Finally, Here’s the First Star Wars: The Force Awakens Trailer


It’s not much—in fact, it might feel like the shortest 88 seconds of your life—but the first trailer for director J.J. Abrams’ Star Wars: The Force Awakens is finally here, and they weren’t kidding when they called it a “teaser.”


“There’s been an awakening, have you felt it?” a voiceover bellows before cutting to shots of a soccer ball-shaped droid, Stormtroopers, and X-wing starfighters in flight. A dark cloaked figure wielding a red cross-shaped lightsaber treks through the snow as the voiceover continues “the Dark Side … and the light,” and then the money shot: the Millennium Falcon! It’s really happening!


(Side note: Does that voiceover sound an awful lot like Benedict Cumberbatch doing his Khan thing to anyone else?)


The trailer, which hit the web today and is playing in select theaters this weekend, ends by reminding us that this movie doesn’t come out until December 2015. So, like, a whole year from now. That’s a long time to wait, but it looks like it’ll be worth it.



Finally, Here’s the First Star Wars: The Force Awakens Trailer


It’s not much—in fact, it might feel like the shortest 88 seconds of your life—but the first trailer for director J.J. Abrams’ Star Wars: The Force Awakens is finally here, and they weren’t kidding when they called it a “teaser.”


“There’s been an awakening, have you felt it?” a voiceover bellows before cutting to shots of a soccer ball-shaped droid, Stormtroopers, and X-wing starfighters in flight. A dark cloaked figure wielding a red cross-shaped lightsaber treks through the snow as the voiceover continues “the Dark Side … and the light,” and then the money shot: the Millennium Falcon! It’s really happening!


(Side note: Does that voiceover sound an awful lot like Benedict Cumberbatch doing his Khan thing to anyone else?)


The trailer, which hit the web today and is playing in select theaters this weekend, ends by reminding us that this movie doesn’t come out until December 2015. So, like, a whole year from now. That’s a long time to wait, but it looks like it’ll be worth it.



Week’s Best TV: Cameron Diaz Is a Baller


We get it. It’s the day after Thanksgiving and there is very little you’re capable of right now. You’re in a food coma and it’ll be a while before you’re out of that sedentary state. But that doesn’t mean you still can’t take in some of this week’s best TV. Use one hand for that all-the-leftovers sandwich and the other for some mild mouse work and you’re seven easy clicks away from curated TV satisfaction. Just keep the gravy off your keyboard.


Saturday Night Live—Back Home Ballers


Last year, YRGIRLS did it on their twin beds, and this holiday season they’re back—along with host Cameron Diaz—to ball outta control at their parents’ houses! Laundry game on lock.


The Voice—Taylor Swift Performs “Blank Space”


Coming off an awesomely crazy performance of “Blank Space” at the American Music Awards, Taylor Swift brought her 1989 pre-tour warm up juggernaut to The Voice this week. There’s something refreshing about a 24-year-old woman who’s paid to look perfect all the time but is still down to get so very weird on a stage the size of the Internet. Play it again, Tay.


Saturday Night Live—Nest-Spresso


SNL does its best impression of Portlandia doing its best impression of jerks and it’s so, so funny.


Jimmy Kimmel Live!—Jennifer Aniston vs. Lisa Kudrow in Celebrity Curse Off


We won’t spoil the outcome of this no-holds-barred throwdown, but Lisa Kudrow is our winner no matter what based on her facial expressions alone. Is this what Friends would have looked like if it aired today on HBO? Missed opportunity.


The Tonight Show Starring Jimmy Fallon—Christopher Walken


If America is as excited for Peter Pan Live! as the production’s co-star Christopher Walken appears to be, then NBC is in for a bummer night. At least they’ve got one-man hype machine Jimmy Fallon to infuse some enthusiasm into this situation. We thank you for your eternal optimism, Jimmy!


The American Music Awards Telecast—Lorde Performs “Yellow Flicker Beat”


Props to Lorde for leaving it all on the stage in this eccentric performance of her single from the Hunger Games: Mockingjay—Part 1 soundtrack. Happy belated 18th-going-on-700th birthday, Ella Marija Lani Yelich-O’Connor!


Last Week Tonight with John Oliver—Turkey Pardoning


WIRED and John Oliver hope you had a very happy and very delicious Thanksgiving!



9 Secrets About The Imitation Game, Straight From Its Screenwriter


Imitation Game

Jack English/The Weinstein Company



Screenwriter Graham Moore is a self-described Alan Turing obsessive: He went to space camp and computer programming camp as a teenager, so the famed mathematician loomed large, “like a campfire legend or something.” Turing’s life ultimately proved so inspirational to Moore that bringing his story to the big screen became a life goal.


“Once I became a writer I would go to my agents once a year and say, ‘Hey, there’s this movie I really want to write about a gay English mathematician who commits suicide after the Second World War,'” Moore remembers. “And they were like, ‘That’s a big Hollywood movie!’ … No, they did not say that at all. They were like, ‘Please don’t ever write that; no one will ever finance that movie.'”


