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Oh No They Didn't! -

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    Now that everything is out in the open and it seems like a done deal (though not officially finalized yet apparently), Vin Diesel has begun to speak about his role as the voice of sentient tree alien Groot in Marvel's Guardians Of The Galaxy.

    OK, so why Groot?
    I’m an actor. I can do whatever the f*ck I want. As an actor, not everything has to be the most obvious choice. And sometimes, the best thing you can do — as far as Steven Spielberg and his advice — is to defy expectations. So if everybody thinks you’re going to go for this one thing and you flip it entirely and go for the strangest Marvel character, it’s interesting. And when something is interesting, it’s inspiring.

    Why did you post a picture of the character on Facebook this weekend?
    I get inspired by things. So if somebody sends me a book of conceptual art that’s the best character design work I’ve ever seen — I’m not kidding, I see that and I want to be a little cryptic and I want to say something positive. Even if it’s as cryptic as an old, dated image of a character.

    Marvel is notoriously secretive about its movies, and you’re very open. Isn’t it mad you’ve been dropping hints about “Guardians”?
    The last thing they are is mad. I’m pretty open, but I have been secretive about this. I went to Comic-Con and I got blasted while I was on the Hall H panel for “Riddick.” Someone asked a Marvel question. I couldn’t say anything because of that secrecy.

    Starring Chris Pratt, Zoe Saldana, Dave Bautista, Lee Pace, Benicio Del Toro, Karen Gillan, John C. Reilly, Glenn Close, Michael Rooker, Djimon Hounsou, and Peter Serafinowicz, James Gunn’s Guardians of the Galaxy opens August 1, 2014.

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    “Game of Thrones” author George R.R. Martin recently used his own money to purchase and refurbish the Jean Cocteau Cinema in Santa Fe, N.M., which opened for business again this past Friday.

    The facility, which had originally opened in 1984, closed down in 2006. Martin saw a “for sale” sign and thought to himself, “Why doesn’t somebody reopen it?,“ according to the Santa Fe New Mexican. Then that became “Why don’t I reopen it?”

    The author purchased the theater this past February, hiring Jon Bowman, founder of the Santa Fe Film Festival, to manage the building.

    “I am bound and determined that we are once again going to have the best popcorn in town… I want this theater to be what it once was – a beloved theater,” he said when he announced the purchase in April.

    The theater officially reopened Aug. 9 with a showing of the movie “Forbidden Planet.” The rest of the night’s movies included “Orpheus,” by Cocteau, as well as the film “Dark Star.” Martin took tickets at the door.

    “The Grand Re-Opening of the Jean Cocteau Cinema came off as scheduled on Friday evening ... something I scarcely would have believed a week ago,” Martin wrote on his site. “We made it with ... ah ... minutes to spare. Work was still going on when I arrived at the theatre an hour before opening.”

    Martin listed the dates of the original run of the theater and said that “a twenty-two year run is nothing to sneeze at, but here's hoping the new Jean Cocteau will help to entertain, enlighten, and delight the people of Santa Fe for at least twice as long.”


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    Safe to say these two narrowly missed what may have been a sufficiently awkward moment.

    E! News has learned Angelina Jolie and Jennifer Aniston were both scheduled to be flying first class on the same British Airways flight—unbeknownst to the actresses—out of LAX to London's Heathrow airport Sunday night.

    But according to a well-placed source at Heathrow, an employee realized the flight might be awkward for Brad Pitt's current and former partners and informed Camp Aniston about the potentially uncomfortable situation.

    Jennifer's schedule was subsequently changed, and she flew out Monday instead.

    Sources also insist both ladies were blissfully unaware of the reason behind the switcheroo and had no idea they were originally meant to be on the same flight.

    But that's not all that seemingly went down so the twosome could avoid each other.

    While Brad and Angie and Jennifer all typically stay at the same luxury hotel when traveling to central London (Pitt and Aniston used to stay at the high-end hotel when they were married, and the We're the Millers star has remained loyal to the establishment since their split), E! News has learned both parties have opted to stay somewhere else this time around.


    It's unclear whether the mother of six and Justin Theroux's other half chose different locations to evade each other or whether other places were simply more convenient for their work.

