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Oh No They Didn't! -

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    Stars and stripes - topless Harry sports bandana before heading to US for gigs

    ONE Direction’s Harry Styles and Niall Horan flash the flesh in a topless workout at the gym before jetting off for gigs in the US.
    The 19-year-old boyband stars tweeted pics of their efforts to their legions of fans.Harry ran the treadmill with an American flag bandana keeping his mop off his face.
    He’s clearly trying to keep his US fans happy — One Way or Another

    Topless ... Niall Horan pumps iron in pre-USA workout

    M1Jarvis: @Harry_Styles C.V day, @NiallOfficial rest day! :)
    Narry outside the arena - Hershey 06.07.2013! (They're just tossing around a football.)            Bonus: Liam Payne working out before Hershey.

    Source  +2

    YT Source/has more videos from Hershey

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    cumberbatch + del toro

    Okay, so before we dive into this, let's just recap where the forever busy Guillermo del Toro is at right now. He's got his robots vs. monsters thing "Pacific Rim" hitting theaters this Friday, after which he'll work on the TV adaptation of his novel series "The Strain" for FX through until the end of the year. And then he'll kick off 2014 with his next feature film, the gothic horror "Crimson Peak." But as always, del Toro has about a half dozen irons in the fire, and he's already looking to reteam with his "Crimson Peak" star Benedict Cumberbatch on another project.

    Speaking with Daily Telegraph (today's print edition, not yet online), the paper reveals "he is hoping to direct Cumberbatch again in a new film version of 'Frankenstein.' " Exciting stuff, but as fans know, the project has been one del Toro has been working on for years in fits and starts. Back in 2009, he was reportedly doing test shooting and had selected Doug Jones (who featured as creatures in "Pan's Labryinth" and the "Hellboy" movies) to play the freakish monster. And it's easy to understand why del Toro wants Cumberbatch.

    The actor has already played both the monster and Dr. Victor Frankenstein to great acclaim, starring opposite Jonny Lee Miller in Danny Boyle's very well-received stage version that also screened in select theaters last year. All said, we'll have to see if this actually works out, but it seems del Toro is continuing to tinker with it, though it remains to be seen what Universal will do particularly considering Fox already has their "Frankenstein" starring Daniel Radcliffe already slated for a fall 2014 release.

    Another long-gestating Universal project -- part of a four picture deal he signed in 2008 -- is a big screen version of Kurt Vonnegut's "Slaughterhouse-Five." Not much has been heard about this one recently, but del Toro has lined up a helluva writer to take it on. "Charlie [Kaufman] and I talked for about an hour-and-a-half and came up with a perfect way of doing the book," he told the Daily Telegraph. "I love the idea of the Trafalmadorians [the aliens of 'Slaughterhouse-Five'] -- to be 'unstuck in time,' where everything is happening at the same time. And that's what I want to do. It's just a catch-22. The studio will make it when it''s my next movie, but how can I commit to it being my next movie until there's a screenplay? Charlie Kaufman is a very expensive writer!"

    "I"ll work it out," he added.

    Vonnegut + Kaufman + del Toro? Goddamn. That sounds amazing, but let's not forget, even when all the pieces are seemingly in place, del Toro's initial experience at Universal hasn't exactly been roses. They kiboshed his R-rated "At The Mountains Of Madness." "I'll show you the art and your heart will break," he said of the movie, which he is still trying to seek financing for, along with his developing, darker stop-motion version of "Pinocchio."

    So lot's of stuff on del Toro's plate....and let's not forget a possible "Pacific Rim 2" if it does the business Warner Bros. hope it will do. Which of these projects do you want to see move to the front of del Toro's busy schedule?

    ( SOURCE )

    Cumbersnatch for ALL the fug monster roles, tbh. His busted reptilian Brit face could totes do it. I mean, when will your ridiculously attractive faves ever? First, Smaug in "The Hobbit", and now Frankenstein's monster. NO LIES DETECTED. I'll be screaming in horrific approval.


    What say you, ONTD?

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    M.I.A.: "im gonna need @kickstarter and my fans to help make this exist , ive been black listed through normal channels !!!!!!!"

    Last year, M.I.A. revealed that she was working on documentary. Today, she retweeted several people who pointed to a teaser of the documentary, which was directed by Steve Loveridge. It featured archival footage with M.I.A., Diplo, and others, plus interviews with Kanye West, Switch, Spike Jonze, XL's Richard Russell, and Interscope's Jimmy Iovine.

