Jaden Smith - New Music Video "Hello"
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K-Pop Fans Raise Hell After Popular Videos Get Blocked on YouTube
What do K-pop fans and the state of Texas have in common? Answer: It's never a good idea to mess with either.
Early Sunday morning (March 24), it appeared videos by K-pop entertainment agency, Cube Entertainment, were being blocked for international fans. Cube Entertainment (home to popular artists like 4minute, B2ST, G.NA and HyunA) is one of the few Korean agencies who work with a major U.S.-based label distributor. Universal Music Korea helps distribute Cube Entertainment, a rare partnership in a market where most entertainment entities have the means to distribute themselves or use domestic options like the much-used major South Korean record label, LOEN Entertainment.
Yet, when international fans were being blocked from watching music videos of their favorite artists there was online pandemonium.
A major reason as to why K-pop has been able to become such a force in non-Korean markets is due to the online fan base (known as "netizens") who are ferociously protective of their artists. Reports from these fanbases said that Universal wanted to keep K-pop in Korea and was subsequently blocking videos in the U.S. and U.K. with other countries soon to follow.
Netizens began retaliating at lightning speed with two phrases becoming trending worldwide topics on Twitter with "#giveuskpop" and "UMG" both making their way up the list. Recent Facebook posts on Universal Music Group's page had comments on non-related news stories from fans using their battle cry hashtag. A "One Does Not Simply Block K-pop Internationally" meme even made the rounds on Tumblr.
Soon enough though, the videos were put back online with seemingly no effect on their view counts (HyunA’s 50 million views to “Bubble Pop!” still remain [see below]) with fans calling off the hunt saying it was a misunderstanding and then ferociously spreading the news UMG had fixed the mistake.
Upon further review, Billboard has found Vevo accounts for 4minute, G.NA, B2ST (named Beast) and HyunA (as Hyuna Kim). These accounts do have certain videos blocked for certain countries (4minuteVEVO’s "Volume Up" is blocked in the U.S. though "Hot Issue" is not), but the original YouTube accounts still have the videos available (see the account 4minuteofficial’s "Volume Up"). This may be a transitioning move to actually make K-pop more visible in the U.S. market as Vevo is the largest U.S. website for music videos due to their connection with YouTube.
The zealous response was to be expected for a genre that is tough to be a fan for internationally. K-pop artists give very select overseas performances and the music is tough to find in physical form (and sometimes not even digitally available). Music videos are a major part of sharing in K-pop culture -- see the millions of views -- and should those be taken away, there will be hell to pay from netizens.
K-pop fans leave comments on UMG's latest Facebook post, about the country singer Kacey Musgraves:
Source
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Review: Slivers of Satisfaction – Game of Thrones Season Three
Review: Game of Thrones Season Three
March 25th, 2013
At the conclusion of watching the third season premiere of HBO’s Game of Thrones, I realized something: despite the fact that I had enjoyed the premiere a great deal, it hadn’t featured a single scene with one of my favorite characters.
Of course, this is not a new problem for the series, what with its intense narrative fragmentation: Jason Mittell’s analysis of the series’ “scenic rhythms” spoke to this at the end of last season, wondering whether this helped explain his different responses to the first season (which he binged on) and the second season (which he watched weekly).
I’ll leave it to Jason to actually break down the number of scenes/foci in the second season premiere, but it’s safe to say the show remains committed to telling a sprawling collection of stories in season three. What’s different, though, is that there is no longer—or rather not yet—a central conflict that anchors the narrative in the way that Ned Stark’s plight in King’s Landing or the War of the Five Kings offered in previous seasons (even though the latter is still ongoing, albeit with fewer kings). While the kingdom ostensibly remains at war, the events that open the season place everyone in a sort of holding pattern, leaving each story to create its own purpose and momentum.
These two challenges—an increasingly fragmented narrative and a lack of a clear overarching story arc—are not insurmountable; in fact, I found neither to be particularly concerning, and found the first four episodes of the season to be a most welcome return to Westeros. However, the circumstances under which I viewed these episodes mitigated these factors in ways that not all viewers will have access to. As someone who has read the books, I know where these narratives are heading, and can therefore read purpose and momentum in ways that those ignorant to those futures may not. And as someone who is lucky enough to receive advance screeners for the series, I had the luxury of popping in the second episode when I discovered one of my favorite characters doesn’t appear in the first one, something that those watching weekly won’t have.
What I’m suggesting, I suppose, is that Game of Thrones has evolved in such a way that I’m unsure if my experience with the show’s third season can be successfully mapped into a more generalized “review.” I thought every storyline was well executed, I enjoyed every episode, and I was left wanting more, but I also left wondering how much those responses were shaped by the context in which the episodes were viewed, and if we’re reaching the point where reaction to the series will be divided more starkly among devoted viewers and more casual audiences.
One of the most interesting characters in the third season, for me, is Theon Greyjoy. This is because the series is largely creating its own material, adapting parts of the books that were never told in any detail (since Theon wasn’t a “point of view” character at this point in the books). The show has been expanding beyond George R.R. Martin’s narrative at numerous points throughout the first three seasons, but this is a case where the writers made a clearly articulated change: in the series’ world, Theon’s story is important enough that we need to see what happened after his takeover of Winterfell, despite the fact that not showing his storyline during this season would have been consistent with the source material. It’s an interesting exercise in adaptation, as I know where the story theoretically ends up but am curious how Benioff and Weiss intend to connect the dots. Through four episodes, I’m enjoying their take on the storyline, doing some nice work in both introducing new characters and continuing to explore Theon’s identity as a boy of the Iron Islands whose claims to adulthood are tied to the Stark family, Winterfell, and the atrocities he committed there.
However, I’m not convinced that people who haven’t read the books will find the storyline interesting. As much as I would hope Alfie Allen’s solid work in season two would have captured people’s attention, the fact is the first season’s narrative framing around the Stark family has privileged certain narratives over others. “Do we really need to see Theon when we could be seeing more with Arya, or with Jon, or with Bran,” people could say. I’m sure the writers have an answer to this question, and so do I for that matter, but the answer doesn’t come within four episodes. In fact, there are very few answers in four episodes, and those who haven’t read the books might be waiting a long time for answers in some cases.
This is obviously predicated on some speculation regarding where viewers might stand on certain storylines: it’s very possible many viewers who haven’t read the books will still enjoy seeing what’s up with Theon. However, it speaks to a larger distinction between satisfaction and satiation that will be put to the test during the show’s third season. At any given moment, Game of Thrones is a very satisfying series dramatically, with lots of rich, well-drawn scenes featuring characters we’ve become attached to and new characters that continue to demonstrate the skill of the show’s casting department. There are big, exciting moments in these opening episodes, and the fourth hour ends on what is one of the most satisfying sequences in the show’s three seasons. However, that big climax comes at the cost of intriguing but ultimately thin glimpses of that story in the previous three episodes, slivers of narrative that are enjoyable but lacking in the substance necessary to leave an episode feeling like you’ve seen something, well, substantial. You might leave an episode having enjoyed every storyline, but still feel as though you haven’t been sated.
This is also not new, of course: as I discussed in my analysis of the “Influencer Box” campaign promoting the third season, one of the reasons “Blackwater” stood out last season was the way it narrowed focus, excising most of the storylines to focus exclusively on the Battle of the Blackwater. Perhaps it’s that episode’s shadow that makes the beginning of the third season feel more fragmented: now that we know what the show can do when it tells a contained story within the context of an episode, the piecemeal storytelling becomes less effective. Or, perhaps the problem is that the story is at a point where there isn’t a clear driving force behind the current crop of storylines. Numerous characters are journeying to nowhere in particular, in search of vague and often cryptic destinations; other characters are basically taking a pit stop, assessing their situation before eventually making a move…two or three episodes from now.
What’s frustrating about making this critique is that I actually like a lot of what this accomplishes. The King’s Landing storyline has basically reverted back to “everyday politics” following last season’s chaos, but that means more time to flesh out Natalie Dormer’s Margaery and her betrothal to Joffrey, and the introduction of Diane Rigg’s Lady Oleanna (who steals every scene she’s in). It allows Tyrion’s relationship with his family in the wake of his near-death experience on the Blackwater to simmer rather than boil, which allows him to also enjoy some less severe scenes with Bronn and Podrick. King’s Landing remains the show’s most fleshed out location, and the epicenter for the largest collection of characters, and like in past seasons I’m enjoying seeing the interpersonal dimensions of politics play out on screen.
However, I say this as someone who knows how those interpersonal dimensions play out. As much as I couldn’t point to a single storyline from the third season and suggest that it is poorly executed, pointing to a single storyline doesn’t ultimately point to very much, content-wise. I like where all the storylines are going, but given that I know the ultimate destination it’s hard to know how much that’s coloring my satisfaction. I also don’t know how differently this will play out if I was only watching an episode a week. On the one hand, I think it will make some reveals more satisfying, the post-air conversation taking the conclusions to the third and fourth episodes and turning them into watercooler moments. On the other hand, however, it could also make the slivers of storytelling we get for other characters that much more unsatisfying, and raise further questions about whether the show’s narrative has become fragmented to the point of stretching the bounds of weekly, episodic, serial television.
Ultimately, Game of Thrones remains a highly compelling drama series, as its cast and crew continue to do strong work in bringing George R.R. Martin’s world to life. There are some stunning location shots in the first four episodes, reminding us that the world of Westeros plays an important role in simultaneously grounding the show in its various locales and giving it the epic scale of fantasy. And as someone who has read the books, I continue to be impressed with the way the writers are reimagining the story in confident yet careful ways, their changes evident without necessarily seeming out of place. This is still very much the same show it was last season, and for that matter the season before, when it comes to general execution.
The problem is simply that there’s more of it, as there was last year. The more stories the show has, the more the adaptation bends under the stress of juggling a dozen storylines, something the show will face with each subsequent season even if we factor in the fact that multiple characters could be killed off by season’s end. While I would personally argue the storylines that open the third season are more compelling on average than those that began the second season, featuring combinations of characters—like Jaime and Brienne, an early season highlight—that offer more dynamism on average, I don’t know if someone who is invested in the “narrative” of the series more than in the process of its adaptation will find as much to enjoy within these opening episodes.
