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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 259 | 260 | (Page 261) | 262 | 263 | .... | 4843 | newer

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    All eyes are on the charts as Kanye West, J. Cole, Mac Miller, and Kelly Rowland battle it out this week. After a full day in stores, early estimates are in.

    The biggest showdown is between Kanye and Cole. According to HITS Daily Double, Kanye’s Yeezus is on track to outsell Cole’s Born Sinner with 375-400k, while Cole’s sophomore set is predicted to move 290-315k units based on one-day estimates.

    That would give Kanye the second biggest debut of the year behind Justin Timberlake’s The 20/20 Experience (968k) and Cole the fourth largest debut after Daft Punk’s Random Access Memories (339k).

    Mac Miller’s second album Watching Movies With the Sound Off is approaching the 95-105k range. His 2011 debut Blue Slide Park opened at No. 1 with 145,000.

    Kelly Rowland is facing off with her male counterparts with her fourth album Talk a Good Game, which is expected to sell 60-65k copies in its first week. Her previous set, 2011’s Here I Am, entered at No. 3 with 77,000.

    rap up

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    Making her small screen comeback in the critically lauded Hannibal TV series (The Fall tho), Gillian Anderson said she is happy to stay with the cannibal.

    I don’t think anyone knows what’s going to happen in the series. However, I will continue to be on it, until he eats me,” Anderson says.

    Hannibal will continue to feast as NBC recently announced that it has renewed the series for a 13-episode second season. Audiences around the region can watch Hannibal on Friday’s at 9 p.m. on AXN. It is currently in the middle of its first season and its finale will air late this month.

    The dark but thoroughly captivating drama created by Bryan Fuller is based on Thomas Harris’ novel Red Dragon, whose iconic villain won a spot in pop culture following the 1991 film The Silence of the Lambs.

    The series focuses on the lives of troubled FBI profiler Will Graham (played by Hugh Dancy) and the titular Dr. Hannibal Lecter (Mads Mikkelsen), long before the Red Dragon and Silence of the Lambs timeline where he is discovered as a serial killer and captured by the FBI.

    Anderson joined the series last month as Dr. Bedelia du Maurier, Dr. Hannibal Lecter’s psychotherapist. She is making her return after having already appeared in three episodes.

    She said that joining this series was not in the cards, at first. But she was then offered the role and had a couple of conversations with Fuller.

    There were a few considerations because I was not really interested in doing network television for a while, but the idea playing Hannibal’s psychiatrist is really cool,” Anderson said in a recent telephone interview with a group of journalists from the region.

    “Ultimately, Bryan convinced me that it would be really fun to come and join with really good quality actors. That what made the decision.”

    She said she did not need to prepare a lot for the role.

    “It didn’t really call for it. I’ve been in therapy myself at various moments in my life, I’m familiar with the process,” she says.

    My character has been his psychiatrist for a long time and in retirement, but he’s her only remaining patient. The question was more about what kind of woman – professional woman – would Hannibal choose to be his psychiatrist, what would she look like, how would she speak, the dialogue, the rhythm of the dialogue.”

    She had fun sharing a scene with Mikkelsen, a Danish actor who reached worldwide fame playing Le Chiffre in the James Bond film Casino Royale in 2006. Mikkelsen also won the Cannes Film Festival Best Actor Award for his 2012 film The Hunt.

    “He’s incredible and really amazing to work with. He has so much emotion in his fingertip. Watching him really coming out with his character is a fascinating thing to do,” Anderson said.

    I’m pretty sure from now on people will see Hannibal the way it is painted by Mads.  Mads’ rendition is very contemporary, very detailed and very disturbing. He does it so well. When I think of Hannibal, I think of Mads’ more than Anthony Hopkins’.”

    Although Anderson has played numerous characters throughout her career, it is hard to forget about her most famous role to date as X-Files’ Dana Scully.

    “I’ve been doing a lot of different stuff, there are a lot of things I would like to be remembered by.

    “Hannibal is a very sweet thing to have in my acting experience and collection of characters. I wouldn’t say I want to be remembered by this role but I’m glad to be a part of the whole,” she said.

    Anderson said she had received many television series lead role offers but had turned most of them down.

    “A lot of them didn’t interest me. I have three children, I live in the UK; most of the stuff that I choose to do are stuff that takes me away from them as little time as possible,” she says.

    “It’s an interesting balance between finding material that I really like, and finding material that doesn’t mean I abandon my kids for too long.”

    Speaking of her character Bedelia du Maurier, Anderson thought that it would be much more interesting and dramatic if it ends with her being eaten by Hannibal.

    “But so many things could happen. Bryan’s imagination is so much more twisted than any of us could imagine. If it does end it would be interesting and disturbing when it happens.”

    If you are cooked by Hannibal, what dish do you want to be?

    Maybe some kind of pudding. They’d have to figure out some kind of way to turn my meat into some type of dessert. Kind of like a tofu pie, a Bedelia pie,” she said.


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    Did you watch "The Wolf of Wall Street" trailer and think Leo DiCaprio's character seemed just a little too familiar? We broke it down and realized that DiCaprio has been playing a variation on the same character for most of his career (in addition to raising his glass a lot). Check out our findings in this highly scientific chart, and let us know if we missed anything. (Warning, some spoilers.)


    They're missing this masterpiece imo


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    Austin Winsberg will write the script, which is set up at Universal Cable Productions.

    Showtime is going into the music business.

    The premium cable network is teaming with John Legend and his Get Lifted banner to develop a half-hour comedy vehicle about music managers, The Hollywood Reporter has learned.

    The untitled single-camera vehicle takes place in the world of high-profile music managers. Austin Winsberg (Gossip Girl, Jake in Progress and Broadway's First Date) will pen the script and executive produce alongside Legend and his Get Lifted Film Co. producing partners Mike Jackson and Ty Stiklorius via their pod deal with Universal Cable Productions.

    Legend's manager Troy Carter, the founder/chairman/CEO of entertainment management company Atom Factory, will also executive produce. Carter, who also manages Lady Gaga and is an influential digital and social media entrepreneur, and Legend will bring their experience in the music business to the project.

    Winsberg (whose First Date opens on Broadway in August) is repped by CAA, Trevor Engelson at Underground and Sloane Offer. Get Lifted is repped by CAA and Del Shaw.

    For Legend, this marks his latest project under his UCP deal. The Grammy winner is also developing an FBI business drama at USA Network, a South Beach-set drama at HBO and a semi-autobiographical comedy at Fox. For UCP, the sale marks a key sale beyond its NBC corporate siblings.

    At Showtime, the project -- should it go to series -- would join comedies including Californication, House of Lies, Episodes, Web Therapy and Nurse Jackie.

    The Hollywood Reporter

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    Miley Cyrus, congratulations! You have successfully shed your teen queen Hannah Montana persona in one well thought-out and very sophisticated video that showcases your edgy new image.

    Miley Cyrus — Transforming Yourself For An Adult Career Was Tricky
    You have clearly given a great deal of thought to how you might transition successfully from your goody-goody country girl Hannah Montana version of Miley, to the adult Miley that you knew you had to become in order to have a long-term musical career.

    Some people wondered what you were up to once Hannah Montana ended in Jan., 2011, besides going to Pilates class. It seemed like you were just taking an extended time off or time out.

    Your first attempt to redefine yourself with the Can’t Be Tamed album, was an effort that aroused controversy without fully and positively expressing your yearnings.

    It came off as a shocking expression of raunchy sexiness that felt like you were trying too hard, too soon, to make that transition.

    Miley, You’ve Bravely Taken Risks & They’re Paying Off
    It was smart that you clearly decided to pull back and give deeper thought to how you wanted to grow and express yourself as a musical artist, who is a very modern young woman.

    You realized that you needed to change your sound, your look and the musical producers that you would work with in order to realize your vision.

    Pharrell Williams, will.i.am and Dr. Luke became your new musical mentors. You called working with Pharrell, “magic” and he said he wanted to free you.

