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Oh No They Didn't! -

older | 1 | .... | 791 | 792 | (Page 793) | 794 | 795 | .... | 4462 | newer

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    bonus: a random photo of him in a henley from 2 days ago?


    it's back

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    One Direction sweep the Billboard Boxscore in a new update; only a portion of the dates can fit on a Tumblr photo, but they have more shows charting from 12-16 and 19-22. In just 4 months and with 17 dates left, the Where We Are Tour has grossed a little bit over $230 million so far, outgrossing Beyonce’s extended 1 year Mrs. Carter Show tour which closed at $229 million.


    that Attend / Capacity column

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    Exclusive: Jeffrey Tambor transitions in emotional 'Transparent' trailer
    Ariana Bacle

    All parents have their secrets. Some smoke cigarettes behind their childrens’ backs; others lie about their past recreational drug use. In Amazon’s Transparent though, Jeffrey Tambor’s Mort has a much bigger secret: As one of his children, played by Gaby Hoffmann says, “Dad is a woman.”

    Mort’s three grown children are finding out their father’s identity for the first time while their mom is more aware of her spouse’s feminine taste—although she’s under the impression it’s a simple game of dress-up. “It’s his thing; it’s his little private kink,” Mort’s wife, played by Judith Light, says. But Mort’s affinity for dressing in women’s clothing is more than simply a “kink.” “My whole life I’ve been dressing up like a man,” she says in tender moment with her daughter. “This is me.”

    Transparent was created by Jill Soloway, who won the Directing Award at 2013’s Sundance Festival and has written for multiple shows including Six Feet Under and Grey’s Anatomy. Along with Hoffmann, Jay Duplass and Amy Landecker play Mort’s children while Melora Hardin, Carrie Brownstein, and Rob Huebel have supporting roles.

    The pilot was great, so I'm excited for the full season. It premieres on Amazon Prime Sept. 26.

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    Within Temptation have announced dates for their first North American Tour in over seven years. The Dutch rockers will kick off the 12-show outing on Sept. 25 in San Francisco, Calif. and will wrap it with a show in Worcester, Mass. on Oct. 11. Amaranthe will open for Within Temptation on all of the dates.

    Singer Sharon den Adel says the band is excited to bring their show back to the States. She explained, “It’s a great feeling that after so many years we are back with a coast-to-coast tour. The reception of our latest album ‘Hydra’ has been overwhelming and we cannot wait to unleash the dragon overseas. Be sure that this time we’ll bring our biggest and best North American live show so far. We really look forward to seeing all our fans again!”

    Within Temptation released their latest album, ‘Hydra,’ back in January. The disc features features a variety guest vocalists including Soul Asylum’s Dave Pirner, rapper Xzibit, former Nightwish songstress Tarja Turunen and ex-Killswitch Engage singer Howard Jones, who offers vocals on the single ‘Dangerous.’

    In an interview earlier this year, Sharon den Adel stated about the theme of the album, “Lyrically, ‘Hydra’ stands for facing your demons and to embrace your fear and move forward. There will always be a certain issue in life. A short example of this is the song ‘Covered by Roses,’ which is about the passing of someone but also carpe diem and making the most of now and the memories you do have together. You’ll celebrate this person’s life still, they’re a part of you and you’ll take them with you.”

    Be sure to take away some memories of your own when Within Temptation return to the States in September and October.

    Within Temptation Hydra World Tour Dates:

    9/25 — San Francisco, Calif. — The Regency Ballroom
    9/26 — Los Angeles, Calif. — Club Nokia
    9/28 — Denver, Colo. — Gothic Theater
    9/30 — Minneapolis, Minn. — First Avenue
    10/1 — Chicago, Ill. — Vic Theatre
    10/2 — Royal Oak, Mich. — Royal Oak Music Theatre
    10/3 — Toronto, Ontario — The Sound Academy
    10/5 — Montreal, Quebec — Metropolis
    10/7 — Baltimore, Md. — Ram’s Head Live
    10/9 — Philadelphia, Pa. — Electric Factory
    10/10 — New York, N.Y. — Terminal 5
    10/11 — Worcester, Mass. — The Palladium

    Ridiculously short tour. They are skipping the whole middle of the country where they are likely to find a lot of fans. If you're not familiar with Amaranthe, they are a Swedish symphonic metal band with 3 singers, one female, who singer filled in for Anette Olzon of Nightwish when she took ill. Her vocals are a little processed in this video, though.


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    Lionsgate has announced it will re-release its gruesome 2004 franchise-launcher Saw in a limited nationwide run this Halloween, giving horror fanatics something to mark their calendars for. Saw will open for a one week 10th anniversary engagement on Friday, October 31 with Thursday midnights in select locations. The serial killer pic spawned a seven-film, $874 million franchise with a simple high concept premise: Two men wake up in the lair of a serial killer named Jigsaw, forced to do the unthinkable to survive while figuring out their captor’s identity.

