The 13 Best Beach Movies to Cue Up Now
While some may know the present season as 'spring,' I prefer to think of it as 'those months when it's getting slightly warm out, but not hot enough to actually go to the beach, so you have to spend all your time inside watching movies about the beach.' (Rolls off the tongue, doesn't it?)
In that spirit, here are 13 of the best beach movies about sun, surf, and oceanside romance.
Gidget (1959)
Gidget was one of the first films to put California surf culture (in all its sunscreen-scented, tanned, Valley Girl-accented glory) on the map, and it's still well worth a rewatch if you want to marvel at how charming movies used to be—and get some moodboard inspiration for your next vintage swimwear purchase.
Jaws (1975)
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Forbes
12 hours ago
- Forbes
Talking Burger Malaise And Dining With NYC's Chef Angie Mar
For some of us, the memory of a sweet melted popsicle trickling down our arms at the end of a summer day is emblazoned as a carefree taste of youth when all's right with the world. For Chef Angie Mar, however, it's veal kidneys at a French bistro in Paris with her father. That was the childhood moment that truly, viscerally, changed everything. She was eight. Today at her restaurant Le B., she ignites that same essence of nostalgia and play as it abuts indulgence and culinary art on a corner in New York's Greenwich Village. Like Angie at eight, it is impossible for diners to leave Le B. without being forever changed. From her limited edition Le Burger that causes both joy and conflict, to the exquisite technique and masterful tasting menu she and her team meticulously execute, Chef Mar wants diners to enter Le B. with an open mind, a curious palate, and a willingness to trust that her food can delight in unexpected ways. It's as she and her team often say, 'the food you didn't know you needed.' If Cobbles Could Talk Mar has now spent nearly two decades on West 12th Street. First at the New York institution that was The Beatrice Inn, a place that stood for 100 years--from speakeasy and ultra chic lounge to a club-like chophouse-- it has endured many lives. When she stepped in over a decade ago --took over the kitchen in 2013 and purchased it in 2015--it was all but spent, hanging on to a whisp of its colorful past; a place that pampered and entertained the city's A-listers. Under her watch it quickly became an establishment food media darlings noticed. It was no longer just a place to be seen, but one to be seen while eating very, very well. Mar turned around its culinary reputation and brought a flock of new diners through its doors; and soon they came specifically for her. She had become her own force of nature alongside the original Beatrice's namesake, a Gilded Age icon of New York hospitality. In 2019 Butcher & Beast by Mar was published; it's a book that brings the world of New York nightlife and dining of a decade ago to life--from the fashion and the art to the musicians and actors, celebrities alike--Mar and photographer Johnny Miller captured the electricity contained inside the walls of the Inn. Butcher & Beast is memoir to that time and space and less a cookbook or memoir of Mar's culinary life. By 2020, Mar shed the costume of the past and The Beatrice Inn and was ready to helm her own restaurant right next door, ironically enough; it was reincarnated in 2021 as Les Trois Chevaux and represented a culinary fresh start. And for two years she did just that. Mar got her feet wet in her own kitchen, and tempered a new identity. Still luxurious, still driven by French technique, still underscored by classical dishes, yet still shrouded by the reputation and menus of the Inn's meat and potato past. She knew meat, yes; she did it well; she caused a rumbling desire for her butchering skills and craft; and yet, much of that was thrust upon her from the underbelly of Beatrice's shadow. The only way to really express who she was as a chef without a tie to the B of yesteryear was to take yet another step. So, nearly two years ago, in September 2023, the lights of Les Trois Chevaux went out and the chic, rose pink light on the face of Le B. switched on. With a Picasso from her grandfather's collection a breath away from the door on the right, the old sign from the Beatrice Inn purposely unlit on the wall to the left, and the sparkle from a chandelier that once dazzled in Brooklyn's grand Prospect Hall, Le B. had become all Mar. Sure, Mar's sought after Le Burger is still offered, in all its glory, in Le B's stylish design, with diners causing a stir just to get one of the mere decadent nine offered each night, but it is in every dish of her sumptuous, ever-changing Tasting Menu, where she gets to, tap into the whimsy of being an artist, a highly-trained technician who creates on the plate with the best-of-the-best ingredients she and her team can find. When asked about that sweet yet transformative moment at eight years old, she beams with a wide grin, bright eyes, and her signature rasp, 'That was it. I was done. I was actually done,' she recalled. 'I didn't know food could taste like that.' Until then Mar said she knew American food, having grown up in Seattle; Chinese food at home with an emphasis on her mom's delicious Taiwanese cuisine; and the British food she and her family knew from annual trips to London. 