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- 07/23/13--17:32: _Flawfree Princess o...
- 07/23/13--17:37: _Rosemarie DeWitt si...
- 07/24/13--16:17: _Busta Rhymes ft. Ni...
- 07/24/13--16:20: _Radio Times: One Cl...
- 07/24/13--16:34: _Freddie Prinze Jr. ...
- 07/24/13--16:43: _Listen: Mayer Hawth...
- 07/24/13--16:51: _Who is today's Quee...
- 07/24/13--16:56: _Blake Lively Pregna...
- 07/24/13--17:20: _Gaga posts a snippe...
- 07/24/13--17:41: _Former MTV VJ Kenne...
- 07/24/13--17:49: _Jessica Alba is to ...
- 07/24/13--17:50: _Andrew Garfield to ...
- 07/24/13--17:57: _The Diverging Music...
- 07/24/13--17:57: _ew is all over gosl...
- 07/24/13--18:00: _Paul Oakenfold and ...
- 07/24/13--18:07: _'Fantastic Four' Re...
- 07/24/13--18:12: _Cosmos SDCC Panel R...
- 07/24/13--18:16: _Austin Mahone to ap...
- 07/24/13--18:16: _Norman Reedus at th...
- 07/24/13--18:17: _Cate The Great: 'Bl...
- 07/23/13--17:32: Flawfree Princess of Kpop Duo 15& Baek Yerin covers Amy Winehouse
- 07/23/13--17:37: Rosemarie DeWitt signs on as lead in the Poltergeist remake
- 07/24/13--16:17: Busta Rhymes ft. Nicki Minaj - Twerk It
- 07/24/13--16:34: Freddie Prinze Jr. books potentially recurring role on Bones
- 07/24/13--16:43: Listen: Mayer Hawthorne & Kendrick Lamar - Crime
- 07/24/13--16:51: Who is today's Queen of Pop?
- 07/24/13--16:56: Blake Lively Pregnant? "The Story Is 100 Percent False," Says Rep
- 07/24/13--17:20: Gaga posts a snippet of the ARTPOP experience
- 07/24/13--17:41: Former MTV VJ Kennedy reveals her 7 memorable celeb encounters!
- 07/24/13--17:49: Jessica Alba is to co-star in Joe Carnahan's 'Stretch'.
- 07/24/13--17:50: Andrew Garfield to Star in Indie Drama '99 Homes'
- 07/24/13--17:57: The Diverging Musical Paths of Selena Gomez and Miley Cyrus
- 07/24/13--18:16: Austin Mahone to appear on the "Big Time Rush" Finale
- 07/24/13--18:16: Norman Reedus at the airport
- 07/24/13--18:17: Cate The Great: 'Blue Jamine' mega post
According to Deadline, DeWitt (pictured) is the choice to play the female lead in Poltergeist, the new installment of the Tobe Hooper-directed horror classic that will be made by MGM and Fox 2000, with Gil Kenan directing a script by David Lindsay-Abaire.
Jobeth Williams and Craig T. Nelson were the original parents whose ideal family life is uprooted by a cavalcade of spirits that culminates in the kidnap of their youngest daughter. A male lead is currently being sought.
Please don't fuck up my flawless PG rated horror film thanks.
u can buy all the a$$ u want nicki, but it ain't gonna move. hope u kept the receipts tho
There are also signs that the new Doctor could be announced as early as next month.
Serious consideration is being given to unveiling the new Doctor on a surprise Doctor Who Confidential as happened with Matt Smith’s unveiling in 2010, with some sources confirming that it will be in August.
However timings are always a very relative thing when selecting Time Lords.
Doctor Who’s 50th anniversary show will feature one of the five former doctors who wielded the Sonic Screwdriver before the Eccleston reboot, RadioTimes.com understands.
According to sources, one of either Colin Baker, Paul McGann, Tom Baker, Sylvester McCoy or Peter Davison will be in the feature length special episode alongside Tennant’s Doctor and the current incumbent Matt Smith.
Tennant’s appearance as the tenth Doctor has been confirmed in the story which will also feature the Daleks and the classic 1975 shapeshifting villains the Zygons.
I bet there are BBC bosses wish they could time travel.
The decision to show the first trailer for the Doctor Who 50th anniversary film in San Diego at Comic Con has gone done very badly with UK Whovians.
They are furious Americans got the first look. And now fans are seemingly getting madder and madder by the hour as the BBC refuse to let us see it.
I'm sure some wish they could change things and the order of events. But Steven Moffat's decision to show the new clip of Doctor Who has been made for a number of reasons.
The main one is Doctor Who and BBC's current obsession with cracking America. They hope with a bit more effort, big ratings will be secured and millions of pounds in merchandise for BBC Worldwide will be sold as they travel into the future. In terms of profit, America is still a huge untapped universe for the Timelord. Matt Smith has been over to the States a number of times promoting Doctor Who and building the audience. They even filmed 2011 episode The Impossible Astronaut in Utah with Matt wearing a Stetson. [OP -- because all Amurricans are cowboys of course!]
And whilst us Brits struggle to get interviews with the cast, Jenna Louise Coleman was chatting to small podcasts and fan sites on her trip to the US in February 2013 to help attract more Sci fi fans to the latest series.
Another way of securing more viewers, interest and headlines in the States is to create a frenzy at Comic Con. Showing an unseen clip of Doctor Who will do that. Especially when it is one of the most anticipated episodes EVER.
I do have some sympathy with UK fans wanting to now see it. I am one of them. Our licence fee makes the show. And what harm would it do putting it up on a BBC website now? Comic Con have had their exclusive.
From what I am told and have read it was a brief clip, not a proper trailer, and the BBC want their first trailer of the film to be a more polished and slick affair.
