Are you the publisher? Claim or contact us about this channel

Embed this content in your HTML


Report adult content:

click to rate:

Account: (login)

More Channels


Channel Catalog

Channel Description:

Oh No They Didn't! -

older | 1 | .... | 366 | 367 | (Page 368) | 369 | 370 | .... | 4449 | newer

    0 0
  • 04/11/13--14:54: Guess Who?
  • Guess which singer was spotted dolled up in a dress and some platform heels as she celebrated a friend’s birthday?

    Janelle Monáe!

    She recently revealed to Huffington Post that she rocks black and white suits on the regular as a form of uniform which helps keep her grounded:

    It’s a dedication to uniformity and I’m a minimalist by heart, but a lot of it had to do with me wanting to have a uniform like the working class, like my mom and my grandmother. My grandmother had 16 sisters and brothers and they all had to share one pair of shoes, and so that’s the family that I come from — I don’t ever want to be detached from that. I use it as motivation for my music and to just keep me centered, grounded and to stay on message.


    She looks so different but looking at this I finally understand why she dresses the way she does cause if she dressed like this all the time people would be less focused on her mucic which is amazing.

    0 0

    Image and video hosting by TinyPic

    He's certainly no angel, but Charlie Sheen didn't hold back when asked about collaborating with queen of controversy Lindsay Lohan.
    During a Wednesday evening appearance on The Tonight Show, Sheen described the struggling starlet's on-set behavior while filming a brief cameo for hit FX series Anger Management.

    The actor, 47, remarked that Lohan began the project a consummate professional.
    He emphasized her initial punctuality: 'Day one was fabulous. She was on time. Hit every mark. Made us look off our game, which we weren’t.'
    However, the 26-year-old quickly reverted to her trouble-making ways, arriving on set hours late for her second day of filming: 'And then, um, we had to deal with day two… it was as though she had us held hostage because she gave us half the show… and was a little bit - four hours - late.'

    The Two and a Half Men actor also addressed rumors of Lohan's sticky fingers, mentioning that she fled the set post-filming with a collection of bracelets in tow: 'It’s true,' he confirmed to Leno.
    Still, Sheen rushed to the Mean Girls headliner's defense, clarifying, 'She borrowed some stuff, and then was told they would take it out of her paycheck, and she said fine, and that’s all it was.'
    Overall, the actor remained complimentary of Lohan, whose cameo appearance will air on Thursday evening's episode of the show.

    The pair will toast the release of Scary Movie 5 at its Los Angeles premiere on Thursday evening.
    A source close to Sheen told E! Online that Dimension Films, the studio responsible for producing the horror spoof, has requested that the actor accompany Lohan on the red carpet.
    He reportedly has not agreed to do so.

    Image and video hosting by TinyPic

    Lohan plans to enter a court-ordered rehab program in May following string of run-ins with the law.
    She remained optimistic while appearing on the Late Show with David Letterman on Tuesday evening, describing the upcoming stint as 'a blessing ... and not a curse.'
    The actress allegedly has delayed accessing treatment in order to attend this weekend's Coachella music festival.

    Oh My


    0 0
  • 04/11/13--15:19: It's a BCoop post, from me!
  • The Hangover Part III TRAILER 2 (2013) - Ed Helms Movie HD





    Source Source

    0 0

    One Direction became footballers for the day as they trained with Tulisa Contostavlos's boyfriend Danny Simpson and his Newcastle United teammates.

    The boyband, with the exception of Zayn Malik, posed for pictures after a kick around at a training session for the Premiership side.

    A sweaty Styles went shirtless for his photo with Simpson, who described the 19-year-old as a "proper safe guy".

    The singer also tweeted about taking his first ice bath at Newcastle, commenting: "If someone is laughing as you're getting into something, you probably should stop getting in."

    Niall Horan, meanwhile, posed with Newcastle player Ryan Taylor and declared that training with the team was a "boyhood dream".

    Louis Tomlinson and a somewhat grumpy-looking Liam Payne were also snapped in the Newcastle kit.

    One Direction were in Newcastle as part of their 'Take Me Home' world tour.

    Source 1 - 2 - 3

    0 0

    Episode 3.06 - The Climb
    Tywin plans strategic unions for the Lannisters. Melisandre pays a visit to the Riverlands. Robb weighs a compromise to repair his alliance with House Frey. Roose Bolton decides what to do with Jaime Lannister. Jon, Ygritte and the Wildlings face a daunting climb. (Written by David Benioff & D. B. Weiss; directed by Alik Sakharov.)

