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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 799 | 800 | (Page 801) | 802 | 803 | .... | 4446 | newer

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    kim-kardashian-kanye-wedding-01

    “Keeping Up with the Kardashians” NOTCHED NEARLY 6 MILLION VIEWERS FOR THE 2-PART SEASON FINALE – DRIVEN BY ITS MOST-WATCHED EPISODE IN OVER A YEAR

    Los Angeles, CA – September 2, 2014 – E!’s power-house combination of the definitive hit pop culture series’ “Keeping Up with the Kardashians” and “#RichKids of Beverly Hills” served to bolster the network’s ratings over Labor Day weekend. As one of cable’s biggest shows, the two-part season nine finale of “Keeping Up With Kardashians” – featuring the family’s events leading up to the wedding of Kim Kardashian – reached 5.8 million total unique viewers on August 31 (9-10:30 pm) and September 1 (9-10 pm). Sunday’s premiere hit season highs across key demos, including Total Viewers (2.8 Million), Adults 18-49 (1.9 Million) and Adults 18-34 (1.2 Million), increasing roughly +10% over the 9th season opener with Total Viewers, Adults 18-49 and Adults 18-34. This airing also marked the most-watched original episode in over a year among Total Viewers (August 2013) and most-watched among Adults 18-49 and Adults 18-34 since the 8th season premiere (June 2013).

    The season finale of “Keeping Up with the Kardashians” featured private, never-before-seen footage of the days and hours leading up to the ceremony from the bride and groom themselves, and showcased personal, exclusive footage of their European trip shot by their family and close friends.

    #RichKids of Beverly Hills drew 1.9 Million Total Unique Viewers across both premieres over the holiday weekend with Sunday’s original notching its most-watched episode for the series to date among Adults 18-49 (863K), Adults 18-34 (699K) and all other key demos.


    source

    slay @ that kardashian reign but sigh @ how disappointing the 2nd part was :/

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    Telluride Review: Josh Hutcherson Flees Menacing Benicio Del Toro in Solid B-Movie 'Escobar: Paradise Lost'


    The legacy of Colombian drug lord Pablo Escobar, who reached the height of his cocaine-smuggling power in the eighties running a multimillion dollar cartel operation, is obvious fodder for the movies. Though Escobar surrendered to authorities in 1991, escaped a year later and was killed in a firefight shortly afterward, his luxurious career provides many access points, as demonstrated by the recent spate of Escobar projects: In addition to a 2012 Colombian mini-series, contemporary efforts to explore Escobar's life include the upcoming production of the black list screenplay "The Ballad of Pablo Escobar," starring John Leguizamo in the title role, and the tense, well-acted "Escobar: Paradise Lost," which features Benicio Del Toro.

    The latter movie, the directorial debut of Italian director Andrea Di Stefano, confronts the challenge of representing Escobar's legacy in a unique fashion — by making him a supporting character.

    Which is not to say that Del Toro, an actor whose steely-eyed gaze fits the part, doesn't get the chance to relish his opportunity. Exclusively portraying Escobar during the later stages of his career when he already commanded unassailable authority, Del Toro turns Escobar into a subdued terror whose ability to order murders with ease provides the movie with its chief source of dread. Rather than regurgitate Escobar's entire saga, however, Di Stefano centers the story around a fictionalized account involving young Canadian Nico (Josh Hutcherson) who inadvertently falls into the criminal's crosshairs after falling in love with his niece (Claudia Traisac).

    Though initially warm to his potential in-law, Escobar ultimately exploits Nico's allegiance by assigning him to aid in hiding the criminal's fortune before his incarceration. Nico's inevitable sense of uncertainty about going through with the plan, and the horrific outcome of his decision, forms the crux of the movie's taut, suspenseful third act. While "Escobar" simplifies its subject's exploits, leaving the details of his smuggling operation out of the picture, it achieves a more immediate effect by rendering the fear of Escobar's power in visceral B-movie terms that makes them relatable. Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.

    Opening in the summer of 1991, "Escobar" begins with Nico being called into the cartel's hideout and tasked with committing a murder on the drug lord's behalf. Speeding off on his mission along the dark road and hardly able to keep his breath, Nico is stuck in a conundrum that only becomes clear as Di Stefano flashes back to years earlier. Arriving on the Colombian coast to run a surf camp with his eager brother (Brady Corbet), Nico meets the smarmy Maria (Traisac), and quickly falls for her. The sunny beaches provide a notable visual contrast to the murkier scenes that follow, as Nico gradually realizes the extent of Escobar's power. At social gatherings, Escobar's domineering personality leaves Nico in a confused state about his priorities.

    These scenes unfold with a steadily developing sense of unease, and while they state the rising tides of danger a little too obviously — Nico glimpsing pools of blood at Escobar's estate, begging Maria to let them to go home — his frustration helps to set up a concluding series of events far more cohesive than the moments leading up to them.

    In the deftly assembled final act, as Nico attempts to go through with Escobar's orders and then evade his gun-wielding forces from every direction, Nico launches a desperate survival mission that works on its own terms. Di Stefano's penchant for elegant, visually-driven suspense comes out in a prolonged chase sequence that finds the frantic Nico hiding in small areas, stealing a car, and contemplating whether or not to pull the trigger in more than one dire situation.

    Hutcherson imbues the character with a believability that transcends the script's limitations. The actor's supporting gig in the "Hunger Game" movies hasn't provided him with sufficient material to show his range, but "Escobar" gives him with another shot, following noteworthy turns in "The Kids Are Alright" and "Detention." His roles in those movies bear little resemblance to the wide-eyed survivor on display here.

