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Oh No They Didn't! -

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    A few years ago, Beyoncé Knowles was like any other record-breaking pop star in an already crowded field. Then something changed.

    If you’ve ever seen Beyoncé Knowles astride a concert stage or a red carpet, you know she is a woman with a flair for dramatic entrances. But no previous coup de théâtre prepared the world for the arrival of the singer’s fifth full-length solo record, “Beyoncé,” the “visual album” that airdropped onto iTunes at midnight on Dec. 13, 2013. For months, the music press had seethed with speculation about Beyoncé’s delayed record release, with rumors of disastrous studio sessions and dozens of scrapped songs. “There is utter disarray in Beyoncé’s camp,” the website hissed. It was an unheard-of turn of events for Beyoncé, whose career had been a testament to, as it were, array: a regal, orderly parade from hit to hit, milestone to milestone, strength to strength.

    Sure enough, the alleged behind-the-scenes chaos turned out to be the usual behind-the-scenes order, in disguise: While the gossip mills whirred, Beyoncé stealthily recorded 14 songs and shot 17 videos, which she unleashed in that December sneak attack. Purely as a feat of information management, “Beyoncé” was impressive. The National Security Agency couldn’t stop its secrets from spilling all over the place; Beyoncé kept the lid on a project which, conservatively, involved hundreds of individuals — studio musicians, cameramen, key grips, personal assistants, even record executives, as a rule the least trustworthy people on the planet. The arrival of all that music, all at once and out of the blue, was an unprecedented shock-and-awe move, which rocked the record industry back on its heels and convulsed the Internet. A single Beyoncé video is capable of staggering the senses; the simultaneous release of 17 of them — an onslaught of sound and spectacle and costumes and choreography and, in the case of a video like the one for “Rocket,” stately slow-motion images of billowing silk sheets and water droplets tumbling onto Beyoncé’s bare midriff — it was a lot to process. We can only imagine the feelings of Beyoncé’s pop diva competitors, whose carefully plotted monthslong album rollouts were instantly rendered quaint, and moot. That whining, whirring sound you heard on Dec. 13, mingling with the strains of “Drunk in Love” — that was Lady Gaga, in her gloomy castle keep, chainsawing a meat dress into sackcloth.

    Beyoncé is 32 years old. She was 9 when she began singing with Girls Tyme, the group she formed with friends in her hometown, Houston; when the successor to Girls Tyme, Destiny’s Child, first cracked the Top 5 on the Billboard Hot 100, in 1998, Beyoncé was just 16. She never seemed like an ingénue, though: Even as a teenager, she had gravitas. In one of the centerpiece songs on the new album, Beyoncé gazes backwards: “Look at me — I’m a big girl now . . . I’m a grown woman.” But the innocence-to-experience cliché doesn’t square with Beyoncé’s life, or art. From the beginning her message has been professionalism, perfectionism, power — ideals exemplified in her fearsome live performances and dramatized in songs that view romance through the lens of finance. Hits like “Bills, Bills, Bills” (1999), “Upgrade U” (2006) and “Single Ladies (Put a Ring on It)” (2008) have found Beyoncé figuratively hunched over a balance sheet, weighing the costs of affections dispensed and luxury goods accumulated. She’s a fit star for our new gilded age, and an apt match, musical and otherwise, for her husband Jay Z, another arch-capitalist. In recent years, Beyoncé has toned down the materialism a bit, but ambition remains her calling card. In the torrid 2011 single “Run the World (Girls)” she sang: “We’re smart enough to make these millions/Strong enough to bear the children/Then get back to business.” The song is a postfeminist anthem, sure. It’s also a business plan that she’s followed to a T.


    In 2014, Beyoncé’s grip on the zeitgeist has become a stranglehold. A recent “Saturday Night Live” skit revolved around the gag that Beyoncé-worship has become compulsory in the United States, that Beyoncé refusniks will be tracked down and eliminated by deadly government goons, the Beygency. (“He turned against his country . . . and its queen,” boomed the voiceover.) As “SNL” suggests, Beyoncé has become something more than just a superstar. She is a kind of national figurehead, an Entertainer in Chief; she is Americana. Someday, surely, her “Single Ladies” leotard will take its place alongside Mickey Mouse and the Model T Ford and Louis Armstrong’s trumpet in a Smithsonian display case.

    Historically speaking, this is no small achievement. Black women have always been dominant figures in American popular music, but no one, not even Aretha Franklin, has reached the plateau that Beyoncé occupies: pop star colossus, adored bombshell, “America’s sweetheart.” Inevitably, Beyoncé is also a flashpoint, provoking ire from naysayers and ideologues of all stripes. In March, Bill O’Reilly decried “Partition,” a song that details a Beyoncé-Jay Z tryst in a limousine, for setting a poor example for “girls of color.” (Postmarital sex between consenting adults: immoral.) Last month, the black feminist author and activist Bell Hooks told an audience at a New School symposium: “I see a part of Beyoncé that is in fact antifeminist, that is assaulting — that is a terrorist . . . especially in terms of the impact on young girls.” There is a growing scholarly literature on Beyoncé; the Women’s and Gender Studies department at Rutgers University has offered an undergraduate course called “Politicizing Beyoncé.” Beyoncé is, as a cultural studies professor might put it, popular culture’s most richly multivalent “text.” The question these days is not, What does the new Beyoncé record sound like? It’s, What does Beyoncé mean?


