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- 12/27/12--15:17: _OK composer: guitar...
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- 12/27/12--16:15: _First look at 'The ...
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- 12/27/12--16:39: _'Guardians of the G...
- 12/27/12--16:42: _'Django Unchained':...
- 12/27/12--16:48: _Future Oscar Winner...
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- 12/27/12--16:59: _You can't hide thos...
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- 12/28/12--08:20: _ Jennifer Lawrence ...
- 12/28/12--08:20: _Could a black direc...
- 12/28/12--08:39: _MSN's 10 Worst Movi...
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- 12/28/12--12:03: _Happy 90th Birthday...
- 12/27/12--16:12: Kings of Leon Nathan Followill and Jessie Baylin welcome baby girl
- 12/27/12--16:14: The Top 6 Juiciest Moments From The Real Housewives In 2012!!!
- 12/27/12--16:15: First look at 'The Following'
- 12/27/12--16:20: Royal Mail to release Doctor Who 50th anniversary stamps
- 12/27/12--16:39: 'Guardians of the Galaxy': James Gunn denies casting rumours
- 12/27/12--16:42: 'Django Unchained': DiCaprio and cast discuss working with Tarantino
- 12/27/12--16:55: People Of Color Post: Top R&B Albums of The Year
- 12/27/12--16:59: You can't hide those suckers
- 12/28/12--08:20: Could a black director have made “Django”?
- 12/28/12--08:39: MSN's 10 Worst Movies of 2012
- 12/28/12--08:57: Steven Moffat on Sherlock Radio Times win
- 12/28/12--10:06: Two "Game of Thrones" stars POST!
- 12/28/12--12:02: Imagine Dragons - Radioactive
- 12/28/12--12:03: Happy 90th Birthday, Stan Lee!
AFTER Radiohead completed a year-long world tour in Melbourne in November, guitarist/sound manipulator Jonny Greenwood didn't go home to England. Instead, he and his young family stayed in Sydney while Greenwood went back to work, this time with the Australian Chamber Orchestra.
Greenwood - who as well as being one of the creative forces in Radiohead is also a fast-rising composer of pieces for orchestra, chamber group and film - was in effect a composer in residence with the ACO for several weeks.
In that time the orchestra and composer workshopped an as-yet-unnamed Greenwood piece commissioned by the ACO's artistic director, Richard Tognetti.
Why Greenwood, who the more snobbish might describe as ''merely'' a rock musician? Why not, responded Tognetti, who has little doubt the Englishman is no musical dilettante, declaring that ''Jonny's technical skills … are up there with any other composer I've worked with'' and that the art of commissioning was ''identifying someone with a genius, like Jonny, but making sure we have the right circumstances''. After all, the talent is there in someone who was composer in residence with the BBC Concert Orchestra in 2004-05 and has composed the score for films such as Paul Thomas Anderson's The Master and There Will Be Blood, Norwegian Wood and We Need to Talk About Kevin.
''I think the amazing thing about Jonny is he might be a world first [because of] this incredible acumen that he has for being able to write for an orchestra coming from the background of being in a band,'' Tognetti said.
''This is almost a coming of age. Since jazz in 1901 there have been a lot of people trying to cross over and write so-called serious music and Jonny comes with all the technical know-how, which is very refreshing.''
The composition, to be premiered in 2014, will not be the first time the ACO has played Greenwood, as the orchestra's general manager, Timothy Calnin, pointed out. ''The ACO had its first encounter with Jonny Greenwood's music in 2010 when we gave the Australian premiere of Popcorn Superhet Receiver on a national tour,'' Calnin said.
''It was very much a mark of Richard's confidence in the piece that he put it on the same program as Schubert's unfinished symphony and Brahms … Here was a composer with a strikingly individual voice and real panache in writing for strings - the heart of the ACO.''
The excitement about the collaboration was not just on the Australian side.
''I like having people to report to and work with,'' says Greenwood. ''When I got the first [2004 artist in residence] job at the BBC [Concert] Orchestra, the first thing I did was have a printout of all the names, ostensibly so that I knew how many players there were for each instrument, but I started getting obsessed with the names and the thought that these people weren't just presets on a keyboard. It's fun to be in a team, and it makes it easier.''
