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Oh No They Didn't! -

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    Haven Comic Book

    General questions regarding s4 and what happened in s3

    Emily and Lucas discussing about wanting Fred Willard coming on to the show as Nathan’s therapist and involving naked looking puppets. The whole thing is ridiculous and fun!

    Emily talking about her baby. As well what Lucas and Eric like to do with her little boy. And a little story about Lucas and Emily’s husband getting confused as a gay couple while out shopping with the baby.

    Interview with Emily & Lucas from set

    So excited for S4, it’s a reset to the show! Also Haven is now streaming on Netflix


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    Emily Thorne (Emily VanCamp) is a bride-to-be on the upcoming season of Revenge, but something tells us this wedding isn’t going to go according to plan. That “something” is the show’s season 3 key art, which EW has obtained exclusively.

    In the gorgeous photo above, Emily dons a pristine white wedding gown, a perfect tan (thanks, Hamptons!) and a very gloomy bouquet of thorny black roses that seem to be the cause of the stream of blood running down her arm. (We’re guessing this one’s not going on the mantel…)

    The pic echoes what new showrunner Sunil Nayar told EW about the start of the new season, in which we will see wedding gown-adorn Emily get shot in the first 60 seconds!“That’s the big, huge event and huge mystery that we’re building to in the first episode this season leading up to a grand December finale,” Nayar told us.“We’re really excited for all of the little movements everyone makes toward each other and there are great parties building up to a wedding, and, of course, the wedding itself. It’s all going to drive the first half of the season.”

    Revenge returns Sunday Sept. 29 at 9 p.m. ET on ABC.


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    Andy Herren Fired By College of DuPage on Facebook: Big Brother 15 Houseguest No Longer A “Professor”

    Andy Herren has gotten himself into big trouble and we are not talking about inside the Big Brother 15 house. The College of DuPage has confirmed via Facebook that Andy is fact no longer working for them and is unemployed.

    The self-proclaimed “professor” has made various racial slurs, although not as bad as fellow houseguests, Aaryn Gries, Ginamarie Zimmerman, or Amanda Zuckerman, it was enough for the college to put their foot down and say they have had enough. Andy is not the only houseguest to lose his job, Aaryn was dropped from her modeling agency and GinaMarie was also fired.

    Rumor has it that Andy even lied about being a Professor as he has not been working at college teaching long enough to have earned the title – Andy was a part-time instructor.
    For the most part, Andy was not the most vocal in the house until recently when Elissa left and Andy has been slandering her non stop with such comments as “I would punch her in the throat.“ But after GinaMarie referred to some evicted houseguests as “biracial robots who aren’t human,” Andy chimed in, “Yeah, the robotic biracials.”

    College of DuPage posted on their Facebook page Friday, “Andy Herren has formerly worked for College of DuPage as a part-time instructor. He does not currently work for the College. Any behavior or language he uses on the CBS reality show “Big Brother” does not represent the opinions or values of College of DuPage.“
    CBS and Big Brother have really not done that much to respond to the horrible and disgusting behavior of the houseguests, unless their name is Aaryn. The fans posted many petitions and with the firings we can see that at least the public cares about the message Big Brother 15 is implicitly sending to youth about racism and bullying – even if CBS doesn’t.


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  • 09/15/13--22:28: Newsroom Finale Recap
  • The following recap, by definition, contains spoilers for Sunday’s season finale of The Newsroom. If you haven’t seen it yet, scoot! Everyone else, read on.


    Here’s a technique that may help you reconcile any unsettled feelings you have about The Newsroom‘s Season 2 finale: Think of the hour as the conclusion to a musical.

    Take a minute to let the idea sink in. In a musical – particularly the old-school ones of which creator Aaron Sorkin is so fond – it’s not weird when two characters who’ve done little but pester each other for hours on end suddenly have an over-the-top kiss.

    When they propose (and accept!) marriage, you don’t think, “Wait, shouldn’t you slow things down a little?” When all of the leads come to a feel-good reconciliation just in time for the final number, you don’t shake your head and think, “Well, that seems unlikely.”

    When the shy young ingénue finally finds her pluck, you don’t scoff at her mullet-in-the-making and come up with a ballpark total of her future therapy bills. You just sigh in contentment and hum along with the reprise.

    So, consider the events of “Election Night, Part 2″ as a sweet (if improbable) coda to the HBO drama’s sophomore season. Otherwise, the episode seems like a too-neat tie-up of a season that was, at turns, wonderful and laughable. With that in mind, let’s raise the curtain on the major developments that took place in this week’s episode.

    STAND BY YOUR MAN | We pick up at 9 pm on Election Night, with Will, Elliot, Taylor and Sloan on the air. A Genoa-shy MacKenzie, Don, Jim, Maggie and Charlie have decided that the Petraeus story raised in the previous episode is not as newsworthy as the story they were asked to hold in its place, so they’re running with the hypocrite who denounced Missouri Rep. Todd Akin. (At least Charlie has the good sense to feel bad about the cowardly call later on.)

    Taylor takes advantage of some downtime to ask Will’s permission to approach Jim. “About what?” Will asks, oblivious. She’s setting up a media consulting firm, and she wants Harper to come aboard. Will’s confused; Jim just signed a new contract, he says, which means he’s going nowhere. Taylor apologetically replies that she heard the senior staff was resigning over the Genoa kerfuffle. “Where did you hear that?” he demands. “From the senior staff,” she says.

    If I were Jim’s boss, he wouldn’t have to resign: I’d fire him for egregious newsroom Skyping with his girlfriend – who, by the way, works for a competing media outlet. In fact, he’s making googly cyber-eyes at her (doesn’t he have a race to call prematurely or something?) when Maggie summons him to a quick staff meeting. After the ladies exchange quick, fake-nice hellos, Hallie makes sure Jim knows that Maggie’s new ‘do is no Supercuts special. “Cutting off your own hair – that’s alarming,” she says, low-voiced and concerned. So is day-drinking and a complete change in personality, but neither of those changes in Ms. Jordan have lit much of a fire under Jim’s tush before now, have they?
    In the studio, Will gathers everyone who was involved in the retracted story and forbids them to quit on behalf of Charlie, Mac and himself. “The whole reason we’re trying to resign is to allow the rest of you to continue to do what we started without the burden of Genoa,” he says, then adds that when he leaves, Elliott will take his spot, with Don will take Mac’s, Sloan will anchor the 10 pm broadcast and Jim will be her EP. Absolutely no one in the room is on board with that plan. After all, “There are principles of… principle here,” Don notes, passionately if not eloquently. “Who put all this in your head?” Will asks. “You did,” his former executive producer answers. Will’s totally going to cry but then makes a joke about how he’s not going to cry, then they all go back to work.

    As the anchors prepare to go live once more, Sloan murmurs that Will insulted the team a little by assuming they wouldn’t stand by him. Why’s that? he wonders. “Because you insulted me a little,” she says. Aww.

