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Oh No They Didn't! -

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    Martyrs is an intense French film about the physical and psychological hell some people endure, and the revelations that can come from such trauma. It's a highly singular, inspired, ultraviolent film and horror fans everywhere love it, so of course Hollywood wanted a remake. Hot on the heels of The Last Exorcism in 2010, director Daniel Stamm ended up landing the highly coveted gig.

    Unfortunately for fans of Stamm's work, the movie never happened, but we couldn't help but ask him about it when speaking to him about his newest movie, 13 Sins (which is currently on VOD with a theatrical release coming on April 18, 2014). As it turns out, studios had been sending Stamm tons of generic, torture-heavy scripts after Last Exorcism, which he didn't want to do, but then Martyrs caught his eye. He told us the remake script was "spellbinding," a "beautiful character study of how far you'll go for an insane friend," and "one of the best scripts I've read, probably ever."

    So how come we never got to see the movie? We'll let Daniel Stamm explain:

    "What happened was the French had done these 30 pages of just mind-numbing, repetitive violence, which is genius because it makes you feel the actual horror of that stuff, but there is no entertainment value. And so the Americans come in and go, 'We have to spice this up and make it more entertaining,' so suddenly it's 30 pages of Saw that just didn't work.

    "The American remake keeps both girls alive, whereas the French version kills one of the girls very early. If you keep both of them alive this gives you a really great chance to have this psychological play between them and the torturers. Everything was going great creatively, and then the call comes in. 'The option ran out a week ago and the French producers now want so much money that we can't make the movie.'

    "I think they're now back to making the movie for like $1 million, really low budget, which I think you could almost do, it's just there's this philosophy in Hollywood that you can never go back budget-wise. As a filmmaker you are judged by that. And then there's also this concept I was unaware of called plateauing, where if you're a filmmaker who makes two movies in the same budget bracket, that becomes your thing. You are the guy for the $3 million movie, and then that's all you do. And so my agents wouldn't let me do the $1 million movie, because then that's it for you, you'll supposedly never get that bigger budget."

    Considering how great his newest movie is, it really is a bummer that we'll never get to see what Daniel Stamm would have done with Martyrs. 13 Sins is one of the smartest remakes I've seen in a good while, proving Stamm is the kind of director who really understands how to update source material so fans aren't just getting an identical retread with no identity of its own. We just hope that whoever inherits this new, low-budget version of Martyrs has those same instincts.


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    For years Pokémon fans have longed for a truly 3D game and finally that title, Pokémon NXT, has been made by a bunch of dedicated fans.

    Being fan-made the game is completely free as there are no licences, resulting in the creators being unable to charge for the content. Unfortunately this also means that the creators are unable to start a Kickstarter campaign without consent from Pokémon. However, the good news is that the game is in pre-alpha and can be played by following this link.

    Currently players can move around the 3D environment, throw Pokéballs and participate in battles against wild Pokémon. Here’s a quick look at the gameplay uploaded by YouTube user ScottyPlaysGames.


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    Actor Quinton Aaron from 2009′s Blind Side was thrown off of a plane this week for of all things, being too fat. The 29 year old 6’8, 500 pound actor boarded the plane and before take off received a complaint from his neighbor who was unable to get to their seat.

    After unsuccessfully trying to reason with the flight attendant to allow him to remain on the one hour flight from Philadelphia, PA to Rochester, NY., he was politely asked to leave the plane and was then booked on a later flight where he secured 2 seats.

    Aaron says he usually does purchases two tickets but only purchased one because that was all that was available this time.
    In the end, he didn't seem bothered by the entire situation as he was glad that all parties involved were more comfortable in the end.

    Quinton adds, “I definitely need two seats ... It worked out for the better … my knees weren’t pushed into the back of the metal on someone else’s seat.”


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    Four-hour histories of Alexander the Great, first-hand accounts of childbirth and pontifications on Sheffield Wednesday's leaky defence. The the world of podcasts is nothing if not diverse.

    It has been 10 years since technology journalist Ben Hammersley coined the term "podcast" to describe the form of automatically downloaded audio that has since gained a cult following.

    In the same year that Hammersley found his label for what many had termed "audioblogging", Steve Jobs allowed iTunes and iPods to receive podcasts, and the following year, comedian Ricky Gervais partnered Karl Pilkington and Stephen Merchant to create an episodic online sensation, The Ricky Gervais Show, that spun off into a Channel 4 cartoon.

    A raft of stars, including Hollywood's Alec Baldwin and Joan Rivers, have since adopted the medium, as well as universities, police and museum tours.

    It's not just the professional podcasts that have earned a devoted fanbase. As the nerdy child of cut-and-stick fanzines and pirate radio's aural assaults, podcasting is an easy way for amateurs to sidestep traditional media and find a niche audience through spoken-word shows.

    There's something for everyone in the world of podcasts, from the salacious tales of an anonymous US flight attendant on Betty in the Sky With a Suitcase to pedant Grammar Girl's bite-size audio analysis of words.

    Helen Zaltzman, who is one half of the Answer Me This podcast, in which she attempts to solve quirky listener questions such as "how did the jigsaw come about" and "why isn't Bonfire Night illegal?", will present the first of a two-part documentary on podcasting on BBC Radio 4 today, and says the medium attracts specialists. "A radio show goes through commissioners and there is a finite amount of space to fill," she says. "A podcast can be a lot more experimental and specific."

    "Broadcasting has to be wide in its view by its very nature," says Paul Robinson, chief executive of The Radio Academy. "Podcasting enables you to narrowcast."

    It's this niche that creates a loyal and responsive fan base. In the US, Marc Maron's humorous interview show, WTF, has even enticed punk godfather Iggy Pop to pull up his limo outside Maron's garage studio. Duo Keith and the Girl's podcast has survived the couple's on-pod break-up to remain vital for their audience, including 130 listeners who have their logo as tattoos.

