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Oh No They Didn't! - LiveJournal.com

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    "Crown on the Ground"
    Written by Alexis Krauss and Derek Miller
    Performed by Sleigh Bells
    "9 Piece"
    Written by Dwayne Carter, Lexus Lewis and William Roberts
    Performed by Rick Ross featuring Lil Wayne
    Courtesy of The Island Def Jam Music Group / Cash Money Records Under license from Universal Music Enterprises

    "Live From The Underground"
    Written by Justin Lewis Scott
    Performed by Big K.R.I.T.
    Courtesy of the Island Def Jam Music Group Under license from Universal Music Enterprises

    "Cotton Candy"
    Written and Performed by Brian Reitzell
    Licensed Courtesy of Maryannis Music, Inc.

    "Ouroboros"
    Written by Daniel Lopatin
    Performed by Oneohtrix Point Never Licensed
    Courtesy of Editions Mego

    "Sunshine"
    Written by Mathangi Arulpragasam and Ryeisha Berrain
    Performed by Rye Rye featuring M.I.A.
    Courtesy of Interscope Records
    Under license from Universal Music Enterprises M.I.A. appears courtesy of XL Recordings Limited

    "212"
    Written by Azealia Banks and Jef Martens
    Performed by Azealia Banks feat. Lazy Jay
    Courtesy of Interscope Records / Be Yourself Catalogue BV Under license from Universal Music Enterprises

    "Hell Of A Night"
    Written by Quincy Hanley and Dacoury Natche
    Performed by ScHoolBoy Q
    Courtesy of Interscope Records
    Under license from Universal Music Enterprises

    "Gucci Bag"
    Written by Gemar Akoto, Kwadwo Boateng and Reem Oweti
    Performed by Reema Major Courtesy of G7 Records Inc.

    "Big Lights"
    Written by Samuel Adams Wisner
    Performed by Sammy Adams

    "Dans Beat"
    Written and Performed by Brian Reitzell
    Licensed Courtesy of Maryannis Music, Inc.

    "Bad Girls"
    Written by Maya "M.I.A." Arulpragasam, Nate "Danja" Hills, and Marcella Araica
    Performed by M.I.A.

    "Drop It Low"
    Written by Christopher Maurice Brown, Esther Dean and Jamal F. Jones
    Performed by Ester Dean featuring Chris Brown
    Courtesy of Interscope Records
    Under license from Universal Music Enterprises
    Chris Brown appears courtesy of JIVE Records, a unit of Sony Music Entertainment

    "All of the Lights"
    Written by Jeff Bhasker, Stacy Ferguson, Malik Yusef El Shabbaz Jones, Scott Mescudi, Warren Trotter
    and Kanye West
    Performed by Kanye West
    Courtesy of Roc-A-Fella Records, L.L.C. Under license from Universal Music Enterprises

    "Arabic Princess"
    Written by Kwadwo Boateng and Reem Oweti
    Performed by Reema Major
    Courtesy of G7 Records Inc.

    "Freeze"
    Written and Performed by Klaus Schulze
    Courtesy of Motor Music GmbH
    Under license from Universal Music Enterprises

    "Halleluwah"
    Written by Michael Karoli, Jaki Liebezeit, Irmin Schmidt, Holger Schuering, and Kenji Suzuki
    Performed by Can
    Courtesy of Mute

    "Money Machine"
    Written by Tauheed Epps and Christopher James Gholson
    Performed by 2 Chainz
    Courtesy of the Island Def Jam Music Group Under license from Universal Music Enterprises

    "Levels (Instrumental)"
    Written by Tim Bergling
    Performed by Avicii
    Courtesy of Interscope Records
    Under license from Universal Music Enterprises

    "Power"
    Written by Boris Bergman, Francois Pierre Camille Bernheim, Jeff Bhasker, Mike Dean, Jean-Pierre
    Lang, Robert Fripp, Michael Rex Giles, Larry Darnell Griffin Jr., Malik Yusef El Shabbaz Jones, Greg Lake, Ian McDonald, Nathan Perez, Peter John Sinfield, and Kanye West
    Performed by Kanye West
    Courtesy of Roc-A-Fella Records, L.L.C.
    Contains a sample of "21st Century Schizoid Man" Performed by King Crimson
    Under license from Universal Music Enterprises Contains a sample of "It's Your Thing"
    Performed by Cold Grits Courtesy of Atlantic Recording Corp.
    By arrangement with Warner Music Group Film & TV Licensing

    "Locomotion"
    Written by Richard Hawtin
    Performed by Plastikman
    Licensed courtesy of Minus

    "Everythang"
    Written by Demetrius Ellerbee, Jay Jenkins, and Antoine Kearney
    Performed by Jeezy
    Courtesy of the Island Def Jam Music Group Under license from Universal Music Enterprises

    "FML"
    Written by Joel Zimmerman
    Performed by Deadmau5
    Licensed courtesy of Ultra Records, Inc.

    "Disintegration Part IV"
    Written by Lorin Ashton
    Performed by Bassnectar
    Courtesy of Amorphous Music

    "Showers of Ink"
    Written by Scott Morgan
    Performed by loscil
    Courtesy of Kranky, Ltd.

    "Bankrupt"
    Written & Performed by Phoenix
    © GHETTOBLASTER PUBLISHING

    "Super Rich Kids"
    Written by Christopher Breaux, Roy Hammond, James Ryan Ho, Thebe Kgositsile, Mark Morales, Kirk
    Robinson, Nathaniel V. Robinson, Jr., and Mark Rooney
    Performed by Frank Ocean
    Courtesy of the Island Def Jam Music Group Under license from Universal Music Enterprises

    src

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    Bad news, Game of Thrones fans: You are mispronouncing Daenerys’s honorific, Khaleesi. But don’t feel bad. On the HBO show, her smitten man-servant Jorah has been saying it incorrectly as well; the more accurate pronunciation should be “KHAH-lay-see,” not “ka-LEE-see.” That’s according to David J. Peterson, the language creator responsible for all of the Dothraki and Valyrian dialogue spoken on the show, and he’s driven mad every time he hears it. “Ugh. God. That’s not how it’s supposed to sound,” said Peterson. “The vowel change bugs me.” As the architect of the language’s grammar and pronunciation rules, he’s the only one who can correct it with authority, but he lost the battle to correct the pronunciation on the show early on. “The producers decided they liked the other way better. They probably thought most people were pronouncing it that way anyway, which is true.”


    Read more about Peterson's Dothraki, High Valyrian, Low Valyrian, and White Walker speak at the source.

    This is earth-shattering, tbh, though the article is really interesting. Speaking of questionable pronunciation... Today, Aidan Gillen (Littlefinger) turned 45! Just remember, line forms after me!  I would climb him like a ladder of chaos...

    There is no Dothraki word for 'source.'


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    BIo7s2XCUAAYdLD

    Michael Weatherly has played Special Agent Tony DiNozzo for 10 seasons on NCIS, and since Ziva David (Cote de Pablo) showed up on the NCIS scene in season three, the sexual tension has been in constant fluctuation. Their interactions on the show are scrutinized by viewers. Now in season 10, it seemed like Tony and Ziva, "Tiva" to scrutineers, were just about to really admit their feelings... and then they got in a car crash. Weatherly weighs in on where the relationship's been and where it's going.

    At what point did you find out that this season was going to be a turning point season for your character's relationship with Ziva?

    Michael Weatherly: I don't know if it is necessarily. I think that their relationship is just a big circle. It's constantly turning. They are locked in a binary death spiral. This year proves to be particularly interesting, but when they met, who knew — well, the audience did, but Tony didn't know — that she killed her own brother, who had killed Tony's previous partner, and that created the space in the squadron for Ziva to arrive. Had Ziva's brother not killed Kate, there would be no Ziva. It's all very tricky. And then Tony did kill her boyfriend once.

