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Oh No They Didn't! -

older | 1 | .... | 634 | 635 | (Page 636) | 637 | 638 | .... | 4450 | newer

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    Those Neon Jungle girls are feisty little things, aren't they? But it turns out when they're not swishing their hair about and rapping about feta cheese they're actually just massive softies.

    So why does Shereen love Amira so much, eh? Surely there's more to Asami than that bloody amazing mermaid hair? Why is Jess, like, the best ever? Let's find out exactly what the girls find so inspiring about each other, shall we?

    Amira on Asami: "Her strength towards judgement. She's never arrogant - she'll say things in the nicest way possible but she has an evil side to her."

    Jess on Asami: "Our lives are completely different but we've both been through a lot. She's dealing with all this at a young age, which I couldn't do when I was 18."

    Shereen on Asami: "She's a very strong person and I look up to her 'cause of that."

    Amira on Jess: "She's one of those people that has a side everyone can relate to. I talk to her about issues; she always makes me feel better and makes me laugh."

    Asami on Jess: "She's done a lot in her time, she's very independent. When I'm like 'I can't do it' I remember that Jess has done it on her own so I can too. We're one."

    Shereen on Jess: "She's very wise. Any questions I want answering, I go to her. She's very clever...but she can't spell."

    Asami on Shereen: "All she's ever wanted to do is music. When I met her she was just turned 16 and wanted to sing, that's it. Plus if we think something she's wearing's tacky she's like 'I don't care.'"

    Jess on Shereen: "I like that she's very headstrong and knows what she wants. She doesn't let things get to her too much."

    Amira on Shereen: "Mentally she's very headstrong and her whole mindset is to do what she thinks best. She puts 120 per cent into everything."

    Asami on Amira: "She's not afraid to wear anything she wants or do anything she wants. She doesn't care what other people think."

    Jess on Amira: "Her priorities are right with family and stuff. She's very best-friendy. Her heart's all gold."

    Shereen on Amira: "Her attitude towards life. If someone says 'I don't like this, I don't like that,' she's like 'so what?'"

    Plus: Neon Jungle's Full Set at VInspired Awards 2014 (Trouble, Welcome to the Jungle, Braveheart)

    source 1, source 2

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    I pay attention to the peopling of the world in the vision filmmakers. I want to know if there are people like me in their worlds, people of African descent, people of color. In Darren Aronofsky’s vision of Noah and his world I do not exist. People like me do not exist. Black, brown and beige people do not exist even though the story is the story of the destruction and re-peopling of the whole Earth. Noah and his family and all of his ancestors and even all the lost, dying, drowning people are white people. Adam and Eve glow with the light of innocence in their white skins. Ham, the ancestor of African peoples – at least according to the biblical text –has white skin and as a little boy, dark blue eyes. And that matters to me as a biblical scholar and seminary professor and, as a person of African descent whose ancestors were enslaved in the Americas, whose enslavement was justified in part on readings of the Scriptures that emerge from ancient Israel because these texts are also my scriptures.

    As an origin story, the story of Noah and his sons and their descendants purports to tell the story of human diversity, many peoples of differing ethnicities descended from a single family, a common ancestor. There is an evolutionary equivalent. However on this planet, the first humans were African, all others derivative. Without other genetic material, the offspring of black and brown people can be lighter than their parents, but it doesn’t work the other way around.

    Expecting an origin story, even a mythological one, to make some sense and correspond in some way to the world from which it emerges is not confusing scripture with science. While they are not incompatible, they are not the same. As a biblical scholar I want to remind readers and viewers that Genesis is a collection of sacred stories in the larger collection of Israel’s sacred stories including ancestral, origin and cosmological stories. Those texts and their stories were neither scientific methodologies – how to make a world in seven easy days if you don’t define a day as the earth’s 24 hour rotation because they thought the earth was flat and… – nor are they historical archives.
    As a seminary professor I ask my students how the text is true. These mythological lifespans do not correspond with what we know about human beings, the archaeological or scientific record. They did not correspond to what the Israelites knew about their flat-earth world either. (The prelude to the Noah story in Genesis chapters 6-9 says that Noah is 500 years old when he fathers his sons. Gen 7:6 says that Noah was 600 years old when the flood began.) As origin stories the stories in Genesis preserved the cultural heritage of the people who would become Israelites, heritage that converged with and diverged from other ancient near eastern peoples with their own impossibly long-lived ancestors and their own flood stories.

    The movie is an interpretation of the biblical narrative as are all readings, whether on film or not – including those that claim to be literal readings. As such, the movie is a midrash, in the tradition of classical Jewish exegesis. One aspect of midrash is filling in the spaces in the stories. We all do that to some degree. Putting the text on the screen requires filling out the story. Darren Aronofsky’s choices create a new interpretation of the story and that is neither a good nor a bad thing. That is the work of meaning making. And we all do it. For those fixated on the truth of the text, proving or disapproving the existence of Noah, the flood or God, I can’t help you. I’m not arguing either case. Nor, I think, is the movie. (Aronofsky speaks about his vision of the film here.) It is telling a story, a story of Noah, based of the biblical text.

    The reduction of truth to literally true or not at all is a contemporary notion, like limiting biblical interpretation to literal readings (except maybe for parables). The truth is the biblical text uses a variety of genres, rhetoric and literary devices to communicate the truths of its messages (plural) through the lenses of its original speakers, writers, editors and those who preserved it. Beyond that, religious readers see the hand of God at work in differing ways. Some understand the text to have been dictated and copied unerringly and find their favorite English translation to be an exact rendering. Others find the hand – better breath – of God at work in each phase of the process including among those who hear, read and interpret as much as with those who spoke, remembered, repeated, recorded and translated.