They are also promising that UK fans will get lots of treats about the anniversary in the coming weeks and months. One member of production told me I just "have to be patient". So I expect them to rush something out soonish to calm the current fury.
Ultimately though, all those people most angry will still watch the feature-length episode when it comes out.
And if the Comic Con stunt attracts a few more Americans to get hooked on Who, they'll probably think it was worth all the hassle.
Thank you to bodyline for the information.
This may be the closest we come to a Buffy-Angel reunion in our lifetime.
Bones has cast Sarah Michelle Gellar’s better half, Freddie Prinze Jr., in a potential multi-episode arc opposite Gellar’s former Buffy leading man David Boreanaz, TVLine has learned exclusively.
According to sources, Prinze — who will be introduced in the Fox hit’s Sept. 16 opener — will play Danny, a very covert CIA agent. Armed and dangerous, he’s also an old associate of Booth’s who has an interest in Booth and Brennan’s current murder investigation.
Currently, Prinze is booked for one episode, but I hear there’s potential for a second.
It only took one listen of Mayer Hawthorne's "Designer Drug" to get me hooked on the infectious melodies of the singer-songwriter/producer/DJ; ever since that fateful encounter, I've eagerly anticipating his next album, Where Does This Door Go.
While Lamar's collaboration with Robin Thicke ("Give It 2 U") was quite the abysmal copy of ever other dance track out there "Crime" takes a different step. It's a cool mix of elegance and maturity; these are the types of collaborations the rapper should be doing if he wants to diversify his musical styles.
MH (Prod. by Pharrell) - Reach Out Richard
I think his album as a whole is a lot better than Robin's latest album. Practically everything Pharrell has touched has been gold this year (minus Azealia's My ATM is Jammed).
Lady Gaga, Britney Spears, Rihanna and others have all made an enormous impact on popular culture, and with a string of monster hits to their credit, they have left a mark on the industry that won’t soon be forgotten. Of course, there were other female acts who dominated the music scene both shortly before and even during the time of the younger crowd, and they easily challenged Madonna for that ultimate propaganda title.
Beyonce’s chart success has become increasingly inconsistent during the last five years but thanks to clever marketing and the massive media machine operating a her command, most of her ignorant fans will never know. In fact, despite not scoring a top ten hit on the Billboard Hot 100 since appearing Lady Gaga’s “Telephone” in 2010, Beyonce’s concerts still attract crowds in the thousands and her name remains a mainstay in the headlines. If she isn’t the Queen of Pop based on record sales, she certainly is a contender for the title as a result of her forced omnipresence in the media.
Britney Spears exploded onto the music scene in the late 1990s and quickly garnered blockbuster record sales that topped 100 million. Every song she released topped the charts across the globe, her videos ruled the airwaves and her performances received top billing at every award show as young fans eagerly tuned in to watch her every move.
Even after her notorious public meltdown, Spears still outsold many of her peers as public fascination with her brand remained generally intact. Who else but Spears could walk around onstage, blatantly lip-sync, forget her choreography and still pack an arena to its maximum capacity?
While Whitney Houston and Mariah Carey battled Madonna on the charts, Janet Jackson also rumbled with her archenemy on the tour circuit. Her Rhythm Nation 1814 World Tour ranks as one of the most successful debut tours of all time and she was the only female act of the 1990s to challenge Madonna at the box office.
Jackson’s impact also extended to other areas of popular culture, and the styling of her janet. and The Velvet Rope eras are repeatedly imitated by the current crop of visual artists. We can’t forget that Jackson was also an incredible dancer and her famous routines are second only to her brother Michael.
Kylie Minogue started her career as Australia’s answer to Madonna but she soon developed her own identity as a force on the global scene. Often imitated by Beyonce – see the 2007 BET Awards performance of “Get Me Bodied” – this entertainer influence through stunning visuals, tour productions and performances remains constant. Minogue never has to try to remain relevant because the people who copy her work do that for her.
Lady Gaga took the music scene by storm with her debut in 2008 and instantly became an icon for a generation of Pop fans eager to find the next big thing. Three years has since passed and she still has their attention as the social media giant known as Mother Monster.
Additionally, Gaga has used her voice as a tool for social change by rallying for the rights of the LGBTQI community. Being the Queen of Pop is about more than dominating fashion trends and selling records; it also involves engaging music fans on a personal level. That’s probably why Gaga has accumulated over thirty-nine followers on Twitter.
Thus far, every artist on this list has been compared to Madonna and that only emphasises the vast reach of her influence. From record sales to tours and behind the scenes business ventures, no other female act in history has matched the overall impact of this industry giant who redefined what it means to be a woman both in the old and new millennium.
Madonna conceived the MTV generation while dry humping the stage at the 1984 MTV VMA and lead them into the 21st century by constantly reinventing herself as an artist. Her career may have had many peaks and valleys but she still commands the biggest tour grosses of any solo performer in the world, proving that she has what it takes to survive another three hundred years in this business.
Mariah Carey has sold over two hundred million records and notched a record eighteen #1 singles on the Billboard Hot 100 as the most successful female artist of her generation. Yet, what is most remarkable about her commercial success is that she achieved it without the support of extensive touring.
Indeed, people have always been most interested in Carey’s music and the sound of her unmatched five octave voice. Madonna and Janet Jackson’s visuals may be the most imitated by younger performers, but it is Carey’s signature sound that reigns supreme on the airwaves today as acts attempt to clone the Hip-Pop subgenre she pioneered in the 1990s and the singing style that gave her music reach to almost every demographic.
Rihanna isn’t a talented singer and she definitely can’t dance but the people are obsessed with her. Without much effort at all, she has nabbed twelve Billboard Hot 100 #1 songs and she has shown few signs that her stay on the charts will end in the near future.
