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Oh No They Didn't! -

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    Lindsay Lohan isn't letting a little thing like rehab stop her from living it up. Fortunately she had her little brother Cody Lohan to help keep her on the straight and narrow as she descended upon the Coachella Music Festival in Indio, California on Friday night. Lindsay's brother is only 16 but hopefully he has more sense than his will-o'-the-wisp sister who has a penchant for problematic situations.
    The 26-year-old made no secret that before committing herself to three months in a rehabilitation centre she wanted to catch the live of bands playing all weekend long.Lindsay was seen strolling through the desert grounds with red-haired Cody who held her arm in a protective gesture. and looking grunge chic in tiny black shorts that were borderline bikini bottoms.Her bare legs weren't in the best shape either and there was a nasty bruise and an ugly red scar on her left thigh.

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    I never like to go out of character when filming starts I fear that if I do, I might not be able to pick it up again. This was particularly the case with the character Thorin Oakenshield [in Peter Jackson's The Hobbit]. He's moody and broody, so people kept their distance from me during the production. I wish I was good at jumping out of character in between takes, as I'd be more popular socially.

    Publicity for 'The Hobbit' was relentless I was travelling and doing junkets around the world, being asked the same questions every day for three weeks. Then at the end of the working day I'd have to get down the red carpet. It's pretty hard work. I much prefer being in front of a camera.

    I love how Gary Oldman disappears into a role You see a character before you see him; you believe him as he's so invested in that character, such as his George Smiley in Tinker Tailor… That's what I'm striving for.

    I'd like to act in a film without special effects I've spent the past two years in a special FX environment for The Hobbit. I also need to find something where I'm not fighting or inflicting violence on someone, as a lot of the roles I've had, such as Lucas North in Spooks and Guy of Gisborne in Robin Hood, have involved that. I don't know why that's been the case!

    It's bloody annoying being shy I'll spend a whole evening at a party asking everyone else about themselves. I'm not being self-deprecating; it's because I'm too shy to talk about myself. So people come away from the evening actually having learnt nothing about me.

    I hate selfishness in people I lean towards the Japanese idea of "you first", such as always allowing another to walk through a door before you. Though admittedly, in their culture, this [thoughtfulness] is shame-based, to some extent.

    I'm an avid skier Most of the time that I've been skiing, I've been about to go and film something, so I'm always living in fear of a broken leg and I ski very safely. I've taken a few tumbles, though. I once flipped and bounced on my head, landing in a mess on the floor; it's a dangerous sport but it's exhilarating and it allows me to unwind.

    Snowboarders ruin the piste They shave off all the snow so it's like an ice patch, and they sit in the middle of the piste, chatting with friends in a line, so you have to jump over them as you come over the crest of a hill.

    I'd like to live off-grid I'm fascinated with the documentation of the environment [and its degradation] through photography, and our hunt to move away from fossil fuels and towards new technology. I'm attempting to build a home that uses water, wind or solar power. Right now it's just a pastime, but it's an exciting prospect.


    This post is dedicated to everyone who came and partied so hard at every Richard Armitage and Hobbit post. Have a great weekend everyone! :)

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    Exclusive: Daft Punk Reveal Secrets of New Album
    In their first interview about 'Random Access Memories,' the dance duo explain the process and inspiration behind the LP

    Last night, at the Coachella Music and Arts Festival in southern California, Daft Punk debuted a teaser trailer for their new album, Random Access Memories: Without warning, a nearly two-minute video popped up on jumbotron screens flanking the festival's various stages, in which Pharrell Williams, Nile Rodgers and the Daft Punk robots rock out in heavily sequined getups to "Get Lucky," the album's lead single. Surprised festival-goers at the main stage began dancing and pointing camera phones, oblivious to the fact that the French dance heroes – Thomas Bangalter and Guy-Manuel de Homem-Christo – were in fact standing in civilian garb on the edge of the VIP section, watching themselves on the screens with delight. (Pharrell was standing nearby, and he gave Thomas a high five afterwards.) When the screens went black, Thomas and Guy-Manuel were shown tweets from attendees giddy about what they'd just seen. Thomas grinned. "The fun part will be seeing the footage people shot when it hits the Internet," he said.

    Random Access Memories, made in near-total secrecy, is one of 2013's most eagerly anticipated – and most enigma-enshrouded – releases. Late last month, for an upcoming Rolling Stone profile of Daft Punk, they discussed the new album’s creation in extensive detail at their studio in Paris. Here are the ten things you need to know:

    They began working on Random Access Memories in 2008, in Paris, with no clear plan."After three records, there was a sense of searching for a record we hadn’t done," Thomas says. The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on "autopilot," Thomas says. Eventually, a new approach emerged: "We wanted to do what we used to do with machines and samplers," he explains, "but with people." Except for a snippet of "an Australian rock record" that opens the final track, "Contact,"Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. "There’s this thing today where the recorded human voice is processed to try to feel robotic," Thomas says, referring to the undying AutoTune vogue. "Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion."

    The title captures the duo’s endless fascination with blurs between humans and technology…"We were drawing a parallel between the brain and the hard drive – the random way that memories are stored," says Thomas.

    …and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. For Random Access Memories, they hired "top-notch session players," says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. "The Seventies and the Eighties are the tastiest era for us," Guy-Manuel says. "And all these guys were tripping on meeting again and playing together again." He adds: "It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past."

    Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. "We were at a party for Madonna’s last album," Pharrell recalls, "and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. I said, Whatever you do, call me – I’ll play tambourine on it. They looked at each other and they were like, We’ll be in touch." Pharrell wound up singing on "Get Lucky" and a stomping disco track called "Lose Yourself to Dance."

    The album’s move away from computerized sounds reflects Daft Punk’s "ambivalence" about the EDM craze they helped to inspire. "Electronic music right now is in its comfort zone and it’s not moving one inch," Thomas says. "That’s not what artists are supposed to do." He adds that the genre is suffering "an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him."

    Keep an eye on those Saturday Night Live commercial breaks. So far, Daft Punk have debuted two fifteen-second chunks of "Get Lucky" in ads that play during Saturday Night Live, incrementally revealing more of the song. Along with billboards advertising the album, these TV ads represent a throwback impulse that's guiding the new album’s roll-out. "When you drive on the sunset strip and see these billboards, it’s more magical than a banner ad," Thomas says. "SNL is this part of American culture with a certain timelessness to it." (A billboard overhanging the I-10 east greeted motorists driving to Coachella this weekend.)

    The new songs came together around the world. Most vocals and overdubs happened in Paris, but the rhythm sections were committed to Ampex reels in Los Angeles and New York, at Electric Ladyland studio, Henson (formerly A&M) studios, and other venerated old rooms. "There are songs on the album that traveled into five studios over two and a half years," Thomas says. "They’re vials being filled up with life. Today, electronic music is made in airports and hotel rooms, by DJs traveling. It has a sense of movement, maybe, but it’s not the same vibe as going into these studios that contain specific things."

