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Oh No They Didn't! -

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    TV Line: ABC Family's Young & Hungry: Will You Come Back for Seconds?

    "In the real world, sleeping with your prospective boss an hour after he proposes to his girlfriend would be a terrible idea. But in TV world, that kind of drunken misstep might just secure the job of your dreams.

    That’s essentially the gist of ABC Family’s new comedy Young & Hungry, which premiered Wednesday. Hannah Montana‘s Emily Osment plays Gabi Diamond, a down-on-her-luck food blogger with no job, no money and no clue. So when an opportunity to work as a private chef for tech millionaire Josh Kaminski ($#*! My Dad Says‘ Jonathan Sadowski) arises, she dives right in…to his bed.

    You see, Josh initially proposes to his socialite girlfriend, but when she turns him down, he starts commiserating (and more) with Gabi, who cooks the proposal dinner as part of her job application. And because it would apparently be illegal to not hire someone you just slept with — or so Josh says — Gabi gets the job and all is well.

    Gabi’s biggest obstacle — aside from her apparent lack of boundaries — comes in the form of Josh’s personal assistant/publicist Elliot (Entourage‘s Rex Lee). Like a sassy guard dog in a bow-tie, Elliot is determined to undermine our young heroine at every turn, mostly because he’s bitter that Josh didn’t hire “hot” celebrity chef Michael Voltaggio. I’m hoping Elliot’s ‘tude will pass over time because, honestly, his disdain for Gabi doesn’t come off quite as funny as it probably should. In fact, it kind of takes a toll on the show’s overall tone.

    Fortunately, for every Elliot, there’s a Yolanda (Let’s Stay Together's Kym Whitley), who serves as Gabi’s kitchen-side guardian angel. Actually, that might be a bit of a stretch; she doesn’t actually do anything to help Gabi in her pursuits, but at least she’s always there to lend a high-five when needed."

    Mystery Girls (Eh...)

    LA Times Review: ABC Family's 'Young & Hungry,''Mystery Girls' are a mixed bag

    "Ditsy blonds and the gay men who love/hate them are getting a double-bill revival on ABC Family, which debuts two new comedies Wednesday with mixed to awful results.

    Mixed would be "Young & Hungry," a more than occasionally funny show in which Gabi (Emily Osment), an appealing but financially challenged food blogger, becomes personal chef to Josh (Jonathan Sadowski), an appealing but romantically challenged tech-ionaire.

    Executive produced by Ashley Tisdale, "Young & Hungry" feels much more Disney Channel than ABC Family. And that's not just because Osment is late of "Hannah Montana."

    Osment is an accomplished physical and verbal comedian who is always fun to watch, particularly in a group, and this group is very much up to her standards. Josh's housekeeper, Yolanda (Kym Whitley), clearly graduated with top honors from Miss Pettigrew's School of Domestic Staff and One-Liners, and personal assistant Elliot is played by Rex Lee in a manner even more High Queen than his role on "Entourage." If that's possible.

    Still, while there may be sex, Gabi, with her blond hair, can-do attitude and sunny outlook, is very much a Disney heroine who sticks out a bit in ABC Family's darker universe.

    As does the jury-rigged setup: Foodie meets tech millionaire in a battle to determine which is trendier! The players are talented if a bit hamstrung by their roles (does every personal assistant now have to be a gay man who squeals?). Perhaps once it settles down from the inevitably overwrought pilot, "Young & Hungry" will give Osment the successful starring role she deserves.

    Not so "Mystery Girls," which seems to believe that the reunion of "Beverly Hills, 90210" stars Tori Spelling and Jennie Garth is (a) something huge numbers of the populace has been waiting for and (b) all you really need to launch a television show.

    It will surprise no one to learn that Spelling (who had to do something now that her ghastly reality series is over) and Garth also executive produce "Mystery Girls," in which two former stars of a '90s hit show of the same name come together to form an actual detective agency.

    In a slightly sunnier version of "art" imitating life, Holly (Spelling) is the ditzier of the two, still living off her long-ago fame via various reality television shows while Charlie (Garth) is dying of boredom in the suburbs. When a young man (Miguel Pinzon) so old-school gay he can only sing the word "fabulous" witnesses a murder, he vows he will only talk to the subjects of his "obsesh," i.e., the Mystery Girls, who are then forced to reunite.

    Unfortunately, creator Shepard Boucher ("Men at Work") seems confined by the limitations of his stars, who are clearly not interested in actually exploring the real vagaries of fame. So we have a hollow, laugh-enhanced comedy in which the biggest draw is Tori Spelling proving she will do anything to remain on television. But we knew that already."

    Young and Hungry - 8/7c and 9/10c
    Mystery Girls - 8:30/7:30c and 9:30/10:30c

    Source: 1 | 2 | 3 | 4

    I'll give episode 2 a go on 'Young and Hungry', 'Mystery Girls' - nope.

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    If Anthony Stewart Head has his way, you haven't seen the last of Buffy the Vampire Slayer's Rupert Giles.

    Head, who played Buffy Summers' (Sarah Michelle Gellar) Watcher and mentor on the beloved Buffy the Vampire Slayer, had been at the center of a Ripper spinoff of sorts for years now that would follow Giles being, well, pretty flippin' badass. But sadly, nothing ever came together. Yet Head hasn't given up hope of reuniting with Joss Whedon for the project.


