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Oh No They Didn't! -

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    The last time we interviewed Cameron Monaghan, Shameless was fast becoming Showtime's breakout hit, a bold and brave series chronicling a downtrodden, scheming Chicago family with just enough secrets, lies, and hilarity to make it through the day. Now on the heels of a shocking second season (trust us, we've seen it), we had to reach out to the man behind Ian once again: Why is he on the outs with father Frank and brother Lip? What's up with Mickey and Kash? What will make Season 2 sexier than Season 1? Terron R. Moore found out.

    So. You’re aware that Shameless is the best show on television, correct?

    Well, thank you very much! You know, I’ve heard that from a couple of people but I don’t know if I can make that claim! But I really appreciate it.

    If you can’t make that claim, then what show on TV would be better?

    I’m biased, I’m biased! I can’t give a valid answer to that question.

    What’s it been like, experiencing the fan reaction to the series?

    It’s been amazing. The entire duration of the season and then well after, people were still finding the show and still contacting me through Facebook or Twitter and telling me how much they love it. It’s great to see that the hard work paid off!

    Our previous interview was right before the season finale, so now that it’s over, what were your thoughts on it and how will it affect Sunday’s Season 2 premiere?

    Oh, it was great! Very very interesting stuff happened: Steve leaving, Eddie dying, Lip and Karen’s relationship changing— lots and lots of really big stuff. So the season two premiere is taking place about six months later in the middle of summer, and that alone changes some lives in interesting ways. It’s far enough away that we’re not quite in the melodrama of the aftermath, but we’ll still get some interesting results.

    How does shooting in the summer change the show?

    Well Chicago in the summer, it’s sweaty and it’s sometimes nasty! Everyone’s outside of the house, kind of doing their own thing so we’re gonna see a lot more of the outside of Chicago for the first half of the season. Overall, you’ll see an active, sweatier, sexier side of Shameless!

    Lip and Ian’s relationship is one of the more important ones in the series. Are they still cool this year?

    Well, Lip and Ian get into a lot of trouble this year. Lip is starting to do things that Ian doesn’t always agree with and Ian is trying to find his own independence, so he starts to confront Lip more. Their relationship will turn antagonistic at times this season and we’ll see a strain put between the two. I think they’re the two closest characters—probably in the entire series, Lip and Ian—so it’s interesting to see how their relationship changes.

    What about Ian and Frank? Last season, we learned that Frank isn’t actually Ian’s dad.

    Well, I don’t think they ever had a good relationship, but in the past, Ian has just tried to avoid Frank for the most part and they just kind of kept away from each other. Now, as Ian becomes more independent, he’s going to start confronting Frank about stuff that he doesn’t like. When Frank does things that bother Ian, Ian steps up and that’s going to cause both physical and emotional conflict between the two.

    In last season’s finale, Ian coming out to Fiona was a little subdued in regard to everything else that went on, wasn’t it? What did you think of it?

    I thought it was great; I thought it was kind of perfect because Fiona sees it as a non-issue, which is awesome. I don’t think that anyone coming out should feel like that’s some sort of big deal, people just make it into a big deal. I think for some of the other family members it might be a much bigger deal but Fiona doesn’t care. She’s going to love her brother anyway.

    Speaking of Fiona, she didn’t seem to be affected by anything in the finale.

    But the Steve/Jimmy thing… maybe you thought she was saying “I know” to the Steve/Jimmy secret, but she was actually saying, “I know there’s something else about Steve.” That still leaves the door open for a lot of interesting stuff for Fiona and the whole Jimmy/Steve double identity thing. There’s some fun stuff there in the second season.

    Like? Spoilers, please!

    Sure! Well, Fiona’s gonna branch out and try to find her own boyfriend and stuff— start over quickly, but Steve… may or may not, I can’t spoil too much… come back into play with the family in an interesting way. If that happened, Steve and Fiona would have a lot to work out!

    How about your character’s love life?

    Ian is still trying to pick between Kash and Mickey, and he’s still trying to sort out what it is that he feels for both of them. He’s still trying to find his own sexual identity and exactly what he wants. Right now he has two pretty terrible partners when you think about it. One is married and one’s a scumbag—obviously, they’re not the two best people for him. So he’s going to try to take control of some relationships and try to fins someone who’s right for him throughout the season.

    As an actor, what’s been your favorite part of being involved with Shameless?

    Oh, man. You know, there’s so much great stuff [I’ve done] but this is by far my favorite thing I’ve ever worked on. Just being able to think and be these characters for an extended period of time… and the show is so well-written and the great thing about being on a TV series is that you get to explore something for a long time. It’s something great that I got to sink my teeth into.

    What’s your Ology?

    Am I able to say ActingOlogy?

    No, because that one is too obvious.

    (Laughs) GuitarOlogy. I love guitar. I play it constantly.

    What was your favorite scene to shoot in Season 2?

    There’s this really fun scene in the very first episode where we have a very special kind of bon fire, we’re burning something very interesting! And the entire community comes and there’s this huge party while we burn it. It was just a super fun scene to shoot. The whole Chicago community where we shoot was there, it was in the summer so it was really nice— it was at night. Everyone was just dancing, laughing, having a really great time and it was cool to be with the actors, who have become my friends over the course of shooting.

    But you have a lot of intimate scenes as well. Which do you prefer?

    You know, both are great in their own way, and it’s truly like a family on our show. I mean we all say it in all of our interviews but that’s because it’s true. So I love doing the group scenes with everyone but at the same time, it’s great when I have those scenes with Jeremy Allen White (Lip) or with Noel Fisher (Mickey). They’re just different sides of a coin—but it’s a great coin either way.

    Why should we watch Shameless Season 2?

    Because if you like the chaos and the insanity that season one supplied, this one triples it. It’s crazy—a lot of drama and a lot of comedy and a lot of fun.

    What is the best piece of advice that you’ve ever gotten?

    Trust myself. Trust my own instincts. Do what I want to do, and do it passionately.

    Seems like there's a bit of than in Ian, as well.

    Definitely. I think that all the characters discover that advice one way or another throughout the series. And sometimes they might forget that, but it’s the best advice for any person: just believe in oneself and put yourself completely in whatever you choose to do.