    DECISION 2012 | Upstairs at Reese’s schmancy elections-night viewing party, Leona is high again – and loving it. Charlie is neither stoned nor in a good mood as he tries to get his baked boss to agree to accept his resignation – so he’s immune to some of her other (awesome) ideas, like splitting a pizza and reuniting the Allman Brothers. Finally, she offers up some pertinent information: She’s left the decision about how to handle Jerry’s suit – and everything that goes along with it – up to Reese, who’s out for a walk while he decides how to proceed.
    Charlie knows that Reese wants to settle out of court; you can see him slump a bit as he realizes that the resignation for which he’s so strenuously advocated is about to become reality. A bit out of sorts, he clumsily bumps into a cater waitress and knocks her entire tray of Champagne flutes to the ground. Oh hey look, it’s Maggie’s roommate/Jim’s ex Lisa! Of course she just happens to be there to drop wisdom on her former boyfriend… I mean, pick up a little extra money. (I’m getting ahead of myself.) Lisa nervously asks Charlie, who recognizes her, not to mention her presence to Jim. But when someone at the party tweets a photo of the sparkling spirits destruction, Harper finds out anyway.

    JIM MAKES AMENDS | Jim flies upstairs, where Lisa greets him with an honest assessment of glassware (“The center of gravity on Champagne flutes is too high”) and a repeated plea to leave her alone. He ignores it, tailing her through the party and nearly getting her fired. Jim Harper: the greasy-haired gift that just keeps giving. Lisa breaks my heart a little bit when she says she’s “smart enough to know I’m not smart enough” for him – we are talking about the man who was physically bested by both luggage and a door (twice) last season, right?
    Anyway, Jim’s slightly chagrined by Lisa’s estimation of him, but he’s got shaggier fish to fry: “Did Maggie cut her own hair?” he demands. Lisa says she isn’t sure (though the clipped locks she found on the bathroom floor were a tip-off), inadvertently revealing that she also doesn’t know what Maggie experienced in Uganda. Jim respects Maggie’s privacy enough not to spill all, but urges Lisa to talk to her roomie.
    On another call to Hallie, Jim asks if he ever makes her feel stupid, if he’s blowing their relationship the way he messed up his with Lisa. “First of all, you’re not smart enough to make me feel like I’m dumb,” Hallie replies (heh), “and I really like you, too. You’re not blowing it.” The exchange is so cute, I’m just going to pretend that Jim doesn’t ask her to tweet a story Neal wrote as if he were Hallie (it’s related to MacKenzie’s Wikipedia freak-out from last episode), and I’m really not going to get into the fact that Hallie eventually rewrites the puff story under her own byline and tweets it as a thank-you for the Romney interview early in the season.
    Later, as Jim and Maggie are monitoring the election he accidentally called too early, he mentions her hair and she admits to hacking and dyeing because the cut and color reminded her too much of little Daniel. Jim goes all Good Will Hunting on her with the “It’s not your fault” stuff, but she’s not comforted. “There’s a difference between being tough and wanting to be,” she says, using him, Mac and Don as examples of the former. “I wanna be,” she says. “You are,” he replies, and I know the moment should feel uplifting… but it feels overwrought or set in the wrong place or just somehow off to me. (Tell me I’m wrong in the comments.) They also talk about the moment Maggie first noticed Jim – it was on his first day at ACN, when he investigated a yellow iNEWS alert even though no one else cared. “You couldn’t help yourself,” she says, smiling. Keep that in mind, everyone; it’ll matter in a while.

    SLOAN SOLVES THE CASE |An update on the whole Sloan-didn’t-really-sign-her-book thing: Neal has tracked down the buyer, but he doesn’t think Sloan will be happy. “Was it bought by an inmate?” she asks seriously. “I have a small, slightly disturbed following among white-collar criminals.” (Ha!) The silent auction sheet from the Hurricane Sandy benefit shows that someone used names of characters from musicals like The Sweet Smell of Success and The Secret Garden to drive up bids for Ms. Sabbith’s boring economics book – ostensibly to save her from the embarrassment of no one wanting to buy it. Cut to Sloan in Don’s office a while later, when she realizes that he’s got a Sweet Smell poster on his wall…

    And then prepare yourself for some Olivia Munn awesomeness as Sloan marches into the control room, signs the book she found in Keefer’s possession, kisses him full on the mouth in front of everyone, slaps the book against his chest and sashays on outta there with a contented smile on her lips. It. Is. Fantastic. When Don recovers, he calls out, “What I have can’t be taught!” but Mac hushes him up and demands that everyone get back to work. Munn decidedly is this season’s MVP, with Marcia Gay Harden sliding in a close second. On a related note, when in the heck did I start rooting for Don?

    Back at election central, Mac and Will step away from the coverage to give Don, Sloan and Elliot an unwanted chance to shine. Mr. McAvoy and his recently fired EP retire to the hair-and-makeup room, where their conversation moves from a recent wrong (her saying he should fire her because of his vanity) to their long-over romantic relationship (“Are you sure you didn’t tell me” about cheating on him “because you wanted to break up?” he asks, and she answers with the lowest of low-brow retorts, classed up only slightly by her accent: “Are you sure you’re not just a massive bag of douche?”). Is it possible to cringe-laugh? If so, that’s what I just did.
    Will hits her hard when he apologizes for the engagement ring being “a practical joke.” (Watch Emily Mortimer as Will continues to talk, especially when he says he returned the ring that day; Mac’s destruction has its way with her finely boned face.) “I brutally hurt you, and that’s a fact. But in my lifetime, I’ve never done it intentionally,” she says, and Will is chastened… but things are not OK as they return to the studio.

    CHANGE OF HEART | Much later, Charlie does a complete reversal and tells Will they’re not going to resign after all. “Except for the things we did wrong, we did everything right,” Will says, and then nearly goes into a fugue state as he realizes that the sentiment also applies to MacKenzie re: their relationship. “The rest was me,” he says, digging for the key to his desk drawer and pulling out the ring. (Side note: You have a safe, Will. Use it!)

    He runs around the network, bellowing for Mac and finally finding her in the studio. He pulls her aside, away from the cameras, and gives her a long, rambling, touching and very in character admission about the ring: “I didn’t return it, because I’m in love with you, and will you marry me?” MacKenzie gets points for replying with the only logical response: “What the f—k is happening right now?” (Heh) So Will says:
    “Let me just say, I think you should. I think you should say yes. But no matter what you say, there’s no chance I am ever gonna hurt you again. And no matter what you say, I am gonna be in love with you for the rest of my life. There’s no way out of that. That’s just a physical law of the universe. You own me. No matter what you say, I will never stop.”

    When she agrees, he breathes a very relieved “Thank God,” and nearly knocks her over with his kiss. Edward R. Murrow help me, I loved this scene.

    THAT GREAT BIG BROTHERHOOD OF MAN | Out in the newsroom, Reese announces that he’s not going to settle with Jerry and/or accept Charlie, Mac and Will’s resignations. Charlie says they weren’t going to resign anyway. “History should reflect that I acted admirably,” Reese maintains. Will and Mac interrupt the bickering when Will booms out that they’re getting hitched. The declaration is no Ron Burgundy shouting “Veronica and I are gonna get married on top of a mountain!,” but it might as well be from the way the entire room looks at the pair in shock. But soon they’re all clapping and celebrating. Maggie and Lisa are talking. Leona’s got her feet up on one of the desks. Don and Sloan share a significant look, Reese is dating a Rockette and all is well in the word.

