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Oh No They Didn't! -

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    The Season 2 finale of "Hit the Floor" brings Olivia Vincent's (Charlotte Ross) murder to the forefront -- and guess who doesn't have an alibi? Devil Girls team captain Jelena Howard (Logan Browning).

    In this preview clip, Jelena says, "Olivia wasn't close to anyone. She burned a lot of bridges. ... Oscar fired her, I was simply the messenger," then confesses that her alibi for the time of Olivia's death is that she was alone, sleeping.

    Did Jelena kill former Devil Girls dancer Olivia? The finale trailer teases that the answer will be revealed -- and Jelena is not the only person without a solid alibi. Kyle Hart (Katherine Bailess) tells Terrence Wall (Rob Riley) that she told the police they were together when Olivia was murdered, but it doesn't sound like that's the truth.

    "Hit the Floor's" Season 2 finale airs Monday, Aug. 11 at 9 p.m. ET/PT on VH1.

    It returns in May 2015 for Season 3.

    (whoops wrong title)

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    Actor Lee Byung Hun will be in Terminator 5: Genesis.

    Arnold Schwarzenator posted on his social media the end of filming their movie. He said, "I want to thank all the movie staff."
    Like Us on Facebook

    He added, "You will realize why you fell in love with Terminator. I'll be back July 1, 2015."

    Terminator 5 will not be story-related to the other Terminator 1-4 stories. It will be a three-part series telling the stories of Sarah Corner, and John Corner's father Kyle Lease's youth.

    Emelia Clark was also casted for the movie. She was also chosen as the most beautiful face of TC Candler's Top 100 beautiful faces.

    Lee Byung Hun will be T-1000. It is one of the most notable evil characters of the Terminator series. It has not be announced officially, but many have assumed that this was his role and that it will be crucial to the movie.

    In response, people said, "I am looking forward to Lee Byung Hun's Terminator", "Terminator Lee Byung Hun, he is now a Hollywood star", and "Will this movie be a hit?"


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    A new study spearheaded by Dr. Stacy L. Smith at USC's Annenberg School confirms what we already know: Hollywood sucks at portraying racial diversity.

    But here's a surprise: It doesn't suck as much as you think -- as long as we're counting all speaking parts, and not just the protagonists.

    Smith and her colleagues Marc Choueiti and Dr. Katherine Pieper surveyed the 100 top-performing films of the past seven years (2007-2013) and found that the numbers of black and Asian characters are more or less commensurate with 2010 U.S. census data.

    Hispanic characters, on the other hand, are severely underrepresented and hypersexualized (both men and women) in film, even though Latinos make up the country's largest minority population.

    More frustratingly, the diversification of the American film industry has stalled in the wake of its globalization. Black women directors have made very little inroads into mainstream filmmaking. And overall, the worlds depicted in the movies just don't reflect today's changing demographics (and they never did).

    But you already knew that.

    Here are some of the most interesting findings from Smith's study:

    --People of color are significantly underrepresented in film -- but not evenly. White characters made up three-quarters (74.1%) of all speaking characters in the past seven years, but that overrepresentation obscures the fact that the ranks of black and Asian characters on film (14.1% and 4.4%, respectively) reflect real-life demographics (12.6% and 4.8% per the 2010 US Census).

    --Hispanics are dramatically underrepresented and hypersexualized. In contrast to the representative numbers on black and Asian characters, only 4.9% of speaking characters in the years surveyed were Hispanic. Compare that to the 16.3% of the US population that is Hispanic -- and the fact that Latino moviegoers buy 25% of all theater tickets -- and the numbers are appalling.

    Even worse, Hispanic women on screen are the most likely (37%) to be partially or fully naked among all women. Black and Asian women were the least likely to be sexualized (23.5% and 18.2%). White women stood at 31.9%. Interestingly, Hispanic men were also the most likely to be sexualized among all the male racial groups.

    --Animators tend to create whiter movies compared to filmmakers as a whole. A quarter (25.9%) of all speaking-part roles were characters of color, but in animation the number of all characters of color stood at less than 15%. That's pretty depressing, especially given the fact that nearly half of all children under the age of 5 in the US today are not white.

