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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 244 | 245 | (Page 246) | 247 | 248 | .... | 4447 | newer

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    It's no big revelation that women and minority actors have long struggled to land prominent roles in big-budget Hollywood fare. And entertainment and media's oversexualization of women (even in Olympics coverage) has always been pretty damn bald-faced.

    But how about kids' TV shows, or family movies?

    The Geena Davis Institute on Gender in Media (founded in 2004 by Oscar-winning actress and United Nations special envoy Geena Davis) has published a new report (PDF) detailing the stereotypes, barriers, and straight-up exploitation that still define how badly women and girls are treated on screen. The study takes a deep dive into prime-time television, as well as children's programming and family-friendly films. Women are scarcer in prime-time shows and family films, and those films depict "fewer women in prestigious occupational positions," the study notes."Females are not only missing from popular media, [but] when they are on screen, they seem to be there merely for decoration."

    Check out some of the stunning stats below:















    View the rest here

    Mods, this isn't the same as the 'See Jane' post I did the other day. These are the results from Davis's most recent study.

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    The Hallmark Channel has 12 new holiday movies, ABC has Disney films, TBS airs 'A Christmas Story,' CBS will have 'Rudolph' and Nickelodeon will air its 'SpongeBob SquarePants' Christmas special. Your goal this year is to pick and choose from an ever-expanding list.



    By Robert Lloyd, Los Angeles Times Television Critic



    As a child of the San Fernando Valley, I knew the yuletide as a time of frost-free mornings when I could not see my breath. Turning down my collar against the warm, I would trudge sludgeless streets past yards absent of snowmen, where green and even flowering hedges hid no foes waiting to pelt me with snowballs, on my way to school, where we would sing songs of sleigh rides and mistletoe and holly. Of Frosty. Rudolph. Santa.

    Later at home, the family would gather before the television set, our glowing hearth, to watch actors on hot Hollywood sound stages aspire not to perspire beneath their sweaters and scarves and overcoats as they shook the cornstarch from their boots as if entering stage left from a winter's day in Minneapolis or Cincinnati.

    Mr. Magoo would entertain the ghosts of Christmases past, present and yet to come, and Tiny Tim would sing of "razzleberry dressing." Snoopy would dance, Charlie Brown fret, Linus philosophize. A red-nosed reindeer and an elf dentist, derided by their colleagues, would hit the road.


    That is how, growing up in an environment that itself lacked the significant signifiers of the holiday season, I learned what might be called the aesthetic meaning of Christmas. (I mean the ecumenical, even pagan, pop-cultural Christmas: the Santa Claus Christmas.)

    Yes, Christmas was a time for television. Perhaps that is not so much the case anymore. Perhaps the holidays are now a time for texting, here in your jet-packs-and-Angry-Birds, Gangnam-style 21st century. But there is still a lot of Christmas on TV; it is one of the heralds of the season. (Hanukkah and Kwanza get little traction; but then, they have no elves.)

    Indeed, there is so much of it, so many holiday specials and movies — every passing Christmas adding more weight to the snowball — and so many more channels generating them, that the specials have become by definition less special. That isn't to say they're no good: This year, for example, brings a fine "SpongeBob SquarePants" Christmas show, in puppet animation (Nickelodeon, Dec. 9), that children will watch as long as children still watch "SpongeBob SquarePants."

    But it is harder to keep a sense of occasion when you could be watching "White Christmas" in July (or "Christmas in July" in December). It takes a sort of discipline — sticking to a few favorite films or programs, refusing to watch "A Christmas Carol" (the Alastair Sim version for me) before Dec. 20, at least — to keep the season exciting.

    "Abundance" is the season's watchword. TBS will show the 1983 film favorite "A Christmas Story" 12 times in a row from Christmas Eve into the afternoon of Christmas Day. ABC Family Channel precedes its "25 Days of Christmas" programming event with a "Countdown to 25 Days of Christmas" programming event, stuffing them with its own new and old TV movies (this year including a "Home Alone" sequel), theatrical features (it has the Disney catalog to draw from) and a sleighload of holiday programs from the recent and far past, including most of the Rankin-Bass puppet-animated specials. (Though not "Rudolph, the Red-Nosed Reindeer," which belongs to CBS, where it will air Tuesday.)

    This year for some reason there seems to be an unusual profusion of new holiday TV movies, with Hallmark Channel, Lifetime and Ion — Ion! — leading the way. In what feels like a swing for the record book, family-courting Hallmark boasts 12 new Christmas movies, five original specials, three French hens and a partridge in a pear tree — "more than 1,100 hours of holiday programming ... the most dominant holiday programming lineup in all of television." ("Cower before the might of our holiday programming lineup!" they seem to say.)

    They have titles like "Hitched for the Holidays," "Help for the Holidays," "Naughty or Nice" (Meredith Baxter and Michael Gross from "Family Ties" are in that one), "A Bride for Christmas," "Baby's First Christmas," "Holiday High School Reunion," "A Christmas Wedding Date," "Christmas Song," "Christmas Twister," "The Christmas Consultant," "Love at the Christmas Table," "Matchmaker Santa" (with John Ratzenberger and Florence Henderson the old-school ringers) and "It's Christmas, Carol!"

    You might not be able to guess that "The Christmas Heart" (on Hallmark on Sunday with "The Middle" star Patricia Heaton producing a script by her brother Michael Heaton and Teri Polo starring) was about a literal human heart. But from most of these titles, you can extrapolate, if not the exact movie, a fair approximation of the actual product. Or even something better.