    While recording, Daft Punk found time in their schedules to jam with Kanye West for his next album. At their Paris studio, they laid down a combination of live and programmed drums while Kanye worked out rough vocals on the fly. "It was very raw: he was rapping – kind of screaming primally, actually," Thomas says. "Kanye doesn’t give a fuck," Guy-Manuel adds. "He’s a good friend." Director (and longtime Daft Punk compatriot) Michel Gondry says that Kanye recently played him "two songs" that sprang from the session. "One of them, I told him it sounded solid and powerful – I envisioned a cube when I heard it," Gondry says. "He told me, Chris Cunningham’s already directing the video!"

    The biker gear from the last album and tour is out; sequins are in. Hedi Slimane, the Saint-Laurent-by-way-of-Dior-Homme fashion designer who made Daft Punk’s black-leather bike-dude outfits for their last album, 2005’s Human After All, designed their new look (spied for the first time in the exclusive photo above.)

    They say there are no current tour plans to promote the album. (EXCUSE ME WHAT??!! noooooooooooooooooooooooooooooooooooo) Their "Alive 2007" world tour, in which they played within a giant steel pyramid covered in screens, was a marvel of pop stagecraft, but Thomas says "we have no current plans" to tour the new record. "We want to focus everything on the act and excitement of listening to the album. We don’t see a tour as an accessory to an album." When they do finally hit the road, he added, it will be with a career-encompassing set list, not one overly focused on the new material.


    01 - Give Life Back To Music featuring Nile Rodgers
    02 - The Game Of Love
    03 - Giorgio by Moroder featuring Giorgio Moroder
    04 - Within featuring Gonzales
    05 - Instant Crush featuring Julian Casablancas
    06 - Lose Yourself To Dance featuring Pharrell Williams on vocals and Nile Rodgers on guitar
    07 - Touch featuring Paul Williams
    08 - Get Lucky featuring Pharrell Williams on vocals and Nile Rodgers on guitar
    09 - Beyond
    10 - Motherhood
    11 - Fragments of Time featuring Todd Edwards
    12 - Doin’ it right featuring Noah Lennox (Panda Bear)
    13 - Contact with DJ Falcon


    Rolling Stone has been offering them such a huge amount of support, it's really made me happy as a fan. Please click the source to give them the hits they deserve, because seriously, RS has been ON THE BALL with all our much-needed Daft Punk news!

    Mods: r u sure no tag? :(

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    Vanessa's tumblr: Fashion shot!!! First day of Coachella down!!! Such an amazing day. The Yeah Yeah Yeahs and Blur made my day. So much fun. Very grateful to have amazing friends to share this experience with. Xo V

    Image and video hosting by TinyPic
    Image and video hosting by TinyPic
    Image and video hosting by TinyPic
    Image and video hosting by TinyPic
    Image and video hosting by TinyPic

    source 1,2,3,4,5,6

    because so many of you were asking in the last Coachella post lol

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    Sharon Stone HATES her former nanny's guts -- like seething, fiery hatred -- and now she's suing her former help ... claiming the nanny ran off with $9,500 of Sharon's cash.

    Stone has a bitter history with the woman -- Erlinda Elemen. Just last year, the nanny sued Stone claiming the actress was a tyrant of a boss who would often hurl racially charged insults her way.

    Stone denied the allegations ... calling the case "frivolous."

    But now, Stone is lashing back with a brand new lawsuit of her own -- alleging she loaned the nanny $12,500 back in 2010 ... but the woman only paid back $3,000.

    In her suit, filed in L.A. County Superior Court, Stone claims Elemen stopped making loan payments in January 2011 ... one month before Elemen claims she was fired.

    Stone is suing for the remaining debt -- $9,500 ... plus interest.


    Stoney come on, you need to go take a nice long walk hunting in the woods, in the 'morn, where you can talk to the trees.

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    Cold War is the latest Who instalment penned by Mark Gatiss, and features The Doctor and Clara (Jenna-Louise Coleman) up against an Ice Warrior aboard a Russian submarine.

    Dubliner Cunningham - who plays Captain Zhukov - told Access Hollywood that he greatly enjoyed seeing Smith in the role of the Eleventh Doctor.

    "Matt Smith is a wonderful Doctor. He's wonderful," Cunningham declared, adding:"He's a very quirky character both in real life and as Doctor Who.

    "I'd seriously say, I think he's gonna go down as - definitely one of the classics of the Doctors, definitely, definitely, and a delightful human being - as is Jenna-Louise."(One of the classics?...not under Moffat's writing)

    Cunningham is also currently portraying Davos Seaworth in Game of Thrones, which began its third season last weekend in the US and on Sky Atlantic.

    Doctor Who airs tonight (Saturday) at 6.00pm on BBC One.


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    It’s quite rare for a movie about a person’s life to be 100 percent correct. Dramatic flavor, poetic license, romanticization, sugar coating, and other means to create entertainment out of real life understandably causes the occasional fact to go out the window. Although it’s sometimes just a matter of accidental fallacy, people tend to have a field day with biographical blunders. (We will likely soon be hearing about inaccuracies in the new Jackie Robinson biopic “42,” opening this weekend.)

    Granted, many wrongs are pointed out only through those who experienced the events first hand, and a lot of these are subjective offenses about how persons are portrayed or characterized. There’s also great issue taken with whitewashed depictions, as well. Then there are the easily provable errors, like when Congressman Joe Courtney made a big deal earlier this year about an incorrect vote count spotted in “Lincoln” regarding Connecticut’s approval of the 13th Amendment.

    Below are 10 5 infamous inaccuracies from biopics, each of which is found faulty with simple research and debunked with quite accessible evidence.

    Inaccuracy: William Wallace’s Affair With Isabella

    There is not a lot that is empirically provable or disprovable about events that happened more than 700 years ago. Anyway, you can’t get too picky about the truthfulness of something like the life of William Wallace (Mel Gibson). He’s the dictionary definition of the word legend, and appropriately this movie is filled with folklore carried through the centuries not only in historical records but in stories and songs and poems and plays. Nevertheless, one major aspect of “Braveheart” is completely erroneous and that’s Wallace’s affair with Princess Isabella of France (Sophie Marceau), who was a wee child at the time she was supposed to have met the Scottish hero, and still an adolescent when Wallace was killed.

    ‘My Week With Marilyn’
    Inaccuracy: Marilyn’s Film Performance of ‘Heat Wave’

    It’s not good to kick off a movie with a glaring error, but this film does just that -- sort of. The opening scene has Eddie Redmayne’s character in a theater watching a movie starring Marilyn Monroe (Michelle Williams). But what movie is it? She’s singing “Heat Wave,” which is from “There’s No Business Like Show Business.” But it’s definitely not the scene from that movie. Everything about it -- costumes, sets, props, dance routine -- are not right. It kind of looks like her performance of “My Heart Belongs to Daddy” in “Let’s Make Love” (which came out after “My Week With Marilyn” is set), but it’s probably really just supposed to be a composite -- a nonexistent musical film scene representing all her musical film scenes. That’s fine if that’s the intention. It’s also probable that the filmmakers weren’t legally able to reenact Fox’s movie and thought nobody would notice.

