Articles on this Page
- 02/20/14--17:33: _Emma Stone nude pho...
- 02/20/14--17:34: _Delicious News. Mob...
- 02/20/14--18:10: _Esquire Interviews ...
- 02/20/14--18:10: _'I can't talk about...
- 02/20/14--18:10: _Hilary Duff works o...
- 02/20/14--18:11: _Miley Cyrus Marc Ja...
- 02/20/14--18:12: _50 Cent And G-Unit ...
- 02/21/14--14:16: _People's Top Ten Ce...
- 02/21/14--14:31: _American remake of ...
- 02/21/14--14:31: _Rihanna's Alleged A...
- 02/21/14--14:40: _Justin Bieber Olymp...
- 02/21/14--14:54: _Fangasm alert: Fars...
- 02/21/14--15:11: _One Direction want ...
- 02/21/14--15:12: _Celebs at London Fa...
- 02/21/14--15:39: _Ryan Gosling & Alec...
- 02/21/14--15:44: _Le1f Signed to XL /...
- 02/21/14--15:55: _Banana Republic use...
- 02/21/14--15:55: _Interview: Adewale ...
- 02/21/14--15:56: _'Veronica Mars' to ...
- 02/21/14--16:00: _FFAF: February 21
- 02/20/14--17:33: Emma Stone nude photo scandal?
- 02/20/14--17:34: Delicious News. Mob Wives: New Blood Renewed For 5th Season!!!
- 02/20/14--18:10: Esquire Interviews Peter Dinklage
- 02/20/14--18:10: Hilary Duff works out and shops
- 02/20/14--18:11: Miley Cyrus Marc Jacobs photoshoot
- 02/21/14--14:16: People's Top Ten Celeb Quotes of the Week!
- 02/21/14--14:31: American remake of My mad fat diary ?
- 02/21/14--15:11: One Direction want Pharrell Williams for next album
- 02/21/14--15:12: Celebs at London Fashion Week
- 02/21/14--15:44: Le1f Signed to XL // New Single & Hey EP
- 02/21/14--16:00: FFAF: February 21
The naked Emma Stone photo that has blessed the web is -- unfortunately -- NOT EMMA STONE ... so says Emma Stone.
A pic showing a buck-naked red-haired beauty snapping a selfie in the mirror has gone viral ... and damn if it doesn't look a lot like the "Easy A" actress. Several websites have published the photo -- saying it's definitely Stone.
But a source close to Emma is adamant ... it's just not her.
As for who really owns the bare lady parts? She's yet to come forward.
Up to now, Emma's managed to keep her lady bits covered in the movies ... which is why this photo exploded on the Internet.
People believe what they wanna believe.
This is one blood transfusion that seems to have worked out pretty well! Fans can't get enough of the fights and drama since Mob Wives: New Blood was renewed for a fifth season right before the reunion.
Heading into finale, Alicia faces sentencing on charges of embezzlement, and ponders a future in which her children could possibly be left with their mother and father both in prison.
Renee is working to leave her past with Junior behind her, but this proves more difficult than she had ever imagined.
Natalie urges her boyfriend London to take the next step in their relationship, while Drita revels in the success of her business and experiences an all-too-rare calm on the home front.
Ang knows that family is the most important thing – but does that mean she and Neil can and should try for a new baby of their own?
The network promises that the finale will answer all the lingering questions fans might have following the end of last season.
Comedian, actress, and TV personality Sherri Shepherd hosts the cast reunion to discuss the most explosive and buzzed about moments of the season.
From Las Vegas brawls and scary stalkers to federal trials and cheating husbands, the fourth season of Mob Wives: New Blood has been so filled with drama we can hardly believe it went by so quickly.
Tonight night brings the season finale of the hit VH1 reality drama, and according to the show’s stars Alicia DiMichele and Drita D’Avanzo, we’re in for a wild one!
Wetpaint Entertainment spoke exclusively with the Drita and Alicia to find out what we have in store for us in the final ep, and what’s up for the sure-to-be wild reunion show. Watch the video below and get ready for what the ladies tease will be a shocking end to the season!
Every week on Mob Wives, things between Renee and Natalie seem to explode, then get resolved, then explode all over again. On tomorrow night’s season finale, consider these explosions akin to the Macy’s fireworks on the 4th of July.
Renee is throwing herself a party for her new book, but things go awry when Natalie hijacks the microphone to perform her brand new single called, you guessed it, “Delicious.” “What the fuck is she doing? Did she forget whose party this was?” Ang asks.
How will this end, and if Renee gives Drita a “look,” will this be the end of Natalie??
sources: VH1, WetPaint
At twilight on Tenth Avenue, the sidewalks of lower Chelsea, in the island kingdom of Manhattan, are thronged with creatures of every ilk—dewy working girls and snugly tailored metro boys, polyethnic couples and Euro-tourons; a burly man in a white apron splattered with blood; a fashionista pushing a rack of clothes; a bodybuilder leashed to a pug. Cars honk, buses whoosh, the sun setting over the Hudson River casts an energetic glow.