    Although Aniston has clearly moved on with her fiancé, she previously opened up about her painful and public split from Pitt to Vogue magazine in 2008, admitting their 2005 divorce was much more amicable than the tabloids claimed while seemingly throwing some shade at Angie.

    dis drama omw

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    Ed Sheeran has revealed the thing he loves most about best pal Taylor Swift – her ‘Office’ like sense of humour. The A-Team singer has become firm friends with Swift after spending months on the road with her for her North American tour, and revealed she is very ‘English’ when it comes to making him laugh. ‘She’s just dry, she has a very dry sense of humour and Americans are usually like slapstick comedy, that’s the big thing but she’s very English,’ he said on the carpet at the Teen Choice Awards in LA. He continued: ‘She’s like The Office. English Office, not Steve Carell – Ricky Gervais.’

    Meanwhile the 22-year-old has been credited with helping Swift and his One Direction pal Harry Styles end their frosty relationship after a bitter break-up at the beginning of the year.

    According to friends close to the Trouble hitmaker, Swift, 23, has moved on to a better place and wanted to finally make peace with 19-year-old Styles. ‘Harry was ready to move on months ago and try to remain friends, but Taylor hadn’t let go of what happened,’ a source told The Sun. ‘Ed didn’t mention Harry for a while, but over the past few weeks Taylor started bringing him up. ‘She made it clear that she didn’t want frostiness between her and Harry any more. She feels she has moved on to a better place — and Harry should know that.’


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    How the man behind Kanye West's "Mercy" and Miley Cyrus' "We Can't Stop" became the hottest producer in the Game

    PatchWerk Recording Studios is housed in a light gray concrete bunker tucked behind a busy McDonald's on a tight corner on Atlanta's Westside. On a hot Friday in early June, Mike Williams, who produces under the moniker Mike Will Made It and is known to pretty much everyone as simply Mike Will, is behind the wheel of his silver BMW X6 on the street outside PatchWerk, indulging in a quick nostalgia trip.

    "That's where it all got started for me, over there," he says, pointing to the studio. Will, 24, is wearing a red "Diamond Homegrown" shirt, long camouflage shorts, black Pumas and a gold chain. He was 16 when he began hanging around PatchWerk, working with the rapper Blaze, crafting beats and trying to force his way into the music business.One night, he saw his opening when Gucci Mane-who at the time was a successful Atlanta street rapper with some significant underground hits to his name ("Icy," "Freaky Gurl")-dropped by PatchWerk to record.

    "Gucci was upstairs, so I went and gave him a beat CD," Will says. Gucci listened and offered him $1,000 cash on the spot for one of the beats. "I was like, 'Man, you've got to holler at my people,'" Will says with a laugh. "I didn't even have no people. He was like, 'I like you. You're a little player.'"

    Will's bravado ended up bungling that particular deal, but he and Gucci stayed in touch. Eventually, they got in the studio together and recorded 20 songs in three days-"All mixtape joints," Will says-which led to work for him with other rising Atlanta rappers, including 2 Chainz (then known as Tity Boi), Future, Waka Flocka Flame and Rocko. In those days, Will says, it was common for him to leave nearby 11th Street Studios, where he was working with Future, to come to PatchWerk to work with Gucci, then stop by another area studio, Hot Beats, to work with Rocko, and then maybe go to the Southside of town where 2 Chainz was recording.

    "We used to be out here all night," he says. "I might end up going home at four or five in the morning. There were no days off. I wasn't out here playing."

    On the surface, much has changed for Will since his days as a hungry, tireless up-and-comer. Today, he's a marquee producer sporting a resume stocked with hits, including Future's "Turn On the Lights"; Kanye West's "Mercy"; 2 Chainz' "No Lie" featuring Drake; Rihanna's "Pour It Up"; Lil Wayne, Drake and Future's "Love Me"; and, most recently, Miley Cyrus' "We Can't Stop." Collectively, these six songs have sold 9.3 million copies, according to Nielsen SoundScan. But his inner hustle remains the same.

    This is an important moment for Will. His recent work with Cyrus is indicative of the difficult transition he's making from gritty mixtape producer to versatile pop songsmith. Besides the upcoming Carey sessions, he produced one track for Jay Z's "Magna Carta ... Holy Grail" and is working on the upcoming album from Jamie Foxx. Already his ubiquity on the Billboard charts during the past year has put him on the precipice of joining an elite club of brand-name producers like Timbaland, Pharrell, Diplo and Dr. Luke whose work can often overshadow that of the artists they collaborate with.

