A source told People: "They were holding hands, hugging and they kissed on the lips. They looked really in love, like no fights ever happened before. It definitely looked like they were back together."
Pals recently insisted that despite their on/off relationship, the pair – who split late last year - can't stay away from each other and have an intense connection.
A source said: ""They have a crazy connection. They just can't seem to break their connection. It can be intense."
The reported reconciliation comes not long after it was reported Selena had asked Paramount Pictures to remove her from Bieber's sequel to his Never Say Never concert film, for fear it could be edited to make her look bad.
A source said: "There are plenty of scenes where she's yelling at him, which, if edited, would make her look bad.
"Selena is desperately worried he'll try to exact some sort of revenge on screen."
source: timeslive.co.za/entertainment/celebrity/2013/04/20/justin-bieber-selena-gomez-spotted-kissing-in-oslo
Goodwin Games on!
Fox’s long-delayed comedy premieres Monday, May 20 (8:30/7:30c), and we’ve got your first look at the series’ key art.
The series — from How I Met Your Mother executive producers Carter Bays, Craig Thomas and Chris Harris — stars Becki Newton (Ugly Betty), T.J. Miller (Cloverfield) and Scott Foley (Felicity) as a trio of estranged siblings who must reconnect in order to inherit their late father’s fortune.
TVLine
The Following may very well be the most insulting show on television. It’s not that the Fox drama—about the hunt for an escaped serial killer and the community of wannabe serial killers that he’d built up around him—actively insults those who tune in. Indeed, it’s a relatively smart, tense drama peppered with references to Edgar Allen Poe and cultural and technological concepts that aren’t necessarily real (or logical). However, every single episode since the pilot has hinged on one basic concept: The good guys are apparently idiots.
So, that initial oversight could be forgiven. After all, there comes a point in almost every story where something impossible — or, at least, hugely unlikely — has to happen to create some form of dramatic tension. And in most of those cases, we find ourselves a willing accomplice to whatever crimes of credibility are committed. Sure, we may roll our eyes in comic frustration and mutter a Oh, come on— but on the whole, we’re willing to forgive a lot if it means exciting things happen in our fictions.
The problem with The Following is that these moments of idiocy are not few and far between. In fact, as Vulture pointed out earlier this week, every single episode of the show has asked us to believe that the FBI agents hunting the serial killing cult have made at least one fatal, and often ridiculous, error in judgment or procedure that prevents them from catching the bad guys.
I get what the show is trying to do here; it’s obvious that we’re meant to feel that, no matter what Ryan and his team does, they remain one step behind Carroll because Carroll is that smart and has planned everything in advance. It’s a way to ratchet up the tension and push us towards the feeling that the authorities aren’t necessarily the ones in control of the situation here — that the good guys are the underdogs, and may not ultimately save the day.
The problem is that Carroll’s successes to date have relied less upon brilliant plans that could only have come from the mind of a genius, and more the result of increasingly inept behavior from his opponents. There’s been nothing particularly impressive — or, indeed, particularly cunning — about the various schemes that have fooled the FBI team investigating the serial killing cult. And as a result, the entire series to date has left the viewer with the increasing feeling that, just maybe, the good guys aren’t very good at what it is they do.
In many ways, that feels as if it breaks some kind of agreement with the audience. In order for a show like The Following to work as a tense drama, the audience should believe that both sides are locked in a fair fight, where both sides are evenly matched. Otherwise, the show becomes something different — a potentially a darker one, where evil is cunning and ever-present, while the forces of good bumble haplessly behind.
Ultimately, that’s why The Following feels so insulting; it expects the audience to not notice — or not care — that its heroes fail to meet the standards that the format expects of them. Instead of working harder to fulfill the dynamic it advertises, or rework the show as the more pessimistic, more downbeat drama that it has become. To keep presenting it as a chase thriller, where the good guys aren’t doomed to failure on account of being incompetent — well, an audience can suspend belief for only so long.
Over the past few weeks, I’ve been watching a lot of The West Wing on Netflix. I had followed the show during its original broadcast run, but lost interest, perhaps coincidentally, just after Aaron Sorkin left the series he created. Now that the every single episode is available to view whenever I want, I’ve found myself sucked in, picking up where I left off. When I have some free time and want to decompress, I watch some West Wing. It’s almost therapeutic. Still, all this bingeing raised some questions: Did the producers have some kind of crystal ball that gave them the ability to make shows seem contemporary when watched today? How could Josh not have realized that Donna was in love with him from the start? And, perhaps most important, Is The West Wing such an enjoyable show because it’s also an unrealistic show?
All but the show’s most fervent fans will admit The West Wing is hardly an honest depiction of how politics is practiced in the White House. Watching any one episode is enough to make that clear: Everyone involved genuinely seems to be working towards some idea of a greater good, even if those greater goods occasionally clash. Even the “villains” of the piece — usually, but not exclusively, Republicans, with the religious right popping up as bonus boogeymen when needed — have their own internal moral compass that protects them from the outright demonization.
On some level, The West Wing was clearly intended to be somewhat grounded in the real world; the show’s tendency to create plots built for maximum educational potential — with facts, figures and statistics filling discussions of policy and political intrigue to both bring viewers up to speed — makes that abundantly, and often boringly, clear. For whatever reason, however, the “realism” of the scenarios in the series isn’t reflected in the characters that populate the world of the show.
It isn’t that Josh, Toby, CJ and Donna were idealistic, as such; you might expect that in a few politicians and policy wonks, — even if much of the idealism may get gradually replaced by the self-centered cynicism on display in modern political fictions like House of Cards. No, what truly marked The West Wing‘s characters as fantasy figures was that they were so perfect. Their idealism was paired with a universe in which such an attitude made perfect sense, because things did tend to work out more often that not.
Situations where that wasn’t the case, and our heroes ended up meeting with some kind of failure or resistance, almost always proved to be temporary setbacks on the road to ultimate victory that would be the cause of some conflict, much angst-ridden self-reflection and the ultimate realization that they really were right, goshdarnit. Toby, facing a severe sentence for leaking classified information, is pardoned in the series finale because, Hey, his criminal actions came from good intentions, didn’t they?
I can only imagine what the show looked like to someone who wasn’t on board with The West Wing over-arching message that government was a great thing, and the more government, the better; even when Republicans were brought into the series to offer alternate viewpoints, they would eventually surrender or change their minds if they stuck around long enough. The show’s viewpoint came to win over any attempt at being fair and balanced just as Fox News was popularizing the term.
The West Wing worked so well because it was based on a particular fantasy: not that there are some good people in Washington, but that it is filled with them. That fantasy is as much part of the charm of The West Wing as the fast-paced dialogue and Martin Sheen’s wondrous ability to glower or charm.
The West Wing still appeals so strongly, I suspect, because it offers up a vision of a government that works, or at least actually has the country’s best interests in mind even when it fails, and a President who really is as smart and as caring as we want the Leader of The Free World to be. Both of those thoughts are very reassuring, especially considering the alternative offered by the reality. When it comes down to it, who wouldn’t want to watch that on a weekly basis?