Peter Dinklage is sitting by a window in one of his favorite restaurants, facing northward, against the tide of the passing show. The overhead lights are bright; a jazzy soundtrack noodles through the inner atmosphere, which smells deliciously of baking bread. Few patrons are in evidence; the kitchen is shut down, retooling for dinner. He requested a seat in the back, but the staff is being fed. That he’s lived in this neighborhood a while now makes him a regular. That he’s the Emmy- and Golden-Globe-winning star of HBO’s popular Game of Thrones entitles him to this primo spot; it didn’t seem right to turn it down.
Dinklage’s thick and longish hair is stuffed beneath a fuzz-balled knit cap. He sports his usual black jeans and T-shirt and James Perse hoodie, a brand he says is known for roomier hoods. Though at four feet six he is eleven inches shorter than me, he sits as if he were taller; I have to look up slightly to meet his blue-gray eyes, which seem more reflective of what’s going on outside himself than of what’s happening within. The drooping set of his eyes makes him look a bit sad, even as he’s laughing. His heavy brow appears to be permanently furrowed in a state of wariness; he is indeed a veteran of life’s odd possibilities, starting with the one-in-twenty-five-thousand chance that he’d be born with achondroplasia—a genetic disorder that causes abnormalities in bone formation. At one point, my shin makes contact beneath the table with the tip of his not-unlarge Chelsea boot, the style favored by the Beatles. I do not take the opportunity to observe the distance between the sole and the floor.
A few days hence, engaged in the delicate task of fact-checking his height, I will thoughtlessly blurt the line that was always told to me, something from Abraham Lincoln about sufficient leg length being defined by one’s ability to reach the ground.
“Um, how tall was Lincoln?” he asks pointedly.
I don’t know, six something? He had gigantism.
“Yeah? Well, he’s a much more important figure in history and humanity than I am. But we don’t know how tall he was exactly, do we?”
I’m sure you can Google it.
“I read somewhere that Thomas Jefferson had a really squeaky, high-pitched voice.”
And Washington had wooden teeth, right?
“Ha. Those guys wouldn’t have survived today’s world. A president with a squeaky voice? No way.”
Seated as we are, in a brightly lit room beside a large window, with darkness gathering outside, there is created, I suppose, an effect similar to that of a department-store window display. People pass and stare, do double takes, snap cellies. Beyond the usual celebrity hubbub, there is something more: looks of genuine wonderment. Spontaneous delighted laughter.
Since wrapping season four of Thrones, an eventful one for his much beloved character, Tyrion Lannister, Dinklage has been home in New York for a month. Hitting the gym, working on a screenplay and producing a film, walking his hundred-pound lab-Great-Dane-pointer mix, running a lot of errands, taking his turn as at-home parent to his two-year-old daughter while his wife, Erica Schmidt, directs a pair of plays back-to-back. After more than two decades and eight different apartments in Brooklyn and Manhattan, “I’m getting to that age where I love New York City, but I don’t call it a vacation anymore. It sort of drives me crazy.” He’s antsy to get back to their house north of the city. Hoofing it across the urban landscape, hailing cabs, just buying dog food—everywhere he goes he causes a bit of a stir. Of course, it’s pretty much been that way his entire life. Celebrity has only multiplied the effect. Even when he’s not recognized, he’s noticed. One small consolation: After three decades of stage work and more than thirty movies—including a role in X-Men: Days of Future Past, coming in May—and a handful of awards, nobody confuses him anymore with Mini Me.
Now a woman is standing just outside the window holding a toddler with a runny nose. She’s speaking animatedly into the child’s ear, kissing her rosy cheek, pointing at Dinklage rather like a mother at the zoo. Look dear, it’s Trumpkin from Narnia!
This he can’t ignore.
He smiles overlarge and issues a spoofy royal wave.
“Hellooo,” he calls, at once sardonic and resigned. His voice is a beautiful deep baritone, a woodwind sound that resonates in the airspace around our two-top. “Helloo. Hellooo-oooo.” You must have some interesting encounters on the street, I say, attempting to commiserate.
He rests his cheeks in his not-unlarge hands and shakes his head. “Sometimes the encounters can be meaningful,” he offers, trying a different spin.
He rubs his stubbled goatee. “One morning,” after his breakout role in The Station Agent (2003), “I was walking down Melrose Avenue in Los Angeles. There was this guy on a motorcycle right in front of me—about as far away as that plant, maybe six feet? And he looked at me. He didn’t wave, but he looked at me, and then he pulled out into traffic and this car, like, boom—killed him instantly.”
And you were the last person he saw?
“Yes. I was the last person he saw on earth.”
And you connected with him.
“And I connected with him. And then he pulled out into traffic and boom. There was an old guy driving the car. I ran into this coffee shop that I’d been on my way to. They had somebody call an ambulance. And then I ran back outside to be with the guy, but he was already dead. I didn’t want to get too near him. The old guy had stopped and he was slowly getting out of his car. It was in the morning, so there was no one around, you know? This was in L. A., where nobody walks. It was empty. So there was this quiet moment where it was like I was the only person in the world who knew this guy was dead. And I was there looking at him, you know, in those moments of calm after something horrible happens, the calm before the melee starts, before the ambulances and the cops arrive and it becomes a scene. There was that moment when I was with him.”