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    We were interested (and not a little taken aback, to be honest) to see that Sigur Rós singer Jónsi was providing the soundtrack to new Cameron Crowe film We Bought a Zoo. Of course, he’s not exactly the first indie type to tackle soundtracking duties for a film — there have been a slew of such records over the last few years in particular, from Karen O’s exuberantly overblown score for Where the Wild Things Are to the all-star soundtracks that accompanied the Twilight films. And while those are both worthy albums in their own right (as, indeed, is Jónsi’s work on We Bought a Zoo), neither quite squeeze their way onto a list of our all-time favorite indie music-centric film soundtracks. What does make the cut? The answers await you after the jump, dear reader — and, as ever, let us know what your choices are.

    Trainspotting (1996)

    Zeitgeist is one of those overused foreign words, but if such a thing exists, then the Trainspotting soundtrack did truly capture it for a fleeting moment in 1996. Mixing contemporary Brit guitar bands (Elastica, Blur, Pulp) with a smattering of electronic-based action (Underworld, Leftfield) and a couple of well-chosen classics (Lou Reed’s “Perfect Day” and, of course, Iggy’s “Lust for Life”), this record was the musical backdrop to the mood of early-era Blairite Britain perfectly. And all in the context of a film about working-class heroin addiction. It was way more ironic than anyone could have realized at the time, eh?

    Lost in Translation (2003)

    Sofia Coppola’s films always seem to have cracking soundtracks, and while Air’s score to The Virgin Suicides and the ’80s post-punk-influenced soundtrack record for Marie Antoinette are contenders for inclusion here, we’re going for Lost In Translation because a) it’s more diverse than the former and b) it ties far better into the mood of the film than the latter. And, yes, if you leave the last track playing, you get to hear Bill Murray singing “More Than This” in all its off-key glory.

    Garden State (2004)

    “New Slang” may or may not have changed your life, but the real gem on this is Iron & Wine’s cover of The Postal Service’s “Such Great Heights.” The tracklist isn’t solid gold, but there’s more than enough goodness here — including unexpected gems like Colin “Men at Work” Hay’s “I Just Don’t Think I’ll Ever Get Over You” — to mean this still bears repeated listening. Also, we very much appreciate that all this music actually appears in the film — not always the case in this age in “Music From and Inspired By” cash-ins.

    Repo Man (1984)

    We were roundly pilloried for omitting this from the ’80s installment of our best soundtracks series a while back, and rightly so. About 98.7 percent of the time, when the comments section accuses us of forgetting something, it’s actually something we’ve consciously chosen to omit — but occasionally, something does genuinely slip our mind, and so it was with the Repo Man soundtrack. We’re not going to make the same mistake twice, not when there’s so much ’80s punk goodness to be had (and Iggy, again!)

    Singles (1992)

    This is one we didn’t forget when we were canvassing the best soundtracks of the 1990s. Twenty years on, its tracklist remains a sort of back pocket field guide to grunge. There’s no Nirvana, who were already on their way off into the commercial stratosphere by the time this dropped, putting their tunes way beyond an indie soundtrack’s budget, but apart from that there’s pretty much every other big name of early ’90s flanelette-and-distortion music — Alice in Chains, Pearl Jam, Soundgarden, Mother Love Bone, Screaming Trees, Mudhoney, and more.

    Kids (1995)

    Although there was a pretty decent variety of music in the film, the soundtrack to Kids is decidedly Lou Barlow-heavy — two of his bands (viz. Folk Implosion and Sebadoh) account for eight of the record’s 13 tracks, presumably because the film’s $1.5m budget didn’t extend to paying the Beastie Boys to use their songs. However, as it transpires, this isn’t such a bad thing, because the soundtrack album has a certain coherency that’s often lacking from more scattershot compilation-type records. Even the non Barlow-related tracks — which come from Daniel Johnston, Lo-Down, and Slint — fit the mood perfectly.

    Juno (2008)

    Another album that’s heavy on one artist, in this case Kimya Dawson. Like the film itself, this record is either utterly charming or insufferably cutesy, depending on your point of view. We might just be big softies, but we tend toward the former point of view — but even if we didn’t, the presence of Sonic Youth’s killer cover of The Carpenters’ “Superstar” would probably be enough for Juno to warrant inclusion on this list, just because we love that song so very, very much.

    The Edukators (2004)

    The film itself was OK, but German/Austrian left-wing kidnap story Die fetten Jahre sind vorbei (renamed The Edukators in English) is probably better remembered these days for its bumper double-CD soundtrack. The tracklist was a headily eclectic affair, playing like the sort of mixtape your friends at school used to make you — there was everyone from Leonard Cohen to Eagles of Death Metal, along with a decent selection of German artists, who no doubt appreciated the opportunity to reach an Anglophone audience via the exposure this compilation offered them.

    Whip It (2009)

    Drew Barrymore’s directorial debut came with a soundtrack album that was just as pleasantly enjoyable as the film itself. And, more importantly, it gave rise to Jens Lekman’s hilarious account of how his songs were chosen for the film (it’s about a third of the way down the page, under September 8th, 2009): “I’ve been touring on and off like crazy, I’ve put so much work into recording and writing. And in the end what I make my money from is talking to Drew Barrymore about monkeys…”

    Morvern Callar (2003)

    We may well have saved the best for last here. The Warp Records-curated soundtrack to the film adaptation of Alan Warner’s fantastic novel is pretty much solid gold from start to finish, setting beautifully-chosen tracks by label stalwarts like Aphex Twin and Boards of Canada alongside pieces by everyone from Can and Lee “Scratch” Perry to Ween and a bunch of Javanese gamelan drummers. The highlight, though, is Can bassist Holger Czukay’s outlandishly brilliant summer anthem “Cool in the Pool,” surely a contender for title of strangest and most unexpected party song ever recorded by anyone, ever. Genius. And that’s that, really.


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    did you like tonight's episode?
    give all the acting awards to Emily imo


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    Two new clips to promote Harry Potter and the Deathly Hallows: Part 2 for awards consideration this year have been released by Warner Bros, this time emphasising the variety of accolades for which they have been recognised, including: the American Film Institute's special award; four Critics' Choice Awards; and one of the National Board of Review's ten best films of 2011.


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    The patriarch of the reality TV show “19 Kids and Counting,” Jim Bob Duggar, turned up in Iowa today with 12 of his 19 children to rally for Rick Santorum, the Republican presidential candidate who has surged in polls ahead of the Iowa caucus.

    At an event in Polk City, Iowa, Duggar, a former state representative in Arkansas, fired up the crowds and rallied for the former senator. Republicans are “not going to find a perfect candidate, unless it’s Jesus Christ,” Duggar said.