    Of course, the meaning begins with sound — with the tone and timbre of Beyoncé’s voice, one of the most compelling instruments in popular music. Beyoncé has traditionalist skills. She can belt an adult contemporary ballad like Barbra Streisand; she can deliver a fiery gospel testimonial; she can channel Michael Jackson (“Love on Top”) or imitate Prince’s falsetto (“No Angel”). But she is unmistakably a product of the hip-hop era, a singer who has assimilated the aggression and slippery rhythms of rap into a virtuosic and strange vocal style. We have gotten so used to Beyoncé, it may be hard to grasp what an oddball she is, how different her approach to rhythm, melody and harmony are to those of previous generations. You can hear that eccentricity in the wild timbral shifts and skittering syncopations of “Drunk in Love,” a half-sung, half-rapped hit that sounds, in the best sense, like a song Beyoncé is improvising from scratch in real time. Like all innovators, Beyoncé has pushed back boundaries, expanding our sense of what music should sound like. To the extent that we hear Beyoncé as “pop,” it’s because she has taught us to do so.

    She’s taught the world to see music differently, too. The 17 videos for her latest album capture the star in a head-spinning variety of attitudes and alter-egos: as a beauty pageant contestant; as a moll with a flapper haircut; as a roller-disco queen; as the leader of a militant street mob with her hair dyed green; as a Houston homegirl, vamping on a street in the city’s hardscrabble Third Ward, with a nasty-looking dog on a leash; as a stripper, an ardent lover, a wife; and, in “Blue,” as an earth-mother-with-child, strolling a sun-dazzled strip of Brazilian coastline with her daughter, Blue Ivy. More than three decades after the rise of MTV, there are still those who view music videos as debased or “inauthentic.” But Beyoncé’s music is inseparable from her movie-star magnetism: the way she stares down a camera, strikes a pose, wears her clothes and, especially, the way she dances. And why not? Popular music has always been an audiovisual medium. If Beyoncé is the dominant figure in 21st-century music, perhaps it’s because pop has circumnavigated back to its 19th-century vaudevillian roots, to a time before disembodied voices came to us through hi-fi speakers or noise-canceling headphones, when music was, exclusively, a performing art. Beyoncé is the greatest old-fashioned singer and hoofer, the supreme show-woman, in an era when, once again, we’ve learned to love a splashy musical show.

    Of course, she’s more than that. Literally and figuratively, Beyoncé is a moving target — it’s as difficult to get a fix on her as it would be to keep up with her on the dance floor. Beyoncé represents down-home earthiness and impossible glamour, soul-woman warmth and diva hauteur, a nose-to-the-grindstone work ethic and garish 1 percent excess. Her new album is sexed-up to the point of lewdness, with punch lines about body fluids on evening wear and intimations of rough sex. Yet the sex — in the limo, in the kitchen, everywhere, apparently, but the bedroom — is married sex, family-values sex, which, the album makes clear, produced a bouncing baby girl, a result perhaps even Bill O’Reilly can feel good about.

    Beyoncé’s songs are packed tight with such contradictions. Think of “Single Ladies,” an anthem of feisty feminist solidarity that endorses the most retrograde diamonds-are-a-girl’s-best-friend brand of transactional romance: “If you liked it, then you should have put a ring on it.” Or consider “***Flawless,” on the new album, which throws together a dizzying mix of sounds and signifiers. There’s a clamorous trap beat and pitch-shifted vocals; there are shout-outs to Houston (“H-town vicious”) and to Jay Z’s record label, Roc Nation (“My Roc, flawless”). There are coarse mean-girl threats (“Bow down, bitches!”) and a sampled snippet from a TEDx talk by the Nigerian novelist Chimamanda Ngozi Adichie titled “We Should All Be Feminists,” which wags a finger at mean-girl threats: “We raise girls to see each other as competitors.” The video intersperses an excerpt from 10-year-old Beyoncé’s appearance on the TV talent show “Star Search” with the current-day Beyoncé, clad in Kurt Cobain flannel, executing a spectacular dance routine in a dank basement surrounded by skinheads. It’s all tied together by a refrain — “I woke up like this!” — which, among other things, does double duty as a boast about effortless beauty and a mantra of enlightenment. What does Beyoncé mean? What doesn’t she mean.


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    Showtime is firming up the ranks for Homeland's next season.

    The Claire Danes starrer has enlisted Laila Robins (Bored to Death) and The Strain star Corey Stoll for season four, The Hollywood Reporter has learned.

    Robins will be a series regular and play Martha Boyd, the U.S. ambassador to the Islamic Republic of Pakistan, who is professional and put-together, with a ship-to-ship voice and the personality to match. Stoll will guest-star as Sandy Bachman, the CIA chief of station in Pakistan and a rising star in the agency's firmament.

