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Oh No They Didn't! -

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    We all saw the beautiful ladies of RuPaul’s Drag Race shoot their perfume ads last Monday night, and now we have the finished product. WERK!

    Watch above to see the ladies giving major face, and scent, in these provocative new campaigns.

    Do you think the right queen won?


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    She is unlikely to swap her chauffeur-driven car for the normal morning commute.

    But just in case, the pregnant Duchess of Cambridge was given one of London Underground's famous Baby On Board badges when she visited a bustling tube station today.

    The lapel badges are available free to expectant mothers using public transport as a gentle hint to fellow travellers to offer them their seat and behave, well, in a slightly more courteous manner.

    Laughing Kate, who was wearing an extremely short teal coat by designer Marlene Birger, which displayed her blossoming bump, a took the gesture in good spirits as she turned to the Queen and said: 'I will have to wear it at home!'

    The Duchess, who is expecting her first baby in July, was accompanying the sovereign on her first major engagement since she fell ill with a crippling bout of gastroenteritis almost three weeks ago.

    The 86-year-old monarch looked paler and more drawn than normal but otherwise remarkably well in a cream 'summer tweed' dress and coat by Karl Ludwig and an Angela Kelly hat.

    Her trip to Baker Street station, just yards from the birthplace of fictional detective Sherlock Holmes, had been organised to mark the 150th anniversary of the London Underground.

    It is third time that Kate has accompanied the Queen on a public engagement without her husband, Prince William. Sources said there was 'no special reason' that the Queen had invited the Duchess to join her but just 'very much liked' to include her on occasions when their diaries allowed.

    Accompanied by a sprightly looking Duke of Edinburgh, the two senior royal women arrived at 11.10am to the astonishment of passers-by and commuters alike.

    It was clearly a good day to get a seat on the Metropolitan Line, as waiting travellers ignored the arriving trains in order to catch a glimpse of the royal party - and loudly booed each time one pulled into the station and blocked their view.

    After meeting staff in the ticket hall, the Royal Party moved downstairs to Platform 1 - the Northern-bound Metropolitan Line - where they were invited to walk through a new S7 train which is being rolled out on the underground and boasts walk-through carriages and air conditioning. The Queen later unveiled a plaque, naming the train 'Queen Elizabeth II'.

    Afterwards, much to the delight of the Duke of Edinburgh, the group were invited to view a restored 1892 'Jubilee' coach, the oldest operational carriage in the world, which was variously used a shed and a shed and a workshop before being rescued by London underground in 1974 and restored.

    It is not the first time the Queen has been on the London Underground - she first travelled on a tube at the age of 13 in May 1939 with her sister, Princess Margaret, and their governess.

    And during the visit Kate revealed she had been an regular traveller on the tube until her marriage to the future king.

    London Underground's chief operating officer Howard Collins who presented Kate with her 'Baby on Board!' badge, revealed: 'She told me "I used to use the tube on a regular basis". She doesn't travel on the tube now because of her new role, unfortunately.

    'She said she rather missed it and asked lots of questions about the new trains, particularly the air conditioning which she said would make it much more pleasant to travel in the summer.'

    He added: 'She seemed delighted with her Baby On Board badge and said: 'Oh yes I've seen this before - how do they work?'.

    'We have been issuing them for the last 10 years and I explained how fantastic they were and how they really do make a difference - saves men the embarrassment of having to guess if a woman is pregnant.

    'She asked so many great questions of the staff and seemed really interested our work.'

    The Queen did not leave empty handed either and was presented with a commemorative Oyster Card, to the cheers of the waiting crowds.

    Baker Street was part of the first stretch of the world-famous Tube network Paddington and Farringdon which opened on January 9 1863.

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    Little Mix are either going up in the world or Missy Elliott is going down after the stars collaborated in an unlikely duet.

    The former X Factor champs said they were in shock after the Work It rapper agreed to team up with them for their new single ‘How Ya Doin?’

    ‘We honestly can’t believe Missy is on our song! She’s been one of our biggest idols forever – it’s incredible,’ said 21-year-old Jesy Nelson.

