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Oh No They Didn't! -

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    Scholastic has unveiled the new Harry Potter and the Prisoner of Azkaban cover ahead of its August re-release in paperback.

    Prisoner of Azkaban’s new cover features a more simplistic design than the Sorcerer’s Stone and Chamber of Secrets covers we’ve seen released so far. The illustration depicts Harry casting a Patronus on the Black Lake.

    Hypable spoke to illustrator Kazu Kibuishi in late May when the Chamber of Secrets cover was unveiled. He told us that Prisoner of Azkaban’s cover was the easiest for him to design because he knew right away that the Black Lake moment was the one to illustrate.

    His idea for Prisoner of Azkaban paved the way for the remaining covers. “I had just done the Prisoner of Azkaban one – it was nothing like the rest,” he told us when explaining how he designed the series on a whole. “And then I got the notes back from Scholastic, and they said, ‘We love THAT one. That’s the one. Can you make the rest like that?’ And I was like, ‘Yes I can.’ So everything that you see now is derived from what happened on the third cover.”

    We have four more cover unveilings to go, and Scholastic has promised that each one will debut before they all hit book store shelves at the end of August. We also are looking forward to brand new artwork on the complete box set’s case.

    Speaking of new covers, this morning Bloomsbury U.K. revealed new Harry Potter covers for the adult editions. The new designs are bold and vibrant.
    What do you guys think? Mary GrandPre's covers will always be my favorite but these new ones are nice so far.

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    It's a propitiously bright summer evening in Central Park, and three teen girls in high-waisted jean shorts and paper-thin tops are talking. "Did you guys, like, tell your parents you were in New York City?" We're at Rumsey Playfield for a U.K. starlet double bill — melodramatic chanteuse Marina and the Diamonds and her opening act, Charli XCX — and these three might-be runaways are part of a bubbly invading horde. Some have come with parents in tow. One fortysomething man in a thin goatee stands stoically in the back with a bulging Harley-Davidson leather fanny pack parked emphatically on his waist.1 Many are quite likely at their first-ever show. One girl, with a weak grasp of the general concept here, expresses delight that she can see the stage; she was apparently expecting screens projecting a live feed of the concert taking place somewhere else. Nearby, an oblivious and mostly toothless security guard is explaining to a female coworker that he's been MIA due to court-mandated anger-management classes. She casts a bemused looks at the squealing masses around her, already bopping to "Oops! … I Did It Again," and offers a friendly instruction: "Remember to breathe."

    Backstage, the diminutive Charli — who, in her customary skimpy plaid skirt and massive Baby Spice platforms, looks a few shy of her 20 years — play-wrestles with her videographer boyfriend, Ryan. Beside them, her band silently enjoys the complimentary pizza. There's Sixpoint on tap, an elegantly graying lady working a busy massage station, and picture-perfect Central Park foliage swaying lazily above our heads. And so despite beefy, calf-tattooed security guards and harried tour managers humping bulky laptops, it's safe to say the scene is downright serene. Though you don't have to dig deep to find a few pressure points.

    Article is lengthy but there's bolding for your nerves

    Charli XCX has been performing professionally since she was 14, when she signed to Atlantic Records. Throughout her teen years, she's casually stoked her ascendance with a string of one-off singles snapped up and triumphed by the Internet's early adopters. Then, around this time last year, the tenor of the operation changed.

    Charli wrote a hit song. It's called "I Love It,"
    and it's a glorious ode to fucking shit up that has charted in more than a dozen countries and soundtracked reality shows and animated movies and cell phone commercials and even fueled Lena Dunham's coke binge on an episode of Girls and why am I telling you any of this because you've heard it 10 billion times. The second thing that happened is that Charli's proper debut, True Romance, was released in April. You may not have heard it. A finely manicured collection of her Internet hits outfitted with all-new haunted-house synth anthems, it's a convincing document as to why, if you care about the future of pop music, you should pay attention to Charli XCX.

    But the real story here — and it's glaring — is that Charli gave "I Love It" to the Swedish duo Icona Pop. And more crucially, nothing on True Romance would be allowed near the club while "I Love It" is in there holding down the VIP. And so, after years of gradually fashioning herself as a bona fide potential pop breakout, Charli did land a hit single. Only she did it for somebody else.

    It's reductive to say, with the album finally out and a solo tour kicking off in August, that the clock is ticking. Atlantic has been patient, Charli's only 20, and she has just begun to work her stuff live in the U.S. But no one is sheepish here. Ed Howard, the Atlantic A&R rep who signed Charli and has worked with her closely ever since, says that at "14, she had this ambition. She wants to be a big, big artist."

    Charli XCX finds herself stuck between two worlds. For alt-pop stars — the pretty young things with radio-friendly aspirations and support from the machine who insist on writing their own material— there are facts with which to contend. Lily Allen had it for a while, and maybe could have kept it had she really wanted it. Robyn had the charts, disappeared, then came back, smaller and on her own terms. Diplo's still bummed that M.I.A. stopped listening to him after "Paper Planes."

    There is another side of the divide: the polished, corporate artists. Fresh off a seven-albums-in-seven-years run, Rihanna is a malleable cypher and increasingly celebrated for it. Nicki Minaj forced down producer RedOne's screwdriver-to-the-cortex single "Starships" and grinned right through it. Stalwart Britney Spears was chewed up by the system and spat out. But after her 2008 conservatorship, she reentered the frame. Her reward: maintaining her A-list status. There are rules to pop fame.

    Or, at least, there were."Pop music's about to change," Charli says backstage, supremely confident. "Why run a race that's practically finished when you can start your own?" In 2013, who do we want to trust more: the amorphous rules of the industry's production line or some plucky kid from the suburbs of London?

    --- (I cut out the more gratuitous bits)

    One of her first gigs, Charli recalls, was at an old peanut factory, where the stages were planks of wood balanced on kegs. "People dressed up like zebras and giraffes," she says. "I had a lightsaber." Not long after, major label reps started rolling in. "They were all in their suits at 4 a.m. They stood out real bad." Howard remembers seeing her for the first time at an East London pub called the Coach & Horses at three in the morning. "There was no stage. I couldn't work out where she was gonna play. Then this little girl, she gets up on a chair in the middle of the room, with a microphone, her iPod plugged into the stereo, with a wig on. And she was amazing: rolling around the floor, stomping around the crowd. It was like performance art."

    The Central Park show was Charli's last opening gig for Marina. Now she's on her own. First up: an in-store at the basement of an Urban Outfitters in Soho. There's a recognizable demographic — girls with tiny dogs taking selfies, dads dressed like Judd Apatow3 — sitting and waiting eagerly, staring at the glowing neon rhombuses backdropping the stage. When Charli trots out, the crowd rises, shouting and swarming forward en masse. "I like your shoes!" rises above the din. They're a sort of Fifth Element–esque strappy platform. One girl, hearing the music start, sprints out a back hallway, drops to one knee, and perfectly executes a Vine; another excitable young woman sings along to every word while adding her own emphatic eyes-closed-hands-to-the-heavens-speaking-in-tongues choreography.

    Charli heads upstairs to sign CDs, and faces a line that's out the store and down the block. Collages and tinfoiled food trays are laid at her feet. One chubby kid tells her, "I tried to meet you last night, but security … " The crazed girl from the front row charges up and declares "You're, like, the baddest bitch." After her fans depart, Charli reaps the spoils of low-level fame: free stuff. She wanders the store, collecting a tidy pile of garments as a pair of Secret Service types trail behind. Before her gifting spree, she jokes to the store manager, "I won't talk to anyone. Tell them not to look me in the eyes!"