    ‘Great Balls of Fire!’
    Inaccuracy: “Great Balls of Fire” Topping the Pop Charts

    It’s one thing to make changes here and there, but it’s another thing to outright lie the way “Great Balls of Fire!” does. The film about early rock and roll star Jerry Lee Lewis is as cartoonish as biopics get. There are inaccuracies abound. But it goes too far, literally, with a montage illustrating Lewis’s title tune climbing all the way up the Billboard charts. In reality it peaked at #2. So what’s the shame in pretending it grabbed the #1 spot? Well, dumping this documented fact, easily found in print, shows either laziness or total disregard for truth.

    Inaccuracy: Alfred Hitchcock Signs Off By Saying “Good Evening”

    The recent dramatic film about the making of “Psycho” opens with Alfred Hitchcock (Anthony Hopkins) breaking the fourth wall and addressing the audience by saying, “Good evening.” (The clip isn't available online.) This is obviously inspired by the director’s television series, “Alfred Hitchcock Presents.” But then Hitch also closes out by again saying, “Good evening.” However, he always bid farewell (till next time) on the show by saying “goodnight.” Sure, it’s hard to “prove” he wouldn’t have said “good evening” in this made up situation, but it wouldn’t make sense anyway. “Good evening” is technically a greeting rather than a term for goodbye.

    Inaccuracy: Della Bea’s Presence in the Final Scene

    The very end of “Ray” takes place in 1979, when Ray Charles (Jamie Foxx) is being honored by the State of Georgia, which has selected “Georgia On My Mind” as their official song. He’s joined at the occasion by his wife Della Rae (Kerry Washington) and their three sons. But in actuality Ray and Della divorced in 1976. This isn’t to say she couldn’t have been present at the event, but it’s very unlikely. And the main issue here is that the movie implies the couple was not only still together at the time but that they’d lived happily ever after.

    rest are here

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    Depeche Mode just released their 13th album Delta Machine, their strongest outing of the 21st century. Though they’ve been at it for over three decades, they show few signs of slowing and remain as relevant as ever: They’re constantly being covered (“Just Can’t Get Enough,” the band’s first single, showed up this season on Glee), and as frontman Dave Gahan points out, also regularly providing inspiration for a new generation of boundary-pushing artists.

    EW: Your new album Delta Machine was made both in New York, where you live, and in California where Martin Gore has his studio. How does Depeche Mode work being a bi-coastal operation?

    Dave Gahan: Depeche Mode is a bit of a revolving door when it comes to other people that work on our record since Alan Wilder left the band 20 years ago. We’ve had to adapt to different ways of working on things. This time we worked with Chris Berg who is a Swedish musician, and he’s worked with bands like Fever Ray and the Knife. He does sort of hardcore electronic stuff. He fit right in, he knew exactly what he was doing, he was very bold, he had great ideas. Martin and I both need a different angle, and that’s what makes it interesting. But to answer your question, yes, Martin’s out there in California, I’m here in New York, so basically we just the recording in half. He has a nice studio in his house, too. This record was really kind of a pleasure to make with Martin. He’s in great shape, he’s writing great songs. He’s as positive as we get as musicians. We’ve come a long way together, we see our strengths and we’ve come to this place where we have a very strong musical bond. I think that just happens with time. Being in a band, you spend the first 10 years chasing something. You spend the next 10 years trying to hold onto it. We’ve spent the last 10 years just kind of doing our own thing. I think there’s a great strength in having the courage and also having the support to do what you want to do when you’re an artist in any way shape or form. And we’ve been lucky to have some great people working with us.

    You say you and Martin are positive, but Delta Machine is still pretty dark. Where does that come from?

    That’s just in us. We look at he other side of things and I think out of that—it sounds corny, but those spaces that you get yourself into that can be kind of destructive and dark. We say better out than in, and if you can somehow write out of that and then put that into a place that has a feeling of hope about it as well as the despair, I find that that’s the place where it’s really human. A lot of people would say that we don’t make very human-sounding music, but it seems to move a lot of people and a lot of people identify with it on very deep levels. Once a day when I’m walking around New York, somebody will just come up to me and say, “Thank you so much for your music,” or, “Oh you helped me through college,” or “I don’t know what I would have done without that song.” So there’s something about what we do that people respond to, and I think you can look at it in two different ways. Yes, it’s got a feel about it that can be dark at times. The tone in my voice evokes that kind of imagery, and I’ve chosen to embrace that rather than change it. It’s kind of who I am. I understand when people say, “Oh it’s so dark, so heavy.” But I think it has both dark and lightness. I think that’s life.

    Why are you so obsessed with sacred imagery—crosses, angels, saviors and the like? Is that part of it?

    Martin and I are both interested in that yearning to feel whole with yourself and the world. It’s something that we all want to feel. I have young-ish kids, they’re 25, 20, and 13. They talk to me about that: “I don’t fit in, I don’t this or that.” Music is an art form that actually transcends all that not feeling a part of. It does for me. I don’t know what that is, I don’t claim to have this image of a man in the sky with the big beard, but I do believe the universe has a real power and I think music is definitely a part of that. It brings people together in harmony. I know that Martin yearns for that as well, and I think that both of us have tried different angles with that, and we’ve both had our fair share of drinking, alcohol, and going down those roads of different girls in different places. The bottom line is your kind of left with yourself. You have to choose at some point. It’s like, “I can’t do this anymore.” And in way, it’s a blessing when that happens and if you manage to get to the other side of that and you can put down the booze and different things open up. It doesn’t work for everybody but certainly worked for me.

    Your songs are still covered quite often. Is that flattering or frustrating?

    I think it has to be flattering. From Johnny Cash to Marilyn Manson, there’s so many different versions of things out there. You can always tell a good song if you hear it in different ways and it still stands up. The Johnny Cash version of “Personal Jesus” is the ultimate version of that song to me. It’s probably even truer than our own in that it stands as a song and the vocal that’s behind it evokes so much feeling within those words and melodies. That’s like Elvis covering one of your songs! It doesn’t get better than that. You know, it’s very flattering and it’s a real testament to our influence on a lot of other musicians, which is for me the highest honor. Someone said to me the other day, “I was watching Glee the other day and they were singing ‘Just Can’t Get Enough.’” And I said, “Yeah, it’s one of the first things we did, really.” And I realized that was recorded in 1980. He said, “Wow, that’s a long time ago.” And it is, isn’t it? It’s more than half my life, and it’s kind of wild that we’re still doing this and there still seems to be a great deal of interest in what we do. I feel very grateful for that.

    But that also must be vindicating, considering how many times you’ve been written off, even when you were at your peak.

    I read the other day somewhere about all these bands that had never received Grammys. For instance, Led Zeppelin. That surprised me on one level. On another level, it didn’t, because they weren’t that well-received critically. It’s that kind of band. They’re doing their own thing and they were kind of criticized for basically playing the blues and turning it up, so they gave it a different spin. And of course years and years later, you listen to their music and you can just hear how amazing it is. The way the four musicians could get into a room together and make that kind of noise to me is just incredible. But it depends how you judge what is good and what isn’t good. I sat and watched some of the Grammys, and it is what it is. Of course it’s very nice to be given an award for something. We have not had one. You can put us in that category. We’ve never even been given a Brit Award, which is even more insane. Not that we care. It doesn’t make any difference to what we do. For years I wasn’t OK with it. I thought about it too much. We really do get a fair amount of praise.

    Have you run into any current musicians who cite Depeche Mode as an influence that surprised you?