    ‘As soon as we thought there might be a chance she’d appear on the track we did literally everything we could to make sure it happened.’

    The rap support from the 41-year-old superstar gives the British girlband a welcome boost as they attempt to crack America and the rest of the world this year.

    The stars are set to release their album DNA globally before performing on both sides of the world in Australia and America.

    ‘How Ya Doin?’ featuring Missy Elliott is out on April 14.


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    Anyone who’s listened to much of Rush Limbaugh’s conservative radio show knows he isn’t exactly an ally of women.

    He’s said that feminism is a ploy to get “unattractive women easier access to the mainstream of society,” called a female law student campaigning to get birth control covered by health insurance a “prostitute,” and most recently poo-pooed the Violence Against Women Act. So it was no surprise that, this week, he picked a new female target, one known the world over. Not Hillary Clinton. Not Nancy Pelosi.

    He took on Beyoncé.

    Seems that while many of Bey’s previous songs like “Single Ladies (Put a Ring On It)” and “Run the World (Girls),” extoll the virtues of girl power, Limbaugh claims that the pop star’s latest single, “Bow Down/I Been On” is all about bowing down to men.

    The 62-year-old got on the topic thanks to a recent opinion piece that ran in Britain’s The Telegraph, in which author Felicity Capon writes that Beyoncé’s global sisterhood message has changed recently, thanks to the tune “Bow Down” and the fact she’s named her upcoming tour “The Mrs. Carter Show” (in a nod to hubby Jay-Z’s last name).

    Here’s an excerpt from the transcript of Limbaugh’s Wednesday show: “She's got a new song. Can I say it? It's on the popular charts. ‘Bow Down, Bitches’ is the new tune. A total 180. Beyoncé's now saying, ‘Go ahead and put up with it,’ and you know why? I'll tell you why. Because she got married. She's married to [a] rich guy. She's even calling herself Mrs. Carter on the tour. She has shelved Beyoncé. She's no longer being called that. She's gonna call herself Mrs. Carter on the Bow Down, Bitches Tour. That's the title of the single that's fronting the tour. The advice to these women is, ‘Go ahead and put up with it. Put up with it now. Bow down, bitches," because why? She got married. She married the rich guy and she now understands. She now understands it's worth it to bow down, and so now she's passing on this advice.”

    On Thursday,the radio host addressed the media coverage of his rant, blamed “the left” for attacking him, and stood by what he said. “I made up nothing. I didn't create a phrase. I didn’t create the title of a song,” he said on the show. “I just read what was in this U.K. story. So in essence what I did, I held up a mirror to the left, and they saw themselves, and now they're attacking me for doing this.”


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    Features two new verses from Kendrick.

    (with some new scHoolboy q at the beginning, oH sHit!)

    Sources: 1, 2

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  • 03/21/13--19:08: Glee: "Shooting Star" promo
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    and I've saved the best for last


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  • 03/21/13--19:31: Rap Music Needs Iggy Azalea

  • On racism, class warfare, rap’s 21st century realities and Iggy Azalea’s rise to superstardom

    Fraught with the strife of chafing against the idea that in hip-hop culture’s 49th year that “real” anything in rap music is more marketing ploy than absolute reality, the culture’s purists are missing out on an emcee who is quietly developing into one of the genre’s potential best of all time. 22 years ago, a future rap superstar was born Amethyst Amelia Kelly and raised in the most unlikely of places – a mud brick home on a 12-acre farm in New South Wales, Australia. However, it wasn’t until she reached the age of 16, with “no money, no family…in the middle of Miami” that Iggy Azalea began her incredibly slow and arguably what will be an incredibly successful climb to global super-stardom. In an era where rap music has literally become everything to everyone, it’s in being the queen of the fringes of hip-hop where Azalea succeeds. Moreso than Nicki, moreso than Angel Haze, moreso than Princess Superstar or anyone else you’d care to mention, Iggy Azalea is best poised to excel as the heroine that can possibly unify rap’s oddball and often disrespected extremes with it’s incredibly pop present, presenting an unparalleled and incredible future.

