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- 04/02/14--15:37: The best sitcom about religion you aren't watching is BACK
- 04/02/14--15:37: Mariah and Nick Cannon to Celebrate Wedding Anniversary on the Moon
- 04/02/14--15:50: Justin & Austin in the studio together
- 04/05/14--12:19: Bruce Timm Returns to BATMAN with Animated Short
- 04/05/14--12:20: Geordie Shore announces return to MTV UK for eighth series
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Rev is back. Another six episodes of Tom Hollander as inner-city vicar Adam Smallbone struggling to make sense of God and the world. And, as usual, the urban clergy of the Church of England (along with a few million others) will be glued to their TV sets.
The clergy loves it because it describes our life to a T. Forget The Vicar of Dibley. Forget Father Ted. Forget even the baby-eating Bishop of Bath and Wells from Blackadder. In the league table of TV clerics, Adam Smallbone is the bomb. It’s “really rather good,” says former Archbishop of Canterbury, Rowan Williams. It shows “some- thing of the continuing commitment of the church to run-down and challenging areas. It also shows us someone who prays honestly.”
My own parish near Elephant and Castle in south London feels like a carbon copy of Adam’s fictional parish, St Saviour in the Marshes, set somewhere in Hackney in east London. His 1950s vicarage looks the same as mine. I know the situations. If Dibley is a caricature of the truth, Rev is the truth in the form of a caricature.
Yet when I meet Rev’s co-creator and star Tom Hollander and co-star Olivia Colman in a Covent Garden club, he tells me something I’d prefer not to know.
tl;dr: Enjoy the videos
One of Rev’s characters is actually based on me. But not the lovable, kindly Adam. Rather, the slippery, self-pitying, bibulous, untrustworthy and arrogant media vicar, Rev Roland Wise, who does Thought for the Day and writes for the Church Times. Ouch.
Hollander thinks it’s all too funny. “This is a bizarre experience. You have gone into art then come back as life to bite me in the arse. It’s all very postmodern.” I’m less amused and tell him that I am going to get my revenge by giving the show a bad review.
Adam is overwhelmed when he allows a group of trendy Evangelicals to use his Church
But, of course, I can’t. It’s great. And what it captures best of all about clergy life is the total erosion of the boundary between what is work and what is not work. “I didn’t realise you really have this open-door policy all the time,” says Colman, who plays Alex, Adam’s long-suffering wife and new mother to baby Katie, with a combination of gentle common sense and decency. The parish vicar is public property. As, absurdly, is the vicar’s wife (or husband) who, as Colman puts it, “is accidentally sleeping with the person who is doing the job”.
The vicar often lives above the shop, or right next to it, continually at the beck and call of a succession of visitors, many of whom assume his gullibility and good will. Much of the humour of Rev is generated by the fact that he knows he’s being conned but goes along with it anyway. It’s a familiar dance; a comedy of misrecognition. The shifty bloke who wants a train fare to Brighton. The smiley middle-class couple asking about the church school. The pious parishioner who projects some impossible holiness onto the man in the dog collar. They don’t see the Adam Smallbone that we, the audience, see. They see the collar. We see the man – bothered, angry, confused, aware.
It’s a different sort of humour to the usual stuff generated by the clergy. Traditionally, this played on the contrast between outward piety and inner human failing, playing on the inevitable hypocrisy of a life professionally suspended between God and man. Adam knows this place, of course. But he wears his failings so honestly, with such obvious humanity, that the struggle to be good is recognised as something noble rather than creepy.
You can tell that Rev was the product of genuine research. It began with a lunch in London between the Rev Richard Coles – he of Saturday Live fame – and Hollander at the Wolseley restaurant in Piccadilly. Coles pointed the Rev team up to Boston in Lincolnshire, where he had been a curate. That was where Rev became real.
“The most inspiration interms of the on-the-ground real-life incarnation of the vicar came out of that,” says Hollander. “In this coming series we’ve done a story about a prisoner who comes to the church, an ex-con who has to be given succour. There was a knock on the door at the Boston vicarage, and it was this man who had just walked out of Dartmoor prison after 35 years. He was a mass murderer who was suddenly in a world in which he didn’t know anyone. He had never encountered mobile phones. Where do you go when you’re like that? You go to a church.”
Likewise, the story in the first series about Adam getting drunk, losing his faith, then having it restored by giving last rites to a dying woman who had six kids from six different men was also rooted in the reality of church life in Boston. “David Cameron tells us all that everyone has got to put their hands to the pump because they want to cut benefits,” says Hollander, “but the truth is, that is what the clergy do every day of the week.”
Alex surprises Adam with sexy new image
What did he know before all this research? “I was a chorister. James Wood, who co-writes the show, was also a chorister. Church and school. Lots of wearing of surplices and singing Once in Royal David’s City. I knew the ceremony looking pious up at the holy end, but I certainly didn’t know all this daily life stuff.”And for those who think
it’s just a bit, well, made-up, I offer this story. The other day I was returning home, walk- ing down the alley by the side of the church, when I was greeted by the sight of a middle-aged woman who had obviously been caught short on her way home from Tesco. Shopping bags by her side, she was squatting, face screwed up. The alley is narrow, and there was no way of us not acknowledging each other. What to say? “Good afternoon”? “Would you like me to get you some paper?” Sorry, that’s too much information. But this is the stuff out of which Rev is made. Put on a clerical collar and trouble seems to seek you out. But what the dog collar usually does is efface much of the humanity of the person who wears it. It’s a testament to the power of the character of Adam Smallbone that the collar soon disappears from view.
Adam and Ellie go to protest a lap dancing club which has opened nearby
But even so, I do wish he had just a bit more backbone. This series sees him fretting about having to do a gay blessing. And when I challenge Hollander (just a little unfairly) about his views on the recent bishops’ letter drawing attention to the link between benefit cuts and increasing poverty, he mumbles something just on the affirmative side of noncommittal.
“When I heard about the bishops’ letter, I thought to myself, ‘Why didn’t we do the food- bank story?’ But we didn’t,” says Hollander. “Suddenly the life of the Church has become more visible in the media and is moving quite quickly, with female bishops and the sudden change of Archbishop. So it’s harder for us to try to second-guess what’s going to happen.”