    We were in the studio in New York filming and recording some live tracks toward the end of the sessions. Suddenly in the doorway, I sense this presence, and there’s this guy standing there and he’s just watching. Who’s that? An assistant said to me, “Do you mind? Frank Ocean is hanging out and he’s in another studio and he really wants to meet you guys.” I wouldn’t have assumed he knew us, but it turned out he was a big fan of the band and he was watching us perform and he was like, “Wow. This is the real deal, this is the real thing.” Martin and Chris actually ended up doing a track with him, which I think is going to be a part of his new record. They’re doing some electronic, modular synthesizer stuff that he really wanted. That’s how diverse it gets for us. I read that Jay-Z has mentioned he’s kind of influenced in some way by Depeche Mode. Now that’s not necessarily the songs or my voice. I think it’s about our approach, the way that we’ve done it out ourselves, that we’ve built something. And I think there’s a lot of different aspects of what is admired about Depeche Mode. Other musicians see it as a sort of template of, “Look, this could be done like this.” And I think it’s important in music that there are the Depeche Modes of the world, because there’s a lot of crap that clogs the radio airwaves. Whether it’s the new boy band or whatever, it’s just kind of become this thing that to me seems to be full of fear, like everybody’s afraid to go out of the norm. Radio-wise, I think it is probably the worst it’s ever been. Especially in America, it seems rock radio is virtually non-existent. It’s all this sort of syndicated, very high-energy pop music and it’s very difficult for new, young bands. It blows me away: there’s so much good music out there. Thank God for the Internet. Clearly, it’s where you find and discover new music.



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    A new TV spot and set of posters for The Great Gatsby have been released.

    Baz Luhrmann's long-awaited 3D adaptation of F Scott Fitzgerald's novel stars Leonardo DiCaprio as mysterious millionaire Jay Gatsby, Carey Mulligan as his former flame Daisy Buchanan, and Tobey Maguire as his close friend Nick Carraway.

    Joel Edgerton, Isla Fisher, Jason Clarke, Adelaide Clemens and Elizabeth Debicki are among the supporting cast, and Debicki appears in one of the four new 'Moments' posters as Nick's socialite love interest Jordan Baker.

    Luhrmann recently discussed the difficulties he and co-writer Craig Pearce had with adapting Fitzgerald's novel, and hinted that the film's script contains one major difference from its source material.

    A recent trailer featured clips from the Jay-Z-produced soundtrack, including Beyoncé's cover of Amy Winehouse's 'Back to Black', Florence Welch, Lana Del Rey and Andre 3000.





    The Great Gatsby will open this year's Cannes Film Festival, before releasing in the US on May 10 and the UK on May 16.

    source | 1& 2

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    Romeo and Juliet are "star crossed lovers". When two enemy families meet, forbidden love ensues. A William Shakespeare classic.


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    Ed Sheeran Wins MTV's Musical March Madness Tournament!
    The Sheerios carry Ed to victory over Thirty Seconds To Mars in the MMM championship.sheerios? really?
    By James Montgomery

    It's all over: After 40 million votes, 64 bands and 26 days, Ed Sheeran has won MTV's Musical March Madness tournament; and it wasn't even close.

    The Sheerios carried their man to a blowout victory over Thirty Seconds To Mars in the 2013 title game, as Sheeran stormed to an early lead, and never relented. In the end, in a battle that saw nearly 90,000 votes cast, Sheeran took more than 63 percent of the tally, and, after a series of close victories — he barely edged out Paramore in the Elite Eight, and snuck by Tokio Hotel in the Final Four — Ed's finally able to exhale ... and can bask in his first MMM title.

    Sheeran is the fourth artist to win the tournament in its four year history, following in the footsteps of last year's champs, Tokio Hotel, 2011 title-takers Green Day and Coheed and Cambria, who won the inaugural tourney in 2010.

    Congrats to Ed and his entire Sheerio army; when we launched this tournament last month, we didn't know how far his fans would take him, but, with each impressive victory — he truly faced the toughest road to the championship, besting perennial powerhouses like Muse and Evanescence in the early rounds, then running the Paramore/Tokio Hotel gambit just to make it to the title game — it became clear that Sheeran had a legitimate shot at winning it all. He got stronger with each successive round, and now, he's the last man standing. All hail the new champion ... and his fans, who proved that they're the baddest in the land.

    And, yes, we're engraving Ed's name on the big gold trophy as you read this.

    So, with that, we close the book on the 2013 Musical March Madness tournament. It wasn't always the smoothest ride — just ask the two polling sites we fried — but, despite all that, you all kept voting for your favorite bands, and, in the process, helped us shatter records for total votes again. So thank you for bearing with us, and making MMM 2013 one for the ages. And if your band came up short, well, fear not: the 2014 tournament tips off in just 11 months, so begin plotting your revenge now.

    Enjoy your hard-fought victory for a few days, Ed, but remember, heavy is the head that wears the crown. Next year, there will be 63 bands gunning for you ... we suppose it's never too early to begin planning your title defense.



    pretty sure I'm becoming a stan... finally listened to + , loved it.
    Oh, nevermind that.

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    ‘Mad Men,’ ‘Game of Thrones,’ ‘The Americans’: Reading Prestige TV Dramas as YA Fiction
    From Sally Draper to Arya Stark, teenage girls provide a focal point within the prestige television narrative. Alyssa Rosenberg argues that their struggles can be read as YA fiction.

    Illustration by Lisa Larson-Walker

    On Sunday’s season premiere of Mad Men, Sandy (Kerris Lilla Dorsey), the Francises’ teenage violinist houseguests sits down with Betty (January Jones) over a midnight snack, telling her what it’s like to live on your own as a young person in New York City. “The kids are just living. It’s beautiful. People are naturally democratic if you give them a chance,” she says, without a trace of irony. “Are you on dope?” Betty asks her, suspicious of anyone who’s that enthusiastic about human nature. It’s a sharp, funny exchange that illustrates Betty’s strange attraction to Sandy and her cynicism.

    But it’s also a reminder that there’s another show lurking in Mad Men behind the façade of Don Draper’s suits and scotches. Like almost every major anti-hero drama on television today, Mad Men is also a story about what it’s like to be a young girl discovering the realities of the world she’s living in. The secret of today’s prestige television is that it can all be read as young adult fiction.

    Take Game of Thrones, HBO’s sweeping fantasy epic about ice zombies, adorable baby dragons, and the brutality of medieval warfare. It’s also a show that features four major teenage or pre-teenage female characters: sisters Arya (Maisie Williams) and Sansa Stark (Sophie Turner), who have been separated from their parents by the outbreak of war, Daenerys Targaryen (Emilia Clarke), who started out as a teenaged bride to a Mongol-like warlord before rising to power in her own right, and now Margaery Tyrell (Natalie Dormer), who’s already lost one husband—challenger to the throne Renly Baratheon—and is preparing to marry again, this time to Joffrey Baratheon (Jack Gleeson), the brutal boy-king of Westeros.