    Episode 3.07 - The Bear and the Maiden Fair

    Dany exchanges gifts with a slave lord outside of Yunkai. As Sansa frets about her prospects, Shae chafes at Tyrion’s new situation. Tywin counsels the king, and Melisandre reveals a secret to Gendry. Brienne faces a formidable foe in Harrenhal. (Written by George R. R. Martin; directed by Michelle MacLaren.)

    Episode 3.08 - Second Sons

    King’s Landing hosts a wedding, and Tyrion and Sansa spend the night together. Dany meets the Titan’s Bastard. Davos demands proof from Melisandre. Sam and Gilly meet an older gentleman. (Written by David Benioff & D. B. Weiss; directed by Michelle MacLaren.)


    0 0

    Image and video hosting by TinyPic

    "Happy Endings" is more than just a funny, flailing show on ABC. Its wobbly situation provides an object lesson in what ails broadcast network comedies more generally.

    The show is adored by its fans, saddled with a checkered ratings history that earned it an iffy Friday night slot and it may be on its way to a new cable home. It's something of a poster child for the state of half-hour comedies on the Big Four networks. As television transitions to whatever's next with all the grace of the show's resident klutz, Penny (Casey Wilson), it's worth looking at what the ABC program may tell us about where the half-hour show is going -- and whether, as happened with one-hour dramas over the last decade, comedy's center of gravity is shifting to cable.

    I recently spoke to the "Happy Endings" team and to other writer/producers about the state of not only this show but of comedies on the broadcast networks more generally. Many hour-long dramas on network TV are clearly struggling, but the state of half-hours is no less troubling.

    As Liz Meriwether, creator of "New Girl," told me, "Network [comedy] has to find a reason for being. What does it bring to the table that people won't get from watching a funny cat video or a racy cable comedy?"

    If it had debuted a few years ago, "Happy Endings" may well have been a breakout hit, given some time, patience and consistent scheduling. Even a year or so ago, an upward trajectory didn't seem unrealistic. "Happy Endings," which also stars Eliza Coupe, Elisha Cuthbert, Adam Pally, Zachary Knighton and Damon Wayans Jr., was gaining traction in the media and was a relatively steady performer in the ratings. From a creative, commercial and social media perspective, it had done everything right.

    How quickly things change: A month ago, ABC unveiled a "save this show" campaign -- for its own program.

    "I think our first reaction was ... ABC is asking people to do the thing that it can do, which is to save the show," executive producer Jonathan Groff said in an interview. But he and executive producer/creator David Caspe weren't necessarily sorry the #SaveHappyEndings push came from the same network that held the show's fate in its hands.

    "It's kind of genius, in that I've never seen that much press generated from a promo before," Caspe noted.

    Will "Happy Endings" make the leap to the USA Network, as recent news reports have suggested? Caspe and Groff didn't talk about specific outlets for a potential fourth season, and it's worth remembering that the show hasn't been canceled. But both said in several different interviews over the past few weeks that they've been happy with ABC as a creative partner. As Groff noted, "They could have canceled us two months ago and they didn't."

    Having said that, both said they want the show to continue and they'd stick with it, even if it ends up airing somewhere else next fall. "Jonathan and I, our only goal is just to keep making the show," Caspe said. "Even if we don't live on on ABC, I think we'll live somewhere -- I hope."

    What's odd about "Happy Endings'" current situation is that it's never been a cult-ish, niche object of adoration. It's a bright, cheery show aimed squarely at the mainstream, and at first glance, it would seem to fit ABC's brand, which is all about inclusive, upbeat worlds and the middle-class people who inhabit them. Sure, "Happy Endings" can be a dense, pop-culture-heavy experience, but that's the speed at which many people live their social media-saturated lives these days.

    Had it debuted only a few years ago, and had it enjoyed consistent network support over time, it might well have blossomed into the next "How I Met Your Mother," which has grown into one of CBS' most successful sitcoms. But is that kind of trajectory even possible any more? "HIMYM" debuted in 2005, well before online viewing and time-shifting became so prevalent.

    But the deck may now be stacked against shows that cater to the very audiences that consume television in alternative ways. Also disturbing: The people most likely to give interesting comedies a chance appear to be the viewers who are least likely to be counted. If that's the case, what hope is there for smart, non-family-oriented half-hour comedies on the broadcast networks?

    Does the future lie in cable, where expectations (and budgets) are lower? If those under 35 are watching TV online or via DVR binges, should broadcast networks aim at the older end of the 18-to-49 spectrum? Will next fall's crop of comedies feature even more monkeys?