Teamwork is more than just polite talk in this case, because between the end of Radiohead's world tour and his pre-Christmas departure to India and then home to England, Greenwood spent several weeks in intense workshops with the ACO. What Tognetti calls ''every composer's dream to have access to live musicians'' during composition was a rare chance for composer and orchestra to bat ideas back and forth.
The result sees Greenwood heading home with rehearsal recordings, an annotated score with notes from each player and fresh ideas on how to approach the composition, which is to become part of the ACO's touring repertoire.
''The workshops have been a whole series of finding things that can't be done and ways it can be improved and explanations of what would make it better,'' says Greenwood.
''How else am I going to learn this stuff?''
Greenwood says even amid Radiohead's world tour, he was devoting plenty of attention to the ACO commission. ''I've been spending an awful lot of time in dressing rooms the last six months working on this and trying to imagine [it],'' he says.
''That's why I turned up with three-quarters of it on paper already, because I'd rather make a lot of mistakes and edit away rather than work with a skeleton and add to it.
''The excitement for me is taking away the recording [of the workshops], which I will be listening to pleasantly, complete with all of Richard's jokes and gags.''
deity amongst mortals tbh. if he doesn't get an Oscar nom for his score for The Master i will lose my shit.
Nathan Followill and his wife Jessie Baylin welcomed daughter Violet Marlowe Followill on Wednesday, Dec. 26 in Nashville, his rep confirms to PEOPLE.
“Mom, Dad and baby are doing well and are so in love!” a rep for the band says.
Violet, who was born at 4:01 p.m. weighing 7 lbs., 13 oz, is the first child for the Kings of Leon drummer, 33, and the singer/songwriter, 28, who announced the pregnancy in June.
“I’m beyond excited/anxious,” Followill, who wed Baylin in November 2009, Tweeted at the time of the announcement.
Baby girl is in good company — she joins cousins Dixie Pearl, the daughter of frontman Caleb Followill and Lily Aldridge, and Knox Cameron Patrick, the son of guitarist Matthew Followill.
The claws were out this year as Bravo’s “Real Housewives” franchise continued to grow in both popularity and catfights.
From exotic getaways in St. Barts to Miami lingerie parties, there wasn’t a place free from drama. Even a near million-dollar wedding brought out some disagreements.
As 2012 comes to an end, we take a look at six memorable storylines that had us tuning in week after week. Heres to 2013 for even more drama. (Orange County and New Jersey are already filming.)
We knew Lisa would create a memorable wedding for daughter Pandora. We just didn't realize how grand and fabulous it would really be. From beautiful decor, tasty food, sparkling diamonds and more, Pandora's big day gave us a much needed break from the drama.
Well, we can't forget Lisa's husband, Ken, reacting to the high wedding price tag. Ching-Ching.
Bravo's Andy Cohen promised season two of the "Real Housewives of Miami" would be like a real-life Telenovela. He wasn't kidding when a cast member hosted a lingerie pool party that turned violent. When Adriana confronted Karent about some bad press in a Miami tabloid, Karent's ally Joanna stepped in to defend her friend. As Adriana stormed off, Joanna followed her and received a giant slap to the face. Ouch!
We knew Sonja and Ramona were BFFs. But what happens when they have a little too much to drink and get away from the men in their life? The answer is naked pool parties, random gossip fests and questioning what white trash really means. Aviva didn't appreciate their behavior but loyal fans loved every minute.
for the Top 3, go to the source (link is below)
Joanna shares whether or not she and her boyfriend are still together.
Ana doesn't believe Lea's a self-made woman and Lea bites back.
"The Following" will premiere on Monday, January 21st, at 9/8c.
THE FBI estimates there are currently over 300 active serial killers in the United States. What would happen if these killers had a way of communicating and connecting with each other? What if they were able to work together and form alliances across the country? What if one brilliant psychotic serial killer was able to bring them all together and activate a following? Welcome to THE FOLLOWING, the terrifying new thriller from creator/executive producer Kevin Williamson (“The Vampire Diaries,” “Dawson’s Creek,” the Scream franchise) and director Marcos Siega (“The Vampire Diaries,” “Dexter”).
When notorious serial killer JOE CARROLL (James Purefoy, “Rome”) escapes from death row and embarks on a new killing spree, the FBI calls former agent RYAN HARDY (Emmy-nominated actor Kevin Bacon, X-Men: First Class) to consult on the case. Having since withdrawn from the public eye, Hardy was responsible for Carroll’s capture nine years ago, after Carroll murdered 14 female students on the Virginia college campus where he taught literature.
