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Oh No They Didn't! -

older | 1 | .... | 98 | 99 | (Page 100) | 101 | 102 | .... | 4450 | newer

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    Kelly Clarkson may have gotten her start on TV, but landing a gig acting on a TV show isn’t one of her goals. However, she told ABC News Radio that she’d just love to guest star on her current favorite show, NBC’s “Parks & Recreation.”

    “Oh my God, I want to either play a bad actress — ’cause I am horrible at it — or I just wanna do something really funny or outrageous,” Clarkson said about her dream TV guest role. “I think if I had to do, like, a really ridiculous character, I’d be better at it. It’d make me more comfortable. Playing a straight man — that’s not my thing.”

    Over the years, Clarkson has appeared on a few TV shows but she said she doesn’t do it because she wants to get her foot in the door as an actress. “The only shows you’ll see me on are shows I like, and I just want to hang out with the cast,” she said. “It has nothing to do with me wanting to be an actress. I suck at acting!”

    Clarkson appeared on “Reba,” which starred her good friend Reba McEntire, and ”American Dreams,” which had a plot that revolved around Dick Clark’s old show “American Bandstand.” ”I loved [it], I wanted to play Brenda Lee,” she said. “You know, if it’s something that I’m really into, then I’ll do it, but other than that, I’m not gonna sign up to act!”

    Kelly may still be scarred from her first acting experience: the universally-panned film “From Justin to Kelly,” which she and “American Idol” season one runner-up Justin Guarini were contractually obligated to make.


    ive been a fan of her since day one, but im just now noticeing her freaky ish long arm in that poster lol.

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  • 04/30/12--19:52: Kardashian/E! Megapost
  • Kim Kardashian on run for Glendale mayor: ‘Stay tuned’

    Cornered on the White House Correspondents' Dinner red carpet, Kim Kardashian told reporters she’s “thinking about” running for Glendale mayor almost two weeks after a video clip surfaced in which she quipped about running for political office.

    The Times reported that Kardashian would have to become a registered voter in Glendale, residing in the city 90 days before the election, and collect 100 endorsement signatures to run for City Council.

    City spokesman Tom Lorenz said the mayorship rotates based on the majority vote of the council, explaining that it is not an elected position in that city.

    Councilman and former Mayor Ara Najarian told the Glendale News-Press he has offered Kardashian the position of "honorary chief of staff" to give her a crash course on city matters.

    Then on Saturday, Kardashian confirmed to Politico that she had “met with a few councilmen in Glendale” and “loved what they had to say.” But she stopped far short of committing to a run for office.

    “You’ll just kind of have to stay tuned,” she told Politico. “I’m thinking about it. I think when I said it, I didn’t know that they were going to air it. At the moment, I wasn’t thinking of running. But you never know.”

    Kardashian’s original proclamation stemmed from a leaked video clip from E!’s "Khloe and Lamar," in which the reality TV star said she is "for real" about plans to run for office.

    "I decided I'm going to run for the mayor of Glendale," Kardashian said in the clip, later clarifying that "it’s going to be in, like, five years."

    Several Glendale officials said they were excited about the possibility of Kardashian running for office.

    City Clerk Ardashes Kassakhian did not express an opinion on the reality star’s credentials for city government but told The Times anything that brings more focus to city elections is generally good.

    Kardashian, he said, "has done what we try to do election after election after election," attracting media attention to local government by talking about a possible political bid in Glendale.

    “I think it would be one of the more closely followed elections in Glendale’s history,” Kassakhian said.

    E! Upfronts

    Get ready for some familiar faces...and an exciting new direction for E!

    Today, our cable-network mothership is rolling out a slew of new programming as part of the new "Pop of Culture" branding initiative, and confession: We're kind of excited about it. Because the likes of Whitney Cummings, Kevin Jonas, Nigel Lythgoe ("Good evening, sir!") and Mary J. Blige are coming on board...

    Love You, Mean It: Comedian Whitney Cummings (Whitney, Two Broke Girls) brings her unique comedy stylings to E! with a new weekly talk show produced by Borderline Amazing Productions. This medley of witty commentary will showcase Cummings' take on everything from the biggest pop-culture and celebrity happenings to relationships, life, sex and more. This new series will be paired with Joel McHale's The Soup on Wednesday nights, and she'll executive-produce it with Chelsea Handler and Tom Brunelle. Brad Wollack serves as co-executive producer. "I'm really excited to be able to say (almost) whatever I'd like on TV again," Cummings says of the new show. "So thanks, E!" Looking forward to it!

    Married to Jonas: Kevin Jonas (of the Jonas Brothers, heard of them?) and his new wife, Danielle Jonas, give us a peek inside their two-year-old marriage, as they settle down in their New Jersey home and establish a happy suburban life. However, the Jo Bros are heading back to the studio to record new music, so the couple will strive to find the right mix of "normal." Married to Jonas premieres Aug. 19 at 10 p.m. on E!

    Opening Act: International Emmy-winning producer Nigel Lythgoe teams up with his A-List Artist Development Team—including Mary J. Blige and chart-topping producer Antonina Armato from Rock Mafia—to comb the Internet to find the Web's most talented amateurs, then give them the once-in-a-lifetime chance to open for a top superstar. Opening Act will showcase not only some extraordinary, unknown talent, but the emotional and very personal journey that awaits them on their way to perform on a national stage. New series premieres July 9 at 10 p.m. on E!

    + more pics including Joel McHale at Source


    E! Entertainment is expanding into scripted programming with a development slate of nine one-hour series from well-known producers like John Wells and Kevin Spacey, the network announced Monday ahead of its upfront presentation in New York.

    The network's first scripted series will premiere in 2013. Wells' project, Anne of Hollywood, resets the story of Anne Boleyn and Henry VIII in present-day Hollywood, while Spacey's Upstarts follows three dreamers seeking wealth and glory in Silicon Valley's gold rush of the late 1990s.

    Other series in development are Amy Devlin Mysteries, based on the graphic novel of the same name, about a 20-something detective who brings her own style to police work; the Wizard of Oz-inspired Dorothy, about a girl from Kansas City who falls for a man and moves with him to the Emerald City to work at his hotel; and Fascination Street, a then-and-now look at two brothers who were trying to make their band a success and are now trying to find out who is behind the disappearance of their lead singer.

    The 400 follows the rise of the Vanderbilt dynasty in 1890s New York; Juror #9 is about a man who accidentally kills a woman who is blackmailing him, frames someone else for the murder, and winds on the jury for the case; a self-made billionaire with a penchant for hooking up with D.C. lobbyists is the focus of King David; and a group of executive assistants plot their way up the corporate ladder in Untitled Asistant Project.

    The network also unveiled a new look, logo, brand campaign and tagline that will debut on July 9. E! holds its upfront presentation for advertisers at Gotham Hall in New York on Monday evening.