    Whether Will can continue his ascent will depend a lot on what happens in the next year or so. His production team is growing and he's now working on signing songwriters, A&R reps and artists to EarDrummers, turning it from a boutique production company into a full-fledged record label. In May, he released an EP of jazz-tinged instrumental tracks called #FuckVerses, and on Aug. 26 he'll release "23" featuring Cyrus, Wiz Khalifa and Juicy J (see story, page 26), the first single from his debut album, Est. in 1989 Pt. 3 (The Album). Like any business expansion, the trick will be for Will to pull all this off without losing sight of what got him this far in the first place.

    "I'm always that dude that's looking for the next thing," he says. "I've just got to keep a balanced head and stay focused."

    Will's first hit came in 2011, on Meek Mill's high-energy "Tupac Back" (featuring Rick Ross), which reached No. 31 on Billboard's Hot R&B/Hip-Hop Songs chart and No. 21 on the Mainstream R&B/Hip-Hop airplay chart and has sold 176,000 copies, according to Nielsen SoundScan. The more he worked, the more Will realized he wanted to be what he calls "a real producer," not simply a guy hunched over his laptop making beats and then sending them out.

    "I started bringing some weird, different beats, and rappers were just like, 'What the hell is this? You got something else?'" he recalls. "I realized they can't really rap on that because it's not sounding like nobody else's [material]."When he brought Future the beat for "Ain't No Way Around It," the rapper wasn't interested. "I played him that beat 10 times. Every day I went into the studio like, 'This beat is it!,' and he was like, 'Nah, I don't like it.' Finally, it was two in the morning and he was like, 'Bro, you got some beats?' And I'm like, 'Yeah, I got that same beat. I'm telling you, put some melody on it. It's going to be crazy.'"

    Will finally wore Future down, but it still took the rapper several months to finish the track. Once he did, "Ain't No Way Around It" turned into a breakout song for Future. Their next single together, the moody "Turn On the Lights," peaked at No. 2 on Hot R&B/Hip-Hop Songs and No. 50 on the Billboard Hot 100. (It has sold 686,000 copies.)Shortly thereafter, Will scored his first No. 1 on Hot R&B/Hip-Hop Songs with 2 Chainz' "No Lie" (1.4 million copies sold). He says several other important singles, like Jeezy's "Way Too Gone" and Yo Gotti's "Cases," only happened after he displayed similar stubbornness. It's a quality that hasn't gone unnoticed.

    Sean Garrett, who has written and produced songs for Usher, Chris Brown, Britney Spears and others, first connected with Will on that Brandy song and later collaborated with him on several songs for Cyrus' album."A lot of these things he's doing now we spoke about a year-and-a-half ago," he says. "He always talked about being a great producer all across the board, not just one area. His vision was so much wider than what people expected from him. He didn't want to be in a box."

    Will's work on Cyrus' upcoming album looks likely to be the one that breaks him out of that box for good. He had the idea for "We Can't Stop" and initially considered it for Rihanna, but once Cyrus heard it, she jumped on it. "I was in the middle of a bar when they played it for me," she says. "I got up and started dancing with the headphones on because I was so into it."

    Will wasn't that familiar with Cyrus' music-though growing up in Georgia, he knew her father Billy Ray Cyrus' "Achy-Breaky Heart," all too well-and approached the session with few preconceived notions.

    "Me and Miley just clicked," he says. "She has good ideas. She's real creative. Her whole thing is she's getting older so her sound is evolving, but she doesn't want to reach too far. 'We Can't Stop' has so many different vibes to it. She sounds country; the beat has these live, knocking drums; and then it has these pop melodies. It's a feel-good record."

    Will and Cyrus were so happy with "We Can't Stop" that they worked together on nine more tracks, eight of which will appear on her album. As she puts it, although the two seem like strange bedfellows, they found they had a lot in common.

    "He's been making beats since he was 16," Cyrus says. "Maybe it was on a different scale-he was with Gucci and I was with Disney-but we were both working, doing what we got to do, when we were young. Now, because we've been successful enough, we can make whatever we want. So I think him and I are at the same place in our life now: He's trying to break into my world a little bit, and I'm going into his world a little bit."