    Though the clip was uploaded by Loveridge, it's been removed due to a copyright infringement claim from the IFPI (International Federation of the Phonographic Industry). Check out the screenshot of the infringement notice below via Loveridge's Tumblr.

    M.I.A. hinted that the film was being blocked from release, writing, "im gonna need @kickstarter and my fans to help make this exist , ive been black listed through normal channels !!!!!!!"

    He also posted an email exchange with a Roc Nation representative, who claimed that the label was indeed going to move forward with the project and get it done in time for the release of Matangi and her festival performances. After the Roc Nation rep explained that the leak "screws with everything we've been working on setting up MATANGI," Loveridge replied, "I really couldn't give a flying fuck. Count me out. Would rather die than work on this... nothing personal :)". Read the full exchange below.

    Loveridge said of the video, "This was a teaser from 2012 to show Interscope what the film would feel like. Reblog the shit out of this and maybe they’ll wake up…" He also wrote that Interscope and Roc Nation put it on hold.

    Email exchange:

    Copyright notice:


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    Image and video hosting by TinyPic

    Image and video hosting by TinyPic</a>

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    lol Theo...

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    Image and video hosting by TinyPic

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    Image and video hosting by TinyPic

    SOURCE: The iPad Edition of Essence, NGL I just screencapped

    List needed Nate Parker up in there. Who else did they forget?

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    An online petition to We The People (, the White House's system which allows people to lobby the government, calls for the change of tune with the heartfelt message "Obama please make Miley Cyrus' Party in the USA our national anthem. It is what is best for this country."

    Before Miley fans start dancing in the street, the switch from a traditional song that has inspired generations to Americans to a pop hit that inspires tweens could still be a far way off.

    In order for the petition to be put to the government, it needs 100,000 signatures.

    So far, the appeal for Party in the USA has gathered 254 supporters - just 99,743 to go.

    Earlier this year the White House rejected a petition, which received more than 30,000 signatures of Star Wars fans, to begin construction of a Death Star by 2016.

    Other unusual petitions to the US government have included one signed by 6292 demanding NASA construct a Star Trek-style inspired USS Enterprise interplanetary spaceship and another signed by 8014 people which called for the US Mint to make a platinum trillion dollar coin.


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    Still not really feeling the song (i'm obvs still mad that My Blood wasn't released as a single)


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    George Lucas and Steven Spielberg recently took part in a symposium in which they predicted an imminent “implosion” in the system as a result of the industry’s current obsession with blockbuster movies. Curious about whether or not this was simply exaggeration, Vulture’s David Edelstein got in contact with producer Lynda Obst, author of a new book titled Sleepless in Hollywood: Tales From the New Abnormal in the Movie Business. During their conversation, she grimly agreed with the two moguls, predicting, “If, say, four huge tentpole [movies] were to go down at the same time in the same season, it would be catastrophic.”

    The Lone Ranger — a.k.a. Pirates of the Caribbean 4.5: Sparrow Goes Westis looking like it might be a huge tentpole movie (it reportedly cost $215-250 million) that goes down this weekend. It also happens to be a perfect example of almost everything that’s wrong with the current Hollywood blockbuster system. In addition to being massively expensive, The Lone Ranger demonstrates the industry’s franchise obsession, origin-story laziness, over-reliance on bloodless violence, and inability to prevent running-time bloat. These are not small problems, and there is no sign that they will be riding off into the sunset anytime soon.

    1. The Franchise Problem
    Last November, shortly after it was announced that Disney had acquired Lucasfilm and would make a new Star Wars trilogy, Vulture’s Kyle Buchanan posited that we were entering a phase in which we would begin to see films from the same franchises over and over and over. That’s because, as Obst writes in her book, studios need movies with “pre-awareness” — titles that are familiar enough to sell in both the U.S. and abroad. Whether it’s ready-made properties like Star Wars or surprise hits that studios can then sequelize until the properties burn out (see the Hangover series), franchises are, and will continue to be, the name of the game. Each studio has its own set of titles: Disney is basically a franchise machine these days— the studio is now in charge of the Star Wars, Marvel, Muppets, and Pixar brands; Paramount has Star Trek and Mission: Impossible; Fox has Ice Age, Planet of the Apes, and the X-Men films; Warner Bros. has Batman, Superman, and the Lord of the Rings series; Universal has the Bourne movies and the hit Fast and Furious series; Sony has Spider-Man.

