Anyone who’s seen Toy Story 3, 2010’s presumed closing chapter to Pixar’s beloved Toy Story franchise, will remember its tearjerker of an ending. But if, like me, you thought the finality of those last moments suggested that after 15 years the Toy Story series had come to a conclusion, think again: Today, Walt Disney CEO Robert Iger announced that Pixar chief John Lasseter will direct Toy Story 4, slated for 2017. (Lasseter also directed Toy Story and Toy Story 2 and he was an executive producer on Toy Story 3.) Rashida Jones and Will McCormack, who wrote Celeste and Jesse Forever together, will co-write the script.

After multiple delays, threats to leak it herself, and a split from her record label this summer, Azealia Banks’ debut album, Broke With Expensive Taste, is finally here.

As the creator of a recipe column called “You’re Doing It Wrong” and a video series called “Do It Right,” I like to think that I know a few things about the best ways to prepare food. But even I learned some new tricks from “5 Foods You’ve Been Eating Completely Wrong,” a new video from our friends over at Clickhole. Please disregardmy video from earlier this week about selecting and pitting avocados—it turns out there’s a much better way.

About two months ago, I wrote a post for this blog about my misadventures in making coffee with butter in it. The short version of the story is that I found buttered coffee, which is all the rage in certain circles, difficult to swallow and mildly nauseating. I also found that it did not give me the hoped-for benefits of “a massive impact on cognitive function” and “keep[ing] you satisfied with level energy for 6 hours.”

Not long after my post was published, I received a reply on Twitter from the man who had made those claims about buttered coffee, Dave Asprey. Asprey is the author of The Bulletproof Diet, a forthcoming diet book that claims to help you “lose up to a pound a day” by consuming buttered coffee and other high-fat foods; he’s also claimed to have reached enlightenment after a single week of meditation. Considering that I had just panned buttered coffee and described Asprey as a megalomaniac, he was surprisingly polite. “Thanks for the article!” he said. “The right ingredients&proper prep make a huge difference. Would love to send you a coffee kit.”

Reader, I am nothing if not willing to taste new, weird things, even when reason dictates otherwise. And it only seemed fair to make buttered coffee according to the precise Bulletproof method if I was going to dismiss the entire beverage category as repulsive. (The main difference between Bulletproof Coffee and what I had done is that Bulletproof Coffee contains a proprietary oil blend in addition to butter; Bulletproof Coffee is also emulsified in a blender, whereas I had merely vigorously shaken my buttered coffee to mix it.) So I took Asprey up on his offer of sending me a sample, which turned out to be a bag of whole-bean “Upgraded Coffee”—free of the “toxins” that ostensibly plague regular coffee—and a large bottle of “Upgraded Brain Octane Oil.”

Star Wars: Episode VII has finished principle photography, as the franchise’s official Facebook and Twitter accounts announced today. And it has a title. If John Williams could cue the drumroll please …

For musical theater geeks like myself, the initial Into the Woods teaser released over the summer was more scary than exciting. In a possibly shrewd and not-so-subtle marketing maneuver, Disney removed any hint that the adaptation of the classicStephen Sondheim stage musical is, in fact, a musical. Aside from the swelling orchestral arrangement of the Witch’s pleading “Stay With Me,” there was hardly any singing to be heard.

It was yet more proof that the trumpeted “live singing” accomplishments of Les Misérables and viral sensation of Frozen notwithstanding, the movie musical is still considered a risk in today’s market, and a “renaissance” is far from upon us. Thankfully, the first full trailer for Into the Woods pulls back the curtain and shows it for what it really is—there’s a lot more singing, a wee bit more explanation of how all of these fairy tales are connected, and Johnny Depp’s face (and not just his ominous claw) as the Wolf.

Quick: Can you picture what John Eleuthère du Pont looked like? Do you even know who he was?

Du Pont, a schizophrenic millionaire and Olympic team sponsor, is far from a household name, but his story was fascinating enough to become Foxcatcher, a serious Oscar contender with an A-list cast. Steve Carell, taking on his darkest role yet, plays du Pont, and he dons an enormous prosthetic nose to do so. He’s gotten rave reviews.  

He’s not the only Foxcatcher cast member to wear heavy makeup, either: Both Channing Tatum and Mark Ruffalo appear to have also altered their faces significantly for the film. They play brothers Mark and Dave Schultz, who wrestled for the U.S. Olympic team.

Was all this cosmetic work really necessary?

The latest in Cinefix’s 8-Bit Cinema series tackles The Life Aquatic With Steve Zissou, and it’s a delightful take on one of Wes Anderson’s most original, eccentric films.

This article originally appeared in Vulture.

“It’s weird talking with my back to you this whole time,” Mark Woollen says in a high, soft voice, chuckling nervously. Draped over an Aeron chair in an untucked plaid shirt and stylish two-tone sneakers, he’s attempting to edit, eat, and tell his life story all at once. It’s lunchtime, or what passes for it during a nine-to-seven summer Monday that finds him jumping from screen to screen to screen: a half-hour reprieve during which he can pick at his tricolore salad, sip his passion-fruit iced tea, and cull footage on his editing bay from a freshly cut sci-fi film set on mute. This is the first step in a months-long process of turning a two-hour movie into a two­minute work of art. 

Over the past 30 years or so, movie trailers have evolved from dutiful clip jobs prepared by the monopolistic National Screen Service to the sophisticated products of an ecosystem of competing outfits—freestanding objects of gossip, reviews, even an awards show. Most of that hype is driven by fanboys locked into cape-and-crossbow blockbusters. But Woollen is the uncontested auteur of the trailer era, a 43-year-old shaggy-haired hipster introvert who makes indelible spots for Hollywood’s highbrow one percent. Terrence Malick, David Fincher, Werner Herzog, Lars von Trier, the Coen brothers, Michel Gondry, Spike Jonze, Sofia Coppola, Alejandro González Iñárritu, Steven Soderbergh, Steve McQueen, Wes Anderson: All of them have called on Mark Woollen & Associates to turn their films into works as singular and immersive as their source material.

Or maybe, if you can believe it, even more singular, given the constraints. They are commercials, yes, but often they feel less commercial than the prestige fare they’re selling—­benefiting, like haikus, from the limitations of the form. If trailer studies were a film-school major, his spots for Schindler’s List, Traffic, The Social Network, A Serious Man, 12 Years a Slave, and Little Children would be canonical. One studio executive calls his body of work “the Criterion Collection of trailers.”

While No One Was Looking is a forthcoming two-disc tribute to the first 20 years of Bloodshot Records. It includes the track below, Superchunk’s cover of what is still Ryan Adams’ best song: “Come Pick Me Up,” from his album Heartbreaker, put out by Bloodshot back in 2000.

Per Pitchfork, Superchunk frontman Mac McCaughan said, “It’s a song I’ve always wanted to cover AND Ryan claims the title came from our album of the same name, so it seemed fitting. Though he may have just been saying that to be nice.”