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David Poland

By David Poland poland@moviecitynews.com

What The HELL Has GQ Done To Channing Tatum?

Unless this very handsome 32-year-old dropped by the plastic surgeon and asked for “The Joan Rivers with Balls,” I would have to make this GQ cover a leading candidate for Worst Airbrushing Of The Young Century.

Or maybe they couldn’t get Mr. Tatum and photographed his figure at Madame Tussaud’s.

6 Responses to “What The HELL Has GQ Done To Channing Tatum?”

  1. The Pope says:

    His head is far too big for his torso. He looks like some sort of oversized/undersized mannequin. Spooooky.

  2. anghus says:

    Awful work. In the current tailspin print media is in, it doesn’t surprise me to see the quality of work going to shit.

  3. christian says:

    Marketing folk think that MAD MEN’s popularity means they don’t suck.

  4. djk813 says:

    Are you sure this isn’t Mad Magazine? It looks like Alfred E. Newman as Channing Tatum.

  5. samguy says:

    WTF? He looks like one of the queens that I see at my gym who I feel so sorry for because it’s obvious that they’re getting work done when it’s way too early or even unwarranted. Hopefully this is the work of some photo editor and not how he really looked at the shoot.

    Good catch, DP!

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“The evening’s curious vanity and irrelevance stay with me, if only because those qualities characterize so many of Hollywood’s best intentions. Social problems present themselves to many of these people in terms of a scenario, in which, once certain key scenes are licked (the confrontation on the courthouse steps, the revelation that the opposition leader has an anti-Semitic past, the presentation of the bill of participants to the President, a Henry Fonda cameo), the plot will proceed inexorably to an upbeat fade. Marlon Brando does not, in a well-plotted motion picture, picket San Quentin in vain: what we are talking about here is faith in a dramatic convention. Things “happen” in motion pictures. There is always a resolution, always a strong cause-effect dramatic line, and to perceive the world in those terms is to assume an ending for every social scenario… If the poor people march on Washington and camp out, there to receive bundles of clothes gathered on the Fox lot by Barbra Streisand, then some good must come of it (the script here has a great many dramatic staples, not the least of them in a sentimental notion of Washington as an open forum, cf. Mr. Deeds Goes to Washington), and doubts have no place in the story.”
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