    He took a shot at Mitt Romney for his Massachusetts health care plan that, he said, included a ”$50 co-pay for abortions.” Duggar and the 12 kids showed up at Santorum’s first event of the day in a bus wrapped with “Rick Santorum for President” signage. All week long, Santorum has been chauffeured around the state in a pick-up truck driven by one of his top Iowa supporters.


    idiots supporting idiots. this is nothing new imo. feel free to comment on why santorum is the devil & why no one is even bothering to fake stan for him. you know you suck when ciara, michele bachmann & bristol palin have stans yet you don't

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    Singer/impersonator Yoko Aramaki appeared on the television program 'Hirunandesu!' and performed a 12-song impersonation medley of popular singers including American pop stars Christina Aguilera and Cyndi Lauper.

    Apparently the show's staff can't tell Aguilera and Lauper apart, as evidenced by the mismatched names and pictures (more like drawings, really):

    skip @ 10:07 to see them pan on Xtina as Aramaki begins singing "Girls Just Wanna Have Fun" (followed by the Xtina impersonation ofc).

    Gaga @ 2:19

    her cyndi impersonation is the only remotely decent one tbh

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    Amanda Seyfried is getting more company in the pornstar bio-pic Lovelace, with Demi Moore joining the cast to play feminist icon Gloria Steinem and Adam Brody co-starring as the mustachioed X-rated actor Harry Reems.

    The movie, which began shooting in December, chronicles the provocative, tragic, and controversial life of one Linda Boreman, who — under the name Linda Lovelace — became one of the world’s first mainstream, marquee stars of adult entertainment with 1972′s Deep Throat, which co-starred Reems. Claiming she had been violently forced into sex work by her husband, Chuck Traynor (played in the film by Peter Sarsgaard), she later denounced her films, and became a strident anti-porn activist. Boreman died in 2002 after a car accident.

    Eric Roberts is another new cast member, playing lie detector expert Nat Laurendi. He was brought in to question Lovelace as a fact-checker for her book Ordeal. The transcript of his questions is harrowing reading, and could easily serve as the framework for a story about her life.

    Sharon Stone, Juno Temple, and Wes Bentley also co-star in the movie alongside Hank Azaria, Robert Patrick, Bobby Cannavale, and Chris Noth. Lovelace is being directed by Rob Epstein and Jeffrey Friedman, best known for another counter-culture movie — the Allen Ginsberg film Howl.

    Brody will appear as Lovelace's "Deep Throat" co-star Harry Reems, one of the most notorious pornographic actors of the 1970s
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    “I live on another planet, fortunately, and we do things differently there,” Tilda Swinton says over tea and a slight case of the sniffles at the Bowery Hotel in the East Village. Somehow this does not seem a revelatory confession coming from this singular and singular-looking actress. She naturally radiates a certain otherworldliness, as of a creature who has just been zapped to Earth from a distant galaxy and has not yet discovered how to manipulate the tools of ordinary human discourse.

    The effect derives from her androgynous beauty, of course: the luminous, almost translucent skin, the sleek planes of her face, the architectural sweep of David Bowie-blond hair and the twiglike frame. For when Ms. Swinton speaks, she becomes unmistakably human: funny, friendly, thoughtful, intelligent but unpretentious.

    The planet she refers to is not an actual one, needless to say, or even the busy world of Hollywood, but the place she literally lives. “I live in a part of Scotland where people are more likely to talk about problems with greenfly” than news of the film world, she says, referring to an insect more commonly known in planet America as the aphid. Despite her increasingly high profile as an actress with one of those coveted gold statuettes to her name — she took home a supporting actress Oscar for “Michael Clayton” in 2008 — Ms. Swinton insists she inhabits the world of mainstream film only as an alien visitor. In Scotland she lives with her twin children and her partner, the painter Sandro Kopp. (Sensational rumors from a few years ago that Ms. Swinton, Mr. Kopp and Ms. Swinton’s former partner, John Byrne, were all cohabitating, were false.)

    “Aside from the odd skirmish, such as going to Cannes, Scotland is where I live year round. I have no other home,” she says. “When I visit Hollywood, I come in and out like a tourist, and I am really happy to be a tourist.”

    She is in the middle of one such skirmish, in New York to promote her latest movie, “We Need to Talk About Kevin,” an elliptical psychodrama about a mother whose son commits an atrocity that leaves her feeling alienated and complicit. Directed by Lynne Ramsay (“Ratcatcher,” “Morvern Callar”), the movie exerts an unsettling, hallucinatory pull, in part because it relies more on imagery than language to draw us inside the spiraling thoughts of the central character. (Contra the title, which comes from the 2003 Lionel Shriver novel that “inspired” the film, as Ms. Swinton prefers to say, nobody does much talking about Kevin.)

    Odd though it may seem for a woman who speaks with such lucidity and fluidity, it was precisely the general absence of conventional dialogue that drew her to the role.

    “For me that is grace,” she says of her character’s dumbstruck confusion in the face of her irrevocably altered life. “I am really interested in silence. In inarticulacy also, which isn’t the same as silence. As a performer I like looking at the gaps between what people want to communicate and what they can communicate,” she adds. “I love good filmmaking that isn’t just about really proficient writers of dialogue, who think that everybody’s really articulate and everybody can hear each other really well. That doesn’t feel true to me, actually. I mean, that’s a fantastical universe.”

    The idea certainly resonates in “Kevin,” through which Ms. Swinton’s character often wanders like a mute ghost, replaying a troubled past through the prism of an anguished mind. It also applies to Ms. Swinton’s quietly charged performance in “I Am Love” (2009), in which she plays a Milanese wife whose insular world is shattered by the discovery of erotic love. Her character in that movie, a Russian in the alien world of Italian high society, is similarly withdrawn, living inside her head until a sensual awakening changes the pattern of her life. Ms. Swinton, 51, says she is drawn to characters confronting these moments of crisis, when the trajectory of a life is radically altered.

    “I’m constantly reading about actors who call themselves storytellers. I’m more of a micro-dotter,” she says. “I like to isolate the spirit of a moment, in particular the moment when the ‘me’ that I was is forced to change.”

    Robert Salerno, a producer of “Kevin,” points to Ms. Swinton’s ability to illuminate her character’s interior life without a lot of dialogue as central to the film’s power. “A lot of her performance comes from her eyes and her facial expressions, and as an actress that can be even more complicated than working with dialogue,” Mr. Salerno says. “Tilda makes the audience feel the pain and torment this character goes through almost wordlessly.”