'It really changed everything for me. I had even asked to stay there,' she said, knowing that a cousin was living there in boarding school. Although she didn't stay, of course, when she returned to the States, she'd pull up a stool in the kitchen with her dad, and Julia Child's Mastering The Art of French Cooking became the next best thing to reliving the spark that lit her up so indelibly at that Parisian bistro. Much later, after traveling across Europe, and a stint in real estate in Los Angeles, she went to culinary school. Soon after, a light bulb flickered again, followed by a Eureka moment of a similar ilk from her Parisian awakening. Now, it was stateside, in New York, at Charlie Palmer's Aureole. She was astonished by the blend of French technique and skill, alongside American flavors. It is where she realized she could marry the flavors of her international background and experiences onto a plate, and, if executed at a high level, be an identity all its on. Today at Le B. you will see dishes that feel like rock 'n' roll and classical music are working hand in hand; where French technique and finesse run throughout each dish, but also where a Taiwanese Duck may meet Pacific Northwest Salmon or Japanese Wagyu meets the all American potato; where a London Pub makes way for an old speakeasy in New York's West Village. DUO OF TERRINES, loquat gelée, candied kumquat, caperberriesCALF'S BRAIN RAVIOLI, osetra, sauce de japonPOT AU FEU, hudson valley foie gras, crisp spring vegetable, consommé of wild cèpesSALMON & CEDAR, ora king salmon, basil nageFRICASSE OF SPRING RABBIT, peas & carrots, sauce moutardeDUCKLING ROYALE, jasmine, cassis, pommes purée THE PIG'S TROTTER, stuffed trotter 'a la koffman', port demi-glacePAIN PERDU, HONG KONG STYLE, passion fruit confiture, tête de moineORANGE BLOSSOM ICECAMBRIDGE BURNT CREAM, chanterelle, tahitian vanillaMADELEINESPISTACHIO SOUFFLE Chefs look to each other for support and camaraderie and Mar is no different. She finds comfort in the booths of Le Bernardin or Per Se; inspiration at Gabriel Kreuther and at Daniel of Daniel Boulud. Mar says she even considers Jacques Pepin like a second father, someone whom she feels privileged to seek counsel. All men, yes, but chefs she knows will celebrate her achievements, vouch for her passion and skill, and point to her firm seat at the table of fine dining engineers. Once she opened Le Trois Chevaux, she felt she graduated, so to speak, to a different level of colleagues, a place where she began to blossom as a creative. There are regular debates in the food media sphere about tasting menus, their value, their level of exclusivity or sustainability, etc. And yet, when thinking about them as exhibitions or art, as Mar often does, she makes a point worth considering. 'There's food and there's cuisine,' she said. 'Believe me, I love taco trucks and bistros, and there's a time and place for them; they are no less important, just different. Cuisine is art and when enjoying a tasting menu at a fine dining establishment, you are in the presence of art and that's worth supporting." Mar continues to place cuisine and tasting menus in the same arena as great theater. That such an experience is special, and something you let yourself sink into, enjoy, and trust that the art will dazzle as it is meant to do. 'I see La Traviata every season,' Mar explained. 'It is my favorite opera. I know the production changes every year, but I just go, and trust, and enjoy the art." Chef Angie Mar wants Le B. to be seen in the same way. A place where you watch art in motion and on the plate. A theatrical, culinary performance that will definitely leave a mark. --Le B. has been featured in three episodes of 'And Just Like That,' off-shoot of 'Sex in the City' --As part of the James Beard Award Winning G.O.A.T. Series for MasterClass, in 2024 Chef Mar showed the world the process of creating her iconic Le Burger. --Chef Mar has earned a coveted Four Stars from Forbes --Esquire's 50 Best Bar Program --2019 Mar's book Butcher & Beast, One of the best cookbooks of the year, New York Times Book Review --2017 Food & Wine Best New Chef
UPI
a day ago
- UPI
South Korea's Pinkfong wins 'Baby Shark' copyright fight
South Korea's Supreme Court on Thursday upheld lower court rulings against plagiarism claims by a U.S. songwriter who accused Pinkfong of plagiarizing a version of the "Baby Shark" song that became an international sensation, as evidenced by a Baby Shark balloon's appearance in the 2023 Macy's Thanksgiving Day parade in New York City. File Photo by John Angelillo/UPI | License Photo Aug. 14 (UPI) -- A popular "Baby Shark" song that South Korea's young children adore and their parents often find annoying is not plagiarized, South Korea's highest court ruled on Thursday. The South Korean Supreme Court ruled the Pinkfong Co. did not plagiarize the song, as claimed in 2019 by U.S. children's songwriter Johnathan Wright, aka Johnny Only. Wright accused Pinkfong of plagiarizing an earlier version of "Baby Shark" that he penned, but the South Korean court ruled his was just another version of several other existing songs. The court said Wright is not the original composer and his version does not qualify as a "creative work" that is protected by intellectual property laws. Wright allegedly penned the song's "doo doo doo doo doo doo" chorus and uploaded his version to the internet in 2011. Pinkfong uploaded its version of the "Baby Shark" song in 2015 and again in 2016. That version became an international hit by setting a YouTube record with more than 10 billion views by 2022, which since has topped 16 billion. Wright sought $21,600 in compensation when accusing Pinkfong of plagiarism in a Seoul court. Pinkfong officials argued their version is a unique arrangement of an existing folk song that is in the public domain. Two South Korean courts agreed with Pinkfong and ruled against Wright's claim, which led to Thursday's final ruling by that nation's top court. The Supreme Court ruled Wright's 2011 version "had not reached the level of substantial alteration" of a folk song that had existed for years. The song's origins are in question, but it likely was created in the United States during the 1970s and became a popular summer camp song, the BBC reported. Some have suggested it was created after filmmaker Steven Spielberg's "Jaws" became a global sensation in 1975. Other versions of the song were recorded in France and Germany, among others. Pinkfong's version became the most successful of all and attained the No. 32 spot on the Billboard Hot 100 in January 2019. Its success spurred the creation of TV shows, movies, apps and Baby Shark-themed products that have generated millions in revenue for Pinkfong.
