Cancel the NHL rulebook: The Stanley Cup playoffs’ weirdest controversies

There’s been no shortage of angst with the officiating this postseason. Which plays were the officials’ fault, and which are simply bad rules? – NHL

The Real Housewives of New York City and the Weirdest Breakfast Ever With Carole and Tinsley

Real Housewives of New York, CaroleRemind us to never eat eggs or order cheese with Carole Radziwill.
She joined Tinsley Mortimer for a breakfast date and it was just weird from beginning to end, in a way that’s made…

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Seth Meyers Brutally Dissects One Of Donald Trump’s Weirdest Speeches Yet

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The 10 Weirdest Home Shopping Network Items

The 10 Weirdest Home Shopping Network Items

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Kim Kardashian Reveals the Weirdest Thing Kanye West Does

Jennifer Lawrence, Kim Kardashian Buckle down and get comfortable Kim Kardashian because one famous superfan is going to go there.
On Thursday’s all-new Jimmy Kimmel Live, guest co-host Jennifer Lawrence had the…

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The Greatest, Weirdest Way to Break In Raw Denim

When the temperatures drop, the denim heads rejoice. That's because it's time to break out the thick, raw denim — the fabric that turns your legs into tropical rainforests when the thermostat reads anything above 80 degrees Fahrenheit. But unless you've already been working on a pair of good selvage jeans for a while, you're staring down the barrel leg of cardboard-stiff pants that take more

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Weirdest Ad Ever: H&M, Pseudo-Sustainability and Diversity Porn

The world’s second largest fashion retailer recently made a deliberate move to attract members of the world’s second largest religion, and people have taken notice.

More specifically, H&M featured a Muslim hijabi woman for a split second in this video advertising spot that deftly disguises a sly cost-saving measure as an eco-friendly call for “sustainable fashion.”

The spot concludes, “Leave your unwanted garments in any of our 3,300 stores. We reuse them or recycle them into new clothes. Recycling one single t-shirt saves 2,100 litres of water.” Makes you wonder how much money it saves H&M — though unsurprisingly, the ad doesn’t say.

More notably, the ad includes a sort of festival of other “others,” resulting in an awkward spectacle of diversity porn that begs to be shared and tweeted by all those progressive and freethinking folks who have no problem letting multinational companies into their hearts, minds and closets.

The H&M “Close the Loop” ad’s cast of characters is extensive, painfully contrived and devoid of context. Aside from the hijabi model, Mariah Idrissi, the short spot also features the following parade of corporately manufactured diversity:

Eleven Sikh men in multicolored turbans, a white woman over 40 who dares to wear a short skirt while lying on a bed with a blond black woman and reaching her arm out to a young tuxedoed white man sitting on the floor, an ethnically ambiguous man sporting a five o’clock shadow and a skirt, two black women in red hats, a trans woman in a drugstore aisle wearing ornate body armor, another trans woman looking at herself in the mirror, a full-figured white woman filling a parking meter while daring to mix red and pink, a couple Latinas in black overalls and excess eyeliner sitting on a red sports car with palm trees and an RV parked in the background, a sheikh (or so the voiceover claims), a blond white woman wearing short shorts and a bustier as she poses unnaturally on top of a sink, a shirtless (and apparently commando) Iggy Pop holding a running garden hose, a boxer (human, not K9) with a prosthetic leg and so much more.

Yes, it’s absurd. Yes, it’s random. And yes, it’s calculated. Like any shrewd retailer, H&M wants you to buy their products, no matter your race, religion, size, age or gender identity. While I strongly support more and better media representations of Muslims, Sikhs, members of the LGBT community, older women and people of color, I’m not about to commend H&M here. For one, their most prominent ads still tend to feature unnaturally thin white women.

More importantly though, squeezing as many minorities as possible into a single one-and-a-half-minute clip full of badly executed stereotypes is not an ideal way to go about promoting genuine diversity or acceptance. If anything, such tactics tend to further otherize and exoticize members of the different minority groups represented by lumping them all together and limiting their inclusion elsewhere amid the majority.

Listening to the ad’s creepy voiceover (courtesy of Iggy Pop), I noticed the single hijabi model is linked to the term “chic,” while the white woman posing on top of a sink (sex blogger Karley Sciortino) is linked to the term “liberated.” While the Muslimah may in fact look chic, the white woman doesn’t look all that liberated, given her shorts and bustier appear to restrict healthy circulation.