    Those are a few of the questions that emerged from my discussions with Caspe, Groff and other comedy insiders. Here are the seven big unsettled issues:

    1. Is it time for the broadcast networks to retire, or at least rethink, the "Friends" model?

    "Seinfeld" and "Friends" were two of the biggest hits of all time, so it's unsurprising that the television industry has put a lot of effort into replicating the massive success of those shows. Every year, networks assemble groups of sharp comedy writers and have them think up stories about packs of urban friends who spend their copious amounts of free time together. But as younger viewers flee live viewing in favor of other delivery methods, comedies that cater to that age range are struggling.

    As Caspe noted, "It's tricky to come up with a younger-skewing show that is about the lower half of the 18-to-49 demo and have them show up on the night they're supposed to watch your show."

    Groff still thinks young/urban/hangout comedies can work on ABC, NBC, CBS and Fox; but for that to happen, a network has to have patience. "It's going to be hard for a show like that to take off, and it's not going to happen right away, and it's sometimes hard for networks to balance all of that and wait for that audience to show up, or account for those who aren't watching it Tuesday at 8 p.m., or whatever," Groff said.

    But the broadcast networks may doom themselves to irrelevance if they don't at least try to appeal to the next generation of viewers.

    "That audience is desperate to have shows that they feel are authentic, and they're particularly aware of what's written from a perspective that really is like theirs," Meriwether said.

    2. Shouldn't broadcast networks at least try to be consistent in when they schedule their shows?

    "Happy Endings" did well when it aired after "Modern Family" last season, but once it was shipped off to Tuesdays last fall, it began to struggle. It also started its third season late -- it didn't arrive until October -- and soon the show ran into a host of election- and disaster-related preemptions. Then it took an abrupt two-month break, and returned on Fridays. That kind of inconsistency ends up training viewers to wait for new episodes to turn up on their DVRs or online, given that it's hard to predict when the show is even on.

    "The case we've been making to [ABC is that] ... we haven't had any real consistency, and when we get some consistency, we tend to grow," Groff said.

    Groff worked on "HIMYM" in its early seasons, and recalls the long, slow slog to sure-thing renewals. "It took a while, and CBS was committed to protecting that show," Groff said. Eventually, "you could feel the tide turn a bit, but that took until the end of the third season," after the show had aired five dozen episodes on Mondays (where "Big Bang Theory" spent several years growing into a big hit).

    3. For a show to succeed on a broadcast network right now, does it have to appeal to a wider range of people?

    The characters on "Modern Family" -- one of the few solid comedy hits in recent years -- represent many age ranges and ethnicities, and the comedy appeals to a similarly wide range of viewers. Groff says that the history of "Happy Endings" has served as something of a "reality check" for him -- and perhaps for networks buying younger-skewing shows.

    "I do go, 'We did a pretty good version [of a show about people under 30]: a funny, appealing, accessible show with a great cast, and it's struggling,'" Groff said. The answer might be to make sure that future shows "definitely appeal to enough" 35- to 49-year-old viewers, and find ways to "monetize or count in the ratings the ones who watch other ways," he said.

    4. Given how many viewers are turning away from appointment viewing, when will networks and advertisers begin to count alternative modes of viewing in ways that make sense?

    Imagine if The New York Times' weekly list of bestselling books didn't count ebooks -- we'd laugh at that list, because it would be hopelessly wrong. Yet Nielsen still isn't counting online views in the ratings it provides to networks (it will begin to do so in the fall by adding 160 households to its 23,000-home sample). "Currently a 'television set' is the flat-screen kind, but in the future a tablet computer like an iPad could also be considered a TV set," a Nielsen executive said when the changes were announced. In the future?

    The future arrived some time ago for huge numbers of television viewers, some of whom consider themselves fans of well-regarded broadcast network comedies like "New Girl,""Parks and Recreation" and "Go On" but could not tell you when or where they air.

    The Nielsen system "always was kind of nuts, but it was less nuts 20 years ago," said Michael A. Ross, who's written for "Andy Richter Controls the Universe,""Rules of Engagement" and "Better Off Ted.""Now it doesn't make a lot of sense, given people's viewing habits." Especially since the number of homes with no television at all has gone from 2 million to 5 million in the last six years, according to Nielsen's own numbers.

    But those overnight numbers -- which for "New Girl" are down compared to the show's first season, despite increasing buzz for the show -- are still widely reported, despite the fact that they're incomplete because DVR data isn't included.

    "That's the perception of the show -- 'This show dropped,''That show falls' -- in the stories that are around the next day," said Meriwether. "Then, when you get the [Nielsen data tracking DVR use over seven days], the show is exactly where it was before."