    But in addition to all those very recognizable properties, there is pressure to expand and find more. As a result, studios will glom on to practically anything that is even vaguely recognizable (hello, Battleship!), preferably one with a title that is the name of a person or a cartoon or a superhero. Disney tried this last year with John Carter and failed. Questions of quality aside (the film’s Metacritic score is split almost down the middle at 51 percent), John Carter was simply rejected by audiences. That might have to do with the fact that few were likely familiar or interested in a movie about a character from an early 20th century series of sci-fi adventure novels. The year before, Seth Rogen starred in director Michel Gondry’s film version of The Green Hornet, another pulp-era hero (the character is actually the grand-nephew of the Lone Ranger) who audiences had no interest in getting to learn about. In the mid-nineties, two films with similar comic strip/old-time radio heroes — The Phantom and The Shadow— were equally unsuccessful. Yet, as studios continue to plumb our pop culture past for any recognizable names that have yet to be made into a movie/potential franchise, we’re likely so see more films along these lines. (Even if The Lone Ranger flops, Hollywood has not been known to always learn from its mistakes.)

    2. The Origin-Story Problem
    This is a corollary to point number one. Don’t be fooled by the title. The Lone Ranger is as much a movie about sidekick Tonto as it is about the titular masked man. It’s a choice that makes sense, given that the Native American is played by Johnny Depp in full, mugging Jack Sparrow mode. You don’t pay Johnny Depp money and then shunt him to the side. As a result, the movie must make its way through not just one, but a pair of origin stories, as we learn both how lawman John Reid (Armie Hammer) became the masked avenger as well as how face-painted, dead-birdwearing Tonto became the wandering outcast of this version. The Lone Ranger spends a good chunk of time marking off origin-story checklist items and very little time on the actual lone ranging. But, if you’re going to try to establish a franchise, the origin story must be told, especially with a character as obscure to current audiences as the Lone Ranger. As a result, there’s a heavy sense of obligation and Catch-22-ness to the entire task. Here’s a suggestion, Hollywood — try starting a series in media res. Give us a story that works and then, if you’re lucky enough to earn a sequel, you can give us flashes of an origin tale down the road, as opposed to weighing down your first movie.

    3. The Rating Problem
    The modern blockbuster’s primary responsibility is to deliver maximum profits and to perpetuate franchises. According to Obst, “If you make a movie that makes $200 million and you can’t make a sequel out of it, it's a dead property.” So in order to ensure sequels and appeal to the maximum number of people, it must be rated PG or PG-13. Good luck finding an R-rated summer blockbuster. By and large, raunchy comedies, like last month’s This Is the End or last summer’s Ted, are where the R-rating is to be found. Yet, in The Lone Ranger, an ostensibly family-friendly PG-13 movie, the following things happen: A man eats another man’s heart (off-screen), a Native American tribe is massacred, a group of Texas Rangers are all loudly shot to death, two men have their heads crushed by a giant block of wood. All these things happen and there is nary a drop of blood to be seen. The film shows us death and gun violence but brushes aside any sense of consequence. The same thing could be said about Man of Steel’s blasé destruction of an entire city or World War Z’s gore-free zombie apocalypse. Specifically to Lone Ranger, though, it’s likely why many negative reviews have focused on — as Vulture’s David Edelstein wrote in his review, in which he discusses its leaps between silliness and sadism— the movie’s wildly inconsistent “tone.” What that really means is that the Lone Ranger is trying to have it both ways, like many summer blockbusters, when it’s actually not possible.

    4. The Length Problem
    The modern blockbuster suffers from a bloat problem, a bagginess problem. Two-hour plus running times have long been a calling card of fall/Christmas releases. Last year, Les Misérables, Django Unchained, The Hobbit, Lincoln, and Zero Dark Thirtyall fell between two and a half and three hours in length. The modern summer blockbuster is slowly but surely following that example. The Lone Ranger is two and a half hours long. Star Trek Into Darkness, Iron Man 3 and Fast and Furious 6 all fall at about two hours and ten minutes while Man of Steel clocks in at nearly two and a half hours. Last summer’s two biggest movies, The Avengers and The Dark Knight Rises, came in at two hours, 23 minutes and two hours, 45 minutes, respectively. The Pirates of the Caribbean movies — summer releases all and featuring the same star, producer and director as TheLone Ranger— run anywhere from two hours, sixteen minutes to nearly three hours.

    Now, there’s nothing inherently wrong with long movies, of course. Roger Ebert once said, “No good movie is too long and no bad movie is short enough.” But it’s hard to argue that summer blockbusters, as entertaining as the best ones can be, deserve to be as long as the generally more substantive fare of Oscar season. Do studios feel that, with less people going to theaters these days, movies need to be lengthy in order for a moviegoer to feel justified in spending both their time and money? It’s hard to imagine anyone leaving The Lone Ranger saying, “that movie was neither too long nor too short — it was just right!