    “I want her out of that cage,” he declared in an interview. Well, we’re seeing the brilliant results of your ‘uncaged’ efforts in the newly released “We Can’t Stop” video.

    Listen Miley, you will no doubt be critized by some for your unabashed raciness in “We Can’t Stop.” Yes, you wear a series of ultra tight, body revealing outfits and a swimsuit, you grind suggestively on a bed and in a bathtub, you twerk, you rough house in a sensual way with a girlfriend, put your hand on another girlfriend’s breast and playfully kiss a Barbie doll.

    You Are Free To Explore Your Sexuality
    But, I don’t see your provocative moves as merely a blatant grab to get attention, video views and make sales on iTunes.

    No, it’s much much more than that. I see your message in “We Can’t Stop,” as a high spirited celebration of the freedom that young women are blessed with today to fully explore and celebrate their sexuality.

    “It’s our party we can love who we want, we can kiss who we want, we can see who we want,” you sing. “It’s our song we can sing if we want to, it’s my mouth I can say what I want to… Can’t you see it’s we who own the night,” you chant.

    You are using the song to express your freedom to be in charge of your life as well as, the liberated vitality of other young women in your generation.

    You are comfortable with your own sexuality, just like millions of other young women today, and that’s an inspirational statement.

    How many generations of young women in history have been able to have the same sexual freedom that men have had — very, very few. Furthermore, women in most places on earth, still are punished for their sexuality or repressed so that they feel guilty and dirty just for having natural sexual feelings. And that is so wrong.

    I think it’s great that you are using your creativity as a musical artist to make this statement in a totally modern and unapologetic video.

    “We Can’t Stop” is clearly the culmination of a well thought-out plan and image change.

    Miley, You’re A Great Role Model
    Miley, you’ve taken a lot of risks with this transformation and that took courage. But your new punky look perfectly expresses your cheeky self-confidence and sexiness. You are a woman in charge of your own destiny and you’ve bravely taken a big step and a big gamble with your new adult image.

    But it’s all totally working. The time you put in over the last two years thinking about and then planning your giant leap was very well spent.

    And while you may leave behind some Hannah Montana fans, you will connect with millions of other young women, who will find their own feelings expressed in your new message of joyful liberation.

    You may look very different from the woman that Liam Hemsworth fell in love with and became engaged to, but he should be incredibly proud of you. And he should respect you as the very talented and courageous artist that you are.

    Congratulations, Miley on becoming the voice of a new generation of women who are comfortable in their own skins and excited about the lives and opportunities they have ahead!


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    When Jenni's plane crashed on Dec. 9, 2012, it was a genuine tragedy that cut down a star in her prime, the 43-year-old singer was ready to make her big crossover move with a sitcom. Rivera had dealt with years of personal and professional trauma before emerging as the definitive 21st-century star of the brassy banda style of traditional Mexican music. A number of biographies have already been published in the wake of her passing, though all were woefully incomplete given the depth of Rivera's experience.

    Rivera's autobiography does little to help her legacy in print. Unbreakable was begun as a series of diarylike confessionals in 2011, and apparently finished after the singer's death. It lays out her personal history as a painfully vivid, but ultimately numbing, series of episodes in which she's raped, abused, and wronged by men and exploited by business partners and industry colleagues. Her personal problems compound one another with alarming frequency — so much so that Unbreakable sometimes reads like the transcript from a trashy daytime talk show.

    Frustratingly, there's very little insight into Rivera's music in Unbreakable. For all the personal drama, her professional arc is treated perfunctorily: Though she got a late start, Rivera hustled her independently produced albums, eventually chipping away at radio stations and larger venues. Her agonizing relationships with her three husbands are recounted in extreme detail.

    The men in Rivera's life undoubtedly treated her terribly — the father of her first three children went to prison for molesting those kids— but that's not the only troubling undercurrent here. The singer repeatedly gave abusive men a second chance. That, coupled with her accounts of her own temper, makes for a strange situation: Rivera is not an entirely sympathetic character in her own autobiography. It's a remarkable feat, especially considering the heartbreaking event that cuts the book short. Think of Unbreakable as another bit of fallout from Rivera's tragic end. C-

    ''The night began at El Farallon, a popular nightclub in Lynwood, California. El Farallon was where you went to hang out with your friends and get lost in the music, forgetting everything else for just a few hours.''


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    “It’s just that I’m trying to do too many things at once.”

    Anton Yelchin is in his kitchen in Los Angeles, he tells me, grilling a burger. He’s also trying to forward me a photo he has saved on his desktop computer, which is downstairs. This task proves to be a pain mostly because his software is outdated. “Mobile Outlook is shitty. That’s the only word—next to the words ‘Mobile Outlook,’ in the thesaurus, it says ‘shitty, piece of shit.’” In the end, he photographs the screen with his iPhone, an effect he appreciates anyway, and emails me the shot. It’s one of himself and a man who approached him during the photo shoot you’re looking at now: a collaboration between himself, stylist Gena Tuso and photographer Dan Monick, put together for VMAN.com. The man, he said, seemed very high—or maybe it was the guy’s cousin, who showed up later, who was. Anyway, these guys were convinced that Yelchin was a porn star.

    “Of course I’m a porn star,” said Yelchin to the strangers, who then insisted they get their photo taken with him. Although the picture was successfully sent to me, the burger made, and the bases covered by the end of this interview, Yelchin sounds dissatisfied. “It’s too many things: the burger, the email, the instant brown rice.” He hadn’t mentioned the rice before. “I’m sneaky like that,” he jokes.

    So far, multitasking has worked out okay for Yelchin, of Star Trek, Terminator: Salvation (both 2009), and Fright Night (2011) fame. He’s been acting in blockbusters and TV series since he was nine years old, pretty much one after the other, and he’s always made time for quieter romances—the Japanese Memoirs of a Teenage Amnesiac (2010) and the understated Like Crazy (2011), for example. Plus, he would never limit himself to one craft. “I like art. I hate the word art, but, I like making stuff. Painting, photography, poetry… I like movies most. I love movies.” Yelchin fell for film early on. His parents, champion pair figure skaters in St. Petersburg, moved the family to L.A. when Anton was a kid. When I ask for examples of the films his parents introduced him to, the twenty-four-year-old casually sighs, “You know, sixties European stuff, the American New Wave, the German New Wave, Soviet cinema.”

    We’re looking at the photos from this shoot that Yelchin took himself. “I love those latex gloves,” he says of a pair he wore in a bathroom mirror selfie. He’s interested in texture, in the way a Xeroxed page feels, and in the propaganda-pamphlet-like effect a physical object, like a cheaply made ‘zine, can produce. He’s even made his own, called Lurker, and distributed it at the L.A. ‘Zine Fest in person.

    Yelchin’s penchant for an old-fashioned way of art-making should come as no surprise, given his track record. The two huge films in which he costars coming out this summer, Star Trek Into Darkness and Smurfs 2, are each very much already a part of the world’s cultural database, as was Terminator and Fright Night (a remake of the 1985 classic). But when I ask about his preference for all things analog (these photos were taken with a disposable camera), it seems his motives are more of a visceral than a nostalgic leaning. "I like the noir, Raymond Chandler-esque part of L.A,” he says. “Walking around Reseda, where they have all these sex shops and weed dispensaries… there’s this porn shop with the most busty-ass mannequins I’ve ever seen. I like that: there’s the Macy’s Mannequin and the porn shop mannequin, and their different intentions.” It’s about something polished stuck in something gritty: Hollywood’s stars in dusty Southern California, posh SoHo stores above his favorite New York neighborhood, Chinatown, and the remaining landmarks in the cities where he shot Jim Jarmusch’s upcoming Only Lovers Left Alive: Cologne and Detroit. And it’s also about the histories connecting each of these places. He quickly gives me a lesson on Detroit’s White Flight and Europe’s involvement. “Going from Detroit to Germany, two places that are so intimately connected by the Cold War, it was something to think about.”