    "You know what? I would do it. I would do anything to work with Joss again. He's a wonderful storyteller, a great director, and a lovely man,"Head told Vulture when asked about a Giles spinoff still coming together. "I would love to, you know? Whether it's Ripper or something else..."

    Head currently stars in Syfy's Dominion and everybody knows what Whedon is up to: Avengers: Age of Ultron.

    Talk of a Giles-centric spinoff isn't anything new. The project was originally set for BBC with a 2008 premiere, but never came to fruition. The story would follow Giles, who was known as Ripper in his youth, after "he's cut adrift from Buffy and the rest of them,"Head told Vulture.


    "What he becomes. It's a beautiful, beautiful ghost story, and it's extremely haunting, as you would expect of Joss. It's unlike anything that I've ever read before. And if Joss is still game, then I am!"

    In Dark Horse's Buffy the Vampire Slayer comic book series, Giles was killed off, but later resurrected with the help of Angel and Faith. However, it didn't got exactly as everybody hoped. Giles was brought back with his mind intact, but in the body of a preteen. Talk about a role reversal!


    Let's take a moment and remember how awesome Giles was on Buffy the Vampire Slayer.






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    "Orange Is the New Black" actress Taylor Schilling, Netflix Vice President of Original Content Cindy Holland, and Author Piper Kerman attend the show's New York premiere in 2013.

    Cindy Holland, Netflix's head of original content, recently gave a rare interview to The Hollywood Reporter to discuss how her small team helps new series come to fruition.

    Holland, who oversees 16 employees and a growing portion of Netflix's $3 billion programming budget, "has been tasked with building the company's original series business, which began in 2011 with a $100 million, 26-episode bet on 'House of Cards,'" according to THR.

    After an "Arrested Development" revival and the critically acclaimed "Orange Is the New Black" followed, Holland hasn't looked back.

    Once Holland's team helps Netflix choose and purchase a show, the exec says it's "a balancing act" trying to help guide production while also granting plenty of creative freedom. Holland explains to THR:

    "We view our job as helping support the creators to fulfill their vision, not ours. We view ourselves as the objective outsider. Sometimes in a writers room the mood will shift a certain way, and we'll start to remind people: 'Hey, early on you talked about wanting to explore this dynamic or these characters. Are you still intending to do that?' It's about being supportive and helping to point out things that from the outset the storytellers have expressed a desire to do."

    As for advice Holland gives show creators, she says:

    "We'll talk to them very early on about how series are consumed on Netflix. I think you can take the time to really develop characters and storylines, and you can go on some pretty interesting tangents and not be too concerned because the viewer will be right back with you in that story in the next hour to two hours. Jenji has commented that with Orange, it gives her the freedom to not have to service all of these characters in every episode, which would be daunting. Another thing we've learned is that if a viewer is going to watch, on average, 2 ½ episodes a night, if you're using similar source music or a lot of music, it can get repetitive."

    Holland explains that next up on Netflix's agenda is broadening its comedy content.

    "Comedies of varying types are an area of extreme interest to us," Holland revealed. "We're just starting in the comedy space outside of 'Arrested,' and comedies have a more territory-by-territory appeal. So we're doing some experimentation in comedy to see what kind of tailoring we might need to do for different markets."

    One person Netflix is hoping will translate? Chelsea Handler, who just signed a deal for a stand-up special in October, followed by four "docucomedies" in 2015 and a talk show in 2016.


    Netflix's Original Content VP on Development Plans, Pilots, Late-Night and Rival HBO (Q&A)


    In a rare interview, Cindy Holland talks to THR about Netflix viewer habits, why men watch "Orange Is the New Black" with women, which genres she wants to tackle and what factors would lead to a show's cancellation.

    A version of this story first appeared in the June 27 issue of The Hollywood Reporter magazine.

    As viewers began bingeing on Orange Is the New Black's second season June 6, Netflix's head of original content, Cindy Holland, was pursuing her other passion: cycling. Holland, 45, was riding about 85 miles a day from San Francisco to Los Angeles as part of AIDS/LifeCycle, which raised a record $15 million for groups including the L.A. LGBT Center, an organization near and dear to the Nebraska native.

    Seated in her Beverly Hills office a few days later, the 12-year Netflix veteran likened the ride, which she has done seven times, to the process of building the streaming company to 48 million subscribers worldwide.

    "It seems unachievable, but it's really about planning and believing you can do it," she says. During recent years, Holland, a straight shooter who oversees 16 employees and a growing portion of Netflix's $3 billion programming budget, has been tasked with building the company's original series business, which began in early 2011 with a $100 million, 26-episode bet on House of Cards. A revival of Arrested Development, the horror-themed Hemlock Grove and Jenji Kohan's prison dramedy Orange followed.

    Now, the Stanford alum, who began her career in feature development at Spring Creek Productions, is readying her next batch of originals from creators including the Wachowskis (Sense8) and Friends co-creator Marta Kauffman (Grace and Frankie). During a rare interview with THR, she opened up about Netflix viewer habits, the company's development plans and why men watch Orange with women.