    Each girl represents a different kind of fantasy YA archetype. Arya’s always been a tomboy, and at the end of the first season of Game of Thrones, she escaped from the capital city of King’s Landing after her father’s execution, lighting off into the countryside disguised as a boy like a Westerosi Huckleberry Finn. This year, she and the friends she made on the run have hooked up with a group of outlaws called the Brotherhood Without Banners, but not before Arya tried to scare of Thoros (Paul Kaye), one of their leaders. “You’re a dangerous person,” the middle-aged priest beams at her. “I like dangerous people.”

    Sansa, her older sister, started the series as a romantic, but has become progressively disillusioned. “The truth is always either terrible or boring,” she tells her maidservant Shae (Sibel Kekilli) earlier this season. But she’s still got some hope, particularly when Littlefinger (Aidan Gillen), the court treasurer, expresses interest in her, and Margaery Tyrell and her grandmother give Sansa her first sense of safety since she saw her father executed before her. Daenerys, by contrast, began as a prototypical abuse victim who was at the mercy of her vicious brother Viserys (Harry Lloyd), who sold her to her husband, Drogo (Jason Momoa), in exchange for an army. But over time, she’s overcome the physical and sexual violence she suffered to become the Mother of Dragons, if not yet the queen of Westeros she dreams of being.

    And Margaery is the preternaturally mature operator, a girl who survived the assassination of her first husband, and once she’s betrothed to a second one, smoothly moves into flattering his ego. She gets the truth about Joffrey out of Sansa, whom he ordered beaten and terrorized when the younger girl was engaged to him, and doesn’t let it intimidate her. Margaery may dress like a girly girl and simper like a cheerleader, but she’s a medieval badass, hiding the political equivalents of throwing stars in her cleavage. Taken together, these four girls represent very different teenage experiences, and very different responses to the pressure to grow up into a lady in a time and place where marriage was a form of chattel slavery.

    Closer in both time and place, both Showtime’s terrorism drama Homeland and FX’s period spy thriller about Soviet spies in the United States, are deeply tied up in their main characters’ teenaged daughters.

    In Homeland, Sgt. Nicholas Brody (Damian Lewis), the prisoner of war who returns home after years of captivity by the terrorist Abu Nazir (Navid Negahban), reconnects most easily with his daughter Dana (Morgan Saylor). She’s pulled into her father’s plan to become a suicide bomber and the CIA efforts to stop him when agent Carrie Mathison (Claire Danes), deep in a bipolar episode, asks Dana, in desperation, to help stop him. Dana insists that she doesn’t believe he could possibly be a terrorist, but calls her father anyway. A year later, when Carrie is interrogating Brody, she tells him, “It was hearing Dana’s voice that changed your mind, wasn’t it?” Dana, whether she intended it or not, has become a full participant in the moral world of grown-ups, due to her father’s plot. And she finally reaches maturity in the second season, when she realizes that Carrie was right, though for the wrong reasons—she’s finally capable of seeing Brody independently, rather than through the haze of daughterly love.

    And Brody’s involvement in Washington intrigue also colors Dana’s first romance. She meets Finn Walden (Timothée Chalamet) after her mother is pulled into the vice president’s circle, and artlessly tells him, “I like you,” when he sneaks her into the Washington Monument. But their attempts to outrun his Secret Service detail end in disaster when Finn hits a woman and flees the scene. Dana proves herself different not just from her family but from the Washington consensus, when she insists on finding out what happened to the woman, and then on trying to report her death to the police. For the same reasons Dana ends up able to see her father clearly when so many other people can’t, she refuses to participate in Finn’s evasions.

    “Whatever we felt, we broke it,” Dana tells him when he asks her if they could go back to being normal, aided by his family’s money and power. “We killed it, just the same way we killed that woman.”

    On The Americans, Paige Jennings (Holly Taylor) is much further away from deducing that her parents, Phillip and Elizabeth, are actually KGB agents rather than the proud proprietors of a suburban travel agency that provides their cover. But the show is deeply concerned with her growing up as a proxy for American capitalism and licentiousness. And her adventures with her brother Henry (Keidrich Sellati) demonstrate how children, before they can be admitted into the realm of their parents’ secrets, learn to keep their own.

    In the pilot of The Americans, Phillip (Matthew Rhys) was rattled when, while shopping for shoes at the mall with Paige, an adult man told Paige "Whoa, I like that. You look nice, darling. Want to come with me and Dee to shop after you pay for those?" When Phillip, who’s more attracted to American luxuries than his wife, protests that his daughter is far too young, the man tells him, "Thirteen. I don't know, Daddy. She sure looks ready to me." In the next episode, Elizabeth (Keri Russell)—who sees an affection for consumer goods as a sign of weakness—notices that Paige is sporting an exposed red bra strap. "Where did you get that?" she wants to know. "The mall. It's just a bra. I'm 13,” Paige tells her. “Things are different than when you grew up. People are, like, freer.” In the third episode, over breakfast with Paige, Phillip notices the headline on her Girl’s World Magazine. “Bath to babe in under a minute?” he remarks. “Now I know why your mom hates those magazines.” The message is clear: the road to consumerism leads to the loss of innocence and sexual autonomy.

    And it isn’t just the mall that’s a risky place. When Phillip and Elizabeth are detained by their KGB colleagues as part of a loyalty test, and miss picking up Paige and Henry, leaving them stranded far from home, Paige insists that they hitchhike home. In a riff on Joyce Carol Oates’ famous short story “Where Are You Going, Where Have You Been?” the man who picks them up initially seems friendly, but ends up, both intentionally and unintentionally, giving Paige a lesson in the larger world that she’s headed into. "You know, you're definitely going to be a knockout in a couple of years,” he tells her. “I'm not hitting on you or anything, but you're definitely going to break some hearts. You know how dangerous it is to hitchhike? You're lucky you ran into me and not some lunatic." As Paige and Henry feel increasingly threatened, Henry creates a moment for them to escape, hitting the man over the head with a bottle.

    "What if he wasn't going to do anything bad to us?" Henry asks her fearfully when they get home. "He was a creep, Henry. What you did today took courage,” Paige tells him. "What happened today has to be our secret, okay?"

    Mad Men has always had Sally Draper (Kiernan Shipka), who was a little girl for much of the series, but one with secrets of her own, including her relationship with Glenn Bishop (Marten Holden Weiner). But this year, she is growing into maturity. After Betty’s cited for reckless driving, Sally tests her mother’s limits, announcing to Henry, “Isn’t somebody going to say something? Betty got a ticket.” She may have rushed home after getting her period last season, but now Sally’s shutting the door on Betty’s face to have some privacy on the phone and asking to go to New Year’s Eve parties.

    And she’s not the only one who’s growing up. Her friend Sandy is pushing boundaries even further than Sally is. “There are people in the Village. I read about it, and I even visited them,” Sandy tells Betty during their midnight conversation. And after she confesses that she lied about being accepted to Julliard, Sandy disappears, and Betty tries to track her down at an address at St. Mark’s Place that the girl had mentioned. It’s there that she finds herself an interloper in a rather less idealized young adult novel. “I don’t want to have to lay the regular rap on you, but I am exhausted from having to tell people like you that I haven’t seen people like her,” one of the grubby denizens of the squat tells Betty, before finding himself softened by her obvious anguish. “Do you know how to make goulash?” he asks her. “Because I’ve got pork butt, two onions, and lentils, and I’m pretty sure that’s what’s in it... And paprika. I know that’s what’s in it.”

