Top Ten Men Who Deserve Biopics {MotH Original}

{Originally appeared in Man of the Hour Magazine on July 17th, 2014}

Raging Bull, Martin Scorsese’s 1980 opus, is widely considered to be one of the greatest biopics in history, praised for its unflattering and unflinching portrayal of its subject, boxing champ Jake Lamatta. The film endeavored to show every flaw of the unrepentantly repugnant pugilist, which is why many were left puzzled by the film’s post-script, John IX. 24-26: “So, for the second time, [the Pharisees] summoned the man who had been blind and said: ’Speak the truth before God. We know this fellow is a sinner.’ ‘Whether or not he is a sinner, I do not know,’ the man replied. ’All I know is this: Once I was blind and now I can see.’” In part, this was included as Scorsese’s admission that this film was his own personal attempt at redemption, but also a reflection of cinema’s unique power: for turn the mirror towards its subject. Lamotta famously admitted he didn’t realize just how reprehensible he was until he’d seen the film. It’s that classic idea, the cinema du ciel, that when you die, your whole life plays out before you like a movie, to see the good and the bad, to truly know who you were. In that sense, everyone deserves a biopic.

Every story deserves to be told, and yet comparatively so few are. In fact, to look at the array of biopics in existence (or soon to be), its shocking how some of the most powerful, prominent and influential men in history have never had their lives committed to celluloid. It’s remarkable its taken so long to bring some of music’s greats to the screen, like this year’s Get On Up (James Brown), All Is By My Side (Jimi Hendrix) and the recently crowd-funded Miles Ahead (Don Cheadle as jazz legend Miles Davis), and yet still so many great men’s stories have gone untold. We here at Man of the Hour have selected the ten most essential stories that need the big screen treatment, and who is perfect to play them, so read on, and find out what great stories you’re missing out on.

10.) Jerry Siegel & Joe Schuster

Who were they? In 1934, two young Jewish kids from Brooklyn created a character who would take the world by storm. An immortal Man of Steel who would be worth millions, and would spawn a multi-billion dollar industry; and they would barely see a dime. These are the men who made Superman.

Why do they deserve a biopic? Because from Superman, everything else was born. He’s arguably the most important fictional character of the past century, and in a time where every blockbuster has a superhero, it’s important to see the roots of the industry. Siegel and Schuster are martyrs for creator rights, since the juggernaut DC Comics perpetually claimed sole copyright, declaring all of the team’s work as “work for hire” (the team had sold the rights to Superman to what was then National Allied Publications for $130 dollars) and therefor exempt from any royalties for any derivative work. Both died with little to show for their revolutionary creation, and have only had their story told in part, being major influences on Michael Chabon’s Pulitzer-Prize winning The Amazing Adventures of Kavalier and Clay.

Who should play them? For Joe Schuster, the more reserved but emotionally distraught artist, Miles Teller (of this year’s Sundance hit Whiplash) would be ideal. As for Jerry Siegel, the writer with a love for science fiction and aspirations of literary fame, two time Academy Award nominee Jonah Hill would suit the role. Hell, it may actually get him that statue this time.

9.) Billy Graham

Who was he? A religious leader who rose to prominence in 1949 and remained a a powerful force to this very day. He was a spiritual advisor to every president from Harry S. Truman to Barrack Obama, and appeared on Gallup’s list of most admired men and women more times than any other person in the world.

Why does he deserve a biopic? Billy Graham is a controversial figure in the most definitive sense of the word. It’s impossible to label him good or bad in terms of his influence and power. He was a large supporter of the Civil Rights movement, promoting integration and even paying Martin Luther King Jr.’s bail repeatedly. He bonded with Richard Nixon over anti-Semitic views about a “Jew-run media”. He refused to join Jerry Falwell’s Moral Majority, though his crusades and revivals contributed to the party’s very foundation. He supported Mitt Romney, but denounced Mormonism. He fought apartheid, cracked jokes with Woody Allen, supported Vietnam, won countless awards and reached an estimated 2.2 billion people in his lifetime.