    As of Thursday night, The Lone Ranger was projected to gross $45 million over the five-day Fourth of July weekend. (About a month ago, the Ethan Hawke horror movie The Purge made only $10 million less than that in its non-holiday debut weekend.) It has been critically panned, notching a 24 percent on Rotten Tomatoes and a 37 percent on Metacritic, and ever since production was halted to bring the budget down, the industry press has had its knives out. It’s hard not to feel sorry for the damned film. It’s a product of a system stuck in neutral. Hollywood happened to The Lone Ranger, not the other way around.

    ( SOURCE )

    Where are the lies?


    But what do YOU think, ONTD? Does Hollywood need to stop with the unoriginal blockbuster flops?

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    Sky Ferreira is definitely not just a pretty face. Something she clearly wants to state when I sit down with her ahead of her show at Scala one clammy afternoon in east London. The nearly 21 year-old (she comes of age this July) really blasted into the music consciousness last year with the critically lauded track 'Everything is Embarrassing', lifted from her second EP entitled, Ghost. The breakthrough track was given such critical esteem that The Guardian, Pitchfork and LA Times all agreed that it was one of the best songs of 2012.

    The sweet-faced, doe-eyed beauty has an elusive air about her, yet is completely friendly and engaging when we start chatting. Her frankness about being "this girl because of my pictures" reminds me that Sky is a young woman still figuring sh*t out like the rest of us. And although she's more than happy to model for her high profile fashion friends (Hedi Slimane et al) and be a part of that very hip fashion zeitgeist, she's well aware that there's more to Sky than what meets the eye and in time the rest of the world will catch up.

    Topman Generation: When the Ghost EP dropped it got such a positive reception. Did that give you more confidence working on the album or add to the pressure?
    Sky Ferreira: I mean the expectation sometimes gets in the way, because everyone expects it to sound like ‘Everything is Embarrassing’. Also people are told that it is the best song, so it’s kind of like no one actually listens to a song until someone gives their approval. There is a little bit of pressure but it's good pressure.

    TM: You’ve worked producers like Dev Hynes on tracks for the debut. Did you know who you wanted to work with from the outset?
    SF: I wanted to keep it fairly small. I have like 13 songs but I think there are a few more that I can get out now. And other people’s schedules are clearing for the summer so I’m going to go into the studio with a few people. Overall it’s pretty much done but I really like collaborating with people.

    TM: You’ve been on the road a lot this year touring. How’s that going?
    SF: I’m interacting with fans more and I think that people actually see that I do sing and that I’m a person who doesn’t just live in a magazine. I’m not just like a photo anymore. I remember a while ago I was on tour and someone opened for me and they were so rude about it, they said something about me just being this girl because of my pictures… I’m like yeah that is some of the reason why people are here but I also think [the tour] proves that I’m not just that anymore.

    TM: I guess doing modelling and acting alongside the music stuff is kind of a double edged sword. People will often underestimate you.
    SF: Being a girl too is kind of hard. There always has to be a catch, it can’t just be me doing something creative. In some ways I feel like I have to bring it up and talk about it because a lot of people won’t. I think it’s important for me to do that. It’s not just in the music industry; it’s in every industry. It’s hard being a girl. Even in relationships its difficult, people say they want equals but once the glamour goes away guys always start questioning why is she doing better than me? Or why is she more powerful? I don’t think it’s even something most people are aware they are doing. It’s like intimidating.

    TM: Speaking of being multi-talented you are starring in Eli Roth’s new film Green Inferno. How did that come about?
    SF: I met Eli at Coachella a few years ago. We got along really well – we kept hearing about one another but never hung out or met each other before. We talked a lot about film and we have the same kind of dry sense of humour. I have done indie films before but this is my first mainstream situation.

    TM: So is music your first love and acting is secondary?
    SF: I think they’re different kinds of love.

    TM: But do you get the same level of fulfillment from both?
    SF: They are all from the same place. It is nice to be a little more outside of myself acting because, literally, my [music] is all about me. I just talk about myself all day in interviews! But I’m so inspired by film and I think they influence each other. When I write a song I see it visually, so I love being a part of that world too.

    TM: In school, when people asked you what you wanted to with your life did you always say you were going to be a singer? Was music always the first choice?
    SF: I never made the choice, it was an instinct. I always knew I was going to do music. When I got to a certain age lots of people started to look for things that they want to do, I was already past that. I never had to doubt it.

