17) I Don’t Feel at Home in This World Anymore (Feb. 6) The Incredible Dr. 18) Mike and Dave Need Wedding Dates (2016) (Feb. 14) Katherine Ryan: In Trouble (Feb. 13) The Young Pope Limited Series Finale (Feb. 7) MasterChef Junior Season 5 Premiere (Feb. 4) Sabrina (1954) Author: The JT Leroy Story (2016) (Feb. 28)
New Original Programming and Exclusive Premieres
Daniel Sosa: Sosafado (Feb. 14) Project MC²: Part 4 (Feb. 8) Girl Asleep (2015) (Feb. Every month, tons of new movies and TV shows become available to stream for free for subscribers to Netflix Instant, Hulu, HBO NOW, and Amazon Prime. 24) Tickled (Feb. 27)
Amazon Original Series
Creative Galaxy Heart Day Special (Feb. 6) Me, Myself and Her (2015) (Feb. 3) Michael Bolton’s Big, Sexy Valentine’s Day Special (Feb. 6) Tiempos Felices (2014) (Feb. 6) Girls Season 6 Premiere (Feb. 13) Eagles of Death Metal: Nos Amis (Our Friends) (Feb. 6) American Teen (2008) (Feb. 9) Central Intelligence (2016) (Feb. 17) Girl Meets World: Season 3 (2016) (Feb. 27) Be Here Now (2015) (Feb. 1 unless otherwise specified.)
Netflix
Must Watch
Magic Mike (2012) Paris Is Burning (1990)
Good Watch
Babe (1995) Babe: Pig in the City (1998) The Blair Witch Project (1999) The Five Heartbeats (1995) Corpse Bride (2005) The Longest Day (1962) The Nightmare Before Christmas (1993) Superbad (2007) (Feb. 8) Golden Girls: Complete Series (Feb. 3) Permitidos (AKA That’s Not Cheating) (2016) (Feb. 12) Last Week Tonight With John Oliver Season 4 Premiere (Feb. 7) The Collection: Season 1 (Feb. 10) Outback Wrangler Season 2 Premiere (Feb. 15)
007 Watch
Diamonds Are Forever (1971) Die Another Day (2002) Goldfinger (1964) Live and Let Die (1973) The Living Daylights (1987) The Man With the Golden Gun (1974) Never Say Never Again (1983) Octopussy (1983) The Spy Who Loved Me (1977) The World Is Not Enough (1999) You Only Live Twice (1967)
If You’re Bored
Dead Heat (1988) Drop Zone (1994) Escape From Alcatraz (1979) The Firm (1993) Forces of Nature (1999) Frankie & Johnny (1991) Hoosiers (1986) I Went Down (1997) Judgment Day (1999) Kiss the Bride (2002) My King (2015) Nuts! 15) As Cool as I Am (2013) (Feb. 12) American Teen (2008) (Feb. 11)
Food Porn Watch
Sausage Party (2016) (Feb. 17) DreamWorks Dragons: Race to the Edge: Season 4 (Feb. 15) Sundown (2016) (Feb. 11) The Legend of Tarzan (2016) (Feb. 3) Santa Clarita Diet (Feb. 12) Milk (2008) (Feb. 18)
Stoned Watch
The Fountain (2006)
If You’re Bored
Addicted to Love (1997) Black Hawk Down (2001) Chocolat (2000) City of Angels (1998) Dead Heat (2002) Drop Zone (1994) Dying Laughing (2016) Escape from Alcatraz (1979) Failure to Launch (2006) The Firm (1993) Forces of Nature (1999) Forget Paris (1995) Frankie & Johnny (1991) Girl, Interrupted (1999) Hoosiers (1986) How to Eat Fried Worms (2006) Hubble (2010) I Went Down (1998) Judgement Day (1999) Kiss the Bride (2004) The Machinist (2004) Olympic Pride, American Prejudice (2016) The Only Way is Essex: Season 17 Payback (1999) Rent (2005) Revolutionary Road (2008) Rob Roy (1995) Sabrina (1995) Shakespeare in Love (1998) Soapdish (1991) Untamed Heart (1993) Wild Bill (1995) The Dog (2013) (Feb. 12) Taken Series Premiere (Feb. 20) Unlocking the Cage (Feb. 8) Lawless Oceans: Season 1 (Feb. 20) Vice Season 5 Premiere (Feb. 7) Abstract: The Art of Design (Feb. 23)
If You’re Bored
Ashley Madison: Sex, Lies, and Cyber Attacks (2016) Contact (1997) Eleven P.M. 3) Imperial Dreams (Feb. 13) Big Little Lies Limited Series Premiere (Feb. 26) Havana Motor Club (2015) (Feb. O.J. 24) Ultimate Beastmaster (Feb. 6) Restored Me (2016) (Feb. 10) Landfill Harmonic (2015) (Feb. 24) Ultimate Beastmaster Mexico (Feb. 28)
HBO
Must Watch
The Breakfast Club (1985) Broadcast News (1987) Do The Right Thing (1989) Raging Bull (1980)
Good Watch
A Bigger Splash (2016) Interview With The Vampire (1994) Mystic River (2003) Rain Man (1988) Road to Perdition (2002) Crimson Peak (2015) (Feb. 19) Growing Up Wild (2016) (Feb. 5) Los herederos (2015) (Feb. 19) Tini: El Gran Cambio De Violetta (2016) (Feb. 4)
Family Watch
Care Bears Movie (1985)
Nostalgia Watch
Pretty In Pink (1986) The Running Man (1987)
Binge Watch
Murder in the First: Season 3 (Feb. 11) Girlfriend’s Day (Feb. 7) Gender Revolution: A Journey with Katie Couric Special Premiere (Feb. 13) The Boondocks: Complete Series (Feb. 4) UnReal: Season 2 (Feb. 10) David Brent: Life on the Road (Feb. 24) VeggieTales in the City: Season 1 (Feb. 2) Elvira I Will Give You My Life but I’m Using It (2014) (Feb. 15) Fire Song (2015) (Feb. 20)
TV Premieres
24: Legacy Series Premiere (Feb. For the Love of Sake (2015) (Feb.