    Still, it's Del Toro who manages the strongest achievement, imbuing Escobar with a creepy blend of charm and cruelty as he peers out from above a scrappy beard and orders death with ease. Short of his forgettable turn in "The Wolfman," this is the actor's first genuine monster role.

    With its contained narrative, "Escobar" fails to develop the rest of its characters as well as it does for its two central men. Corbet, in a handful of scenes, hardly gets the chance to do much aside from looking terrified in a handful of fleeting scenes; Traisac, as Nico's girlfriend, morphs from an individualistic figure in her earlier bits to an underwritten part as Nico's teary-eyed support system. The screenplay is similarly marred by formula, lagging whenever it hits certain high melodramatic notes, and reminding us of the stakes in play with mopey, dime-store gravitas.

    But all is forgiven thanks to the gripping climax, in which the identity of Nico's assailant matters less than his impact on the young man in the moment as he struggles to get away. Even as Escobar offers himself to the authorities, one henchman delivers the menacing prognosis that "no one escapes from Pablo Escobar," a threat that over the course of Di Stefano's movie transforms into a compelling challenge. Consider Escobar's ongoing legacy, the jury is out on whether the grim assessment remains true.

    Grade: B

    "Escobar: Paradise Lost" premiered this weekend at the Telluride Film Festival and will next play at the Toronto International Film Festival. Radius-TWC will release it on November 26.


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    d00ditsemily, this is 4 u
    mods i fixed the link!

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    The Telluride International Film Festival is done for another year (read all our coverage here), and though the Venice Film Festival has some big movies still yet to unspool, it too is starting to wind down (catch up with our ongoing coverage here). Which can only mean one thing: it's time to head north for the Toronto International Film Festival.


    Cannes, Berlin and Venice might have the cinephile prestige, but TIFF is rapidly making an argument for being the biggest film festival in the world, with huge movies being unveiled and more to watch than you could ever hope to see. As we're sure you're aware by now, it's also become an increasingly crucial Oscar launching pad: every Best Picture winner since "No Country For Old Men" has been featured at the festival.


    We're just 24 hours away from the festival kicking off, and the Playlist team are heading to Toronto as we speak. So to get you ready, we've picked out fifteen gems from the line-up (all world premieres, so the below excludes some of the films that already bowed at Cannes, Venice or Telluride) that we're particularly excited about. Take a look below, let us know what you're excited about, and bookmark this link here for all our coverage over the next couple of weeks.

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    "Love & Mercy"
    Synopsis: The story of Beach Boys legend Brian Wilson, and his struggle with addiction and mental illness, told across two time periods.
    What You Need To Know: Generally speaking, the idea of another potentially bland music biopic is one that makes our heart sink, and yet "Love & Mercy" is one of our most anticipated films of the festival. In part, it's because of the subject matter: Brian Wilson has always been one of pop's most fascinating figures, and rather than attempting to span an entire life, the approach here seems to be focused on his sessions with a controversial therapist. In part, it's because of an excellent cast assembled: Paul Dano plays the young Wilson, and John Cusack the older, with Paul Giamatti and Elizabeth Banks among the supporting players. And furthermore, there's a lot of strong behind-the-scenes talent involved: Oren Moverman co-wrote the script, Wes Anderson DoP Robert Yeoman shot the film, "The Social Network" co-Oscar winner Atticus Ross is scoring, and though director Bill Pohlad —making his sophomore feature— is known more as a producer, he's got great taste, having been partly behind films like "Brokeback Mountain," "The Tree Of Life" and "12 Years A Slave." Our hopes are high that this is much more than just cursory look at one of rock 'n roll's most complex figures.
    When? No distribution yet, but this could be a hot buy if it looks like it has awards potential.


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    "Men Women & Children"
    Synopsis: A group of parents and children grapple with love, lust, intimacy and self-esteem in the internet age.
    What You Need To Know: The Reitman family have a long association with TIFF (they are big contributors to many initiatives of the fest), and as such, all of Jason Reitman's features bar "Young Adult" have screened there. Last year's "Labor Day" was deemed to be Reitman's first major misfire by pretty much everyone, but the four films that preceded it showed such an assured ability to mix comedy and drama that we'll always be paying attention to what he's got coming, and "Men Women & Children" is no different. The director's first true ensemble piece, it's an adaptation of a novel by Chad Kultgen, and appears to be closer to Todd Solondz than, say, Billy Wilder, focusing on sexuality in the internet era, and with a clever "Sherlock"-esque visual twist. Unlikely TIFF double-biller Adam Sandler leads the cast, and Reitman's usual canny sense of casting looks to be in full force, with a mix of fast-rising newcomers (Ansel Elgort, Kaitlyn Dever), big stars (Sandler, Jennifer Garner, Emma Thomson,), and undersung character actors (Judy Greer, Rosemarie DeWitt, Dean Norris). There's a risk with subject matter like this that it comes off as a bit pat and obvious (if the theme is "technology brings us together, but it also, like, keeps us further apart," we might tear the seats up), but we trust this content Reitman's hands, and hope it resonants more than the recent "Disconnect."
    When? Premieres at TIFF on Saturday, then Paramount will open it on October 3rd.