What is the key to Rihanna’s reign? Similar to Lady Gaga, she knows how to relate to her fans and happily interacts with them on social media. To people under the age of thirty years, Rihanna is one of their homegirls and buying her music is likened to supporting a friend instead of a distant Pop superstar.
In the 1980s, Whitney Houston scored seven consecutive #1 singles on the Billboard Hot 100 and took Donna Summer’s brand of the big-voiced Pop star to an entirely new level. With the guidance of Clive Davis, Houston became an icon and in The Bodyguard era of 1992, she temporarily reigned as the most popular entertainer on the planet.
Houston wasn’t heavily involved in the creative process of her hits but her voice was the vehicle that ushered in a new era of melodramatic, overblown divas eager to belt their way to the top of the charts. Furthermore, Houston was a successful touring artist, and she wasn’t afraid to do a quick two-step as she generated millions in revenue for her label and songwriters across the globe.
Is there a queen of pop? Is it any of these singers/entertainers? Or somebody...else?
As much as we can't wait for Blake Lively and Ryan Reynolds to start making babies, there's no little one on the way just yet. Lively's rep is shooting down a new report that the former Gossip Girl star is expecting. "The story is 100 percent false," the rep said. "Blake is not pregnant."
OK! magazine has blasted the pregnancy "exclusive" on the cover of its latest issue.
The tabloid claims Lively, 25, was showing a little baby bump at the recent New York premiere of Reynolds' new movie, Turbo. It also says another sign of her impending motherhood is Lively's recent decision to stop drinking alcohol. The thing is, Lively has never been a drinker, a source says. And just take one look at a photo of Lively in her gorgeous Burberry Prorsum ensemble at the premiere—we certainly don't see any hint of a bump.
Lively and Reynolds married in a secret wedding in September. Reynolds, 36, recently dished to Details magazine about their family plans. "We'd love to have a big family," he said. "We both come from big families—my parents did four, Blake's did five. A lot of people say it's crazy, but we'll only know when we're there, you know? We'll walk through that fire pretty happily, I think."
I miss alchohol. :(
...and getting her septum pierced
In a new memoir, '90s-era MTV VJ "Kennedy" dishes about herself as much as she blabs about the celebrities she met along the way while she worked as an on-air personality for the music channel. Here are seven of her most notable revelations and observations, derived from Kennedy's book, "The Kennedy Chronicles: The Golden Age of MTV Through Rose-Colored Glasses".
Roseanne at the 1994 Video Music Awards
The comic's joke that Kennedy was backstage performing oral sex on Rush Limbaugh sparked Kennedy's mock fellatio performance on a microphone while standing next to New York City Rudy Giuliani. Later, when fellow VJ Bill Bellamy asked her if she wanted to say anything to Roseanne, she responded: "Roseanne, ease up on the Prozac, and by the way, Rush Limbaugh says you give [much better oral sex]."
Roseanne later wrote Kennedy a letter saying she was one of the few people that had ever stood up to her "and she had a lot of respect for me," Kennedy said in an interview. "It was such a nice letter, one of those kind moments that taught me a lot about class and supporting a lot of women." Although the incident almost got her fired, Kennedy points out that MTV had approved Roseanne's joke because it appeared on the teleprompter.
Kennedy first met her when Kurt Cobain took her to the 1993 Video Music Awards. Nirvana was one of the bands that Kennedy helped to propel to stardom on her show "Alternative Nation."
"She is like a money virus and will infect you and bleed you dry after you've given her too much personal information, and no reaction, word, or deed from Courtney Love should surprise anyone," she writes. "For someone as damaged and deranged as Courtney I marveled at how she really just wanted to be loved."
"Madonna taught me more philosophy than Ayn Rand," Kennedy said in an interview. After Sandra Bernhard, who Madonna was close to, harshly criticized Kennedy in the press, Madonna spoke to the young VJ. "She said that it is a positive sum game--supporting other broadcasters and supporting other women and the more you do that, the more it elevates everybody."
Learning that valuable lesson didn't stop Kennedy from observing in her book, "I have always considered Madonna to be one of the most beautiful women in the world, although she's afflicted with midgetry and at least half the time is a total dismissive bitch...I have never kissed a woman, but Madonna in all her glory with coney bras and burgundy black 'Vogue' lips makes me rethink my heterosexuality."
"I didn't like Jenny McCarthy when I first met her," Kennedy writes of when they shared the first MTV Beach House in California in 1995. "I thought her big fake boobs and clumsy red lipstick that went far outside the boundaries of her natural lip line made her look like a whore.
She probably thought I was a judgmental bitch, which she should have, because if I had given the girl half a chance the first time we met I would have had an entirely different impression ... From the moment Jenny talked about her leaky ass and leviathan turds I was hooked."
REST @ TODAY
Jessica Alba is to co-star in Joe Carnahan's 'Stretch'.
The 'Spy Kids 4' actress will star alongside Patrick Wilson and 'Star Trek Into Darkness' hunk Chris Pine in the new action comedy about a limo driver, according to Deadline.
The film - which will also star 'The Hangover Part III' actor Ed Helms and Brooklyn Decker - follows Wilson as a chauffeur whose billionaire client (Pine) makes a series of strange requests on his final night on the job, leading to dramatic consequences.
'Stretch' is being produced by Jason Blum of Blumhouse Productions as the first offering under his new 'first look' deal with Universal Pictures. The producer is best known for working on the 'Paranormal Activity' and 'Insidious' franchises, as well as recent hit horror flick, 'The Purge'.
Carnahan, who is expected to produce as well as direct, is behind the recent movie version of 'The A-Team', as well as 'The Grey' and 'Narc'.
Alba recently wrapped filming on new comedy, 'A.C.O.D.', and will next be seen in Robert Rodriguez's 'Machete Kills' alongside Danny Trejo, Vanessa Hudgens, Michelle Rodriguez, Sofia Vergara and Lady Gaga.