    Of course, TV networks can track legal online views, as well as Amazon and iTunes numbers; and when it comes to DVR use, advertisers will generally pay for viewership within three days of an initial broadcast. But what about binge viewing? What about catching up with your favorite show five days later? Some advertising is pegged to specific events -- sales and movie openings, for example -- but there have got to be better ways to monetize online views, later catch-ups and other kinds of engagement. (As it stands now, Meriwether said, Hulu and other online views don't come up in conversations with Fox executives.)

    "It'll help shows like ours when networks and advertisers can come to some kind of understanding" on alternative viewing, Groff said. The Nielsen moves are "a step in the right direction ... but I don't know how [helpful] it's going to be in the short-term, for us or for anybody."

    5. Are broadcast networks' ongoing problems skewing their comedy development in potentially problematic ways?

    Ross says that "disposable hook" is a phrase he's heard in recent years among those who write and develop comedies. A studio or agent may encourage writers to come up with a loud, colorful premise that they can minimize once a network has picked up a show. But when pitching to the broadcast networks, writers are encouraged to start out with, as he puts it, "a hooky premise."

    "Cougar Town" had a disposable hook -- and its co-creators couldn't wait to scrap its "older woman dating younger guys" scenario early in the show's first season. (That show, by the way, may have cleared the way for "Happy Endings" by migrating from ABC to cable.)
    Among other big, loud concepts the broadcast networks have commissioned in recent years: The first family's wacky hijinks! The insanity of men raising children! Hijinks at an animal hospital with a scene-stealing monkey! Aliens invade suburbia! And then there are the 43 iterations of "Up All Night" that NBC tried or contemplated.

    Just as violence, blood and all kinds of conflict have invaded one-hour dramas, as the networks endeavor to get and keep viewers' attention, cartoonish premises have invaded network comedies. Of course, blood-soaked dramas can be worthy fare, just as shows that start out with silly core concepts can evolve into enjoyable programs. Perhaps the turn toward the broad isn't such a surprise, given the flop-sweat television networks feel as the competition for eyeballs just keeps on coming -- not just from other networks, games and movies, but from Netflix, Amazon, Hulu and the like. "Go big or go home" seems to be the networks' somewhat understandable, fear-driven response to the threats that surround them.

    But it's worth noting how much more desperate the Big Four networks have become, and it's certainly worth thinking about how that desperation affects what ends up on our screens.

    6. Is TV comedy's center of gravity shifting to cable?

    HBO and Showtime have nurtured a string of successful half-hour shows for more than a decade, but the last five or six years have seen everyone from FX to TBS to TV Land aggressively ramp up their half-hour slates. On Tuesday, IFC announced it's developing a whopping 11 new comedies.

    It's history repeating itself: A decade or so ago, basic cable networks began churning out the kind of hour-long shows the networks had more or less given up on or had stopped doing well. Now basic cable networks are moving into the comedy turf the networks have owned for decades. (As I noted recently, "Duck Dynasty," one of the current monster hits, is essentially a family comedy set on the bayou.)

    Recently, Ross and Victor Fresco (the creator of "Better Off Ted") pitched USA Network a half-hour comedy about four twenty-somethings whose unpromising career prospects force them to move back home. USA bought the pitch, but that's far from the only comedy the network is developing. It began working on a comedy slate a couple of years ago, in part to have something to air alongside repeats of "Modern Family" when they arrive on the network in the fall. And Ross reports that executives there didn't waver from USA's "characters welcome" motto.

    "They really do welcome characters, and they want the show to revolve around that, whereas [network executives] want the big, bold idea," Ross said.

    "Networks tend to have brands" and it's more important than ever to be mindful of that, according to Ken Levine, a writer/director who has written for "M*A*S*H,""Cheers,""Frasier" and many other shows. But the big networks still also have very large media footprints. "I still think you have a better shot at attracting a large audience on a major broadcast network, but that could change any week," Levine added.

    Groff says brand identity may have been an issue for his show. "It's different than [ABC's] other shows, which are more family-oriented," he said. "This is a group friends in their 20s, and that just hasn't really been what they do. I think they felt, 'Where do we put it, exactly?'"

    But for comedy to survive, big hooks and strict brand cohesion aren't necessarily going to save the day. There has to be room for the audience to bond with a show's characters or concept, especially since most comedies are not heavily serialized or plotted for suspense.

