Articles on this Page
- 03/01/13--20:40: _Yeah Yeah Yeahs cov...
- 03/02/13--18:11: _Britney in Santa Ba...
- 03/02/13--18:11: _#TheWalkingDead 's ...
- 03/02/13--18:12: _Who dip-dyed their ...
- 03/02/13--18:13: _Jessica Stam in Num...
- 03/02/13--18:24: _People's Top Ten Ce...
- 03/02/13--18:48: _Iggy Azalea On The ...
- 03/02/13--18:53: _Marina and the Diam...
- 03/02/13--18:55: _Rye Rye - After Party
- 03/02/13--19:31: _Seth MacFarlane was...
- 03/02/13--19:55: _Guess who is engage...
- 03/02/13--19:55: _LiLo 'wants to help...
- 03/02/13--20:00: _Here’s Richard Simm...
- 03/02/13--20:09: _'Harry & Taylor Did...
- 03/02/13--20:10: _Controversial Celeb...
- 03/02/13--20:20: _Beyonce's latest In...
- 03/02/13--20:20: _Bad Blood, Family &...
- 03/02/13--20:21: _SNL Post: Kevin Hart
- 03/02/13--21:55: _Daft Punk Air Myste...
- 03/02/13--22:37: _DDL's brother: Dani...
- 03/01/13--20:40: Yeah Yeah Yeahs cover Billboard's spring preview
- 03/02/13--18:11: Britney in Santa Barbara with the boys
- 03/02/13--18:12: Who dip-dyed their dog?
- 03/02/13--18:13: Jessica Stam in Numero PLUS Paris fashion week pix
- 03/02/13--18:24: People's Top Ten Celeb Quotes of the Week!
- 03/02/13--18:48: Iggy Azalea On The Set of “Work” + More News
- 03/02/13--18:53: Marina and the Diamonds: PART 9: The State of Dreaming!
- 03/02/13--18:55: Rye Rye - After Party
- 03/02/13--19:55: Guess who is engaged y'all!
- 03/02/13--20:00: Here’s Richard Simmons Going Off the Rails on Live TV This Week!
- 03/02/13--20:09: 'Harry & Taylor Didn't Seem In Love At All'
- 03/02/13--20:10: Controversial Celebrity Ad Campaigns
- 03/02/13--20:20: Beyonce's latest Instagrams and Tumblr pics
- 03/02/13--20:21: SNL Post: Kevin Hart
- 03/02/13--21:55: Daft Punk Air Mysterious Advertisement During "Saturday Night Live"
- 03/02/13--22:37: DDL's brother: Daniel won't talk to me anymore.
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On Jan. 22, the Yeah Yeah Yeahs took the stage at Sydney's Metro Theatre, where, nearly a decade earlier to the day, the rock trio's feral frontwoman almost died. Back in 2003, Karen O—drunk on the energy of the crowd (among other things)—fell headfirst off that very stage, thwacking a guardrail on her way down. The monitor that she'd been clinging to toppled with her, collapsing onto her head. Living up to her bedlamite reputation, Karen O finished "Rich," the song she'd been singing, and followed it up with "Maps," the elegiac ode to forfeited love that reached No. 9 on Billboard's Alternative chart and turned the New York–based band's debut album, Fever to Tell, into a certifiable hit. (The video for "Maps" has since been viewed more than 15 million times on the group's official YouTube channel.)
"I felt like I'd been hit by a truck," says Karen O, who was rushed to the hospital in a stretcher when she eventually lumbered back to her dressing room. "It was a pivotal moment for me. My insanity onstage had been escalating and the more I hurt myself, the more the crowd enjoyed it. I was like Mickey Rourke in ‘The Wrestler.' After that, I basically had to clean up and figure out a way to entertain without that grotesque spectacle of recklessness."
Karen O has put aside her preshow ritual binges in favor of the occasional jigger of tequila or whisky, and she admits that her nerves were at an all-time high when she "returned to the scene of the crime" this year. "On the dawn of the new record, it felt like a pretty big accomplishment that I was able to do the show and actually walk out of there on my own two feet," the 34-year-old New Jersey native says.
From a table on the second floor of Congee Village, a garish Chinese restaurant on Manhattan's Lower East Side, Karen O and her bandmates—guitarist Nick Zinner and drummer Brian Chase—are ladling through a bowl of allegedly meat-free congee. "My vegetarian radar is on high-suspicion mode," says Chase, also 34, who has known Karen O since the mid-'90s when they were both students at Oberlin College in Ohio. (Zinner and Karen O met at a dive bar in New York's East Village, where she moved after transferring to New York University's Tisch School of the Arts.)
Despite their fleeting preoccupation with the rice gruel, the Yeah Yeah Yeahs are in a reflective mood. The night before, Karen O and Chase spent the evening at Union Pool, a dank concert venue in Brooklyn, where Zinner reunited with Challenge of the Future, the rock band he formed with friends from Bard College. The reunion show was a fund-raiser to start a college trust for the daughter of one of their late friends. "I've been thinking about the past a lot lately," Zinner says.
The band's shared nostalgia permeates Mosquito (out April 16), the group's fourth and possibly final album on Interscope Records. (The Yeah Yeah Yeahs' contract with the label expires following Mosquito's release, which Zinner says is both exciting and scary.) Instead of capitalizing on the synth-soaked, disco-drenched achievement of the act's last offering, 2009's It's Blitz!, the band members have returned to the grit and snarling animus that first endeared them to a devoted legion of heaving fans.
"I miss the bands that were around when we first started out," says Karen O, whose reserve is hard to reconcile with the writhing, screaming maniac into whom she transforms onstage. Karen Orzolek, the daughter of a Korean mother and Polish father, is self-effacing, mannered and calm. Karen O, whose naturally onyx hair has been bleached Deborah Harry blonde, should be fitted for a straitjacket. "When we came up, there was the Jon Spencer Blues Explosion and the Make-Up. Where has all the charisma and the sexuality and the gnarl gone? This album is about bringing that back into the fray."