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    "Miss Julie"
    Synopsis: In late 19th century, an aristocrat's daughter attempts to seduce a servant.
    What You Need To Know: August Strindberg's "Miss Julie" is one of the most enduringly popular and most performed plays in the European canon, and has been filmed a number of times before (perhaps most notably as Mike Figgis' 1999 take with Peter Mullan and Saffron Burrows). But the talent involved has rarely been as enticing as it is here. Bergman muse-turned-filmmaker Liv Ullman has written and directed the new version, which moves the play from Sweden to Ireland, and Jessica Chastain takes the title role, with Colin Farrell as the target of her affections, and Samantha Morton as Farrell's fiance. It's a difficult play to translate to screen, and the new setting might be a little 'Downton'-ish for our tastes, but if anyone can capture the shifting power dynamics of the original, it's Ullman, and the chance to see Chastain (who was a celebrated stage actress before she made her name in the movies) tear into a role like this one is worth the price of admission, or even a flight to Toronto, on its own.
    When? No U.S. release date or distribution yet, but the film opens in France on September 10th, only ten days after it hits TIFF.


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    "Nightcrawler"
    Synopsis: A drifter looking for work stumbles into the world of freelance crime photography, becoming a "nightcrawler," who races to the scenes of accidents or murders in order to sell footage to local TV stations.
    What You Need To Know; With "Source Code," "End Of Watch," "Prisoners" and "Enemy" arriving onscreen in the last few years, Jake Gyllenhaal's been on a hell of a run, and hopes are high that it'll continue with his latest character-driven noir "Nightcrawler." Looking somewhat like a sort of present-day blend of "Taxi Driver" and "Network," the film marks the directorial debut of Dan Gilroy, brother of "Michael Clayton" helmer Tony, and co-screenwriter of "Real Steel" and "The Bourne Legacy," among others. Given the success his big brother had with his first directorial outing (multiple Oscar nods, one of the best American movies of the '00s), hopes are high that the younger Gilroy can match it, and what we've seen of "Nightcrawler" so far looks very impressive, with what looks from trailers to be the most transformative performance from Gyllenhaal so far, the actor having lost significant weight for the turn. He's joined by a promising supporting cast including Riz Ahmed, Rene Russo and Bill Paxton, and Gilroy seem to have a Michael Mann-ish capability to capture L.A at night. Obviously, we're only working off trailers, but word from those who have seen it already is good, so this could turn out to be one of the edgier highlights of the festival.
    When? After TIFF, the film will close Fantastic Fest, before Open Road bring it to theaters on October 31st.


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    "The Theory Of Everything"
    Synopsis: The early life of Stephen Hawking, a dominant figure in theoretical physics who battled motor neuron disease to make discoveries that changed the way we think about the universe, and his romance with university colleague Jane.
    What You Need To Know: Arguably the most famous scientist in the world, Stephen Hawking's story has been brought to the screen before (Benedict Cumberbatch played him in a television film a decade ago), but "The Theory Of Everything" marks the first time the story's made it to the big screen, and has some hefty names behind it: an adaptation of Hawking's ex-wife Jane's memoirs "Travelling To Infinity," it's backed by "Atonement" producers Working Title and is helmed by Oscar-winning "Man On Wire" and "Shadow Dancer" helmer James Marsh. Fast-rising stars Eddie Redmayne and Felicity Jones are already touted for awards as Hawking and Jane, while the top-notch supporting cast also includes Charlie Cox, Emily Watson, Simon McBurney, David Thewlis and Harry Lloyd. We'll be honest: the trailers for this one so far have made it appear a bit traditional and sentimental as far as biopics go, but Marsh is an interesting and unconventional choice for the project, and it's his involvement that gives us faith that we're in for something more interesting than what we're being sold.
    When? After TIFF, Focus will give it an awards-friendly release on November 7th.
    Source

    Anyone here going to TIFF?

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    Joan Rivers, the blunt, tart-tongued celebrity and talk show host who reconstructed her career time and time again en route to becoming one of the most memorable female comics of all time, has died. She was 81.

    The breakthrough standup comic, writer, actress, fashion critic, red-carpet doyenne, gossip and businesswoman died Thursday at 1:17 p.m. local time at Mount Sinai Hospital in New York, her daughter Melissa announced. She was rushed there Aug. 28 and placed on life support after she suffered from respiratory and cardiac arrest during surgery on her vocal cords in a doctor's office.

    Can we talk? Starting out as a gag writer, the Brooklyn native poked fun at her fondness for plastic surgery, never pulled a punch in a bid for a laugh and insulted just about everyone — no one was off-limits — to forge an impressive, and somewhat notorious, show business legacy.

    Johnny Carson designated her as the first permanent guest host for The Tonight Show, and she stood in for him from 1983-86. But when Rivers signed with the then-fledgling Fox network to host The Late Show — a groundbreaking move for a woman — and thus go opposite Carson, he considered it an act of betrayal and refused to speak to her again.

    “The first person I called was Johnny, and he hung up on me — and never, ever spoke to me again,” she told The Hollywood Reporter in December 2012, “and then denied that I called him. I couldn’t figure it out. I would see him in a restaurant and go over and say hello. He wouldn’t talk to me.”

    After the show plunged in the ratings and was canceled after just eight months, she hosted the syndicated Joan Rivers Show for five years and won an Daytime Emmy in 1990. She did not return to The Tonight Show until February, for Jimmy Fallon’s debut.

    In 1987, a few months after the end of The Late Show, her husband, Edgar Rosenberg, who managed her career and produced her Fox show, committed suicide.

    Rivers and Melissa in 1994 began hosting E! Entertainment’s red carpet show for the Golden Globes, and that led to their Fashion Police specials for the network. In 2004, she signed a lucrative three-year deal to cover carpets for the TV Guide Channel.

    Rivers returned to E! for the reboot of Fashion Police as a half-hour series (and recently got into a messy tiff with the WGA over the non-union show). She and Melissa later starred in the reality series Joan and Melissa: Joan Knows Best?