    Robins' credits include In Treatment, The Sopranos and Damages as well as features Side Effects, The Good Shepherd and Planes, Trains and Automobiles. She's repped by Paradigm.

    House of Cards alum Stoll next toplines FX's Guillermo del Toro/Carlton Cuse vampire drama The Strain, which debuts in July. His credits include The Normal Heart and Law & Order: L.A. He's repped by UTA and Suskin Management.

    Production on season four will begin this month in Cape Town, South Africa. Homeland returns in the fall on Showtime.


    Now I have to start watching again for my bb Corey.

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  • 06/03/14--16:42: For your Consideration
  • Mad-Men-For-Your-Consideration-1-260x337Mad-Men-For-Your-Consideration-2-260x337

    Emmy voters are currently deciding on the best in television over the past year and, all over the streets of Los Angeles, your favorite TV shows are plastered on billboards. The Walking Dead, True Detective and many more are being pushed by their respective networks, hoping voters check them out or at least have their memories jogged about shows that finished a while ago.

    Of all the ads emblazoned up and down Sunset Blvd or Highland Ave., the ones for Mad Men really stand out. Which makes sense. A show about advertising should have the best advertising. While the show’s creative team has done a great job with that in the past, these ads take things to another level.




    click the source for enlargements

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    “The Bachelorette”: All fun and games until it isn’t anymore. That has become painfully obvious this season, as 31-year-old contestant Eric Hill died in an accident several weeks after exiting the ABC dating show. The producers have cautiously paid tribute to Eric while weaving in hours of footage of him competing for Andi Dorfman’s attention; a tough balancing act on any show, let alone one as typically frothy as “The Bachelorette.”

    Then, a new challenge came up on Monday night’s episode — Eric not only exited the series, but left in an upsetting way. As a result, “The Bachelorette” pulled a rare move: Producers scrapped the traditional rose ceremony (where Andi eliminates one or more bachelors) at the end of the episode in favor of an updated, taped interview featuring host Chris Harrison and a tearful Andi, in which she explained the circumstances of Hill’s departure and reflected on her time with him.


    The audience had just seen Andi and Eric have their last conversation, a fight that left her crying and him leaving the set in a taxi. Harrison explained that shortly after departing the show, Eric was tragically killed in a paragliding accident at home in Utah.

    “Normally, right now, we’d all be watching the rose ceremony. But that just didn’t seem right tonight. It just didn’t seem important who did or didn’t get a rose,” Harrison said. “What does seem right is to talk about Eric. And so that’s what we’re gonna do.”

    No word on when this segment was filmed, though presumably sometime recently when the show wrapped filming. After offering his “heartfelt condolences, prayers and best wishes” to Eric’s family, Harrison asked her all about what exactly happened between the two on the show that led to such a controversial goodbye.

    The gist: While Eric was the first guy chosen for Andi to take on a solo date a couple weeks ago, things had slowly started fizzling between the two as Andi narrowed down her suitors. Throughout Monday’s episode, the pair addressed that their relationship was “stalling.” Eric said he felt like he couldn’t get to know her true personality, and that everything felt so formal all the time with the cameras. Andi reminded him that this was a reality show and they didn’t have much of a choice, and encouraged him to be more open. That led to a truly sad (in retrospect), prolonged scene where he talked all about how much loved his family and how his siblings meant the world to him.

    All seemed okay after that, but it crumbled quickly later after a group date. During their one-on-one time, Eric confronted Andi about the fact that he didn’t really know her at all and accused her of being fake. “I came on this to meet a person, not a TV actress,” he told her. That comment made Andi particularly angry, which resulted in a long, emotional argument. She wound up breaking down in tears saying how hard it was to try to find your soulmate with cameras watching; he told her he just wanted her to be her true self.

    It spiraled until she basically told him to leave. “I think at this point, you and I both know this is not going to work,” she fumed. Eric looked confused at how the conversation had arrived at that point; alas, he left, and Andi stormed off as well.
    Back in real time, Harrison asked Andi about how things went south so quickly with Eric considering they really hit it off at first; she went on about how she felt sparks initially, but ultimately it just wasn’t a relationship that was going to work. Then Harrison got all “insensitive reality show host” and probed, “Looking at it now — and I know this might be tough considering the circumstances — would you have changed anything? Would you have handled it differently?”

    “To be honest, the way Eric left and my last conversation with him, it’s not ideally the last conversation that I would want to have with somebody,” Andi sighed, reflecting during a moment of unusual gravitas on “The Bachelorette”: Realizing that you never know when it could be the final time you ever see someone you care about.
    “It changed me in so many ways,” she said. “You know, you tend to kind of get caught up in all of this. And I’m definitely guilty of that myself. You know, you get worried in these little details and a conversation here, or your emotions there, and this date, and the logistics of things…And to lose somebody puts everything in perspective. And it just makes all those little things seem just completely irrelevant.”

