On this week's extremely punchy round-table podcast, once we cover our most important landmark of the week, Stephen Thompson gets through some preposterous claims loosely connected to this video and we get on the topic of
Finally, it's what we've all been waiting for. Let's bring back our winners to play the Ask Me One More final round.
EISENBERG: From We Didn't Start the Fire: Paul Dreyer. From On the Colbert Report: Marc Levy. From Our Greatest Author: Meera Siddharth. From This, That, or the Other: Shannon Sun-Higginson. And from The Sound of Art: Max Genecov.
In Berlin's Jewish Museum, a new exhibit called "The Whole Truth" asks visitors uncomfortable and even absurd questions about Jews. One of the curators, Michal Friedlander, says it is intentionally provocative.
"The point is to get people talking about how they perceive Jews, particularly in Germany today," she says.
But some German Jews accuse the museum of going too far.
In recent years, high-profile cable TV dramas like AMC's Mad Men have helped to shift audiences and programming across all types of TV networks. (Pictured, from left: John Slattery, Jon Hamm and Vincent Kartheiser)
Credit Darren Michaels / TBS
The programming convergence between cable and broadcast networks may have already begun, with shows like Cougar Town jumping ship from ABC to TBS. (Pictured: Josh Hopkins and Courteney Cox)
Mad Men comes back for its sixth season Sunday at an opportune moment for basic cable. Last weekend, 25 million viewers combined watched The Bible and The Walking Dead on basic cable channels. That's more than triple the audience for The Good Wife on CBS that same night.
Franck (Vincent Cassel), Simon (James McAvoy) and Elizabeth (Rosario Dawson) are uneasy allies trying to discover exactly what went wrong during a botched art heist in Danny Boyle's trippy thriller Trance.
Credit Fox Searchlight Pictures
Dawson's Elizabeth is a hypotherapist trying to help the amnesiac Simon remember what happened to the Goya he was helping to steal.
In 1981, avant-garde theater director Andre Gregory collaborated with his friend Wallace Shawn and French filmmaker Louis Malle on an oddball project they called My Dinner with Andre.
Now enshrined as a classic — and one of the most-lampooned films in the history of American cinema — the movie is a talky two-hander in which Gregory (or someone very like him) gassed away about his globe-trotting adventures in spiritual enlightenment, while Shawn (or someone very like him) listened in disbelief, then grew entranced.