I realize this is somewhat strange criticism—“Someone else might not like it as much as I did”—but I think it speaks to the tension inherent within the adaptation as a whole. The fact is that George R.R. Martin did not write a linear narrative, and it only becomes more sprawling as the books progress. Benioff and Weiss are telling their own story, breaking off of the “Book per Season” adaptation and often crafting storylines that are similar to yet different from Martin’s original, but the third season already shows that there’s only so much streamlining you can do while maintaining the sense of scale Martin put on the page. It is a compliment to the show that I was left wanting more from nearly every storyline following the first four episodes, as it suggests that I enjoyed what was there, but there’s a limit to how long that will function as a compliment. The catharsis I felt upon the conclusion of the fourth episode reminded me of how strong the show can be, but it also threw into stark relief how much that climax had been withheld while spending time laying building blocks elsewhere, and how differently I might have felt if three weeks had elapsed instead of three days.
As a book reader, and as someone who has enjoyed the show to this point, everything I’ve seen of Game of Thrones’ third season suggests it will continue to be one of the strongest dramas on television. But I would feel uncomfortable taking this evaluation outside of the context of my specific experience; with each passing season Game of Thrones becomes a more complicated text to take in as a viewer, and from this point forward I can’t help but feel that each season will be a test of patience and commitment, albeit an exciting and attractive one.
Source from "Cultural Learnings"
Oh wow, not sure how I feel about this review, overall, but FREAKING FINALLY SOMEONE IS TALKING ABOUT ONE OF MY FAVORITE CHARACTERS.
March 25th, 2013
At the conclusion of watching the third season premiere of HBO’s Game of Thrones, I realized something: despite the fact that I had enjoyed the premiere a great deal, it hadn’t featured a single scene with one of my favorite characters.
Of course, this is not a new problem for the series, what with its intense narrative fragmentation: Jason Mittell’s analysis of the series’ “scenic rhythms” spoke to this at the end of last season, wondering whether this helped explain his different responses to the first season (which he binged on) and the second season (which he watched weekly).
I’ll leave it to Jason to actually break down the number of scenes/foci in the second season premiere, but it’s safe to say the show remains committed to telling a sprawling collection of stories in season three. What’s different, though, is that there is no longer—or rather not yet—a central conflict that anchors the narrative in the way that Ned Stark’s plight in King’s Landing or the War of the Five Kings offered in previous seasons (even though the latter is still ongoing, albeit with fewer kings). While the kingdom ostensibly remains at war, the events that open the season place everyone in a sort of holding pattern, leaving each story to create its own purpose and momentum.
These two challenges—an increasingly fragmented narrative and a lack of a clear overarching story arc—are not insurmountable; in fact, I found neither to be particularly concerning, and found the first four episodes of the season to be a most welcome return to Westeros. However, the circumstances under which I viewed these episodes mitigated these factors in ways that not all viewers will have access to. As someone who has read the books, I know where these narratives are heading, and can therefore read purpose and momentum in ways that those ignorant to those futures may not. And as someone who is lucky enough to receive advance screeners for the series, I had the luxury of popping in the second episode when I discovered one of my favorite characters doesn’t appear in the first one, something that those watching weekly won’t have.
What I’m suggesting, I suppose, is that Game of Thrones has evolved in such a way that I’m unsure if my experience with the show’s third season can be successfully mapped into a more generalized “review.” I thought every storyline was well executed, I enjoyed every episode, and I was left wanting more, but I also left wondering how much those responses were shaped by the context in which the episodes were viewed, and if we’re reaching the point where reaction to the series will be divided more starkly among devoted viewers and more casual audiences.
One of the most interesting characters in the third season, for me, is Theon Greyjoy. This is because the series is largely creating its own material, adapting parts of the books that were never told in any detail (since Theon wasn’t a “point of view” character at this point in the books). The show has been expanding beyond George R.R. Martin’s narrative at numerous points throughout the first three seasons, but this is a case where the writers made a clearly articulated change: in the series’ world, Theon’s story is important enough that we need to see what happened after his takeover of Winterfell, despite the fact that not showing his storyline during this season would have been consistent with the source material. It’s an interesting exercise in adaptation, as I know where the story theoretically ends up but am curious how Benioff and Weiss intend to connect the dots. Through four episodes, I’m enjoying their take on the storyline, doing some nice work in both introducing new characters and continuing to explore Theon’s identity as a boy of the Iron Islands whose claims to adulthood are tied to the Stark family, Winterfell, and the atrocities he committed there.
However, I’m not convinced that people who haven’t read the books will find the storyline interesting. As much as I would hope Alfie Allen’s solid work in season two would have captured people’s attention, the fact is the first season’s narrative framing around the Stark family has privileged certain narratives over others. “Do we really need to see Theon when we could be seeing more with Arya, or with Jon, or with Bran,” people could say. I’m sure the writers have an answer to this question, and so do I for that matter, but the answer doesn’t come within four episodes. In fact, there are very few answers in four episodes, and those who haven’t read the books might be waiting a long time for answers in some cases.
This is obviously predicated on some speculation regarding where viewers might stand on certain storylines: it’s very possible many viewers who haven’t read the books will still enjoy seeing what’s up with Theon. However, it speaks to a larger distinction between satisfaction and satiation that will be put to the test during the show’s third season. At any given moment, Game of Thrones is a very satisfying series dramatically, with lots of rich, well-drawn scenes featuring characters we’ve become attached to and new characters that continue to demonstrate the skill of the show’s casting department. There are big, exciting moments in these opening episodes, and the fourth hour ends on what is one of the most satisfying sequences in the show’s three seasons. However, that big climax comes at the cost of intriguing but ultimately thin glimpses of that story in the previous three episodes, slivers of narrative that are enjoyable but lacking in the substance necessary to leave an episode feeling like you’ve seen something, well, substantial. You might leave an episode having enjoyed every storyline, but still feel as though you haven’t been sated.
This is also not new, of course: as I discussed in my analysis of the “Influencer Box” campaign promoting the third season, one of the reasons “Blackwater” stood out last season was the way it narrowed focus, excising most of the storylines to focus exclusively on the Battle of the Blackwater. Perhaps it’s that episode’s shadow that makes the beginning of the third season feel more fragmented: now that we know what the show can do when it tells a contained story within the context of an episode, the piecemeal storytelling becomes less effective. Or, perhaps the problem is that the story is at a point where there isn’t a clear driving force behind the current crop of storylines. Numerous characters are journeying to nowhere in particular, in search of vague and often cryptic destinations; other characters are basically taking a pit stop, assessing their situation before eventually making a move…two or three episodes from now.
What’s frustrating about making this critique is that I actually like a lot of what this accomplishes. The King’s Landing storyline has basically reverted back to “everyday politics” following last season’s chaos, but that means more time to flesh out Natalie Dormer’s Margaery and her betrothal to Joffrey, and the introduction of Diane Rigg’s Lady Oleanna (who steals every scene she’s in). It allows Tyrion’s relationship with his family in the wake of his near-death experience on the Blackwater to simmer rather than boil, which allows him to also enjoy some less severe scenes with Bronn and Podrick. King’s Landing remains the show’s most fleshed out location, and the epicenter for the largest collection of characters, and like in past seasons I’m enjoying seeing the interpersonal dimensions of politics play out on screen.
However, I say this as someone who knows how those interpersonal dimensions play out. As much as I couldn’t point to a single storyline from the third season and suggest that it is poorly executed, pointing to a single storyline doesn’t ultimately point to very much, content-wise. I like where all the storylines are going, but given that I know the ultimate destination it’s hard to know how much that’s coloring my satisfaction. I also don’t know how differently this will play out if I was only watching an episode a week. On the one hand, I think it will make some reveals more satisfying, the post-air conversation taking the conclusions to the third and fourth episodes and turning them into watercooler moments. On the other hand, however, it could also make the slivers of storytelling we get for other characters that much more unsatisfying, and raise further questions about whether the show’s narrative has become fragmented to the point of stretching the bounds of weekly, episodic, serial television.
Ultimately, Game of Thrones remains a highly compelling drama series, as its cast and crew continue to do strong work in bringing George R.R. Martin’s world to life. There are some stunning location shots in the first four episodes, reminding us that the world of Westeros plays an important role in simultaneously grounding the show in its various locales and giving it the epic scale of fantasy. And as someone who has read the books, I continue to be impressed with the way the writers are reimagining the story in confident yet careful ways, their changes evident without necessarily seeming out of place. This is still very much the same show it was last season, and for that matter the season before, when it comes to general execution.
The problem is simply that there’s more of it, as there was last year. The more stories the show has, the more the adaptation bends under the stress of juggling a dozen storylines, something the show will face with each subsequent season even if we factor in the fact that multiple characters could be killed off by season’s end. While I would personally argue the storylines that open the third season are more compelling on average than those that began the second season, featuring combinations of characters—like Jaime and Brienne, an early season highlight—that offer more dynamism on average, I don’t know if someone who is invested in the “narrative” of the series more than in the process of its adaptation will find as much to enjoy within these opening episodes.
I realize this is somewhat strange criticism—“Someone else might not like it as much as I did”—but I think it speaks to the tension inherent within the adaptation as a whole. The fact is that George R.R. Martin did not write a linear narrative, and it only becomes more sprawling as the books progress. Benioff and Weiss are telling their own story, breaking off of the “Book per Season” adaptation and often crafting storylines that are similar to yet different from Martin’s original, but the third season already shows that there’s only so much streamlining you can do while maintaining the sense of scale Martin put on the page. It is a compliment to the show that I was left wanting more from nearly every storyline following the first four episodes, as it suggests that I enjoyed what was there, but there’s a limit to how long that will function as a compliment. The catharsis I felt upon the conclusion of the fourth episode reminded me of how strong the show can be, but it also threw into stark relief how much that climax had been withheld while spending time laying building blocks elsewhere, and how differently I might have felt if three weeks had elapsed instead of three days.
As a book reader, and as someone who has enjoyed the show to this point, everything I’ve seen of Game of Thrones’ third season suggests it will continue to be one of the strongest dramas on television. But I would feel uncomfortable taking this evaluation outside of the context of my specific experience; with each passing season Game of Thrones becomes a more complicated text to take in as a viewer, and from this point forward I can’t help but feel that each season will be a test of patience and commitment, albeit an exciting and attractive one.
Source from "Cultural Learnings"
Oh wow, not sure how I feel about this review, overall, but FREAKING FINALLY SOMEONE IS TALKING ABOUT ONE OF MY FAVORITE CHARACTERS.
