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Oh No They Didn't! -

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  • 02/05/13--13:05: 90210 5x13 Promo "#realness"

  • i loved riley. R.I.P the only good male character on the show (okay except Teddy) </3 He died to make room for the snoozefest that was Annie/Liam

    fuck off show 


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    The reunited band plays its first show together since 2009

    "I told you we were gonna come back!" Patrick Stump said, playfully chiding the hometown crowd packed into the narrow, sweaty confines of Chicago's Subterranean club on Monday evening. "Why didn't you believe me?"

    The capacity crowd had good reason to doubt that last night would ever come: in the three years since Fall Out Boy went on hiatus following their 2008 album Folie à Deux, each member of the pop-punk outfit continued to release new music – Stump put out the solo albu Soul Punk, Wentz went with his reggae-infused outfit Black Cards and Trohman and Hurley formed the Damned Things – but all made it a point to shoot down any rumors that their most band was, or would ever be, back in the saddle. (Wentz, usually the most loose-lipped of the bunch, kept his poker face until the bitter end: when theChicago Tribune sked him last weekend whether a Fall Out Boy reunion was happening, he replied "It's not.")

    That changed on Monday morning when Fall Out Boy issued an unexpected press release announcing a new studio album Save Rock N' Roll, that's due May 7th, a tour and a last-minute string of intimate shows starting last night in Chicago. The band als released a new single, "My Songs Know What You Did in the Dark (Light Em Up)," to which nearly every fan seemed to know the words when the band played it live for the first time.

    The crowd was on the brink of hysteria when Fall Out Boy took the stage just after 9 p.m., galloping triumphantly down a winding stairwell as "Thriller" blared overheard. "Hey Chicago, you guys all look pretty damn good right now!" shouted Stump, wearing a black leather jacket and matching hat and glasses so that he could see "how beautiful everyone was."

    With little fanfare, the band quickly launched into the pummeling rock riot of "I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me." The band didn't leave the audience much time to catch their breath, peeling off hits in quick succession, including quot;A Little Less Sixteen Candles, a Little More 'Touch Me,'" "Dead on Arrival" and "This Ain't a Scene, It's an Arm's Race."

    The middle of the set seemed intended to please the diehards, many of whom had waited for hours in the blistering cold for a chance to see their heroes in such close proximity. Stump announced the band would be going "rapid-fire" with older, more rare material, then led the charge into a medley of lesser-played tunes that included two of the band's earliest numbers, "Honorable Mention" and "Calm Before The Storm."

    All night the foursome acted as if no time had passed since they last played live together in 2009, and their onstage rapport was laid back."This is an experience. This is an adventure. This isn't for your fuckin' Facebook," Wentz deadpanned at one point in the evening. Added Stump with a smirk, "Today is kind of a big deal for us.”

    There were occasional cobwebs from the band's three-year break: Hurley and Trohman briefly fell out of sync during "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)," and Stump admitted to the crowd that he was struggling to remember all the lyrics to the band's extensive catalog.

    Those glitches aside, the band seemed as thrilled as the audience that Monday night was the start of Fall Out Boy's next chapter Wentz couldn't hide his excitement: late in the set, before leading his band into a cover of Michael Jackson's quot;Beat It," followed by their biggest hit "Sugar, We're Goin Down" and a killer encore that included "Thnks Fr Th Mmrs" and "Saturday," the bassist gazed out at the crowd and said, "You guys feel so fucking awesome!"

    Set list

    "I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me"
    "A Little Less Sixteen Candles, a Little More 'Touch Me'"
    "Dead on Arrival"
    "This Ain’t a Scene, It’s an Arms Race"
    "Nobody Puts Baby in the Corner"
    "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)"
    "Tell That Mick He Just Made My List of Things to Do Today"
    "Grand Theft Autumn/Where Is Your Boy"
    "Hum Hallelujah"
    "Dance, Dance"
    "Honorable Mention"
    "America’s Suitehearts"
    "Calm Before the Storm"
    "What a Catch, Donnie"
    "The Take Over, the Breaks Over"
    "I Don't Care"
    "My Songs Know What You Did in the Dark Light (Light Em Up)”
    "Sophomore Slump or Combeack of the Year"
    "Beat It"
    "Sugar, We're Goin Down"


    "Chicago Is So Two Years Ago"
    "Thnks Fr th Mmrs"

    The live version makes me love this song more.

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    The 'Twilight Saga' has left a mark on Hollywood as more films aimed at teen girls start to show up.

    The sun may have set on “The Twilight Saga,” but those films have left their glitter all over the movie industry.
    It wasn’t just Twi-hards whose hearts were set aflutter by the romantic vampire/werewolf/human love triangle crafted by author Stephenie Meyer, it was studio executives, too.

    Now there is irrefutable evidence that young women will plunk down money for movie tickets if they’re given choices other than explosions-driven blockbusters geared to their boyfriends and romantic comedies catering to their moms.
    Studio executives paid attention when the hearts of Twi-hards were set aflutter by the romantic vampire/werewolf/human love triangle crafted by author Stephenie Meyer.

    In the next few months, several movies -- “Warm Bodies” (Feb. 1), “Beautiful Creatures” (Feb. 14), “The Host” (March 29) and “The Mortal Instruments: City of Bones” -- based on young adult novels that combine the supernatural, adventure and romance will arrive at the multiplex, all of their paths partially paved by the $3.3 billion earned worldwide at the box office.

    “The comparisons to ‘Twilight’ are a double edged sword,” says “Warm Bodies” director Jonathan Levine, whose adaptation of Isaac Marion’s novel about a zombie who falls in love with a human opened Friday. “Of course you want a fraction of the success of those movies, but you also want your movie to stand alone.”