All this to say, I highly doubt H&M has any interest in true diversity or feminist liberation. H&M is a multinational company, and its interest is in maximizing profits. If you don’t believe me, just ask Human Rights Watch or any of the Cambodian women or children H&M has employed for next to nothing.

As a Muslim woman who chooses not to wear hijab, I maintain great respect for my Muslim sisters who choose to wear it, whether they’re models or not. For many Muslimahs who choose to cover their hair, the hijab is not simply a symbol of modesty or piety, but a symbol of feminism itself — a concept brilliantly related by writer Hanna Yusuf in this video blog for The Guardian.

Feminist hijabi women like Hanna are not just opting out of rigid Western standards of beauty by choosing to cover; many are also opting out of the consumerist culture that perpetuates such standards. This powerful act of resistance threatens advertisers and corporations that rely on their constructed notions of beauty — often based in perceived heterosexual male fantasies — to sell all sorts of products. For that revolutionary act alone, I have to give a loud shout-out to those of my hijabi sisters who have refused to be complicit in the blatant commodification of our bodies and the corporate infiltration of our minds. We may not choose to fight this fight in the same way, but there is no doubt that we are in it together.

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Kristen Wiig’s Weirdest Beauty Moments on Saturday Night Live

Kristin Wiig is a comedic genius—and a beauty maestro. So many of her Saturday Night Live characters are made even more hilarious thanks to their insane wigs, frosted lipstick, or creepy, tiny doll hands. While we gear up for her new movie Masterminds (out this month), we’re looking back on her most outrageous beauty moments from SNL. See if your favorite character made the cut.
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The 9 Weirdest Things That Came Across Our Desks This Month

As Allure editors, we’re lucky enough to have unique, creative jobs that bring totally random objects to our desks at any given time. From animal-themed knickknacks to unusual fragrances, we rounded up the strangest things we’ve seen lately.
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What Is the Weirdest Request You’ve Gotten From a Fan?

Adoring fans may seem less than adorable when they ask for something peculiar. To find out just how strange it gets, we spoke to celebrities at the Golden Globes, a party for Fendi’s New York City flagship, and the SNL fortieth-anniversary fete.
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The 7 Weirdest Beauty Tools From Japan That You Can Actually Buy

Japan Trend Shop, an online Japanese retailer, is a one-stop shop for every amusing, confusing, and WTF-worthy product you never knew (or needed to know) existed. And that includes some pretty weird and wonderful beauty gadgets. Here, seven of the weirdest, most wonderful ones we could find.
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Was That The Weirdest ‘Mad Men’ Scene Yet?

Do not read on unless you’ve seen “The Forecast,” the tenth episode of “Mad Men’s” final season.

You come to me for analysis of “Mad Men” that is, ideally, cogent, entertaining and thoughtful, so I feel the need to inform you that the show may have broken my brain tonight. “The Forecast” may have contained the weirdest scene in “Mad Men” history, and this is a show that cut a guy’s foot off just for grins.

Glen Bishop. Glen Bishop, my friends. I am shaking my head and laughing as I write this. That final Glen-Betty scene was so odd and so surreal on so many levels that I know I won’t do it justice. But like Mathis, I have to try to go down swinging.

So here’s the main problem. I think the scene was meant to be awkward in many ways. Any time you have an 18-year old hitting on a much older married woman, who is the mother of one of his good friends, there is no doubt that the moment is going to be transgressive and strange. That act of rule-breaking can contain within in it a host of uncomfortable feelings — discomfort at crossing a line, guilt about putting the moves on someone who is taken, an odd feeling about how society might perceive the difference in ages. (And to be clear, I’m not saying any “rules” to which I refer are inviolate or even valid. I’m just saying, those were society’s rules according to the understanding of these 1970-era, upper-middle class characters)

So on one level, the Glen-Betty scene was meant to be weird. It intentionally prodded the audience to get a reaction. But the strangeness and discomfort of the moment was overwhelmed by many other layers of weirdness, most of which were unintentional. It wasn’t necessarily distracting for the right reasons.

The main problem is, the two actors on screen not only had no chemistry together, they were intensely wooden and awkward together. The whole thing felt like a marionette show performed by a beginning puppeteer. I think we were supposed to feel epic emotions about the tragedy of Glen’s love of Betty and the yearning of her strange love for him. Mainly it felt forced and vaguely creepy. I felt no deep emotion, only surprised bemusement that it was happening at all.