    Mr. Salerno was also impressed by how completely Ms. Swinton was engaged in the film’s progress from its inception to its completion. “She was very involved, even before I came aboard, and was always wanting to know what she could do to help the process along,” he says. “Lynne is a filmmaker with a particular approach, and in this case she needed to feel a little of the chaos that the characters in the film are going through, and Tilda completely embraced what Lynne needed.”

    Although she has forged a career that marries two ideals that rarely intersect — the respect accorded actors who venture deep into the thickets of art house cinema, and the headier remuneration and broader exposure that are the fruits of the realm she refers to repeatedly as “industrial filmmaking” — Ms. Swinton makes it clear that there has been little or no design in the pattern of her life. This may be why she finds such richness in roles requiring her characters to diverge from the “menu” of life choices they’ve been given, as she puts it.

    “I’ve been making it up as I go along,” she confides. “In fact I never set out to be an actor. Still am not, really. I slid into performing at the point at which I stopped writing.”

    Ms. Swinton, who comes from established Scottish stock (her father was a highly decorated major in the British Army), studied literature at Cambridge, where she wrote poetry. “I slid sideways into the theater, basically because of the company I was keeping,” she says, “and a feeling of experimenting with friends who were really into theater. I was totally undriven.”

    Early stage ventures, including a short stint with the Royal Shakespeare Company, convinced her that theater “wasn’t the right trousers,” as she idiomatically puts it. She slid on a new pair when she met the experimental filmmaker Derek Jarman, with whom she formed an artistic collaboration that only ended with his death in 1994 from complications from AIDS. They made films together — larger and smaller, scrappy and polished — although it was Ms. Swinton’s role as the swashbuckling, gender-changing title character in Sally Potter’s “Orlando” (1992), based on the Virginia Woolf novel, that brought her to international attention.

    “The way I worked with Derek and Sally during those first nine years was really spoiling, really specific,” she remembers. “And, I now realize, really rare. It put me up a gum tree. It didn’t get me any closer to being a proper actor or involved with industrial cinema. It was where I learned to work collectively and it’s where I learned what producing is and it’s where I learned at one remove the job of filmmaking. Those directors expected their team to all be filmmakers. That’s not an orthodox actor’s training. When Derek died and when ‘Orlando’ was done, I was no closer to having what you call a career.”

    Her entry into industrial filmmaking — the phrase is catchy, and appropriate — came as haphazardly as her sideways tilt into an acting career. After her acclaimed performance in the independent movie “The Deep End” (2001), as the mother of a gay son she suspects has committed a murder, offers from filmmakers from outside her family of collaborators started to come. But Ms. Swinton finds that there is a natural continuity between the two kinds of work.

    “The truth is, in 25 years I’ve only made about five or six true studio films, and to me all of them have been with experimental filmmakers,” she says. “It may be that David Fincher has $200 million or whatever to make a movie, but like the other directors I’ve worked with he is always messing with the form and still working in a way that felt familiar to me. Or when I was working on ‘Constantine,’ and there was all this tech geek stuff going on, it felt a lot like back when I was doing a Pet Shop Boys video with Derek Jarman, shooting it against a blue screen.”

    Ms. Swinton seems content to allow the flow of career to unfold without conscious direction, caring primarily for the filmmaking company she keeps. “My habit, which I cannot imagine breaking, is the dependence on the relationship with the filmmaker,” she says, noting that friendships with both Luca Guadagnino, the director of “I Am Love,” and Ms. Ramsay, the Scottish director, preceded her collaborations with both. “That’s what I’m in it for.”

    She and Mr. Guadagnino have hatched a plan to film a remake of “Auntie Mame,” with Ms. Swinton in the title role. It is hard to picture Ms. Swinton, whose characters on screen often seem to be reverberating with repression, as the flamboyant celebrator of life in Patrick Dennis’s novel. Although she does reveal a mischievous streak in person, as well as an unexpected taste for lowbrow popular culture. (When told that the humor in “The Book of Mormon” is predominantly juvenile, she lights up with glee.) Her disaffection for theater has kept her away from the stage for decades, and yet she doesn’t disdain it entirely. “I love live performance,” she says. “But the theater I prefer is the theater of the music hall, or the Saturday matinee when some TV star comes on, and everybody claps.”

    But Ms. Swinton circles repeatedly back to the idea of all human behavior as a kind of performance, an idea that the self-dramatizing Mame might well espouse. What attracts her to acting, a profession in which she still seems to feel she is an apprentice practitioner, Oscar and critical acclaim notwithstanding, is the mystery of what resides behind the masks people wear.

    “Starting to imagine or to notice how inscrutable we all are to one another, that’s where my interest in wanting to be a performer came from,” she says. Referring to the central incident in “We Need to Talk About Kevin,” and perhaps to many another contemporary horror, she continues: “People perpetrate atrocities and other people say, ‘We didn’t see it coming.’ The idea that people actually wear themselves on their faces seems to me to be less real than what life actually is, which is a series of concealments and containments.

    “These surfaces and veils exist,” she continues, warming to her theme. “We take off one for one person, and several for another. But there is always a difference between what you show to others and what you show to yourself in the mirror.”

    The actor’s challenge, and it is one that Ms. Swinton meets with a rare clarity and precision, is to explore this process of concealment and revelation. Meanwhile we in the audience, gazing into the mirror of art, can perhaps come a little closer to seeing ourselves.

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    Apichatpong Weerasethakul is a Cannes Festival Palme d’Or prize winning filmmaker—but you knew that already. Despite our pride in his international recognition, his art often remains difficult to penetrate. His movies move at a glacial pace, dotted with subtle folkloric references, and with no apparent plot. Uncle Boonmee Who Can Recall His Past Lives (the movie that won him the Cannes prize) is actually part of a larger art project titled Primitive, a multimedia exhibition which explores the two narratives of Uncle Boonmee. First, Uncle Boonmee’s power to move through time, accessing both the future and memories going back many generations. Second, the village of Nabua’s persecution by the Thai army, who believed it to be a hotbed of communist insurgency during the Vietnam War. Through a series of (mostly) videos, Primitive returns to these two themes again and again.

    Why do an exhibition?
    It’s always related to the films or short films I’m doing. It’s a kind of rough sketch, or an opportunity to do something abstract that I can’t do in a movie. For Primitive, there’s Uncle Boonmee [the movie], a book, short films—many fragments. And sometimes it’s almost a performance when I collaborate with the people [in Nabua]. But since there’s less money here, this exhibition is more intimate [than the Primitive exhibitions abroad].