    Grown-ups who love pop music often have an uneasy relationship with it. It's not the guilty-pleasure aspect; in post-taste America, any genre is as valid as the next. But there is the machine to consider. We pay tribute to Dr. Luke and Max Martin, and marvel at the mysterious ways they make us sing our lungs out. We want to know the secret formula, but more than that, we want proof that it exists: that devious string-pullers have figured out an algorithm to make the right synapses fire. We wince at the cynicism, and fear the implications. Ultimately, it would be comforting to know our pop needs are being taken care of by androids.

    You'd think the combination of Charli XCX and Atlantic — a malleable young pop entity meeting a major-label budget — would be ripe for the machine.5 But at no point since signing that 14-year-old girl running around pubs in wigs — when she was, in her own words, "rapping about ponies and rainbows and glitter and cupcakes" — has Atlantic forced her hand.

    And the big names are perhaps not quite as shackled as we imagine. Rechtshaid has worked with Justin Bieber, and describes those sessions as not fundamentally dissimilar to his work with Charli. "There's a whole team behind him," Rechtshaid says. "A machine making the Justin Bieber thing work. But at the heart of it is just Bieber in the studio, vibing out. He might be into five songs, and only one of those attracts the label. But if he's not feeling it, it's not even going to the next level."

    "Obviously you can't compete with sheer dollars," says Jasper Goggins, label manager for Diplo's Mad Decent, which recently branched out with a radio-targeting R&B singer named LIZ."Those [major label] campaigns, when they're trying to build a pop star, there's money being spent on everything from vocal coaching to choreography to videos to studio time to producers to topline writers." So the dwindling importance of traditional platforms like radio airplay means major label money is mitigated, not devalued. Now those same resources shift to, say, ensuring the artist is getting prime Vevo side-banner action. But there are certain holes that money can't fill.

    We care about the process of creating pop stars because we care about pop stars. Says Rechtshaid: "The greatest God-sent prophets were pop musicians." We care about the machine because it provides a sense of order and dependability. Your future stars are currently being minted. It's corporate totalitarianism in the name of comfort.

    But the machine is subtler than that. Take Kuk Harrell, an in-demand vocal coach. The New York Times, in profiling Harrell last year, explained his process: "In the studio, rarely, if ever, does a star sing a song the whole way through. Instead Mr. Harrell builds a gleaming whole from granular bits. A singer working with Mr. Harrell covers a few bars — a line or two, maybe four — over and over, with different emphases and inflections, until Mr. Harrell hears what he wants. The process repeats for each section. Only later, after the singer is gone, does Mr. Harrell stitch the best pieces together, Frankenstein-like, into the song you hear." So yes, that really is your favorite pop star singing. And, no, they will never sing that pristinely again. They never did in the first place. This may be the most profound manipulation in the star machine.

    But how are they promoted within the system? "I'd been asked to be featured on some crazy tracks," Charli mentions at one point. She declined those opportunities. "That'd be like a shortcut for me." But if Charli had nabbed a Dr. Luke production, or hopped on a song with Lady Gaga, or been forced by label overlords to keep "I Love It" for herself, would she be more of a sure thing? Maybe this isn't so complicated. "Do [major labels] know what they're doing?" Goggins asks. "That's a good question for anybody. We're all trying. They're just spending more money."


    Afterward, in the tiny, graffiti-marked backroom, Charli meets with a superfan in a motorized wheelchair as the band breaks down their own equipment. It's a long way from the Marina and the Diamonds tour, and even further from the European arenas she was playing with Coldplay last summer. But no one seems to mind.

    Backstage at Central Park, I'd asked Charli about the plan. "I'm ambitious, but it's not something I need. I'm happy to be making the music that I love, and doing fucking punk-ass gigs and shit. And if the pop world isn't ready for that, then that's their loss." She smiled. "Like, I'd rather have fun than be a cunt."

    Full article at source

    Tbh with you I'm not all that captivated by miss Charli, but the commentary about manufacturing pop artists is kind of interesting.

    TLDR: English singer/song-writer lives in relative obscurity despite years of trying to achieve fame. Writes "I Love It," but gives the song to Icona Pop. Finds herself "stuck between the two worlds" of doing her own thing, à la Lily Allen-style "alt pop," and the comparatively vacuous world of "corporate pop."
    Charli XCX just wants to be herself!!! Commentary about pop music production, celebrity idolatry, etc throughout.

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    Broadway Favorite Aaron Tveit Tackles the Small Screen With ‘Graceland’

    Aaron Tveit is not one for making mistakes.

    The impossibly handsome actor has carefully navigated his skyrocketing career from tour understudy in “Rent” to Broadway leading man in “Catch Me If You Can,” from television guest star on “Gossip Girl” to movie star with “Les Misérables” to series regular on USA’s “Graceland.” But on an evening in early May, Tveit’s worst nightmare came true.

    Making his cabaret debut in front of a sold-out crowd at Manhattan’s 54 Below, Tveit messed up. He didn’t just fumble a line. He stopped mid-song—seemingly stunning himself at his error—and walked over to the piano to check the lyrics. When he emerged from the shock, he exclaimed, with a clap of his hands, “That was awesome!”

    It was. Because since the dawn of “Les Miz,” the world has been asking the question, Who is Aaron Tveit? The mishap shines a moment behind the mask of the man who can set an Internet wildfire with one Tumblr tag and has an entire BuzzFeed article detailing his “most seductively charming moments.”

    But on a drizzly day in late April, Tveit—in a white T-shirt, jeans, and a baseball cap (y u no get pics, Suzy Evans?)—seems like just another guy. In March he returned to his native New York from Florida, where “Graceland” shoots. The USA Network series, which is inspired by real events, follows a group of government agents from the DEA, the FBI, and customs living together in a house in Los Angeles called Graceland as they navigate the city’s crime and their own lives.

    “I didn’t really have a plan to jump into television,” says Tveit, relaxing on a couch in a photographer’s loft in Chelsea. “I really wanted to let whatever I was drawn to lead me that way. I got sent this script by [NBC Senior Vice President of Casting] Steven O’Neill, and I absolutely loved it.” SENIOR VICE PRESIDENT OF NBC CASTING? Dude Aaron, fuck off. I hate you.

    While Tveit seems to have nailed his first pilot season, O’Neill says he’s been trailing him for years and admits to being a tad obsessive. “I could have been labeled a stalker,” he jokes. “Now I’m an employer. I used to be a stalker.” Note to self: finish screenplay. Offer it to Aaron. Clearly this is a stalking method with real results.

    O’Neill first saw Tveit in “Hairspray” on Broadway, and “the light bulb went off over my head, like, ‘Who’re you? I want you to be doing whatever I’m working on,’ ” he remembers. Because Tveit had been attached to “Catch Me If You Can” he hadn’t been able to commit to a television series, but the stars aligned for “Graceland.” “He got himself on tape, sent the audition off, and right from that first start, it was just like, ‘I think we have our guy!’ ”

    Tveit plays recent FBI Academy graduate Mike Warren, and he says he was attracted to Mike’s single-mindedness in his work, which he likens to his own dedication to his job. “Once I came to acting, it was almost a thing where there weren’t enough hours in the day to work on stuff because I was so passionate about it,” he says.