    Then, an iNEWS alert goes off and no one – except for Maggie — notices. We’re supposed to think this is the start of her being tougher, stronger and more intrepid… but is it too much to hope she’s also about to track down whatever happened to Will’s death-threat storyline from last season? Because that’s a story I’d put in the A block.


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    Mariah Carey posted the following picture with the caption: Watching "The Croods" while anxiously awaiting Daddy's arrival! @nickcannon"

    Image and video hosting by TinyPic

    In the picture her son is wearing his hair out, and what appears to be girls clothing. Is Mariah turning both kids into little divas, or is she just letting him express himself?

    You tell us!


    And for the sake of salivating Britney fans on ONTD -


    Image and video hosting by TinyPic

    Image and video hosting by TinyPic


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    Celebrity fail memes are the gift that just keep on giving. As if we didn't already get mad chuckles out of people poking fun of Jay Z weirdly jumping in a pool, Miguel executing a crazy Hogan leg-drop on an audience member at the Billboard Music Awards, and, of course, Drake rocking head-to-toe Dada, we can now rock these fails with pride. Joseph Evans has followed up his first "YOLO Polo" shirt with two more offerings that depict Jay Z and Miguel at the moment their respective fails became Internet gold.

    Each shirt costs $25, and has the texture and fit of an actual three-button polo shirt, meaning you can wear this to Thanksgiving dinner and see which one of your uncles is secretly cool. With three options available here, you can pick and choose from whichever fail made you laugh the hardest.



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    Source: Qflick@youtube

    seriously though 70% was just him wailing

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  • 09/16/13--02:07: SLAY BITCH!

  • Britney Spears will be raking in HUGE STACKS in Vegas this winter -- a ridiculous $310,000 per show ... nearly $15 million per year -- but she still doesn't hold a candle to Celine Dion.

    TMZ is privy to the financial details of Britney's deal. The 2-year contract calls for 48 shows a year at Planet Hollywood. According to the contract, Britney will earn $310,000 per show.

    By contrast, Celine does 70 shows a year. Sources say she pulls in $476,000 a show ... so she's way ahead of Britney in the money department, but Brit gets more time off.

    Britney's cut of the gate is huge -- projected sales per show are $508,514, meaning Brit will be snagging more than 60%.

    As we reported, producers are shooting for a "cool, hip club-like show" ... unlike the run-of-the-mill Vegas shows that preceded it (Celine's included). It starts in December.

    If that's not convincing, check out these cool 3D mock-ups of the stage.

    In the few short hours that Work Bitch has been officially released, it has shot up on iTunes in various countries. It's already #4 in the US and has already hit #1 in the following countries:

    Dominican Republic
    Guyanna British
    El Salvadore
    Costa Rica


    Britney's twitter

    Breatheheavy iTunes Tracking Thread

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    The Guardian published a piece on Benedict Cumberbatch and his role in The Fifth Estate. Naturally, he took the opportunity to hold forth on important issues of our time.

    I cut the opening few paragraphs of career recap, click the source to read.

    In January, he flew out to Iceland to begin filming. The man he was to play had by then been under police guard in the Ecuadorian embassy for more than six months, and had ignored all requests by the actor to meet. The very day before shooting began, just as he was having the final tests for his wig and makeup, Cumberbatch received a 10-page email urging him not to make the film. It was from Assange.

    "It was a very considered, thorough, charming and intelligent account of why he thought it was morally wrong for me to be part of something he thought was going to be damaging in real terms, not just to perceptions but to the reality of the outcome for himself. He characterised himself as a political refugee, and with [Bradley] Manning awaiting trial, and other supporters of WikiLeaks who have been detained or might be awaiting detention, and the organisation itself – all of that being under threat if I took part in this film."

    Did he wobble? "Of course. The fact that it was coming from the man himself, the day before we started filming? Of course I would hear and feel the protests of the man I was about to pretend to be. I'm a human being."

    Had Assange persuaded him to pull out, Cumberbatch would not now be looking at a likely Oscar nomination. I watched the film directly before our interview, and his portrayal is so convincing that at the end I felt a moment of genuine confusion and thought I was about to meet Assange himself.

    In real life, Cumberbatch looks nothing like the WikiLeaks founder. He is also unlike any actor I've come across. We first met last summer, when he had just finished making Star Trek in Hollywood, and was brimming with the bouncy charm common to men enjoying a sudden inflation in their sexual currency. The vertiginous cheekbones, snub nose and slanted green eyes have had him famously likened to an otter, but Sherlock had transformed him into a pin-up, and he cheerfully admitted to making the most of it. When we meet again at the Toronto film festival, where The Fifth Estate has just premiered, he is surrounded by a circus of publicists, people with clipboards, stylists and whatnot, but the easy, unguarded friendliness has somehow survived. He is not the only successful actor to hold on to his good nature in the face of fame, but most are less interesting than the characters they play. You get an idea of why Cumberbatch isn't from his description of what he wrote in response to Assange's email: "I don't want to go into any great detail, but it took me four hours and the central thrust was: this is not documentary, this is not a legally admissible piece of evidence in a court of law, it's not going to alter perception in a way that is actually politically going to damage you at all. People who will come to see this film will be savvy enough to see it as what it is; it's a starting point, that should both provoke and entertain. It will be a talking point, but your life, your private life, your persona, is fatefully intertwined with your mission – it cannot not be now. And to be honest, I think the sort of general perspective on you is still echoing from the kind of character assassinations that began way back when, with the initial leaks, and that is now heightened by the accusations of sexual misconduct in Sweden, and so you're known as this white-haired Australian weirdo wanted for rape in Sweden who's holed up behind Harrods in some embassy. So the misinformation about you is already there.

    "I said listen, this film is going to explore what you achieved, what brought you to the world's attention, in a way that I think is nothing but positive. I admit to doing work because I'm a vain actor. I want to be able to say, yeah, I'm playing a lead in a film. That's a huge career move for me. Yet I'm not acting in a moral vacuum. I have considered this, and whatever happens, I want to give as much complexity and understanding of you as I can."

    If I were Assange, I'd almost certainly have thought, well, he would say that, wouldn't he? But the intellectual engagement must have been unmistakable and, though Assange may not have believed him, Cumberbatch was telling the truth.

    The film begins in 2008, and follows the WikiLeaks founder's ascent from underground hacktivist to international terrorist, in the eyes of Washington, or swashbuckling cyberhero to his admirers. It focuses on the intensely complex and ultimately soured friendship between Assange and his righthand man, a German hacker called Daniel Domscheit-Berg, as well as his wary and ultimately fractured relationship with the Guardian. But it ends before the allegations of rape in Sweden saw him arrested, jailed and held under house arrest for a year, and before his flight to asylum and indefinite captivity in Ecuador's London embassy.

    I interviewed Assange in the embassy last year, and there are moments in the film when it's hard to believe it isn't him on screen. Cumberbatch's performance doesn't so much evoke as inhabit his character, and the accuracy of the voice, physicality and mannerisms is uncanny. He captures Assange's extraordinary capacity to charm and beguile, to intoxicate and manipulate, while offering glimpses of his isolation.