    At this point, Will doesn't have a singular, signature sound that listeners can identify as soon as they hear it, but that's hardly a knock against him. In fact, as fellow Atlanta native Reid points out, it's what has allowed him to hop, skip and jump from underground rap to pop and back.

    "Whenever anyone can move from mixtapes to R&B to mainstream pop, it has to do with how they've grown up and the music they've been exposed to," Reid says. "If you grow up in Atlanta, dancing matters. Strip clubs really are a part of Atlanta culture. Pop radio is real. R&B radio is real. He's tasted a little bit of everything Southern music has to offer so he has a very special sound. It feels a little bit hip-hop, a little bit R&B and a little bit ratchet."

    Will also has a clever musical marketing hook: Every one of his productions is tagged in the first 30 seconds with a voice intoning, "Mike Will made it." It's the equivalent of having a catchy advertising jingle embedded into all his work.

    "People know his name," Reid says. "I have a 10-year-old son who knows Mike Will Made It. He doesn't know who the guy is, but he knows that if it says that at the front of the record that it's a good record."


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    Katy Perry has opened up about going head-to-head in the charts with Lady Gaga.

    Perry, who put out her new single 'Roar' earlier this week, is now up against Gaga's 'Applause' after it was "rush-released" to iTunes yesterday.

    "It's all about the music and I really agree with her message," Perry said of Gaga's track to AMP Radio. "I've always been a fan of hers and I like to see her evolution.

    "I think that it's also nice that we're all in the same kind of cycle together because it really keeps us both on our toes… It's not that we feel competition, it's that we keep each other on each other's toes and it's a healthy thing."

    'Roar' is currently at #1 on the US iTunes tally, while Gaga's 'Applause' keeps struggling at #2.

    Meanwhile, discussing her new album Prism - which is out on October 22 - she said: "It's a record about self-reflection and self-empowerment and learning to deal with the curve balls that life throws you every single day and how I'm going to get through them."

    Lady Gaga remains thirsty and abusing her fans begging them to buy her single MORE THAN ONCE yet Katy Perry remains winning without looking THIRSTY


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    In an odd casting twist, Joel Edgerton is in talks to play Ramses the Pharaoh in Ridley Scott's Biblical drama "Exodus," which stars Christian Bale as Moses, an individual familiar with the 20th Century Fox project has told TheWrap. Ramses is the heir to the Egyptian throne who eventually becomes the Egyptian Pharaoh and exiles Moses and his fellow Israelites.

    Scott previously offered the role to Javier Bardem, who was one of several actors to pass on the project, which joins Darren Aronofsky's "Noah" among Hollywood's upcoming Biblical epics. Oscar Isaac ("Inside Llewyn Davis") has also been rumored to have passed on the part.

    Peter Chernin and Scott are producing the movie, which starts production in Europe this fall. Adam Cooper and Bill Collage penned the original script, which was then rewritten by Oscar winner Steve Zaillian.

    Forgive my skepticism, but I have a hard time buying Edgerton as the Egyptian ruler whom Bale's Moses demands to "let my people go!" Bardem would've made an appropriate foil for Moses but Edgerton, who has done strong work in "Warrior" and "Zero Dark Thirty," is a surprising choice to say the least. However, if any director has earned the benefit of the doubt when it comes to casting, it's Scott, who always manages to get solid performances out of his leading men. Fingers crossed this gamble pays off.


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    Image and video hosting by TinyPic

    In light of a article posted on Hypable Tuesday, Teen Wolf executive producer Jeff Davis exclusively reached out to Hypable to clear the air about Lydia and Peter.

    Yesterday, a Hypable reader wrote an opinion piece concerning the interaction we saw in Teen Wolf season 3, episode 11 “Alpha Pact” between Lydia and Peter. It was a simple and brief scene, and many felt shortchanged because of their past history together.

    Lydia and Peter’s relationship is a complicated one. After biting her as an Alpha at the end of season 1 and then subsequently dying at Derek’s hands, Peter’s younger self haunted Lydia throughout season 2. Then, in the final few episodes of season 2, Lydia helped to bring Peter back to life.