    Only Lovers Left Alive, out this December, stars Tom Hiddleston and Tilda Swinton. And it’s a vampire movie. Is Yelchin a vampire? “I won’t tell you that. Tom and Tilda are. That much, I’ll say.” And working with Mr. Jarmusch? “He’s a beautiful, magical human being. I’ve been a fan for a long, long, time, and would never have thought I’d get to have the honor of being in one of his movies.”

    There’s a theme here: Yelchin has successfully inserted himself into that world of timeless cinema he studied, being cast in some of the most anticipated movies of our time. Remakes of classics, sequels to hits, and follow-ups from directors with cult followings.

    “I wouldn’t call him a cult icon,” Yelchin says of Jarmusch. “Giving something that title is just a way to sell it, and it negates the reality of a person’s input. I’d call Jim a master of world cinema. His input is so important. Putting Rza on the soundtrack to Ghostdog? And his own music that he makes? He’s bigger than cinema.” And what of the cult-status of other films in which he’s starred? “Coincidence,” he says. “We’re at an age where ideas are being recycled, reconfigured, rethought… but it’s always been that way, since the fucking thirties. The Maltese Falcon, the fucking famous Maltese Falcon is a remake. It’s a condition of Hollywood.” I want to continue this part of the conversation, but he interrupts each tangent we take by cracking me up.

    “Fuck!” he yells. “Sorry.” Is he alright? I ask, although I can hear a smile in his voice. “The thing about making hamburgers is, when you press them down, you have to do it correctly, or else they, after they get so bloated with their own juices… they just ejaculate all over you. Ejaculate really is the only correct verb for what happens.”

    I note his attention to vocabulary. He has no talent on the ice, he’s told me, but he obviously inherited that inclination for precision seen in competitive figure skating. “One thing my parents distilled in me is a desire to do something, and to do it well. And to do that, you gotta know what it means to make good work.”

    Apparently, one of his many talents is making a burger as good as In-n-Out’s—animal style, even. “I’m pretty fucking good at it. I’m a frequent In-n-Outer. Oh!” he howls, as if he doesn’t know what he’s saying, and that it’s being recorded. We’re beyond all that, though. After fifteen minutes with Yelchin, I know I’m speaking to an abnormally self-aware man. He’s an artist, but he would never call himself that, fearful of the loaded term’s associations. He’s a musician, but he’ll readily discuss the typified plight of actors-turned-musicians before I can even try to bring it up myself.

    “It’s never a musician who also acts, no. It’s always the actor’s band. And an actor who plays music usually sucks. It makes sense: the only thing actors wanna do, other than, you know, that thing, is to be a rock star. Who doesn’t wanna be a fucking rock star? That’s why, when you see an actor say, ‘Fuck! I wanna be Mick Jagger,’ you gotta just close your eyes.”

    Leaving no stone unturned, he next lists a few exceptions to the rule: Michael Pitt, Juliette Lewis, and his Fright Night costar Christopher Mintz-Plasse have each done well by deciding to cross industries without embarrassing themselves. And he hastens to say he won’t let that fateful decision’s bad reputation keep him from making it for himself. He’d still put out tracks from a punk band for which he used to play guitar, if he could figure out how to upload them onto Mediafire from his five-year-old desktop. “Mediafire? Is there a better file-sharing site? Didn’t they get sued? No, that was Megaupload. I don’t give a fuck, I’ll put ‘em on Mediafire.” And even if that doesn’t work out, he always has his plan to play solo, making “heavy, industrial soundscapes. Dark electro meets psychobilly. And I’m down to produce. Watch, I never do it. You’ll see, in the Spring of 2015…”

    For someone so busy shooting movies, he’s pretty hard on himself for not finishing projects when he says he will. His ‘zine, Lurker, took a year to finish, but it could have taken two month, he notes. Is it ironic that we’re talking about a stereotypical anarchist’s approach to magazine-making, and that this interview is for a glossy, I ask? No way. There’s a connection between what he and his friends do, selling what they’ve made for a dollar each and not breaking even, and what a larger (independent) magazines like V/VMAN do. He believes in the self-publishing revolution, but in involving the higher ends, like the fashion industry, too, where possible.

    “V Magazine isn’t the enemy. That’s like when people say that big Hollywood movies are the enemy of little independent ones. What is ironic is what I’m about to say, and that is that—this is for online, isn’t it?” It is. “Well, I think things you can hold are beautiful. But I would never talk shit about the Internet. It’s the most liberal, free thing. Even though it’s made up of predominantly stupid shit, it’s a huge step for freedom.”

    I have to point out: Anton Yelchin has a Hotmail account. Seriously? I list the other clues we’ve discussed while he swears at his computer some more, and come to the conclusion that he’s holding on to the past, that maybe he was born in the wrong era. “Or maybe I was born in the right time," he answers back. "I just need to update my Safari.”



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    Just after giving a stellar performance at Bonnaroo last week, Charli XCX is hitting the road again — this time for her first-ever North American headlining tour (which she revealed to us at the festival). The popstress’s current tour leg, which will be in support of her debut album True Romance, will start in Vancouver on August 30 before wrapping up October 2 in Orlando. She’ll be back in the States on October 26 for Life Is Beautiful in Las Vegas.

    Kitten join Charli in the opening slot for select dates.

    Charli XCX 2013 North American Tour Dates:
    August 30 – Vancouver, BC @ Venue Nightclub *
    August 31 – Portland, OR @ Doug Fir Lounge *
    September 1 – Seattle, WA @ Bumbershoot
    September 3 – San Francisco, CA @ Slim’s *#
    September 5 – Los Angeles, CA @ El Rey Theatre *#
    September 6 – San Diego, CA @ House of Blues *#
    September 7 – Las Vegas, NV @ Vinyl – Hard Rock Hotel & Casino *#
    September 9 – Salt Lake City, UT @ In The Venue *
    September 10 – Denver, CO @ Bluebird Theater
    September 12 – Minneapolis, MN @ Triple Rock Social Club *
    September 13 – Chicago, IL @ Lincoln Hall
    September 14 – Meadow, MI @ Meadow Brook Music Festival
    September 16 – Toronto, ON @ The Hoxton *#
    September 17 – Montreal, QC @ La Sala Rossa *#
    September 18 – Cambridge, MA @ The Sinclair *#
    September 20 – Asbury Park, NJ @ The Wonder Bar *#
    September 21 – New York, NY @ Grammercy Theatre *#
    September 23 – Columbus, OH @ The A&R Music Bar *
    September 24 – Nashville, TN @ Mercy Lounge *
    September 25 – Atlanta, GA @ Vinyl*
    September 27 – Houston, TX @ Fitzgerald’s
    September 28 – Austin, TX @ The Parish *
    September 29 – Dallas, TX @ Club Dada *
    October 2 – Orlando, FL @ The Social

    * = w/ Kitten
    # = w/ Little Daylight

    Source: Idolator

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    This fall will mark fifty years since November 22, 1963 -- a date that continues to haunt American history. When John F. Kennedy was assassinated, it seemed to mark an undeniable shift in the country, away from the positivity and hope that followed War War II, into a more fraught and frightened era with more wars overseas, social and political upheaval and much more. To mark the anniversary, there will undoubtedly be a ton of programming and films to choose from, and this is one of them.

    Produced by Steven Spielberg's Amblin Entertainment, "Letters To Jackie" jumps off the book of the same name by Ellen Fitzpatrick, and focuses on the more than 800,000 letters from around the world that offered support Jackie and her family in the wake of her husband's death. Directed by Bill Couturié (the monkey movie "Ed," "Last Letters Home: Voices of American Troops from the Battlefields of Iraq") the documentary rounds up the voices of a huge list of celebs to bring life to the letters including: Bérénice Bejo, Demián Bichir, Jessica Chastain, Chris Cooper, Viola Davis, Zooey Deschanel, Kirsten Dunst, Anne Hathaway, Allison Janney, John Krasinski, Melissa Leo, Laura Linney, Frances McDormand, Chloë Grace Moretz, Mark Ruffalo, Octavia Spencer, Hailee Steinfeld, Channing Tatum, Betty White and Michelle Williams.

    "Letters To Jackie" will air on TLC this fall.