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Blake Lively to play Freddie Mercury's ex-girlfriend
Blake Lively is being lined up to star in the upcoming Freddie Mercury biopic. The 'Gossip Girl' actress is expected to play the iconic Queen singer's former girlfriend Mary Austin opposite 'Borat' star Sacha Baron Cohen, according to The Sun newspaper.
The couple were inseparable in the early 1970s after being introduced by Queen's guitarist Brian May, until Freddie had an affair with a male American record executive at Elektra Records. However, they remained close friends until his death in 1991, aged just 45, from a long battle with AIDS.
The film - rumoured to be helmed by award-winning 'Les Miserables' director Tom Hooper - will examine the flamboyant rocker's career and personal life, and leading man Sacha is said to be undertaking intense training to copy Freddie's powerful singing voice and mannerisms. A source said: ''Sacha is a huge Queen fan and is focused on getting Freddie's mannerisms, style and speech perfect. ''He is working on building his vocals. It is an uphill task, because Freddie has such a unique power and tone.''
Last year, Brian May revealed production had been delayed due to ''complex'' contracts being ironed out, but filming is expected to begin later this year for a 2014 release.
source
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Bates Motel 1x03 Promo "What's Wrong With Norman"& 1x02 Review
On tonight’s episode of “Bates Motel” we met Norma’s other son, Dylan, for the first time – Norman’s half brother. Norma had Dylan when she was 17 and left his father to be with Sam (Norman’s father) and it has strained Dylan and Norma’s relationship in a big bad way.
Dylan has come to the motel because he’s in trouble and needs Norma’s help, but she has made it clear that she doesn’t want him there and is pushing him to get out so she can focus on giving Norman a better life. When Dylan meets up with a local that’s making mad stacks of money it seems that Dylan won’t be going anywhere and tries to find a way to get in on the cash.
The police find Keith Summers car on the motel property and start asking questions, leaving Norma getting caught up in her own stories. When deputy Shelby asks her out, she accepts in hopes to win at least one of the officers over, but Norman becomes jealous that she’s going out with another man (who looks creepily like her older son Dylan).
Dylan and Norman get into a massive physical fight in the kitchen after Dylan calls his mother a vulgar name and when Norman goes at Dylan with a meat tenderizer, Dylan realizes just how mentally unstable Norman really is. After Norma sees Norma’s face from the fight with Dylan, she asks Dylan to move out, but instead he tries to blackmail her, saying that he will tell the insurance company the truth about the nasty relationship she had with Sam – implying that she killed Sam for the insurance money.
Norman has a class project to do and he partners up with a girl named Emma and while up in his room she finds the book of drawings hidden under his bed. She asks to borrow the book and Norman lets her, but after reading through the book Emma tells Norman that the drawings from the book are real and that this happened to these girls right here in town. Emma and Norman head out into the mountains to see if they can find some of the pictures from the book and they find a cabin, but before they can go inside they are chased off.
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NBC Refused To Let Ann Curry Send Well Wishes To Ailing Robin Roberts!
The harsh treatment Ann Curry received at the hands of NBC during her painful firing was so far reaching that the network wouldn’t even let her send a sympathy Tweet to ailing Robin Roberts!
According to New York magazine , after her tearful televised goodbye from TODAY while sitting next to Matt Lauer, Ann’s hands were tied about something as simple as a kind gesture to a colleague.
“Ann Curry was gone but not gone, which created a situation of spectacular awkwardness,” the report claims, detailing how swiftly Ann’s ousting dragged the ratings of The Today show down, and how poorly the network handled her situation.
According to the articles, “Any trust that had existed between Curry and Today was shattered. When Robin Roberts left Good Morning America a month later to get treatment for MDS, Curry asked NBC if she could tweet a note of sympathy for the ABC co-host. NBC said no, afraid she was trying to aid the enemy.”
As RadarOnline.com exclusively reported, the magazine report infuriated Ann, and a source close to her said has confirmed viewers suspicions about how truly bad things are right now with TODAY.
“When is enough going to be enough?” a source close to Ann asked.
Source
I'd be so pissed. This would have been the straw that broke the camel's back for me
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Game of Thrones' Season 3 "girl-mance" aka an excuse for an awesome ladies post!
'Game of Thrones': Natalie Dormer and Sophie Turner call Season 3 'a pivotal season'
By TERRI SCHWARTZ
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Sansa Stark and Margaery Tyrell are going to have a bit of a girl-mance on Season 3 of "Game of Thrones," so it's a good thing that the actresses who play the two characters, Sophie Turner and Natalie Dormer, get along very well in real life.
Zap2it participated in a recent "Game of Thrones" press day where we spoke to Turner and Dormer in a roundtable interview about Season 3. They teased their characters' motivations in the upcoming 10 episodes as Margaery moves to become Joffrey's princess and Sansa remains a prisoner of the crown, and discussed working with actors like Rory McCann and Diana Rigg. Here are the highlights of the conversation.
On seeing a new side of Margaery Tyrell in Season 3...
Dormer: "It's really exciting to do that, and that was always [showrunner] David [Benioff] and Dan [Weiss'] plan. When I took the role, when I spoke to them about it, they were like, 'So this is what we're thinking, We're going to flesh her out a bit.' We can't all be really important POV characters." [looks at Turner and laughs] "That was really great, and it was really good this season to join the family proper. Really get in there and hang out with [Turner].
"[Margaery's] a pragmatist. What Soph and I have been trying to do, Margaery has been trying to take [Sansa] under her wing a bit. She's trying to teach her to be a little bit practical. Obviously there's strings and conditions attached to the friendship, but I think she genuinely cares. Margaery identifies with Sansa because they both come from very close families. It's referenced, it's mentioned that the Tyrells are a close family and we all know how close the Starks are. So I think Margaery looks at Sansa and genuinely gets a shiver down her spine about the horrible things that have happened to her.
"Insofar as the Tyrells are in the house, we have come to take on the Lannisters. We have moved in, and obviously we want to win Sansa over to our side. We want her to be on our team. It's a little bit of manipulation, but it's sincere too. It's not just all Machiavellian twisting the mustache. It's practical. It's very practical it's sincere in that way."
On Sansa getting in on the game of thrones...
Turner:"Sansa realizes that you do have to kind of be a sole player and form alliances in order to get where you want to get. But Sansa, she's still a little bit naïve and she still hopes that she could just be a normal 14-year-old with friends. So she forms this sort of alliance/friendship with Shae. She's learning to trust people, but she's learning to trust the right people who she believes in. She's not going to trust Littlefinger. I mean, the really bad ones. She's making better choices than she would have if Ned perhaps hadn't have [been executed], but she's learning her way, and I think Margaery realizes that.
"Sansa, after the end of Season 2 when she realizes that she is still Joffrey's prisoner but kind of with no purpose now -- because she thought, 'I can become queen and then I can have the power to reunite myself with my family,' and now she's a prisoner on her own with no kind of purpose -- in this season she feels like she has to be really independent to not kind of use other people to get back to see her family. She has to be very independent and she kind of becomes one of the players of the game rather than one of the pawns of other peoples' games. She will refuse to let herself be used and she becomes kind of an initiator to get home, hopefully, and to see her family. I think you'll see her becoming a lot more independent for sure."
On Sansa and Margaery's friendship...
Dormer:"If it wasn't for the internal politics that was going on, Sansa and Margaery would probably quite sincerely, genuinely friends. They're two young girls that quite like each other, it's just the circumstances that sort of put them in this very ambiguous, difficult situation."
Turner:"It's a forced friendship." [Dormer gives her a look] "Take it or leave it."
Dormer: "I was totally sincere." [laughs]
On working with Diana Rigg as the Queen of Thorns...
Dormer: [to Turner] "What did you say in the other room? 'When you've met Diana Rigg, you know you've met Diana Rigg.' Of course, Dame Diana Rigg is a veteran and legend. Insofar as Margaery is the protégée of the Queen of Thorns, she is learning directly from her grandmother. As younger actresses, it was kind of 'N.A.R.' -- 'no acting required.' Sophie and I watching Diana at work; there's a nice parallel there between Margaery and Sansa watching Olenna at work because she's been there, done it, got the T-shirt and she just comes straight in with so much wisdom and authority, doesn't she?"
Turner: "But she also knows her character off by heart, but she kind of is her character as well at the same time. There's a lot of parallels between her and Olenna."
Dormer:"It's really fun to watch the Tyrells line up against the Lannisters, and to watch the matriarchal power of Diana Rigg take on like Charles Dance, Tywin Lannister. It's a real chess play happening within King's Landing and we're just pawns, lesser players."
Teasing Season 3...
Dormer:"It's not just about King's Landing. Insofar as talking about the whole season, there's a lot of big epic shocks, isn't there? There's a lot of big events."
Turner: "It's a pivotal season, to be honest, in the scale of if it went to eight or nine seasons, Season 3 would be the one to pick out."
Dormer:"You would look back and say, 'It was a pivotal season.' David and Dan really they wanted to get to this point. They felt very attached to the idea of getting to Season 3. When you see the season, it's completely understandable why. There's a lot of reversal of fortune and there's a real change. People have a lot of traumatic things happen to them."
Turner:"It's a lovely season."
Dormer:"If we did all the seasons, if we did all the books, this is like the big end of the first act. ... This is the massive finale of the first act."
On fans hating Sansa...
Dormer:"This is news to me. I've been hearing this as we've been going around the rooms."
Turner:"Did you not realize?"
Dormer:"No! Did you get a lot of flack when you started?"
Turner:"Yeah. I know."
Dormer: "I'm proud of you -- oh, that was so patronizing. That was so Margaery Tyrell. Well done, it's tough [to have detractors]."
Turner:"I think that people are definitely starting to like [Sansa] a little bit more, but because she's such a realistic character, there's always going to be controversy surrounding the character. I mean, there is in every day life. The thing that frustrates me is the fact that if you were a 13-year-old girl thrust into exactly the same situation, I can almost guarantee that you would make the same decisions that she makes because she makes them for a reason. But I think people are kind of warming to her because, as I said, she's not going to let people kind of use her and she's not going to be so naïve as to let people do that and she does kind of become a player of her own. That's what I think will hopefully attract the viewers to her and perhaps think a bit more kindly of her."
On Sansa almost killing Joffrey in Season 1...