    Yes, I remember that.

    MW: (laughs) You know what I'm saying? Look at these guys! It's like watching a scorpion and a black widow try and figure each other out. Or a praying mantis and a black widow? One of them eats your head after it mates with you, right?

    But yeah, these guys, they've got a rich history of conflict and physical attraction and physical repulsion. There's a lot of bickering, they swerve wildly into sibling country, and then careen over the cliff into possible kissing cousins, and suddenly they find themselves — I mean, they're holding hands at the end of "Berlin."It's fantastic how these writers just fuck with everybody. And to think that [NCIS writer-producer] Gary Glasberg has a background writing Rugrats.

    We just shot a scene this season where the writer had his hands above the air in a silent cheer, and his face looked like the Edvard Munch painting. He was so fucking excited that Tiva was full-on Tiva. I think people who watch the show who enjoy their Mark Harmon and liberal doses of the other characters might find it somewhat irritating that these two are cutting a rug, so to speak, in "Berlin." Sharing some longing looks, bedroom-eyes. I think that's probably disconcerting to some fans of the show, and other fans probably think it's long overdue, and yet others are probably thinking it spells the absolute doom, the moonlighting death.

    Tell me more about this Munch face one of the writers made.


    MW: Well actually he was described as holding his hands above his head like Philip Seymour Hoffman holding the boom in Boogie Nights while Mark Wahlberg was doing the sex scene. Yes, it was a great moment. I hope it's not just cheesy melodrama — I think we achieved something on a character level that was very interesting. It was about communication and trust between people that work together, share an attraction for each other, but the boundaries have blurred a little bit, and that's what Tony and Ziva are dealing with, ultimately.

    Did you not foresee that it would progress like this for such a long time?


    MW:It was like a herpes virus. It laid dormant for so long, I thought it had gone away. And I'm talking simplex 1. I'm not referring to any sort of genital herpes. But still, the simplex 1 can be painful and unsightly. Not to compare Tiva to herpes — I guess that's unfair. But I did not see it coming. I still don't see it coming — not in any real way.

    The Tony DiNozzo character is trapped like a fly in amber from prehistoric days because he has to be. If Tony actually gets his groove on, gets his shit together, grows up a little bit, knocks the chip off his shoulder, gets the girl, or just gets on with it, then he's out of that squad room. He doesn't get paid that much now. Not to be too inside-baseball about the whole thing, but come on. You know Tony and Ziva can never really have any kind of a thing because first of all they're coworkers, and that's just a stupid idea. Second of all, she's a ninja assassin with all sorts of issues. Yes, we know he's emotionally arrested and he has some commitment phobias, but look at her! Have we seen a successful relationship pop out of her?

    No.

    MW:No. Everyone gives Tony all this grief for being an overgrown frat boy. But Ziva David, she's just a train wreck of a girl. Most of the guys that she's slept with are dead. If you had a girlfriend, and more than 50 percent of the people she'd slept with were dead — and by the way, she's not 90, I'm talking about a healthy young female — that's a weird amount, even for someone in Israeli intelligence. I'm just saying.

    How aware are you of the fan interest in Tiva? Have you read any of the fan fiction? Does it feel weird to be in this highly scrutinized television relationship?

    MW: Well, I am aware of it only as much as you become aware of these things through doing press, talking to people about it. Of course, this has been conjured, I would think, through the internet. I don't go in for fan fiction and trolling on boards and all that stuff because I find that it doesn't lead to a healthy outlook. I surmise from interactions with people and conversations. There's probably all kinds of crazy CNN fan fiction; I don't know anything about it. What would the Don Lemon–Anderson Cooper name conjunction be?

    Danderson?

    MW: Anderson Cooper and Don Lemon. Coomon? Or Looper? I guess it is more like Ben and Jen and Brangelina. Usually the first names, isn't it?

    Maybe Aan. Two As.

    MW:Danderson's not bad. Or just Dander. Anyway, I am aware of it. It doesn't really impact me too much, but I find it highly amusing.

    This has been going on so long, I was just wondering if there are any inside jokes about these moments when you're filming? What is the reaction to that on set?


    MW: Nobody really makes any fun of it. We take our jobs pretty seriously. At the beginning of season seven, I went to Africa and rescued her ass. I have always enjoyed the push-and-pull and the tension of Tony and Ziva. I think it's clear that he has very strong feelings about and for her, but he also knows what the boundaries are and what the rules are. I did a show before this one, Dark Angel, and they tried putting those characters together, and that was bad. That was bad for the show. Bad. You don't want to put characters together.

    It seems like maybe crime procedurals are well-suited to these ongoing, sexual tension–heavy relationships — I'm also thinking of Bones — because there's not that much continuity in the action of each episode, so to have continuity in the relationships that really doesn't change works.

    MW: Didn't they have a baby, the Bones people?

    Yeah, they gave in a couple of seasons ago.

    MW: I mean, I don't know anything about it, but I would say as a stranger to the whole situation that I don't approve. But yes, it does give continuity.

    One of the great things and the hallmarks of NCIS, a CBS crime procedural spinoff of JAG, which was in its own way a law procedural show with heaping spoonfuls of patriotism and a solid moral compass, is that our show has kind of a serious office place dramedy feel to me. Sometimes it feels like we're doing West Wing meets Scrubs. It feels like we have a job that we do; it just so happens that we're investigating crimes. But we work in cubicles, and we have a hierarchy, and there's a boss. Nobody has superpowers, but we all have paper clips and staplers. I really am very attracted to the office work of NCIS. I think that a majority of the show, or at least a major chunk of the show, takes place in the squad room, where we're not just deciphering the clues of the case of the week, but we're also giving each other a good old fashioned hard time. To me it's not just action-adventure. Our show has at various times, something approaching action, but my favorite parts of it are just the interactions between people.

    I've noticed that it seems the turning points, or as you put it, "parts of the circle," for Ziva and Tony, happen in foreign places.

    MW: When you're away from the prying eyes of the office. It's always those business trips that you've got to watch out for. Everybody gets into trouble on the expense account. DiNozzo did go to the Bahamas with Dorneget earlier this year, and he got busted for his expense account there, actually. But I don't know if anything romantic happens with Dornie. I don't know if DiNozzo goes both ways.

    Maybe in the cartoon.

    MW:There's more road. You know, that would be nice, to see DiNozzo on the cover of Out magazine. I think that would confound some of our viewers, but then maybe not surprise others at all.

    source

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    It looks like Smash will go a little less gently into that good night. In an effort to give the musical drama a more high-profile sendoff, NBC is giving the show a reprieve from its Saturday time slot and has scheduled its two-hour series finale for Sunday, May 26 (9/8c).

    There’ll certainly be plenty of action packed into the installment — titled “The Tonys” — according to showrunner Josh Safran. “Someone is pregnant! Someone is arrested! There is a kiss between a gay man and straight man — who kisses back!” he teased while spilling spoilers for TVLine’s “May Sweeps/Season Finale Scoopapalooza.” (Click here for even more intel.)

    Smash kicked off Season 2 on Tuesday nights, but the show opened its sophomore season with just 4.5 million total viewers and a 1.1 demo rating, plunging 25 and 39 percent from its freshman finale and both marking series lows. A few weeks later, NBC made the decision to move Smash to Saturdays beginning with its April 6 episode.

    IF THAT GAY/STRAIGHT KISS IS NOT DEREK/TOM I WILL BURN UTICA TO THE GROUND DO YOU HEAR ME (but really, Sunday @ 9?? Who the hell will watch it?!)
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    As Loki in Thor and The Avengers, he has been responsible for one of the finest celluloid villains in recent memory. But when he’s not antagonising superheroes, Tom Hiddleston is a tireless charity worker. When ShortList phoned the 32-year-old, he was midway through Unicef’s ‘Live Below The Line’ challenge, surviving on £1 per day for a week to get a glimpse of the poverty afflicting billions across the planet.