The actress will also reprise her role as Nancy Callahan in 'Sin City: A Dame to Kill For' next year.
Andrew Garfield is attached to star in 99 Homes, an indie drama that will be directed by Ramin Bahrani, the award-winning filmmaker behind Man Push Cart.
The script, which Bahrani wrote, tackles recent economic headlines and would see Garfield play a man who loses his home to foreclosure. Desperate, he eventually finds work with the real estate broker who took his house and soon is not only evicting homeowners but helping the man embezzle money from the government. While his financial worries disappear, his conscience begins to break him down.
"spider-man" will ruin andrew's career," they said.
Invariably, though, there’s a rupture, the moment in which the skin of youth is definitively molted. Of late, Miley Cyrus, 20, and Selena Gomez, who turned 21 on Monday, have each been pushing back in different ways — Ms. Gomez with her role in the film “Spring Breakers,” and Ms. Cyrus with her sometimes erratic, sometimes free-spirited tabloid life.
And yes, they are both still making music, though they’re using it for different things. For Ms. Gomez, who just released her debut solo album, “Stars Dance” (Hollywood), it’s a starchy place holder, a steppingstone from the naïve yesterday to the uncertain tomorrow. For Ms. Cyrus, whose single “We Can’t Stop” (RCA) is the No. 3 song in the country, it’s a rocket ship designed for maximum speed, the vehicle that can help her put her old life far in the rear.
“We Can’t Stop” is a low-key burner produced by Mike Will Made It, whose work expertly straddles urgent, dark R&B; hip-hop gravity; and pop accessibility. It’s a rejection of all of teen-pop’s brightness, except in the chipperness of the chorus, which basically amounts to Ms. Cyrus’s gloating about misbehaving.
“We Can’t Stop” is about youth, and the sense that it is best spent fast and irresponsibly. In the video, Ms. Cyrus pops a gold grill into her mouth, dresses like someone who shops at VFiles, makes out with a doll and, as has been her recent wont, gets to twerking, the derrière-centric stripper-derived dancing du jour.
It’s a statement of young-woman independence from someone choked in her own youth not only by Disney fame, but also by being the child of a celebrity. Plenty of former child stars rebel, but Ms. Cyrus is taking the express lane. “Everyone in line in the bathroom/trying to get a line in the bathroom,” she sings at one point, in an alluring, husky croak. Elsewhere she spits out a line that, depending how you hear it, says “dancing with Miley” or “dancing with molly” (as in Ecstasy).
Over the last year, Ms. Cyrus has become something of a TMZ fixture, not for Britney Spears-style meltdowns, but for feeling out new forms of rebellion, including the touristic appropriation of black culture she shows off in the song’s video. (That’s doubly hilarious given that after she referred to Jay Z in her 2009 breakout pop single “Party in the U.S.A.,” she insisted she’d never even heard a Jay Z song.) But give Ms. Cyrus credit for keeping her creative life and her public life consistent; the closer the two get, the better an artist she’s becoming.
Ms. Gomez is walking a lower wire on her album, though it’s unclear why. She’s already dispensed with her supposed teenage naïveté with her star turn in “Spring Breakers,” Harmony Korine’s teen apocalypse film (even if she was the most timid of all its stars).
But music still matters for Ms. Gomez, as it does for most of her Disney peers. It has a low barrier to entry and it has the greatest potential for viral spread. One good TV or film role might earn some credibility, but stumble upon a hit song, and you can live on forever.
Of all her Disney-generation peers, though, she’s been the least convincing musician. In their younger years, Ms. Cyrus was more talented than Ms. Gomez, though less intriguing. Their fellow ex-Disney star Demi Lovato, 20, has carved out similar routes with far more success; Ms. Lovato is twice the rebel Ms. Gomez is, and four times the singer.
Before “Stars Dance,” Ms. Gomez released a string of pleasant enough but undistinguished releases as part of Selena Gomez & the Scene. He solo album is safe, too, in its eclecticism, which is closest to the spirit of Gwen Stefani — breathy, wide-ranging, largely toothless.
This album bears scars of faceless modern club music, as on “Forget Forever” and “Write Your Name,” which includes a whisper-rap right out of Madonna’s “Vogue.” “B.E.A.T.” is dirtier and more promising, aiming for Kesha’s moistness but landing somewhere closer to no-hit-wonder Dev’s “Bass Down Low.” The producers of “Slow Down,” with its punk-funk backdrop, appear to have listened to a Gang of Four album, or at least one by the Rapture. There are also flickers of rocksteady on “Come & Get It,” and the brattiness of Icona Pop on the excellent “Birthday.”
Ms. Gomez has grown up, too, though she’s not as eager to show it off as Ms. Cyrus. On the banal “Undercover,” she sings, “Find me in the shadows, and pull the shades down until tomorrow.” (A similar awakening is had, to a much less tawdry degree, by the Nickelodeon star Ariana Grande on her recent single “The Way.”)
And “Love Will Remember” appears to close the chapter on Ms. Gomez’s relationship with Justin Bieber: “We lit the whole world up before we blew up/I still don’t know just how we screwed it up.”
A leaked version of the song included what appeared to be a love-proclaiming voice mail from Mr. Bieber. That version doesn’t appear on the finished album, but that it made its way out into the world didn’t feel accidental. Ms. Gomez’s real adulthood gambit might not be musical, or creative, but psychological.
