Articles on this Page
- 04/21/12--04:12: _Mýa Rocks the House...
- 04/21/12--04:13: _Meryl Streep Contem...
- 04/21/12--04:15: _ Rihanna goes on d...
- 04/21/12--04:19: _Prime-Time Property
- 04/21/12--04:19: _Simpson's Post!
- 04/21/12--04:24: _Jaime Lannister: I ...
- 04/21/12--04:26: _Amanda Seyfried as ...
- 04/21/12--04:26: _for the five of us ...
- 04/21/12--04:52: _Abbey Lee in Mad Ma...
- 04/21/12--07:11: _In praise of… Cate ...
- 04/21/12--07:12: _Nigel Barker Interv...
- 04/21/12--07:12: _Full Episode of Ree...
- 04/21/12--07:13: _Katy Perry kisses U...
- 04/21/12--07:13: _One Direction Megap...
- 04/21/12--07:24: _"Think Like A Man" ...
- 04/21/12--07:25: _Celebrity picture post
- 04/21/12--08:24: _Bryan Fuller Intere...
- 04/21/12--08:30: _Life on Her Own Ter...
- 04/21/12--08:39: _Guess Who BITCHES...
- 04/21/12--09:10: _Poet Staceyann Chin...
- 04/21/12--04:12: Mýa Rocks the House at LAX
- 04/21/12--04:15: Rihanna goes on date with woman
- 04/21/12--04:19: Prime-Time Property
- 04/21/12--04:19: Simpson's Post!
- 04/21/12--04:26: Amanda Seyfried as Cosette in 'Les Miserables' - First Look!
- 04/21/12--04:26: for the five of us here that actually care...
- 04/21/12--04:52: Abbey Lee in Mad Max 4?
- 04/21/12--07:11: In praise of… Cate Blanchett
- 04/21/12--07:12: Full Episode of Reelz Channel’s ‘The Hunger Games: Inside the Arena’
- 04/21/12--07:13: Katy Perry kisses USNA boy in Maryland
- 04/21/12--07:13: One Direction Megapost!
- 04/21/12--07:24: "Think Like A Man" #1 at Box Office
- 04/21/12--07:25: Celebrity picture post
- 04/21/12--08:24: Bryan Fuller Interested In New ‘Star Trek’ TV Series
- 04/21/12--08:30: Life on Her Own Terms for Beyoncé’s Little Sister
- 04/21/12--08:39: Guess Who BITCHES...
- 04/21/12--09:10: Poet Staceyann Chin: why chasing straight women still thrills me
Last night, singer Mýa performed at LAX Nightclub at the Luxor. The songstress arrived around 1 a.m. and made her way to her VIP booth as guests shouted after her. As she got settled, she took the time to meet admiring fans while posing for pictures.
Mýa then headed over to the deejay booth alongside resident DJ Gusto and signed copies of her latest single as she prepared to give an amazing performance.
Taking her place on the main stage, the singer was dressed in skin tight black leather pants, a white blazer with black sequined cuffs and leopard print ankle boots.
“What’s up, Vegas?” she shouted and then addressed guests who were celebrating “another day on this earth.” With her latest single “Birthday” playing in the background she took a moment to make special shout outs to individual fans wishing them a happy birthday.
Mýa had the entire nightclub on their feet dancing and singing along to her hits such as “Ghetto Superstar,” “Best of Me,” and “Earthquake.” The sultry singer put on an exciting, interactive and seductive performance as she showed off her dance moves, handed out her signed CDs and gave LAX Nightclub an unforgettable performance.
After her performance Mýa welcomed her fans to join her at her VIP booth and continued taking pictures and mingling with the guests into the early hours of the morning.
flawfree imo, and her latest single "Evolve" is on iTunes and Amazon now!!!
I have prepped and begun putting together my first batch of early Oscar predictions for the Best Actress category and what do you know, there's Meryl Streep again, this time starring in Hope Springs (previously known as Great Hope Springs) alongside Tommy Lee Jones and Steve Carell. And today I have the first four pictures from the film to share with you.
Directed by Streep's The Devil Wears Prada helmer, David Frankel, and written by "Game of Thrones" and "Everwood" scripter Vanessa Taylor the story finds Streep married to Jones as Kay and Arnold, a devoted couple, but decades of marriage have left Kay wanting to spice things up and reconnect with her husband. When she hears of a renowned couple's specialist (Carell) in the small town of Great Hope Springs, she attempts to persuade her skeptical husband, a steadfast man of routine, to get on a plane for a week of marriage therapy. Just convincing the stubborn Arnold to go on the retreat is hard enough — the real challenge for both of them comes as they shed their bedroom hang-ups and try to re-ignite the spark that caused them to fall for each other in the first place.
The film is set to hit theaters on August 10 and is being sold as a straight-forward comedy, as you can tell from the photo above as Streep bones up on "Sex Tips for Straight Women from a Gay Man." What exactly will she do with that banana bunch? The mind reels.
Rihanna headed out on a date last night. But while the "Umbrella" singer has dated singer Chris Brown and baseball star Matt Kemp in the past, last night she was seen holding hands with a woman.
"I'm on my first date in almost 2 yearz," the Barbadian pop star tweeted yesterday. "#datenight my lover for the night @mforde11."
Rihanna referred to her longtime friend, Melissa Forde, who has been rumored in the past to be the singer's lover. The two were spotted out last night, getting dinner at Il Ristorante di Giorgio Baldi in Malibu before heading out to the Roxbury nightclub in Hollywood. The pair were photographed holding hands as they left the restaurant. While Rihanna wore a loose-fitting white dress, with a red garter belt underneath, Forde was dressed in a tiny black mini-skirt.
"2night is gon' be a good one, I could feel it!" Rihanna wrote on the micro-blogging site. She also posted a photo of herself and Forde. In the image, taken in a dark room, the two women's faces are barely discernable. Rihanna smiles wide.
Radar reports that Rihanna and Forde have matching tattoos that read, "Never a failure, always a lesson."
While it's unclear how close they are, Rihanna has flirtily hinted that the two hook-up. On New Year's Eve, she wrote on Twitter, "Fyi, we gotta find me somebody to kiss @ midnight by next NYE!!!! Melissa didn’t cut it for me lastnt."
Questions about Rihanna's sexuality have come up before. In January, reports surfaced that a model named Natajah Burton was writing a book about her affair with the singer.
And while Rihanna has not come out as bisexual, she has teased that she plays for both teams. Not only do the lyrics to her song "Te Amo" hint at Sapphic impulses, but she has also been known to flirt with rapper Nicki Minaj over Twitter. Last year, Rihanna tweeted, "Me and Nikki in our new crib, lol! Getting busy on the set of FLY!!! Its so hard to keep my hands off!"
Minaj responded, "@rihanna lol. If we're gonna liv 2gthr and hook up u gotta learn how 2 spell my name!"
As one grows intimate with a TV series, it’s common that many lingering questions may arise. Has Breaking Bad’s Walter White ever experimented with boxers? How often does Bates have to sit down because his leg hurts? And most famously, how can Carrie Bradshaw afford her fabulous Upper East Side apartment on the salary of a weekly relationship columnist? Some television quandaries may never be answered. But fortunately—with the help of Shark Tank real-estate expert Barbara Corcoran—those of residential verisimilitude can. Herewith, a thorough analysis of television’s most ambiguously priced homes to put your renter’s insecurities to rest.