Who should play him? What set Graham apart from every other Evangelist was his passion, his sincerity and his charisma. He had the power of a president, and the strength and will to command it. He was fiery, well-intentioned and at every move potentially dangerous with the force he wielded. The kind of dark, confident charm Leonardo DiCaprio brings to almost every role, which would make him an ideal candidate for the film.

8.) Ruhollah Mostafavi Moosavi Khomeini

Who was he? A political and religious leader who united a nation against a corrupt ruler, made powerful enemies, and attempted to close one of the largest religious divides in history.

Why does he deserve a biopic? One of the most important figures in the history of Iran, and indeed the whole of the Middle East and the Islamic faith, yet we in the US know only what we gleaned from a bit of exposition in Argo. After years of oppression under the US and UK supported Shah (who’s lineage’s rise to power was summed up brilliantly by the 2007 film Persepolis) and his abusive secret police the SAVAK, the people of Iran rose up and overthrew their leader, putting in place Khomeini (who had spent 15 years in exile under the Shah’s regime) as the newly created Supreme Leader, which gave him the highest political and religious power in the nation. His tumultuous rule included attempts to unite Sunni and Shia Muslims, instituting strict conservative laws and supporting the Iranian hostage crisis. In 1979, he was named Time’s Man of the Year, and remained hugely influential, dubbed the “virtual face of Islam in Western popular culture” until his death in 1989.

Who should play him? Admittedly, most people wouldn’t know Amr Waked if you showed them a picture, but he has both the look and the talent to pull of the Ayatollah, with memorable performances in Syriana andSalmon Fishing in the Yemen.

7.) Jim Henson

Who was he? A puppeteer who built an empire, and an artist who left us far too soon.

Why does he deserve a biopic? Jim Henson was an artist, a director, a writer, a producer, a director, an inventor, a cartoonist and a puppeteer, best known for creating the hugely successful Muppets and the (let’s face it, inarguably) greatest children’s program of all time, Sesame Street. Creating the character of Kermit the Frog for commercials and small TV programs, Henson got the opportunity to create puppet segments for a new NBC program originally called NBC’s Saturday Night (later known as Saturday Night Live). From there, Henson created The Muppet Show, whose characters (and subsequent spin-off films and TV shows) have netted profits in the billions. This is to say nothing of Sesame Street’s massive success and influence as well as the cult hit Fraggle Rock, both of which he created. Yet, Henson was always a dreamer, and always dreaming bigger, from feature films (Labyrinth, The Dark Crystal) to theme park attractions (Jim Henson’s Muppet-Vision 3D) to designs for a night-club that would sadly never be. Henson, who had been raised in a Christian Scientist family, refused to seek medical attention when flu-like symptoms arose until it was too late, and died attached to a mechanical ventilator in a New York hospital at age 53.

Who should play him? Henson was a sensitive, introverted, and at times self-destructive man, who died because, as his ex-wife asserted, “he didn’t want to bother anyone”. Ben Whishaw (best known as the new Q in Skyfall) could tackle the complex inner workings of such a gentle but creative soul.

6.) Vladimir Lenin

Who was he? A revolutionary, a politician and a philosopher who lead one of the most famous government overthrows in history, turning a poverty ridden country into a super power.

Why does he deserve a biopic? Second only to Karl Marx in terms of importance to the Communist movement, Vladimir Lenin was one of the leaders of the October Revolution of 1917 which overthrew the Russian government and created the world’s first constitutionally communist country, the Russian Socialist Federative Soviet Republic (later known as the USSR, our rivals in the Cold War). Lenin was made leader of this new state, and set about dividing wealth amongst the people and establishing new treaties and regulations. His reign was a roller coaster ride of assassination attempts, territorial expansion and acts of terrorism upon his own people, until a stroke left him mute and bed-ridden until his eventual death, but the Leninist philosophy still lives on.

Who should play him? Reserved, intellectual and charismatic, Anton Yelchin could honestly pull of the famed Communist revolutionary, so long as his accent improves a fair bit from Star Trek (we know it was intentionally bad, we just want to hear him do a good one).

5.) Frank Sinatra

Who was he? Come on. He was “the chairman of the board”.

