If you’ve already seen Gone Girl, this parody trailer will make you rethink some things about the movie. Or it will at least make you laugh. If you haven’t seen Gone Girl but still plan to, you might want to stay away because of spoilers.

Created by the YouTube heroes known as Screen Junkies, this “honest trailer” basically just picks the David Fincher film completely apart. For example: we’re all supposed to be cool with the idea that a woman would spend years framing her husband for murder instead of, you know, just divorcing him. And that he’d then get revenge by … staying with her to start to a family?

The whole thing is pretty hilarious — and there’s a special little treat in it for Serial fans. Enjoy!

Read next: This Honest Trailer for The Hobbit Shows Just How Repetitive the Film Trilogy Is

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North Korea—particularly the Kim regime—has long been a goldmine for laughs, ripe for a comedic take. Comedian Andy Borowitz has racked up 273,000 followers channeling Kim Jong-un on Twitter with jokes that parody North Korean news. A recent tweet: “You mess with N Korea’s Internet, you mess with me, coz I’m the only one here who has Internet.” Borowitz isn’t the only one to draw content from Pyongyang. Long before North Korea’s entry into the axis of evil, ripping on the Kim dictatorship had become commonplace; it was easy, a comic release for situations—be it famine or labor camps or weapons—that nobody found very funny.

The most recent example: comedienne Margaret Cho’s running gag at the Golden Globes on Sunday. Uniformed as a pop-culture-savvy Army General, Cho mocked North Korea as her vermilion upside-down mouth spewed broken English. The reaction was split: viewers clamoring over how her performance was either hilarious or another recycled, racist routine.

Cho has played the late Kim Jong-il on 30 Rock, which earned her an Emmy nomination (Amy Poehler has, too, for Saturday Night Live). Was it racist? Eh. I say that because racism in any art form has always been conditional and based on audience and context, as well as the white, male gaze. Put Cho, donned in military gear, goose-stepping, stern and accented, in front of a Korean American or immigrant audience. Feels different—maybe even funny. Put that same skit in front of a non-Asian audience for an awards show where Asian Americans have historically been absent as nominees or presenters or even guests, but where the one Asian American was assigned not as herself, but as a perennial stereotype. Things got uncomfortable. Cho was invited for the sole purpose of making fun of the North Korean government in light of the alleged Sony hack, while a backdrop of white celebrities laughed.

Naturally, Twitter erupted.

Some background: Twenty years ago, Margaret Cho headlined All-American Girl, the first U.S. sitcom to feature an Asian-American family; we haven’t seen an Asian-American family in television situation comedy since, but will next month in ABC’s Fresh Off the Boat, starring Randall Park, who also portrayed Kim Jong-un in The Interview. The reactions to Cho’s Sunday performance capture a sliver of her unique role as a breakthrough Asian American artist that employs outrageous racial content: she has been applauded for dramatically pushing back racial barriers during her career, while also being accused of racism throughout it.

It’s the extra burden placed on women and comedians of color. White, heterosexual male comedians don’t have to carry the responsibility of representation. They are free to go for the laughs and contribute as culture makers, no matter how juvenile or unfunny or offensive the joke may be. There is no expectation that their jokes represent a monolith. There is no backlash if a joke about white, straight men misfires. On Sunday, the three comics—one Korean, all women—took risks. The Cosby rape joke. North Korea. The reception was heated and torn because there are restrictions, people believe, on what they can say, especially as women, and for Cho, as a woman of color. But that wasn’t why Cho flopped in my eyes. It didn’t work because the joke didn’t belong at the Golden Globes, where Asian Americans are virtually absent, and not for the lack of talent, but for the lack of roles that present us within a spectrum of humanity.

Cho’s supporters would disagree, likely arguing that her skit was nuanced, sophisticated, that is, satire. But Cho’s skit is only that when we erase the history of minstrelsy, if we consume her through a false prism where marginalized groups are afforded multi-dimensional representations in pop culture and beyond. Within that prism, we would “lighten up,” laugh.

Despite what happened on Sunday, I remain an avid fan of Margaret Cho. Her pioneering I’m The One That I Want is one of most notable, and brave, performances to deeply explore racialized sexism in Hollywood. And her endearing portrayal of her mother reminded me, and probably every other Korean watching, of our own immigrant matriarchs—their cultural missteps and reservoir of love. Yet I am acutely aware that when Cho viciously makes fun of her mom—and yes, she’s very funny when she does—the reason I am laughing is different than why non-Asians are. I am touched or humored by the closeness I feel to Cho’s portrayal of her mom; non-Asians, or non-immigrants, are amused because there is distance between them and the foreign Other. This isn’t to say they are laughing, menacingly or inappropriately, at Cho and her family. But it is humorous because it is unfamiliar. Bizarre and weird. Like Kim.

Kai Ma is a writer, journalist and editor. She is the former editor-in-chief of KoreAm, an indie monthly for which she earned the national New America Media Award for Best In-Depth and Investigative Reporting for her feature story on gay marriage and the Asian-American vote. The views expressed are solely her own.

On Sunday, John Legend and Common nabbed the Golden Globe for Best Original Song for their Selma soundtrack cut “Glory.” Now, the musicians have shared the song’s official music video.

The video features crooner John Legend at a grand piano, along with rapper Common on some kind of stage. Of course, plenty of scenes from Selma are woven in as well.