    Ryan Seacrest ‘Obsessed’ With ‘Fifty Shades Of Grey’

    Ryan Seacrest has admitted he is smitten with E L James’ “Fifty Shades of Grey.”

    “I’m obsessed. I’m past the bathtub scene, so I’m making progress,” he told Access Hollywood correspondent Jill Martin ahead of the E! upfronts in New York City on Monday, referring to his spot in the novel. “It’s fascinating to see something like that capture the zeitgeist and also it’s really interesting to read.

    “And I’m using it as a manual,” he continued. “I think it can be a study book for a lot of people.”

    Ryan, who is dating former “Dancing with the Stars” pro Julianne Hough, now an actress, said the book comes in handy.

    “Parts of it can be a workbook,” he told a blushing Jill.

    Ryan may be in good spirits now, but last week the “American Idol” host nearly didn’t make it to the big stage after getting ill.

    “I had a bug that got everything out of me — trust me — in the 24 hours… So I’m good,” Ryan said of how he is doing now. “An afternoon later, I was OK.”

    While Ryan made it to the “Idol” stage, he revealed that the show’s executive producer, Nigel Lythgoe, was ready to step in and assume his duties for the night.

    “Nigel got a haircut, literally, as soon as he heard that I was sick,” Ryan said. “I don’t know if that’s a supportive friend. I have some friends in Hollywood, but that doesn’t say ‘supportive’ to me, that you’d go get your haircut, put on a suit — he put his silk handkerchief in.

    “I think he poisoned my chicken,” Ryan added, with a laugh.


    say what now

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    Almost two decades and over 12 million albums sold, Shirley Manson returns to the spotlight armed with a new set of killer songs.
    A few weeks ago, she gave an interview to Bullett Media and gave her point of view on how the press is trashing Madonna.

    "The tabloids complain about Madonna looking old, and people laugh at her for that.
    Then Madonna goes and fixes her face, and they laugh at her for that.
    Even thought they begrudgingly say she looks amazing, they’ll still laugh at her for trying to look young.
    Then she steps out, looking amazing, and the tabloids go and blow up a picture of her aging hand.
    Nobody’s doing that to George Clooney, blowing up pictures of his hands!
    I look at these magazines, and I want to say to them, What’s your point? That she’s aged? Does that surprise you? Or is your ‘point’ an attempt to undercut what she’s achieved?
    I think it is, even if it’s on a subconscious level.
    And you probably wouldn’t turn down those hands if they were grabbing you under the table, you fucking idiots!"


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    Robert Griffin III was the number two overall draft pick of the Washington Redskins during Thursday night's NFL Draft ... which nets him a big contract and HUGE perks ... like VIP treatment from Jay-Z during his NFL Draft party at the 40/40 Club.

    RG III, Trent Richardson and Quinton Coples were just of the picks in attendance. The guests dined on signature dishes from executive chug Mike Shand -- including wings, chicken fingers, BBQ pulled turkey sliders and classic beef slides.

    New York Giants stud WR Victor Cruz was also there ... and he and RG III got bottles of champagne as gifts for the night.

    Michael Irvin

    Robert Griffin III and Hakeem Nicks

    Justin Blackmon

    Hakeem Nicks

    Trent Richardson

    Mekai Phieefer

    Brian Westbrook

    Mark Barron

    RG III and Eddie George

    Lesean Mccoy

    Quinton Coples

    Brooklyn Nets unveil new logo and black and white color scheme

    The Nets kept it simple and crisp with their new colors and logo, hoping that a combination of black, white and Brooklyn will keep merchandise flying off the shelves.

    A project 10 years in the making became official Monday morning with the re-branding of the Brooklyn Nets. Grabbing hold of the marketing opportunity, the Nets held a press conference at a Modell's store across the street from their new arena to unveil the aesthetic identity.

    Everything about it was black and white: the logos, the t-shirts, the hats, even the complimentary black and white cookies.

    "We thought it kind of represented Brooklyn. It's simple. It's crisp. It's kind of classic. It's urban. We thought it's New York," said Irina Pavlova, the president of Mikhail Prokhorov's sports and entertainment company.

    The primary logo, which is outlined by the shape of a shield, is similar in style and colors to that of the Oakland Raiders. The secondary logo is a "B" imposed over a basketball.

    After considerable deliberation, Pavlova said they decided to use "B" for the logo instead of "BK." She said Jay-Z pushed hard for the former and helped sway the vote.

    "The colors and logos fit with Brooklyn's strong history and heritage," said CEO Brett Yormark, giddy that he finally has something worth marketing. "They differentiate us. Just like Brooklyn is different than anywhere in the world we will be the lone NBA team with only black and white as colors. As we're entering a new era for this team we knew that we had one chance and one chance only to make it work, and we were thrilled with the results."

    Yormark added that the logo is "the shield of Brooklyn."

    The Nets gave out ticket vouchers for the opening game next season to the first 100 people, so a line began forming about eight hours before the doors opened. The first person on line — Astoria resident Rob Gorman, who started the line at 2:30 a.m. — admitted he's a Knick fan and doesn't plan on switching allegiance. "But Brooklyn is easier to get to," he said. "I'm hoping for tickets that are more affordable as well."

    NBA Deputy Commissioner Adam Silver, who was at the press conference, said he expects the Nets to become a profitable organization and capture a strong fan base.

    "I don't think we would have allowed the move if we didn't think the market could sustain two NBA basketball teams. I think by virtue of this team having its own arena, its own identity, by being Brooklyn's own — which hasn't happened since 1957 — I think that'll make a big difference as well. I have complete confidence that this market can sustain two teams. I believe the fans will get behind this team and there are plenty of fans in this market for both the Knicks and Nets."

    sources 1 and 2

    How did your team make out in the draft?

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  • 04/30/12--20:24: Smash 1x14 "Previews" Promo

  • The cast and crew of Bombshell is ready to face its first audience but a major crisis involving Rebecca causes the first preview to fall short, prompting Julia and Tom to scramble in order to fix the show. Dev attempts to reconcile with Karen and Frank tries adjusting to Michael Swift's sudden return in his life while one of Ivy's dark secrets threatens everything.


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    The Wanted Don't Expect Anything From Christina Aguilera

    We caught up with the group on their way out of LAX this weekend, and Tom Parker, who used the B-word explained to us what happened. “She was a bit rude … She didn’t look at us or speak to us.” Band mate Jay McGuinnes tells RumorFix exclusively, “Everything was no contact. no smiles. Maybe that’s not typical of her — maybe on that day she forgot her manners.”