    The truth of the text is not in or limited to its literal reading even on the cases where the text is literally true. As a Christian the paradigm that helps me understand the richness and complexity of the text is the nature of Jesus, human and divine. The text is human and divine. The text is not, cannot be, more divine than Jesus. And like Jesus, the human parts cannot be easily listed as separate and distinct from the divine parts. To say that Jesus’ physical hunger was exclusively human is to reify the old dualism in which the body and all of its processes are somehow lower and lesser than the spirit and its processes. God becoming human, embodied, enfleshed, sanctifies our humanity, including our human bodies.

    My black, woman’s body is a human body but it is not represented in Darren Aronofsky’s movie. No one in the whole wide world that he has created is black like me.


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    Tuesday evening Trey Songz was caught off guard when an image of a tweet supposedly from his Twitter account revealed something very person, albeit untrue, about himself. The tweet read:I think it’s time to finally tell my fans. All games and jokes aside…I’m gay.

    The image showed that the tweet was favorited tens of thousands of times and retweeted just as many times, and shared on the internet. Or so it seemed.

    The tweet appears to have never existed in actuality and was nothing more than a photoshopped image and Internet prank, however, the innuendo and speculation it stirred up did not go unnoticed by the R&B singer.

    Trey took to social media to address the controversy head on. He wrote:

    The things you people craft up with hatred in your hearts. The things people believe without question, or validity, all baffles me.

    Photoshop and a retweet is all people need to believe, any and everything. I feel bad for the impressionable, no minds of their own.

    If I’m gay then Tupac bringing me a ounce for this session wit Biggie tomorrow. No weapon. #LOVE.

    You may recall that back in late 2012, Trey was accused of the same thing after a photo surfaced that was rumored to show him engaged in a passionate kiss with another man. However, he denied that it was him in the photos but not before gossip outlets could pick up the salacious story. As it turns out, the photo was not of Trey Songz at all.

    Seems like, yet again haters are hating and trying to discredit the singer.

    bottoms up

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    Yet another girl from 16 and Pregnant is pregnant again. Ashley Salazar, who, during Season 2 chose to place her daughter, Callie, for adoption, says that she is once again sperminated by her boyfriend (and baby daddy), Justin Lane.“I’m really excited about the baby,” said Ashley, who is now 22 years old and about to graduate from college. Ashley and Justin are now living together in Texas and say they plan to parent the baby Ashley is carrying. Their daughter Callie currently lives with Ashley’s aunt and uncle, who formally adopted her shortly after her birth in 2010.

    “We don’t know what we’re going to tell Callie, she’s so young, but we want to respect my aunt and uncle so that they understand how much we love everyone,” Ashley explains. While Ashley’s pregnancy with Callie was unplanned, she made it clear on her blog that, this time around, she got pregnant on purpose. “This wasn’t an ‘accident’ this time… We are 22 and 23, both doing extremely well for ourselves and sure, we aren’t married, but have we ever done things traditionally?” she wrote, adding that she and Justin plan to marry after the baby is born.

    ’16 and Pregnant’ viewers watched as Ashley struggled throughout her episode with her decision to give Callie up. She was still struggling with her decision when she appeared on the ’16 and Pregnant’ Adoption Special in 2011 alongside fellow adoption advocate Catelynn Lowell. “I hope to be at peace [with the decision] as much as Catelynn is someday,” Ashley told The Ashley in an exclusive interview in 2011. “But I am better off with the adoption. I just realized that not much can be changed so I have to make the best with what I have.”

    Catelynn and Ashley aren’t the only girls from ’16 and Pregnant’ to choose adoption. Season 2 star Lori Wickelhaus also gave her baby up for adoption. Last year, she gave birth to her second child. Ashley is due on November 22.


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    Kesha hits the red carpet while attending the Humane Society of the United States’ 60th Anniversary Gala held at the Beverly Hilton Hotel on Saturday (March 29) in Beverly Hills, Calif.

    This is the first time that the 27-year-old singer has stepped out at an event since she exited rehab earlier this month and dropped the dollar sign from her name.

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    she looks cute! <3

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    is your cat also planning the world domination, ontd?

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    Troian Bellisario shared her thoughts on true beauty with young fans who may be getting the wrong idea from pop culture.

    The “Pretty Little Liars” star, who’s previously opened up about her struggle with an eating disorder and self-harm, took to Instagram earlier this week to get something important off her chest.

    “So. Getting compliments is wonderful and everyone should feel beautiful in their own skin,” wrote the actress. “But I get my hair and make up done professionally. For a job. That’s not beauty. That’s make up it’s a curling iron and hairspray.”

    Bellisario continued, “What’s beautiful is inside you. It’s your creativity. It’s your intelligence. Your empathy and your kindness to your fellow man. I could care less about being ‘pretty’ or ‘perfect’ and we should all ask ourselves why in our society that is the ‘highest’ and most common compliment we are paying to our female friends.”

    “I’m so grateful for your support,” she told her supporters. “And so thrilled to read your words. I love that you love Pll and are kind and supportive to each other. But let’s put this to bed… Foundation and a blow dryer do not a woman make. Rock on everyone.”


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    Chelsea Handler has decided to end her long running E! talk show Chelsea Lately after eight years on the air, THR reports.

    There has been much speculation about what would happen, as the 39-year-old host’s contract is up at the end of this season.

    “Chelsea intends to leave when her contract expires. She hired me to figure out her life after E! We have at least seven suitors and many ideas,” Chelsea‘s manager Irving Azoff said in a statement.