    If central casting were to find pop music a rap superstar for the next generation, they wouldn’t come close to finding Iggy Azalea, and that’s why she works. Pop trendsetters will tell us that Iggy Azalea should be Nicki Minaj or Angel Haze. Nicki and Angel are both brown, American, sensual and outspoken. Their styles trend into electro and trap, and both are comfortable with being uniquely wild and artistically progressive, both clear necessities in this ultra-creative age. However, in having everything on paper, it’s what Azalea has in reality that separates her from the rest. She’s a physically attractive and starkly pale Australian from the Earth’s edge. There’s something unique about Australia in that being technologically very plugged in while being physically very removed allows for an interpretation of American culture that seems like it exists in a truly idealized reality; rap in a snow globe. When you study Azalea’s career-to-date, it’s in simultaneously living in two atmospheres – still seeing rap’s history in an idealized manner and also learning and excelling in America – then combining them into a potent rap reality, where she has set her standard for excellence.

    Blond-haired Azalea rapping next to T.I. in the in-studio video for the female emcee’s 2012 single “Murda Bizness” with the most put-upon of stereotypical Southern cadences would be offensive as hell if she were born in America. However, she’s not, so it’s stands as possibly one of southern rap’s greatest victories that when presented with a plethora of templates from which to choose, the admitted teenage rap fanatic chose to spend a career mimicking Tip Harris. Azalea’s father was a painter and comic artist, and this upbringing shines through in her work-at-present. The same reason we as a critical hip-hop culture wag a finger at Baauer’s “Harlem Shake” should be the reason we accept Azalea with open arms. Baauer attempted to mirror hip-hop culture and got it wrong, but with one helluva right track. Azalea mirrors hip-hop culture and so far, has always gotten it right, with amazing rap-tinged tracks, to boot.

    Rap needs Iggy Azalea to save itself from five (or more) years of shaking its head and wringing its hands at a world of post-racial youth now believing that devaluing race and class in the creation of ghetto fabulous and hood rich “real trap shit,” plus other rap traditions to follow is absolutely okay. It ultimately is, but given America’s (and rap music’s too) perilous traditions in racism and class warfare, we absolutely need someone so alien to who we are and what we’ve become to reflect our realities back to us. Ultimately, Iggy Azalea is important because she makes sense of hip-hop culture’s past and present, and gives us a clear window to an amazing future.


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  • 03/21/13--19:52: How Justin Became King
  • Timberlake is the only male pop star worth talking about, so why has it taken so long to acknowledge his genius? In Newsweek, Andrew Romano on the man preternaturally in tune with the times.

    Justin Timberlake is our biggest male pop star. I realized this for the first time the other day. It hit me during the final leg of Timberlake’s dizzying campaign to promote The 20/20 Experience, his first LP in nearly seven years, which comes out March 19. He’d just hosted Saturday Night Live and was about to begin a weeklong stint on Jimmy Fallon; at that point I half-expected him to burst forth from my recycling bin with a winning smile and stack of CDs under his arm. I’m not sure why it took me so long to size up Timberlake’s stardom. Beyoncé, Taylor Swift, and Rihanna are bigger, of course, but they are very much not boys. Usher is a bore these days. Bruno Mars could evaporate at any moment. And Justin Bieber is still trapped in Tiger Beat territory. Timberlake is all we have.

    And yet for some reason we have been slow to acknowledge his place in the pop cosmos—not just me, but the culture at large. Most of the talk about Timberlake still centers on his improbable transformation from *NSYNC puff pastry—tight blond curls, paint-splattered jeans, matching diamond studs—to a credible, grown-up R&B artist. But the metamorphosis itself is old news. What hasn’t been adequately examined is the position he now occupies as our era’s equivalent of a Michael Jackson or an Elvis Presley, as strange as that sounds. I’m not just referring to the 17 million records Timberlake has sold, or the seven inventive, unshakable singles he’s released since the start of the 21st century. Every star reflects the generation that produces and sustains him: its character and its neuroses, its needs and its wants. So why have we settled on Justin Timberlake?