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    Like "Anger Management," the Lionsgate and Debmar-Mercury series will get a 10-episode test run, which could trigger 90 more episodes.

    FX has scooped up another 10/90 comedy.

    The network has acquired 10 episodes of the odd couple effort, starring Kelsey Grammer and Martin Lawrence, The Hollywood Reporter has learned. If it hits a certain ratings thresholds with that first batch of episodes, 90 more automatically will be ordered.

    The untitled comedy, from Lionsgate Television and Debmar-Mercury, sees Grammer and Lawrence playing Chicago lawyers from vastly different backgrounds who unexpectedly meet in court on the worst day of their lives. Brought together by fate and greed, they develop a partnership and friendship, forcing one another to find the balance between the ethical and unscrupulous in their professional and persona lives.

    The comedy's pedigreed group, which includes executive producer Bob Boyett and Robert Horn (Family Matters, Perfect Strangers, Full House), began taking the pitch around to a series of cable and broadcast networks shortly after upfront week wrapped in mid-May. Though there was said to be interest from multiple nets, Lionsgate and its distributor Debmar-Mercury ultimately struck a deal with the network with which it has the most history. Grammer, Lawrence, Brian Sher, Stella Bulochnikov, Michael Green and Sam Maydew will also exec produce.

    “With the merging of two comedic geniuses, as well as two legendary showrunners, we couldn’t have a stronger team on board for this show and can’t wait to get to work,” FX COO and president of program strategy Chuck Saftler. “We’re also thrilled to be continuing our relationship with the pros at Lionsgate and Debmar-Mercury.”

    The sale marks the third 10/90 acquisition by the News Corp.-owned cable network. FX began airing Charlie Sheen’s Anger Management in June 2012, and ordered a forthcoming George Lopez comedy, Saint George, less than a year later. Such programs are treated internally as acquisitions, a la Two and a Half Men reruns, rather than FX original series, and are scheduled accordingly.

    “I am excited to be returning to TV and to be working with Kelsey,” Lawrence said. “We have a great time together so I am looking forward to making a good show with a lot of laughs.”

    Added Grammer: "Martin is arguably one of the funniest men alive and after some success in drama I thought it might be time to try my hand at comedy. I am thrilled to have this extraordinary team show me the ropes. All kidding aside, I don't think a better bunch of talent exists; I am honored and blessed."

    The series will be produced by Lionsgate Television in association with Grammnet NH Productions and You Go Boy Productions.

    According to Anger Management showrunner Bruce Helford, the alternative programming model is poised to have a dramatic impact on the industry, if it hasn't already. “It's simple economics: if you lay it out properly, you're strong in your organizational skills and you have a good writing staff, you can do the same quality of show for half the money and in half the time,” Helford said in a recent interview with THR. “It took me five years to get to 100 Drew Careys; it will take me two years to get to 100 Anger Managements.”

    With this, Debmar-Mercury has successfully sold all eight 10/90 comedy projects that it has taken to market. More impressive: only one, Comedy Central’s Big Lake, did not move beyond its initial 10 episode run.

    “Pair two great actors and comedy legends with the executive producing team behind some of the most memorable sitcoms ever, mix in the outstanding team at FX and you have all of the ingredients for another TV classic,” said Debmar-Mercury co-presidents Mort Marcus and Ira Bernstein in a statement. "Our 10/90 model is all about delivering brand names and concepts that will grab viewers instantly, having incredible creative auspices and a very supportive network. This sitcom surpasses our criteria on virtually every level.”

    Added Lionsgate Television Group president Kevin Beggs: “There was an immediate rapport between Kelsey and Martin from their very first meeting, and when Bob and Robert joined as showrunners, all the stars aligned in a very exciting way. We’re delighted that FX recognized the tremendous potential for this series and look forward to another great collaboration.”

    Grammer is a five-time Emmy winner for his work on comedies including Cheers and Frasier. Most recently, he starred for two seasons on the Starz drama Boss. Lawrence, meanwhile, stars in the Bad Boys and Big Momma's House trilogy in addition to his sitcom, Martin, which ran from 1992-97 on Fox.

    The Hollywood Reporter

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    Exclusive in-depth interview with Iggy Azalea. In part 4 Iggy talks to Nick Huff Barili about how she fell in love with Hip Hop listening to Tupac's Baby Don't Cry at age 12 and how she used to be obsessed with rap lyrics, making sure her and her friends were saying the right words. Her first attempt at writing rhymes was to impress a boy letting him know that he was the silver lining of her life. Iggy says that she felt very alone growing up in Australia because her parents had a bad relationship. In 5th grade her father left her a note at school saying he had left her which was the beginning of her isolation from people around her. Iggy was scared of her father growing up but now that she is older she gets him and they get a long well. Iggy shares that she was very depressed growing up and that music was the only thing that kept her going. Iggy had a lot of jobs to save money which included working at a supermarket, at a record store (before she got fired for stealing an Ashanti single) and cleaning houses with her Mom. Her Mom gave her $200 to go to a recording studio to record her first song, which meant a lot to Iggy because she knew how hard her Mom worked to get that money. Ultimately working with her Mom helped Iggy appreciate her Mom even more and brought them closer.

    On men, dreams, twerking, and her style icon: Fran Drescher.

    We met up with Iggy Azalea at the Island Def Jam office before the second of her New York City shows. Despite sharing the spotlight with hip-hop mogul TI last night, she held her own and brought explosive energy to the stage, twerk team in tow. Since coming to the states from Australia when she was 16 and living in Miami, Houston, Atlanta and Los Angeles, Iggy Azalea has released a collection of mixtapes and tracks with artists such as Steve Aoki and Diplo and is due to release her first full-length in September. In the meantime, we’ve got the scoop on what’s inspired her throughout her journey. -KIRA COLE

    Were you always into hip-hop and rap when you were growing up?
    I’ve always been into it. Not from birth, but I think nobody is really into a same type of music until, probably, they hit puberty and decide to do their own thing. And you want to wear not the clothes your mother gave you, and you want to listen to your own music and have your own style and be your own person. So from that point, I’ve always loved rap music.

    What does your debut mixtape’s title, “Ignorant Art,” really mean?
    I see an ongoing theme in my music as experimenting with rap and different styles of sounds and blending them. There’s this funny kind of culture in rap music of hip-hop purists who believe that rap music should sound one way, and that’s the correct or right way for it to sound–the “real rap” sound versus something else–and I think that something else sometimes gets labeled as ignorant. I think art can be ignorant or really crude. Basquiat was an artist that I based my cover off because I think his art was very crude and sometimes misunderstood. Crude not in a rude way, but in a raw way. Not polished. If I tell a story, then that’s real rap, but if I talk about vaginas, then that’s not art anymore. What is real rap? What is art?

    “The New Classic” is coming out in September?
    It’s a bit more story telling. It’s stuff that you can dance to. Definitely high-energy things, but I talk a bit more about relationships and stories that I have about different relationships that I’ve had with guys. Or, I talk a lot about chasing your dreams or chasing my dreams. Dreams, men, and twerking are the three subjects.

    What role does fashion play in your art?
    I think that it’s really important–fashion. But, I love fashion in the costume way. Not to say that how I dress is a costume, but I love movie characters, and I love the fashion of costumes and characters more than I like to look at a runway.

    Do you have style icons?
    I really like Grace Kelly. I just think she’s so chic and she had great classical tailoring. I like characters. I like Grease. I like Lola Bunny from Space Jam because she’s always wears high-waisted shorts and a crop top when she plays basketball, which I wear quite often. I have her bang. My ponytail could be her rabbit ears. I like The Nanny girl Fran. She’s my style icon, Fran Drescher. I love her suits! They’re so gaudy and awesome.

    What have been the challenges of being a female rapper?
    I think it’s hard to be aggressive and not be masculine. It’s very hard to balance that and still be feminine. And to have people want to listen to you, sonically: your tone and also your message. When somebody is too masculine as a woman I even think it’s a bit cringe-y. It’s a difficult tightrope walk.