    Has Christina aplogoized? “No she hasn’t,” says Tom, “I wouldn’t expect her to she’s a superstar. We’re just a new band from England.” The boys agree the other judges were cool– and they pick Cee Lo Greene as the nicest. Tom says, he was a “genuine nice guy.” the rest of the judges were very, very nice.

    for the tl;dw crew
    Tom: The rest of the judges were nice. Ceelo was the nicest one and awesome and chill.
    papz asked him if she apologized Tom said no but he doesn't expect it cuz she's a superstart
    Nathan says if you attack a superstar the fandoms will go at it. also says Ceelo is the coolest.
    Understands that maybe she was having a bad day
    Jay says she didn't smile and didn't make any eye contact. That particular day she was not kind.

    Has 3 tattoos -- this paparazzi is whack imo
    Tom likes Madonna and MIA

    alright this is all cleared now and they spoke about what happened so we can now move on. Tom was the only one who spoke out of his ass and prob got his ass handed to him for it.
    ps no they don't hate Britney; they stan her

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  • 05/01/12--18:06: Glee 3x19 Prom-asaurus Promo


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    When she arrived at the hospital last January, Beyoncé came with the best of intentions for her daughter's delivery.

    "I did have a fresh eyebrow wax," PEOPLE's 2012 Most Beautiful Woman says with a laugh.

    "I got my nails done, I got my feet done, had my hair done, and I had my little lip gloss."

    But, in the end, Blue Ivy's birth trumped all the new mom's primping and prepping to meet her baby girl.

    does? After being pumped with all those fluids and gaining so much weight ... I barely recognized myself," she explains.

    "But after many hours of labor, I could care less about anything but my child. I didn't care how I looked."

    The focus, she adds, was shifted to "the miracle" that she and husband Jay-Z welcomed into the world.

    "I felt more powerful than I've ever felt in my life," Knowles shares. "I felt connected to my body. I felt like I knew my purpose in the world."

    Losing the Baby Weight

    The singer says she gained 50 pounds during her pregnancy – putting on the last 20 during the final month leading up to the delivery – and was determined to bounce back after baby as soon as possible.

    "I lost most of my weight from breastfeeding and I encourage women to do it; It's just so good for the baby and good for yourself," Knowles, who breastfed Blue for 10 weeks, says.

    Then, "about a month after" giving birth, the new mom tackled the remaining pounds with a strict diet and exercise routine.

    "I counted calories. I worked out maybe three to four times a week," she shares. "I did a lot of walking in the beginning and now I'm running. But I had to work my way up. I couldn't just go right from being pregnant to running."

    All the hard work – including "staying away from anything delicious" and no cheat days – has paid off.

    "I'm proud that my waist came back so fast. I'm proud of that and happy, but that was mostly from the breastfeeding," the singer explains.

    And not only is Knowles just "three to four pounds" away from her pre-pregnancy weight, but she has also acquired a new softness about her voluptuous body.

    "My hormones are still in my body. Your body produces the hormones that make your body soft," she says. "It's just magical. It makes me so proud to be a woman because it's just unexplainable what happens to your body – it's incredible."

    Image and video hosting by TinyPic

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    Before “The Mountaintop” opened on Broadway last fall, there were rumors that this fictional account of Martin Luther King Jr.’s last night before his assassination would present him as a flawed man, one who drinks and flirts with a motel maid. Kenny Leon, the director, told me recently, however, that he never would have had anything to do with something “that destroyed the iconic nature of Dr. King.” In fact, he said, when he first read the play, he realized that its innocently childlike King could be played only by “a sensitive actor bigger than life” — his friend Sam Jackson.

    Samuel L. Jackson, who is 63, has appeared in more than 100 films since 1972, and moviegoers would be hard-pressed to find in any of his roles someone who was innocently childlike. For the first part of his film career, his characters tended to appear in scripts as Gang Member, Drug Addict, Hold-Up Man. Even after his work in “Jungle Fever” earned Jackson a best supporting actor award at the Cannes Film Festival in 1991 (an honor created for that performance) and his work as Jules Winnfield in “Pulp Fiction” three years later made him world-famous, at 46, Jackson’s roles, no matter how fleshed-out or nuanced, have been far from innocent. Still, even as Jules tossed off vulgarities and obscenities as offhandedly as he shot people, like so many benign terms of endearment, he displayed the greater part of Jackson’s success as an actor — his ability to imbue even his vilest characters, spouting the vilest words, with a touch of humor, intelligence and humanity.

    Jules was the moral center of “Pulp Fiction,” Jackson told me recently, “because he carried himself like a professional.” The same can be said of Jackson as an actor. “Before Jules,” he went on, “my characters were just ‘The Negro’ who died on Page 30. Every script I read, ‘The Negro’ died on Page 30.” He thundered in character as Jules for a moment, repeating his point in saltier language, then returned to himself and said: “After Jules, I became the coolest [expletive] on the planet. Why? I have no clue. I’m not like Jules. It’s called being an actor.”

    Since “Pulp Fiction,” it seems safe to argue, Jackson has been the busiest actor on the planet too. This year he has four movies — his annual average since 1994 — coming out, including “The Avengers” next month, based on the Marvel comic book. (Jackson has a nine-picture deal with Marvel Studios.) He’s been in big-budget films like “Jurassic Park”; low-budget movies like “Black Snake Moan”; blockbusters like “Star Wars” and bombs like “The Long Kiss Goodnight.” He’s been the star, played the sidekick, filled bit parts (“A Time to Kill,” “Patriot Games” and “Iron Man,” respectively). His acting has been critically acclaimed (“Jungle Fever,” “Pulp Fiction”) and panned as “lackluster” (“Twisted”). But one thing remains constant: Samuel L. Jackson works. It’s all but impossible to turn on a TV set any night of the week without happening on one of his movies (and sometimes two or three). Hence his anointment by Guinness World Records as “the highest-grossing film actor” of all time. His movies have taken in more than $7.4 billion, most of which, he pointed out, “didn’t end up in my pocket.” Maybe not, but the residuals alone earn him about $300,000 a year. “I get paid all day, every day,” he said — “which is almost too much for a sensitive artist.”

    Renny Harlin, the director of “The Long Kiss Goodnight,” told me that the secret to Jackson’s success is simple: “He’s the ultimate pro. He’s on time, knows his lines, hits his mark with no drama. He makes the other actors want to rise to his professional level.” And not only do other actors love Jackson, Harlin noted, but so do moviegoers. When Jackson’s character was killed off in a version of “The Long Kiss Goodnight” that was previewed before a test audience, at least one member in the audience yelled out, “You can’t kill Sam Jackson!” Harlin said he learned his lesson. In the released version of the movie, Jackson’s character survives.