    Speaking of which, if “Bachelorette” fans care, Harrison added, Tasos — the 30-year-old wedding event coordinator from Denver — was eliminated in what was supposed to be Monday’s rose ceremony.

    He seemed like a great guy. What a shame.


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    There’s this anecdote about famed trumpeter/composer Miles Davis that I really like, and it goes like this: When John Coltrane was the young up-and-coming saxophonist in Miles’s band, ‘Trane had a propensity for taking overly long sax solos. Like, 30 minutes too long, that type of thing. When Davis approached Coltrane about this, John told Miles something along the lines of that he just didn’t know how to stop playing. To which Miles replied, “Take the fucking horn out your mouth.”

    I mention this because, in a piece of shocking news, George R.R. Martin, author of the Song of Ice and Fire series, apparently has an editor. Martin’s editor, Anne Groell, now thinks the book series, which was originally pitched to her as a trilogy before hitting every cardinal number of potential books on the way to seven, will now, maybe, stretch to eight.

    The fifth and latest book in the series to be published, A Dance of Dragons, was released in July of 2011, after a near six-year wait following the release of the fourth book, the gloomy and incomplete A Feast for Crows. Crows featured an afterword by Martin saying that Dance would be released within the span of a year, and he was off by some 500 percent.

    Page counts for each successive book have swelled as Martin has become seemingly incapable of not describing every stitch of clothing, foodstuff, sigil, backstory, and utterance of every character no matter how minor or short-lived. This creates an incredible, granular level of fictional-historical detail, and also makes large portions of Books 4 and 5 a major goddamn slog. Book 1, A Game of Thrones, came in at 704 pages. By A Dance With Dragons, we’re talking 1,056 pages, and the hardcover edition struck coffee tables around the world like the Mountain’s fist.

    At one point in Groell’s Q&A she mentions trying to get Martin to cut the number of times a certain character says “Words are wind” down from 14 to perhaps six or seven, without success. George, I love your story. Love. But, please, take the fucking horn out your mouth.


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    In major “take this with a huge grain of salt” casting news for the day, a British tabloid reports that Twilight Saga star Robert Pattinson will play Indiana Jones in a franchise reboot for Disney. The Star quotes a source as saying, “Disney is looking at its long-term options for the Indiana Jones franchise. They feel that the series has huge potential on many levels, starting with the films leading to other spin-offs like games which can generate more money than movies.”

    Pattinson, who has earned mostly positive reviews in his movies since Twilight ended, is reportedly at the top of Disney’s wish list to replace 71-year-old Harrison Ford, who has expressed his desire to play the character at least once more before he hangs up the fedora once and for all.

    Ford has recently signed on to reprise his role as Han Solo in Star Wars Episode VII. When Disney purchased Lucasfilm a little over a year ago, the company’s CEO made it clear that they had done so in order to acquire the Star Wars franchise and that anything else — including Indiana Jones, Skywalker Sound and other assets — was just a bonus.

    In February, two more Indiana Jones movies were rumored to be planned with Ford in the title role. In March, though, Bradley Cooper was among the names dangled as a potential replacement as soon as the next movie. That rumor also maintained that Frank Darabont, director of The Shawshank Redemption and showrunner for the first season of AMC’s The Walking Dead, reportedly has pitched an idea for the next movie, although he later dismissed the talk as just that.


    who do you want to see play Indy?

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    Kristen Taekman may have dismissed Sonja Morgan’s dog funeral as “morbid” on the latest episode of Real Housewives of New York City, but the grieving single mom isn’t letting her costar’s negativity bring her down.

    “I didn’t pay attention to Kristen’s comment at the time,” Morgan, who recently lost her beloved 18-year-old poodle Millou, tells exclusively.

    Morgan, 50, explains she just felt it was strange that Taekman, 36, behaved that way— and now wants to convert the model into an animal lover.

    “Just like when I took Kristen under my wing when she was new on the show, I would invite her to my home to spend time with my two dogs and my cat,” Morgan says. “Maybe she didn’t grow up with animals. How could you not love animals? Everyone loves animals!”

    Despite Taekman’s behavior, Morgan insists Millou’s funeral was a special event.

    “Funerals are for those who are left behind by loved ones who move to the other side,” she says. “And a lot of things change. My healer Aleta St. James… helped me with my own life shift to get through this transition.”

    “We all go through transition: loss of a dog, loss of a marriage, loss of loved ones,” Morgan continues. “When you love deeply, it’s hard. And when you’re loyal like I am, it’s hard to move on. But I did.”

    And Morgan says she’s grateful for the friends that did lift her spirits.

    “I really appreciated all the girls coming together in solidarity to support me during this important moment,” she says.

    Aviva Wants George’s Fiancée on Season 7!

    As Beyoncé says, “If you liked it, then you should have put ring on it” — and it looks like Aviva Drescher’s father, 76-year-old George Teichner, has done just that! On this week's episode of Real Housewives of New York, the raunchy senior proposed to his much younger girlfriend Cody — popping the question at daughter Aviva’s New York City pad.

