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Oh No They Didn't! -

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  • 07/14/12--22:09: DanRad First Look
  • Actress Rhianna Hosmer's IMDB page has a picture of her on the set of A Young Doctor's Notebook, posing with Dan in costume as his character Vladimir Bomgard.

    A Young Doctor's Notebook, based on Mikhail Bulgakov's A Country Doctor's Notebook, is set to air in early 2013 on Sky Arts.


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    (CBS News) When Mandy Moore sits down to write her next album, she won't be alone.

    Her husband, singer-songwriter Ryan Adams, will likely be along for the ride. The couple, who wed in 2009, recently started collaborating for the follow-up to Moore's 2009 release, "Amanda Leigh."

    "I'm probably going to work with my husband on this album," Moore told "I'm not sure necessarily in what capacity, but we've been writing a little bit together. He has a studio, so I definitely want to make my record there."

    Since her last studio release, Moore, 28, voiced a character and recorded songs for the 2010 animated film "Tangled." She also performed the Oscar-nominated track, "I See the Light," at the 2011 Academy Awards ceremony.

    "There's a lot to say and a lot that's happened to me in the last three or so years since the last record's come out," Moore explained. "So I have been writing a lot and it's definitely going to be an intense, emotional record. I'm excited about it. I'm excited to get into the studio and start recording."

    As for the album's sound, Moore said she'll follow the path she's been forging on the last couple of albums. She's also expanded her musical palette, thanks to Adams.

    "He certainly inspires me," Moore said of her husband. "There's tremendous influence right now around the house -- from the music I've been introduced to, and being very happy and in a healthy, happy relationship. I think that still garners a lot of material to write about."

    Although Moore is focused on music at the moment, she hasn't forgotten about her acting career. Moore, who's appeared in "Princess Diaries," "License to Wed" and "A Walk to Remember," wants her next film role to feel "organic" and "right."

    "I like to have my plate as full as possible. I also try to be picky and choosy and find things that are going to help you grow and evolve and challenge you," she said. "If projects don't really fit that kind of criteria then I'm happy to try to be as patient as possible and wait for the right things to come along."

    For now, that "right thing" is music. Moore told she's eager to get the album done and released by the end of 2012 or early 2013.


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    Almost a decade ago, Emily Haines of Metric mantained that bringing glamour to the indie-rock game was braver than looking like "one of the guys" to be taken seriously as an artist. "I was completely limiting myself by thinking that it's superficial of me to be a girl, to wear a fucking skirt," she frankly told the Montreal Mirror. She was right, of course, although few other left-of-the-mainstream rock women have followed suit this decade – by and large, the idea of proudly investing in image is still regarded as the bastion of pop stars, who have come to resemble aliens dancing in their underwear.

    Then again, Haines is her own kind of vanguard: too sharply tongued and socially aware to fit the usual pop chanteuse mold, yet too keen on a massive hook to let it escape her grasp. She also understands the power of a performer's aesthetics and how they enhance the dynamic between artist and audience far too innately to ever let her style standards slide. These strengths, of course, are what make Haines an outsider to some but an icon to many – especially young females in search of an intellectual kindred spirit who isn't afraid to look great.

    On Synthetica, Metric's fifth album, Haines' social politics manifest around a very central crisis: In 2012, what is real, what is fake, what can one do that matters and what will be forgotten? Questions surrounding existential identity are clearly on Haines' mind, making Synthetica not only the band's highest-charting debut for a record but also a revelant personal and political statement. Haines called Rolling Stone from Europe to discuss vanity, the place of feminist ideals, rocking Margiela and why more women need to be rocking, period.

    Is Synthetica's "artificial vs. real" debate a natural progression of themes from 2009's Fantasies or is this a new strand of thought?
    Every time I write, and I've been writing my whole life in a way, I feel like I'm working towards an idea. I wish I could say it was some highly cerebral and deliberate path we took with this record, but it's not how things work for us. The process is really intuitive and it's not til we're finished that we know what it is. I guess my whole life I've held a fascination, and urgency, for the question of: How do you maintain yourself? How do you stay the person you are, while still evolving in the quest for answers, progressing in your personal life, career and so on? There's a great Woody Allen movie where no matter where the cast goes, they stay the same, though their background changes. I like to think about that image.

    Is that identity-defining pursuit for you more based in the concerns of growing older and more famous, or in exploring how the total integration of technology is corrupting your own growth process?
    It's both, though technology isn't really the culprit. By and large, the benefits we've received from technology far outweigh the downside – mainly by just being able to get the crap out of the middle, the conventional music industry stuff that slows artists down. But it's also a pretty bleak time for music. The manufactured pop world is taking over again – it's all in cycles, but it doesn't seem to be an era where there's a huge level of respect for artists who are thinkers, who are interested in discussing social justice. We need more people who are pissed off, who care. As soon as someone tries to do something charitable, immediately everyone's irritated. Now that we're on the road, playing big shows, figuring out where we fit in, we're re-exploring yet again what this record is about, realizing: Oh God, what kind of era are we living in?

    A lot of people are reading into technology angle of the record's themes – it seems these questions of managing our digital vs. so-called analog lives are on everyone's minds, especially those active in social media.
    [laughs] Yeah, well it should be called anti-social media, because everyone from yogurt brands to detergent companies are in on it. What's the point? Why the hell am I going to follow, like, Tide detergent on Facebook?

    I saw a deodorant with an Instagram.

    But how has your own relationship with the internet evolved, since, say, 10 years ago?
    Well, back then, it was really kind of just like, "Hey, do I have an email?" And most of the time, the answer to that was, "No, I don't." I do feel a huge change. For us, we wanted there to be something like iTunes – we simulated it for years, doing a mail-order versions of CDs I'd personally make myself and send them off. I was happy when iTunes came along! So I find that aspect of the digital world useful, but I still connect to my real friends the old way. I don't really use social media beyond getting the band's music out there.

    A lot of young girls online have lookbooks and seem desperate to get their image out there. There's a mirror in the packaging for Synthetica – do you think we've become more vain as human beings?
    I think so! You know, I love how that mirror worked out with the packaging. Justin Broadbent did the art direction, and though I was involved with the design, I was still shocked. When I opened up the album and saw my own warped reflection staring back at me, it blew me away. It works so well. It speaks to the idea of, in order to get anyone interested anymore, does it have to be about them?

    Since you find a shortage of inspiration in contemporary music overall, do you find current art or fashion more lively and innovative in comparison?
    I do, actually. It's important to keep in perspective that the mainstream pop world is the mainstream pop world; it's never going to change. I am more sensitive to it now since I'm playing bigger stages and closer to it all. I keep wanting to find someone to look up to, and it's like, "Oh, really, this is it?" I don't see any future superstars that I'd want as idols right now, which is a little discouraging. But there's always inspiration in film and yeah, fashion can provide it, too. I was just with the Margiela crew at Silencio, Paris [David Lynch's nightclub], actually. There's the perfect answer to your question! Between David Lynch and Margiela, it was such an exciting vibe.

    Margiela seems like a great match for you. What did you enjoy about the designs?
    Inside this amazing shirt, it's literally lined in flames. And on the back of the jacket, there's a simulation of fire, done in yarn.

    What qualities are you usually drawn to in clothing?
    I'm definitely post-sequins! I'm enjoying really structured stuff right now; I'm sort of feeling this 1950s Brat Pack idea. I like button-up white shirts, my leather jacket – as usual, trying to find that balance between strength and femininity. Of course, onstage there are technical requirements, which can limit what you wear. On that note, again, I don't find much inspiration in what artists are wearing now: what's with all the underwear?