This is what Rev doesn’t quite get, perhaps because it is hard to play for laughs. Because inner-city clergy deal with the daily consequences of poverty, they inevitably get sucked into the political. Rev suffers under the moral illusion that you can be there for the poor and vulnerable without asking how and why they got into that condition. It depicts the clergy as kindly but politically inert. Some are. Most are not.
Adam catches his top lay preacher Nigel play-acting as a Catholic Priest
But this neutered figure is exactly how the English have traditionally preferred their clergy and their religion, at least since the English Civil War. It was a reaction to the years of bloodshed that had people butchering each other in the name of God. In the English imagination, it’s better to have a weak-minded, kindly priest, even if that means he’s slightly foolish, than a strong-minded certain one. Those sort get people into fights, and, in the 17th century, that meant piles of bodies. Better for the clergy to be figures of fun than figures of fear.
Which I suppose is why I have a soft spot for the more brutal charms of the Archdeacon– played just perfectly by Simon McBurney – the ecclesiastical fixer with his black leather gloves whose job it is to keep the otherworldly Adam focused on the money and the size of his congregation.
The idea of the Archdeacon as some sort of church bulldog is a standard ecclesiastical cliché, the stuff of vestrygossip throughout the church. He (or she) has to be the tough-guy enforcer sothe Bishop can be all sweetness and light. The Archdeacon does all the dirty work. Or, to put it more kindly, it’s their job to focus on the practical necessities of keeping the church show on the road. Left to the likes of Adam, all the money would be donated to charity and the church would end up a carpet warehouse. That may be more Christian but it’s also a recipe for disaster. Again, this mismatch between reality and aspi- ration is perfect material for comedy.
The Archdeacon tries to bond with the congregation
What Rev shows, however, is that there is indeed a unique spirituality to be had from the very English religious diffidence of Adam Smallbone. It’s not just the domain of the oily Mr Collins from Pride and Prejudice (who Hollander played, of course, in Joe Wright’s 2005 adaptation), though he is a classic of the genre, if only in his total lack of theological intent. Neither Collins nor Smallbone are going to pose you any embarrassing questions about your faith, or break the English dinner party rules and ask if you are saved. Both are too polite.
But whereas Collins uses the status of his office for the purposes of self-promotion, Small- bone cares deeply for his parishioners, even if he still remains just a little bit embarrassed about using the God word. This hesitancy, captured brilliantly by Hollander, full of nervous tics and awkward smiles, is uniquely English.
But, as Rev also shows, there is something heroic about it, too. And the more so now that the status associated with the job has become a thing of the past. In series one, Adam is greeted by a daily chorus of sniggering builders mooning him as he makes his way to church to pray every morning. I know those sniggers. Eventually he takes off his collar and gives them a few choice
Adam and Nigel plot to route out hypocritical parents
words of Anglo-Saxon. Oh, how I have wanted to do that! Instead, most of us put our head down and pretend not to notice. At the end of the interview, Hollander, Colman and I go outside for a fag. He asks me how I have been since I left my role as canon chancellor at St Paul’s Cathedral in 2011. We discuss church music. We start to sing the Easter Exultat together. He is extremely vicarly. It feels like a little bit of the character has attached itself toTom Hollander. More role reversal. Adam Smallbone, I’d have you as my vicar any day.
Mariah Carey and Nick Cannon's love could be out of this world!
NICK CANNON WANTS TO WHISK MARIAH CAREY OFF TO THE MOON TO RENEW THEIR WEDDING VOWS.
Thursday, 13. March 2014
Nick Cannon wants to renew his wedding vows with Mariah Carey on the moon.
The celebrity couple said their I dos in April 2008 and have two-year-old twins Monroe and Moroccan together.
As an annual tradition the loved up pair renew their wedding vows in fun locations every year and have celebrated in Vegas and Paris in the past.
Nick's now hoping they can top last year's lavish Disneyland ceremony, which saw Mariah dressed like Cinderella for the ceremony, with a trip to outer space.
"I'm planning something a little more adult this year," Nick divulged to Life & Style.
"The moon! I don't know how we're gonna get there, but I'll set it up."
Nick will have to plan a spaceship ride in record time though, as the vows are due to be renewed on April 30.
Being dressed as astronauts won't cause too much of problem for glamorous Mariah as 33-year-old Nick confesses they're both fans of fancy dress.
"We both like to dress up. That's what we love to do, and it keeps the fun going," he smiled.
I simply CANNOT with Mr. Carey rn. Like, you want to go for adult... so you choose the moon?!
My daughter. @briawilliams1 knw I don't play tht but they my nephews family luv @justinbieber @austonmahone RG YMCMB
Day 2 with tha yung supa stars in studio workin @justinbieber @austinmahone RG YMCMB
I'm really not sure about it, but I hope Justin enjoys the process lol
Britney deserved VMAS for Toxic, Slave, Baby One More Time.
The real Gimme More and Perfume videos should be released
Unusual You, Toy Soldier, Freakshow and Inside Out should have been released as singles.
Chaotic shouldn't have happened (Even Brit agrees on this one)
Rebellion and the Original Doll album should have been released
Also, a new promo video from the Oops Tour leaked. It was a collaboration with a company called 'First Person' and was going to be an interactive video where you could choose the angles of the video you were watching, but for whatever reason it was never released.
How differently would you have handled Britney's career ONTD?
As far as Game of Thrones characters go, Rory McCann’s Sandor “The Hound” Clegane is known for being brutal, gruff, and generally unfeeling — not exactly the kind of companion you’d choose for a road trip. Poor Arya Stark didn’t get much of a choice, though, when she was taken hostage last season after trying to hunt down a group of Lannister soldiers in hopes of getting revenge for her father’s death.
Over the course of three seasons, we’ve gotten to see a bit of the humanity that exists underneath The Hound’s hard exterior, and season 4 — premiering this Sunday — will unearth even more about the character. EW spoke to McCann recently to find out about what he could tease regarding Thrones‘ upcoming episodes, his relationship with Arya, and more.
ENTERTAINMENT WEEKLY: So, what can you tease for fans about this upcoming season, both for your character and the series in general?