    Irving also said Chelsea could wind up on a radio show or hosting another television talk show.


    this is so sad :( her show is one of my favorites, and she's hilarious :(

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    Ricky Gervais has criticised the way that women are often portrayed in film and television.

    The British comedian, 52, told Radio Times that he loves writing more complex female characters "because usually they’re props, particularly in comedy".
    "Even in Hollywood, they're usually air heads or if they’re ambitious they're straight away cold and need to be taught a lesson," he said. "They need to show that getting a man is more important than getting a career. Or they’re just props for men to do funny things."
    Gervais, creator of hit shows Derek and The Office, continued to speak about his own childhood.
    “People think that men rule the world but they don’t, really,” he argued. “That was never my experience growing up and certainly not at Broad Hill (the elderly care home in Derek). Men, when they’re together, revert to the playground.”
    Next month sees Derek return for a second series on Channel 4, with Gervais hinting at some “good, modern girl power” and a “real sisterhood” between Broad Hill manager Hannah (Kerry Godliman) and her younger employee Vicky (Holli Dempsey).
    Gervais plays the title character, Derek Noakes, a compassionate helper at the home who seems to have learning difficulties


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    The network and producers behind RuPaul's Drag Race have issued statements responding to harsh criticism lobbed their way after the show featured an episode many trans people found offensive.

    Earlier this month, RuPaul's Drag Race featured a segment titled, "Female or She-male." The segment's use of the antitransgender slur was widely panned as transphobic. In the days that followed, a number of publications — including The Advocate — ran pieces documenting the online backlash aimed at the show, Logo TV, and media advocacy organization GLAAD.

    The show has long been viewed by some transgender individuals as transphobic, making use of slurs explicitly labeled as "defamatory" in GLAAD's trangender media reference guide. For his part, RuPaul has long defended the use of such slurs — specifically the word "tranny"— going so far as to speak out against celebrities who have apologized for public use of the word in a 2012 Huffington Post interview.

    "It's ridiculous! It's ridiculous! I love the word 'tranny,'" RuPaul told Huff Po when asked his opinion on Lance Bass apologizing for using the word. "I hate the fact that he's apologized. I wish he would have said, 'F-you, you tranny jerk!'"

    Nearly two weeks after the "She-male" episode first aired, the producers of RuPaul's Drag Race issued a statement responding to allegations of transphobic rhetoric, while media watchdog organization GLAAD also provided insight into the work it's been doing behind the scenes with Logo and Drag Race.

    "We delight in celebrating every color in the LGBT rainbow," the show's executive producers wrote. "When it comes to the movement of our trans sisters and trans brothers, we are newly sensitized and more committed than ever to help spread love, acceptance and understanding."

    The channel which hosts RuPaul's Drag Race, Viacom-owned Logo TV, also responded to criticism, promising to improve its coverage of trans individuals, though stopping short of admitting any wrongdoing.

    "We have heard the concerns around this segment," Logo's statement reads. "We are committed to sharing a diverse range of trans stories across all of our screens and look forward to featuring positive and groundbreaking stories of trans people in the future."

    GLAAD followed up this morning, issuing a statement explaining its relative silence on the issue since the controversial episode first aired.

    "The morning after the segment aired GLAAD staff reached out to Logo and shared our own concerns, as well as the feedback we heard from the trans community," writes GLAAD's associate director of communications, Nick Adams. "We also talked directly to the producers of RuPaul's Drag Race."

    The blog post continued, responding to some criticism that GLAAD did not publicly respond to the problematic statement in a timely manner:

    "The mistakes made in this segment should not be repeated. Words are important and have tremendous power. Since 1999 we have stated in our Media Reference Guide that anti-trans slurs are defamatory: 'These words only serve to dehumanize transgender people and should not be used.' The network and the show's producers heard that from us — and from those of you who spoke up. It's a message that GLAAD staff (trans and cis) have shared with countless LGB and straight producers, reporters, celebrities, and media executives.

    Some writers and trans advocates questioned our entire commitment to trans people because we did not post about this issue on our site immediately. Why was there not an immediate post? We know from past experience that dialogue and education are the most effective ways to create substantive and lasting change in the media, and today's statements are the beginning of new conversations with this network and this show.

    Speaking out against certain words is only one part of creating a safer and more just world for trans people. Reaching that goal will require telling the stories of trans people in a way that destroys stereotypes and humanizes our existence. GLAAD is committed to telling those stories.

    We will continue to work with trans women who have gained visibility through their inclusion on RuPaul's Drag Race — women like Carmen Carrera and Monica Beverly Hillz. We will work with Logo as they follow through on their commitment to share diverse and groundbreaking stories of trans women and men. We will continue working to create more opportunities in all media (mainstream and LGBT) for trans people to talk about the beauty and diversity within our community.

    We hope you will join us in our other current campaigns to help the first trans woman perform at Carnegie Hall, end discrimination against trans women at Crossfit, and bring mainstream media attention to the Trans 100.

    Culture-changing work is a marathon, not a sprint. The specific details of GLAAD's work with the media are not always visible, but our commitment to fair and accurate representations of trans people in news and entertainment media is unwavering."

    In a personal blog post Saturday, GLAAD board cochair and best-selling author Jennifer Finney Boylan expressed mixed feelings about what has become a very contentious series of events:

    "I wanted to write a few words about RuPaul’s Drag Race, and GLAAD’s pushback against the defamatory language used on that program last week.

    I write here not in my official capacity as GLAAD’s co-chair of the board, but as an individual.