    What differentiates you from other women in hip-hop?
    We have our own story to tell or things that we want to say. Some of us just want to say that we dress well or that we’re the baddest bitch. Everybody is something. Sometimes people don’t necessarily have a story. For me, I just always feel like I want to be powerful, and that’s what my music is about, whether it’s telling a story–like “Work,” about how I got to where I am and for that to hopefully make other people feel motivated to follow their dreams or just making a badass song like “Pu$$y,” where it makes you feel confident. My reoccurring theme is just trying to make you feel like you’re powerful.

    In three words, how would you describe your sound?
    I think it’s energetic, probably experimental–it’s not crude–but it’s taboo. It’s like, ‘Did she really just say that?’ Yeah, I said it.

    In three words, how would your mom describe your sound?
    In the gutter.

    Iggy Azalea is performing at the Echoplex in LA this weekend and then she’s off to play the European festivals. Click here for her full schedule.


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    Robin Thicke spends a second week at No. 1 on the Billboard Hot 100 with "Blurred Lines," featuring T.I. and Pharrell. Pharrell, meanwhile, thanks to Daft Punk's 3-2 lift with "Get Lucky," on which he's featured, becomes the first artist in four years to place songs at Nos. 1 and 2 simultaneously. Imagine Dragons additionally fire up a piece of Hot 100 history, completing a record-establishing trek to the top five.

    "Lines" locks up the Hot 100's top spot as the chart's top Digital and Airplay Gainer. The track spends a third week at No. 1 on Digital Songs, gaining by 18% to 371,000 downloads sold, according to Nielsen SoundScan, and reaches the top five on Radio Songs and Streaming Songs: it bound 8-4 on the former chart (96 million all-format audience impressions, up 32%) and 8-5 on the latter (3.7 million U.S. streams, up 6%), according to Nielsen BDS.

    "Lines" concurrently notches a second week at No. 1 on Hot R&B/Hip-Hop Songs and a fifth week atop the R&B Songs chart.

    "Lines" maintains its command on the Hot 100 with an impressive 18% jump in overall chart points, holding off Daft Punk's "Get Lucky," also featuring Pharrell (billed as featuring Pharrell Williams on the song), which climbs 3-2 (up 1%). The track racks a fourth week at No. 1 on the subscription services-based On-Demand Songs chart (2.1 million, down 14%); holds at No. 2 on Streaming Songs (4.7 million, down 12%) and No. 4 on Digital Songs (195,000, up 1%); and charges 6-5 on Radio Songs (95 million, up 19%).

    With Pharrell credited as a featured act on the Hot 100's top two songs, he's the first artist to rank at both spots concurrently in almost four years. The Black Eyed Peas last accomplished the feat for four weeks in June/July 2009 when "Boom Boom Pow" spent its last of 12 weeks at No. 1 while follow-up "I Gotta Feeling" waited at No. 2 before the tracks switched positions for two weeks. Among soloists, T.I. had last managed such a double with "Whatever You Like" and "Live Your Life" (the latter title featuring Rihanna) for six weeks in October/November 2008.

    "Lucky" dominates the Dance/Electronic Songs chart for a fifth week.

    Macklemore & Ryan Lewis' "Can't Hold Us," featuring Ray Dalton, slips 2-3 on the Hot 100 after ruling the tally for five frames (down 7% in overall points). Still, "Hold" continues to gain slightly in airplay, bulleting at No. 2 on Radio Songs (135 million, up 1%) for a third week. The track also crowns Rap Songs for a ninth week.

    Imagine Dragons' "Radioactive" climbs 6-4 on the Hot 100, reaching the top five for the first time in its record-setting 42nd week. The song bests the 34-week ascent to the region of Florida Georgia Line's "Cruise," featuring Nelly, a longevity mark set just three weeks ago. ("Cruise" descends 5-6 on the Hot 100, although it logs a 16th week at No. 1 on Hot Country Songs).

    Whereas "Cruise" made its lengthy journey by starting at country before crossing over to pop and adult formats, "Radioactive" has traveled its scenic path by starting at rock (it led Alternative Songs for 13 weeks) before finding support at pop and adult radio; it reaches the Pop Songs top 10 (14-10) and bullets at its No. 12 peak-to date on Adult Pop Songs this week.

    "Radioactive," atop Hot Rock Songs for a 13th week, reaches a new peak on Digital Songs, rising 5-2 (207,000, up 8%) and, as on Pop Songs, enters the top 10 on Radio Songs (14-10; 69 million, up 22%). It pushes 4-3 on Streaming Songs (4-3; 3.8 million, up 6%).

    Justin Timberlake's "Mirrors" drops 4-5 on the Hot 100, after peaking at No. 2, although it rules Radio Songs for a fifth week (154 million, down 3%).

    Below Florida Georgia Line's "Cruise" at No. 6, the songs at Nos. 7 through 10 on the Hot 100 remain in place from last week: P!nk's former three-week Hot 100 No. 1 "Just Give Me a Reason," featuring fun.'s Nate Ruess (7-7); Selena Gomez's "Come & Get It" (8-8); Ariana Grande's "The Way," featuring Mac Miller (9-9); and Icona Pop's "I Love It," featuring Charli XCX, (10-10).

    Check Billboard.com tomorrow (June 20), when all rankings, including the Hot 100 in its entirety and Digital Songs, Radio Songs, Streaming Songs and On-Demand Songs will be refreshed, as they are each Thursday.

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    NBC’s “Hannibal” concludes what’s been a fantastic first season tomorrow night at 10. What could have felt like a bad retread of — well, of all the other serial killer dramas and movies that have been ripping off the original Hannibal Lecter stories for the last few decades — turned out, under the guidance of producer Bryan Fuller (“Pushing Daisies”), to be a riveting, nightmarish story about the impacts and causes of violence, and the effect investigating the crimes of a man like Dr. Lecter (played in cool, hypnotic fashion by Mads Mikkelsen) would have on criminal profiler Will Graham (Hugh Dancy).

    Last week, I spoke with Fuller about how he chose to approach the material — the show spins out of a few passages in Thomas Harris’ first Lecter novel, “Red Dragon” — the casting of Mikkelsen, the care taken to creating Dr. Lecter’s disgusting and yet beautiful meals, and more. I'm splitting this interview into two parts: 1)This first one about Fuller's approach to the familiar source material(*), his philosophy about Dr. Lecter's meals, and other things that won't spoil the finale; and 2)A second interview that will be published after the finale airs, discussing the events of it and what may be coming down the road (including when or if the series might be adapting the main plots of "Red Dragon" and "Silence of the Lambs").

    (*) Note: Because I've read the books, seen the movies, etc., this interview alludes at times to things that will happen down the road for Graham, Lecter and Laurence Fishburne's Jack Crawford. If you're ignorant of the future of these characters and want to remain so, you might want to skip.

    Let's talk about your approach to the material when you started. This is very well-trod material: "Red Dragon" has been adapted into two different movies; everyone knows Lecter in some way. What was your approach going into this to make the material seem like something people hadn't seen before?

    Bryan Fuller: I think it was about covering a portion of the story that literally people hadn't seen before. We hadn't seen Lecter as a practicing psychiatrist and a practicing cannibal. That felt like it was fresh territory, even though it's so intrinsic to who the character is. We understand him as this cannibalistic psychiatrist, but we never saw it. It was all told to us in backstory. For me, that felt for me like a great opportunity to really see, arguably the most interesting part of Hannibal Lecter's life.

    But the way you write, and Mads Mikkelsen plays, the character, it doesn't feel like it's a rehash of Hopkins or Brian Cox or anyone else.