Hardy is a walking textbook of all-things Carroll. He knows him better than anyone; he is perhaps Carroll’s only psychological and intellectual match. But the Ryan Hardy who broke the Carroll case years ago isn’t the same man today. Wounded both physically and mentally by his previous pursuit of this serial killer, it’s been a long time since Hardy has been in the field. This investigation is his redemption, his call to action. In contrast to nine years ago, Hardy isn’t calling the shots on this case. He works closely with an FBI team, which includes all-business and tough-as-nails JENNIFER MASON (Jeananne Goossen, The Vow, "Alcatraz") and young, razor-sharp MIKE WESTON (Shawn Ashmore, X-Men).
The team considers Hardy to be more of a liability than an asset. But Hardy proves his worth when he uncovers that Carroll was covertly communicating with a network of killers in the outside world. It quickly becomes obvious that he has more planned than just a prison escape, and there’s no telling how many additional killers are out there. The FBI’s investigation leads Hardy to CLAIRE MATTHEWS (Natalie Zea, “Justified”), Carroll’s ex-wife and mother of the criminal’s 10-year-old son, JOEY (newcomer Kyle Catlett). Close during Hardy’s initial investigation, Hardy turns to Claire for insight into Carroll’s next move. The tension rises when Carroll’s accomplices kidnap his intended last victim from nine years ago. Hardy becomes ever more determined to end Carroll’s game when he realizes that this psychopath intends to finish what he started. The thriller will follow Hardy and the FBI as they are challenged with the ever-growing web of murder around them, masterminded by the devious Carroll, who dreams of writing a novel with Hardy as his protagonist. The reinvigorated Hardy will get a second chance to capture Carroll, as he’s faced with not one but a cult of serial killers.
Less than a month until one of the best reviewed pilots in years airs! I know I'm excited for this.
In celebration of Doctor Who‘s 50th anniversary next year, the Royal Mail will release a special set of stamps.
Each of the eleven stamps will feature one of the eleven actors that have played the role of the Doctor since the show’s first began in 1963 – Matt Smith, David Tennant, Christopher Eccleston, Paul McGann, Sylvester McCoy, Colin Baker, Peter Davison, Tom Baker, Jon Pertwee, Patrick Troughton and William Hartnell.
In addition to the stamps featuring the Doctors, a five stamp miniature sheet will also be available, which includes the TARDIS and some of the Doctor’s most famous foes – a Dalek, a Cyberman, an Ood and a Weeping Angel.
Managing Director of Stamps and Collectibles at Royal Mail, Andrew Hammond, said: “We are delighted to be able to celebrate this remarkable 50th anniversary. These stamps pay tribute to the brilliant actors that have played the Doctor over the years as well as the adversaries that helped make the show so popular.”
Product Development Director at BBC Worldwide Consumer Products, Fiona Eastwood, added: “The Doctor Who stamps are the perfect way to mark and celebrate the 50th anniversary of this much-loved programme. The collection is really impressive, and I am sure they will delight all Doctor Who fans.”
The special stamps will launch on March 26th, 2013, but are available to pre-order today from royalmail.com/doctorwho
Two words: DO WANT
James Gunn has quashed the recent Guardians of the Galaxy casting rumours.
The director has said that reports that Zachary Levi and Jim Sturgess are competing for the lead role of Star-Lord are "completely inaccurate".
"Almost everything in that Variety article on the Guardians of the Galaxy casting (and all the following articles based on it) was/is completely inaccurate," wrote Gunn in a message on his Facebook page.
"Just for the record."
The post appears to have since been removed, but was reported by ComicBook.com.
Eight actors were previously reported to be auditioning for the role of the half-human half-alien hero, including Joel Edgerton, Garrett Hedlund, Jack Huston, James Marsden, Lee Pace, Eddie Redmayne, Sturgess and Sullivan Stapleton.
Levi is currently filming Thor: The Dark World, in which he will play Fandral after the departure of Josh Dallas.
Marvel Studios' Guardians of the Galaxy is scheduled for release on August 1, 2014.
Does this mean that we can go back to semi-caring about this now Lee Pace is technically still in the running?