Sex and the City (1998–2004)
The unicorn of New York City real estate, Carrie Bradshaw’s fantastic one-bed/one-bath brownstone apartment at 245 East 73rd Street on the Upper East Side continues to baffle the many writerly folk sharing lofts in Brooklyn (see also: Girls). Rival only to Rachel Green and Monica Geller’s monstrous downtown digs, the Bradshaw palace is actually located at 66 Perry Street in the West Village. According to Corcoran, the rent for the fictional chez Bradshaw would be around $2,800 a month. But would she live there? “No way,” says Corcoran. “All those gals look at the Upper East Side as bad as moving to Connecticut.” Though the actual location of the apartment is a more realistic fit for our fashionista, there’s still the issue of cost. Says Corcoran: “66 Perry Street is now on the market for $9,650,000—hardly something a newspaper columnist could even afford to sit on, never mind own.”
The Jeffersons (1975–85)
As the sitcom’s catchy mid-70s theme song so memorably states, the Jefferson family was movin’ on up—specifically from a working-class neighborhood in Queens to a deluxe Manhattan apartment referred to as “Colby East.” In reality, their sky-high home was located in apartment 12D at the Park Lane, a 35-story, 442-unit residential building at 185 East 85th Street, where Corcoran has previously brokered rentals. “In 1975, rent on that apartment was between $600 and $800 in real life,” says Corcoran. “But today, all these years later, you would pay [that] on a monthly parking spot in that building—in the garage!” Though the Jeffersons might have been able to afford the rent in the 70s, other forces might’ve prevented them from ascending to Manhattan’s elite. “I was a rental agent then, and the buildings on the Upper East Side wouldn’t rent to a black family,” Corcoran says. “There were a couple that would, but very few.” Thankfully, landlords’ prejudices have faded, but spiked prices have not: the couple’s Upper East Side spot would go for about $3,600 today, according to Corcoran. No word on whether the funky blue-flame-stitched wallpaper in George and Weezie’s living room (recycled from the Young and the Restless set) would be grounds for bargaining that price down.
The Cosby Show (1984–92)
Under Bill Cosby’s insistence that his eponymous sitcom be filmed in New York over Los Angeles, the producers chose 10 Leroy Street in the West Village to stand in for his boisterous family’s Brooklyn Heights abode. It was on Leroy Street that a brass plaque reading “Clifford Huxtable, M.D.” was placed, but in real life the town house was split up into separate apartments. In 1984, a Brooklyn Heights brownstone like that would have been worth around $700,000—well in the affordable range for an obstetrician and his attorney wife. The same property today might drain the reserves a bit more: now a Brooklyn Heights town house would cost $5–$7 million, according to Corcoran. And that’s not including Bill’s carefully knit, signature sweaters.
The Golden Girls (1985–92)
With its palm-tree prints and soothing lavender-peach decor, the four-bedroom nest that housed the widows, divorcées, and grannies of The Golden Girls may have seemed the perfect Miami bachelorette pad for over-the-hill gentlewomen. But it’s unclear how the foursome could’ve afforded it. According to Corcoran, a house like theirs was selling for around $90,000 in 1985, and currently goes for about $2 million. “Miami is a perfect stomping ground for sassy older babes, but could retirees really foot that price tag?” asks Corcoran. “Probably not.” It turns out, however, that the girls’ beloved 6151 Richmond Street house was actually located at the even pricier 245 North Saltair Avenue in Brentwood, Los Angeles (near a country club and a Souplantation). Disney later replicated the residence in Orlando—but then subsequently ripped it down in 2003. So much for living the hot retiree’s dream in Florida!
30 Rock (2003–present)
Liz Lemon’s poorly furnished lady sanctuary at 160 Riverside Drive is actually located at —surprise!—160 Riverside Drive. (In season five, she moves to 168 Riverside Drive, but we’ll just ignore that.) Though the actual apartment complex is exactly where Lemon claims it to be, it’s not nearly as shoddy as she puts on: according to Corcoran, Liz is forking over about $2,000 a month for her Upper West Side digs, which she smartly expands to the neighboring apartment in later seasons. “She may not be a decorator, but she’s savvy with property values,” says Corcoran. Not to mention, she’s also sharing her semi-fictitious neighborhood with characters from You’ve Got Mail, Mad Men, and Will & Grace.
Desperate Housewives (2004–present)
For all the murder, secrets, and lies that take place on Wisteria Lane, you’d think its exact location might be somewhere more dubious than an indoor Universal Studios set called Colonial Street. But if it were real, Corcoran estimates a home in the mostly pleasant community would cost between $450,000 and $750,000. The faux neighborhood has also been used to film TV classics like The Munsters, Leave It to Beaver, Gremlins, and Buffy the Vampire Slayer. “I think it would make [the creator of] Leave It to Beaver roll over in his grave,” says Corcoran. “How could they film two things on that same street that are so vastly different?” We agree that it’s hard to image Carlos and Gaby Solis inhabiting the same mansion as Herman and Lily Munster—but what can’t be fixed with some major redecorating?
Mad Men (2007–present)
Though Don Draper’s man cave in season four is now but a faint pre-“Zou Bisou Bisou”-ian memory, it’s still worth pointing out that Mad Men creator Matthew Weiner was not necessarily meticulous in the bachelor’s temporary relocation. The bleak apartment at 106 Waverly Place (which many fans believe is actually located at 136 Waverly Place, right near Washington Square Park) would have probably rented for a couple hundred dollars circa 1964—just the kind of setup for which a directionless ad man would’ve opted. The only problem: Don’s neighborhood might not have been so welcoming. “If he was really living there, he would have at least been robbed or mugged,” says Corcoran. “You know what else? He’s a drop-dead-gorgeous dresser. Anybody with that kind of cash for a well-cut suit ain’t gonna pick that pad.” If it were 2012, however, Don might reconsider: a one-bedroom at 136 Waverly these days will cost you upward of $800,000, according to Corcoran.
Breaking Bad (2008–present)
Perhaps the most valuable haunt of Walter White’s diminishing life in New Mexico, the 1986 Fleetwood Bounder trailer functions as both a mobile meth lab and an excuse to get Bryan Cranston down to nothing but his signature Malcolm in the Middle tighty-whities. In the pilot, Walter purchases the R.V. for $7,000 (his life savings) and fills it with a bounty of vials and flasks stolen from the high school chemistry department where he teaches. “I think Walt was ripped off, paying $7,000 for an R.V.,” Corcoran says. “He could have gotten $5,000 on eBay, and his was a dump!” According to executive producer Vince Gilligan, the R.V. was built in 1983 and previously owned by a nice couple who drove it across America before selling it to the Breaking Bad crew. Let’s hope they gave Gilligan a better deal.
Modern Family (2009–present)
If there ever was a good argument for a hot Colombian to shack up with the man who formerly played Al Bundy, the home used as the Pritchett residence in Modern Family would be it. Jay and Gloria’s monstrous and modern Southern California kingdom was built in 1992 by Abramson Teiger architects and is located in the upscale Brentwood neighborhood of Los Angeles. Co-creator Steve Levitan first noticed the home because he lives down the street from it. “I would drive past it every day, and it looked like the modern house that so many rich, divorced older guys seem to end up in,” he told the Los Angeles Times. According to Corcoran, 121 South Clifford Avenue last sold in 1997 for $2,695,000, but due to California’s housing bubble, it’s worth about half that now. “That neighborhood is loaded with self-made Masters of the Universe with no taste and trophy wives,” says Corcoran. “There are a lot of young, pretty women walking dogs around the neighborhood, tennis rackets in their hands.”