Turner:"A lot of people would see that [scene] as a moment of strength, but I feel like that was a moment of weakness because Sansa's game is that she never loses face. She will always kind of keep this façade and she won't let her emotions through to sort of show people that she could potentially be a little bit dangerous to them in a way. I mean, she was kind of loopy. But I think that she in some ways is an underdog and she wants to maintain that because she knows that was a moment of weakness for her and I think she's learning from people like Littlefinger that she has to very much please the people that she wants to please and do all the manipulating behind their backs to survive and, in the end, hopefully win this game."
On Sansa's one smile in Season 2...
Turner:"I think because I'm so close with Sansa I feel that she is like my first love, in a way. It's weird, but she kind of is, so I feel the frustration that she feels when she hasn't smiled in the whole show. She hasn't had this relief and she is being suffocated by Joffrey and the court and she finally thinks that she is free of the court and free of Joffrey and you just totally have to get in the mindset of it. It was nice to have a little smile. I'd been anticipating it for like the whole second season after I'd read the script. Like, 'Maybe I'll get to smile this season!'"
On Sansa's relationship with the Hound...
Turner:"The relationship between the Hound and Sansa is this very kind of beautiful relationship where this imposing figure on pretty much everyone that comes across him is absolutely petrified of him, and yet he finds this one young girl that he can kind of be sensitive around and feel like he can protect her. I personally don't think it's love. I don't think he loves Sansa or has these feelings for her. I think it's just because he's been through the same thing that Sansa went through with Joffrey with his brother [the Mountain]. (LMAO BLESS)
"He can identify with his younger self and therefore he can identify with Sansa and it's beautiful in the way that there's no one else -- there's no even knight, because he's a knight you'd think he'd identify with the other ones -- but he identifies with this young girl and it's such a bizarre relationship. You would never put those two together because she frustrates him. I loved all the scenes that I had with Rory [McCann] and that Sansa had with the Hound, but I think that because it was a relationship which translated so well to screen that perhaps the showrunners, if they wanted to, they could take it in a totally different direction."
Source.
The more I read about what the show is doing with Sansa/Margaery/the Tyrells, the more excited I get. Lol. Anyway, what are you most looking forward to this season House ONTD? And let's try to keep it positive, pls!
By TERRI SCHWARTZ
Sansa Stark and Margaery Tyrell are going to have a bit of a girl-mance on Season 3 of "Game of Thrones," so it's a good thing that the actresses who play the two characters, Sophie Turner and Natalie Dormer, get along very well in real life.
Zap2it participated in a recent "Game of Thrones" press day where we spoke to Turner and Dormer in a roundtable interview about Season 3. They teased their characters' motivations in the upcoming 10 episodes as Margaery moves to become Joffrey's princess and Sansa remains a prisoner of the crown, and discussed working with actors like Rory McCann and Diana Rigg. Here are the highlights of the conversation.
On seeing a new side of Margaery Tyrell in Season 3...
Dormer: "It's really exciting to do that, and that was always [showrunner] David [Benioff] and Dan [Weiss'] plan. When I took the role, when I spoke to them about it, they were like, 'So this is what we're thinking, We're going to flesh her out a bit.' We can't all be really important POV characters." [looks at Turner and laughs] "That was really great, and it was really good this season to join the family proper. Really get in there and hang out with [Turner].
"[Margaery's] a pragmatist. What Soph and I have been trying to do, Margaery has been trying to take [Sansa] under her wing a bit. She's trying to teach her to be a little bit practical. Obviously there's strings and conditions attached to the friendship, but I think she genuinely cares. Margaery identifies with Sansa because they both come from very close families. It's referenced, it's mentioned that the Tyrells are a close family and we all know how close the Starks are. So I think Margaery looks at Sansa and genuinely gets a shiver down her spine about the horrible things that have happened to her.
"Insofar as the Tyrells are in the house, we have come to take on the Lannisters. We have moved in, and obviously we want to win Sansa over to our side. We want her to be on our team. It's a little bit of manipulation, but it's sincere too. It's not just all Machiavellian twisting the mustache. It's practical. It's very practical it's sincere in that way."
On Sansa getting in on the game of thrones...
Turner:"Sansa realizes that you do have to kind of be a sole player and form alliances in order to get where you want to get. But Sansa, she's still a little bit naïve and she still hopes that she could just be a normal 14-year-old with friends. So she forms this sort of alliance/friendship with Shae. She's learning to trust people, but she's learning to trust the right people who she believes in. She's not going to trust Littlefinger. I mean, the really bad ones. She's making better choices than she would have if Ned perhaps hadn't have [been executed], but she's learning her way, and I think Margaery realizes that.
"Sansa, after the end of Season 2 when she realizes that she is still Joffrey's prisoner but kind of with no purpose now -- because she thought, 'I can become queen and then I can have the power to reunite myself with my family,' and now she's a prisoner on her own with no kind of purpose -- in this season she feels like she has to be really independent to not kind of use other people to get back to see her family. She has to be very independent and she kind of becomes one of the players of the game rather than one of the pawns of other peoples' games. She will refuse to let herself be used and she becomes kind of an initiator to get home, hopefully, and to see her family. I think you'll see her becoming a lot more independent for sure."
On Sansa and Margaery's friendship...
Dormer:"If it wasn't for the internal politics that was going on, Sansa and Margaery would probably quite sincerely, genuinely friends. They're two young girls that quite like each other, it's just the circumstances that sort of put them in this very ambiguous, difficult situation."
Turner:"It's a forced friendship." [Dormer gives her a look] "Take it or leave it."
Dormer: "I was totally sincere." [laughs]
On working with Diana Rigg as the Queen of Thorns...
Dormer: [to Turner] "What did you say in the other room? 'When you've met Diana Rigg, you know you've met Diana Rigg.' Of course, Dame Diana Rigg is a veteran and legend. Insofar as Margaery is the protégée of the Queen of Thorns, she is learning directly from her grandmother. As younger actresses, it was kind of 'N.A.R.' -- 'no acting required.' Sophie and I watching Diana at work; there's a nice parallel there between Margaery and Sansa watching Olenna at work because she's been there, done it, got the T-shirt and she just comes straight in with so much wisdom and authority, doesn't she?"
Turner: "But she also knows her character off by heart, but she kind of is her character as well at the same time. There's a lot of parallels between her and Olenna."
Dormer:"It's really fun to watch the Tyrells line up against the Lannisters, and to watch the matriarchal power of Diana Rigg take on like Charles Dance, Tywin Lannister. It's a real chess play happening within King's Landing and we're just pawns, lesser players."
Teasing Season 3...
Dormer:"It's not just about King's Landing. Insofar as talking about the whole season, there's a lot of big epic shocks, isn't there? There's a lot of big events."
Turner: "It's a pivotal season, to be honest, in the scale of if it went to eight or nine seasons, Season 3 would be the one to pick out."
Dormer:"You would look back and say, 'It was a pivotal season.' David and Dan really they wanted to get to this point. They felt very attached to the idea of getting to Season 3. When you see the season, it's completely understandable why. There's a lot of reversal of fortune and there's a real change. People have a lot of traumatic things happen to them."
Turner:"It's a lovely season."
Dormer:"If we did all the seasons, if we did all the books, this is like the big end of the first act. ... This is the massive finale of the first act."
On fans hating Sansa...
Dormer:"This is news to me. I've been hearing this as we've been going around the rooms."
Turner:"Did you not realize?"
Dormer:"No! Did you get a lot of flack when you started?"
Turner:"Yeah. I know."
Dormer: "I'm proud of you -- oh, that was so patronizing. That was so Margaery Tyrell. Well done, it's tough [to have detractors]."
Turner:"I think that people are definitely starting to like [Sansa] a little bit more, but because she's such a realistic character, there's always going to be controversy surrounding the character. I mean, there is in every day life. The thing that frustrates me is the fact that if you were a 13-year-old girl thrust into exactly the same situation, I can almost guarantee that you would make the same decisions that she makes because she makes them for a reason. But I think people are kind of warming to her because, as I said, she's not going to let people kind of use her and she's not going to be so naïve as to let people do that and she does kind of become a player of her own. That's what I think will hopefully attract the viewers to her and perhaps think a bit more kindly of her."
On Sansa almost killing Joffrey in Season 1...
Turner:"A lot of people would see that [scene] as a moment of strength, but I feel like that was a moment of weakness because Sansa's game is that she never loses face. She will always kind of keep this façade and she won't let her emotions through to sort of show people that she could potentially be a little bit dangerous to them in a way. I mean, she was kind of loopy. But I think that she in some ways is an underdog and she wants to maintain that because she knows that was a moment of weakness for her and I think she's learning from people like Littlefinger that she has to very much please the people that she wants to please and do all the manipulating behind their backs to survive and, in the end, hopefully win this game."
On Sansa's one smile in Season 2...
Turner:"I think because I'm so close with Sansa I feel that she is like my first love, in a way. It's weird, but she kind of is, so I feel the frustration that she feels when she hasn't smiled in the whole show. She hasn't had this relief and she is being suffocated by Joffrey and the court and she finally thinks that she is free of the court and free of Joffrey and you just totally have to get in the mindset of it. It was nice to have a little smile. I'd been anticipating it for like the whole second season after I'd read the script. Like, 'Maybe I'll get to smile this season!'"
On Sansa's relationship with the Hound...
Turner:"The relationship between the Hound and Sansa is this very kind of beautiful relationship where this imposing figure on pretty much everyone that comes across him is absolutely petrified of him, and yet he finds this one young girl that he can kind of be sensitive around and feel like he can protect her. I personally don't think it's love. I don't think he loves Sansa or has these feelings for her. I think it's just because he's been through the same thing that Sansa went through with Joffrey with his brother [the Mountain]. (LMAO BLESS)
"He can identify with his younger self and therefore he can identify with Sansa and it's beautiful in the way that there's no one else -- there's no even knight, because he's a knight you'd think he'd identify with the other ones -- but he identifies with this young girl and it's such a bizarre relationship. You would never put those two together because she frustrates him. I loved all the scenes that I had with Rory [McCann] and that Sansa had with the Hound, but I think that because it was a relationship which translated so well to screen that perhaps the showrunners, if they wanted to, they could take it in a totally different direction."
Source.
The more I read about what the show is doing with Sansa/Margaery/the Tyrells, the more excited I get. Lol. Anyway, what are you most looking forward to this season House ONTD? And let's try to keep it positive, pls!