    Now it's mutated into this kind of cartoonish space-age direction. The modern pop star prototype seems to be "aliens in underwear."
    [laughs] That's hilarious. Well, I'm glad I'm not alone in feeling this way. Don't get me wrong: I respect showmanship, I get it. But to me, a lot of what I see is just weird, not hot and uncomfortable. I'm happy I get to work with designers doing something cool, modern and different.

    In the early days, you struggled with the idea of being taken seriously as a female artist, and originally dressed plainly to downplay image. Then you embraced glamour in defiance. Is that still the band's M.O.?
    Yes. That problem still exists; it's still the same battle. Do I need to wear a plaid shirt with a stain to be taken seriously? I mean, no, that's ridiculous, and that's not an option, never will be. The whole band embraces image; it's partially out of respect to the audience. We owe them a great show; we put so much into production and the visuals and, yeah, the clothes. And I'm really glad I made that decision. Superhero onesies? Maybe not so much my thing now, but that worked for me about five years ago. I'll always continue to try stuff, and I'll always be me.

    Since the Nineties, I've noticed an overall decrease of social, particularly feminist, commentary from female performers, in both the mainstream and more alternative realms. Does it concern you?
    The song "Dreams So Real" on the record addresses this pretty directly. I think everyone is scared; it's an odd time. Everyone is delving further into absurdity instead of dealing head-on with what's going on the world. There seems to be little interest or patience in addressing where we're at as human beings, whether in terms of environment, climate, anything vital. How about a "Human Species Progress Report?" Right now, we're at maybe a C-.

    And yet, your record, which is chock full of ideas, just debuted at Number 12 in the US, Metric's highest debut here to date.
    Yeah, well, that's the thing. We KNOW these things are on people's minds, that we aren't the only ones thinking about it. We see it in our audience's faces every night. Our song "Youth Without Youth" is being embraced by alternative rock radio, our record's gone gold in Canada already. I'm happy to debate these things, but I actually have a lot of hope that things are changing, and that more concerned voices are going to be heard. Not everything can be a bestseller, but it's going to matter to someone. The ones who inspired me were never the ass-kissing chart-toppers, anyway.

    Do you feel obligated to send a positive message to the young girls who look up to you?
    No, but I hope I can help. I know how it feels, in childhood, to find that voice that cuts through the bullshit and speaks to you, gives you something to admire. It's an honor to be in that role for fans, but I won't change anything about myself or do anything differently. I don't even know what that's like; the idea of pandering is so strange and horrible and I'm sure I'd fail at it, anyway.

    On a related note, I enjoyed that you proclaim "You should never meet your heroes," on the record. But Lou Reed is on there. Is he a hero?
    It's funny, when I hear it now, I see why people make the correlation, but it's actually unrelated. It was more about the idea of, "Why do you need to see a musician making an omelette? Why are you more interested in watching them in the bathroom than making incredible art?" And we're in a time where we're privvy to an endless montage of behind-the-scenes access. That can really screw with you how you view someone you (once) respected!

    At its worst, it can destroy mystique, and it also makes you wonder how anyone so accessible can be idolized.
    I know! Now kids follow their favorite musicians on Twitter and it creates this artificial sense of closeness; it's so confusing because we do have a genuine closeness with our fans. They tell us their stories – how they bought their first record when they entered high school, and now are graduating from university. It's special. But now, the message is that we're connecting to fans by Tweeting them. My question is, if that's the new intimacy, then how did we do it before?


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    Well, the long wait is over. Peter brought 12 and a half minutes of Hobbit goodness to Comic-Con’s Hall H today, and blew everyone’s minds. Reports are that much of what we saw was similar to what was shown at Cinema-Con earlier this year, with a number of interesting changes and two additional minutes of footage.

    For this crowd it was all very, very new.

    Read on for our detailed report on what was shown! Unless you’re not into SPOILERS in which case, look away now!

    Note: We are updating this regularly as TORN staffer maegwen files all the deets from Comic-Con. So check back here regularly over the next few hours!

    Wild applause broke out the moment the hall dimmed, as images only seen before online or in magazine articles filled the screens flanking the audience.

    Nothing compares to seeing them up on screen. The front door of Bag End, the dwarves gathered around Bilbo’s table, the barrel scene… all this and more.

    Followed by a production diary chock full of heart-felt messages from the cast, the crew and scenes from throughout the shoot. Dwarf after dwarf, Martin, Andy, Orlando, and more in quick succession.

    When Peter Jackson stepped on stage, the house leapt to its feet with enough energy to propel themselves into the air.

    “Who has been camping out on the street all night” he asked. “ You poor sods. You poor bastards. But thank you very much!”

    Bringing Phillipa Boyens out on stage, he introduced her as someone who is “possibly a bigger Tolkien geek than any of you.” I don’t know about the Hall H crowd, but the TORn audience is pretty geeky, so I’m guessing it’s a bit of a toss-up.

    What we were about to see had a few not-quite-finished touches Peter said, such as partially-finished effects an temporary music tracks. An update for film score fans: Howard Shore begins recording with the London Philharmonic in the next few weeks.

    Also, a Comic-Con extra: never-seen second film footage that made its way into the clips. “But we won’t identify them,” Peter said cheekily.

    Then, without any fanfare, the lights dimmed and ‘The Hobbit’ lit up the screen.

    The Hobbit showreel:

    It opens with a sweeping shot of the green hills of the Shire, with a voiceover from Gandalf intoning “Far to the east lies…” Setting the scene of where they are going -– which is Bag End and the dwarves gathered around Bilbo’s table talking about the quest.

    An imposing and grim Thorin Oakenshield heads the table: “Rumors have begun to spread,” he says, “The dragon Smaug has not been seen in many years… Perhaps the vast wealth of our people lies unprotected … perhaps it is time to take back Erebor!”

    Gandalf produces the key “It was given to me by your father for safekeeping, it is yours now.”

    Fili: “if there’s a key there must be a door!”

    This leads in to a discussion of the map and what must be done to go after the long-lost treasure. Gandalf looks to Bilbo… “That is why we need a burglar.”

    Martin Freeman is wonderful in this scene, playing a hobbit who is as yet oblivious of what is being designed for him. Even as Gandalf professes the need for a burglar, he agrees but doesn’t quite realize that what Gandalf means is HIM.

    “He’s hardly burglar material” the dwarves observe as they regard him skeptically. Which Bilbo happily agrees to. Gandalf then rises to full height and in a deep voice, (much like in Fellowship of the Ring when he says commandingly: “I’m not trying to hurt you, I’m trying to help you”) he warns the dwarves that a burglar he may not is but a burglar he will be.

    Because, he says, Smaug is well aware of the scent of dwarf. A Hobbit will be wholly unknown to him. Bilbo looks appropriately horrified.

    Thorin and the others are extremely skeptical: “Very well, we’ll do it your way.”

    As we saw in the trailer last fall, Thorin says: “I cannot guarantee his safety, nor will I be responsible for his fate.”

    “Agreed,” replies Gandalf.

    The reading of the contract is hilarious, as Bilbo goes over the terms and the various dwarves jump to reassure him that it will be painless once he’s turned ash. James Nesbitt, as Bofur, is superbly funny.

    Then Bilbo faints. Thunk.

    A series of quick shots of Radagast follow

    Radagast is full-bearded, rough-looking, with a big hat… which we later see conceals a number of birds. He’s cuddling his bunnies and later on we see him racing through the forest on the infamous “bunnysled”.