    She launched a TV Land reality series in 2009, How'd You Get So Rich?, a glimpse at the personal world of self-made multimillionaires. Her ancillary endeavors were vast: She launched the Joan Rivers Classics Collection of Jewelry on QVC in 1990 and a line of beauty products in 2000, including her signature fragrance, Now and Forever.

    The revealing 2010 documentary Joan Rivers: A Piece of Work followed her around for 14 months, around the time she emerged victorious on Donald Trump’s Celebrity Apprentice.

    More recently, Rivers guest-starred as herself on the FX plastic surgery drama Nip/Tuck, had sex with Louis C.K. on a 2011 episode on Louie and worked in the movies The Smurfs and Iron Man 3.

    She was born Joan Alexandra Molinsky on June 8, 1933, in Brooklyn, the daughter of Russian-Jewish refugees. Rivers became interested in performing and at age 11, she sent her photograph to MGM.

    Rivers attended the Adelphi Academy preparatory school in Brooklyn, and after graduation, landed a role as a teenager in the crowd in the 1951 movie Mister Universe. She attended Connecticut College for Women and, later, Barnard College, where she studied English and anthropology and graduated Phi Beta Kappa in 1954.

    Rivers got a job in the shoe department at Lord & Taylor and progressed to fashion coordinator of Bond clothing stores. But she decided to pursue acting and appeared in a play titled Seawood on the Upper East Side of Manhattan as a knife-wielding lesbian with a crush on a character played by a then-unknown Barbra Streisand.

    She gained exposure in Broadway USA, a 1960 show for the USO, and landed a gig with the Chicago-based improvisational acting troupe Second City, where she honed her now-familiar character of a neurotic Jewish woman. She returned to New York in 1962 and performed at such clubs as The Bitter End; started a comedy tour with Jim Connell and Jake Holmes; and signed a long-term, solo performance deal with a club called The Duplex.

    In 1965, she landed a gig as a gag writer/participant on CBS’ Candid Camera and appeared for the first time on The Tonight Show, then hosted by Jack Paar. Later, she made appearances on The Ed Sullivan Show and other talk/variety shows.

    Her contemporaries when she was starting out included Woody Allen, George Carlin, Richard Pryor, Bill Cosby, Rodney Dangerfield and Dick Cavett.

    “Everybody broke through ahead of me,” she told THR. “I was the last one in the group to break through, or to be allowed to break through. Looking back, I think it was because I was a woman. Because in those days, they would come down to the Village and look at you for Johnny Carson. I was the very last one of the group they put on the Carson show.”

    Rivers wrote and directed the 1978 feature comedy Rabbit Test, starring Billy Crystal as man who gets pregnant.

    She voiced the baby in the John Travolta-Kirstie Alley box-office hit Look Who’s Talking (1989) and was heard in Mel Brooks’ Spaceballs (1987) as a character called Dot Matrix. She also appeared in such films as The Swimmer (1969), The Muppets Take Manhattan (1984), Serial Mom (1994), Goosed (1999) and Shrek 2 (2004) and on the TV series Suddenly Susan, Curb Your Enthusiasm, The Simpsons and Hot in Cleveland.

    For the stage, she co-wrote and starred in Joan Rivers: A Work in Progress by a Life in Progress at The Geffen Playhouse in Westwood. It later had successful runs in Edinburgh and London. And she released comedy albums, including the Grammy-nominated What Becomes a Semi-Legend Most? in 1997.

    In 1984, she penned The Life and Hard Times of Heidi Abromowitz, a New York Times best-seller based largely on her comic persona. Her other books included Men Are Stupid and They Like Big Boobs and Murder at the Academy Awards: A Red Carpet Murder Mystery.

    “If there is a secret to being a comedian, it’s just loving what you do,” she told THR in 2012. “It is my drug of choice. I don’t need real drugs. I don’t need liquor. It’s the joy that I get performing. That is my rush. I get it nowhere else.

    “What pleasure you feel when you’ve kept people happy for an hour and a half. They’ve forgotten their troubles. It’s great. There’s nothing like it in the world. When everybody’s laughing, it’s a party. And then you get a check at the end. That’s very nice.”

    Survivors also include her grandson Edgar.



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  • 09/04/14--13:01: New Arrow Season 3 Trailer


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    The leaked photos of Kate Upton and her boyfriend didn't get out because of an iCloud security breach ... but instead she may have been the victim of one of the oldest tricks in the online scamming game.

    Law enforcement sources tell TMZ ... FBI investigators are looking into whether Kate and at least 3 other celebs -- Mary Elizabeth Winstead, Jennifer Lawrence, and Lea Michele -- were prime targets of phishing.

    If you don't know, here's how it works ... you get an email informing you there's some sort of problem with your account, and in order to fix it you'll need to send personal info -- such as a username, phone number, credit card, or even a password. So, you unwittingly give the crooks all they need to jack your data.

    We're told in this case ... the email sent to the celebs might have been doctored up to look like it was coming from Apple. Phishing's been going on since the early days of the Internet, but scammers are so sophisticated now ... their emails look identical to the real deal.

    J-Law and Kate's pics -- some with her BF pitcher Justin Verlander -- were among the first ones released Sunday by the hacker.

    Reps for all 4 women haven't responded to our calls.

    ( SOURCE )

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    In “Outlander” Season 1 Episode 5 titled “Rent” Claire will be following some of the MacKenzies as they collect rent and taxes. However, she might be a little disturbed as to how Dougal plans to get the money from people.

    As they travel through Scotland, Dougal actually shows people Jamie’s scars to get their sympathy. Jamie told Claire when they first met that he doesn’t often allow people to see his scars. He doesn’t like the way people look at him with pity. Yet Dougal is insistent on displaying them so people understand why the MacKenzies need money for a war.