    "Teenage girls were disregarded by studios for years," says Paul Dergarabedian, box-office analyst for "That’s why Stephenie Meyer totally tapped into something that represents this shift in box office.

    “As teen males were cocooning, going indoors to play video games, the teenage girls started going to see movies."
    Long before Meyer’s books came out, life-long fantasy fan Cassandra Clare decided to write her “Mortal Instruments” series in order to create a strong female protagonist that she found lacking in the genre.

    Now, she sees a similar phenomenon happening on the big screen.
    “When you talk about the ‘Twilight Effect,” says Clare, “it was clear that all sorts of people would turn out to see what was basically just a really great and interesting adventure movie that happens to be about a girl.” It isn’t only witches casting a spell: “The Hunger Games,” based on the first book of Suzanne Collins’ dystopian trilogy, earned $408 million domestically.

    “[These movies] are definitely trying to redress that gender balance,” says Andrew Niccol, director of the adaptation of Meyer’s novel “The Host.” “Yeah, it’s about time.”


    BASED ON: Isaac Marion’s 2011 novel.
    HOW TWI-LIKE IS IT? Not very. It’s less of a sweeping romantic drama and more of a winking romantic comedy.
    Director Jonathan Levine may be best known for smart, edgy comedies like “50/50,” but he grew up a “horror nerd.” “I remember going to Bar Mitzvahs as a kid, my blazer was covered all these Freddy Krueger pins, which I guess I thought was going to get me laid,” says Levine. “Needless to say, it didn’t help me socially.” “Warm Bodies,” which opened Friday, may be more Romeo and Juliet than Romero, but Levine found meat to chew on. The movie follows a zombie (Nicholas Hoult) who falls for a human (Teresa Palmer) after eating her boyfriend’s brains and gaining his memories.
    “This is a guy trying to get a girl, just like any protagonist in any romantic comedy who is not confident and can't express himself,” says Levine.


    BASED ON: The first book in author’s Kami Garcia and Margaret Stohl’s “Caster Chronicles”
    HOW TWI-LIKE IS IT? Similar enough to feel comfortable to Twi-hards, but the characters are a little more grounded.
    “Beautiful Creatures” wears its heart on its sleeve.
    “This is a love story, if they want to show up with their girlfriends they will,” says director Richard LaGravenese. “If not, hopefully the girls will come alone.”
    Judging by the starry-eyed tweens and teens that have approached actor Alden Ehrenreich, who plays Ethan, a human teen who falls in love with a witch torn between good or evil, they’ll be coming either way.
    “I try to block the context which this was occurring as much as possible and just focus on the story,” says the 23-year-old actor. “There was a screening in Russia and people came to my hotel and had photos for me to sign.”

    'THE HOST'

    BASED ON: Stephenie Meyer’s followup to “Twilight”
    HOW TWI-LIKE IS IT? As close as you can get since Meyer’s involved.
    Saoirse Ronan may want to ask her agent why she’s only getting one salary for “The Host.” The 18-year-old New York-born actress plays a human girl whose body is taken over and befriended by an alien soul who's part of an invading race out to enslave all of humanity. There’s a love rectangle that trumps “Twilight’s” triangle.
    To help Ronan find her inner conflict, director Andrew Niccol had her record dialogue for her human character and played it back to her when she was in alien mode.
    “She wore an earpiece the whole time hidden in her ear where we could play her dialogue to her and she could have conversations with herself,” explains Niccol. “So the only people who could hear it were Saoirse and me.
    “There was one guy who was basically dedicated to pushing a button for the line to play in her head at the right time, so it became an art,” he added. “So she’s actually listening to herself and having a conversation with herself. It was freaky to see. “


    BASED ON: The first book in Casasndra Clare’s “Mortal Instruments” series.
    HOW TWI-LIKE IS IT? More action-packed than "Twilight," so boys who come along with their dates may not be completely bored.
    After moving to Brooklyn, Clare decided to pen a fantasy series around her new hometown – one that followed a 15-year-old girl (played by Lily Collins in the movie) who’s swept up in a secret world full of demons.
    It may not have been New York, but visiting the Toronto glass factory set of “The Mortal Instruments: City of Bones,” ended up being “like walking around inside my head.”
    The library set, in which a key battle takes place, was filled with painstakingly hand-painted books.
    “Then I got to watch them take the place apart,” she says laughing.
    “Most and most of the actors did their own stunts,” she says. “So it was really frightening to watch them climb up really high and just throw themselves off these balconies.
    “And I ‘d think please don’t die, we have so much left to film. “


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    trigger warnin: fatphobia @ da source !!!!!!!!!!!

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    On the Ellen show:

    1 | 2

    she was PERFECT on Ellen <3 tyfyt and haters, nhf your bitterness

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    Image and video hosting by TinyPic

    Monica and Chandler are reuniting … sort of.

    NBC's freshman comedy Go On is staging its first on-screen Friends reunion when Courteney Cox checks in for an episode of the Matthew Perry comedy, The Hollywood Reporter has learned exclusively.

    Cox will join Perry, aka her former on-screen husband Chandler Bing on Friends, for an episode set to air in April. Cox play a character who meets Anne, who then tries to set her up with Perry's Ryan. It marks the duo's first small-screen reunion since the long-running comedy ended its 10-season run in 2004.

    For Cox, who's currently starring on TBS' Cougar Town, the Go On guest stint also marks a Friends reunion with former executive producer Scott Silveri, with whom she worked on the series from 1996 through its final season.

    This marks the latest Friends reunion for Cox, who has also guest starred on Lisa Kudrow's Showtime adaptation Web Therapy (David Schwimmer has appeared as well). Kudrow, meanwhile, also appeared on an episode of Cougar Town during the comedy's run on ABC, as did Jennifer Aniston, the latter of whom also guest starred on Cox's FX comedy, Dirt. (Schwimmer, meanwhile, directed two episodes of Friends spinoff Joey starring Matt LeBlanc.)