James Franco Takes On Robert Duval (And Capitalism) in the Trailer for In Dubious Battle

17, or we might have real trouble on our hands. Other people on the right side of things include Selena Gomez, Vincent D’Onofrio, Sam Shepard, and Ed Harris. If ever there were a time for a movie in which a mass worker’s movement battles the cruelty and stupidity of the 1%, surely it’s right now. Meanwhile, Bryan Cranston plays the local muscle, while Robert Duvall is in full-on Noah-Cross-in-Chinatown mode as the man who’d love to pay his workers a living wage, except for the fact that he doesn’t want to. It looks like that’s just what James Franco is offering with In Dubious Battle. The film, directed by Franco from Matthew Rager’s adaptation of the John Steinbeck novel (an Obama favorite), is about a strike among fruit pickers in the 1930s. It’s been a long time since the last big star-studded drama about labor issues (North Country, maybe?), but then it’s also been a long time since mass protests had an effect on the presidency. Somebody better make a Transformers movie before this comes out on Feb. Nat Wolff, from The Fault in Our Stars, has the lead role of a labor organizer while Franco plays his mentor. From the trailer, In Dubious Battle looks like a throwback whose time has come. Along with the upcoming The Belko Experiment—in which office employees are made to murder each other for their bosses’ enjoyment—it looks like we may be headed for a rare period of honesty in cinema about relationships under capitalism.

Get a First Look at Rihanna in Bates Motel, Just Don’t Be Creepy About It Like That Bates Kid

It’s not like you know her or anything. Besides, Mother’s eyes are looking a little cloudy lately, and it’s not entirely certain she can see much of anything. What are you—no! You are not putting me in that fruit cellar again, Norman, do you understand me! As if men don’t desire strangers, as if—oh, I refuse to speak of disgusting things because they disgust me! Mother!!! She’s a stranger! Tell her you don’t care to watch online trailers at all. You can put your eye just as close to the screen as you want. Blood! Go on, tell Rihanna she’ll not be appeasing her ugly appetite with your clicks! What did you do? Mother, played by Vera Farmiga, might not technically approve, but she doesn’t have to know about it. I mean, would Mother even blame you for taking a quick look at Rihanna in an internet video, anyway? Do you have the guts, boy? You’ve set it up perfectly: Rihanna has no idea you’re watching her. Mother! Mother! Oh God, what… In what may be the best piece of stunt casting short of somehow getting Ed Gein to play Norman Bates, Rihanna will play Marion Crane in the fifth and final season of A&E’s Bates Motel, and the new trailer gives us a first look at her appearance in the role (played by Janet Leigh in the Hitchcock film.) Just press play on the video above and take a look. No one has to know at all. No! Not again!