    Claire knows history isn’t on the side of the MacKenzies. They are raising money for the Jacobite cause, but she knows they will not win. She begins to remember some of the details of the historical events that happen in 18th century Scotland, and she tries to convince the MacKenzies they aren’t going to win the war. It doesn’t mean much to them since she is English, and it certainly doesn’t counter help the belief that she is an English spy.









    1.05 Clip: Payment of Rent


    Alternative video if you can't view the one above:


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    Outlander post y'all

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    Considering Nicolas Winding Refn’s Hollywood break-out was the Ryan Gosling-led Drive and Matthew McConaughey‘s so-called McConaissance kicked off around the time of The Lincoln Lawyer, we can think of few better pairings for a new ad campaign from Lincoln. Introduced their new MKC vehicle, the company recruited the director and actor for a series of spots, and the first have landed today.

    While Refn helmed five total, a trio are now available online with the others hitting airwaves this weekend. Featuring McConaughey facing off against a bull, taking a nightime drive (with a few shots certainly reminiscent of Refn’s 2011 feature), and more, the stylish commercials can be seen below, along with a video of the actor discussing his involvement in the series.














    Two more at the Source

    He's totally channelling Rust here. YASSS.

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    rs_634x1024-140610190421-634.Carrie-Underwood-Samsung-Children-Gala-NYC.ms.061014
    File this under: Weirdest TV news of the day! (But we kind of dig it.) Carrie Underwood's "Two Black Cadillacs" song is becoming a TV show for Fox. Yep, you read that right. Underwood is attached to executive produce the 6-hour "event series" with uber-producer Jerry Bruckheimer. The "event series" is being written by Necessary Roughness veteran Ildy Modrovich.

    The show from Warner Bros. Television will delve into a love triangle in the South. It gets murderous, naturally, when a wife and mistress catch on to a philandering man and plot to kill him. The song was written by Underwood, Hillary Lindsey and Josh Kear. It was on Underwood¹s 2012 album Blown Away and went platinum.

    Underwood got her start on Fox¹s American Idol, winning season five. She recently starred in NBC¹s live musical version of The Sound of Music. Fox is rolling out a bunch of event series this season, the first being this fall's Gracepoint. For anyone unfamiliar with the term "event series," that usually means that it will only be one season—unless it's a hit and then it can go on forever, a la CBS' Under the Dome. Still, Fox insists this will be a "six-hour, limited event series."

    But maybe season two can be another Carrie Underwood song? We're...excited?
    http://www.eonline.com/news/576065/carrie-underwood-s-song-two-black-cadillacs-is-becoming-a-tv-show

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    Matt Nable has been cast to play villain Ra's al Ghul in Season 3 of The CW's “Arrow,” an individual with knowledge of the project told TheWrap.

    The iconic bad guy will first appear in fourth episode of the upcoming season, which is also show's 50th overall. In the DC Comics universe, al Ghul is the head of the League of Assassins and the father of Nyssa al Ghul, played by Katrina Law in several episodes of “Arrow.”

    Nable's character will be recurring, which means fans might see him face off against Starling City's protector, Green Arrow (Stephen Amell), on multiple occasions.

    SOURCE


    OK, I figured Oded Fehr was a long shot, but I don't know this actor and he doesn't really look the part. He'll have to be amazing for me to get over my disappointment, we'll see soon enough in episode 4.

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    The entertainment news website Deadline reported on Wednesday that Dreamworks is "in early talks" with Australian actress Margot Robbie (The Wolf of Wall Street) to star in the American live-action film of Masamune Shirow's Ghost in the Shell cyber-police manga. Deadline notes that Rupert Sanders (Snow White and the Huntsman) would direct the proposed film off a script by William Wheeler (Hoax, The Reluctant Fundamentalist). Avi Arad (formerly of Marvel Studios as well as of the Spider-Man and X-Men movie franchises), Seaside Entertainment's Steven Paul, and Mark Sourian (The Ring Two) are producing. Robbie will appear in the upcoming films Focus (with Will Smith) and Z For Zachariah.

    Jamie Moss (Street Kings, Last Man Home) was originally attached to script the film when Dreamworks announced its license in 2008. Dreamworks then hired Shutter Island writer and executive producer Laeta Kalogridis to draft the film in 2009.

    Variety reported in 2008 that Universal and Sony also negotiated for the rights, which the Production I.G anime studio was pitching for the manga's original publisher Kodansha. What turned the dealmaking in Dreamworks' favor was co-founder Steven Spielberg's enthusiasm for the project. The entertainment trade newspaper quotes the acclaimed director and producer:"Ghost in the Shell is one of my favorite stories. It's a genre that has arrived, and we enthusiastically welcome it to Dreamworks."

    The American arm of the manga's original Japanese publisher Kodansha began reprinting the manga in 2009 after Dark Horse Comics had the license. Kodansha also launched two new manga series based on director Kenji Kamiyama's Ghost in the Shell: Stand Alone Complex television anime series that year. In addition to Oshii's two films and Kamiyama's two Stand Alone Complex television series and spinoff feature, the Shirow's manga also inspired the current Ghost in the Shell Arise prequel anime.

    SOURCE

    That entire staff has nothing but bad movies under their belt. I like Margot but can we not?

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    With less than a month to go before the release of their new album, This Is All Yours, Alt-J have unveiled not one, but two videos for the lusty single “Every Other Freckle”.