    Betty is often criticized as emotionally childish, but in this scenario, she’s more grown-up than anyone else. And Sandy’s disappearance has set her on a heroic adventure of her own. Betty may have rejected the narrative Sandy laid out for women of Betty’s generation—“You go to college. You meet a boy. You drop out. You get married. Struggle for a year in New York while he learns to tie a tie and then move to the country and just start the whole disaster over”—as “an arrogant exaggeration.” But in chasing after Sandy, she’s acknowledging that she wants something more. “I’m came here because I’m looking for somebody that I do want,” Betty tells the young men in the building. “I did not throw her away.”

    And Betty’s learning through Sandy’s example the lesson that teenaged girls across television have been quietly absorbing while the grown-ups have been catching terrorists, starting advertising agencies, stealing missile blueprints, and fighting over the Iron Throne. Sometimes you have to strike out on your own to discover who you really are, and what you really want.

    There are definitely some interesting points brought up to support the YA fiction argument (and the article is a great read, imo), but I think it's more that teenage daughters aren't just stock fringe characters anymore and are instead being written as full-fledged characters with storylines just as complex and deep as that of their adult counterparts.

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    Good to know Samantha changed her life along with many others.

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    One very unusual zombie forms a romantic relationship with a teenage girl in Warm Bodies, which stars hot young actors Nicholas Hoult (Jack the Giant Slayer, X-Men: First Class) and Teresa Palmer (I Am Number Four, The Sorcerer's Apprentice), along with an all-star supporting cast including Primetime Emmy winner Rob Corddry (Outstanding Special Class - Short-Format Live-Action Entertainment Programs, Childrens' Hospital, 2008; Rapturepalooza), Dave Franco (21 Jump Street), Analeigh Tipton (Crazy Stupid Love), Cory Hardrict (upcoming Lovelace, Battle: Los Angeles) and Academy Award nominee John Malkovich (Actor in a Supporting Role, In the Line of Fire, 1993; Red, Burn After Reading). Written for the screen and directed by Jonathan Levine (50/50) and based on the novel by Isaac Marion, the film arrives on Blu-ray Disc (plus Digital Copy and Ultraviolet), DVD (plus Digital Copy and Ultraviolet), Video on Demand and Pay-Per-View June 4th from Summit Entertainment, a Lionsgate company. Warm Bodies will also be available on EST May 14th, three weeks prior to the Blu-ray, DVD and Video on Demand release.

    A funny new twist on a classic love story, Warm Bodies is a poignant tale about the power of human connection. After a zombie epidemic, R (a highly unusual zombie) encounters Julie (a human survivor), and rescues her from a zombie attack. Julie sees that R is different from the other zombies, and as the two form a special relationship in their struggle for survival, R becomes increasingly more human - setting off an exciting, romantic and often comical chain of events that begins to transform the other zombies and maybe even the whole lifeless world.

    The Blu-ray and DVD bonus features include deleted scenes, a gag reel, audio commentary with screenwriter/director Jonathan Levine and actors Nicholas Hoult and Teresa Palmer as well as multiple featurettes going behind-the-scenes of Warm Bodies. The Warm Bodies Blu-ray Disc and DVD will be available for the suggested retail price of $39.99 and $29.95, respectively.

    Blu-ray/DVD Special Features:

    "Boy Meets, ER, Doesn't Eat Girl" featurette
    "R&J" featurette
    "A Little Less Dead" featurette
    "Extreme Zombie Make-Over!" featurette
    "A Wreck in Progress" featurette
    "Bustin Caps" featurette
    "Beware of The Boneys" featurette
    "Whimsical Sweetness: Teresa Palmer's Warm Bodies Home Movies" featurette
    "Zombie Acting Tips with Rob Corddry" featurette
    Audio Commentary with Director Jonathan Levine and Actors Nicholas Hoult and Teresa Palmer
    Deleted Scenes with Optional Audio Commentary with Screenwriter/Director Jonathan Levine
    "Shrug and Groan" Gag Reel

    Warm Bodies was released February 1st, 2013 and stars Nicholas Hoult, Teresa Palmer, Analeigh Tipton, Rob Corddry, Dave Franco, John Malkovich, Cory Hardrict, Daniel Rindress-Kay. The film is directed by Jonathan Levine.


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    The Woman With 1 Billion Clicks, Jenna Marbles

    A young woman with magenta-streaked hair stands in her bathroom, speaking to a webcam. In a hushed tone, she chews over a thorny problem of young adulthood: how to apply full evening makeup when you’re already inebriated from drinking all day?

    She begins her tutorial by wielding that totem of collegiate binge drinking everywhere: a red plastic Solo Cup. One jump cut later (after a “Law and Order: S.V.U.” drinking game), she re-emerges, thoroughly intoxicated. She misapplies a gob of glue. It dangles from a false eyelash. She lines her lips with a black pencil.

    “It doesn’t matter what color it is, ’cause you’re gonna blend it,” she slurs, batting her eye glue. “Don’t let this scare you.”

    The video, titled “Drunk Makeup Tutorial,” is completely awesome to some, bewildering to others — and above all, classic Jenna Marbles, another installment from a reigning queen of YouTube. The episode has been viewed 14.6 million times.

    While few people older than 30 probably know who Jenna Marbles is, her popularity is unquestioned among teenage girls who live on the Internet.She has more Facebook fans than Jennifer Lawrence, more Twitter followers than Fox News and more Instagram friends than Oprah. Her weekly videos on topics as quotidian as “What Girls Do in the Bathroom in the Morning,” “My Favorite Dance Moves” and “I Hate Being a Grown Up,” place her in an elite club of more than one billion YouTube views, with more than eight million subscribers and growing.

    “My perspective is to think, ‘I just have a lot of Internet friends,’ ” said Jenna Marbles, 26, whose real name is Jenna Mourey (Marbles is the name of her Chihuahua). She acknowledges it is an odd kind of celebrity. She is a D.I.Y. digital entertainer who conceives of, stars in, shoots, edits and uploads her own videos — often in a single day.

    If embedding doesn't work:

    Her videos are a highly shareable cocktail of comedy, sex appeal, puppies and social commentary, laced with profanity. She skillfully juggles Facebook, Twitter, Instagram and YouTube to build a deeply loyal connection with fans who find her eminently easy to relate to.

    The result is more than a million views every single day and more money than she had ever seen before in her life. She may be unique, but she is no viral-video fluke. To a younger generation who spends more time on YouTube than TV, Jenna Marbles already embodies the future of celebrity.

    Internet fame can come on fast. In the summer of 2010, Ms. Mourey shared a three-bedroom apartment in Cambridge, Mass., where her $800 rent was scrounged together from a patchwork of part-time gigs: bartending, blogging, go-go dancing at nightclubs and working at a tanning salon, where she remembers the singularly depressing chore of mopping up customers’ sweat. Meanwhile, her newly completed master’s degree in sports psychology gathered dust.

    “My life was a hot, hot, hot mess,” she said.