    The gory thriller not only gave birth to the most successful horror franchise in history, it also launched the career of director James Wan, who went on to helm recent hits Insidious, The Conjuring, Insidious: Chapter 2, and Universal’s upcoming Fast & Furious 7. Wan’s Saw co-writer Leigh Whannell starred in the first film and is now set to make his directorial debut with Insidious: Chapter 3.

    It’s savvy thinking on Lionsgate’s part, as the Halloween weekend is otherwise light on horror offerings. October 31 even falls conveniently on a Friday. Only Clarius Entertainment’s Nicole Kidman thriller Before I Go To Sleep and Open Road’s crime drama Nightcrawler are hitting wide release that weekend, while more traditional horror titles The ABCs of Death 2 (Magnolia), Horns (Radius-TWC), and genre-bending import Why Don’t You Play In Hell? (Drafthouse) are opening in limited theatrical runs.


    Will you see it if it comes to your area? Favourite SAW film/trap?

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    Also, according to Box Office Mojo, Magic Mike 2 has been moved up two days to Wednesday, July 1, 2015. It will open the same day as Terminator: Genisys

    Source / Source 2.

    Alex Pettyfer was the real star of Magic Mike imo.

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    Baz Ashmawy isn’t the only TV presenter bravely reinventing macho norms. Actor, director and TV presenter, Richard Ayoade ♥ is a man of many guises, all of them nerdy.

    As an actor he’s best known for playing Moss in The I.T. Crowd, as director he’s recently released a screen adaption of a Dostoyevsky novella and as presenter he’s guided us through two very entertaining series of Gadget Man, with a third beginning on Channel 4 last night: “We have gadgets and some might even call me a man. It’s Gadget Man!”

    After the bank holiday we’ve had, last night’s weather theme couldn’t have been more apposite. “British weather is well known for its well rubbishness,” said Ayoade, “and it’s getting well rubbisher by the day.”
    Gadget Man, TV review: Last night’s weather theme couldn’t have been more apposite

    Richard Ayoade kind of crept into our lives. He’s been around for ages, presenting all kinds of amazing content (The Mighty Boosh, The IT Crowd, Gadget Man) but somehow we never...noticed him. But now we've wised up. We’re looking at him. We see you, Richard. And we’ve realised that he might actually be perfect for us.
    Here’s why…
    #10 He was considered intelligent enough and beloved enough to seamlessly take over from Stephen Fry on Gadget Man. I.E. he’s Stephen Fry’s equal. STEPHEN FRY.
    #9 The name “Ayoade” means “Crown of Glory” in the Yoruba language, and that is not a mistake nor a coincidence. That hair is a crown. A glorious, glorious crown.
    10 reasons why Richard Ayoade is the perfect man

    With The Double released this week into the milieu of Blu-ray, DVD and VOD, it felt like an opportune time to revisit one of the most visually intriguing and hauntingly comic pictures of 2014 by sitting down with the man behind the lens: Richard Ayoade, sitcom darling turned visionary auteur.

    Following the success of his directorial debut Submarine– which brought Nouvelle Vague style to Welsh adolescence – Ayoade teamed with Avi Korine (yes, brother of Harmony) to adapt and serve Dostoyevsky's surreal and darkly humourous novella to the big screen. The Double manages to transplant the action from 19th-century Russia to a claustrophobic vision of the future which would sit at home in the dreams of David Lynch or Terry Gilliam, something which I just had to know with which magical super-powers Ayoade managed to achieve.
    Richard Ayoade on The Double and the Pathology of Hugh Hefner

    Video: Richard Ayoade On What Makes Great Movies And Books

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  • 08/27/14--16:34: Trash International Trailer

  • The international rollout for the Stephen Daldry film, set in Brazil, will begin Oct. 9

    Three young boys plan to start a revolution, with a little help from Martin Sheen and Rooney Mara, in the new international trailer for Stephen Daldry‘s “Trash.”

    Rato (Gabriel Weinstein), Gardo (Eduardo Luis) and Raphael (Rickson Tevez) are three young boys living in the slums of Rio de Janeiro, Brazil who scour their city's massive garbage dumps for anything salvageable that would allow them to survive another day. Going through a discarded wallet looking for money, they find some mysterious documents instead.

    source: thewrap

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  • 08/27/14--16:35: Who went home on the GBBO?
  • 298274_147637825319883_5514358_n

    The 31-year-old gave Mary Berry and Paul Hollywood little option but to send him home after an ice cream-based meltdown prompted him to throw his showstopper Baked Alaska in the bin.

    Watters - who had actually won over Berry and Hollywood with his signature chocolate, lime and raspberry fondants and placed sixth in the technical tiramisu cake challenge - lost his temper when fellow contestants Diana Beard and Nancy Birtwhistle unthinkingly removed his dish from the freezer, prompting the ice cream to melt in the hot tent.