With Warner Bros.’s Comic-Con announcement that Zack Snyder’s Man of Steel Superman follow-up will be inspired by Frank Miller’s The Dark Knight Returns, pitting DC Comics’ two biggest heroes against each other in a 2015 summer blockbuster, Christian Bale can expect to field a new wave of questions about his involvement with the Batman franchise. To be fair, he’s put them to rest several times, most emphatically when he recently told EW that he’d really-really retired the cowl. “We were incredibly fortunate to get to make three [Batman films]. That’s enough. Let’s not get greedy,” Bale said. “[The role of Batman] is a torch that should be handed from one actor to another. So I enjoy looking forward to what somebody else will come up with.”
Of course, that won’t stop months and months of hopeful speculation that it will ultimately be Bale’s grip around Henry Cavill’s throat — until the day TMZ finally posts the first on-set images of some new actor as Batman. In The Dark Knight Rises, Bale’s Bruce Wayne explained his M.O. to Joseph Gordon-Levitt’s mysterious cop: “The idea was to be a suit. Batman could be anybody. That was the point.” If only that were true. For a generation of moviegoers, Bale is Batman, and the idea of Gordon-Levitt or Armie Hammer — who was poised to play Batman in George Miller’s canceled Justice League movie in 2007 — behind the mask simply lacks the same amount of credibility and excitement. Warner/Legendary/DC could try and lure Bale back with a Robert Downey Jr.-Iron Man financial offer, but if he declines, they need to think big, because even if the Dark Knight battles Superman in the next movie, the real rival is Disney/Marvel. The new Batman can’t be a build-our-own star like Andrew Garfield or Ryan Reynolds — not when the other side has Downey leading the Avengers. Cavill capably wore the cape in Man of Steel, but he’s not yet on the same fame footing as Chris Hemsworth or Chris Evans, much less Downey. The new Batman not only has to fill Bale’s shoes, but he has to go toe-to-toe with Downey in the cool department. The list of actors who could do both is pretty short, and it basically starts and ends with Ryan Gosling.
Gosling would make a fascinating Bruce Wayne/Batman while changing the conversation from who isn’t playing Batman to, “Oh. My. God, Ryan Gosling is playing Batman!” (Do we need to show his abs again?) Look no further than 2011′s Drive and Crazy Stupid Love to see how Gosling could deliver both sides of a vigilante/playboy, and though he’s never starred in a movie that cost $100 million or grossed $100 million, no one would argue that he isn’t a star in both the old-fashioned Hollywood mold and the 21st-century Internet meme sense. Two years ago, there were reports that Gosling was talking about playing the Lone Ranger and he was once attached to a Logan’s Run remake, but for the most part, Gosling has brushed aside efforts to join his peers in the summer blockbuster sweepstakes. Instead, he’s opted for the art-house, frustrating — and whetting — the industry’s appetite with one eclectic role after another. He’s like mid-1990s Johnny Depp.“I think [Gosling's] making really interesting career choices, but I don’t know if he wants a Dark Knight,” a studio exec told EW last year. “But let’s put it this way: If I had a Dark Knight, if I were working with a Chris Nolan type and I had a big marquee franchise character, I would go to him.”
Of course, Depp eventually found a way to work within — and eventually manipulate — the machine without compromising his artistic eccentricities, and Bale himself had an indie-heavy career path similar to Gosling’s when he agreed to team up with Christopher Nolan for Batman Begins. Playing a superhero certainly hasn’t hindered Bale’s ability to land choice dramatic roles nor curtailed his motivation to exercise his range, winning an Oscar for The Fighter, partnering with auteur filmmakers like Terrence Malick and David O. Russell, and maintaining a general aura of mystery and anticipation around his projects. Gosling might be reluctant to “sell out,” but he could do a lot worse than Bale’s post “sell-out” roles. In fact, after three consecutive box-office disappointments (Gangster Squad, The Place Beyond the Pines, Only God Forgives), Gosling might be more willing to consider some gold-plated superhero handcuffs today than ever before. (WHEEZING)
Of course, Gosling is an original artist, and you could understand his reluctance in following up Bale, a revered actor so identified with an iconic role. Does he really want to be Roger Moore to Bale’s Sean Connery? But that shouldn’t prevent Warner Bros. from backing up the Brink’s truck to Gosling’s front door (and then sending over the Tumbler and the Bat to sweeten the deal.) Gosling is six years younger than Bale, he’s a ready-made star who can become the face of the entire DC Comics universe, and casting him as Batman would send interest in the next Superman movie through the stratosphere.
Plus, don’t underestimate the competitive fire of alpha actors: if there’s even a 1 percent chance that Bale is simply playing hardball, merely talking to Gosling about playing Batman might persuade Bale to answer the Bat signal one more time. He might claim he’s looking forward to passing the torch to another actor, but Gosling isn’t just “another actor.” It’s a win-win scenario for Warner Bros. Should Bale insist he’s done, Gosling is the hero Warner Bros. needs, and the hero a Supes/Batman mashup deserves.
source is delusional. as a stan this article is hilarious considering gos turned down roles in captain america, tron legacy, green latern when he could have had them all without auditioning.
It’s nice to know that Azealia Banks still wants to do more with her days than stir up controversy via Twitter. “Venus,” her new collaboration with Paul Oakenfold proves that her day job as singer and rapper is one she continues to excel at. As for Oakie, he’s always done well when he taps into the allure of his guest vocalists. From Shifty Shellshock to Brittany Murphy and now Banks, he brings out the best in his guests.
DJ Bl3nd, the masked hard house DJ with a notorious web presence, takes on the role of hypeman on this remix, bringing the original to turntup status. His “Venus” is primed for a festival main stage with drops so big you might fall from outer space. And that’s precisely where this tune must have come from, because six months ago nobody could have predicted there would be a track with Oakenfold, Banks, and Bl3nd in the credits, but here we are, fully in orbit. Listen to the premiere exclusively here:
Azealia Banks is about to take over clubs and Top 40 radio with this!
"The Fantastic Four" is headed to the Deep South.