    --No progress on diversity on or behind the scenes has occurred between 2007 and 2013.

    --Black female directors have made little inroads into the studio system. While the numbers of black male directors has held steady since 2007 (around 6.5%), only 2 black female directors were represented among the 23 black directors who made the 600 top-grossing films between 2007 and 2012. The study also disproved that 2013 was the Year of Black Cinema, since it was only the prominence, rather than the ranks, of black directors that changed last year. (Female directors of color of other races were not mentioned by the study.)

    Hopefully this year's Amma Asante's Belle and Ava DuVernay's Selma will prove to be a turning point.


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    The 25-year-old actress is in negotiations to make her Broadway debut as Sally Bowles—the role currently played by Michelle Williams—in Roundabout Theatre Company’s revival of Cabaret, EW has confirmed. Williams recently extended her run in the classic 1966 Kander and Ebb musical through November 9, 2014; the show itself is slated to play a limited engagement through January 4, 2015.

    Stone would replace Williams as Sally, the flirtatious, intoxicating showgirl who steals the heart of an American writer visiting the seedy Kit Kat Klub in Berlin at the dawn of the 1930s. It’s not just Sally’s show; Cabaret‘s other flashy role belongs to Alan Cumming, reprising his award-winning turn as the club’s—and the show’s—extravagant Emcee.

    Stone had previously been associated with the production back in 2013, when Roundabout announced the intention of bringing a replica of the 1998 Tony-winning production back to Broadway. Stone’s name was attached to play the role of Sally, but film scheduling conflicts prevented her from making her expected Broadway debut. Should the deal work out, Stone would ostensibly begin her run in Cabaret on November 11.


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    Diff'rent Strokes star Todd Bridges took to Twitter to criticise Robin Williams' death just minutes after it was reported on Monday.
    The 49-year-old TV veteran quickly deleted the posting, which called Williams' untimely passing 'a very selfish act', before issuing a series of apologies.
    Bridges wrote on the microblogging site a contrite missive: 'I apologize for my negative comment, and I ask forgiveness for any pain that I have caused anyone.'
    But it was just hours before when he tweeted upon hearing the news of the legendary comic's passing: 'You don't think that my life has been hell and I've had so many ups and downs now.
    'If I did that what am i showing my children that when it gets tough that's the way out No you gotta buckle down ask God to help you. That's when prayer really comes into effect.'
    Adding: 'Rest in peace Robin Williams I hope you found what you were looking for.'
    The tweet was promptly deleted with an explanatory note, attempting to shed light on why he had posted the angry missive to begin with.
    'I would like to apologize for the terrible timing of me comments that I made in reference to the untimely death of Robin Williams,' Bridges wrote. 'My best friend committed suicide a few months ago, and I was devastated to discover that he did not solicit my help.
    'I am sure that my attitude toward Williams's death was a delayed reaction of my best friend's death.'


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    Drake has the club going up on a Tuesday. In between battling it out with Lil Wayne on tour, October’s Very Own adds his golden touch to ILOVEMAKONNEN’s “Club Goin’ Up on a Tuesday” off the Atlanta newcomer’s I Love Makonnen EP, which was released in June.
    Drizzy lays down a melodic flow and even showcases his falsetto on the Sonny Digital and Metro Boomin-produced track.
    “Put the world on a song / You know PARTY and The Weeknd / Ain’t got no motherfuckin’ time to party on the weekend,” he croons.
    Listen to him bless the beat.


    This is what I needed today.

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    Robin Williams was not only a costar to Sarah Michelle Gellar in the CBS comedy The Crazy Ones – he was the dad "she always dreamed of having."

    In a statement to PEOPLE, Gellar reflects on Williams, who died of suicide Monday at the age of 63, and the indelible mark he made on her and her family. Gellar played the straight-laced daughter Sydney to Williams' eccentric ad man Simon in the CBS comedy that was cancelled in May after only one season.