    Bryan Fuller: One of the reasons I wanted to cast Mads Mikkelsen is that he is not either of those actors. And he would be doing something completely different from what people expected. I was a fan of his for a while, not just seeing him in "Casino Royale" and "Clash of the Titans," but films like "After the Wedding" and "Valhalla Rising.""After the Wedding" was really the movie that cemented him as Lecter in my mind, because it's such an emotional performance. He's so vulnerable. American audiences who had been exposed to Mads were probably used to seeing him as some kind of villain, or a character with an eyepatch. They hadn't seen the bulk of his fantastic work as an actor in Danish cinema. So I felt really compelled that we could do something different with the character, keeping his European mystique from the literature, but giving it this sobriety and taking away the wink. That felt like it was a really grounded way to deliver the character to audiences who may have been familiar with who he was, whether it be Brian Cox or Anthony Hopkins, and give them a completely different version of the character, in an unexplored part of his life.

    How did you, whether on your own or with (director) David Slade, come up with the visual depiction of Will Graham's gift? We've heard in those films, and in all the Thomas Harris imitators, about profilers who learn to think like serial killers, but I've never seen it visually portrayed quite this way before.

    Bryan Fuller: There's one line in the "Red Dragon" book. The pendulum device is all in the scripts. It's a very precise method to do not only the decriminalization, but also a little bit of time travel and psychic protection, all wrapped up in one lightsaber/windshield wiper aesthetic. That started from Thomas Harris, who said when Will Graham goes into the Leeds house and starts to think about how the killer maneuvered in that space, very expressly, that he closed his eyes and a pendulum swung. That, to me, was all I needed to kind of create a new visual motif for it. Also, it was important for me to see the character of Will Graham and the actor Hugh Dancy performing the murders so we can feel as an audience what it's like for him to project himself into someone else's shoes that we now are given a device to see him actually commit those crimes, and understand how hard it is to think about killing people — even though it's to save a life.

    How much thought do you and the other writers put into coming up with these really baroque, memorable images from the murders? How much is it about what the visuals are supposed to mean, as opposed to, "Oh my gosh, it's going to look so cool and creepy if we see flesh angel wings"?

    Bryan Fuller: (laughs) What we figured out in the process is there are a lot of crime procedural shows that show a lot of different crimes. The bulk of them are kind of rapey, stabby, shoot-em-up, direct types of murders. For me, as a fan of Thomas Harris, and a student of the literature, I felt it was important that we do murders in the show that are representative of the Thomas Harris-ian purple, operatic quality of the villains we read in his literature. So we have Hannibal Lecter, who is a cannibal psychiatrist. You have Francis Dolarhyde, who is a man experiencing a midlife crisis and also may or may not have a serious personality disorder and sees himself transforming into a godlike creature. And Buffalo Bill, who wants to be a woman so badly he's willing to make a woman's suit out of real women. The bar was set from those types of villains. I felt we had to rise to that and have this purple operatic quality to our crimes in order to be Thomas Harris. So having a guy who is looking for connections in the world, so much so that he doesn't relate to human beings as much as he does to mycelium, which is always in a state of trying to connect, felt not only purple, but a little poetic, and not like something you'd see on another show. And a gentleman who is suffering from a brain tumor that causes him to see people in a different light and wants to turn them into angels to watch over him as he sleeps, it felt once again like there was a poetry to it. So we're constantly looking for, "What is the poetry of the murder? What is the art of the murder?"Initially, it was like, "Well, Hannibal Lecter as the Chesapeake Ripper provides these fabulous death tableaux." But then it becomes, "I want the Ripper to be killing every episode, because i want to be dazzled cinematically and philosophically and poetically with these murders." It's in order to heighten them from a standard kill. The more real the murder is, the less interested I am in seeing it. It's hard enough to watch the news. If there's going to be some kind of murder or death tableau investigation, it's gotta be above and beyond something that feels real. So all of these murders have a heightened quality to it. If we were doing real-life, ripped from the headline murders every week, I would swallow a bullet. it's depressing enough to write about murderers, but then to make it real is compounding the problem. So for me, the only way to write this show is to give the villains a larger than life, operatic quality. So I, as the writer, can be very clear that I am writing a work of heightened fiction, as opposed to documenting horrible things that happen every day in the world. Which I have no interest in doing.

    How much of what Hannibal serves should we assume features human ingredients? All of it? Some of it?

    Bryan Fuller: (laughs) I think if there is some kind of meat product on the table, whether it be a broth or an organ of some kind, that that is very likely a human being. But when, for instance, he served Dr. Sutcliffe, and it was very clearly a pig leg, I think that was somebody from the Island of Dr. Moreau. No, not literally. In those cases — when it's visually a piece of chicken bone or something like it that is visually indicative of an animal — then it's the animal. Everything else is people. [OP: SALAD WAS MOST DEFINITELY PEOPLE]

    I know you've put a lot of work into Hannibal's meals, and consulted with Jose Andres about it. How do you feel about the fact that so many people say that watching the show makes their mouth water?

    Bryan Fuller: I think it's wonderful, because food is art, I believe. If you are going to be serving a living thing, you have to honor that living thing with some kind of care and thought and preparation to rationalize the taking of that life in some way. Where if you're just grinding up hamburger at McDonald's, I see that as a bit of an affront to living things. You're not really honoring the life. So as an animal lover and as a sometime-meat-eater, I've read so much about the emotional sophistication of pigs and cows and sheep that I do think twice when I do still eat them on occasion. When I'm at home and I'm preparing my own food, it's all gluten-free, or fish and it's healthy, but when I go to someone else's house, I'll eat what they put in front of me because I don't want to be an asshole. But I do think it's very interesting to blur the line between eating human beings and eating animals, because I do think people should think more about what they put in their bodies, whether it is nutritionally or philosophically. I'm not saying meat-eating is wrong, because I do think it is a personal choice. But I think it's interesting to blur those lines, because I do love animals so much, and have a great respect for them emotionally and intellectually, because they are so different from human beings. One of the things I loved about working with Jose Andres is that he wasn't precious about eating people. It's like, "Well, it's kind of there." Obviously, there are greater philosophical issues that I'm making light of, but it is an interesting discussion to look at all that food, that is beautiful in its presentation, and to know in terms of the story that it is another human being. There was the episode where he was having the dinner party and he wrapped the heart in bacon and stuffed it full of delicious things. I don't think I've ever eaten heart, but I hope when I do, it tastes as good as that looks.

    How relieved are you that you're going to be able to do a second season? Was there a point during this season, when the ratings were what they were and NBC wasn't saying anything at all, and the upfronts came and went with no decision — how worried were you that this would be it? And were you surprised when they called you up to say season 2 was a go?

    Bryan Fuller: I knew there was going to be a second season, regardless, whether or not it was on NBC.

    Because of the foreign deal?

    Bryan Fuller: Because of the foreign deal and because of other interests that had stepped forward and said, "If NBC doesn't pick up the show, we want to." So I knew there was going to be a second season. I just didn't know whether it was going to be on NBC.

    They had this property, they seemed really happy with it, to the point where (NBC entertainment president) Jennifer Salke has said they passed on "The Following" because they had you and loved you. And yet you wound up being held for a very long time in the season, get put into a timeslot where they've really struggled for a few years now. What do you think happened?

    Bryan Fuller: I think there was certainly caution on NBC's side. They supported the show creatively and really allowed me to make the series that I wanted to make and tell the story that I wanted to tell. There was relatively no interference and a lot of support on really delivering a very complicated psychological tale. What happened is that you have the people who are supporting the creative and championing the show with me, and when you get to programming, which is a different head of the hydra, that there's no telling where the programming department will feel safe putting a show. But that had no reflection on Jen Salke's support, or Vernon Sanders'. The day to day executives who interacted with the show were all, "We believe in this show. This show is amazing." Part of what made the show so doable on a network was that they were so supportive, but that doesn't necessarily mean they can influence who's programming the schedule or where they put the show based on advertising dollars. The reason they didn't announce us at upfronts is that they wanted to remove this show from a ratings conversation. Upfronts are all about ad sales. The advertisers are like, "Wait, you've got 2 million people watching it live, and 5 million watching it time-shifted," and that doesn't necessarily give them a lot of confidence. So I think them removing "Hannibal" from the upfront conversation was a way to safely pick it up for the future — to keep it as far away from a ratings and ad sale conversation as possible.