RORY MCCANN: I haven’t really looked at other storylines, to be totally honest, because there’s been so much going on with my own. That sounds like the usual selfish actor stuff, but it’s just the way it is. All I can say is, for my character, I’m with Arya for this journey, and it’s just going to be this road trip that’s just going to be crazy. It’s going to be like Scooby-Doo and Scrappy-Doo, leaving a trail of death and destruction behind. I’ve seen a bit of it, and you’ll be surprised how much there is of comedy, as well. But there’s a great storyline, great road trip, and as for the show, it’s bigger and better and I’ve still got the bruises to prove it. [laughs]
In the books, and in the show as well, The Hound has some of the most prominent character growth. Do we get to see more of that in season 4?
Yes. It’s the first time, I think, that The Hound is going to reveal his colors a little bit — you’re going to really see what makes him tick. We know he’s damaged goods, we know there’s a few layers to him, he’s carrying around a lot of anger with him and he’s got the scars to prove it. But he’s kind of on his own journey, so he’s going to reveal a lot, and probably in interactions with Arya, he’s going to come out and explain what makes him tick. I think the viewers will like that. It’s taken him four years to come out and say, “this is the way I am, this is the reason.” I think the idea was to bring in my character a bit slower, and that’s what happened.
Out of this huge cast, you’ve obviously spent the most time working with Maisie Williams. How has that relationship grown and changed since the first season?
It’s great. I mean, I’m the sort of the daft one on set, the goofy one, and she’s the one that keeps me in shape. She tells me, “it’s not that line,” and, “the reason we’re here is because…” The storylines are all over the place, and we don’t do it in that timeline, so she keeps me in check. Gets me into trouble, though! [laughs] It’s quite funny. But she’s great, it’s just been great working with her — she’s fantastic.
Your chemistry with each other really helps sell the relationship between these two characters who have such dislike towards each other, but have to learn to more or less live with it because of the situations that have occurred.
There’s this relationship forming now, and you’re going to see The Hound offering skills to survive and stuff. She’s going to be sometimes a student. We’re arguing the whole way through, it’s going to be very entertaining.
Was there a particular scene that you enjoyed filming, or that was your favorite of the season?
Further on in a few episodes, there’s going to be the biggest fight I’ve ever seen. It’s going to go on for so long, you wouldn’t believe. There’s going to be so much blood and guts, and I can’t wait for everyone to see it. There’s going to be some right shockers — people wouldn’t even imagine what’s going to happen. It’s funny how the fans think they know what’s going to happen, and then there’s going to be a right angle turn, and they’re going to either think it’s great or go, “What the hell is going on?”
Have you read the books? Do you keep up on your character?
I do. I keep in touch just enough to help me.
In The Hound’s opinion, who would be best suited for the throne?
I want to see Tyrion on the throne. I believe in him, I think he’s sharp, and he’s got balls. I think he’s got character. I think The Hound respects him as well. So bring on Tyrion! He’s our man.
This is big news for fans of Batman: The Animated Series, Justice League, and really any of the DC Comics television projects taking place in the “Timmverse.” Bruce Timm, the man who, along with Paul Dini and many others, is responsible for bringing everyone’s favorite dour becaped crime fighter to animated supremacy, is back with a new short which will debut April 9th on Cartoon Network, Comics Alliance and Newsarama are reporting.
The Timm-designed version of Batman will return for a short entitled Batman: Strange Days which will pit the Caped Crusader against the nefarious Dr. Hugo Strange. We’ve got the first set of images from the short, which apparently takes place on Mt. Olympus during a 1940s movie. I’m guessing, of course.
This short will be part of Cartoon Network’s DC Nation block, which will air after Teen Titans Go!, recently relocated to Wednesdays at 6:30pm ET. Timm was the man behind a slew of Warner Bros. and DC animated projects dating back to the early ’90s and was the Supervising Producer for DC’s line of direct-to-DVD animated features until 2013, when he stepped down to do his own things. One of those things happened to be last October’s Superman 75th Anniversary short, and he’s back, now that it’s Batman’s 75th anniversary year. Timm and Batman are two great tastes that taste great together.
Once again, this short will debut April 9th after Teen Titans Go! on Cartoon Network.
Filming has started for series eight of Geordie Shore, which will be broadcast later this year, MTV have announced.
The show has come under criticism for portraying Newcastle in a bad light as the cast members are often captured drunk and there are quite a few "scenes of a sexual nature".
A Goonies sequel? There have been many rumors over the years, and supposedly a script that fell into development hell, but as Hollywood continues to search for my recycled ideas – The Goonies never say die. Goonies director Richard Donner was approached (err corned with a video camera) by gossip site TMZ and dropped the bomb that “We’re doing a sequel” to the 1980′s classic film Goonies. When asked if any of the stars from the original movie would return for The Goonies 2, Donner responded “Hopefully all of them!” Watch the full video of Donner talking comic book movies and the Goonies sequel, embedded after the jump.
The last script attempt involved a new group of kids, as the daughters and sons of the original Goonies gang, going off on a new adventure. All of the original cast members, including Josh Brolin, have expressed interest during interviews, in returning for a second film, if it were to happen. For a time Warner Bros was considering the Goonies franchise for their direct to DVD sequel line, but thankfully that never happened. Last we heard rumblings in 2008 that new writers has been hired to give it another go, but that was never confirmed.
As much as I’m excited to revisit the characters from my childhood, I wonder if the story will be good enough to justify it. This news comes weeks after The Goldbergs‘ Goonies tribute episode aired on network television — I wonder if the popular response to that show got plans back in motion?
Discuss: What would you want to happen in Goonies 2?
video @ the source
BAY CITY, MI — Twenty years ago today, Kurt Cobain quoted a couplet from a Neil Young song as he scribbled some of the closing lines of his suicide note — “It’s better to burn out / Than to fade away.”
Perhaps this coda was an attempt to convey some reasoning on why he decided to end his life, but in hindsight, it’s proven even eerier due to its prescience in contrast with Cobain’s death and that of one of his contemporaries.
Odds are anyone reading this knows the basics, but let’s recap to be sure. Cobain on April 5, 1994, entered a living space above his Seattle garage, wrote his final letter, injected a sizable amount of heroin, then shot himself in the head with a Remington Model 11 .20-gauge shotgun. An electrician found his body three days later, the shotgun lying across the Nirvana frontman’s chest and his cigar box of heroin paraphernalia nearby.
Cobain was 27, the fabled age musicians tend to have a difficult time advancing beyond (see Robert Johnson, Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, the Stooges’ Dave Alexander, Big Star’s Chris Bell, the Minutemen’s D. Boon, Manic Street Preachers’ Richey James Edwards, Amy Winehouse, the list goes on).