The American Western is one of the most gloriously well-tread Hollywood trails, but when Quentin Tarantino heads west — or in the case of Django Unchained, south — he becomes a cinematic Meriwether Lewis, bringing his own storytelling panache to a genre we only think we know. In fact, for a movie that stars Hollywood heavyweights Jamie Foxx and Leonardo DiCaprio (and Christoph Waltz and Samuel L. Jackson and on and on…) it’s an incredible tribute to his reputation that he, the director, is the film’s biggest draw. Django Unchained, the story of a slave who becomes a bounty hunter to free his bride from the evil clutches of a maniacal plantation owner, is a Quentin Tarantino movie first and last. And everyone involved knows it, including its biggest star. “He’s got his own unique, specific style,” says DiCaprio, who flirted with working with the director on Inglorious Basterds, “And when you see a Quentin Tarantino movie, you know it.”
The movie, which opened on Christmas Day (ha!) to rave reviews and enormous box office returns, is a testament to Tarantino’s unique love of Westerns and the reverence his passion engenders from other talented artists in the business. In an exclusive behind-the-scenes video below, the cast and crew talk about “coming to his church every day.”
AKA discussion post for those who have seen it. I loved it, but thought the editing could have been better and the ladies (esp. the mystery woman) should have had more screen time. Video at the source.
source | 1& 2
Darren Criss will be in a theater near you this summer! The previously announced film Imogene, starring Criss and former SNL funnylady Kristen Wiig, will be released by Lionsgate and Roadside Attractions on July 19, according to Deadline.com. The film will now be released under a new title, Girl Most Likely. Written by Michelle Morgan and directed Shari Springer, the dark comedy also stars Tony nominee and Oscar nominee Annette Bening.
Girl Most Likely follows a once successful playwright (Wiig) who fakes a suicide attempt to get her ex-boyfriend’s attention. When her plan doesn’t receive her desired response, she moves back to New Jersey with her off-kilter, gambling addict mom (Bening). When she returns home, she falls for a younger boy band wannabe (Criss).
The film also features Matt Dillon, Christopher Fitzgerald, Natasha Lyonne and Robert Pulcini. The movie premiered to strong reviews at 2012 at the Toronto Film Festival.
2012 was the year mainstream R&B became interesting again. Despite the regrettable obsession with pandering to Eurodance trends, and the still-overbearing influence of contemporary hip-hop; this year featured classic vocalists returning to prominence, urban singer-songwriters receiving the kind of acclaim that for the past decade had only been reserved for more middle-of-the-road acts, and creative artists too unbound by convention to be referred to simply as “neo-soul.”
|#1 Chapter V by Trey Songz|
Critics tend to talk out of both sides of their mouths: if you’re too consistent, you can be blasted for becoming musically predictable. Those same critics will tear you apart if you venture outside of your comfort zone and discover your reach exceeds your grasp. Trey, at this point in his career, knows what his strengths are and is comfortable in his niche. That niche being squarely between Usher and R. Kelly. Like most of mainstream R&B in 2012, Songz gave a few nods to the dance pop revolution, but also released his most focused collection of songs since Ready.
|# Two Eleven by Brandy|
Brandy could have easily settled into complacency as a former 90s star slumming on a VH1 reality series for the sake of holding onto fame. But she’s always been a more ambitious artist than she’s gotten credit for, and on her comeback album she reminded everyone how dynamic a vocalist she can be when surrounded by the right collaborators. An album that reinvigorated her career by playing to the strengths she honed over a decade ago while also cutting a path for her in the fickle world of contemporary R&B circa 2012.
|# Perfectly Imperfect by Elle Varner|
You could call the vocally-voluptuous Varner this year’s Jazmine Sullivan and it wouldn’t be too far off-base. But it would be slightly limiting, because Varner his a vision that’s all her own. She’s capable of vulnerability-with-a-wink; not so much of the heartbroken fury that the aforementioned Sullivan is known for. Varner’s willingness to make fun of herself is refreshing in an R&B climate that too often relies on convenient caricatures to tell stories. Weaving between R&B and folk-pop, this debut proves that she’s not just a stellar singer—she’s one with a clever perspective.
|# channel ORANGE by Frank Ocean|
After dropping one of 2011’s most acclaimed digital releases (“Nostalgia, Ultra”) and with all of the furor surrounding his coming out (via that infamous open letter), the brilliance of Ocean’s debut was almost lost in the buzz. Keyword: “almost.” Despite the love-it-or-hate-it “Thinkin’ Bout U,” Ocean’s album is one of the more fully-assured R&B “debuts” urban music has seen in years. This is an artist that knows who he is musically, and the inspired songwriting and distinctive production pulls neo-soul pretentiousness and hip hop soul accessibility together. This is Ocean’s own sound. And with channel Orange, he crafted a nearly-perfect record.