Nevertheless, when producers Nora Grossman and Ido Ostrowsky got the rights to Andrew Hodges’ Turing autobiography Alan Turing: The Enigma, Moore signed up to write the script—for free. And while he was writing, he was aware that he wanted the screenplay for The Imitation Game, which hits theaters today, to do Turing justice. “There’s this responsibility to do it properly and to do it with respect,” Moore says. “Historical accuracy was tremendously important to us.”


That accuracy wasn’t that easy to come by, however; most of the records of Turing’s work for British intelligence during World War II were destroyed. Following the war, nearly every trace of Bletchley Park’s day-to-day operations—where Turing (played by Benedict Cumberbatch in the film) and his fellow code-breakers were working on cracking Germany’s Enigma code—was either erased from history or kept extremely confidential. (It’s one of history’s awful ironies that the general public found out Turing was gay, by way of an indecency trial brought by British authorities, long before they found out he was largely responsible for outsmarting the Nazis.)


“Everybody at Bletchley kept the secret,” Moore notes. “Then, when Turing was on trial for indecency, he never raised his hand and said, ‘Oh, and by the way I’m a war hero.’ Instead what he did was raise his hand and say, ‘I’m not going to dispute the facts, but I’m still pleading not guilty because what I did should not be a crime.'”


Of the few other well-known things about Turing is how he died. On June 7, 1954, after undergoing “chemical castration” (estrogen injections) as a way of avoiding prison time for his indecency conviction, he was found dead in his apartment of cyanide poisoning, holding the apple he ate to ingest it. While Moore wrote that scene, and director Morten Tyldum filmed it, it didn’t make the final cut.


“We never wanted to see him commit suicide on screen,” Moore says. “This film was about paying attention to Alan Turing’s tremendous life and his amazing accomplishments. It felt to us more ethical and more responsible to focus on his life and his accomplishments than the nitty-gritty of his suicide.”


And that’s just one of many tough decisions, educated guesses, and historical excavations Moore had to make while penning his brilliant script. Here are a few other things you may not know about The Imitation Game.


Moore’s Script Is Actually a Puzzle the Audience Is Meant to Solve


One of the most interesting things about the movie is its structure: It jumps back and forth between Turing’s time at Bletchley, the final days before his death, and his childhood—when he met and fell in love with both Christopher Morcom and cryptography. The structure is meant to give a fuller picture of who Turing was and why he did the things he did—if you can piece it together. “Alan Turing was obsessed with codes and puzzles and games,” Moore says. “I wanted the whole movie to be an Imitation Game where the answer to the puzzle was Alan Turing’s mind.”


Turing’s Code-Breaking Machine Wasn’t Really Named ‘Christopher’


One of the more touching things in Imitation Game is the moment when Turing tells Joan Clarke that he’s named the computer he’s working on “Christopher” (after Turing’s first love—Joan doesn’t know that part, though). The real machine was called the Bombe (or “Victory”). “That was my invention,” Moore says. The idea is based on the belief held by Turing’s biographer Hodges and many other historians that Turing’s fascination with computers and artificial intelligence came from their friendship, which ended early when Morcom died at age 18 from tuberculosis. “Turing wrote extensively about whether or not this technology could be used to keep a person’s mind alive,” Moore says “I think his entire lifelong pursuit of artificial intelligence was all about bringing Christopher back. Naming the machine Christopher was a dramatic way for us to show that very real lifelong obsession.”


Blechley Park Pub

Jack English/The Weinstein Company



The Only Scenes Actually Shot at Bletchley Park Happened at the Pub


Nearly a third of The Imitation Game takes place at the decryption facility at Bletchley Park, where Turing, Joan Clarke (Keira Knightly), and their fellow code-breakers worked tirelessly to decipher the German military’s Enigma code. Most of the scenes set at Bletchley were shot on soundstages—and surprisingly, the ones that weren’t were the ones filmed at the bar where Turing and his colleagues drank and socialized. “The beer hut was one of the most difficult locations, we struggled with that. And that’s the one we ended up shooting in Bletchley Park,” says production designer Maria Djurkovic. “We felt it was right to shoot something there.”


Parts Were Also Filmed at Turing’s Childhood School—Where His Picture Is Still on the Wall


Like many boys in Britain in the early 20th century, Turing went to boarding school, and the scenes from his days at Sherborne School were shot on location, a place that haunted Moore just a little bit. “You’re walking down the halls and you see all the class portraits of the kids going back to the 1920s and you see Alan Turing and you see Christopher Morcom,” he says. “I remember looking at that and being very spooked.”


One of Moore’s Best Sources Was James Bond Writer Ian Fleming


Since so much of Turing’s work with British intelligence and MI6 was kept secret, Moore went hunting for details about what Turing did and what influence he had in the organization—with some surprising results. “The best evidence we have as to Alan Turing’s work with MI6 after they’d broken the code actually comes from the diary of Ian Fleming, which is so bizarre,” Moore says.