At the time of his death, Nirvana was at the height of the band's popularity, their third LP “In Utero” having been released less than a year prior, debuting at the No. 1 slot on the Billboard 200 album chart. Conversely, Cobain was at his most tortured, and for reasons that transcend understanding and warrant only acceptance, the songwriter believed suicide was his best option.
If Cobain wasn’t already destined for the upper echelons of rock royalty, the timing of his brutal demise cemented his place in those halls.
In line with Cobain’s unnerving aping of the Young lyric, Hendrix in a 1969 interview stated, “It’s funny the way most people love the dead. Once you are dead, you are made for life. You have to die before they think you are worth anything.”
Cobain’s death proved Hendrix’s point.
By dying when he did, Cobain prevented himself from aging into self-parody. He never lost his artistic integrity playing the county fair circuit with tweaked Nirvana lineups, and didn’t release embarrassing albums trying to replicate “Nevermind” or “In Utero” just to shift units to pay the bills. Cobain’s death made him a legend and prevented any chance of him slipping into cringe-inducing mediocrity.
Compare that with the death of another grunge luminary, Alice in Chains frontman Layne Staley. Coincidentally, April 5 is also the anniversary of Staley’s death, though the widespread media coverage chronicling Cobain’s legacy is, for the most part, not addressing Staley’s. Granted, Alice in Chains didn’t have the watershed popularity of Nirvana, their heavier sonic palate and darker content not as accessible, but Alice in Chains was one of the most influential and top-selling bands of their era.
For the only known photo of the two together, or the only one known to me, click here.
Both Cobain and Staley were pioneers in a musical movement from the same city, both exorcised their demons through their serrated vocal cords, both influenced untold bands who followed them, and both died on April 5 in Seattle. Staley, however, died in 2002, six years after his last album was released and three years after he recorded his last two songs with Alice in Chains.
The parallel deaths of Cobain and Staley invite analysis, and both are expressions of different kinds of social and personal angst.
The former ended his life decisively, in a violent flash. The latter became a recluse, retreating to his condo where he lost himself in a web of heroin dependency until his frail body gave out with a last overdose. That his body lay on his couch, a TV set flickering before him, for two weeks before police broke down his door makes the depths to which Staley sank that much clearer.
So while Cobain remains an icon, Staley is largely regarded as a fringe figure outside of fan circles. To be succinct, Cobain did indeed burn out, while Staley faded away.
Interestingly, and worthy of mention, Nirvana was not the first Seattle band expected to break the scene beyond the Pacific Northwest. Alice in Chains and Soundgarden were both signed to major labels and had releases on them before Nirvana, and Pearl Jam’s “Ten” was released a month prior to “Nevermind.”
Even before that, the band Mother Love Bone was projected to make it big, their brand of Guns N’ Roses-meets-T. Rex a more palatable transition from the schlocky ‘80s hair bands of the day than the more scorched-earth approach Nirvana took with their grimy punk-metal. But, as with Cobain and Staley, Mother Love Bone leader Andrew Wood struggled with heroin addiction, and died of an overdose in March 1990, just days before the group’s debut album, “Apple,” was to be released.
“Nevermind,” though, was the album that truly burned down the fields of stagnating mainstream music.
“From a music collector’s perspective, ‘Nevermind’ was like a game-changer,” said Bay City music aficionado Gary Johnson. “It had the impact in the ‘90s of what ‘Meet the Beatles’ and the first Rolling Stones album, ‘England’s Newest Hit Makers,’ had in the ‘60s. It just seemed it changed everything. In the ‘80s, there was this emphasis on videos, synthesizers and drum machines, and ‘Nevermind’ kind of brought it back to the basics.
"And it still stands up as sounding great, 23 years later.”
Johnson added that he doesn’t think it’s hyperbolic to state Nirvana inadvertently created a musical revolution with the release of “Nevermind.”
“It changed the music landscape big time,” he said, again drawing parallels to the Beatles’ first big album. “It inspired the formation of bands and I think the same thing happened in the ‘90s as a result of ‘Nevermind.’ You saw the growth of a lot of young bands, of people picking up guitars again and a lot of cool music coming out of that.”
Johnson compared that reactionary response of the Seattle scene to ‘80s excess to the punk rock emergence in the late ‘70s, arriving as it did on the heels of the bloated pretentiousness of prog rock.
“It just seems every few years that needs to happen,” he said.
As to why Nirvana blew up before any of their Seattle peers, Johnson thinks it boils down to the simplest element — the songwriting.
“He had the right combination of rawness and being able to write those kinds of melodic songs that were very catchy and appealing,” he said. “He just had that knack of being able to put together those songs that just seemed to work on a number of levels. There were crunchy guitars, but yet they had that catchy factor. He kind of reminded me of John Lennon. He had some of those same qualities, I thought.”
Johnson also said he feels it’s apt to consider Cobain his generation’s version of a Lennon-like figure.
“Both experienced a lot of pain in their lives, and I think that came through in their music. The difference seems to be Lennon was better able to deal with pain than Cobain was.”
Johnson cited Nirvana’s 1993 performance on “MTV Unplugged” as an example of Cobain’s songwriting depth and evidence that the Lennon comparisons are justified.
“It just shows what he could do. It didn’t necessarily have to be the heavy grunge. He was just as effective in an acoustic setting.”
When Cobain died, I was 9 years old, so I missed the whole grunge revolution by a handful of years. It wasn’t until I was in high school that I discovered Nirvana, and through them the whole Seattle scene, years after it had dissipated. That scene ended up becoming the first musical zeitgeist that I made my own. Sure, I had bands here and there I obsessed over beforehand, but the Seattle thing was distinct, and it was mainly the sense of community among the bands coupled with their vastly different styles that hooked me.
There was the big four of Nirvana, Alice in Chains, Pearl Jam and Soundgarden, but the more obscure ones like Mudhoney, the Screaming Trees, Mother Love Bone, Love Battery, Green River and TAD all garnered my devotion as well. While my peers were listening to vapid pop-punk or abysmal post-grunge, I poured through this passé subgenre as if I’d found a time capsule left strictly for me.
Though I found Nirvana first, they ended up being my least favorite of the big four, Alice in Chains taking the top spot. Something about Staley’s feral and unflinching expression of his darkness really gelled with me and kept me coming back.