    But he never planned to be an actor. He grew up in upstate New York and found his way into performing through the pressure in high school to “do everything to make it look good on a college application.” His stage debut came freshman year when he played Seymour in “Little Shop of Horrors.” But isn’t Seymour supposed to be awkward?

    “Uh-huh,” he replies with a laugh. “I was a very awkward high schooler, especially in early high school. I had the middle part with a swoop, all that. It was the late ’90s!” LOL, stop lying Aaron. You're still awkward as fuck.

    He almost went to college for business because he received a scholarship, but his supportive parents encouraged him to do what he wanted, and he ended up at Ithaca College as a music major. Sensing that something was missing, he auditioned for the theater program and a year later left school to tour with “Rent.” (He has since completed his degree.)

    “I’ve fallen in love with the craft and the work of being an actor,” he says. “You need to go to school to get the basic knowledge, to get your first job, but once you get your first job, you learn everything you need to know. Working made me fall in love with acting even more.”

    He hasn’t stopped since. He calls himself a “heady actor,” as he likes to do a lot of preparation beforehand and really delve into the psychology of his characters. Working on “Graceland,” he met the controlling officer of the real-life undercover agents at Graceland, worked with a Florida sheriff on gun handling, and practiced clearing a house with a SWAT team, some of whose members are extras in the series.

    He learned how to prepare as an actor from being in the ensemble in “Rent,” when he “would create five-act plays” for himself to keep invested in the story eight shows a week. “I thought everyone was like this!” he says.

    Now he’s been able to use his preparation to shape his character arc and the story line of “Graceland,” adding that the writers are open to suggestions and that shooting the show has been a collaborative process. “To feel like I’m having an impact on what’s being told was a very rewarding experience,” he says.

    His stage experience also helped, though Tveit says screen acting was initially hard for him. “It feels like it’s the opposite of working onstage,” he says. “I had a hard time connecting the two. I feel like now it’s all the same work.” But the stamina of performing eight shows a week prepped him for the television hours. His “Catch Me” partner in crime Norbert Leo Butz, whom Tveit calls one of his acting role models, refers to him as a “Grecian athlete.”

    “He’s indefatigable, incredibly disciplined,” Butz says via email. “He was a soldier in that play, just gave his whole heart and soul and body away for that performance. And those are really the only people I want to work with…. But what I most love about Aaron, and I do love that guy, like a brother, is his sheer giddiness and joy and delight in his life. He’s a big kid.”

    Ask Tveit what roles he wants to play next, and his giddiness erupts. He speaks with an impassioned fervor and is particularly grateful that his “Graceland” gig only takes six months a year so he’ll be able to also do film and theater work.

    “There’s a lot more theater work that I want to do,” he says, adding that Billy in “Carousel” is one of his big dream roles. “I’m at an interesting age, especially for musicals. There are a lot of roles for 18, 19, 20-year-old characters. From there, it jumps to older, kind of leading-man roles. So that hopefully will be the next group of parts that I get to play in musicals on the stage. I also want to do plays. I want to do everything.”

    Watch My Show: Graceland's Jeff Eastin Answers Our Showrunner Survey

    Jeff Eastin, who created the Matt Bomer comedic crime drama White Collar, goes a bit darker and edgier with his latest USA series, Graceland (Thursdays, 10/9c). Based on a true premise, the show stars Aaron Tveit as an FBI rookie who moves into a beach house secretly populated by DEA, FBI and Immigration and Customs Enforcement agents. Eastin explains why we should love Graceland tender.

    TV Guide Magazine: I have time to watch one more show. Why should it be yours?
    Jeff Eastin: Graceland is a thrill ride with a lot of heart. I wanted to show what life is like for someone who is working undercover. Here, we have a family of sorts, a group of undercover agents from all different agencies living together. They share their work, their pain and their love. Of course, there are thrills to be had and bad guys to be caught — but at its core this show is about the lives of the people trying to keep us safe and the gray zone in which they are forced to reside.

    TV Guide Magazine: Who should be watching?
    Eastin: Anyone who wants to watch an honest portrayal of what it's like to work undercover. I wrote Graceland to tell the truth about the undercover experience. If you're seeking honest and heartfelt storytelling, this is your show.

    TV Guide Magazine: Give us the recipe for Graceland.
    Eastin: Equal parts Miami Vice (remove pastels and set aside), The Wire, and American Beauty. Add a liberal splash of Lord of the Flies. Shake unexpectedly and serve with a comedic wedge. Best enjoyed on a beach during a summer sunset, preferably with a few tacos.

    TV Guide Magazine: What's the best thing anyone has said or written about your show?
    Eastin: "Do I really have to wait another month for Episode 2?" The best comments come from the fans. Anytime I have an audience who can't wait for the next episode, I know I've done my job well.

    TV Guide Magazine: What's the worst thing?
    Eastin: "I hope that wasn't supposed to be a twist at the end."

    TV Guide Magazine: Who was right?
    Eastin: Obviously the fan who can't wait for the next episode, because yes, that was a twist.

    TV Guide Magazine: What's an alternate title?
    Eastin: Safe House.

    TV Guide Magazine: Come up with a premise for the spin-off.
    Eastin: The New York-based spinoff, Sublet, features 17 brooding agents crammed into a 1,100-square-foot SoHo loft. Stories will focus on making rent and eating vegan.

    TV Guide Magazine: What credit of yours would you prefer we forget?
    Eastin: Shasta McNasty. But if you're going to crash and burn, it's best to do it in obscurity. In truth I am proud of all my credits because they tell the story of how I got to where I am today.

    TV Guide Magazine: What happens if we don't watch Graceland?
    Eastin: You'll waste your time watching something [Burn Notice executive producer] Matt Nix created.

    TV Guide Magazine: Tell us something about your amazing cast.
    Eastin: Through the shoot, life came to imitate art as our cast became very close, just like the characters on the show.

    TV Guide Magazine: If you weren't producing this show, what series would you most like to be an executive producer on?
    Eastin: I am a huge fan of The Shield. Maybe I can talk Shawn Ryan into letting me produce the seventh season.

    TV Guide Magazine: Let's scare the network. Tell us an idea that didn't make it to the screen.
    Eastin: The really scary part is, all of those ideas that did scare the network made it to the screen.

    TV Guide Magazine: Finish this sentence: If you like _______, you'll love our show.
    Eastin: A little humor with your heroin.

    TV Guide Magazine: Pick a show with which to start a fake feud.
    Eastin: I would love to pick a feud with Archer because their staff would find the best ways to mess with us. Perhaps they would let an ocelot loose in our writers room while we're not looking.

    TV Guide Magazine: With what show would you like to do a crossover episode?
    Eastin: We actually did a shout-out to Breaking Bad. One of our guys tests meth and says, "It isn't as good as the blue stuff." I would love to do an entire episode where our team is on the hunt for a certain Mr. Heisenberg.

    TV Guide Magazine: How will your show change the face of TV as we know it?
    Eastin: Graceland shows that USA isn't afraid to dirty up its blue skies, and that it's OK for networks to push beyond their comfort zones and find new story possibilities because of it.