    First things first: his talent is undeniable. At 2, he was singing along to the radio. “Is anyone listening to him?” his uncle asked. “He’s singing f--king harmony parts!” Later, Timberlake locked himself in his room, switched off the lights, and listened to Queen’s “Bohemian Rhapsody” for 48 hours straight. “I’d only come out for food or water,” he recently recalled. “I wanted to dissect every part of it.” He may have been the youngest member of *NSYNC, but he was also the most musical; as Pharrell Williams of the Neptunes told Rolling Stone in 2000, “to say that he’s got soul is something you expect me to say, but it’s true.” Timberlake proved Williams right. His first two albums were remarkably consistent, and remarkably good, and the new one extends the streak: inventive production; precise, supple vocals; relentless hooks. “Pusher Love Girl,” with its strutting beat, Curtis Mayfield falsetto, and crafty central metaphor (lover = drug dealer), will sound particularly excellent on the car stereo this spring.

    That said, plenty of contemporary performers—like Robin Thicke, for one—were blessed with talent. None of them are Timberlake. The reason, I think, is that his persona, and his taste, are preternaturally in tune with the times. At root, this has as much to do with biography as anything else: the contours of Timberlake’s life mirror every Millennial trend line. An estimated 40 percent of us are children of divorce, Timberlake included; his mother, Lynn Harless, split up with his father, Randy Timberlake, a bluegrass bassist, when Justin was 2. She and her second husband, Paul, went on to co-manage their son’s career—the ne plus ultra of helicopter parenting. By all reports, Timberlake and his mother have one of those peculiarly Millennial relationships in which the line between parent and pal is blurred. He lived with her even after his solo debut, and the two have been seen smoking pot together. “I had Justin when I was 20, and he seemed about 20 when he was born, so we’ve pretty much shared everything,” Lynn has said. “We’re weird like that. But there’s a lot of stuff he starts telling me about ... Some things you are not supposed to say to your mother. Sexual things. And his response is usually, ‘Oh, Mom, just listen.’”

    Timberlake has handled his career like a stereotypical Millennial as well, accepting the system as it is and making it work for him—unlike the baby boomers of the late 1960s, who relished their own anti-authoritarianism, and the Generation Xers of the late 1980s and early 1990s, who struck an alt-everything pose. First came the Baptist choir in Millington, Tenn., at age 8; then Star Search in Orlando at 10; then The All New Mickey Mouse Club at 12; and (finally!) a corporate record contract with *NSYNC at 14. He is the Organization Kid as pop star, and like many of his peers, he has multitasked his way through his 20s, diversifying into comedy (the SNL “Dick in a Box” sketch), film (The Social Network, Friends With Benefits), fashion (his William Rast clothing line), food (his Southern Hospitality BBQ restaurant), and media (his $35 million investment in MySpace). In a subtle, subconscious way, these familiar tendencies make Timberlake seem “real” to us—like someone we know.

    For all the futurism of Timbaland’s productions—the bleeps and blips, the percussive mouth noises, the zippery loops—Timberlake’s music also strives to keep it real, mainly by anchoring itself in the organic sounds of the past. As Simon Reynolds recently wrote in Retromania, pop culture is increasingly feeding on its own history. And so “Suit and Tie” borrows its gentle ninth chords and sparkling piano glissandos from the cosmopolitan soul that Marvin Gaye was putting out in the 1970s, and Timberlake acknowledges the debt by quoting the “hot just like an oven” line from Gaye’s “Sexual Healing.” “Senorita,” the fourth single from Justified, is a direct descendent of Stevie Wonder’s “Don’t You Worry ’Bout a Thing,” from its spoken intro to its Latin beat. And the only thing more Jacksonesque than Timberlake’s debut release, “Like I Love You”—which he performed at the 2002 MTV Music Video Awards in black pants, a red shirt, and a fedora—was his third single, “Rock Your Body,” an actual rejected Jackson track. Fearing inauthenticity—the inevitable side effect of a dematerialized digital society—Millennials gravitate toward styles that have been authenticated by the passage of time. When Timberlake sings about getting “all pressed up in black and white,” then appears at the Grammys in a Tom Ford tuxedo—his hair neatly parted, his band arrayed behind Art Deco podiums, the screen tinted like an old sepia-tone photograph—he is satisfying this desire, both in himself and his audience.