    To say there’s some unfinished business on Lydia’s part would be a major understatement. But don’t think their story is by any means finished.

    Reaching out to Hypable, Davis says, “I can respond to the Lydia/Peter question that the one scene in 311 is by no means the end of that story. My writers and I have laid out plans for plenty more to come in 3B. Lydia certainly deserves her revenge, doesn’t she? And we definitely want to give that story the treatment it deserves.”

    Lydia does deserve her revenge, and plenty of fans are hoping she gets it. Davis gave us no hints as to what this revenge will be, but we’re definitely curious as to how it will play out.


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    People popping out babies at a young age has been going on forever and celebrities are no exception. Here are 9 celebrities who were teen parents.

    Aretha Franklin
    The Queen of Soul had her first child, Clarence Franklin, at 13.

    Jamie Lynn Spears
    Britney’s lil’ sis gave birth to daughter Maddie Briann Aldridge at 16.

    Solange Knowles
    Solange became a mommy to son Julez at 17.

    Lil Wayne
    Wayne had his Young Money Princess Reginae at 15.

    Evelyn Lozada
    Evelyn had out her beautiful daughter Shaniece when she was 17.

    The rest @ the source

    Paging ONTD' child haters. Halle got pregnant at 46. Which would you prefer? To be a teen mom or a 40+ mom?

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  • 08/14/13--10:29: Miley at Terry's studio!
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    She's come a long way from being swaddled in the coat of her father, a photo made famous by the fact that it appeared on the back of her father's solo debut after the split of his band — a little Liverpool ensemble called the Beatles.

    Now, Mary McCartney — the daughter of Paul and Linda — is all grown up, with the 43-year-old photographer's new vegetarian cookbook celebrating the simplicity of the home-cooked meals at the core of her famed family with the similarly simply named "Food."

    But simplicity can be deceiving.

    "It took me ages to come up with the title and they got more complicated, and then in the end I just sort of thought, well, if it's getting complicated, then simplify," she said, calling from London. She admitted to scratching a number of names, including "A Vegetarian Grows Up."

    The book is full of recipes she grew up on, as well as others that she picked up and adapted along the way, and packed with McCartney's vivid, rustic photography. The photos came easily enough, as her instincts for colour parlayed well both in food and on film.

    "My husband makes fun of me — I have to have some colours on the plate," she says. "I also think it makes it more interesting from a taste point of view too."

    But McCartney says she found it surprising how hard it was to formally write the recipes down, which she admits she never did before preparing the book. It's in part because she is a photographer first, but it's easy to see that the book is not made up of the kind of rigorous strictures that many cookbooks feature; additions and changes are encouraged, many ingredients are optional, and most are commonplace.

    "It was a lot more time-consuming than I initially thought. Photography is a lot more straightforward. I almost take photographs so I don't have to put pen to paper."

    The cookbook originated after a media appearance for Meat Free Monday, a campaign helmed by the McCartney clan to encourage people to go vegetarian for one day a week. Afterward, the interviewer suggested she do a cookbook to help people overcome what can appear to be a daunting transition.

    So, as is her way, she went back to basics.

    "The aim for it is to provide an introduction on how wonderful vegetarian cooking can be, and hopefully I've made it so that you're not missing out, with a variety of different foods for different occasions."

    McCartney says now is a great time to be a vegetarian. She remembers when her parents first became outspoken adopters of the way of eating, and how few options there once were.

    "You don't seem like an alien now, whereas before, you just had to cook grilled vegetables all the time. ... The world has opened up. Food is a lot more accessible."

    The cookbook, then, is in many ways a paean to McCartney's mother Linda, an ardent animal rights activist who died of cancer in 1998, and who was a photographer and cookbook author herself when not singing and playing the keyboard with her husband in the band Wings.

    "All my early food memories around the kitchen — her cooking, and us chatting, and really lovely growing-up memories, and the smells of all the food, and her just happily cooking and preparing things in the kitchen, and me helping her prepare things and learning how to get really full flavour combinations ..." she says, trailing off.

    "I've definitely inherited her cooking style. ... It felt like it brought her voice back into my head on a more daily basis. ... It took me back to thinking about that time I spent with her, and putting down on paper what I loved."