    When Watters discovered the disaster, he furiously threw the whole thing in the bin - as Sue Perkins protested - and walked out of the tent.

    By the time Berry and Hollywood came to judge the showstoppers, Watters had calmed down and seemed to regret his decision, saying: "I threw it in the bin because I didn't want to present it. I didn't want them to judge the way it came out - I'd rather present nothing. I'm gutted."

    SUCH DRAMA. When Iain saw his ice cream out on the side Diana said 'Why didn't you use your own freezer?' which has kicked up a storm on twitter:



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    When she was growing up in Mobile, Alabama, Laverne Cox had no role models to speak of. “I remember seeing that episode of The Jeffersons where George’s old buddy came back and was a woman now,” Cox recalls. “ She was very pretty but she was really a joke, a punchline. From what I saw in the media, I didn’t equate trans people with being successful and accomplished.” Today, she’s possibly the most prominent trans person in pop culture, starring in Orange is the New Black as scissor-sharp-witted hairdresser Sophia Burset and appearing on the cover of TIME as a spokesperson for ‘the transgender tipping point.’ And let’s be honest, who could ask for a more fabulous face to front a movement?

    In season two of Orange Is the New Black, your character, Sophia, educates her fellow inmates on the anatomy of the vagina. How did you find filming that scene?

    Laverne Cox: That was one of my favourites, it was just genius! Doing the scene where I give the presentation with the visual aid, Adrienne Moore – who plays Black Cindy – was just so funny, she had me falling on the floor.

    The best line is when your character Sophia says, ‘I designed one myself!’

    Laverne Cox: Sophia is very happy with her situation, and there are trans women out there who are very proud of their lady parts and want to talk about them... But Laverne isn’t that lady!

    In your interview with Katie Couric, you said it can be negative to focus on surgery when discussing the trans experience.

    Laverne Cox: I think generally on TV talk shows and in most mainstream media, transition and surgery often becomes the only takeaway. What’s different about Sophia, and what’s important, is that we see complicated territory which goes beyond her body, but so often we don’t get these really complicated stories of trans folk.

    Were the producers of the show keen that a trans person play Sophia?

    Laverne Cox: Yes, from my understanding they were looking for someone trans to play the role.

    What do you think of Hollywood’s casting of non-trans actors in trans roles, such as Jared Leto in Dallas Buyers Club?

    Laverne Cox: I would never tell another actor they shouldn’t play a part. What I will say is that in my experience, trans folk watching (OITNB) have a point of identification that they might not have if someone cisgender plays the role. And those who are not trans can find themselves having sympathy for the trans actor. That can create these initiators of social change.

    How did you feel when you saw yourself on the cover of TIME?

    Laverne Cox: It was a huge moment for my community. It was really about people who have worked for decades, and a major validation of our lives. It shows that our voices do matter. So much of the trans narrative – certainly when I transitioned, and maybe until recently – was about disappearing and blending in, because that is what one had to do to survive. Being visible as a trans person is often putting a target on your back. So I hope this is a moment for trans people, that I can be visible and live my dreams.

    You grew up in Alabama. What was that like?

    Laverne Cox: Uh, enchanting? (laughs) I’m writing a memoir, which is a really gut-wrenching process, so I’m thinking about my childhood. I was bullied and chased home from school practically every day. But also I got a lot of support from teachers and my mother, even though she didn’t really get the gender stuff. She let me take dance classes when I was in third grade, so I was really encouraged in those areas. I think those things are why I’m where I am today.

    Who did you look up to as a kid?

    Laverne Cox: Leontyne Price – she was the first black international opera-singing superstar! As a child, I would read about her and look at photos and listen to her sing. I imagined and hoped that my life would be something like that; that I would be so good at what I did as an artist.

    Is it right that you were a dancer before an actor?

    Laverne Cox: Well, my mother didn’t really want me to take ballet because she thought it would be too gay! (laughs) So I only started taking ballet in my sophomore year, and then when I got to college in New York I was a dance major. Actually, tap became difficult and running became difficult, because ballet elongates your body and you pull up in the centre. And then I started going to hip hop clubs in New York, right? And I wasn’t programmed to do that!

    You had to learn how to get low?

    Laverne Cox: I did, yeah!

    When did your journey to transitioning begin?

    Laverne Cox: It was very much an evolution. I started wearing makeup and girls’ clothes in high school, although not dresses and skirts. Then when I went to New York and actually met some transgender people, all the misconceptions about trans folk in the media and the stigmas that I had internalised melted away. That really helped me accept myself, and that’s when I got the courage to transition.

    You were one of the hosts on a makeover show called TRANSform Me for VH1 a few years ago, what was that time like?

    Laverne Cox: I was also a co-creator! It was the first time I had ever starred in my own television show, so that was major for me. I loved loads about what we did, but what was tricky for me is that it was about makeovers. I don’t like the idea of dictating to women what they should wear and who they should be. So what I loved about doing it was what we called the ‘self-actualisation moment’ – it should happen from the inside out. With trans folk, what we do is make who we are on the inside what the world sees on the outside, and a good makeover does that as well.