    In terms of NBC being hands-off and supportive, I know you talked to Kate Aurthur at length about the decision to pull episode 4. In hindsight, are you comfortable with how that all played out?

    Bryan Fuller: In hindsight, it probably would have been fine to air. But at that time, every time we would open the Daily Beast or Huffington Post, there were children with crosshairs over their faces who had just been killed due to gun violence. It was really indicative where we were media-wise at that time. In retrospect, it would ahve been fine to air, but at that time, I feel like that was the informed decision to be cognizant of what was happening in the nation regarding children and violence and particularly gun violence. Hindsight is 20/20, and if I was faced with that decision right now, I probably would jave just said, 'Eh. Air it.' We can only react to the time in which we are living. At that time, it felt like it was the best decision on behalf of the network, on behalf of the creatives on the show. Maybe it was making more of something than it should have been, and maybe it wouldn't have gone as noticed and maybe it was reactionary, but in that time it felt like the right decision to make. Now it's a different time, we're at the end of a season, and there's been such a satisfying story told that maybe it might not have been a distraction to the show. It's tricky with that sort of thing, because you want to be honest with the audience and the story, and also tell something that — at the time we were telling that story, it felt so heightened and unreal, that it felt like a place to go for the show creatively, and then it became a little too real. It was a little too real for a while. I'm torn. Part of me thinks that if I were to do it again, I would just push for the episode to air, but I don't have a time machine.

    Alan Sepinwall may be reached at sepinwall@hitfix.com

    Hannibal‘s Will is in a bad way going into Thursday’s season finale (NBC, 10/9c), and this exclusive sneak peek from the episode doesn’t reassure us one bit.
    As Caroline Dhavernas‘ Alana and Laurence Fishburne‘s Jack talk/argue/worry, one thing becomes clear: They’re sure Will is responsible for Abigail Hobbs’ murder. (At least Alana thinks there’s hope for her friend; Jack’s somber face, on the other hand, looks like a closed book.)


    Make dinner, not people

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    Last week I was asked to attend the London premiere of Man of Steel, so after working on my forthcoming little thriller at Pinewood studios, I went over to Leicester Square to see the latest filmic take on the superhero.

    Many things went through my head, both subjective and objective, or rather as a person on the inside of the film business and as an indiscriminate viewer of the film. I too have been in comic-book films—the Spider-Man trilogy directed by Sam Raimi. I mention the director because this distinction is now necessary in the wake of the new Spider-Man series that arose even before there was time to bury the corpse of the old one and enshroud it in the haze of nostalgia. Indeed there are still young children who approach me as fans of the original (boy, it seems weird to say that) series. I don’t have a huge emotional attachment to the Spider-Man franchise as a subject, my biggest sentimental ties are to the people I worked with on those films: Sam, Toby, Kirsten, the late and great Laura Ziskin, and the hundreds of others who worked with us. I don’t really feel much distress over its being remade, for many reasons, but what is interesting to me is that it has been remade so quickly—and the reasons why.

    The answer is, of course, money. We are in the film business, and the studios are owned by large corporations who want to make money. And in this art form, where so much is spent and so much profit can be made, one criterion for success is inevitably the financial. And when movies become so big that they can make $200 million in one weekend like The Avengers did, everyone from studios to filmmakers are going to want to get in on making comic-book movies. And when great directors like Sam Raimi and Christopher Nolan show that equally great characters can live within special-effects-laden films, then the comic-book genre becomes legitimized and great actors will follow. But the biggest reason, we cannot forget, is money. For all involved, it’s about being able to work with the biggest toys and the best people, because the product can support paying for them. And that isn’t necessarily a bad thing. If you want to make a movie about a man who can fly and tear spaceships in half with his hands, then you need lots of money to make it look good. Otherwise you might as well keep the story in the comic books, where it costs much less to make superhuman feats look cool.

    I was also at Leicester Square earlier this year for the premiere of my film Oz, when the red carpet was a yellow brick road, but the night I saw the new Superman, I arrived incognito: 1) because it wasn’t my film, and 2) because I don’t think Henry Cavill would have wanted to see me there. Not that we’re enemies. Years ago we worked on a film together called Tristan and Isolde. I played Tristan and he played my backstabbing sidekick. My hunch is that he didn’t like me very much. I don’t know this for certain, but I know that I wouldn’t have liked myself back then because I was a difficult young actor who took himself too seriously.

    What Henry took seriously back then was Superman. He wanted to be Superman more than anything in the world. Personally, I’m not sure why. I missed the whole Superman-film phenomenon. I was more a fan of director Richard Donner’s Goonies and Lethal Weapon. I can understand the appeal the original Superman comics had for the WWII generation and its need for a hero to rid the world of evil, but in my days as a young man, this appeal was long outstripped by the cheesiness of the character’s suit and his douchey invincibility. But Henry was dying to do the Bryan Singer version of Superman that was being put together as we were shooting Tristan in Ireland and the Czech Republic in 2005. Henry was in the running but, in the end, he was passed over for Brandon Routh.

    The night of the premiere I saw Henry from afar on the red carpet and knew this was the moment his whole life had been building toward. His dream had come true, and I was happy for him. It was the role he would have killed to do, with the right director (Zack Snyder: 300, Watchmen) and the right producer (Chris Nolan: The Dark Knight)—people who would keep the story and the characters focused, grounded by Chris’s regular team of David S. Goyer and Emma Thomas. If anything this was a project that must have made the people who made it very happy.

    So, what did we watch? A great film. But what makes me say this? Is it the nerd revolution that has brought our public taste to the point where comic-book characters and video games are now cool? Are these huge comic-book films the way for the world at large to embrace the subjects of these forms that are traditionally relegated to the nerd niche? Yes, in a way. But in another way, we are just wowed by the money that brings them to fruition. Kids like comic-book-style heroes, teens like flashy action and sex, and therefore these films make money. Adults—the third audience—respect money. So these films are made. Again and again. And if Brandon Routh doesn’t work as Superman, or if Sam Raimi can’t agree on the villain for a fourth Spider-Man, they will just make new versions without them. Man of Steel is great because it delivers everything it should. It made Superman cool again. It delivered great action and interesting characters with a plot that was grounded enough to make us care a little.

    In addition, to be fair, movies are fighting for their lives. With all the great television that is increasingly monopolizing good drama, and the video games that allow people to actively engage rather than sit back as passive viewers, movies need to offer something that these other forms can’t: big effects, 3D, and money, money, money.

    But, in the end, why did I really walk away liking it? It wasn’t because of the film’s message. Maybe I sound naïve going to a film like this for a message, but images and themes are being thrown at me in 3D, so I want to know what I’m swallowing. One of the main reasons I liked it was because in this film, Superman’s Ssymbol stands for “hope” on the planet Krypton. Viewers discover that Superman is the symbol of hope for his dead race and simultaneously the symbol of hope for the human race. He hides his powers for the first 30 years of his life on Earth because his adopted father (Kevin Costner) believes that humans won’t be ready for him. In this way Superman is presented as a kind of Christ figure, given to Earth to save humanity. (A parallel that has been made many times before, I’m sure. Jesus Christ Superstar, anyone?) But sadly this Christ doesn’t teach any fishermen how to fish. He just does all the heavy lifting himself. If we are supposed to have hope in anything, it’s hope that Superman keeps fighting for good. If he doesn’t, we have no way of stopping him.

    I guess that sounds a bit like the movie itself. We love these movies because they’re so big, and damn, they’re all that we have. They aren’t going away, so we just have to keep hoping that they are, at the very least, well made.

    LOL okay James, okay.

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    Everyone wants a glimpse of the latest celebrity baby and magazines are falling over themselves to shell out big bucks for the photo rights. While we wait to see when and where Kim and Kanye's baby girl will make her debut, here are some of the most high-profile price tags ever paid for exclusive first pics of the latest celeb offspring.

    The Jolie-Pitt clan is on the list three times get money, fam!