    "My life is a better place because I knew Robin Williams," Gellar said. "To my children he was Uncle Robin, to everyone he worked with, he was the best boss anyone had ever known, and to me he was not just an inspiration but he was the Father I had always dreamed of having. There are not enough adjectives to describe the light he was, to anyone that ever had the pleasure to meet him. I will miss him everyday, but I know the memory of him will live on. And to his family, I thank them for letting us know him and seeing the joy they brought him. Us crazy ones love you."

    Gellar also went on to say, "God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference."

    Several people who worked with Williams on The Crazy Ones told PEOPLE about how kind and affectionate the actor was to the cast and crew alike.

    "He was so benevolent," said one source close to the show."He would appreciate everyone else's work. He was the first one to say how incredible Sarah and [costar] Jimmy Wolk were. He had affection for everyone. He made sure everyone knew he was part of a team. Who does that? When you're Robin you don't have to do that."

    The Crazy Ones creator David E. Kelley says in a statement to PEOPLE of Williams: "The talent was legendary. But equally inspiring, perhaps more so, was his kindness and humanity. A gentle soul who touched us all. A very special man, and our hearts are broken."

    Before the comedy began its run on CBS in the fall of 2013, Gellar spoke with enthusiasm about working with a talented – and very understanding man – like Williams.

    "You get lucky to work with a legendary comic and you get lucky if you get to work with an Academy Award winner and Julliard-trained actor," she told PEOPLE in July of 2013."I get to work with a guy who is not only talented but so kind and he understands the dilemma that I find being caught between my home life and my professional life and he couldn't be more caring. My joke is that I didn't actually apply to be on the show. I applied for Robin to adopt me."


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  • 08/12/14--05:14: Ella Henderson - Glow
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    Get ready for Buzzfeed Motion Pictures, launched in the wake of a $50 million investment from venture capital firm Andreessen Horowitz, valuing the company at roughly $850 million. Buzzfeed’s film arm will continue to produce short clips for social media and hopes to expand to half-hour serials and feature films. Comedian Jordan Peele and Hollywood producer Michael Shamberg are already on board as advisers.


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    A mom who appeared on the reality TV show, "Cheer Perfection" has been sentenced to 10 years behind bars for having sex with a 13-year-old boy.

    Andrea Clevenger pled guilty to sexual assault and engaging a child in sexually explicit conduct in a visual or print medium.

    The 34-year-old had sex with the boy in her home and in her car and texted sexually explicit pics to him. She was arrested after the boy's parents saw the photos.

    Clevenger is also forbidden from having any contact with the boy and she has to register as a sex offender.


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    Jennifer Garner and Zoe Saldana

    The 2014 Day of Indulgence certainly lived up to its name! Held at producer Jennifer Klein’s Los Angeles home, the star-studded list of attendees included Jennifer Garner, Jennifer Lopez, Amy Adams, Tyra Banks, Kerry Washington, Zoe Saldana, Kristen Bell,  Selena Gomez, Leslie Mann, Lea Michele, Jessica Chastain, Lizzy Caplan and more, who took part in an all-girls afternoon filled with shopping, sweet treats, and luxurious spa treatments.


    Kerry Washington and Zoe Saldana

    Kristen Bell and Jennifer Lopez

    Leslie Mann and Amy Adams

    Lea Michele and Selena Gomez

    Chrissy Tiegen and Tyra Banks

    Jess Weixler and Jessica Chastain

    Lizzy Caplan and Caitlin FitzGerald

    Kerry Washington, Bellamy Young, Darby Stanchfield and Katie Lowes

    Chrissy Tiegen and Lea Michele

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    "On Monday it was announced that the retailer will be spending $525,000 to create reform, pay for fines and legal expenses, and hire anti-profiling consultants in their stores for two years."

    It’s been a long journey for Barneys, but the end may finally be near in regards to their discrimination suits and drama. On Monday it was announced that the retailer will be spending $525,000 to create reform, pay for fines and legal expenses, and hire anti-profiling consultants in their stores for two years.