    When Cumberbatch first read the script, he worried that it cast Assange as some kind of cartoon baddie. "I think I may get my head bitten off by Disney for saying so, but everyone agreed with that." He immersed himself in research, reading endlessly and interviewing people who knew Assange, and gradually the script evolved into a more nuanced portrayal. His performance draws heavily on his research into Assange's childhood. "I know it's a Freudian cliche to go, 'Oh well, when I was a kid…', but, to be honest, it's so profoundly true with Julian. To have been a child in a single-mother relationship, being pursued around the country by an abusive stepfather who was part of a cult – to be taken out of any context where he could discover who he was in relation to other people – well, to then become a teenage hacktivist, and evolve into a cyber-journalist, to me makes perfect sense. And he's still a runaway today. I find that profoundly moving.

    "He kept isolating himself. Every bridge he built, he burnt. And I understood why at times, because he is on a trajectory that's different from other people. And, because of that, he can't form those human relationships that other organisations have. And that is tragic."

    Those who know Assange have often speculated that he might be on the autistic spectrum. Cumberbatch says he has no idea if that is true, but seems to suspect not. "The bridge-burning thing could just be circumstantial nurturing from what happened to him as a kid. How do you build trust when that's constantly been taken away from you?" He doesn't buy the theory that he's just a vain egotist, either. "Because you can counter that with, no, he's basically putting himself out on a limb for something he believes in, a rigid ideology, and that's uncompromising. That behaviour seems to be solipsistic, but that's because of what he's holding on to."

    It's an ideology Cumberbatch subscribes to only up to a point. He opposed the war in Iraq, and marched with a million others against it in 2003. "And it was such an amazing day. Though kind of dominated," and he starts to giggle, "by the protester with the placard saying 'The Only Bush I Trust Is My Own', which always makes me laugh. But that was the only thing that does make me laugh, thinking back to that day. There was just the despondency of realising that it meant nothing." When he read the WikiLeaks reports in the Guardian in 2010, about what western troops were up to, he'd been horrified. "Death squads and civilian casualties and underarmed soldiers and strategic mishaps and the brutalisation of soldiers and the terrorising of civilians: the worst fears we had about that war just came flooding through, and I thought it was extraordinary."

    But before Assange and his followers get too excited, Cumberbatch turns out to be decidedly ambivalent about what WikiLeaks and other cyber-whistleblowers such as Edward Snowden are up to. He is alarmed by the revelations of mass surveillance by the NSA and GCHQ, and doesn't like the idea of anyone reading his private emails – "It's none of your business" – but then adds, "Oh, but you might have stopped me from being killed on a tube I took last Wednesday. If they are saving lives, how can we say that's less important than civil liberties? You don't have any civil liberties if you're dead. Isn't it hypocritical to say, we should know everything about you as a government, but the government can't know anything about us?" Assange argues for total transparency for powerful institutions, and total privacy for individuals. "But if you are a private individual who's packing semtex to kill people and destroy what we know as democracy for political purposes, then you're more than just a private individual."

    As for Bradley, now Chelsea, Manning, the young US army officer who leaked hundreds of thousands of war logs, diplomatic cables and other US state secrets to Assange and has just been sentenced to 35 years, Cumberbatch is sympathetic on a human level. "But he broke a law. He knew what he was doing."Manning has applied for a presidential pardon, but Cumberbatch can't see why Obama should grant it."He did what he did out of a conviction that an alarm bell needed to be sounded. But his superiors might have been right to say to him, it's not your position to be worried about it within the hierarchy of the military organisation, which is why he had to be sentenced. He took an oath, and he broke that oath."

    This sounds to me like the former public schoolboy in Cumberbatch speaking, though I hesitate to say so, because he is so weary of the peculiarly British critique that he is too posh to deserve success. His parents are both jobbing British actors, Tim Carlton (Minder, Bergerac) and Wanda Ventham (Only Fools And Horses), who scraped together just enough money to send their only son to Harrow, in the misguided hope that it would launch him into a more dependable career than acting. (Do people really 'scrape together' the guts of £35k a year?) He had great fun at Harrow, but headed straight from there to drama school in Manchester, and is now stuck with a toff tag that the tabloids have made much of. When I ask him to name the most maddening misconception about him, he mutters, "I think the Daily Mail Online has covered just about every one of them."

    This was posted under the article:

    In a note sent to the Guardian after publication of this story, Benedict Cumberbatch said:

    "I feel my views have been misrepresented. Do I think Manning should be pardoned? Yes. Do I think that's likely to happen? Sadly no. Re Snowdon I said in the interview that the use of threats to life as a reason to erode civil liberties through intrusive government surveillance can also be as dangerous to democracy as the terrorism such actions claim to be preventing. This wasn't printed for some reason."

    Read the rest at the source here.

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    Note: Do not read if you have not yet seen Season 5, Episode 14 of AMC's "Breaking Bad," "Ozymandias."

    Words fail.

    Whatever can be said about tonight's "Breaking Bad," whatever words can be written, they won't do justice to this hour of television, which is without a doubt the hardest episode of TV I've ever watched.

    Every time you thought things couldn't get worse, they did. Every time you thought the lowest point had been reached, it hadn't been. There was more. It kept coming. It kept finding new ways to be mind-bendingly, soul-churningly devastating.

    After I watch an episode of "Breaking Bad," I try to watch it a second time before writing up my thoughts on it. I'll watch this hour again, but not tonight. I couldn't watch "Ozymandias" twice in one evening and still be able to form sentences. As it is, after watching the episode once, it took me a while to get out of the chair I was sitting in. A good long while.

    The word "despair" doesn't really do the events of "Ozymandias" justice. It will have to do for a start.

    It didn't take long to find out that Gomez was dead. It didn't take long for Hank, poor Hank, to have his last stand, and prove that he had the kind of moral backbone that Walt can't even recognize anymore. I thought the most awful thing in this hour would be the sound of the gunshot that killed Hank, but I was wrong.

    So that was stomach-turning to witness, even as I could appreciate that the first third or so of "Ozymandias" was one of the most well-written, well-directed and seamlessly edited things I've ever seen. The whole episode was perfectly realized, actually. It's not possible to say enough good things about how Rian Johnson brought Moira Walley-Beckett's script to life, except to say that remember last week, when I wrote that watching the previous episode, "To'hajiilee," made me sick?

    This hour made me feel ten times sicker.

    My mind keeps returning to Anna Gunn's face in this episode. In the scene at the start, Skyler was just a normal person going about her day, selling ugly tchotckes on eBay, asking her husband to pick up some pizzas for dinner, picking out a pretty name for her daughter.

    Contrast all of that with the look on Skyler's face when Marie told her that it was all over and that Walt was in custody. I don't know how she did it, but Gunn communicated both horror and relief as Marie spoke. The look on Skyler's face said she was terrified to learn that the father of her children was going to prison for a long time, but some part of her also felt free, finally free of the monstrous evil in her house. The poor woman felt a weight had been lifted, in a way. If only that were true.

    It got worse.