No one was happier than Christian Joy, who has been outfitting Karen O in her avant-crafty designs since the band's inception, when her muse decided to dial her onstage antics down to 10. "It was annoying in the beginning," Joy says. Her costumes would, by the end of a show, be soaked in the beer that Karen O routinely poured over herself and torn and bloodstained by the shards of glass she'd roll around in. "Eventually I took the Yoko Ono approach that art should change. Those clothes are going to look so much cooler hanging in a museum with beer on them."
For Mosquito, Karen O wanted a more refined look. The lobster claws and rainbow-colored, hand-shaped headdresses have been replaced by, of all things, suits. "With Karen, it goes beyond, like, ‘I'm gonna shoot fire from my tits,'" says Joy, who adds that, unlike Lady Gaga or Nicki Minaj, "It's not about looking crazy for the sake of looking crazy -- even though I know Karen looks nuts most of the time." Karen O swears that her more streamlined aesthetic signals female strength rather than deference to the Man. "When I put them on, I feel like a half-Korean, half-Polish-American pimp," she says. "It's like sailing right past self-empowerment and going to the next level. I feel like Elvis when he got to Vegas and started wearing jumpsuits -- minus the drugs and stuff."
For his part, Zinner says that his after-dark adventures have tamed considerably in the past few years. "But weren't you out until 4 a.m. last night?" Karen O chides. "Exactly," says Zinner, whose puckish smile makes him look much younger than his 38 years. Despite Mosquito's fatalistic track listing -- songs include "Buried Alive" and "Despair" -- Karen O insists the album isn't preoccupied by death. "The vibe is definitely up, but it wouldn't be a Yeah Yeah Yeahs album if there wasn't some sort of confrontation or aggression," she says. Zinner adds, "It's about expelling those angry feelings."
Nowhere were those angry feelings more glaring than on the band's second album, Show Your Bones—which, despite having been a nightmare to make, entered the Billboard 200 at No. 11 and sold 56,000 copies in its first week, according to Nielsen SoundScan. "That was a really hard time," Chase says of recording what was nearly the Yeah Yeah Yeahs' last album. Internal strife and the sophomore curse nearly caused Karen O, on more than one occasion, to quit.
"It crossed my mind a lot of times," she says of abdicating the throne as rock's most conflicted queen. "But I felt like I had to finish the record, even though it was really difficult and we were going through intense hardship. Nick and I were on really bad terms. We were forced to support the record, and we had to be around each other a lot -- at the shows, on the bus." The long, confined hours in each other's company actually helped purge their demons. "It was like alchemy. And now we're still here to talk about it."
If Show Your Bones portended the death of the Yeah Yeah Yeahs, then Mosquito heralds the resurrection of their electric sting. Their rekindled solidarity was fostered, at least according to Chase --who has said, "It's important for us to do other things to stay healthy musically" -- by their time spent apart.
Pop Princess rocks a #26 t-shirt while spending time at the beach on Saturday (March 2) in Santa Barbara, Calf. The 31-year-old entertainer was seen playing in the sand with her two sons Preston and JJ.
LOS ANGELES -- From week to week fans simply never know which characters will survive the relentless zombie attacks on AMC's hit series "The Walking Dead."
That unpredictability keeps viewers on the edge of their seats and the shows' stars in a constant state of alertness.
"You see series and they last a long time and sometimes the writing gets lazy or the acting gets lazy. Because we're in a zombie apocalypse and anyone can go at any time, it sort of keeps us fresh and on our toes," Norman Reedus told The Associated Press Friday.
Fans lined up around the block to watch a panel discussion with Reedus and his co-stars at Paleyfest, the annual Southern California TV celebration. Many in the crowd showed their support for Reedus' crossbow-wielding character, Daryl Dixon, with their "If Daryl dies we riot!" T-shirts.
The 44-year-old actor says his vocal fan base is responsible for his character's impressive longevity in a series that seems to have no qualms in axing its most popular characters.
"Hell yes. Oh my god, yes," he said. "(They're) keeping me on the show."
"The Walking Dead" focuses on a rag-tag band of surviving refugees, including unruly brothers Daryl and Merle Dixon, who were not part of the series' comic book origins.
"I want to be Daryl Dixon in my next life," joked co-star Laurie Holden. "He's sexy and he's got the rugged thing going on."
When asked about his breakout star status, Reedus becomes humble and tries to turn the spotlight on his Golden Globe-nominated cast. (hfhjdkjskfhsdhsd love him sooo)
"I watch them grow and I watch myself grow. It's one of those acting things where like I'll be in a scene with her or with him and I'll say should I try this? And they'll go `yeah' and I'll believe them and I'll trust them. Everyone wants everyone to just kill it," Reedus said with a laugh.
ICONIC supermodel Jessica Stam STUNS in the March issue of Numero. Photography by Sofia Sanchez & Mauro Mongiello.
In a SHOCKING revelation, Supermodel Jessica Stam chops off her hair and dyes it back to blonde! Check out her Paris fashion week looks!
Outside Roland Mouret
Jean Paul Gaultier
Do we love the new look?
s o u r c e.
"I just hope it doesn't pop out with a weird accent."
– Channing Tatum, on his and wife Jenna's plan to give birth in London, on Jimmy Kimmel Live
"You look like an old girlfriend of mine."
– Jack Nicholson, while crashing an interview to congratulate Jennifer Lawrence on her Oscar win
"Oh, really? Do I look like a new girlfriend?"
– Jennifer Lawrence, turning on the charm
"I'm trying to get back to my original weight of 8 pounds and 15 ounces."
– Wynonna Judd, on the reason she's joining this season's cast of Dancing with the Stars
"Does anyone know how to turn these things off?"
– Josh Duhamel, channeling Katy Perry in a promo for his Nickelodeon's Kids Choice Awards hosting gig
"I'm trying to re-enter society. I've been in this building for 18 hours a day and I feel like I just got out of prison and I don't know how to act right."
– Tina Fey, on life after 30 Rock, on The Late Show with David Letterman
"We write songs about boys and sex together. That may not be normal to the average psychiatrist out there but I think it's pretty cool."