    First off, I want to thank all of you for the support you have shown me as this story has developed. The encouragement you showed me made a big difference.

    Looking at the statement released by the show’s production company today, as well as the one from the LOGO network, I feel there are reasons to celebrate, as well as things that disappoint me. In any case, there is plenty of work still lying ahead.

    I can say that I see today’s statements as a beginning of what I hope is a long process. Quite frankly, it had better be.

    That RuPaul and company say that they are 'newly sensitized' to the complexity of trans peoples’ lives is pleasant. I am hoping we’ll see more evidence of this as we move forward.

    But this statement did seem to me to be something of a non-apology, and that leaves me dispirited. 'Newly sensitized' is great— but you had to not be listening very hard to trans women in the first place to have produced a segment like this and been blind to the way it would be received.

    The discourse around trans lives has, in many ways, moved on past RuPaul and this show. I can say this even while celebrating the energy in drag that so many of us applaud.

    But trans women’s noble, complex, difficult, joyous lives should not be confused with the lives of drag performers, and this simple fact seems to elude many of the folks behind this program. This gruesome episode represented a real tipping point for lots of trans people, who have grown weary of their lives being reduced to a cartoon.

    A stronger statement was what I had hoped for, and, given the very long time it seemed to take to deliver this statement, seemed rather anemic to me.

    A thing that’s very positive, though, is that trans people’s voices were at least heard here, even if the results were not as dramatic as we had wished. It was the pressure that trans people exerted since that execrable segment aired that got LOGO’s attention, not to mention the pressure that GLAAD kept on them.

    GLAAD’s work began the day after the show first aired. We chose to conduct this work out of the public eye, in hopes of producing results. We do that all the time; being quiet while we allow our staff to do the work has been very successful for us in the past.

    I’m cheered by the statement LOGO made that they will be airing stories, in the future, that shows the complexities of all kinds of trans peoples’ lives. I look forward to seeing those shows.

    More important to me is a commitment LOGO made that is not reflected in their public statement — that they are not going to using the word 't——' on any of their programming again, going forward. It will be GLAAD’s responsibility to hold them to their word.

    They’ve also committed to putting an end to other anti-trans language on their network.

    So those things feel like wins to me. The wan official statements are discouraging; I am hoping that what we’ll see from here on out shows that LOGO did hear trans peoples voices, as amplified by GLAAD, this last week.

    This is, to coin a phrase, not your father’s GLAAD, and this is not the work that was being done a decade ago. One reason why I think we’ve been able to make a little progress is that GLAAD is now largely run by trans people. We occupy positions from staff to volunteers to the board of directors, including its national co-chair, which is me. These are our lives we are talking about; the people demeaned by incidents like this one are the men and women who work here. And other cis staff members have been working for trans rights for years and years now. I am proud of the board and staff for their passion.

    You can learn about just some of the highlights of GLAAD’s work on trans media representations here, and on our blog here.

    So like I said, it’s a mixed bag for me, especially after all the many, many hours of work— but in the end the most important thing is this: This marks a beginning, not an end.

    Thanks to everyone. I promise to keep the pressure on, and to keep working for the goals we all share. For me, this is personal."


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    Here’s a peek at Sophie Turner’s current schedule – next week New York, for the new-season premiere of Game of Thrones, HBO’s hit fantasy series in which she stars. Then further premieres all across Europe, to share the love with the worldwide audience who devour the show.

    Today it’s the YOU photo shoot – complete with a rack full of Prada and Dolce and steepling Louboutins – then tomorrow she’s on the phone to Vanity Fair. She has only just turned 18, and yet she barely pauses as she takes us through her diary. Until it comes to next Monday: ‘I’ve got my driving test. So, so scared. I’ve got two hours of lessons tomorrow.’

    For most people it would be the other parts of her life that are intimidating, not a three-point turn or a stuttering hill start. But life is strange when you are both extremely young and globally famous. Game of Thrones, the TV show that has made her name, is a worldwide phenomenon – the most expensive, most pirated and, with a fourth season about to begin, most talked-about series.

    Sophie’s character Sansa has already seen her father’s head chopped off, been engaged to a sadistic boy-king who makes Genghis Khan look like Mr Blobby, and latterly found herself a trophy wife to the king’s uncle in a powerplay between two warring clans. Westeros, the mythical medieval land where Game of Thrones is set, really is no place for a young girl.

    But then again you could say the same for the entertainment industry. Sophie was cast in the show at 13, while still at school in her home town of Warwick. The character she was asked to play was, as the show began, already widely disliked – Game of Thrones is based on a bestselling series of books by George R R Martin in which Sansa Stark is more selfish and scheming than she would turn out to be on the TV show. It meant that, quite often, random people would come up to 13-year-old Sophie and tell her that they hated her.

    ‘When I was younger it really sucked, because I think a lot of the other characters were fan favourites.’ As she began working on the show she became best friends with another child actress, Maisie Williams, who plays her sister Arya – a character already beloved from the books. ‘When you’re 13 and you don’t really understand the business and your best friend is getting a lot of love and you’re getting a lot of hate…well, it was difficult. I don’t know, I just kind of make Sansa my own, and I hope people understand her. That’s what I want – I want understanding rather than whether they like her or they hate her.’

    Sophie says she has always liked Sansa, and you can see why she feels for the character she plays. ‘Our lives share a lot of parallels: she came to King’s Landing [the capital of Westeros], she didn’t know what she was coming into and she had all these big important people around her. The same happened to me when I came on the Game of Thrones set – you had big-name actors there such as Sean Bean and Peter Dinklage, so in that sense I really related to her.