    Knox Leon Jolie-Pitt and Vivienne Marcheline Jolie-Pitt
    Magazine: People and Hello!, 2008
    Reported price: $11-14 million
    Copies sold: 2.8 million

    Shiloh Nouvel Jolie-Pitt
    Magazine: People, June 2006
    Reported price: $4.1 million
    Copies sold: 2.2 million

    Pax Thien Jolie-Pitt
    Magazine: People, 2007
    Reported price: $2 million

    Levi Alves McConaughey
    Parents: Matthew McConaughey and Camila Alves
    Magazine: OK!, August 2008
    Reported price: $3 million

    Max Liron Bratman
    Parents: Christina Aguilera and Jordan Bratman
    Magazine: People, February 2008
    Reported price: $1.5 million

    Maddie Briann Aldridge
    Parents: Jamie Lynn Spears and Casey Aldridge
    Magazine: OK!, July 2008
    Reported price: $1 million

    Sean Preston Federline
    Parents: Britney Spears and Kevin Federline
    Magazine: People, November 2005
    Reported price: $500,000

    BONUS!! The least expensive baby photo

    Suri Cruise
    Parents: Tom Cruise and Katie Holmes
    Magazine: Vanity Fair, October 2006
    Reported price: $0 (yes, you read that correctly)


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    Gemma at Heathrow Airport/JFK


    Runner Runner Poster and Still


    For the "Food for Thought" campaign

    Erin O'Connor, Gemma Arterton, Rita Ora and David Beckham are among some celebrities who have lent their support to the campaign "Enough Food For Everyone IF" posing with a charitable Bracelets 100% recyclable. The bracelets are available in four different colors and feature a removable pin that allows customization. The bracelets are available in www.enoughfoodif.org as well as Oxfam and Save the Children for a donation of £ 1.

    She is seriously perfect.

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    With over 600 different monsters in the Pokemon franchise, it is a wonder how Nintendo chooses which creatures become playable in the Super Smash Bros. series. Smash creator Masahiro Sakurai discussed this with NowGamer and gave us a look at the thought process behind how these decisions are made.

    Sakurai explains that when choosing Pokemon for Super Smash Bros. games, the company analyzes such factors as which of them are currently in movies, what makes each one unique and more.

    Below is what Masahiro said on the matter.

    Well first of all, we talk with the Pokemon company. What’s the hot Pokemon? What Pokemon are in the movies right now? And really do a lot of research on that front.

    For example, X and Y are coming out – of course, we haven’t done any market research because they’re not out yet, but we look at the animated series or movies and anything like that and again, find out which ones are going to be central to any of conversations in Pokemon going forward.

    But it’s not just that – going back to just what we talked about, what’s unique about them? Where do they fit in with the rest of everything else? What do they have? It’s a combination of those things.

    Sakurai also talked on the subject of bringing back all characters from the previous Smash installments. He states that there simply isn't enough time to recreate each character for the Wii U / 3DS games and that Nintendo will be putting as many fighters on the roster as possible.

    I can answer that: no. We don’t have the time to fully recreate every single character who’s been in Smash Bros at this point.

    Adding new characters is not a simple addition – it’s really multiplication. The amount of work, adding a character is multiplied and becomes bigger and bigger as you go. We can’t because of the amount of work it takes. However, I do believe I understand that each character has its own set of fans out there who really like that character.

    So we’re not going to cut characters out of the way, we’re going to put in as many characters as we can, we really want to do that, because it's good for the fans and good for all of us. But in the event that we do have to cut some characters, I’d like to apologize in advance to those fans.


    If any characters do get cut it will probably end up being Lucario, Ike, Wolf, Toon Link, R.O.B., and the Pokemon Trainer

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    Nicki Minaj, booty-clapper and occasional rapper, was recently called on to add a verse to Busta Rhymes‘ poetic new single “#Twerkit”. It wasn’t particularly good (not that the song was great to start with) but at least she has an excuse. In behind-the-scenes footage, the scheduled BET performer reveals that she only had one day to record her vocal – and shoot the video.

    We see the tracksuit-clad femcee doing her thing in the studio before shooting the breeze with DJ Khaled. The pair reunite on set the following day, where Nicki shakes her biggest asset and models some of the largest gold chains ever captured on film. A highlight is the “I’m Out” diva’s conversation with “#Twerkit” producer Pharrell in the parking lot. They talk about “Big Booty Judys” and working together again.

    Do you think Nicki should collaborate with Pharrell again or has this club banger left a bad taste in your mouth? Share your thoughts below.

    Source: Idolator

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    Britney Spears was like an ATM in my world, because from the grunts in the field taking the shots to the editors and owners back in the office, everyone was making withdrawals in her name. Between 2007 (from the time shaved her head) to 2009 (when she was dating paparazzo Adnan Ghalib), the money being paid to us for photos of her in various states of duress (which, at that time, was practically every time she went outside) was astronomical.

    One shot of Britney slowly spiraling into insanity, one video of her shaving her head, or, the just one clip of her going fucking umbrella-attack crazy, could be your mortgage payment for the next year or a new car.

    Six months after Britney was committed to the hospital, a dozen paps were driving around in new BMWs, Jaguars, and a ton of SUVs, all fully -loaded with tinted windows and decked-out sound systems. Paparazzi were making so much loot from Brit it felt illegal because nothing that paid this much could be so fun.

    You’ve heard of the dot com rush in the stock market? Well this was the Britney rush, and everyone was hoping it would never end. It was a game for us, a game we all played, but it had one unique twist, it was a game where everyone could win, because there was so much money being tossed around, everyone was getting rich.

    They say you can't understand what it was like to be on Brit unless you were there — because she needed her own rule book. "Britney rules" meant anything could happen at any time, it was sheer madness. It wasn’t just bullshit bragging, either, it was an everyday reality for us.

    She would go for a three hour drive at 2 a.m. in her white Mercedes convertible hitting 100 mph, laughing the whole way as ten pap cars would tail her, dangerously close at times. But if you lost her it was like watching money drive away. So you'd stay close, follower her lead, and if she went to six gas stations and three fast food joints, well, you went there too.

    And Britney didn't follow driving rules the rest of the world followed. She would drive erratically down Sunset Blvd during rush-hour to do battle with civilians but she didn’t care. She'd stop at green lights, fixing her hair, changing the radio station, just waiting, waiting, waiting and you would wait too. You didn't want to hop out and try to blast off a shot, cause she’d see you and take off, leaving you on foot as the rest of the caravan barreled down Sunset. Then the light would flip to yellow, and you'd wonder what she was going to do, trying to get inside the head of someone who is insane, but before you could figure it out, the light would turn red, and she would slam on the gas and peel off, crashing through the intersection at Doheny, a smile filled with madness and mischief would cover her face, as nearly a dozen cars behind her tried to beat the same red light at her intersection. If one car going through a red light causes a honk, imagine what 10 cars going through the light sounds like? A symphony, I thought.

    If people weren’t buying the magazines with her on the cover or watching the shows playing her videos, we wouldn’t be here. We’re here because you want us here, trust me, no one grows up wanting to take your trash away for a living, but somebody's got to do it. And somebody has got to get pictures for next week’s Us or In Style that you are going to buy.

    One night one pap from Brazil named Bam Bam shot Britney exclusive as she came out of a bathroom of a Chevron gas station with toilet paper stuck to her shoe. At the time she was dating Adnan. Since Adnan was a pap, too, he'd always show us some of the photos he'd take of Brit when they were hooking up, like close up shots of her pussy. So Bam Bam's there and he gets her and Adnan holding hands, coming out of that bathroom, looking like they'd just fucked. Since he was there alone, he made more money on that shot then most people do their whole life, and that was a Monday night, not a bad way to start his week. But even if there were people there, you wouldn't want to fuck with Bam Bam. He got his nickname because one time he was shooting a Britney exclusive and two paps tried to jump him (aka steal his exclusive) and he knocks them both out each with one punch. Bam! Bam! So I never tried to jump Bam Bam's spot. Nobody did.

    I've been reading celeb gossip since my mom got me an US Weekly subscription for Christmas when I was 10, and I still can't imagine living under such scrutiny. Then again, according to this article, I'm perpetuating that problem. Oop


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