Downton Abbey (2010–present)
Though it may seem like a fantasy world at times, the Downton Abbey Yorkshire estate is as real as Sybil’s rebellious pants. Built by Parliament architect Charles Barry, Highclere Castle in Hampshire is used for both interior and exterior shots on the show. According to Corcoran, the castle’s market price today would be around £150 million, around $240 million in U.S. currency. That excludes the cost of servants and upkeep. “The most expensive hobby a rich man could have is a boat, and the second most expensive hobby he could have is a very old house,” Corcoran says. The 1,000-plus-acre estate is so large that the Carnarvon family—which has resided on the estate since 1679—is able to live on part of the premises while ITV films. “I suppose if you know how many rooms you’ve got, you haven’t got a very big house,” Highclere Castle’s current occupant, Fiona, the eighth countess of Carnarvon, told The Daily Telegraph. We hope Violet Crawley is taking notes.
2 Broke Girls (2011–present)
In the long and trying road to opening their own cupcake shop, at least Max Black and Caroline Channing can take solace in the fact that they live in a suspiciously awesome Greenpoint, Brooklyn, apartment. Signs of inaccurately lavish digs: 1. There is enough square footage in their living room to host a small ballet. 2. Their backyard is big enough to for their horse, Chestnut. 3. They have a backyard. All in a quirky day’s life of a struggling millennial, right? Wrong: “The typical rent for a one-bedroom in Greenpoint right now runs [at] $2,600 a month,” Corcoran says. “If you add a garden out back, it brings the rent up between $2,800 and $3,000 a month. They’re not fancy-restaurant waitresses; they may want to consider a third girl—maybe a fourth.” As for Chestnut? “Are you kidding me?” asks Corcoran. “The neighbors would have them out of the apartment in the second week. Animal-rights people would be picketing out front. The health department would have notices on their door, and the eviction notice would be posted all over the front of the building.” Good thing the sitcom is actually filmed on a set in L.A.
Much like her film Tiny Furniture, show-runner Lena Dunham’s new HBO series dissects twentysomethings’ sex lives, aspirations, and money problems with brutal honesty. So it’s no surprise that the program’s main character, Hannah (Dunham), must move into her best friend’s humble Greenpoint apartment (which Corcoran values at around $2,800 a month) after her parents force her to live on her own. Unlike the 2 Broke Girls apartment, Hannah and Marnie’s is gloomy, modestly furnished, and—to the best of our knowledge—does not house a pony. Later, in a job interview, Hannah mentions a big difference between Greenpoint and Williamsburg residents, implying the former to be better. Corcoran disagrees: “It’s not as nice. The only people who feel that way are the people who can’t afford the rent in Williamsburg.” But studies do show that most Greenpoint garage bands are 15 percent less well known than those in Williamsburg.
Jessica Simpson to give birth by C-Section
Jessica Simpson reportedly wants to give birth by caesarean section because she is terrified of pain.
The 31-year-old 'Fashion Star' mentor is due to welcome her first child with fiancé Eric Johnson any day now, and has apparently decided last minute she is too scared to push.
The singer-turned-fashion mogul had planned to have a live-in nurse at her Beverly Hills mansion and a luxury birthing suite reserved at Los Angeles' Cedars-Sinai Medical Centre, but after trying and failing to conquer her fears, she is said to have changed her mind about the method of her daughter's delivery.
A source told In Touch Weekly: ''The thought of going into labor scared the bejeezus out of her. She was so anxious, she was even breaking into cold sweats at night.
''Jessica has no tolerance for pain. She even turned to hypnotherapy to calm her fears about it, but nothing was working.
''She desperately wanted to experience the joy of a natural birth, but decided to go with what made the most sense for her.''
Meanwhile, father-to-be Eric will be on hand to support her through the process.
The source added: ''Eric is a calming force for Jessica. Eric is so excited about the birth.''
Is Jessica Simpson in the prego-homestretch?
Jessica Simpson waited in a Range Rover today (April 18th) while mom Tina Simpson headed into a Los Angeles Chili’s to pick up take-out. Reports are buzzing about a rumor that Simpson might have already had her baby girl, and is just keeping a low profile…just cause. There are also reports that Simpson is opting for a C-section because she’s terrified of the pain that comes with childbirth.
”The thought of going into labor scared the bejeezus out of her,” a source allegedly told In Touch. ”She was so anxious, she was even breaking into cold sweats at night. Jessica has no tolerance for pain. She even turned to hypnotherapy to calm her fears about it, but nothing was working.
“She desperately wanted to experience the joy of a natural birth, but decided to go with what made the most sense for her.”
From these photos, we can’t tell if Simpson has birthed the babe.
Jessica Alba "can't wait" to meet Jessica Simpson's Baby
She said of the 'Fashion Star' mentor: “She’s so sweet! [Her sister] Ashlee and I had already had babies. [Now,] we [can] talk shop about all the baby stuff and the different stuff we’ve learned … I can’t wait to see [Jessica’s] baby!”
But as far as her own little family is concerned, the 30-year-old insists she is done baby-making for now.
She told Access Hollywood: “I’m happy with my two girls … down the road in five or 10 years, who knows, but for right now, I’m good.”
Having just launched a non-toxic baby product website called Honest.com, Jessica wants to devote a bit of time to getting the business off the ground and to re-visiting her acting career.
She said of the website: “This is my third baby. I have actively gotten back into acting. I did my first movie since I had Haven. So that was really fun and exciting.
“I actually got more sleep in that one week than I’ve had in seven-and-a-half months,” she said with a laugh.
Ashlee Simpson and Bronx visit NYC, indicating Jessica Simpson’s due date is likely not imminent
It looks like the world will have to wait a little longer for the arrival of Jessica Simpson's baby. Earlier today, Ashlee Simpson, younger sister of the "Fashion Star" mentor, touched down in New York City with her 3-year-old son, Bronx Wentz. They are in the Big Apple for a visit — perhaps to spend time with Ashlee's boyfriend "Boardwalk Empire" star Vincent Piazza, who resides there — making it seem highly unlikely that her famous sister will be giving birth anytime soon.
Ashlee, 27, and her curly-haired cutie were all smiles after their cross-country flight. In the series of photos of the twosome, they were dressed in color-coordinated outfits — mostly darker hues of black and gray — and Bronx, whose dad is Ashlee's ex-husband Pete Wentz, clutched a Lego toy. Later, he rested his head on her shoulder for a nap.
In February during New York Fashion Week, Ashlee and Piazza, who have been dating since last year, gave their first joint interview. He said that there's nothing better than when she visits him in the Big Apple. "I love when we get to spend time in New York together," he told reporters. "It's where I'm from so we always have a good time." Their idea of a perfect night? They like to "hang at home and cook," she said. He called her "my sous chef" and said their favorite meals to make are "fish or pasta or something, steaks." She gushed: "He's amazing."
