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Oh No They Didn't! -

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    Anette Iren Johansen recently left the Church of Scientology and has been blogging about her experiences, citing “terrible abuses committed within the church.” But she saved until now her biggest secret: She was one of numerous women the church auditioned in 2004 and 2005 when Tom Cruise was looking for a new wife. She’s the first, however, to go public about her experience.

    Anette spoke to Henry Meller, US reporter for Woman’s Day, and yesterday his story hit store shelves in Australia.

    Anette grew up in Fredrikstad, about an hour south of Norway’s capital of Oslo. In 1996, at 19, she moved to Copenhagen, Denmark for college, eventually studying to become a veterinarian. In 2002, a flier in the mail got her interested in Scientology. Within two years, she had given up college and was deeply involved with the church.

    Then, the Indian Ocean tsunami hit the day after Christmas in 2004. Her family had visited Sri Lanka and Indonesia the year before, so they volunteered to go with other Scientologists to the region.

    When she got back at the end of January, 2005, she was asked to take part in a special audition at the Copenhagen org. At the time, she was 27 years old.

    Until that time, she had made some appearances in Scientology magazines and training films, and she assumed this was something similar. She noticed right away that there was something unusual about this project. There was a makeup team, for example, which she’d never seen before. She wanted to keep it light, but the woman in makeup told her it was important for this audition to be made up with eye shadow and glossy lips.

    And that was the other odd thing about it — everyone working on the audition was a woman.

    Anette sat down before the camera, and instead of giving her a script, they just asked her about herself.

    “They asked me so many questions about my life, my family background, everything I’d ever done in Scientology. There was a lot of talk about Tom Cruise at that time — he had just been in Norway [hosting] the Nobel Peace Prize concert.”

    It seemed odd, but she got through it. Another strange detail: no one else seemed to be taking part in the auditions.

    Before she could leave, she was required to sign a waiver, promising not to mention anything about the audition. (Another thing that hadn’t happened at earlier auditions.)

    About two weeks later, she received a phone call from a man in California who identified himself as “Golden Era Productions, international management.” She was at the org’s canteen at the time, in a room with other people. He told her that he had some private questions to ask her, so she went to a nearby bathroom and locked herself in.

    “I got a call from a top guy at the main base in L.A. He said it was regarding my audition and that he needed to ask some very private questions,” she says.

    “He asked, ‘Do you have any sexual perversions?”

    She told the man that she didn’t have any perversions. (She was between boyfriends at the time.)

    He thanked her, and told her he might be back in touch with her. But she never heard anything else about the audition or from Golden Era.

    We called Marc Headley, who worked on some of these auditions before he left from the International Base.

    “That was for Tom Cruise, absolutely,” he says.

    Headley worked on technical projects at the International Base in California before he left early in 2005. At one point during the summer of 2004 he was asked to watch a highlight reel of the auditions that had been made for Tom Cruise.

    “Those are the exact same questions that they were asking the other girls,” he says.

    “The reason the sexual question came up was that they had some girls with histories that weren’t so great. So they were being careful. This girl has to be perfect in all ways.”

    We asked him why Scientology would be going as far afield as Denmark.

    “It was slim pickings in Los Angeles. In LA there were a lot of pretty girls, but they had a lot of baggage, by Scientology standards.”

    According to Vanity Fair, Nazanin Boniadi had been auditioned in October 2004, then had dated Tom from November 2004 to January 2005. So does it make sense that Anette would be among girls auditioned early that same January?

    Headley says it does make sense.

    “If you remember, Tom took Yolanda Pecoraro with him to the IAS gala in October. Even though he was seeing her, they were already auditioning Nazanin Boniadi,” he points out.

    “The auditions didn’t stop until he found Katie later in 2005. So even if he was with one of the girls, they were still working it, casting for the next season of Scientology’s version of The Bachelor.”

    After the audition, Anette realized that there seemed to be no film that came out of it.

    Anette continued her Scientology courses. She also went through some career changes. In 2005 she started a new business, selling vitamins. Then she worked as a translator. And in 2008, she began working as a business consultant.

    But it was around then that she began having doubts about Scientology. Like many other church members, she was put off by the 2007 push for “The Basics” — a repackaging of old Scientology books and lectures that members were required to buy, at $3,000 a set.

    By 2010, she had stopped taking Scientology courses. Then, in the fall of 2012, a couple of interesting things happened.

    She learned that a friend she had in the church, Geir Isene, had left Scientology and had gone through a divorce. The two of them began dating.

    Also, that September, Maureen Orth’s story appeared in Vanity Fair, describing Nazanin Boniadi’s experiences after she had been “auditioned” for Tom Cruise.

    The “auditions” had first been revealed in Marc Headley’s 2009 book, Blown for Good, and Lawrence Wright’s 2011 New Yorker story, “The Apostate.” Over time, Anette had begun to wonder about that strange audition she had gone through at the Copenhagen Org. Headley had written that some of the auditions had happened overseas — could she have been tested for Cruise?

    What did she think about Tom after she read the stories about the auditions?

    “I think what happened to Katie is terrible. Even now it must be very difficult for her because she still has a child with him,” she says. “Tom is totally cult minded. I’m very happy that I wasn’t matched up with him.”



    So who do we think will be the next to jump ship? My money is on Travolta, because much like Joe Simpson he will eventually find some dick that makes him say "FUCK everything. I'm out."

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    Hometown: Asheville, NC

    Occupation: Actress

    What’s on her plate: Reprising her role as steely first lady Mellie Grant on the third season of the television hit Scandal. Premiers October 3 at 10 P.M. EST on ABC

    Image and video hosting by TinyPic

    Being a Southern woman is a privileged tradition. It’s something that people see in you well before they hear you speak or taste your cooking. It’s thoughtfulness and gentility and a certain kind of grace that always makes a person say, “Where are you from?”

    My real name isn’t Bellamy. It’s Amy. When I joined the Screen Actors Guild, Amy Young was already taken by the child star of How the Grinch Stole Christmas. Yep, a 4-year-old stole my name. I toyed with Amaryllis or Amanda, but then Bellamy came to me. I thought “I’m Southern. I can pull that off.”

    My acting career began at age 4. It was baby acting class at the Flat Rock Playhouse near Hendersonville, North Carolina. We would pretend to fry like bacon or melt like ice cream.

    I’m a Dean Smith baby, Tar Heel-to-the-bone kind of girl. But, weirdly, when it comes to football, I root for Duke out of allegiance to my stepfather. Somewhere in Heaven my father is probably shaking his fist at me.