    There’s a quick look at Laketown, which looks amazing. Large boats, almost like pontoons, navigating their way through a warren of canals.

    A brief moment of Gandalf speaking to Radagast: “Turn around and do not come back.”

    Radagast does come across as very gentle, as we heard out of Cinema-Con reports.

    We follow Gandalf into what could only be Dol Guldur. Looking terrified, he races through narrow passages, as we see glimpses of something ominous racing around either away or following him. Very tight quarters, then suddenly a person we assume to be Thrain leaps out and attacks him.

    The riddle game…

    Cut away to Bilbo and Gollum meeting in the goblin caves. Bilbo is clumsily waving Sting at Gollum, trying to get him to go away.

    “I need to get un-lost a soon as possible.” Bilbo tells Gollum. “I don’t know what your game is.”

    “GAMES, WE LOVES GAMES, DON’T WE PRECIOUS!?” Says Gollum, who is quickly slipping between Smeagol and his alter ego.

    Bilbo, frightened but up for a small shot at escape, “ Let’s play a game. If I win you show me the way out of here.”

    It then segues into the riddle game and after into an expanded look at the scene which caused much speculation when the first trailer was released.

    Gandalf and Galadriel come together, with Galadriel saying: “Mithrandir, why the halfling?”

    Gandalf responds: “Saruman believes it is only great power that can hold evil in check, but that is not what I have found. I found it is the small things everyday deeds of ordinary folk that keep the darkness at bay… small acts of kindness and love. Why Bilbo Baggins? That’s because I am afraid and it gives me courage.”

    Chills. Seriously.

    Gandalf and Galadriel are holding hands but not in a way that is romantic, but more in the sense of a lifetime of friendship and shared experiences. There is longing, but there is sadness. I cannot say that it is “love” in the way most people think of it.

    “Do not be afraid, Mithrandir, you are not alone,” in Elvish, with English subtitles. “If you ever need aid, I will come.” And after a long look, she draws away from him, leaving him standing alone, and… slightly lost.

    Cut to Bilbo picking up the ring

    We hear Gandalf say, “You’ve changed, Bilbo Baggins…” Bilbo looks anxious, he moves his hand toward his pocket… he seems ready to tell Gandalf… and he says, “My courage.” The first instance of Bilbo’s reluctance to tell the truth about the ring.

    And herrrrrrrrrrrrre we go, on a wild ride of action shots.

    BOOM. TROLLS. Ugly, mean, wild, vicious trolls. Have you seen the pics from Comic-Con? Absolutely nothing like seeing them in action. Not the bumbling stupid trolls one kind of expects after reading the Hobbit.

    Radagast, racing through the forest on his bunnysled. Yes, a bunnysled. A sled, pulled by surprisingly strong bunnies.

    Tauriel, barely shown in these clips, although Philippa speaks highly of her in the Q&A which follows. What we do see is a female, dressed in-brown version of Legolas (description courtesy of Quickbeam), in combat with goblins. Legolas springs out of… leaves? …and joins in the fighting.

    Legolas races from the action and comes face-to-face with the party of dwarves, who come to a shocked standstill. “I won’t hesitate to kill you, dwarf,” says everyone’s favorite elf. Warning: We are slightly guessing on the exact quote, due to excessive audience screaming.

    More trolls… and then Gandalf is seen standing on a hillside, stabbing his staff into the ground with a blast of morning sunlight.


    MY FEELS!!:


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    Dylan O'Brien with TVAfterDark

    On 3 seasons, Stiles' characterisation from his writing to some ad lib, working closely with Jeff Davis, the possibility of writing an episode in the future, and any future supernatural expectations for his character.

    Holland Roden with TVAfterDark

    On the development of Lydia's character from season 1 to season 2 and from concept to reality, her favourite episode, on Jackson and Lydia trying to understand what's happening, what sets Lydia apart from other typical "mean girls" (she's a genius), and the romantic possibilities for her character. [With bonus Dylan O'Brien dancing in front of a mirror in the background at the end of the video.  LOL]

    Dylan O'Brien with TV Fanatic

    On Stiles' love for Lydia.

    Tyler Posey with TV Fanatic

    On Scott and Alison's relationship.

    Holland Roden with TV Fanatic

    On what's in store for Lydia and whether or not she's being conrolled by someone else.

    Tyler Hoechlin with TV Fanatic

    On Derek's role as a leader and his relationship with Stiles.

    Colton Haynes with TV Fanatic

    On his tendency to be shirtless and his feelings on Jackson's crazy mood swings.

    Crystal Reed with TV Fanatic

    On the differences between her scenes with Scott and her more physically demanding scenes.  Will she follow in her family's footsteps?

    Source1 2 3 4 5 6 7 8

    I'm sorry I'm not sorry for all the Teen Wolf news, guys.

    LJ's HTML is making me want to shoot myself in the face more violently than usual tonight. Sorry, MODs. I've checked this on my LJ as well. It should work now. If not...I quit.

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    Hunter went onstage at Los Angeles' Key Club Friday night as part of Ryan Cabrera's birthday bash. The show this time had a distinctly different feel than the EP Release Party two weeks before. I usually think of Hunter's music as kind of mellow and I wasn't sure the crowd was in a mellow kind of mood but no worries. Hunter rocked it out, pulling at his clothes, lifting his shirt, and releasing the rock star inside him.

    Sitting at Home
    oh, what a little tease you are, hunter.

    Down So Low
    (my favorite parts are at 1:17, 2:23, and 3:03. And of course the dance at the end where he thinks he's the only person in the room.)

    Guessing Games (partial song only)
    sorry, it’s not the steadiest video ever :) It’s hard to rock out to a song and keep the camera steady!

    Heart of Stone

    I really don't want to post my picture because I had no makeup on (I know, in retrospect it makes no sense) and I hadn't quite been ready for the "cheese" moment when the shutter clicked but really Hunter looks so freakin' perfect here I have to post it. So I'm just going to blur my face out, okay?
    hunter and me to post BLURRED

    And here is the first picture we took before we decided to turn on the flash. Clearly still perfect even in the dark and with a black light on him.
    hunter and me no flash to post BLURRED

    source = me

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    I loved my friend Ryan.  It wasn’t the way he held his head high as he struggled with two terrible diseases.  It wasn’t the way he bravely confronted death at an age when most children have no clue how precious life is. He didn’t have a speck of self-pity in his soul.

    Ryan was a true hero, a true Christian, because he unconditionally forgave those who made him suffer. Ryan changed the course of a deadly epidemic and helped save millions of lives. But when Ryan died in April 1990 at the age of 18, I didn’t know how to speak to someone unless I had a nose full of cocaine and a stomach full of alcohol. After his funeral, I returned to London and locked myself away at home, as had become my habit. My sense of values was buried under my self-destruction. But I’m here today because of Ryan.

    It was 1985 when I first learned about Ryan White. I was flipping through a magazine in a doctor’s waiting room when I came across an article that would change my life. I couldn’t believe that a boy was being kept out of school, his family shunned and tormented, because he had AIDS. I was incensed and immediately wanted to help.

    Ryan lived with his mother, Jeanne, and younger sister, Andrea, in the small town of Kokomo, Indiana. He was born with haemophilia, a rare genetic disease that prevents blood clotting. Today it is a manageable condition, but in the early Seventies, when Ryan was born, it was often fatal.