It's an exciting time for the extended Simpson family as Jessica nears the arrival of her first child with her fiancé Eric Johnson. After announcing her pregnancy on Halloween, Jessica has shared (and sometimes over shared) many details of her pregnancy with the public, especially as she's spent the last few months promoting her NBC reality series. However, after hitting just about every talk show imaginable and sharing funny pregnancy observations — like "I feel like a bowling ball sitting on my hoo-ha," which she told Jimmy Kimmel — in the last couple weeks the fashionista has been out of the spotlight. She still tweets during her weekly show, but she hasn't been photographed at all recently.
omg! reached out to Jessica's rep to see if she's on bed rest, but we have not yet received a response.
Either way, Jessica is in the home stretch, but — with her sister across the country — she can't be that close to her due date. Can she?
When do you think Jessica will give birth? Take a guess below!
Source Source Source Source
Playing the part of the arrogant knight in the critically acclaimed HBO production, Danish actor Nikolaj Coster-Waldau believes he was the first to recognise the similarity.
"The funny thing is… I think I was the first to say that when we shot the pilot," revealed the 41-year-old actor in a video interview from London. "When I put the armour on for the first time, I said, 'That's Prince Charming from Shrek'."
Answering a few exclusive questions from Yahoo!, Coster-Waldau asserted that he had no qualms playing the villain in the medieval fantasy series.
"I've played all kinds of roles [in my career] and of course the ones that stick out are the most successful [ones], and right now that is Game of Thrones," he said, adding that he loves his character for its well-written role.
When asked about his character's dubious love affair with his sister, Lannister laughed it off by admitting that "the incest thing is, of course, weird".
"But the way I see it… he fell in love with this girl who just happens to be his sister. [And] I can relate to falling in love with someone," he added.
In the three-minute long interview, Coster-Waldau also teased about what audiences can look forward to in the upcoming season of the adventure-drama.
"There's a scene that was shot that is one of my most favourite scene ever in any job," he confessed. "Episode 7 is my favorite episode, I can say that much."
More Interviews with The Cast:
One more with Nikolaj:
Richard Madden, Kit Harrington and Alfie Allen in MIami
source: 1 / 2 / 3
Amanda Seyfried shares a laugh with a crew member on the set of her upcoming film Les Miserables on Wednesday (April 18) in London, England.
The 26-year-old actress is playing the role of Cosette in the musical flick – these are the first pics of Amanda in costume!
Look out for the film in theaters on December 14 of this year.
New sneak peak for this week's brand new iCarly episode 'iOwn a Restaurant'. This episode Gibby and Sam partner up to open a new restaurant in their school basement, while Spencer creates a robot which causes problems. Episode airs Saturday April 21st at 8pm on Nick.
Supermodel Abbey Lee Kershaw is to make her acting debut in Mad Max 4. As the world's fifth most in-demand model, Abbey Lee Kershaw says she loves her job because it allows her to become someone else.
Now the elfin beauty is taking her work one giant step further, with word she has signed to star in the controversial fourth instalment of Mad Max.
Her first acting job, the triple-threat (she sings in a band) has nabbed a part in the George Miller-directed production of Mad Max: Fury Road, which was scheduled to start filming in Namibia this month, following years of delays and setbacks.
A well-placed film source said: "Obviously it's set in a post-apocalyptic world, and women, especially beautiful women, are scarce, so men have been locking them up in cages. Abbey is one of them. She's perfect."
New York-based Kershaw has said in the past she was not sure about acting.
The action film, which has an estimated budget of more than $130 million, is set to star Tom Hardy and Charlize Theron.
It was originally set to shoot in Broken Hill in 2010 but, after huge sets were built during pre-production, torrential rains flooded the area, turning the all-important desert setting into a lush, green garden.
Kershaw's Australia-based model management Chic couldn't comment yesterday and the Kennedy-Miller production company didn't return our calls.
There are rumours Kershaw's role was initially given to fellow Aussie Teresa Palmer, who eventually pulled out to pursue other projects following the long delays.
Queen Cate delivers a tour de force performance in Gross und Klein
How best to describe Cate Blanchett’s characterisation of Lotte in Botho Strauss’s Gross und Klein? Gutsy and incandescent spring to mind. In a demanding and difficult role – to which she commits heart, body and soul – she astonishes with a virtuoso performance of eccentric ardour. It’s nothing short of a career triumph.
Success on the screen offers no guarantee of brilliance on the boards. Some actors can command both media. Others struggle to make the leap from one to the other. Cate Blanchett unquestionably belongs in the first category. Anyone who can play both Elizabeth I and Bob Dylan in the movies can obviously do versatile. But the range of Blanchett's performance in Big and Small, her first appearance on the London stage for 12 years, is still breathtaking. She is on the stage almost throughout the two and a half hours of Botho Strauss's play, as her generous-hearted but ineffectual character Lotte struggles repeatedly to connect with the people around her. Lotte passes through an indifferent world almost unnoticed. But Blanchett's stage presence in the role is compelling, as she deploys every register, gesture and movement to give the kind of once-in-a-generation stage masterclass that conjures up memories of Vanessa Redgrave in her prime.
Strauss’s play is an obscure one and at three hours, it’s not your typical silly season theatre fare. But Blanchett gives the performance of her career. Smoking and nervously pulling at her underwear, she is goofy and wildly enthusiastic as the young abandoned wife.
Directed by Benedict Andrews and designed by Johannes Schutz, it is now presented in the context of a post-GFC Europe that is amid yet another crisis. But the great artist who guides us here through Lotte’s odyssey is Cate Blanchett. This is a stunningly expressive performance, supported by an excellent cast. Her extraordinary vocal and physical skills as an actor have never been in doubt, but here she is magnificent. Her Lotte dances frenetically across this vast blackness. She falls to the ground and then springs up again. Vernacular humour and farcical comedy are interspersed with gloriously ironic visions of the transcendent and sudden moments of anguish. Blanchett plays this abject, increasingly deranged but ultimately innocent character with a mixture of vulnerability and luminosity that is heartbreaking.
The good news, for fans of genuine deserve-it A-list celebrities or (more importantly) simply good acting, is that Cate Blanchett is beyond terrific. Whimperingly, blisteringly terrific. She is a revelation, and those cynics who at times sniff at Hollywood stars bringing themselves into London's theatreland to hone their "real acting" kudos should sit down in front of this show, for the full three hours; and they would then stand and applaud. But it is well-nigh impossible to tear one's eyes from Cate Blanchett, right from the opener, as she sits, smoking, on stage, gazing at us, soliloquising at us. Fine, much of it is admittedly mad absurdist German 70s playwright soliloquising – yet she delivers it with such confidence and humour, her breaths swooping and dying but every single pointed, angry or delighted line being nailed just-so, that from here on in you actually forgive much of the play and simply marvel at being in the presence of a bona fide stage star.
It's not just the pitch-perfect range of Blanchett's emotions that captivates; her balletic athleticism mesmerises throughout. She skips, she sprawls, she teeters and pirouettes and manages to imbue a simple walk across the stage with, depending on mood, exuberant gaucheness or filigreed elegance.
At the very end, even her slouching exhaustion by life has an energy to it. There were four ovations from the audience, which I think we can safely wager is the first time for a while that London audience has felt that way about lengthy German surrealist drama. And they weren't, trust me, applauding a Hollywood star. They were applauding the realisation that sometimes, just sometimes, a person truly deserves to be a star.
Strauss has also written one of the best parts for a woman in the modern repertory and Blanchett inhabits it with every fibre of her being.