    But it's the established media outlets such as The Guardian and BBC that take the lion's share of proceedings in the UK. There were 48.2 million downloads of BBC podcasts in January, far outstripping the popularity of its own iPlayer radio.

    Luke Moore, whose podcast The Football Ramble boasts fans so ardent its latest live outing sold out in minutes, says a position outside the mainstream attracts listeners. "The media needs access to football clubs and players and competitions to sustain themselves," he says. "Likewise, football needs the media to market its product. We're happy to sit outside that and look in."

    The pre-recorded format also encourages intimacy. Stephen Fry, himself an early podcaster, chose comedian Richard Herring's podcast, recorded in front of an audience in London last year, to bare his soul after attempting to take his own life, which subsequently made the front page of The Sun.

    But the podcast format's future remains in doubt. The transition from the majority downloading podcasts to desktop computers to smartphones is clogging devices' limited storage space, and Apple's decision to hive off podcasts from iTunes to a separate app has discouraged serendipitous discovery. "I do wish people would hurry up and develop a Netflix-style recommendation site for podcasts," says Zaltzman. "It's too reliant on word of mouth."

    There are also few advertisers, with podcast funding largely reliant on donations and merchandising purchases from grateful fans. "Advertisers are always a few years behind the media, it will catch on," says Robinson. "The challenge is measuring how many people actually consume podcasts."

    At the same time, audio competition has intensified. Streaming sites such as Mixcloud – largely targeted at DJs – have given amateur radio a social media-style feel, as users can favourite, comment and share content. Also upping the ante are systems such as Sonos, that allow you to control music throughout your house via your smartphone.

    In the future, the play button may be replaced by voice recognition and the smartphone by smart-glasses, but as long as listeners get their weekly fix of aural oddities, the spirit of podcasting will live on.


    Let's talk podcasts, ontd!

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    Things got downright catty between recent Bachelor winner Nikki Ferrell and first-Bachelorette-to-get-married Trista Sutter after Trista made some comments about Nikki’s relationship with Juan Pablo Galavis to a magazine. Nikki tweeted at Trista to let her know she didn’t appreciate her comments and that she needed to shut her trap, which started an uproar in Internet Land.

    “Well obviously, I don’t think you should marry someone who is doubting your relationship, so if he is, then I think she’ll need to have to have a heart-to-heart about whether she wants to be with someone who doesn’t want to be with her,” Trista told Life & Style.

    However, she was quick to clarify that she was speaking generally, not specifically about Nikki and Juan Pablo.

    “But I don’t know if that’s the case. I can’t speak to their personal relationship, I can only honestly wish them the best, and hope that if they do get married, that they’re doing it because they love each other and they want to spend the rest of their life with each other,” she said.

    Trista went on to say that it “breaks her heart” that Juan Pablo is hated by America, because he is still part of the ‘Bachelor’ family. Nikki, however, didn’t want to hear it. She took to her Twitter to tell Trista to shut it.

    “You’re right @tristasutter you can’t “speak to our relationship” because you dont know either one of us. But thank you for playing #juststop,” she tweeted on Wednesday night.

    Of course, ‘Bachelor’ fans had to add their two cents into the feud, and, for the most part, defended Trista.

    “And this is exactly why people don’t like you Nikki,” one commenter wrote.

    Nikki later defended her first tweet by posting another semi-snarky remark.

    “Nothing personal against @tristasutter I was just making the point of how can you have an opinion on something you have no real knowledge of,” she wrote.


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    Remember when Lady Gaga was virtually infallible? When critics and fans bowed at her altar, and even detractors couldn’t begrudge her the stranglehold of influence (and if not necessarily influence, definitely uncontested saturation) on pop culture? I ask if you remember because it seems that for Gaga, that’s all we have left: the memories.

    No one gives a fuck about Lady Gaga anymore. Last week, she released her 11-minute, 46-second epic “Artpop Film” for the track “G.U.Y,” and almost no one gave a shit. The video has just over 23 million views at the time of writing—a number that’s likely to grow, but based on the performance of her last video epic, “Marry The Night,” it won’t likely be by much—but also one that’s disappointing for Gaga in the wake of contemporaries like Katy Perry and Beyoncé, whose videos have amassed 165 million (“Dark Horse”) and 129 million (“Drunk In Love”) views respectively. Even Jennifer Lopez’s recently released video “I Luh Ya Papi” has pulled in 17 million views, and J.Lo doesn’t even have a fun nickname for her fans. Considering none of these other videos are a performance epic to rival Gaga’s, which was filmed at Hearst Castle, that’s got to be pretty frustrating for the Gaga-sphere. I mean, all Bey did was dance on a beach.

    Comparisons aside, did you even know Lady Gaga released “G.U.Y.” last week? The video fell almost completely under the radar as sites that would usually dedicate full posts to The Life and Times of Mother Monster relegated the “G.U.Y.” video to “New This Week”style list posts, or didn’t even bother to mention it at all. It seems as though Lady Gaga, one of the most widely watched and critiqued pop icons of this generation, has been deemed unworthy of the news cycle, at least as far as her “art” is concerned.

    Lady Gaga is flailing. She’s drowning, not waving. Which really sucks for her, because she’s an amazingly talented artist. If you don’t believe me just watch this video of her singing “Hair” on Howard Stern, which I’ve just re-watched and teared up over. At the most base level, without any of the accoutrements, Lady Gaga is an accomplished, capable, and passionate performer. Somehow however, that very rare fact has been lost, and possibly suffocated, beneath a menagerie of wigs and the oiled, fetishized bodies of her many dancers.