    At Christmas 1984, Ryan was admitted to hospital with pneumonia, where doctors discovered what really lay behind his illness – it was AIDS caused by blood transfusions for haemophilia. At 13, the doctors gave Ryan less than six months to live. Yet Ryan made an extraordinary decision: to live out the rest of his days as an ordinary boy.

    He wanted to go to school, play with friends and asked his mother to pretend he didn’t have AIDS. But that would not be his fate. Ryan would never be allowed to live a normal life, let alone die a normal death.

    Shortly after he was diagnosed, a local newspaper discovered Ryan had AIDS and ran a story. Suddenly the whole town – and then whole nation – knew about his condition.

    As a child with haemophilia, Ryan had been treated with compassion. As a child with AIDS, many treated him with contempt.

    As a child I loved Bible stories full of hope. To this day, while I do not practise any religion, I am inspired by Jesus the man because He loved and forgave unconditionally and died for the sake of others.

    The same can be said of Ryan White. He was a modern-day Jesus Christ.That’s a bold statement, I know; some might even take offence. But to have witnessed his extraordinary qualities, as I did, is to come to no other conclusion.

    There was simply no risk of infection from being around someone with AIDS. But there was so much fear surrounding AIDS – like a ghost that shadowed Ryan’s every move. Ryan was too weak to return to school until the summer of 1985 when he felt well enough to get a paper round.

    But a month before he was due back, the school announced Ryan would not be allowed to attend. He was told he posed a health risk and would have to learn by telephone instead. The fear was, I suppose, understandable as AIDS was fatal at the time.

    But it was well known that Ryan couldn’t transmit the virus to others just by being around them. Besides, the American Centres for Disease Control and Prevention assured the school district that Ryan posed no threat and offered guidelines for him to safely return.

    Ryan and Jeanne unsuccessfully sued the school and the appeal process was long, nasty, and public, with Ryan, now 14, at the centre of it. Even as he dialled into school lessons every day, more than 100 parents threatened to file a lawsuit.

    After several more appeals, Ryan walked through the school gates in February 1986. But on the first day back he was taken out of the classroom and appeared in court. A group of parents were there to witness the judge issue a restraining order against him.

    The packed room began to cheer while Ryan and Jeanne looked on, shocked. Ryan’s lawyers fought the order, and he again won the right to go back  to school. This time the decision  was final.


    On April 10, 1986, with press gathered and students picketing outside, Ryan returned to school.

    He was banned from gym and made to use a separate bathroom, water fountain, and disposable utensils in the cafeteria. He agreed to these precautions in order to assuage the fears about his misunderstood disease. Nevertheless, 27 children were withdrawn from school and parents opened an alternative school where 21 of Ryan’s school mates were enrolled.

    The fear intensified. Customers on Ryan’s paper round cancelled their subscriptions. When the Whites went out to eat, restaurants threw away dishes they used. The parents of Ryan’s girlfriend forbade her from seeing him. Tyres were slashed on Jeanne’s car. A bullet was shot through a window of their house. When the local paper supported Ryan’s right to attend school, the publisher’s house was egged and a reporter received death threats.

    There was little refuge for the family, not even at church. The Whites were people of deep Christian faith. But after Ryan’s illness became public, the parishioners at their church were so afraid of developing AIDS that the family were asked to sit in either the first or last pew and no one would use the lavatory after him.

    Ryan wrote in his autobiography that on Easter Sunday 1985, when parishioners turned to offer one another the sign of peace, no one would shake his hand. It incensed me that not a single person would offer this sick child a blessing. As they left church, Jeanne’s car broke down. Not one member of the congregation stopped.

    Everywhere he went, Ryan was teased and tormented. It’s easy to think that Ryan’s time on Earth was Hell. He was called homophobic obscenities in public and terrible rumours were spread.

    One anonymous teenager wrote to the local newspaper accusing Ryan of threatening to bite other children, spitting  on food at a grocery store, even urinating on bathroom walls. These were lies but it didn’t matter. Having AIDS made Ryan a freak.

    The truth is, I was a huge cocaine addict at the time. My life was up and down like a yo-yo. I was still a good person underneath, otherwise I would never have reached out to the Whites in the first place.

    All I hoped was that I could bring this boy some comfort. In the end the Whites would do far more for me than I ever did for them.

    In spring 1986 I watched Ryan and Jeanne in a television interview about AIDS after his return to school and I wanted to meet them. I invited the family to one of my concerts but Ryan was too sick to attend. Eventually I flew them out to see two of my shows in Los Angeles.

    Then in October I took the family to Disneyland, where I had arranged a private tour and a party for Ryan. I wanted to give him an adventure – limos, planes, fancy hotels – a carefree time to take his mind off his pain.

    I felt instantly comfortable with the Whites, instantly connected to Ryan. The Whites were common-sense, straight-shooting people. They were caring, humble and always grateful. 

    But Ryan was dying. At Disneyland, Ryan was so weak I often pushed him around in a wheelchair. Ryan loved every minute. I can’t remember when he complained about anything.

    After the Whites came to LA from then on, I did whatever I could for them. Little things, mostly. Ryan came to more concerts. I sent gifts and flowers and cards. I called them.

    The White family put their Christian faith to practice and worked hard to educate others about AIDS.


    In the end, Ryan reached far more than those in Kokomo. He was on national talk shows and the cover of People magazine.

    He was quite shy but Jeanne felt it their duty to speak out and make life better for thousands of others who were suffering – not just haemophiliacs  who had contracted HIV, but everyone with AIDS.

    Here was a dying teenager and his mother, thrust into the spotlight, was standing up for those with HIV/AIDS. For me, it was the height of bravery and compassion.

    In 1987, after Ryan had confided in his mother that he didn’t want to be buried in Kokomo, Jeanne moved the family  to Cicero, a small town in Illinois, to escape the place that had caused them such grief.

    In Cicero, the Whites were welcomed with open arms and Ryan thrived in school, where he made good friends. 
    Ryan found peace in Cicero, though not from his disease. He never wanted to give up, but his fragile body had endured too much. In spring 1990, Jeanne called to tell me Ryan was now on life support. I immediately flew to be by his side.

    I grew close to Jeanne during Ryan’s final week. She described me then as her guardian angel, but Jeanne and her family were guardian angels to me.  And the message they were sent to deliver was clear: it might be my deathbed next.

    I had all the money in the world, but it didn’t matter, because I wasn’t well. A cure existed for my substance abuse, for my self-destructiveness. As I stood next to Ryan’s hospital bed, holding Jeanne’s hand, seeing his bloated and disfigured body, the message was received. I didn’t want to die.

    By coincidence, on April 7, I was due to play a concert in Indianapolis, not far from where Ryan was being treated. But with Ryan near death, I didn’t want to leave his bedside.

    I rushed to the stadium and hurried onstage wearing a baseball cap and a windcheater. I was so upset I didn’t care what I looked like. Even 60,000 screaming fans couldn’t chase away the grief. ‘This one’s for Ryan,’ I said before playing Candle In The Wind. They burst into applause.

    Everyone knew Ryan didn’t have long to live and I looked out into the stadium to see people holding up lighters, thousands of little vigils flickering in the darkness for my dying friend. As soon as I’d finished the song I dashed back to the hospital. That’s where I was, hours later, when Ryan died on the morning of April 8, 1990.

    I’ll never forget the funeral or the numbness of tragedy. I’ll never forget Jeanne thanking me, in the middle of  the greatest loss of her life, taking the time to acknowledge my being there with her.