    Image and video hosting by TinyPic

    I learn Scandal’s newest plot twists and turns at the table read the day before shooting. It’s like life—you don’t know what’s around the corner; you meet it in the moment and do your best. I presume that this season Mellie will still be jockeying for position in The White House and fighting for her man with any weapon at hand.

    Asheville is an experience that you can’t understand until you’ve been. It’s a joy for me when I can get people there and then meet up with them after their visit. We just sit and have a quiet, knowing moment about the amazing ineffable magic of Asheville.

    I may be vegan, but my mama’s buttermilk biscuits are the most delicious thing I’ve ever tasted. Asheville is a great city for vegan foodies. There’s tofu lasagna at Avenue M, located a block from my childhood home. The vegan Reuben sandwich from the Laughing Seed—ridiculous. Then there’s The Hop’s vegan milk shakes. So good I could cry.

    There is nothing like the peace I feel when I’m walking in the North Carolina mountains. My favorite is a hike just outside of Burnsville. It’s where I’d like to be forever. Do they let you spread ashes there? It really is Heaven to me.

    Image and video hosting by TinyPic

    The South is not just a geographic location—the South is a way of life. I live in Los Angeles, but being Southern is constantly with me, in large part because I’m always on the phone with someone in North Carolina. My body is here [in L.A.], but my heart is there.

    I’m a dogged defender of the Southern idiom. For example, “y’all” is a very underused and undervalued word in the English language. It speaks to everyone, and it speaks you. What other word serves the purpose it does? No. Other. Word.

    When I went to college at Yale I caught a lot of flack for the speed of my speech. I spoke…verrry…slowly. People would leave the room before I finished a sentence. But I’m a singer and take great joy in all the vowel gymnastics we Southerners can create. We can get more tone in a vowel than any Italian opera singer!

    My mama drilled in me the importance of thank-you notes. Today I think they’re the best things in the world. People want to feel appreciated, so get the word out there and let them know what they mean to you. You can thank them for something from present day or something from the past. There’s no statute of limitations on gratitude.

    source and bellamy's twitter because she's adorable

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    An astounding spec ad for the Mercedes-Benz C-Class featuring the most incredible twist ending ever devised to promoting a car's on-board collision-prevention-assist system is ruffling some stuffy feathers at the headquarters of Mercedes parent company Daimler AG.

    The ad, uploaded late last week by the four German film academy students behind it, starts with a disclaimer informing viewers that neither Mercedes nor Daimler authorized the making of this marketing campaign.

    The disclaimer was added after Mercedes threatened legal action against the filmmakers, saying the commercial's content was "inappropriate."

    Which is something you generally want to avoid saying about a video in which Hitler dies.



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    Farrah reportedly earned $1 million for her Backdoor Teen Mom sex tape, but that money wasn’t enough to satisfy the 22-year-old reality TV star.

    On August 18 Farrah created an Amazon wish list and asked fans to purchase more than $13,000 worth of gifts, and despite the negative press she got has learned she thinks she’s “fortunate to receive amazing gifts from people.”

    “You know what? I think if they are so hateful towards having an Amazon wish list, I recommend that they maybe make their own wish list,” she said. “It’s just something fun like having any other app for whatever list you would like to create, like Pinterests that you have.”

    And the joke is on her haters, because as of August 23, everything on Farrah’s list has been purchased!

    “So I mean everyone has their own money, everyone strives to buy their own things, but I’m fortunate I guess because I receive amazing gifts all the time from people,” Farrah continued.

    “So I think any negative comments can be kept to themselves.” Farrah claims her fans were obsessed with the Amazon list and she was urged to create her own.

    “Everybody is obsessed with like the Amazon list,” Farrah said. “One of my girlfriends has it on hers. She’s like, ‘Yeah I know you receive gifts all the time, but you should like maybe be more in charge of what you get.’”

    That’s when Farrah created her own wish list. “And so I was like, ‘Oh, Okay,’” Farrah said. “This is actually fun because you then start like clicking on everything on the internet that you like, and then you get a huge list.”

    But many of Farrah’s online followers didn’t see it the same way Farrah did and have actually slammed the Teen Mom for setting up the wish list in the first place. “I hope they make their own list,” Farrah said. “I think it’s just like fun to have it there.”


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    Odd Future's empire thrives off lifestyle. (The crew carries their apparel  while on tour while hard copies of their music stand as a checkout line item in their stores.) Not beholden to radio (with notable yet light chart success), Odd Future has creative freedom when curating. What follows is "Doris," a slow (rarely rising above 70 bpm), introspective album where Earl Sweatshirt combats pressures when returning to a life of stardom after time spent at a Samoa-based boarding school for troubled youths. 

    As with all of Odd Future projects, there's a cast of characters to familiarize yourself with to fully indulge in the music. Vince Staples, a lesser-known name that appears three times on this record, is a Long-Beach California rapper who goes as far back with Earl as 2010. Vince Staples' work was influential on early 2013 mixtape, "Stolen Youth," with Larry Fisherman (a.k.a. Mac Miller, who also appears on "Doris").

    Frank Ocean's cousin, Sk La' Flair, and the rest of OF crew is in tow: Frank Ocean hints at his pre-Grammy fight with Chris Brown ("Sunday"), Domo Genesis and Tyler make strong vocal appearances and Syd is recruited as engineer ("Hive").

    1. "Pre" feat. Sk La' Flar
    Sk La' Flar's real name is Shakeir Duarte. Google and you'll find that he's currently suing Chris Brown over injuries sustained during a fight, also involving Frank Ocean, that erupted outside of a recording studio in L.A. Knowledge of the altercation, which lpresents itself later on in "Doris," gives context to tough lines like "He said that he wanted beef / so we fed him hollows and got it poppin."

    At the 1:47 mark, Earl enters in strong form stating that he's a problem to others in the rap game. The intro's slow druggy beat -- first molly reference comes just 29 seconds in -- hints at the darkness  throughout of the album.

    2. "Burgundy" feat. Vince Staples
    Burgundy's interludes, spoken by Staples, mockingly illustrates the dismissive OF critic who doesn't care for Earl's emotions. Through these interludes, spoken over The Neptunes trumpet fanfare-punctuated beat, Earl struggles with his changing priorities ("Grandma's passing / But I'm too busy tryna get this fuckin' album crackin' to see her").

    He also keenly acknowledges his lineage ("expectations raising because daddy was a poet, right"), in one of the only lines on the album that addresses Keorapetse Kgositsile, his South African political figure and poet father who left him when he was six years old.