    William Friedkin, who directed Jackson in “Rules of Engagement,” told me: “Sam is a director’s dream. Some actors hope to find their character during shooting. He knows his character before shooting. Sam’s old-school. I just got out of his way. I never did more than two takes with Sam.” Friedkin said that some people say Jackson works too much, but he dismissed actors who wait around for “Hamlet.” “You take what you can get,” he said, “to keep your engine tuned. An artist doesn’t burn out with age because he works too much. Working hones his craft.”

    Earlier this year, before “The Mountaintop” closed, I spent several evenings at the Bernard B. Jacobs Theater. One night, I spoke to Angela Bassett, who played the motel maid. Bassett has known Jackson since she was a young intern out of Yale and he was an established theater actor on bus-and-truck tours. He called her “rack queen,” because she was always sleeping, or in the “rack.” “Yes,” she confirmed, “because he made me do all these errands for him.” Bassett didn’t think Jackson was particularly cool then — her expression suggested he was a pain instead, a demanding teacher more than the laid-back dude of popular perception — and she doesn’t think he’s particularly cool now. But then she conceded: “I suppose he might be a little cool. He does listen to that gangsta rap.” She looked up toward the ceiling. “There’s always a party going on up there.”

    The secret to his Guinness record, Jackson said when we first met in his cramped third-floor dressing room at the theater, is “longevity.” But there are other reasons, too. He can cross the color line (“Twisted,” “The Red Violin” and “White Sands,” for example, were written for white characters, according to Jackson). Actors and directors like to work with him. “When I yell, ‘Cut!’ Sam becomes Sam,” Harlin told me. “He jokes around, makes a relaxing atmosphere. There’s no weirdness with Sam.” He’s known too for being an actor who’s better than his material. John Lahr of The New Yorker said “The Mountaintop” was “a mess” but described Jackson as “admirable, compelling.” He invests the bittiest of bit parts with something electric to rivet an audience’s attention. And he’ll work cheaply if the role has some personal meaning for him.

    As an only child, he went to movies alone, he said, “to be taken out of my place and transported to another world.” Years later, when people questioned why he appeared in one turkey or another, he would answer, “Because it was a movie I’d seen as a kid.” One such dud, a remake of “Shaft,” was so horrible that Jackson was said to have refused to recite his lines because they were written by a white man. “Not true,” he said, when I asked about the incident. “I changed his lines so they’d sound like a black man,” he said. When the author countered that those were the words he had written, according to Jackson, “I said: ‘Yes, and you got paid for them. Now let me make you sound brilliant.’ ” Jackson had to say “the corniest line I ever heard in my life and make it believable,” he told me, and then laughed before delivering it again: “It’s my duty to please that booty.”

    Why would he make a movie like that to begin with? “Because I grew up watching those blaxploitation movies. Ron O’Neal, Richard Roundtree, Jim Brown, Pam Grier. For the first time, I saw ‘The Negro’ get one over on ‘The Man.’ ” He assumed the dignified voice-over of a biblical narrator: “Once upon a time, there were these Negroes, and these Negroes could do anything they wanted to.” He went on: “But those movies were not what I was aspiring to. I wanted to be in the highest-quality films.” When quality films weren’t offered to him, he took parts in movies whose characters he had wanted to be as a boy. He is Nick Fury in “The Avengers” because “who wouldn’t want to be a superhero?” He saw John Wayne in war movies, so he signed on with Friedkin to make “Rules of Engagement.” He saw Errol Flynn as a swashbuckling buccaneer, so he took a small (albeit key) role in the last three “Star Wars” movies as a Jedi warrior with a light saber. He always wanted to be chased “by a big monster with jagged teeth,” so he did “Deep Blue Sea” with a shark and “Jurassic Park” with a dinosaur (he is eaten). When Jackson heard about a movie called “Snakes on a Plane,” he called the director, David R. Ellis, and said, “You doing a movie about snakes on a plane?” Yeah. “A plane full of poisonous snakes?” Yeah. “I’m down.” Some movies he picked because they appealed to his adult fascination with costumes or his passion for golf, which he once said allowed him to dress like a pimp and still be respectable at a country club. “I did ‘Formula 51,’ ” he said, “because I got to run around Liverpool in a kilt, with golf clubs.”

    Jackson has never been ashamed of his work — “I entertained an enormous amount of people,” he said; “besides, everyone wants to be a movie star” — nor of the money that has afforded him a mansion in a gated and guarded community on a hilltop in Beverly Hills and the free time to play golf with celebrities like his buddy Donald Trump. One day, Jackson told me, Trump said to him, “My friend Bill might play with us next week, Sam.” Jackson said, “Bill who?” Trump said, “Clinton.” Jackson said, “Oh, yeah, I played with Bill last week in the Bahamas.”

    He is on location as much as nine months a year — “I love being on the road,” he said — and the first thing he does in a new town is look for the black community. Sometimes people say, “You’re it.” Sometimes they direct him to black restaurants, music bars or, most important, public golf courses. He plays alone or with strangers. One day in Memphis, he joined a group of 12 black policemen who were about to tee off. One cop said: “Hey, man, you’re Samuel L. Jackson. I like your movies. Now here’s the game. We play for a little something.” Jackson smiled, recalling that game. “Before I know it, I got 16 bets with 12 guys,” he said. “I can’t be thinking, Hey, I’m Samuel L. Jackson. I gotta be thinking of those 16 bets.” (He won 10 of them.)

    Jackson told me he has never had an unpleasant experience in public like a lot of actors have who go out in public with bodyguards. “I walk the streets, take the train, it’s real simple. Some actors create their own mythology.” He assumed a self-pitying voice: “Oh, I’m so famous I can’t go places, because I created this mythology that I’m so famous I can’t go places.”

    Once, while working in Dublin, he had a driver who said to him, “Oh, today I now have the whole set.” Jackson said, “Whole set of what?”

    “I had Mr. Freeman in my car and Mr. Washington and now the great Mr. Samuel L. Jackson,” the driver said.

    Jackson likes that story because he likes being recognized. Sometimes, “to feed my ego,” he said, he’ll walk around cities looking to be recognized, sign autographs, pose for photographs. He goes to theaters where his movies are playing and sits among the audience “to see myself up there.” His “Pulp Fiction” co-star, John Travolta, told me: “Actors go see themselves be someone else because being yourself in real life is not that interesting. I don’t think I’m entertaining.” But Jackson disagreed. “John’s a genuine gentle soul. I love John to death.” Then, speaking in a falsetto, he mocked actors who say, “Oh, I can’t watch myself on screen, it’s too personal.” He dropped the falsetto and began to fulminate like Jules, in ways that can’t be reprinted here. How could anyone expect someone else to pay $12.50 to watch him on screen if he couldn’t watch himself?