    Race has also played a role in Timberlake’s rise. It’s fair to attribute some of his success to the same dynamic that propelled Elvis Presley to the top of the pop charts: white boy plays black music, makes it “safe” for mainstream America, and outsells the originators in the process. But Timberlake’s relationship to race reflects our world more than Presley’s. Elvis was a rebellious figure: a white Southerner tapping into black culture at a time when black culture was taboo. For that reason, among others, he’ll always be a much more revolutionary artist than Timberlake. (So will Jackson, who melded black and white music and united two previously segregated audiences.) But in 2013, African-American culture is no longer forbidden. It’s mainstream. It’s cool. Timberlake takes this for granted—he’s never known otherwise—and so do his fans. As a teenager, Timberlake wanted to be black, basically. He learned to sing from Brian McKnight, Al Green, and Donny Hathaway; early profiles describe his “homeboy delivery” and “hip-hop flavoring.” As Pharrell Williams once put it, “Justin could’ve been raised in the black church.” And so, unlike Elvis, Timberlake isn’t challenging the status quo by singing R&B. Instead, he is embodying our deeper, postracial aspiration—a desire that didn’t exist in Elvis’s day—to be at ease in black and white culture simultaneously. If he can pull it off, perhaps we can, too.

    Ultimately, the heart of Timberlake’s appeal may be this comforting, consensus quality. The past is still part of the future. Race isn’t as problematic as it seems. And lest I get too carried away: we can all shine on the dance floor. That was the point, after all, of “SexyBack,” Timberlake’s twitchy 2006 masterpiece, which celebrated the singer’s valiant efforts to resurrect “sexy” itself—to save it from “them other boys [who] don’t know how to act.” “I don’t really think I’m bringing sexy back,” Timberlake once confessed. “But when a 28-year-old male or female is standing in a club in New York City at 2:30 in the morning and that f--kin’ song comes on, I want them to feel like they are.” For a self-regarding generation—the stars of Twitter, the celebrities of Facebook—what fantasy could be more intoxicating than that? Justin is just like us—and for the next few minutes, we are just like Justin.


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    Tina Fey dusted off her impersonation of former vice presidential candidate Sarah Palin to answer some questions on Bravo’s “Inside the Actors Studio,” offering hairstyling tips for women in her Palin persona.


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    After Kelly Clarkson scored another Top 20 hit with "Catch My Breath," the pop star is set to release another single from her "Greatest Hits: Chapter 1" collection next month. The equally inspirational "People Like Us" will impact pop and adult pop radio on Apr. 8, as the second official single from the album.

    "Greatest Hits: Chapter 1" contains three previously unreleased tracks: "Catch My Breath," "People Like Us" and the Vince Gill collaboration "Don't Rush." "People Like Us" reunites Clarkson with producer Greg Kurstin, who recently worked with artists like P!nk and Tegan and Sara, and who helmed Clarkson's latest No. 1 hit, "Stronger (What Doesn't Kill You)."

    "Catch My Breath" is still holding strong on the Hot 100, clocking in at No. 24 on last week's tally after peaking at No. 19 and becoming her 14th Top 20 hit. The single has sold 1.2 million downloads, according to Nielsen SoundScan.


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    DOCTOR Who bosses are lining up Matt Smith’s exit for Christmas — when he will regenerate into the 12th Time Lord.

    Insiders say the festive special will be Matt’s last outing as The Doctor, after a triumphant four years in the role.

    The actor has made no bones about his ambition to crack Hollywood and has filmed new movie How To Catch A Monster with Ryan Gosling, which is released next year.

    Sources say bosses already have an idea of who they want to replace him, with work on the special due to get under way later in the year.

    Matt’s contract is understood to expire in November but we understand he doesn’t want it renewed.

    Filming on the 50th anniversary episode, airing in November, will begin next month.