    My personal obsession with Gaga began when I saw her in concert nearly four years ago, and I was struck by the depth of her skills on stage. She was completely mesmerizing, her songs were infectious, and I danced and screamed along like I’d been born that way. Lady Gaga is fascinating in a way most other pop stars aren’t—save for maybe someone like Ke$ha—because she’s the dark horse. She’s the girl in high school who smoked cigarettes behind the bike shed, and who walked the halls under the protective hurricane of rumors and speculation about her life, her family, her backstory, constantly swirling around her.

    But now, Lady Gaga just seems... boring. The arbiters of think-piece material don’t seem to care about her anymore, and even more worryingly, nor do the social pages and gossip blogs. She’s fading into a “meh”-ness that goes against her whole body of work. Here are a few reasons why:


    Gaga’s “G.U.Y.” video is a loose metaphor on womanhood, misogyny, capitalism, her Jesus complex, etc. It’s full of predictable Gaga motifs and overused allegory. It begins with her as a sexy harpy thing, being shot down by some greedy men in suits who seem to be stealing her money (don’t ask me where bird Lady Gaga carried all the money, she doesn’t even seem to have a bag). Anyway, this montage carries on for almost three full minutes, as wounded bird-Gaga crawls back to her big gay palace to be resurrected, like Christ, because why not, and rejoin the big gay party happening in every room of her mansion.

    There’s a terrible skit in the middle where Gaga references the Greek Gods and says some less than profound stuff about sexuality, which is further proof that skits should be left to the professionals—90s R&B artists. The video devolves into some yawn-inducing choreography, which we’ve seen a thousand times from Gaga and again, acts as a compelling argument that choreographed dancing should be left to the professionals—Beyoncé and Ciara, exclusively.

    The Real Housewives of Beverly Hills appear for a bit as a cutesy folk band, singing “G.U.Y.” in lieu of Gaga, which is totally besides the point because who the fuck even knows who these women are? The only reason I know is because I Googled it for this article. While trying to be ironically twee, Gaga slips easily into irrelevance. She also pulls out some visuals we’ve seen done recently—and better—by her contemporaries. Dancing around in a weird teddy bear cut out, she’s a poor-man’s Miley, and in her Egyptian-themed mansion, she recalls Katy’s “Dark Horse.”

    The video ends with a weird sexy dance that looks more like a long commercial for jeans, and if you made it to the 7:38 minute mark, you probably won’t even have noticed the song itself, which is also objectively terrible. The final four minutes of the video are the credits—which apparently mention everyone Gaga has ever met—played off to the tune of another of her new insufferable songs, “Manicure.”

    In sum, no one cares about the “G.U.Y.” video because it sucks, which is a completely fair reason not to care about something.


    One of the most compelling things about Gaga was the ambiguity of her sex, and the way she sold sexuality on this bizarre spectrum in which as “weird” increased, so too did “nude." On the other end of the graph, “weird” also increased in direct proportion to “clothed." Weird always permeated everything Gaga did, so she was never sexy in the way you’re conditioned by pop to expect a woman to be sexy, and the way many of her contemporaries are. She bridged the gap between Madonna and Miley, championing the un-sexy sex thing in the post 00s flat-abbed super-tan era of sexy sex thing pop stars had been doing once we fell out of touch with Madonna’s original vision for female sexuality.

    In “G.U.Y.," and in many of her recent public appearances, however, Gaga does conventional sex. And while she does it well, it’s not why people flock to the Haus of Gaga. No one has ever wanted or even asked Gaga to be properly sexy—we’ve been giving her a standing ovation for challenging those notions with her alternative aesthetics (while still being hot as hell). I don’t think anyone ever wanted to see Gaga in a blonde wig, porcelain-perfect make-up, regular lingerie, and men’s magazine poses. It’s just so uninteresting, and so much less interesting when someone who was previously so interesting engages with it.


    Beyoncé and Madonna are the only active performers that belong in “Pop Goddess” club. Britney, maybe, but only maybe. Gaga, for some reason, felt it necessary to proclaim herself in this category, with all her Jesus motifs and posturing in the “Artpop” world she’s attempted (and failed) to create. Self-anointing herself as an immortal in the pop world wasn’t Gaga’s wisest decision—it’s hard work, the eventual upheaval of some sort of status quo (Madonna revolutionized sex for women in music, Beyoncé revolutionized what it even means to be a woman, and Britney, if you want to include her, weirdly enough, changed the type of music we expect women in pop to perform, taking on a sound that before her was reserved for boy bands), and trial by fire in the court of public opinion, that allow you to ascend to pop Asgard. It’s little surprise that the public has rejected Gaga’s notion that she belongs with the legends, and the saddest part is that had she held her horses, she may have made it there eventually.


    Once upon a time, Lady Gaga made amazing pop music. “You & I” (written by Gaga), is one of the best, and most underrated pop songs of the past decade, perhaps ever. It’s an incredible arrangement that pairs her bluesy vocal with unadulterated piano, and just a smattering of synth. The balance is perfect. Likewise, tracks like “Alejandro," “Bad Romance,” and “The Edge of Glory” are perfect, timeless, pop songs with thoughtful composition, subject matter and delivery.

    I’ve listened to Artpop through twice and it’s just fucking terrible. The auto-tune on her voice, which is a glorious voice in and of itself, is confounding, and the aggressive disco-cum-house dance tracks aren’t the deep cuts they’re trying to be. They’re headache inducing, and do Gaga no justice as a songwriter or a singer, as the whole thing just seems like a clusterfuck of unintentionally smashed together sounds. Thematically, Gaga flatters on her new album too—it’s a “me, me, me” moment that’s inconsistent with Gaga’s calling card of inclusiveness.