    TM: So it's about doing this for the foreseeable future?
    SF: I don’t want to be a flash in the pan – have a hit single, become a millionaire and then disappear. I want a career in music - it’s the only thing I can do or I know how to do. It’s pretty much what I’ve been doing professionally most of my life.

    TM: The fashion world has been really taken by you. I mean you've worked with some legendary fashion photographers - Terry Richardson, Mario Testino, the list goes on. What are they like to work with?
    SF: The thing is they are all very different to shoot with, different energies. Terry is very fun. Mario makes you feel like a diva! Matt and Marcus are like that too but they joke around.

    TM: So who are the fashion heroes that have helped shape your sense of style?
    SF: I really like school girls... Madonna in the early 90s - Truth or Dare era, Debbie Harry, Kurt Cobain and Courtney Love. Riccardo Tisci. And Hedi. I try to take all of it and mix it up.




    ✌ &♡

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    ACTRESS Lindsay Lohan has been battling her drink and drug demons for almost ten years and first overdosed aged just 18, her father claims.

    The shocking claims come in an exclusive interview with Michael Lohan, who reckons his daughter’s once glittering Hollywood career is over unless she sorts herself out, the New York Post reports.

    According to Michael in an interview with the Sun, Lindsay’s first brush with drugs came when she was filming the rom-com Just My Luck in 2005.

    A box office flop, it was Lindsay’s first movie role after Michael and her mum Dina legally separated - a break-up that hit her hard.

    At the time news of her meltdown angered Michael so much that he was prepared to shoot the assistant who gave her the drugs.

    Armed and on his way to a confrontation, Michael crashed his car and was arrested for drink-driving, spending a year in prison. "After I was pulled from the car I couldn’t believe how stupid I had been," he says. "I was angry but I wasn’t going to shoot the guy. I am just glad that I did not get to New Orleans"

    Michael's assertions are in conflict with Lindsay's own claim she has only used cocaine “four or five times”, although her struggles with substance abuse are undeniable.

    She is currently in a rehab facility for the sixth time, fulfilling a 90-day court-ordered stretch after violating probation for a previous offence. In total, she has spent 250 days in rehabilitation, addressing her addictions to cocaine, painkillers and alcohol.

    Celebrity Snack

    Michael Lohan, father of actress Lindsay Lohan, says she first overdosed on drugs aged 18. Picture: Damian Dovarganes

    Michael says she is also abusing Adderall; a prescription drug for attention deficit issues.

    "If Lindsay does relapse, then I think it will be over for her with Hollywood," he says. "There will be no more second or third chances. She has got to stay clean and sober this time."

    Michael himself is a recovering addict and now works as a counsellor at a drug rehab centre.

    I love her but her career is beyond over, whether she sorts herself out or not.


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    John Mayer showed his love for his gal Katy Perry at the kick-off for his Born and Raised World Tour concert on Saturday night (July 7) in Milwaukee, Wis.

    “She would order for me…and she would tell people, ‘it’s nice to meet you, he says’,” John told the crowd about how patient Katy was when he was on vocal silence. “When I was in Montana…with bad service… she was so patient as to continue to get to know me and love me.”

    He then dedicated his final song, “A Face To Call Home” to “Katy, who is my face to call home.”

    Check out a video of John‘s speech about Katy below…

    Source / YT

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    Over 200 girls from New Orleans gathered in the city's historic Joy movie theater on Friday to see My Black Is Beautiful's (MBIB) documentary "Imagine A Future." The viewing was one of the many community-focused events taking place during the four-day 2013 Essence Festival.

    The film, which is co-directed by Shola Lynch and Lisa Cortes, follows Janet Goldsboro, a teenager from Delaware who is struggling with self-acceptance and takes a journey to South Africa to find herself. Goldsboro's issues primarily stem from the color of her skin -- she feels that her dark complexion makes her unattractive and worthless.

    Sadly, Goldsboro isn't alone, which is why MBIB teamed up with Walmart, Black Girls Rock! and Girl Up Nola, a girl-empowerment initiative started by New Orleans first lady Cheryl Landrieu, to gather the large group of girls to see the documentary.

    "This film was so beautifully done, and it's really going to reaffirm to them how much they can love themselves and how much self-esteem matters and they can go out and be whatever they want to be," Landrieu told The Huffington Post.

    The 30-minute documentary includes powerful interviews with Olympic gold-medalist Gabby Douglas, MSNBC host Melissa Harris-Perry, image activist Michaela Angela Davis and style/beauty authority and TV host Tai Beauchamp, to name a few.