    What Jackson loves most about acting, though, is the process, the satisfaction of taking the job seriously. “I was raised by my grandfather, a janitor,” he said. “As a boy, I went with him to clean offices. I learned a man gets up in the morning, he goes to work.” Before shooting, Jackson reads his script a dozen times, sometimes memorizing all the other characters’ lines as well as his own. Jackson is almost pathologically meticulous about hitting his mark, picking up a prop, say, on the same word, take after take. “That’s called playing the movie game,” he said.

    And he expects the same level of professionalism from his colleagues. Scarlett Johansson, who worked with Jackson on “Iron Man II” and “The Avengers,” told me he can get angry “if someone doesn’t do his job correctly — he does not suffer fools.”

    When Jackson was making a filmed version of the play “The Sunset Limited,” with Tommy Lee Jones, the play’s author, Cormac McCarthy, complained about his line readings. Jackson said: “It sounds better my way. I’m not trying to make this [expletive] worse!”

    Before visiting with Jackson one night, I called his wife, LaTanya Richardson, who is also an actor. I told her I had a fascinating conversation with her husband. “Of course you did,” she said. “Sam loves to talk about himself.” Richardson met Jackson in Atlanta in the ’60s when he was a student at Morehouse and she was a student at Spelman. “Sam was not part of my circle,” she said. “I was a theater snob; he loved movies.” But she said they did get him to do plays at Spelman.

    She described Atlanta of those days as a mecca for African-Americans demanding racial justice. Jackson would eventually become one of those angry revolutionaries, but when Richardson first met him, she said, “I never saw anger in Sam.” After a long courtship during which they dated others, Richardson decided it was time to marry either a rich boy or a smart boy. “I married the smart boy,” she said, and they’ve been together ever since. But it hasn’t been easy. She’s passionate and outspoken, and Jackson is, in her description, “emotionally disconnected.” When she would call him on a movie set and ask him if he missed her, he’d say no. “But he’s changing,” Richardson said. “The other day I cut my hand, and he took me to the hospital. Years ago, I’d have to go by myself.” There were long absences during which “I felt abandoned,” she said. “It was easier in the earlier years when we sometimes acted together onstage.” But when their daughter, Zoe, a freelance film and TV producer, was born 30 years ago, Richardson stopped working regularly, because, she said: “We’d vowed to be an intact revolutionary black family. But it was very, very hard.” After Richardson stopped traveling a lot, she served as her husband’s acting critic. She once told him that his acting was “bloodless,” that his meticulous preparation hid the fact that “he didn’t infuse his acting with anything that grabbed you.” She told me: “I was trying to help. He said I had no filter in me.” When I asked her the secret to their 40-year relationship, she said, “Amnesia.”

    Jackson was born in Washington. He saw his father twice in his lifetime. Before he turned 1, his mother took him to Chattanooga, Tenn., where his grandparents and aunt lived, and returned by herself to Washington. For the next nine years, he saw his mother sporadically. His aunt, a performing-arts teacher, put him in her school plays beginning when he was a toddler. “She was the reason I became an actor,” Jackson said. She also helped cure his debilitating stutter by taking him to a speech therapist. “It manifests itself more when I read than when I talk,” he said. “I have no idea why. Denzel stuttered. James Earl Jones stuttered. There are still days when I have my n-n-n days or r-r-r days. I try to find another word.”

    He grew up in a poor black neighborhood, “but everyone had shoes and food,” he said. There were “two white houses of prostitution” in the neighborhood, and three other houses sold moonshine, and a fourth belonged to a “P.W.T. family. Poor White Trash. Their house had no running water, so they only took baths when it rained. They called me nigger boy and my grandmother Miss Nigger. It was always ‘Miss,’ as if a term of respect. When my grandfather took me to work with him, the whites there would rub my head, affectionately. I’d [expletive] look ’em in the eye to make them uncomfortable. But it was nothing to be angry about. Segregation was just a way of life.”

    Jackson relates the details of his childhood without inflection, emotion, affection or resentment, as if reading from a grocery list. The black movie theater played the same movies the white theater did — except when a black actor slapped a white actress, he said, that slap “was cut out of our version.” One day he asked his mother, “Why does the black man always die in movies?” Her response: “Because the black man can’t win, he always gets killed.”

    Throughout his childhood, Jackson said, he never really had to interact with white people. He went to black schools, black fairs, black theaters, black churches. “I still do,” he said. “A black church in L.A., maybe once a year. I’m solid with God.”

    He grew up with the attitude that it was “me against the world,” he said. “Oh, and I was a selfish kid. When my mother made me share a piece of candy, I threw my half away. If I couldn’t eat the whole thing, I didn’t get any satisfaction out of it.”
    His pleasures were solitary. He listened to “Sergeant Preston of the Yukon,” “The Shadow,” “Amos ’n’ Andy” on the radio, which taught him how to tell stories in his head. Later, in his 20s, TV and movies made the biggest impact. “Shaft” and “The Mod Squad,” big Afros, cool shades and an attitude that “blacks could be black, proud and beautiful. That wasn’t what I’d been taught in school.”

    Left to his own devices, Jackson learned to be content with himself, “to sit alone for hours doing nothing and not to have separation anxiety. I would see my mother maybe two times a year. She’d leave, and there was nothing I could do about it. I learned to accept it. If a person leaves me, I immediately forget them. I don’t dwell on people who leave.”

    Jackson describes his college-freshman self as a “straight arrow” who was on the cheer squad and swim team and aspired to be a marine biologist. Like many students in the ’60s, he spent his time drinking, playing cards, dabbling in drugs. Then he noticed a group of older black students, who didn’t look like any other students. They had big Afros, wore black twisted braids of rope around their necks and had an aura of genuine menace about them, unlike the make-believe movie menace of his later blaxploitation heroes. At first Jackson didn’t know what they were about. “I only knew they were pretty much angry all the time,” he said. “They took studying seriously.” When Jackson and his classmates cut up in the dorms, these scary guys snapped at them: “You wanna flunk out and go to war and get killed?” Jackson asked them, “What war?” It was 1967. They said, “The war in Vietnam.” Hard as it is to believe, Jackson’s response, he said, was, “Where’s that?” They said, “Get a map and find it yourself.”

    “These were serious guys, returning war vets going to school on the G.I. Bill,” he said. “They were articulate about war, racism, the C.I.A.” Jackson began to realize that once he left Morehouse, he would leave the last vestiges of that black cocoon that had protected him all his life. After Morehouse, he’d be thrown into that bigger world dominated by whites. He remembered how blacks were treated on those rare occasions when he’d stepped into the white world as a boy. He decided he, too, would get involved in the racial struggle. “I wasn’t gonna let people spit on me and go to jail,” he said. He started hanging out with those former G.I.’s, which led him to H. Rap Brown and Stokely Carmichael. “It was my ‘kill whitey’ period,” he said. “I really thought there’d be an armed struggle between blacks and whites. So we began to collect guns.”