    Jeanne had asked me to be a pallbearer and sing at Ryan’s funeral but I wasn’t sure I would be able to keep my composure. However, I went back to my first album, Empty Sky, and the song Skyline Pigeon, which Bernie Taupin and I wrote together. It’s a song about freedom and release, and it seemed fitting.

    I couldn’t be alone on stage, though, so I taught Ryan’s school choir to sing along with me. A picture of Ryan was on the piano in front of me, his casket behind. 

    More than 1,500 mourners were at Ryan’s funeral – not only family and friends but celebrities he had touched. Michael Jackson, talk-show host Phil Donahue and First Lady Barbara Bush were there, too.

    Kokomo residents attended, including the lawyer for the parents’ group that had tried to block Ryan from attending school. He asked Jeanne to forgive the way the town had treated Ryan. She did.

    Yet over the year following his death, Ryan’s gravesite was vandalised four times. The poor child couldn’t even rest in peace. Still, Ryan’s message lived on. On the base of his tombstone, seven words are inscribed: patience, tolerance, faith, love, forgiveness, wisdom, and spirit.

    I’m deeply ashamed that I did not do more about AIDS back then when my friends, including Ryan, were dying all around me. I just did not have  the strength or sobriety to do anything about it.

    I would go to funerals, I would cry, I would mourn, sometimes for weeks. And my behaviour got worse, I was sleeping around without protection and it is a small miracle that I never contracted HIV myself.

    I remember watching television after Ryan’s death and seeing footage of the funeral. It was one of the lowest points of my life. My hair was white, my skin pale. I was bloated and gorged. I looked tired, sick and beaten. I looked horrible. It was almost too much to take. I had been overcome by addiction; I was completely out of control. I looked, quite frankly, like a piano-playing Elvis Presley. As messed up as I’ve ever been. There was no question: I was going to change, or I was going to die.

    And I desperately wanted to change. I remember many days when I would sit alone in my room, drinking, using, bingeing, listening to Peter Gabriel and Kate Bush sing Don’t Give Up over and over, weeping at the chorus.

    I was falling further down the rabbit hole with every gram of cocaine. But I couldn’t – or, I should say, wouldn’t – ask for help. Many people in my life suffered through my rage, my denial, my refusal to listen. I was an arsehole and knew I had a problem.

    My boyfriend at the time, Hugh Williams, loved me dearly, and I loved him. But the drugs had taken over my life. So had the alcohol. And the food.  Then one day, Hugh told me he was going into rehab. He didn’t want to be a drug addict any more. I was furious. Hugh calling himself a drug addict might as well have been calling me one.

    Self-obsession had morphed into an incredibly low self-image. I could no longer control anything.

    Not how I acted, or what I took, or what I ate. About the only thing I could control was whether I kept it down. So in addition to bingeing on coke and booze and food, I was purging. Then I’d rinse and repeat. I was an addict. I was bulimic.

    Each day, I would think about how much I wanted to change. But each day, disappointment that I hadn’t changed drove me to use more.

    But I believed, wrongly, that I was intelligent enough, wealthy enough and famous enough that I could get control all by myself.

    I was reminded of Ryan constantly, of how disappointed he would be in me.  I am relieved he never knew that side of me.

    Hugh left for rehab and I withdrew to my house in London and used solidly for a week. Locked in a room with my cocaine and my own stubbornness. As much as I tried to convince myself that Hugh had betrayed me, I was the true culprit. Besides, I missed him terribly. I was alone with my addictions, my self-pity, my self-loathing.

    One day, somehow, I worked up the courage to track down Hugh to a halfway house in Prescott, Arizona. I still remember how nervous I was when I called him, my fingers trembling as I dialled. I wanted to visit but thought he might hate me for the things I had said, the way I had acted.

    ‘Listen,’ he said, ‘you need to speak to my counsellor on the phone beforehand. There are things I want to say to you. I’ll have a counsellor and you’ll have a counsellor and we’ll talk.’

    Hugh’s counsellor told me, before I did visit, I needed to write down three things I disliked most about Hugh. And he would do the same for me. I knew what was about to happen. It was going to be some kind of intervention. This needed to happen.

    Hugh opened the door looking absolutely terrified to see me. He introduced me to the two counsellors and one asked me to sit directly across from Hugh and said that we needed to look each other in the eye throughout. I was to read my list first.

    ‘You’re untidy. You don’t put the CD back in the case. And you don’t turn lights off when you leave a room.’

    That was all I could come up with. Then Hugh pulled out his list from his pocket – he had written a full page. I can’t remember everything but I’ll never forget: ‘You’re a drug addict. You’re an alcoholic. You’re a food addict. You’re bulimic. You’re a sex addict. And you’re co-dependent.’

    His voice was quivering, terrified at my reaction and my temper. He must have thought I was going to tell him to fuck off. I remained silent, shaking as much as Hugh and scared. I kept saying to myself: ‘You’ve got to stay. You’ve got to hear the truth.’

    ‘You need to get help,’ Hugh said finally.

    ‘You’re right,’ I said through tears. ‘I’ll go somewhere. I’ll get help.’

    In that moment, my soul came alive again. It’s a strange thing to say, but it was as if my pilot light came back on. Instead of fear, I felt relief.

    Instead of anxiety, I felt calm. It was as if Ryan were sending me a message, letting me know it was going to be OK.

    Being around the White family made me want to be a better person. It took Ryan’s death to do so.

    When his eyes closed, mine opened – and they’ve been open ever since.

    © The Elton John AIDS  Foundation 2012.
    Love Is The Cure: On Life, Loss And The End Of AIDS by Elton John


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    Australian gossip mag FAMOUS attempted an 8-page article of "revelations" about the TomKat split. This was their tag on each page:

    Highlights (that were all published / theorized here beforehand):
    - Katie had been planning the split for months, including living in New York and having as many photo ops of her and Suri alone as possible - she learned from what happened to Nicole Kidman.
    - Scientologists are stalking Katie outside of her new apartment
    - The 11 years' age difference / all Tom's exes being 33 connection
    - Tom auditioning / shopping for a new wife before Katie 
    - Katie's fear that Suri would be sent to work at SeaOrg
    - Chris Klein is Suri's baby daddy

    And one new theory:
    "Friends say that after Katie flew from New York to LA to meet Tom for the first time on April 11, 2005, she mysteriously disappeared for 16 days. Little is known about what happened during Katie's absence, aside from the fact that during that time the actress fired her long-time agent and manager, and worried family and friends were unable to contact her.
    The next time Katie emerged was on April 27, when she played the role of adoring girlfriend to Tom on the red carpet in Rome." 
    (Totally trapped on the Free Winds lbr)

    TL;DR : Katie remains a flawless queen, the editors at FAMOUS are ONTDers.

    Source: Famous magazine / my camera

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    By Randee Dawn

    Who hasn't spent a lazy Saturday morning in front of the TV set, gobbling up sugary cereal while parents get some sleeping-in time? It's a time-honored tradition among kids, who now have a bevy of cartoon shows to choose from airing what feels like 24 hours a day, 7 days a week. But back in the stone age -- okay, the 1970s and '80s, when I was a kid -- nobody had cable, and Saturday mornings were virtually the only time to snag some true kids' programming that wasn't really trying to teach you anything.

    So in retrospect, we've got lots of nostalgia for the era. But also in retrospect, a lot of those cartoons ... don't exactly stand the test of time. “Someone once said that everybody’s golden age is when they were 12,” says’s Jerry Beck, an animation historian. “That seems to be true. It doesn’t have to be well-written or well-animated – because they bring us back to that time, and there’s an innocence to them.”