    ‘Since then I’ve just been on this – I know it sounds cheesy – journey with her. I’ve experienced everything that she experienced, so now I can switch into her like that. Half of me pretty much is Sansa, I think, because I’ve lived her for five years.’

    It helps that as the show has progressed, Sansa has revealed new depths and strengths – going from girl to woman, innocence to experience. ‘This season she’ll get even more ballsy. In a lot of TV shows out there, the women are the weak ones and the men are the strong ones. In this show it flips – you see the women being the ones that you don’t really want to meddle with. Sansa’s one of the most intelligent characters on the show. She’s been plotting it all in her head from day one. She’s the dark horse.’

    If Sophie has been something of a dark horse too, 2014 will be the year when she steps into the limelight beyond Game of Thrones. Last Christmas she co-starred with Olivia Colman and Vanessa Redgrave in the BBC’s ghost story The Thirteenth Tale; later this year she’ll appear in the movies Another Me (with Rhys Ifans and Jonathan Rhys Meyers) and Barely Lethal (with Jessica Alba and Hailee Steinfeld), and when we meet she has just returned from New York filming Alone, alongside Ray Liotta. (‘We had a lot of fun together because I think I’m the same age as his daughter.’) It’s striking that two of those productions are about twins, missing or dead, because Sophie also had a twin – one she never met.

    ‘My mum had a miscarriage – my twin died and I lived. That definitely affected me in terms of I always felt as though – again, this sounds cheesy – something was missing. I have two older brothers who are close in age and I always felt as though I needed someone or should have had someone there. I guess there’s a sense of loss there that I have used to conjure emotions on screen, such as when it came to Sean dying [Bean, who played her father, was executed in Game of Thrones], or after the Red Wedding [when several other key characters were murdered, in a bloody coup de théâtre].’

    Sophie’s on-set BFF is still Maisie Williams. Though they share little screen time together – their storylines are currently unfurling in separate parts of Westeros – they both film in Belfast, and Sophie describes Maisie, who is 16, as her rock. ‘She’s been one of my really close friends. If she’s around, I have dinner with her, and we have sleepovers in our hotel rooms. She probably leads me astray more than I lead her astray! I like to think that I’m the sensible one. We had this one trip to Nando’s where there was a big table of Game of Thrones fans. That was a bit weird. They either just point and say loudly, “It’s her!” so that we turn round, or they come up to us and ask for photos – there are a lot of photos, but that’s OK.’

    And that’s just it – amid all the glitz it’s easy to forget that Sophie is so young, one moment chowing down with a friend at Nando’s, the next working the camera at our shoot. She still lives at home with her mum Sally. And though her mum doesn’t have to accompany her on set any more (child performers must be chaperoned until they are 16), she is still a presence.

    Indeed, Sally is with Sophie at our photo shoot, and she tells me that her daughter wants to move to London. Mum is – as mums usually are – concerned: ‘She can’t operate a washing machine.’ Sophie is unconcerned: ‘I’ll just bring my laundry back home, right?’

    Sophie is currently being home schooled. Just not that much at the moment, ‘because I haven’t been here. I really miss going to school and having a normal routine.’ She doesn’t have a boyfriend: ‘It would be nice but then sometimes boys really annoy me. I’m still at that stage where I’m like, “Ugh! Boys!” you know? I’ve never had a boyfriend so I don’t know what it would be like. Obviously I’ve had crushes and I’ve tried to make things work with people, but it doesn’t when you’re away so much. I like to think, “Don’t go looking for it; it’ll happen when it wants to happen.”’

    Of course, like any teenage girl, she has had crushes on film stars. Unlike most teenage girls, however, some of those crushes have been on actors she’s ended up working with. ‘I used to fancy Jonathan Rhys Meyers. I didn’t tell him that when we worked together on Another Me. And now I’ve told you it’s all going to come out! I also worked with Gregg Sulkin on Another Me, and I used to fancy him a little bit, until I met him! He’s too much of a good friend now. And I have big crushes on people like Jack Nicholson.’

    Her girl crush is Jennifer Lawrence and in Sophie’s case that’s telling. ‘Obviously everyone loves Jennifer – she’s amazing – but I like her attitude. She takes everything with a pinch of salt, she’s not really too fussed about the whole business, she doesn’t take herself seriously, and I like that in a person.’
    That’s the best thing about Sophie. Sure, the fame’s going great guns, but she’s also got the right attitude. Like Jennifer Lawrence, she doesn’t take herself too seriously: she struts for the camera as though she’s been doing it all her life (she has), then she heads over to the lunch table and piles up her plate.

    ‘I feel the pressure to be toned, yeah, and everyone’s going on about the thigh gap, but I like food more than exercise so I’ll just carry on that way. All that’s changed is I’ve learnt about my body shape and what looks good on me – for instance, I have swimmer’s shoulders so I can’t wear halternecks, stuff like that.’

    She turns up in a plaid shirt and biker jacket, but whoops with delight at the rainbow of designer delights laid on for her by the stylist. ‘I want to wear more colour on red carpets. It’s fun when you’re young, why not? You won’t be able to wear these colours in a few years’ time, so why not do it now? Yolo [you only live once]!’

    That’s also why she’s thinking of changing that plush curtain of red hair (it’s naturally blonde but it’s stayed red ever since she was cast in Game of Thrones) for something more outré. ‘I want to have, like, a crazy hair change – I don’t like the thought of people pinning me down to a certain look or a certain stereotype.’

    In other words, the woman about to be a major star is still a teenage girl with both feet firmly on the ground. Good luck to her in her driving test.