    It’s about owning your body, right?

    Laverne Cox: It’s about all of you. It’s about owning your body but it’s about owning all of it. Our bodies matter, but we’re more than our bodies. To be really real – oftentimes lately I’ve been on the red carpet or I’ve been on a TV appearance and a waist cincher and looking great but really uncomfortable!

    What’s your favourite slang phrase?

    Laverne Cox: I say ‘werk’ a lot: W-E-R-K or W-E-R-Q! ‘Werk it out!’ Not ‘you better werk’ – just ‘werk’. But it’s always changing; I don’t like to be repetitive.


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  • 08/27/14--16:35: Tabloid Cover Wednesday
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    Executive producers Scott M. Gimple and Robert Kirkman told Entertainment Weekly that we will be meeting several new characters in season five of The Walking Dead—some from the comic book and some not. Well, we’ve got your exclusive first look at one such newbie right here, and it is a big one: Father Gabriel Stokes. Introduced in issue #61, in the comic Father Gabriel offers the survivors shelter in his church as he attempts to atone for past sins. Will his introduction on the TV show mirror that of the comic, or could Gabriel somehow be connected to the folks at Terminus? Viewers will find out after season five debuts on Oct. 12. But in addition to this first look photo, we also spoke to the man who will be playing Father Gabriel, Seth Gilliam, about how he landed the part, whether he read the source material, and what it’s been like to join the show.

    EW: Why don’t you start by telling me about the casting process and how you ended up on this show as Father Gabriel.
    SETH GILLIAM: I actually did not realize I was reading for the role of Father Gabriel during the casting process. The sides were for a school guidance counselor named Michael, who had an issue with a couple of his students. I had not seen the show before I was cast on the show. So I just thought, Okay, I guess they’ve discovered some guy who’s holed up at a school or something like that and was carrying around this horrible exchange that he had with his students. [Laughs]

    That’s hilarious. So when were you informed about whom your character actually was?
    I got a call from Gale Anne Hurd after the offer was made to me to explain who I would be playing. And that was about maybe a week after I had auditioned.

    So once you found out about this character, did you go and read the comic book to familiarize yourself, or did you just say, Hey, I want to approach this TV version fresh and not worry about that?
    I only read the comic book where Father Gabriel was introduced, which I think was episode 61 in the comics. I didn’t read anything before that, and I haven’t read anything after that. I discovered from reading about the show that often times characters’ names and journeys are kind of crisscrossed and mismatched, so I thought if I did read too much I might be giving myself a lot of information that would be useless, or just outright wrong. So I figured, like with everything, I’d just take the script and try to fill him out the best I possibly can.

    Did you go back and watch a lot of episodes?
    I watched the first three seasons on Netflix in a week. And season four was not available on Netflix at that time. I watched season four on a weekend when I got down to Atlanta and started working. And I actually started working before I was able to watch the fourth season.

    What was the binge watch like?
    The binge was intense, man. It was intense. I thought, well it’s a zombie show. It’s a show about zombies. And then I watched and I was like, this show is not about zombies at all, really. The show’s about a whole lot more than just zombies, which I was really excited by.

    You have a little bit of a Wire reunion going on with Chad Coleman and Lawrence Gilliard. And I remember joking with Robert Kirkman a few years ago after they cast Chad, and he said, “Hey, I just want to get as many Wire characters on the show as possible.” I thought he was kidding, but apparently not. Did you three have a little Baltimore bonding session, or what?
    We definitely did have a Baltimore bonding session when I got down there and saw Chad and Lawrence. I had dinner with Scott Gimple when I first got down there, and he said, “You know, after we had cast Chad, I made a promise to myself that I wasn’t going to cast anybody else from The Wire. But I love the show so much, and, you know, they just turned out to be the best people for the jobs. So I guess I’ve gone back on that.”

    What was it like joining what may be the biggest show in the world? The cast rotates a fair amount because a lot of characters die, obviously, but there are also established stars there, like Andrew and Norman. What’s it like coming into that?
    It was pretty intimidating because it’s a well-oiled machine. But Andrew Lincoln was the first cast member that I met. And the guy has got a heart the size of the Grinch at the end of the Dr. Seuss story where it just grows and grows and grows. So he made me feel instantly welcome, and instantly a part of it. And everyone after that, I mean, they’re the warmest people and they’ve done everything they possibly can to make me feel like I’ve been part of it from the very beginning. But yeah, I was pretty intimidated by it, by the immensity of the show, the popularity of it, and also the depth of it.