“Mad Men” creator Matthew Weiner simply has a blind spot where these two actors are concerned. I’m not saying January Jones can’t act, but she has a very small range and unless she’s in a scene that plays to her strengths, she falls back on playing Betty in a very one-dimensional ways. She has grown as an actress — witness her performances early in Season 1, when some of her scenes were actively painful to watch. Then recall how good she was when she confronted Don over the contents of his Dick Whitman box in when that couple was breaking up. When given the right tools and the right scene partner, Jones can give as good as she gets.

When given Marten Holden Weiner as her scene partner, she flounders, because he is… not adept. I have seen high school plays in which the male lead had more presence, technical mastery and natural fluidity. This was Matt Weiner going for some kind of “Splendor in the Grass” or Douglas Sirk-ian high-class melodrama and coming up with something that was comically stilted and unintentionally strange. That story line did tie into the episode’s theme of children as both impediments and necessary anchors, but it was also just odd and strangely superficial. As James Poniewozik tweeted, “That was like the darkest Greg Brady storyline ever.” Pretty much.

I didn’t hate the episode; the non-Glen parts were pretty good, and anything would have been better than the repetitive glumness of last week’s outing. But I found the final Glen scene both painful and faintly amusing because it was such a misfire. Yes, Betty is an immature woman who likes flirting with a young man with whom she had a strange relationship years ago. Yes, Glen is a lost young man with a misguided crush on a pretty but empty shell. Only Weiner cares about any of this.

The show’s creator continues to be fascinated with Betty, even though she ceased to matter to the core stories of “Mad Men” a long time ago. He has kept Glen Bishop in the story long past the time when he served much of a purpose even in Sally’s life. I guess I was supposed to feel bad for the poor kid that he was going to Vietnam carrying a torch for Betty, she of the unmoving hair helmet. Instead, I just found myself laughing a little bit at the whole scenario, marveling at Glen’s impressive sideburns and thanking Dieu that I didn’t have to put up with any outbursts from the Calvet women tonight.

The World’s Strangest Sub-plot aside, this half-season started to kick into gear, maybe, sort of (while proving that, as I’ve written, AMC should not have split this show into half seasons — every week, we get more proof that that was not a good call). Characters had to face up and confront all sorts of realities, and the mission statement Don was trying to formulate gave us an indication that we really are near the end. Don’s trying to figure out what it all means and what the future might hold — and yet we never actually got to hear the finished speech (if Don actually finished it, that is).

What was amusing in this hour — in the right ways — was the fact that nobody has time for Don’s bullsh*t anymore. His real estate agent, Mathis, Peggy, Ted Chaough — nobody buys into the Don Draper mystique. They either don’t have time for it or they simply don’t care. When it came to the apartment, he told the real estate agent to just tell a good story about an empty vessel, which is basically the Don Draper story in a nutshell. She wasn’t having it, because she lives in the real world. “You don’t have any character. You’re just handsome. Stop kidding yourself.” Mathis’ angry rant was pretty spot-on, as was the Realtor’s assessment of Don’s faded apartment. “This place reeks of failure.” Lady, you don’t know the half of it.

The forecast of the title — the speech — represents Don trying to answer the question the song asked a few weeks ago — “Is that all there is?” He looked down on all of Peggy’s ambitions because those are all the things he’s accomplished already — he’s established a name for himself, he’s famous within the advertising industry, he’s created some famous campaigns and he has money and power. He’s signed big clients. Now what?

It’s typical of Don that he wants Peggy to answer that question for him, but he doesn’t even do her the courtesy of telling her he’s grilling her for his speech. He vaguely pretends he cares about her annual review (and he doesn’t, of course, because he’s Don Draper). That scene, however, felt like vintage “Mad Men”: Without giving Peggy much in the way of context, he drew her into his thought process and she helped him brainstorm and toss around ideas. However skilled they are on their own, together, they are greater than the sum of their parts, and I’m so glad when the show remembers to show us that.

Peggy left feeling frustrated, but Don probably got something useful out of their conversation — not that you’d know. Women tend to leave Don’s presence not having fully gotten what they wanted and feeling vaguely irritated these days. He doesn’t lack for companionship, but he lack much in the way of actual intimacy with anyone he can count on. Does anyone truly like hanging out with Don these days? Even Don himself?

That said, Don’s bond with Peggy is still strong. I love that those two can trade barbs with each other and it doesn’t really mean anything. (And how great was the confrontation in the hallway in which Don played the harried dad to his two “children,” Peggy and Pete? Those actors have such a great spark together — I will miss that core trio a lot.)