– Ke$ha, on collaborating with her mother
"We look so much alike that I could be his twin! I asked him out to dinner so that I could teach him some new dancing moves."
– Richard Simmons, on meeting former Dancing with the Stars pro Maksim Chmerkovskiy
"I'm worried about it because my boobs could fall into my dinner, so I'm being very careful."
– Heidi Klum, on the risks of her cleavage-baring Oscars dress
"I say give it a good six months before you commit. Feelings change, even if it seems so lustful."
– Kim Kardashian's marriage advice, to Cosmo
"I am smiling – you just can't tell because I have a beard!"
– George Clooney, while getting his Oscar engraved at the Governors Ball, to PEOPLE
HAPPY WEEKEND, ONTD! xoxo to you all! :-)
Iggy has shared some cute new pictures on Instagram from the set of the official music video of her first single “Work“
Iggy has tweeted some info on the “Work” music video that starts filming in Los Angeles and will premiere on March 11. She also announced that “Mini Iggy” from the “Murda Bizness” video will be making a cameo appearance.
Iggy Azalea will appear on this Sunday’s episode of MTV2‘s “Week in Jams,” and guest host Po Johnson played a round of “Marry, F—, Kill” with the Aussie native, who will release her debut album The New Classic later this year. Her choices: Charlie Sheen, Justin Bieber, and Jams’ own Charlamagne Tha God.
After some playful banter, Charlamagne and Iggy decided that they were best off as f— buddies, leaving it at that. “I like you, so I’ll f— you,” Iggy told, “but I won’t be with you forever.” To which Charlamagne cheekily replied, “And I’ll appreciate the favor.”
Now left with the excruciating choice of who to marry and who to kill between Charlie Sheen and the Biebs, Iggy looked to that factor which guarantees a relationships success: money. “You think Charlie Sheen is richer? Alright f— it I’m marrying him… Kill Bieber.”
Src 1, 2
This gets a video but not Teen Idle or Bubblegum Bitch?
I always watch the Oscars. As a devotee of the movies, I like to guess the winners, see the awards given out, hear the acceptance speeches, see what kind of politics are in play. I also like the women. I like to see what they are wearing, their hair, the jewelry, the whole girly thing. It’s a sensory experience for me, the Oscars.
When I watched on Sunday, I was eager to see how a new host would change it up. I admit, I have a fondness for Billy Crystal – he’s always funny, he does great opening bits. I've liked some other hosts — Ellen, Steve Martin, two of Whoopi’s four stints. I didn’t like Letterman. I wanted to like Hugh Jackman, but couldn’t, and truly hated James Franco and Anne Hathaway.
I like Seth MacFarlane as a comedian and as a political animal. I like that he’s very strong politically on the issues of domestic violence and marriage equality. That’s not the standard for straight white guys, so when one who is in the public eye as much as MacFarlane speaks out on those topics, I take notice. I thought choosing him to play host was an edgy one for the stodgy Academy, but his humor is definitely geared to the demographic the Academy has been desperate to reach: the under-40 set.
When the ratings came in, it was clear they’d made the right choice: Ratings were the highest in years and there was a 20% bump in the key demographic. Go Seth!
But another demographic was unhappy. Not just unhappy, but angry. A close friend sent me a blistering New Yorker column by Amy Davidson referring to MacFarlane’s “ugly, sexist, racist Oscars.”
Whoa! Did she see the same Oscars I did? Because the presentation I saw was a veritable paean to women. Women were showcased in a way I can’t recall men having been. What’s more, gay men were showcased too and it’s long been de rigeur in Hollywood to pretend there really aren’t queers in Tinsel Town. Admit it — seeing the Gay Men’s Chorus of Los Angeles on the Oscar stage was pretty fabulous. MacFarlane did what good awards hosts do — he ripped the status quo a new one. He dissed Mel Gibson’s anti-Semitism and when the audience had an “Oh no!” response, he said, “Oh, you're on his side?” Right back at ya!
The awards were slated as a tribute to music in the movies, which led to a series of song-and-dance routines to open, including a satirical parody sung by MacFarlane called, “I Saw Your Boobs.” The song referenced what many Oscar-winning actresses are forced to do for the movies: show their breasts, regardless of the circumstances of their roles. Among the actresses mentioned were Jodie Foster in The Accused and Hilary Swank in Boys Don’t Cry, two films in which the characters are brutally raped.
Even though the women shown during the song were in on the joke (their reaction shots were obviously pre-recorded) this song became the focal point of the day-after attacks on MacFarlane. Missing, we thought, the entire point of the song: that in Hollywood, women — even when playing victims of violent crime — are reduced to the sum of their body parts, not the sum of their movie parts. But a man singing about “boobs” just had to be bad and sexist and wrong. There couldn’t have been a satirical point being made.
There was also the joke MacFarlane made about George Clooney, one of many Hollywood men regularly dating much younger women. Clooney is 51 and his current girlfriend, Stacy Kiebler, is 31. MacFarlane joked that the youngest nominee for Best Actress, Quvenzhane Wallis, who is 9, had another 16 years before she’d be too old for Clooney. In Davidson’s and others’ transliteration of what MacFarlane actually said (which is why I thought perhaps they’d just heard about the Oscars and not actually watched them), the backlash alleged that MacFarlane dissed a 9-year-old when in fact he’d taken on a Hollywood full of first wives dumped for younger models of their former selves by addressing its most eligible and oldest perennial bachelor.
The night went on like this in the feminist revision. MacFarlane referenced the beauty of many of the women — all of whom had spent days and even weeks preparing their “look” for the presentation. The tabloid TV shows have been full of the cleansing, the diets, the workouts, the not-eating, the facials, the mani-pedis, the hair extensions, the Botoxing, the being sewn into dresses, the taping up of breasts, the cinching in of waists and derrieres. It’s been a main topic of entertainment discourse for weeks leading up to the awards: women’s bodies, women’s looks.
Is MacFarlane the villain for calling out the reality or are Hollywood — and American audiences — at fault for demanding physical perfection from female actors while men can look however they want?