    CEO Reed Hastings said Hemlock Grove lured more viewers at launch than House of Cards. In choosing shows, how do you balance between "prestige" and bottom-line success?

    It's a balancing act. Creating great series that our subscribers love is job No. 1; the two guiding metrics for us are subscriber reach and how many total hours are viewed. But we're very happy when series get reviewed well and become cultural phenomenons the way House of Cards and Orange Is the New Black have.

    There was talk early on about Netflix's lack of notes, but Jenji Kohan has been among the showrunners to refute that. When do you step in?

    We view our job as helping support the creators to fulfill their vision, not ours. We view ourselves as the objective outsider. Sometimes in a writers room the mood will shift a certain way, and we'll start to remind people: "Hey, early on you talked about wanting to explore this dynamic or these characters. Are you still intending to do that?" It's about being supportive and helping to point out things that from the outset the storytellers have expressed a desire to do.

    Your audience is consuming programming in a different way. What advice do you give show creators?

    We'll talk to them very early on about how series are consumed on Netflix. I think you can take the time to really develop characters and storylines, and you can go on some pretty interesting tangents and not be too concerned because the viewer will be right back with you in that story in the next hour to two hours. Jenji has commented that with Orange, it gives her the freedom to not have to service all of these characters in every episode, which would be daunting. Another thing we've learned is that if a viewer is going to watch, on average, 2 ½ episodes a night, if you're using similar source music or a lot of music, it can get repetitive.

    To date, you have committed to the straight-to-series model. Will you continue, or have you come to realize the pilot process might have benefits?

    Our straight-to-series strategy was born out of a few things: one being necessity because I was a dep­artment of one when we licensed House of Cards; two, out of wanting to show our commitment to being serious about this business; and three, when we had the opportunity as outsiders coming into a new business to take a look at what the best practices are at different networks, we were able to try on what works for us and what doesn't. We talked early on about not wanting to develop projects and not wanting to sink money into pilots because even if it's less perfect than you might want it to be, at least you have a full season that you can put in front of your subscribers and there will be people who will enjoy it. I expect that we'll mostly continue that.

    When would you not?

    We've been licensing series from third parties; as we start to get into developing and owning some of our own series, I expect that we'll spend a little bit of money on development. But we, as a group, want to keep a firm mantra of only putting things into the pipeline that we believe we'll actually make. I don't anticipate that we will spend money on pilots; it doesn't seem like an efficient thing for us to do.

    It makes complete sense for networks to do it when you're talking about maximizing eyeballs for an hour's worth of time on a given day -- there, you need to have a full bench that you can draw from. For us, it's quite a different proposition.

    But my understanding is you already are developing by having creators write pilot scripts and provide you with potential series bibles -- yes?

    A very small amount.

    How important will ownership be to Netflix, and what do you foresee as the ratio of licensed versus owned content?

    I don't have a sense for what the ratio will be. Historically we've been entirely licensed, and we'll probably have a large percentage that will continue to be licensed. Our desire to own is less about maximizing profit for the total enterprise because our business model is about subscriptions, not profits from TV shows; our desire to own really will come more from our desire to control an increasing number of international territories and windows within territories.

    As you've expanded globally, how has your thinking changed about original programming, for stories and casting?

    We've always had an eye toward how a series might play in various international territories. House of Cards we knew would play quite well in the U.S. and probably English-speaking territories but didn't anticipate that it would overindex in Latin America, for example.

    On the other hand, you have David Fincher, Kevin Spacey and Robin Wright. In terms of programming specifically for territories, we have Narcos from Jose Padilha, one of the most famous directors in Brazil. It stars Wagner Moura, and it's set in Latin America, and we anticipate that we will have a sizable following there.

    Sense8, which the Wachowskis are creating for us, has many international locations, many of which are territories in which we're operating -- mostly by coincidence. And we have Marco Polo, which is a historical epic that is known globally. So we do think carefully about all of our territories, not just the U.S.

    You're pushing into comedy, too, which doesn't always translate as well globally. Concerning?

    That's right. We're just starting in the comedy space outside of Arrested, and comedies have a more territory-by-territory appeal. So we're doing some experimentation in comedy to see what kind of tailoring we might need to do for different markets. Our goal is to license series that capture the rights for our all territories in which we operate or expect to shortly, and the goal is to have them all work reasonably well in all of our territories.

    You have yet to cancel a show. What would warrant that?

    They can't all last forever! If the creative team decides they don't want to go on, that's one factor. And if the investment required outweighs the subscribers and the viewing hours we predict for the series, that would be another.

    Which genres would you still like to try?

    Comedies of varying types are an area of extreme interest to us. We haven't seen the perfect Western project yet, either. Although Hemlock covers horror and supernatural to some extent, there are several subgenres within those categories that we haven't reached into yet and would look to explore if the right project came along.

    You've been reticent to share ratings data, but tell us what has surprised you about the Orange Is the New Black audience?

    We anticipated that the audience would tilt slightly female; we're pleasantly surprised that it only has barely tipped female -- although what we're learning through some surveying is that men will often watch with women more often than watch alone. The success of Orange also proves there can be quite passionate and large audiences for content that on the surface isn't mainstream at all.