    Few (to none) have any chance of becoming a "holiday classic"; some may never be seen again. But if they are no more than budget-line rehashings or recombinations of nicer things that have come before — stocking stuffers — their predictability may be the very thing that recommends them to viewers who like to know where they're going before they start. As a rule, if you are a fan of Lifetime movies, you will probably like their Christmas ones; if Hallmark is your thing, ditto.

    For the new TV Christmas is a niche TV Christmas. You may schedule yourself an old-fashioned "Peanuts"-and-"Rudolph" Christmas — the classics from back in the days of three networks and the 50 share. But it might be a Food Channel Christmas, or an Adult Swim Christmas, or a "Doctor Who" Christmas, whose traditional Christmas episode (with the usual Victorian trimmings) arrives on Christmas Day. However you arrange it, of course, it will always seem quaint, and manageable, in the million-channel, 5-D TV world to come.




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    What are you watching for the holidays ONTD? Any recommendations?

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    Lindsay Lohan's friends are trying to make her go to rehab, but she's saying NO! NO! NO! ... telling them she doesn't believe she needs it ... TMZ has learned.

    As TMZ first reported, Lindsay has become so stressed out by her impending probation violation, she's been hitting the bottle hard ... drinking as much as two liters of vodka per day.

    According to our sources, close friends of Lindsay have been urging her to go to rehab BEFORE she goes to court ... hoping the move might win her favor with the judge.

    But we're told Lindsay is having none of it ... telling friends she does not think she has a problem with alcohol. Our sources say Lindsay points to the fact that she recently completed three movies as proof she does not need rehab. Funny ... cause watching "Liz & Dick" suggests the opposite.

    We're told Lindsay is worried about the upcoming hearing, but maintains she will not check into rehab as a way to try and avoid jail time.

    Don't say they didn't warn you.

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    Can you hear the future Harry Styles-inspired song now?

    The One Direction cutie was spotted hanging out with rumored new gal pal Taylor Swift today at the Central Park Zoo in New York City, and their company made sure to catch the attention of numerous adoring fans who took to Twitter to share their findings.
    "Um I just saw Harry Styles and Taylor Swift walking together in Central Park," one fan tweeted, while another wrote, "I JUST MET HARRY STYLES AND TALOR SWIFTT TOGETHER IN CENTRAL PARK."

    The duo were joined by Harry's stylist Lou Teasdale, her fiancé Tom and their baby Lux.
    "Harry and Taylor were walking next to each other. They seemed happy to be together, talking and smiling. Taylor seemed to be in a great mood. Lou and Tom were walking next to them and pushing their baby Lux in a stroller," a source who spotted the pair leaving Central Park tells E! News.





































    Sources 1 - 2

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    At 4:00 am on Thursday morning, Lindsay Lohan was arrested outside a New York bar for allegedly punching a female patron in the face.

    On the same day, the Santa Monica City Attorney charged the troubled actress with three crimes – giving false information to a police officer, obstructing or resisting an officer in the performance of his duty, and reckless driving – all stemming from a June accident in which her car rear-ended an 18-wheeler.

    Her four-charges-in-two-states-on-one-day grand slam happened while Lohan was on probation from a jewelry-theft conviction, which could mean her probation will be revoked when she's arraigned in California next week.

    But a source close to Lohan told us they doubt her latest troubles will have any impact on the troubled star.

    “Nothing really registers with Lindsay. She lives in some sort of fantasy land,” the insider said. “She knew before she went out clubbing on Wednesday night that the Santa Monica City Attorney was going to charge her for lying, and yet she still went out. Something is really wrong there.”

    Lohan was considered a major risk when Lifetime took the chance on hiring her to star in last week's TV movie "Liz & Dick," and that was before all this happened.

    So who would hire her now?

    “We're in a risk-averse era, and Lindsay unfortunately has increased her perceived risk in both the production and publicity arenas,” film producer Gary Michael Walters, who worked with Lohan on the 2006 RFK drama “Bobby” and praised her both personally and professionally, told FOX411’s Pop Tarts column. “Financers and insurance companies can't afford interruptions in production, and you don't want the personal lives of your actor to overshadow your marketing and publicity campaign for you film.”

    “Insurance is going to be a huge problem for a long time. It doesn’t even matter if you think she is a bad actress or not, until she can prove to a court that she has her life back on track no studio is going to go anywhere near her,” noted legal expert Wendy Feldman. “I don’t know a single studio that would hire her at this point.”

    Several Hollywood heavyweights said Lohan’s barely-there career means only independent production companies would be interested in her, and they typically can’t afford high insurance costs.

    “She's still insurable,” said producer Mark Joseph. “But is it with the hassle and the expense?”

    Los Angeles-based attorney Anahita Sedaghatfar concurred that Lohan isn’t totally uninsurable – it’s just her insurance premium will be exorbitant. And in the wake of her performance in the made-for-television Lifetime movie “Liz & Dick,” in which critics slammed her acting abilities, chances are Lohan’s talents might not be worth the financial strain.

    “She has proven over and over that she is a liability," Sedaghatfar said.

    “To say Lindsay is a train wreck would be a compliment. She is seemingly in trouble every five minutes and who would be surprised if the next headline says ‘Lindsay Lohan Dead?’"