The fabulous Dame Shirley Bassey, 76, was magnificent as she performed her signature Bond song, “Goldfinger,” yet has had obvious plastic surgery. But Jack Nicholson, 75, the godfather of Hollywood, was sitting in his prime Academy seat, jowls and wrinkles and wattles on wanton display. And after the ceremony Nicholson was filmed hitting on 22-year-old Best Actress winner Jennifer Lawrence, while she was being interviewed by ABC anchor George Stephanopoulos. How outraged would people have been if Bassey had been hitting on Daniel Radcliffe, 23, whereas Lawrence literally putting her head in her hands and whispering to Stephanopoulos, “Is he still there?” was just “cute.”
And speaking of Nicholson, one of the references made in the feminist blogosphere was to Roman Polanski having raped a girl at Jack Nicholson’s house — as if both Nicholson, who was out of town when the crime occurred, and MacFarlane, who was 3-years-old at the time of the 1977 rape, were active participants. (And as if Jodie Foster herself hadn’t starred in Polanski’s film Carnage last year. It’s not like many of Hollywood’s female elite haven’t just shrugged off Polanski’s crime.)
MacFarlane’s reference to Chris Brown and Rihanna’s abusive relationship was also called out as anti-woman. Yet numerous feminist bloggers and columnists, myself included, have written repeatedly about Brown and Rihanna and their relationship. In a recent interview, Rihanna told Oprah that she is in love with Brown and doesn’t want to discuss the domestic violence. And at Brown’s most recent court appearance for punching out singer Frank Ocean, Rihanna was there to support Brown. In addition to which, Brown has still been embraced by Hollywood and the music community. Despite his abuse of women (ABC anchor Robin Roberts was another of his victims) and gay men. Which was kind of MacFarlane’s point.
The reality is, MacFarlane got slammed for every misogynist in Hollywood as well as every man – and woman – who has held unrealistic expectations of female stars while male stars have been allowed a vast range of appearance and un-Botoxed expression. Women have to show their breasts to get noticed regardless of the circumstance of their roles while male frontal nudity is almost wholly banned from the movies. Breasts only get a PG-13 rating while penises get the box office death of an NC 17.
I live-tweeted the Oscars and repeatedly stated “Best Oscars Ever!” in those tweets. I still think this was among the best Oscars’ presentations and a major reason was the imprint of women on the ceremony. I liked seeing over-sized women like Melissa McCarthy, Adele, Octavia Spencer and Queen Latifah among the participants. I liked seeing the elderly Emmanuelle Riva and Shirley Bassey as well as Oscars’ many vibrant older women, like Meryl Streep, Sally Field and Barbra Streisand.
I loved seeing Brave win for Best Animated Feature, because it’s a story about a girl who succeeds on the basis of her own merit – and bravery – and has nothing to do with a prince swooping in to save her. I loved seeing Inocente win for Best Documentary Short: the subject is a 15-year-old homeless girl artist in California. I loved seeing Daniel Day-Lewis laud Meryl Streep for her superb acting skills and Jennifer Lawrence thank all the women who are such magnificent actors — and her mentors — after she won for playing a real woman with real problems.
I also loved seeing the tributes to music in film which lauded both women performers and the gay male directors, like Bill Condon (Chicago, Dreamgirls), who made these vehicles work.
It’s not that women don’t have a lot to complain about with regard to Hollywood: it took 81 Oscar ceremonies before a woman won Best Director (Kathryn Bigelow, for The Hurt Locker), even though it was largely women directing and doing the very complex film editing throughout the early days of Hollywood. But for nearly 50 more years there were few women directing for major Hollywood films and there have only been four women ever nominated for Best Director: Lina Wertmuller, Jane Campion, Sofia Coppola, and Kathryn Bigelow. Eight other films directed by women have been nominated for Best Picture, but without their directors being nominated, including Children of a Lesser God, Prince of Tides, Little Miss Sunshine, The Kids Are All Right, and Awakenings, which all won other major awards.
In addition, the unrealistic images of women that are promoted by the film industry are what have allowed film critics like Rex Reed to call actresses like Melissa McCarthy “hippos.”
So I get why some women were angry with MacFarlane, even though he wasn’t the author of most of the jokes. (Bruce Vilanch, a gay man, has been the head writer for the Oscars since 1989 and has won several Emmys for his writing.) MacFarlane was the messenger and the message from Hollywood isn’t always a good one for women. Yet as Vilanch said in an interview with Salon, the show is scripted, every presenter has to sign off on whatever it is they say on-stage in advance of the ceremony so it can go up on the teleprompter. Women as well as men. The only impromptu moments are the speeches of the winners.
But in real life, outside of his Oscar hosting activities, MacFarlane has been a staunch supporter of women’s and LGBT rights and donated more than a quarter of a million dollars to the Democratic Party in support of liberal causes. In 2011, he was awarded the Humanist of the Year Award by Harvard University for “his extensive body of work, his active, passionate commitment to Humanist values, and his fearless support of equal marriage rights and other social justice issues.”
MacFarlane isn’t a Mel Gibson–Holocaust denier, racist, wife-beater. He’s one of the good guys. Were some of the jokes tasteless? Yes. Did MacFarlane repeat them anyway, even though he occasionally said throughout the telecast, “I thought we decided not to do that one.” Sure. But most of these jokes have been done on late night TV and nearly every day Huffington Post has another “actress reveals side-boob” video. This morning, after the Oscars, one of the lead pieces on Huffington Post was about Anne Hathaway’s nipples showing in her gown (which were actually just sewn-in darts, for the record) and Jennifer Lawrence showing “side boob.”
Maybe MacFarlane was just a messenger. And the message actually is coming from us. No wonder we’re upset.
VICTORIA A. BROWNWORTH is an award-winning journalist and a former Advocate columnist. Her columns appear in the Philadelphia Chronicle, the San Francisco Bay Area Reporter, and Curve magazine, among others.
It`s JAMIE LYNN SPEARS!
Edit: I think his name is Jamie Watson, he's 30. They've been dating for about 3 years.
Please accept this one, mods! First time poster.