    At one point last year you had said that OITNB is the biggest show on your service. Is that still true?

    That's right.

    Jenji has been vocal about HBO and Showtime passing on Orange. Knowing what you know about your viewers, what attracted you to the show?

    We had hadWeeds on the service for a number of years, and so we knew we had a fan base of a certain size that would at least follow Jenji and check out any new show that she'd do. And we knew that there were a number of series like Grey's Anatomy that give you confidence that shows with a primarily female cast can do well [on Netflix].

    But there's nothing quite like Orange. And then when Jenji came in, she was very insistent on it being an hourlong show so that you would have the time to explore these characters and not just present them in situations. We didn't have a strong opinion on length, so my recollection is that we asked the question, "Do you think this is a half-hour or an hour?" because tonally it's so different. She felt very strongly it was an hour, and that was the conversation in its entirety.

    How much crossover is there in your different shows? Are the House of Cards viewers also watching Orange?

    There's some overlap but surprisingly little. We have several series that have been pretty successful, and when that happens there's a natural overlap. But as a general rule, the audience who watches House of Cards does not watch Hemlock Grove — and yet again, is not the audience that watches Arrested Development. We hope to reach the entire subscriber base with at least one original series by the time we're done.

    Netflix is rumored to be interested in Chelsea Handler. Is late night a genre you are pursuing?

    I don't think any genres are off-limits to us. We have a large subscriber base that consumes a wide variety of content and we don't have any preconceived notions about what will or won't work on the service. We've been very focused on highly serialized hours and half-hours, and that will continue to be true, but I wouldn't close the door on any kind of experimentation.

    You have the viewer base and the money to experiment with things like awards shows, live events and sports. Any appeal?

    I think on-demand will always be the key focus for us, so anything that requires aggregating a live audience at one point in time is better suited for network television and linear television. But anything that can be viewed and enjoyed in an on-demand way could ultimately be something we think about.

    Whom do you consider your competition?

    It depends on the segment of our business, what time period and what territory we're in. The media likes to make a lot of HBO, and we're very flattered because we respect the business that they've built and continue to run -- it's a global brand with powerful, important content. From a narrow original-series perspective, it's the best of premium and broadcast television. We're hearing the same pitches and being presented with some of the same material.

    What's the project that got away?

    True Detective is certainly a project that we had read and loved but HBO snapped it up. I'm a big fan of Fargo, too, and would have loved to have seen that at Netflix. We have the series first-run in some of our international territories.

    Would you have done Fargo as a limited series?

    I wouldn't close the door on a limited series for the right thing; and certainly with our roots in film, Fargo wouldn't be a stretch for us at all.

    Where are you with a second season of Arrested Development? Will there be one?

    We would happy to launch another season of Arrested Development when Mitch [Hurwitz] is ready to make one.

    Now you're working on a Wet Hot American Summer revival. How do you think about what makes sense to revive? And what else is on the wish list?

    Revival projects aren't an important part of our original series strategy. It's an opportunistic thing. With Arrested Development, Ted [Sarandos] was a big fan and knew that there had been a movie project in the works for a long time, so he campaigned very hard to bring that revival to Netflix. We have the data on what might be attractive to us from a viewership standpoint, and there may be occasions when we go seek something out, but it's pretty opportunistic and not particularly planned.

    What's the biggest misconception that people have about what you're doing?

    There's the perception that my team isn't creatively involved in the series at all. On the one hand, we have a very light touch; we try to provide a supportive environment, and we hire our showrunners and directors with the same mindset that we use when we hire employees. Our culture is about freedom and responsibility, and we believe that people do their best work when you give them both. But on the other hand, I'd like to acknowledge the amazing hard work my team does. So, that's always a bittersweet comment that we hear.

    At this time last year, that team was significantly smaller than it is now, no?

    We've roughly doubled the size of the team from a pretty small base. But we're anticipating more than doubling the number of seasons that will be released, so we're trying to scale up quickly in order to be able to have a large and growing pipeline of projects.

    If you're not working, where would we find you?

    I spend most of my free time on my bicycle. It's a good way to clear your head; and if there's a hill, I want to climb it. And I'm a big sports fan. I'm a big college football fan. I was raised in Nebraska, so I'm a Cornhuskers fan; and then I went to school at Stanford, so I'm a Cardinal fan. And I'm a big baseball fan, too. My teams are the Dodgers, the Brewers, the Yankees and the Red Sox. Yes, I believe anything's possible. I'm a peacemaker. (Laughs.)

    Read more:
    Source 2:

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    Life After Beth follows Zach (Dane DeHaan), a teen who is heartbroken when his girlfriend (Aubrey Plaza) unexpectedly dies. When her parents, Maury (John C. Reilly) and Geenie (Molly Shannon), resurrect Beth using the Old Testament, Zach gets a second chance to do and say everything he wished he had while she was still alive.

    If you picked up on the fact that this is a “zombie movie”, you probably know what’s coming next.

    Zach discovers that Beth has come back to life, and they are able to pick up their relationship where it had been cut short — with a few small changes. Namely, Beth is now a zombie, and she has to do zombie things, like eat people.