    Wetpaint Entertainment caught up exclusively with the Housewife on the red carpet at OK! Magazine's So Sexy NYC soiree at Marquee, where she gave us all the juicy dish.

    If you're wondering how Aviva’s kids feel about their grandfather’s new fiancée, Aviva explains, “They were just in Europe together, and before they went to Europe they stayed with me in my apartment. And my kids love my new future stepmother!”

    Well, there you have it! It looks like the Drescher family is crazy about Cody, and gives George two thumbs-up for proposing to the young lady.

    When we inquired about who Aviva wishes to see on the next season of RHoNY, she said, “You know, I would love to see my father’s fiancée join the cast. I think she would be really interesting.”

    We would love for Cody to join the RHoNY gang — especially if it means seeing more of George and his crazy antics. We’re not so sure what the producers would think of this pitch, but we can sure cross our fingers!

    Ramona Calls Sonja A Friend For Life!

    If anyone was getting Ramotional on last week's episode of Real Housewives of New York, it was Sonja Morgan, not the normally loopy Ramona Singer. In fact, in her Bravo blog, Ramona almost sounds as if she's the most level-headed and logical one of the bunch. This is by no means turtle time!

    Ramona begins, "It seemed childish when Kristen was speaking to Heather and LuAnn about me that Heather threw out all these negative nicknames for me. I would think they could discuss me without name calling…I really expected more from Heather, but perhaps she expected more from me in the Berkshires and felt justified."

    Of the funeral for Sonja's pooch Millou, Ramona explains, "Millou was like losing a child to Sonja. He was very important for so many years in Sonja's life. When so many things change its nice to have a constant and that was Millou for Sonja. That is why the passing of Millou hit Sonja so hard. I thought Sonja did a beautiful and thoughtful funeral for Millou. I never went to a dog funeral before and had no idea what to expect," adding, "Sonja handled it with class and elegance — right down to champagne plastic glasses." Wait, was that a dig?

    Discussing their bond despite this season's tension, Ramona concludes, "Sonja and I are very close. We have our differences at times and can fight and argue intensely. What will never change is that we have each other's backs and have been through thick and thin with each other.My love is always there for her and vice versa. We get each other in such a way that many people don't understand and are jealous and resentful of. We are truly friends for life."

    The cast of The People’s Couch discuss using social while watching TV on TV!

    The People’s Couch” a show that features different sets of families and friends as they watch TV’s most popular shows that air throughout the week as the audiences at home watch their reactions. The show is coming back next week with one hour episodes beginning on June 3rd from 10-11pm.

    How has being on the show influenced your social media habits and how has it changed the way you watch television?

    Blake McIver: Before “The People’s Couch,” I never would’ve thought to live tweet during a TV show. I thought it would be distracting but now I love it. There’s something about the immediate interactive nature of tweeting that adds a layer of excitement and intrigue. Kind of like watching TV with ten thousand of your closest friends.

    Do you find that your fans tweet you about that programming they are tuning into every week and have they also introduced you to shows that you were not aware of?

    McIver: Absolutely. We get so many tweets and Facebook messages each week asking, “What did you guys think about…” or “I wish we could see your reaction to…”

    When you live tweet as the episodes air, do you find yourself answering questions on your comments you made on the show or on your living spaces?

    McIver: It depends on the content of each episode. If we’ve said something particularly ridiculous or the slightest bit polarizing, we find ourselves answering for it on social media. I’ve spent a lot of time explaining my “I’ve just never been a Brad Pitt person” comment. Also, I’ve gotten many a tweet about people wanting to know where I get my shoes and I’m convinced that the twittersphere is completely obsessed with Scott’s socks, haha.

    What are your favorite social platforms and why?

    McIver: Social media has definitely enhanced the interactive experience of TV watching. My current favorite social platform is Instagram. If a picture is worth 1,000 words and a tweet can only contain 140 characters… you do the math. Actually I’m a nerd so I did the math. There’s an average of 14.98 words per tweet so therefore it would take 66.75 tweets to amount to the 1,000 words we have culturally deemed as the worth of a picture.

    What are you favorite TV shows?

    McIver: My favorite shows are “Mad Men,” “Nashville,” “Scandal,” and “So You Think You Can Dance.” And my ultimate “not so guilty-pleasure” show is “The Real Housewives of Beverly Hills.” I’m really holding out for a “Branderpump” reconciliation next season.

    sources: RadarOnline, WetPaint, RealityTea, LostRemote

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    Kendall Jenner is opening up about moving out of the Kardashian family household and getting her own apartment.

    On this morning's episode of Live With Kelly and Michael, the 18-year-old model said mama Kris Jenner had a hard time with the move at first."She definitely came up to me and told me she cried herself to sleep a couple of nights," Kendall dished, adding, "When it actually happened, last week I moved in and she literally did everything, like helped moving me in and stuff and she's like, ‘I got it. I got it.' And I was like, 'But this is my first place, I want to be able to do it.'"