    How’s the challenge going?

    It’s been tough but it’s taught me humility. One-billion children in the world live on less than £1 every day of their lives, so that’s made me incredibly appreciative of every crumb I get.

    Have you ever had to endure anything similar to this challenge before? Any ‘struggling actor’ period where you were living on Pot Noodles?

    Super Noodles, actually [laughs]. I lived in a hostel for a short time when I was at Rada. It wasn’t great, but it was luxury compared to the poverty of some children.

    From the photos of the trip, we see you enjoyed a kick-about with the kids…


    I did, though they quickly realised I wasn’t Lionel Messi or David Beckham.

    Have you managed to rope any Hollywood stars into following the sport?


    Chris Evans told me how good the US team was after their 2010 World Cup run, all the while dressed head to toe as Captain America.

    Yourself, Benedict Cumberbatch and Eddie Redmayne are flying the flag for British high society in Hollywood. All pals?

    Benedict’s a dear friend – I was chatting with him this morning, mainly to grill him for information on the new Star Trek film, not that he told me anything. Eddie and I are friends, too. We went to Koreatown for karaoke. He has the voice of an angel.

    Can you hold a note?

    I’m told that when I sing in the car I sound like a cat being sick.

    What can you tell us about the latest Thor film?

    All I can tell you is it goes to other worlds and Christopher Eccleston is Malekith, Lord Of The Dark Elves Of Svartalfheim, who fans of the comic books love to hate.

    You asked Chris Hemsworth to punch you for real during filming. Did it hurt?


    It did, but just as a camera captures the truth, it captures falsities and sometimes I take one for the team. It was the same for the cavalry charge in War Horse. If I’d fallen it would’ve been the end, but it brought me closer to my character.

    Do you get any crazy fan mail from Loki obsessives?

    Lots, mostly personal fan art… very personal. There’s a moment in Thor where I jump on a spear lodged in the ground, and kick Chris Hemsworth in the chest, and some people have seen this as emblematic of my hidden talent as a pole dancer. So I get lots of pictures of me in character, exotic dancing.

    Are you pining to play a hero now?

    Sure, in fact my next role is playing war photographer Robert Capa in a film about his life. I see his life in heroic terms: a Hungarian kicked out of Hungary for writing against fascism, kicked out of Germany for being Jewish.

    How was working with Woody Allen in Midnight In Paris?


    I didn’t know it was a time- travel film until I arrived on set. Woody wrote me a letter, about four lines long, asking me to play F Scott Fitzgerald, and attached pages with my lines. I thought the whole film was set in the Twenties. So I’m dressed up in costume when I meet Owen Wilson, who I assume isn’t in costume yet. I ask what writer he’s playing, and he replies [freakishly good impression] “No, man, I’m from the future.”

    You’ve just finished filming a Jim Jarmusch vampire film, alongside Tilda Swinton. Is she as intense as she seems?

    The opposite. She’s so fun, just a hoot. I’d be in the make-up chair every morning while she showed me stupid YouTube videos. She introduced me to Gangnam Style. Seriously, she was into K-pop long before anyone else. She threw a party for me. Tilda Swinton on the dance floor is a force of nature. She knows how to get down.

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    Nasa's $800m Mars Exploration Rovers have accidentally drawn a penis.


    The twin exploration vehicles Spirit and Opportunity were launched nine years ago, in an effort to search the surface of Mars for signs of water erosion and possibly even life.

    According to Nasa, since then the rovers have driven over more than 10km of Martian land, directed by teams back on Earth combined with autonomous cameras designed to avoid potential problems with the terrain.

    It appears that part of the robots' programming involves spinning in tight circles to test nearby terrain and find new routes.


    Humorously, depending on your age perhaps, that has the unfortunate consequence of drawing a certain shape on the surface, which when discovered by Reddit essentially crashed Nasa's website.


    The image was posted on Nasa's site and appears to be a genuine picture from the Martian surface - albeit one taken at an unfortunate angle.

    It's not clear which of the rovers drew the shape, or even when it was made.

    Nasa lost communication with the Spirit rover in 2009 after it became stuck in some sand. Meanwhile the Opportunity is still traversing the surface on its way to the Endeavour crater.
    LOL

    Don't know if you'll take it mods but whatever LOL

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    In an interview promoting My Crazy Beautiful Life, the new six-part MTV docu-series about the glittery adventures of hard-partying pop star Ke$ha, the singer told USA Today this week that, "There are lots of things in this TV show that I don't think most people would want out there of themselves, honestly."

    As the first episode unfolded, I couldn't help but think back to the last pop-music nonfiction film that got people talking: Beyoncé's Life Is but a Dream. And I suddenly understood just how right Ke$ha was.

    Maybe it has something to do with the fact that Beyoncé's movie is produced, directed, narrated, and starred in by the Queen Bey herself (who's famously insistent on maintaining air-tight image control), while Ke$ha's is directed by her affectionate but keenly observant older brother Lagan, aformer video journalist for the Financial Times. Maybe it has everything to do with that. But My Crazy Beautiful Life unflinchingly explores a universal phenomenon Life Is but a Dream didn't dare touch: failure. Life Is but a Dreamdepicts its subject as a well-oiled machine of a human who's always the most powerful person in the room. My Crazy Beautiful Life, though, doesn't turn its gaze away from Ke$ha at the moments when she feels rejected, humiliated, ashamed, targeted, or powerless—and so far, it's a braver, more believable documentary for it.

    Beyoncé and Ke$ha are, of course, different personalities with vastly different aesthetics—Beyoncé poised, regal, and diligently gracious, Ke$ha spontaneous and bawdy. But Life is But a Dream and what we've seen thus far of My Crazy Beautiful Life find them doing many of the same things: traveling, rehearsing, performing, primping, giving interviews, and talking (sometimes embarrassingly melodramatically) about making music, being in relationships, and the nature of celebrity.

    Life Is but a Dream depicts Beyoncé doing all of these things with grace, generosity, and overwhelmingly successful results—a combination that feels at best heartwarming and at worst smug. Nauseated, first-trimester-pregnant Beyoncé makes it through 48 straight hours of rehearsals without complaining and apparently doesn't miss a step, then steals the show at the Billboard Music Awards. Heartbroken Beyoncé overcomes the tragedy of a miscarriage by stepping into the studio, singing from her heart, and laying down what she calls the best song she's ever written. Tabloid-maligned Beyoncé disapproves of the fact that celebrity pregnancies are gossip fodder, but she's risen above it. And when bad things happen to Beyoncé, they are never Beyoncé's fault. They are, without fail, external disturbances that Beyoncé can and does overcome with her trademark I'm-a-survivor fortitude.

    It's not that Beyoncé's moments of triumph aren't inspiring. They are. But without any visual evidence that sometimes Beyoncé fails, or flubs up, or says something she'll regret, or isn't the wisest, most noble person in the room, her glowing win-after-win montage starts to blur into one megawatt superhuman highlight reel of a life that's too victorious to bear any resemblance to those of her mere mortal fans'.

    My Crazy Beautiful Life, on the other hand, makes clear early (and often) that Ke$ha wins some, loses some, and doesn't always take the high road.

    Sometimes, Ke$ha's failures are the kinds she laughs at. In the first five minutes of the premiere, Ke$ha attempts a cartwheel onstage and botches it spectacularly. She then loses her balance and flails to the ground again while merrily retelling the story backstage, then snorts at the memory when she reads about her tumble in a New York Times review the next morning. Later, she shares an oh-poor-us chuckle with a friend when a hot guy whose eye they've been trying to catch fails to notice them.