    Watching Marie tell Skyler she'd be there for her sister as she went through this bad time was .... again, words fail. This is why television can be so effective, so amazing, so devastating. Marie, a character who started out as a side note, a diversion, comic relief, ultimately inspired such feelings of compassion and sadness. (A parallel trajectory that comes to mind: Buddy Garrity on "Friday Night Lights.")

    If only Marie knew the truth. If only she knew about Hank -- and I didn't want her to know. It wasn't hard to figure out that Marie would learn the truth soon, and waiting for that moment was nauseating. "You have got to prepare yourself," Marie told Skyler, and it felt like a kick in the gut.

    The thing is, we're at the point in the story where all the chickens are coming home to roost. Every consequence of every single choice Walter White has made is landing with unbelievable force. Given how many terrible things he's done and the awful events he's set in motion, those consequences should land like a ton of bricks. I just didn't expect so much of it to land in such a concentrated way in one episode. It was pummeling, it was punishing, but I can't think of a thing I'd change.

    I'll never be able to forget the moment that Skyler picked up the knife. Her fight with Walter. The baby crying in the background. Walt Jr's confusion and fury and the way he leaped to his mother's defense. It was all ... yeah. Accurate.

    "We are a family." That "sneer of cold command" on Walt's face.

    It got worse. It got so much worse. Walter kidnapped his own terrified daughter and the look on Skyler's face as she ran down the street after them.... Is it possible to ever forget that? I almost want to.

    This is the ugliness at the heart of this story, the heart of darkness. Everything from here on out is just filling in the blanks (and I have no doubt that those blanks will be filled in skillfully in the next two episodes). But this is the terminus, the destination, the place we have been waiting to arrive at. This is the face of evil -- evil that masquerades as everything else under the sun, evil that brings on the kind of decay Shelley wrote about.

    Walt's side of the conversation may well have been an act for the police. Walt's final communication with Skyler may have been, at least in part, his attempt to clear her of responsibility (and his way of of letting Marie know that Hank wasn't coming back). But there was something horrible clinical about Walt's rage. It was so pure, so fully formed -- so truthful, in so many ways that matter. That fury and rage and hatred had been waiting. The black hole inside him had been there all along. This was an aria from Heisenberg, who was telling everyone he'd ever had to deal with to "look on my works, ye Mighty, and despair!"

    I can't even think about Jesse chained up like an animal, cooking meth for Uncle Jack and his awful crew. What's worse for Jesse, having to deal with the matter-of-fact, bland pathology of Todd, or being alternately conned and cared for by Mr. White? I guess we know the answer to that now.

    Many fans have long wondered how Jane's death would be addressed before the end of the show. I never expected Walt to tell Jesse himself, in the hopes of completely destroying whatever humanity was left in his former protege. Jesse's beat-up face as he looked at that photo of Andrea and Brock -- I didn't think things could get that much worse for Jesse. How wrong that assumption was. Among the scribbles in my notebook: POOR JESSE.

    A long time ago, around the end of Season 3, I recall writing that the characters of "Breaking Bad" would never make me cry. I could not have been more wrong about that.

    Full Recap at Source

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    Misfits The Movie, based on the hit E4 show, will soon be in production...

    "A movie version of Misfits is already written and ready to go," Misfits writer and creator Howard Overman exclusively told What's On TV. "There are a lot of people interested in funding the project and we're just waiting for the final funds."

    Misfits follows a group of teen delinquents doing community service who each acquired superhuman powers after a mysterious storm. Originally starring Robert Sheehan, Iwan Rheon, Lauren Socha, Antonia Thomas, Nathan Stewart-Jarrett, there have been changes to the main cast over the four series. The fifth and final series is set to screen this autumn on E4.

    "The Movie could be a mix of both the original characters and the new ones - I can't say more than that!" said Howard.

    Before Misfits the Movie, however, Howard is working on BBC1's new 13-part fantasy series Atlantis, from the makers of Merlin, which starts later this month and features the adventures of Greek mythological characters such as Jason, Hercules, Pythagorus and Medusa.

    "When I heard Merlin was ending, I knew the BBC would be looking for something to fill that slot," said Howard. "I'd been thinking about Greek myths and the idea grew from that."


    OP: Would love for Robert Sheehan and Joe Gilgun to be in one movie but only if there isn't some stupid Nathan vs Rudy storyline to bait divided fans. They're both great characters so why bother, amirite?

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  • 09/16/13--08:02: Sky Ferreira is heroin chic

  • Sky Ferreira and Zachary Cole Smith of DIIV were arrested in Saugerties, New York Friday night, as the Daily Freeman reports. Ferreira was arrested "on misdemeanor charges of criminal possession of a controlled substance and resisting arrest," while Smith was "charged with two counts of criminal possession of a controlled substance, one count of possession of stolen property and one count of aggravated unlicensed driving, all misdemeanors. He was also charged with the violations of unregistered motor vehicle, driving without insurance, unlicensed driver, and having an inadequate exhaust system," according to the Daily Freeman.

    The paper reports that Smith was found with a "plastic bag containing 42 decks of heroin," while Ferreira "was found in possession of ecstasy and resisted arrest."

    Police pulled their truck over "after the driver made several vehicle and traffic infractions." According to the Daily Freeman, "Police said a registration check showed the license plates on the truck were stolen and the driver, Smith, was wanted by the Dutchess County Sheriff’s Office on an outstanding vehicle and traffic warrant."

    The two were taken to Ulster County jail, and then released on bail. On Saturday, DIIV performed at BasilicaSoundScape, a music festival in Hudson, New York, co-presented by Pitchfork.

    i am so done b*tch


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    On an afternoon in early August, Rebel Wilson was standing on a raised platform in a changing room on the Warner Bros. lot in Los Angeles trying to explain why she didn’t want to look pretty. A rack of clothes was being offered for Wilson to wear on Super Fun Night, a situation comedy that will air on ABC on Wednesdays at 9:30 p.m., about three girlfriends who attempt to overcome their social awkwardness by going out every Friday evening. Judy Gellman, the show’s costume designer, had assembled an array of jewel-toned, conventionally attractive ensembles for Wilson to try on and approve. Wilson, who not only stars on the show but wrote the pilot, which was based on events from her own youth in Australia, was notably quiet about the choices. “I don’t know,” she said softly, inspecting each garment. “These look like something I would wear, and that isn’t right.”

    Wilson was dressed in black pants, a white T-shirt, and a pair of ballet flats that were covered with thornlike spikes. Her blonde hair was pulled into a high, I Dream of Jeannie ponytail on top of her head, which accentuated her pale skin and wide blue eyes. Wilson is round in a way that seems like an attribute; she has a post-fat state of mind. She does not shy away from her size—instead, she embraces the fact that she is different. That attitude makes Wilson at one with the Zeitgeist: In entertainment today, unless you aspire to be on a reality show or soap opera, different is the way to be.