    SOURCE 1 / 2

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    On Wednesday, producers of CBS’ long-running daytime game show The Price is Right taped a special episode in which contestants only played the most universally beloved game on the show: Plinko.

    “When we realized it was the 30th anniversary of Plinko, we wanted to do something special,” says executive producer Mike Richards. “And [host] Drew [Carey] and I have always wanted to do an all-Plinko show. This seemed like the perfect opportunity to keep trotting it out.” To sweeten the experience, the studio audience was kept unaware that it was an all-Plinko episode.

    The two-part game involves contestants correctly guessing the retail price of a product, which wins them up to five Plinko “chips” (including one “free” chip) that they then send down a peg board, aiming to get the chip into various slots that range from $10,000 in value to $0. For the special Plinko episode, some of those slots were replaced with special prizes, like new cars and international vacations.

    “There’s so much history with this game,” says Richards. “It’s almost becoming baseball-like.…People have all kinds of theories of where to drop [the chip] — whether to drop it high and let it go, or as low as you can and try to feed it into that slot, or come off to the right and move it left.”

    The episode will air on Friday, Sept. 27, 2013.


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    Before there was Amityville, there was Harrisville. Based on a true story described in the book House of Darkness, House of Light: The True Story by Andrea Perron, The Conjuring tells the horrifying tale of how world renowned paranormal investigators Ed and Lorraine Warren were called upon to help a family terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most terrifying case of their lives.
    From New Line Cinema comes a feature film drawn from the case files of married demonologists Ed and Lorraine Warren. The Conjuring stars Academy Award nominee Vera Farmiga ("Bates Motel," Orphan) and Patrick Wilson (Hard Candy, Insidious) as the Warrens and Ron Livingston (HBO’s “Band of Brothers”) and Lili Taylor (Public Enemies) as Roger and Carolyn Perron, residents of the house.

    I'm really looking forward to this (and Insidious 2 even though the first one fell completely apart at the end). I like James Wan a lot actually. Have you ever experienced a haunting, ONTD?

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    Led by Kanye West's Yeezus, all of the top four albums on the Billboard 200 this week are new entries. West's Yeezus arrives with 327,000 -- the third-largest sales week of the year. It's bested only by the debuts of Justin Timberlake's The 20/20 Experience (968,000) and Daft Punk's Random Access Memories(339,000).

    J. Cole's Born Sinner enters at No. 2 this week with 297,000, his best sales week yet. It's the largest debut at No. 2 since the Dec. 11, 2010, chart, when Nicki Minaj's Pink Friday bowed with 375,000. Coincidentally, she was stuck behind a debut from West as well. That week, his My Beautiful Dark Twisted Fantasylaunched at No. 1 with 496,000.

    Behind Cole this week is the third rap debut in the top three: Mac Miller'sWatching Movies With the Sound Off, starting at No. 3 with 102,000.

    Kelly Rowland's fourth studio album, Talk a Good Game, is the fourth and final arrival in the top 10. It lands at No. 4 with 68,000, marking her third 10 set. The arrival is Rowland's smallest start, dipping below the 77,000 that launched her last album, 2011's No. 3-debuting Here I Am.

    But let's get back to West. The sales launch for Yeezus is softer than industry sources had forecast. On the Friday before its release (June 14), it had been tipped to start with perhaps 500,000. However, a week later, its sales projection had fallen to 330,000 to 340,000.

    On the other hand, Cole blew past expectations, selling about 100,000 copies more than the 150,000 to 200,000 that was forecast on June 14. Even better, its start is larger than the projection made on the day after its release on June 18, when insiders said it could do 270,000 to 290,000.

    As for Miller, his album starts on target with forecasts made on June 19. However, his bow is smaller than that of his last release, 2011's No. 1-debutingBlue Slide Park (144,000).

    With West, Cole and Miller all starting north of 100,000, it's the first time since November 2006 that three rap albums have debuted with sales that exceed 100,000. That Thanksgiving week saw the release of Jay-Z's Kingdom Come(680,000 sold first week), Snoop Dogg's Tha Blue Carpet Treatment (264,000) and 2Pac's Pac's Life (159,000).

    This is also the first week since last October where two albums -- regardless of their genre -- started with more than 200,000. It last happened on the Nov. 10-dated chart (reflecting the sales week ending Oct. 28). That week, Taylor Swift'sRed arrived with 1.2 million while Kendrick Lamar's Good Kid, M.A.A.D City started with 241,000.

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    If you're a die-hard Teen Wolf fan like us, you've spent nearly three seasons staring at Stiles' wacky tees, Lydia's on-point heels, and Allison's bohemian-chic frocks. But you know what? We. Want. More. We're sure you'll agree that sometimes just staring at the clothes just isn't enough. Like, we want to hear ALL the deets behind their on-screen ensembles. Lucky for you (and us!), we got a chance to catch up with the costume designer, Barbara Vazquez, who dished on the ins and outs of working with such an amazing (and seriously fashionable) crew.

    MTV STYLE:Thanks so much for talking with us! Tell us how you got hooked up with this amazing gig.

    Barbara Vazquez: I worked under a costume designer named Keith Lewis for many, many years and then branched out on my own. I was with Tyler Perry for six years when he first started in the business, and I was Burt Reynolds’ personal dresser for a while. When they approached me with Teen Wolf, I was really interested because of Jeff Davis, the creator of Criminal Minds, and I’m a huge fan of his work. Then I met the cast and fell head-over-heels in love with them and knew that I needed to stay on this show because we are a very close-knit family. The cast and crew on this show, in 12-13 years, I’ve never seen anything like it; the dynamic from the people that work on this show. So it’s really nice to have that.

    That is so sweet! Before the series started, did you take any style inspiration from the original '80s Teen Wolf film?

    I’m an '80s baby, so I’ve definitely seen the original and loved it. I also knew from the way that Jeff writes and what Jeff was going for on the show, that we wanted to really do a darker, edgier version of what they had done in the '80s. However, I did keep some stuff with style. If you’ll notice, Stiles, you see him wearing a T-shirt with something ridiculous on it, or has a funny image, which is what the original styles had in the original movie. Other than that, we’ve changed it up a lot.

    So, how do you think the Teen Wolf cast's style has changed over the course of the seasons?

    I think the style has really evolved from the first season until now. Especially with Scott, you see him more grown-up this season that we did in the first and even in the second. He’s becoming an Alpha and he’s really coming into his own. You know, it’s very important for me when people watch this show to look at them [the characters] and say, “They look like high school kids.” You know, you watch some shows and they look like they’re in their thirties. They dress cutely, but you don’t believe that they’re in high school. And so we did that very much in the first season, especially with Scott and Stiles. And now when you see Scott this season, he never before wouldn’t have worn sneakers, now he’s got some cool boots and a more fitted jean. No more hoodies. Stiles, I think, is the only one who has stayed the same.

    And the ladies?

    With Lydia, she’s the “it” girl in school and what she looks like is very important. She wants everybody to look at her, and she doesn’t want to look like a high school girl. I mean, she’s in heels all the time which is absurd, no high school girl is, they usually throw on sweat pants and call it a day, go to school. But for her, she doesn't want that. She needs to be noticed and she needs people to look at her, all eyes be on her. So that’s what I tried to do with her. You almost never see her in pants, she almost always in some kind of a dress and heels and a great bag. In one episode she has a Chloe bag, and it’s my favorite bag and it’s actually Holland [Roden’s] personal bag. It’s a $2,000 bag and I was like, huh, let’s use this one. I was like, I don’t have the budget to buy it, but I really want to use it. We kept it in a safe in the wardrobe trailer for the whole block. But it’s such a great bag and a great color, Lydia would absolutely have something like that.