What she conveys, from the opening Moroccan monologue, is Lotte's desperate hunger for human contact: she sniffs her armpits and sprays her genitalia to ensure that personal hygiene is not her problem. That physicality underlies the whole performance, in which Blanchett at one moment skips like a frisky puppy, at another dances with the frenzy of an over-wound doll. But, above all, she conveys the feeling of being the outsider always looking in, whether peering through vast Edward Hopper-like windows or pressing her features against a pane of frosted glass.
"I'm one of the righteous," Lotte tells an alarmed stranger at a bus stop; and Blanchett, in one of the most dazzlingly uninhibited performances I've ever seen, suggests a garrulous angel who doesn't quite belong on earth.
We shouldn't, however, be surprised by her success. She was a stage animal long before she went into films. As co-director of the Sydney company, she has also had the wit to engage Benedict Andrews as director and what he brings out, through Johannes Schütz's sets, is Strauss's strange mix of realism and expressionism.
It is, however, Blanchett who will long be remembered for her moving passage from a figure of bounding, irrepressible energy to one shrouded in silence like a Samuel Beckett character staring into the abyss.
With the exquisite Cate Blanchett starring as Lotte, the manic, pitiable central character, it could have been experimental Inuit theatre and I’d have been there.
Big could refer to Blanchett’s performance in this Sydney Theatre Company show: a radiant, passionate, ever-changing and sometimes highly comic one.
If Cate’s agent wanted to secure a theatrical niche to cement public perception of her as one of the greatest actors this country’s ever produced, he or she could’ve found no better showcase than this play. My companion, particularly, thrilled and marvelled at her superbly nuanced, consummate, commanding performance: she put nary a foot nor gesture wrong; so much so, that even a distinguished cast, including the likes of veteran, Lynette Curran, while not exactly paling by comparison, couldn’t help but be thrust into the background. Yes, Lotte is the central character, but Blanchett made her even more the anchor. Cate is cool.
If there was a standout scene, it was arguably that involving Richard Pyros and Blanchett, separated by a diagonal row of desks and chairs, in the office of a big bureaucracy. Pyros matched Blanchett blow-for-blow, in a scintillating, tour de force, acting matchup of heavyweight champions.
Cate Blanchett makes her first appearance on the London stage for 13 years in this unusual and arid play. Her performance is electrifying. Blanchett brings astonishing commitment and passion to the role of Lotte, a German woman whose experiences suggest a resemblance to Alice in Wonderland. When we first see her, sipping a drink on the terrace of a hotel in Agadir, she appears robust, able to deal with the trauma of being ditched by her husband. But soon we realise she’s something very different: a vulnerable misfit who craves acceptance yet finds the world around her bewildering and frequently unpleasant.Yet this is Blanchett’s show. It is her physically compelling and ultimately luminous portrayal of Lotte’s odyssey that makes this trippy and sometimes baffling production worth seeing.
Blanchett is riveting throughout: animated and vibrant, her Lotte shows us exactly what she is thinking and feeling at every instant, and does so with as much energy as the other 13 players put together. But Strauss’s dramatic world – atomised and anomic, as so often in his work, and realised in a beautifully minimal set design by Johannes Schütz – gets the better of her in the end. The degree to which we relate to that world is moot; what is beyond dispute is the quality of Blanchett’s performance.
The answer can be summed up in two words: Cate Blanchett. In Benedict Andrews' production for the Sydney Theatre Company (of which she is one of the artistic directors), Blanchett proves she is as luminous and commanding a presence on stage as she is on screen.
Here, she portrays Lotte, a lonely graphic designer who embarks on a surreal odyssey across contemporary Germany in a fruitless search of some form of connection with old friends, an estranged husband, her brother's berserk family – even at one point appearing like a bizarre, uninvited angel on the window sill of a bickering couple who wind up rejecting her intervention.
Progressing in 10, over-protracted sketches, the piece opens in Morocco, where Blanchett's restive Lotte (at odds with her tour group) is reduced to ridiculously raunchy fantasies about two men she can hear outside in the hotel garden whose mundane business-speak (the smartly knowing adaptation is by Martin Crimp) she oversells to herself as "total philosophy".
At one point, mid-rhapsody, she beautifully times the bathetic removal of a cocktail olive pit and the tugging at a rucked-up too-tight skirt.
Establishing a winningly unguarded rapport with the audience, Blanchett manages to create a heroine who is both an open-hearted visionary able to retain a wonder and curiosity about the world, despite all the rebuffs, and a bit of a clown whose hapless antics are performed here with a balletically slapstick flair.
Blanchett is magnificent throughout, especially in the later stages – at one point, she strips to a spangly gold tutu and wrestles with furious abandonment against an invisible God-figure; at another, she keeps involuntary channelling the deep voice of a deity while chatting to a nerd at a bus stop.
We first see Lotte in Morocco, sitting on the edge of the all-but-blank stage (except for a white strip under her), listening to two men walking outside her room in the hotel she’s staying at. Their conversation sounds “amazing” to her, and Blanchett proves her considerable skill as an actress as she narrates the proceedings and adds her own commentary, breaking only to have a sip of her cocktail, or to snatch a cigarette from its packet, or to adjust her undergarments in full view of the audience. Indeed, in the first scene alone Lotte manages to flash the audience more times than a kilted Scotsman playing with a hula-hoop. Yet by the end of the play we’ve observed far more intimate and ego-unraveling aspects of her – we’ve seen beyond the facades she doesn’t even know she has, ignorant as she is of the revelations.
Cate Blanchett delivers the bravest and most surprising performance I have seen from her to date as Lotte, the central figure in Botho Strauss’s episodic study of one woman’s estrangement from husband, family and the world.
Blanchett constructs Lotte from a wealth of uninhibited-seeming yet carefully choreographed physical tics. At her most eccentric, she is terribly funny (dicing with apartment door buzzers in an attempt to see an old school friend, for example). At her most vivacious, she is threatening (as short term boyfriend Alf finds out when he attempts to dilute her romantic ardor with minor office chores). It is a performance of uncanny detail and riveting in its unpredictability.
But when played by an actor of the extraordinary emotional agility and range of Cate Blanchett, the role of Lotte dazzles as a star vehicle, reverberates in the ear as a prose poem, and touches us deeply as a meditation on the squirming position of a single human being. The Sydney audience does feel a tingle of role-reversal recognition watching our most glamorous thought leader pretending to be a frumpy bogan starstruck in the presence of a local celebrity (Belinda McClory), but Blanchett's art is so strong that she soon transcends her Hollywood reputation and becomes, convincingly, a hopeless nobody.
Against the odds and the run of play, Lotte's predicament is very funny - thanks to the extraordinary performance of the extraordinary Blanchett. And the outcome is scorchingly, painfully sad as dreams and possibilities crumble; are seen to be ridiculous, unattainable or simply never there in the first place.
The second is the star turn of Cate Blanchett as Lotte. There is a vulnerability to her persona, and a sensitivity to her portrayal, that means that even our laughter at her myriad of absurd comments only adds to the pathos. Blanchett throws herself completely into the part, touching her breasts, spraying perfume up her skirt and dancing wildly as if possessed, but it seems that she finds it easy to do so because she genuinely believes in the piece.