    One afternoon, she uploaded a video of herself putting on makeup for her dancing job. It was called “How to Trick People Into Thinking You’re Good Looking.” In a dim, white-paneled bedroom, Ms. Mourey sat before her computer and began: “If you were born really ugly like me, have no fear. There’s steps you can take to be good-looking. Kind of.”

    In a mesmerizing kind of reverse burlesque, her naked face and pale blue eyes disappeared under a flurry of foundation, false eyelashes and frosted pink lipstick. In two and a half minutes, she transformed herself from a plain girl with a bad case of bedhead to a hypercharged cartoon sexpot. “There is no cure for ugly,” she says in her flat Rochester accent, “but you can make yourself into a human optical illusion.”

    The video ends as she clutches her degree in a fit of mock sobbing. She uploaded the video on a Friday. Over the weekend it became so popular that it reached the true mark of viral success: she had to call her mother.

    “She said, ‘Mom, I made this video on the Internet and a lot of people are watching it and I swear in it,’ ” said Deborah Mourey, a marketing consultant who still lives in Rochester. Mom was not upset; she laughed, along with five million other people that first week.

    Since then, the formula for a Jenna Marbles video hasn’t changed much. Unlike other YouTube personalities who invest in better cameras, lighting and production values, Ms. Mourey has stuck with her original lo-fi operation.

    On a bright Monday this winter, Ms. Mourey allowed the rare reporter inside her rented $1.1 million Santa Monica town house. The décor could be called contemporary teenage mess. Pizza boxes and a parking ticket littered the countertop. A fruit bowl held two bananas, turned solid black. Nerf darts spilled across the floor. A lonely dart clung to a high window, just out of reach.

    Any chaos in her daily life, however, sits neatly out of frame. When she pulls her laptop out and records a new video at the kitchen table, viewers typically see only her and a blank wall.

    The process starts a day earlier, when Ms. Mourey polls her eager Facebook fans for ideas. Thousands of suggestions roll in: eat soup with a fork, wax a friend’s armpits drunk, or “dress as Barry Manilow and see how many spicey cinnamon hearts you can stuff in your face before you explode.” She considers them all, she said, but in the end, Ms. Mourey shoots what she can handle alone in her house.

    She does impersonations (Snooki, Gaga, Palin, Bieber). She rants (“Sluts on Halloween,” “Things Boys Don’t Understand”). She plays off gender dynamics (“What Boys Think About During Sex” and “What Girls Do in the Car”). She starts mini-memes. She undermines her camera-ready good looks for the sake of comedy, say, by vomiting oatmeal or sticking her dog in her shirt for extended periods.

    “It’s a very odd kind of skill we haven’t seen in entertainment before,” said Alan Van, the executive editor of the online media blog, which began chronicling the emerging video genre in 2011. “Comedic blogging has mostly been a man’s domain, but she’s definitely at the top.”

    Like Jenna Marbles, the pantheon of telegenic 20-something YouTube stars has carved out a new entertainment genre, complete with its own rules and visual vocabulary.

    In videos that typically last five to eight minutes, they talk straight to the camera and riff through head-spinning jump cuts, non sequiturs and exaggerated facial expressions to court shrinking attention spans and rack up views.

    A few years ago, YouTube stars were one-hit wonders, viral accidents whose fame came and went like a passing storm.

    “Now we have this whole industry, with networks, managers, P.R. and award shows,” Mr. Van said. “We have this whole system dedicated to making more money and sustaining success, so these personalities are more likely to succeed longer than they could have before.”

    A small army of them has descended on Los Angeles, looking to connect with one another, and Hollywood. Sensing an opportunity, YouTube recently opened a 41,000-square-foot production facility in a former airport, once owned by Howard Hughes, to nurture the next big viral hit. But many young viral stars are unsure if YouTube fame is enough, and many are hoping to move into film or television.

    “I’m not completely sold that you ever have to transition to mainstream media, you know?” said Ms. Mourey, who cherishes her creative freedom. “What I get to do is have fun in my house, by myself, and put it on the Internet.”

    Still, Ms. Mourey has needed to professionalize her business affairs, partly to handle the deluge of endorsement requests and fan mail that comes her way — more than 50,000 messages a month. Her team recently expanded to include a personal assistant, a business manager, her mother and a soon-to-be-hired chief technical officer.

    Ms. Mourey would not disclose any financial details, but industry experts estimate that a star at Jenna Marbles’s level could make a very comfortable six figures from advertising revenues that the video network pays out to members of the “YouTube Partner Program.” TubeMogul, a video ad-buying platform in California, examined traffic on the Jenna Marbles channel and estimated that she could have earned as much as $346,827.12 in 2012.

    “I make more money than I need, ever,” is all that Ms. Mourey would say. That may explain why she has felt free to turn down offers from electronics and cosmetics companies, among others, seeking to tap her loyal audience.

    Teenage girls love her exactly because she seems so genuine. Her videos are catnip to them, the kind of thing they discover privately in their Facebook feed, where her profanity and tell-it-like-it-is rants on sex, boys, sports bras and makeup speak directly to her core audience, 75 percent of whom are young women and girls, mostly from the ages of 13 to 17.

    At first that surprised Ms. Mourey, who thought she was making videos for her peers. “In my mind, my videos sometimes are inappropriate for a 13-year-old,” she said. “But that’s what they’re watching.”

    Despite her anything-goes brashness, Ms. Mourey cares very much about her position as a role model. Her mother sifts through her fan mail, and regularly finds mash notes from girls as young as 9. While Deborah Mourey is proud of her daughter’s positive messages about self-respect and acceptance, she hopes that the youngest Jenna Marbles fans are at least watching with an adult.

    But most aren’t. When one parent commented on a recent video that the language was inappropriate for girls and asked that it be taken down, the comment thread was swarmed by teenagers defending Jenna.

    One fan, Allee Hamilton, of Livonia, Mich., wrote: “Seriously, I’m 13. You need to understand that we watch Jenna Marbles, we swear, we think wrong, we act insane, we have Facebooks, we can’t live without Internet, we can’t live without our phones. THATS JUST THE WAY IT IS!!”

    In an interview, Allee added that she rarely watches television. “I would rather watch Jenna Marbles all day than anything else,” she said. “She swears a lot, but she’s funny.”

    But she has her detractors. Beyond viewers who find the Jenna Marbles brand of humor incomprehensible or simply annoying, some were deeply offended by her impersonation of Nicki Minaj, in which she applied copious amounts of bronzer and put on a butt-pad and pink wig. Critics say it amounted to blackface and crossed the line from parody to racism.

    Louder cries were heard over the video “Things I Don’t Understand About Girls Part 2: Slut Edition,” which she released last December. In the video, which has generated 4.6 million views, Ms. Mourey defined a slut as “someone who has a lot of casual sex,” before ticking off a list of “slutty” behaviors, including one-night stands and sleeping with another girl’s boyfriend.

    The feminist blogosphere roared back with posts, video responses and animated GIF compilations, charging the video with victim-blaming and slut-shaming. Even longtime fans said that it was a misfire, and that her sizable audience requires her to be more mindful in the future. Ms. Mourey said she doesn’t regret the video, but plans on avoiding similar topics for now.

    “I got crucified,” Ms. Mourey said. “Crucified.”