    For someone who built a career on being new and confronting, this is a serious problem. From “Judas” (which OK, had Norman Reedus in it, so it wasn’t that bad), it’s been a painful descent for Gaga. “Marry The Night” was ridiculous, and “Applause” made no sense whatsoever, and not in the signature Gaga way of there being sense in the nonsense. There was a time when the spectacle Gaga presented in her videos was stimulating and enticing--even in “Telephone” with Beyonce, she managed to fit subversion in (the scene where she’s wrapped in police tape, semi-naked posing in her cell is particularly confronting), along with some genius pop culture references (the Grindhouse theme of the video, for instance). I’m not sure if it’s because we’ve “seen it all” from Gaga or if she’s literally confused even herself with her increasingly wacky videos that she’s just chasing her tail in a circle, but her visual output is failing in challenging, or even awe-ing, its audience.


    Further to the argument about her videos increasing in banality, there’s a lot to be said for her past collaborator Nick Knight having seemingly been ditched for creep du jour Terry Richardson. It’s just not befitting for an “artist” like Lady Gaga to downgrade from a visionary like Knight to a pervert like Uncle Terry. The transition makes no sense, because from an artistic perspective, it’s a trajectory that should have worked the opposite way.


    When you’re getting people to spew on you on stage, and all Kim Kardashian needs to do for attention is just, like, breathe, you really need to reevaluate your priorities. Lady Gaga has always done weird shit for attention—like wearing a meat dress or being birthed from a giant egg—but whereas her antics have always read as quirky, they’re starting to read as sensationalism for sensationalism sake, which is dead boring. According to Gaga herself, there was apparently no intellectual reason behind the vomit stunt—it was just “expression” for expression’s sake. Which isn’t Gaga’s M.O. At least it shouldn’t be. Up until now, Lady Gaga’s performance has always been pointed and deliberate, and it seems like she’s just become lazy, doing funky shit for the sake of it.


    There is absolutely no reason for a woman to be singing “Do what you want with my body” in a duet with R. Kelly. Gaga tried to backtrack when she performed the song with Xtina (who CRUSHED it), but the damage had already been done. Her partnership with R. Kelly had much the same effect as her friendship with Terry Richardson—it just grossed everyone out, and not in a good, savant-ish way she wanted it to.


    With rumors rampant that Gaga’s Little Monster’s Foundation, which claims to combat bullying, is just pissing money against a wall, Gaga’s commitment to social causes has been questioned. Being that Gaga has built a career on being a social warrior, calling that into question has called her whole persona and indeed how genuine her advocacy might be into question.


    In Eating The Dinosaur, Chuck Klosterman writes, “[Her importance] seems to emerge solely from the fact that normal adults don’t understand what she’s supposedly doing, mostly because she isn’t doing all that much of anything. She’s making records and dressing a little pervy. That’s the formula for her existence. Everything else is what an illusionist refers to as ‘misdirection’—except in this case the misdirection doubles as the pay off.” Unfortunately for Gaga, everyone seems to have figured this out. It might not be her fault entirely—in a post-social media world where everyone is a cynic and a critic, and everyone is clamoring for “realism”, the collective consciousness may have been all too ready to tear the Gaga persona to shreds. It was preconditioned to. And to quote Gob Bluth, “tricks are what a whore does for money,” so maybe it was only a matter of time before we forcefully stripped Gaga of her enigma.


    All of the above smooshed together reeks of desperation. Her questionable creative partnerships, her desire to shock simply to be shocking, the objective shittiness of her music—everything comes together to pull back a curtain to a Gaga that’s hanging on by the skin of her teeth, bloody nails digging into whatever surface is soft enough for them to sink into. It’s hard to stay relevant, but it’s harder still to do so with such a bold and conspicuous personality as Gaga’s. And instead of staying calm in the riptide, Gaga’s actions betray the opposite—that she’s thrashing about, taking in lungfulls of water. She’s finally succumbed to the death knell of her career, and in what are perhaps her final moments, like a monkey, she’s flinging shit at a wall, praying in between swings that something will stick.


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    Elena Ilinykh, skating until recently with Nikita Katsalapov, will start training together with Ruslan Zhiganshin. They intend to train in Moscow - in the coaching group of Elena Kustarova/Svetlana Alexeeva.
    With regard to training plans, Ilinykh's former partner Nikita Katsalapov expressed desire to continue skating with Victoria Sinitsina (former partner of Ruslan Zhiganshin), it all depends on how quickly the athletes will be able to settle all organizational problems. Nikolai Morozov, under whose leadership Nikita with his new partner are going to train, does not intend to continue his coaching activities in Russia and plans to work permanently in Hackensack, USA.

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    For most of this season of The Real Housewives of Atlanta, we have seen a whole mess of drama follow around Kenya Moore. As a matter of fact, it has felt at times as though she just wanted to cause drama for the sake of causing it.

    This is a blueprint for how to get screentime on a show like this, and you often don’t even care who you are making angry in the process. Could that change on Sunday night’s new episode? It definitely sounds like it, based at least on some of the details that are out there.

    The synopsis below suggests that Kenya suffers some sort of devastating loss coming up, and this is enough for her to realize that there are far more important things that petty fights:

    “With one week left until opening night of Kandi’s musical, A Mother’s Love, Porsha heads to the studio to record her own single. Momma Joyce also stops by rehearsals and ends up having an open conversation with Todd on the future of their relationship. A shocking loss hits Kenya causing her to put aside all of the drama and realize what’s important in life.”

    Is Kenya going to stay on the up and up on this show forever? You just have to take a look at what happened during the recent reunion show taping. At least you can argue that she managed to keep it together for at least a little while, which has to be some sort of record for her.

    Marlo: Kandi Said NeNe Would Play Me Like Chess!

    After Friend of the Housewives Marlo and NeNe had their dramatic falling out, plenty of shade throwing and accusations went down between the two former besties. One that stood out was when Marlo claimed that Kandi had actually cautioned her against NeNe. But what did she say exactly?

    While visiting Atlanta’s V-103 radio station, Marlo let it spill that Kandi’s warning against NeNe happened long before their friendship ended.