He raises his photogenic chin, contemplating the immediate heavens, the vicissitudes of fate, his face turned away from the window. I can’t help but think of Tyrion Lannister delivering one of his rich monologues, a conflicted modern thinker among the primitives, a pragmatist with a deep well of melancholy.
“There’s such a difference with dying,” Dinklage says. “You can have somebody who is really sick for a long time. Like, my father had cancer for many years and he passed away. He was too young. He was in his seventies, which is too young. But there’s something different between an older person dying and this guy. He was probably about twenty-five. He’d probably just had breakfast at the same place I was headed. And then he died. It’s like, he was robbed.”
We sit for a few moments, sipping our coffees. He eats some cheese and apple off the plate but skips the bread. The passing show continues past.
Then it pops into my head, so I ask: Do you think you might have distracted him?
Dinklage’s eyes saucer. His face contorts into a hideous mask.
“No, no, no, no!” he cries, raising his hands defensively, as if to fend off the notion. “No! I never felt like that! NOT AT ALL.”
Just wondered, you know, given the—
“Oh, my God! Fuck you. How dare—Oh, Mike. I never thought of that before. This was supposed to be a story about how I actually connected with a stranger. Oh, fuck. Oh, man. Dude!”
I’m so sorry. It just seemed—
“It’s over. This is over! I’m gonna have nightmares tonight. I’m Catholic, remember?”
Four guys hunkered in a half-round leather banquette on a Friday night in Greenwich Village.
“You wanna talk about the Womfy?” Dinklage asks...
She was one of many of Philip Seymour Hoffman's former co-stars who attended his wake and funeral after his tragic death from an apparent drug overdose.
And Amy Adams was understandably unable to contain her emotions when asked about her friend during an interview with James Lipton on Inside The Actor's Studio which aired on Wednesday night.
'Gosh, I wish you all could get the chance to work with him,' the 39-year-old Oscar nominated star told the audience of aspiring actors at Pace University in New York City. 'He was beautiful. He's a beautiful spirit and he had this unique ability to see people, to really see them - not look through them - he just really saw people. And he will be missed.'
The actress became emotional at the mention of her second Oscar nomination for Doubt, in which she starred alongside Meryl Streep and Hoffman.
'We've arrived at a difficult moment, of course, for you, for me, for the craft that we love, for the world in which we live,' Lipton told the audience as reported by Us Weekly. 'Fourteen years ago, I brought Philip Seymour Hoffman to this stage with the prediction that he would become the greatest actor of his generation.'
Amy struggled to contain her tears while attempting to discuss the talents of Streep and Hoffman in Doubt, putting her hands up to her face.
'Both Meryl and Philip have this ability to create... I'm sorry. I'm so sorry,' she said tearfully.
'That's alright. I'm so sorry,' said Lipton.
'To create a world - which as an audience you get to experience that - but you get to experience that in the room acting with them as well. And it's transformative.'
The clearly emotional actress continued: 'Sorry, I really... I just really loved him and I know so many people did. And I just don't know how much more I can talk about it right now. Sorry.'
The pair grew close when they made the 2008 drama Doubt, in which he played priest suspected of child abuse and she starred as a confrontational nun, and they also starred together in 2012's The Master.
Earlier this month, an eyewitness told Us Weekly: 'James Lipton asked her about working with Philip on Doubt and The Master… It hit a nerve with her. She was sobbing and couldn't finish most of her sentences.
Amy, 39, was one of the celebrities who attended the popular thespian's wake.
Cate Blanchett, Joaquin Phoenix, John C. Reilly and his longtime friend Justin Theroux were among other stars who attended the funeral home to pay their respects.
Amy, who is up for the best actress Oscar for her turn in American Hustle, was also nominated for her performance as the wife of Hoffman's charismatic cult leader Lancaster Dodd in The Master.
Philip was discovered dead on the floor of his bathroom on February 2 by his friend David Bar Katz after an apparent heroin overdose, and had been battling a relapse into drug and alcohol addiction after being sober for 20 years.
YOU CAN WATCH THE VIDEO AT THE SOURCE:
Hilary at Chi Nail Salon February 17th, 2014
At a private gym in West Hollywood, February 18th
At a private gym February 19th
Leavin Arriving at Cecconi's Restaurant in West Hollywood
At a gym in West Hollywood February 20th
Grocery shopping at Bristol Farms in West Hollywood February 20th
ONTD, what is your favourite pastime ?
50 Cent announced today that he has signed an exclusive worldwide distribution and services agreement with Caroline/Capitol/UMG. The superstar recording artist transitions to independent status after a successful twelve years at Shady/Aftermath/Interscope, during which time he sold more than 30 million albums. 50 Cent's highly successful catalog, including Get Rich or Die Tryin', The Massacre, Curtis and Before I Self Destruct, will continue to be marketed and released by Shady/Aftermath/Interscope.
The artist's first album under the new agreement will be Animal Ambition, scheduled for release on June 3rd. Album pre-orders will begin on March 18th and fans will immediately receive two instant gratification tracks and the corresponding videos will premiere online. An additional song and video will launch each week leading up to the album's release.