    Other not-so-proud moments aren't as cute, or as easily laughed off. Upon returning to her old neighborhood in Los Angeles, Ke$ha insists on taking a stealthy night drive past the home of her ex-boyfriend Harold. She makes a vomiting noise as she explains bitterly that Harold lives there with his new girlfriend, expresses dread that he's making out with her right there inside the house, and sighs, "Well, that was unsuccessful," while driving away. She's failed to move on—a humiliating, sadly familiar experience that unites us all.

    Ke$ha's personal insecurities aren't a secret on My Crazy Beautiful Life, either. "Is it nice or is it mean?" she asks her brother apprehensively when he asks if she'd like to see the Times review of her show. She tears up when she talks about the barrage of criticism she's endured at the hands of blogger Perez Hilton, and even when it looks like Hilton's had a change of heart, she remains indignant about keeping him out of her life. There's no magnanimous "I'm over it" here: "I don't want him at my party," she tells her management flatly.

    And yet there's also ample footage of Ke$ha charming radio DJs, electrifying audiences onstage, moving some fans to tears, and getting affectionate with a handsome guy in a bar after a show.

    So it's not all losing for Ke$ha, but it's not all winning, either.

    Where Beyoncé's documentary clings to the narrative that Beyoncé has pushed through her struggles and emerged triumphant, globally beloved, and spiritually at peace, My Crazy Beautiful Life looks like it has thus far resisted the urge to tie a tidy happy ending onto the story of Ke$ha finally becoming a star. And as a result, Lagan Sebert's documentary looks less like a dreamy, sugary fairy tale and more like, well, a real (crazy, beautiful) life.


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    lannisterboyss
    cogman-1024x682

    As we announced a few weeks back, we have a new feature here at WinterIsComing.net, called Ask a GoT Writer. We asked you, the fans, to send in your questions and you were more than happy to oblige. We received hundreds of questions and narrowed them down to a select few. Those questions were then sent on to Bryan Cogman, writer and co-producer on Thrones, who graciously took time out of his busy schedule to supply some answers.

    Read on to find out the answers to some of Thrones fans’ burning questions!

    Loren:How much information are you privy to from GRRM? Does he keep tight-lipped on where the story lines are headed, or do you know a little bit more than the average reader when it comes to what’s going to happen in the final two books.

    Bryan: I know everything! Will sell secrets to the highest bidder.

    Actually, in all seriousness, David, Dan and I recently visited George at his home in Santa Fe for a few days to talk about GoT’s future and pick his brain about where all the storylines and characters are headed. We’re getting to the point now, as we map out future seasons, where that information is necessary. Mind you, George is still writing, so I imagine some of this stuff isn’t etched in stone, but he has a clear vision and he was kind enough to share. Needless to say, it was an amazing few days! I dared not write anything down… took no notes for fear of my computer getting swiped at the airport or something. It was a great trip — George is the consummate host and I managed to snag autographed copies of some of his other (non-ASoIaF) classics.

    Jack:Does or will the TV show dip into the numerous prophecies and rumors regarding the various mysteries throughout ASoIaF? Obviously the most well-known being the mother of Jon Snow, but also Azor Ahai, the Prince Who Was Promised, Cersei and her little brother, the dragon has three heads, and so many more.

    Bryan: I’m afraid I can’t talk about stuff that may or may not be dramatized in future seasons… I will say that the characters’ relationship to the past is something the show will explore, it’s just a question of what devices we use and when it’s most effective… so there’s a vague answer for you!

    Nick:Hi Bryan, great work so far on the series! Keep it up! My question is, how do you go about writing your episodes? What kicks you into creative mode? Do D&D assign you an episode or do you get to choose which you want to write? Do they give you a rough outline of what should happen in the episode? And how do know all scenes will add up to ~60mins?

    Bryan: Well, my first season episode was written under unusual circumstances in that I didn’t know I was writing an actual episode. David had framed it as an exercise, something for me (then he and Dan’s assistant) to do in order to develop as a writer who might get to write for the show someday. So I worked off the Season One outline (David, Dan, and I had mapped out Season One in Los Angeles just prior to shooting the original pilot) and it took about a week. After I turned it in, I was informed I had, in fact, written Episode 104. Thank God I had no clue this assignment was a tryout to write the actual episode! I’d have been so nervous I wouldn’t have been able to do it.

    Anyway, if we take Season Three as an example, this was the process:


    1. I reread A Storm of Swords (and any relevant chapters from other books in the series) and wrote up brief summaries of each chapter, listed the potential new characters, locations, and mapped out the story arcs. (This was during production of Season Two, in Belfast).

    2. The major characters were then divided up between David, Dan, Vanessa, and myself — with each of us doing a first pass at mapping out the Season Three storyline for each. In my case, I was assigned Stannis/Mel/Davos, Arya, and Bran. This work was done as we were finishing up Season 2 production and over the holiday break.

    3. In January, back in Los Angeles, the four of us met, threw all our first drafts up on the board and hashed out the season, combining stuff, throwing stuff out, coming up with new stuff, going back to the books for stuff we might have missed, etc… this took a couple of weeks. By the end, we had a rough season mapped out on the board.

    4. Each of us was then assigned a cluster of episodes to outline… I can’t remember which ones I worked on… Once those were turned in, David & Dan did a final pass on all of it and we had a solid, detailed outline for the season.

    5. I was assigned episode five. I had about a month to write the first draft, as I recall. I worked off the outline, but there was room (within reason) to invent new scenes, change the order, etc… Then I get my notes, do revisions, etc… we tweak the scripts as we go and, in some cases, come up with new scenes during production. Sometimes those later scenes are written by D&D — for example, there’s an encounter with Jon & Orell in 305 that I didn’t write. And sometimes, storylines shift — usually this is with Dany. All the Essos scenes in 305 were originally scripted by D&D for 306 but moved into my script early in pre-production. Happy to have them, there, though!

    In terms of my own process in writing the individual episodes, I go back and forth between the outline and the source chapters. I spend a lot of time just reading and rereading them and writing the scenes in my head… it’s usually awhile before I actually start typing. I like to work in public places (coffee shops, etc) alternating between the ambient noise and listening to Ramin’s GoT music on my headphones. I tend to tackle each character one by one — with 305, I wrote all the Arya stuff first… And in every episode there’s a scene or storyline I have a helluva time working out. That stuff is usually written in a mad frenzy, late at night, the night before it’s due. For 305, it was a particular Sansa scene (that was largely rewritten anyway due to a production issue… oh, well.)

    Drogonator:Hey Bryan I’m a huge fan and you guys do great work. I don’t want to ask a spoilery question for the sake of those who aren’t caught up or readers.

    So I would like to know, does the writing team throw out a bunch of ideas for added scenes that weren’t in the book and choose which works the best or do David and Dan have it all played out already and let you flesh it out on paper? I ask because these are some of my favorite scenes, Ros’ pov in westeros gets a lot of hate on the message boards and I feel it is unwarranted because she is the only perspective we get from someone who isn’t a power player.

    Bryan: It varies. Sometimes they’re conceived in the room, often they happen as we’re writing individually, sometimes they’re written as we’re shooting when realize we need to service a character or a subplot… Ros sort of evolved as we went along — from day player to sort of exposition tool (a way of learning about Theon, Littlefinger, and Pycelle in Season 1) to, as you say, a kind of window into the world from the ‘smallfolk’ POV in Season 2… and when certain scenes (the killing of the bastards, Cersei arresting the wrong whore) came up we decided to use Ros, since she was a character the audience was familiar with. It sort of became a “country girl moves to the city with big dreams” story that takes a lot of dark turns. And, as you saw at the end of last season, she plays a part in the Littlefinger vs. Varys subplot which was largely created for the show. And, it must be said, Esme has turned in a very subtle and interesting performance through it all — if you track her from that first scene in 101 to the current season it’s a nice arc. But, yeah, I know some fans aren’t crazy about her. Sorry.