    And yet, Kimmie Boubier, her character on Super Fun Night, is definitely not Rebel Wilson. Kimmie is an unconfident American lawyer with a deep romantic streak and two female roommates who are equally terrified by the judgment of the world. Unlike the chic, pseudo-nerd girls that populate every sitcom on every network—from Zooey Deschanel’s “adorkable” hipster nerd on Fox to Kat Dennings’s gorgeous, sarcastic nerd on CBS to the my-life-is-a-mess-but-I’m-a-beautiful-mom on ABC’s Modern Family—today’s funny female is nearly always anything but a real misfit. Wilson imagined Kimmie and her friends as true uncomfortable outsiders, rather than TV’s standard popular beauties who are cosmetically nerdy in order to seem interesting, relatable, or relevant.(shades of ~fake geek/nerd girls~ i c)“Do you have any jackets with puffy sleeves?” Wilson asked now. “Kimmie likes Renaissance fairs, so she’d like that kind of sleeve. She is a romantic, and a puffy sleeve is romantic.” Gellman made a note of this request, but she seemed confused. She held out a royal-blue dress for Wilson’s assessment. “The innocence of this dress is good for Kimmie,” Wilson said after a moment’s consideration. “Kimmie is prissy in a way.” Wilson paused. “It would be nice if there were hearts on her clothes. She believes in true love, and that’s part of what gets her out of the house.”

    Gellman looked game, but a little lost—she was used to finding flattering clothes for much vainer actresses. “In the pilot, I was deliberately wearing a very tight white dress with horrible crisscross black stripes that is way too short, and I’m holding a clutch purse that is so tiny that it accentuates my size,” Wilson told me later. “The women from wardrobe are lovely, but they don’t get that I want to dress as Kimmie, and Kimmie does not have the best taste. The girls in the show are at the bottom of the social pole, and it’s hard to communicate that to the network. It’s important they understand that comedy is not about looking good.

    Today, the main agenda is to come up with an outfit that will work in a comedy bit for an upcoming episode: Kimmie gets her skirt caught in an elevator door. Wilson turned in a circle to demonstrate how the skirt will get hooked and Kimmie will end up nearly naked. Gellman nodded. “Will you be wearing underwear? Do we need to, say, embellish some hearts on your bikini underwear?” Wilson paused for a second. “I think it’s funnier if I’m wearing Spanx. It’s got to be embarrassing.” Gellman nodded again, eager to please. “The network requires wardrobe photos,” she reminded Wilson. “I’m not really network ready,” Wilson responded. “Let’s just see how this works first before we submit it for network scrutiny and approval.”

    Wilson’s staunch commitment to the genuinely odd and compelling is what first attracted Conan O’Brien, an executive producer of Super Fun Night, to her. “She’s authentic,” O’Brien told me, calling from his vacation in Boston. “And it’s harder and harder to find that authenticity when so many actresses have been taking improv classes since they were a fetus. In her quiet way, you can’t believe the balls on this girl. She has an incredible will, but she’s completely unself-conscious in how she ­presents herself. That willingness to be bold and her innate likability is contagious: Even during our first meeting, I found that I couldn’t take my eyes off her.”

    O’Brien’s initial awareness of Wilson came from the hit film Bridesmaids, in which she played one of Kristen Wiig’s two roommates. Although her scenes were brief, Wilson was hilarious and memorable: At her audition, she riffed about taking drugs through her belly­ button and held the screen.“During her first guest spot on my show, I walked over to my producer Jeff Ross and said, ‘We must have Rebel on again immediately, like tomorrow,’” O’Brien said. “I started asking around about her, and I found out that she had been a huge TV star in Australia. She came up with the concept for Super Fun Night and wrote the pilot. What really got my attention was that Rebel found a picture on the Internet of two nerdy girls hugging and she made that the title page for the script. I thought, These are not the type of women currently depicted on TV, and I want to see them.”

    Between the creation of the pilot in 2011 and today, Wilson appeared in seven films, including Pitch Perfect, in which she played Fat Amy. Pitch Perfect made Wilson an emerging star: Her character, who may be the first woman in films to acknowledge her excess weight without complaint or unhappiness, is riveting. Fat Amy sings in a big, anthem-worthy voice, she invents her own mermaid style of dancing, and she is a glorious role model without being, as Amy would say, “a twig.” “Rebel is revolutionary,” O’Brien continued. “Her weight is vastly overshadowed by her talent. It’s like the early Beatles—after the world heard the songs, no one cared about their haircuts. My role is to help get the unadulterated, pure Rebel out there. And that is going to be tough, especially with the network.”

    ABC is enthusiastic about Super Fun Night—the network grabbed the pilot when CBS, which first bought the show, rejected it. CBS claimed that its schedule was too packed with sitcoms, and ABC rescued Super Fun Nightimmediately and gave the show a prime spot on its fall 2013 schedule. Despite their professed belief in Rebel and all she represents, ABC clearly still wants to shape Super Fun Night. And since nearly all network television, especially the comedies, echo other shows, ABC seems to want tamer, less extreme characters. “Super Fun Night is, essentially, a coming-of-age show,” explained Samie Falvey, ABC’s executive vice-president for comedy development.“Kimmie is an underdog finding her place in the world. She’s a strong, powerful woman, and we want her to appeal to as many people as possible.”

    While Falvey’s intentions may be honorable, it is, apparently, nearly impossible for a network to embrace true (rather than faux) misfits, especially on a comedy. Network-wise, misfits make excellent psychopaths and anti-heroes for dramas, but comedies are meant to feature more “normal” heroines. “During the making of the pilot, I was so frustrated,” Wilson told me as we left the costume bungalow. She had successfully figured out which skirt to wear for the elevator bit and had also avoided being photographed for the network review of her outfit. “I was thinking, Why are these network shows so crapAs a creative person, it can make you insane to have 50 people in suits, who aren’t in comedy, feeling that they have a say in every aspect of the show. The people who bought it keep telling me, ‘You can’t say that. And you can’t do that.’ So one day, I sat down and wrote a Post-it and put it in my Hello Kitty notebook, which I take everywhere. Whenever I feel down, I read the Post-it and remember why I’m doing the show.”

    Her Post-it is a kind of mission statement: “The bigger purpose in all of this,” Wilson wrote, “is to inspire girls who don’t think they’re socially all that—who don’t think they’re pretty and popular. To let them know they can have fun and exciting lives.” Wilson references the Post-it constantly—in meetings, at a press conference for the show, in interviews. She seems to want to remind not only herself of her goals but ABC as well. “Super Fun Night may not work,” Wilson said as she drove a Warner Bros. golf cart to her office. “But I have to try. I will not be able to ease off the accelerator until they start to get who Kimmie is.” She paused. “When I had the opportunity to do my own show,Pitch Perfect hadn’t come out. I wasn’t known in America until Pitch Perfectcame out, and by that point, I had already signed up for seven years on this TV deal. If I’d known how quickly I was going to ascend in movies, I might not have done TV. But who knows? The show could get canceled at any moment.”

    Earlier that day, Wilson drove her golf cart to the commissary. “This menu lists the calories!” Wilson exclaimed, studying her options. “A salad has what? 1,250 calories? The hamburger looks like a good deal next to the salad. The littlest thing here is the grilled salmon with lemon sauce. At 400 calories, it is a bargain.” She decided on the salmon with fries, which increased the calorie count considerably. “Normally, I don’t consider how fattening something is,” Wilson said. “But when they write it on the menu, it does make you think.”