Why does he deserve a biopic? Because if Marty thinks so, its so. It’s true that Scorsese has had his eye on the story of Sinatra for a long time (presumably with DiCaprio playing Ol’ Blue Eyes himself), but while that may never come to pass, the story must get told. A little Italian crooner from Hoboken rises up from a singer with Tommy Dorsey to one of the most acclaimed and beloved singers of all time, winning eleven Grammys, a Congressional Gold Medal, and even an Academy Award. He invented the concept album with the somberly brilliant In The Wee Small Hours of the Morning and brought us the classic film The Manchurian Candidate. He faded out in the face of rock and roll only to come roaring back with the triumphant “My Way”, and would record the anthem of New York City, “New York, New York”. His association with the Kennedys and the mafia (it’s a well-known fact Sinatra was the inspiration for Johnny Fontaine in The Godfather), as well is his many storied relationships (including one with Mia Farrow, resulting in an elderly Frank threatening to “straighten out” Woody Allen) made Sinatra a vibrant and powerful character until the day he died. He’s a legend, and a story waiting to be told.

Who should play him? Yes, Scorsese wants Leo to do it, but he wants Leo to do everything, even when he can’t (lest we forget his atrocious accent in Shutter Island), so forgive us if we’re reticent to see his take on the Chairman. A better call, and not just in appearance, would be a more gruff and grizzled actor, like Jeremy Renner. Not only could he pull off the street-smart quips and intimidating air, but unlike DiCaprio, we know Renner has some pipes on him.

4.) Edmund Hillary

Who was he? A mountaineer who achieved what some thought impossible.

Why does he deserve a biopic? Sir Edmund Hillary was a mountaineer from New Zealand who did the impossible: he reached the summit of Mount Everest. His troubled and storied journey to the top with Tenzing Norgay has been told in countless books, but perhaps because of the massive budget recreating such a daring feat would take, it has never been properly dramatized. With today’s technology, it’s finally possible to bring the harrowing struggle to the summit to life once more.

Who should play him? Certainly Hillary was not the bulkiest of men, but if he was willing to muscle-up for Bane, Tom Hardy could surely slim down for Edmund. Hardy has the talent (see Bronson) and the humor (doing his best James Bond in Inception) to pull off such a giant of exploration.

3.) Hugh Hefner

Who was he? The builder of an empire, the face of a movement, and the purveyor of pleasure for generations.

Why does he deserve a biopic? If smut-peddler Larry Flynt gets one, how come Mr. Playboy doesn’t? Hugh Hefner started Playboy magazine with some nude pictures of Marilyn Monroe and start-up money from his mother and built it into a massive empire to rival that of Walt Disney, and indeed his Playboy Clubs and mansion were the Disneyland for adults. He took what could have been mere pornography and turned it into a platform for gentlemen, revolutionizing what a men’s magazine was, taking it from hunting and fishing to the finer things in life, showing that real men enjoyed sharp suits, fine wine and the best jazz records around. He followed trends, and then he set them, appearing on Playboy After Dark, a television talk show which birthed the iconic “pipe and smoking jacket” look Hef still rocks today. Playboy faced hardships but evolved with the times, and Hef’s personal life was so tumultuous and jet-setting it earned a massive biography from Steven Watts as part of a trilogy (alongside Henry Ford and, who else, Walt Disney).

Who should play him? Robert Downey Jr. has been tossed around for the role in several proposed films, but Downey was naturally charming. Hef, in his early years, was a bit of a nerd. An awkward, shy virgin until marriage kind of guy who cultivated the image of a confident playboy by being observant and business savvy. In that way, as well as appearance and even voice, he’s less Downey and more Jesse Eisenberg, who showed his flair for folks with business acumen in The Social Network (and who makes a hell of a lot more sense as Hef than Lex, but we won’t even get into that).

2.) Henry Ford

Who was he? A maverick industrialist who changed the country, and indeed the world, forever.

Why does he deserve a biopic? The father of the Model T, the founder of Ford Automotive, and the brains behind the concept of mass production, Henry Ford is America, plain and simple. His innovative ideas, revolutionizing the auto industry (and essentially being the face of a new Industrial Revolution) is only half the reason, the other half being is incredibly exciting personal life, the kicker being the 1901 race between Ford and Alexander Winton, upon which hinged Ford’s entire future, which was dubbed the “Race That Changed the World”.