    Siobhan:Why, in the show, did Robb and Cat not learn of the “deaths” of Bran and Rickon before making their decisions to, respectively, break a marriage pact and release their most valuable prisoner?

    Bryan: I think that decision came about in the writers room as we were shaping the season… I think it was felt the uncertainty would be interesting for Michelle and Rich to play — so it would be a kind of slow burning grief as opposed to the sucker punch of Ned’s death in Season One. So Cat has this feeling of dread that they’re gone but just doesn’t know, which in some ways is even worse. I think it finally comes to a head in the scene with her and the Blackfish in 303 — I think in that moment she believes they’re dead.

    But, yes, it altered the circumstances/motivations of Robb and Cat’s actions in Season 2. Dramatically, we wanted Robb and Cat to be solidly together in Season One and ripped apart by the end of Season 2. And, yes, in the show, Robb’s breaking of his marriage vow is motivated partly by the uncertainty of Bran and Rickon’s fate but also by the fact that he can’t shake the fact that he’s fallen in love. Yes, it’s arguably a grayer, more selfish act than in the book, but to err is to be human. It was thought it would be dramatically compelling for the actors and the viewers.

    As for Cat and freeing Jaime, there was a ticking clock element added to it. Karstark wants blood, he’s gonna lynch Jaime. Cat can either let that happen and lose any chance of bargaining for Arya & Sansa or she can roll the dice and let him go. The events of that episode were also designed to plant the Karstark vengeance storyline which you’re seeing out this season.

    But, yeah, admittedly different from the book. Most of this stuff came out of what we felt would play well dramatically in the episodic TV format. Of course, you could argue that doing it the way the book did it would have played well too, and that may very well be true, but this was the direction we decided to go.

    Matt:How many times have you read each book? When you write for the show do you make decisions for the season and worry about the repercussions of the full series later or do you give preference to the series?

    Bryan: Let’s see… definitely read A Game of Thrones the most — at least eight times. A Clash of Kings probably five or six… A Storm of Swords five times, I think… Feast for Crows three times. Dance with Dragons twice. But I’m about to do a reread of both of those. And I’m constantly reading bits and pieces of all of them.

    Yes, we’re mindful of the future and are in communication with George about all of it, but decisions are made according to what D&D feel is best for the show. There’s show canon and there’s book canon, which George totally gets and supports.

    Al:What happened to the peach?

    Bryan: Gethin Anthony. Bloody diva. He hates peaches. I mean HATES THEM. I was at lunch with him, early on — this is like, season one when we were all getting to know each other. There was this chocolate cake thing he ordered for desert and there was a kind of fruity sauce on it. He took one bite and said “Are there FUCKING PEACHES in this sauce?” Dude roared, I’ve never seen anything like it. Finn Jones was with us and we had to physically keep Geth from punching the waiter in the teeth. All the while, I’m thinking “Oh no! What are we going to do when we get to the peach in Season 2?”

    So season 2 rolls around and we get to the scene and we do these table reads of the first few episodes. And Gethin is there, very nice… but he takes David & Dan aside. And I see him talking to D&D turning BRIGHT RED… like he’s about to have a breakdown or something. Then I remember: the peach! He’s read the draft! The scene with the peach! And David & Dan are trying to explain the symbolic meaning of the peach and how it’s a fan favorite and how many readers can’t separate Renly from the peach… We even had George skype with him about it — Gethin was so angry, foaming at the mouth. I didn’t think anyone could make George R.R. Martin cry but Gethin did. I can’t even repeat the things he said.

    I’ve never seen anyone hate a specific fruit so much! And usually Geth’s a really sweet guy… you might even call him a “peach”. But don’t. Cuz if you do, he’ll cut you.

    Anyway, no dice. He threatened to walk if we made him eat a peach. We offered to make a fake peach, out of gelatin or something, but that didn’t fly. He wouldn’t even PRETEND to eat a peach onscreen. We tried a few takes with him eating an apple… I think maybe one with a bunch of grapes… but it just didn’t work. So we cut the fruit altogether. But you can blame Gethin fucking Anthony and his weird peach hatred.

    I hope by now you know I’m joking. I don’t know what happened to the peach. It was in there at one point, I think. Maybe there weren’t any peaches in season in Belfast that month…

    The Dragon Demands:Has King Jaehaerys II officially been removed from the TV-continuity? Maester Aemon in the TV series says that the Mad King was the son of his brother Aegon V, when in the books he was Aegon’s grandson.

    Yes, he’s officially out of show canon. In GAME OF THRONES canon, Egg is the Mad King’s father.

    Dominique:Book fans have discussed the Jeyne Westerling -> Talisa Maegyr character and storyline change at length, with some being very vocal in their opinions. However, to my knowledge no interview with DB, DW or yourself went in depth on that topic, so we could only guess at the motivations behind the change.

    I would like to know what are the main points that really motivated that change.

    Was the Westerling family politics deemed too complex to explain? Was Jeyne’s personality and meeting with Robb deemed too bland? Was the introduction of Volantis background an active priority for some reason?

    With all due respect to the difficulty and conflicting pressures of adaptation, we would like to know the inside story!

    Bryan: Actually, I did talk about this a bit last year in an interview I did with Alyssa Rosenberg at ThinkProgress. Can’t really speak to what motivated the change as it happened during production, after the writers’ room was done. We did always plan to keep Robb front and center in Season Two from the get-go and we did plan to have him fall in love onscreen and alter the motivation for his breaking of the marriage pact somewhat (as discussed in the question above). But Jeyne Westerling evolved into Talisa as we were starting production. I’m guessing the idea was introduce a wild card into Robb’s life, something he could never have anticipated… but again, D&D created the character so it’s not really my place to say what motivated the change, as I wasn’t privy to the conversation. All that said, I love Rich and Oona together and really enjoy how the relationship plays out in Season Three.

    Crys:I’ve got a question about a detail in episode 13 “What is dead may never die”. I’m wondering if the scene in which Samwell gives Gilly a thimble could be a reference to the kiss in Peter Pan.

    Bryan: Hey! Look at that. Never occurred to me. Perhaps it was a subconscious nod. No, I was just trying to find a way to get Sam’s close relationship with his mother into the scene and thought a thimble would be a plausibly tiny thing he could take to the Wall, a remembrance of his mother, that his father wouldn’t have noticed.

    Jen:Understandably there have been characters and events that were altered or cut due to constraints of the show. Were there any characters or events in particular that you were upset/disappointed about not making it into the show?

    Bryan: Hmmm… well, there is one scene that Dan Weiss wrote for Marillion in Season One that I thought was really funny and probably hewed closer to the Marillion of the books… They’re on the road to the Vale and Marillion is trying to write a song about capturing the Imp but he’s having trouble getting it right. And there were some hilarious lines he wrote for Marillion when he got wounded in the fight with the Mountain clans. But I think there was a concern that we were veering to far into Monty Python territory with that stuff. We probably were, it was probably a good cut… but I thought it was funny.

    Jenny:How did the decision come about to cut out most of the Qhorin Halfhand relationship with Jon and instead replace it with more Jon and Ygritte? Was there any concern that this sacrifice would confuse Jon’s motivations for killing the Halfhand?

    Bryan:Admittedly, it happens fast, but if you listen closely it’s pretty clear that Qhorin is ordering Jon to infiltrate the wildlings by any means necessary. I think some of the alterations might have had to do with making it plausible onscreen that the wildlings would believe Jon was really betraying the watch and killing Qhorin of his own volition. But, yeah, you’re right there was definitely a conscious decision made for Ygritte to make a bigger impression in Season 2 and for the Jon/Ygritte relationship to be more central.