    Perhaps because she did not grow up in Australia with the dream of being a performer, Wilson, who is around 30 (her actual age is hard to determine), is appealingly untheatrical. Her manner is calm and thoughtful, except when she’s on-camera, where she transforms into whatever character she is playing. “No one in my family is in show business,” Wilson said, “unless you count dog shows as show business.” Her great-grandmother founded the Beagle Club of Australia. Rebel, her younger sisters, Liberty and Annachi, and her brother, Ryot, grew up in a house overrun by ­beagles. “I was a junior handler,” Wilson recalled. “But I was shy by nature. Like my show, my sister Liberty and I used to stay home and make Friday nights our fun night. Then I realized—hang on, it’s probably not the best idea for my romantic life to sit home, so I forced myself to go to different parties and clubs. Often the evenings ended in disaster, but when you force yourself out of your comfort zone, you learn stuff.”

    As a girl, Wilson was studious and, at 17, she was voted an Australian Youth Ambassador and sent to South Africa to represent her country.“I was planning to go into law or politics,” she said as her salmon arrived. “I was well known for my public speaking. I went to an all-girl boarding school with uniforms. It was very posh for someone like me who came from a world where my parents showed beagles and sold dog products out of a yellow caravan. I always had a foot in both places—the wealthy elite and the more feral world of my childhood.”

    In South Africa, Wilson contracted malaria. She was in intensive care for two weeks, and while she was under heavy medication, she had a vision. “I hallucinated that I was an actress,” Wilson recalled now, “and that I was at the Academy Awards and I won. I got up and did an acceptance rap rather than a speech, and the crowd loved it. The image was so vivid and strong that when I came out of the illness, I saw it as a sign: I knew I had to become an actress.”

    When she returned to Australia with her new calling, her family thought Rebel had gone crazy. “I’d already been accepted into the top law school in Australia,” Wilson said, salting her fries. “To prove I wasn’t nuts, I told them I would go to law school and acting school at the same time. I gave myself a time line, and if the acting didn’t happen, at least I’d have a law degree.”

    It was a staggering amount of work: By the second year of law school, Wilson’s acting career took off, but she stuck with her legal training.“I was very passionate,” she said. “I wrote my own play, The Westie Monologues, about where I’m from in Australia, and it was very successful. From that, I started getting offers from television.” Her first show in 2003 was called Pizza and Wilson played Toula, a Greek-Australian girl in a gang of six friends called the Fat Chick 12 (they were each as large as two people, hence the double number). “I dyed my hair dark for Pizza, and people thought I was Toula,” ­Wilson explained. “On the street, they’d yell, ‘Toula! Toula!’ They thought I was this Greek gang girl.”

    She was then on an SNL-like sketch show called The Wedge and a musical-comedy series in 2008 called Bogan Pride, which she created, wrote, and produced. Bogan Pride tells the story of Jennie Cragg, played by Rebel, who enters a dance competition to raise enough money for her mother’s stomach-stapling operation. “It was a comedy,” Wilson said, laughing. But Bogan Pridealso dealt with obesity, bullying, religion, and sexuality.“I watched Bogan Pride,” Conan O’Brien told me, “and I was impressed by her courage. She was like the Orson Welles of television in Australia—no one questioned her authority. Bogan Pride is not a show that would ever be on American television.”

    Despite her TV success, Wilson finished law school (“It was very James Franco of me”) and graduated in 2009. “I had a great career in Australia, so it was a hard decision to move to America,” Wilson said. “But in 2010, I was asked to audition for the part Melissa McCarthy ended up playing in Bridesmaids.” The film’s director, Paul Feig, was so impressed with Wilson that he and Judd Apatow invented the role of the roommate for her. She and Matt Lucas, who played her fellow roommate, became such close friends that they now share a house in Los Angeles.

    In the weeks following Bridesmaids’ release, Wilson was cast in five movies. Before filming Pitch Perfect, she put another Post-it in her Hello Kitty notebook; this message-to-self, regarding “Fat Amy,” read: “confident, cocksure, and loyal.” Those three qualities have defined most of her characters, despite their size. “Even when I’m playing Fat Amy in Pitch Perfect,I’m all about attitude,” Wilson said as she finished her food. “When I first walked into my agency, WME, they signed me because I was distinctive. I didn’t look like every other girl in L.A., and they liked that. I looked like someone an audience could relate to.”

    Wilson accepts her size without any shame. She’ll tweet a photo of herself with Anne Hathaway from an awards-show event with the message, “Get ready for Les Mis 2 … I’m playing ‘Fat Cosette.’” Or: ­Wilson founded a mini-line of clothing she named Fat Mandi that featured T-shirts with pictures of cupcakes or doughnuts placed strategically over each breast. When Wilson hosted the MTV Movie Awards this past spring, she did running patter about her shape. “My personal WTF moment was when I found out I lost out to Jamie Foxx for the title role in Django Unchained,” Wilson told the crowd. “I was like, ‘I could play black! I’m really into fat white chicks.’ Yeah, I’m inside one right now.”

    She wrote that joke. “I feel protective of her,” O’Brien told me, “but she is fearless in the ways that male comics are fearless. Men don’t think about their size as an issue, and neither does Rebel.” In a strange way, ABC may be protective of Wilson too. The network doesn’t seem to realize that she isn’t interested, as most women are, in being glamorized. “I’m not vain at all,” Wilson said as we left the restaurant. “I’m an actress. And if something gets a laugh, I have no problem embarrassing myself. The character is the point. Not my ego.”

    Two weeks later, on a Saturday afternoon, Wilson called me to discuss the first week of filming Super Fun Night. She was exhausted. Since we met, she had appeared on the Teen Choice Awards in a custom-made, skintight hot-pink-and-black wet suit with her name emblazoned on the chest. She told a joke that was ­censored (reportedly something about the name of the boy band One Direction also being the name of her “arsehole”), and she had been working nonstop on her show. “We finished at two this morning,” Wilson said. “Kimmie went to a piano bar and sang the Meat Loaf song ‘I Would Do Anything for Love.’ We’re not Glee, but it was pretty energetic.”

    Wilson was happy to be speaking in her native Australian accent—when she’s playing Kimmie, she stays in character and speaks only with an American accent. “If anyone calls me during the week, I talk like Kimmie,” Wilson said. “This is my life: I wake up at 6 a.m., drive to set, and start talking like the character.” I asked her how the network was responding to the upcoming scripts. “The notes thing is still really weird,” Wilson said, matter-of-factly. “I like to be edgy, and ABC says, ‘You can’t do this or that on network TV,’ and I say, ‘Why?’ Everyone gives me notes: Conan gives notes. Warner Bros. gives notes. ABC gives notes. In Australia, nobody gives notes.” She paused.“I had a joke about dolphin rape,” she said finally. “Dolphins sometimes rape people. If you Google that, you’ll see what I mean. And it’s quite comical to watch dolphins be amorous with humans. The network said no to that joke. I still don’t understand why.”