Who should play him? Ford was a quirky man, soft-spoken but confident, and would be the perfect role for Paul Dano (There Will Be Blood)

1.) Socrates

Who was he? The single most influential philosopher (and perhaps human being) in the history of mankind, and a martyr for free thinking.

Why does he deserve a biopic? His is one of the most cinematic stories of all time. Having travelled Athens conversing with those who sought his wisdom, Socrates (from whom all Western philosophy has been been derived) is tried for crimes against the people, and eventually sentenced to death, which leads to his delivery of one of the single greatest pieces of writing in Western literature, the Apologia. In the company of his friends, Socrates drank poison, demanding they not weep for him, as death being unknown cannot with certainty be deemed bad. His embrace of logic and rational thought has inspired millions, and his teachings are still studied by scholars today.

Who should play him? Socrates has to be a man of intellect, one who can be both kindly enough to guide his pupils to the truth (Socrates never lectured, but rather discussed and questioned, letting people come to the conclusion themselves), yet powerful enough to deliver the impassioned Apologia. The kind of gravitas this role would require only belongs to a select few, most particularly Kevin Spacey.

So, that’s our picks for the Top Ten Men Most Deserving of Biopics. Have a different opinion? We’d love to hear it. Leave a comment, and we’ll discuss it, Socrates-style.

Headphones: Viet Cong in Milly's Garden {MotH Original}

{Originally appeared in Man of the Hour Magazine on July 16th, 2014}

We’re halfway through the summer concert season, which means it’s too late to grab tickets for the big name acts coming around. So what’s a guy to do if he needs a last minute date? Or what if friends are coming to town, or he just needs a night out? Don’t worry, man. Headphones is here to shine a light on the best unknowns playing today, so you can cozy up in some little club downtown and catch some great tunes (which is the only way to hear them without a record player, in the case of our album pick). So plug in, push play, and get set for this week’s Headphones.

Album: Cassette by Viet Cong

Viet Cong is one of the best post-punk bands performing today, though you wouldn’t know that unless you’d seen them live. And not in that “Phish are only good live” kinda way. In the way of “They only have one album, and it’s only sold at tour stops. And its on cassette.” The album, appropriately titled Cassette, required a concert ticket and your boom box from 1998 just to be able to hear it up until now, with Mexican Summer reissuing it on vinyl (bad news for digital fans, there’s no immediate plans for an mp3 release). The listener may find themselves even more angry they couldn’t have it sooner once they hear how sonically satisfying and tonally consistent the album is. It’s an extremely promising debut from the band, and it’ll wet your appetite for their next album.

Single: “Milly’s Garden” by Steve Gunn

Brooklyn-based indie artist (and former Kurt Vile guitarist) Steve Gunn is back with a new track off of the upcoming Way Out Weather, and its Beck-eqsue mellow drive creates a perfect environment for Gunn’s bluesy guitar riffs. Gunn’s music has always had a Clapton/Allman vibe in its guitar playing, while sonically rooting itself in this post-Radiohead era. “Milly’s Garden” is the kind of mellow jam worthy of this brutal summer weather, the kind you roll the windows down for and cruise down the highway, lost in the mystic of the music.

Music Videos:

Electronica: "Dynamite" by Afrojack

It’s extremely fitting that an Afrojack video featuring Snoop Dogg would combine both genre’s aesthetics and tropes: the kaleidoscopic visuals and bizarre shot choices of an EDM video and the party setting and gyrating hips of the typical hip-hop hit. That said, its hard not to enjoy this new release, both for its catchy melody and its clearly self-aware blending of cliches. If you think perhaps the director wasn’t aware of how absurd both video genre’s have gotten, and that this video is sincere rather than skewering, just wait for the explosive ending.

Hip-Hop: "Pills N’ Potions" by Nicki Minaj

Love her or hate her, Nicki Minaj is an inescapable force in hip-hop today, and even if hit-wise she’s yet to top “Super Bass”, her videos keep getting better and better, as is the case with the artfully trippy “Pills N Potions”. The song showcases her softer side, while the video plays like a typical female hip-hop ballad that slowly deteriorates into madness.