    Robb:I recall from a prior interview of yours that in Season 1, one of the shows was running a little short, so you wrote a new scene (I believe it was the Tyrion/Theon interaction). Can you talk a little bit about the shooting/ editing/reshooting process. Are the video editors in Ireland or LA? Are they cutting scenes simultaneously to shooting? Are you basically seeing rough cuts of these episodes immediately, thus allowing you to know exact running times and writing/shooting more material as needed on the fly.

    Bryan: Yeah, we were still figuring out what we were doing in Season One — how much we were able to shoot with Belfast’s unpredictable weather, etc. It’s amazing we have those two brief tourney sequences at all! It rained constantly and we had very little time to get everything we needed. Anyway, we ended up cutting scenes down as we were shooting them, in order to make our days… again to bring up Marillion… his original scripted encounter with Rodrik and Cat in the inn was much longer.

    But what ended up happening was that some of the episodes were running short once rough cuts were being assembled. But, more than that, I think D&D realized some characters and/or relationships needed fleshing out. Theon’s one example — we had that Ros scene but we felt we needed something else to get more information about him. So that Tyrion/Theon scene served that purpose and gave us the opportunity to have those characters interact. Other scenes that were scripted and shot during this period were the Robert/Cersei scene in 105 (one of my favorites), the Robert/Barristan/Jaime scene in 103, the Sansa/Septa Mordane scene in 104, the Jorah/Rakharo/Irri scene in 103, the Viserys/Doreah scene in 104, the Tyrion/Benjen/Yoren scene in 103, the Theon/Osha/Luwin scene in 107, the Tywin/Jaime scene in 107, and the Jaime/Jory scene in 104. I can’t imagine the first season without those scenes. So it’s a good thing those eps were running short!

    But, to answer your question, post production/editing/etc starts in Northern Ireland while we’re shooting and continues in LA once principal photography has wrapped.

    Justin:Why were Robb and Talisa married in the light of the Seven rather than in front of a Heart Tree?

    Bryan: Shotgun wedding! Of sorts. They wanted to get married and there was a septon readily available. At any rate, Robb was raised in an interfaith household — he could very well have spent as much time with with Septon Chayle growing up as he did in the godswood. So I don’t see a problem with him having a Seven wedding. But I guess a lot of people do cuz I get asked that question all the time.

    Now the line about Karstark praying to the Father in 208… yeah, I should’ve caught that. Karstark would be strictly Old Gods, I think. If it helps, you could read it as “I’d even break my faith and pray to the bloody FATHER if that’s what it took to bring my sons back”… but I’m not sure that was the intent. But maybe it was. I try my best!

    Joe:Has there been a transition for you when you’ve said to yourself, “This is just another day at work.”? Maybe there hasn’t been at all and you walk on set and just marvel that you get to be a part of this thing. Put me in your shoes, how does it look through your eyes?

    Bryan: The day I ever say “this is just another day at work” or “ugh, I wish I didn’t have to go to work today” someone better find me and slap the shit out of me, because it’s the greatest job in the world and the most creative and fulfilling professional experience I’ve ever had. Couldn’t be prouder of the show and couldn’t be more fond of my GoT family.

    Winter Is Coming: Many thanks to Bryan for doing this! As I mentioned in the intro, we plan to make this a semi-regular thing. My hope is that Vanessa Taylor, David Benioff and D.B. Weiss may even answer a few questions at some point. But for now, Bryan has agreed to continue. I’m sure fans will have more than a few questions once Bryan’s episode airs this Sunday. Use this form to submit any questions you may have about “Kissed by Fire” or any other questions pertaining to Game of Thrones!


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    The annual PEOPLE Most Beautiful issue is upon us, and two of our fave pop divas have been selected for inclusion.

    Demi Lovato and Pink are featured in the issue and on the list, and Lovato shared a “making of” look at her ‘Most Beautiful’ shoot, where she is makeup-free and absolutely gorgeous.

    Lovato is barefaced and rocking shoulder-length hair. No eyeliner. No lipstick. No extensions. Just Demi as she is, stunning and au naturel. The singer is pretty when she’s plain, a far cry from her sexy, smoky look in her ‘Heart Attack’ video.

    “When I’m not working, I wear as minimal of makeup as possible,” the singer confessed. “Sometimes I just go without. I, like, forgot how to do nighttime makeup.”

    Lovato admits that she feels “confident” when she skips product, but she certainly takes good care of her skin, revealing her cleanse-and-moisturize regimen in the clip. If you want perfect skin like Lovato, then take these tips and apply them to your routines, ladies.

    She admitted that she never goes to bed without washing her face, saying, “I hate waking up with makeup on and also, it ages you, so I always moisturize at night.”

    Word to live by.

    source 1, 2

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    A thought... given recent project greenlights, where "black cinema" is concerned, I'm reminded of the late 1990s/early 2000s, when rom-coms or rom-drams (romantic dramas) with all-black casts, were popular: Hav Plenty, Love Jones, The Best Man, Love & Basketball, Brown Sugar, Two Can Play That Game, The Wood, How Stella Got Her Groove Back, and on, and on, and on...

    I'm now wondering if we just might be seeing the beginnings of another period in which Hollywood studio-backed "relationship/romance dramedies" that tell stories about black people, dominate the black cinema landscape - maybe thanks in large part to the success of the film that we might look back on years from now as the kickstarter of this new *era* in black cinema: the very successful Think Like A Man (TLAM); the $12 million movie that grossed over $95 million worldwide (most of that in the USA). Although there have been other black rom-coms that came before it, in the last decade - but none that has seen anywhere close to the kind of box office success TLAM enjoyed - a key point.

    Other studios now seem to want to replicate Think Like A Man's success, with their own black rom-coms, like David E. Talbert's Baggage Claim at Fox Searchlight - a project that seemed to be all-but-buried.It was first announced in 2010, but was soon followed by Fox Searchlight's statement that the studio was "pulling back from its foray into black-themed films." Why? Well, the last few "black-themed" films at that time that had been distributed by the studio hadn't exactly set the box office on fire - namely, Just Wright and Our Family Wedding, each grossing only about $20 million in domestic box office, as well as Notorious ($37 million gross, on an estimated $18 million budget) and I Think I Love My Wife ($13 million domestic on an $11 million budget).

    Baggage Claim was seemingly resuscitated last year, with Paula Patton in the lead (Taraji P. Henson was initially attached).

    And then there's the recently-announced remake of the late 1980s relationship dramedy, About Last Night, which follows a relationship, from one-night-stand, to monogamous relationship, to cohabitation, to novelty wearing off, to problems arising, to relationship ends, to boy and girl eventually reuniting.

    It's coming from some of the Think Like A Man crew (super producer Will Packer, and stars Michael Ealy, Kevin Hart, Regina Hall, to be released by Sony/Screen Gems).

    And also of note is the sequel to one of those late 1990s films that I referenced above, The Best Man, is in production right now, with the current title, The Best Man Holiday.

    Producer Tracey Edmonds recently revealed that there's a Jumping The Broom sequel in the works, as well as a feature project that will be inspired by the Basketball Wives reality TV show. She's developing that with Shaunie O'Neal (ex-wife of Shaquille O'Neal), and it will be penned by Jumping The Broom co-writer Elizabeth Hunter.

    The common concern when this was first announced last year was how the reality TV show would translate to screen.

    Ms O'Neal set the record straight about the upcoming film, hoping to calm any fears you might have for what the completed feature project will look, sound and feel like, stating that it's not a "Basketball Wives" movie:

    You don’t take a reality show and make it a movie [...] Even though it has to do with basketball life, it’s not actually taking Basketball Wives from TV and making it a movie. And it’s not about women sitting around arguing or lunching all the time. It’s an actual story. It’s a love story. It’s an empowering story. It’s funny. It’s life [...] It’s so nothing like the TV show at all. No comparison.