    I'm so fucking excited I can't even!

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    James Gunn's Guardians of the Galaxy has found its lead. Deadline is reporting that "Parks & Recreation" and Zero Dark Thirty star Chris Pratt will play Peter Quill (aka Star-Lord) in the August 1, 2014 release.

    The Quill character is likely to be the central protagonist of the film. Raised on Earth, Quill learns that his father was from outer space and is drawn into an intergalactic conflict that eventually leads to him becoming the leader of the team.

    Quite arguably Marvel Studios' most offbeat property to date, Guardians of the Galaxy's roster is also said to include Drax the Destroyer, Groot, Rocket Racoon and Gamora. Check back for casting details on those roles as they emerge.


    So excited! I think he's perfect for this.

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  • 02/05/13--13:27: TV Ratings Monday
  • 'How I Met Your Mother'&'The Carrie Diaries' Hit Highs, 'The Following' Down, 'Rules of Engagement' Premiere Solid

    CBS was number one with adults 18-49 and with total viewers.

    On CBS, How I Met Your Mother earned  4.0 adults 18-49 rating up 8 percent from a 3.7 on January 21. The season premiere of Rules of Engagement garnered a 3.1 adults 18-49 rating, down 14 percent from  a 3.6 for its previous season premiere on Thursday, October 20 but up 48 percent from a 2.1 for its season finale on Thursday, May 17. 2 Broke Girls scored a 3.6 adults 18-49 rating down 3 percent  from January 21’s 3.7. Mike & Mollynotched a 3.1 among adults 18-49 down 6 percent from a 3.3 on January 21. Hawaii Five-0 scored a 2.3 adults 18-49 rating , even with January 21.

    On Fox, Bones earned a 2.3 adults 18-49 rating down 12 percent from last week’s 2.6. The third episode of The Following scored a 2.9 among adults 18-49 down  12 percent from last week’s 3.3. Your predictions were too optimistic.

    On ABC, The Bachelor garnered a 2.4 adults 18-49 rating down 4 percent from last week’s 2.5. Castle earned a 1.8 among adults 18-49 down 10 percent from a 2.0 on January 21

    On NBC, The Biggest Loser earned a season low 2.0 adults 18-49 rating down 13 percent from last week’s 2.3.Deception notched a 1.2 adults 18-49 rating, even with last week’s series low.

    On the CW, The Carrie Diaries garnered a series high 0.7 adults 18-49 rating up 40 percent from last week’s 0.5.90210 earned a 0.4 adults 18-49 even with last week.

    Broadcast primetime ratings for Monday, February 4, 2013:

    Time Net Show 18-49 Rtg/Shr Viewers (millions)
    8:00 CBS How I Met Your Mother 4.0/11 10.32
    ABC The Bachelor  (8-10:00PM) 2.4/6 7.80
    NBC The Biggest Loser (8-10PM) 2.0/5 5.76
    FOX Bones 2.3/6 9.02
    CW The Carrie Diaries 0.7/2 1.55
    8:30 CBS Rules of Engagement - Season Premiere 3.1/8 9.33
    9:00 CBS 2 Broke Girls 3.6/9 11.21
    FOX The Following 2.9/7 8.92
    CW 90210 0.4/1 0.79
    9:30 CBS Mike & Molly 3.1/8 10.70
    10:00 CBS Hawaii Five-0 2.3/6 9.63
    ABC Castle 1.8/5 8.77
    NBC Deception 1.2/3 3.12


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    Who received the loudest applause? Which five-time nominee manned the DJ booth? And which best actress nominee posed for pictures with Denzel Washington? THR was on the scene.

    The 32nd annual Oscar nominees luncheon took place Monday in the International Ballroom of the Beverly Hilton. Hosted by the Academy of Motion Picture Arts and Sciences' Board of Governors, the event drew an impressive 163 of this year's Oscar nominees -- including A-listers such as Ben Affleck (Argo), Steven Spielberg (Lincoln) and Denzel Washington(Flight) -- all of whom were assigned seats at one of several dozen tables alongside nominees from categories other than their own, as well as a few lucky journalists. They eventually posed for a "class photo" together before picking up their official Oscar nomination certificate and a gift bag that included an "Oscar Nominee" sweatshirt.

    (I was seated at table 33 along with Benh Zeitlin, best director and best adapted screenplay nominee for Beasts of the Southern Wild; Graham Taylor of WME Global, who reps Zeitlin;Espen Sandberg, director of best foreign language film nominee Kon-Tiki; John Bailey, the Academy's cinematography branch governor; and Robert Richardson, best cinematography nominee for Django Unchained, who no-showed.)

    Arriving guests were greeted at the bottom of the Hilton's long driveway by peaceful protestors from the National Religious Campaign Against Torture (which handed out flyers asserting "Zero Dark Thirty is a work of fiction that depicts graphic acts of torture" and "the movie's implication that the use of torture produced critical intelligence is inaccurate"), and at the top by hordes of roped-off fans seeking autographs and photographs (many guests paused on their way in to the event to greet them).

    Inside the room, guests walked by the DJ booth, which was manned throughout the afternoon by none other than a headphones-clad Frank Marshall, the five-time Oscar-nominated producer and music lover. When I asked Marshall how he wound up with the job, he told me, "I couldn't get into the luncheon any other way this year!" (Not entirely true, as his wife,Kathleen Kennedy, is a best picture nominee for Lincoln.) It was fun to watch guests walk by him and light up with amazement upon recognizing him. One remarked, "Amazing! Raiders of the Lost Ark and everything!"