    As their “Boy” and “Girl” titles imply, each video features a different gender in the starring role. Despite the differing protagonists, however, both Olivier Groulx-directed clips are otherwise nearly identical, featuring a mixed bag of unnamed characters and animals out in the wild, including a grisly caveman, soaring birds, and ravishing horses. There’s also a particularly amusing/adorable scene that matches one of the song’s more memorable lines of “I’m gonna bed into you like a cat fits into a bean bag.” (Hint: It involves a cat and a bean bag.)

    This Is All Yours hits shelves on September 23rd.

    source

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    The picture-hosting service said that it has been forced to close following pressure from Twitter over a trademark application.

    In a blog post, the company explained: "A few weeks ago Twitter contacted our legal demanding that we abandon our trademark application or risk losing access to their API.

    "This came as a shock to us since Twitpic has been around since early 2008, and our trademark application has been in the USPTO since 2009."


    After explaining the history of Twitpic's attempts to obtain a trademark, founder Noah Everett added: "Unfortunately we do not have the resources to fend off a large company like Twitter to maintain our mark which we believe whole heartedly is rightfully ours. Therefore, we have decided to shut down Twitpic."

    He then ended the statement with a "personal note", thanking users "for letting us be a part of your life and helping you share your experiences over the past 6 years, it's truly been an honour.

    "I have learned so much through running Twitpic over the years. Through the many mistakes I've made and lessons learned, to the bad days and the great days. Thank you again everyone…I will miss and cherish the days of Twitpic we had together."

    The service will officially close on September 25, but a photo export feature will be released in the next few days.

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    Well, here’s some news to side-eye: The leaked nude pictures of Jennifer Lawrence and Kate Upton will be on display as part of an art exhibit in St. Petersburg, Fla. next month.

    Artist XVALA will present the unedited images in his ‘No Delete’ exhibit, printed, life-size, on canvas, Cory Allen Contemporary Art announced in a press release. The naked, hacked photos are part of XVALA’s ‘Fear Google’ campaign, and this particular exhibit will also feature pictures of Britney Spears shaving her head and Scarlett Johansson naked, with strategically placed ‘Fear Google’ logos covering parts of her body.

    The exhibit will “display the artist’s 7 year collection of images found on Google of celebrities in their most vulnerable and private moments, that were comprised by either hackers or the paparazzi,” the press release reads.

    So… what’s the point of all this?

    “The commentary behind this show is a reflection of who we are today. We all become ‘users’ and in the end, we become ‘used,’” publicist Cory Allen explained, adding: “XVALA appropriating celebrity compromised images and the overall ‘Fear Google’ campaign has helped strengthen the ongoing debate over privacy in the digital era.”

    And as for the artist’s take on the whole thing?

    “We share our secrets with technology. And when we do, our privacy becomes accessible to others,” he said. “In today’s culture, everybody wants to know everything about everybody. An individual’s privacy has become everyone else’s business,” said XVALA. “It has become cash for cache.”

    XVALA’s ‘No Delete’ exhibit will open on Oct. 30 at the Showroom in St. Petersburg, Fla.

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    The cast of Parks and Recreation is in Chicago filming this week, and that means that one of the biggest stars of the summer, Star Lord himself, Chris Pratt, was asked to throw out the first pitch at the Chicago Cubs game last night. While I’m sure there are worse celebrity first pitches in the history of Major League Baseball, this one has to rank up there. It’s “pull Kit Keller out of the game” bad. I guess all that Moneyball training didn’t pay off.



    But in true Pratt fashion, the actor recovered with a goofy shrug and a grin.

    Your disapproval won’t stick to Star Lord. Pratt later went on to lead the crowd in a rousing rendition of “Take Me Out to the Ball Game.” Pitch wasn’t really Pratt’s strongest suit throughout the evening, but what he lacked in tunefulness here, he more than made up for in attitude. It’s no “5000 Candles in the Wind,” but it’ll do.



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    Tyler Posey may be getting ready to marry a woman, but that hasn’t stopped him from finding cool gay bros nearby on Grindr.

    In a brand new preview clip from his upcoming mini-doc Being Tyler Posey, the 22-year-old heartthrob reveals he’s a huge fan of the gay networking app while his friends try and teach him about Tinder.

    “Is it like Grindr for straight people?” he asks. “I know what Grindr is because I have an account.”
    Posey has been a gay favorite since starring in his breakout role as the lead on MTV’s Teen Wolf, where he played an intensely homoerotic werewolf who prefers to be shirtless. He’s flaunted his lax sexuality at every turn since, telling a ComicCon audience that he makes out with his best bud Dylan O’Brien “all the time,” and revealing his kinky man-foot fetish on Instagram.

    Speaking with People, he says the one thing he wants fans to take from his new special is the fact that he’s shockingly normal:

    I want them to see how relatable I am. Even though I live this kind of crazy life, outside of that my life is very normal. I live a private life with my fiancée. Me and my friends hang out.

    I also want fans to take away what they need from the struggles with my mom. I just want them to know other people are going through it too. I think it’ll be a great way to make my fans feel good. Life is weird and complex, but very simple at the same time. It’s all about perception. And I really want fans to know even though I am going through all this stuff – cancer, fame – I am still a regular kid, and always will be. The goals in my life are very simple. I just want to settle down with a family and live in the woods.


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    Jack O’Connell, “Starred Up”

    Between now and the new year, the English actor Jack O’Connell, 24, will go from being relatively unknown to virtually omnipresent. Mr. O’Connell has been acting in Britain for about a decade, making a name as a bad boy in television shows like “Skins” and “The Runaway,” but this fall he will star in two films that will introduce him to the art house and then the multiplex.




    “Not a lot feels instantaneous about it,” Mr. O’Connell said, in his thick cockney accent. “I had a long time to prepare myself and compare myself. I always wanted to be held in this kind of regard.”