    Have you gotten a little taste of the fan base yet and how rabid it is?
    Yes, I have. I have an Instagram account that had maybe 29 followers on it before I got cast on The Walking Dead, and I think I’m now at 3,859. [Update: now 4,071.] And it grows daily. You know, there are some times the fans camp out outside locations where we’re shooting, waiting for people to come by. And they’re rabid for it, but they’re lovely people. So it’s interesting because a lot of people that stop me on the street now and they talk about The Wire, and they all have the same question: “How come they took that show off the air?” Because you guys weren’t watching it when it was airing! [Laughs] And you come to it On Demand or on Netflix or whatever else. So this is the first time I’ve actually been on a show where it’s popular while it’s airing. And I was not prepared for that, and I’m not sure that I ever will be actually.

    I remember before the official announcement was made that you were going to be on the show and whom you would be playing, and you’d see those sort of fan spoiler photos of you in the priest collar. Did you see those, and you were like, “Uh oh…”
    I did see them. And I spent the first week kind of creeping around from my trailer to the set, trying my best to cover myself. But then I noticed, some of those shots look like they were taken from, like, six blocks away with telescopic photo lenses. There’s really nothing you can do about covering that. I mean, I could look down the block and see that there’s nobody there and go, “Okay, I’m gonna step out now.” And then see a picture of myself stepping out, and be like, “Where did that come from?” There’s got to be somebody planted on a roof somewhere five blocks away. I don’t really get that, the whole spoiler thing. It’s kind of confusing to me why you’d want to give things away.


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    Jessica Chastain, who played secret agents in “Zero Dark Thirty” and “The Debt,” is going to bat for a fellow ass-kicking leading lady.

    Speaking of the dearth of great roles for women in Hollywood, the actress told TheWrap on Wednesday that she would love to see “Avengers” star Scarlett Johansson get her own super-vehicle.

    “Where is the Scarlett Johansson superhero movie? I don't understand it, why is it taking so long for this?” Chastain asked TheWrap, rhetorically and with no small degree of animation. “This woman clearly shows that people want to go see her in the movies. ‘Lucy,’ didn't it beat ‘Hercules’ by a lot opening weekend, when it was made for a lot less? She shows that she kicks ass, she's a great actress. ‘Under the Skin’ is an incredible film, and why are we still waiting for a go-ahead on a superhero movie starring Scarlett Johansson?

    “To me, it's a no-brainer,” she added. “You want to make money, put Scarlett Johansson in a superhero movie!”

    Her math is correct: “Lucy,” the Luc Besson-directed sci-fi action flick that stars Johansson as a college student who gets superpowers as her brain expands, has made $217 million around the world on just a $40 million budget. It was the number one film in America when it opened in July, taking in $43 million in its first weekend.

    Fans have clamored for Johansson, who stars in the Marvel movies as super spy Black Widow, to get her own film as the Russian heroine. But thus far, the studio has shown little inclination to make it happen.

    “I think it comes down to timing, which is what I've sort of always said, and it comes down to us being able to tell the right story,” Marvel Studios chief Kevin Feige told Comic Book Resources earlier this summer. “I hope we do it sooner rather than later. But we find ourselves in the very strange position of managing more franchises than most people have — which is a very, very good thing and we don't take for granted, but is a challenging thing. You may notice from those release dates, we have three for 2017. And that's because just the timing worked on what was sort of gearing up. But it does mean you have to put one franchise on hold for three or four years in order to introduce a new one? I don't know. Those are the kinds of chess matches we're playing right now.”

    Meanwhile, Chastain stars in the upcoming drama “The Disappearance of Eleanor Rigby,” which has three different versions: One (subtitled “Her”) from the perspective of her title character, one (“Him”) from the perspective of James McAvoy (her on-screen husband), and one (“Them”) that combines the two. All three will be released in theaters at some point, with the two character-skewing versions out on Oct. 10th in limited release.

    In fact, Chastain is responsible for the fact that there is even more than one version of the film; years back, she told writer-director Ned Benson that she liked the script, but thought the character of Eleanor Rigby needed more back story and detail. That led to him writing the “Her” version, which along with “Him” was screened at Toronto before a “Them” cut was made for wide release in September.

    “It's a fact, the majority of films in Hollywood are from the male perspective,” she said. “And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay I'm going to write another film from the female perspective.

    source: thewrap

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    Fifth Harmony - Bo$$

    first girl group to win a VMA since 2008, first female artists to win the "Artist to watch" category since 2010 and Dinah is the youngest VMA female winner ever!


    source: vimeo

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    Blake Lively has revealed that she was left swollen and in agony after being attacked by bees.

    In a blog post on her new lifestyle website Preserve, the former Gossip Girl star explained that the drama occurred on a shoot she was completing prior to her 27th birthday celebrations.

    "Just yesterday, the final day of the shoot, I felt an electric shock of energy - was it excitement that I was about to turn another year older? Was it nerves? Why did it feel like agony? I like getting older... I think," Lively wrote. "But this felt terrible. Does your butt quite suddenly (and painfully) deflate when you turn 27?