According to Caroline President Dominic Pandiscia:
"We are thrilled to welcome 50 Cent and G-Unit to our family. 50 is simply one of the most accomplished and creative artists, and his plans for the future are as exciting and innovative as you can imagine. I deeply thank him for his belief in our team and what we can do to help support his creative vision in the years to come. I'd also like to thank everyone at Shady/Aftermath and Interscope, particularly Eminem and Dr. Dre, for offering their endorsement and support of our involvement with 50 Cent and G-Unit. They've done an incredible job these past 12 years, and we've got a great legacy of label partnership to build on."
50 Cent commented:
"I have had great success to date with Shady/Aftermath/Interscope and I'd like to thank Eminem and Dr. Dre for giving me an incredible opportunity. I've learned so much from them through the years. I am excited to enter this new era where I can carry out my creative vision."
"Both myself and Shady Records are grateful to have had the chance to play a part in 50's career. Shady simply would not be what it is without 50 Cent. I've developed a great friendship with 50 over the years, and that's not going to change. We know 50 will have success in his new situation, and we remain supporters of both him and G-Unit."
According to Steve Berman, Vice Chairman of Interscope/Geffen/A&M:
"50 Cent is, and always will be, a marquee artist for us at Interscope/Geffen/A&M. We respect his decision to pursue this new venture and the next chapter in his career, and wish him nothing but the best. He will always be a part of our family."
"Sometimes I'm like, Who is this guy? Can you be a little bit of that? Can we bring that guy home for a little bit?"
– Camila McConaughey, when asked how rom-com king hubby Matthew is different off screen, on Inside the Actors Studio
"They were crazy-town tight."
– Bradley Cooper, who, after gaining 15 lbs. for a new film, went commando for the White House State Dinner because his pants no longer fit, on The Ellen DeGeneres Show
"I like them young too! I'm not one to judge!"
– Marc Anthony, who says he's good friends with ex Jennifer Lopez's boyfriend Casper Smart despite the couple's 18-year age gap, on The Wendy Williams Show
"I don't want to be an 'ageless beauty.' I want to be a woman who is the best I can be at my age."
– Sharon Stone, on getting older, to Shape magazine
"To my buddy who said I'd never be the host of The Tonight Show – and you know who you are – you owe me a hundred bucks, buddy."
– Jimmy Fallon, in a gag in which a string of celebs pay off their bet in cash (and coins!), during his Tonight Show debut
"I'm willing to go on record as saying that I don't drink people's blood."
– Pharrell Williams, assuring the public that his youthful look at 40 is not the result of being a vampire, to Time Out London
"The truth is, and this is corny, I fall more in love with Portia all the time. I really do."
– Ellen DeGeneres, on her love for wife Portia de Rossi, to PEOPLE
"If I'm wearing a top, I don't wear a bra. If I'm wearing a bra, I just wear a bra."
– Rihanna, on her fashion choices, to Vogue
"You know what it's called? A selfie!"
– Barbara Walters, joking about owning a vibrator while discussing "self-love," on The View
"... now you can see how very handsome little Eric is."
– New dad Simon Cowell, gushing about newborn son Eric Philip, on Twitter
HAPPY FRIDAY, ONTD! xoxo :-)
The U.S. is becoming increasingly open to adapting international formats, most recently with scripted and interactive programs.
Many sales executives are reporting that the U.S. is becoming increasingly open to importing and adapting international ideas. This newfound openness has been spurred by a string of wildly successful hits over the last decade.
Among the early movers in this space was Endemol. They are optimistic about scripted remakes in the U.S.Their scripted team is working on a number of projects in development, both Endemol-owned formats (Spirited, Prisoners’ Wives, My Mad Fat Diary) and third-party acquired formats (Kingmakers, Spiral, The Source).”
There's no need for this :(
You know they'll cast some girl who is fat according to the Hollywood standards.
Benvoy Seals posted the above image on Instagram last night -- showing a back and forth between him and Rihanna on her comments section.
Benvoy writes, "Rihanna u going to hell girl" -- and, in the image, Rihanna responds, "Arnt you gay? ... Nuff said blah!"
The exchange was shocking, especially because Rihanna voiced her support for gay rights in Russia less than a week ago -- posting a photo of herself wearing a hat embroidered with "P6," which stands for Principle 6 ... a campaign against Russia's anti-gay propaganda law.
But now, Benvoy tells TMZ, he Photoshopped the picture for no reason ... "I lied. I don't know why. I just did." He also said he received thousands of death threats and hate messages.
Benvoy has since deleted the original Instagram image and posted a retraction in its place, claiming, "Rihanna would never say something like that."
Loser gets him! Teams USA and Canada are gearing up for ice hockey's semifinal game in Sochi on Friday, but it seems the stakes are much higher than first anticipated. It turns out, the loser will have to take home. . . Justin Bieber.