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Castle 5x19 Promo -- 100th episode!
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"It's A Beautiful Day" video premiere by Michael Buble
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Dane and DanRad are in love
"Hi, for two weeks, I'm moving in with you!" [Laughs.] "Hi, I just met you, but you have a really nice place, so I'm going to live here, but I promise it's for the movie!" We also spent New Year's Eve there. For, like, all of December, we just spent all of our time with each other. He's incredibly intelligent and incredibly nice and incredibly talented. He does this for all the right reasons. And we're both total acting nerds. So our two personalities, we happened to get along super well. We watched some movies, we watched some football, and we played a lot of board games. We both love board games. We played Cards Against Humanity. Have you played that?
![photo tumblr_m5imxqcYqL1qei7tao1_500.jpg]()
A lovely interview with Dane DeHaan about The Place Beyond the Pines with Ryan Gosling
Kill Your Darlings and moving in with Daniel Radcliffe, kissing him and becoming super close friends and wanting to win MTV Best Kiss
Spider-Man 2
Plus, Dan on his Oscar chances and back on the West End stage...
![photo tumblr_mjxt65oSK41rpzax0o1_500_zpsd81dff5e.jpg]()
Dane DeHaan plays Ryan Gosling's son in The Place Beyond the Pines, but don't expect the two to share quality onscreen time together. (We'd say more, but we don't want to spoil the plot.) DeHaan did spend plenty of offscreen time with Eva Mendes, who plays his mom, to get into the role, however. And there was some bowling involved. We spoke with DeHaan about getting cast in Pines, beefing up for Spider-Man 2, and playing board games with his Kill Your Darlings co-star Daniel Radcliffe.
![photo tumblr_m5jaw95RHY1ryqlxso2_1280.jpg]()
Originally, [director] Derek Cianfrance wanted you for the part of Bradley Cooper's son, A.J.
I didn't want to be A.J. I wanted to be Jason, so I put myself on tape for him as Jason. I just learned today he thought I was arrogant for doing that! [Laughs.] I guess I can see how it would be perceived that way. But it was just that Jason truly resonated with me, and I knew I wouldn't be as passionate about the project if I were A.J. But I didn't think anything would come of it. Jason's described as a super-buff half-Hispanic kid in the script, and I'm neither of those things. So I was like, "I think I have a way into this guy," so I made the tape to see what happens. It was kind of a gamble, but it paid off, I guess, yeah.
You're not super buff now, but you're trying to be for your role as Harry Osbourne in the next Spider-Man.
I've actually gained, like, ten pounds! I look a million times better with my shirt off than I did two months ago ...
Which I'm sure your wife is totally happy about ...
Yeah, sure! That's what it's all about. And it's about having the stamina and the strength to do a movie like that. It's the longest shoot I'll be doing, and I just want to be ready to do it.
Does that mean you're planning to eat all these nuts and fruit we have here in front of us? Is this for your diet?
Well, I can eat these [the almonds], but I can't eat those [the bananas]. See, the almonds are the only thing I actually asked for. I eat every two hours. It's a lot of protein and vegetables, very little carbs, no sugar. And as long as I keep food in my body, for my body to burn, that's the goal, because I'm naturally a very thin person, and I naturally have very little fat on my body, and if I'm not constantly eating, my body wants to keep the little bit of fat on my body and it'll start burning the muscle.
If you have that fast of a metabolism, can we switch?
Yeah, let's do it! Let's switch! [Laughs.] For the next five months, okay? That would be awesome. Andrew [Garfield] and I have a person who makes all of our food for us, and that's what we eat. I'm on the exact same diet and regimen that he is.
It's the Spider-Man diet!
And now it's also the Harry Osborne diet. [Laughs.] We could do a diet book together. But in general, I don't think it's an uncommon practice for someone doing a movie like this to undergo something like this. It's my first time. I've worked out before, but I hadn't had much success in changing the way I look, because my metabolism's so high, and it's my first time seeing proven results. I started out at 135, and I'm 145 right now, and that's the most I've ever weighed, and it's really exciting to me.
When do you start? How much more weight do you have to gain?
I'm pretty much there. I'm pretty much ready to shoot. I'm totally good to go. I feel like I'm ready to be Harry Osborne. It's not about becoming super bulky. It's about becoming fit. Harry Osborne, he's a trust-fund baby. He probably has personal trainers. He probably has someone making his food. He's going to look like he works out, so I have to look like I work out — but I don't have to look like Christian Bale as Batman. It's not that extreme. I just look a lot better naked.
You get to smooch Daniel Radcliffe in Kill Your Darlings — is this a kiss worthy of Best Kiss at the MTV Movie Awards?
That is what we want to win. I would love to win it. I think it's an awesome kiss, first of all. I think it's a really beautiful scene, and a beautiful kiss, and I think it's about time two dudes won Best Kiss anyway, so let's do it! It's time for two dudes to win. It would be super fun. Dan and I got so close shooting that, and we're like super good friends now. We're proud of the movie, and we're proud of the kiss. We want a lot of people to see the movie, because we're proud of the message it conveys.
![photo e80906d7-a1ba-4f3c-8d04-84d62709b14c.jpg]()
How close did you guys get?
My wife and I had a "staycation" at Dan's apartment — but that was after the movie. That was just for fun. That was just because we've gotten super close, so we had a staycation in December at the Radcliffe residence.
![photo tumblr_m39qirddMw1qjp518o1_500.jpg]()
At least it wasn't before the movie. That could have been awkward.
That would be intense! "Hi, for two weeks, I'm moving in with you!" [Laughs.] "Hi, I just met you, but you have a really nice place, so I'm going to live here, but I promise it's for the movie!" We also spent New Year's Eve there. For, like, all of December, we just spent all of our time with each other. He's incredibly intelligent and incredibly nice and incredibly talented. He does this for all the right reasons. And we're both total acting nerds. So our two personalities, we happened to get along super well. We watched some movies, we watched some football, and we played a lot of board games. We both love board games. We played Cards Against Humanity. Have you played that?
![photo tumblr_mgufraFGz61ras36wo2_250.jpg]()
What is that?
It's awesome. Have you ever played Apples to Apples? It's like that, but extremely inappropriate. It's, like, unbelievably inappropriate. You ask a question, and whoever puts down the most offensive answer wins. And we burned through the entire deck and two extra packs in one night. Like, you ask a simple question, "What is the meaning of life?" And the answer would be something like, "You're going to kill yourself in a pool of dead babies." Something like that. [Laughs.] It's really fun and a good time. Check it out!
***********************************************************************
Dan on his Oscar chances:
‘I don’t think (I’ll get an Oscar), no,’ admitted the self-deprecating British actor as he embarks on a film world without his wand.
‘I don’t think anybody takes a part and says “I’m going to get an Oscar for this” if you do that there’s something quite wrong with you,’ he said after recently tackling the role of gay poet Allen Ginsberg in new flick Kill Your Darlings.
‘It’s not something that’s even crossing my mind to be honest, I mean if it happened it would be incredible!’
‘I do (the roles) because I love the people I get to work with and the stories I’m telling,’ he explained at the Grosvenor House hotel bash.
Back on the West End:
![photo 579065_507038549358266_1721847052_n_zps8ecc721a.jpg]()
Daniel Radcliffe has been putting himself through a punishing training routine for his next theatre role.
The former Harry Potter star will take the title role in Martin McDonagh’s black comedy The Cripple Of Inishmaan, in which he plays a young lad with a degenerative muscle disease.
‘I’ve been working with a consultant trainer who helps people who have multiple sclerosis, because Billy — the boy I play — is crippled in his legs and his back has gone. I wanted to find a way of conveying his illness in a manner I’d be able to perform every night,’ Daniel told me.
‘If you do these things the wrong way, you can end up with serious back or walking problems.
‘It’s not actually specified what’s wrong with Billy. But reading through the play, it seemed that multiple sclerosis might be closest to what he has.’
The actor does nothing by halves when he tackles a theatre role. His stage debut was in Peter Shaffer’s Equus, opposite Richard Griffiths, which he performed in London and New York. He then learned how to sing and dance for How To Succeed In Business Without Really Trying on Broadway.
What I like about him is that he could have taken on something easy, like an Agatha Christie revival, but chose instead pieces that require proper acting, not just a phoned-in star performance.
The Cripple Of Inishmaan will be directed by Michael Grandage, as the third play in his season at the Noel Coward.
Vulture.com
Daily Fail
A lovely interview with Dane DeHaan about The Place Beyond the Pines with Ryan Gosling
Kill Your Darlings and moving in with Daniel Radcliffe, kissing him and becoming super close friends and wanting to win MTV Best Kiss
Spider-Man 2
Plus, Dan on his Oscar chances and back on the West End stage...
Dane DeHaan plays Ryan Gosling's son in The Place Beyond the Pines, but don't expect the two to share quality onscreen time together. (We'd say more, but we don't want to spoil the plot.) DeHaan did spend plenty of offscreen time with Eva Mendes, who plays his mom, to get into the role, however. And there was some bowling involved. We spoke with DeHaan about getting cast in Pines, beefing up for Spider-Man 2, and playing board games with his Kill Your Darlings co-star Daniel Radcliffe.
Originally, [director] Derek Cianfrance wanted you for the part of Bradley Cooper's son, A.J.
I didn't want to be A.J. I wanted to be Jason, so I put myself on tape for him as Jason. I just learned today he thought I was arrogant for doing that! [Laughs.] I guess I can see how it would be perceived that way. But it was just that Jason truly resonated with me, and I knew I wouldn't be as passionate about the project if I were A.J. But I didn't think anything would come of it. Jason's described as a super-buff half-Hispanic kid in the script, and I'm neither of those things. So I was like, "I think I have a way into this guy," so I made the tape to see what happens. It was kind of a gamble, but it paid off, I guess, yeah.
You're not super buff now, but you're trying to be for your role as Harry Osbourne in the next Spider-Man.
I've actually gained, like, ten pounds! I look a million times better with my shirt off than I did two months ago ...
Which I'm sure your wife is totally happy about ...
Yeah, sure! That's what it's all about. And it's about having the stamina and the strength to do a movie like that. It's the longest shoot I'll be doing, and I just want to be ready to do it.
Does that mean you're planning to eat all these nuts and fruit we have here in front of us? Is this for your diet?