    After the screening, the girls, who ranged in age from 11 to 14, were treated to a Q&A discussion with Goldsboro, co-directors Lynch and Cortes, actress Tatyana Ali and the founder of Black Girls Rock!, Beverly Bond.

    Ali, who also shares her struggles with self-acceptance in the film, moderated the discussion. But before she started fielding a flurry of questions from the crowd, The Huffington Post got the chance to speak with one of the Girl Up Nola ladies on hand for the event.

    Tiare Oliver, a 14-year-old Girl Up Nola member, told us that she too feels the pain of colorism in her life, but was uplifted after seeing the film.

    "I liked the movie a lot. It was so cool to see a girl like me going through the same kind of stuff," Oliver told HuffPost. "I know there is hope to be happy -- even if I don't get to go to Africa."

    Oliver said that writing and being a part of a supportive community have helped her deal with feelings of unworthiness.

    "I live in this part of New Orleans they call 'activist New Orleans,' where I center myself around people who wear their hair naturally or understand and know things about African-American women's struggles," she said.

    Films like "Imagine A Future" and "Dark Girls" are shining a spotlight on an issue that the black community has faced internally. The more the world can get a glimpse of the deep-rooted origins of colorism and the destruction it causes, the more opportunities there are for understanding and change.


    Anybody watch this? Worth it?

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    The Madame Tussauds waxwork of Adele was unveiled this week, but it has caused quite a stir with fans who believe the 'Rolling In The Deep' singer has been moulded slightly slimmer than how she appears in real life.

    There have been a myriad of comments on Twitter, with most praising the accuracy and astounding likeness of the doppelgänger, however, the beloved singer's figurine has not escaped criticism, however, with a number of tweeters claiming that the waxwork is thinner than Adele herself.

    Comments have been made such as:"Far too thin.!! did they run out of wax?" and "The difference between Adele's waxwork and the real her is that the waxwork is skinnier."

    However, there are body-image crusaders who are fighting back against the naysayers, with one woman tweeting: "So even wax women can't be real sized?" and claiming that the model is as beautiful as the singer is.I'm actually not sure what she's saying here lol help me out ontd

    Adele herself is extremely happy with her waxwork, and became emotional during her face-to-face meeting with the model. The Skyfall singer reportedly gushed: "That's scary! It's amazing." and praised the likeness of the waxwork, saying "They've even got my chin right."

    The waxwork, which was modeled on Adele's performance at the 2012 Grammy Awards, was developed to capture her personality as well as her likeness, which is all part of the process of making a waxwork double.

    Public Relations Manager for Madame Tussauds, Nicole Fenner, explains: "We start off by taking thousands of measurements and loads pictures of her personality."

    The lengthy process really adds to the similarities between the star and the model, with her hands being used for expression as well as her face, and the waxwork even sports real human hair.

    Fenner went on to praise the model of the star, saying: "She is one of the most influential British female artists and we know she is going to be a huge hit with our guests alongside our other pop greats. We're very excited to welcome her to Madame Tussauds London."

    Adele is a gorgeous woman, but...



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    Boardwalk Empire's Charlie Cox, The Hour's Romola Garai and Sherlock's Andrew Scott are to star in new BBC Two drama Legacy.

    BAFTA-winner Simon Russell Beale (The Hollow Crown) joins the trio in the Cold War thriller from writer Paula Milne (The Politician's Husband).

    The one-off film is based on Alan Judd's 2001 novel of the same name and will be directed by Dredd's Pete Travis.

    Legacy tells the story of a young spy, Charles Thoroughgood (Cox), who discovers the disturbing truth about his father's complex past.

    Scott will play Soviet diplomat Victor Koslov, while Garai is cast as the character Anna.

    Olivia Grant (Strike Back), Christian McKay (Tinker Taylor Solider Spy) and Tessa Peake Jones (Marchlands) will also appear in the 90-minute drama.

    "Legacy falls well within the genre of the British spy thriller but has an extraordinary personal twist," said writer Milne.

    "For what is espionage if not betrayal at the most fundamental level of human interactions? When that occurs within a family... it's dynamite!"

    Legacy will air as part of BBC Two's Cold War moment, which also includes a series of factual commissions.


    and I die

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    Sneak Peek #1


    Sneak Peek #2


    What did you guys think of tonight's episode? Vogel's up to some shit. I don't trust her for a second tbh.