    Linda was born in New York, and that British-American upbringing gave Mary McCartney a duality in her cooking, blending the family Sunday roasts of the British with the big mixed salads and sweet corn fritters that remind her of summers on Long Island.

    "Food is emotional, and it's tactile and, as I say, a lot of my food memories were times spent with my mom. They're happy times, but obviously she's not here anymore, and that makes it more nostalgic. It's emotional, but it's positive as well."

    But she also got by with a little help from her father, who has texted photos from his current U.S. tour of his daughter's cookbook in bookstores.

    "When I see him at holiday times, I cook for him, and he really appreciates good food and he loves to be cooked for and pampered a bit. ... I think he's quite proud."


    It's old news, but I dig Mary McCartney and wanted to post this story.

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    according to this writer, Skyler is a nag and a bore, and somehow it's the show that's being sexist.

    Avoiding Breaking Bad spoilers on Twitter this week has been more complicated than Walt's meth-brewing process. Even though the drama hasn't had a regular place on British TV since 5 USA frittered away the second season on a late-night timeslot, it is firmly ensconced as event TV, and it seems that everyone wants to talk about it. Box sets and streaming sites have turned it into a slow-burning hit that is starting to replace Mad Men in the holy trinity of cinematic television, alongside, inevitably, The Sopranos and The Wire. The final part of its fifth and last season made its debut on US TV this week, and on Netflix here.

    I like Breaking Bad. I like it. It's a good, solid drama. I watched this new episode determined to fall in love; after five seasons of increasingly breathless adoration from viewers and critics, I had hoped it might all finally slot into place, that I would think about Jesse's descent into horrified blankness in the same way as Adriana's final scene in The Sopranos, still able to recall clearly that gutpunch of loss and sorrow. And I thought it was good, and solid. The last 10 minutes were a masterclass in terror and tension. The rest of it made it clear that my problem with the show is the same as it has always been: its women are underwritten characters who only exist as plot-enabling satellites to the men.

    It's easy to argue that Breaking Bad is about a masculine world because high-level crystal meth dealers are likely to be men, and that, therefore, its female characters could only be secondary. That doesn't hold up. To return to that TV trinity – with its third slot up for grabs – The Sopranos was about organised criminals, almost all of whom were men, but it still managed to include some of the fullest female characters in the history of television. The slow unfurling of Carmela Soprano's conscience and complicity was a subtle, essential part of the story, rolled out over the entire run, daring to be morally complex, making her sympathetic and not, often in the same instance. Adriana, Dr Melfi, Meadow, Janice – they were all embedded in the show, because the storylines were driven by them, too. The Wire, that other novelistic, macho drama about crime, managed to weight itself favourably with women. Snoop, Beadie and Kima weren't women in a man's world; they were people in a terrible world, just like everyone else. Mad Men, which I would argue is richer, better written and less heavy-handed than Breaking Bad, maintains Betty, Joan and Peggy as, essentially, co-leads, and even Sally Draper became a surprising frontrunner in season six.

    Breaking Bad's women exist on the outskirts, circling the men. They are an adornment to the fabric of the plot. Walt's wife Skyler is written as a nag and a bore.(lol okay) A recent article on the TV/film website AV Club, The Case Against Breaking Bad, pointed out that if she is supposed to act as the moral centre of the show, then that is a failure, because she is almost entirely unsympathetic. Hank's wife Marie is a skittish woman treated with weary contempt by her husband; her sole interesting trait is a shoplifting habit, and she is merely a distraction from the boys' business of crime-busting. The introduction of Lydia in season five – a woman operating in Walt's world, finally – showed potential, but she remains a cartoon baddie, lacking flesh or motivation. Still, there's hope here, at least. Her easy way with a hitlist and nervy ruthlessness may yet make her a match for Walt, though that's yet to be realised.

    Given that movie directors are currently falling over themselves not only to praise the long-form potential of television, but to make it – the Coen brothers are the latest to turn to the small screen – then perhaps it is time to start applying the film-focused Bechdel test here, too. To pass, a show must have at least two women in it, who talk to each other, about something besides a man. Top of the Lake and Orange is the New Black, to name two current examples, make it look easy.