    Then one day the F.B.I. appeared at his mother’s door. They told her that if her son didn’t quit his radical lifestyle, he’d be dead within a year. So, in the summer of his junior year, he said, “she shipped me off to L.A.” He worked there as a social worker for two years, then returned to Morehouse, joined a theater program, forged a relationship with Richardson, got his degree in arts drama in 1972 and “put my politics away.” On Halloween night, in 1976, he and Richardson arrived in New York City.

    During the next 15 years, Jackson performed in plays at the Public Theater, Off Broadway, Off Off Broadway, the Yale Repertory and on traveling tours, while waiting for the call to Hollywood. “I acted, made costumes, worked the lights, built the sets, everything I could do in a theater. I was making a decent living. I had a good reputation. If Hollywood never called, I could still work in the theater.”

    It wasn’t a bad life with his fellow actors Denzel Washington, Laurence Fishburne, Morgan Freeman and Wesley Snipes. They went to auditions together, and if one didn’t get a part, he recommended his friends. They went to the unemployment office together, partied together, pooled their money, fed one another, spent Christmases together, appeared in plays together. Jackson did “A Soldier’s Story” with Washington and was Freeman’s understudy in “Mother Courage” at the Public. Freeman, 10 years older and wiser, told him once: “I don’t know why you’re working so hard, boy. You got it. Just don’t quit.” When I called Freeman to ask why Jackson got his call to Hollywood so late in his career, Freeman said: “He got it earlier than me. Others went to Hollywood on their own. My agent told me, ‘If they want you, they’ll call you.’ ” The Jackson he knew, Freeman said, “was not cool like Jules — Sam was earnest.”

    Washington was the first of his friends to be called to Hollywood. Then Fishburne, then Snipes. Jackson “wouldn’t go unless they called me,” he said. He stayed in New York and asked his agent every day, “Did Hollywood call?” No. So he continued doing what he always did — work, try to take care of his family but also drink and do drugs — until 1990.

    For years, Jackson insisted, “I was a great alcoholic and drug addict like actors of old.” He could come offstage between acts, have a drink, go back on and perform well. “That’s how we learned to do it.” In 1990 he got a part in “The Piano Lesson” at the Yale Rep that had been earmarked for Charles Dutton, who was on location filming a movie. When Dutton was available and the play moved to Broadway, he would assume the role, and Jackson would become his understudy. “I was O.K. with it,” Jackson said, “until it was time to do it.” When Dutton took over on Broadway, Jackson didn’t like it. “I rocked that play,” he said. “Charles was great, but I was better. I began smoking coke and getting crazy, then smoking crack to level out.” One night, he passed out on the kitchen floor, and the next day Richardson checked him into a rehab facility. “I threatened to leave him if he didn’t see the rehab through,” she said. “I knew I couldn’t leave this boy I admired so much. But I resented him too. I hated it when he slurred his words. A wife hates to see her husband be weak.”

    “I did the 12 steps, yada, yada, yada,” Jackson said. He went through rehab, grudgingly, because “I was tired of the way I felt on drugs. My worry was, ‘Would I still be fun?’ ” He was also worried how being sober would affect his acting. He felt he was smarter, more charming, more talented when he was high. He remembered what his wife said about his acting being “bloodless.” As an addict, “I said all my lines with the right inflections, but there was nothing here,” he said, tapping his heart. “I was always watching people react to me rather than my being inside the character.”

    Just before he left rehab, Jackson called his agent as he always did and asked, “Did Hollywood call?” His agent said, “As a matter of fact, they did.” Spike Lee wanted him to play the addict Gator Purify in “Jungle Fever.” Jackson said: “Why not? I already researched the part.”

    It was after “Jungle Fever” that Jackson began to see scripts that no longer had him wondering “which page I was killed on.” Most of those scripts “had Denzel’s fingerprints on them, but I had no issue with that.” Some (“White Sands,” “Amos & Andrew”) led to feature roles, but most ended up with him playing Sancho Panza to a host of white stars like Harrison Ford, Bruce Willis and Geena Davis. The secret to playing these sidekicks, he said, was to approach the part “as if I was the audience member hanging out” with the star — a selfless job, but he didn’t mind. Sometimes the sidekick role was written for a white character, and Jackson played it without color; other times he played the white role as a black man. And sometimes those sidekicks were black characters, like Zeus Carver in “Die Hard: With a Vengeance,” which he was able to embellish with his electric flourishes. “Zeus Carver was the most like me of any character I ever played,” Jackson said. In an early scene, Willis is forced to stand on a street corner in Harlem wearing a racist sandwich board. A group of black men see him and approach in anger. Across the street, Zeus Carver emerges from his small shop, sees what’s about to happen and comes between the men and Willis. After he saves Willis, he berates him for being such a crazy white racist. It’s obvious that Zeus Carver is a racist, too, but it’s persona for show, worn on the outside like the pimp suits on Jackson’s blaxploitation heroes. And it’s a pose that the fundamentally fair and humane Zeus Carver is unable to sustain.

    When Jackson had starring roles in two Tarantino movies, Jules in “Pulp Fiction” and Ordell Robbie in “Jackie Brown,” it did not play well with some black directors like Spike Lee and the Hughes brothers. According to Jackson, Lee told him he used too many “niggers” in “Jackie Brown.” “Spike thinks he’s got the pulse of the whole race,” Jackson said. “I think he was having this thing with Quentin.” When the Hughes brothers, who cast Jackson in “Menace II Society,” complained that white directors didn’t have the right to use black street talk in their movies, Jackson said, he asked them, “How many times I say ‘nigger’ in your film?” In Jackson’s view, “You can’t censor another artist because you say he’s the wrong race.”

    Jackson also has no patience with those who put down early black actors like Hattie McDaniel, Butterfly McQueen and Stepin Fetchit, whose work reinforced demeaning racial stereotypes. “If you wanted to work in film in those days,” he said, “that’s what you did. They were proud of who they were, which gave them a nice life in the black community of Beverly Hills.” Then he told me a story he heard years ago from a gaffer about Lincoln Theodore Monroe Andrew Perry, a k a Stepin Fetchit, the first millionaire black film star, whose roles as “the laziest man in the world” have been so reviled by African-Americans that they seldom appear on TV anymore. Perry, who made 54 films between 1925 and 1976, presented certain problems on a set. The light used to illuminate the faces of white actors didn’t fare as well with black faces. So a new, smaller and more intense light was developed to illuminate black skin. One day, Perry took his place for a scene, and the director called for “the nigger light.” Perry walked off the set and refused to return until the name of that light was changed. It has been known ever since as the inky. (Until he heard this story, Jackson said, he always thought “inky” was short for “incandescent.”)