As of now, I honestly can’t recall the last time I listened to a Nirvana or Alice in Chains album. It’s been years, I’m sure.
Despite not hearing a song for however long, it is still present in a person, a component in the narrative of identity one self-authors.
Recognizing this, listening to those bands’ records is a nostalgic experience, and it’s impossible for me to assess them with objective criticism. It would be a fool’s errand, akin to trying to give objective analysis of a memory from your youth. Even if you could accomplish such a feat, what would be the point, as your concept of self is a sum of your memories and an accretion of sensory data, and the music of your formative years is an essential link in that chain of being.
The Game is now the suspect in a felony domestic violence investigation after allegedly beating up his on-again/off-again fiancee. According to our sources, Game's fiancee Tiffney Cambridge, filed a police report last weekend following a March 19th incident during which she claims Game attacked her. Cambridge told police the couple was having an argument and Game turned violent.
Sources close to Tiffney tell us, Game hit Tiffney repeatedly in the face, injuring her eye socket and breaking her nose. Law enforcement sources say police took photos of her face. We're told the L.A. County Sheriff's Department has launched a criminal investigation.
Both Game and Tiffney appear on his reality show, "Marrying The Game."
Sources connected with Game tell TMZ, he acknowledges there was an incident but the rapper insists he never laid a finger on her. The Game tells us,"I don’t want to give fuel to these false accusations, but the truth will definitely come out. I am always looking out for my children’s safety and have never laid a hand on Tiffney."
Pharrell Williams is still a kid at heart. The “Happy” hitmaker celebrated his 41st birthday with his closest friends and SpongeBob SquarePants in New York City on Friday night.
On the eve of his “SNL” performance, Pharrell turned Cipriani Wall Street into the underwater city of Bikini Bottom for one night. Wearing a BBC varsity jacket and green version of his Buffalo hat, he hit the yellow carpet with his wife Helen Lasichanh.
His favorite characters from the Nickelodeon show including SpongeBob, Patrick, and Squidward came out to play, along with his celebrity pals Chanel Iman, Russell Simmons, Angela Simmons, and Mashonda.
Other guests included Swizz Beatz and Pharrell’s “It’s On Again” collaborator Alicia Keys, who was fresh from the DVF Awards.
Guests got down to the funky sounds of Q-Tip, who was the DJ on duty, and the birthday boy received a custom cake in the shape of a Krabby Patty.
He received birthday wishes from his famous friends. “Happy Bday to my brother, @Pharrell!!! Been killing the game forever! And, you still look younger than the rest of us,” tweeted Justin Timberlake, while Tyler, the Creator added, “HAPPY BIRTHDAY TO THE NI**A THE PAVED THE WAY AND TO THIS DAY CONTINUES TO INSPIRE ME ON A CRAZY LEVEL.”
In addition to “SNL,” Pharrell will sit down with Oprah Winfrey on OWN’s “Oprah Prime” (formerly “Oprah’s Next Chapter”) on April 13 at 9 p.m.
This post includes movie spoilers
Since Nick Fury (Samuel L. Jackson) introduced Tony Stark (Robert Downey, Jr.) — and the world — to “The Avenger Initiative” at the end of 2008’s Iron Man, S.H.I.E.L.D., the fictional peacekeeping task force, has been the binding agent that tied every Marvel movie together.
But by the end of Captain America: The Winter Soldier, S.H.I.E.L.D. has been destroyed, both from the inside (thanks to the emergence of HYDRA sleeper agents) and the outside (thanks to those careening Helicrafts).
“Marvel is getting crazier and more inventive with each film,” star Chris Evans told BuzzFeed last month at the film’s Los Angeles press junket. “But, ‘In Marvel We Trust,’ so when I was told this movie was the end of S.H.I.E.L.D., I knew it was going to be the beginning of something even more amazing.” Marvel’s well-documented shroud of secrecy prevented Evans, Samuel L. Jackson, and Anthony Mackie from detailing the long-term ramifications for the franchise, but all three actors spoke candidly about the immediate implications.
“Nick is retreating back to the shadow world,” Jackson said of his character, who is presumed dead by the world at large at the end of The Winter Soldier. “It’s this place that he and Natasha [Scarlett Johansson’s Black Widow] refer to a lot, and it makes him a much more interesting character who won’t be instantly recognizable because of that.” Also helping to aid Fury’s anonymity will be the lack of his iconic eyepatch, which he burned at the end of Winter Soldier and replaced with a pair of sunglasses Jackson personally picked out.
“We looked at a lot of glasses, and went with those because they were a specific color that blended into my skin tone,” he told BuzzFeed. “It was most important they not be immediately recognizable as sunglasses because we didn’t want it to look like he was trying to hide. We wanted it to look like this was simply a style choice to the outside world.”
Jackson also cites the first of Winter Solder’s post-credits sequences (there are two in total) — introducing Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron Taylor-Johnson), mutant twins who factor heavily into Age of Ultron — as evidence his character will remain in hiding for much of Joss Whedon’s The Avengers sequel, due in theaters in May 2015.
“Avengers 2 is so huge, and having seen the tag, I don’t know there’s a real space for Nick in that scenario because everything is so extraordinary,” Jackson revealed. “When you come down to it, Nick’s an ordinary guy who knows how to bend extraordinary people to his will. The [Avengers sequel] is not about Nick and what S.H.I.E.L.D. is going through. We’re going to skip over him in an interesting sort of way.” Although Jackson was very quick to add, “Don’t get me wrong, I’ll show up, but it’s not to be an effective part of the plot or the resolution of the plot from [The Winter Soldier].”
Mackie echoed Jackson’s sentiments, saying that while it’s clear The Winter Soldier is a two-part story, Captain America 3 will be the film that serves as the conclusion. “In the comics, Cap would aways call on the Falcon for help, and then they’d go their separate ways,” Mackie said. “Avengers 2 is one of those instances where Cap goes off and does his thing. Then, he’ll circle back around to get my help for Captain America 3. That will pick up where we left off and Avengers 2 will be a segue to something else.”