    "Because mine hurt like hell …then my neck, back, legs and forehead. And oh my hands! They were shriveling. It felt like I was being shot by dozens of tiny invisible darts. I felt like the Wicked Witch, melting, melting, burning, melting. As it happens, I wasn't being greeted by the onset of spontaneous aging, but rather a full-fledged bee day. Attacked. All over. Everywhere."

    Lively compared the attack to a "Monty Python sketch" as she ended up screaming and "running at top speed in no particular direction".

    "I was shaken. I was swollen. I had to stop what I was doing to recuperate and/or shrink," she added, before revealing that she had decided to then aid her recovery by throwing a "fake 27th birthday party" for herself.

    "It wasn't until I covered the counters in coordinating candy sprinkles that I stopped to acknowledge: my butt will deflate more and more, my hands will shrivel and permanently prune, but I will never, ever grow up," she concluded. "It took a swarm of bees to remind me that a b-day is nothing but a number. Each day I choose my age. Today it's 27, going on 2."


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    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Less than two weeks after the first billboard popped up, a new one portraying Coulson falling further down the rabbit hole replaced it.

    Source 1
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    Source 3
    Source 4

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    Lucas Cruikshank, the actor behind YouTube’s first breakout personality, Fred Figglehorn, is teaming with Collective Digital Studio to revive the channel that made him famous. A trailer reintroducing Fred posted early Thursday (see above), the first sign of life from Figglehorn since the last of the character’s three TV movies aired on Nickelodeon in 2012.

    But this time around, Figglehorn will only be a small part of a broader effort to cash in on his popularity by surrounding him with a slate of new family-friendly programming introducing other characters aimed to appeal to both a new generation of tweens and the previous generation that came to love him.

    “We want to expand on what the original Fred channel was, when I was 13,” Cruikshank told Variety. “It was irreverent, creative and fun for kids.”

    The helium-voiced favorite was the first channel on YouTube to reach 1 million subscribers. Despite the fact new content hasn’t been posted on the channel in two years, the Fred channel has 2.3 million subs that have been feasting on old content–enough of an audience to convince CDS there was a base on which to build.

    “There’s all this audience on the channel even though he hasn’t posted new videos for a while,” said Gary Binkow, chief content officer at CDS.

    After introducing the character online in 2006, Cruikshank went on to team with CDS for the past five years, in which Fred went from an Internet-only phenomenon to the first YouTube-based intellectual property to migrate successfully to another medium. In addition to the Fred TV movies, Nickelodeon cast Cruikshank in a series version of the franchise, as well another series, “Marvin Marvin,” that ended last year.

    In addition to his TV work, Cruikshank has been busy on the digital side working on a separate channel, Lucas and Jenny, with Jennifer Veal.”I think I needed to take a break and just explore other things,” said Cruikshank, who turns 21 this week.

    In addition to a slate of programs encompassing sketch comedy, gameshow formats, animation and music parodies, the Fred channel will also have an eye on utilizing user-generated content in the wacky spirit Fred has long cultivated.

    The relaunch will be an interesting test case for a YouTube channel’s ability to regenerate after a dormant period, not to mention the durability of the character’s brand.

    With characters like Figglehorn and Annoying Orange, CDS has built a robust business on expertly mining offline revenue streams by selectively licensing to networks but holding back on certain key rights. The company began recently pursuing this innovative model again with “Epic Meal Empire,” a series for the cable network FYI based on the Internet property Epic Meal Time.

    Prior to the Fred trailer, the channel began hinting about the character’s return in a series of videos perpetuating a creative hoax: a new Fred would be introduced by a fictional Korean corporation marketing cereal. Before too many outraged fans took to the comments area to express their anger, Cruikshank appeared in character to put fears to rest.

    Source 1 / Source 2.

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    The next Bogie and Bacall? Blake Lively and husband Ryan Reynolds costarred together in one movie, 2011's Green Lantern—but if Lively had her way, they'd always share the screen. During her takeover of Vogue magazine's Twitter account on Monday, Aug. 4, the Gossip Girl alum shared that she'd like to go back to the days when couples did movie after movie together, like Humphrey Bogart and Lauren Bacall, or Spencer Tracy and Katharine Hepburn.


    Asked by a fan whether she'd do another movie with her spouse of nearly two years, Lively tweeted, "In the olden days, a couple could be in every movie together, but it's just not like that anymore. We both wish we could go back to then, because that would be a lot of fun."

    The Age of Adaline actress also dished during the Q&A about Gossip Girl, Beyonce, and her new lifestyle website, Preserve. In response to one question about whether she misses her role as Serena van der Woodsen on GG, she replied honestly, "I miss the people that I worked with, our cast and our crew. But I don't miss the 16-hour days."

    She has fond memories of the early seasons, though. Her favorite one to shoot was the first season in 2007. "It was the 1st year I lived in New York City and what a way to live in NY," she recalled. "It was very special and surreal."