Is Don a failure because he hasn’t created real value in the world? Has he done what he counseled his daughter to do — has he himself become more than just a pretty face? Or, does he have too much in common with his apartment (i.e., it looks good at first glance but on closer inspection, it’s hollow and a little sordid)? Peggy and Ted can’t find meaning for him; he’s going to have to find it for himself.

At least Peggy and Joan, unlike Don, know exactly what they want. Peggy wants to be the agency’s creative director, and Joan wants to just do her job, which she loves and is good at. And my goodness, I really want both of them to be happy when the series ends. It’s not about whether they’re with a man, it’s about whether they have a real shot at finding personal fulfillment in the ways that they define that. That said, it was a brilliant stroke to cast Bruce Greenwood as Joan’s handsome stranger. Christina Hendricks had real chemistry with him, and I am so glad that Joan didn’t get saddled with yet another disappointing guy who didn’t treat her right. She’s had enough disappointment for five lifetimes.

I’m glad Mitchell came back and made it right with her; I’m glad he saw her point and he decided not to be “rigid.” The framing of the final image of those two — both in full-body silhouettes — felt absolutely right. They looked well matched in that scene, which was Sirk-ian and symbolic in all the right ways.

Of course, Glen and Betty were filmed in the kitchen in the exact same way, which only shows you that certain framings only work with the right characters in the right moment. Not to flog a dead horse here, but I bring up Glen again in order to talk about Kieran Shipka, who was phenomenal, as usual, in this episode. Here’s the thing: In a television show with actors as great and subtle as Jon Hamm, Elisabeth Moss and Kiernan Shipka (among others), every other actor on the screen will be held to the very, very high standard they set.

An example: Think about the scene in which Sally called Glen’s house and presumably spoke to his mother, Helen. Shipka got no help in that scene. We didn’t hear the other voice on the line. There was no music. There were no cuts — just a slow, steady push of the camera right into her face. During that short phone call, she had to go from polite to panicked and sad to weepy, and make all of it work by herself. She nailed it, of course. All of which makes the Glen scenes look that much more ridiculous. Marten Weiner, at best, comes off as if he’s the eighth lead on a derivative genre show that’s about to be canceled. Shipka comes off as a future Oscar winner. Le sigh.

Anyway, Sally provided the episode’s high points by giving Don an intentionally hilarious series of side-eye glances that made it clear that she was disgusted with her dad. You could hardly miss any of the discomfort with kids in this episode: Sally thought it was gross that her mother flirted with Glen and that her father tolerated her friend’s aggressive come-ons at dinner. Joan’s son was seen, at first, as an impediment to a man getting what he wanted. And that’s aside from the fact that Weiner cast his own son in the role of a young man who is obsessed with a woman he barely knows. Lots of weirdness, folks, lots.

In any event, whatever Don’s other faults, he would not actually get physical, even slightly, with one of his daughter’s friends, I think (and I fully realize that this is not exactly an endorsement of Don Draper’s character, which is, as others pointed out, fairly suspect overall).

Is it wrong that I think Don comes of slightly better in the comparison between Sally’s two narcissistic parents? Don never would have put the moves on any of Sally’s friends, while Betty came very close to kissing Glen, who, presumably has been in love with her since the Ossining days. Betty doesn’t even know how much she’s reveling in Glen’s attention — witness the way she smoothed down her hair in his presence, and her own wicked side-eye when she wanted Sally to leave them alone. Of course, Betty would deny to the death that she was flirting with Glen, because she’s still in denial about most things (and what Glen doesn’t realize is that, despite her immaturity, she’s so status obsessed that an 18 year old dropout would never even remotely land on her radar).

Weirdly enough, I think both Sally’s parents are about as functional as they’re ever going to be. Don at least has the self-awareness to know that Sally’s upset and to try to get her to understand that part of her cynicism will wear off as she realizes she’s not all that different from the people who raised her. And even if Betty is still immature and clueless, she and Sally had a decent rapport in their earlier kitchen scene.

But who knows how much more Sally and Joan we’ll get? To be clear, I want lots more from them, and from Peggy and Pete and all the usual suspects. Weiner has different ideas for his farewell tour, I guess. Last week, we got the Calvet women. This week, lots of quality (hahaha) time with Glen Bishop.