    After a cocktail hour during which nominees got to mingle with each other over drinks, the Academy's new president, Hawk Koch, welcomed guests. He then called this year's nominated films "the best crop of movies in memory" and acknowledged the honorees from December's Academy Governors Awards (Hal Needham, George Stevens, Jr. and JeffreyKatzenberg were in the room, but D.A. Pennebaker couldn't make it); the past Academy presidents (Walter Mirisch, Arthur Hiller, Sid Ganis and Tom Sherak were among those present); the Academy's Board of Governors (Zero Dark Thirty director Kathryn Bigelow and Lawrence of Arabia film editor Anne V. Coates being two of them who were there); and the Oscars production team (including veterans Don Mischer and Michael B. Seligman).

    Koch then briefed the audience about the producers of this year's Oscars, Neil Meron andCraig Zadan, who he said came to him in a dream as the perfect choice for the gig due to their experience with live productions (on Broadway), televised productions (they exec-produce NBC's Smash) and films (they executive produced 2002's best picture winner, Chicago, and have produced numerous other films). He said that when he called them to offer them the job, they reminded him that they had produced the movie The Bucket List and divulged that producing the Oscars had long been at the top of theirs.

    Meron and Zadan then took the stage and teased that the 85th Oscars ceremony, which will take place Feb. 24, is "going to be a celebration of the great work you've done, and it's also going to be a throwback to the origins of the Oscars." They said that, consistent with their musical roots, music will be a big part of the show and noted that Barbra Streisand will be performing on the show for the first time in 36 years, which elicited loud applause. They also made the annual request for brevity from winners: "We honestly need your help to keep the pacing of the show quick," Meron said. They stated that winners need to get to the stage quickly; co-nominees must designate, in advance of the show, one individual as the speaker on behalf of them all in the event that they win; and that winners will have no more than 45 seconds onstage before they are played off by the orchestra. Zadan urged, "Please speak from the heart, not from a piece of paper," and added, "Remember, you're speaking to over a billion people in over 225 countries," prompting nervous whispers from guests, who then resumed eating their salmon or table-hopping.

    After a while, a voice-over announcer introduced a video narrated by last year's best supporting actress Oscar winner Octavia Spencer, which featured clips of classic films and closed with the congratulatory message, "You are now recognized around the world as part of this history." Then, Koch stepped in front of a large set of bleachers that had been arranged to the side of the stage, and Academy COO Ric Robertson began reading the names of this year's nominees -- not in alphabetical order, as in years past, but instead in random order -- who then came up to the stage, shook Koch's hand and got in position for a group photograph.

    Journalists and publicists in the room carefully monitored the volume of the applause with which each nominee was greeted, as that has sometimes proven to be an accurate barometer of support from the entire Academy. For the roll call, I situated myself in the center of the room and, by my ear, the loudest applause was for the second-to-last person called, the youngest person ever nominated for a best actress Oscar, 9-year-old Quvenzhane Wallis (Beasts of the Southern Wild), and the second-loudest was a tie between the last person called, best director nominee Spielberg, and best actor nominee Hugh Jackman (Les Miserables).

    It's dangerous to read too much into such things, but it struck me that best picture nominee Affleck, who was denied a best director Oscar nom but whose film has swept all of the major awards thus far, received only average applause, whereas the principal people associated wit Lincoln, which received the most Oscar nominations this year but has not yet won any major awards, received louder-than-average welcomes, including best supporting actor nomineeTommy Lee Jones, best supporting actress nominee Sally Field, best adapted screenplay nominee Tony Kushner, best cinematography nominee Janusz Kaminski, best film editing nominee Michael Kahn and best costume design nominee Joanna Johnston. (Best actor nominee/frontrunner Daniel Day-Lewis was unable to attend the event.)

    Others who received noticeably loud receptions: best supporting actress nominee Amy Adams (The Master), whose nom this year is her fourth in the last seven years; best picture -- but not best director -- nominee Kathryn Bigelow (Zero Dark Thirty); best supporting actor nominee Robert De Niro (Silver Linings Playbook); best original score composerAlexandre Desplat (Argo); and Life of Pi visual effects nominees; best supporting actress nominee Anne Hathaway (Les Miserables), who got a kiss from Jones as she passed him on her way up the bleachers; best cinematography nominee Seamus McGarvey (Anna Karenina); and best actress nominee Naomi Watts (The Impossible).

    The most memorable of the many encounters that I witnessed during the afternoon was when Wallis' mother brought the young actress, who had been chatting with her tablemate Spielberg (even though she has not yet seen E.T., she told me), over to meet Washington. He initially asked her, "What's your name? Are you up for an Oscar?" She replied "Yes, best actress," and he asked her for what. When she told him, he exclaimed, "Ohhhhhh! Your hair was all wild!" He asked her, "How's all this been for you? Do you miss school?" She replied, "Not really," prompting hearty laughter. And, after posing for some photos together, he said, "Well, very nice to meet you!"

    Other good sports included best director/best adapted screenplay nominee David O. Russell (Silver Linings Playbook), who high-fived several of the nominees as they passed him on their way to the stage, including Lincoln's Kaminski and Django Unchained producer Pilar Savone; best animated short nominee/The Simpsons animator David Silverman (Maggie Simpson in "The Longest Day"), who signed autographs and sketched Bart Simpson for fans for something like 20 minutes on his way out); and best documentary feature nominees Dror Moreh (The Gatekeepers) and Malik Bendjelloul (Searching for Sugar Man), who may be competing in the same category and have the same distributor, Sony Pictures Classics, but who hung out together for much of the afternoon (Moreh told me, "We like each other!").