    Where did you get the high school style inspiration from?

    I was going past different high schools just to kind of see what they were wearing. At one point I said to Jeff, "We have to get permission for this. People are going to see me and think I’m this creepy lady who just hangs out outside of a high school."

    Haha! Not creepy at ALL.

    I went around to about ten different high schools just to see what everyone was wearing. Also, my nieces are in high school, so I would talk to them and my friends’ kids, just get inspiration from real life and what these kids wear. And then when the process starts, I make mood boards. I take a character photo and different fabric swatches and color palettes for what I’m thinking for each character.

    So, what did you learn from your drive-by high school sightings? Anything?

    They dress so much better than we did when we went to high school! It’s really kind of incredible, the fashion sense that these teenagers have now. I mean, I’ve done shows at fashion week in New York, so I mean these kids are unbelievable. And it’s a lot of their own twists on stuff. It’s really, really inspiring.

    What stores/boutiques/thrift stores do you pull the Teen Wolf wardrobe from or is it custom made?

    I pull clothes from everywhere and anywhere. I usually get a very specific idea in my head. If I read the scene or we’re in a production meeting and we’re talking, I feel like I see it. Then I send my shoppers to find this imaginary piece of clothing, whatever it is. It could be thrift stores, it could be Bloomingdales, anywhere. I’m also notorious for ripping things up and making them something else. Or adding pieces to something if I can’t find what I want, then I have no problem making it. Upcoming, there is going to be this gorgeous, periwinkle blue dress that Lydia wears and I loved it on her, I loved the color but I couldn’t… there was something that I didn’t like, so I just said, “Oh, she needs to have a sleeve. So, ten minutes before we shot, we made sleeves for the dress and changed the length.

    So most of the clothes aren't straight off the rack from the stores?

    A lot of the clothing on the show is altered. I pretty much alter anything that goes on their body. I feel like even in life I do that. I’ll get a dress from Target, and if I alter it, if you alter something to your body, it just changes the whole look completely. Even the boys, I alter all of their T-shirts. We take them in, take the sleeves off. It really enhances the way the piece looks on your body. So I would say 98% of their clothes are altered.

    Wow, no wonder they all look so good. Custom-fit duds! Is there one piece of clothing that Teen Wolf fans just CAN'T seem to stop talking about?

    I’m hearing a lot of buzz about Scott’s jacket from the third season, when he pulls up on the motorcycle. Everybody loved that jacket. It’s a Ralph Lauren jacket, and I think we got it from Macy's. I remember when that jacket came in, I knew it had to be for Scott. He’s never worn anything like that and it’s a little bit tough and a little older, so that’s now his signature jacket from this season.

    So, how does the process for picking out each episode's ensemble work?

    We block shoot. So that means we shoot two episodes simultaneously. So we’ll get two scripts, you read them both, you have a big meeting with all of the department heads to discuss, for example, if someone is being murdered, I say, “How many shirts do we need for them? How much blood do we need?” Make-up, special effects, everybody has their questions. I put together a list for Jeff and tell him what I’m thinking, and sometimes he will have a really specific vision for something. And he’ll say, “Barb, can we do this for Scott?” or “Can we do this for Lydia?” For the most part, he lets me do my own thing. But again, he writes it, so if he sees something in his head, I will try to make that come to fruition for him. Like, when they go to set, and he’s like “Yes, that’s how I wrote it. That’s what they look like.” I feel like it’s a really collaborative effort, too, with the actors. I like for them to be really involved and we do fitting constantly to make sure everything fits well. I like to have them really involved. Tyler Posey will say to me, “I don’t know, Barb, maybe he would have a jacket in this scene.” So I like it to be collaborative. A lot of designers don’t allow that, and I feel like it works better like that. I want them to put their clothes on, go to set, and never think about it again. And just feel like they’re that character when they get there.

    How do you think each Teen Wolf character's style relates to the actor's real life personal style? Let's start with Tyler!

    Tyler Posey’s personal style relates to his character style: Now that he has a motorcycle, and he’s dressing differently, he is dressing a little more grown up. But there are certain things Tyler will not let me do because it’s his thing in real life, and he doesn't want Scott doing it. Now he comes in and has the great motorcycle boots and his jeans cuffed and a fitted tee. And I said I kind of wanted to do this for Scott, because Scott rides a motorcycle now, and he’s like, "No, that’s my thing! I feel like they mirror each other a little bit.


    Dylan is just a jeans and T-shirt kind of guy. Even when there’s awards shows and stuff, he wants to wear whatever’s clean. Stiles wears a lot of layers, and Dylan’s just in a T-shirt or sweatshirt and jeans.

    How about Holland?

    I feel like Holland’s style is different all the time in real life. She goes through these phases where she’s really into something and then next week she’ll really into something else. I know she loves Brandy Melville. We also went through a Mad Men phase in her real life. She loved those clothes and was buying pieces like that.


    Crystal is very fashionable in real life, but she always looks effortless. She always looks like she didn’t try. But super cute. She reminds me of a model that lives in New York. I’m from Brooklyn, and I remember seeing girls in New York and thinking they looked so good. That’s Crystal. Allison’s style is a little bit off because she’s moved around a lot. I love to mix different patterns together, and stuff that wouldn’t normally do, I do on her. But in real life, she’s a fashionista, definitely.

    Three words to describe each character's style. GO!

    Stiles: Typical teenage boy.
    Scott: Evolving into more of a leader.
    Lydia: Pretty, very girly, “it” girl.
    Allison: Bohemian chic, crazy patterns, just wants to fit in.

    What's one piece of clothing that we'll never see on the show? Is anything off-limits?

    There is something about studs that just drive me insane. You will almost never see studs on the show because I can’t stand it. My shoppers will always hide one piece when they bring racks in, and it’s usually because it has studs. That and glitter. Also, if there’s a pattern in which the lines are too close together, it strobes on camera and it looks like the shirt is moving on camera, so we can’t use anything like that. There were a couple of pieces for Stiles, but it would have danced on camera.

    Are there any special effects you have to work around when creating the ensembles?

    Tyler Posey has a lot of tattoos, so that takes a long time to cover, so I have to accommodate that sometimes. In 301, there is a scene where he is reading a book and doing pull-ups, originally he was just supposed to be shirtless and wearing boxers, but it would have taken too much time to cover all of his tattoos up, so we put him in sweatpants and a tank top. We love a shirtless boy here on Teen Wolf, but sometimes we just don’t have the time to cover those tattoos up, and you never know when you’re going to have to re-shoot a scene. Sometimes I have to accommodate for stunts, too. I’ll have to add a jacket to a costume to cover a harness. We all have to work together to get that kind of stuff figured out.

    Whoa! We had no idea Tyler had so many tats. Does anyone else?

    The twins also both have tattoos.

    Iiinnteresting. Speaking of the twins, tell us about how you are styling them for the show.

    For Charlie, he’s a little bit more preppy, so you’ll see a little bit more color for him. Sweaters layered with button-downs. Sometimes they dress alike, and that’s a very strategic move from Jeff. A lot of times they’ll mirror each other: they’re not dressed alike but it will be very similar. But one is definitely more preppy than the other. The outfits reflect the story lines.