    "It's hard to make the case, 'Tune in tonight!'" Meriwether said. "I think there are amazing, inventive [comedies] that are specifically geared toward younger people, and there's no way for them to compete with 'You need to watch it right now!' stuff and reality shows. But that doesn't mean the comedies aren't being watched."

    Cable -- where ratings expectations are lower -- already has the flexibility to nurture a wider variety of half-hour shows. "Louie" and "Hot in Cleveland" could not be more different, but in the cable realm, a half-hour show that changes its format almost every week and a throwback comedy about women of a certain age are successful enough to be well-established franchises for their respective networks.

    7. Given all the change and chaos at the broadcast networks, maybe the thing to do is just make a show that's fun to make?

    "Happy Endings" is an energetic, rapid-fire show. As cast member Zachary Knighton said in an interview, "We're trying to pack as much as we can into 22 minutes."

    Perhaps it's all just too much for ABC's audience. Then again, the show's most vociferous fans probably wouldn't love it so much if it weren't a layer cake of dirty humor, cultural references and sarcastic banter topped by the sweet, sweet frosting of real friendship. That's the show that this cast and these writers found themselves good at making, and tinkering with that DNA is probably not a great idea (as a case in point, watch the new version of "Community," which seems off in many ways that matter).

    "Our show is dense, and that could be hurting us," Groff said. "But we don't know how to make it any other way."

    "You have to make the show you think is good and funny, and either people will show up or they won't show up," Caspe said. "If you chase what you think will be a hit, it will never work. Even if you don't make it ratings-wise, you have to at least be proud of what you made."


    Long but interesting read. I adore the first two season of HE but it hasn't been doing much for me this season. I'm bummed about Ben and Kate and Don't Trust the B though, among others that haven't survived.

    0 0


    A few months ago there were rumors that another season of "Twin Peaks" might be on the table, although they were quickly nixed. Having said that, they did get an awful lot of people excited while there still seemed to be some potential there. You could argue that excitement was purely about the cult show, but for many it would have been motivated by the potential return of David Lynch to the small screen (and at this point, we take his return anywhere).

    And who knows, maybe those short-lived rumors got Lynch thinking too, because he's just made some intriguing comments related to the subject. Here's what he told France's Metro newspaper when asked whether he could come back to the small screen with a new series: "I'm thinking about it. I'm thinking about it. Television allows you to tell a story over time, something cinema doesn't. For me, the two formats will always exist. It's like painting in a square or a rectangle."

    The interesting thing is, if that square is the television screen, that's a square that's currently expanding and offering new possibilities. Network dramas like "Hannibal" show that particular area of the medium is ready to adapt, while cable dramas offer remarkable creative opportunities for the likes of Lynch. Add to that the way that the likes of Netflix and Amazon are starting to change the landscape, why wouldn't Lynch now be at least considering it?

    Of course, Lynch has always flitted between creative outlets depending on what opportunities present themselves at any given time. Music, directing, producing, acting, film, television... It's something one of Lynch's protégés, Eli Roth, has also taken on board, and he now has a very Lynchian-inspired show in the form of "Hemlock Grove" coming to Netflix.

    It would be great if what Lynch is considering is a return to the town of "Twin Peaks," because lord knows we need as much Kyle MacLachlan as we can get in our lives, but any project Lynch takes an interest in would immediately become of interest to us. A new collaboration with Mark Frost would sound great too. Let's hope that Lynch keeps thinking down this path, or failing that a new movie wouldn't be terrible either!


    Lets celebrate this amazing news and discuss our favorite Lynchian moments/performances/projects.

    0 0

    Shakira shares some pictures with bb Milan!


    0 0

    This August, Matt Damon stars in Elysium, a cerebral sci-fi action film from Neill Blomkamp, the man behind 2009′s extraterrestrial apartheid hit District 9. Set in a future where the super-rich live in luxury aboard an orbital space station and everyone else is forced to fight for survival on a depleted planet running on fumes, the film tackles tough social issues like immigration, wealth disparity, health care, and pollution. It also features Matt Damon’s abs, for those who don’t like to think too much.

    Damon’s character, Max, is a bruiser who has had a tough life. Blomkamp refers to him as the “archetypal character who just grew up on the wrong side of the tracks but isn’t a bad guy.” Hence the body art: “The idea is that they grew up in this gang environment so each tattoo does have a personal meaning to the character,” says Damon.

    In order to play him, the actor had to beef up. “We wanted him to look a certain way so I had to keep up a workout regimen,” says Damon. This was made even more necessary by the addition of the“hulk-suit,” an technologically advanced exoskeleton that makes Damon’s character stronger and faster. While the rig is meant to enhance Max’s physical capabilities, in real life, it meant Damon had to work out even more. “It’s kind of like wearing one of those old Bo Jackson weight vests,” says Damon. “It’s really insidious trying to carry extra weight even if you’re in shape. You just really need a pretty strong core or you can get injured pretty easily, particularly at my age.”