    It's impossible to think about this song without thinking of Mocha Desire, the character that Earl portrays whose life was changed by "Doris."

    3. "20 Wave Caps" feat. Domo Genesis

    Domo Genesis delivers an even-tempered flow strikingly similar to what listeners heard on Tyler, the Creator's "Rusty." "20 Wave Caps" again visits Earl's insecurities about those around him, while simultaneously revealing that he feels alienated by those he used to be comfortable hanging out with but now treat him like a celebrity ("I'm shaded with the few whom I usually blow cabbage with… they all jaw slacking, all of them star struck").

    4. "Sunday" feat. Frank Ocean
    Similar to Jay Z and Kanye West apologizing to their future children on "Watch the Throne's" "New Day," on "Sunday" Frank and Earl write an ode to their personal relationships. While on "Burgundy" Earl shyly admits to only being "relatively famous," on "Sunday" Earl strongly claims that he's "fuckin famous" when confronted about being faithful.

    Frank Ocean oddly doesn't sing, but instead raps openly about his altercation with Chris Brown, noting the infamous Grammy incident "And why's his mug all bloody, that was a three-on-one? / Standing ovation at Staples I got my Grammy's and gold."

    5. "Hive" feat. Vince Staples and Casey Veggies
    Intense and slow-tempo, "Hive" is the first track where Earl's rapping style (of trying to cram as many words into a short phrase as possible) starts to feel slightly repetitive. Here he harkens back his emphasis on syllables ("crack ceramic and slap a hand out of cash account") similar to what listeners first heard on "Earl."

    "Hive" director, Hiro Murai, also worked on Donald Glover a.k.a. Childish Gambino's short film "Clapping for the Wrong Reasons."

    6. "Chum"
    If you've followed Sweatshirt's narrative from when he first released "Earl" up until now, this was the first track of his that actually addressed his time spent in Samoa and how he felt upon returning. In "Chum," he acknowledges several audience speculations, mainly that he considers Tyler a big brother and speaks (again) of personal boundaries. He's quick to bash Complex magazine, whose 2011 article "We Found Earl Sweatshirt" broke the news that Earl was away at boarding school. An incident, which he says, "made [his] life harder, and the ties between my mom and I strained."

    7. "Sasquatch" feat. Tyler, The Creator
    Long, drawn-out bass lines over a simple guitar line akin to OF's early work, "Sasquatch" is laden with references that should be all too familiar to those who follow Odd Future across social media. Tyler references One Direction (who they frequently joke about), makes a clever reference to his manager Christian Clancy ("Ku Klux Klan see") and shouts out to Taco, L-Boy, and more. Earl's characterization of OF fans as a "squadron full of some lost souls," speaks to their crew's brand and how they're able to unite such a passionate, young fan base. 

    8. "Centurion" feat. Vince Staples
    Heavy menacing horns carry Vince Staples' narrative of him and Earl performing a fictional robbery, with obvious analogies to their careers as L.A. rappers. Earl's verse comes with frantic strings that sample American composer David Axelrod's piece "A Divine Image."

    9. "523"
    "Doris'" only instrumental track contains heavily filtered drums courtesy of randomblackdude, which is yet another one of Earl's many monikers.

    10. "Uncle Al"
    The up-tempo, "Uncle Al," is "Doris'" hidden moshpit sleeper that has the potential to be looped in a live setting. These types of short and sweet bangers are common within the OF camp: "Domo 23," "Rella." 

    11. "Guild" feat. Mac Miller
    The dark and druggy cut, similar to the overall feel of Mac Miller's "Watching Movies with the Sound Off" album, features Miller's obsession with Lil B. It comes to no surprise as he's known take time out of his live shows to play "Wonton Soup" in its entirety.

    Earl also calls out "Trashwang," a phrase popularized as the title of a track on Tyler's "Wolf" but first used on a Mellowhype (Hodgy Beats and Left Brain) track "Grill."

    12. "Molasses" feat. RZA
    With RZA on the hook, "Molasses" showcases Earl's wordplay skills, which are interesting yet meaningless in this case. It is worth noting, however, that this song contains a very timely mention of the social network, Snapchat, which might be one of the first in a rap song.

    13. "Whoa" feat. Tyler, the Creator
    While Earl shows vulnerability in "Chum," "Whoa" works to counter and remind audiences (via Tyler's opening verse of Wolf Gang's finances) that he's still the crazy kid who made the infamous "Earl" video. The song's rumbling bass is a throwback to early Odd Future work.

    14. "Hoarse"
    "Hoarse," the most menacing song on "Doris," can be used in a soundtrack to a Tarantino film. The opening sounds like a cowboy walking into the sunset. 

    15. Knight feat. Domo Genesis
    Domo Genesis closes "Doris" with his even flow. "Knight's" distinct J. Dilla vibe slows down the tempo and the pitch of each rapper's verse, giving Earl's final line ("Young, black and jaded, vision hazy strolling through the night") a sense of finality.


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    From racy performances to an anticipated boy band reunion, this year's MTV Video Music Awards had everything.

    Featuring live performances from Justin Timberlake, Kanye West, Lady Gaga and Katy Perry, among others, VMA viewership jumped more than 60 percent from 2012's mediocre outing, averaging 10.1 million viewers in its return to Sunday night.

    "It was a wonderfully chaotic mess of unforgettable performances — everything you could hope for as a producer of a live music show," Van Toffler, president of Viacom Media Networks Music & Logo Group, tells The Hollywood Reporter a day after the awards show, later deeming the VMAs "a huge success for us."

    Known for its surprises and frenetic energy, the VMAs stayed true to character, with moments such as Miley Cyrus and Robin Thicke's risque team-up, Daft Punk's "unexpected" appearance and 'N Sync's historic reunion lighting up social media.

    THR jumped on the phone with Toffler to talk about the Cyrus-Thicke backlash, when the 'N Sync reunion became a reality, the repercussions of Stephen Colbert's Daft Punk spoiler, a major stage mishap and the biggest disappointment of the night.

    The Hollywood Reporter: A lot of people have been talking about Miley Cyrus and Robin Thicke's racy performance. How did that come about? Was that something that came from their camps or was it something that you guys wanted to do?

    Van Toffler: Well, really, both Robin and Miley have ginormous hits right now, so they were both natural for the show. We all saw that Miley actually covered "Blurred Lines" in her concerts and did a version of it, so we felt like why not have them play together as a transition from one to the other — as opposed to one performance, an award and then go to another [performance]. Just have them play off each other a little bit, and [then] Robin would go into his new song ["Give It 2 U"]. It seemed to work and create some buzz around each of them.