Pop: "URL Badman" by Lily Allen

Lily Allen has never been shy about her strained relationship with internet press, and with this track off of her third album, she spits all of her typical cutesy vitriol at those foul, awful smug internet based music critics tapping away at their laptops. We’d be offended if it wasn’t so good.

R&B: "Two Weeks" by FKA twigs

Dazzling. That’s all that can be said about the video for “Two Weeks”. Inventive. Stunning. Memorable. It’s the kind of ambitious artistry that staggers opinions and evokes one word reviews. If there’s a must see video this week, this is it by far.

Rock: "Maps" by Maroon 5

Maroon 5 released a new video on July 2nd, and if you’re in a relationship, odds are you’ve seen it ad nauseum since your significant others finds Adam Levine “so dreamy” (it’s a law of nature, one person in every relationship has a thing for Levine, and the other always hates him for that reason). However, if you somehow haven’t seen it, set aside the disdain for the current “Sexiest Man Alive” and enjoy what might be the band’s best video to date.

The Buzz: Tyrant, Begin Again and Everything Will Be OK {MotH Original}

{Originally appeared in Man of the Hour Magazine on July 12th, 2014}

Well, here you are, dear reader. The Fourth of July hangover has finally ended, and you’re cleared eyed enough to face the big-screen disappointments: Not enough Grimlock in Transformers 4; very little “Evil” for Eric Bana to deliver you from; Jersey Boys dragged and Tammy, well, exists. So what is a man to do with his money when it seems there’s no multiplex magic to be had? Rest easy, dear reader, there’s a whole different scene to be seen before any ape planets dawn, so let’s take a walk on the indie side with this week’s buzz.

Movies: 2006 brought cinema one of its most delightful indie gems in years, a subdued Irish love story wrapped in shaky cameras and stunning songs. Once may not have made huge waves when it hit, but its Oscar-winning “Falling Slowly” has had a steady place on the airwaves (and practically every season ofAmerican Idol), launching the careers of its composers (and the film’s stars) Glen Hansard and Marketa Irglova. The Broadway apadation of John Carney’s micro-budget flick won 8 Tony awards and still consistenly sells out on a nightly basis, and the film has found itself revisited with the kind of gusto and admiration it deserved on first release. So naturally, John Carney’s next attempt at bat would be greeted with much more intrigue and support, and after an Ireland-only oddity called Zonad, Carney is back with Begin Again.

The film boasts an impressive cast including Academy Award nominees Mark Ruffalo (The Kids Are Alright), Keira Knightley (Atonement), Catherine Keener (Being John Malkovich) and Hailee Steinfeld (True Grit), as well as Maroon 5’s Adam Levine. It swaps Once’s covert-cam approach on the misty streets of Dublin for the bold neon lights of New York City, and utilizes larger spaces and visual effects in the way only an indie director with a bigger budget can, and indeed fumbles in some of the same ways. Yet, that’s not to say Begin Again is not without its joys.

First off, lets simply address the fact that if likeability were a form of energy, Mark Ruffalo could power Detroit; so combining his ever endearing charm with Keira Knightley (who throughout the film seems like she’s having the most fun of any she’s done) is going to make for an entertaining bit of cinema. At the very beginning, we’re introduced to Knightley’s singer-songwriter Greta via an onstage performance at the behest of platonic pal Steve (Tony-winner and Doctor Who alum James Corden). Knightley shows off a surprisingly impressive vocal talent with “A Step You Can’t Take Back”, one of 12 original songs written for the film, and entrances the as-yet unidentified Ruffalo, whose broken down, broken hearted (but not hoover-fixer-sucker) guy Dan Mulligan had earlier that day been fired from his own record label for his touched-upon-but-never-made-consequential alcoholism. The film early on jumps around in time, ultimately showing Greta’s performance from three different perspectives (Dan’s, Greta’s and the audience’s). Dan’s drunken observation of Greta’s timid intonations results in one of the film’s truly memorable moments, where we witness the mind of a producer at work, hearing what isn’t there by showing invisible forces building an orchestra around her. It reminds us that Carney isn’t a fluke success, nor that he simply got lucky with Once’s cast. He’s a talented director, shown brilliantly when Greta returns to reconcile with cheating rockstar boyfriend Dave Kohl (Levine, who spends half of the film with either a Darren Aaronofsky mustache or Matisyahu beard, making it easier to hate him as all men deep down jealously do), and the camera lingers, allowing for a single teared, wordless epiphany that builds to a tender ending. All in all, Begin Again is a cute and overall satisfying film, and would serve as an intriguing and promising debut for any director. It’s the very fact that it isn’t a debut that truly hurts the film.

You see, for all its positives, Begin Again suffers most from the fact that it isn’t Once. The story isn’t as simple or relatable, and several moments seem downright contrived (recruiting a chorus of precocious street kids who can harmonize seems strange, even for New York). The cleaner visuals the ultra-expensive RED camera provide strip away some of the gritty, indie feel that made Once so endearing. The songs aren’t nearly as good, and are on the whole so lyrically and melodically simplistic as to be forgotten almost as soon as the credits roll (the only truly standout track, both lyrically and melodically, is “Coming Up Roses” which is the only one written by Once’s Hansard and not New Radicals frontman Gregg Alexander). In addition, it must be said that while both Knightley and Ruffalo are tremendous actors with great chemistry, nothing can match the sensation of watching two amateur actors’ raw, sincerely romantic connection during a live performance of “Falling Slowly” in a piano shop. This is not to suggest that films should always be viewed in the shadow of its director’s previous work, but when Carney crafts a film so similar in both theme and plot so as to essentially be an (unintentional) companion piece, its bound to happen, and if it he didn’t expect that, he should have. Once captured two people truly falling in love (Hansard and Irglova began a relationship shortly after the film’s completion), and while no man can be expected to catch lightening in a bottle twice, doing it once is gonna make all those other bottles you got seem mighty empty by comparison.

Begin Again is a thoroughly enjoyable film, with some endearing moments, and definitely a date flick for you and the lady friend. But for something truly memorable, jump on Netflix, and seek out the simpler, spectacularOnce afterwards.

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Some films, like Begin Again, are fine distractions that occasionally touch a heartstring. Other films, like last year’s Blue is the Warmest Colour, pack the kind of emotional punch that comes maybe once or twice a year at best. And yet, some films are once in a lifetime, and such is the case with Boyhood.

To paraphrase Robert Plant, Richard Linklater is a traveller of both time and space. Many suggested that his now-trilogy of films with Ethan Hawke and Julie Delpy were his most ambitious statement on his favorite existentialist topic, the passage of time. The trilogy, beginning with 1995’s Before Sunrise, has returned to a couple every nine years, in a different European city, to watch them muse about life, love, and their own insecurities. Yet, no one could have dreamed of a project on a scale as massive as this year’s Sundance mind-blower Boyhood. Utilizing the same three lead actors (Ethan Hawke, Patricia Arquette and newcomer Ellar Coltrane) to tell the story of a boy’s life over the course of 12 years, the film was actually made in real time. You follow Ethan Hawke from Training Day to The Purge, and you watch Ellar Coltrane age from 6 to 18, feeling the astoundingly crushing and somehow inspiring passage of time play out on screen as it never has before. The film is emotional, powerful, and the kind of stunning achievement that simply has to be seen. Get yourself to your nearest big-city theater (if you’re on Long Island, we’ll keep our fingers crossed for you) and see this film, because there may never be another like it, at least not in our lifetime.

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Can’t get to the city to catch Boyhood, but still want something worthwhile to watch? Well, one of the year’s best films has just hit Blu-Ray, and it features one of the best and most daring performances from our lady of the month. It seems as though science fiction is making a comeback, both in the mainstream (last year’s colossal Gravity) and this Sundance hit from Jonathon Glazer (Sexy Beast). Originally hyped for containing Scarlett Johansson nudity (and trust us, its got a lot of that), the film has a visual style so unique and inventive that calls to mind that classic 70’s experimentalism without feeling like any film you’ve ever seen. The closest comparison is Nicolas Roeg’s The Man Who Fell To Earth, utilizing a detached alien figure who entrances humans in order to examine and criticize our nature. Yet, Glazer seems unconcerned with storytelling, or at least with spoon-feeding the audience a narrative like modern science-fiction seems so eager to do now (there’s no Ellen Page exposition machine anywhere to be found in this film). Johansson, for her part, is extraordinary as an alien who (from what can be gleaned from Glazer’s 2001-esque image collage) collects stray humans in order to bring them ion her ship, strip down with them, and walk them into a mysterious black pool where they’re stripped of their flesh. The film is a mystery, and an extremely transfixing one at that. From its ominous score to its striking cinematography, Under the Skin earns its title by lingering like some gorgeous ethereal puzzle in the mind of the viewer. It’s one of the best films of 2014 thus far, and required viewing for any fan of sci-fi or Scarlett. Pick it up on July 15th at your local brick and mortar movie store.

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TV: FX’s Tyrant seems tough to nail down from the ads. Early on, its ambiguous teasers felt like another network trying to jump on the Homeland bandwagon. Yet, the premise, once further revealing, was an interesting one. Perhaps this could give another take on the Middle East conflict, and hopefully provide a more sympathetic view of Muslims and Arabs than Homeland’s almost hyper-racism. Indeed, giving us a family man returning to his home country could be an attempt at acknowledging the problems in the Middle East while still reminding us the average person is still good and…what’s that, FX? You…you cast a white guy in the lead role and are just bona pretend he’s Middle Eastern? Well, that’s not good. And overall, neither is Tyrant. It’s a thriller that simply never gets thrilling, and an attempt at a post-9/11 Sopranos without any of the tension or intrigue. The show callously utilizes sexual violence in such a cavalier fashion as to be disconcerting for all the wrong reasons (unlike FX’s Louie, these characters are fully aware what rape is, and linger on it far too long for any real purpose to be clear), and Adam Rayner is so starkly dull as the lead that one questions why they chanced justifiable outrage at a white man in brown face in the first place. A show where the second son of a Middle Eastern dictator returns to his (fictitious) home country could have been a very interesting idea, and still can be, if it doesn’t continue to be the family drama no one’s asking for, nor the “power corrupts” parable no one needs to hear for the 8,000th time. There’s a great show within the bones ofTyrant, truly there is, so its worth keeping tabs on. But for now, keep it in the corner of your eye and off your DVR.

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News: We here at Man of the Hour want to bring you the biggest news in the entertainment world, but this story, you don’t need us to know about. We all have that friend who takes the Harry Potter books way too seriously for their age. We all loved them as kids, poured over every page, but they’re the ones who still read them, and tray both book and film as works of great import, on par with Gatsby and Kane. The Wizarding World of Harry Potter seems cool, but they treat their visits like the Hajj. We all know that guy. So you don’t need us to tell you that J.K. Rowling has gone back to the well of the series she ended a three picture deal with Warner Bros. ago to give us all an update on Harry and co., like an epilogue to an epilogue, in the form of a Rita Skeeter article on the Quidditch World Cup. She released this via her Pottermore website, where Potter fans can gather, talk about which House they should be sorted into, get super-excited for the new trilogy (yes, trilogy) of films based on Rowling’s Magical Beasts and Where To Find Them spin-off book, and hum the film’s theme tune while rocking back and forth and pretending its still 1998 and there’s plenty more books and years ahead of them.

Oh yeah, and those Emmy nominations happened. After the seemingly unfair decision by HBO to run their stellar mystery miniseries True Detective as a Drama (the toughest category in the Emmys) instead of the much weaker Miniseries category (where Pizzolato’s writing, McConaughey’s haunting performance, and intend the whole transfixing television show itself could win big), at least some good can be seen from the choice: It knocked out Homeland. The 2012 winner faltered in its second season, and fell flat on its face in its third, so its at least nice to see folks come to their senses (for the most part). The Drama category was filled with the best TV had to offer this year: the aforementioned True Detective, the PBS period drama Downton Abbey, HBO’s massively popular sword and sex epic Game of Thrones, the Kevin Spacey starring political thriller House of Cards, and AMC’s two golden children, the four time Emmy winner Mad Men and the reigning drama champ Breaking Bad, for whom this is the last year to receive any awards (like they haven’t already won them all). Meanwhile, over in the comedy category…well…there were some positives, but let’s not go calling it the best of TV just yet. Sure, Louie received its usual deserved accolades, and Orange Is The New Black was a welcome addition to the category (this year’s Emmys recognize Season 1, next year will be for the even more addicting second season). Yet, the rest of the nominees seemed kind of…tired. Look, they’ve trotted out the past-its-prime Modern Family once more, and the too-popular-for-its-own-goodBig Bang Theory, whose laugh track and cheap sex jokes now cut like daggers to fans of the early cult-hit days. Veep got another nod, yet the show seems more and more a weight carried entirely by Julie-Louise Dreyfuss’ tremendous talent, and HBO’s Silicon Valley received a nomination in what was assumed to beGirls’ reserved spot, as though to tell the Dunham hit to tone down its self-importance and step up its game. Were there a few snubs? Yes, ad these noms will be discussed in greater detail as the big night approaches, but for now, let’s focus on the biggest upset, which is not a lack of a name, but rather far too many big ones: the Best Lead Actor in a Drama category. The eternal Emmy bridesmaid Jon Hamm looked poised to watch the equally deserving Bryan Cranston to take the stage once more for his final bow, with a slight chance at an upset if voters realized Hamm’s singular genius has gone unrecognized. But last year Kevin Spacey was tossed into the mix, and in an already tough category, you don’t wanna have to now go up against Kaizer Soze too. This year saw the addition of both Woody Harrelson and recent Oscar winner McConaughey (who not only should have been split into Lead and Supporting actor, but should have both been in Miniseries to guarantee their astounding work be recognized), meaning the forever favorite Cranston will be going up against two Oscar winners and a nominee (lets not forget, since True Detective rotates its cast, this is the last shot for Matt and Woody as well as Cranston for their respective shows), and Hamm falling to the wayside once more, holding out hope that maybe their final seasons (which started this year, but ends next) might finally bring him the gold. Oh, and Jeff Daniels is also nominated, which didn’t make sense last year (when he somehow won) and makes even less sense this year, when The Newsroom seemingly functioned solely to prove an HBO show could be more smug than Girls.

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Short Film: “If cinephiles think shorts don't generate the same sort of hype and fanbase as feature films, they obviously haven't heard of Don Hertzfeldt” the Sundance Film Festival once said, and its hard to argue. Don Hertzfeldt may well be the greatest animator no one knows, even though his 2000 masterpiece of experimental animation Rejected received an Academy Award nomination for Best Animated Short (but ultimately lost to Father and Daughter, a traditionally animated Dutch short that was far less fun and meme-worthy). His style has been copied in countless commercials, and his work with King of the Hill creator Mike Judge on The Animation Show has served as the best outlet for animators since the death of Liquid Television. His hilarious Rejected paved the way for a much more bold and daring experiment called The Meaning of Life, which brought him even more critical acclaim and gave him the creative freedom to begin a three part series of shorts revolving around the hat-wearing character of Bill, the first part being this week’s short Everything Will Be OK.

Hertzfeldt’s short starts as an existentialist meditation as we follow Bill through his daily life, and learn about the stray thoughts and strange dreams which occur to him. Thoughts about death, strange quirks and social anxieties. It plays out very much like that David Foster Wallace short story “A Radically Condensed History of Post-Industrial Life”, but it builds from there, or more so deteriorates, as we discover something is wrong with Bill. At first, it seems these are new developments, but we find (with vague mentions of medications “no longer working”, etc.) that this character, whose stray thoughts and quirks, has a problem (possibly schizophrenia, though its never addressed directly). Typical Hertzfeldtian imagery appears (the “pipe is leaking” fish man, the demonic stick figures with barbaric yawps) but instead of inducing laughs emphasizes the distorted reality Bill witnesses, and perhaps Don sometimes witnesses, and that we the viewer are so very close to witnessing ourselves. Overall, however, Everything Will Be OK (and its follow up films, edited together into the feature length It’s Such A Beautiful Day) is the most human, sincere, and sympathetic without patronization portrait of mental illness ever made. Its an extraordinary and thought provoking short from a master of the medium, and demands, like Rilke’s archaic torso, that you revise your life. Watch it here.

That’s it for this week’s Buzz. Come back next week for our take on Dawn of the Planet of the Apes, FX’s The Strain, another great Blu-Ray to add to your collection, and as always, all the entertainment news you need to know.