    Matt refused to commit to a Doctor Who future beyond Christmas when interviewed on Jonathan Ross’s show last week.

    He said: “I am very happy doing it. I do the anniversary special, then the Christmas special. At the moment it’s 2013 and we will see what 2014 holds.” An insider said: “Matt has told bosses he wants to bow out at Christmas.”

    Matt was little known when he signed up for the role in 2009, bagging a £200,000-a-year deal. It’s thought he now earns £1million a year — the same as previous Time Lord David Tennant when he left.

    Last night, the BBC said in a statement: “Sorry folks but even we don’t know what’s going to happen at Christmas. It’s not been written yet! But Matt loves the show and is to start filming the unmissable 50th anniversary, and the new series starting on Easter Saturday.”

    I'm not surprised if this true, I honestly think the only reason Matt is still here this year is for the 50th anniversary. But he also literally just said in an interview that he wasn't leaving, but I believe the same thing more or less happened with David, so it could still be true. We did this same song and dance with David, so. Still, I'mma need some more concrete receipts. Also TAKE MOFFAT WITH YOU, MATT, PLZ LORD. and yes i know the pic has nothing to do with doctor who but it was the first pic of matt that came up on google where his hair didn't bother me or the pic was too small DEAL WITH IT

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    Wait, THAT'S what “ride it, my pony” really meant?!

    1. Spice Girls, "2 Become 1"

    WHAT WE OVERLOOKED: I need some love like I never needed love before / Wanna make love to ya baby / I had a little love, now I'm back for more / Wanna make love to ya baby

    2. Third Eye Blind, "Semi-Charmed Life"

    WHAT WE OVERLOOKED: Doing crystal meth / Will lift you up until you break...How do I get back there to / The place where I fell asleep inside you

    3. 50 Cent, "Candy Shop"

    WHAT WE OVERLOOKED: If you be a nympho, I'll be a nympho / In the hotel or in the back of the rental / On the beach or in the park, it's whatever you into / Got the magic stick, I'm the love doctor
    Via: 50centsbestfriend

    Madonna, "Like A Prayer"

    WHAT WE OVERLOOKED: I'm down on my knees / I wanna take you there

    Ginuwine, "Pony"

    WHAT WE OVERLOOKED: Girl when I break you off / I promise that you won't want to get off / If you're horny, let's do it / Ride it, my pony

     TLC, "Ain't Too Proud To Beg"

    WHAT WE OVERLOOKED: Two inches or a yard rock hard / or if it's saggin' / I ain't too proud to beg

    More @ Source

    LLLOOOLLLL I remember getting into so much trouble for singing Ain't Too Proud To Beg

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  • 03/21/13--20:59: American Idol Top 9 Results!

  • Bottom 3:

    Devin Velez

    Amber Holcomb

    Paul Jolley


    Paul Jolley

    Good riddance tbh. Jessica Sanchez was amazing! I had no idea she was modeling. A girl is definitely winning this season.


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    For all the hype and buzz Game of Thrones gets, it’s a little surprising to realize how little of our time we spend actually watching the show. Each season consists of a measly ten one-hour episodes, aired over ten weeks. And while those individual installments are jam-packed with drama and action, that still leaves 42 other weeks of the year with no Game of Thrones at all.

    No doubt that means plenty of fans would be eager to spend a lot more time in Westeros if only they had the chance. And HBO is apparently considering giving it to them. In a recent interview, author George R.R. Martin revealed that there have been some talk about the possibility of a Game of Thrones prequel series, maybe based on his Dunk and Egg novellas.

    At the recent Game of Thrones premiere event, IGN got to ask Martin about the other shows he was developing with HBO under his overall deal. While he kept things pretty vague for the most part (“I can’t spill them here on television, but they’ll be dramas”) he was able to chat about the possibility of a Game of Thrones prequel series.

    Well, I have been writing for a number of years a series of novellas set in the same world, the world of Westeros, but a hundred years earlier, about two characters called Dunk and Egg. And I published three of those novellas, The Hedge Knight, The Sworn Sword, and The Mystery Knight, and I have in mind about nine or ten more novellas about the adventures of Dunk and Egg.