Next up: Maybe we’ll go in depth with Chauncey the dog?

This week’s list of bullet points:

  • Everyone looks at the show’s opening credits and sees a man falling, which is part of that imagery, of course. But what about the moments before that, when walls fall away? That’s the situation Don is in now, I think — women and commitments and his apartment have all fallen away from him. Who will he be when he’s “free as a bird”?
  • “You know what, you’re ruining my life!” Not the first time that has been said to a Maureen.
  • The show keeps emphasizing how busy Roger is. I think they’re setting him up to have another heart attack — and it might be the last one, if you know what I mean.
  • Now we know where Lou Avery went — he split for the West Coast, where he’s spending most of his time trying to sell his cartoon. “It’s like Gomer Pyle — but it’s a monkey.” Never change, Lou.
  • “And a space station.” Never change, Meredith.
  • Never forget Glen’s finest hour.
  • I feel like they’re writing Peggy as a very harsh person this season, and I’m not exactly loving that. That said, I liked her exit line in her scene in Don’s office. Classic.
  • Mitchell’s leisure suit was … abominable. And I recall my dad having one just like it. Horrifying, yet all to accurate.
  • Whoa whoa, Sally said a swear! “Are you [expletive] stupid!” I wonder if we’ll get the actual line on the DVDs and/or in the streaming version of the show.
  • Here’s a photo that is now vaguely disturbing.
  • When Joan was hurt by Mitchell in their second hotel-room scene, I felt so terrible for her and I wanted to launch him into the sun. Only an actor as innately likable as Greenwood could have even partially redeemed the character.
  • A great actor only needs a second to make a scene memorable, and Vincent Kartheiser did that brilliantly in the Tinkerbell cookie scene. His reaction to Mathis’ gambit with the Peter Pan guys was absolutely priceless.
  • The classic shot of Don Draper is of the back of his head as he stares out a window. But the show is subverting even that part of his appeal: His meditative moment was ruined by Meredith prattling on about the World’s Fair and Mathis’ angry entrance. Nobody even noticed Don’s angst, much less cared about it.
  • “I know something could happen to me I know I’m safe because I I know you’re mine.” Maybe some actor could sell turgid dialogue like that. That someone is not Marten Weiner.
  • Contrast that line reading with Kieran Shipka’s, as Sally brilliantly punctures of Don’s moderately creepy bantering: “I just want to eat dinner.”
  • Less than four weeks to go before the show is over forever. Arrrghh!

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4/20 Gift Guide: Weeding Out The Weirdest Pot-Related Products

One day, pot heads all over the country will see 4/20 as a hangover holiday on par with St. Patrick’s Day and Cinco de Mayo.

That might sound exaggerated, but it could happen as Americans become more comfortable with the idea of legalizing marijuana.

Of course, in this country, a holiday isn’t a holiday until businesses find a way to capitalize on it.

As you can see from the products below, cannabis capitalism is smoking hot.

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This Might Be The Weirdest Way To Binge-Watch A Show Ever

Binge-watching shows from the comfort of your own home is so five minutes ago.

The Kimpton Hotel Rouge, a posh little place to stay if you’re ever visiting our nation’s capitol, has invented a whole new way to consume your favorite TV series in one sitting: spend an exorbitant amount of money to stay at their hotel. Apparently, someone at Kimpton is a big fan of “Orange Is the New Black” because the hotel chain is offering a special package coinciding with the June 6 release of the show’s second season.

For a mere $ 350, anyone who plans on digesting the entire new season of the Netflix original series in one go can book the hotel’s “Binge Watching” package which offers you and ten of your friends an event room at the hotel, a 50-inch television, popcorn, snacks, free wi-fi and, in case you want to revisit your teenage years, “over-sized bean bag chairs” to rest your rear for the 13 hours it takes to get through Season 2.

But if that just isn’t doing it for you, for $ 150 more, the hotel provides catering from their bar and all the non-alcoholic beverages you could ever want. Still not impressed? For $ 750, Kimpton offers red and white wine and craft beers for your party to sip on as they watch the funny women in orange pull all kinds of shenanigans behind bars.

Honestly, this sounds spendy for a sleepover, but we’re sure someone will be checking in to the Kimpton on June 6 anyway.
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Austin Mahone & Camila Cabello Take A Selfie From The Weirdest Location

Well, that escalated quickly! Austin Mahone Instagrammed a selfie with Fifth Harmony’s Camila Cabello from what might have been a date.