    So, we have to ask—where are all these iconic outfits stored?

    All of the clothes are kept in one space, it looks like a department store. And then I have an office where I keep the stuff I’m looking through for the episode of the week. We have all of season one, season two in there. If there was a specific item that got bloody, for example, we keep that in a plastic garment bag, and it’s never cleaned because if we for some reason have to revisit that season, we’ll have the shirt exactly as it was that day when we filmed it. Every single outfit that went on camera already is tagged and labeled with character name, scene, episode number, and the actor’s name. We just did reshoots the other day and I was so thankful we had everything catalogued.

    Finally, what sort of ensembles should we look forward to for the rest of the season?

    What to look forward to: For the girls, I have some favorite outfits of Allison’s that’s a little bit out of the box. Lydia is always going to look pretty, always going to have some kind of a cool coat or bag, great dress, great shoes. With Scott, he looks a little bit more sexy and grown-up this year.


    What are some of your favorite and least favorite outfits on the show?

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  • 06/27/13--20:51: "The Walking Dead" Post

  • Kimberly Potts for Yahoo! TV writes:
    There's no lack of great TV coming our way this summer — the final episodes of both "Dexter" and "Breaking Bad," for instance — but that doesn't mean October, when the fourth season of "The Walking Dead" will premiere, is far away.

    With the cast and crew of "The Walking Dead" back in production for more than a month now, info on the new season is dribbling out, so here, our guide to everything we know about Season 4 so far:

    1. Best. Season. Ever?
    In a new production video from AMC that teases plans for Season 4, Greg Nicotero, producer, director, and makeup guru for the series, promises the premiere is "bigger than any script we've ever done before."

    2. Fresh Blood
    New series show runner Scott Gimble wrote the season premiere (which Nicotero directs). Gimble is responsible for some of Season 3's best episodes, including "Clear" — in which Morgan (Lennie James) returned — one of the best episodes of any drama series last season.

    3. And a Friend of the Governor's … Might Not Be a Friend to Anyone Else
    The biggest cast addition for Season 4 is Larry Gilliard Jr. as Bob Stookey, a former Army medic. Gilliard, best known for his role as D'Angelo Barksdale on "The Wire," will be reunited with former "Wire" co-star Chad Coleman, who plays Tyreese.

    Stookey, described as a charming loner who's still haunted by his actions before and after the zombie apocalypse, is a character from the "Walking Dead" comic series. In the comics, he's a 50-something Caucasian who lives in Woodbury, where his fellow survivors worry about his frequently drunken state. But, using the medical skills he learned in the Army decades earlier, he saves the Governor's life after the Woodbury leader is attacked by Michonne, and the two become friends.

    4. He's Baaaack!
    David Morrissey will return as the Governor, while Emily Kinney (Beth Greene), Coleman, and Sonequa Martin-Green (as Tyreese's sister Sasha) have all been promoted from recurring status to main cast status for Season 4. Jose Pablo Cantillo and Travis Love — who play Governor sidekicks Caesar and Shumpert (aka Bowman) — will return as recurring characters, as will Melissa Ponzio, who's going to stir up some trouble as Karen, the outspoken Woodbury resident now living with Rick's people at the prison.

    5. Rick's Got a New Attitude
    Series creator Robert Kirkman told the Hollywood Reporter that we're going to see a very different, more community-minded Rick Grimes (Andrew Lincoln) in the new season. "Rick is changing. This is the moment where Rick takes a turn; he's no longer going to be pushing people away, he's no longer going to be doing whatever he can to protect these people in ways that hurt other people," Kirkman said. "He's not going to be the guy who would leave that guy on the side of the road — the backpack guy in ["Clear"]. He's letting the people of Woodbury in and trying to tell Carl that these people are like us, you have to be open to this, and the only way to survive in this world is to have people and be in a community. That's going to be a big part of Season 4."

    6. Father vs. Son?
    But while Rick is embracing his fellow survivors and the importance of banding together to keep surviving the undead (and other survivors), son Carl (Chandler Riggs) has seen so much death, destruction, and personal loss that he seems to have turned to the dark side, something that's going to pose a big challenge for Rick in Season 4.

    "Rick's got his work cut out for him. He's aware of this, and he sees what allowing his son to become a child solider has brought, which is a very big part of season four," Kirkman told TV Guide."Moving forward in the show, this is a guy who's working as hard as he can to maintain a life for this child. [In] the process of surviving … he's allowed his son to lose a pretty substantial piece of his humanity. It's now a question of: Is there going back? Is this now status quo? These are the things that a father will have to deal with."

    7. Farewell, Prison Walls?
    Kirkman has also weighed in on the location of Season 4's action, which will continue to be set largely at the prison. At least initially. "There's always going to be new locations and new places to discover and explore … we're definitely going to start season four at the prison. We may be there the whole season, and we may not be," he told TV Line.

    In the comics, Rick and friends head off to another location when the Governor and his army destroy the prison … a potential Season 4 storyline, now that we know the Gov is sticking around to wreak more havoc?

    8. Look to the Comics
    Kirkman, in fact, says readers of the comics shouldn't fear the TV show is going to ignore "Walking Dead" comics storylines. "A lot of people seem to fear that we are departing from the comic book entirely by the way Season 3 ended. That is absolutely not the case, because there is an infinite number of things to mine from the comic book series, and we're going to do that," Kirkman says in the new issue (No. 4, with an Andrew Lincoln cover) of the official Walking Dead magazine."There's some really cool stuff in Season 4 that I think comic book fans in particular will be really excited about."

    9. Morgan Returns, Again?
    Could one of those comics-related storylines be another return by Rick's friend Morgan? In the comic books, Morgan joins Rick and his crew when they leave the prison for good. Lennie James is starring in a new AMC drama, "Low Winter Sun," which premieres on August 11, but Kirkman told the Walking Dead magazine that he does plan to bring James and Morgan back to his AMC series, too."We always try to strive for realism in the show, and because of his geographical distance from the prison, it would be unrealistic to pop in on [Morgan] every episode," Kirkman said."But we like having him on the show, and we'll certainly see him again at some point. I don't think we're done with Morgan just yet."

    Merle's death:

    - He knew it was going to happen and didn't try to talk his way out of it.
    - "Merle came into the show as an asskicker, he's leavin' as an asskicker."
    - Jokes that it wasn't sad to walk away, it was horrific because Norman stabbed him a lot of times.
    - Loved wearing knife arm a.k.a. "Lil Merle", says it compressed a nerve in his elbow so his arm went numb.

    Explains what the zombies are actually eating on TWD:

    - Says it's real flesh and he loves it.
    - Admits it was actually cooked sausages and prime rib.
    - They'll make flesh that accommodate zombies' dietary restrictions.

    Doesn't talk about "Guardians Of The Galaxy":

    - Doesn't read "this Wikipedia."
    - "None of your fuckin' business!"

    Scott Johnson for writes:
    The Walking Dead Season 4 won’t premiere until October 2013, but fans can get a sneak preview over the July 4th holiday weekend. Cancel any beach plans, forget about fireworks, because starting on July 4th, AMC will begin airing a marathon of The Walking Dead. The Walking Dead marathon kicks off at 1 PM ET on Thursday, July 4, 2013 with the “Days Gone By” premiere episode from The Walking Dead Season 1. The marathon continues through Sunday, July 7, 2013 with episodes from The Walking Dead Season 2 and Season 3.