    You’re dealing with the memory of people killed by the Thai army. Do you ever self-censor?
    Even though the work is political, I don’t feel a need to censor myself. I don’t want to make a heavy political film. The installation should represent yourself, your take, your shared memories of the people there, with the hope that afterwards people can go back and talk about what happened or look it up on the internet.

    Still, it is very political.
    It’s impossible not to talk politics. The education system is just an illusion in Thailand. The way I grew up, the education I received, the history books of my nephew, they’re full of lies, full of propaganda. What Thailand has been going through is lies, many lies. We went to listen firsthand and record many hours of conversation with the older generations [in Nabua], to reeducate ourselves, even if it’s rather late. There are certain key institutions involved, like the army and... Something is still there. It’s about the fear, the cultural fear. Faith and fear. You worship something and, at the same time, you can’t step out of line.

    You don’t worry about getting in trouble?
    This exhibition is very mild. It’s not political at all. It’s very personal. It’s a journey with these kids to a spaceship. It’s about escape and all that. It has a reason behind it but living in this country, I know what I can say and what I cannot. I don’t want to be too direct anyway.

    Is that the goal, though? Do people have to dig deeper to figure it out?
    It’s like my film. When I make it, it’s for me, my curiosity for the place. When it’s shown, it has a life of its own. So it depends on the individual viewer, whether he or she wants to dig, how much you want to know about the background. If you don’t care about it, take it all in visually, it’s OK. For me, I have my own references but again, like other artists, I don’t mind other interpretations. That’s what art is supposed to be.

    Why Nabua? Why is its past so important?
    I want to know myself. Like when I make movies, I always select actors that have a lot of experience that I don’t have. People say, they are not professional. But for me they are very professional, professional at being human beings. They’ve gone through so much. But for me, my life is so simple, so I want to learn. Making movies is a pretext, a path to that. Being in Nabua has really allowed me to share and understand better, through new friends, how as a country we became what we are now. Communism was a big turning point for Thailand, how the Americans came, how people felt left out until now.

    Has your art changed Nabua?
    I don’t know. I’ve sent them DVDs but I haven’t gone back. I’m going back next year with the Jim Thompson Foundation, when we plan to host the exhibition in the village. I didn’t want to change their lives. I wanted to be there, not as a tourist, but not as an inhabitant. It is sensitive. Sometimes you treat them simply as subjects, and it’s like taking advantage of them.

    Has funding for your art improved since you won in Cannes?
    In Thailand, it’s always on and off that you don’t really have much hope in the government. Sometimes it’s coming, sometimes not. I tend to be cautious about government funding. They want you to do certain things. If I have a choice, I prefer not to have funding from them. If you look at art from countries with funding, it’s very academic and boring. Maybe the artwork would be more interesting with less money.

    What’s next?
    I’m finishing one very romantic film of a hotel on the Mekong, in Nongkai. It’s a one-hour film called Mekong Hotel. My crew go there and my friend, who is a guitar teacher improvises and plays guitar for an hour. My crew is trying to rehearse a movie about this ghost who goes around eating innards. It’s like a documentary but every scene is shot in a hotel room.

    And will the movie in the movie ever exist?
    I hope so. This is almost to find out, what is this movie? The fun part is shooting it in a hotel. It’s full of melancholia. And then I’m doing a film festival in March with Tilda Swinton, in Yao Noi, next to Phuket. It’s very snobbish and by invitation only but we’ll do a more public one in Bangkok. Then I’m doing a short film with her and writing a feature film, hopefully to be shot in 2013.

    1 2

    Shrieking at how perfect her next few projects sound- from the new Wes Anderson, the Apichatpong short, the Jarmusch vampire film, and the Elizabeth Bathory film with Isabelle and Udo Kier, IDK which to be the most excited about.

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  • 01/02/12--20:55: THIS WEEK'S SOAP PROMOS!!!

  • In the chaos of the power outage, there is a prison break. John and Bo work together to find the mastermind behind everything and make a surprising discovery. Meanwhile, Natalie comes face to face with Mitch Laurence. Mitch makes his demands to Viki and Clint. Viki, Clint and John work together to save Natalie.

    At the prison, Bo learns Troy has escaped, and calls Nora, who is already being held by Troy, to warn her. Bo is frantic with worry over Nora, and an unexpected ally comes to his aid. Starr is shocked when Cole shows up. James warns Starr that Cole has escaped, but will Starr protect Cole?

    The Young & the Restless

    Victor proposes to Sharon and while she does not say yes right away she does agree to wear his ring. According to co-head writer Scott Hamner one of the reasons for Victor's proposal to Sharon is to protect Nikki. "At this point he believes that it is in Nikki's best interest for him to push her away." At the same time Victor thinks that it is in Sharon's best interest to marry him because that way he can help and protect her. But Hamner says there are other reasons for the proposal and "there is more to this story than meets the eye."

    The Bold & the Beautiful

    “Steffy has been away from Liam while in Cabo because she’s been working with Thomas. Liam then finds out what she’s been up to and that Hope and Thomas are in also in Mexico. Of course he’s upset. How many lies does it have to take for her to be honest? Needless to say, they both have a meltdown and a lot of things blow up. When Hope and Thomas take off on ATVs, a desperate Liam follows Hope and Steffy goes after her husband. “Steffy and Liam end up on ATVs, but it’s not a fun thing; it’s her chasing him. She’s on a chase, trying to get her man. Liam isn’t even thinking of her in that moment and Steffy is emotional distraught. Who wants to be that emotional on an ATV? She ends up biting the dust. Steffy is trying to run away from the drama, but it’s the one who creates it. She tends to make everything worse and really, how much is Liam going to put with, but after the accident, things take an interesting turn.

    Days of our Lives

    It's a rough week for Will, who has just informed Marlena that Sami had sex with EJ. "Will is in an extremely emotional state," acknowledges his portrayer, Chandler Massey. "One of the triggers was seeing his Mom interacting with Rafe like nothing was wrong. Will basically felt that his mom was taking advantage of Rafe's kindness. It put him on edge, so he went to Marlena's looking for comfort. Will is struggling with a few things, but there are some things that he's not ready to talk about yet so, in the spur of the moment, he decided to put the focus on his mom and her actions."

    Ultimately, Will ends up at the DiMera mansion. "Will has decided the best thing to do is run away," discloses Massey. "He wants to get away from anyone who knows him and he thinks leaving Salem is the solution."

    General Hospital

    Jason is horrified to learn that he hit Michael. Luckily, neither one of them are injured. But when Michael comes to realize that Jason took part in hiding the fact that Jax is alive, Michael swears off Jason along with his entire family. Later, Jason brushes off Patrick’s care, leveling him that it is actually Robin who needs his attention. Meanwhile, Sam realizes that her period is late. Could Franco have gotten Sam pregnant after all these years? Sam takes a pregnancy test. Patrick busts Robin on her trying to leave town without telling him. She waxes on about an HIV conference in Africa, but Patrick cannot guess the grave reality.

    YouTube, SoapTownUSA

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    The pair fell out over Katy’s religious values.

    Lady Gaga and rival singer, Katy Perry do not see eye to eye - but the pair reportedly have now gone to the extremes - asking to not be anywhere near each other at the Grammy Awards in February.  

    Sources told Now magazine: “Their people have asked that they're seated as far away from each other as possible to avoid any uncomfortable moments.”

    Preacher's daughter Katy, 27, fell out with Lady Gaga, 25, over her ‘disrespectful attitude' towards religion in her videos.

    She tweeted: “Using blasphemy as entertainment is as cheap as a comedian telling a fart joke.”

    A source reveals: “She thinks Gaga's more into controversy than making music.”

    Katy - who recently split with husband of 14 months, Russell Brand comes from a religious background which was reportedly one of the reasons why the pair parted ways.

    Reports claim Katy wanted her husband to file for divorce and end their marriage to not disappoint her evangelical Christan parents.


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    The main problem with Twilight isn't its sparkly vampires who lack all traditional weaknesses, or even its anti-feminist sensibility. When you get right down to it, the trouble is that the writing is terrible, filled with cliche phrases ("smoldering eyes"), repeated words (294 "eyes" in 498 pages) and the reductive characterization of its main characters (Bella is clumsy, and I guess she likes books. Or something).

    On a recent car-trip with my husband and the writer Chip Cheek, we mulled over the question: What if great literary writers of the last 200 years had penned Twilight instead?

    Herman Melville

    "Call me Bella." A tome about the length of the original series investigates Bella's monomanical search for the vampire who stole her virginity. There's an entire chapter devoted to describing the devastating whiteness of Edward's skin, and several on the physiognomy of vampires, starting with their skeletal structure outward.

    Virginia Woolf

    The novel takes place over the course of twenty four hours, during which Bella is painting a portrait of Edward and reflecting on how her femininity circumscribes her role within 20th century society.

    Cormac McCarthy

    In the opening scene, Edward dashes Bella's head against a rock and rapes her corpse. Then he and Jacob take off on an unexplained rampage through the West.

    Jane Austen

    Basically the same as the original, except that Bella is socially apt and incredibly witty. Her distrust of Edward is initially bourne out of a tragic misunderstanding of his character, but after a fling with Jacob during which he sexually assaults her (amusing to no one in this version) she and Edward live happily ever after.

    George Saunders

    Same as the original, but set in a theme park. Somehow involves gangs of robots, which distract the reader from the essential sappiness of Edward and Bella's story.

    Raymond Carver

    Bella stars as the alcoholic barmaid with daddy issues that Edward, a classic abuser, exploits. When Bella's old friend Jacob comes to visit and is shocked by her bruises, she thinks about leaving him, but instead hits the gin bottle. Hard.

    Annie Proulx

    Edward and Jacob defy society's expectations up in the mountains.

    Lewis Carroll

    Bella takes acid and charts syllogisms.

    James Joyce

    Edward's rapacious love for Bella reflects the way globalism has pillaged Ireland. It's entirely written in Esperanto, with sections in untranslated Greek, except for Chapter 40, which is inexplicably rendered as a script page from the musical The Book of Mormon.

    Dorothy Parker

    Bella writes a brilliant takedown of the latest school play, dates a string of men, and repeatedly attempts suicide.

    Kate Chopin

    Stifled by her marriage to Edward, Bella has an affair with Jacob and then drowns herself.

    Ernest Hemingway

    Edward and Bella exchange terse dialogue alluding to Edward's anatomical problem. Eventually, Bella leaves him for Jacob, a local bullfighter with a giant…sense of entitlement.

    Flannery O'Connor

    When Native American werewolf Jacob threatens her with death, Bella reconsiders her hardcore racism, and just for one milisecond, the audience finds her sympathetic.

    Ayn Rand

    Edward tells Bella that he intends to stop saving her life, unless she starts paying him in gold bullion. Hatefucking ensues, then Jacob spouts objectivist philosophy for the next 100 pages.

    Tim O'Brien [Novelist Urban Waite adds this one]

    It's all about the memories these vampires have carried with them for the past couple hundred years. Just think how much that would have deepened their characters. "Bella looked into Edward's smoldering eyes and knew all the pain he carried with him, the cross burned into the cleft of his muscular chest, 1 oz., the dash of his hair across his forehead, dangling ever-so, 5.oz, etc… etc… "

    Haruki Murakami: [Added by commenter Benk]

    Bella has sex with Edward, who is half a ghost. Jacob is a talking cat. Most of the prose is given over to descriptions of Bella making pasta.

    Marcella Hazan: [Added by commenter Richard]

    Edward prefers the center of Bella's right calf for his new braise, Osso Bella, but has trouble finding the Sicilian sea salt essential to its proper preparation.

    Lizzie Stark is the author of Leaving Mundania, a narrative nonfiction account of LARP due out from Chicago Review Press in May 2012. Her journalistic work has appeared on The Today Show website and in The Daily Beast.

    This post originally appeared at Lizzie Stark's blog — be sure to check out the amazing suggestions added by her commenters over there.

    Also adding the Dr. Seuss version written by a commenter at the original post:

    Twilight, by Dr. Seuss

    Jake likes a girl. Her name is Bella.
    Bella likes a different fella.

    See this vamp? This is Ed.
    Ed is pale. Ed is dead.

    Ed saved Bella from a van.
    Ed must be a special man.

    Ed won't kill boys. He won't kill girls.
    Ed gets fed on deer and squirrels.

    This is James. He's a tracker.
    He's a sort of vamp attacker.

    James hunts Bella for a thrill.
    Will Ed kill him? Yes, he will.

    But James gave her a little bite.
    Will she be a vamp? She might!

    Edward fixes Bella's cut.
    She won't be a vampire.

    She becomes one. Read some more.
    She's a vampire in book 4.


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    Ryan Gosling and Eva Mendes slip out the back door of their hotel and get into separate cars en route to JFK Airport. Once there Gosling hides his face behind a Famous Monsters magazine.

    Obviously I just wanted to see how many pictures I could post of them covering their faces.


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  • 01/05/12--15:54: Glee Spoilers!

  • Check out this spoiler from Ask Ausiello, featuring some new (minor) casting intel:

    Based on the fact that the show is casting a bunch of middle-aged night school students, something tells me one of the kids is about to start matriculating after hours.

    So, who do you think will be the glee clubber hitting the books at night, and for what? Wetpaint Entertainment has some speculation going on over here, so you can have fun with that (my money’s on Sam, since he’s missed like, a ton of school).

    You can also have fun with these other two sorta-spoilers the Glee rumor mill is churning out:

    In season 3 episode 12 (the episode after the Michael Jackson tribute), Brittany (Heather Morris) and Santana (Naya Rivera) might be mashing up Nicki Minaj’s “Super Bass” with Lady Gaga’s “Edge of Glory”. Even though we Gleeks have been inundated with a ton of Lady G, this still sounds pretty awesome. Especially for Brittana fans.
    Remember that Sue spoiler that Coach Sylvester could have an upcoming storyline with wanting a daughter? Well there’s a girl out there who’s down for the job, and it’s Hayley Nolan – who garnered interest not only among Glee fans but from Jane Lynch herself, with her YouTube sketch featuring herself as Sue Sylvester’s long-lost abandoned lovechild.

    It’s been said that Blaine will be absent from some episodes in this last half of season 3, but it’s since been confirmed by Michael Ausiello that it will only be for a total of one episode. Hip hip hooray, right? Well, there’s a lot more to be happy for than that because Darren reveals via Watch with Kristin that the episode before Blaine leaves, he gets to perform one of the Michael Jackson tributes:
    “I thought that before I was going to leave, they might write Blaine out just to make things easier on everybody,” Darren admits. “Nope! Right before I left, Blaine had a lot of really cool things to do for the Michael Jackson episode. When you see that episode, I shot all my stuff in four days. It was quick! It was a shotgun of crazy, exhausting stuff and it was both a thrill—because you really wanna do justice to these awesome songs—but frustrating, because I wanted it to be perfect and amazing. So hopefully they cut it right.”
    So what’s the lucky Jackson song? “Wanna Be Startin’ Somethin’”, but unless you know the song inside and out, Darren tells us to watch out for the lyrics:
    …Blaine is doing ‘You Wanna Be Startin’ Somethin” by himself, which is a great tune. Wildest lyrics ever! It’s cool because it’s Michael Jackson. But at one point he’s like, ‘You’re a vegetable. You’re a vegetable. They eat off of you. You’re just a buffet. You’re a vegetable.’ [And it's like], ‘Whatever. Michael Jackson’s singing it. It’s cool!’”
    Listening to the song right now? You bet. Gotta eat listen to your vegetables.
    What do you think of the song choice, and what else do you hope to see in the Michael Jackson tribute episode?

    source 1

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    Underdog rapper turned pop sensation Mac Miller is back with yet another video, this one for "Of the Soul," the latest single off of his No. 1 debut album "Blue Slide Park."

    The Pittsburgh MC (and Cobra Starship pal) is in a more abstract mode than in previous videos.

    His "Day in the Life" clip series, as well as other videos for songs like "Donald Trump" and "Senior Skip Day," found him at house parties, in parks, at the store, or working at a sandwich shop, usually surrounded by members of his crew.

    "Of the Soul," however, features a spartan set comprised of a white room with a backdrop displaying his album art.

    Alternating outfits, Miller raps almost continuously as the restless camera tracks, dollies, pans and spins around him, while several lovely ladies perform somewhat balletic dance moves. Pretty basic stuff suited for a song that's more mellow and less frenetic than his previous singles.


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  • 01/05/12--15:55: Who Wore It Better?
  • Rachel McAdams Versus Ashley Greene: Prada Bodysuit Face-off!

    “The Vow” star Rachel McAdams graces the February cover of Glamour and in the issue, there is a shot of her wearing a red and black Prada bodysuit. The February issue of Vanity Fair features “Twilight” actress Ashley Greene wearing the same one.

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  • 01/05/12--15:55: U.S. YEAR END CHARTS
  • United States year-end charts, according to Nielsen Company, below:

    Top selling albums:
    1. Adele - 21 (5,824,000)
    2. Michael Bublé - Christmas (2,452,000)
    3. Lady Gaga - Born This Way (2,101,000)
    4. Lil' Wayne - Tha Carter IV (1,917,000)
    5. Jason Aldrean - My Kinda Party (1,576,000)

    Top album opening weeks:
    1. Lady Gaga - Born This Way (1,108,000)
    2. Lil' Wayne - Tha Carter IV (964,000)
    3. Drake - Take Care (631,571)
    4. Coldplay - Mylo Xyloto (447,000)
    5. Jay-Z & Kanye West - Watch The Throne (436,000)

    Top selling digital albums:
    1. Adele - 21 (1,801,000)
    2. Lady Gaga - Born This Way (877,000)
    3. Mumford & Sons - Sigh No More (761,000)
    4. Jay-Z & Kanye West - Watch The Throne (608,000)
    5. Lil' Wayne - Tha Carter IV (603,000)

    Top selling album artists:
    1. Adele (6,744,000)
    2. Justin Bieber (3,393,000)
    3. Michael Bublé (2,985,000)
    4. Lady Gaga (2,828,000)
    5. Lil' Wayne (2,651,000)

    Top selling digital artists:
    1. Katy Perry (15,187,000)
    2. Adele (14,247,000)
    3. Rihanna (13,918,000)
    4. Glee Cast (13,580,000)
    5. Lady Gaga (12,768,000)

    Top artist airplay:
    1. Katy Perry (1,457,000)
    2. Bruno Mars (1,440,000)
    3. Lady Gaga (1,261,000)
    4. P!nk (1,182,000)
    5. Rihanna (1,127,000)

    Top artist streams:
    1. Lady Gaga (135,606,000)
    2. Rihanna (131,351,000)
    3. Nicki Minaj (126,244,000)
    4. Adele (123,642,000)
    5. Taylor Swift (123,585,000)

    All-time top selling digital songs:
    1. Black Eyed Peas - I Gotta Feeling (7,688,000)
    2. Lady Gaga - Poker Face (6,529,000)
    3. Lady Gaga - Just Dance feat. Colby O'Donis (6,458,000)
    4. Black Eyed Peas (6,267,000)
    5. Flo Rida feat. T-Pain - Low (6,152,000)

    All-time top selling digital albums:
    1. Adele - 21 (1,801,000)
    2. Mumford & Sons - Sigh No More (1,103,000)
    3. Eminem - Recovery (1,081,000)
    4. Lady Gaga - The Fame/The Fame Monster (1,010,000)
    5. Lady Gaga - Born This Way (877,000)

    All-time top selling digital artists:
    1. Rihanna (47,571,000)
    2. Black Eyed Peas (42,405,000)
    3. Eminem (42,290,000)
    4. Lady Gaga (42,078,000)
    5. Taylor Swift (41,821,000)



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    Four days into 2012 and we already have a fairly huge rumor on our hands, this time dealing with the city of Metropolis and a certain heretofore unmentioned bald evil genius.