    It’s a funny take on a familiar concept, but even just watching the trailer, you get the sense that there’s more going on here than a cute set-up.

    Not only do the performances look great — John C. Reilly and Molly Shannon stand out as Beth’s parents — there’s an opportunity for some clever relationship commentary as Zach begins to drift from the recently resurrected Beth.

    The film also stars Anna Kendrick, Cheryl Hines and Paul Reiser.

    Watch the trailer at the Source

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    Season 25: Episode 12




    Second Place:



    Third Place:



    Even though Bananas had to actually work for it this season, I still wish someone else would have made it to the finals and won. We all knew Queen Laurel had it in the bag, even though Nany almost had her beat.

    Source: My TV

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  • 06/26/14--20:14: Bcoop Goes Incognito

  • Bradley Cooper goes completely incognito in his motorcycle gear and helmet while heading to the gym on Sunday (June 22) in Santa Monica, Calif.

    The 39-year-old actor was seen the week before wearing the same outfit while heading to his workout session.

    There’s only a matter of weeks until Bradley‘s upcoming movie Guardians of the Galaxy hits theaters and we can’t wait to see it! Make sure to see it on August 1.

    mods I didn't realize these were a few days old? I'm not online every day

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    Cam’ron has bagged Nicki Minaj for a new song. After collaborating on “I Am Your Leader” off Pink Friday: Roman Reloaded, the New York rappers come together for Killa Cam’s 1st of the Month series, which will be comprised of 6 EPs and mini-movies to be released at the beginning of each month.

    Cam shared a teaser of Nicki’s verse in an Instagram video. A similar song called “So Bad” featuring Yummy Bingham was released in 2012.

    “Ay yo Cam, I’m the baddest bitch / You was actin’ mad happy when you bagged this bitch,” raps Nicki.

    In addition to the Young Money MC, the EPs will feature Lil Wayne, Wiz Khalifa, and more. The first installment (sans Nicki) arrives July 1 on iTunes.


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    Actor Shia LaBeouf was hauled off in handcuffs for acting like an aggressive jerk at a Broadway play — and then put in a face mask at a Manhattan police precinct when he wouldn’t stop spitting, sources told The Post.

    The actor was busted at about 9:30 p.m. during a performance of “Cabaret” at Studio 54 in Midtown.

    Sources said that the “Nymphomaniac” actor was annoying other theater goers by slapping random people on the behind and on the back of the head. He was also smoking.

    When cops approached him, he tried to quickly walk away, but fell, so he was taken off in handcuffs as a crowed of shocked patrons looked on.

    At the Midtown North precinct he got belligerent with officers, telling cops who were about to remove his hand cuffs: “F–k you. I’ll f- -k you up,” sources said.

    Cops decided to not take the cuffs off and he started spitting, prompting officers to put him in a face mask.

    While being fingerprinted LaBeouf told one cop “I have millions and millions of dollars and attorneys and I’m going to ruin your career.” He then used a homophobic epithet at the officer doing the fingerprinting, calling him a “fag.”

    He’s been charged with criminal trespass, harassment and disorderly conduct, according to law enforcement sources.


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    Comedian Wendy Cummings appeared on Conan this week to chat about one of her favorite apps—Tinder. First, she cleared things up for the slightly confused host about how exactly the dating app works. "It's JUST off the photograph??" he asked Cummings. Yes, indeed. You decide 'yes' or 'no' on someone based solely on their appearance, she explained. "It's like OkCupid but for sociopaths," she said. [Tweet this!]

    She then offered up a helpful analysis of the most common types of Tinder photos she sees. The reoccuring photo of the guy sitting in his car with a seatbelt on? "To me, all that says is your wife is in the house and this is all the time you have to take your photo. What is the rush? They're so sketchy," she joked.

    And those shirtless pics aren't fooling anyone. "If you show a photo of how diesel and ripped you are, all that does is tell me you're unemployed," she concludes.


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    USA vs Germany World Cup Match -- Porn Site Traffic Dips, Except For ...

    A giant porn company suffered a seismic loss in business when the U.S. World Cup team triumphantly lost to Germany Thursday ... with a notable gay exception.

    The folks over at Bang Bros -- who run sites like Bang Bus, AssParade and TugJobs -- tell TMZ their network of sites took a 33% hit during the big match

    But for some reason ... its gay site, Gay Pawn, saw a rise in traffic ... to the tune of 23%.

    Theories in the office:

    -- It was a great 2-screen experience
    -- The hot soccer players got people hot
    -- Someone else controlled the TV set
    -- The soccer players got the "curious" more curious
    -- All that talk of headers ...

    Not that there's anything wrong with any of our theories.

    anyone know if Matt Besler is single? question for my friend.

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    American Apparel has finally ousted their creepy, sexually harassing founder and CEO of 25 years, Dov Charney. The ex-CEO has been sued multiple times for sexual harassment by former employees of the company, and was also known for his bizarre practice of making just about everything about his sexuality:

    "The 45-year-old, who has described himself as 'a dirty guy,' strolled his factory floor wearing only his underpants and has been accused of using adverts that verge on pornography—including one featuring himself and two women captioned: 'in bed with the boss.' There have been allegations of homophobic remarks. One lawsuit claimed he had called one employee a 'wannabe Jew' and then tried to strangle him. It was notoriously alleged that he had had oral sex with an employee while conducting an interview with a journalist."