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  • 03/30/14--13:32: BGC 13: The All-Star Season?

  • No. Not All-Star Battle...

    With a few former BGC cast members hinting at their return to TV, rumors have been circulating that season 13 of Bad Girls Club will be the long awaited all-star season. Season 13 is rumored to have no challenges or prize money, but just the regular format of the Bad Girls Club.

    Natalie Nunn (BGC 4)

    Calendar has "LA - Oxygen BGC 13" written on it

    Janelle Shanks (BGC 11)

    Christina Salgado (BGC 9)

    Could be referring to All-Star Battle 3, though. But she's flying to LA for casting soon like Natalie so who knows!

    Julie Ofcharsky (BGC 9)

    Tiara Hodge (BGC 7)

    This Instagram post has since been deleted.

    Gia Bianca (BGC 8)

    Rocky Santiago (BGC 10)

    Those are the possible girls so far. There are probably a few more they are interviewing. But who will end up going through with it and be chosen? Who knows~~~

    Who's ready for the possible return of Queen Kristen tho & who would you like to see back in the BGC house? Dream cast?

    source, 2, 3, 4, 5, 6, 7

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    The rapper reportedly has his booking photograph and fingerprints taken in less than an hour. The booking finalizes the charges stemming from a July 2013 altercation with a photographer.

    Quietly visiting the Hollywood Los Angeles Police Department on Thursday afternoon, Kanye West turned himself in for booking after pleading no contest in connection with a misdemeanor battery case over a confrontation with a photographer in July of 2013.

    According to TMZ, West and his lawyer entered the station at around 4:30 PM on Thursday (March 27) where the rapper had his booking photograph taken and was also fingerprinted. The site reports that Kanye spent “a grand total of 49 minutes” at the station before being released.

    West pleaded no contest to the battery charge earlier this month after reportedly punching a paparazzo, Daniel Ramos, at LAX in July. Sentencing for the charge includes two years of probation, more than 20 anger management sessions, and 250 hours of community service. The producer’s no contest plea will be barred from use in any civil lawsuit that Ramos might file against West and also allowed any possible grand theft charges to be dropped in the case. While prosecutors stopped short of pursuing felony charges over the incident, city prosecutors filed misdemeanor charges against Kanye on the day of his no contest plea.

    Late in 2013, Kanye explained to another group of photographer’s his frustrations on the day of the assault in July. "What I didn't get to say on Jimmy Kimmel, that's the day I found out that my grandfather was not gonna make it. He passed two weeks later,” he said according to Fuse. "But I'm comin' out the airport, because you know, 'It's Kanye whatever, they're gonna fuck with him and antagonize him.' But I tried to stop his camera and stuff, then he fell down and faked it and everybody was like, 'Oh yo, why'd you hit that guy?' Obviously I didn't hit the guy. But you know I'm going through shit."

    The rapper’s LAPD booking is only the latest in a string of legal trouble he’s faced in recent months. In January, West allegedly assaulted an 18-year old man in a Beverly Hills chiropractor’s office, according to TMZ. The young man apparently used a racial slur while speaking with the rapper’s fiancee, Kim Kardashian, before West punched him in retaliation. HipHopDX later reported that West was apparently negotiating an outside-of-court settlement with the assault victim.

    lohan hew?

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    Sophie Turner covers YOU Magazine

    GoT cast at the Season 4 Dublin premiere

    GoT cast pics thanks to social media

    Kit Harington looking fly as fuck while filming Testament of Youth

    GRRM and Pedro Pascal at a screening of the premiere

    Sibel Kekilli and GRRM

    Sophie Turner and Thomas Brodie-Sangster with Adam Brown and Richard Armitage at the Jameson Empire Awards

    Outtake of Natalie Dormer in GQ US, photographed by Will Davidson

    That picture of Kit is my actual favorite thing ever. <3333

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    Joe Budden got checked for posting an anti-Sikh and racist pic on Instagram. The rapper and Love & Hip Hop New York star got called out for the photo, which he eventually removed, that implied that a Sikh man was a terrorist.

    On Friday, Twitter user Fateh Singh(@FatedDOE) posted a photo he came across on Budden's Instagram account depicting a man wearing a turban and standing in an airport security line. Budden's accompanying caption read, "Not on my watch Homeboy!"

    Budden got into a debate with a user over whether the pic was racist or stereotypical. The New Jersey native deleteed the pic from his Instagram feed and eventually apologized on Saturday (March 29) morning.

    "I apologize to all Sikhs and any1 i offended w my tasteless & stereotypical post yesterday, it was ignorant & in bad judgement. Never again," tweeted Budden. "Hopefully ppl can find it in their hearts to forgive me, my God is a forgiving 1… today is a new day, here's to moving forward !"


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    With its sophomore album, the band Foster the People delves into the sociopolitical — set to a friendly electro-pop beat. It's but one way in which Mark Foster is trying to reach out to the people.
    In 2010, Foster the People's Mark Foster lived the dream for an aspiring songwriter.
    Buoyed by a light-stepping danceable beat, "Pumped Up Kicks" was electronic bubble gum pop with a dark lyrical undercurrent and a carefree tone that quickly went viral and was inescapable in summer 2011. It would go on to sell 5.3 million downloads in the U.S., according to Nielsen SoundScan.
    Then came the fear. "I have been afraid of the sophomore slump since before our first record even came out," Foster says.