The difficult plot is underlined by a bleak, cold and skeletal set design and, most centrally, an aggressive and daring performance from Oscar-winner Cate Blanchett – an actress who, when in character, is astonishingly devoid of attachment to glamour or vanity. So intensely, relentlessly convincing as woman-on-the-edge Lotte is she, that, after three unpredictable hours, you'll likely leave the Barbican Centre feeling more disorientated than you came in (hands up if you ALWAYS get lost in there?). This show will leave you feeling tired and vaguely uncomfortable. Doesn't sound like a fun ride, does it? That's because it's not. If you're merely looking for the opportunity to gawp at a film star – and you could be forgiven for that – we'd advise waiting until another, lesser actor hits the London stage.
Boosting the sense of Alice in Wonderland-esque surreal is the use of humour: for such a challenging and upsetting theatre-going experience the producers are damned if not a minute goes by without fits of uncontrollable laughter sweeping the audience. We really shouldn't laugh – Lotte is losing her grip on reality, as such the behaviour she exhibits is going to be, shall we say, unusual. And yet, as she tries and fails to reconcile connections with long-lost friends or self-absorbed family members, or forge completely new ones with strangers on the street (or whose homes she randomly invades), it's often the wild, garish silliness that's to blame. We can't help but giggle, but feel guilty afterwards; an emotional response is manipulated out of us.
With the lion's share of the dialogue, Blanchett uses every zingy one-liner to full comedic effect (her ridiculously over the top repetition of the word "AMAZING!" quickly becomes a fail-proof running joke), underscored by fidgety, drunk-like body language and gurning, awestruck facial expressions (ALL traces of brooding sophistication and refinement from the actress's own personality are banished here). We're all familiar with the drunk uncle at a wedding analogy; Lotte is the female equivalent, someone you're torn between feelings of respect and disgust towards; warm and cold sentiments simultaneously; someone you're inclined to help, but, on other hand, want to retreat from so as to spectate from a safe distance the unfolding car crash. In this case, of course, you've no choice but to sit and watch and wonder if and when said car crash is coming, and it is at times excruciating. You fear for Lotte, because she seems so ground down and weak, but there in her optimism and faith in human relationships there's a strength that could prevail.
In fact, by the play's gruelling, physically-demanding climactic sequences, Blanchett's alone on stage once again – and she fills it completely. Productions this powerful don't come around very often, as such this one's not to be missed...just don't expect to enjoy it.
Thanks to the wondrous, constantly changing colours of Cate Blanchett’s performance as Lotte, Big and Small becomes transfixing. She’s an utterly magnetic, magnificent performer, and has a magnifying effect turning Big and Small’s series of alternately mundane and terrifying small vignettes into a big journey.
There’s an unmissable boldness and physical freedom to her playing that’s raw, exposed, vulnerable and haunting. Yet for all the artistic risk it represents, it’s also amazing to think that there was a time when work like this got houseroom in the West End - in 1983, Glenda Jackson starred in a production of the play at the West End’s Vaudeville in one of her last ever stage roles before she swapped acting for politics. In Blanchett, who is co-artistic director of Sydney Theatre Company, you can see an actress with the same kind of commitment and integrity.
But while it would be wrong to suggest that this is an enjoyable evening, it is an often riveting and thrilling one, blessed with a sensational performance from Blanchett that combines dramatic virtuosity with truth, humour tenderness and an aching vulnerability.The play opens with Blanchett sitting on the edge of the stage and delivering a twenty-minute monologue that brilliantly captures the characters mixture of hope, desire, and self-doubt as she eavesdrops on the conversation of two businessmen in a Moroccan hotel. In lesser hands this would be a windy bore, but Blanchett’s mesmeric delivery proves spellbinding. What makes the play genuinely moving is the way Blanchett beautifully captures the character’s resilience as she suffers repeated rejections, from her former husband, her brother, an old school friend, her flatmates and various strangers she buttonholes in the course of her travels. She is so needy, so desperate, that despite her beauty and manifest good will, people recoil from her. As a result Lotte becomes ever more isolated and lonely, until in one magnificent scene she starts raging at God.
Strauss probably intended his play as a glum satire on the cold complacency of the German bourgeoisie and there are also passages recalling the Third Reich and impending global apocalypse. His supporting characters are stereotypes rather than individuals, and though they are efficiently played by the supporting cast there is an alarming lack of detail and compassion in the writing.
Yet somehow Blanchett, who is on stage almost throughout, triumphantly transcends the limitations of the script. She is wonderfully alive in every scene, by turns, funny, sad and touching, and there are extraordinary moments when she abandons language altogether and communicates instead through dazzling movement and dance.
This is a punishing play, but Blanchett’s radiant performance creates many moments of pure wonder amid the gloom.
Blanchett’s performance has an inspiring quality that is constantly surprising, often quirky and occasionally moving. Her Lotte is not a bloodless existential cypher, but a lonely and puzzled woman who is palpably lost. Her quest for a home, for a meaningful language as much as for a satisfying relationship, calls to mind the more recent heroines from the movies of David Lynch and Wim Wenders. Blanchett’s charisma and bravura acting — an impressive array of styles that swings from irritated itching to wild dancing, and from momentary radiance to gutsy feistiness — is compelling, and she gives real presence to ideas about existential angst and alienation in a materialist society. You can easily see why she chose to produce the play.
sources: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18
dedicated to vettus, my fave cate stan <3
HollywoodLife.com spoke to Nigel in his first interview since he was fired as judge on the hit show and he reveals what it was like when Tyra told him the news!
Nigel Barker is keeping his chin up and is excited for what’s next. But the 39-year-old photographer and long-time fixture of America’s Next Top Model tells HollywoodLife.com that learning that he was not going to be a part of season 19 is definitely difficult to come to terms with.
Its always sad when it comes to an end, Nigel says. Ratings have been going down and the networks [CBS & CW] wanted to shake things up and they came to to the conclusion that changing everything would fix things.
We told you that Nigel, Jay Manuel and J Alexander were all let go from the show and Tyra Banks even took to her Twitter to comment on the news.
It is always going to be a bit awkward, how could it not be, he says now of his relationship with Tyra. Whenever you call anyone up to say listen you can't come or I'm not coming....it's over. it's never the call anyone wants to have. I don't think any of us wanted to leave.
But Nigel tells HollywoodLife.com that now he will be able to focus on opportunities that he wasn’t able to before.
I myself have had many opportunities that I haven't been able to follow up on because of the exclusivity of America's Next Top Model, he says. It is sad because it was an era. I turn 40 next week and it defined my 30s. Now my 40s: here we go! I'm looking forward to going off on my own and doing my own shows and being my own boss.
But has this hurt his relationship with Tyra?
To be honest I don’t think it has hurt my relationship with her at all, Nigel tells us. It's not just her. There are many different factors. This is a huge business with CBS and the CW… who knows what the right decison may be. Maybe they made a bad decision. They will see and find out. I wish them nothing but the best and good luck with the next.
-Harry Styles is tired of being compared to Susan Boyle
-Zayn Malik is not sure if 1D will last + He got a new tattoo
-Louis Tomlinson got dumped for not being hot enough
-Liam Payne's mom knew he'd be famous
-Niall Horan's dad doesn't want a cut of his fortune
Harry Styles is tired of being compared to Susan Boyle
One Direction heartthrob Harry Styles is allegedly unhappy that people are comparing him to Britain’s Got Talent legend, Susan Boyle.