    “In the beginning, when I came on the show, she did warn me,” Marlo explains, adding, “And then I came on being team NeNe and throwing shade at the girls and listening to NeNe…She told me from day one that she was going play me like chess and she was right.”

    Marlo does let on that she’s since acknowledged her mistake, and apologized to Kandi for not heeding her warning. She also revealed that their relationship really started to fall apart right before NeNe’s wedding, for which Marlo was a bridesmaid. Apparently, there was tension around the fact that Marlo was often “dressed to the nines” and chose to upgrade her room. Hmm...

    Is Phaedra Leaving The Show?

    The star has resurfaced for Kandi's wedding festivities and she’s speaking out about the drama on her hit show.

    “Textgate happened in 2012; it’s 2014 and they are still trying to run that storyline,” she told Good Day Atlanta. “Unlike some of the other ladies, my life is very full. So, I don’t have to talk about something from two years ago and obsess with foolery.”

    According to Phaedra, she’s too busy raising her sons and managing her multiple businesses to pay attention to all the gossip surrounding her marriage.

    “At the end of the day, I’m a mom first,” she said. “I love my two sons; they’re just my angels.”

    The attorney says she has kept a low profile for a reason.

    “A lot of times we’re divulging too much information about everything. You go somewhere and people are telling you about their very intimate surgical procedures,” she said. “I don’t want to know that you’ve had things removed, you’ve had things added. It’s just certain things that should be a secret. I just don’t want to hear about all that stuff.”

    Quad Webb talks rift with Mariah Huq!

    Everything seemed fine between Quad and Mariah during the Married to Medicine season 1 reunion, but it turns out cracks had already began to form in the former BFF’s relationship.
    Quad said she first began to question her friendship with Mariah when season 1 aired and she was witness to things Mariah said about her when she wasn’t around.

    “When you go back in season 1 and you see that she really is trying to play me knee-high to a grasshopper, like going over to Kari and saying, ‘What are we going to do about Miss Quad? She really just doesn’t know how to be a doctor’s wife. We have to teach her. She doesn’t really know any better.’ As a friend, I never would have said those type of things,” Quad explained to Sister 2 Sister.

    According to Quad, that was just the beginning of the end and Married to Medicine fans will see the events that led to the end of their friendship when season 2 returns.

    “There was a situation to transpire. You will hear about that and also see it this season,” said Quad. “It was hurtful. I couldn’t believe it. I wasn’t expecting that from someone who said that she was my best friend and they loved me.”

    Miss Quad Explains Her Colorful Catchphrases!

    Just ahead of Sunday's second season premiere, Miss Quad Webb-Lunceford is giving us a little course in her favorite sayings in TheWrap's exclusive video

    What does “beat” mean? It's actually a good thing.

    What's a “category close”? Well, that isn't such a good thing. What about “gooped”?

    Find out what Miss Quad means when she uses the terms and many more. Watch the video below.

    sources: TheWrap, S2S, CarterMatt, WetPaint, CocoaFab

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    Jonathan Glazer's first film in 10 years, "Under The Skin," found 2014's second best limited debut this weekend. The A24-released film -- which stars Scarlett Johannson as an alien roaming around Scotland preying on men -- found its way under the skin of enough filmgoers to gross $140,000 from just 4 theaters. That amounted to a $35,000 per-theater-average, the year's highest after "The Grand Budapest Hotel."

    That sure helped make a big weekend for Scarlett Johannson. The actress starred in the weekend's best debuts for both an indie and a studio film, as her work in "Captain America: The Winter Soldier" soared to a massive $90 million+. "America" averaged north of $23,000 per its 3,938 theaters, which also meant Johannson starred in the films with the weekend's two best per-theater-averages.

    Not fairing quite so well was Jude Law, whose black comedy about a safecracker "Dom Hemingway" failed to rack up much business. Released by Fox Searchlight on 4 theaters, the film grossed just $32,000 for a $8,000 per-theater-average.

    But both Law and Fox Searchlight can take serious solace in the fact that their previous collaboration, Wes Anderson's "The Grand Budapest Hotel," was still going very strong. Adding 286 theaters to hit 1,263, "Hotel" ranked in the overall top 5 for the first time, grossing $6,300,000 for a $4,988 average. That brought the film's total to $33,380,427 after 5 weeks and still gives it a very good shot at topping the $52,364,010 that "The Royal Tenenbaums" grossed in 2001 to become Wes Anderson's highest grossing film ever.

    Notably also debuting in theaters this weekend the second volume of Lars von Trier's "Nymphomaniac." In 29 theaters, the Magnolia Pictures-released film -- which had been available on VOD for weeks (clearly affecting its theatrical numbers) -- grossed an unimpressive $78,000 for a $2,690 average. The first volume averaged over twice that when it opened last month, and took in another $105,300 this weekend from 62 theaters, averaging $1,698. Clearly the films' real test has been on VOD -- though those numbers have yet to be released.

    A trio of documentaries opened with RADiUS-TWC's "The Unknown Known," eOne's "Watermark" and Zeitgeist's "The Galapagos Affair: Satan Came to Eden." "Unknown" took in $64,892 from 18 theaters for a $3,605 average; "Watermark" grossed $8,012 from 2 theaters for a $4,006 PTA; And "Galapagos" made $5,850 from a single theater.

    And finally, the bizarrely delayed release of Geoffrey Sax's Halle Berry dissociative identity disorder drama "Frankie & Alice" met 171 theaters this weekend to a non-disastrous gross of $350,000, averaging $2,047. The bizarre part comes with the fact that Berry was nominated for a Golden Globe for the film in 2010 from a qualifying run. Over three years later, it's finally hitting theaters via Codeblack/Lionsgate, who took the shelved film from Freestyle (who had taken care of that qualifying run way back when). All's not exactly well that ends well so far, but it could have been a lot worse.


    slay a bit scarlett

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    sorry I linked the wrong performance at first its current now

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    Burger King doesn’t plan to let Taco Bell and McDonald’s steal all the business during the so-called “breakfast war.” The fast food chain is fighting back with a ploy of its very own.