    THR: How did the rehearsals differ from what we saw on the live show?

    Toffler:Performers turn it up like athletes on game day. Did Miley do every move in rehearsal that she did the night of the show? No. We knew her performance was going to be provocative the way her video is. But on live TV, the performers turn it up a couple of notches. We didn't see Robin's costume or his suit before he got on[stage], but Miley definitely brought a different bit of energy to the live show. But clearly she's been making some provocative videos lately.

    THR: Did you have any concerns heading into the performance? (The Parents Television Council criticized the Cyrus-Thicke performance, saying it "simply substituted talent with sex.")

    Toffler: You have concerns always going into live television. I mean, this was our 30th one. We've had people climb onstage, we've had people interrupt winners and we've had people stage-dive when we've had pyro planned, so I think you've got to expect the unexpected. Not everything goes as planned. In fact, the stage actually broke a couple of hours before the performances so we weren't sure we could get the big bear on Miley's stage for the live show because of the step change. But we did. It was in a different position. We had to change a bunch of things leading up to it, but we knew it would be a memorable performance, just like Gaga's open and Justin Timberlake's medley.

    THR: Another big highlight was Justin Timberlake's 15-minute performance. Is that the longest performance ever at the VMAs?

    Toffler: I would say it's safe to say yes. He's had such an illustrious, wonderful career. He's arguably one of the best live performers in music now so more Justin, we need to do it.

    THR: Was that always the plan to have him perform that long? Did it expand as discussions went on?

    Toffler: No. I can say it wasn't always planned. We had a back and forth … I think this was his sixth or seventh time Justin's been on the show with [and] without 'N Sync, and we have such shorthand with him and respect, when he says "I wanna go from this stage to that stage. Can you help design something for me and potentially bring some surprise guests?" you really can't adhere to any strict rules about a performance or what you've done in the past. That's always our mantra, to continue to reinvent ourselves and our show, so that it's always full of surprises.

    THR: When did talks about an 'N Sync reunion first begin?

    Toffler: When we talked to Justin about the Michael Jackson Video Vanguard Award, and how we could effectively capture his career and what the performance would be like. Clearly those 'N Sync songs are a big part of his musical history.

    THR: Several months ago?

    Toffler: Weeks, not months.

    THR: When was that portion of Justin Timberlake's performance finalized?

    Toffler: At showtime. (Laughs.) Just about when the show started at 9 o'clock, when they arrived to the building. We did something similar with Michael Jackson. He was performing at the Garden and we talked to him about doing a guest thing [with 'N Sync at the 2001 VMAs] and we didn't know [if it was going to happen] until Michael's car had arrived at the Lincoln Center [where the VMAs were held] that he was going to come on. Justin and I were talking about that. (Laughs.) He wished he had a little more rehearsal time with that. But yeah, we probably knew it was going to happen day of show.

    THR: Daft Punk's "surprise" appearance at the VMAs was also a big headline leading up to the show. Did Stephen Colbert's VMA spoiler on The Colbert Report affect what the group ended up doing? Were they originally slated to perform?

    Toffler: No, they were going to appear. We did an exclusive clip shot in 65 mm film to "Lose Yourself to Dance," which is their next song. They were always going to appear on our show and not perform.

    THR: So his VMA spoiler didn't affect the plan?

    Toffler: No, though he did have his way with me and my name. All for the sake of comedy.

    THR: What are your thoughts on that particular Colbert Report segment?

    Toffler: You know, it's all in good sport. Stephen's a funny man. I wish he used a better picture of me, but I'm all good with it.

    THR: How did Lady Gaga's open, which had five costume changes, come together?

    Toffler: We knew there would be numerous costume changes, but she had rehearsed for quite some time off-site — and she's always a memorable performance, either as her alter ego Joe Calderone or with five or six costume changes. We were shocked that she was going to try to pull that off but were amazed at the way she was able to do it almost off-camera, so you didn't really see it happen in the course of three or four minutes. We said, "Please open our show and you take the rest from there."

    THR: If you could go back in time, what would you do differently?

    Toffler: Well, I wish the stage didn't break so we didn't have to change things around in the format. We had some minor audio issues and I personally would love to do a four- or five-hour show — I'm not sure if that's the best viewer experience — and let everybody go long. But I think you always want to leave them wanting more, and I think if you can leave enough room for those combustible moments that happens when Kanye walks up onstage [during Taylor Swift's acceptance speech] or Billie Joe [Armstrong] jumps into the audience, that's all we hope. We clearly had some memorable performances last night.

    THR: What was the biggest disappointment on the night?

    Toffler: That it ended. I always want more disruptions and chaos than everyone else does in the trucks, so I could use more chaos. That's about it. Otherwise I thought it was probably one of our best VMAs with some of the best performances we've had in our 30-year history, to tell you the truth.

    THR: What was the most surprising outcome given the reactions and results of the show?

    Toffler: (Laughs.) I didn't know that Gaga and Taylor and Selena [Gomez] were such big 'N Sync fans. You talk about how critics attacked them when they were in their heyday, and then everyone gets up on their feet, everyone talks about 'N Sync. By the way, Justin's sales have gone up like a thousand percent, 'N Sync sales have gone up hundreds of percent in 12 to 24 hours. To see Gaga standing up singing the words to their song, I was overwhelmed by the response to them.

    THR: While Kevin Hart made a few jokes that he wasn't hosting the VMAs during the evening, why go hostless this year? Will you go hostless again?

    Toffler: We've done it in the past. I think when you have so many set changes and wonderful performances and collabos like Miley and Robin, and Gaga on the front end and Katy [Perry] on the Brooklyn Bridge at the end, you don't need a host. It would just have taken time away from those killer performances.

    THR: Was it a logistical nightmare planning Katy Perry's Brooklyn Bridge closer?

    Toffler: It's not our first exterior performance. We've worked with Brooklyn for a while and we just couldn't really promote it as much as we wanted to because it would have been more mayhem. It actually turned out well. They had closed the Brooklyn Bridge — not for us, but for construction — so we just had to light it and it looked great in the background.

    THR: Were there things we didn't see or segments that were cut out at the last minute for time or other reasons?

    Toffler:The odd thing is we actually had to add time. We were thankful that Jimmy Fallon gave a sermon up there [prior to presenting the Michael Jackson Video Vanguard Award] where he broke into a sweat introducing Justin, because the set didn't turn and the loading time took a little bit longer. We were worried about getting Bruno [Mars'] pyro on the stage, we had to change Drake's [set] changing a bit. There was definitely chaos and mayhem behind the scenes, but I don't think the viewers noticed a lot of that.