However, she is not going to learn from her mistakes instead she hopes to help teach autistic children in a New York school.
Following a disastrous day in court on Friday - lawyer Mark Heller failed in his bid to have the charges steaming from her June car accident dismissed - Heller announced in an impromptu press conference that Lindsay plans to continue to try to turn over a new leaf.
The New York Post reports Heller said the embattled actress was off to a New York City school to help autistic children - but refused to reveal which one.
'She’s certainly not going to alert the media,' he told The Post.
Heller also said Lindsay was turning her life around and having intensive 'one-on-one psychotherapy'.
'Lindsay does not have a problem with alcohol or drugs,' the lawyer said. 'She is totally sober.'
This would not be the first time that Lindsay has helped out a organisation that assists autistic children.
In 2006, the star threw a celebrity studded beach party for a group autistic children - after she ruined one of their outings by blocking their access to a surfing day with her car after he twentieth birthday party.
In a letter to the prosecution leaked by TMZ last week, Lindsay's lawyer also promised to set up a charitable foundation in Lindsay's name and that the actress will be going on motivational speaking tours to schools to encourage children.
'Lindsay will participating in intensive psychotherapy, submitting herself to regular screenings and contributing her time to the production of Public Service messages and periodic visits to schools hospitals and other venues where she may provide inspirational talks, encouraging children to pursue positive goals and avoid bad habits,' he wrote.
In the astonishing letter Heller reached out to the prosecution asking for their help to 'fix' Lindsay.
'I appeal to your good conscious to join me in not rubber stamping this case but rather to be patient and understanding and open to productive alternatives as we, as a team, help fix Lindsay Lohan,' the lawyer wrote.
Lindsay will once again be back in court on March 18 to face charges of reckless driving, lying to police and obstructing a police case for her June 2012 car crash in Santa Monica, California.
The 26-year-old was on probation at the time of the accident and she faces jail time if a judge determines she violated her sentence in a 2011 theft case.
This lawyer is such a mess.
Richard Simmons was on Access Hollywood Live this morning, and as usual, he was a roller-coaster of emotions and moods. Things started out animated, energetic, wacky: He did an "Indian" accent and also put a bowl on his head (while making some kind of jokey face). But he hates when he's not the center of attention.
So when Maksim Chmerkovskiy showed up, Simmons pretended to throw up in his mouth, then had a hissy fit and pretended to leave the set. He stuck around, making sure he was on camera, but eventually wandered around aimlessly. Later, when it was clear they were ignoring him and going on with the show, he threw himself across a table and played dead for a while.
When it was finally time for his segment, Simmons went from singing and making jokes to (faux?) tearfully describing overweight people with no self-worth. But immediately after his weepy speech, he went right back to cracking, "I was a fishstick in my last life."
Harry Styles' Los Angeles tattooist Freddy Negrete told Daily Star: 'Harry and Taylor didn’t seem in love at all. There wasn’t a sparkle in Harry’s eye. They were kind and respectful to each other but didn’t have stars in their eyes.
They seemed more like friends. Harry wasn’t in love and it wasn’t serious for him. They weren’t romantic at all. He was just casual, they weren’t staring into each other’s eyes. Taylor came towards the end of his ship tattoo and sat with him but there was nothing magical going on.'
Taylor has no influence on the design of Harry's tattoo: 'Harry’s ship had nothing to do with the guy in Taylor’s music video, he didn’t even know about that. He only chose it after he arrived. We showed him a book of paintings of English ships, done by a famous painter.
He wanted a realistic looking English ship, because he misses home and needs to remind himself that he’s homeward bound. What he said was: ‘We’re always on the road but my heart is at home and I want a ship.’
Harry’s got tattoo fever now. If you get a tattoo and you like it you want more ,it happens to a lot of people. He wanted Hebrew lettering and came in with his sister’s name written out. When I told him I was Jewish he was thrilled and said it was very fitting and the right guy was doing it.
Usually whatever he says, its something funny. He sits really well through the tattoos. The pain doesn’t bother him. He gets tattoos in the most painful spots. He’s got a lot on the inside of his arm, while the ribs are really painful and he’s got a lot there.
ontd tattoo post?
Over the years, celebrities have come under fire for their sometimes raunchy or over-the-top ad campaigns.
Take Beyonce, for instance -- the 2010 commercial for her fragrance "Heat" was pulled from daytime TV in the U.K. for being "unsuitable to be seen by young children." And Eva Mendes' 2008 commercial for Calvin Klein's "Secret Obsession" perfume was banned altogether for being too racy.
Plus, remember when Julianne Moore's nude Bulgari billboard stirred up a bit of controversy?
Take a look at some of the most controversial celebrity ads below:
Beyonce's commercial for her fragrance "Heat" came under fire for being too racy in 2010. It was cut down to 30 seconds and had an "after 7:30 p.m." restriction in the U.K.
ABC asked that several changes be made to Madonna's 2012 perfume ad before they agreed to run the 30-second spot, including covering more of her breasts and butt. Even with said changes in place, ABC only aired the commercial after 9 p.m.
Keira Knightley starred in this controversial PSA against domestic violence in 2009 for Women's Aid.
The U.K.'s Advertising Standards Authority felt Swift's CoverGirl ad was too exaggerated (aka Photoshopped) and falsely promoted the product.
Like Kim's, Paris Hilton's 2005 Carl's Jr. commercial was considered too racy, as well. (I only remember Nancy Grace getting trolled with it)
(ELIZABETH. ELIZABETH. ELIZABETH.)
The Advertising Standards Authority banned Natalie's ad for Dior Diorshow lash multiplying mascara on the grounds that it "misleadingly exaggerated the effects of the product."
The Joker's Lancome ad was considered too heavily airbrushed to print by the ASA.
many more here
2013 stands to potentially bring three South Korean filmmakers' names into the mainstream American fold; a move notable not just because of the three auteurs' common land, but also for placing their distinctive visions in an entirely new realm. With Kim Ji-Woon already delivering his Arnie action throwback, “The Last Stand,” and Bong Joon-Ho's “Snowpiercer” dropping later this year, the strange middle child is up next, in the twisted, baroque form of Park Chan-Wook's “Stoker.”