    In honor of those well-wasted hours in front of the boob tube, here's a look back at some of the best -- and the worst -- cartoons of past decades. Wonder Twin powers -- activate! Form of: a couch potato.

    'Super Friends' (1973-86)
    One of the few shows my brother and I could agree to watch together (I had kind of a thing for Aquaman, who could swim with dolphins), "Super Friends" was both awesome and terrible. On the one hand, you got to imagine that there was a Hall of Justice where Superman, Wonder Woman and Batman and Robin (plus their demographically pandering teen cohorts like the Wonder Twins) would just hang out and park the Invisible Jet and, you know, fight the bad guys. On the other hand, the animation is stiff, cheap and repetitive. Like the stories.

    'Jem and the Holograms' (1985-88)
    Rock stars have lots of adventures, but they're not usually G-rated. But kids love to sing, so some genius decided that an 80s New Wave (sort of) band was just the way to draw a huge audience. (Actually, the whole thing was put together by the toy guys at Hasbro, Marvel Productions and Sunbow Productions -- the latter gave you "G.I. Joe" and "Transformers.") So sure, it was cheesy, but the truly awful thing about "Jem" was that your baby brother could have drawn it better -- and probably learned how to sync the mouths with the words. "Jem" is also enjoying a retro rebound -- the third season comes out on DVD Tuesday, and new collectible dolls are on the way.

    'Looney Tunes' (circa 1930-Present)
    Stumbling on a Looney Tunes block of cartoons then, as now, is like being wrapped in a warm blanket and handed a bowl of ice cream: You just know things are going to go all right for the next 7 to 8 minutes. Originally made for feature screens and audiences, Looney Tunes were just better written, better drawn and felt like highbrow entertainment after yet another "adventure" on the other super-shows. Wabbit season!

    'Scooby-Doo' (1969-Present)
    Hanna-Barbera Productions cartoons were never highbrow, but they had a goofy consistency that appealed to kids of many ages, and the enduring nature of "Scooby-Doo," a talking Great Dane with a bottomless pit for a stomach and a fear of everything that goes bump in the night, is a testament to how even at their silliest, cartoons can bridge the generations. Most memorable, oft-repeated phrase: "And we would have gotten away with it if it wasn't for those meddling kids!" We all wanted to be those meddling kids.

    'Animaniacs' (1993-1998)
    By the time Steven Spielberg decided to present us with his "Animaniacs" (the full title of the show was "Steven Spielberg Presents Animaniacs," cable TV was already beginning to dominate the networks when it came to Saturdays. But this often-surreal, well-constructed and witty show captured the hearts of children of all ages. It hearkened back to the earliest days of animation (three of the main characters were allegedly hidden at Warner Bros. since the 1930s, and escaped to get their own show), and were clearly inspired by Looney Tunes.

    No matter where you end up seeing them, the joys of short-form cartoons -- even the ones that seem to have been drawn with a crayon by 1,000 monkeys -- endure. Now, where are my Lucky Charms?

    What were your favorite childhood cartoons? Which ones do you know aren’t really well-made, but you love anyway?

    What was your favorite classic Saturday morning cartoon?

    Bugs Bunny/Looney Tunes
    Super Friends
    Rocky & Bullwinkle
    Tom & Jerry
    The Smurfs
    Jem and the Holograms
    Care Bears
    Teenage Mutant Ninja Turtles
    Something else ... tell us what on

    Is the midnight society awake?
    You know the drill ONTD
    this gif is dedicated to bodyline
    *sorry about the cut mods*


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    Comic-Con Portrait

    Michelle and Busy Phillips were spotted in Los Angeles doing some shopping on July 11

    Michelle grabs juice at "Pressed Juicery Get back To Your Roots"

    Michelle makes her way through LAX - July 12, 2012

    Jason and Matilda go out for breakfast in New York - July 14, 2012

    Comic-Con Interviews

    OZ:The Great and Powerful Panel w/ Sam Raimi, Michelle and Mila

    Oz The Great And Powerful - SDCC '12 Conference w/ Sam Rami, Michelle and Mila

    Hollywood Reporter Cast Interview

    Sources: 1 l 2 l 3 l 4 l 5

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    Angelina Jolie has reportedly stopped her children from listening to Rihanna's music.

    The mother-of-six was so concerned after overhearing her kids singing the raunchy lyrics recently that she put her foot down.

    Star magazine claims that eight-year-old Pax and Zahara, seven, are particular fans of the R&B singer's catchy tunes.

    But apparently when Pax started singing the expletive-laden words to one of Rihanna's hits, Angelina knew she had to take action.

    "Pax was singing the lyrics to Birthday Cake and laughing hysterically at the curse words," an insider told the publication.

    Angelina, who is raising her brood with fiancé Brad Pitt, immediately put parental blocks on the music. She is also believed to be keeping an eye on the sites they browse and their Spotify playlists.

    "Angie grew up pretty fast and she wants her kids to avoid that same mistake," the source added.


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    flawless, the single is out today in the UK. Go buy it imo, she definitely deserves to be successful!!

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    "Bad Religion" was the song of the evening at the Frank Ocean concert Friday night at Showbox at the Market, the highlight of an auspicious start to a tour promoting the Los Angeles-via-New Orleans R&B singer's new album "Channel Orange."

    The sold-out house sang every word to the unrequited love ballad — an impressive feat, since the album is not fully out yet, released just a few days ago on the Internet and due in physical retail stores this Tuesday. Anticipating Ocean's pained falsetto toward the end, the crowd screamed when he nailed the note.

    Ocean hardly spoke at all between songs. He barely registered that he knew he was in Seattle and never once mentioned the considerable media attention surrounding the blog post he wrote last week on about loving another man (who never loved him back) when Ocean was 19. Even if it shouldn't, that detail changes everything for the singer — especially the meaning of the "Bad Religion" lyric, "I could never make him love me." Rather than address it literally, Ocean let his blog post function as a literary device, giving subtext to his story-songs.

    Musically, the show was perfect. Ocean was a little physically awkward — elbows pinned to his body as if concealing armpit sweat — but sang precisely and with great emotion, perhaps trying to make sure everything was music-focused.

    But the thought on the blog post loomed again in the concert-opening cover of Prince's "When You Were Mine," which came out in 1980, before 24-year-old Ocean was born., with Prince's lyric, "He was there/sleeping in between the two of us."

    That was the way of the whole concert — never blunt, but rather swirling and indistinct, raising questions. In his song "Pyramids," is the pyramid a prostitution scheme? Is slavery involved? Moving between genres, he sang between notes and moved through chords by half-steps, all the while offering something conceptual to mull over.

    Who could blame him for not wanting to elaborate on his personal life, after getting boxed-in by headlines like the Chicago Sun-Times' "R&B Star Frank Ocean makes media waves with admission he's gay"? Ocean never used "gay" or any label in his blog post. And since he's such a writerly artist, it's unlikely that was an accident.

    But the main story still was the unspoken one: Ocean's Internet sharing about his love life changing his music and the staunchly heteronormative genre of modern R&B.

    Of local interest: The show's music director was the producer Malay, from Bellingham, Wash., who wrote virtually all of "Channel Orange" with Ocean; the piano player was Seattle/Tacoma's Buddy Ross.