“The first day I stepped on the set of Selma, I began to feel like this was bigger than a movie,” Common said in his Golden Globes acceptance speech. “Selma has awakened my humanity.”

Ian Bremmer, the head of Eurasia Group, and Nouriel Roubini, the founder of Roubini Global Economics, are two of the world’s preeminent risk forecasters. They joined me Tuesday morning at the offices of Time Inc. for our yearly look ahead about what you should—and shouldn’t—worry about in the geopolitical and economic landscape for 2015.

Here are my top 5 takeaways from the conversation:

Russia is being underplayed as a major political risk, especially for Europe

Yes, we’ve all followed the conflict in the Ukraine. But according to Bremmer, there’s a good chance that petro-autocrat Vladimir Putin will become even more dangerous and unpredictable as oil prices plummet, stirring up more trouble abroad (possibly in other border states) in order to keep attention at home off the total collapse in the Russian economy. The European Union-United States divide over how best to handle Russia and Putin also underscores a transatlantic relationship that is becoming even more polarized.

America is becoming more unilateral, but not in the ways that you might think

Economically and politically, the U.S. is decoupling from the rest of the world. As Roubini pointed out, America is the one bright spot on the global economic map this year, with a solid recovery that could well have it growing faster than many emerging markets. On the other hand, there’s also a sense that the U.S. is withdrawing politically from the rest of the world, heightened by President Barack Obama’s absence this week from the Paris anti-terrorism rally (Bremmer believes this was a public relations blunder, not purposeful). That’s not the right way to think of it, says Bremmer. “The U.S. is projecting power through an arsenal of disparate mechanisms that allow is more easily to act alone,” including everything from drones to economic statecraft including more freezing of assets of problematic nations (think Russia or Iran), a strategy that Bremmer dubs “the weaponization of finance.”

Low oil prices won’t last forever

Both Roubini and Bremmer feel that the conventional wisdom about the Saudis keeping the pumps going and depressing prices in order to stick it to rivals Iran and Russia is wrong. “This is about economics,” says Roubini, who believes that the Saudis are simply trying to push competitors (including U.S/ shale producers) out of the market and that they’ll start pumping more oil once the marketplace is clear. While the impact for American homegrown shale could be bad in the short term, it will be outweighed by the consumer effect of lower prices (witness gas falling below two bucks a gallon in some parts of the country).

China is still a big mystery

It’s slowing economically, that’s for sure. But is President Xi Jinping’s massive consolidation of power a sign that the country is about to undergo pro-market reforms of the type that it hasn’t seen since the days of Deng (something that China watchers hope will vault the country into the middle-income bracket and help it create more jobs)? Or is it rather a sign that China is going back to the scary days of Mao, when dissent of any kind could land you in jail or worse? Bremmer is hopeful that China can make the middle market leap and maintain social stability. Roubini (like me) is less bullish, and feels that the country’s economic model is still based on cheap labor and cheap capital (it’s worth noting it takes four dollars of debt to create every dollar of growth in China these days, which is not good). Both agree that 2015 will be a crucial pivot year for China.

Bifurcation, polarization, inequality and volatility are the buzzwords for 2015

Politically and economically, old alliances are fracturing and new ones are being formed. Sectarian conflict in the Middle East and North Africa region will get worse before it gets better, Europe is headed toward a scary deflationary debt spiral that’s galvanizing far-right politics (witness Marine Le Pen’s rise in France), and China’s slowdown and the fall in oil prices is rejiggering the geopolitical landscape. Markets will be skittish this year—so fasten your seatbelts.

We already knew that Bones star Emily Deschanel was pregnant. In a weird coincidence, turns out her sister and fellow actress Zooey Deschanel is pregnant, too.

The New Girl star confirmed to People that she’s expecting her first child, with boyfriend Jacob Pechenik.

“Jacob and I are over the moon,” the 34-year-old actress told People. “We are so excited to meet our little one.”

Deschanel has been dating Pechenik, a 42-year-old producer, since mid-2014. No word yet about the baby’s sex — but we hope it’s a girl because just imagine the adorable babydoll dresses a mini Zooey Deschanel could rock.

Read next: Zooey Deschanel Would Totally Play a Superhero — As Long As It’s Funny

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Jimmy Kimmel is back with another installment of his show’s popular “Mean Tweets” segment. Usually he goes for celebrities like Lena Dunham and Matthew McConaughey, but this time Kimmel goes after a different demographic.

In honor of Ohio State and Oregon’s national title game, Kimmel decided to make college football stars and ESPN personalities read the horrible things people have to say about them online. Victims range from University of Oregon coach Mark Helfrich to Tim Tebow.

You would think that this bit would get old. It literally never does.

Sometimes it’s easy to forget that before he was a serious actor with a serious actor Oscar and a serious actor beard, Matthew McConaughey was just another handsome twenty-something from Texas. Of course, everything changed once he landed his breakout role in Richard Linklater’s 1993 film Dazed and Confused, in which he played slightly-creepy stoner David Wooderson.

Now, thanks to a new release from the Criterion Collection, we can all enjoy McConaughey’s original audition tape for that part. Watch the clip, which features quite a bit of fake driving, above. Then, watch the full scene as it appeared in the film:

Alright, alright, alright.