    Only nine months ago a series of Black and Hispanic customers complained about the Madison Ave location’s Loss Prevention Unit making a disproportionate amount of searches. During the same time, Jay Z ‘s curated collection with Barneys was set to hits stores– inciting him to make a statement and denounce their behavior. Once state attorney general, Eric T. Schneiderman got involved the claims became a legal issue.

    Schneiderman was able to prove that a “disproportionate number of African-American and Latino customers being detained for alleged shoplifting or credit card fraud.” Urging the luxury chain to rethink their practices and for others to take note.

    In response, some retailers took the step of posting a Customers’ Bill of Rights in their stores. “Profiling is an unacceptable practice and will not be tolerated,” reads the document, which was posted in stores like Bloomingdale’s, Lord & Taylor and Saks Fifth Avenue. “Employees who violate the company’s prohibition on profiling will be subject to disciplinary action, up to and including termination of employment.”

    In its agreement with the state, Barneys pledged to hire an “independent anti-profiling consultant with expertise in the prevention of racial profiling in loss prevention and asset protection.” The store also vowed to improve its record keeping, limit access to its surveillance videos and reform how it detains suspected shoplifters. The new Bill of Rights, reforms and policies will hopefully make a difference. If not, action will be taken.


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    Late-night comedian Conan O’Brien had almost wrapped up his Monday night show when news broke that his friend and fellow comic Robin Williams had died.

    A visibly stunned O’Brien then told the hushed studio audience, apologizing to them for having to do so. Co-host Andy Richter and guest Will Arnett appeared shocked.

    “This is absolutely shocking and horrifying and so upsetting on every level,” said O’Brien. “We’re at the end of the show and it felt like it needed to be acknowledged.”

    Arnett went on to poignantly reminisce on the kindness Williams had always shown to friends and colleagues.

    “He was even better as a person,” said Arnett. “He was one of the loveliest and sweetest and kindest guys I’ve ever worked with.”

    ETA:Full video can be seen here.


    Still seems so surreal. :(

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    we have so much in common<3

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    The new music video for Röyksopp and Robyn's "Monument" is a cosmic voyage through other worlds and dimensions, centered around an illuminated ceremony. In the seven-minute clip, the viewer floats above and around the Scandinavian pop legends, inspiring the feeling of a gravityless realm—all thanks to a specialized spider camera. "It's about exploring the space around you and finding your own space in it all," says director Max Vitali.

    Following our track-by-track breakdown of the musician's collaborative mini album Do It Again, as well as a sneak peek of them on the set of the title track's music video, The Creators Project is debuting the visual epic for "Monument" (above), which we produced alongside a behind-the-scenes feature on the video's creation.

    Though the narrative is better watched than explained, Röyksopp, Robyn, director Max Vitali, and choreographer Jefta van Dinther sat down to describe the project's inspiration, as well as the filming tech used to create a seemingly weightless world in a behind-the-scenes documentary below:


    Love love love

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    Milk pours out of FKA twigs's fingers, at the end of arms whose soft bulk suggests a kind of ant-strength. Spray-painted in gold and writhing beneath her with biomechanical need is a doppelganger, lapping at the cascading liquid. Twigs looks into the camera. "My thighs are apart for when you're ready to breathe in," she promises.

    This is the video for Two Weeks, the first single from twigs's debut album, set for release this month. With her iconic styling – a mix of thuggish leather, gothic lace and occult bling – alongside songwriting that blends darkly spectral production with beautiful melody, she's being lauded as a visionary new voic. She's also a pop star who really nails sex. For a culture so obsessed with carnality, songs that get it right are bizarrely few and far between: Madonna's Erotica, perhaps, or Marvin Gaye's I Want You, whose lyrics seduce while the music is already biting the pillow. Twigs, however, is writing strings of them; sex in her songs is a shifting game of sustain and release, a far cry from the seaside postcards of Perry, Cyrus, Thicke et al.

    "I write exactly what I think," she says of this frankly hot material when we meet. "If it's a raw subject, I write lots of things and then pull out all the fluff words." Hence Two Weeks, a song about wooing a man away from a sexless relationship, features the line "I can fuck you better than her". "Weird things can be sexy," she continues. "Vulnerability is the strongest state to be in. How boring would it be if we were constantly dominant or constantly submissive? In the video, it's this vision of me feeding myself, milking myself. I was naked, painted in gold, doing krump dance moves. It's bizarre, but hot in a very weird way."