    Interesting that Naomi got more applause than both Jennifer and Jessica. It supports the theory that she's the Academy's favorite, as she has a long resume and lots of friends among the voters, and the two front-runners are considered too 'green' for the award. Also, can you imagine if Hugh pulled an upset and won over DDL?! This award season is so exciting.

    source: 1,2,3

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    British actor Robin Sachs, best known for his role in the hit TV series Buffy The Vampire Slayer, has died at the age of 61.

    His villainous character Ethan Rayne was the arch enemy of regular character Giles, played by Anthony Head.

    The London-born actor also played the evil General Sarris opposite Tim Allen in Galaxy Quest.

    His ex-wife Casey Defranco called him "a wonderful person, extraordinarily talented as an actor."

    Staff on his official website wrote: "Please join us in raising a glass to Robin - goodbye, dear friend. Thank you for all the laughter and the cookies. We will miss you so very much."

    Sachs' first role was with the British Hammer film studio, in the movie Vampire Circus.

    He went on to play Adam Carrington in the 1991 miniseries Dynasty: The Reunion when the original actor Gordon Thomson was unavailable.

    Sachs worked on several sci-fi shows, with appearances in Babylon 5, Star Trek: Voyager and Torchwood: Miracle Day.

    His stage work included touring productions of Hamlet and Twelfth Night.

    In 1999, he appeared heavily disguised under layers of heavy make-up as the baddie Sarris in the satirical comedy Galaxy Quest, which co-starred Sigourney Weaver and Alan Rickman.

    Later in his career, Sachs provided voices for several video games including Mass Effect 2 and 3 and Resident Evil Damnation.


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  • 02/05/13--13:42: Kate & Rooney in New York
  • Rooney Mara and her boyfriend Charles McDowell step into an awaiting car on Friday (February 1) in New York City.

    The day before, the 27-year-old actress’s sister Kate Mara was spotted looking chic while exiting her hotel for an appearance on Live with Kelly & Michael in the Big Apple.

    Kate tweeted, “Psyched to hang with my favorite #Giant (pun intended) @michaelstrahan today on @kellyandmichael! Talkin bout #HouseofCards.”

    On the same night, Kate wore a little black dress while attending the premiere of Rooney‘s upcoming film Side Effects.


    Rooney will be on Conan tomorrow night and Live with Kelly & Michael on Thursday.

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    Of the 10 women named to Forbes’ 2012 list of the highest-earning models, six are or have been Victoria’s Secret Angels, the elite group of models selected not only for their considerable physical beauty but also for their personalities — and their ability to sell underwear and swimwear to women across the globe.
    At the top of the earnings heap is former Angel Gisele Bündchen, who, with contracts for Pantene, Esprit and Versace, earned an estimated $45 million between May 2011 and May 2012.
    She was joined by these high-profile Angels:

    • Adriana Lima scored fourth place with $7.3 million.

    • Doutzen Kroes claimed the fifth spot with $6.9 million.

    • Alessandra Ambrosio took the sixth slot with $6.6 million.

    • Miranda Kerr garnered seventh place with $4 million.

    • Candice Swanepoel came in 10th with $3.1 million.

    “Becoming an Angel significantly increases a model’s earning potential due to their visibility around the world,” said Richard Habberley at DNA Model Management, which represents Ambrosio, Kroes and Lindsay Ellingson, another VS Angel. “It changes the girls’ careers completely.”

    Carole White, founder of Premier Model Management in London, said, “It was the most massive thing that could have happened to Miranda Kerr. It made her name. Who had heard of her before Victoria’s Secret? They are great at taking a girl — a good-looking model, but a catalogue model — and launching her into the stratosphere. It’s like a modeling medal.”
    But Habberley noted that selling bras and undies can be a tricky business.
    “The merchants drive the decisions on the Angels. They [Victoria’s Secret] try the girls out, and certain girls sell product. They’re women that appeal to other women. And they’re special because they never appear in men’s magazines. Once you start to do that, they become threatening [to potential female customers],” said Habberley.

    Being an Angel opens the gates of opportunity, too. Angels are expected to appear in the annual Victoria’s Secret fashion extravaganza in New York, which in 2012 was broadcast on CBS to more than nine million people. They are also required to appear in ad campaigns, make regular TV and in-store appearances, and pose for Christmas, Valentine’s Day and swimwear catalogues. The exposure often draws lucrative contracts for film and TV — cases in point, former Angels Heidi Klum, Tyra Banks and Rosie Huntington-Whiteley.
    “They put across their personality. They’re very visible,” said Viva London founder Natalie Hand. “Victoria’s Secret is very proactive in media training for the girls, and I have seen girls transformed through the process. There is a trend for girls with character and personality now. Over the last three to four years, clients really want to have VS girls in their campaigns. Ten years ago, it was seen as just so American, but now internationally, it’s a very powerful campaign.”

    This recent sea change in attitude toward the Angels is due in part to British stylist Katie Grand, who met Brazilian Angels Ambrosio and Izabel Goulart at Fashion Rocks in Rio in November 2009.
    “Being Brazilian, they have that sort of jaw-dropping immediate beauty where you just sigh and think, ‘Wouldn’t life be perfect if I woke up looking like that?’” quipped Grand.
    “I then started working with James Lima and Prada on a Prada archive film called ‘The Love Thing,’ and chose to cast Alessandra in that,” mused Grand. “Miuccia, I think, liked the idea of her being [different from] the usual ‘Prada girl’ and cast her, along with Miranda and Doutzen, in her 2010 winter show.
    “It was the same season I cast several Angels in Giles [Deacon’s] show and then also in the Vuitton ‘Bardot’ season. Marc [Jacobs] sent me a text at the beginning of the year, saying, ‘I’m into tits,’ to which I replied, ‘Oh yeah, me too,’ as I’d been doing all this work with Alessandra and the other girls. I love how these girls turn up and are perfection.…They are kind of otherworldly, like a Stepford Wife, like beings from another planet. So perfect.”