And while Mackie’s Falcon won’t be featured in Avengers: Age of Ultron, he’s thrilled to be a member of The Marvel Cinematic Universe — finally. “I wanted to be a part of Marvel so bad that I auditioned for about 20 Marvel characters before this,” Mackie revealed. “Every time they were doing a Marvel movie, I was like who can I audition for? I can be the guy that says, Thor, throw the hammer! It got to the point where Kevin [Feige, President of Marvel Studios] was like, Stop. Don’t call us anymore. If we need you, we’ll call you. Six months later I got a call about Falcon.”
Although, Mackie quickly learned that becoming part of the Marvel family doesn’t give you unfettered access. “The secrecy, even between the actors, is pretty hardcore,” he said, laughing. “I wasn’t given the Avengers 2 script and had to call up Chris, who is a good friend of mine, to see if I was in the movie. And he was like, Uh … I don’t know, um, well, let me call you back. It’s like, dude, you just told me you read it!”
Evans was even more tight-lipped about the sequel, but he did promise that the script exceeded his already-lofty expectations. “It’s a tough balance for Marvel to orchestrate these independent franchises while still dipping into the Avengers pool,” he said. “But the script is so good.” Yet it quickly became clear that Captain America 3 is the project he’s most excited to begin work on.
“I just love the relationship with Bucky, the Winter Soldier [Sebastian Stan],” Evans said.“Cap’s this wildly selfless man who is going through a very traumatic experience and determined not to bleed on anybody but challenged with such a conflicting hurdle. It’s this really beautiful dichotomy of trying to be strong and selfless, but at the same time, facing this real personal challenge.”
He added, “This is so personal for Cap, who has had to adjust to modern times; not just with tech shock and how society operates, but with the fact he’s been alone. He had no connection to anyone from his life when he was suddenly slammed with this relationship from his past, and seeing that evolve and come to fruition will be very exciting.”
Jackson, for one, is hoping subsequent installments explore a different dynamic: “I don’t think a lot of kids who watch these films realize that Nick was around when Captain America was around in World War II,” he said. “I want to know how he got from where he was then to where he is now, and what it is that allows him to still be so vital.”
Mackie’s sequel dreams are a little more frivolous: “I know Falcon’s suit is going to evolve and I’m hoping it evolves into red spandex,” he said. “I’ve been working really hard on my body and was very disappointed when I didn’t get a copious amount of spandex to wear while shooting this movie.”
High atop Evans’ wishlist is the desire to see Cap dirty up his American ideals. “He’s had some flaws, but I’d really like to see him make a major misstep,” Evans revealed. “I’d like to see that morality betray him; have him do something he really truly felt was right but realize that even if you think something is the right thing to do, it doesn’t always pan out the way you think it should.”
When asked if he worries audiences might react negatively to Cap betraying his comic book ideals, as many did when Superman carelessly destroyed an entire city and murdered someone in 2013’s Man of Steel, Evans shrugs off the comparison.
“The best thing about [The Winter Soldier] is, if you take the superhero element out of it, this is still a good movie, so hopefully if Cap makes mistakes, it’s not just seen from a superhero perspective,” he said. “This is a human being. If he makes mistakes and does end up doing something that’s considered flawed or regrettable, I hope that it’s not just connected to the superhero parts of his identity.”
Speaking with Vulture, Captain America: The Winter Soldier screenwriters Christopher Markus & Stephen McFeely were asked about several spoiler elements of the Marvel sequel, which opened to $37 Million Friday.
Asked if they feel proud to have Robert Redford and Garry Shandling say "Hail Hydra," McFeely responded with laughs: "We weren't sure if those were gonna stick, but yes — deeply, deeply, deeply proud. It's just nuts. It's not the sole reason I write, to get famous people to say silly things, but it's sure satisfying! There are certain lines that, when you hear them come out of people's mouths, you get kind of giddy: 'We're really doing a comic book and making it real!' Especially with Redford, because Redford does not say any lines he doesn't want to say, and wisely so. He's been doing this for so long that he would come to the directors or come to us and say, 'You don't need these three lines, because once I've said these other lines, you'll see the rest of them in my face.' And it's absolutely true. Sometimes you write for a much worse actor than you get. If a guy like Redford wants to say 'Hail Hydra,' then it's just like, hell yes."
The screenwriters also reassured that it was Kevin Feige's decision to take down S.H.I.E.L.D. in Captain America: The Winter Soldier. "That gave us a lot of ways to go and opened up the storytelling, that Steve could have such an effect on the world," said McFeely. "He doesn't change as much as characters do — he's sort of our Gary Cooper. The world does not change him too much — maybe we'll try that in other movies — but in this case, it's a success because he changes the way the other characters look at the world. And S.H.I.E.L.D. going down is part of that." Christopher Markus chimes in that while S.H.I.E.L.D.'s downfall was Kevin Feige's decision, "The S.S.R. (Strategic Scientific Reserve) being under Camp Lehigh, Zola being in a computer down there, that's all stuff that we pitched hard and eventually they said, 'Let's run with that.'" McFeely adds, "[Marvel] is very open to ideas, and sometimes the weirder or more challenging they are, the more excited they get. They don't want to stand still and they don't want to be slavish to the comics. They want to create something that's indebted to the comics, but not a one-to-one, panel-for-panel remake."
On the reveal that Agent Sitwell and Senator Stern are HYDRA-affiliated, Stephen McFeely says, "That was our pitch, and that was a lot of fun. With Sitwell, we needed to reveal someone who was boots-on-the-ground, who you'd seen before, to shake you up. Short of bringing Agent Coulson back to life and turning him bad — and we didn't know he could be brought back to life — we had to use some returning characters to make this conspiracy story ring true. It can't be all new people where you're suddenly saying, 'And Bob from Accounting who you've never met, he's HYDRA too!' You needed one or two recognizable faces to make the reveal resonate."
Asked how involved was The Avengers writer/director Joss Whedon and whether they have convos with him like 'This is where we want to leave Steve Rogers and Natasha at the end of the movie, will that work for you?, Markus says there wasn't much of that because there was no time to cross-reference that much. "But there is a Godfather, and that's Kevin Feige. He moves between the boroughs. But we've read Avengers 2, so we know where that's going. You're always aware of seismic shifts in the universe, but there's time enough between the movies that nobody tells anyone else, 'Don't do this.' And that's because they're committed to making the best movie each time. They're never going to keep their powder dry on one to save it for the next."