    The Walking Dead Season 4 preview weekend will also include a sneak peek at The Walking Dead Season 4. It’s unknown exactly what type of sneak peek will air, but rumors suggest cast interviews and a brief look at some Season 4 footage. We know for sure that both Episode 1 and 2 of The Walking Dead Season 4 completed filming earlier this month, and it’s likely that Episode 3 and maybe Episode 4 are completed by now as well.

    Comic Book Men’s Kevin Smith will be hosting The Walking Dead Season 4 preview weekend.

    Laurie Holden won a Saturn Award last night for Best Supporting Actress!
    Thanks lathwen1.
    Source 1 | 2 | 3 | 4

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    Fantasia took to instagram tonight to vent her frustration about the horrible things being said about Rachel Jeantel's, the teen witness in the George Zimmerman trial, illiteracy. Fantasia posted the following photo and caption:

    Sad that an innocent young man lost his life at the hands of another man, and here it is someone doing what they can for justice and she's being crucified. Worst part of it all, mostly by her own people. Please stop the hate people, I've dealt with this type of hate far too long, to the point I'm numb to it but this young lady deserves better than what we deal with as celebrities. She is doing a deed in support of justice for Trayvon, give her a little more respect. To make it easy, if you can't say anything positive, don't say anything at all. #justiceforTrayvon


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    Note: The video embed may not work so it can be watched HERE @ Source 1, courtesy of the official YouTube channel for the Palm Springs International Film Festival, PalmSpringsShortFest, in promotion of their 2013 line-up.

    Original Synopsis via the Official Site

    TODD, a 60-something loner with a twitch, follows young JESSICA (7) and her MUM home from school. He waits until nightfall before breaking into their house and creeps into Jessica’s room. Lifting the helpless, sleeping child off her pillow, he locates… a tooth! In a fit of compulsion, Todd crushes the tooth and snorts it from Jessica’s bedside table. Wings burst out of his back and he leaps from her window, freed for another short while... until his tooth fairy addiction hits again. The next day after school, Jessica heads towards an ice cream van, a gleaming new coin in hand...



    Updated Synopsis

    TODD, a 60-something loner with a twitch, follows young JESSICA (7) and her MUM home from school. He waits for nightfall and breaks into the house. While Mum's distracted in the bathroom, Todd creeps into Jessica's bedroom, where events take an unexpected turn...

    DUST stars Golden Globe, BAFTA and Emmy winning actor, Alan Rickman, alongside the critically acclaimed Jodie Whittaker (Attack The Block, St Trinians, Venus), and introduces 7 year old Lola Albert.

    DUST is a 6-7 minute short film, written and directed by us, Ben Ockrent and Jake Russell.


    From IMDb

    Dust, starring Alan Rickman and Jodie Whittaker, is the short story of a man who follows a young girl and her mum home from school one day. He waits outside their house until nightfall before breaking in. Once inside, events take an unexpected turn...




    An online blogger who was able to attend the Dust screening at the Palm Springs International ShortFest 2013 had this to say about the film (*mild warning: ton of fan bias; certain unnecessary portions were removed):


    Back from Palm Springs and the Dust showing. Worth the gas, time and money to drive from LA, and I absolutely DO want to see it over and over. [...]

    Alan is superb. I didn’t realize before just how deliberately and perfectly he moves, and must pay attention to that in other roles. When he sneaks up the stairs — poetry in motion! As we all know, in the first few minutes, this homeless guy is stalking the mom and her daughter from the girl’s school all the way to inside their home. It is ominous, and the tension builds.

    In the Q&A afterward, the director explained what we fans knew already. One of the producers is a friend of Alan’s and he acted in this shoestring budget film for free. Alan insisted that the directors prepare a storyboard of the film to prove they knew what they were doing, before he would agree. I appreciate even more now the storyboard pic of the intense scene. You could really feel the tension in the theater as he went to the bed and lifted the little girl up… It was near-Hitchcockian. The crowd went wild when they realized why he was there.

    Now the green screen pix of the filming make sense!

    I spoke with one of the young Dust directors afterward for awhile. Very nice guy with the air of a young Hugh Grant. He’s definitely going to be successful.

    SOURCE 1 | 2 | 3 | 4 | 5 | 6 | 7

    Oh my, this FINALLY went through! Only been trying to post this since... the 11th.

    Thoughts on the film; this here is only an opinion: No matter how fucked up the concept still sounds (child stalker and then faeries???) and minus the less than appealing, unimpressive title (there are other films out there called ''Dust''; they seriously couldn't come up with anything else?), I'm still strangely intrigued by this. Even with the more than obvious, uncomfortable vibes I get from this ''Todd'' character that he is without a doubt at borderline paedophilic/stalker status. Actually, the whole paedophilia theme mixed with a freakish fairytale theme is a bit out there all together. Either way, this is saying a lot in the favour of the actual filmmakers and less so of the 'star,' given that, in my honest opinion, Rickman produces a ton of shit and I really don't care for 90% of what he makes (the other 10% is generally acceptable and I do respect him as an actor, but I'm no female and I'm no fan). So, there is so much respect for the filmmakers right now for inventing something so unconventional yet so imaginative. And ultimately, so ''what the actual fuck did I just read/watch/see?!'' It's nothing special to say in the least, but it's 'different', in a way. I wouldn't have otherwise known about this film if it weren't for the gorgeous concept art floating around online. And the soundtrack is jarring if not wholly memorable. I’ll be looking forward to seeing something else from these guys again (Ben and Jake). If they can think of something this creepy and in a way so immensely twisted and unexpected as a compulsive, homeless [paedophilic] bloke turning out to be
    a modern impression of the tooth faerie
    with a queer addiction to tooth dust is to cocaine -- and this is just an under 10 minute film -- can you imagine what they could do with a full-length feature film? Mind blown. But please, no more borderline paedophilic stalkers. No one could possibly sit through more than 8 minutes of this, give or take a few.

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    Bow down.

    It's official: Beyoncé and Jay-Z's six-month-old (IDTS) little girl, Blue Ivy Carter, already has so much more swag than we could ever possibly try to accumulate.

    The singer shared a few BIC-themed photos on her official Tumblr. page, which ranged from super cute to pretty badass (Is that appropriate when referring to a child? Whatever, it's true).

    Of course, Bey steered away from uploading the generic, posed snapshots, and got crafty with her artwork.

    One picture just featured an adorable, light peach dress of Blue Ivy's on a hanger, while another playfully showcased the tot's tiny, hot pink Tom Ford heels on her mama's foot. Jealous of her wardrobe? Yeah, us, too.

    Another image caught a sweet moment between the mother-daughter duo, with Blue's itty-bitty finger poking at Beyoncé's face from a baby carrier. In response, Bey shared an adoring gaze at her little princess, while seemingly backstage at a show.


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    Alec Baldwin is on the warpath again.

    The “30 Rock” actor, known for taking on American Airlines and an “uptight queen” working at Starbucks, posted a series of homophobic tweets tonight about a writer for the U.K.’s Daily Mail newspaper. That writer had noted that Tweets went out from Baldwin’s wife’s Twitter account during the actor James Gandolfini’s funeral service, at which both Baldwin and his wife had been in attendance. Though the Daily Mail article noted that the tweets may well have been posted by an assistant or after Baldwin’s wife, Hilaria Baldwin, left the service early, it didn’t stop Baldwin from calling the reporter “little bitch” and “toxic little queen” and stating that the reporter would enjoy Baldwin forcibly sodomizing him.