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    On 'El Hormiguero'

    At the Mama Madrid Photocall and Premiere

    Waiting for that Nikolaj tag, tbh.

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    Like so many artists before her, Florence Welch (of Florence and the Machine fame) is spreading her wings. Not content to just make awesome music, Florence recently debuted a new jewelry collection and it’s surprisingly cute (lol). Even better, it’s affordable!

    The collection is relatively small for now, but we’re guessing this is just a test run for Florence. So buy something nice for yourself so she will make more! Shop Florence Welch’s jewelry collection, Flotique, in the slideshow.







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    The stars of the ’80s and ’90s are usually happy to play along when talk show hosts insist on referencing their beloved, long-dead projects. But sometimes, those stars just don’t feel like dwelling on the past.

    Take, for example, Saved by the Bell star Tiffani Thiessen, who was unpleasantly surprised this morning when her Today show appearance was interrupted by a surprise guest: Dennis Haskins, a.k.a. goofy Mr. Belding. Please note Thiessen’s face, which looks just how you’d look if your high school principal showed up at your birthday party.

    In the end, Thiessen’s a perfectly good sport about the whole thing — which is just what we’d expect from amiable Kelly Kapowski. The most popular girl in school knows a thing or two about saving face.

    video wont embed, please watch at the source. Extremely awkward. I wonder what happened between them?

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    A black jazz band in the 1930s finds fame, royal patronage and prejudice. Stephen Poliakoff's drama is beautifully shot, but does the music completely convince?

    dancing on the edge

    Hello and welcome to our episode-by-episode guide to Stephen Poliakoff's Dancing on the Edge. Every Poliakoff TV drama is a 24-carat event, and the buildup to this five-parter has been particularly tantalising. We have been promised an "explosive" drama set in the early 1930s that follows a black jazz band as they find fame and royal patronage on the society party circuit. According to Poliakoff, the seeds of the idea were sown a decade ago when he was researching The Lost Prince, and learned that various royal princes championed the cause of visiting jazz bands, with the Prince of Wales, later Edward VIII, even getting to play drums with Duke Ellington's orchestra.

    The cast

    As ever, Poliakoff goes for an intriguing mix of famous names and relative unknowns. John Goodman is terrific as Masterson, the sinister man of wealth with a weakness for young women and random violence. Mel Smith plays against type as the no-nonsense hotel entertainment manager, while the impossibly elegant Chiwetel Ejiofor seems an inspired choice for the lead role of band leader Louis Lester – though, at times, he sounds a bit too posh for his own good.

    Matthew Goode's Stanley is superb as the enterprising music hack from Musical Express, a thinly veiled version of jazz-era Melody Maker. Stanley himself has been loosely modelled on influential journalist Spike Hughes, an early champion of hot jazz. Judging from this portrayal, music journalists of old were a lot better dressed than they were during my spell as a Melody Maker scribe; I can't recall too many girlfriends volunteering to retype my copy over breakfast, either. Unlike any music journalist I've ever known, Stanley also spends more time working than boozing it up down the pub.

    The plot

    Poliakoff doesn't do fast-paced. Famously, the BBC begged him to speed up 1999's Shooting the Past, which of course prompted the writer/director to slow it down even further. At times the first episode of Dancing on the Edge is agonisingly slow. After Stanley discovers The Louis Lester Band playing in a basement jazz club and uses his influence to get them a gig at the once illustrious Imperial hotel, the mostly elderly audience recoil in horror at the sight of black men on the stage and the sound of jazz; the endemic racism of the time highlighted when a society lady demands that her crockery is replaced after one of the band passes by her table. Despite the prejudices they encounter, the musicians are befriended by a pair of progressive socialites who introduce them to upper-class London society and thence to royalty – by the end of this episode, they've won over the Prince of Wales and find themselves on the cusp of roaring success. Meanwhile, the band's manager is facing deportation after losing his identity papers, and Lester is gearing up for a potentially combustive mixed-race affair with photographer Sarah (Janet Montgomery).

    The look

    You expect Poliakoff to look ravishing. The £8.3m budget for this drama buys a strikingly authentic wardrobe and lots of languorous shots in grand locations. If you enjoy long, lingering views down corridors, there is plenty here for you to drool over. The shot of the steam train moodily chuffing through the night was so mesmerising that I dropped a hot bowl of soup in my lap.

    The music

    Poliakoff has described composer Adrian Johnston as his most vital collaborator: "We are aware that we had to make the songs attractive to modern audiences in this new drama." It would be too easy to dismiss Johnston's compositions for the Louis Lester Band as white-bread jazz, the kind that is performed as though Louis Armstrong's Hot Fives had never been birthed. To conclude, however, that Lester's band sound like a slick pastiche of lightweight 30s jazz would be missing the point. It is arguable that an early 30s jazz band performing in swanky hotels to British high society would have sounded exactly like this, hampered as they would have been by the dictates of conservatism. As far as jazz went, England was not quite ready for the hotter brand.

    Jazz had arrived in Britain as early as 1919 when the Original Dixieland Jazz Band headlined the Hammersmith Palais. They were closely followed by the Southern Syncopated Orchestra, which included the mighty Sidney Bechet in their ranks. It was the SSO which first established the link between jazz bands and the English aristocracy that lies at the heart of this drama. The SSO were swiftly adopted by upper-class philanthropists and performed for the King at a Buckingham Palace garden party. In 1923, Paul Whiteman and his band came to London at the invitation of Lord Mountbatten and performed regularly for the Prince of Wales.

    However, even by the early 30s, jazz remained very much a minority interest in the UK. American jazz recordings were hard to come by and prohibitively expensive. The Musicians Union made it notoriously difficult for American musicians to tour Britain. When Louis Armstrong and Duke Ellington arrived here in 1932 and 1933 respectively, they were feted by a handful of jazz aficionados who, quite rightly, treated them as serious artists. Even so, they both struggled to secure regular bookings.