    Jackson went on to ask me if I knew that at the ceremony at which Hattie McDaniel won her Oscar for “Gone With the Wind” she was seated by the door to the kitchen. “We had people who were pioneers, and I appreciate what they did for me,” he said. “They paved the way for guys like Sidney Poitier to let his dignity show through. I’m not some guy who doesn’t know who Jackie Robinson was.”

    After “Pulp Fiction” made him “the coolest [expletive] on the planet,” Jackson said, “it was no burden to be cool. I just present myself as I am.” When I asked him if Tarantino was cool, he laughed. “Quentin’s a movie geek. He sucks the air out of a room until Bobby De Niro mumbles something to upstage him. Now that’s cool.” I said that a friend of mine who worked for the Coen brothers told me Jackson was cool mostly to suburban white boys. Jackson shrieked: “Then why don’t those [expletive] white-boy Coen brothers give me a job?”

    Jackson went on to talk about people he considers cool. Tommy Lee Jones, because he’s authentic and smart. Scarlett Johansson, because she’s haltingly honest, always struggling to express her thoughts precisely. (“I love Sam Jackson,” Johansson told me. “We’re the Bogart and Bacall for a new age.”)
    Guys who don’t get ruffled in life-or-death situations, like James Bond, are cool. “Me? I’m not like that,” Jackson said. “I shoot first, then say” — he assumed a shrill, panicky voice and added an expletive — “ ‘It looked like he had a gun!’ ”

    Clint Eastwood is “emphatically cool,” because he plays characters whose moral code is outside the mainstream of conventional society. Sometimes it’s cool to laugh at yourself, as John Wayne did when he got old and parodied his younger cowboy self in “True Grit.” Jackson can laugh at himself, too. When I asked him whose idea it was to dye his hair red in the film “The Negotiator,” he said: “Mine. I was feeling Aboriginal!”

    When I left the theater after our last visit, it was raining outside, and I had forgotten my umbrella. I went back up to his dressing room. Jackson was still on the sofa, now thumbing his BlackBerry. I said, “Forgot my umbrella, Sam.” He did not look up. “A senior moment,” I said. Nothing. I shrugged and departed a second time, realizing that Jackson cut me out of his consciousness the moment I left him. His “emotional disconnect.” Jackson has an inability, or maybe a refusal, to show emotion easily in his life, which is curious, since he invests so much passion in the characters he plays. Maybe it’s as Travolta told me: Actors like himself and Jackson go see their own movies to see themselves invested onscreen with all those human qualities they fear they don’t possess themselves.

    source super long read but there's a lot of really interesting stuff in there, especially about black celebrities in hollywood and his life experiences. i love his brutal honesty. SLJ tag please??

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    Liam Hemsworth took part in a photoshoot for Men’s Health in Los Angeles yesterday (April 30th), wearing a plaid tux and striped tie. In lieu of getting the suit tailored, Hemsworth had a clip cinching the back of his jacket to create a more streamlined look.

    Hemsworth was just recently cast in the espionage thriller, Paranoia, according to Entertainment Weekly. In addition to that, Hemsworth will film The Hunger Games sequel, Catching Fire, has already wrapped The Expendables 2 and will play the lead in Empire State, an action-heist flick.


    he needs to wear the black v always imo

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    A follow up to this post.

    Rotorua-born Ngahere "Nuz" Ngatai hopes making it on TV3's new series The GC will help his music career.

    Nuz, 27, features in TV3's new reality show, starting tonight, which follows the lives of 11 young Maori as they live, work and party on the Gold Coast.

    It's been likened to hit reality television shows Jersey Shore and Geordie Shore.

    Nuz said unlike Jersey Shore the lads on The GC hold to a code of "gym, tan and eat" rather than Jersey Shore's fashioned code of "gym, tan and laundry".

    "It's a good friendly bunch but there are some personality conflicts," Nuz said.

    "I'm the easy going sort but Jade-Louis, my partner in crime, likes to stir it up a bit. It captures more of our real life.

    "The way we talk to each other is real, it's very unscripted so I'd say it is more like the British show The Only Way Is Essex than Jersey or Geordie Shore."

    Mozzies' (Maori Aussies) favourite phrases include "mumsies" (meaning girlfriends), "neff" (friend), "creep on" (scoring) and "what doing?" (what's up?).

    Nuz joined the show mainly to gain exposure for his career as a singer.

    "It's hard enough as it is to get exposure, if you can make it on to any screen it helps," he said.

    He had been working in the Gold Coast for about five years, commuting daily from Brisbane, about an hour's drive.

    "I work a lot of weddings, parties and functions. Mainly around Broadbeach,'' Nuz said.

    He and his best mate Jade-Louise were on X Factor Australia last year and he heard about the show through her.

    "My role on the show was to be Jade's best friend so the TV3 guys would just follow us around every now and again,'' he recalled.

    Nuz and his family moved from Rotorua to Brisbane when he was two years old.

    The 30-minute show begins tonight at 8pm on TV3.


    Tame has an impressive hit rate with the ladies. The only single GCer in 'the whare', he has a silver tongue when it comes to chatting up the 'aunties'. Check out Tame's guide to dating in The GC.
    Happy hunting.

    1 - The best place to pick up aunties in The GC is Surfers or Broadbeach night clubs.
    2 - Found a hot auntie? The perfect first date is a nice dinner at a restaurant overlooking the beach.
    3 - Always pay for dinner. Don't want the aunties thinking you're a cheap date!
    4 - When you wind up on the date from hell, take the first chance you get to jump in a cab and gap! Heaps more fish in the sea!
    5 - Always wait three days plus to call an auntie....unless you're drunk haha!

    1 - The way to get a bro's attention....short dress or shorts. We love long legs!
    2 - Hope you've been putting in the hours at the gym....GC bros are after legs, good ass and a good cook.
    3 - Make sure you keep up appearances if you want to snap up a GC guy. Biggest turn off is girls that don't look after themselves physically.
    4 - Don't be afraid to call the guy. We want to know that you're keen.
    5 - You can tell that I bro is serious about you if he prefers to chill with you rather than watch footy with the boys.

    Listen to The GC's soundtrack single from Jade Louise, featuring a guest spot from rapper Savage:

    Source & Official Website


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    Amber Rose sat down for with lewd Karmaloop TV host Fat Jew for the debut episode of his Fat Jew Vs... interview series. The two disussed Amber's upcoming music which includes a feature on a record with her man Wiz Khalifa and Rick Ross as well as the Rose's accessory of choice, sunglasses. The interview takes a twisted turn when Fat Jew brings up the topic of fornicating with deceased whales and gives Amber a very intimate painting he made as a gift for her. The KTV host takes specific interest in Amber's feet and also gets into the details of her experiences with yoga. Needless to say this isn't your typical interview, Nardwuar not withstanding.