    Since Taco Bell decided to start slinging Waffle Tacos and Crunchwraps to folks looking for something to eat in the mornings, many believe that the restaurant could knock McDonald’s from its throne. However, Burger King is attempting to lure folks away from these establishments by offering up food on the cheap.

    News of Burger King’s new Breakfast Value Menu arrived courtesy of a recent tweet from Hedgeye Risk Management restaurant analyst Howard Penney. The post in question featured an ad that pimped new items on the company’s King Deals menu. In short: Burger King is hoping to win the war by giving people a simple breakfast for very little cash.

    If you can’t read the fine print at the bottom of that image, Burger King essentially proclaims that the items are only available for a limited time.


    0 0 caught up with Tyson in February to talk about the series, Sagan, science popularization and his best friend, Bill Nye. The following Q&A has been edited for length and clarity: Why revive "Cosmos" now?

    Neil deGrasse Tyson: Any moment would have been good, but it's a matter of how many forces align to actually make it happen … It's not that it's now versus three years ago. It had to happen no matter what. Anywhere between 30 and 35 years is a typical length of what people think of as a generation. There's got to be at least one "Cosmos" a generation; otherwise, we're not doing justice to sharing with the public the role of science and bringing the universe down to Earth. Can you give a few examples of the ways the science on "Cosmos" has been updated? Will the new series incorporate any discoveries of the past 34 years?

    Tyson: If you only think of "Cosmos" as a science documentary, then the natural obvious question would be, "Well, it's been 35 years. What has changed?" However, "Cosmos" wasn't only that, and it wasn't even mostly that. "Cosmos" is mostly "Why does science matter to you? Why should you care about science? Why should society care about what scientists say? How can you empower your own destiny by becoming scientifically literate?"

    What you remembered most about "Cosmos" is how it affected you not only intellectually, but emotionally. And "Cosmos" also erased boundaries. Carl Sagan spoke fluently between biology and geology and astrophysics and physics. If you move fluently across those boundaries, you realize that science is everywhere; science is not something you can step around or sweep under the rug. When you realize that, and then you come to embrace it, your interaction with the storytelling is something completely different.

    So yeah, since then, we've discovered nearly 1,000 planets orbiting other stars, and Europa, one of Jupiter's moons has an ocean underneath it. There are other experiments that have gotten us closer to understanding the Big Bang. And, of course, the politics are different. Back then, we were steeped in a Cold War and using weapons that were imagined by scientists and used to hold the world hostage.

    So, the climate was different than it is now, but there are other prevailing concerns that we have: What is our effect on the environment? Will we be good shepherds of this Earth as we go forward? Do we know enough to be good shepherds of this Earth? Do we understand the risk of asteroids that could render us extinct? These are broad questions, and "Cosmos" takes some element of science and shows you why it is way more relevant to your life than you ever previously imagined. Was there ever any conflict among you and the creators, Steve Soter and Ann Druyan, about what to add into the new series and what to preserve from the old one?

    Tyson: Well, there's always creative tension, and that's never a bad thing if people who are participants in the creative tension are intelligent and rational. Intelligent, rational people can disagree and figure out why they disagree, and maybe you go with one person's view or another person's view. Or, the disagreement leads to a third view that one or the other didn't have, and the third is better than both. So, all three of those scenarios would happen. What was the most difficult part of making the reboot?

    Tyson: I have an unromantic answer for you there: It just took so much time. I got through it because it was all still novel to me. Everything was novel. Everything. Just watching the crew work. Now, I know what a "gaffer" is. You're going to see me alone standing, but what I see are the cameraman, the lighting directors, the supervisors, the production assistants, the associate producers, the director of photography, the director. That's what I see standing there, and that's just crazy. I didn't know I could have such a renewed respect for the collaboration that this trade requires.

    So, the hardest part was the many, many days in the studio and traveling on location — Iceland, Germany, Italy, France. And we recreated some scenes in areas of the world that would be turbulent, like Iraq, but there's some stuff that happened in Iraq a thousand years ago, so we want to talk about that. It's not going to stop us. You make such a great tribute to Carl Sagan at the end of the first episode, when you talk about your first meeting with him during high school. How has this project been important for you personally?

    Tyson: I have a personal philosophy in life: If somebody else can do something that I'm doing, they should do it. And what I want to do is find things that would represent a unique contribution to the world — the contribution that only I, and my portfolio of talents, can make happen. Those are my priorities in life. I think if I try to do something that others do and leave out something that no one could do, then the world is not better off that way. And I felt that, given my early encounter with Carl Sagan, captured in this opening episode — the fact that I occupy a place on the landscape of science popularization — I felt I may be sort of uniquely qualified to follow in those footsteps in a way that matters most to the public.

    And, by the way, if I did not already have a following and life experience reaching for the public, if I were untested, there might be pressure for me to be like Carl Sagan. If I were forced to wear the shoes of Carl Sagan, I think I would fail at that, because he's Carl Sagan, and I'm not Carl Sagan. But I can be a really awesome version of myself. I can be myself exactly. And that's already sort of a tested entity, so I feel very comfortable in this role. Did you meet Sagan any other time?

    Tyson: I'd say we only met like four times. The first time was very significant to me, as is obvious from that retelling. The last time is also significant. It was his 60th birthday bash. He would die two years later. It was a celebration, it was a dinner and there were all these testimonials. And you would sit there and listen to all these testimonials, and you would say, "My gosh, nobody could be that amazing." You know, old people, young people, middle-age people, colleagues, janitors were coming up, singing the praises of Carl Sagan. And then, after that, he gave a public talk, and it was the best public talk on any subject I had ever heard in my entire life. Not the best — the greatest. And I said, "Yep, he deserves every one of those accolades. Every one of them." Where were you in your career then?