    Frank's interview with Zane Lowe


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    It’s shun direction

    Screen Shot 2012-07-15 at 16.16.17

    THE babe snapped “flirting” with One Direction star Niall Horan has told how the photo ruined her life — after her fiancé DUMPED her over it.

    Sexy estate agent Ruth Hicks, 26, bumped into teen heartthrob Niall during a hen party in Marbella last week.

    Since then, she has been kicked out of her home, abandoned by her pals and become a hate figure online — even receiving DEATH THREATS from jealous 1D fans

    But Ruth insists there was no romance at the Spanish sun resort after she brushed off his advances.

    She told the Irish Sun: “We only spent about 15 minutes in each other’s company, and we didn’t kiss.

    “Niall seemed like a sweet boy and I think he fancied his chances with me. He was very flirty.

    “But I told him I was engaged and he moved on.

    “He’s not my type anyway — he’s too YOUNG, too PUNY and too SHORT. And I am very much in love with my fiancé.”

    Ruth and 18-year-old Niall were photographed last Friday at the Ocean Club, a celeb haunt where revellers rent poolside beds at €380 a go and are given giant bottles of Champagne to spray over each other.

    In the picture, Niall is seen apparently whispering sweet nothings into bikini-clad Ruth’s ear as she smiles and clutches a cocktail.

    Screen Shot 2012-07-15 at 16.16.59

    After this paper published the picture on our website, it went viral, with green-eyed 1D followers branding Ruth the “Tan Line Chick” — a cruel dig at her pale bikini line.

    And when she landed back in the UK on Monday, Ruth’s fiancé texted her to say: “Pack your things, it’s over.”

    Furious Joe Adkins, 32, kicked her out of the home they’d shared for four years in Portsmouth, Hampshire, confiscated her engagement ring and now refuses to see her in person.

    Now Ruth is desperately trying to convince car salesman Joe that her poolside chat with Niall was completely innocent.

    She said: “That picture is totally misleading, but it has turned my life upside-down. Joe has been bombarded by friends and family telling him he’s well shot of me.

    “He’s a very private man, and feels like I have humiliated him in front of the whole world.

    “But I love him more than anything, and would do anything to get him back. It’s all just a giant misunderstanding, but he won’t even see me face-to-face so I can explain.

    “I have received some really nasty messages on Facebook and Twitter from people I thought were friends. They have seen the picture and jumped to their own conclusions.

    “And that’s not to mention the One Direction fans who’ve made me a hate figure, sending me death threats and marking tweets ‘#tanlinechick’.

    “It has been absolutely horrific, and all over something so stupid.”

    Speaking about the snap, Ruth admitted: “It may look suspicious. But in reality, we were surrounded by people. I was with a hen party of 20 women.

    “They were the ones who insisted we approach Niall so they could get pictures for their kids.

    “He was there with his dad and a handful of friends. We all posed up with them together for a photo.

    “I could tell he was looking at me quite a bit, trying to get my attention. But I ignored it. I mean, he’s only a child — and I’m not into the whole cougar thing.

    “A bit later, a few of the girls were dancing on the beds, and Niall joined us. He asked if we were having a good time, and we said yes.

    “There was no sexy or intimate dancing — it was pure cheese.

    “We wound him up by calling him Harry Styles. He seemed to find it quite funny. Then I went to the pool, and Niall followed me.

    “We exchanged a few words. He asked if he could try on my sunglasses, but I said he couldn’t. He also asked if I had a boyfriend, and I told him I was engaged.

    “His dad was standing with him the whole time. In fact, you can see his dad in the background of the picture, talking to my friend Fran.

    Screen Shot 2012-07-15 at 16.17.10

    “You could probably count the number of words we exchanged on the fingers of one hand, and at no time did he try to kiss or touch me.

    “The Ocean Club is like a massive pool party. It was really hectic, there were bongo bands playing, it was really loud. You couldn’t have a proper conversation if you tried.”

    She added: “When we found out my picture was on The Sun website, we thought it was hilarious.

    “It wasn’t until we got on the coach home from Gatwick that I received a text from Joe telling me I had humiliated him.

    “I was in pieces after that. I broke down in tears and all the girls were trying to console me.

    “It has completely ruined my life. This may sound dramatic, but I have lost my fiancé, my home and many friends over this.”

    Ruth said: “I have asked myself if I should feel guilty about being photographed next to Niall.

    “But the fact is, I was on a hen holiday. We were there to drink, chat, party and celebrate.

    “I don’t think I have anything to feel ashamed about. I have always been 100 per cent faithful to Joe.”

    A One Direction spokesman yesterday admitted that snaps of the lads with fans are “often sadly misrepresented”, adding: “It can lead to problems for the people pictured.”

    But confirming he had ended his engagement with Ruth, Joe said: “Seeing my fiancée with that boy was so hurtful.”


    Looks like she dodged a bullet there, her fiance seems like a douche.
    Did she seriously put that swimsuit back on to pose for The Sun?

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    Tom Hardy has become one of the hottest stars in Hollywood over the last few years, thanks to his no holds barred turn in Bronson and eyecatching role in Christopher Nolan's Inception. No wonder, then, that Nolan turned to the actor when it came to casting Bane: there aren't many in Hollywood who can convince as a muscular juggernaut and a mastermind at the same time. We spoke to Hardy about taking on the role - but be warned! The following contains a major Warrior spoiler!

    The first image of Tom Hardy as Bane was revealed in May 2011

    You have a lot of very physical scenes in this movie. How is it doing those with that costume and mask on?
    It's uncomfortable because your body's really restricted. It takes a while to get the sweat on and get loose and fit. It's heavy and it's tight and the costumers need it to look good and solid. So it looks great when it's tight but it's not practical to move it, and you need a couple of hours of moving about before the suit will then move with you. Then the costumer will come in and tuck bits and tweak bits so it looks great, but then it's all functional and you start sweating. Then you get drenched with sweat on the inside and it creates another layer between me and the costume, so that's when it gets comfortable, funnily enough. A bit like when you have a scab and you pick off the scab. It's like ripping off a plaster; it's like that sort of... freedom. But the first couple of hours is a bit of a pain in the arse. Going for a pee is really a pain in the arse.

    Really? Why?
    You got zips and undershorts, underarmour - body armour - under that. It's all a bit of a faff. Forget about taking a shit, that's not happening. [laughs].

    Is that why Bane's so angry?

    "Bane is brutal. It's not about fighting. It's about just carnage with Bane."
    Tom Hardy
    Oh yes, fucking retentive. Totally. Miserable.

    How easy is it to breathe through the mask?
    Um, it's more psychosomatic. If I panic then it's not easy and if I'm chilled then it's fine. It's got plenty of room to breathe but if I'm a bit panicky doing something, or a bit too high up or whatever, then I'm going to, you know, gasp a bit more. But once again I get used to the mask, I'm happy in it.

    How would you define the fight style? Obviously you did Warrior before this... immediately before?
    I did Inception after Warrior, then a play, The Long Red Road, with Philip Seymour Hoffman in Chicago. Then Tinker Tailor, This Means War, then The Wettest County [now titled Lawless], then this. Warrior took a year to edit. Took a long time to edit.

    So - the fighting style. How is it different to Warrior?
    It is brutal and military. It's more military in many ways. MMA [Mixed Martial Arts] is very athletic. It's an athlete's sport. And you've got your Krav Maga and whatnot from Bourne, the Bourne world. Very tight movement, very contained but aimed to kill. To kill, do you know what I mean? And maim. Then you've got the Keysi lot that Batman does I suppose, which is a lot of elbow business. But Bane is brutal. It's not about fighting. It's about just carnage with Bane. Which is different to [Warrior's] Tommy Conlon, who is in the eye of the storm when he's fighting. He has peace of mind. Until he meets his brother and then it's all out of the window. He loses the fight because it implodes on him, you know? Whereas Bane's not that. Bane's a superhero villain. So that's what the violence is there to imply, and the style is heavy handed, heavy footed.