    The tweets, since deleted along with Baldwin’s entire Twitter feed, are posted in reverse-chronological order below in screenshot form.


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    Jordan DeSaulnierfor writes:
    Yeah, yeah, Pacific Rim is built on a solid foundation of giant monsters and equally huge robots getting in dust-ups that level entire cities.

    But the first official clip from Guillermo del Toro's monster mash shows a confrontation that's even bigger than any Kaiju-Jaeger showdown: a tense face-off between Jax Teller and Stringer Bell.

    That's right, Charlie Hunnam and Idris Elba, both of whom have famously played charismatic characters to perfection on cable television series, apparently don't get along in Pacific Rim.  Hunnam currently stars as Jax on the FX series Sons of Anarchy, while Elba portrayed Bell on HBO's peerless The Wire.

    Here, these two Brits play Raleigh Becket and Stacker Pentecost.  Pacific Rim takes place roughly fifteen years after an interdimensional rift deep in the Pacific Ocean unleashes the Kaiju.  To combat the beasts, humanity creates the Jaegers, operated by a pair of highly trained pilots sharing a neural link.  Becket is a washed up Jaeger pilot brought back into the fold by Pentecost, a onetime pilot who has ascended the command ladder to a position of real authority.

    In this clip, courtesy of IGN, the two deeply disagree about the training of Mako Mori, a green pilot played by Rinko Kikuchi, who was truly great without saying a word in The Brothers Bloom.  Elba, so often the best thing about any movie he's in, gets a chance to throw his figurative weight around here, and Hunnam, kicking ass since Undeclared, very much fits the mold of the impulsive hotshot.

    Del Toro's first movie since Hellboy II: The Golden Army, Pacific Rim is by far the biggest spectacle yet attempted by the auteur behind Pan's Labyrinth, The Devil's Backbone, and Blade II.  The screenplay by Travis Beacham allows the loquacious and lovable director to create a would-be blockbuster that's also an unabashed love letter to Godzilla-style monster movies and robot-obsessed anime.

    In addition to Hunnam, Elba, and Kikuchi, the cast here includes Charlie Day, Ron Perlman, Clifton Collins Jr., Robert Kazinsky, Burn Gorman, and Diego Klattenhoff.

    Recently, IAR talked with Day about playing Pacific Rim's resident scientist, Dr. newt Geiszler.  Check out that interview by clicking here.

    Pacific Rim brings the thunder to theaters on July 12th.

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    Well-known, environmentally conscious cartoon series Captain Planet and the Planeteers might finally be making a leap to the big screen. The story of five kids from different continents who are given powers to fight pollution, and combine to make the titular superhero, ran for over 100 episodes in the mid-’90s. Since then, producers have tried to bring it to big and small screens alike, with Funny or Die getting the closest by actually casting Don Cheadle to parody the character.

    However, it seems Sony Pictures is now close to acquiring the rights to finally make a big-budget, live-action Captain Planet movie.

    The Hollywood Reporter broke the news of this probable deal. If it works out, Captain Planet will be produced by Mark Gordon, Don Murphy and Susan Montford.

    Obviously Sony believes this concept — think Power Rangers meets Superman with environmental issues — is one audiences will gobble up. However, part of the cartoon’s appeal in today’s marketplace is its kitschy value. You’d imagine a modern film version would have to curtail that über positivity and take it much more seriously, while still holding onto a sense of purpose and fun. There in lies the big issue.

    Were you a Captain Planet fan in the past? Do you think this will work as a feature film? Why should play the lead role?

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    Australian electro duo Empire of the Sun have agreed to write the score for Dumb And Dumber To, the sequel to 1994’s classic starring Jim Carey and Jeff Daniels.

    Having recently released their sophomore album, Ice on the Dune, Nick Littlemore and Luke Steele have now agreed to pen the music in the return of Carey, Daniels and creators Peter and Bobby Farley for Dumb And Dumber To.

    Written and directed by the Farley brothers, their official Twitter account confirmed the news earlier in the week.

    “Here’s a review of the new @EmpireOfTheSun album. They’ll be scoring Dumb And Dumber To! P,” appeared on the Twitter.

    Unlike the 2003 prequel, Dumb And Dumberer: When Harry Met Lloyd, which did not include either of the three key parts from the original, the next version promises to be a worthy follow-up. Already in production, Daniels has described the sequel as “painfully funny”.

    Empire of the Sun’s first real foray into the music industry isn’t the only project their currently working on- Steele revealed in May that the two have already begun working on a third album and that The Sleepy Jackson frontman is working with Silverchair’s Daniel Johns on an album that should “[sound] a bit like The Clash, [a]bit Talking Heads.”

    Empire of the Sun recently appeared at the Bonnaroo music festival and will tour the US before returning for Splendour in the Grass. Ice on the Dune has thus far peaked at #3 on the Australian charts. (Ice landed at #20 on the Billboard 200)

    how random but the new album is amazing.


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    Source: Snoop's Youtube channel

    lol at Rita Ora having a tag but not Snoop.

    LJ seems to hate embeds today, so click the image to see the video on youtube.

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    Janelle Monáe has set a Sept. 10 release date for her much-anticipated second album "The Electric Lady," and as a bonus treat, the singer unveiled a video teaser for a new track, "Dance Apocalyptic." The full-length video, directed by Wendy Morgan and Pierre Rouger, will premiere on Tuesday (July 2).

    "The Electric Lady" is the R&B performer's first full-length since 2010's "The ArchAndroid," and was recorded entirely at Monáe's own Wondaland studio. Along with Badu, Prince and Miguel will be featured on the sophomore album.

    "We took our time to work on it," Monáe told Billboard in her cover story earlier this month. "We felt a shift in the world ... a shift in our music and freedom, with life and politics and where we are as a society. Every time is not always the right time for you to come out with something."

    Monáe's next major media appearance will be as a performer at the BET Awards this Sunday night.

    Source: Billboard

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    A video is in the works for the "Yeezus" track, which is being served to DJs now.

    Kanye West's "Yeezus" will get some promotion after all.

    After a fiercely guarded release with no singles or videos, West's latest album will service an official radio single: "Black Skinhead," a clean version of which is being released to DJs.

    A video for the track is also in the works, Def Jam confirmed to Billboard. The video release and the track's radio impact date will coincide, likely in time for the 4th of July holiday.

    Previously, West purposefully avoided a full-court press for the album roll-out. "I have this new strategy, it's called no strategy," he said at a New York listening session. Instead, he performed on "Saturday Night Live," tracks from the album were played with video projections around the world and he conducted several advance interviews, including a sit-down with the New York Times.

    Despite its relatively lower profile, the album bowed at No. 1 on this week's Billboard 200, selling 327,000 copies. The album is his sixth No. 1 set in a row; only his debut album, "The College Dropout," failed to reach the top spot, peaking at No. 2. The number marked the third-largest sales week of the year, trailing Daft Punk's "Random Access Memories" (339,000) and Justin Timberlake's "The 20/20 Experience" (968,000).

    Source: Billboard

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