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  • 07/07/13--20:22: Crossing Lines 1x05 promo
  • Special Ops: Part 1

    Get it German police lady.  I ain't even mad
    This was a good episode.  I had to look up Donald Sutherland's age to make sure his flashback fit but whatever.  I find it amusing how everyone in different countries speaks perfect english :3


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  • 07/07/13--20:23: The Heat breaks new ground
  • "What is the point of making a movie that's just like the dopiest, broadest, and most reductive grade of guy-oriented comedy, except with women?"

    That's the question at the heart of Salon critic Andrew O'Hehir's review of last week's Sandra Bullock/Melissa McCarthy buddy cop comedy The Heat— a movie he derides for its depiction of "women who have internalized the vicious, macho culture of police work." He questions the way Ashburn (Sandra Bullock) and Mullins (Melissa McCarthy) use physical threats on their quest to bring down an elusive drug dealer, and wishes that the movie had more "dramatic weight." He says that "gross misconduct" by police officers shouldn't be framed as funny, and thinks the film's "high body count" should "mean something."

    Though hisreview frames these aspects of the film as negatives, O'Hehir's aggrieved response to The Heat is exactly the point of The Heat: Combating the idea that having a vagina requires an entirely distinct set of behaviors and expectations than having a penis.

    The Heat was made to give women the opportunity to act in a completely male-dominated genre — and, in doing so, to show the genre's universality. Though the buddy cop genre has seen many interracial partnerships (Beverly Hills Cop, Lethal Weapon, 48 Hours) and even a few team-ups between men and animals (Turner & Hooch), Hollywood had never offered a buddy cop movie starring two women.The Heat isn't trying to reimagine an old genre trope with a new social consciousness like, say, Christopher Nolan's Dark Knight trilogy. From the film's title sequence full of classic beats and retro fonts, director Paul Feig and Co. explicitly frame the comedy as a deeply traditional buddy cop film — but one that happens to star two women.

    The Heat strives to level the playing field and abolish the notion that women are so different than men — which makes it a window to an audience still applying gendered expectations to women behind and on the screen. O'Hehir's discontent is not a critique of the buddy cop genre altogether; it's the result of his expectations about how women should act within what he describes as "guy-oriented comedy." He describes the screenplay as something "driven by a confused machismo," and is ultimately unhappy with a film that shows evidence "that women on the screen, and behind the camera, and in the audience can be just as morally reckless as men."

    The many critiques leveled at The Heat are similar to the backlash received by director Paul Feig's last big-buzz, female-dominated comedy, Bridesmaids. The film's food poisoning scene not only evoked questions  about whether women should partake in the same comedy as men, but questions about whether women could be gross at all— as if women who experience food poisoning go to the toilet to pass roses and rainbows. "Guys and gross make a better fit," asserted Peter Travers in Rolling Stone. "Who needs to see bridesmaids puking up lunch and shitting their pants?" In the New York Post,Lou Lumenick questionedthe idea that "women among themselves behave every bit as grossly as men. Maybe it's just the romantic in me, but I'd sure like to think this is not really true." (He must've read that old issue of Cosmo in which Kim Kardashian joked that she's never "gone #2 or passed gas.")

    Feig directly addressed questions about women "acting like men" during an interview with Grantland. "It drives me crazy when people say that!" he exclaimed. "Both movies are vetted by women, written by women. I think it's the fact that women are treated one way in most movies — you know, this is what women are like, and they do this and they do that. But this is based on what women I know actually do."

    The Heat questions the idea that a female version of a buddy cop film must be different than a man's, just as Bridesmaids questioned the notion that women wouldn't be felled by explosive bowels. Both comedies battle with and expand typical portrayals of women on the big screen, and act as a reminder that male and female experiences aren't diametrically opposed. The Hea talso challenges the assumption that women are inherently attracted to different genres and themes than men. The Heat's almost $40 million box office was made of 65 percent women, who gave it an A- Cinema Score. We can't forget that women generally have the same cinematic upbringing as men — raised to watch life overwhelmingly through the view of male protagonists and male creatives.

    The Heat and Bridesmaids also contend with the problematic link between feminism and cinema — one that goes beyond our discussion of the "female filmmaker" label. In a world where Geena Davis predicts that it will take a whopping 700 years for gender roles to reach parity, feminism is needed to both speak to the imbalance and fight to change it. But it also comes with an unfair expectation of activism. For some, it's not enough for a film like The Heat to treat and display women equally; it must also infuse its story with added social responsibility — even though many actresses struggle to find speaking roles, let alone good characters, in Hollywood. In one fell swoop, a movie like The Heat is expected to transcend its genre, be a feminist icon, right other imbalances, and fix any perceived thematic weaknesses of the past.