    THR: Are you looking to return to Brooklyn or are you looking at other locations for next year?

    Toffler: Definitely, if they'd have us. I don't know if we'll go back next year but we loved it. We had a great experience.


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  • 08/26/13--20:43: What has Juh-nel been up to?

  • These days Jenelle Evans carries a giant piece of man candy around by the name of Nathan Griffith. Even though this part-time underwear model seems pretty buff, we’ve never seen him get violent.

    Now, thanks to some coaxing from his lady love, Nathan is about to throw some punches! But don’t worry, it’s all for his epic return to MMA fighting.

    “So I really want to do something big again and @PBandJenelley_1 convinced me to start fighting again. First fight is 10/26. Training time!” Nathan tweeted on August 25.

    If you ask us, this guy already looks pretty fit, but if more training means bigger biceps, who are we to object?

    Jenelley just loves her bulky stud, and we can’t blame her. Nathan is one of Little J’s first boyfriends who actually seems to want to keep our girl on the straight and narrow.

    Sure, she had that minor slip up when she failed a drug test, landing her in jail for 48 hours, but everybody makes mistakes, everybody has those days.

    Are you excited for Nathan’s triumphant return to MMA fighting? Or should Jenelle’s boyfriend try a safer hobby? Tell us below!

    “Teen Mom” star Jenelle Evans really wants to find a happy relationship and settle down. She quickly decided to get married to Courtland Rogers after just dating a few months and within two months of marriage, she was pregnant with her second child. She supposedly suffered a miscarriage because of the stress and drug use that was going on in the marriage. And now, she is dropping some hints that things are going on with Nathan Griffith. According to a new tweet released on Aug. 26, “Teen Mom” star Evans is now hinting that she could be pregnant.

    “I feel as if my boobs got bigger over night,” Evans tweeted this morning, which did cause some questions. “Your implants are probably infected,” one person tweeted, while another added, “OMG! Maybe your pregnant?” And it sounds like her followers want her to get pregnant again. “Is this a hint that maybe there will be a baby Jenelley coming? :-)” one follower asked.

    It wouldn’t really be a surprise if she was expecting a child with Griffith. The two have been talking about getting married as soon as she gets legally divorced from her husband Courtland Rogers. They have to be legally married for one year before they can divorce. But they can have a child, and since they both have children but no custody, perhaps they want to make a family together.

    What do you think of Evans getting pregnant now?

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    Have you missed Juh-nel on ONTD? This post is dedicated to meggiebooboo

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    King Joffrey as an adorable ten-year-old kid in Dublin

    JACK GLEESON, AKA King Joffrey, is known mainly for ruining people’s weddings and being a bastard (in all senses of the word) on Game of Thrones.

    Oh, he’s also a Trinity student and finds time to be really nice to strangers in Dublin pubs.

    But back in 2002, when he was 10, Gleeson played Tiny Tim in the Gate Theatre’s production of A Christmas Carol. And he was ADORABLE.

    Five years later in 2007, he also played Young Pip in Great Expectations:

    Source (via)
    For those with keen eyes, that's Domhnall Gleeson in the last photo.

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    As Vulture pointed out last week, Jessica Chastain's Facebook page is the best. The acclaimed actress uses her feed to post animal photos, dog photos and even movie reviews. Like this one, about Woody Allen's newest film, "Blue Jasmine."


    Chastain isn't alone in her praise of Blanchett's "Blue Jasmine" work -- which has been hailed as an early season Best Actress front-runner -- she just seems like the most sincere. (Props to you, too, Anil.)

    "Blue Jasmine" is out in theaters now.

    I am all here for Jessica and Cate working together in a movie!

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    Flawless Selena Gomez arrives at the 'Getaway' - Los Angeles Premiere at Regency Village Theatre on August 26, 2013 in Westwood, California.




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    Sunday's MTV Video Music Awards were all about reactions. In the most GIFable award show ever, our digital souvenirs include Drake solemnly staring at the ground, Rihanna giving the stink eye, and endless cutaways of Taylor Swift being Taylor Swift. Most are in response to Miley Cyrus and Robin Thicke's medley of her "We Can't Stop" and his "Blurred Lines," two of the year's most controversial music videos brought together as the night's must-see moment.

    Last night wasn't all about shock value—there was commentary, too.

    Bringing the "fucked-up selfie" concept of her video to life, Cyrus straddled giant teddy bears, spanked butts, touched herself, thrusted across Brooklyn's Barclays Center, and gave Gene Simmons a rival for most notorious tongue in music--and that was before Thicke even sauntered onstage to start their duet. The performance, as multiple headlines point out, "stunned" audiences and, atypically, generated more chatter than the show's opening and closing acts of Lady Gaga and Katy Perry, respectively. Reactions ranged from the expected (The Parents Television Council was not pleased) to the more surprising: MSNBC's Mika Brzezinski called Cyrus "deeply disturbed" and accused her of having an eating disorder during a Morning Joe rant.

    So here's a fun theory: Was Cyrus's and Thicke's performance actually a thought-out response to "Blurred Lines" criticism? Even before the song hit No. 1, "Blurred Lines" and its oft-parodied video have been accused of treating women like objects and promoting rape culture with its "I know you want it" hook, physical aggression, and subtle messages about alcohol and consent. Cyrus's performance with Thicke played with several of these themes in a way that could be read as commentary--though, at best, failed commentary.

    It would be easy to write off her performance as just looking to deliver shock value: Cyrus has openly professed her admiration for the Britney-Madonna-Christina smooching trinity of scandal that opened the awards show a decade ago, so it's possible that Miley was just being Miley to carry the torch of sexually provocative pop stars. That idea is also consistent with the message of "We Can't Stop," which kicks off her hip-hop makeover by warning it's Cyrus's party, and she can do what she wants. But from the way she introduced her performance--by reviving Saturday Night Live's's caricature of her with a doppelganger stand-in--it's clear that Cyrus is more self-aware than she perhaps gets credit for. And if there's anything we learned from Lady Gaga's "Applause" video, it's that pop stars responding to or parodying their own critiques is not out of the question.

    At first glance, the performance doesn't appear all that different from the "Blurred Lines" video: Thicke is fully clothed in a Beetlejuice suit and barely moves; Cyrus is clad in a flesh-colored two-piece and struts around him. But from the moment she eagerly ripped off her furry-fantasy get-up, Cyrus not only embraced and amped-up her own sexualization, she threw it back in Thicke's face (and lap). She got right up in Thicke's mug to shout some of the most scrutinized lyrics in "Blurred Lines" ("tried to domesticate ya / but you're an animal"), and she didn't back down after he took over vocals. With a giant foam finger, the night's most famous prop, Cyrus ran her hand over his crotch before grinding and nuzzling against him, trying to objectify Thicke in the way the original video didn't.