    She goes on to talk about another of her songs, Papi Pacify, the video for which shows twigs wrapped in a perpetual embrace of ecstatic submission. "Everyone's like, 'Oh, it's so shocking', but you were doing it last night," she says. "If I was a mother, I would rather my child watch a video like that and not understand it and be inquisitive about what it means. Be curious about something that's so complicated, rather than watch something really crude and overtly sexual." She says that we live in a culture where "being sexy" is a mendacious, exhausting bind for many women. "You have to be a size zero, but real women have curves. But when you're curvy you need to watch your BMI and your cholesterol, so you need to lose weight, because strong is the new skinny. It's so confusing. I'd rather be experimenting with intelligent sexuality, which I don't know yet, I'm only 26. I've had two or three serious relationships, I haven't been married, I haven't had that ultimate relationship where something clicks and I'm like, 'I get it now!' I'm still learning."

    We're in central London, in the pretty unerotic environs of a chain restaurant, but twigs remains obviously strange, a compact arrangement of eyes, biceps and goofy teeth. Those peepers grow and flash with irritation when I mention how much of the coverage of her music has seen her boxed alongside "alt-R&B" stars such as Banks, Kelela and SZA."It's just because I'm mixed race," she interjects. "When I first released music and no one knew what I looked like, I would read comments like: 'I've never heard anything like this before, it's not in a genre.' And then my picture came out six months later, now she's an R&B singer. I share certain sonic threads with classical music; my song Preface is like a hymn. So let's talk about that. If I was white and blonde and said I went to church all the time, you'd be talking about the 'choral aspect'. But you're not talking about that because I'm a mixed-race girl from south London." She gives me a look as if I've asked her to take the restaurant's bins out.

    In an attempt to placate her, I ask if she feels singular. Her face softens. "Very. I love annoying sounds, beats, clicks. Kakakakaka!" Her hands wave violently around wisps of Afro that have escaped her do. "I don't see anyone else doing that now. It's got loud noises in there, the structures aren't typical, it's relentless. It's like punk; fuck alternative R&B!"

    Tahliah Barnett began her career as a dancer. Growing up in Gloucester as the only mixed-race girl in her Catholic school, a natural rhythm propelled her to childhood classes and through to an eventual career throwing shapes for pop stars; the click her bones made when in motion prompting her stage name. Her clients included Kylie Minogue, whom she worked for even as her own EP2 was getting serious notice. "It was incredibly humbling," she says. "It's really good to be in one environment where everyone's like, 'Twigs, are you OK, can I get you a glass of water' to another environment where you're one of 20 backing dancers in a cold room and no one's fed you for five hours." She also danced for Jessie J, Taio Cruz and Plan B, whom she describes as "a sick, actual artist. He's so involved: there at 10am explaining how he wanted each of the dancers to have their own character."

    She sets this positive experience first against much of the world of commercial dancing. "Usually it's just 'look hot and wear hotpants'. You go to dance school, you train your arse off for five years, you can do a triple pirouette on your head and land in the splits, and then you come out and someone's like: 'What are your measurements?'" It's a long way from Josephine Baker, the dancer who scandalised Paris in the 1920s with her nearly naked routines, and whom twigs admires. "She's saying: 'I'm doing this and it's for me.' She's giving to the crowd, but ultimately she's enjoying the way she moves, and her love is in the movement. Nowadays it's: 'I'm going to shake my arse like this, and it's for you, to make you feel a certain way.'"