    David Mackenzie’s prison drama “Starred Up,” which opened in New York Aug. 27 and expands nationally this month, showcases his ability to channel mercurial rage and vulnerability as an impulsively violent son locked up in the same prison as his homicidal father (Ben Mendelsohn). (Above, Mr. O’Connell in the film.) At last year’s Telluride Film Festival, A. O. Scott of The New York Times praised Mr. O’Connell’s “superb” performance in a film “sensitive to the nuances of emotion underneath the macho belligerence.”

    Mr. O’Connell said, “In the filmmaking we were going for a kind of neo-reality, and I knew Eric” — his character — “well enough, growing up where I did, to make those decisions,” referring to his working-class upbringing in Leeds. “I’m constantly relieved that I don’t have to think spontaneously like that no more, and that I get to exorcise it a bit and channel it in some creative form.”

    On Dec. 25, Mr. O’Connell will take on a more heroic role as the lead of Angelina Jolie’s “Unbroken,” as Louis Zamperini, the indefatigable Olympic long-distance runner who became a Japanese prisoner of war in World War II.

    “Angie, she’s queen bee,” he said. “Don’t get me wrong. She’s talking to you, and you can only comprehend the beauty at first, so I had to get over that fast. But she’ll champion you. You get knocked down, she makes you want to get back up.”


    Mr. O’Connell said, he often felt typecast. “I kind of had to stick to what I know,” he said. But he lacks none of his characters’ confidence and hopes to tackle a broader range of roles. " ‘Unbroken’ really took it out of me, but there’s nothing final about it,” he said. “I’m certain that I’ve validated my reasons for being here, but I haven’t fully demonstrated my total range yet. I’ve just got a foot in the door.”



    Teyonah Parris and Tessa Thompson, “Dear White People”

    Justin Simien’s provocative, crowdfunded satire “Dear White People” (Oct. 17) is set at a fictional Ivy League college where the melting pot of race politics boils over into a campus riot, when a controversial college radio show inspires a racist party. At the heart of the scrum are two dueling African-American women, Coco and Sam, played by two rising stars, Teyonah Parris and Tessa Thompson.

    “The things we represent are totally opposite,” said Ms. Parris (above right, with Ms. Thompson), an Atlanta native and Juilliard grad best known for playing Dawn, Don Draper’s secretary, on “Mad Men.” Ms. Parris’s brash, aggressive Coco pragmatically attempts to exploit stereotypical expectations as she hopes to land a role on a reality TV show.

    Ms. Thompson, a Los Angeles native with extensive television credits and roles in features like the indie “Mississippi Damned,” plays Samantha, a biracial, righteously indignant radical who hosts the radio show of the title. “Dear white people, stop dancing,” she decrees, adding: “Dear white people, the minimal requirement of black friends needed to seem not racist has now been raised to two. Sorry, but Tyrone your weed man does not count.”

    Whereas Ms. Parris’s Coco is animated by a steely, hard-won cynicism, Ms. Thompson’s Sam is full of impassioned, intellectual, abstract outrage, but they aren’t so different at their cores. Both actresses deliver multilayered performances that undercut expectations, as each character strikes a public pose that’s more extreme than her private thoughts.

    “A lot of what Sam says is not exactly a true representation of how she sees the world, and that’s true of Coco, too,” Ms. Thompson said, noting her character’s love of Taylor Swift and fear of Cosby sweaters. “To feel that something’s wrong in your gut and not really know how to respond to it — that’s where we leave them.”

    During the film shoot, the two actresses became close friends. Since then, they have auditioned for the same roles and wished each other luck, which seems to be working. They reconnected in Atlanta, where Ms. Parris was filming the new LeBron James-produced Starz series “Survivor’s Remorse,” set in the world of professional basketball, and Ms. Thompson was portraying the civil rights activist Diane Nash in “Selma,” Ava DuVernay’s civil rights drama set to open Dec. 25 in the heart of the Oscar season.

    It’s a heady time for two rising talents, but recently, in the wake of Michael Brown’s killing in Ferguson, Mo., and the #iftheygunnedmedown Twitter campaign, Ms. Thompson said she and Ms. Parris have been talking about how events “really changed the context of ‘Dear White People.’ ”

    “Sometimes, we see a shallow version of the African-American experience which is so deep and vast,” Ms. Thompson said. “I was excited that the film speaks on issues that never get spoken about and isn’t banging you up against the head with them, but making you laugh and feel a little uncomfortable.”

    Ms. Parris agreed: “This is the kind of work I’ve been aching to do, that I can do forever.”



    Jaeden Lieberher, “St. Vincent”

    The slight, skinny actor Jaeden Lieberher, 11, moved to Los Angeles from Philadelphia with his mother in 2011 and snagged a few roles in commercials immediately. In short order, he played a Hot Wheels enthusiast, a miniature Iron Man and a bullied kid in a high-profile Super Bowl ad. But last year, when his mother got a call offering him a lead role in Ted Melfi’s “St. Vincent,” opening Oct. 24, he was confused and a little bit frightened.

    “At first I didn’t know what happened,” Mr. Lieberher, below, said by phone. “My mom, she looked so happy, and I didn’t know what she was crying about.”

    In the film, Melissa McCarthy plays a recently divorced mother who moves into a new neighborhood with her son, Oliver. In desperate need of help, she hires her older neighbor Vincent to watch him, without realizing that he’s a misanthropic, alcoholic, prostitute-frequenting gambler. Mrs. Lieberher was crying because her son would be on screen for almost the entire film, opposite the actor who plays Vincent, Bill Murray.