    Damon also had to be able to run while wearing the rig. Fortunately, the actor has plenty of experience running on film from his Bourne days. “I was lucky, because my first big running job was with Franka Potente on the first Bourne,” says Damon. “And Franka and Tom Tykwer went out before they shot Run Lola Run and they video-ed her running and she told me, ‘I was shocked at what I looked like.’ She said, ‘Before you do any of this, go out and get a look at yourself running because you’re way more spastic than you think. You don’t look like what you think you look like, you feel cooler than you actually look when you run.’ And that was great advice.” But while he’s since mastered the art of the cinema sprint, Damon admits he still can’t hold a candle to another action star: Tom Cruise. “Tom is the best. Dude, Tom, he genuinely looks fast to me. I’ve never seen him run in person, but when he runs in movies, he is really going fast. I have a feeling that in a footrace, he would really smoke me.”

    Being the only one who post Elysium stuff on here sucks, but I'll keep on going (I have one more article to post but I might do it tomorrow latest)

    0 0

    JUSTIN BIEBER earned $55 million in 2012, according to Forbes, but in new videos for the SpendSmart Payments Company, which offers a prepaid debit card for teenagers, the singer talks about his modest upbringing.

    “You know when I was a kid, we didn’t have a lot of money, so me and my family had to watch the money that we spent,” Mr. Bieber says in a video directed at his young fans. “I learned if you have $100 or $100 million — if you spend more than you have, you’re going to go broke.”

    Mr. Bieber urges viewers to “have a talk with your family about money” in the video. “Managing your money is important,” he says, “and there’s a great company that can help you do that called SpendSmart.”
    The video, by BrandFire in Manhattan, will be shared by Mr. Bieber beginning Thursday on his YouTube channel (more than two million subscribers), Facebook page (more than 52.4 million followers), and on Twitter (more than 37.3 million followers).

    Subsequent videos, called “Real Talk,” also will feature Mr. Bieber discussing financial literacy and encouraging teenagers to share their videos.

    Mr. Bieber is being paid $3.75 million for a 14-month contract, along with potential monthly royalties tied to the growth of active SpendSmart cards, according to documents the company filed with the Securities and Exchange Commission. The deal also, according to the filing, includes a stock option to buy two million shares of SpendSmart stock, which was trading at 38.8 cents a share Wednesday.

    Noreen Jenney Laffey, president of Celebrity Endorsement Network, said she would have expected such a deal to earn Mr. Bieber closer to $2 million, but she lauded SpendSmart both for choosing the singer to reach teenagers and for focusing on social media rather than traditional advertising.

    “The marketing strategy and the choice of talent for this is brilliant, as is merging it into his social media network,” Ms. Jenney Laffey said.

    The SpendSmart card has a number of features intended to teach teenagers financial literacy while enabling parents to monitor them.

    When teenagers use the card, which has a MasterCard logo, parents can be alerted instantly to the purchase through text messages and a smartphone app. Parents may pre-emptively block purchases from Web sites, and instantly lock the card after seeing anything objectionable. Real-time monitoring fosters what SpendSmart, in marketing materials, calls “teachable moments.”

    Introduced in 2009 as BillMyParents, the card was first marketed mainly as a tool to let teenagers shop online with parental oversight. But for many the name BillMyParents equated parents with A.T.M.’s.
    Thus, the company renamed the card and company SpendSmart to highlight its “mission of being a responsible teen spending company,” said Michael R. McCoy, who became chief executive of the company in 2011.

    “Parents have an easier time talking about drugs and alcohol with their kids than the family budget and financial literacy,” said Mr. McCoy.

    The average SpendSmart cardholder is 16, and the card is used most frequently to buy food (especially fast food), followed by gas, technology (like iTunes, electronics and games) and clothing.
    A revamped SpendSmart Web site will be frequently updated with articles about financial literacy from Brafton, a content production agency.

    There were seven million prepaid cards in circulation in 2012, more than double the number in 2009, according to, which monitors the industry.