Carrying over the intensity from “Oldboy” and his other revenge trilogy entries (“Sympathy For Mr. Vengeance,” “Sympathy For Lady Vengeance"), Park has also gathered a stellar cast for his English-language debut: Mia Wasikowska, Nicole Kidman, and Matthew Goode, delivering unusual turns to the tune of Hitchcock's “Shadow of a Doubt.” They make up the truly twisted family at the center of the film -- steeped in Park's themes of murder and gallows humor -- with an American landscape and Gothic approach, and as Park and the cast recently attested during the film's Los Angeles press conference, those aspects have created both new and familiar elements in Park's filmography.
1. The Actors Were Emphatic Fans of Park, But Noticed the Black List Script First
Park's filmic output is rare enough that when a project finds his name attached, actors take notice, and uniformly the cast of "Stoker" was no different. In particular, Kidman held a strong affection for the director, and thought he'd be a great fit for the sparse, haunting story. “[The] real strength of director Park is his atmosphere, and this script relies heavily on the language of the images," she said. "His use of color and sound and everything, it's very specific and not by chance. And that's something that really fills in a lot in a script like this."
That script comes courtesy of "Prison Break" star Wentworth Miller, but in fact, the pseudonym of Ted Foulkes was the one garnering all the attention. Under the perceptive belief that Hollywood might scoff at his first screenwriting attempt, he became Foulkes and promptly landed on The Black List of unproduced screenplays. He may have been right all along.
Identity issues were never an issue for Park or the cast, as Wasikowska acknowledged. “A good script is just a good script. I thought it was amazing the first time I read it and was instantly drawn into this world and these really complex characters.”
Kidman added, “I had to read it a couple of times just to understand it, just because it's got a lot of subtext and layers and just wanted to absorb what the overall feeling of it was.”
In the film, India Stoker (Wasikowska) and her mother Evie (Kidman) are mourning the loss of their father and husband, Richard (Dermot Mulroney). Coming from wealth, their expansive mansion grounds suddenly grow much lonelier with his auto accident death, but that all changes with the arrival of Uncle Charlie (Goode).
"Park said this is a movie about bad blood," Kidman described, and in Charlie's slow ensnarement of India's emotions and dangerous impulses, Goode inhabits that theme wholesale, a process he found “so psychologically interesting” in Park's “confusing, brilliant and wonderful” take on him.
2. The Cast and Crew's Working Relationship Knocked Down Any Communication Barriers
While the decision for the cast to jump into Park's world was near instantaneous, the unknown variable of communication still loomed large. Park retains a decent grasp on English, but his precise cinematic vision might've found trouble with an American cast and crew.
However, Park was absolutely prepared, starting from the first moments of pre-production with a detailed “story-bible” that laid out every shot, camera move, and instance of visual symmetry. As for the cast, which includes Jacki Weaver, Alden Ehrenreich, and Lucas Till, Park says, “They are professionals who deal exclusively with people's emotions and their thoughts. Working with this smart cast, sometimes I would only have to start speaking a word, and they would immediately catch on to what I wanted to portray. So it was not much of an issue.”
Kidman explained her side, saying, “There are times when you have to clarify words, obviously because different words mean certain things, so a lot of times it would just be me going, 'Is this exactly what he wants?' because in translation things can get lost. So I was just very specific with him.”
Having already learned Spanish for the 2003 film “South of Grenada,” Goode was well-suited to the intuitive levels of communication, a process he found “as hard as you're gonna get, but boy, do you listen.” He added, “We just want it to make sense. [The characters] are all detached, so much so that we don't really know where it's set or what time period it is. Charlie's very good on his own; he's like a chrysalis; a fucked up Peter Pan in the middle of Mia's coming of age story.”
3. The Most Memorable Scenes Came From Both Improv and Detailed Scripted Monologues.
Throughout the film's moody narrative, Park enacts that cohesive vision via seamless transitions of visual and aural motifs, but that doesn't mean certain scenes aren't thrilling standouts. One of them -- glimpsed in the trailers -- depicts Kidman delivering a rancid monologue to her daughter after catching the first whiff of her betrayal. Kidman loves the scene “because it's so unusual, and when I first read it, I never expected it to end with that line: 'I can't wait to watch the world tear you apart.'”
She added, “Evie is not just an oppressive mother. I feel like she's just starved for love, and she's got a child that she doesn't connect with, and director Park - when we first met - said to me, ever since you've held this baby, this baby's not wanted to be held, and that's an amazing way to start building the relationship between a mother and a daughter.”
“We did it a number of different ways, but we shot it in one take, which is fantastic as an actor, so I was just very grateful that he had the vote of confidence of me to do it," she said.
Wasikowska added, “It's very scary to be on the receiving end of it though.”
Another scene that sticks out for Goode comes (**highlight for Spoilers**) near the film's climax, when the extent of Charlie's murderous backstory is revealed. “There was a scene that was meant to be by the lake -- the burial of Richard and I's younger brother -- but [it] became compromised due to financial matters, and director Park rather brilliantly didn't flap about it," he said. “He got on with it, and created it in the backyard with the sandpit; it was just very quick, and more chilling because of the nature of play in the scene.
Park added, “Certainly including [the burial], I want the story to be interpreted in as many ways possible, but it is not a story about hereditary nature of evil. Everyone has a seed inside, and when you come across such a mesmerizing mentor, they have the ability to blossom into a flower of evil.” (**End Spoilers**)
4. Philip Glass' Soundtrack Contribution Amounted to Wasikowska's Favorite Scene, and Goode's Most Challenging
As with its cast, “Stoker” features an amazing group of musicians for its soundtrack. Multi-instrumentalist Emily Wells supplies the end credit song, “Becomes The Color,” while composer Clint Mansell likewise contributes an evocative and on-form score. But the briefest and most memorable soundtrack moment comes from Philip Glass, who wrote an original piano piece that India and Charlie play together - an act drawing them closer in their devious ways.