A Chicago billboard has gone viral after the Twitter account Command Transportation shared one featuring the Canadian singer. (The account often posts photos of the creative electronic billboards that appear on the Command Transportation building near Chicago's Edens Expressway.) In the electronic image, Bieber is pitted between Chicago Blackhawks players Patrick Kane and Jonathan Toews with the headline "LOSER KEEPS BIEBER." (Kane is set to play for the U.S. and Toews for Canada at the Olympic match.)
"Nothing is higher than the stakes of tomorrow's game," the Twitter page captioned on Thursday, Feb. 21.
Bieber, 19, has had a tough couple of months. The "Boyfriend" singer was arrested in Miami for drag racing and DUI on Jan. 23. He set bail at $2,500: $1,000 for DUI, $1,000 for resisting arrest, and $500 for an expired license. Then on Jan. 31, the young star's private plane was detained at New Jersey's Teterboro Airport on suspicion of marijuana on board, but ultimately none was found.
Tell Us: What do you think about the Justin Bieber billboard?
Monjo pens HBO pilot, Farscape movie
By Don Groves
Game of Thrones’ Peter Dinklage is in talks to star in the pilot for an HBO series scripted by Sydney-based Justin Monjo and produced by Ben Stiller’s Red Hour Films.
The prolific Monjo is also writing the screenplay for Farscape, a movie spin-off of the sci-fi series that ran on the Nine Network and the Sci-Fi Channel in the US, for Jim Henson Productions, to be directed by Brian Henson.
Dinklage would play a dwarf detective in The Beasts of Valhalla, based on a series of novels by the late George C. Chesbro. Monjo read the books years ago but could not think of an actor who was right for the role of the sleuth named Mongo until he saw Dinklage in Game of Thrones.
“It’s a grounded sci-fi series,” says Monjo, who flies to New York next month to discuss the project with Dinklage, with whom he has corresponded. “HBO and Red Hour think he’s the perfect guy for the part and are very excited about the project.” The intention would be to shoot the one-hour series in 2016 after Dinklage finishes Game of Thrones.
Monjo was one of the writers on Farscape, which ran from 1998-2002, followed by the 2004 miniseries Farscape: The Peacekeeper Wars, co-produced by Jim Henson Productions and RHI Entertainment.
In the finale, the protagonists, American astronaut John Crichton (Ben Browder) and peacekeeper Aeryn Sun (Claudia Black) got married and had a baby. In the movie, it’s revealed the boy had special powers which made him the target of the villainous aliens so his parents hide him on Earth.
The plot follows the kid at the age of 19 when his whereabouts have been discovered and he rejoins his parents on their spaceship. Monjo says the film would be shot in Australia.
Born in New York, he came to Australia 25 years ago on a grant to study acting at NIDA. “I did a lot of acting but most of the time they were boring jobs,” he says.
He’s one of the writers on The Code, Playmaker Media’s thriller about a murder in the Outback which thrusts two brothers into an international political conspiracy, for ABC1.
His credits include INXS: Never Tear Us Apart (co-written with Dave Warner), two segments of Tim Winton’s The Turning, Paper Giants: Magazine Wars, Serangoon Road, Rush and the plays Romeo is Bleeding, That Eye, The Sky and Cloudstreet, adapted from Tim Winton’s novel, co-written with Nick Enright.
He has learned to be patient with screenplays, noting that some have been in development for years. Among his projects are an adaptation of Winton’s Dirt Music, which Phil Noyce was attached to direct; Cane, a big-budget family animated film for Animal Logic and executive producer Robert Luketic; Jungle, adapted from Yossi Ghinsberg’s book about being lost in the Amazon for producer Dana Lustig; and Strange Object, a horror film being developed with Screen West’s assistance.
“TV is so much saner (than film) because they actually make things,” he says.
Does this sound like something you'd want to hear ONTD?
Amber Le Bon at KTZ
Leigh Lezark, Katy B and Amber Le Bon at Peter Pilotto
Paloma Faith at Burberry
Abbey Clancy, Kendall Jenner at LOVE
Georgia May Jagger
Lily Allen at Ashish
Suki Waterhouse at Tom Ford
Pixie Lott at Browns
Poppy Delevigne, Tinie Tempah, Leigh Lezark, Laura Mvula,Harley Viera Newton, Greg James, Cat Deeley, Harry Styles, Daniel Bruhl, Ashley Madekwe, Jamie Campbell Bower, Melanie Laurent, Naomie Harris and Felicity Jones at Burberry
Leigh Lezark at Whistles
Karen Elson, Kelly Osbourne, Michelle Rodriguez, Joan Smalls, Holliday Grainger, Jourdan Dunn, Eliza Doolittle at Mulberry
Jessie J at Vivienne Westwood
Paloma Faith, Daisy Lowe and Amber LeBon at John Rocha
Olivia Palermo at Matthew Williamson
Chloe Norgaard at Pringle
Coco Rocha, Abbey Clancy, Samantha Barks at Julien Macdonald
Kendall Jenner, Kate Moss, Anna Wintour at Topshop
Lily Allen , Kelly Osbourne, Daisy Lowe, Eliza Doolittle at Henry Holland
Jessie J, Katy B, Arizona Muse at Hunter
Florence Welch at Tessa Edwards
Richard E Grant at Jasper Conran
Olivia Palermo, Samatha Barks at Emilia Wickstead
Samantha Barks, Vanessa White at Jean-Pierre Braganza.