    Wilson paused again. “Sometimes I win, and sometimes I don’t. I won on my elevator stunt where my skirt comes off and I end up in my underwear. We did that this week. The first time I did the bit, my skirt didn’t bust at the end and it didn’t work. The second time we tried it, I was flung hard into the elevator door and then I was pulled up by my neck. I started to choke. All my clothes were torn off, and you could see my breasts and everything. I said, ‘Burn that tape.’ Even for me, it was too much. I do not want to die for comedy. They asked me if I wanted to go again, and I was brave enough to do it again. It was actually painful, but this time the bit worked: My skirt was stuck in the elevator door, I twirled, and it came off perfectly. It got very graphic, but in the end it was funny. Long after the show is forgotten, the joke will be remembered. And that’s why I’m here.”       



    i know it's tl;dr by ontd standards but i thought it was an interesting read even if at this point i kinda just want her to go away. had no idea she went to law school. and lol @ the article dancing around her age.

    this post has been brought to you by a "lacist" asian.  

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  • 09/16/13--08:03: Grace of Monaco – Trailer
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    Beyoncé and Jay-Z want to hire a French-speaking nanny to look after their daughter.

    The showbiz couple have gone in search of a bilingual child minder to look after their 20-month-old baby Blue Ivy - who was reportedly conceived in France - as they spend so much dashing around Europe and think it will be beneficial for their tiny tot to learn the language.

    A source told The Sun newspaper: ''Beyoncé and Jay have started advertising for a nanny who is happy to travel the world with them.

    "The other main stipulation is that she is bilingual.

    ''They want a French speaker for a number of reasons. The family have a real connection with France and Beyoncé's nephew Julez is a French speaker, because his dad is French.

    ''They've already started seeing candidates and have been getting advice from friends including Gwyneth Paltrow.

    '' The pair, who tied the knot in 2008, are currently enjoying a Mediterranean adventure with baby Blue after the family flew to Europe last week following Beyoncé's headlining performance at the Made in American festival, held in Philadelphia, Pennsylvania, on September 1.

    The couple reportedly ran up a £20,000 bill in just five days onboard their private yacht after splashing out on the finest beverages available, including Belvedere vodka, Rémy Martin cognac, Dom Perignon and Armand de Brignac champagne. A source said previously: ''Jay's really into his expensive booze but his food tastes are really simple.''

    Sources 1, 2, 3

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    Their latest issue is devoted to fashion royalty, so it’s only fitting that model of the moment Cara Delevingne should take centre stage in the latest edition of Vogue Australia.

    The willowy star is crowned ‘Miss Cool’ in the October issue courtesy of a stunning cover photo by Benny Horne, which captures her wearing a crown at a raffish angle.

    Another shot from David Bailey embraces an equally regal theme, with Cara modelling a distinctive lace dress with a high ruff while showing off the tattooed initials CJD – Cara Jocelyn Delevingne – etched across her right hand.

    In photos for a fashion piece titled ‘Yeah Baby She’s Got It’ the 21-year-old wears heavy make-up that accentuates her high cheekbones, her hair messily piled atop her head as she looks directly into the camera.

    A softer shot sees her sitting outside in subtle shades of brown, her fair falling gently across one side of her face.


    Cara’s latest photo-shoot comes shortly after she kicked off London Fashion Week with modelling assignments for Topshop Unique and Mulberry on Sunday.

    Indeed, after a year in which her antics away from the catwalk have overshadowed her career, the model was back to doing what she does best by parading down the runway in a string of outfits from the respective brands’ Spring/Summer 2014 collections.

    One such outfit, from Mulberry, featured a stylish monochrome floral print blazer jacket with matching shorts.

    Another, from the new Topshop collection, come in the form of a sleeveless black top and printed nylon shorts with a matching bag and nude, peep-toe flats.

    The young model was making her appearance on the catwalk having jetted into the UK from Mercedes-Benz Fashion Week.

    Cara had previously admitted that her on-going battle with skin condition psoriasis flared up during her last visit to LFW.

    She told Elle: 'It only happened during the Fashion Weeks, which are, of course, the worst time of year for me to be covered in scabs. Psoriasis is an auto-immune disease, and I’m sensitive.

    'Kate Moss saw me before the Louis Vuitton show at 3am when I was being painted by people to cover the scabs.

    'She said, "This is horrible! Why is this happening? I need to help you." She got me a doctor that afternoon.'



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    A few days ago, fans around the world wide web began speculating Lana Del Rey’s involvement in the soundtrack for The Hunger Games: Catching Fire, after the pop star began following the film’s director Francis Lawrence on Twitter.


    Instantly fans around the world had Lana Del Rey trending on the 140 characters or less social networking site. Well, the twitter follow isn’t the only clue leading to a possible song appearing on the upcoming soundtrack which also managed to grab UK soft-rockers Coldplay, and I’m talking about the image above which features Del Rey hanging with singer Lenny Kravitz, who plays the character of Cinna in the film series, as well as David Blaine looking a bit weird.

    lana lenny

    Could these two clues be any indication of Lana Del Rey appearing on the soundtrack for The Hunger Games: Catching Fire? It would honestly seem so as Del Rey had previously mentioned her music would appear in two films being released this year, with the first being The Great Gatsby. Take this as you would any other rumor until official confirmation comes from the singer herself, or Lionsgate.

    What do you think of Lana Del Rey possibly appearing on The Hunger Games: Catching Fire soundtrack?  We’ll continue to keep you updated as more information is released, and if you haven’t yet you can check out the lyric video for Coldplay’s Catching Fire single, “Atlas.” The Hunger Games: Catching Fire will rebel into theaters on November 22nd, with advanced tickets set to go on sale on October 1st.

    Sources 1, 2

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    Hilary was spotted leaving a producer's house while taking her weekly meetings, for her upcoming album. She's holding papers which look to be lyrics in her hand.


    She looks beautiful, I can't wait for her musical return and I wonder who she's working with!

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    Nick Jonas is joined by his brothers Joe and Kevin, Joe's girlfriend Blanda, Nick's girlfriend Olivia, and Kevin's wife Danielle for a party celebrating Nick's 21st birthday at XS Nightclub in Las Vegas on Sunday night. Since Nick's birthday is actually today, the party didn't kick off until he was legal at midnight.

    Source 1, Source 2

    Now can they give us the new album please? I'm losing interest with all this waiting....

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    Elton John has a warning for candles in the wind and this time it's directed at one twerking, young candle in particular. "I look at Miley Cyrus and I see a meltdown waiting to happen," he told The Australian. "And she's so young! But she's got two records in the top 20, so who is going to stop her?"

    John has seen this kind of thing before -- he likened Cyrus' behavior to that of Michael Jackson.

    Claiming he can "spot a car crash before it happens," John told the paper that he knew the icon was going to die. "He'd been doing drugs for so long, he'd been a mess for so long –- and I've known Michael since he was 12 or 13 –- that it was never going to happen."

    In his moral outreach, John also had some words for Cyrus' latest defender, Lady Gaga, who he seems to think is also in a dangerous place.

    “With Gaga -– who I love, she’s the godmother to our children –- I’d like to be able to talk to her right now, but I can’t get through to her," John said. "And there are times when you have to listen. When your persona begins to take over your music and becomes more important, you enter a dangerous place. Once you have people around you who don’t question you, you’re in a dangerous place."

    Although he never knew Norma Jean, John has actually spent some time with Cyrus ... so maybe he'll be able to give her this advice himself.


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