The super-team reboot is moving production from Vancouver to Louisiana, a studio spokeswoman told TheWrap.
Louisiana lawmakers recently killed a bill that would have reduced the state's film production incentive program, keeping its generous transferrable credits in place. That made Fox feel comfortable sending work there, according to an individual with knowledge of the decision-making process.
This marks the first Marvel-based Fox film to shoot in Louisiana, after many of the studio's superhero movies -- such as "X-Men" and the upcoming "X-Men: Days of Future Past" -- were shot in Canada.
"The Fantastic Four" isn't alone among tentpoles headed to Louisiana now that the specter of cuts has dissipated. "Pirates of the Caribbean 5" will also shoot in the state, Jerry Bruckheimer told The Playlist last month. The producers cited the tax incentives as the reason for the decision.
Louisiana offers a 30 percent transferrable tax credit for in-state expenditures related to a film's production -- and an additional 5 percent labor incentive for hiring the state's residents.
Casting on "The Fantastic Four" has yet to be announced, but the film is expected to begin production in September. Josh Trank ("Chronicle") will direct the film, which is slated for release on March 6, 2015.
What's your FF fan cast?
Moderator Jonathan Ross started the panel by asking the audience, “I just want to check if we have the right people in here. Does anyone here have a problem with the idea that the earth may be more than a two and half thousand years old because your friends are outside holding placards.” referencing the various people that were outside Comic-Con this year holding religious signs. The audience responded enthusiastically and it was this incredibly strong love towards science that was a mainstay vibe throughout the whole panel and presentation.
This was followed by the world premier trailer for the series, which you can watch below. Seth MacFarlane also recorded a special video for the panel from the set of A Million Ways to Die in the West, which played afterwards. The video was brief but MacFarlane made a point to say, “I’m more excited to be involved with Cosmos than any project I’ve been involved with throughout my career. Like many of you, the work of Carl Sagan and Ann Druyan inspired in me a lifelong interest and enthusiasm for science.” MacFarlane introduced the panel through his video and the trio of talent involved with the show received a standing ovation as they took the stage.
Ross’ first question for the panel was, “We remember the first series and it was an incredible event. Why do it again and why do it now?” Druyan, who is also Carl Sagan’s widow, responded by saying, “Because it is a very big universe and there are so many stories to tell. In the first series, we covered a lot of territory, but there is so much left. So we have new stories, or stories that yet to be told, that we want to tell you. We also feel that the kind of cultural atmosphere and assault on science is ending finally, and that the pendulant is swinging back our way. We want to torque the zeitgeist in the direction of not only exploration, reason, the love of nature, but also for the vision of the future that we can still have. It is within our grasp and that is what Cosmos is about – what happens when your brain, heart, soul, eyes, and your ear are fully functioning. So it is time to get going.”
Ross then asked Dr. Tyson about the new spaceship of imagination, which can be seen zipping around in the teaser, and how it will play into the show. Tyson responded by saying that it will serve as both a figurative and literary vehicle to move through space and time during the series. It will not only move in space, but it will also move into the future. The spaceship will move to wherever the storytelling requires. The spaceship, along with Dr. Tyson, will be traveling to the past, present, and future throughout the series as Dr. Tyson will transition from one place to another. “That ship expresses anything that I am thinking about at the moment. So there are no buttons. I’m talking to you about the past and the past will appear right where I need to be and right where we need to go. It will allow us to transition from one place to another and from one time to another.”
Ross brought up what was up with the small bits of animation that appear in small glimpses throughout the trailer and if that was MacFarlane’s idea and how it will serve the show. Brannon Braga, who will be directing and producing the series, answered the question by saying that it was Seth’s idea and how the animation segments will tell stories about the heroes of science and past history, but instead of telling them in live action, the series will tell these stores by using animation. Braga said that the style will be very “graphic novely” and that MacFarlane’s animation studio will be doing the animation.
Ms. Druyan also talked about how the series will have a respect for its audience and that there will be no “dumbing down” involved with the show.“Carl Sagan taught me respect for the audience and for the public. There is no need to dumb anything down. Just speak clearly and use the words that we all use to depict the grandeur of nature. Cosmos, the original series, and this series are exactly on the same level, which is that we speak to everyone.” She went on to add, “There is no limitation and there is no exclusion. The information we are wanting to share to the world belongs to all of us.”
Much of the panel was focused on why another version of Cosmos is needed right now and how it feels like there is a whole new generation of people ready to change how the world looks at science and our place in the universe. Dr. Tyson brought up the growing attendance at Comic-Con as proof that there is still hope and how it feels like the pendulum is swinging back in favor of science and an appreciation of knowledge.“If Comic-Con people ruled the world, the future would be invented daily and warfare would be nothing more than bar fights with toy light-sabers. That is the world I want." said Dr. Tyson before praising the high production quality of the new series. “This is the right combination of the right people at the right time to get everything back on track. Carl Sagan’s Cosmos was a generation ago and you don’t want to go for more than a generation without having the reboot of who we are where we are heading in this universe.”
Cosmos: A SpaceTime Odyssey will be premiering
something next year spring 2014 on Fox as a prime time miniseries event. The trailer makes the new series seem as slick, trippy, and fantastical as one would hope. If this new rebooted take on Cosmos will live up to the original classic series is still a question that fans will have until the much anticipated project, which has been in production for years now, finally airs next year, but there is absolutely nothing that feels discouraging based on the teaser footage and the amount of talent involved with the new series. The amount of passion that was evoked again and again throughout the panel by Ms. Druyan and Dr. Tyson was something beautiful to witness and these words cannot come close to capturing the sense of love and awe that was felt throughout the panel. The Cosmos panel was without a doubt one of the highlights of this year’s Comic-Con and it looks like Cosmos: A SpaceTime Odyssey will definitely be something to look forward to in 2014.