Peaches Geldof, Eliza Doolittle, Nicole Roberts at Mark Fast
Daisy Lowe and Ashley Roberts at Pinghe
Peaches Geldof at Temperley
'Drive' heartthrob Ryan Gosling gives an entertaining insight into the perils of the Hollywood audition in this clip, also featuring Alec Baldwin, from award-winning director James Toback's latest documentary "Seduced and Abandoned".
Terrible Records, the label that Grizzly Bear’s Chris Taylor co-founded, is coming up in the world. As Billboard reports, it has a new joint venture going with XL Recordings, and now the label has signed its first rapper: The New York iconoclast Le1f, whose Fly Zone and Tree House tapes both earned the Mixtape Of The Week distinction last year. This is a very good call on the part of Terrible and XL, because that dude can rap, and because he’s got a theatrical flair that most rappers would be too scared to ever attempt. Le1f’s working on an album now, but before that, he’ll release the new EP Hey, which includes production from past Le1f collaborators Boody, Harry B, Owwwls, and Matrixxman. First single “Boom” is a sharp, streamlined take on Le1f’s clubby, snarling aesthetic, and you can hear it and check out the tracklist below.
Hey is out 3/11 on Terrible/XL.
Puff puff pass
Smoke real slow
Drive real fast
You know how we do
Make 'em all say "oooh la la"
Atomic bomb, come thru
I'm the elephant in the room
Yea, you know how we do when we come through
Make 'em all say "ooh la la"
Welcome to Banjee Burger. I cannot take your order
New World Order
LGBT cuties all over the world are diamonds and pearls
Black sheep, black sheep, sexy ass fur
Skin color Pepsi. Dark clique; eski
Team Cocoa Butter, baby. I feel sexy
Batty man time now, batty man century
Educated black hotties make 'em all envy
A bad bitch stepped in... eyes dilate
You know, thirst is real. You should hydrate
Anyway, I could never act my age
Flexible like center stag. You don't even know my rage
We supa dupa fly with the Oompa Loompa kush
Sitting out on Koopa Troopa Beach giving looks
Born in 89, 94 and then 06
They want to get it how I live cuz now I'm that bitch
I'm slayin' all day in day out
Na mean? nam sayin'?
Like, find my horse, I'm feeling kinda headless
Don't ask me how i been cuz the answer is relentless
Innocent until proven filthy
I’m wildin' out here. I hope the cops don’t kill me
They wanna see me blend in like Realtree
But I can'tz do thatz. I gots to do me
Team Grape Dutchess, hotbox the whip
Roll another swisher -shit is sticking to my lips
Windows with the tint. We billowing in the mist
On some nigga shit. I'm a bruja, I'm a witch
Flying trap easy, EZ Pass, breezy
Kush, Timbs and kekes - We got it all for cheap
How many batty boys can you fit in a jeep?
How many batty boys can you fit in a jeep??
Beep beep, I'm bout to back it up
Fill up my cup, homey fill up my cup
F a photobooth. Everyday here is a photoshoot
My team is too cute when we come thru on swoop
Someone tell my haters to get right or get left
Why you mad i got 50leven dudes on deck?
This boy is my browser and we double click like
Papichulo got his hot paws all over my boy-culo
Let's get stupid. Let's get dumb
Each one teach one how to freak some
We up in the backseat acting very uncouth
No tricks; just treats I got for that sweet tooth
I made him scream my name three times, Bloody Mary
I made him scream my name three times, Beetlejuice
apparently the version of Wut on this EP is a rerecorded version of the song from his first mixtape
Banana Republic has jumped on the trend of casting “real people” in ad campaigns — specifically, real couples. And while it’s not an entirely new idea, this is one campaign we can get behind, namely because it stars interior design guru Nate Berkus and his fiancé, former Rachel Zoe employee Jeremiah Brent (also an interior designer).
Brent stole our hearts as the attractive-yet-approachable-and-sweet interior designer that could in the fourth season of now-defunct Bravo series “The Rachel Zoe Project”. And now he’s back in the spotlight as one half of the sweetest campaign couple ever. Thank you, Banana Republic.
The campaign stars other real-life duos and families: Argentinian model and Tulum hotelier Nicolas Malleville and his family, Nashville natives and longtime sweethearts Cory Bond and Bekah Jenkins, and up-and-coming European models Sara Blomqvist and Jeremy Young. And good for them. But ‘Miah and Nate are our favorites.
BR’s California Collection of effortless, easy separates. What a chic, laid-back pair they make. Here’s hoping a reality show is in their future.
I am loving how fashion companies are using more gays on their campaigns! I want a boyfriend like Nate Berkus!
Adewale Akinnuoye Agbaje in 'Pompeii'; credit: CAITLIN CRONENBERG
In Pompeii, Adewale Akinnuoye-Agbaje co-stars as Atticus, a champion gladiator trying to buy his freedom with one last fight. Centered on the eruption of Mount Vesuvius in 79 A.D., the film stars Kit Harington as a fellow gladiator who, with Atticus' help, must avenge his family's death and save his true love, Cassia (Emily Browning).