    There's also Lionsgate's big screen adaptation of erotic fiction writer Zane's popular novel Addicted, which follows the trials and tribulations of a successful sex-addicted African American businesswoman. Tasha Smith, Boris Kodjoe, Sharon Leal, Emayatzy Corinealdi and others are starring, with Bille Woodruff directing.

    Although that'll probably fall under relationship drama, instead of relationship comedy.

    Tina Gordon Chism's rom-com Peeples will beat all the others to theaters, when it's released next month.

    Last year, George Tillman Jr's State Street Pictures picked up feature film rights to a book titled Swirling: How to Date, Mate and Relate, Mixing Race, Culture and Creed by pop culture blogger Christelyn D. Karazin and journalist Janice Rhoshalle Littlejohn, which sounds like it could be more dramedy than pure comedy, based on the description, but is still very much in the same "relationship" family of films as the others.

    And then there's a project that we first reported on in 2009, which has also been given new life, thanks to what I'm calling the Think Like A Man Effect; It's called Ride Along, an Ice Cube project that was originally set up at Warner Bros, in which Cube was to star in as a rogue cop who tries to break off his sister's engagement to an upper-crust white psychiatrist, by inviting his future brother-in-law on a ride-along. Fast-forward 3 years later to the announcement in 2012 that Universal Pictures had picked up Ride Along out of turnaround from New Line (a Warner Bros subsidiary), and fast-tracked the project, but with some new names attached in front and behind the camera.

    Kevin Hart, who's really hot right now, as his name has come up for a handful of projects since TLAM's release; he'll co-star with Cube as a high school security guard who is ready to get married, but must first survive a Training Day-like ride along experience with his bride's tough cop brother, played by Ice Cube, who doesn’t want the marriage to happen and tries to scare Hart's character away.

    Tika Sumpter, Jay Pharoah, John Leguizamo and Bryan Callen, co-star, with Tim Story directing, and Will Packer producing. So the "race play" is officially gone, with the suitor now a black man.

    It doesn't sound like your typical rom-com, and may be more of a manhood challenge; but given what's at stake in the above synopsis, I'll include it.

    And there are others that I can't recall at the moment...

    But success breeds more success; it's no secret how unwilling Studio execs are to take risks on original scripts - especially when they tell stories about black people. So when one kind of project is immensely successful, it shouldn't at all be a surprise when similar projects follow, soon thereafter. We saw this happen in the early 1990s, after the success of John Singleton's Boyz n the Hood, and the string of so-called "hood" films that followed; and we saw it again in the late 1990s/early 2000s, with the rise of what were then collectively referred to as "Buppy movies."

    Not my term...

    Keep in mind that the majority of the movies I mentioned above (and others I didn't) are all scheduled to be released in the next 12 to 18 months - a relatively short period of time, and quite a rush to get them all in.

    If you're a black filmmaker, especially if you're chasing Hollywood studio dreams, are you influenced by what seems like a resurgence of these kinds of movies? Do you find yourself wondering if you should set that sci-fi script aside (please reconsider if you are) and instead work on a rom-com or relationship dramedy?

    Not that you writing one is a guarantee of anything. So much else has to happen before your script becomes a film. It'll be a challenge to even get that opportunity to pitch to a studio, if you don't already have a foot in the door. Although private/independent investors might bite if your pitch includes the words "It's like Think Like A Man..." accompanied by a box office chart showing that film's earnings.

    Just a thought...

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    Starkid-Leakycon-2011-darren-criss-23784667-1280-853

    Glee star and semi-professional dreamboat Darren Criss has some “very, very exciting news” to announce: “I’m happy to officially announce my very first solo tour throughout North America. It’s Canada, the United States — 16 dates, all over the place. Hopefully we’re coming by to a city near you,” he said in a video today.

    Criss will be playing both old and new material (like a set-list!), be having a lot of fun, and — yes — he has been working on a solo album whilst also acting in TV shows and online musicals. “But I still have these songs, and I really want to share them with people before we put them out into the world,” Criss said. So the tour will be called “Listen up…,” kicking off on May 29 in Criss’ hometown, San Francisco before moving on to dates in L.A., Houston, Chicago, Nashville, and New York, among others.

    Tickets and all other info at darrencriss.com. Watch the tour announcement for yourself below



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    We haven’t heard much from Winona Ryder in recent years, and the actress we first met in Beetlejuice is now 41 years old — and set for somewhat of a comeback with her role opposite Michael Shannon in the upcoming film The Iceman.

    Winona Ryder was one of the most iconic stars of the 90s, dating rock stars and fellow Hollywood celebs like Matt Damon and Johnny Depp, but, after a few rough years in the early 2000s, she faded from the limelight a bit.

    Ryder now lives in San Francisco and has been slowly but steadily working — with her biggest role in years in the film set to hit theaters on a limited release early next month.

    As Winona hits the press circuit ahead of The Iceman — in which she plays the wife of a hitman — the star looks eerily like she did 20 years ago.

    But Ryder has the experience of more than two decades in Hollywood behind her and admits that all the fame and attention wasn’t so easy as a young celebrity:

    “Even in the height of everything in the ’90s — even though I was the right age, I didn’t look the right age. I dealt with the age issue on the other side of not looking like I’m old enough … I worked very hard, and it took its toll.”


    Ryder had a brief hiatus from acting in the early 00s after she was arrested in a high-profile shoplifting case.

    Ryder continues, explaining that “aging out” of young Hollywood hasn’t been all that hard for her:

    “But looking back, I just feel very, very fortunate … I am very happy in my life, very interested in other things. So it takes something special … I’m not interested in playing the girl that’s just there to make the guy, you know, give him a talking to.”

    Chris Evans, Ray Liotta, and David Schwimmer star alongside Winona Ryder and Michael Shannon in The Iceman, which hits theaters on May 2.

    Source: Inquisitr

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  • 04/24/13--14:04: Setlock: 24th April



  • Casting News:

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    Grimes has hit out against sexism in a post on her Tumblr.

    The Canadian electro-pop artist who is currently working on the follow up to her 2012 album 'Visions', has written about her experience as an artist and producer in a post titled ' I don’t want to have to compromise my morals in order to make a living'.

    "I don't want my words to be taken out of context," it begins. "I don't want to be infantilized because I refuse to be sexualised. I don't want to be molested at shows or on the street by people who perceive me as an object that exists for their personal satisfaction. I don't want to live in a world where I'm gonna have to start employing body guards because this kind of behavior is so commonplace and accepted and I’m pissed that when I express concern over my own safety. It’s often ignored until people see firsthand what happens and then they apologize for not taking me seriously after the fact…"

    She then goes on to write about the way female producers are perceived. "I’m tired of men who aren’t professional or even accomplished musicians continually offering to ‘help me out’ (without being asked), as if I did this by accident and I’m gonna flounder without them. Or as if the fact that I’m a woman makes me incapable of using technology. I have never seen this kind of thing happen to any of my male peers."

    The post then turns to how she is "tired of being considered vapid for liking pop music or caring about fashion as if these things inherently lack substance or as if the things I enjoy somehow make me a lesser person," before adding that she is fed up with "being congratulated for being thin because I can more easily fit into sample sizes from the runway."

    "I’m sad that it’s uncool or offensive to talk about environmental or human rights issues," she continues. "I’m tired of creeps on message boards discussing whether or not they’d "fuck" me. I’m tired of people harassing my dancers and treating them like they aren’t human beings. I’m sad that my desire to be treated as an equal and as a human being is interpreted as hatred of men, rather than a request to be included and respected." Read the post in full here.

    Source.