“I really liked it because I didn't have to do much,” explained Wasikowska of the scene. “We had just playback going, and it's such an intense piece… the crew was sort of wilting around us but we were completely into it. When the music is there, all you have to do is surrender.”
The Stokers' piano plays a crucial role in India's arc over the course of the film, as it evokes the family's decaying grandeur, as well as India's solitary life. But the duet converges both aspects into an operatic display, as Park noted that Wasikowska and Goode deliver fantastic performances while actually playing the piano themselves. “They were trying to focus on getting the fingers right, but at the same time they perfectly encapsulated the emotions of the characters during those moments,” he said.
For the two actors in charge of playing the piece, it was a daunting but worthy prospect. Wasikowska explained, “I think with music, that's one more element that we don't have on set with us. Because we have such a blank canvas in a way -- we're always in a room with 15 people in our faces holding booms -- but when there's this music that's one more key to the tone of the scene. So it feels easy.”
“I don't play the piano, so the fact that they picked fucking Philip Glass is perfect,” Goode laughed. “We were able to play certain sections, so we were able to give Park options to shoot from behind. Because we all know the language of film, when you see someone playing something you say, 'I bet they're not playing that.' And then to show you that they are, in a way it's fucking with the audience. It's quite nice.”
5. Park's First Hollywood Experience Was Jarring, But Only Initially
Park's decision to transplant his aberrant vision to an American landscape has been one approached with both caution and excitement, and when Park himself came to shooting “Stoker” in Nashville, TN, he definitely found an altered experience waiting for him.
Having to “shoot twice as fast as [I am] used to in Korea was the most challenging thing” about the film's 40-day production in 2011; a marked difference for Park not only in speed but process as well.
“In Korea, I would watch the playback with all of the actors and spend a lot of time discussing each take, and also I would use the process we call on-set assembly," he explained. "Because I storyboard my entire film at the beginning -- even before pre-production even begins -- the scene is already laid out in the storyboards, so it allows the on-set assembly person to cut each take [for immediate review]."
However, once he thought back to the beginning of his career, he relented from arguing. “I remember on my first ever Korean film, I never actually used any playback or onset assembly, so all I had to do while making 'Stoker' was remember, 'Oh, this is just like I'm making my first film,' so after that it didn't feel very difficult.”
Park didn't reveal if he had any other American projects in the works, but you can see his first attempt when “Stoker” hits theatres March 1st.
Sneak Peek of the sketch lineup here:
(Link if you dont want to be spoiled)
Quick Gifs & Caps:
Or just search the #snl tag on tumblr.
(Or go to tvpc.com and look for NBC)
Here is the rundown for the season so far.
Week number, Host, +SkitsWithHader -SkitsWithoutHader
Week 1: Seth MacFarlane +6 -6
Week 2: Joseph Gordon Levitt +7 -6
Week 3: Daniel Craig +4 -6
Week 4: Christina Applegate +4 -6
Week 5: Bruno Mars +6 -7
Week 6: Louis C.K. +2 -7
Week 7: Anne Hathaway +5 -5
Week 8: Jeremy Renner +7 -4
Week 9: Jamie Foxx +3 -7
Week 10: Martin Short +3 -5
Week 11: Jennifer Lawrence +6 -6
Week 12: Adam Levine +4 -8
Week 13: Justin Bieber +5 -6
Week 14: Christoph Waltz +5 -6
Week 15: Kevin Hart +7 -5
Opener: People Affected by Budget Cuts (Hader)
Monologue: Palmed Sandwich (No Hader, but no one else so I won't count it)
The Steve Harvey Show (No Hader)
The Situation Room covers the New Pope (Hader)
Starbucks Verismo Ad (Repeat)
Barnes and Noble Employee Meeting (Hader)
Weekend Update (No Hader)
Walking Dead (Hader)
Shark Tank (Hader)
Z-Shirt (No Hader)
Voice Over Finals (Hader)
Funeral of Z-Shirt Guy's Mom (No Hader)
360 News (Hader Voice Over, so yes)
Non Hader Skits
If you're watching tonight's episode of "Saturday Night Live", and you didn't blink, you might have noticed this: an extremely brief-- and extremely mysterious advertisement-- for Daft Punk.
It featured a glittery Daft Punk logo, followed by the image pictured above, used in the announcement of their alliance with Columbia Records. It played a tiny snippet of what appears to be new music.
Daft Punk: masters of keeping us guessing.
They share the same father, but haven’t spoken in 19 years. Daniel Day-Lewis's older brother Sean talks about the feud that drove the Oscar-winning star to cut a family tie
The signpost that hangs outside Daniel Day-Lewis’s home in the village of Annamoe, Co Wicklow, is as much a description of the way he lives his life as anything else. “Strictly Private, No Trespassing” it reads, preventing curious passers-by from continuing up the muddy track that leads to the pink, stonewashed Georgian farmhouse, where the actor lives with his wife, Rebecca Miller, and sons Ronan, 14, and Cashel, 10.
Six days after making history by winning his third Best Actor Oscar for his role in Lincoln, this is where Day-Lewis will spend the weekend. Hundreds of miles from the Hollywood Hills, it is surrounded by 100 acres of dense, peaceful Irish woodland. It was reported this week that he will retreat here for five years, turning his hand to traditional crafts such as stonemasonry, before making another movie.
Despite being in the spotlight for nearly 30 years, since his first critically acclaimed role as a homosexual punk in My Beautiful Laundrette in 1985, Day-Lewis has never embraced fame. Reclusive, intense verging on obsessive about his work, fiercely protective of his private life; he rejects his celebrity status, rarely giving interviews and shunning all but a few public appearances.
Daniel and Tamasin with parents Cecil and Jill in 1969 (PA)
As a result, much of his life is shrouded in mystery. The son of the great Thirties poet Cecil Day-Lewis, Daniel is close to his sister Tamasin, a food writer, as he was to his mother, the actress Jill Balcon, who died in 2009. As well as his children with Miller, he has a teenage son, Gabriel-Kane, from a relationship with the French actress Isabelle Adjani, which Day-Lewis reportedly ended by fax. Friends say the actor gets on well with his first-born, now 17, yet he never speaks of him. “It has been drilled into my family that you don’t talk to journalists,” his sister Tamasin once said. “You don’t give anything away.”