|# Kaleidoscope Dream by Miguel|
Thoughtful and slightly eccentric, Miguel’s second album borrows pages from Prince, Marvin Gaye, Stevie Wonder, Usher and R. Kelly; and re-writes them in his own handbook. Sonically, this is an album that engulfs the listener, dynamic and fluid—you don’t just listen to Kaleidoscope Dream, you experience it. The album’s less-than-successful moments are still interesting; with Miguel himself displaying a deceptively emotive and versatile vocal ability. This is a big album. Even its hushed moments seem to bounce off the walls. And the guy’s a stellar songwriter. Some of the more explicit moments feel a bit forced, but that’s forgivable While you were sleeping, Frank Ocean and this guy re-introduced artistic ambition to mainstream R&B. Good for them.
If you've got it, flaunt it!
Now that the world knows about her surprise second pregnancy, which Us Weekly revealed in November, Jessica Simpson is putting herself out there -- in more ways than one.
On Thursday, Dec. 27, two days after confirming her baby news with a Twitter photo of daughter Maxwell Drew sitting next to the words "Big Sis," the Fashion Star mentor, 32, shared another revealing picture, this time of herself.
"Fun in the sun," she wrote below the sexy snapshot, which shows the second-time mom-to-be dressed in a short, red beach cover-up over a matching red bikini. Simpson's baby bump isn't visible in the pic, but her other assets -- namely, her ample cleavage and toned legs -- are on full display.
Simpson has been in a sharing mood this week, ever since confirming her pregnancy on Dec. 25 with the photo of Maxwell. On Wednesday, she posted a second picture, of herself and fiance Eric Johnson, 33, enjoying a walk on the beach in Hawaii, where the couple are enjoying a little holiday vacation.
"I feel like I'm on top of the world," the star said of her second pregnancy in a new commercial for Weight Watchers.
Justin Bieber looked like he’d gained a new friend in the form of Christopher Emmanuel Paul II as he attended the Los Angeles Clippers game.
The 18-year-old singer watched the match with the three-year-old son of basketball star Chris Paul.
Arriving at the Staples Centre, the Beauty And The Beat singer probably melted many girls’ hearts as he cuddled up courtside.
Watching the LA Cippers victory, it seemed that Justin thoroughly enjoyed himself.
Jennifer Lawrence looks gorgeous on the cover of Marie Claire South Africa’s January 2013 issue.
From Marie Claire:
On going out with friends: “I don’t like going out that much. I’m kind of an old lady. After it’s 11, I’m like ‘Don’t these kids ever get tired?’ When I’m out, I think about my couch.”
On her body: “I’d rather look chubby on screen and like a person in real life.”
On her New Year’s Resolution: “My New Year’s Resolution is to stand up for myself. It’s hard for me. Nobody wants to be disliked. You always want to be polite and be nice. I tried to find a balance in saying what I mean and still being nice. I can’t do it. I have this ‘okay’ attitude and everything. I end up allowing myself to get walked over and resenting it.”
Via: Just Jared
Tarantino's daring film would have been received differently by the media -- or never made -- if he wasn't white
For two reasons, Quentin Tarantino’s “Django Unchained” was all but guaranteed to ignite a conversation about race in America.
First and foremost, the film dares to break a major taboo. Specifically, as the New York Times critic A.O. Scott put it, “Django” dares to show “regenerative violence visited by black against white instead of the reverse” — a narrative which ”has been almost literally unthinkable” in American life, much less in big-budget pop culture productions.
Second, the film does that in the immediate aftermath of a racially charged election that saw a black man reelected to the White House with the most diverse (read: non-white) coalition in presidential history.
Because of the content and timing, then, Tarantino’s masterpiece can be seen as a metaphorical exclamation point at the end of an historic year — one that many Americans no doubt interpret as the political equivalent of Django’s triumph. Considering this, it’s hardly surprising that an American Right obsessed with promoting what I’ve called the White Victimization Narrative has utterly freaked out on the film. For different (and far more valid) reasons, it’s also not surprising that esteemed voices like director Spike Lee and University of Pennsylvania professor Salamishah Tillet have critiqued the film’s themes, raising important questions about its subtext.