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    Klaus-klaus-and-caroline-29314273-1600-900

    Spoilers ahead:


    When Klaus receives a message from Katherine (Nina Dobrev) that a witch in New Orleans is plotting against him, he travels to the Big Easy to reunite with his former protégé Marcel (Charles Michael Davis) and perhaps reclaim the city that was once his.
    "Klaus is a fan of manipulation, and he makes a few direct challenges throughout the episode, and there are a few displays of violence," Morgan says. "The interesting thing to see will be who he's willing to work with to get where he wants to be and what commitments he's willing to make to them. Klaus is very much a lone wolf, he'll side with someone for a certain amount of time and then next thing he'll be siding with someone else against them."
    Joining Klaus on his new mission is his brother Elijah (Daniel Gillies), who will be elated to learn he has a reason to keep his family together. "There are elements of the story line that come out which will absolutely explore more of a potential for vulnerability in his personal life and his relationship with family," Morgan says. "Elijah really wants to bring the family together, and he's come to a point where he's realized that the strength they have is with each other. Rebekah and Klaus are very much at odds, so Elijah finds himself a little bit of a middleman."


    src


    Rumoured script for a scene between Camille and Klaus HERE.

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    Liam Gallagher has said that he is sick of people saying he can't sing and that the new Beady Eye album will "get people off his back."

    Speaking to The Sun, Gallagher revealed that he deliberately didn't use any effects on his vocals when recording the new Beady Eye album to stave off critics.

    He said: "I'm sick of fucking idiots saying I can't sing, you know what I mean? So I thought fuck this, no effects, none of that double tracking as much. Let’s get in there bare, this is how I sound, man. This is how my voice sounds so hopefully people will like it and get off my fucking back...It’s how I sound round the fucking house or on the back of a camel or whatever."

    Meanwhile, Liam Gallagher was reportedly seen trying to ride a dog in a West London pub over the weekend after drinking champagne and whiskey. The singer was seen by onlookers racking up a £300 bill in The Old White Bear pub in the capital.

    Beady Eye release 'BE' in June. The band recently revealed the album's NSFW cover which was shot by Harry Peccinotti, a photographer best known for his erotic work and for shooting the famous Pirelli calendars in 1968 and 1969. His Beady Eye sleeve features a semi-naked woman – the photographer's wife – lying on her back.

    Source.

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    tf


    People are dropping like flies on The Following.

    The penultimate episode of the Fox thriller saw a slew of followers dying left and right, including Jacob (Nico Tortorella), who saw his deadly demise at the hand of fellow Joe Carroll (James Purefoy) loyalist Emma (Valorie Curry).

    During a conference call with reporters Wednesday, Tortorella reveals that he wasn't informed about his character's death until "a week before." "It was the last scene I got to shoot with Valorie," the actor says. "It was intense and dramatic and emotional. It was my goodbye to her. We've had such an incredible season working together."


    For Tortorella, who previously worked with creator Kevin Williamson on Scream 4, prepping for Jacob's death was a lot. "The neck prosthetic piece that I had on my neck was a big whole ordeal," he recalled. "It took four hours to put that piece on."

    As he tells it, having Emma take Jacob's life made the most sense. "It made the most sense in terms of the drama and really the love story between them, and [Emma's] love story with Joe Carroll," Tortorella says. "Maybe besides from Joe Carroll, I wouldn't have wanted it to be anybody else."

    Karma may bite Emma in the end in the April 29 finale. "There's going to be some twists and turns that will throw her off a little bit," Tortorella says.


    What would have happened had Jacob successfully lured Emma away from Joe? "If we had gone away, our whole Bonnie and Clyde story would have been a perfect season two, but I'm not the writer," he says with a laugh.

    Tortorella adds that he "would have loved to have stayed on the show longer and watch Jacob's character unfold a little bit more and see how exactly he got to this place and where he was going."

    One of the toughest moments for him was "filming Paul's (Adan Canto) death," he admits. "It was emotionally draining and probably the most satisfying and gratifying experience I've had as an actor. That was the last scene of the night and I gave it every inch I had available."

    Tortorella, who is currently filming "fictional documentary" Hunter and Game, is already hoping for a team-up with Williamson in the future. "I'm excited for what our next project is," he says, telling The Hollywood Reporter that he is "actively seeking" projects in film and television of any genre.

    What has he learned from his experience on the show? "Just to enjoy the moment because you never know when it's going to stop. In good and in bad, this too shall past," he says.

    The Followingwraps up season one at 9 p.m. Monday on Fox.




    Captura de tela 2013-04-24 às 18.57.37

    source

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    Nicki Minaj is final negotiations to make her live-action movie debut, joining the cast of Fox’s revenge comedy The Other Woman. Diaz, Leslie Mann, Nikolaj Coster-Waldau and Kate Upton are on the roll call.

    Nick Cassavetes is directing the comedy, which centers on a woman (Diaz) who finds out that she is “the other woman” in an affair. She teams up with the wife (Mann) to get revenge on the cheating cad of a husband, being played by Nikolaj Coster-Waldau. (Upton is another one of Coster-Waldau’s mistresses who ends up joining the other two in the revenge scheme.)

    Minaj will play Diaz's opinionated, sharp and brutally honest assistant at a law firm.

    Julie Yorn is producing the project, which was written by Melissa Stack and will shoot in late spring/early summer in New York.

    Source.

    bless nicki, she is going to be stealing all the scenes then going to star in her own movie next summer.

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    Tila Tequila (Remember her?) has posted a video on YouTube in which she claims to create energy balls and electricity...with her bare hands. Don't believe her? Check out her video proof!!

    SOURCE

    (I lost it when she made a 'wormhole' one time.)

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    The PS4 has been announced for over two months now, and all eyes are on Microsoft to see what the plans are for the next Xbox. The year is already a third of the way over, and we’ve not heard much of anything out of official channels until now. Today, invitations went out for a next-gen Xbox unveiling event in Redmond on May 21.

    At 10am Pacific Time on the 21st, Microsoft’s Don Mattrick will be announcing the details of the next Xbox. While only select press will get to see it in person, Larry “Major Nelson” Hryb has confirmed that the event will be streaming live on Xbox.com and Xbox Live while Spike TV will be covering it on cable. Just two and a half weeks later, Microsoft will be out in full force at the Electronic Entertainment Expo (E3) to show off next-gen games. Finally, we’ll get to see the PS4 and Xbox 720 go head-to-head on the showroom floor.


    The situation has gotten ugly with the rumors and preemptive backlash around always-on DRM in the upcoming Xbox 720. In fact, this reveal might have even been pushed back to the 21st to deal with the PR nightmare surrounding the Adam Orth fiasco. At this point, all we can do is hope that Microsoft has the wisdom not to fight against customer demand.

    So, what can we expect the Xbox 720 to do besides run prettier games? Well, rumors have it that a 1080p Kinect will ship bundled with the console, and that makes sense with Sony tackling motion sensing in a similar way with the PS4. Microsoft has also been surprisingly progressive with its support of tablets and smartphones with its SmartGlass initiative, so it’s possible Microsoft will try to outdo Nintendo’s Wii U on second screen support.

    Whatever Microsoft does, expect Sony to come on strong. After losing its competitive edge with the PS3, Sony seems to be going all in with the PS4. We’ve yet to see a price or release date from Sony, so it’s likely that it will try to undercut any bold moves from Microsoft. We’re in for quite a battle in the next year or two, and the ball is in Microsoft’s court with the Xbox 720.

    Incidentally, should we start taking bets on what the Xbox 720 will actually be called? Here in the ExtremeTech bunker, James Plafke has his money on the Xbox 360 2, but most of us think it’ll just be called Xbox— much in the same vein as Apple forsook model numbers with its “new iPad.”


    SOURCE


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