    Meanwhile, in another corner of the fashion world, photographer Terry Richardson is facing criticism for coercing models into performing sexual acts in front of the camera (or elsewhere). Other models who have worked with Richardson claim that everything they did with him was fully consensual—even enjoyable—but presenting these alongside stories of clear misconduct obfuscates the point: some people can be okay with things that other people are not okay with, and if you expect everyone to do those things regardless of their comfort level, you’re violating boundaries.

    These allegations have led some to wonder if fashion has a misogyny problem. I think that’s the wrong question to be asking. The right question is, does our society have a misogyny problem, and do these industries and communities take significant steps to prevent it from seeping into their spaces? The answers are, respectively, yes and no.

    It doesn’t surprise me at all when CEOs of major clothing retailers or famous celebrity photographers turn out to be harassing, intimidating, assaulting, or abusing women, because the same thing happens everywhere else: politics, tech companies, sports, even science journalism. It happens everywhere a few select people are given excessive power and social capital, and those people are usually (but not always) men.

    What the fashion industry does have, however, is a trend of “hipster sexism,” which can be defined roughly as people who hold nominally liberal views on things “pretending” to be sexist “ironically,” because sexism is totally over and so now it’s funny. The New Republic's Eleanor Margolis writes of Charney and Richardson:

    "The two men are emblematic of a hipster veneer that’s so often used to cover up the mistreatment of women… With their 1970s porn star aesthetic seems to come this notion that they’re only subjugating women ironically: we’ll carry on buying clothes from people who look like the result of Ron Jeremy humping a copy of Vice. Misogyny is OK, as long as it pastiches a bygone era of kitsch female subjugation; as long as it’s retro. These bizarre double standards are only serving to blur the lines...between sexism and chicness."

    Margolis doesn’t note the fact that the hipster sexism in fashion also has a racist corollary, which Racialicious' Thea Kim discusses at length. If you’ve stepped inside an Urban Outfitters or attended a music festival lately, you’re probably familiar with the trappings of hipster racism—that unmistakable “look at me I’m so over racism” chic that affluent young white folks are presumably going for when they wear blackface to a Halloween party or don a Native headdress to a concert.
    Why do “ironic”/”hipster” sexism and racism hold such appeal for slightly left-leaning, “fashionable” young people? There’s an optimistic possibility and a cynical one. The optimistic one is that it allows people to perpetuate the comforting idea that inequality is now so passe that pretending at it is hilariously ludicrous. The cynical one is that it allows people to safely express the actual sexist and racist beliefs that they still hold while maintaining plausible deniability: ”No, you don’t understand, I was wearing that blackface ironically!”

    Regardless, sexism and racism aren’t over; it’s only some of their most visible and iconic components that have mostly disappeared from our society. When a dude jokes “ironically” about hitting women, he might think that nowadays domestic violence is Very Rare and taken Very Seriously and the police will immediately come and arrest the offending man (perhaps even on a false accusation, which are now “common”). I, on the other hand, might think that many of my female friends are survivors of domestic violence, psychological abuse, or sexual assault, and few of them were taken very seriously at all when they tried to do something about it. So I won’t see anything “ironically” sexist about the joke. To me, it’ll just be plain ol’ boring sexism.

    Much of hipster bigotry rests on the assumption that the person wearing the shirt or making the joke is a Really Good Person who would never actually believe such horrible things, so isn’t it hilarious that they’d pretend they do, ha-ha? But making this assumption requires knowing the person quite well, and given how pervasive sexism and racism still are, assuming that a random dude (or a random CEO of a fashion company, per se) is Totally Not Sexist Or Racist isn’t really a reasonable assumption to make.

    Ironic bigotry can work sometimes, among small groups of friends. The popular party game Cards Against Humanity is premised on this type of humor; players make horrible card combinations that are meant to make fun of bigotry rather than its targets. But many people justifiably dislike the game because they don’t necessarily trust everyone they play with to be laughing for the right reasons, and the game’s own creator has recently acknowledged that some of the cards went too far.

    It appears that many women who have worked with Charney and Richardson found them actually, not just “ironically,” creepy. And hipster sexism and racism in fashion and elsewhere itself can mask actual sexist and racist beliefs, even if they’re not completely conscious. In a world where both evidence and personal experience shows that sexism and racism are still common, harmful, and largely ignored, you’ll excuse me if I can’t laugh at the joke.

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    In a new interview out today from TV Guide Magazine’s Michael Logan, Geary discusses how he loves playing the evil Fluke, how he almost quite General Hospital for good, and what he thought of Luke’s lurid come-on’s to the younger Kiki (Kristen Alderson) and more.

    Here are a few excerpts below!

    Geary on almost leaving GH:“A year or more ago I went to them and said, ‘I’d like to exercise the out in my contract. I’m really not pleased with what’s going on with Luke. I feel like I’ve done it and done it and done it. As you know, I have a wonderful life in Amsterdam and felt it was time for me to pack it in and go there permanently.