This back and forth will likely continue, and whether you love or hate the film, that’s a good thing. In a nation that often ignores racism and asks too few questions, Tarantino has performed something of a civic service by using his considerable entertainment platform to effectively expose right-wing bigotry (as seen in conservatives ugly reaction) and also help force serious racial questions into the national debate (as seen in some African Americans’ substantive critique).
And yet, in all the foment, one issue that’s been little discussed is how the film reflects the way White Privilege works. That’s a particularly important topic right now, in light of the intense conservative backlash that now occurs after any mere mention of the concept.
Film critic Eric Deggans alluded to White Privilege in his terrific Salon piece on “Django Unchained” earlier this week. Noting that ”studios know white audiences will show up for (Tarantino’s) movies,” he concluded that Tarantino is “a white man who gets to do what black artists should also get to do” — but too often do not get the opportunity to do. Why not? Because of the way films by different directors are inevitably portrayed in the media and interpreted by White America.
The best way to illustrate this form of White Privilege is to imagine ”Django Unchained” being released as a production from an African American writer and director. Under those circumstances, in the media and among white audiences, the film most likely would be perceived not merely as a mass-audience entertainment product with some underlying social commentary by a single director, but as a niche political film allegedly from a whole community with an axe to grind. That is, it would probably be met in the media and among potential viewers not in the way it has been met, but instead as a divisive “black movie” — by, and allegedly only for, black people.
Studio executives know all of this. In Deggans terms, they “know white audiences will show up” for a white director’s film about race issues, but they fear white audiences will not show up for an African American director’s film about the same issues. Thus, when it comes to films dealing with racism, it’s probably harder for African American writers and directors than for their white counterparts to convince studios to finance their projects. That difference is the definition of White Privilege.
Noting all of this is not to assert that African American writers and directors have never found commercial success in films about bigotry, nor therefore to absolve film studios for any institutional racism. But it is to point out that White Privilege is not just about individual bigots and single industries. On the contrary, it operates on a mass level whereby America — whether consciously or unconsciously, whether overtly or subtly, whether in movie tastes or other consumer proclivities – often privileges whites over people of color.
In the case of “Django Unchained,” as evidenced by stunning ticket sales, it privileges a film from a white director that it might not similarly reward had the very same film come from a black director (assuming such a film from a black director would have even been green-lighted by a major studio). Put another way, it allows a white director to tell a filmic story that a black director may not have been permitted to tell on such a large mass-audience stage (or, at least, to market as a “mass audience” production).
Pointing this out, mind you, isn’t to criticize Tarantino. Quite the opposite, in fact.
Tarantino, in my view, deserves credit not just for making a terrific film, but also for choosing to use his position to try to remind America of its hideous slave history and to therefore contribute to the cause of fighting racism (and I say that while also agreeing with some of the criticism of how his film addresses that cause). After all, at this point in his career, the guy is a fabulously wealthy entertainment industry mogul. That means he can select whatever kinds of projects he wants and that, hence, his choices are statements of commercial desires, creative interest and social values.
In the case of “Django Unchained” — in Tarantino choosing, as Deggans says, to make a movie about “a black man mow(ing) down one white asshole after another, taking out men too venal, stupid or entitled to admit how much of their world was built on the blood and pain of black slaves” — he proactively decided to use his White Privilege to televisually attack the ugliest roots of that privilege. That’s no small thing — especially in a country where so many others in his very same position typically decide to do the opposite by promoting, perpetuating and defending White Privilege (see the political right’s reaction above, as an example).
In that sense, Tarantino’s willingness to expend his Hollywood capital to make such a film implicitly implores white people to try to use their relative position of privilege to fight that privilege where they can. That’s a welcome — if unstated — message. While history (for instance, the civil rights movement or the 2012 election) certainly proves people of color don’t need “white saviors” to come to their “rescue” (another bigoted and paternalistic Hollywood trope), that truism doesn’t negate white people’s moral obligation to fight white privilege where they see it — even if that privilege is benefiting them personally.
Doing that, though, means being able to recognize White Privilege in the first place. In how “Django Unchained” reminds us of systemic double standards, it is certainly there to behold — if we are willing to look.
2012 has seen some great movies come out of Hollywood, but it’s also seen its fair share of turkeys too. From board game based banality to well, anything with Adam Sandler in it, there have been some truly awful experiences on offer at your local multiplex over the last month.