Zayn is not sure if One Direction will last
Louis got dumped for not being hot enough
Liam's mom knew he'd be famous
"I was in HMV the other day and saw Liam and the boys on all the posters, CD covers and calendars. I had this huge grin on my face thinking, `That's my son'.
"You have to pinch yourself because it doesn't feel real."
With his One Direction earnings Liam has bought his parents a £20,000 BMW.
The singer wanted to thank his mum after she helped him get over his disappointment of failing at the judges' house stage of The X Factor in 2008.
Karen said: "I sobbed. He wanted it so much and I was there in Barbados with him.
"He was devastated after the first X Factor exit but I knew he'd be famous one day."
The tat will be the latest in Zayn's collection, with the 20-year-old already sporting ink on his chest, his hip and his wrist. This new addition is rumoured to be a silver fern, the national New Zealand symbol.
The boy band - who finished third in 2010's X Factor - caused a stir when they arrived in Auckland this week, which led to the airport having to deny the boys were even in town to prevent a catastrophic meltdown of anyone under the age of 16.
Niall Horan’s dad: I don’t want a cut of his fortune
So basically what this guy is saying is that girls like 1D because they smell nice and the guys girls know smell awful lol
They talk about how they stay grounded
They talk about Christmas
They talk about each other's personalities
and just for the laughs:
Once again, Hollywood undersestimated a majority black cast. "Think Like A Man" had a production budget of only $12 - $13 million, which is technically an independent film's budget. On Friday alone, it already made back its money grossing an estimated $12 million in only 2,017 theaters, whereas "The Lucky One" is playing in 3115 theaters.
"Think Like A Man" Surprising #1
Big online ticket seller Fandango called this contest early when it reported that sleeper Think Like A Man based on the bestselling book by TV/radio comedian Steve Harvey was its top-selling movie — representing a healthy 42% of Thursday’s sales. This Screen Gems/Sony Pictures’ urban comedy aimed squarely at African-Americans ages 13 to 49 is playing in only 2,017 locations. But it’s looking like $12M for today and an unexpectedly large $30M for the weekend with an ‘A’ CinemaScore from audiences (‘A+’ Males, ‘A’ Females, ‘A+’ under age 25, ‘A’ every other category). ”Think Like A Man is off to an excellent start. At this time it looks very similar to Tyler Perry’s Why Did I Get Married?” a rival studio exec told me today. That’s far more than the $17M which Sony was predicting. “The movie had a negative cost between $12M-$13M so we’re thrilled,” a Sony exec emails me. “Any weekend where you make back the negative cost in the first weekend is a good weekend in our books.”
Warner Bros’ romantic drama from Nicholas Sparks, The Lucky One starring Zac Efron, is looking like $9.0M today to overperform for $25M weekend playing in 3,115 theaters. It received a ‘B+’ CinemaScore from audiences.
I'm especially happy for the actresses (Gabrielle Union, Taraji P. Henson, Regina Hall, and Meagan Good) who are undervalued by Hollywood.
No, it's NOT a Tyler Perry film.
Arielle Kebbel attends the 'Supporting Characters' TFF Premiere, April 20
Abbie Cornish - Premiere 'The Girl' during the 2012 Tribeca Film Festival at the SVA Theater in New York - April 20,2012
Camilla Belle and Lee Sobieski 2012 Tribeca Film Festival Jury lunch in New York City - April 19, 2012
Kim and Khloe Kardashian at the Woodfield Mall in Schaumburg, Illinois (April 20)
Olivia Palermo in New York
Audrina Patridge - Visits ''Extra'' at The Grove in L.A. (April 19, 2012)
Damsels in Distress NYC premiere
Tulisa leaves Project in Mayfair
The Vogue Festival 2012
Georgia May Jagger
Alex Turner and his girlfriend at Coachella
Tippi Hedren at the Free Samples premiere at Tribeca
Kelis in Vegas
Gisele Bundchen in Boston
Sugababe Heigi Range and Jennifer Ellison
Amber Tamblyn and Odette Annable at House season wrap party
"Resident Evil: Retribution" photo call at Summer of Sony 4 Spring Edition in Cancun - April 19, 2012
Natasha Bedingfield at Your sister's sister premiere
Thomas Dekker performs at the Viper Room
Gabourey Sidibe leaving Chateau Marmont
Kat Von D
|Elena Anaya attends 'Agent Provocateur' store opening on April 19, 2012 in Madrid, Spain.|
Source 1 2 3 4 5 6 7 8 9 10 11 12
Even though his hands are plenty busy working on the Munsters reboot titled Mockingbird Lane, and now that his plans for the Hannibal television series have revealed an ambitious seven-year storyline, one would think Bryan Fuller would have little time to ponder a new Star Trek television series.
Apparently, that’s not the case.
While speaking with Entertainment Weekly regarding the upcoming NBC series Hannibal, Fuller was asked about his thoughts on a new Star Trek television series and what he had discussed with filmmaker Bryan Singer prior to J.J. Abrams rebooting the franchise with his successful 2009 feature film release.
It seems that since Abrams and Paramount are the current gatekeepers to the Star Trek franchise, any such television series would likely have to be met with their approval, and coincide with the release schedule of any further installments beyond next year’s tentatively titled Star Trek 2.
In his statement, Fuller said:
“Bryan and I are big fans of Trek and have discussed a take on what we would do, and we would love to do it. I don’t think anything is going to happen in any official capacity until after the next movie comes out. And I’m sure it would be wisely under J.J. Abrams’ purview of what happens. He’s the guardian of Trek right now.”
While that may be somewhat disheartening news for fans eager to have Trek back on the small screen, despite Fuller’s hesitance, common sense suggests that Paramount and Abrams certainly see the potential in a new series – provided it’s done right, of course. Given Abrams’ penchant for producing hit television – especially within the sci-fi realm - and Fuller’s past credits on Star Trek: Voyager, along with Pushing Daisies and Heroes, the idea of a Fuller/Singer collaboration with the support of J.J. Abrams sounds like a sure-fire hit.
The question remains, however, whether this proposed Star Trek series would be based directly on the lore established in Abrams’ films, or if it will take its cue from Bryan Singer’s unproduced Star Trek: Federation series?
According to details that emerged last year, Star Trek: Federation would take place in the same continuity as the original shows and films, but in the year 3000. Additional aspects saw the series serve as something of a metaphor for the decline of the Roman Empire, with Starfleet having fallen from scientific prominence seemingly waiting for another Kirk to lead the charge in restoring Starfleet to former glory.
An excerpt from the proposal says it best:
“The Federation hasn’t had a flagship in over two hundred years. They haven’t done anything either scientifically or in terms of exploration that comes near the deeds done in the long ago Age of Expansion.
There is no sense of true unity in the Federation and unity will be required if these new aliens return in force. The people need a symbol to remind them who they are, what they mean to each other and that there are prices to be paid for living in paradise.
They need, in short, a sense of Enterprise…” (HURR HURR)
That proposal varies a great deal from Abrams’ new, alternate timeline, and seeing as how mainstream audiences and (many) Trek fans took a shine to the reboot, it would seem a trip back to the original timeline might be counterintuitive in terms of the audience’s preference, and certainly, cross-promotion.
Whatever the case, it seems any Star Trek series will be years away from production, so there will be plenty of time to get the storyline straight.