Agbaje has a meaty role, surprisingly getting a lot of screen time in an otherwise by-the-book action epic. Jessica Lucas also co-stars in a smaller role as slave/confidant to Cassia.
Perhaps best known for his TV roles as Simon Adebisi on HBO's Oz and Mr. Eko on ABC's Lost, Agbaje has at least two projects coming up this year including Pompeii and Sony’s film version of the Broadway musical Annie. At a recent press event, he made time to talk about transforming into a gladiator, and what else he sees on the horizon for his career.
What attracted you to the role of Atticus?
My favorite part was just being a full-on action hero. Atticus is a relic in this. He's ferocious with what he has to do because he has to stay alive to win his freedom. But just having a platform to show the different layers of a character that big. He's not simply a badass, he’s a badass with a heart and principles. And also the relationship with him and Kit Harington's character. We go from foes to bros. It's a nice journey.
And then to stand in the face of death and destruction, and to be that mighty. And then you’ve got that black fist up there [mimics raising his fist in the scene]. I said, "I’ve gotta do this." And it's really a credit to the writers, because as a black actor you don't get iconic roles in tentpoles. You just don't. So when you see that in your career, and I’ve been working 20 years, it's like yo, that's a winner.
The film is set in 79 A.D., Atticus is enslaved, and when we get the first glimpse of him he's pretty menacing. Going into the project, were you concerned about how you'd be perceived?
I give credit to the director [Paul W.S. Anderson] because we had discussions about what he wanted the character to be, and he really wanted this to be a super heroic character, but also human. We were not creating a caricature. He'd seen what I’d been able to do with Mr. Eko and he wanted that same resonance. So he very much was open to collaborating and creating a character, and actually allowed me to put in some spirituality. The little talisman that Atticus prays with in the film, that wasn't in the script initially. In doing research, I was trying to figure out where they come from. Because when a man has to go into the arena and fight, he’s got to pray to something, and he's African. So I presented it to him and he loved the idea.
All the gladiators are in top shape in the film. What kind of physical transformation did you have to go through?
We went to gladiator boot camp about four weeks before the start of principal photography. Paul and the producer Jeremy Bolt really set up the structure for I and Kit and the rest of the cast to get into this Adonis kind of shape. What it consisted of was basically four hours working in the gym, six days a week, for four weeks. Two hours of fight training with weaponry, an hour of weight training, an hour of running, and this nutrition diet that we were put on that really helped sculpt our bodies.
In the film, you're fighting in heat and ash and escaping floods and lava. How were the conditions on set?
The frustrating thing is that whilst you're going through all this hell, Paul's always jolly and polite. You're spent, at the end of your tether, and he'll walk up and say, "Well that's why you were doing all that hard training. One more please."
But it was a very friendly atmosphere. He had his dog and his family around, and there was a lot of camaraderie. And I think when you're going to spend four months together, really pushing yourself to the grind, it helps that people are likable and share the same vision. So it was a really enjoyable process.
You have Annie coming up next, which is a much lighter film. How did that compare?
Especially after shooting Pompeii, which was so intense, I was just relishing playing something more lighthearted and relaxing and this was the perfect vehicle. I've been a huge fan of Quvenzhane Wallis since Beasts of the Southern Wild. To me, she's our Shirley Temple, a phenomenal talent, and I wanted to work with her as soon as I saw that movie.
So I got the opportunity to play this character Nash, who is Benjamin Stacks' right-hand man. He's humorous and lighthearted, but he's the security guy and the driver, and Annie's friend. And we get to see him sing and dance at the end as well. It's a nice balance, because it's still tough but it was a chance for me to bring out the child.
What was the atmosphere like working with Quvenzhane and Jamie Foxx?
There was a competition between him and Quvenzhane, they were clowning. Jamie is just an extraordinary actor and person. He gets on set, and we're shooting in Harlem so it's like theater. Everybody in the neighborhood comes out and before we start shooting, he would host them for 10 minutes with their own comedy show. So it was a huge treat just to see him at work and we got on really well. It was also a chance for me to work with my people. I don't do enough of those movies, and it's just something I like to do and would like to do more, with the right roles.
Are you getting offered the kinds of roles that you want to see at this point in your career?
I look at it like this: I'm just getting started and and my full repertoire and range as an actor has not been shown. It's unknown, which is why took the risk of doing Annie. People haven't seen me in a comedic setting but that's who I really am. So I think that as you do good work more roles will present themselves. I'm not frustrated at all. The offers are coming in and I'm not having to audition. How can I complain? But definitely, I'm looking to play the love interest, something a bit sexier and also dramatic. Something I can really get my teeth into, and go back to real acting. I'm definitely gunning for a leading man role. I think it's about time.
You had a role in The Inevitable Defeat of Mister and Pete. Will you continue to do smaller independent films like that as well?