About The Winter Soldier ending with Cap very determined to find Bucky, the screenwriters were then asked if The Avengers: Age of Ultron will hinder that momentum. "Well, the comics do that, right?" asks Markus. "I mean, the Avengers exist because all these people would have their own books and then come together for their joint adventures. The idea is that the Avengers stories require all hands on deck." McFeely says, "They go solve the global crisis, and then they solve their own personal crises a little later.""But who's to say it's not on his mind while he's dealing with the Age of Ultron?" added Markus.
On Captain America: The Winter Soldier ending with Nick Fury heading to Europe for a mission and the mid-credits scene also taking place in Europe, Markus says, "He's going after HYDRA, they're HYDRA … I mean, he wasn't going to Iowa, you know? [Laughs.]""Yeah, that's Joss. All the movie is us, except for the scene where Baron Strucker introduces the twins," assured McFeely.
Finally, Christopher Markus and Stephen McFeely were asked whether there were any characters--namely Hawkeye--that they thought would feature in Captain America: The Winter Soldier, but didn't make the final cut. "It came up and we played with it, but we didn't pick Black Widow out of nothing," said McFeely. "She's sort of the embodiment of the morally murky world we live in now, and we wanted to put her in stark relief with Cap's point of view. If she's serving that function, and she's got the same job as Hawkeye, then we've got to find a reason for Hawkeye to be in it, and we don't want to disservice anybody. You can take smaller villains and give them small roles — like Batroc has a 15-minute sequence in this movie, and that's okay — but you can't really do that with Hawkeye. So we couldn't make that work." Markus added that "There were various things we pitched that didn't make it in, like before the missiles go off, Zola's computer just stands up and walks away. We always wanted to get him in his robot body, but everyone was like, 'He's a talking computer. Can't we leave it at that?'"
Captain America: The Winter Soldier: The Art of the Movie still comes with a slipcase. Inside, the 232-page hardcover book has the Winter Soldier facing off Captain America on the cover. That's the art for the limited edition poster released at San Diego Comic Con 2013, and it's in the book.
And just like the earlier artbook, this is also packed with lots of artwork. You'll get to see Captain America with his new suits, the stealth one he used on The Lemurian Star ship, the old (but updated) suit he stole from his own memorial while Stan Lee was working a security guard there, and also the other suit variations.
The other characters with more coverage would be The Winter Soldier and Falcon. These two have more pages dedicated to their costume designs. Together with Captain America, they have the best costumes. As for Black Widow, Nick Fury, the pirates, mercenaries, they only have a few pages among themselves.
There are quite a lot of scene paintings, and those look great. Many are double page spreads. Environment art are for The Triskelion, the offices inside, Helicarrier Bay and Camp Lehigh. There aren't a lot of prop art. Strangely, there's no overall shot of the Helicarrier, although we have Nick Fury's awesome SUV.
There are storyboards included for several key scenes, but they will leave you wanting more because the sequences are quite long and the full length storyboards cannot be included. They are real cool to look at though, to relive the moment. The text provides behind-the-scenes commentary that explains what's going on with the film's plot, the design and a bit on how they shot the movie. It's a fantastic artbook. Definitely worth getting.
Hipster!Steve invites you to continue partying about Cap 2
Sarah Jessica Parker jumped puddles with her 4-year-old twins Tabitha and Loretta while walking them to school on Monday (March 31). The actress later went shopping at the gourmet food store Citarella.
On Thursday (April 3) – Parker showed how upset she was at self-described “relationship expert” Sarah J. Symonds on Twitter. Apparently Symonds – author of Having an Affair? A Handbook for the Other Woman – made a comment on how Parker’s children don’t look like her and insinuates they are not her biological children. Tabitha and Loretta were born to a gestational carrier in 2009.
That caused the Sex and the City star to tweet: “Your anonymity doesn’t diminish your outrageous and vulgar tweet. And your deletion only reveals your cowardice. @SarahJSymonds.”
She added, "I’m certain there isn’t a woman on this planet who would support your specific kind of cruelty. No apology, no explanation. @SarahJSymonds.”
The 49-year-old also followed up with the messages, “You should be ashamed @SarahJSymonds. I hope more people join me in voicing their objection to and holding accountable… (cont) and “…uninformed and unkind women like yourself who find pleasure and delight in attacking other women. @SarahJSymonds.”
Parker thanked her supporters before the end of the night.
“Before I go to sleep I want to thank everyone for coming to my defense today. I didnt relish the opportunity to publicly reprimand. But the words tossed so casually about my children and their provenance I could not abide. Nor are they true.”
Last week Gwyneth Paltrow used her website to announce that she and her husband were going to “consciously uncouple,” but this week the Park Avenue Princess is back to her fancy shilling, touting home décor that RadarOnline.com has calculated would cost a whopping $50,000 to purchase all of the luxury goods.
In the mood for a $9,600 photograph? Or just a $265 jewel box domino set? Well Paltrow, with the help of her famed decorator Windsor Smith, has made these products available via GOOP so you too can live as elegant of a life as the actress who owns four stunning homes (the one decorated by Smith she purchased for $10 million.)
“A custom-designed backgammon table offers leather details and amethyst playing pieces,” for just $6,995 is another of the high end products Paltrow is encouraging her readers to purchase for their own lovely homes.
Named the “GOOP Games Room,” Windsor Smith Room in a Box tells readers to “Set down the iPad and pick up the backgammon dice!” which can be purchased for just $125.
The pricey retro products include “The Mod Table with brass tipped feet is designed to hold a turntable on top and a vinyl collection below,” for $2,800 or a $1,920 table that “Windsor added a marble top to this Jack table from Arteriors.”
The lavender themed products range from a $995 Hatteras horn, to a $55 Honey Absolute Rare Botanic candle to a $1,495 Serge Mouille Inspired Chandelier.
What's the most expensive item you've bought?
DREAM STREET: FKA twigs brings her hypnotic sound stateside
"It's a simpler life - very pretty, very quiet," says Tahliah Barnett of her childhood in Gloucestershire, known for its rolling hills and castle ruins. "It's magical, but I never quite fit in." Under the monikor FKA twigs, the 26-year-old Brit is still standing out, with eerie melodies and breathtaking videos that have made her one of music's most intriguing new figures.