    The dread existed even as the band was awash in good fortune. "Pumped Up Kicks," Foster admitted in 2011, "rolled out the red carpet for us," earning the trio a management deal after it had played only about six shows. A debut album, "Torches," would eventually sell more than 1 million copies and reach No. 1 on Billboard's rock albums chart, bringing with it a bit of dance culture to modern rock radio.
    Despite efforts to control a phenomenon, such as purposefully booking the band in smaller venues than were offered, Foster the People took off quickly. "It was almost harder for them," says co-manager Brett Williams of Los Angeles-based Monotone Inc. "You had to fight against how fast it was going."
    Two years of aggressive touring would include a high-profile appearance at the 2012 Grammy Awards with the Beach Boys. All of this was delaying the inevitable, nagging question: How does a band marked by instantaneous, social-media-driven success write not just a second album but one that proves the group has staying power?
    "I have seen so many bands that I love fail on their second record. I couldn't listen to the fear that I had to have a song be a follow-up to 'Pumped-Up Kicks,'" Foster says. MGMT, an electronic-focused pop band Foster the People has long been compared to, had a breakout album with 2008 hits such as "Electric Feel" and "Kids" but has seen its audience become increasingly niche since.
    "There was pressure," Foster says, "from what my fans would want to hear next. There was pressure from what the label would want to hear next. There's pressure from what our non-fans are going to want to hear next — the voices of skeptics. I tried to leave all that at the door."

    Indeed, there is no clear successor to "Pumped-Up Kicks" on Foster the People's "Supermodel," which debuted Wednesday at No. 3 with 54,000 copies sold on the U.S. pop charts. The band, one of the top-billed groups at the Coachella Valley Music and Arts Festival coming in April, still genre-hops among pop, dance and rock with effervescence, but the lyrical concerns are of the worldly, sociopolitical variety. British punk band the Clash, namely the group's disco-tinged and reggae-focused triple album "Sandinista!," is cited by Foster as a primary influence.
    Foster says he's now uncomfortable with the very facets of modern pop-culture that made him a star and turned his band into an overnight success story. In turn, Foster has moved away from the more storytelling approach that marked the songs on "Torches," singing now about "dissidents with the fire" who will "rip apart the marrow from the bone of the liars."
    "For me, a lot of the record is about Western culture, consumerism and the ugly side of capitalism," Foster says. "I don't want to hit you over the head with it, but those are the major topics. One thing I find really interesting is our worship of celebrity or politicians. We love to put people on pedestals. Look at reality shows. These people become giant stars. I find that fascinating. 'Supermodel,' for me, represents the age we are living in."

    Recorded largely in Morocco with Adele collaborator Paul Epworth, the Columbia Records release boasts Afro-Cuban rhythms, falsetto choirs and playful electronic effects.
    Guitars rather than synths are up front, and although Foster the People still graces its tunes with friendly electro-pop beats, now a track is more likely to be thrown for a loop with disarming banshee howls — or samples of monkeys. Topicly, self-doubt and helplessness abound, as in the spry single "Coming of Age." The album-opening "Are You What You Want to Be?" sets a fast-moving tribal beat, within which Foster wrestles with class concerns.

    "Before the band took off, I lived a quiet life," says the 30-year-old downtown resident, who at age 18 moved from Cleveland to Los Angeles to pursue a music career. "I lived in a one-bedroom apartment with no kitchen. I lived paycheck to paycheck. Then suddenly my life changed. We had people helping us. We had money. We could see the world. I traveled and saw how other people lived, and it left me brokenhearted."
    "I felt guilty for how my life had changed," says Foster.
    Foster says this outside the rooftop penthouse of the Santa Fe Lofts, the historic core building that now features a seven-story mural depicting the artwork for "Supermodel." The mural exists in part to promote the new album and in part because Foster says he wants to "communicate something outside of music." It's a psychedelic drawing by visual artist and musician Young & Sick, and it features a high-heeled model vomiting a poem while paparazzi click their cameras.
    It's also representative of Foster the People's ambitions. The band, rounded out by Cubbie Fink on bass and Mark Pontius on drums, wants to do pop-art but on a grand, easily accessible scale. When it comes to creating a 125-foot-by-150-foot mural, Foster claims ignorance at its cost ("I don't deal with numbers," he says), but getting it constructed wasn't easy.

    "Suddenly," says co-manager Williams, "there's a guy across the street who has a building who says you're somehow disrupting his business, so you have to give him some money. Then there's a guy who lives across the street who said our lights were too bright, so you have to give him [money]. Then there's the parking lot. There was a lot of that."
    Foster, for his part, discusses the mural only through the lens of altruism. The artist takes a moment to lean in and contemplate each question, but once the words come he speaks in an excitable rush that takes a big-picture approach. Ask, for instance, about the mural's inspiration for the mural, and he expresses concern that school art programs are losing funding.

    "Our country is losing touch with the idea that art is a vital and important part to the evolution of a society," Foster says. "Art plays a huge role as to how a culture develops. When you cut the knees off of art, there's no way to even articulate the long-term ramifications that has on a culture. I just want people to be more creative. I want someone to look at that wall and go, 'Wow, that's awesome. I'm going to go draw.'"
    That earnestness comes through on "Supermodel," which is ultimately optimistic. "The Truth" could be an Elton John-inspired empathetic ballad, only here it's broken up with a smattering of digital rhythmic shakes and scrapes. "Pseudologia Fantastica" is all brightly colored soundscapes, with layer upon layer of fantastical synths beneath Foster's sun-beaming vocals.

    Foster says the band didn't write any lyrics before going into the studio with Epworth, who, via his manager, declined an interview request. The group wanted to capture a sound Foster described as "Afro-beat, but mixed with '70s punk." Directly ask him about the record's sound and Foster gets more abstract. "If 'Torches' were a color it would be yellow," he says. "This record would be blue."