    Twigs rails against this "bizarre time in the world, where you can be so famous, so elevated, but none of it is your own vision". She herself refuses to give up creative control and, in fact, is determined to extend it wherever possible. Take the production on the album. Punk was what she grew up on, and initially tried her hand at, "but I'm terrible at shouting. It wasn't me. I was just trying to fulfil my Poly Styrene fantasies." Instead, she taught herself the software package Ableton and has numerous production credits on her album, alongside Kanye fave Arca, Dev Hynes, Sampha, Bruno Mars and Eminem producer Emile Haynie, plus Paul Epworth, the Oscar-winning Adele collaborator. All were picked for their ability to "fill in my blanks, in things I'm not good at". Sampha helped with chords, conjuring specific emotions like feeling "brooding but with an underlying hope, but mainly depressed"; Epworth helped with "structure". She has also taken control of her music videos, which she's now directing with production company Academy at her back.

    "I like that she knows what she wants," says Nabil Elderkin, a director who worked with twigs on Two Weeks and has also shot videos for Nicki Minaj and Arctic Monkeys. "She doesn't sacrifice anything for popularity, she just comes in and does it her own way. That's how some of the best artists today work: Kanye West, Bon Iver, James Blake, Frank Ocean. And twigs is exactly the same thing. She has imagination and art and puts it out how she wants. She's in control of that 100%."

    While she gets to be submissive in her personal life ("I'm like, 'Bagsy being little spoon!' every night"), this domination of every aspect of her career is proving a tiring business. But, to wring out the metaphor, she can go all night. "I'm exhausted, but whatever," she says. "Now is the time to be doing it, and as long as I'm happy I'll keep on doing it. But if I'm unhappy, I'll just disappear. I will shave off my hair and live in the south of France, and I'll be learning a new language where no one gives a shit about who I am. I need to be happy."

    Source+Guardian's Review for LP1

    Good read, suggest you take the time to check it in full. LP1 is finally out and there are reviews popping all over the place, check them out too, and don't forget to buy it on iTunes (or anywhere else you can find it, it's wonderful)!! One of the best albums this year, no doubt.

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    Microsoft announces at Gamescom that the next Lara Croft adventure will only be coming to Xbox platforms

    The next Lara Croft adventure will only be available on Xbox consoles, Microsoft announced today.

    At a press conference ahead of the Gamescom video game event in Cologne, Crystal Dynamics studio head Darrell Gallagher took to the stage to confirm that Rise of the Tomb Raider, follow-up to last year’s critically acclaimed reboot of the long-running action adventure series, will be “exclusive to Xbox”. It is not yet clear whether this means Xbox One alone, or Xbox 360, too.

    The competition between Sony and Microsoft to control the current console generation is hotting up. PlayStation 4 is slightly ahead with seven million units sold, compared to a reported five million for Xbox One. The two gaming giants are currently competing to secure the best platform exclusives, but usually unless developed by in-house studios, these are merely timed offers, with one console getting key titles or content a few months before the other.

    It seems at this point that this is not a timed exclusive – Rise of the Tomb Raider is unlikely to appear on PS4 or PC. Speaking to fans via the Crystal Dynamics Tumblr, Gallagher confirms as much:

    “Our friends at Microsoft have always seen huge potential in Tomb Raider and have believed in our vision since our first unveil with them on their stage at E3 2011. We know they will get behind this game more than any support we have had from them in the past – we believe this will be a step to really forging the Tomb Raider brand as one of the biggest in gaming, with the help, belief and backing of a major partner like Microsoft.

    “This doesn’t mean that we’re walking away from our fans who only play on PlayStation or on PC. Those are great systems, with great partners, and amazing communities. We have Lara Croft and the Temple of Osiris coming to those platforms this December, and Tomb Raider: The Definitive Edition is available on PS4.”

    However, there is still some slight ambiguity about whether the deal is for Winter 2015 only. Official Xbox spokesperson Larry Hyrb has simply tweeted:

    Published by Square Enix, Rise of the Tomb Raider is a considerable coup for Microsoft – even as a timed exclusive. Last year’s Tomb Raider title has now sold around seven million copies and the series is one of the most recognisable brands in the gaming world.

    Rise of the Tomb Raider is due out in the Winter of 2015.