Her nickname dates from an early start in ballet. "When I danced, my bones cracked. Somebody named me Twigs because I was always snapping like one," she says with a laugh. After moving to London, she switched to music and in 2012 put out an EP that earned her comparisons to Aaliyah. It was the release of her critically acclaimed EP 2, though, that revealed her a category-shattering force. Coproduced by Arca, it combines the seemingly disparate sounds of nineties R&B and ambient electronica. Tracks like "Papi Pacify" and "Ultraviolet" explore female desire, while videos like "Water Me" in which she sheds over sized tears in an homage to Alice in Wonderland, suggest she is less interested in entertaining than being a provocateur. "I don't care about looking beautiful. Make me look weird; exaggerate me," Barnett says.
She's now putting the finishing touches on her highly anticipated debut album, but in her downtime enjoys taking a dance class or listening to the likes of Edith Piaf and Antony and the Johnsons. Even with a nomination for the BBC's Sound of 2014 prize, she retains a small town humility. "People talk about compromising their artistry, but I just believe in the compromise of being a decent person."
text source: me
image source: here
The 50-year-old, whose second memoir, Love Life, is out on April 8, says in an interview with The New York Times Sunday Magazine that it's not easy being pretty.
"There's this unbelievable bias and prejudice against quote-unquote good-looking people, that they can't be in pain or they can't have rough lives or be deep or interesting," he says. "They can't be any of the things that you long to play as an actor. I'm getting to play those parts now and loving it. When I was a teen idol, I was so goddamn pretty I wouldn't have taken myself seriously."
The actor insists that there is "a historical bias that good-looking people are not funny," but he's proven to be the exception to that rule in projects like Parks and Recreation.
Lowe explains that it's because deep down he's not that cool.
"My deep dark secret is that I was a nerd in school," he says. "I liked the theater. I liked to study. I wasn't very good at sports. It took being famous to make me cool, which, by the way, I never forgot."
Lowe learned about the darker side of fame in 1988 when his sex tape became public. But things have come full circle for the father of two – he's now starring in the movie Sex Tape with Jason Segel and Cameron Diaz, about a couple whose homemade video goes missing.
The actor admits that the plotline wouldn't exist if it wasn't for him. "Considering I pioneered the field, it's high time I actually made some money in it," he says of taking a role in the film. "Now that it's a thing that suburban couples do when they're bored, I decided it's time to get back in the pool."
On Why She Almost Didn't Finish Writing Her Erotica:There’s a lot of heavy story work in the writing, but then it’s very hot and sexual when you’re writing it. In all honesty, it has been very hard for me to write the sexual scenes because it turns your mind on and it’s very hard to finish.
On Why It Will Be Better Than 50 Shades:It will have better sex scenes and also a more compelling story. The only research I really do — if we’re talking about research on the computer — I’m like, ‘Am I using the right sexual word?’ So people don’t get confused. I mean, there’s equally — among my friends and people I’ve run into and me — I think we’ve had enough sexual experiences for a lifetime so we’re sharing some of them.
On Her Character's Name:The names just came to my mind and I was pretty much set on Fallon Opal. So for me to have feedback from my friends and they said ‘we really like those names and they’re interesting,’ I kept them as they were.
On A Movie Version Of Her Erotica:If it were turned into a movie, which I think would also be awesome in its own sense, I just know I would have Jessica Alba play Fallon Opal. I think she’s very relatable to myself and Fallon Opal, and I think she’s had a very good career and I would trust her playing that part.
On Being A Writer:It’s very important for me to have a very awesome and authentic storyline because that’s me as a writer. If I’m having all the thoughts and fantasies and also taking true life experiences and I’m twisting that all together.
From a low-key ladies lunch to a night on the town, Selena Gomez continues her frolics with the Jenner girls.
The former Disney starlet, 21, who was recently photographed en route to do some daytime dining with Kendall, 18, joined the model and sister Kylie, 16, on Friday night at West Hollywood hotspot Bootsy Bellows.
The siblings, who just got back from a heavily documented trip to Thailand, hung out with Gomez in the VIP room of the club in the very back corner.
Gomez, with her hair in an unkempt ponytail, sported a varsity jacket and skirt, while surrounded by other friends who huddled around her to where she wasn't easily visible.
But at one point, she hit the dance floor with Kylie, where the two ladies and some of their friends danced to Jay Z's "Change Clothes" and Outkast's "Rosa Parks." A puppeteer, holding a puppet who was a character from A Nightmare Before Christmas, eventually approached the group and they all danced with it, seemingly getting a kick out of the experience.
Kendall, on the other hand, was all about honoring the 21st birthday of Teen Beach Movie's Garrett Clayton, who she hung out with for a little bit at his table. The TV personality, who was clad in a long, black dress that had fringe on the bottom, then joined Kylie and Gomez, who were very giggly and excited, while Kendall seemed a little more reserved.
The trio clung together as they exited the party spot just after midnight.
Gomez documented her bonding sesh with Kylie, posting an Instagram shot of the sexy young stars lying on their backs in different directions with the accompanying caption that said, "kylie&roses."
I was about to say "let's guess who goes to rehab first" but oop @ me.
Having established themselves as a formidable comedy brand with their hit sketch series “Key & Peele,” Keegan Michael Key and Jordan Peele are making a deal to produce the “Police Academy” reboot for New Line, TheWrap has learned.
Scott Zabielski (“Tosh.0”) is no longer attached to direct the film, which Key and Peele are in talks to produce with Paul Maslansky. While the duo have not agreed to star in the reboot yet, it's conceivable that they could appear in front of the camera depending on the strength of the script, which is currently being rewritten by Jeremy Garelick. David Diamond and David Weissman wrote the previous draft.
New Line released seven films in the “Police Academy” franchise between 1984 and 1994, and the series helped launch the careers of several stars including Steve Guttenberg and Kim Cattrall. The franchise spawned a short-lived animated series and a live-action series that ran for 26 episodes back in 1997. It's possible that actors from the original “Police Academy” movies could reprise their roles in the reboot via fun cameos.
Key and Peele started out on “MADtv” before they landed their own series, which has had several sketches go viral. The duo are also developing an untitled comedy with Judd Apatow for Universal.
Key will soon be seen in Luke Greenfield's Fox comedy “Let's Be Cops,” which stars Jake Johnson and Damon Wayans Jr. as civilians who get in over their heads when they pretend to be real police officers. He and Peele also play FBI agents on FX's upcoming series “Fargo.” The duo are repped by UTA and Principato-Young Entertainment.