    Foster says the band didn't write any lyrics before going into the studio with Epworth, who, via his manager, declined an interview request. The group wanted to capture a sound Foster described as "Afro-beat, but mixed with '70s punk." Directly ask him about the record's sound and Foster gets more abstract. "If 'Torches' were a color it would be yellow," he says. "This record would be blue."
    But does "blue" sound like another hit? While no one expects Foster the People to match the runaway success of "Pumped Up Kicks,""Torches" spawned singles — "Helena Beat,""Don't Stop (Color on the Walls)" and "Houdini"— that each sold more than 250,000 downloads. Combined, the first three singles from "Supermodel" haven't yet sold 200,000 downloads.
    No matter, Foster says. Today his concerns are different.
    "I went to India, I spent some time in the Middle East and I went to Northern Africa — places where the priorities are completely different," Foster says. "Those cultures aren't focused on individuals. They're focused on communities. That changed how I will look at life. I saw people who had joy and human connections and they don't have one one-thousandth of the things we have here."
    "But they have something we don't have," Foster continues, "a sense of community."


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  • 03/30/14--14:39: North Takes Kimye For A Walk
  • 0 0
  • 03/30/14--14:40: Diddy back to Puff Daddy

  • Puff Daddy is back!

    Musician and media mogul Sean Combs, who has gone by Sean "Puffy” Combs, P.Diddy and just plain Diddy, announced that he is returning to his old stage name Puff Daddy on Tuesday.

    Musician and media mogul Sean Combs, who has gone by Sean "Puffy” Combs, P.Diddy and just plain Diddy, announced that he is returning to his old stage name Puff Daddy on Tuesday.

    Combs, 44, dropped the name Puff Daddy in 2001. His decision to re-adopt his old name comes just before the release of his first album in four years, "MMM."

    Combs announced the change during a trailer clip for "Big Homie," his upcoming single with Rick Ross and French Montana.

    "For the record, I did not change my name," Combs tweeted under his handle @iamdiddy."I always have been and always will be PUFF DADDY! :) Be cool Man lol."

    He followed up with another tweet poking fun at the chatter around his name change: "#DIDDYORDADDY ???"

    Update your rolodexes: "MMM" is due for release later this year, and "Big Homie" will drop next Tuesday.

    trailer at the source

    no words for this demon

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    He has been having the time of his life partying with the local beach babes.So no wonder Patrick Schwarzenegger was looking distraught as it emerged his mother Maria Shriver had also arrived in Miami on Saturday.

    However it seems the 20-year-old university student was able to soon get over the fact his spring break partying may be be briefly curtailed, as he was soon knocking back drinks with his friends and making the most of things.

    Patrick showed he has inherited some of his bodybuilding legend father's genes by showing off his muscles while sauntering around in swimming shorts.

    And going by his postings on Twitter, it seems he does not plan on slowing down his lifestyle any time soon.


    How are you spending your spring break, ONTD?

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    Emma Watson, the actress said she believes that fashion can “project an unobtainable image that’s dangerously unhealthy”, adding that she is excited about getting older.
    The 23-year-old star of the forthcoming Biblical epic Noah, also said she had doubts about a career in acting after the Harry Potter films ended.

    The actress, who played Muggle wizard Hermione in the blockbuster series and is worth £30m, told The Sunday Times she can “take criticism on the chin a lot more” and acknowledged the pressure to look perfect and behave impeccably in the public eye.

    “As a younger woman, that pressure got me down, but I’ve made peace with it. With airbrushing and digital manipulation, fashion can be an unobtainable image that’s dangerously unhealthy. I’m excited about the ageing process. I’m more interested in women who aren’t perfect. They’re more compelling,” she said.

    Rather than her celebrity contacts, Ms Watson says it is her mother and friends from whom she seeks advice when dressing for big events.

    “I love showing them images and asking, “What do you think of this dress?’ I call on my boyfriends for advice all the time. I mean friends who are boys, and my girlfriends.”
    She said she threw herself into academia after filming finished in 2011 and said she found it "intimidating" emerging from the shadow of JK Rowling’s creations.

    Ms Watson told the paper that her agent did not even send her scripts for the first year after leaving Hogwarts in ruins in Harry Potter And The Deathly Hallows: Part 2.
    She did a year at Oxford University before dropping out and enrolling at Brown University in Rhode Island in the United States, while still taking acting roles.

    They included last year's The Bling Ring for Sofia Coppola.
    She said: "After Harry Potter, all that mattered was university. I didn't even know if I wanted to be an actress."
    of her first day at Brown, said: "On the first day I walked into the canteen and everyone went completely silent and turned around to look at me.

    “I had to say to myself ‘It’s OK, you can do this’. You just have to take a deep breath and gather your courage. I have moments when I walked into a bar and it will take me making a joke to put people at ease and realise I am just a girl.”
    She said it wasn’t always easy to break down barriers at Brown as having “men from the British press following me round with cameras didn’t help my mission to integrate myself.”

    She said she enjoys cooking, with raspberry and amaretto cake being her favourite, but she also likes banana choc-chip bread and egg tortilla. She said cooking helps her to relax and people close to her appreciate a home-cooked meal.

    Ms Watson said she is unable to discuss her boyfriend, rugby player and Oxford student Matt Janney, adding: “I’m trying to keep my private life sacred, although I don’t want to lock myself up and never go out. So I guard it, because I don’t date people who are famous, and I don’t think it’s fair that, all of a sudden, intimate details of their personal life are public as a direct result of me.”


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