Well, I can eat these [the almonds], but I can't eat those [the bananas]. See, the almonds are the only thing I actually asked for. I eat every two hours. It's a lot of protein and vegetables, very little carbs, no sugar. And as long as I keep food in my body, for my body to burn, that's the goal, because I'm naturally a very thin person, and I naturally have very little fat on my body, and if I'm not constantly eating, my body wants to keep the little bit of fat on my body and it'll start burning the muscle.
If you have that fast of a metabolism, can we switch?
Yeah, let's do it! Let's switch! [Laughs.] For the next five months, okay? That would be awesome. Andrew [Garfield] and I have a person who makes all of our food for us, and that's what we eat. I'm on the exact same diet and regimen that he is.
It's the Spider-Man diet!
And now it's also the Harry Osborne diet. [Laughs.] We could do a diet book together. But in general, I don't think it's an uncommon practice for someone doing a movie like this to undergo something like this. It's my first time. I've worked out before, but I hadn't had much success in changing the way I look, because my metabolism's so high, and it's my first time seeing proven results. I started out at 135, and I'm 145 right now, and that's the most I've ever weighed, and it's really exciting to me.
When do you start? How much more weight do you have to gain?
I'm pretty much there. I'm pretty much ready to shoot. I'm totally good to go. I feel like I'm ready to be Harry Osborne. It's not about becoming super bulky. It's about becoming fit. Harry Osborne, he's a trust-fund baby. He probably has personal trainers. He probably has someone making his food. He's going to look like he works out, so I have to look like I work out — but I don't have to look like Christian Bale as Batman. It's not that extreme. I just look a lot better naked.
You get to smooch Daniel Radcliffe in Kill Your Darlings — is this a kiss worthy of Best Kiss at the MTV Movie Awards?
That is what we want to win. I would love to win it. I think it's an awesome kiss, first of all. I think it's a really beautiful scene, and a beautiful kiss, and I think it's about time two dudes won Best Kiss anyway, so let's do it! It's time for two dudes to win. It would be super fun. Dan and I got so close shooting that, and we're like super good friends now. We're proud of the movie, and we're proud of the kiss. We want a lot of people to see the movie, because we're proud of the message it conveys.
How close did you guys get?
My wife and I had a "staycation" at Dan's apartment — but that was after the movie. That was just for fun. That was just because we've gotten super close, so we had a staycation in December at the Radcliffe residence.
At least it wasn't before the movie. That could have been awkward.
That would be intense! "Hi, for two weeks, I'm moving in with you!" [Laughs.] "Hi, I just met you, but you have a really nice place, so I'm going to live here, but I promise it's for the movie!" We also spent New Year's Eve there. For, like, all of December, we just spent all of our time with each other. He's incredibly intelligent and incredibly nice and incredibly talented. He does this for all the right reasons. And we're both total acting nerds. So our two personalities, we happened to get along super well. We watched some movies, we watched some football, and we played a lot of board games. We both love board games. We played Cards Against Humanity. Have you played that?
What is that?
It's awesome. Have you ever played Apples to Apples? It's like that, but extremely inappropriate. It's, like, unbelievably inappropriate. You ask a question, and whoever puts down the most offensive answer wins. And we burned through the entire deck and two extra packs in one night. Like, you ask a simple question, "What is the meaning of life?" And the answer would be something like, "You're going to kill yourself in a pool of dead babies." Something like that. [Laughs.] It's really fun and a good time. Check it out!
***********************************************************************
Dan on his Oscar chances:
‘I don’t think (I’ll get an Oscar), no,’ admitted the self-deprecating British actor as he embarks on a film world without his wand.
‘I don’t think anybody takes a part and says “I’m going to get an Oscar for this” if you do that there’s something quite wrong with you,’ he said after recently tackling the role of gay poet Allen Ginsberg in new flick Kill Your Darlings.
‘It’s not something that’s even crossing my mind to be honest, I mean if it happened it would be incredible!’
‘I do (the roles) because I love the people I get to work with and the stories I’m telling,’ he explained at the Grosvenor House hotel bash.
Back on the West End:
Daniel Radcliffe has been putting himself through a punishing training routine for his next theatre role.
The former Harry Potter star will take the title role in Martin McDonagh’s black comedy The Cripple Of Inishmaan, in which he plays a young lad with a degenerative muscle disease.
‘I’ve been working with a consultant trainer who helps people who have multiple sclerosis, because Billy — the boy I play — is crippled in his legs and his back has gone. I wanted to find a way of conveying his illness in a manner I’d be able to perform every night,’ Daniel told me.
‘If you do these things the wrong way, you can end up with serious back or walking problems.
‘It’s not actually specified what’s wrong with Billy. But reading through the play, it seemed that multiple sclerosis might be closest to what he has.’
The actor does nothing by halves when he tackles a theatre role. His stage debut was in Peter Shaffer’s Equus, opposite Richard Griffiths, which he performed in London and New York. He then learned how to sing and dance for How To Succeed In Business Without Really Trying on Broadway.
What I like about him is that he could have taken on something easy, like an Agatha Christie revival, but chose instead pieces that require proper acting, not just a phoned-in star performance.
The Cripple Of Inishmaan will be directed by Michael Grandage, as the third play in his season at the Noel Coward.
Vulture.com
Daily Fail
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March 25 – Britney In Malibu
After her whirlwind trip to Las Vegas, Brit jetted home and was spotted hanging out at a friend’s house in Malibu on Monday.
The two grabbed lunch at Cafe Habana then headed back for a little relaxation in the sun.
Source.
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Kid Cudi performs 4 songs on Jimmy Kimmel Live; plus Indicud album info
Just What I Am (feat. King Chip)
Immortal
Mad Solar (Acapella)
Pursuit of Happiness
The album art represents me. A ball of flames in a rose gold frame. INDICUD
— Scott Mescudi (@ducidni) March 26, 2013
1. The Resurrection of Scott Mescudi
2. Unfuckwittable
3. Just What I Am (feat. King Chip)
4. Young Lady (feat. Father John Misty)
5. King Wizard
6. Immortal
7. Solo Dolo Part II (feat. Kendrick Lamar)
8. Girls (feat. Too Short)
9. New York City Rage Fest
10. Red Eye (feat. Haim)
11. Mad Solar
12. Beez (feat. RZA)
13. Brothers (feat. King Chip & A$AP Rocky)
14. Burn Baby Burn
15. Lord of the Sad and Lonely
16. Cold Blooded
17. Afterwards (Bring Yo Friends) (feat. Michael Bolton & King Chip)
18. The Flight of the Moon Man
dat king chip and a$ap rocky track
Sources: 1, 2, 3, 4, 5
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The New Movie Stars: How Jennifer Lawrence, Jessica Chastain and Ryan Gosling Are Redefining Stardom
Movie stars are an endangered species, so how does a rising generation of Hollywood talent break into the big time if having their name above the title means less than it ever has before?
Studios are making fewer movies and handing out smaller deals to the actors who anchor them. The number of stars who command a big paycheck, boast major acting chops and deliver a massive opening weekend at the box office can be counted on both hands.
Despite the more earthbound nature of today's stardom, there is still a cavalcade of young, up-and-coming actors who are forging fascinating careers and building a following. The approach they are taking differs wildly from the one employed a decade ago, and their interpretation of stardom is more malleable.
"Now more than ever it’s really about the role rather than the size of the movie," Todd Lieberman, producer of "Warm Bodies" and "The Muppets," told TheWrap. "Actors are making choices based on interesting material rather than paydays. They would much rather build a career off a supporting role in a phenomenal director's film, rather than a lead role in a movie where they might be getting paid more, but it does not have the same cache."
Today's stars are more entrepreneurial, more digitally savvy and as interested in building long and creatively fulfilling careers as they are in scoring a franchise role. They are as willing to pop up in a web series as they are to don a superhero's cape -- just as long as the work is stimulating.
In terms of actors that offer that magic amalgam of artistic and commercial appeal, there's Will Smith, Robert Downey Jr., Johnny Depp. But from there the list gets short. Although stars still matter in terms of getting financing for films, the reality is that the $20 million paydays those actors still command, is out of reach for even the hottest young talents.
The new models for stardom are the likes of Jessica Chastain, Jennifer Lawrence, Ryan Gosling and Channing Tatum. In some cases, they've earned all the trappings of stardom -- the magazine covers, the screaming fans -- without even anchoring a blockbuster. Gosling, after all, has never starred in a movie that has grossed $100 million domestically.
What they have done is piece together interesting careers with a range of roles that straddle genres and budget ranges. Sometimes, as in the case of Chastain, that even meant a stint on Broadway, to show that versatility extends from screen to stage.
"It is critical for a young star to establish credibility through serious parts," Marc Shmuger, the former chairman of Universal Studios and a producer of the upcoming film, "The Spectacular Now," told TheWrap.
"That lays the foundation for actors like Jessica Chastain or Jennifer Lawrence to have the longevity of careers of real movie stars. The two biggest movies stars, Robert Downey and Johnny Depp, established credibility after years and years of serious roles, so their popularity came organically."
That's what Bradley Cooper seems to be doing. Last fall, when "The Hangover" actor was earning critical raves for his performance as a bipolar man in "Silver Linings Playbook," he told TheWrap that the most important decision he makes in terms of committing to a project is his choice of collaborators.
"It’s really simple: I just want to work with great directors," Cooper told TheWrap.
"There’s a reason why Martin Scorsese works with Robert De Niro for six movies and then Leonardo DiCaprio for six movies. Because when it works, cinema is a collaborative art form," he added.
The previous approach to launching a star by aligning a hot young actor like Shia LaBeouf (right) with a special-effects extravaganza has produced some big whiffs of late. Taylor Kitsch saw his movie career flame out spectacularly before it had much chance to light up when audiences rejected his star-turns, first in "John Carter" and then in "Battleship" in the space of three months. Likewise, Nicholas Hoult garnered critical attention for his supporting role in "A Single Man" and leading performance in the box-office hit "Warm Bodies," only to suffer a setback when the more overtly commercial "Jack the Giant Slayer" flopped badly.
Clearly, getting that tentpole picture doesn't always lead to a career as the next Bruce Willis or Harrison Ford.
"Sometimes people get in position where they get in a big movie and overplay their hand," Wyck Godfrey, a producer of "Twilight," said. "What that huge check does is put a target on an actor's back."