    The performance doesn't totally reverse the original "Blurred Lines" set up, but it did attempt the message of its most famous parody, a scene-for-scene, gender-swapped recreation by Seattle-based "boylesque" group Mod Carousel. The video went viral because it's an accurate and impressive mimicry, and because it has the same levity of the original minus the vague rapeyness. The parody, however, wasn't designed to foster hate for the Thicke video. According to Mod Carousel's YouTube description, the half-naked romps dreamed up in "Blurred Lines" could be great fun as long as all parties involved felt equally empowered. Accordingly, the video tries show the dolled-up men as equal participants in a way the original didn't achieve (despite the director's stated intentions). Mod Carousel argues that flipping the genders of a music video to demonstrate sexism usually does "everyone a disservice" by ridiculing the male form rather than actually trying to empower the women excluded--it's more punitive than restorative. The solution, they say, is to create a space "where objectifying men is more than alright and where women can be strong and sexy without negative repercussions."

    That sounds exactly like the type of space Cyrus and Thicke tried to create last night--but that's obviously not how it came across to a lot of viewers. There were, in fact, plenty of negative repercussions for Cyrus, who was quickly labeled a slut by many anonymous Internet-goers and accused by the New York Times of "molesting" Thicke (note: nooo my precious Grey Lady!). If Cyrus was trying to send a message about her sexual autonomy, why wasn't she successful? One reason is what Salon's Daniel D'Daddario calls the "fake sex positivity" of her performance. For comparison: Christina Aguilera, whose own sexual and artistic expression ignited similar conversation a decade ago, challenged criticism and championed empowerment through her music. Cyrus, on the other hand, just appears to be the over-eager participant in Thicke-worshiping, not the subverter of his messages.

    There are other reasons why the performance makes audiences cringe: For some, the age difference--she's 20 and getting called a slut, while he's 36, has a family, and is mostly getting off the hook--makes their interplay feel exploitative, even if she's initiating. To others, the aggressive degree to which she did initiate contact seemed like less-than-consensual activity instead of a playful move to level the playing field. And then there's Cyrus's troubling appropriation of black culture that pervades her album's promotional campaign despite mounting criticism of it.

    All of these problems turn what could have been a clever take on the song of the summer into not much more than a televised coming-out party, her official rebranding as an edgy pop star with a sex life. As Cyrus's performance shows, she's intent on skipping the "I'm Not a Girl, Not Yet a Woman" phase of pop-star predecessors. But as she executes her transformation, it seems the line between where she's in on the joke and where she becomes the joke is, well, blurred.


    Well, the Atlantic has weighed in, which means it's time to put this mess to bed. I like to imagine what the stodgy old Senior Editors must think when they have to approve this kind of article.

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    Now that we know Peter Capaldi is going to be the new Doctor, we're wondering what his signature wardrobe will be. These photos take us back to the days when Matt Smith's Doctor was still in development—as was his outfit.

    Smith's Doctor went through a couple of rumpled looks before settling into the tweed jacket and bow tie—and at least one dark businessman outfit. Steven Moffat has said that the bow tie was Smith's idea, that he was a great admirer of Patrick Troughton's Second Doctor and liked the idea of a Doctor in a bow tie. Moffat says he was skeptical at first, but later admitted that the bow tie was the perfect fit for Smith. In a couple of these shots, Smith looks confused as to how he ended up in those particular clothes.


    Arthur Darvill Pleased with Capaldi Casting

    Former Doctor Who heartthrob Arthur Darvill says that Peter Capaldi is the perfect appointment as the new Timelord – and reckons Whovians can expect a shake-up in the show’s style. Darvill and Karen Gillan bowed out from their long-standing roles as husband and wife Rory Williams and Amy Pond last year, and will be joined in the show's history books by out-going lead Matt Smith later this year when he leaves the Tardis behind for the final time.

    Smith will regenerate into Scots actor Capaldi after this year’s Christmas special and Darvill thinks this can only add to the continued longevity of the cult BBC sci-fi series.

    “I think it’s brilliant,” the 31-year-old told The Big Issue of Capaldi’s appointment. “It will be really hard for him to follow Matt, of course, who has made it his own. But I think it is the right time for him to leave and who better to take over than one of the best actors in the country.

    “I think Peter Capaldi is amazing and I think it will be very interesting to see what he does with it. If you look at what he’s done in the past, he’s so different and I think he’ll bring a lot to the character.

    “Obviously I’m sad to see Matt go but judging by the reaction everyone seems really excited. I think they are giving the fans what they want. To be honest I can’t think of anyone else who could have done it.

    If they got another young Doctor then maybe the show wouldn’t have lasted. They’ll have to write different stories for him and it will really open up the show in a different direction. If they got another young Doctor then maybe the show wouldn’t have lasted but now I can only see it going on and on and on.”

    Around this time last year, fans of the classic series were preparing for Darvill’s final appearance as the endearing Rory after three seasons in a central role alongside dynamic duo Smith and Gillan.

    Having worked closely with Smith over the past number of years, not only on Doctor Who but also in theatre and in ITV hit drama Broadchurch, he knows better than most what it takes to thrive as one of television’s most iconic names.

    “It’s about having confidence,” Darvill explained. “When Matt started there was a lot of fear involved but once he got going he was fearless. He’s a very close friend of mine and I learned a lot from working with him.

    “It’s truly about confidence. And that doesn’t come from arrogance – it’s about not fearing getting it wrong. Not fearing failure and knowing you can fuck it up if you need to. You just go for it.

    “That’s something you need to play this part. It’s about strength in your convictions, which very few people have in the way Matt does.”


    What outfit do you want to see the 12th Doctor wearing?

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    Ever since the Netflix-original series Orange is the New Black premiered on July 11, 2013, the buzz has been increasing about the show's varied portrayals on-screen, ranging from racial and sexual diversity to trans* characters and beyond. One of the biggest issues in relation to the LGBT+ community that the show has brought up is the lack of use of the term "bisexual" -- despite the apparent bisexuality of the central protagonist and other characters as well.

    In the first episode, protagonist Piper Chapman (Taylor Schilling) is shown to have had relationships with both men and women in her life; instead of being called "bisexual," however, she's referred to as an "ex-lesbian." This term is used several more times over the course of the first season; in other instances Piper is referred to as "straight" and "lesbian."