    A 2012 report by Consumer Reports criticized prepaid cards over exorbitant fees. Among 15 prepaid cards examined in the report, 13 charged monthly fees (from $2.95 to $9.95), 14 charged for A.T.M. withdrawals, 12 charged for checking balances at A.T.M.’s, and five charged for periods of inactivity.
    SpendSmart fees include a monthly fee of $3.95; loading fees of $2.95 from a credit card or 75 cents from a checking account (a single scheduled monthly automatic payment from a checking account is free); $1.50 to withdraw from any A.T.M. (in addition to A.T.M. surcharges), and 50 cents for an A.T.M. balance inquiry; $7.95 for a replacement card; and $3 for 30 days of inactivity.

    After reviewing the SpendSmart fee schedule, Michelle Jun, a lawyer with Consumers Union, which publishes Consumer Reports, said SpendSmart fees were not as high or numerous as those for many prepaid cards, but she still advised against the card.

    “We would not recommend that parents use prepaid cards for their teens,” Ms. Jun said. “It doesn’t help your teen establish a credit history or a relationship with a financial institution, so we recommend going the traditional route and opening up a checking account at your bank or credit union of choice.”
    In an appearance on the Fox Business Network in January, John Ulzheimer, president of consumer education at, said that fees for the SpendSmart card were lower than those for many cards. But “that’s like saying my broken arm is not as bad as your broken arm” because it is “comparing two bad things and trying to say that one is actually better,” he said.

    “If you just take the monthly fee and nothing else — meaning that you do nothing else punitive so they can hit you with the fees,” Mr. Ulzheimer said of SpendSmart on Fox, “you’re still paying a little over $47 a year as an annual fee to get access to your own money.”

    Before joining SpendSmart, Mr. McCoy ran the consumer credit division for Wells Fargo, and he said that during the height of the recession many consumers “got in over their heads because they just flat out spent too much.”

    SpendSmart could help teenagers avoid the same fate, he said.

    “Instead of trying to teach adults better spending habits, I thought, ‘My goodness, there has to be a different way,’ ” said Mr. McCoy. “We’re helping families to teach youth better spending habits.”


    0 0

    Cristiano Ronaldo was able to bolster his ego yet again on Tuesday as his two goals stopped Real Madrid from suffering a shock Champions League exit to Galatasaray in Istanbul.

    And is if being the team's saviour wasn't enough of a confidence boost, he celebrated by shaking hands with a man who makes a living by trying to look like him.
    After the match the Portuguese superstar, who is almost as famous for his "look" as he is for his skills on the pitch, came face to face with Gokmen Akdogan, a 23-year-old Turkish man who earns a living by impersonating the superstar striker.

    Akdogan, who also plays semi-professionally for lower-league side Seyhanspor, makes it his business to dress like Ronaldo, have his hair cut like Ronaldo... and apparently he even takes his free-kicks like Ronaldo. And the facial similarity is there for all to see.
    Both men were all smiles when they met after Tuesday's match - a meeting which appears to have been engineered by Turkish TV - with Gokmen understandably delighted at meeting his idol, having previously said it would be a "dream" to shake the big man's hand.

    One place where they don't measure up is height though - the Real Deal is a good three or four inches taller than his lookalike.

    video @ Source

    0 0

    Gucci Mane might be in some serious trouble.

    On Tuesday, the rapper (real name: Radric Davis) was indicted on one count of aggravated assault, E! News confirmed. The Spring Breakers actor was accused of assaulting a soldier March 16 with a champagne bottle at an Atlanta nightclub, and the following day, Mane turned himself into the police.
    Bail was set at $75,000, according to Mane's attorney.

    The alleged victim, James Lettley, wanted a photo with Mane at the time of the incident, according to Atlanta's WSBTV. But according to Lettley, Mane was not OK with taking a picture and struck him in the back of the head with a champagne bottle.

    Lettley was taken to a nearby hospital and received 10 stitches to fix the laceration on his head. Mane reportedly left the scene, and turned himself later after a warrant had been issued for his arrest.

    This is not Mane's first brush with the law. In fact, the rapper has been locked up at least five times since 2005 on drug, assault and weapon charges.



    0 0

    Seth Numrich (recently seen in Golden Boy) and Kim Cattrall (of Sex and the City fame) will star in Tennessee Williams’ Sweet Bird of Youth at the Old Vic, reports The Daily Mail. Opening night is planned for June 12, with Marianne Elliott attached to direct.

    The 1959 drama follows Chance Wayne (Numrich), a struggling actor who tries to make it big in Hollywood but discovers that his greatest talent is romancing older women with hefty bank accounts. Cattrall will play a faded movie star who falls for Chance.

    The play premiered on Broadway in 1959 starring Paul Newman and Geraldine Page. It later made its West End premiere in London in 1985 in a production directed by Harold Pinter and starring Lauren Bacall and Michael Beck. The play was also made into a feature film in 1962 with much of the Broadway cast.