It's not that these big-budget productions should be eschewed entirely. Wyck said that even though special effects have become the main draw in films like "Transformers" or "Life of Pi," there is still one group of properties that reliably turn out big stars: young adult novels. After all, Lawrence had picked up an Oscar nomination for "Winter's Bone" and appeared in "X-Men: First Class," but it wasn't until "The Hunger Games" that she became J-Law, a hyphenated teen idol.
"Because fans of the book series love those characters, their fondness for the material gets transported onto the actor playing them," Godfrey said. "The trick is just to not get enslaved to the character."
He said that's a trap that Lawrence, Kristen Stewart, Robert Pattinson and Shailene Woodley, who is set to star in the screen adaption of the best-seller "Divergent," have largely avoided by mixing up their performances in young adult epics with smaller-budgeted movies like "On the Road" or "Cosmopolis" that stretch themselves as an actor.
Despite these success stories, there has been a noticeable diminution of the term "star," producers and agents say. The rise of YouTube, Twitter and other social media platforms, not to mention the ubiquity of digital cameras and other affordable production technology, have created a deluge of would-be icons. In a world where "Gangham Style" singer PSY or "Friday" belter Rebecca Black can command as many, if not more Google hits than, say, Anne Hathaway, the meaning of stardom has become at once more democratic and more meaningless.
"Everyone is simultaneously a star and a fan, so what it means to be a star is no longer shrouded in mystique, because it's been brought down to the level of the audience," Shmuger said. "It's harder today than it ever was in the past to create a meaningful differentiation between yourself and the mass of instant stars who populate YouTube."
That may be the case, but other observers say that the response for this Internet era crop of actors should be to embrace a multi-platform approach to building an audience. Peter Principato, a talent manager and founding partner of Principato-Young Entertainment, argues that YouTube and other digital spaces can serve as incubators for young stars, particularly of the comic variety.
"By posting short films or doing funny weird things with lots of personality, these people are building their fan bases, and the industry is starting to pay attention," Principato said. "A lot of these kids are more ambitious and creative than the ones that came before them."
He's talking about actors who are just starting out, but even more-established performers can see their star enhanced by exhibiting digital prowess. Actors like Joseph Gordon-Levitt, who started the open collaborative production company HitRecord.org, have built up their artistic bona fides by releasing videos straight for the web, and James Franco has created a brand for himself as a cultural omnivore as much by blogging about "Girls" for the Huffington Post as he has by hosting the Oscars or starring in "Oz: the Great and Powerful."
The internet may be lowering the barriers to entry for stardom, but it's also giving stars more outlets to express themselves and more control over the products they put out for public consumption.
"Places like YouTube and Amazon have begun to fill the role of studios and networks," Marci Liroff, a casting director on films like "The Spiderwick Chronicles" and "A Christmas Story," told TheWrap. "If you have an idea and some moxie and will and charm, you can go make a movie."
Just don't ask Liroff to define the ineffable quality that makes a star, a star.
"You just know it when you see it," she said. "It's so subjective and hard to explain, but sometimes when someone great is reading for a part, the molecules in the room just change."
Source
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Heir To The Kardashian Throne To Be Born In Paris
Kim Kardashian's pregnancy hasn't been a seemingly easy one, but perhaps giving birth in the City of Love will make her reported pregnancy difficulties seem insignificant, as Kim has admitted she is considering Paris as her baby's birth place.
Kim and boyfriend Kanye West are considering ditching Calabasas and welcoming their little bundle of joy into the world in Paris, after enjoying a string of romantic mini-breaks in the French capital.
"We're thinking of having the baby in Paris maybe... we're still deciding", the reality TV star told E!Online, whose rapper beau even has a song named after the city.
However, it seems like Kanye and his baby mama still have a few decisions to make regarding their baby, as Kimmy revealed that they haven't even chosen a baby name yet despite rumours flying around celebsville that they were considering calling their first child North.
"We have ideas but we haven't picked out a name. We know we have time and so we're just really taking our time with it", the Kardashian sister confessed before revealing that the couple have toyed with the idea of using their parents' names for inspriation.
"The thought of both of our parents who have passed away, using their names, maybe as a middle name or something like that, would be something we wold consider... we don't know yet".
Kim, who recently starred in Tyler Perry's film Temptation: Confessions Of A Marriage Councillor, has made no secret of her gradual adjustment to being pregnant and hopes that her birth is less troublesome.
"I'm not going to lie and be like, 'Oh it's been amazing and I've adjusted great", she admitted to Extra.
"At the beginning it was tough for me when your body changes so much, but once you kind of grasp that and embrace it, it's amazing".
"I've had a different pregnancy", she said, in comparison to her Mum Kris' and sister Kourtney's. "So, I am praying to God that my delivery is at least like theirs, easy and healthy. That's all you can really hope for".
Source
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Meet The New RPattz
Everyone's talking about Max Irons, the young star of Stephenie Meyer's new movie The Host, with the actor being dubbed the “new Robert Pattinson”, well we've checked out some facts about the star to see if the comparisons are justified.
1.) Like Rob, Max went to a pretty posh school attending Oxford's prestigious Dragon Prep School. Other alumni include Harry Potter star Emma Watson and Thor actor Tom Hiddlestone. Weirdly the school has its own slang and the teachers are refered to by nivknames, with female teachers all being refered to as 'Ma'.
2.) Max is acting royalty as the son of Sinead Cusack and Jeremy Irons. His parents though have what you might call an unconventional relationship, with rumours of affairs and Jeremy calling his wife “impossible” during an interview.
3.) Max suffered from dyslexia in his youth.
4.)The Host director Andrew Niccol actually extended Max and co-star Saorise Ronan's kissing scene in the movie due to fans being unable to contain their excitement in test screenings.
“When Jake [Abel]'s character says 'Kiss her' to Max's character, there's such a big shriek that I actually added frames to the reaction so you could hear the next line of dialogue," Niccol told The Hollywood Reporter.
5.) Max has always wanted to be a fighter pilot but gets squeamish at the thought of killing.“I’ve always wanted to be a fighter pilot, but I don’t want to kill people. I’d hate to,” the star told Men's Week.
6.) The actor dated Aussie actress Emily Browning, before the pair broke up last summer.
7.) Like R-Patz again, the star got his big break from Twilight director Catherine Hardwicke, who cast him alongside Shiloh Fernandez and Amanda Seyfried in Red Riding Hood. The Twilight connection doesn't stop there though, as Max even turned up to the Breaking Dawn - Part 2.
Source
ONTD, your verdict - cute or not?
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Coco Rocha’s Final ‘The Face’ Blog + interview with the winner
Everyone’s A Winner (But, Okay, One Person Actually Did Win)
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Well, here we are: The final episode of The Face. It seems like just yesterday we had 24 girls and now all of a sudden we’re down to four: Team Karolina’s Devyn, a mother from the Bronx who all three mentors fought for on day one; hardworking and sweet Ebony, also from Team Karolina; Team Naomi’s former Miss Universe China, Zi Lin, who has been one to watch all season; and finally the beautiful Margaux from my Team Coco, a quirky model after my own heart who won me over on the first day with her risky head shot. Together, for better or for worse, we never played it safe as a team and we always strived to think outside the box.
The final stretch: The girls are introduced to the Director of Public Relations and the Director of Trend Development at Ulta Beauty, the clients who will ultimately pick one girl to be the face of their brand. Their final test run involves learning about products and interacting with customers at an Ulta beauty store. Team Karolina’s Devyn, who works in retail, and Ebony, a preschool teacher, both seem very comfortable with the customers.
Zi Lin gives it her all and does well despite her language barrier. Naturally a shy girl, Margaux pulls through and is very warm and engaging. When asked what the brushes are made of by a would-be client, she admits that she doesn’t know the answer. I was very happy with her response, as admitting you don’t know something is much better than making something up (which we saw Team Naomi do to their downfall last week).
The girls give it their all: Photographer Dusan Reljin gives the girls one last shoot to help Carrie and Molly of Ulta decide which girl should be The Face.
Margaux is first and needs no time to warm up; as far as modeling and posing go, this girl is a machine and gives Dusan one amazing shot after another. She works with her facial expressions, her angles and even her hands. I could not be more proud of my little protégé. By comparison, Ebony (Team Karolina) falters. She is a little slower in finding her groove and seems to be unsure of her angles. Devyn makes up for her teammate’s shortcomings with a great connection to the camera. The clients have no problem choosing a usable shot from her work. Zi Lin is last and, with warning from mentor Naomi to not “do that pageantry thing,” serves model all the way. It’s evident these four girls are the best in the competition and all deserve their spot in the finale. However, in reviewing the pictures, the client decides that Ebony does not have what it takes to be the face of Ulta and she is sent packing before the final runway show.
This season of The Face opened with the girls watching myself, Naomi and Karolina walk in a Zac Posen show at Lincoln Center, so it only seems right that it closes with the girls actually walking alongside us in another Zac Posen show. All three girls look amazing and we all feel like proud mamas.
And the winner is… Taking into account everything they have seen, the representatives from Ulta decide that The Face will be (drumroll, please) … Devyn! Personally, I believe that any one of the top three girls would have done an amazing job with Ulta, so Carrie and Molly couldn’t have made a bad choice. Margaux takes the loss in stride. In the modeling world we hear “no” just as often (if not more) as we hear “yes,” and although she didn’t win the Ulta campaign her story does not stop here.
Margaux has since been signed to my agency, Wilhelmina NY, and is being guided by the same amazing agents who have worked with me for the last decade. This last month Margaux was featured in Virgin Mobile’s television spots (airing between commercial breaks of ‘The Face’!) and recently shot a campaign with Target.
All very impressive accomplishments for any model, and I, for one, could not be more excited to continue to watch and mentor Margaux and all my girls as they expand their careers in the months and years to come. You have not seen the last of Team Coco!
Devyn, once again, proves her interview skills are the worst and fails to look even remotely endearing or likeable. Highlights:
- She eats. SHE EATS, SHE EATS, it's just that she has a fast metabolism. And she has a daughter and 'still look like this' and her stomach was the same just after two weeks after she gave birth.
- Talks about how this is more than being a pretty face and that you have to know how to speak and carry yourself. Carry yoursel like a light skinned black girl, right Dev?
- Went to Art school & has tattoos and piercings.
- Disagrees with Sandra on 'having the looks, not the books' and thinks a model has to be smart.