    Frank Valentini (executive producer) and Ron Carlivati (head writer) were wonderful. Frank said, ‘We don’t want you to go, but we understand.’ Then, when I had about four months left to go, I realized it was going to be hard to walk away — a lot harder than I expected.

    This show has been my life for so long and I felt I still had something more in me. They said, ‘Great! What do you want to do?’ I told them, ‘I’d like a story when Luke is proactive rather than reactive. I want him to cause problems for people, rather than helping them solve problems. I want to see a side of Luke we’ve never seen.’

    When Ron came up with this Fluke idea he said, ‘Now, this is pretty far out. I don’t know if you’ll want to do it.’ And he got about three sentences into it and I said, ‘I’m in! Sign me up!’ This storyline has revived my whole interest in the game.”

    Geary on who Fluke really is and if he thinks it works well in the story:“I know who he is and what his motivation is, and I think it will be highly believable when all is revealed — and that’s what was most pleasing to me when Ron pitched the idea.”

    Geary on what he thought when he saw Fluke smitten with Kiki:“Even I was shocked when he went after her! I thought, ‘God, I hope we’re not going into pedophilia territory. But, hell, we’re already on this ride, so let’s see where it goes.’ I love that Kiki found Fluke so creepy. I think even poor Kristen Alderson was grossed out. After a few scenes with me she said, Eeeee-w, I don’t like this. And I’m, like, ‘Thank you! Because I live for this stuff!”

    source: michaelfairmansoaps

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    Miranda Kerr is known for her amazing healthy diet and fitness regime so what does she prioritise in her daily routine?

    The model spoke to some of her fans on a live Twitter chat and we've rounded up all the facts for you to start living your life a bit more like Miranda.

    Your body will thank you.


    If you're on a mission to look and feel as good as Miranda, she advises, "Having an active daily routine helps. Taking the stairs instead of the elevator.

    Walking instead of driving when possible."

    Why not consider an alternative way to work, or take up a gym class? There are some real ways to stop yourself giving up on your fitness programme.


    Miranda revealed that her favourite food is avocado, something we know is jam packed with the right kind of fats.

    She also reminded us to, "make sure you are drinking enough water and eating enough fresh fruits and vegetables."

    The face of her own range of Royal Albert tea sets, she also explained that her favourite teas are dandelion or green tea, while if she does add milk she makes sure it's goats and adds honey instead of sugar.


    The Victoria Secret model also touched on her fitness routine.

    Depending on schedules, "I try to do at least 20 minutes of yoga or resistance training per day!"

    We all know how much she loves yoga, specifically, "I love downward dog, bridge and tree pose."


    fitness post!

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    "She looked not just like a deer in the headlights but like a deer that already got hit," says Fox TV Stations' Frank Cicha.


    Last summer the Fox TV Station Group did a six-week test run of a talk show starring Kris Jenner, the “momager” of the Kardashian clan. Months of silence followed before it became clear that Kris would not move forward.

    On Thursday, in a discussion with The Hollywood Reporter about three new shows Fox will test this summer, Frank Cicha, senior VP and President of programming for the Fox Television Stations, admitted he knew by the time the test ended that Kris wasn’t going to work. “I think she was pretty uninteresting [on camera],” Cicha said. “That was one where [sister company] 20th Television tried to capitalize on a name. … When the camera was on she looked not just like a deer in the headlights, but like a deer that already got hit.”


    Cicha praised Jenner for working hard, never being a diva and doing all the press and publicity she could for the show. He also said as the weeks went on she did get a little better on the air. However, until the very end when she brought Kanye West on the show with baby pictures, the ratings were sub-par. In some markets Cicha says they got hate mail about Kris.

    “It wasn’t a disaster in the ratings,” said Cicha, adding that it would have been an expensive show to produce and wasn’t a good fit for the rest of his station group’s schedule. "When you added it up, it wasn’t a show that made sense for us.”

    He feels a lot worse about what happened to Bethenny Frankel’s talk show, which was successful on the Fox stations first in a summer test where it drew strong ratings and interest, and then when it went on the air last fall. “If we had our druthers, Bethenny would have come back,” said Cicha. “But even though it worked for us, we couldn’t keep it on the air.”

    Cicha has higher hopes for The Real, which got a four-week test run on Fox stations last summer, and is being launched into national syndication this fall by Warner Bros. – including on Fox stations:“The Bethenny test numbers were gigantic, but a year later nobody cared. I think this is different.”

    Cicha praised the careful casting of the ladies on The Real, a show that has been characterized as a younger-skewing more diverse version of The View.

    “I’d bet on this one because of the work that went into the casting,” said Cicha. “Diversity is a positive especially in our markets. They also got a cable presence that will help sustain it from an economic standpoint.”

    The Real is hosted by Tamar Braxton, Loni Love, Adrienne Bailon, Jeannie Mai and Tamera Mowry-Housley. It will air beginning in September on the BET cable network as well as in national syndication. “I think it has a shot,” added Cicha.

    Some LEEgendary "Kris" Moments incase you forgot this travesty...


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    Awkward! Brody Jenner revealed during his new podcast on Thursday, June 26, that he datedLeah Jenner before she married his brother Brandon!