    “I love ‘Ghostbusters’ and ‘Groundhog Day,’ and I was terrified to meet him,” Mr. Lieberher said. “I just was shaking. It was so awesome.” They make for a very odd couple. Mr. Murray’s Vincent is an unembarrassed creature of unrepressed appetites and bottomless bitterness. Mr. Lieberher’s Oliver is frail and hypersensitive, shy but precociously alert.

    “He would call me Straight Face, because I was so nervous and stiff,” Mr. Lieberher recalled. “He said I didn’t laugh at his jokes, but he was really funny.”


    Films are overpopulated with child actors who hit their marks but seem to too polished to be believable as spontaneous kids. On the contrary, Mr. Lieberher’s vulnerable performance invites identification, from the quiet way he studies the adults around him and reacts, to his tremulous delivery of a crucial speech in front of an intimidating crowd.

    “It was very nerve-racking being in front of the camera, and then all the people in the audience,” said Mr. Lieberher, who has already completed roles in coming films for Cameron Crowe and Jeff Nichols. “I practiced it every day, and it was really tough, and I would mess up a lot. But it was really awesome at the end.” His screen mother, Ms. McCarthy, said she was rooting for him to pull it off: “Jaeden’s final speech killed me. There’s power in his quiet delivery. You see him think and process before he speaks. He’s such a cool kid.”



    Katherine Waterston, “Inherent Vice”

    From a distance, it seems as if Katherine Waterston did everything right to land her breakthrough performance, with Joaquin Phoenix, in Paul Thomas Anderson’s “Inherent Vice,” which will have its world premiere as the centerpiece at the New York Film Festival on Oct. 4 and open in theaters Dec. 12. The daughter of the actor Sam Waterston, Ms. Waterston, 34, studied at the Tisch School of the Arts at New York University, the Stella Adler Studio of Acting and the Royal Academy of Dramatic Art in London. She acted in indie films and onstage with companies like Classic Stage Company and the Atlantic Theater Company. But the pieces never clicked together.

    “The more I’ve pursued acting, the less I’ve felt there is a right way,” Ms. Waterston said. “It’s job to job. You don’t know what’s going to lead to something else. One day, you’re playing this, the next you’re playing a paraplegic prostitute in some thriller” — 2012’s “The Factory” — “and worrying about getting typecast. Like, after that, is it going to be hard to get people to see you as something different, like a quadriplegic prostitute?”

    Ms. Waterston did get an audition at “Law & Order,” but she didn’t get the part, even though her father was a mainstay of the show. (“Having an actor for a father is not like having a producer for a father,” she said teasingly.) Then Paul Thomas Anderson happened to see her performance in the 2008 indie film “The Babysitters,” five years after its release.

    In Mr. Anderson’s narcotic noir, “Inherent Vice,” set in Los Angeles in 1970 and based on the Thomas Pynchon novel, Ms. Waterston plays Shasta, right, the free-spirited, sensual ex-girlfriend who wakes the mutton-chopped private investigator Doc Sportello (Mr. Phoenix) from his stoner haze. Like a beacon shining through the counterculture’s druggie fog, Shasta bristles with the kind of wild-eyed, visceral energy Doc has self-medicated into oblivion: a romantic embodiment of what might have been, and what might be lost.

    “Certainly, this whole film is sort of the smoke clearing after the ‘60s and everyone coming to, wondering what the hell happened,” she said. “There’s a lot of uncertainty on every page of the novel. Is it all in her head? Or not? Is she as afraid as she needs to be? Or not?”

    Figuring it out by doing all of her scenes with the mercurial Mr. Phoenix was more relief than challenge, she said. “Working with a scared actor is scarier than working with a brave one.”




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    For the first time, Drake tops nominees for the BET Hip-Hop Awards.

    In a statement to The Associated Press, BET said Thursday that Drake received the most nominations with eight for the ninth annual awards show. It airs Oct. 14. Last year, the Canadian rapper and singer took home four awards, including the People's Champ Award.

    Drake's 2013 chart-topping album, Nothing Was the Same, had several hits from "Hold On, We're Going Home" with Majid Jordan to "Started from the Bottom."

    Rap veteran Snoop Dogg returns as host and is expected to perform during the show, which will be taped Sept. 20 at the Boisfeuillet (BOH'-fihl-ay) Jones Atlanta Civic Center.

    Jay Z, Pharrell Williams and Future each scored six nominations. Nicki Minaj, Rich Homie Quan and YG earned five nods apiece.

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    Ten years after he first hit it big on the charts, rapper-turned-actor Ja Rule has partnered with Queen Latifah to film his home life for MTV. Latifah is among the executive producers on Follow the Rules, which has been ordered to series by the cable network.

    The half-hour "comedic docu-series" will center on Ja Rule and his family, including wife Aisha and their two sons, Jeffrey Jr. and Jordan, as well as both his and Aisha's mothers. (Their oldest daughter, Brittney, is in college.)

    "Ja Rule is the modern day reality rap star version of Bill Cosby's role from The Cosby Show," says MTV programming president Susanne Daniels."He embraces a unique parenting style with his teenage kids that feels fresh and funny."

    Besides Queen Latifah, Follow the Rules is also executive produced by Jeffrey Atkins (Ja Rule's real name), Christian Sarabia, Shakim Compere and Irv Gotti. MTV and 51 Minds are the producers.

    In what may be a network press release first, Ja Rule's quote includes the phrase "LMAO" and a series of hashtags: "#Myfamilyiscrazy #Butweloveeachother #F*ckyocouch." (That last one is a line from Dave Chappelle, playing Rick James, on The Chappelle Show in 2004.)

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