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What happens when Austin Mahone hangs out with the fellas of Big Time Rush? Well, fans will find out this Thursday when the singer stops by the Nickelodeon series of the same name.
But before show time, MTV News has an exclusive first look at the VMA-nominated singer's appearance on the season finale, dubbed "Big Time Dreams," airing on Nick on July 25 at 8 p.m. ET.
In the sneak peek, he is pictured hanging out with BTR actress Ciara Bravo, who plays Katie Knight on the series. And, in another first look, the top hat-wearing heartthrob hangs out with the boy banders, who look to be approving of something by giving Mahone a bunch of thumbs (and fingers) up.
"This episode is a fitting ending to season four," Kendall Schmidt told MTV News in a statement. "We always try to go big, and we worked hard to make a finale that will make a lasting impression."
In addition to Mahone, the special will also feature appearances from Nick Cannon, Alexa Vega, Karmin, Mindless Behavior and Fabio. The episode revolves around the Tween Choice Awards, where the boy banders are nominated and booked to close the show. But before the foursome can take the stage, they uncover an evil plot to brainwash everyone in the audience. So BTR have to take down the bad guys and make sure the show rolls on as scheduled.
It's a big summer for both Mahone and BTR. BTR are currently on the road with Victoria Justice on their Summer Break Tour, which wraps up August 11 in Milwaukee. Back in June, they dropped their latest album, 24/Seven.
Meanwhile, Mahone just found out he's up for an Artist to Watch, Presented by Taco Bell Moonman at the 2013 MTV Video Music Awards for his Colin Tilley-directed "What About Love" video. This year's VMAs are taking place on August 25 live from the Barclays Center in Brooklyn.
Norman Reedus, aka Daryl Dixon on the hit show 'The Walking Dead', catches a flight out of Los Angeles.
'Blue Jasmine' after party 07/22
'Blue Jasmine' By Lily Rothman
In Woody Allen‘s latest film Blue Jasmine—in theaters July 26—Cate Blanchett takes on the title role of Jasmine, a troubled woman forced by financial crisis to leave her lofty New York home for a San Francisco set-up with her sister (played by Sally Hawkins). This week’s issue of TIME features a look at where Blanchett fits into the pantheon of Woody Allen’s women—but that’s not all Blanchett discussed when she spoke to TIME.
CATE BLANCHETT: I didn’t, but I think there’s a version of that question that gets asked to actors as well, which is ‘do you like your character.’
Messud was upset because she said that nobody would ever ask a male writer that question. So I guess this is a two-part question. First, what are your feelings about Jasmine as a person, in terms of whether you sympathized with her?
Sympathy doesn’t really come into it. Perhaps empathy does. I think if you’re too embroiled in the need to relate too closely to the character then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.
In your experience, is that question of likeability something that people are more interested in for women?
I think that that’s probably a pretty accurate assessment. Someone who’s attracted to a female character or finds them likeable is… well, it depends who the critic is, whether it be male or female, what their frame of reference is.
In terms of preparing for this role, what kind of research did you do?
Woody Allen is a great dramatist and a great comedian. So you are part of Woody Allen’s project, and that really is it, first and foremost. To be frank, I watched that brilliant documentary on him, repeatedly, to get a sense of who he might have been and who he is as a working artist and what other people’s experiences were like. But Jasmine’s experience is a quite common experience for people at the moment, certainly in the last five years—people who seem to have it all losing everything, and people who don’t seem to have much having much more than you think they do.
Do you mean specifically the financial side?
And in a social sense, and also in a moral sense. I think people have been confronted by all of those things in recent years, so it feels like a landscape that’s very current for a lot of people. But then there’s classic elements to Jasmine, like the delusion and the evasion, and who she perceives she is trumping who she actually is.
So it’s not really a period piece.
The wonderful thing about Woody, as a writer, is that he’s able to tap into things that are universal, almost archetypical, but then seem really current. I think there was a strong interest for him, in the film, in the fact that people in life are faced with choosing between reality and fantasy.
You mentioned watching the Woody Allen documentary—what were your expectations going into filming, based on that? How did that compare to reality?
Well, it had been said that there wouldn’t be a lot of dialogue with him but I found him very forthcoming, incredibly frank, and really generous and refreshingly honest.
What was the atmosphere like on set?
Pretty buoyant, actually. I think place has a lot to do with the atmosphere in Woody’s pictures, but very collaborative. You always feel in a way that you have a hold of Woody’s interest and so it makes people leap into the project. There’s this great energy around it.
It sounds like the way people describe meeting politicians, the feeling of someone being really interested in you and what that does.
It’s sort of a terrifying thought, until you realize he isn’t that interested. And he just wants to get the work done. A lot of his direction happens in his writing and what he’s interested in is seeing what people do with it. If they don’t do something with it, he’s not that interested, and if they do do something then he is.
What initially drew you to the character when you read the script?
Well, obviously, if Woody Allen calls and says he wants you to read a script of course you read it. It was a fantastically well-drawn story that you don’t want to screw with. And then once I heard the cast that was being assembled, it was delicious. I’ve long admired Sally [Hawkins]. And Bobby [Cannavale]’s a great stage actor as well as on television and he’s extraordinary. And Peter [Sarsgaard], and then with Alec [Baldwin], all those key relationships, you could already taste them before you got there. I just adored them all. This is sounding a bit wet, isn’t it? The making of it was actually quite robust for quite a delicate, fragile set of relationships.
You’ve worked with several directors who are such personalities – like Woody Allen, Wes Anderson, Terence Malick – does that change the experience of making a movie?