    While Kris was super hands-on with the move, Kendall says she was the one deciding when it came to decorating. "I picked out all my stuff, but she helped basically to get it all in there," she said. "I offered to help, but she wouldn't let me!"

    As for whether or not Kendall will be getting a place to share with younger sister Kylie Jenner when Kylie turns 18, Kylie said, "Probably not.""She's too messy!" Kendall added. "She's way too messy for me."

    Meanwhile, Kelly Ripa complimented Kylie on her blue highlights. "I think I have an addiction with changing my hair, so I'll be like teal one week, blue the next, blond the other week," Kylie explained.

    As for her family's approval on the hair dye job, Kylie said, "They all told me they didn't want me to do it before I did it...When I did it my mom was like, ‘You look like a Skittle.'I was like, ‘Now I'm going to have this hair for two years since you said that.'"


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    would be so much fun to see her live

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    Summer is almost here! In Japan, that means it’s almost time for fun summer festivals, wearing cute cotton yukata, chowing down on kakigōri until inducing brain freeze, smashing watermelons on the beach, and just generally lazing about the house with fans on full blast and complaining about the insufferable heat.

    In the anime world, summer means a whole new season of shows to look forward to (and the obligatory “boobikinis-at-the-beach-swimsuit-episode”). In fact, popular anime informational website Charapedia asked 10,000 fans to pick their most anticipated anime show of summer 2014, and we’ve got the results.

    Male: 53.4%
    Female: 46.6%

    Teens-20s: 85.2%
    30s and above: 14.8%

    Individual series rankings were calculated using a combination of the number of votes cast, the voting rank, and user comments.

    The following list is the comprehensive summary of results. You can also view the ranking according to the sex of survey respondents–go here and click on the grey tabs at the top of the chart that say 男性 (male) or 女性 (female) to view the results in this manner. And for your information, yes, the chiseled-ab swimming men of Free! Eternal Summer made number one on the women’s list by a long shot (was there ever any doubt?).

    Note: While the majority of the promotional clips below are official trailers, a few are fan-made productions.

    1. Sword Art Online II [sequel]

    2. Free! – Eternal Summer [sequel]

    4. Kuroshitsuji Book of Circus

    7. Sailor Moon Crystal

    10. Ao Haru Ride

    What summer anime are you excited for?

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    Those attending Edward Sharpe & The Magnetic Zeros performances over the past few weeks have noticed the absence of singer Jade Castrinos. Neither the band or Castrinos had remarked about the circumstances that led to her departure until Jade posted "for seven years i sang and wrote music with edward sharpe. they voted me off of tour a week before they left, via email. lol" on her Instagram page.

    The band's front man, Alex Ebert, addressed Castrinos' comment with a Facebook post that has since been deleted. Ebert's note read:

    Jade has spoken out about not being on this tour. Her statement left a lot of things to the imagination. Out of respect for Jade, I will keep it that way. Only we must now explain that simply and sadly, we did not feel right doing this tour with Jade. That fact breaks my heart in ways I don't want to describe. With hope with all of ourselves that we reunite with Jade again, free-spirited, and with that daring love that is our only foundation. love for you all. Alexander Ebert

    Oh man, hippie fights are brutal! Everyone sage your Up From Below vinyl and chant that the other 76 members of the band will be able to overcome this.


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    @selenagomez: Did I come home for a 3rd grade graduation? Duh.
    @andreaflores76: I always enjoy seeing Selena! Glad you're back home 💕💕 #Texas #idol

    #SelenaForMMVA was the top trend on twitter today!
    Be sure to vote for Selena as your Favorite International Artist @ the MuchMusic Video Awards here!
    Selena's #1 album Stars Dance is also discounted to $7.99 on iTunes this week!


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    At the 11th hour, Lana and Andy Wachowski's sci-fi epic Jupiter Ascending is being pushed back from July 18 to Feb. 6, 2015.

    As a result, Liam Neeson's action movie Run All Night will now need to find a different home. That film had been set to open Feb. 6; a new date has yet to be announced.

    Warner Bros. and Village Roadshow co-financed the Jupiter Ascending, which stars Channing Tatum and Mila Kunis. Insiders say the $150 million movie needed more special-effects work.

    Still, the move is a stunning one, considering Jupiter Ascending was to have been released in a little over six weeks. To boot, the February corridor is one of the quietest of the year, although Hollywood and exhibitors are trying to change that.

    Bad buzz likely sparked concern on the Warner Bros. lot, where the Wachowski siblings had longtime ties to former film studio chief Jeff Robinov. They also made The Matrix films for Warners.

    Jupiter Ascending is an ambitious film starring Kunis as a lowly house cleaner who learns she is a galactic princess from an elf-eared, alien warrior who travels to earth (Tatum).