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    If Pain and Gain taught us anything (beyond that gay people deserve beatings and that fatties and midgets are hilarious), it was to illustrate that even Michael Bay has gotten bored of the Transformers franchise. And now he tells USA Today (the official newspaper of Michael Bay) that he’ll be passing off directing duties to someone else for Transformers 5, aka Trans5mers. The move makes a lot of sense considering Bay was able to basically brand Teenage Mutant Ninja Turtles as a ‘Michael Bay Movie’ without actually directing it, and gross $97 million opening weekend.

    Bay, 49, believes he will pass the baton for future Transformer movies to a new director while he turns his focus elsewhere.

    It’s not like you really need a director on a Transformers movie anyway. Just have the VFX artists communicate directly with the marketing department and skip the middle man. Also, I’ll bet you ten bucks that baton has been inside a stripper.

    “There’s kind of a new chapter, a new direction in movies I want to make,” says Bay, who is eyeing a passion project, a documentary on elephant poaching. “I have a lot of stories to tell. And it’s about flexing new muscles.” [USA Today ]

    Nothing he has ever done should make me optimistic for a future Michael Bay project (I liked The Rock when it came out), but I remain cautiously upbeat about him working on something that isn’t a three-hour adaptation of a 30-year-old toy commercial. I mean, it can only get better from here. I also choose to believe that he means “flexing new muscles” literally, and that this elephant poaching documentary is going to involve The Rock hunting elephants with a team of leopards. Sort of like an English fox hunt but shirtless, jacked, and greasy. The only way Michael Bay does anything.


    What a loss to humanity.
    If you haven't seen this, do it, it's pretty funny.

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    Ed Nelson, a star of the 1960s primetime soap “Peyton Place” and an actor with almost 200 credits, mostly in television, died on Saturday in Greensboro, N.C. He was 85.

    Nelson had most recently appeared in the 2003 courtroom thriller “Runaway Jury,” starring Gene Hackman. He had a more significant role as General Sherman in the 1998 Jackie Chan vehicle “Who Am I.”

    On “Peyton Place,” he played Dr. Michael Rossi during the entire five-year run of the series — 436 episodes. He returned in 1985 for reunion telepic “Peyton Place: The Next Generation.”

    But Nelson was already a TV veteran by the time he was cast on “Peyton Place” in 1964. After a string of small parts in Roger Corman B movies during the mid to late ’50s, he began guesting on Westerns such as “Zane Grey Theater,” “Have Gun — Will Travel,” “The Rifleman,” “Maverick,” “Rawhide” and “Gunsmoke” plus other series such as “Twilight Zone,” “The Untouchables,” “The Fugitive” and “Dr. Kildare.”

    Nelson appeared with James Shigeta and Martin Sheen in what would become a famous episode of “The Outer Limits” in which astronauts are experimented upon by aliens.

    He had uncredited roles in the films “Elmer Gantry” and “Judgement at Nuremberg.”

    After “Peyton Place,” Nelson starred in the brief series “The Silent Force” with Lynda Day George.

    During the 1970s he guested on every conceivable series, including “Marcus Welby, M.D.,” “Cannon,” “Night Gallery,” “Mod Squad,” “Mission: Impossible,” “Kung Fu,” “Ironside” and “Police Woman.”

    He appeared in the film “Airport ’75” as Major John Alexander and in 1976 war epic “Midway” as Admiral Harry Pearson. He also appeared in kidpic “For the Love of Benji.”

    Credits during the ’80s include “Lou Grant,” “Quincy M.E.,” “The Fall Guy,” “Dynasty,” “MacGyver” and “Murder, She Wrote.”

    Nelson played President Harry S Truman in the 1980 telepic “Enola Gay: The Men, the Mission, the Atomic Bomb,” in the 1989 feature “Brenda Starr,” starring Brooke Shields, and onstage in “Give ‘em Hell Harry!”

    He also appeared in 1986 feature comedy “Police Academy 3: Back in Training.”

    Edwin Stafford Nelson was born in New Orleans. He studied at Tulane U. for two years before heading off to New York to start his acting career. Later he returned to complete his degree at Tulane.

    Nelson is survived by Patricia, his wife of 63 years; four daughters; two sons; 14 grandchildren; and 10 great-grandchildren.


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