    For the bisexual community, many of us are on the look-out for portrayals in television and film that we can relate to; historically, such portrayals tend to be stereotyped and negative (i.e., sex-crazed, non-monogamous cheaters or something to that effect). When we see a potentially promising character like Piper, oftentimes we become hopeful that there is finally a positive bisexual role for us to watch. When that role eschews the term "bisexual" in every single instance for another term, however, that hope diminishes.

    When asked about her thoughts regarding Orange is the New Black, Bisexual Resource Center President Ellyn Ruthstrom said,"I enjoyed the show a lot and thought it was a shame that for a show that is trying to push the boundaries on several levels, that it still resorts to the old binary of gay/straight." Ruthstrom felt like the show "missed an opportunity" and is awaiting Season II."Piper is clearly bisexual so perhaps it will be explored better in the future."

    Bisexual activist Aud Traher furthered Ruthstrom's sentiments, saying, "I still think the idea of calling anyone 'ex-lesbian' is incredibly dangerous. It gives credence to not only bisexual invisibility but ... putting this into popular media only cements it further into the dominant discourse that queer people can be 'cured,' that queer women only need to find the right man or have sex with one to 'cure' them."

    To be sure, using a term like "ex-lesbian" may come off to a majority of the LGBT+ community as the ultimate goal of reparative therapy and "pray the gay away" camps. One might counter, however, that current discourse makes the way bisexuals are portrayed on Orange is the New Black more realistic than if the most politically correct terms were, in fact, utilized.

    To this point, bisexual activist Angel added, "It's obviously not the portrayal of An Ideal Bisexual™, but I think there's a difference between negative and [an] unideal but honest portrayal."

    Fellow bisexual activist John Clark agreed, saying, "I'm fine with the way Piper is finding herself in the show... Piper clearly is still figuring out herself."

    In fact, while other characters call Piper "ex-lesbian," "lesbian" and "straight" throughout Season I, she never refers to herself as any of these labels. There are actually multiple instances in which she refutes them. In one episode she explains to her friend and fiancé, "You don't just turn gay, you fall somewhere on a spectrum, like a Kinsey scale." In scenes like this, the viewer becomes aware that regardless of how other people see and label Piper, she does not necessarily see herself the way others do -- and doesn't that ring true for the lives of bisexuals of today and yesterday?

    Clark summed it up well, saying, "When I watch Piper, even though male, I get the place she's at. She's me decades ago just trying to figure out how she ticks. Our stories of self-discovery are the hardest to tell and very dramatic. They take time to tell."

    Viewers will have to wait to see if Piper comes out as bisexual in Season II, or if her journey of self-discovery still has longer to go before she's comfortable identifying with a specific label.

    Season I of Orange is the New Black is currently streaming on Netflix. Season II is set for a 2014 debut.

    A version of this blog post originally appeared in Bi Magazine.

    ( source )

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    Who would have thought that a TV show about a guy named “Jim Bob” with 19 kids would make Arkansas look good? But that’s been the case with “19 Kids and Counting,” the TLC show about the daily lives of the Duggars of Springdale: Jim Bob, Michelle, Josh, Jana, and 17 other “J’s,” plus Josh’s wife Anna and their three children.

    This is not the modern day version of “The Beverly Hillbillies.” The family was prosperous before it got its own show and, while it might be poked, it’s never mocked by the show’s producers. The family’s Christianity and other life choices – they homeschool; they do not date or dance; they don’t watch TV or spend much time on the internet – are presented in a positive light.

    The Duggars have made different choices than many Americans, and their lifestyle makes some people uncomfortable. But they are nice people, and the contrast between them and other so-called reality TV stars is striking. Viewers never see anyone throw a fit or conspire to undermine another “character.” Maybe they are on their best behavior because the cameras are rolling, but as my wife put it, you can’t get 19 children to pose for a photo, much less put on airs for TV. You never get the sense that their lives are much different when the cameras are off.

    This is a reality show that’s actually about reality. Many episodes focus simply on how the family navigates its way through life. (“The Duggars go bowling!”) At other times, the cameras have followed the family during highly personal moments, such as the death of Jim Bob’s father and the miscarriage of their baby, Jubilee. In good times and in bad, no one in that household ever has to wonder if they are loved.

    The Duggars have opened their lives to viewers across America because – well, because they are paid is part of the reason. But they also have a mission to express their faith and to show the world that children are a blessing from God, not a burden.

    That’s an important message these days. Various studies comparing the happiness of parents to non-parents have come to different conclusions. Some researchers say having children makes us less happy, and that would not be surprising. Children are a massive inconvenience, a huge expense, and often messy. Moreover, today’s “good” parent is expected to race from activity to activity and spare no expense to meet a child’s every need. Who has time to have dinner as a family when the kids must go to soccer practice to help them develop character?

    On the other hand, the Centers for Disease Control and Prevention reported in 2006 that 94 percent of Americans ages 15-44 agreed that being a parent is worth it. Studies recently published in the journal Psychological Science found parents, especially fathers, report greater levels of happiness and more meaning in life than nonparents. A study published in Social Psychological & Personality Science said that, not surprisingly, child-centered parents who put their children’s needs above their own enjoy greater satisfaction from parenting than those parents who still try to live for themselves.

    Finally, there’s this, scientists from Ohio State recently reported that children from big families are less likely to get divorced, perhaps because, as a rule, they learn to deal with complex interpersonal situations.

    Each additional sibling, up to seven, reduced the chances of divorce by 2 percent.

    Lots of only children grow up to have healthy families, of course, but maybe the Duggars and other big families are on to something. The Duggars’ lives involve one adjustment after another. Unless they are the world’s greatest actors, they take joy in those adjustments. In fact, they consider them surprises, not inconveniences.

    For parents, that distinction can be the difference between happiness and unhappiness. And so maybe we all can learn a lot from this family’s priorities and expectations, even if we don’t have 19 kids.


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    Link to stream.

    i'm liking it in full.


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    IT’S HERE. It’s here it’s here it’s here.

    I can’t believe it. I’m going BANANAS IN PAJAMAS about how excited I am for all you babes out there to watch this.

    I spent two years thinking about making this video and why it was important and necessary. Your resounding support for “Same Love”and “She Keeps Me Warm” is the reason I feel empowered to release this video today. I never expected to hear men AND women singing the lyrics, “she keeps me warm” right along with me. I thought girls would feel weird about the pronoun of “she” and I certainly didn’t want to alienate an audience. But you didn’t care. Nobody cared about a fucking pronoun. You let me sing about my girl across the country and supported me and cried with me and laughed with me. You cared about love. BECAUSE THAT’S WHAT IT’S ALWAYS BEEN ABOUT.