I think the atmosphere on set really comes from the material, but also the director. And I think with those three directors you mentioned, who I’ve had the great good fortune to have worked with, when you work with them you do understand their body of work and their preoccupations—but you don’t want to presume their preoccupations. Because the reason that they’re brilliant and they keep doing what they do is that they keep stretching in new ways each time. Just like you don’t want to be boxed into a corner as an actor, you do want to box a director in and assume what they want. It’s a dialogue, and what great good fortune to be in dialogue with those gentlemen.
What went into creating Jasmine’s voice? The way she spoke was so of a place and class.
She’s always been a fiction constantly rewriting herself, so in deciding how she spoke the most important thing was that she and [her sister] Ginger were very different. It depends at what moment you choose to crystalize your identity, and I think it was when she was at university and realized she wanted to move in a certain class of men and women. That’s sort of where her identity, her voice, her persona, her physique, started to sort of form itself.
Were there particular cultural references or people that you thought Jasmine would have based that persona on?
There are certainly many women who I’ve encountered over the last few years, that I’ve just thought “oh, that’s interesting.” They don’t necessarily have to live on the Upper East Side [of Manhattan] but, yes, there are certain sounds. I’m not from there so I listened to as many people as I could. Documentary is great; radio is great. It’s not based on any one particular person.
Do you have any interest in directing movies?
If the right project came along, absolutely. I’ve directed things in the theater but it’s very much based on the material. I’m not out there looking. I’m very happy working as an actor.
But never say never?
It seems like hubris when you’ve worked with Woody Allen and Terrence Malick and with Anderson and Scorsese, to say that.
The Essentials: 5 Great Cate Blanchett Performances
There are very few actors, in these days of soundbites and tabloids and gossip blogs and 15-page colour spreads in which we are “invited into their beautiful home,” that we can truly say we don’t get enough of. And there are fewer still, who even in that glare of publicity that surrounds a new film’s release, do not end up somehow diminished by the process, dissected and dissassembled and repackaged and repurposed for use as a tiny cog in a big marketing machine. But Cate Blanchett is one of the rare few who manages that trick, again and again, retaining a cool, inviolate and perhaps slightly detached image, even as the performances she gives can be frightening in their engagement and commitment. And it’s another such that Blanchett reportedly gives in Woody Allen’s “Blue Jasmine” which opens this Friday, and for which she’s already garnering early awards buzz. We called it “ an outstanding firecracker turn … that has Oscar-worthy written all over it in flames”
Aside from her striking face (the alabaster skin, crescent-shaped eyes, cheekbones you could hang a week’s washing on), this quality of aloofness is one of Blanchett’s unique attributes as an actress, a kind of absence of desperation, which makes her seemingly completely unafraid to take on characters who are partially or wholly unlikeable, or to invest even her heroines with a certain moral ambiguity. Blanchett, we feel, doesn’t care if we like her characters, as long as we are convinced by them, and as a result, while she certainly has the grace and the beauty to have more frequently taken the beautiful girlfriend/wife role, or the straight-up romantic interest, mostly she has avoided that trap and turned to characters with much more depth and agency. Or maybe that’s just what she has brought to the films. In any case, we thought this was a good moment to take a look at five of the roles that we consider among her best.
Controversially, no doubt, we left two of the more famous, indelible Blanchett performances off the main list, partly because we wanted to have a chance to shine a light on some other, lesser seen films and partly because, while she’s extraordinary in both, she’s a supporting player in a much larger ensemble in the “Lord of the Rings” and ‘Hobbit’ movies, and in “The Aviator.” But of course it should be noted that her ethereal elf Galadriel brought her to a whole new level of fame (and really, we can’t imagine anyone else being able to walk that line between otherworldly goodness and beauty, and actually being quite uncannily terrifying when she needs), and that her Kate Hepburn brought her a Best Supporting Actress Oscar. The latter is a turn that proved a little divisive, with some accusing her of straying too far into impersonation, but as bigs fans of Hepburn ourselves we have to say we found it one of the definite high points of the Scorsese picture.
Neither film, however, could by any stretch of the imagination be called a “Cate Blanchett film”—here, instead are five in which hers is a lead role, and which each shows a different side of this versatile, fascinating actress. What they all have in common, though, is that certain restraint, even when she’s playing messy and broken, that is a bravery all of its own: Cate Blanchett always allows herself, and her characters, to retain a sliver of mystery, of unknowability, and far from this creating distance from the audience, for us at least, it almost always invites us deeper in. MORE
“I’m Not There” (2007)
"Notes On A Scandal" (2006)
Honorable Mention IMO
Veronica Guerin (2003)
The Aviator (2004)
TLTR(2001) & The Hobbit(2012)
Oscar and Lucinda (1997)
Karl Lagerfeld creates Chanel costumes for Cate Blanchett's latest film
Ask any designer which celebrity they would most like to see wear their clothes and you'll probably get 'Cate Blanchett' as the answer.
The Oscar-winning Aussie seems to have cast a spell over the fashion world, expertly sporting hard-to-wear pieces by Balenciaga , Givenchy and Armani Privé from red carpet to red carpet, never slipping up.
She brought a little bit of that magic to her latest film, the Woody Allen-directed Blue Jasmine , in which she plays the titular role of Birkin-toting Jasmine, a perfectly-primped Upper East Side New Yorker who loses everything and spirals into a breakdown.
The character called for some serious designer duds and, naturally, with the mere mention of Blanchett's name and the designer's came running.
"I called up Karl Lagerfeld and, I have to tell you, I was astounded," costume designer Suzy Benzinger told Lucky magazine . "I sent a note and in two days he shipped out two custom made jackets for Cate Blanchett with the most beautiful note.And I just thought, 'Oh my god,' and he just said 'For Cate, I'd do anything'".
Cate Blanchett’s Audition for Blue JasmineLasted Less Than Two Minutes