Some of the Characters in The Imitation Game Are Actually Based on More Than One Person


“The goal was to tell Alan’s story fairly and responsibly and accurately,” Moore says. “That meant that we sometimes had to dramatize things—or to take things that happened over a period of months and make them into a scene.” That also meant that multiple people, and the things they did, were condensed into a single person. “For example, the character that is called Hugh Alexander, who is played by Matthew Goode, he’s a character that is half Hugh Alexander and half Gordon Welchman, another mathematician on the team,” he says “We had to sort of use little tricks like that. But every major event in the film did occur.”


The Police Officer Who Interrogates Turing Is the Only Character with a Fake Name


Nock (Rory Kinnear), the officer who questions Turing in the film, isn’t entirely real. Rather, Moore says, he’s meant to symbolize “the institutionalized homophobia of the day, to show that this wasn’t some raving lunatic who arrested in persecuted Alan Turing.” And, to protect the cop who did interrogate the computer scientist, Moore changed his name. “I made that decision very early on because the real police officer didn’t die all that long ago and he still has family who are alive and I did not want to implicate the real person in that,” he says.


The Movie Almost Had a Reference to the Urban Legend That the Apple Logo Is Based on Turing’s Death


For years computer science circles have hummed with speculation that the bitten-apple logo on Mac products was a reference to Turing’s death. It’s such an interesting tidbit the filmmakers almost mentioned it in the movie. “We debated putting that in text at the end of the film; that was a lively debate for many months,” Moore says. “The debate was that this was this amazing story that there was this rumor and that Steve Jobs had publicly denied it many times but other people seemed to think it was true. … We would’ve loved for it to be true. But we didn’t have enough evidence to feel comfortable putting that in as text. Personally, I think it might be true, but because we couldn’t prove it, it was ethically tricky.”



What Women Want, According to the Designers of Women’s Wearables




I learned this week that I love snakeskin, which is weird because everyone in my family has a debilitating phobia of snakes. I didn’t know this about myself until Mica, a haute couture smart bracelet for women, told me so.


Mica also taught me that I love bracelets. This was surprising, because I’ve long argued that bracelets are annoying. They get in the way of my typing and cooking and scribbling and gesticulating. They make me a useless ornament. My husband used to buy me cheap bracelets for inconsequential holidays, and I eventually told him to knock it off because I needed my wrists free to work. But after looking at Mica and all the other smart bracelets that are so hot this holiday season, I realized I was wrong. Clearly, I owe my husband an apology.


Wearables have finally shown me what women really want.


Now, you might think that because I am me and I always have been, I should know what I like better than a marketing team. How could I learn so much about myself—nay, my entire gender—from a subset of connected fashion accessories? But of course, the truth is, the greatest mystery of all is knowing the secrets of your own heart. It took the brilliant marketers behind wearables for women to peer into my very soul and reveal myself to me.



Emily Dreyfuss


Emily Dreyfuss is WIRED’s News and Opinion Editor. She owns a gender-neutral Fitbit that she wears in her sports bra like a real class act.




It’s not just me, though. It’s all women. I’ve learned we long for shiny things that vibrate. We want pearls. We love self-involved names like Memi, which is of course pronounced Me! Me! We’re suckers for gold and we’re not afraid to make a statement with chunky rings. We will not sacrifice elegance for connectivity; we want both, dammit! And above all, I’ve learned there’s nothing worse than a physically fit woman revealing how hard it is to be fit. That will not do. We want to have it all, and we want it all effortlessly.


It wasn’t until now that I realized we women—who comprise more than half the people on this planet—are a great and powerful monolith. I thought we came in all variations, not least the bracelet-loving and the “bracelet meh-ing,” the “vibrator-necklace-toting” and the “vibrator-necklace-declining.” I thought we spanned all nations, races, ideologies, sexualities, proclivities and sensitivities. I thought we were beautiful in our innumerable differences and eccentricities. I thought we were just like everyone else: gloriously ourselves.


But then I saw all these wearables for women and realized we’re each exactly the same.


I guess I love pink again, just like I did at 3 years old when Disney told me to. I thought I had grown up and rebelled against the pressure to be that kind of girl. But I guess I’m changed. I guess if I ever owned a gun, it’d be that pink lady Ruger.


Of course, the wearables market is only doing what Hollywood, cell phone manufacturers, every razor maker ever, the automotive industry, earplug companies, pen makers, and novelty toilet producers have done before. But the tech industry has a particularly unnecessary penchant for taking something that is fundamentally gender neutral and lacquering it in pink, appealing to society’s basest stereotypes, and making women feel “other” under the auspices of being “personalized for” and catered to. When women walk, and our pedometers track our strides, there is nothing particular about it. We’re vertical miracles of flesh and muscle plodding across space and time, just like every other human. Our gadgets don’t need to be different. A phone is a phone is a phone. A fitness tracker, too.