Los Angeles Times
4 days ago
- Los Angeles Times
How 5 Emmy-nominated TV shows kept their big twist a secret
There's only one thing more shocking than your favorite TV show pulling the rug out from under you with a plot twist you didn't see coming: Not getting spoiled about it beforehand. It's a feat several of this year's Emmy nominees miraculously pulled off. Did you cover your mouth when one show killed off a main character? Scream when another's conflicted hero made a fateful romantic choice? Gasp when that perfect-looking world was revealed to be anything but? If you answered yes to any of those, then the steps the folks below took to protect their show's big shockers worked. Let's break down the biggest twists of the season and how they were kept a secret. (And it should go without saying: spoiler alert.) The Twist: Secret Service agent Xavier Collins (Sterling K. Brown) discovering the murdered body of President Cal Bradford (James Marsden) isn't the biggest shock in the drama's pilot. The first is when, at the end, '[The camera] pulls up and you realize everyone is in an underground bunker with a fake sky,' explains executive producer Dan Fogelman. The Nerves: How to keep from losing sleep? Plan, plan, plan. 'You get less nervous because you start going, 'OK, here's how we're going to execute it,' he says. The Security: Fogelman recalls the twist-filled 'This Is Us' as 'frantic,' with code words and red script pages. But he's since mellowed, even giving press episodes early to screen. 'If you start worrying about everybody's worst impulses, you'll just be hamstrung,' he says. The Twist: In Season 4's fourth episode, Paul Rudd, who, as pretentious actor Ben Glenroy, was murdered the prior season, suddenly reappeared … as Glenroy's Irish-accented stunt double, Glen Stubbins. The Nerves: 'We'd kept Paul's return under wraps purposefully, and Paul was the cheerleader of that,' says executive producer John Hoffman, who admits concern over the surprise. 'We had big talks in the writers' room, like, 'This probably is a bit too far for us.' What eased his mind? 'The great charm of Paul Rudd,' he says. The Security: Besides NDAs and watermarked scripts, Hoffman says, 'I always want the mystery to be preserved, so I'm oftentimes on set freaking out and realizing, 'Wait, who's here? How locked down is the set?'' The Twist: In the trippy drama's Season 2 finale, Outie Mark (Adam Scott) rescues his captive wife, Gemma (Dichen Lachman), but, reverting to his innie self, sends Gemma through the exit door to stay behind with his other love, Helly (Britt Lower). 'That was always seen as the end point of the season, with Mark stuck between Gemma and Helly,' says Scott. The Nerves: Scott worried more about the post-episode 'Severance' podcast with executive producer Ben Stiller and letting spoiler-y details slip too soon. 'We'd all listen through [episodes] separately to make triple and quadruple checks.' The Security: 'The actors are trusted with the material and the information,' says Scott, also an executive producer on the show. 'There aren't big secrets being kept from the cast. We're not particularly precious like that.' The Twist: In the political drama's Season 2 finale, former U.S. Ambassador Hal Wyler (Rufus Sewell) calls his wife, current U.S. Ambassador Kate Wyler (Keri Russell), and tells her the president (Michael McKean) has died, making Vice President Grace Penn (Allison Janney) the new POTUS. The Nerves: Executive producer Debora Cahn originally thought the twist 'sounded like the dumbest idea ever,' and was embarrassed to pitch it in the writers' room. Even after working out all the details, Cahn admits, 'I still thought it was going to suck.' The Security: Cahn's reservations kept the script's last pages redacted to everyone but Russell and Sewell until the cast table read. 'We got to that last page, they read the last line and there were gasps and screams,' she says. The moment finally convinced her that the shocking twist worked. The Twist: In Season 2's second episode, hero Joel Miller (Pedro Pascal) is brutally murdered by a vengeful Abby (Kaitlyn Dever) while a helpless Ellie (Bella Ramsey) watches, an event that comes from 'The Last of Us' video game. The Nerves: Between game fans and viewers who only know the show, executive producer Craig Mazin isn't worried. 'Our obsession with spoilers sometimes obscures the fact that that is not why we watch things,' he says, citing 'Titanic' as a favorite even though 'we knew it was gonna sink.' The Security: Scripts are watermarked and sides on set are collected and shredded but filming multiple scene versions like 'Game of Thrones' famously did? Nope. 'If I start writing a fake ending, I might be like, 'Wait, this fake ending is pretty good, right?''