    Source 1, 2

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    Jaleel White & Kym Johnson

    Source: My TV

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    In a sad segment on Tuesday's Today Show, Ryan O'Neal came off as a broken man, admitting his failure as a parent and his profound loneliness without longtime love Farrah Fawcett, as he himself now battles cancer.

    Ryan who abruptly left the show's set for a scheduled chat Monday said he'd "just broke out into a terrible sweat.

    "You wouldn’t have wanted me," Ryan said, looking tired with a bandage on his nose.

    Asked if he'd indeed had a panic attack, O'Neal said he assumed he did, though he "never had one before."

    The subject of his kids came up and it made for extremely uncomfortable TV: The father-of-four -- Patrick, Tatum, Griffin and Redmond -- was honest in assessing his accountability in the the addiction issues of the latter three, and past jail histories of the latter two.

    “Were you a bad parent?” Lauer asked the Love Story star, who said contritely, “Looks like it, doesn’t it? Sure looks like it … I suppose I was.”

    Ryan said he "wasn't trained” to be a father, and can't continue to be held accountable for his children.

    "Griffin is 45, Tatum is 49, who’s the other one? Redmond is 27. They have to take hold of their own existences.”


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    It was announced this week that NBC will be airing the last three episodes of “Community” on one night. Over on Warming Glow Dustin asked if you can handle that much Troy, Abed & Co. B*tch, please, that’s amateur hour (and a half). In an age of Hulu, Netflix Instant and On Demand television, we’re quite accustomed to watching shows in huge greedy chunks. “Just one more” is the rallying cry of the serious TV watcher. And despite the fact that the weather is nicer and Mother Nature is beckoning, summer is one of my favorite times to marathon a new show or rewatch an old favorite. Here are a few suggestions on how to spend your warm summer nights. No, before you ask, these are not just my favorite shows. They’re also not just shows that you should see, though, of course, you should. They’re shows that engage in the kind of storytelling that really is improved when watched marathon-style. So grab your friends, a themed beverage and some snacks and settle in for a long winter’s summer’s watch.

    10. “Buffy The Vampire Slayer”: I think you know how I feel about this one.

    9. “Mad Men”: The biggest complaint that people have about this fantastic AMC series is that “nothing happens.” I think you’ll find, if you watch several episodes in a row, that not only has plenty happened, but you’ve witnessed some of the best character development out there. “Mad Men” is truly one of the finest shows on any channel right now and you’re doing yourself a disservice by skipping it.

    8. “Justified”: This show is such an interesting blend of perfectly fine stand alone episodes and meatier, season long arc episodes that watching it a season at a time is really the way to go.

    (Pajiba has a longstanding erection for Olyphant lol)

    7. “Band Of Brothers”: Listen, I don’t want to sound racist, but all those white dudes in uniform look the same to me. The only way I was able to track them was by giving them all nicknames and watching this mini-series in one go. Same goes for the inferior (but still enjoyable) The Pacific.

    (Home to the flawfree Damian Lewis, with glimpses of McAvoy, Fassbender and even my bb Hardy!)

    6. “Game of Thrones”: Once again,not to sound racist, but white dudes in furs and beards are difficult enough to tell apart. This series employs so many characters (with hard to track names) that the most helpful way to watch is all at once. P.S. Everyone has told you about the nudity and the violence, but did they mention puppies? Cause there are puppies.

    5. “The Wire”: I know a lot of you haven’t seen this yet. Even though you know you are supposed to. It seems heavy and daunting, doesn’t it? I’ll also acknowledge that it takes a few episodes each season for the storyline (and new characters) to really grab you. If you marathon and power through, you’ll find you won’t be able to stop.

    4. “Doctor Who”: I’m not sure I really understand the hold-outs surrounding this much-beloved series. There’s some weird sort of obstinate, hipster hate for the “Who.” That’s your prerogative, I’m not going to force you. But seriously, you’re missing out on loads of goofy fun. The special effects are terrible, so just close your eyes and think of England and eventually you’ll find you won’t notice that the “scariest monster in all of space and time” is actually a trash can.

    (Idk personally I don't hate Doctor Who, but I just don' about it, you know? I nothing it)

    3. “Downton Abbey”: If “Doctor Who” is like a jaunty British biscuit, then “Downton Abbey” is straight up British crack. You could try to watch it in moderation, but I wouldn’t advise it.

    2. “Battlestar Galactica”: If it’s your first time watching BSG, you have to marathon in order to stay in front of all the friends and loved ones who will try to spoil it for you. Turn off your phone, ignore the internet, and watch like the wind, my friends. You won’t regret it…much.

    1. “Firefly”: Bar-none the most delightful show to marathon. Given its brief run (*sob* *wail*), this is a manageable 14 hours. Child’s play. Just don’t attempt to play the drinking game while you do.


    OP Note: I bolded shit for the tl;dr crowd and that's the longest text in the post. And personally I'd add the BBC Pride & Prejudice, even though it's only 6 hours. ALL THE HOT COLIN FIRTH YOU COULD ASK FOR.

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    Image and video hosting by TinyPic

    Jenna Fischer has called the pressure for women to lose weight after giving birth "unnatural".

    The Office actress welcomed a baby boy named Weston Lee with husband Lee Kirk in September 2011.

    In an interview with Celebuzz, Fischer condemned the industry for pressuring women to look a particular way after having children.

    "I think it's unnatural. There's so much pressure on you as a new mom that the last thing you need to have hanging over your head is some expectation of what your body is supposed to look like. I actually think that the scrutiny of new mothers' bodies has gotten out of control," she explained.

    "Every new mother just gets a free pass. I'm actually angered by the 'posing in a bikini six weeks after having my baby' [trend]... Who cares if our boobs are hanging low and we have a little more junk in the trunk? We created a human being, everybody. Let's celebrate!"

    Fischer recently revealed that she and her Office castmates want a ninth season of the show but are waiting to hear whether the network has renewed their contracts.


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    on the cover of v magazine!


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    ohn Mayer was hanging out in Dinkytown (right next to the University of Minnesota) in Minneapolis tonight - reportedly playing shows for Target and Best Buy employees at a private event. My roommate and I just happened to snag him as he got out of his tinted SUV and asked for a picture. He was super nice, and one of the staff gladly snapped the picture for us! 

    At the event it is said he debuted his CD for the guests, and discussed his feelings about the new album set to drop later this month. He was there for about two hours and dipped out shortly after a m&g with the guests.

    We look like scrubs, whatever - totally worth it. 

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    Jack's Mannequin has released the official video for "Release Me".


    This is definitely what I needed for my day. Well done!! Now to celebrate my other favorite musician's advance on The Voice (Tony Lucca) and the release of Insurgent by Veronica Roth.

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