    So we have been playing with the idea of doing those as prequels. They would be prequels, in a sense, they’re a hundred years earlier but in the same world. They’re somewhat lighter in tone than the main series, a little more adventurous. But my fans love them and I love the two characters too, and it all ties into Westeros history. So maybe that will be what we’ll do.

    IGN made sure to clarify that Martin was talking about the prequels “in terms of a series,” to which he responded “Yeah. Yeah.” It’s not confirmation that a Dunk and Egg series will actually happen, but it’s interesting to see that HBO is even considering it. Would you watch a Game of Thrones prequel on HBO?


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    This episode looks so good. It's based on Sarah Chalke's son. Today's episode was really good, too. I loved Meredith's patient, she reminded me of Meryl Streep.


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    Using the fingers of only one hand, take a moment to count the number of lesbian or gay seniors you see on television each week. When finished, you'll probably find that you still have enough free digits to smoke a cigarette and sext your boyfriend. The longstanding invisibility of LGBT seniors in the media is no accident, as I discovered when one of the world's largest talent agencies tried to turn my "scandalous" memoir, Postcards From Palm Springs, into a scripted television series. There were lots of hosannas about my skill as a writer, but the axe always fell on the side of "no deal."

    The Hollywood equation is this: Old + gay = doubly niche. There is simply no market for that. The Zeitgeist has spoken: "Buh-bye now." So like any good, slightly miffed writer, I decided to put the whole sordid, saddening story down in black and white in Hollywood or Lust, my newly released sequel to Postcards. Yet while I was diligently kicking the desert sands, typing my way toward a dénouement of defeat, redemption arrived like Dudley Do-Right in the form of an open-call audition for a Canadian reality series.

    You know Canada. It's that country to the north that actually provides universal health care for its citizens, is socially progressive and has sufficient petroleum resources to avoid pandering to potentates while uttering platitudes in Farsi. My audition ultimately led me to the 13-episode reality series Golden Gays, which debuts on the Canadian network Slice on Friday, March 22, at 10 p.m. ET. Filmed entirely on location in Palm Springs (which may be the gayest city in America), the show has it all: lipstick lesbians, butches, drag queens, authors, bears and leather men acting out their own psychodramas under the desert sun. As the show's Carrie Bradshaw and self-described "trophy geezer," I provide the voiceover narration that keeps the cast's out-of-the-box shenanigans from descending into chaos.

    Regardless of the show's ultimate success, the significance of Golden Gays lies in the fact that it is the first television show in history to focus on the lives of lesbian and gay seniors. By definition, this is groundbreaking television. Lesbians and gay men who came out of the closet in the early '70s, as I did, had no role models. Although we probably didn't realize it at the time, we not only took on the task of defining a new way of being in the world but had to reshape society and force the culture at large to make room for us. Until now, no generation of individuals could say that they spent an entire lifetime leading an openly gay lifestyle. It just wasn't possible. After decades of pioneering by being, we must now define what "old and gay" looks like; we never had role models for that. Golden Gays finally puts a face on gay aging. Win, lose or draw, gay seniors have a place at the table at last.

    It's too soon to tell exactly where this is headed, but personally, I have my sights set on shooting my own gay geezer rap video. That Gangnam Style stuff is so last year. And at 62, I can still bust a move.


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    On this week's Ask Amy, Poehler discusses how to cope with moving on and saying good-bye in life. Also, ginger prince Abel makes an appearance.


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    Amanda Bynes really has a thing for Drake.

    She also has demonstrated that she has no filter on her Twitter account, sharing her new look which now includes cheek piercings. Less than an hour ago, she combined the two, tweeting at Drizzy to let him know that she wants him to "murder her vagina," leaving very little room for interpretation.

    Drake has yet to respond to the tweet. Meanwhile, Bynes subsequently tweeted that she is "twerking out." Does this mean that she is planning to follow Miley Cyrus' lead? At this point, nobody knows but Bynes herself.


    what celeb do you want to murder your vagina?

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