    The bigger Ms. Mourey gets, the more she has had to grapple with the peculiarities of Internet fame. “Sometimes I like to think it would be nice if you just had a character and your personal life was your personal life,” she said. “My life is definitely out there, you know?”

    At no time was this more challenging than her recent breakup with Max Weisz, her longtime boyfriend. Regular fans had come to know Mr. Weisz through his frequent cameos. They were an attractive and playful couple. She cut his hair. He tried to put makeup on her. They wore elaborate Halloween costumes. It seemed like a teenage girl’s fantasy of what it would be like to be grown up with a cute boyfriend and a job that consisted mostly of hanging around online.

    But as real life seeped in, Ms. Mourey had to improvise a strategy to manage the news. “It was incredibly stressful,” she said. “I had to tell these 13-year-old girls that I broke up with my boyfriend — who they love — and I wanted to do it in a way that wasn’t going to hurt his channel.”

    When she eventually announced the split on YouTube, her fans reacted on Twitter: “MY LIFE IS OVER,” they mourned, “I feel like my parents are getting divorced,” and “everything I know about love is a lie.” Many posts were tagged “#crying.”

    At the time, Mr. Weisz, who goes by the YouTube handle MaxNoSleeves, already had more than 300,000 subscribers. Since the split, he began making weekly videos of his own. While his audience is just a fraction of hers (459,000 subscribers), he said he is making enough money from YouTube to support himself, following his ex-girlfriend’s template: producing funny, low-budget videos on a strict schedule.

    They both say the work is lonely. “Luckily, I have a buddy now who holds my camera for me,” Mr. Weisz said.

    Ms. Mourey, on the other hand, still operates the camera by herself. She is adjusting to living alone in a city where, for all her Internet fame, she has few friends and rarely goes out.

    Like lots of other YouTube personalities, Ms. Mourey said, “for the most part, we all just stay in our houses, alone, making videos.”


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    Farrah Abraham's father apparently believes the sex tape she planned and filmed with porn star James Deen was made for her personal use and not for profit. Mike Abraham said his daughter, 21, told him it was a “private matter” and insisted that the sex tape is not being shopped around for public release. Despite saying in the same breath that she would hawk the Farrah Abraham porn for $2 million, she made the same comment to TMZ this week.

    Whatever she does with it ... it's the real deal, which begs the question of what she'll tell her daughter about it when she's old enough to understand.

    “At this time, Sophia is four-years-old and she does not know the difference between good, bad or indifferent,” Mike said from his home in Nebraska. “In regards to down the line, just like anything, we all have consequences for our actions and I'm sure Farrah will have to address this with Sophia."

    “I cannot comment as to how she would do that, but I do know that she has a great relationship with Sophia and that Farrah is an amazing mother.”

    “Both of these women, Farrah and Sophia, have had to grow up very fast as a result of being in the public spotlight. For me, the bottom line is simple."

    "My job is to teach both of them forgiveness and acceptance and what love is, and if I did have to talk to Sophia about this, I would tell her these things.”

    When asked how he would feel if and when his daughter’s sexual exploits go public, Mike said there would be no “negative connotations” from him. “I'm a man of very strong faith and I have been taught about forgiveness,” he said. “Farrah, like everyone else on this planet, is subject to sin."

    "If something like that (Farrah sex tape) came out, I may not like it, but the bottom line is that I love my daughter and do so fully and unconditionally."

    “For as long as I am on this earth," the devout Christian added. "I am tasked with motivating her to be the best person she can be. And not be judgmental."

    “I will give you an example, if you have a daughter and she got married, you hope to God that she and her partner have a healthy sexual relationship... But in the end, it is none of your business. So when it comes to this, Farrah’s activities are like anyone’s, because she told me this was a private matter.”

    “She’s my flesh and blood ... I am not judging.”

    Seems like an awesome guy. One who deserves batter than to answer questions about James Deen contorting his kid's body into every position imaginable.

    Farrah's father claims Deen is an abusive liar

    The devout Christian father of ex-Teen Mom turned sex tape star Farrah Abraham has slammed her co-star of the as yet unreleased X-rated flick, describing him as “very abusive.”

    In an interview with, Mike Abraham claimed porn star James Deen broke a non disclosure agreement which should have prevented him from granting interviews about his on-camera rendezvous with single mom Abraham, 21.

    “I have a reputation of always supporting my daughter, but the one thing I do have a problem with — what is wrong — is when individuals make statements and claims that are not authorized,” Mike told

    “I think there is no disregard for the individual, Farrah, or her family. I do not know the individual personally, but based on information I do know, he is exhibiting very abusive behavior.

    “If somebody wants to do something in private, in that it is not to be made public, it should be respected. Let’s be adults about this.”

    The “abusive” behavior, according to Mike, was a series of interviews Deen, 27, granted to various media outlets in which he described the sex with Abraham as “very amazingly awesome.”

    “I thought she was very nice and super sexy. I had never heard of her before, as I don’t follow pop culture, but it is nice to see that her fame has not gone to her head,” he told The Sun.

    But the bone of contention is a dispute between the Abrahams and Deen about how the tape was conceived.

    Mike insisted the tape was always meant for private use only, but according to Deen, it was Abraham who concocted a plot to have a “leaked” sex tape!

    “Everybody’s trying to make it this story, but really [Farrah] wanted to make a sex tape,” Deen said.

    When questioned about his claim as to whether Deen’s interviews amounted to “abuse,” Mike fired back: “People try to make up stories for their own interest and that is what it looks like Mr. Deen is doing. He sounds like an opportunist to me.”

    He added, “There were no permissions for that person to make those statements.

    “We are a pretty close family, thick skinned. Farrah has told us that this was not a public thing, therefore Mr. Deen’s statements were not authorized to be made.

    “I am shocked he is making these statements, like he is our family, which he is not. Like he had a relationship with Farrah, which he did not.

    “Let’s put it this way, the facts will come out. I know where my daughter’s heart is. She is an adult who can make her own decisions and choices.

    “I am not judgmental because I know, just like everything else, there are usually more false claims than what is truth… I am a man of God. Religion does not get you into heaven, but faith does.”

    Source 1 and 2
    I don't think that anyone can deny that Deen is an opportunist but this whole thing was a poorly calculated attempt (like almost everything Farrah does) at Kim Kardashian fame. I know it's tagged as such here because there isn't an alternative but I also wish people would stop calling it a sex tape. It was filmed with intention of release from the very beginning, she got paid, and she shot it with a porn star. It's straight up porn. There isn't anything wrong with porn but lets just call it what it is thanks.

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    shit just got real.


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    Hiding beneath his flat cap, Leonardo DiCaprio made every pretense of wanting to avoid the limelight.

    But he certainly didn't mind as the girls flocked over to say hello at Coachella on Friday.

    Surrounded by beauties in their skimpy festival outfits, the handsome actor appeared well and truly in his element.

    Of course no-one goes to the famous festival for some quiet time.

    Rather it's a place for celebrities to be seen - and photographed.

    The jolly 38-year-old teamed his cap with a checked shirt and jeans, a blue handkerchief in the back pocket of his jeans.

    Leonardo didn't spend all his time chatting, with some fancy dance moves also on display.


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    Looks like someone has a busy weekend.

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