    Numrich’s stage credits include Broadway productions of The Merchant of Venice in 2010 and War Horse in 2011. Five-time Emmy nominee Cattrall appeared on Broadway in Wild Honey and Private Lives; her screen credits include Sex and the City, Big Trouble in Little China, Police Academy, Mannequin and Porky’s.


    Show them how it's done girl.

    0 0

    Johnny Depp and Kate Moss have inspired a song. L.A. musical duo, He Met Her, has put out an EP called Love Heroes that's influenced by famous couples throughout history, and one of the tracks, "Toknight We Ride (Johnny & Kate)", is a dreamy tribute to the Pirates of the Caribbean star and the super model, who had a tempestuous four-year affair in the 1990s.

    Although the former couple are only referenced in the title, the song's hedonistic lyrics include the line, "I'm on my Peter Pan, lost boys in NVR LAND," which, I hear is a reference to Depp's role as Peter Pan creator J.M. Barrie in the 2004 movie, Lost in Neverland, though he was no longer with Moss at that point.

    You can hear the song and see the lyrics in this subtitled video, which stars He Met Her's Mowgli Moon and Rocky Chance cavorting in Acapulco.

    Source: MovieLine

    0 0

    La Toya Jackson is on the move in the season premiere of "Life With La Toya."

    Moving from her fabulous home to a hotel, La Toya brings in an entourage of staff, including her security, a personal assistant, business partner, and her dog, Prince, to make her suite an efficient home away from home.

    She also opens up about a pact that she and Michael Jackson made with Kathy Hilton (Paris Hilton's mom).

    Watch the first few minutes of the season premiere below.


    I hope its good, for some reason I'm starting to like her...

    0 0
  • 04/12/13--13:45: sis post

  • She may be just 15, but Kylie Jenner is eager to embrace at least one aspect of pregnancy: the pillows. lol

    The teen star snuggled up to big sister Kim Kardashian's heather grey maternity pillow Thursday evening after a packed day of filming scenes for Keeping Up with the Kardashians.

    Despite a 17-year age gap, Kardashian and Jenner seem to have grown increasingly close throughout the reality kingpin's pregnancy.

    Clad in black yoga pants and an off-the-shoulder knit sweater, Jenner wrapped her legs around the pillow, designed to help expecting women sleep more comfortably.

    She caught some rest behind large black frames while Kardashian, 32, snapped a photo.

    The Temptation actress later posted the photo, writing, 'Look who stole my pregnancy pillow now @kyliejenner.'

    0 0

    Love is on the air: The winner of the Greatest TV Couple of All Time bracket game is...


    "We asked, and you answered, PopWatchers. More than 150,000 passionate readers voted in the final contest that resulted in Glee‘s Kurt Hummel and Blaine Anderson defeating Doctor Who‘s most beloved romantic pairing to be named your Greatest TV Couple of All Time. In celebration of Klaine, who bested Marshall and Lily, Buffy and Spike, and Carrie and Big on their way to the crown — see the entire bracket here — we’ve rounded up the most essential songs (plus a bonus non-Klaine duet that, if we left it out, you would certainly savage us)."

    ONTD: Agree, disagree? Videos at source ...

    0 0


    so cutee

    0 0


    The upcoming IFC comedy series Maron looks to be one part of comedian Marc Maron's wildly popular WTF podcast, one part celebrity guest showcase, and one part fictionalization of his own neurotic take on life, success, dating, and friendships. Imagine an even more pessimestic Louie (which Maron has appeared on) combined with a live-action Ricky Gervais Show, if you can. At least, that's what we've gathered from the first trailer of the show, which kicks off its first ten-episode season on Friday, May 3 on IFC.

    The minute-long clip wastes no time in showing who Maron got on board for his series. In addition to Judd Hirsch and Sally Kellerman playing his crazy parents, his famous friends like Adam Scott, Gina Gershon, Illeana Douglas, Denis Leary, Danny Trejo, Dave Foley, Mark Duplass, Audrey Plaza, Jeff Garlin, and Anthony Jeselnik are just a few of the familiar faces that pop up.

    If Maron's sense of humor is already your particular cup of dry and witty tea, then Maron should be just your taste and it should tide you over until Portlandia brings back its own brand of smart snark to the network. Watch the star-filled video here:


    0 0
  • 04/12/13--14:12: Shakira Round Up!

  • source 123456

older | 1 | .... | 366 | 367 | (Page 368) | 369 | 370 | .... | 4449 | newer