But there is another side of Day-Lewis’s family about which even less is known. Before his father wed Balcon in 1951, Cecil was married to Mary King, the daughter of a master at Sherborne School in Dorset. The pair had two children, Sean and Nicholas, half-siblings to Daniel and Tamasin. Nicholas, a scientist, lives in Melbourne, Australia, and hasn’t set foot in England since graduating from Oxford in the Fifties. Sean, now 81, was a journalist – formerly this newspaper’s television critic – and lives in East Devon, a few miles from the old family home. It has been 19 years since he last spoke to his half-brother, and he desperately wants to get back in touch.
“I made a terrible mistake by helping an author who was writing a so-called biography of Dan,” explains Sean. “I only gave him my book [a biography of his father, C. Day Lewis: An English Literary Life, which Sean wrote in 1980]. I wanted him to get the facts right, and he didn’t even do that – he got birthdays on the wrong days. It was full of errors. Anyway, he acknowledged my help in the foreword and Dan saw that and completely blew me out of the water. He phoned me up and told me to '------- get a life’. '---- off,’ he said. I couldn’t get a word in. That was in 1994, and that was our last conversation.”
Sean’s relationship with Daniel is not well-documented. There are no photographs of them together; no accounts of shared family Christmases or birthdays. Born in 1931, Sean spent his childhood in Musbury, Devon, and had a good relationship with his father, whom he describes as “very supportive, always”. The Cecil Day-Lewis poem Walking Away, which many assume to be about Daniel, was penned in 1956 about Sean, recalling his first day as a seven-year-old boarder at Allhallows School in Somerset.
Throughout his childhood, Sean knew Cecil was having a string of affairs – most famously with the novelist Rosamond Lehmann. He was doing National Service in the RAF when his father wrote telling him he was leaving the family home to move in with Balcon, then aged 23, just five years older than Sean. In his biography Sean says his father’s actions left “scorched earth… in his wake”. “I remember that last weekend,” he says, nostalgically. “I was standing in the house when the taxi came to take him to Axminster station. Then he went off to start his second family.”
Sean was 26 when Daniel was born (Tamasin arrived four years earlier, in 1953). The two families never lived together; Sean and Nicholas stayed with their mother in Devon, while Cecil and Balcon bought a flat in London. Later, when the Day-Lewises lived in Greenwich, Sean moved in for a month before he got married.
“We all got on quite well,” he recalls. “Dan was still a boy. I was allowed to beat him at ping-pong. They were a different generation. I thought they were terribly sophisticated. They had a nanny who would present them to their parents in the evening, all brushed up and turned out, for a story from my Pa.”
His relationship with Balcon, too, was civilised. “We were both trying to be generous to each other,” Sean explains. When Cecil died from pancreatic cancer in 1972, however, things soured. Sean, having got his father’s permission before his death, embarked on a biography of Cecil, which Daniel, Tamasin and, initially, Jill helped with. “She liked it at first, but when it got on to the affairs, she marked the manuscript up with more and more virulence,” he explains. “She really came to hate me from when the book came out.”
From then on, he and Daniel drifted apart. “Dan and Tamasin were teenagers so they were away at boarding school,” Sean remembers. “After our father died, those two went off into a corner of the garden for hours and they were terribly together after that. He wrote me quite a supportive letter when my book came out, saying he didn’t want to join in the vendetta. We were still friends but I didn’t visit the house any more.”
Sean continued to support his half-brother’s career. “I tried to go to everything he was in at the theatre, even when he was a spear-carrier at the Edinburgh Festival,” he laughs. “We [Sean and his wife Anna] went to it all. He didn’t like me writing anything about him, naturally. Dan hates publicity and doesn’t like journalists; and I was in a tribe of hacks.”
After Day-Lewis’s infamous performance of Hamlet at the National Theatre in 1989 – during which he walked offstage mid-act, having allegedly seen the ghost of his father – he sought solace in his family. “He was living within a street of where we were in Hammersmith so we saw him then,” says Sean. “Tamasin was a friend, too. We had lunches from time to time. But the last thing I heard from her was: 'I’ve got nothing against you but our paths won’t necessarily cross very often’. It was all a bit sad.”
A few years later, Sean received the phone call that ended his relationship with Daniel. Although they stopped speaking, Sean saw his half-brother more than ever – films including The Last of the Mohicans (1992), The Boxer (1997) and Gangs of New York (2002) meant Day-Lewis was never far from the limelight. “Am I proud? Absolutely,” says Sean, without hesitation. “I just wish my father had been around, because when he was alive, Dan was a bit of a tearaway and not expected to do very much. He did go to see Dan in a school play or two, but he hadn’t decided whether to be an actor or a furniture maker back then.”
Sean sees some of his father’s traits in himself (“the bad things,” he jokes); others are more evident in Daniel – not least Cecil’s striking good looks and self-deprecating humility. “Dan’s not only the best actor, but he’s the best person at doing those acceptance speeches,” he muses. “That elegant way of his is terribly copied from my father. He’s very keen and ambitious, but on the surface rather modest and gentlemanly.”
Cecil Day-Lewis’s grave is in St Michael’s Churchyard in Stinsford, Dorset, just across the border from Sean’s home.“Without telling me, Tamasin and Dan decided their mother should be buried beside him,” he explains. “One day when we went to look at the stone, we found it was missing and chased all around the churchyard in case it had been moved. I thought I might have been told, at least.” The stone is now back in place, with Jill’s name engraved, and Sean and his wife plan to visit soon to pay their respects. “Alas, it won’t be with Tamasin and Dan.”
Now in his eighties, Sean longs for a reconciliation. At home, he has a copy of that Cecil Day-Lewis biography – “the one that caused the problem”, he says, flicking wistfully through the pages. “It was nearly 20 years ago. I have no means of getting hold of Dan now except through his agent.” Does he hope, one day, to end the silence? “Yes, I would like that,” he says, resolutely. “Very much.”