So to share in your pain, and help you to avoid any of these duds that you might have missed, here’s our countdown of the 10 worst films of 2012.
Who’d have thought that a film based on a board game that involves yelling out alphanumeric codes in a bid to sink each other’s imaginary armadas would have been a flop? Of course the main problem with Battleship wasn’t that it was a bad idea in the first place - although that probably didn’t help. No, the real issue was that in spite of a flimsy premise and a script that read like it had been scribbled by a pre-schooler, studio bosses still decided to throw millions of dollars and some spurious stunt casting at the project in a bid to make it stick at the box office. The end result was a mess. A well polished and pretty to look at mess, but a mess all the same.
4. John Carter
As a rule of thumb if the movie you’re about to watch involves aliens and / or Taylor Kitsch in a starring role; then it’s probably going to suck. After all this was meant to be the year that the one time Friday Night Lights actor made it big. Long tipped as the next big thing in action movies there was a definite air of excitement around the release of John Carter back in March, but then people watched it – or at least those who didn’t storm out in disgust did – and the whole conceit came crashing down. It almost took Disney with it too if the record losses the House of Mouse took on the movie are to be believed.
3. Alex Cross
It turns out that Tyler Perry isn’t just awful in his own movies; he’s awful in other people’s too. Here he attempts to fill Morgan Freeman’s shoes as James Patterson’s titular FBI profiler, in what’s perhaps the most spectacular piece of miscasting this side of Kevin Costner’s Robin Hood. To be fair he’s not helped by Matthew Fox’s skeletal serial killer – proof if proof be needed that drastic weight loss does not automatically equal a dramatic performance.
2. A Thousand Words
Believe it or not Eddie Murphy is one of the highest paid actors in Hollywood; a one-time A-lister who commands exorbitant fees for the films he stars in. We hope in this case that director Brian Robbins kept his receipt so he can ask for his money back after a performance that will surely prove to be the final nail in Murphy’s career coffin. Although it was released in march A Thousand Words was actually shot way back in 2008 and presumably only resurfaced after someone found it tucked away in an Indiana Jones and the Raiders of the Lost Ark style warehouse crammed full of awful things.
1. That's My Boy
Adam Sandler is currently enjoying the same kind of career trajectory that the likes of Eddie Murphy, Rob Schneider and Lindsay Lohan have enjoyed of late. The one time funnyman has been dining out for years off of the back of the enjoyable lowbrow buffoonery of Happy Gilmore and The Waterboy. But any goodwill the audience still held for Sandler has surely been after the abysmal That’s My Boy, 90 minutes of over acting, misfiring gags and cringe-worthy plotting that feels like the cinematic equivalent of having an idiot shout at you for an hour and a half.
10-6 are at the source
Sherlock has won a few awards in its time – not least a writing Bafta for Steven Moffat– but the show’s co-creator made it clear he knows what’s really important after hearing the news that the BBC1 series, starring
Benedict Cumberbatch as the great detective, has topped the Radio Times poll of the best TV of 2012.
Moffat, also showrunner on Doctor Who, admitted that he and co-creator Mark Gatiss could never have imagined the extent of the show's success when they first started writing it.
“Mark and I always thought this was our vanity project. The one we could get away with, because of everything else,” he said. “For it to become such a massive hit, with all the reviews and awards you could wish for, has been the best and the biggest surprise.”
And he paid tribute to the acting duo who make the show so special – and whose careers have received something of a boost from its success.
“Of course it's all down to the astonishing cast led by those mighty film stars, Martin Freeman and Benedict Cumberbatch,” he said.
A grateful Moffat then promised to reward Radio Times for the prestigious honour by revealing the solution to the mystery which has obsessed fans since the cliffhanger final episode of series two – how Sherlock made his death-defying leap from the roof of St Bart’s hospital.
Responding via email, Moffat wrote: “I've just had a word with all the others, and we're so pleased by this latest accolade from the Radio Times, we've decided to tell you how Sherlock survived the fall --
Today marks the 90th birthday of legendary comic scribe Stan Lee. Born Stanley Lieber on December 28, 1922, Stan Lee and his cohorts are responsible for creating some of the greatest heroes in comic book history, including Spider-Man, the X-Men, the Hulk, and many more notable characters in the Marvel universe.
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