    Warners is facing a potentially difficult summer, so may have wanted to minimize its exposure. Adam Sandler and Drew Barrymore's recent comedy Blended stumbled badly, grossing less than $30 million to date. And Tom Cruise's upcoming sci-fi epic Edge of Tomorrow is battling soft tracking in North America despite stellar reviews.
    Moving a high-profile film used to be considered the kiss of death, but that's no longer the case. Likewise at at the 11th hour, Paramount pushed G.I. Joe: Retaliation from its 2012 summer berth to March 2013 with no apparent downside in terms of the movie's performance. The sequel took in $375.7 million worldwide, besting the first G.I. Joe ($302.5 million). In an even more famous move, Paramount pushed back the release of World War Z, which went on to become a global blockbuster.

    In July 2012, Warners pushed back the release of Gangster Squad from September to January after the Aurora movie theaters shooting during a screening The Dark Knight Rises in order to re-work the film and remove a scene of a movie-theater shooting. Gangster Squad didn't do huge business, grossing $105.6 million globally.


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    Naomi Watts has signed on to join the next three films in Lionsgate's Divergent franchise.

    The actress, who recently committed to star in Gus Van Sant's Sea of Trees opposite Matthew McConaughey, is joining the cast of Divergent sequel Insurgent as Evelyn, leader of the Factionless. Watts' deal calls for to co-star in the futuristic franchise's two final movies, which are based on Veronica Roth's YA novel Allegiant, the final book in the Divergent trilogy.

    Watts will jump right to Insurgent, which began shooting last week in Atlanta. Shailene Woodley, Theo James, Ansel Elgort,Kate Winslet and Miles Teller -- who all appeared in Divergent -- return for the sequel. Watts joins Octavia Spencer as new additions to the cast. After Insurgent wraps in September, Watts will move on to Sea of Trees, which will take her through November. The in-demand actress is mulling a number of films after that.

    Robert Schwentke, who replaced Divergent helmer Neil Burger, is directing Insurgent from a screenplay written by Brian Duffield and Akiva Goldsman.

    Red Wagon's Doug Wick and Lucy Fisher are producing alongside Pouya Shahbazian.

    Insurgent puts Watts, who typically gravitates toward indie projects with auteurs, in the YA tentpole game. Divergent, which opened March 21, has earned $267 million worldwide. Still, she is no stranger to commercial films, having starred in Peter Jackson's King Kong and The Ring films. Watts has three films awaiting release: Alejandro Gonzalez Inarritu's Birdman, The Weinstein Co.'s St. Vincent -- opposite Melissa McCarthy -- and Noah Baumbach's While We're Young.

    She is repped by CAA and Untitled.


    "Evelyn is a POC" --Divergent author Veronica Roth

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  • 06/04/14--14:54: Soccer Aid 2014 Post

  • As the World Cup looms ever closer and hopes start mounting that this may just be England’s year, it’s almost time for Soccer Aid, another star-studded sports match where all proceeds will go to charity.

    Soccer Aid, which has attracted support from sporting and acting royalty, will raise money for UNICEF, who have carried out emergency and development work in the UK and abroad since 1946. In 2012 the players raised a total of almost £5 million but with the help of ticket sales and merchandise, this year's squad will be hoping to top that.

    Stars confirmed for the biannual event, now in its fifth year, include... Hollywood heavyweights James McAvoy and Jeremy Renner, singer Olly Murs, Welsh actor Michael Sheen, Mamma Mia star Dominic Cooper and comedian Jack Whitehall, who will be making his debut for the squad. Robbie Williams – who co-created Soccer Aid back in 2006 – will also be hoping to lead the team to glory in his new role as England’s assistant manager.

    The English celebrities will be in the capable hands of West Ham United manager Sam Allardyce with coaches Peter Reid and Bradley Walsh on board to provide additional support, along with retired professional footballers Jamie Redknapp, Paul Ince and Teddy Sheringham.

    England’s players will take on the Rest of the World team in the hope of defending their title as Soccer Aid champions. But standing in their way is an international line-up that includes chef Gordon Ramsay, comedian Patrick Kielty and Hollywood actor Jeremy Renner. Actor Michael Sheen will return to captain the squad, and Chelsea manager José Mourinho has agreed to oversee proceedings.

    The match will be held at Old Trafford on 8 June and broadcast live from 6pm on ITV channels, with a preview programme on 6 June (9pm, ITV) featuring behind-the-scenes footage of match preparation. Check out the full teams below...