    Tyson: I was well established. I knew when I first met him that I wanted to study the universe. I was not one of the people who was turned on to the universe by him. His influence on me was recognizing that there is an appetite for a scientist who would sit down on the couch next to you and talk about the universe. That's what he did when you saw him on television. He's sitting right next to you. Not as a professor — he was a guy just trying to get you comfortable with the cosmos. The fact that that was possible, the fact that a scientist had talent to do that, the fact that people responded so warmly to it, told me that if I'm ever in the position to bring the universe down to Earth, that's a good place to start. I wanted to bring up Bill Nye — I hear you guys are friends.

    Tyson: Yeah; in fact, I count him as my best friend. In modern times, he's my best friend. We text and email three or four times a week about one topic or another. We are sort of compatriots in this business, so we're always comparing notes and seeing how we could improve; we offer critiques — that sort of thing. There's professional value to the friendship that manifests. What are your thoughts on the debate on evolution Nye recently had with creationist Ken Ham? Nye said he was doing it to raise awareness about science education in this country, and it seems like "Cosmos" might have similar aims.

    Tyson: There are different ways to do that. One of them is to legislate laws that will improve science teaching and the like. (op: yes plz) But think about all the ways your citizenry can be influenced. We all go to movies. We all watch television. And some movies are better than others, and some TV shows are better than others. What makes them better? Some are better filmed. Some are better written. Some are more compelling. Different people learn differently and react differently.

    So, "Cosmos" has the advantage of using a potent medium — television — combined with a portfolio of talent that has huge cinematic experience. Our director of photography is Bill Pope, who was director of photography for "The Matrix." So if you were director of photography for "The Matrix," you're thinking creatively about what the camera is going to do to participate in the scene … And so you combine all these factors in a script and in music and in my delivery and the camera movement, and you have a product that can influence the viewer not only intellectually, but ideally, if we succeed, emotionally and even spiritually —"spiritually" with a small "s," just that feeling you have that you can't assign words to, that feeling of awe and wonder.

    The debate as a medium is another way that people can get a sense of what views are and how strongly they hold up against views that would conflict with them. It is a vista on this huge landscape that reminds us that the struggle just continues — the struggle for science literacy. As I was watching the debate, I kind of felt like I and all my colleagues were in a castle looking out the small turrets, and he was out on the drawbridge fighting. And we're not aiding his battle — we're just sort of looking out the window, cheering him on from a distance. That's what it felt like, because he was there in the lion's den. Speaking of science and religion, I thought it was interesting that Giordano Bruno's story was incorporated into the very first episode. [Bruno was burned at the stake in 1600 for espousing a heliocentric view of the solar system and claiming an infinite number of other worlds existed around other stars.] Can you tell me about that decision?

    Tyson: There are many science martyrs, if you will, whose stories are undertold. And there's the normal cast of characters — Einstein, Galileo, Newton — and we just figured, we've heard those stories before; let's go deeper. And Ann Druyan and Steve Soter are both avid historians — not in an academic sense, but they're very well read in terms of who did what in the past. It's through their collaboration that they came up with this list of people whose stories we'd tell. And Bruno is just one of half a dozen profiles that are featured throughout the series that tell you about the scientific result arrived at by a researcher and what comes when those results encountered the social, political, cultural and religious mores of the day. [The Most Famous Astronomers of All Time] What was it like working with Seth MacFarlane?

    Tyson: He was primarily our broker — not a literal broker, but a figurative broker — who brought "Cosmos" to Fox, because he's a Fox entity, of course. And why would either we or Fox think that we are a good match for each other? We would not be Fox's first thought; Fox was not our first thought. It was Seth who put the two together, recognizing that Fox needed something like "Cosmos" and that it could put resources to bear on it.

    Seth has influence on many levels, one of which was the storytelling. The previous concept was people dressed in period costumes with British accents and glued-on mutton-chop sideburns. And people said, "No. Isn't there another way to do this?" And Seth suggested that we animate them — not in a cartoon way, but in a more graphic-novel, deep and brooding, suspenseful way, and that's exactly what came to pass.


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    the pix are from her brother's wedding in October


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    Scarlett Johansson does not like her nickname.

    The 29-year-old has long been known as ScarJo but the actress is definitely not a fan.

    Featuring on the cover of May's Glamour magazine, the star branded the moniker 'insulting'.

    The Captain America star said: 'I associate that name with, like, pop stars.

    'It sounds tacky. It's lazy and flippant... There's something insulting about it.'

    The actress revealed she is also not a big fan on the focus many have on how she looks so good.

    'Actresses get stupid questions asked of them all the time, like, ''How do you stay sexy?'' or ''What's your sexiest quality?'' All these ridiculous things you would never ask a man.'

    And her dislikes did not end there, with Scarlett explaining she has struggled to get people to recognise her for her entire body of works and not just her first hit movie, Lost In Translation.

    'When I made Lost in Translation, I was 17. Now I'm 29... That's a normal side effect of being a young actor.

    'You're captured in a certain time of your life, and it's hard for people to move past that.'

    While she did not say it directly, perhaps a move to France may soon be on the cards for the Her star.

    The 29-year-old is, of course, engaged to French journalist Romain Dauriac and is reportedly expecting a child with him - but has yet to confirm her pregnancy.

    The star said she loves Paris and its fashion: 'The nice thing about being in Paris is that you know everybody is looking at what you are wearing. You have an audience, you know?'

    Matching her newly red hair, for the cover Scarlett was dressed in a metallic red jumpsuit but wore little accessories.

    Her new hair colour is for her role as Black Widow in Captain America: The Winter Soldier. {OP note: That wasn't a wig??}

    Opening this weekend, the Marvel Comic's film set the record for April releases making $96.2 million already.