    The black jazz combos in the mould of the Louis Lester Band that toured Britain in the early 30s functioned primarily as novelty acts; sheer light entertainment. They would not have been expected to replicate Armstrong's sizzling hot jazz, for which there was scant demand on these shores. Thus, Louis Lester's jazz is syncopated dancehall music carefully tailored to suit the taste of its genteel audience. Nothing to scare the horses.

    If Lester's band ultimately fails to convince on screen, the problem might well lie with the singers. When casting the roles of the two vocalists, Poliakoff set out to find singers who could act. In landing Angel Coulby and Wunmi Mosaku, he lucked out by discovering actors who could sing. Whether they have any genuine feel for jazz is debatable.

    Hit or miss?

    Much like The Louis Lester Band itself, Dancing on the Edge has yet to open its wings and truly swing. We were promised "explosive", but Poliakoff's dramas are not renowned for their explosive starts. Instead, he prefers to seduce his audience by stealth and offbeat cunning. At this stage, I am halfway seduced and looking forward to some of the darker plot twists that have already been hinted at. Four episodes to go. There is still plenty of time left for this show to pick up and swing.

    Dancing on the Edge, episode 2, is on BBC2 on Tuesday 5 February at 9pm.


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    Bruno Mars did really well with his affable TV hosting appearance on Saturday Night Live a few months ago, and now WE TV is banking on his sibling’s being just as awesome on television. The network is developing an unscripted reality series following Mars' four sisters: Jaime Kailani, Presley, Tahiti and Tiara.

    Apparently, the four Hawaiian ladies want to follow in their brother's footsteps in the music biz. The show will be called The Lylas, a title that is named after the girls’ band and should not be confused with L.Y.L.A.S, the band that later became known as Fifth Harmony during the most recent The X Factor competition. The docuseries will follow the girls as they make the big move from Hawaii to Los Angeles to pursue their dreams. This isn’t as unrealistic as it may seem, as the girls are moving to produce their debut album. They have also already put together a single that’s not half bad. You can check out the song, called “Come Back,” below


    According to THR, the unscripted series will be produced by Asylum Entertainment to air on WE TV as part of the networks newly aggressive development slate. If you are unfamiliar with the network, We TV produces plenty of other reality television, including the popular Bridezillas and Braxton Family Values. Hopefully, The Lylas will be a little less dramatic than some of its network counterparts. Three young ladies trying to make it in a tough new environment? Nah, that doesn’t sound like it will produce any drama drama, at all.


    Side-eyeing this reality show nonsense, but it appears that some kind deity is granting my wish for a new wave of Girls' Groups


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    Wholesome auntie and nurturing mother-to-be Kim Kardashian has shown the world the force of her maternal instincts today by posting a giant photo of her ass. The old-school Instagram pic posted this afternoon by Ms. Kanye West was labeled "My little Mason!!!!" and the image indeed bore a glimpse of the side of the tot's face, plus Kim's sister Kourtney. But it was clear the middle Kardashian isn't one to let an adorable child attract from the real focus at hand — her bangin' booty. The faux-kid pic sparked an instant boom of laughter ("C'mon Kim Kardashian you're not even holding mason,""lol we were born at night not last night hahaha") as users called her out on the flagrantly non-child-centric image. Once they were done staring, of course.

    Damn, Kim! This honestly had me rolling.

    Source + Source

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    Here is the FULL Beyonce Superbowl Illuminati rundown, as referenced from this post.

    The 2013 Super Bowl featured the Sandy Hook chorus, Jennifer Hudson, Alicia Keys, Beyoncé, a whole bunch of advertisements and, oh yeah, a football game. While things were not as overt and in your face as last year’s half time show/celebration of Great Priestess Madonna, there were nevertheless a a lot of Illuminati Agenda-pushing going on. Here’s a recap of the noteworthy elements that occurred in the 2013 Super Bowl, the TV event of the year.

    The Sandy Hook Chorus

    Jennifer Hudson sings with the Sandy Hook Chorus … a group that was NOT created by the young kids that are part of it.

    As described in my recent article, Sandy Hook Survivors Are Made to Sing “Over the Rainbow” to Commemorate the Shooting, children that survived the shooting are currently being used in all kinds of media events. A few weeks ago, they recorded Over the Rainbow (an MK-Ultra trigger song) and were made to perform on live television. For the Super Bowl, the Sandy Hook Chorus was sent to New Orleans to sing before 70,000 spectators and millions of TV viewers. Why? Why do we keep bringing this horrible shooting to the center stage? To remind people that “gun control is good”? Isn’t it very sad and ironic that these kids must sing America the Beautiful after witnessing a horrible massacre, one that might have been caused by a mind-controlled patsy? Why are these kids being booked and flown to all kinds of nerve-wrecking mass media events? Is this still part of their “healing process”? Why are they being mixed with the Illuminati entertainment industry? Shouldn’t they be home with their friends and families instead of being under the spotlight? The exploitation of their image is rather unsettling.

    The performance was led by an industry-favorite, Jennifer Hudson -  aka the “new Whitney Houston” – who is always chosen to perform in important occasions. Hudson also survived a strange and terrible tragedy, with the triple-murder of her mother, brother and nephew in 2008.

    The Half Time Show

    The best word I can use to describe the half-time show is “Beyoncé-ish”. It was like, sooooo Beyoncé. After “singing” (kinda) at the Obama inauguration, Beyoncé was again the star of a major event. No need to say that she’s an industry favorite, a figure-head of the Illuminati music industry. As described in several articles on this site, the symbolism in her work clearly indicates who she is working for. While her half time show was not the big, pharaonic occult display of Madonna’s 2012 show, we still witnessed the mind-control symbolism that is usually part of Beyoncé’s material.