Always. Grassroots projects are what keep you alive as an actor. With Mister and Pete the budget was miniscule, but we got to shoot in New York in the projects and do an important story that may not always get a chance to be told. Even if you've got a character with two or three scenes but it has an impact, I'll always do that, because my choice is always dictated by the character and the story. So I'll always be doing those smaller projects. I love them. And anytime I get a chance to work in New York as well, because New York's energy is very raw and that's what it does to you as an actor. It just keeps it real.
What are you working on next?
The very next thing is going to be a TV project for NBC called Odyssey, and also I'm doing an animation for Fox. So I'm just looking to explore every medium to express my talent, but I think mostly it's going to be a focus on features.
Pompeii comes to theaters on February 21.
On television, Veronica Mars was a gritty teenage private investigator who wasn't afraid to break down doors. Now a movie version of the show is about to do the same thing.
"Veronica Mars" will be released by Time Warner Inc.'s Warner Bros. in about 270 theaters on March 14, the same day that it is available to buy or rent online. It will mark the first time one of Hollywood's six major studios has distributed a movie in theaters and for home viewing at the same time in the U.S.
For decades, a sacrosanct "theatrical window" protected big-screen releases from the competition of DVD sales, rentals or other distribution platforms. Under intense pressure from the largest cinema chains, which argue that such competition would take business away from them, studios usually put at least three months between theatrical and DVD or video-on-demand releases.
In the past few years, independent studios and theaters have begun to chip away at the theatrical window with simultaneous releases—but only for low-profile movies and usually on a small number of screens.
For "Veronica Mars," which originated with a campaign on Kickstarter, Warner Bros. has found an unusual workaround. The studio is paying AMC Entertainment Holdings Inc., AMC +1.64% the nation's second-largest chain, to rent 260 screens across the country (the other 10 playing the film are independently owned).
Because Warner is renting the theaters, AMC doesn't consider it to be a violation of its standard 90-day window policy. Typically theater operators and studios split revenue from ticket sales.
"On projects like this where we know we have a partner with the resources to promote the film and an easily targetable audience, we will rent theaters out," said Nikkole Denson-Randolph, AMC's vice president of special and alternative content. The duration of the rentals will depend on how well the movie initially does, she said.
AMC has never rented out so many theaters for a single movie before, Ms. Denson-Randolph said. The most successful simultaneous releases in the past, such as "Arbitrage" starring Richard Gere, played primarily in independently owned theaters, which don't always adhere to traditional theatrical windows and typically have smaller audiences.
AMC's major competitors, including Regal Entertainment Group RGC -0.53% and Cinemark Holdings Inc., CNK -0.24% don't rent out theaters to movies that will be released at home within fewer than 90 days, said people in the industry.
It usually costs between $5,000 and $20,000 a week to "four wall" a single screen, as renting one out is known in the movie business, according to a knowledgeable person. Executives at AMC and Warner declined to discuss financial details of their agreement.
For Warner Bros., which is known for bigger budget event films like "The Lego Movie" and "Man of Steel,""Veronica Mars" represents an experiment, not a harbinger of broader changes to its business.
Although the "Veronica Mars" series was canceled by the CW Network—co-owned by Warner and CBS Corp. CBS +0.23% —in 2007 because it drew only about 2.8 million viewers a week, its fan base has remained loyal and long demanded resolutions to plotlines left dangling. Show creator Rob Thomas and star Kristen Bell pushed the movie idea last year and convinced Warner, which produced the show, to release it if they met a Kickstarter goal of $2 million.
The effort ended up raising $5.7 million from more than 91,000 people.
Actors from the TV series including Percy Daggs II, Jason Dohring and Enrico Colantoni agreed to appear.
"The existence of Kickstarter and the emergence of the social Internet make something like this possible," said Thomas Gewecke, Warner's chief digital officer. "The economics work."
Because the passions for "Veronica Mars" run so deep, executives at Warner and AMC said they are confident that fans will go to theaters with friends and buy or rent a copy to watch again at home. Typically, on-line film rentals cost about $5, less than a theater ticket.
Some funds from the Kickstarter fundraising are being used for T-shirts, posters and other rewards promised to fans who donated money. The studio funded the rest of the movie, which ended up costing a little over $6 million in total.
Advertising is being done entirely online and in AMC theaters, with no traditional television spots or billboards. Given the movie's modest budget, Warner says it is counting only on the existing "Veronica Mars" fan base to attend.
"They can make it successful for us," said Jeff Goldstein, executive vice president of distribution for Warner. "If we extend beyond that, it'll be gravy."
Mr. Gewecke said that Warner has looked at other properties from its television and film library to see if they could qualify for the same treatment of a low-budget movie that can be released simultaneously in theaters and online.
"The passion of the fan base and the very strong connection to Rob and Kristen online are the essential ingredients," said Mr. Gewecke.
I have tickets for March 8th, March 14th, and March 16th (all my friends have different schedules), but I am so happy that everyone will have an opportunity to see it especially those that wanted to see it and didn't live near any AMC theaters. Backers will also receive the Digital Copies the day of! This release is WORLDWIDE for the digital form.
On March 14, Veronica Mars will be available, both to rent and purchase from DIGITAL RETAILERS (such as iTunes and Amazon) and on-demand through participating CABLE and SATELLITE providers, worldwide.
Have a super weekend!
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