    After this week's episode of Breaking Bad, so obviously well-crafted, I still don't feel as if it is one of "my" shows. Its proportions are wrong. As a female viewer, I feel like an afterthought. And I know that it's fantasy. I know it's escapism. It's a drama about a drug empire in New Mexico. I don't need television to be a mirror to the actual details of my life, though if anyone's interested in making a docusoap about a woman who watches an obscene amount of telly, do get in touch. But inevitably, on a broader scale, television is a mirror. In great drama we want to see some aspect of our humanity represented or questioned or unmasked or shaken. If Breaking Bad is going to move up to the big table, its women have to be more than a passing concern.

    thoughts? I think they have a point about the male centric-ness of the show but to act like it's a problem specific to BB and that shows The Wire and Sopranos are so much better is ridiculous. Don't even get me started on their 'analysis' of Skyler. Also this is my first ever post. hope i didn't mess it up somehow!

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  • 08/14/13--10:45: When Guillermo Met Gundam

  • While promoting Pacific Rim overseas, Guillermo Del Toro toured Odiaba Japan joined by the film's co-stars Rinko Kikuchi and Ashida Mana. Most of the above video is fun touristy stuff, but at the 3:19 mark something magical happens. Del Toro encounters Odiaba's legendary Gundam statue and is instantly overcome by childlike wonder. There is just something so heartwarming about watching the director see one of his inspirations up close. (His exclamation of "whoa" when the giant statue moves its head is especially touching). Given the sheer magic that Del Toro has given to audiences over the years, it's tremendous to see him experiencing some karmic retribution first hand, wouldn't you agree?


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    Get a first look at the new issue of Rolling Stone

    Seattle rapper Macklemore makes his first appearance on the cover of Rolling Stone in our next issue. The cover story, by Brian Hiatt, goes in-depth on the life and career of Ben Haggerty, a.k.a. Macklemore, and his musical partner, Ryan Lewis. Haggerty, a recovering alcoholic and drug addict, says that at one point he was so worried about being trivialized as "the 'Thrift Shop' guy" that his sobriety was at risk: "I went through a place of not being happy, getting put in the box of 'This is a novelty rap song,' and being like, 'What did I sign up for'?" But the success of the pro-gay-rights track "Same Love" helped him relax. "The legacy that I'm leaving on the world is more than just a song about second-hand clothes," he says.

    Lewis, meanwhile, acknowledges some concerns about being the lesser-known half of the duo. "I think on the mainstream level, nobody knows what the fuck I am. Am I the DJ? Do I make the beats? Do I rap? Am I singing on tracks? I don’t think a lot of people know except real fans who have been around. I mean, you guys, Rolling Stone, don’t want to put me on the cover. It’s like, you’re going to sell more copies with Ben’s face. Why is that? Because the general public, based on the way this whole thing’s been marketed... are going to be more receptive to ‘Macklemore.’ The public don’t care how the song came together. And I can’t change that. So if I have jealousy, deriving from that, then that’s just stupid."

    Look for the issue on stands and in the iTunes App Store this Friday, August 16th.

    Source: Rolling Stone

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  • 08/14/13--11:14: ONTD Roundup
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    On August 12, Kendrick threw down the gauntlet, slicing and dicing every rapper around (save for a few icons) with his scathing verse on Big Sean’s song, ‘Control (HOF).’ The vocal beat down was legendary, but it also got us thinking — what other huge song disses have left us flabbergasted this year?
    No matter what Big Sean or B.o.B. (or Lupe Fiasco or Joell Ortiz) say, Kendrick Lamar’s diss-heavy verse on “Control (HOF)” was the hardest-hitting moment in music in 2013 so far. But Kendrick hasn’t been the only one spewing out harsh (read: amazing) lyrics.

    Chris Brown, Drake & More: 2013 Hip-Hop Brings The Disses
    One of hip-hop’s biggest rivalries has provided ample fodder for on-air destruction. Of course we’re referring to Chris Brown and Drake. Clearly still enraged over his fight with Chris in July 2012, Drake dropped “5AM in Toronto” on March 7. And there are multiple lines that must have made Breezy cringe. Drake not only accused Chris of starting feuds for publicity’s sake (“A lot of n***as PR stuntin’ like that’s the movement/And I’m the only n***a still known for the music.”), he also thinly referenced Rihanna (which is obviously a touchy subject): I’m just being frank with you/I mean, where you think she at when she ain’t with you?

    Ouch. But you can’t talk about hip-hop diss songs in 2013 without mentioning Ray J. You know, the guy who made a sex tape with Kim Kardashian in 2003 and then wrote a song about it ten years later. With lines like “She might move on to rappers and ballplayers/But we all know I hit it first,” and “I had her head going north and her ass going south/But now baby chose to go West,” Ray J was obviously aiming at a specific target.

    Taylor Swift Knows Her Way Around A Diss Song
    But like all lists about diss songs, it begins and ends with Taylor Swift. Our girl Tay Tay has been on the giving and receiving ends of diss songs this year. Let’s start with the good (for Taylor at least): her song “I Knew You Were Trouble” completely ripped through Harry Styles, and she didn’t even try to pretend the track wasn’t about him! “Taylor told Harry it’s about him,” a source told exclusively. “She references flying around America following One Direction’s tour in the song.”

    Taylor Swift Gets What’s Coming To Her?
    But what goes around comes around. Harry hasn’t taken a swing at T-Swift, but another ex-boyfriend — and a rap legend — may have! First, Jay Z took a shot at Taylor with “100$ Bill,” making fun of Taylor’s 2009 MTV Music Awards incident with Kanye West and saying that it made Yeezy a millionaire: ”Took that, Taylor Swift to a hundred f***ing million, b***h.”

    We’re thinking it probably hurt more to get dissed in a full song, by an ex-boyfriend though. This year John Mayer sent a shot back at Taylor with his song, “Paper Doll.” In the song, John croons, “You’re like 22 girls in one/And none of them know what they’re running from/Was it just too far to fall for a little paper doll?”

    He’s since been coy about the song’s meaning, but with the 22 reference — and his history of being slammed by Taylor — everyone pretty much already knows who he was singing about.

    2013 has proved one thing — no one’s ever safe in the music game! What is the best diss song of this year?


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  • 08/17/13--14:54: shailene woodley out in la
  • Enjoying a sunny weekend day out, Shailene Woodley stopped by a friend’s house on Saturday (August 17) in Los Angeles. Sporting drastically shorter locks, the “Descendants” cutie showed off her new hairstyle to the her pal as the duo sat on the porch.

    Though the 21-year-old got her hair cut to prepare for her role in “The Fault in Our Stars,” she also put the hair toward a good cause- an organization called Children with Hair Loss.


    she's not done w/ the cut and color but it looks sorta cute up lol

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    "I was just walking through Times Square, and I passed the Booth Theatre, saw the play marquee in lights [for Glass Menagerie], and had this total moment … I am so excited. It reminded me of the first time I came to New York and had that dream — even more than movies, this has been my dream."


    You live in New York City. Were you there the day of the Supreme Court decision on DOMA?

    Yes. I went to Stonewall and heard Edith Windsor speak. I was with my brother, who’s straight but enormously supportive of me. I felt so grateful to be right in the middle of it all — to be at the place where, in so many ways, this revolution began, at a time when such significant progress has been made. It was a profound experience for sure.

    Many people see your character in Glass Menagerie, Tom, as autobiographical for Tennessee Williams, the pioneering gay writer, and therefore an important gay figure. What's your take?

    I don't think of him exclusively in terms of his sexuality. Everything I've learned about Tom, I've learned through Tennessee, [through] reading about his life and how he struggled in a lot of ways and thrived in others. I think his conflicted sexuality is a huge part of his character and therefore part of Tom, but there are larger obstacles he needs to overcome before he can look at that in depth.

    I once talked to Patrick Stewart about Trekkies coming to see him perform Macbeth on Broadway, and he was just happy that people were in the seats. Do you worry that people may come to the theater looking for Spock instead of Tom?

    I don't have any control over how people see me, I just have control over the work that I do. The good news is that I think all of the people who are fans of me from Star Trek will be exposed to a whole different kind of storytelling. I am certainly grateful for that, I hope they will be too.

    This is your Broadway debut. How will you handle doing eight shows a week?

    My first play in New York was the Angels in America cycle: both plays in rep, for about seven months. If I could survive that, I’ll be OK.






    Source: OUT Magazine is still a thing, apparently

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