    Cosmic Book News reports a massive rumor that none other than Bradley Cooper is set for a cameo appearance as Lex Luthor in "Man of Steel," director Zack Snyder's big-screen reboot of the Superman mythos. Warner Bros. has not responded to our request for comment as of press time.

    Surprisingly little has been mentioned about possible Luthor sightings in 2013's Superman flick, though it's hard to imagine the Kryptonian hero's number one nemesis sitting out of the proceedings entirely. A cameo certainly seems plausible -- perhaps as a post-credits scene, or even a brief appearance ala Hawkeye's short but sweet scene in Marvel's "Thor" last summer. Still, nothing's been confirmed in that regard, especially in the casting department... so any talk of Cooper playing Lex is, for now at least, wishful thinking at best.

    But man, am I wishfully thinking! It's easy to imagine older, balder, more traditionally imposing actors inhabiting the LexCorp leader's dapper suit, but I think Cooper would be an inspired choice. The guy can play skeevy, smarmy, charming, cool and calculated all in one performance, better than many other young actors in Hollywood. And that's another key word to emphasize -- young. Hiring an actor like Cooper puts Clark and Luthor on more even footing, keeping them in a relatively similar age range, but not so close in age that you can imagine the two guys being old high school buddies or something. (No disrespect intended, "Smallville" fans.)

    If nothing else, it would be a different approach. Cooper is definitely not the first person I'd think of when imagining actors to play Lex Luthor -- but then again, Heath Ledger also came completely out of left field when he was tapped to play Joker, and we all know how that turned out. Cooper as Lex could be a very interesting fit. And hey, at the very least, it'd be better casting than Cooper as The Crow, right?
    ~the source~
    happy 37th birthday bradley!

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    Katy Perry's parents, who are evangelical ministers, mentioned their famous daughter a number of times at religious services in Ohio on Wednesday, but sidestepped the issue of her divorce from Russell Brand.

    Keith and Mary Hudson, who arrived at Church on the Rise in Westlake, outside Cleveland, to host two nights of "prophetic services," said they attend Perry's concerts even though they don't love the idea of people worshiping pop idols.

    "I only go for one reason and one reason only … because I love my daughter and I will always love her," Keith Hudson said.

    "It was almost like church," he added of the concert experience, adding that Perry's fans "want to worship and they want to love, they are just worshiping and loving the wrong person."

    The Hudsons billed themselves as "Katy Perry's parents" on marketing materials for the event, but then told the crowd of about 300 that they don't need help from anyone famous – or their relatives – to find God.

    "I'm sure that Katy's trending on the Internet was to get you here to church tonight," Mary Hudson said in her opening remarks.

    "You don't need a verse or a scripture. You don't need Katy Perry's father," Keith said later. "In the news they call us, 'Katy Perry's parents are religious.' Do I look religious?"

    Keith, who did most of the speaking, said he converted from a drug user to a Christian when he was 24 years old. He touched on the evolution of church, developing a relationship with Jesus, and keeping a relationship with one's children.

    "What has taken place in my daughter's life has opened many opportunities to go in and be with guarded and gated people," he said. "They like us because we're cool. We are not threatening."

    He added: "The most important people on this Earth are your family. What would heaven be like without your children?"

    At the end, the Hudsons signed books, sold jewelry to fund a women's mission, and gave away samples of Katy's perfume, Purr.


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    Blake Tuomy-Wilhoit and his twin brother Dylan are best known for playing the adorable boys Nicky and Alex Katsopolis in the family friendly sitcom "Full House."

    Now 21 years old -- Blake (top) and his twin brother Dylan (bottom) resurfaced on their twitter accounts looking social.


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    Psychic Jesse Bravo tells MTV News that singer will give birth to boy, perhaps named Jaylin, between January 8 and January 14.

    With a baby on the way, we already know that 2012 is going to be a year of immense change for Beyoncé, but when exactly her new life will start and the impact motherhood will have on her career have been the subject of much speculation. The 4 songstress has been tight-lipped about the arrival of her baby with husband Jay-Z, so MTV News sought the expertise of New York psychic Jesse Bravo to discover what the future holds for Queen Bey.

    "I feel that Beyoncé's 2012 is going to be very, very exciting," Bravo told MTV News. "I get the date of January 8 to January 14 of her giving birth to her first son."

    Mark your calendars: If Bravo is right, we're just days away from the birth of the baby one Beyoncé fan thinks is "probably gonna run New York City by the time he's 13 or 14." Bravo's belief that Beyoncé is having a boy also contradicts a statement made by her friend and former Destiny's Child bandmate Kelly Rowland, who on a London red carpet in November told reporters, "I have no idea what I'm going to buy Beyoncé at the baby shower because Jay is going to buy that little girl every single thing possible. She won't be spoiled, but she will be very well looked-after."

    "From what I hear, I know that the first child's name starts with a 'J,' " Bravo said. "I think it's like Jaylin or something like that that's going to be a tribute to her husband."

    Bravo sees a lower-profile lifestyle in Beyoncé's future, telling MTV, "This baby's going to slow her down slightly." But the quiet life is something the workaholic star is going to enjoy because "when I start to get into her energy, she really is a big mother, she wants to be mommy."

    But our girl B is a little nervous about the major changes coming her way, according to Bravo. "She's so excited and she's going to be a mommy and she's scared right now because she doesn't know how to be a mommy," he said. "So I can feel that fear of how to do things and wanting help."

    Thing are going to work out just fine for Beyoncé, though, and our psychic believes the baby will be the first of many for hip-hop's royal couple. "Once she gets the hang of it, you know, I feel that she wants to have a lot more and she obviously has the world at her palm," Bravo said. "She can do whatever she wants."


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