    Does it bother you that Bane's not so well known by the broader public? Obviously the comic-book fans will...
    ...They'll go mental for it, yeah. I think one has to be aware that when you get involved in the Batman family, Batman is owned by so many of the fans already. Everybody has a right to an opinion, and some of the opinions on Batman are very hardcore [laughs] about how it should be done. Now for somebody like me who's a small, small part of a huge vehicle, who has been asked to play a character who has great importance to a world which I've been largely incubated to, there's a certain pressure that comes with that. I respect this is how you want to see your villain, or this is what you think this villain is, and granted, this is what this villain looks like. It's comic books. But I'm also working for Chris Nolan. So I am going to have to trust my director as well to go and deliver the Bane that we're about to deliver together, and I'm standing shoulder to shoulder with a man who I trust and who I've worked with before and who also has also brought a tremendous amount to the Dark Knight and the Batman franchise which people have loved. And they're big, heavy-hitting movies. So my trust and faith is in Chris Nolan, do you know what I mean?

    How is it working with Christian Bale?
    I love Christian. He's brilliant. He's really good fun. And it's like, he's a really serious actor, he takes the work very seriously, but not himself very seriously. He's a very funny, witty man, very smart. He's a brilliant character actor, and not at all alpha male in the way that there's not enough limelight for everybody to shine around him. So he's not greedy. He has a tremendous humility as a performer. It's a fucking breath of fresh air to work with somebody like that. And it's very physical.

    Because that is the advantage of Bane as a villain...
    This is the fight film.

    You get to beat him up.
    Well, it goes both ways. We beat each other up; we beat the shit out of each other. And he's a big lad, Christian. He's not messing around. I just pull faces and wear tights for a living, do you know what I mean? I'm not a fighter [laughs]. I give him all I've got and I'm like, Yeah! Then he gets up and goes, [does spot-on Bale impression] "That was really good" [claps hands]. And I'm like, "That was all I've got" [laughs]. He's tougher than I am. In real life.

    Interview by Dan Jolin

    Source : Empire

    BTW: I made up my mind... I'm going to the premiere tomorrow! 

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    Your guilty pleasure show of the summer returns this Tuesday at 9/8 central with all new episodes on The CW in the US and Muchmusic in Canada!

    Vacancy, the name of the first episode from season 2 technically isn't the start of the second season but instead a continuation of the first, picking up just days where the sixth episode left off. But a lot can change in such a short amount of time. Now that The L.A. Complex has already hooked you with flashy and fast paced stories-- and now that the characters have struggled initially but for the most part find sweet spots in which to coast-- the show has slowed itself down to actually enjoy the ride on which it has embarked. Buckle up because things are about to get much more serious-- and dark-- for such a sunny town!

    THE LUX EXPERIENCES MORE THAN ONE TITULAR “VACANCY.” Expect the fall-out from Tariq (Benjamin Charles Watson) and Kal’s (Andra Fuller) relationship to result in both guys trying to leave L.A. but in very different ways, causing both men to retreat to their own forms of comfort, away from prying public (or friends’) eyes. But additionally, Alicia (Chelan Simmons) packs up her Mini Cooper and heads (presumably) north, to join the rest of the porn stars in the valley.

    Where's Tariq and Alicia!?!  :/

    To anyone who's interested, a marathon of season 1 is playing today on FUSE TV in the US and E! Canada in Canada. The marathon repeats tomorrow on E! Canada.

    Watch the first 2 minutes opening of season 2 below:

    Character Bios: link
    Season 2 promo photos: link
    Source: link

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    In this month's ELLE, we spoke to The Hunger Games' Josh Hutcherson about his new film, 7 days in Havana.

    Josh was so chatty that we couldn't include everything he told us in the interview in the magazine. So here are the extra bits, just for you.

    What makes him laugh - ‘I’m one of those people who watches horrible Youtube videos until three in the morning and just laughs at the most random stuff. Both Jennifer Lawrence and I love random, awkward humour.’

    Secret skill - 'I can spin a basketball on my finger until the sun goes down, which is always impressive.’

    Favourite book - ‘Catcher in the Rye. I’ve read that book so many times. I love coming of age stories about people gaining their independence and going out into a new world and that’s definitely what the hero, Holden Caulfield, goes through. I identify with it a lot. I would love to play Holden Caulfield if the book were made into a movie but at the same time I think it’s such a great classic, it should be left in that world.'

    Favourite film - Fight Club could be the favourite. I saw that movie way before I should have been allowed to and it just blew me away. I’d never seen a movie done in that style before. It made me think, ‘Oh my god, I really wanna be an actor and a better actor at that.’’

    Most proud of - ‘I was recently awarded the Vanguard award from GLAAD , which is the gay and lesbian community support group. It honours people who stand up for the right thing and put every effort they can into fighting for equal rights. The honour meant the world to me. Obviously acting is my passion for life and what I want to do with my career but to me, working with civil rights groups is so much bigger.'

    Summer playlist - ‘Every time Feel So Close by Calvin Harris comes on I just want to jump up and down. No matter what kind of mood you’re in it will just make you happy. I’m kind of into The Killers lately - I listen to their album front to back all the time. Also, Kanye West and Jay Z’s album, Watch the Throne is insane.’

    Listen to some of Josh's favourite tracks here

    7 days in Havana is out now

    Read the full interview with Josh Hutcherson in the August issue

    Source and danceprincess20 for the cap

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    Will Ferrell, Zach Galifianakis, Jason Ritter, and faves from Iron Man 3, Django Unchained, Pacific Rim, Glee, True Blood, Vampire Diaries, Walking Dead, and Fringe strike a pose for us in our San Diego photo studio!

    Will Ferrell and Zach Galifianakis
    The Campaign

    Shane Black, Robert downey Jr., Don Cheadle, Jon Favreau
    Iron Man 3

    Christopher Meloni, Rutina Wesley, Alexander Skarsgard, Anna Paquin, Stephen Moyer, Kristin Bauer Van Straten
    True Blood

    Ryan Kwanten, Sam Trammell, Deborah Ann Woll, Joe Manganiello
    True Blood

    Joe Manganiello
    True Blood

    Jenna Ushkowitz, Kevin McHale, Darren Criss, Cory Monteith, Lea Michele, Naya Rivera (Ugh, you don't belong at Con)

    Jamie Foxx, Kerry Washington, Walton Goggins, Christoph Waltz
    Django Unchained

    Ron Perlman, Charlie Hunnam, Guillermo Del Toro, Charlie Day, Rinko Kikuchi
    Pacific Rim

    Jason Ritter
    Gravity Falls

    Steven R. McQueen, Ian Somerhalder, Michael Trevino, Nina Dobrev, Paul Wesley, Zach Roerig (Where is Bonnie?!)
    The Vampire Diaries

    Sarah Wayne Callies
    The Walking Dead

    John Noble, Anna Torv, Lance Reddick, Joshua Jackson

    Jasika Nicole


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    miley is at 1:51, and correct me if im wrong but i think that's her house? this song is terrible tbh, and he is such a nobody that i couldn't find any kind of article or blurb to go with this wtf


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