    The entire show focused on duality and the multiplying of personalites, two concepts that are extremely important in Monarch mind control (read the article Origins and Techniques of Monarch Mind Control if you don’t know what I’m talking about).

    The first and most visible cue to the concept of duality and alter-personas is the stage itself which consists of two faces that somewhat look like Beyoncé.

    The stage is made up of two faces mirroring each other, an image evoking duality and multiple personalities.

    The first part of the show contained a combination of symbols and visual effects that refer to the concepts of duality and multiple personalities.

    At the beginning of “Baby Boy”, Beyoncé dances in front of a black and white background (a representation of duality). Through video effects, she then “multiplies herself”.

    Here we see one black silhouette (which is Beyoncé, the “core” personality) and two white silhouettes (alters personas?).

    The two white silhouettes turn into real human Beyoncé look-a-likes who dance with her for a while. We then see a lot of lights flashing and confusing effects, making us wonder who is the real Beyoncé. The blurring between reality and illusion is a focal point of mind control and is aptly displayed here.

    Even the saxophone girl, with her Masonic checkerboard pattern dress, conveys the concept of duality.

    At one point, the screen behind Beyoncé displays the classic symbol representing the fracturing of personalities, one that is almost ALWAYS part of MK-themed narratives.

    The screen that displayed alter personas and dualistic patterns shatters (emphasized with a loud sound effect), a symbol indicating the fracturing of persona in MK symbolism.

    The first part of the show was therefore all about duality and multiple Beyoncés. Then, the group Destiny’s Child was randomly brought back from the late-90s to sing along with one of Beyoncé’s solo hits. During Single Ladies (Put a Ring on It), Beyoncé briefly flashes a hand sign – one that readers of this site probably already know all too well. This gesture generated a lot of media attention.

    Beyonce flashing the “ROC” hand sign.

    Quite a few mainstream websites such as Yahoo! and Huffington Post published articles about this hand sign, asking if Beyoncé was “flashing an Illuminati symbol”. These articles however all come to the same conclusion: Beyoncé was doing the ROC sign to shout-out her husband’s label (duuuh) and everyone who thinks otherwise is a moron. Many of the articles then provide a quick, half-assed recap of what the Illuminati is, making sure to distort many facts to make the whole thing seem completely idiotic. This trend is becoming increasingly appearent on the web and mass media.

    I admit that the mainstream sources are right: This hand sign is indeed the “ROC sign”. But here’s my question to these “journalists”: Where does the ROC sign come from? What does it represent? Why does a label named Roc-A-Fella (a nod to the Rockefellers, one of the most powerful Illuminati elite families) uses a triangle hand sign to represent itself? How about going a little further than the obvious superficial answer for a change, mainstream media?

    The ROC hand sign refers to the All-Seeing Eye within a triangle, the ultimate Illuminati symbol.

    In Judaism, the gesture is known as Kohanim hands Priestly Blessing. It is depicted here on 18th Century grave.
    The hand sign is not random. It signifies something and flashing it during the Super Bowl tells a lot about who is running the show.

    Also, to respond to the ridiculous claims of those mainstream articles: No, Beyoncé and Willow Smith are not IN the Illuminati. They are USED by the Illuminati-owned music industry to push an elite agenda. Pop artists are pawns who signed a contract binding them to the elite and requiring them to do their bidding. Most readers of this site know this already, but there is growing push in mainstream media to discredit “conspiracy theories” by writing stuff like “Look at these idiots who think that Beyonce is part of an 18th century secret society”.

    Anyhow, let’s look at the rest of the Super Bowl.

    Lights Out

    During the 3rd quarter of the football game, half of the lights go out. It was caused by a mysterious “anomaly” that caused the system to shut down.

    Half of the SuperDome’s lights are out. Notice the Mercedes-Benz logo.

    Considering the Illuminati sub-text of the event, I cannot help but think about the occult pseudo-meaning of having half of the stadium basking in light and having the other half being in darkness. I am not saying this happened on purpose, but it is still an interesting synchronicity. One thing is for sure, the “glitch” energized the 49ers, who scored a few touchdowns and got back in the game. All of a sudden, this lost cause became interesting and the fourth quarter was rather … thrilling. Apparently, Mercedes-Benz knew that would happen.

    This Mercedes-Benz magazine ad was eerily correct.

    While the ad seemingly refers to the fourth quarter of the fiscal year, the literal meaning of the ad is still perplexing, considering what happened at the game.

    If we combine this ad with the one I described in The 2013 Mercedes Super Bowl Commercial and its Occult Message, one can at least say that Mercedes-Benz brought a lot of strangeness to the SuperBowl.

    In Conclusion

    While things were somewhat more subdued and abstract in this year’s SuperBowl (versus the 2012 edition), there were still many elements that went right along the Agendas described on this site. When we combine all of the elements together, we realize that there’s a common and reoccurring theme going on, one that points directly to the “hidden hand” of the Illuminati and its many Agendas.

    The mass media coverage of Beyoncé’s Illuminati hand sign, also reflects a new trend: Mass media are now directly addressing, discrediting and ridiculing “conspiracy theories” (I hate that term) in order to make sure that people do not start thinking too much about the strange things they are witnessing on TV. Media coverage of Sandy Hook also followed that trend as several TV personalities went on air to “debunk” the theories. Fortunately for the powers that be, most people still teared up when they saw the Sandy Hook chorus standing in the middle of the SuperDome, singing about how America is beautiful. Yes, America is beautiful, but the elite that run it, and who exploit people’s lives and emotions to push their own Agenda, is most definitely not.

    Oh yeah, and the Ravens won the game.


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