    Crisis management expert and CEO of the New York-based firm 5WPR, Ronn Torossian said "I don’t think the best public relations agencies in the world could rehab her image until she stays out of the headlines for a very, very long time and actually does something with her career.”

    Could Lohan somehow parlay her wild ways into different kinds of roles, akin to Charlie Sheen making bank on his drug- and alcohol-loving persona?

    “I don’t think her being arrested at 4am outside a New York nightclub does anything to her image – it’s what the public expects of Lindsay Lohan," Torossian said. "One expects a clown at the circus; one expects Lindsay Lohan to get arrested.”

    A rep for Lohan referred queries to her legal team, who did not respond to a request for comment.

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    Gays on TV and film aren't just stereotypical hairdressers and fabulous uncles anymore. They also are the gun-toting bad guys, terrorizing their way through your favorite shows with impeccable style.

    That's right: From "Skyfall" to "Breaking Bad," the latest craze sweeping pop culture is a new breed of tough, complex, villainous antagonists—who also happen to be gay.

    But should we see this as progress for the LGBT community? Well, yes. And no.




    While we've seen LGBT characters integrated into TV and film much more in recent decades, they usually follow a basic trendy stereotype that everyone then tries to emulate. The '80s saw the offensive "gays are AIDS patients" meme, while the '90s embraced the "gays are your fun and flashy best friend" idea of "Will & Grace." The new millennium largely has been about LGBT couples as parents, on "Modern Family" and "The New Normal," or plucky young teens, like on "Glee."

    Now Hollywood is giving us complicated, yet truly dastardly, villains who also have a strong case of the G-A-Y. Antagonists such as "Dexter's" murderous mobster, Isaak Sirko, James Bond's nemesis Raoul Silva or "Breaking Bad's" drug kingpin, Gus Fring, all are villainous characters who either hint at a fluid sexuality or later are revealed to be gay or bisexual as plot lines develop.

    Here's the twist: Unlike earlier "evil gay" stereotypes in film and TV, these villains' sexuality actually is the redeeming thing about them, not the root of their evilness.

    As Tim Molloy pointed out in a recent column for thewrap.com, they are humanized to the viewers using their sexuality, not portrayed as damaged or evil because of it.
    That's a far cry from the villains of the past, such as the gender-confused, skin-wearing serial killer in "Silence of the Lambs" or the ominously predatory lesbian Mrs. Danvers in Alfred Hitchcock's "Rebecca," whose sexuality and perceived deviance caused their villainy.

    These new trendy bad guys also share another interesting stereotype: hyper-masculinity. The pendulum has swung from the predatory, over-the-top gay villains of the past to macho tough guys who viewers know are gay only because they are told. That stereotyping pendulum may be swinging a bit too far as Hollywood tries to correct course after years of being behind on how society views groups of people like the LGBT community.

    The hyper-masculinity of these new gay villains shows signs of Hollywood trying far too hard to avoid making characters look "too gay"—you know, devices such as effeminate mannerisms or non-traditional gender roles. And that's OK to an extent. Bad guys have to be tough.

    But far too often, society believes equal representation means sanitizing characteristics that simply play into rigid gender roles. In the end, all that does is reinforce the perception that behavior outside of the gender norm still is hilarious and safe to make fun of.

    I'd rather see acceptance and representation of a broad swath of the ways gays "act," because the LGBT community really is that diverse. For all its progress, Hollywood still is stuck in rigid ideas that "effeminate" gays can be comedic punch lines on sitcoms and "real men" gays get to be tough, dramatic villains.

    In the end, Hollywood is taking a step in the right direction. It is refreshing that villains' same-sex relationships are used to make them more relatable, human and complex to viewers. Dropping the "ick factor" for gay characters and relationships always is a good thing. That's one cinematic meme I'm happy to see these new gay villains put 6 feet under.


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  • 12/02/12--19:38: WEEKEND BOX OFFICE!



  • Weekend chart from Box Office Mojo


    Tomatometer from Rotten Tomatoes





    How was your weekend, ONTD?

    spoiler code:

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    2x11 Promotional Photos








    Episode 2x11 - The Motherf**ker with a Turban
    Dangerously close to exhaustion, Carrie continues her hunt for Nazir and begins to suspect there is a mole in the CIA. Roya reveals her true colours under interrogation and Saul finds himself fighting to save his career under unexpected circumstances. Meanwhile, the Brodys struggles to maintain anything close to a state of sanity.

    Episode 2x12 - The Choice
    In the Season 2 finale, Carrie is faced with a pivotal decision, while Brody meets with Faber to contemplate the future of the family. Meanwhile, Saul undertakes a secret assignment; and Quinn has a decision to make that may prove to be a game-changer.

    123

    I need an oxygen tank next to me every time I watch this show. And I can't with Brody - title of worst terrorist/worst poker face ever.

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    What did everybody think of tonight's episode? When Conrad called Ashley "exotic" I immediately thought, "Oh you in danger (on ONTD), girl."

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    I was going to link to the Gawker article, but the text was really dumb. Drake is obviously stirring up some donkey sauce to put over them ribs.

    And besides, the picture speaks for itself:



    Discuss.



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    There have been several video games throughout history that have achieved near unanimous acclaim, embedding themselves permanently in our minds. And then there are games that don’t achieve commercial success but become cult classics. This is not a list of those games; this is a list of games that are so bad that they have very little right to even exist.




    10. ToeJam & Earl III: Mission to Earth


    The original ToeJam & Earl was the first video game I ever played on the SEGA Genesis. So when ToeJam & Earl III: Mission to Earth landed on the Xbox, I purchased it without hesitation. What I experienced was the worst form of racial discrimination I’ve ever had to endure in a video game. Originally two funky psychedelic aliens, ToeJam and Earl were transformed into the most aggravating stereotypes of hip-hop culture ever created. Thank goodness this game is not backward compatible.




    9. Aquaman: Battle for Atlantis

    It seems Aquaman just can’t get a break. Since his initial outing with the Super Friends cartoon in the early 70’s, Aquaman has struggled unsuccessfully to gain crime-fighting equality with his peers. Aquaman: Battle for Atlantis did nothing to help him, either. With disturbingly embarrassing gameplay mechanics and graphics, the best feature of Aquaman: Battle for Atlantis was probably his beautifully animated mullet.



    8. Fight Club



    Based on the hit movie of the same name, the video game version of Fight Club was a disaster. It attempted to re-create the gritty nature of the film, but this Tekken-style fighter brought nothing innovative to the table. Fights were dull and lifeless, and they hardly connected to the movie at all aside from a few familiar locations. Though, some may find it worth a chuckle to unlock Fred Durst, lead singer of Limp Bizkit, as a playable character.

    7. Wheelman



    I love testosterone-fueled action heroes as much as a guy can, but they don’t always make an easy transition into the virtual world. Starring Vin Diesel himself, Wheelman makes you an undercover agent trying to infiltrate an infamous gang. The game tries to capture the open world action of the GTA series, only it painfully removes everything that makes GTA so much fun. Wheelman focused mostly on driving, but its on-foot missions were a technical mess. I only still own this game because GameStop will charge me for trying to trade it in.

    6. Superman Returns



    We all knew Superman was going to be somewhere on this list, and Superman 64 would simply be too obvious at this point. I remember hoping that Superman Returns would be the game to break the Man of Steel’s bad video game curse. Sadly, I was proven horribly and depressingly wrong. Terrible controls made it difficult to traverse the massive city of Metropolis, and fights with even a single enemy were a grueling chore. To make matters worse, a health bar in the form of the cities’ collateral damage often caused enemies to run away from you to simply tear down a building and end your game.

    5. Batman: Dark Tomorrow



    Thankfully, the Caped Crusader has redeemed himself in recent years, but before the Arkham games changed everything, Batman wasn’t doing so hot. Dark Tomorrow featured the most sluggish Batman ever seen. In an attempt to cash in on the stealth game craze, you had to sneak around, pummeling enemies using the game’s lackluster controls that often got you spotted before you could deliver a successful attack. When grappling between large gaps, you would often find yourself falling to your death. The true hero of Batman: Dark tomorrow was its cinematic cutscenes rather than the awkwardly controlled Ba

    4. Duke Nukem Forever


    The most legendary of all sexist heroes went through fifteen years of development hell, only to see his eventual game become a massive critical failure. Pretty much everyone who purchased this title instantly regretted it. Childish potty humor and horrid controls broke our gaming hearts and proved that time actually can’t heal all wounds.

    3. Zelda: The Wand of Gamelon


    The Zelda series will always be close to gamers’ hearts, as Link has been one of the most charming protagonists to be passed down through the ages. So imagine the reaction when years of gaming goodness was thrown out the window by a third-party developer and Zelda: The Wand of Gamelon was spawned. This title put you in control of Princess Zelda herself as she went on a lone side-scroller quest to save Link and King Harkinian. What followed were some of the most uncomfortable and terribly animated cutscenes we’ve ever been subjected to. The game was a technical nightmare, and it stands as an example of how badly human ingenuity can fail us.

    2. The Cheetahmen!


    The Cheetahmen! may have been forgotten by most, but it’s a textbook example of how to rip off popular gaming franchises in all the worst ways possible. Hoping to compete with the popular Battletoads and Teenage Mutant Ninja Turtles franchises, the Cheetahmen! featured three heroes and six stages of unforgivable glitches. The Cheetahmen! also came with a manual that elaborated on the back story of its heroes, which didn’t even match the in-game story.

    1. Captain Novolin


    Public Service Announcements can be great; they educate us on the effects of “Reefer Madness” or teach us about our environment and our health. But some PSAs fail hard, and Captain Novolin is perhaps the best example of PSA failure the video game world has ever seen. In this piece of gaming garbage, you play as the titular Captain Novolin, a hero with type 1 diabetes. The game was meant to educate players about eating right and keeping sugar levels safe, which is apparently accomplished by avoiding evil alien junk foods invaders and eating healthy foods that kept your glucose levels stable.





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    The Amazing Race Season 21, Episode 10 - "Not a Well-Rounded Athlete"
    Amsterdam, Netherlands -> Mallorca, Spain


    Annnoying "Twinnies" Natalie and Nadiya... were sadly not eliminated but came in last place on a non-elimination leg.

    This week's placements

    1. Trey & Lexi (Texans)
    2. James & Jaymes (Chippendale Dancers)
    3. Josh & Brent (Goat Farmers/Beekman Boys)
    4. Natalie & Nadiya (Twins)

    Next week: 2 hour Season finale!

    *yawn* I'll be really disappointed if the Beekman Boys pull off some sort of miracle and win this. They seem to be getting a serious winning edit/redemption edit of the team who is always at the back of the pack and still makes it through...

    I'm still team Chippendales.


    Also, the Amazing Race Canada has been officially announced. Sadly, as quoted from their FAQ page, the race will not be leaving Canada:

    "Q: Where will the race take place?
    A: Right here within the borders of Canada! There will be potential stops in all 10 provinces and three territories, criss-crossing up to 9,000 kilometres. Specific destinations won't be revealed until the broadcast."

    Another lame attempt at Canada taking a reality show and trying to make their own, inferior version. I was going to apply but I am reconsidering...

    Source: CBS/TV, CTV

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    Setlist:
    01. I'm Gonna Getcha Good
    02. You Win My Love
    03. Don't Be Stupid (You Know I Love You)
    04. Up
    05. I Ain't No Quitter
    06. No One Needs To Know
    07. Whose Bed Have Your Boots Been Under
    08. Any Man Of Mine
    09. That Don't Impress Me Much
    10. Honey I'm Home
    11. If You're Not In It For Love (I'm Outta Here)
    12. Carrie Anne (Cover)
    13. Come On Over
    14. Rock This Country
    15. Today Is Your Day
    16. You're Still The One
    17. From This Moment On
    Encore:
    18. Man I Feel Like A Woman





    The Strip has a bona-fide new superstar, and when Shania Twain’s show “Still the One” premiered Saturday night at the Colosseum in Caesars Palace, it packed a high-octane wallop that would’ve KO’d many a UFC fighter.
    In 100 minutes, it became one of the best shows on the Strip with hits galore and video bigger and bolder than IMAX. “Still the One” is a show made for Las Vegas complete with dancing violinists and cellists, a flying motorcycle, a gorgeous white horse and a handsome black one, too.
    Plus, an a capella backup trio that included her younger sister Carrie Ann, confetti, pumped-in fragrances, stellar musicians and dancers and outrageously stunning costumes as an arena rock concert was married with a theatrical song-and-dance spectacular.
    The only thing missing was a real white leopard, and there’s even talk about that since they have the video already. Where’s Mike Tyson’s “The Hangover” tiger; you’re about to get a call! “That’s about to evolve,” Shania laughingly teased me last night.
    Not only is Shania still the one and still No. 1, she’s a 10 in the glamour department and pulled a 21 with every card she played. If she’d gone bowling, it would have been a 300. This was Entertainment with a capital E and glitter and glamour by the gallon.
    The producers and directors hammered it home lest you forget what Las Vegas is all about with superstar allure and an amazing wow factor. There is absolutely nothing subtle about this production; it set a new level that other Strip stars will now have to kick it up a notch to stay even.
    Cirque du Soleil President Daniel Lamarre and director and choreographer Kenny Ortega (“High School Musical,” Michael Jackson’s “This Is It”) agreed that it was brilliant when I chatted with them at the VIP after-party in nearby Empress Court hosted by Caesars, AEG Live and our sister publication Vegas Magazine.
    Shortly after the curtain came down on Shania’s official first return to the stage in eight years, she gave me a warm hug and said: “This has been a dream for eight years, including the two since we made the announcement. It all came together; I surprised myself. It was a big challenge. At one point, I thought I was taking on more than I could handle, but I stuck with it. I surprised myself and am so relieved and happy.
    “I was totally relaxed tonight. We did our best to make everything as realistic as possible, so you really did want to throw marshmallows on the campfire we had. That was one of the fragrances. Our director Raj Kapoor is amazing. The vision started a long time ago. It took that long to get it all together, but I am totally happy with it.
    “I’m exhausted, happy, thrilled, satisfied, but those quick changes will keep you pretty fit. I’m not as tired as I thought I would be from running backstage like a mad woman in and out of the costumes. I’m in good shape. I feel good. My voice is in good shape. I thought for sure I would be vocally exhausted by now having been here eight weeks, but I feel really good.
    “This is a fine beginning, and everybody has given us such a warm welcome to Las Vegas. The only problem tonight was that I really did feel as if my eyelashes would come off as I teared up!”
    The show opened with an incredible video montage of Shania on horseback at what looked like either the ridgeline of the Grand Canyon or our own Red Rock Canyon. It morphed into a roaring double-ton, high-speed motorcycle ride through a video tunnel to reveal her flying in on the souped-up chopper above the stage. Whereas Cher came in by basket, Shania amped it up with a heavy, horsepower, hammer-down throttle aerial assault.
    With that opening surprise and “I’m Gonna Getcha Good!” starting the show, you knew this was going to be a rocket ride. As the 14 musicians, four male dancers and three backup singers -- including her younger sister Carrie Ann -- slid onstage atop three rock-styled music pods, the audience gave her the first of many standing ovations. Shania’s sparkly cat-suit with knee-high boots was the first dazzling display of couturier Marc Bouwer’s fabulous fashion forays.
    Caesars Palace President Gary Selesner told me: “I was absolutely blown away. I am a very happy man and really proud that we have another great star in the Colosseum. She will bring a whole new audience to Las Vegas, and that’s very good for the city and us. Her genuineness is wonderful to see, and everybody who comes to see the show will experience that.”
    The video mosaics in “Still the One” are mind-blowing: black-and-white patterns and falling disco balls that turned into water waves as Shania belted out “You Win My Love” to show her voice is back.
    Amid the first falling confetti, she told the audience: “This is an overwhelming night for me. I’m so emotional, my eyelashes may fall off! It’s been a lot of years since I was out here. I realize what I have been missing, and I am very humbled to be invited here on the same stage as my icons Rod Stewart, Elton John and Celine Dion.
    “I’m not alone up here because it’s a big effort by everybody. … It’s been a long time to get back up here, but there is now no way but up.”
    A pop-up gunfight video between Shania in white and Shania in black was unique as the stage revealed a saloon bar setup. She rode in on Molesso, the black horse she’d ridden down the Strip in her official welcome last month, and took off her cloak to show a sparkling cowgirl outfit with jeans and a pink plaid shirt and pink-and-red boots. Crediting Dolly Parton and Willie Nelson for her love of country music, she launched into raucous sing-alongs of “Whose Bed Have Your Boots Been Under?” and “Any Man of Mine.” Shania was so comfortable about her returning night of grandeur that she left the stage and strolled into the audience singing. Even the dancers joined the stunned spectators.
    Later, she looked like a sexy Victoria’s Secret supermodel in her leopard-print outfits and lingerie stretched out with the big cats on video. If she’d worn a bikini, the incredibly sexy 47-year-old would’ve given Kate Upton a run for her money for the Sports Illustrated Swimsuit Edition cover. She put on sexy librarian glasses to complete the pin-up pouting! With a red-hot, leopard-print outfit (the one from “That Don’t Impress Me Much”), she could tame any tiger, and Blue Man Group will be envious of her steaming pipes onstage.
    I loved the video of the tigers on columns at the side of the stage and the live shots of her in a large mirror-effect screen. It’s obvious that she’s having a ball onstage. Raj told me that the pink doors and red drums were simply a pop-art effect leading to one dramatic exit finding a tiger behind the last door.
    At-home and Shania through-the-years videos shown on moving double-decker screens led into an intimate campfire sing-along. “I have fun because I love to sing,” she explained. “I’m a hick from the sticks where there are more trees than people. I love nature. I love the wilderness, and ever since I was 3, I would go out and sing in the trees -- Bee Gees, Carpenters and my mother’s favorite the Everly Brothers.”
    She introduced Canadian twins Ryan and Dan Kowarsky and sister Carrie Ann, saying: “I am fulfilling my wonderful dreams right here in Las Vegas. They’re twins, and my sister is only 2 years younger, so we’re like twins. However, she quit singing at 8 years of age, but I’m here tonight because of her. She agreed to do the show with me. Our mom died 28 years ago and never got to see my success.” (My two-part interview with Shania was posted last month.)
    They invited four members of the audience to sit around the campfire to join in singing some of her hits. As the show neared its finale, Shania in a shimmering white gown walked onstage with her white horse El Alcazar and commanded the stage to sing “Still the One” alongside the horse.
    Shania followed up her biggest hit with “From This Moment On” in an absolutely stunning display of flowing white silks that had the audience gasping in awe and on their feet at the end. Then the band rocked this Colosseum hard in a dizzying array of red.
    Part of the stage disappeared below as the bold, brightly-lit letters spelling out S-H-A-N-I-A were lowered from the stage ceiling for the finale. She reappeared in an off-the shoulder, black short mini shouting “Let’s go, girls!” as she belted out “Man! I Feel Like a Woman” with the audience on its feet for the entire number.
    “I love this finale,” Raj told me. “It’s the most fun. It has everything. It is bigger, bolder and really Las Vegas. It’s her. This was our first real audience, and she did amazing. She’s really happy, too. I was happy. I am happy for her. She is so dedicated and disciplined. She’s a full-on vegan, and that’s why she’s so healthy for the show.
    “We have an amazing team -- musicians, dancers, and she’s a dream. We wanted to combine the arena show and a theater presentation -- rock n’ roll and theater. She wanted that rock feeling, and we wanted to give it to her with theatrical elements.”
    AEG chief John Meglen summed up: “Nobody has ever done this state-of-the-art video before. The resolution is twice IMAX. It’s fabulous. Shania is relaxed and enjoying every moment of this. She’s worked with the horses a lot over the past year, and they are all very comfortable onstage with the audience so close.
    “She is so genuinely happy to be performing again, and the audience can see it and sense it. Tonight, she let loose -- at least another 25 percent we hadn’t seen before. This is a beautiful show with so many elements, it just flows along. Right now, I’d say it’s the best show I’ve seen.”





    International Superstar Triumphantly Launches her Two-Year Residency in Las Vegas
    Due to Sold-Out First Run and High Demand, Tickets for May and June 2013 Dates On-Sale as of Friday, Dec. 14
    LAS VEGAS, NV (Dec. 2, 2012) /PRNewswire/ — Recently welcomed to Las Vegas in an historic fashion by riding up the famed Las Vegas Strip on horseback and greeting her fans at the iconic Caesars Palace fountains, Shania Twain proved she truly is “Still The One” during her sold-out debut performance of the appropriately-titled SHANIA: STILL THE ONE at The Colosseum at Caesars Palace. The new show kicked-off on Dec. 1 and marked the beginning of her two-year residency at the world-renowned venue. Fresh off the heels of a sold-out first run of performances, an additional 12 shows scheduled between May 14 and June 1, 2013 will be on-sale as of Friday, Dec. 14 at 10 a.m. (PST).
    Developed by Show Creator and Executive Producer Shania Twain – one of the world’s best-selling female artists of all time – SHANIA: STILL THE ONE is a concert celebration that takes fans on a spectacular journey through the various stages of Shania’s life and career in an unforgettable evening filled with music, multi-sensory experiences, fashion and a few unexpected surprises. Produced by AEG Live and directed by Raj Kapoor the show also features creative expertise from Production Designer Michael Cotten, Costumier Marc Bouwer and Lighting Designer Peter Morse to add to Shania’s vision of SHANIA: STILL THE ONE.
    The spectacular, high-energy production is a compilation of Shania’s most celebrated hits including “Man! I Feel Like A Woman!,” “You’re Still The One,” and “That Don’t Impress Me Much,” and features a 13-piece band and four male dancers. The show’s choreographer, Emmy-nominated Mandy Moore, is a featured choreographer in the television program "So You Think You Can Dance."
    SHANIA: STILL THE ONE is designed to give audiences that intimate, only in Las Vegas concert experience – with no fan more than 120 feet from the magnificent stage. The high-tech production incorporates some unexpected surprises including multi-scent show projectors, a new 4D multisensory technology that has never been used before in a concert setting.
    An amazing and accomplished singer and songwriter, Shania Twain is a phenomenon. With more than 75 million albums sold worldwide, she is the top-selling female country artist of all time; has multi-platinum album sales in 32 countries; has the eighth-biggest selling album of all time in the U.S. and 18 top ten songs, eight of which reached number 1. Since the beginning of her recording career, the multi-talented five-time Grammy Award-winning artist has been deeply involved with the artistic and creative direction of her imaging, iconic music videos and sold-out tours including her “Come on Over” tour in 1998 and the “Up!” tour which became one of the highest grossing tours in 2004. With SHANIA: STILL THE ONE, she immersed herself in the creative process taking her artistic and creative diversity to new heights.
    Tickets are still available for spring 2013 performances. Show dates are:
    March 2013: 19, 20, 23, 24, 26, 27, 29, 30
    April 2013: 2, 3, 5, 6, 9, 10
    Newly announced performances on-sale Dec. 14 include:
    May 2013: 14, 15, 18, 19, 21, 22, 25, 26, 28, 29, 31
    June 2013: 1
    Prices range from $55 to $250, plus applicable fees, and may be purchased by calling 800-745-3000, online at www.shaniainvegas.com or www.thecolosseum.com and in person at The Colosseum at Caesars Palace Box Office, open daily from 10 a.m. to 10 p.m. PT. For groups of 10 or more, call 1-866-574-3851.
    For additional show and ticket information, visit www.shaniainvegas.com or www.thecolosseum.com or follow updates from The Colosseum at Caesars Palace on Twitter @Colosseum@CP.



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    I have to ask....were the trials happening in "Battle Of The Proxies" truly allowed in real life? Can two separate people be on trial for the same murder in neighboring counties? It seems most places can barely eek out one suspect, but Illinois somehow managed to find two with enough evidence to put on trial, and it was allowed? There should be a law against that. I'm not kidding. There should be one.

    Keeping a suspect on the list is just groovy, but arresting two people for the same crime seems silly, especially trying them at the same time, and then interevidencing within their trials. I just made that word up, because it seems a great time to make one. Interevidence. Evidence used at two trials, at one to claim guilt and the other to prove innocence. Interevidence.




    Generally, the trials seemed like a three ring circus. I didn't like the defense attorney in the case outside of Cook County and I've come to the conclusion that I do not like Laura Hellinger, who was the prosecutor in the Cook County case. She is being utilized so much that I'm starting to wonder if she is going to get married so Juliana Margulies can leave the show and Amanda Peet can take on the role of The Good Wife. I daresay I liked Mamie Gummer's Nancy Crozier.



    The kicker here is, and this is only speculation, but I am thinking they're ramping up the witty repartee between Laura and Will because they will engage in a romance. If someone thinks we are interested in such a romance, I can only hope they read this and take heed. We do not want Will dating Laura Hellinger. She was interesting when first introduced, but has become a pain in the arse since joining the State's Attorney's office.  With every case, Will and Laura get a little closer.





    With the addition of Laura, we also got a loss for Lockhart/Gardner. It was convenient that Alicia was working with the secondary case and learned that man was innocent and Will's client was guilty so viewers wouldn't feel cheated when the almighty Lockhart/Gardner went down. The most confusing part of the episode and the greatest miscarriage of justice? Both suspects were found guilty. Of the same murder. Someone please tell me that can't happen. If Will and Laura being friendly helps the innocent guy in his appeal, then everything about their friendship isn't bad.



    Thank you, Alicia, for finally telling Nick Lockhart/Gardner can no longer represent him. Of course the idiot would threaten her. The State's Attorney's wife. He was such a sleaze bag and I was cheering out loud when Kalinda took matters into her own hands, ran down Nick's partner and found drugs in the trunk of the cars, just where Cary said they would be.


    It was a pity that Kalinda felt she had to pay Nick off to leave her. The question is - did he take the money and run, or did Kalinda have to bury something else in the walls that will come back to haunt her? Would you put it past her to kill someone, especially someone like Nick who was an imminent threat to her and all of those around her? I wouldn't. While I hope that wasn't her last resort, I do have to say - welcome back Kalinda.



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    4.06
    Writer: Jon Brown
    Director: Jonathan Van Tulleken

    THE ONE WHERE A killer, suited, six foot rabbit stalks the corridors at the most insane house party Finn has been to in his shitty little life.

    VERDICT Misfits may be as well written, well acted and well made as it’s ever been, but the problem with this latest series is that it’s frequently felt like a show which has run out of ideas. Not so with episode six, because for the first time in series four Misfits feels fresh again.

    The powers are great for one – a junkie whose hallucinations come to life and an insecure boyfriend who can make the truth plain for all to see are terrific concepts, with oodles of dramatic potential. It may be the rabbit that steals the headlines (the creepy, horror movie headlines), but it’s the numbers that are most important. They cause the characters to think about each other in different ways and lead us to wonder how the heck Rudy convinced 99 different women to sleep with him. Seriously, where does he find them all?

    Despite being the strongest advocate for his single digit at the beginning, Finn is the only one who manages to bump up his figure by the end of the episode, while Rudy – the one actively seeking a centenary shag during the first act – finds… something else. On paper it’s a complete character reversal, but in context it feels more like a natural, satisfying, evolution for the pair. Finn is branching out, while Rudy is slowing down. Finn’s moment of passion might not really mean anything to him or Stephi, but you’re happy for him nonetheless, whereas the scenes Rudy shares with Nadine are very sweet and reveal a side to the potty mouthed split personality we’ve never seen before, not even from other Rudy. Nadine’s Cinderella exit is pure set up for next week’s episode, but still intrigues.

    Jon Brown’s script is top notch, with a number of elegant seeded jokes, sharp dialogue and some huge belly laughs. The key-knuckle-duster gag falls a bit flat, but otherwise it’s sterling stuff. Once again Rudy proves to be the highlight, his reaction after realising they’re at the wrong party, or suddenly popping up from behind the bed after waiting for Finn to ejaculate (despite the fact there’s a killer rabbit outside, what a guy) and jumping to the conclusion that Richard Saunders has shat himself because of the hallucination all had me in hysterics.

    For the most part Jess and Alex’s story covers old ground. Jess wants to get intimate, Alex keeps pushing her away. The difference is the secret that’s been teased all series is finally revealed here – Alex has been cock robbed! It’s an utterly absurd answer, but one so perfectly Misfits we couldn’t have hoped for a better one.

    Abbey is the other big news here. She makes an entrance you would expect of a main character on this show – intoxicated to the point of unconsciousness. It’s difficult to judge after such little screen time, but on first impressions she seems perhaps a little too spaced out, but that could just be the booze talking. Regardless, having another girl in the group (one who can hold her own that the boys don’t immediately try to bed) should hopefully get the sausage-dominated group dynamic back on track.

    Abbey has a strong jaw line and likes vodka. This is all we definitely know about her so far.
    CRAZY CREDITS Of course, Natasha O’Keeffe should feature in the credits as she’s now part of the regular cast, but why show her in the orange boiler suit at the start of the episode? Anyone who’s been keeping up with the behind-the-scenes goings on at Misfits via Twitter will know she ends up in the orange eventually, but for more casual viewers it spoils one of this episode’s biggest surprises by cluing you in too early about how important she’s going to be.

    SPECULATION We’d be very surprised if Abbey doesn’t have a power. Our best guess is she needs to drink to stay sober, like Bender in Futurama.

    SPECULATION 2 Anyone else find the way Stephi blanks Finn at the funeral after they’ve had sex a little odd? Could be that she really didn’t want to speak to him, or perhaps there’s a power at play?

    OLD FRIENDS Other Rudy first mentions Richard Saunders in the first episode of series three, reminding Rudy that he watched Saunders soaping his balls in the shower after a PE lesson and got turned on. In episode five of series three Rudy says that Saunders films himself crapping out of trees. Disappointingly, we don’t really get to see why Rudy is such good friends with him. In fact, by the end you’re left wondering why anyone would be.

    THE POWER HOUR Saunders has the power to make his drug-fuelled hallucinations manifest in the real world. Another character has the power to make the number of people you’ve slept with appear on your forehead. None of the main cast use their powers, which is a shame because…

    MISSED OPPORTUNITY …wouldn’t it have been more fun for Jess to discover Alex’s secret with a sneaky X-ray peek through his briefs?

    BEHIND THE SCENES Jon Brown is the only other person to have written for Misfits along with creator Howard Overman, and this is only his third episode.

    NITPICK Why did the rabbit take Jess down to the basement, rather than just killing her on the spot, like the first victim?


    JUST WRONG OF THE WEEK A toss up between Alex dropping his pants and Abby’s garish Beetlejuice leggings. It’s not just Finn, all the trousers are wrong this week.

    FEATURED MUSIC Too many to list, but here are some of the highlights playing at the party: “Sofi Needs a Ladder” by Deadmau5, “Empathy” by Crystal Castles, “Doomsday” and “Promises” by Nero, “212” by Azealia Banks, “Apnoea” by Kasabian and “Simple Beginnings” by Fred V.

    RUDY’S BEST LINE
    “Hang on a minute, so you’ve taken acid, there’s now a giant white rabbit with a golf club and no-one’s shat themselves. That’s good.”

    BEST LINE BY ANYONE ELSE
    Jess: “46? Must have been one hell of a weekend. You could fill a coach with all those. A fuckbus.”
    Alex: “It would be an awkward journey.”



    Saucy


    Previews aren't embedable (wtf??)
    http://youtu.be/xKHNRzS03zU
    http://youtu.be/9QD0alfcYYg
    http://youtu.be/esG6GvV-5oQ

    Haters, you know who you are, can stay out

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