    The superhero flick walked all over the previous record-holder, Fast Five, which made $86 million in its own April opening weekend back in 2011.

    Some blonde photos from the shoot:


    Have you got a nickname you can't stand, ONTD?

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    MTV has announced a live pre-show this Sunday, April 13, at 8:30 p.m. ET, co-hosted by teen pop star Zendaya, "Teen Wolf" star Tyler Posey, and MTV's own Josh Horowitz and Christina Garibaldi.

    Your esteemed co-hosts will be at the head of the Movie Awards red carpet, helping you get as close as possible to your favorite stars and getting exclusive interviews with every presenter, performer and nominee before the show begins, while designer Rachel Antonoff will guide you through the stars' fashion for MTV Style's Red Carpet Report.

    As if that wasn't enough, they'll also be presenting an exclusive clip from the highly anticipated film "The Fault In Our Stars," starring Tris herself, Shailene Woodley.

    In addition, you'll get to see a very special Movie Awards edition of "MTV After Hours," hosted by Josh Horowitz, featuring an insane number of special guests, including Dwayne Johnson, Joe Manganiello, Emile Hirsch, Tony Hale and Anthony Mackie.

    So, remember to stick with MTV for all your pre-show needs before the 2014 MTV Movie Awards, hosted by Conan O'Brien, begin immediately afterward, this Sunday at 9 p.m. ET.

    source: 1, 2

    Tyler actively pursuing this hosting thing. Kewl.

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    The trio of new leads for Star Wars: Episode VII has yet to be revealed, but an actor from the original franchise is returning to reprise his role.

    Peter Mayhew will play Chewbacca for Disney and Lucasfilm's upcoming sequel, sources tell The Hollywood Reporter.

    Mayhew played the legendary Wookiee and Han Solo's co-pilot in the original trilogy, beginning with Star Wars Episode IV: A New Hope in 1977. Rumors have recently surfaced that he may be reprising his role as he canceled an appearance at Texas convention Comicpalooza "due to filming.” Since the convention takes place May 23-26, many fans wondered if that meant the actor would be busy with Episode VII.

    Mayhew, who also played Chewbacca in prequel film Star Wars Episode III: Revenge of the Sith, has mainly spent his career playing the iconic character, but also appeared in the horror film Terror and did voice work in the British version of Dragon Ball GT: A Hero's Legacy. He's repped by Entertainment Legends Management and Cohen & Gardner.

    Source... well, it's something

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    a recap of what people said in danish
    0.38 - we'll know who won when we see the presenter bc the winner is a huge fan of this person
    3.53 - "thank you for this award. it's insane. it also belongs to my manager bjørn nielsen and my producer ronnie vindahl. thank you very much to sarah søsteen, people at sony music and the rest of the team. thank you to everyone who has supported me and believed in me. it's fucking insane. i don't believe it.... it's fucked. thank you. thank you very much. and thank you to the danish broadcasting corporation for believing in me."

    let's discuss MØ's amazing debut album

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    She's angrily denied using implants to artificially inflate the size of her posterior.

    But, real or fake, there can be no denying that Kim Kardashian has a bottom to be in awe of.

    The reality star proudly revealed the truly jaw-dropping size of her behind as she perched on the side of a red rowing boat in Thailand.

    A gold Brazilian-style bikini struggled to cope with the impossible task of containing Kim's curves, instead settling between her cheeks.

    Forget the classic question does my bum look big in this, for it appears Kim already knows the answer.

    The 33-year-old certainly seemed all too aware of the effect she was having, twisting around to get comfortable before throwing her arms over her head for a series of photos.


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    The Castle star who's been longtime rumored for the title role in Marvel's Ant-Man, Nathan Fillion, has revealed or rather hinted that he'll feature in Marvel's Guardians of the Galaxy.

    Having worked frequently with and become good friends of both Joss Whedon and James Gunn, Nathan Fillion has been longtime rumored, or favored, for a role in Marvel Studios' ever-growing cinematic universe. While the actor has previously declared being tied up with ABC's Castle series and “not being famous enough” as reasons why he has yet to play a Marvel character, Fillion attended the Wizard World Comic-Con over the weekend, where he was asked by a fan if he was wanting a part in this summer's Guardians of the Galaxy.

    “Wanting to get a part… or maybe did,” Nathan Fillion responded. He then paused before adding, “I’m just saying maybe. Maybe you’ll be surprised. Maybe. Check the credits.” Guardians of the Galaxy recently wrapped reshoots, for which director James Gunn has hinted involving: “Anything we want, but didnt get,...something to make the movie better, cameo idea.”[source]

    Star Lord's dad tbh

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  • 04/07/14--13:58: Debbie Harry: I’m Bisexual
    Blondie frontwoman Debbie Harry told the Daily Mail’s Chris Hastings “women are more sensual.” The 68-year-old rocker, who founded the seminal punk band with her longtime boyfriend Chris Stein, admitted said that the rumors of her affairs with women were indeed true.

    Harry and Stein split up in 1989 and she says though she’s enjoyed her trysts with women, her most enduring relationships have been with men. She also told Hastings that she’d like to fall in love again. “I don’t know if I have any specific requirements,” Harry said. “Just somebody nice, who has a good sense of humor and loves to have sex. What more could you ask for?” Harry was featured in Out's April issue where she also discussed why she continues to rock out:

    “There are a lot of really good reasons for me to not stop,” she continues. “But one reason for me to stop would be that I sometimes feel it’s age-inappropriate. The way I grew up, it was a cultural medium that really was only for the youth. Now it’s really changed; it’s for everyone. But it lingers in the back of my mind: Am I making a fool of myself, jumping around on stage, singing these songs from 40 years ago that have nothing to do with my emotional life or anything to do with my social life as they once did? Some of them, however, do have a certain amount of truth in them, so I can live with that. I enjoy making a fool of myself, basically.”


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