    Manager: Sam Allardyce
    Coaches: Peter Reid and Bradley Walsh
    Robbie Williams (captain and assistant manager; created Soccer Aid in 2006)
    Dominic Cooper (Mamma Mia and The History Boys actor; Soccer Aid midfielder in 2010)
    Jonathan Wilkes (TV presenter and Soccer Aid co-creator; midfielder and defender in 2006, 2008, 2010 & 2012)
    Ben Shephard (Good Morning Britain presenter; defender in 2006, 2008, 2010 & 2012)
    Jamie Theakston (TV and radio presenter, goalkeeper in 2006, 2008, 2010 & 2012)
    Marvin Humes (former JLS singer and The Voice UK presenter; midfielder in 2012)
    Olly Murs (singer and 2009 X Factor runner-up; midfielder in 2010 & 2012)
    Danny Jones (member of McFly; midfielder in 2008)
    John Bishop (comedian and A League of Our Own panellist; midfielder in 2012)
    Paddy McGuinness (host of Take Me Out; defender in 2010 & 2012)
    Mark Owen (Take That singer; midfielder in 2012)
    Jack Whitehall (star of Bad Education and Fresh Meat; first Soccer Aid appearance)
    Stephen Moyer (star of US series True Blood; first Soccer Aid appearance)
    Jamie Redknapp (retired Tottenham and Liverpool footballer; midfielder in 2006, 2008 & 2010)
    Jamie Carragher (retired Liverpool footballer; first Soccer Aid appearance)
    David Seaman (retired England and Arsenal goalkeeper; goalkeeper in 2006, 2008, 2010 & 2012)
    Teddy Sheringha (retired Tottenham Hotspur, Manchester Utd and England striker; forward in 2008, 2010 & 2012)
    Des Walker (retired Nottingham Forest, Sheffield Wednesday and England footballer; defender in 2008 & 2012)
    Matt Le Tissier (retired Southampton and England midfielder; first Soccer Aid appearance

    Rest of the World
    Manager: Jose Mourinho
    Michael Sheen (captain and star of The Queen and Frost/Nixon; Welsh; captain in 2010 & 2012)
    Gordon Ramsay (TV chef; Scottish; captain in 2006, defender in 2008, 2010 & 2012)
    Nicky Byrne (ex-Westlife singer; Irish; midfielder in 2008 & 2010)
    Patrick Kielty (TV and radio presenter; Northern Irish; goalkeeper in 2006, 2008, 2010 & 2012)
    James McAvoy (star of X-Men and Last King of Scotland; Scottish; defender in 2012)
    Sam Worthington (Avatar actor; Australian; first Soccer Aid appearance)
    Jeremy Renner (star of The Hurt Locker and The Town; American; first Soccer Aid appearance)
    Martin Compston (Line of Duty actor; Scottish; first Soccer Aid appearance)
    Kevin Bridges (comedian; Scottish; first Soccer Aid appearance)
    Santiago Cabrera (star of BBC’s The Musketeers; Chilean; first Soccer Aid appearance)
    Mark Salling (singer and star of Glee; American; first Soccer Aid appearance)
    Adam Richman (host of Man vs Food; American; first Soccer Aid appearance)
    Edgar Davids (former Ajax, Juventus and Holland footballer; Dutch; first Soccer Aid appearance)
    Andriy Shevchenko (retired Dynamo Kyiv, Chelsea and Ukraine striker; Ukrainian; first Soccer Aid appearance)
    Edwin van der Sar (retired Ajax, Manchester United and Holland goalkeeper; Dutch; goalkeeper in 2012)
    Jaap Stam (retired Manchester United and PSV centre back; Dutch; defender in 2008 & 2012)
    Alessandro Del Piero (former Juventus and Italy forward; Italian; first Soccer Aid appearance)
    Clarence Seedorf (retired Real Madrid and Holland footballer and current A.C. Milan manager; Dutch; midfielder in 2012)


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    Bradley Cooper‘s shorts show off nearly all of his leg and thigh while on the set of American Sniper on Wednesday (June 4) in Los Angeles.

    Along with wearing the shortest shorts, the 39-year-old actor had to do physical labor for the Navy Seals training scene, where he was hosed with water while doing push ups!

    American Sniper is a biographical film about a Navy SEAL who recounts his military career, which includes more than 150 confirmed kills. Look out for the movie in theaters next year!


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    It cannot be said that Netflix does not know what the Internet likes: to advertise for the soon arriving season of Orange Is the New Black, the site has recast the Arrested Development credits with the inmates of Litchfield. It's funny to think that this time last year Netflix's big story was the (disappointing or not that bad, depending on who you talk to) fourth season of Arrested Development, and the Orange Is the New Black phenomenon was just waiting in the wings.

    So while you wait in anticipation of the second season of Orange, and wonder whether a fifth season of AD will ever happen, enjoy a Ron Howard voiceover: "Now the story of a wealthy girl who lost everything..."


    Shaking and crying with anticipation for Friday

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  • 06/04/14--16:01: Tabloid Cover Wednesday
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    Oscar-winning actor Morgan Freeman said Tuesday that income inequality has nothing to do with race, citing himself as proof.

    Appearing on CNN ahead of the season premiere of his Science Channel series, “Through The Wormhole,” Freeman spoke with anchor Don Lemon who asked whether Freeman thought if “race plays a part in wealth distribution.” Freeman didn’t pause for a second, replying: “No. No, I don’t. You and I, we’re proof.”

    “Why would race have anything to do with it?” Freeman continued, “Put your mind to what you want to do and go for that. It’s kind of like religion to me, it’s a good excuse for not getting there.”

    The CNN anchor pressed, “It seems like every single day I’m talking about race on television, because its in the news cycle … I wanna just go, ‘this is over, can we move on?’”

    A smiling Freeman responded, “If you talk about it, it exists. It’s not like it exists and we refuse to talk about it. Making it a bigger issue than it needs to be is the problem here.”


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