- Wants to turn her 15 minutes of fame into a lifetime
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CLICK
source: 1 | 2
I think this is my last The Face post, so thanks for joining, guys <3
Team Naomi appreciates your time (and worshipping)
![]()
Well, here we are: The final episode of The Face. It seems like just yesterday we had 24 girls and now all of a sudden we’re down to four: Team Karolina’s Devyn, a mother from the Bronx who all three mentors fought for on day one; hardworking and sweet Ebony, also from Team Karolina; Team Naomi’s former Miss Universe China, Zi Lin, who has been one to watch all season; and finally the beautiful Margaux from my Team Coco, a quirky model after my own heart who won me over on the first day with her risky head shot. Together, for better or for worse, we never played it safe as a team and we always strived to think outside the box.
The final stretch: The girls are introduced to the Director of Public Relations and the Director of Trend Development at Ulta Beauty, the clients who will ultimately pick one girl to be the face of their brand. Their final test run involves learning about products and interacting with customers at an Ulta beauty store. Team Karolina’s Devyn, who works in retail, and Ebony, a preschool teacher, both seem very comfortable with the customers.
Zi Lin gives it her all and does well despite her language barrier. Naturally a shy girl, Margaux pulls through and is very warm and engaging. When asked what the brushes are made of by a would-be client, she admits that she doesn’t know the answer. I was very happy with her response, as admitting you don’t know something is much better than making something up (which we saw Team Naomi do to their downfall last week).
The girls give it their all: Photographer Dusan Reljin gives the girls one last shoot to help Carrie and Molly of Ulta decide which girl should be The Face.
Margaux is first and needs no time to warm up; as far as modeling and posing go, this girl is a machine and gives Dusan one amazing shot after another. She works with her facial expressions, her angles and even her hands. I could not be more proud of my little protégé. By comparison, Ebony (Team Karolina) falters. She is a little slower in finding her groove and seems to be unsure of her angles. Devyn makes up for her teammate’s shortcomings with a great connection to the camera. The clients have no problem choosing a usable shot from her work. Zi Lin is last and, with warning from mentor Naomi to not “do that pageantry thing,” serves model all the way. It’s evident these four girls are the best in the competition and all deserve their spot in the finale. However, in reviewing the pictures, the client decides that Ebony does not have what it takes to be the face of Ulta and she is sent packing before the final runway show.
This season of The Face opened with the girls watching myself, Naomi and Karolina walk in a Zac Posen show at Lincoln Center, so it only seems right that it closes with the girls actually walking alongside us in another Zac Posen show. All three girls look amazing and we all feel like proud mamas.
And the winner is… Taking into account everything they have seen, the representatives from Ulta decide that The Face will be (drumroll, please) … Devyn! Personally, I believe that any one of the top three girls would have done an amazing job with Ulta, so Carrie and Molly couldn’t have made a bad choice. Margaux takes the loss in stride. In the modeling world we hear “no” just as often (if not more) as we hear “yes,” and although she didn’t win the Ulta campaign her story does not stop here.
Margaux has since been signed to my agency, Wilhelmina NY, and is being guided by the same amazing agents who have worked with me for the last decade. This last month Margaux was featured in Virgin Mobile’s television spots (airing between commercial breaks of ‘The Face’!) and recently shot a campaign with Target.
All very impressive accomplishments for any model, and I, for one, could not be more excited to continue to watch and mentor Margaux and all my girls as they expand their careers in the months and years to come. You have not seen the last of Team Coco!
Devyn, once again, proves her interview skills are the worst and fails to look even remotely endearing or likeable. Highlights:
- She eats. SHE EATS, SHE EATS, it's just that she has a fast metabolism. And she has a daughter and 'still look like this' and her stomach was the same just after two weeks after she gave birth.
- Talks about how this is more than being a pretty face and that you have to know how to speak and carry yourself. Carry yoursel like a light skinned black girl, right Dev?
- Went to Art school & has tattoos and piercings.
- Disagrees with Sandra on 'having the looks, not the books' and thinks a model has to be smart.
- Wants to turn her 15 minutes of fame into a lifetime
CLICK
source: 1 | 2
I think this is my last The Face post, so thanks for joining, guys <3
Team Naomi appreciates your time (and worshipping)
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Tom Hiddleston for FLAUNT magazine
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Angelina Jolie and William Hague form unlikely double act to tackle rape in war
Several Hollywood actors through the years have tried to use their fame to change the world, or at least a government policy or two. And there has been no shortage of politicians who have sought to harness the megawattage of celebrity to push their policies. Few have pulled off this alchemy quite as effectively as Angelina Jolie and William Hague in their joint campaign for international action against mass rape in conflicts.
They have been collaborating since last May on a multipronged initiative, with projects ranging from shaming public officials into action to funding women's clinics and dispatching forensic experts to the Syrian borders, Libya, Mali and the Democratic Republic of the Congo (DRC).
For the past four days, the film star and foreign secretary have visited waterlogged refugee camps near the frontlines around Goma, eastern DRC, meeting rape survivors, women's groups and doctors to publicise the effort before putting it on the G8 agenda this year.
Jolie said she had not wanted to have anything to do with governments that when she started to publicise the issue. Since then, she says, she has realised their money and power have their uses. Asked what she wanted to get out of the partnership with Her Majesty's Government, she replied straight away: "An end to impunity."
"There were hundreds of thousands of women raped during the Rwandan genocide. There are hundreds of thousands of people being raped in the Congo. Tens of thousands of women raped in Bosnia. God knows how many people raped in Syria," Jolie said in an interview with the Guardian on Hague's RAF plane, after thunderstorms had stopped a helicopter trip to a women's hospital, and officials plotted alternative itineraries.
"I would like them to know they are not alone and that violence against them is something the world will no longer stand for and it's not something they are expected to simply tolerate. I think they have been expected to do so and I think people have come to see rape in war as something that just happens, that is a part of war. We will no longer simply stand idly by."
The British foreign secretary flatly admits that it was Jolie's film, Land of Blood and Honey, that inspired his commitment to the cause. The film, Jolie's directing debut, is the very opposite of a Hollywood blockbuster. It is a gruelling depiction of the rape camps in Bosnia where up to 50,000 women were sexually abused. The cast is entirely Balkan, as is the dialogue, with subtitles. It was rapturously received in Sarajevo but barely seen anywhere else.
The aim, Jolie says, was to give the victims a voice and to move policy-makers, an oft-stated goal of political films. But on this occasion it does appear to have worked.
"It was when I saw Angelina's film that I decided we should launch a global initiative on this," Hague said. "When you get into the detail of it, it's too terrible not to do something about. What is the point of politics if you don't address such issues and, if your position in the world enables you to see and understand the sheer extent of the horror, then you have a responsibility to do something about it."
It is the ultimate odd couple pairing, of course, of the sort that films are made about: the resolutely unflashy northern Tory and a world-famous Tinseltown progressive. But, on this issue, their views are so closely aligned that after a few days' joint campaigning together they are finishing each other's sentences.
Jolie strongly backs Hague's decision to set up a team of about 70 British experts to deploy to conflict zones, including health experts, counsellors and police officers who can train local people to collect and store evidence of rape, the lack of which has help stymie war crimes prosecutions for sexual violence. The UK government is also funding locked evidence cabinets to keep the DNA evidence secure and cool.
"Evidence-collecting on the border is so crucial," Jolie said. "There is a backlog of cases, so to try to collect evidence and speak to the people during the situation [is vital], to give them assistance immediately after crisis, if you can't reach them during … to start to hear their voices and support them."
She points out that although there were up to 50,000 cases of rape in the Bosnian conflict, there have been only about 30 war crimes convictions for sexual crimes.
"The hope and dream is that the next time this happens, that somehow, during a crisis, during a war, it's known that if you abuse the women, if you rape the women, you will be held accountable for your actions. This will be a crime of war and … it won't be considered that you were simply swept up in mass hysteria and aggression," Jolie said. "And hopefully it will be prevented and the numbers will drop, and we won't have to do so much work in the future. It's a long, long road, but that is the goal."
There's a video at the Source as well that won't embed here.
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CBS Renews 14 Shows, Including Good Wife, Mentalist and Hawaii Five-0; What's Missing?
CBS handed out early renewals to an additional 14 series on Wednesday, including The Good Wife, The Mentalist and Hawaii Five-0.
Also getting the green light for the 2013-14 season are NCIS: Los Angeles, Blue Bloods, Elementary, Person of Interest, 2 Broke Girls, Mike & Molly, The Amazing Race, Survivor, Undercover Boss, 60 Minutes and 48 Hours.
Those shows join previously renewed Eye staples Big Bang Theory, How I Met Your Mother, NCIS and CSI.
Noticeably MIA: Two and a Half Men, CSI: NY (which is now considered a long-shot for renewal) and Friday bound freshman drama Vegas. (which had already been deemed a long-shot).
Regarding Men, CBS is currently in talks with Warner Bros. on an 11th season of the comedy. All indications are that the show will be back — with Ashton Kutcher.
TVLine’s Renewal Scorecard has been updated with today’s pickups!
Thoughts? Which renewal are you most relieved about? Which non-renewal has you most concerned? Hit the comments!
TVLine
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Tyler, the Creator on How He Knew Frank Ocean Was "Gay," and Why He Doesn't Care
In the latest issue of Rolling Stone, Tyler, the Creator speaks on Frank Ocean's sexuality, how he found out about it, and the use of the word "faggot." He explains that Ocean doesn't care about his use of the word and contemplates what would happen if Frank himself started using it:
Did you know Frank Ocean was gay before he came out last year?
Yeah, I was one of the first people he told. I kinda knew, because he likes Pop Tarts without frosting on them, so I knew something was weird. [Laughs] But that's my nigga.
Do you think he cares about you using the word "faggot"?
He knows me, and he knows I don't care about being gay. It's just another word to me. The same as "nigga." Let's say Frank started using the word "fag," just jokingly. People would be so fucking confused! They wouldn't know what to do. And it could take the power out of that word.
He goes on to talk about his upcoming album, Wolf, which drops on Apr. 2 and why he doesn't have features like Drake or Kendrick Lamar on his album. He says, " I don't need people's help. I see famous people being friends when I know they don't fucking even like each other," and later adds that "everyone is a fucking follower."
But he does fuck with Miley Cyrus, he says, and is reportedly featured on her upcoming album on a track with Mary J. Blige. "I wish more people would like her," Tyler says, in regards to the pop star.
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More Pages to Explore .....