    Brody's podcast, The Brody Jenner Podcast with Dr. Mike Dow, features the 30-year-old reality star and Dow, a relationship expert, offering love and relationship advice to listeners who call in and reach out through social media.

    During his first episode, the former Hills star had his sister-in-law, Leah, on to help out -- and things got interesting!

    "We've known each other since we were 11 years old; I was 11 years old, he was 13," Leah said when talking about how she met her husband Brandon. "We started playing [music] in high school together. I had a boyfriend, he had a girlfriend. And then when I was single one day, he was single one day and he came up to me and he's like, ‘I've been in love with you since you were 11 years old.'"

    Brody then interrupted Leah to say, "The boyfriend at the time was me. That's what made it really awkward."

    Leah then said, "That wasn't true! That is not true," and went on to explain, "I met Brandon through Brody. We went to school together when we were 11. Okay, 11. You don't kiss, you don't make out, you don't hold hands, you beat each other up, you play basketball."

    The blonde then finally admitted, "So he was my boyfriend in the fifth grade, Brody was [but] we never kissed." Brody playfully added: "I did shoot her with a BB gun!"

    Leah and Brandon married in June 2012 in Hawaii, where Brody served as the best man!


    Have you ever dated siblings, ONTD?

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  • 06/26/14--21:07: Another celeb? on Instagram
  • Bill Kaulitz of Tokio Hotel is regularly instagramming!

    He invites you in.

    His Belly

    Hands and crotch

    His vanity shot?

    and of course... he and his twin.

    Supposedly they will be releasing an album. Given today's record sales, I guess if all 83,000 people who follow him bought their album, it could do well on a slow week? 

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    Keira Knightley wishes she could've sung like Adele in 'Begin Again'.

    Quizzed on whether she was aware of her talent before making the film, she said: ''I had actually done it on one other movie but in a very different style, but no, I've never sung like this. I was actually quite disappointed that I didn't sound like Adele.

    ''You know when you're in the shower and you're just singing and you think, 'Wow, I sound really good right now. I sound so good I could totally do that Adele thing'. And then you get into a recording studio, as I did, and you think, 'Oh, no, I can't do the Adele thing'.''

    The 29-year-old actress stars as aspiring singer Greta in the upcoming comedy-drama and although she admits she was surprised by how good her voice sounded, she was hoping it would be comparable to that of the 'Rolling in the Deep' hitmaker.

    The 'Anna Karenina' star also revealed that during her audition for the film - which tells the story of how a chance encounter between a disgraced music executive (Mark Ruffalo) and a young singer-songwriter (Knightley) turns into a promising collaboration - she wasn't actually asked to sing.

    Speaking on 'The Daily Show with Jon Stewart' she said: ''I wasn't given the songs until two days before I had got into the studio and I'm not a singer and I don't know how to do this, so we kind of just got in there and just sort of went, 'Ok we have four days, this has to work'.''

    'Begin Again' is to be released in the UK on July 11 2014.

    Source, YouTuBe

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    Frank Ocean is switching up his squad. The mysterious singer has been M.I.A. from the spotlight (though rumored to be working on his sophomore album) but has reportedly parted ways from his manager and PR company, Buzzfeed reports.
    Sources confirmed that the Grammy-winning singer fired Christian and Kelly Clancy (who continue to manage rap crew Odd Future), who have managed him since 2011.
    Ocean also has split from the Brooklyn and Los Angeles-based PR agency, Life or Death, and hired Hollywood agency, ID, who reps clients like Alicia Keys and actress Jennifer Lawrence.
    While the cause for the switch-up has yet to be disclosed, a rep for Life or Death PR told Billboard that the Clancys were "relieved."
    Still, it shouldn't dampen the Stan party that awaits when Ocean confirms details for his sophomore album. Video director, Nabil Elderkin, revealed back in March that the artist was back to work. He says, "Everyone should be excited about this new album -- that shit is fire."


    I had been saying for awhile that I wish he would get better management than the Clancys. While, I like the Clancys, I feel like Frank has outgrown Odd Future and them as his managers. It seems like they put all their stock into Tyler and, let's be real, the ball got dropped with Channel Orange. I am not sure if it was Frank's doing or his management, but, the album could have been a whole lot bigger than what it actually was, I think this move is for the absolute best, if the news is true.

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    50 Cent and Jason Patric co-star in the film about a retired crime boss tracking down his kidnapped daughter, opening Aug. 22.

    A retired crime boss revisits his old life of exploding cars and suitcases full of guns in the first trailer for The Prince, starring Bruce Willis, John Cusack and Jason Patric.

    Patric plays Paul, whose daughter has gone missing. He teams up with his best friend (Cusack) to face off with former rival Omar (Willis), who still blames Paul for his own daughter's death.

    In a pivotal scene, Omar holds Paul's daughter captive as both Omar and Paul prepare to shoot at each other on the count of three.

    Brian A. Miller directed from a script by Andre Fabrizio and Jeremy Passmore, whose credits include the script for the 2015 Dwayne Johnson disaster flick San Andreas. Jessica Lowndes (90210) and 50 Cent co-star.

    Grindstone releases the film in theaters and on VOD on Aug. 22, clearly hoping that the film is as commercially successful as other missing-daughter thrillers like 2008's Taken.


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