    Another career highlight was being asked to appear in Beyonce and Jay Z's music video for "Run," which also featured Sean Penn, Jake Gyllenhaal, Don Cheadle, Emmy Rossum, and Rashida Jones."It was the first moment in my life where I truly felt cool," she tweeted. "It gave me a high sense of self-esteem for a good 10 min."

    As for her latest project, the lifestyle website Preserve?
    The hardest part, she wrote, is "finding the balance between wanting to make everyone happy and accepting that that's not possible." Which doesn't mean she won't try."I hope it's a place where people can come and find something that inspires them or puts a smile on their face," she shared.


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    “They can imprison you … but they cannot take your hope.”

    Jon Stewart’s reputation pegs him as a funnyman first and foremost; he might be a keen hand at busting punditry, parsing out flimflam in media reporting, and skewering political nonsense from all sides of the US government, but he’s a comedian before he’s a commentator. But come November, his fans (and detractors) will get to see a whole new side of him – that of the serious storyteller – as his directorial debut makes its way to theaters.

    That would be Rosewater, Stewart’s dramatized adaptation of London-based, Iranian-born journalist (and Canadian citizen) Maziar Bahari’s 2011 memoir, “Then They Came For Me”. Most may recall that Stewart took a break from his routine duties on Comedy Central’s The Daily Show back in 2013 for the film’s production, and with the arrival of its first trailer (posted above), we’re finally getting a glimpse at the fruits of his labors.

    Seems like his sabbatical has paid off. Based on the clip, Rosewater holds great promise as a humanitarian morality tale. If it doesn’t fully live up to that potential, well, Rosewater fits so well within Stewart’s wheelhouse as a politically minded human being that the movie should at least have plenty to say about its subject matter; judging by what we can see of the film’s craft, he’s put together something that’s accomplished on technical merits and not simply its social consciousness.

    For those unfamiliar with Mr. Bahari’s story, it begins with the protests that erupted in the wake of Iran’s 2009 presidential election, in which Mahmoud Ahmadinejad won a dubious victory over opposition candidates Mir-Hossein Mousavi and Mehdi Karroubi. As these events (referred to as the Green Revolution or the Green Wave) unfolded, Bahari (portrayed in the film by Mexican actor Gael García Bernal) covered them for Newsweek until his arrest on June 21st and subsequent five month imprisonment.

    His was a harrowing ordeal; he was tortured, and frequently blindfolded during these violent sessions. (The film’s title derives from his sensory deprivation – Bahari has noted that one of his interrogators smelled of rosewater.) He eventually gave a confession (under duress) stating that all Western journalists worked as spies and that his assignment was to foment unrest.

    Stewart has clearly honed in on the grimmer elements of Bahari’s trial, and if the Daily Show host has any intention here, it’s to take to task the people responsible for the atrocities committed against Bahari. The film looks clean, crisply made, and impassioned as one might expect from someone like Stewart; it’s also hopeful, or at least it has the appearance of optimism through its depiction of bleaker realities.

    We’ll see how well Stewart strikes balance between these two come the fall.

    Rosewater opens in US theaters on November 7th, 2014.


    Review: Jon Stewart's 'Rosewater' Is a Heartfelt Celebration of Activism

    "The Daily Show" host pays valiant tribute to one of his guests, but does that mean he's made a great movie?

    Jon Stewart may be best known as one of the finest satirists on television, but his directorial debut "Rosewater" magnifies another tendency lurking beneath the jokes: a sincere desire to demystify international problems and celebrate efforts to solve them.

    As a movie, "Rosewater"— based on real life incident in which Stewart's own "The Daily Show" inadvertently played a part — suffers from the director's underwritten screenplay and several misconceived narrative devices. The portrait of Iranian journalist Maziar Bahari (Gael Garcia Bernal), who covered the divisive 2009 Iranian elections for Newsweek before getting detained by the country's government for over 100 days following an appearance on Stewart's show, never manages to transform the material into a satisfactory drama.

    But it's also so committed to a good-natured attitude about the power of perseverance that the many shortcomings register as inoffensively well-intentioned rather than exclusively shallow. Imagine a rousing "Daily Show" episode without the jokes. "Rosewater" is lacking in sophistication, but its attitude is infectious.

    Which doesn't mean that Stewart has made a great movie. The misguided decision to have his Iranian characters speak in accented English is the least of the flaws among a muddled assemblage of storytelling tropes. Within the first 20 minutes, we're treated to a number of half-baked attempts to energize Bahari's tale: During the character's introductory voiceover narration, Bernal walks the Tehran streets as animated faces from his past beam down from above.

    As he recalls his family's troubled history during the Iranian Revolution in which his father was imprisoned and never caved, the old man's voice echoes Bahari's own. Later, as Bahari eagerly covers protests against the election results — in which Mahmoud Ahmadinejad's landscape victory was deemed a fix — Twitter hashtags spreading word of the outcry beam forth from the journalist's screen and swirl through the streets. "The Daily Show" can get away with playing fast and loose with its visual approach, but in "Rosewater" they're a distraction.

    It doesn't help that Stewart never settles on a singular tone. Opening scenes in which government agents accuse Bahari of collecting porn by sifting through his collection of movies and music register as comedy; other scenes bluntly tell the story in predictable terms.

    Whenever Bahari manages to defy his captors, "Rosewater" transforms into an enthusiastic look at the prospects for change in Iran in contrast to the failed attempts in earlier decades. But to that end, its finest moments emerge from the pileup of media reports and documentary footage of the streets.

    Together, they showcase a tension between the powerful real-life story behind the events — initially chronicled in Bahari's own tome "Then They Came For Me"— and the lightweight drama written around them. Bahari's imaginary dialogues with his late father, conducted to pass the time in his vacant cell, have a restrained theatricality that rank among the movie's best written moments. But his sentimental exchanges with his wife (Claire Foy) and mother (Shohreh Aghdashloo) reek of inauthenticity.

    After opening with Bahari's detainment before flashing back to the weeks leading up to it, "Rosewater" spends the bulk of its time exploring his time in solitary confinement. There are some involving scenes as the government tries desperately to break Bahari's will, making veiled threats at his mother and pregnant wife, but mostly the movie stumbles through a series of encounters between Bahari and a gruff, singleminded interrogator (Kim Bodnia) who throws every accusation possible as Bahari in the hopes of getting a rise out of him. For every intriguing moment when the government seeks to break his will, "Rosewater" falls prey to obvious celebratory statements, as if to remind audiences where it's headed ("Revolutions are just like people," Bahari announces, "they have to grow"). That overzealous quality pervades much of the script, though its positivity isn't disagreeable, just basic.

    Despite the aforementioned stylistic overkill, "Rosewater" avoids any particularly advanced filmmaking trickery during its critical moments, which enhances the pared-down nature of Bahari's captivity. Howard Shore's ruminative score doesn't do the melodrama any favors, but the soundtrack also includes lively samples of Middle Eastern hip hop that enhance Stewart's emphasis on a new era of self-expression in a society steeped in oppression.

    The movie's real saving grace, however, stems from the always likable Bernal, a natural at playing sincere, committed men divided between personal and professional duties. With the election scandal as a backdrop, it's impossible not to see reverberations of the actor's role in the far superior Chilean film "No." But while Pablo Larraín's Oscar-nominated political thriller forced the actor to keep a straight face, Stewart gives Bernal the opportunity to show his exuberant side. One scene, in which he prances around his cell to the tune Leonard Cohen's "Dance Me to the End of Love" playing in his head while a befuddled official watches from afar, ranks among the highlights.

    Yet even such bright points are less intriguing than the meta-narrative of story behind the movie. Stewart recreates the interview Bahari conducted with "Daily Show" contributor Jason Jones, who reprises his role in the events even as we see him break his goofy character off-camera. "I'm the asshole here," he tells Bahari in between takes where he jokingly accuses the journalist of being a terrorist. It's almost as though Stewart were speaking through him to offer his mea culpa. But in a larger sense, that scene (and other passing references to the show by the government) speak to a telling contrast between Western media's room to play and the lack of such freedoms in more restrictive societies.

    Still, "Rosewater" offers nothing on par with the more severe indictments of Iranian persecution in the movies directed by its citizens. Mohammed Rasolouf's "Manuscripts Don't Burn," to take one recent example, finds a number of local journalists (deemed "intellectuals" by the government) scrambling to avoid torture and death. Rasolouf, who was banned from his country for years, offers a far less idealistic assessment about the prospects of rebellion than anything in "Rosewater." Filmmakers like Rasolouf and fellow countryman Jafar Panahi (currently living under house arrest and making movies in defiance of a national ban) showcase the challenges of self-expression in Iran through the work itself. "Rosewater," also a showcase for resilience, lacks such subtleties.

    But Stewart at least manages to position his happy ending in a reasonable context. His climactic scene, focused on the hope of an empowered people unwilling to stand down, makes a pretty compelling case. The director settles on a closing image that's about as close to an artful moment as the movie can muster. Like Stewart's show, his simplistic message points to savvier insights about the value of speaking out. But in this case, a single punchline isn't quite enough.

    Grade: C+


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    Britney Spears just dumped her boyfriend of 18 months ... after finding out there's a video of him cheating on her that's being shopped around Hollywood.

    We're told David Lucado is seen in the video making out with a woman and dancing with her. It looks like they're in someone's living room. We're told the video was shot in early August.

    When we called Lucado ... a rep told us, "David is very, very in love with Britney. This is unfortunate and he hopes that it all works out."

    Well, it didn't. Sources tell us as soon as Britney got word about the vid ... she broke up with David.

    She just tweeted, "Ahhhh the single life!"


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