What do you think, ONTD? Would you watch a new Star Trek show?
She has a million-plus followers on Twitter, but often walks her son to school. She was interviewed by Italian Vogue, but goes incognito to pop-up parties in Chinatown. She vacations on yachts in Europe, but talks giddily of sneaking into the Chick-fil-A in Greenwich Village.
Since moving to New York City from Los Angeles last fall, Solange Knowles has kept up a dual life. Her public persona includes D.J.’ing a party at the Ferragamo store on Fifth Avenue and posing for V magazine. But her schedule also includes going to see avant-garde musicians like Grimes in Brooklyn warehouses and attending fund-raising meetings at her 7-year-old son’s school.
“The strollers don’t bother me, but the intensity of the moms does,” she said of her new neighborhood, Carroll Gardens, Brooklyn. “Everyone does so much yoga and drinks so much tea.”
And while she is acclimating to New York, the shadow of Beyoncé Knowles, her older sister, extends like a skyscraper. During a recent lunch at Walter Foods, a restaurant in Williamsburg, Ms. Knowles glanced around the patio with a sense of relief. When she dined there with her sister several months earlier, she said, patrons ogled them and reached for camera phones.
“It did not feel like this,” she said, pausing from her steak salad to gesture at diners minding their own business. She wore a flowing white Tucker dress, Alexander Wang heels and powder-blue Prada sunglasses. “I’m so proud,” she added, “of her success, but I could not do that. It’s given me a pretty clear blueprint on what I don’t want to happen.”
Instead of pursuing pop stardom, Ms. Knowles has wrapped herself in indie cred — a Pitchfork-approved chanteuse, boldfaced D.J. and fashion ambassador, as comfortable on the party pages of Paper magazine as she is on Beyoncé’s Tumblr blog. It’s an appealingly spongy zone of celebrity for the 25-year-old.
Ms. Knowles was born in Houston in an upper-middle-class household; her father was a successful salesman at Xerox and her mother ran a beauty salon. But in the late ’90s, the rise of Destiny’s Child turned the Knowles clan into an entertainment juggernaut. Beyoncé was the star, their father was the manager, and their mother was the stylist and choreographer. Kelly Rowland, another singer in the group, moved in with the family.
Solange never joined Destiny’s Child, but began traveling with the group as a backup dancer at 13, after a performer became pregnant. “It felt very orthodox in its own twisted way,” she said of spending most of her high school years on tour.
While her mother urged patience, Ms. Knowles followed her sister’s path, pursuing a career as a singer and songwriter in her teenage years. Neither her debut album (“Solo Star,” in 2003) nor her sophomore effort (“Sol-Angel and the Hadley St. Dreams,” 2008) was a commercial success, but music seemed a secondary pursuit.
At 18, she gave birth to Daniel Julez J. Smith II, which put her career and education on standby. She married his father, Daniel Smith, and moved to Los Angeles, then to rural Idaho, where he attended college. They divorced in 2007, and Ms. Knowles split time between Houston and Los Angeles, where she still owns houses. But New York City beckoned, not only because her family is now on the East Coast, but also for professional opportunities.
“I’ve been trying to talk her into going to Brooklyn for six years,” Beyoncé said. “It’s so close to her personality. She’s such a fashionista — she’ll get used to it.”
Indeed, Ms. Knowles has made an impression. Last fall, she sat in the front row at runway shows for Rodarte and Vera Wang, D.J.’ed a Rimmel cosmetics party in London and hit the Kenzo and Kanye West shows in Paris. She has earned attention for mixing designer labels with vintage pieces and incorporates bright colors (especially yellow and purple) that routinely inspire “hot or not” polls on style blogs. In January, she signed with Next Model Management.
“Solange can wear anything she wants,” said Humberto Leon, a co-owner of Opening Ceremony, the influential SoHo boutique, who has booked Ms. Knowles to D.J. at several events. “I’ve enjoyed watching her evolution as a style icon.”
Brooklyn is also fertile soil for indie music. Despite her R & B origins, she has deftly infiltrated the genre, remaking a song by the Dirty Projectors, recording with Of Montreal and collaborating with Grizzly Bear and Twin Shadow. “I sort of witnessed her charm the whole indie world in the last two years,” said Alain Macklovitch, a D.J. who performs under the name A-Trak. When he gave Ms. Knowles a D.J. tutorial a few years back, he was surprised by her omnivorous musical diet. “I realized pretty quickly that she had broad musical taste that was totally different from what you expected. She was ahead of the curve.”
Some skeptics say Ms. Knowles has curled leftward as a reaction to her sister’s pop prominence. Hipster Runoff, a satirical culture blog, described her as an “alt hipster blipster songstress” and wrote last March that “Solange Knowles is on a never-ending quest to find her niche in the indiesphere.”
Ms. Knowles bristles at the accusation. “There’s always going to be a bit of mystery as to how two people who grew up in the same household have different interests,” Ms. Knowles said, referring to her sister. “I’m younger than her, and even in five years, there’s a total gap in how you’re exposed to musical things and fashion and art.”
Despite her familial advantages, Ms. Knowles still has a younger sibling’s stubborn streak. While she has helped to write several songs for Beyoncé — “Get Me Bodied” and “Upgrade U,” among them — she has declined any professional help from her more famous sister.
“My sister will not record with me,” Beyoncé said. “She’s her own woman.”
Who did I meet from RuPaul's Drag Race.....
Large and in charge, chunky yet funky....
(apparently I'm too drunk to smile so instead I made a myspace face smh....)
Santino would not be impressed....
TEAM ANYONE BUT PHI PHI
Source: Me. hung. over.
They take ages to seduce, they're rubbish in bed – and then they go back to their boyfriends. But Staceyann Chin still can't resist turning a straight woman's head
There may be a thousand reasons why lesbians love the thrill of a straight girl. Maybe women who chase women possess the same rabid ego we despise in straight men, the same ego that makes a person go giddy at the thought of being "the first" for the straight girl in question. The heterosexual terrain of her flesh, untouched by other dyke hands, smacks of the virgin narrative. Who wouldn't want to be "the first"? Who doesn't like what feels like a conquest? A win?
Maybe it is the thrill of conversion.Who is to say such conquests were not sleeper-lesbians, just waiting for the right moment to awaken? I suppose, though, through the right lens, the process could be described as evangelical, this business of meeting, and courting and having a woman decide to jump the heterosexual ship to be with you.You are the chosen one, the messiah, the mandate that pulls her, magnetic, toward her most hidden desires.
Never, ever overtly refer to the electricity crackling between the two of you. Courting the bi-curious requires the skill of restraint. There is a sort of informal manual for lesbian chasing not-so-straight. And the first rule is, you have to be platonic first. Girls who are not-so-straight but identify as straight – even when they admit to being attracted to women – don't want that interest to seem conscious. It's always better if it seems like an impulsive adventure, a thing that just happened. Which means you always begin as nothing more than a friend. No compliments, no kissing, no holding hands, no longing looks. No I miss you phone calls. No yearning. Just casual chitchat girly-girl conversations. You should laugh when she confides in having a crush on some boy. Offer advice on what she should wear when she goes to see him. Be supportive of her relationship. Become her friend, first. Work very hard at being her very best friend. Always remember, you're only her friend. You are not allowed to bend that rule for at least three months.
Much more at the source: