Bruce Springsteen performing at the CNE Stadium in Toronto, Canada on July 24, 1984. (Photo by Ebet Roberts/Redferns) In performances in the early- and mid-1970s, Bruce Springsteen sometimes played “Wings for Wheels,” an early version of what would become his famous rock-and-roll romance, “Thunder Road.” The best-known rendition of the song, preserved as part of a well-circulated concert bootleg, was in 1975, when 25-year-old Bruce played The Main Point in Philadelphia, six months before his third studio album, Born to Run, would lead Springsteen, in the words of Ed Sciaky, the DJ who introduced him that night, “to conquer America and the world.

Last night, Showtime’s Californication rode off into the sunset after seven long seasons. It should surprise nobody that a show called Californication spent much of its time contriving embarrassing sex acts for its characters to perform. What resulted was basically 84 episodes of soft-core porn masquerading as premium cable drama. Thanks, Showtime! Here are 35 of the worst sexual encounters or mishaps that David Duchovny’s Hank Moody, Evan Handler’s Charlie, and the Californication crew participated in.

Cory Younts - Vulture `; // integrate Sub(x) scripts and elements if (hostname !== 'subs.nymag.com') { // do not integrate on this subdomain document.head.appendChild(trackingScript); document.body.insertAdjacentHTML('beforeend', subXAnimationElements); }ncG1vNJzZmivp6x7t8HLrayrnV6YvK5705qerGeTpL%2B6ediorKeso2Q%3D

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Vox Media, LLC Terms and Privacy Notice By submitting your email, you agree to our Terms and Privacy Notice and to receive email correspondence from us. ncG1vNJzZmivp6x7t8HLrayrnV6YvK57069mraCVYsSiuMqipaBllJqupXnDmqmypF2Ztrm7zWg%3D

Burly TV created programs to be aired on college TV networks around America (an audience that no doubt included a large contingent of weed-smoking twilight gamers). Lorne Michaels would then buy show time on national TV networks such as TBS, and broadcast the shows as if they were original programming. But budgets were implausibly tight and, rather than hire writers and actors, Michaels approached David Mandel and Steve Lookner to both write and star in a new show.

Menzel belting her way into the unknown. On Sunday night, Idina Menzel took the stage at the 2020 Academy Awards to sing “Into the Unknown,” the song from Frozen 2 best known as the one theater teens belt into their phones while recording TikToks in their kitchens. The song is the sequel’s answer to “Let It Go” (read: the one where Menzel belts her face off and there’s a nonzero chance she doesn’t hit the high notes on any given day).

The Punk and the Godfather? It’s a glorious day for all of the mod enthusiasts out there. As reported by NME, Quadrophenia — the iconic 1979 film loosely based off The Who’s equally iconic rock opera — will begin shooting a sequel this summer, nearly 40 years after the original hit theaters. The sequel will be based on the Pete Townshend–approved 2011 novel To Be Someone by Peter Meadows, which follows protagonist Jimmy Cooper as he transitions from a troubled teenager to an even more troubled gangster later in his life.

Fair warning: there be spoilers coming. As the third season of Eastbound & Down started, I knew that this would be the final season, so as the episodes aired, I started coming up with theories on how the show would end. Knowing Jody Hill’s capability of darkness as evidenced by Observe and Report, I figured that one of the most logical endings would be Kenny Powers dying in the series finale.

To my shame, I misread the early work of onetime wunderkind and festival darling Léos Carax as that of a poseur whose disregard for storytelling suggested the most suffocating sort of cinephilia — cine-solipsism. He might well be a solipsist, but he’s not a poseur. This is how Carax expresses himself, and he does so without a wasted, impersonal, non-passionate shot. His latest film, Holy Motors, is typically confounding but on every level that matters a work of unfettered — and liberating — imagination.

Squirming through the Tom Cruise sci-fi vehicle Oblivion, I flashed back to Notting Hill, in which Julia Roberts plays a superstar visiting London to promote some deadly outer-space epic with white-on-white sets and a sleep-inducing hum. Oblivion is like that movie-within-a-movie: Everything in it feels 100 percent inauthentic. That vibe, as it happens, turns out to be intentional. But when the humans arrive, it’s still a narcotic.