    This music video is about love and it’s about visibility. I could be wrong, but I’ve never seen a relationship like mine accurately portrayed in a music video. I’ve seen women rolling around in lingerie, bisexual love triangles, women cheating on their boyfriends with a girl- definitely.

    So this is where I need to say one thing explicitly: gay relationships are not, nor have ever, been a novelty. My love is valid, equal, and beautiful.

    With this video, my hope is that you think of the first time you fell in love with that one person. The person you were so terrified to hold hands with. You daydreamed about them, wrote letters you might never give to them, had to know anything and everything about them, and couldn’t believe that they actually liked you back. Maybe it was a time when you were less jaded, or maybe you had your defenses up and they slipped the rug underneath you when you weren’t expecting it. Whatever it was in those moments, it was incredible. It was easy. It was nervous glances and sweaty palms.

    My intention is not a political one, although gay relationships are inherently political whether we want them to be or not; My intention was to make a love story. I hope you fall in love with this and share it with all of your loves. Thank you so much for your overwhelming support. My heart is filled with massive amounts of gratitude.

    It's really cute, I cried tbh.
    Aslo, here is the Same Love video for reference:

    (This is my first post ONTD. Please go easy on me if I'm doing it wrong!)

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    “Liberty” – The Machine, now completely self-governed with its whereabouts unknown, resumes giving Finch its “irrelevant” numbers for people in danger, which include a U.S. naval officer in town for Fleet Week. However, with so many sailors flooding the streets of New York City, finding the officer in time presents an even bigger challenge for Reese and Shaw. Meanwhile, Carter has been demoted to a patrol officer as a result of her being set up by the corrupt police crime organization HR, and sets a plan in motion to eradicate them for good. Also, Root tests the boundaries of her new asylum surroundings, on the third season premiere of PERSON OF INTEREST, Tuesday, Sept. 24 (10:00 – 11:00 PM ET/PT) on the CBS Television Network.

    CHEAT TWEET: Can NYC fleet week mean too many sailors in the city to find a POI in time? #Personofinterest s3 premiere 10pm 9/24

    Jim Caviezel (Reese)
    Michael Emerson (Finch)
    Taraji P. Henson (Carter)
    Kevin Chapman (Detective Fusco)
    Sarah Shahi (Shaw)
    Amy Acker (Root)

    Enrico Colantoni (Carl Elias)
    David Valcin (Scarface)

    Rey Valentin (Jack Salazar)
    Max Martini (RIP)
    Alano Miller (RJ Phillips)
    Diane Guerrero (Ashley)
    Dan Amboyer (Don Juan)
    Steven Ogg (Chuck)
    Paulina Singer (Amber)
    Alberto Bonilla (Angel)
    Roman Roytberg (Maksim)
    Ben Horner (Jarhead #1)
    Sekou Laidlow (Swabbie #1)
    Tony Naumovski (Russian Thug #1)
    Cosmo Pfeil (Devil Dog #1)
    Bruce Altman (Dr. Carmichael)

    WRITTEN BY: Greg Plageman and Denise Thé
    DIRECTED BY: Chris Fisher

    Source: CBS;

    Why are they messing with my bb Carter? She's going to have to take them down.

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    Image and video hosting by TinyPic

    Diaper duty doesn't exactly sound romantic — but to Nick Cannon and Mariah Carey, it sure does!

    Life & Style chatted with the America's Got Talent host at the results show in NYC last night, and when we asked him what the last romantic thing the pair did together was, he revealed, "Waking up in the middle of last night to change a diaper!"

    Naturally, we wanted more details — like, for instance, how the 32-year-old can even describe it in that way.

    "It actually was romantic. The moonlight was coming through the room. It doesn't smell too great, though," said Nick, who married the songstress in 2008. "Our kids [2-year-old twins Moroccan and Monroe] sleep in our bed and that's the only time they wear diapers now…is at night. Otherwise, that could be huge problems, but that's really the only time I get to spend with them on AGT nights. So that's a special family moment."

    Okay, so that is pretty darn cute!

    Something else the adorable dad revealed? That he barely has any room to store his clothes!

    "[Mariah] has all the closet space, so all my stuff is in the corner pushed together!" he shared. "I wish I had the most closet space because I probably have more clothes than she does because that's someone who doesn't wear anything twice. It rotates through her closet. Then it goes into an archive or she'll give it to a charity, museum, or something like that. Me? I got to wear my stuff again, so I need the closet space."



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    Lady Gaga speaks with Larry Flick about fame and art:
    "What I find makes people the most uncomfortable about me is that I find that I'm artistic at all. Or that I think I'm creative. Somehow we've arrived upon a space where as a popstar you're not supposed to have an opinion. You're supposed to be quiet and inconsequential—a hit song and a beautiful photo, but it is not at all what I've ever wanted to be and I would never allow anyone to push me in a box for fame and success."
    She also uses the occasion to chastise the audience for not being more appreciative of artists. Her comments are made calmly, but it's clear they're rooted in a resentment toward the backlash she's been experiencing.
    Some of her words ring true for me, but some of the comments do come off as rather unfortunately (and probably unintentionally) snobbish:
    "They're not grateful anymore...It used to be a very unique and blessed experience to be able to experience theater and to go to see it and only the most highest-class people in Shakespearean times would be let into the theater and everyone else would have to watch it in the square. Nobody feels that way anymore. It's so easily accessible on the Internet it's treated like McDonald's, it's treated like trash...I'm not a French fry, I'm foie gras."
    The idea that art should be reserved for elites rankles me, even though I appreciate the idea that a lot of people out there with access to art care nothing for it. How many times have people said to me, "I could do that!" when looking at a simple (but complex) work of art in a museum that they did not, in fact, do? But art is for everyone, and it seems to be in contrast with Gaga's oft-stated (including here) absorption with her fans.
    It's an odd and intriguing and contradictory interview, at times articulate, at others awkward ("most highest-class?"), both elite (uh, foie gras is pretty disgusting an example to use as something elevated considering the cruel way in which it's made) and egalitarian, warm and chilly. And as for another famous popstar who cheekily said she wanted to rule the world back in 1985, Gaga says she just wants to be a part of it.

    Does this interview make you respect her more or less? Does she come off as unaffected or a pretentious prat? I suspect the answers could be given before you even watch the video...


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