    Why isn't it enough that Bullock and McCarthy easily slipped into roles that have almost universally been held by men, expanded cinema's narrow portrayal of female cops, and turned The Heat into a financial success — all of which are significant wins for feminist filmmaking? (For a more detailed breakdown of the film's trope-busting, read Ashley Fetters' "The Heat's Subtly Radical Portrayal of Policewomen"at The Atlantic.)

    Women are expected to do what men are not. Mainstream cinema is overflowing with massive destruction that rarely shows the consequences, and O'Hehir mentions such moments in his reviews of both Star Trek Into Darkness and Man of Steel. He does not, however, ask for dramatic weight to balance the lack of "moral cost and consequence," and violence without "real acknowledgement of death or suffering." Those films offer far more potential for serious dramatic weight than a conventional buddy cop comedy, but there is "absolutely nothing wrong with Star Trek Into Darkness— once you understand it as a generic comic-book-style summer flick."

    Cinematic equality is not just a matter of numbers — it's a matter of attitude. It's 2013, and it's time to stop expecting that women be paragons of etiquette, rising above the bawdy boys on the playground. Let's hope we can learn that lesson before Feig releases his next groundbreaking female-centric action spin— the James Bond-inspired Susan Cooper.

    everyone should go see the Heat and support female leads, the movie is fun and y'all gonna have a great time

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    Ellie wishes she was as brave as trend-setting popstar Rita when it comes to wearing eye-catching ensembles.

    "Rita Ora and her stylist Kyle are two of the funniest people I know," Ellie shared with the latest edition of UK InStyle magazine. "He always pushes her to wear stuff I would never think to put together. I need to take a leaf out of her book from now on."

    The 26-year-old is supporting Bruno Mars on The Moonshine Jungle Tour through July and August. Despite her success in the music industry, she's managed to resist splurging on a large designer wardrobe.

    "If I spend a lot of money on something, I know I'll have to wear it a lot to justify the purchase," she confessed. "That's why I've put on my new Balenciaga leather jacket nearly every day since I bought it!"

    The pretty blonde's appearance has evolved over the last few years. She likes to keep a reminder of her old rock style in the ensembles she wears now.

    "I was a bit of a punk when I was younger and there are shades of that in the way I dress now. I wear black mostly and still love my Dr Martens. But I'll occasionally team more colourful pieces, like my ASOS bomber jacket, with a Vivienne Westwood skeleton necklace," she finished.


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    Jenny McCarthy is reportedly joining The View. McCarthy would be replacing Joy Behar, who is leaving the morning talkshow in August, a source told Us Weekly.

    "She is in serious talks right now. Her show isn't quite working out, so she's definitely open to it.""The cast get a kick out of Jenny," a source said. "She's a good fit. She may not be able to carry a show, but she works well with a group ensemble."

    Brooke Shields is also again rumored to be joining The View. She was previously rumored to replace Behar back in April - however, another insider told Us Weekly that Shields could take over Elizabeth Hasselbeck's seat. In March, Hasselbeck was speculated to be exiting the show, but co-host Barbara Walters denied her departure.

    During the past several years, the 40-year-old has dabbled in hosting, from reporting from Times Square for New Year's Rockin' Eve special to her own VH1 show, The Jenny McCarthy Show.

    The cable show received a seven-show pickup after its initial airing, but the viewers didn't seem to catch on to the late-night show. It has not been cancelled by VH1 yet, but it is unlikely that it will be renewed for next season.


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    Look out, Big Apple.

    Lindsay Lohan will be out of court-ordered 90-day rehab at the end of the month and her mom, Dina, has big plans for her.

    For starters, a pool party.

    Lohan turned 27 on Tuesday but wasn't allowed visitors at Cliffside Malibu (after switching from Betty Ford last month) because it was a weekday. She wound up having a "very quiet" birthday, Dina tells the Daily News, with "all the kids at rehab" who have become pals.

    And when LiLo does leave the facility, the star will head back to New York to fulfill her court-ordered community service, Dina said Thursday.

    "She's not going to live in Los Angeles," she told The News. "She will definitely start back home with all of us."

    She added, "It's been a long road, and she's going to be fine."

    Lohan was ordered to rehab in March after she pleaded no contest to reckless driving and lying to police about a car crash on a Santa Monica highway last year. The judge also sentenced her to 30 days of community service and 18 months of psychological therapy.


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