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Oh No They Didn't! - LiveJournal.com

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    Has Pixar hit a slump? Well, maybe not financially, as "Monsters University" was the second biggest opening in the studio's history, hauling in $82 million last weekend. But at least in the perception of people, well, like us -- Pixar has wavered from the path that made them who they are. The past four years have essentially seen the company, who once prided themselves on delivering original movies unlike what everyone else was doing, deliver two sequels ("Toy Story 3," "Cars 2"), one prequel ("Monsters University") and one original ("Brave"). More crucially, "Toy Story 3" aside, the films haven't been met with the same widespread critical acclaim as their earlier efforts (though box office has pretty much stayed consistent) and folks have been wondering if they're lost the secret sauce that made them one of the best in the game? Well, they aren't doing down without a fight.

    “For artistic reasons … it’s really important that we do an original film a year,” Pixar Animation Studios President Ed Catmull told BuzzFeed. And indeed, it seems the animation studio is taking stock of their approach and are gearing up for a whole new game plan. “We’re going to have an original film every year, then every other year have a sequel to something,” he said. “That’s the rough idea.”

    And they do have quite a number of original films planned already, with "The Good Dinosaur" and "The Inside Out" coming in 2014 and 2015, and with the "Untitled Pixar film about Día de los Muertos" arriving in 2016. And in keeping with the sequel every-so-often approach, "Finding Dory" -- the followup to "Finding Nemo" -- will also join the 2016 slate. But don't expect Pixar to drop sequels altogether as Catmull, in more diplomatic language, says that sometimes it's just going to happen because the demand (or licensing opportunity, we'd wager) is there.

    “Every once in a while, we get a film where we want or people want to see something continuing in that world — which is the rationale behind the sequel. They want those characters, which means we were successful with them. But if you keep doing that, then you aren’t doing original films,” he says. Which is all fine and good, but one wonders why perhaps the most screamed about and desired sequel -- one for "The Incredibles" -- remains nowhere to be seen, while "Cars" managed a follow-up. Oh right, it's because "Cars" prints Walter White-sized stacks of cash through merchandising...

    But overall, it seems Catmull is determined to put great films first, and perhaps take some of the market share back that's been grabbed by DreamWorks Animation and their increasingly well received run of movies. But what do you think? Can Pixar go back to indie creativity they once reveled in or will being forever chained to the Disney machine continually compromise their vision? Weigh in below.

    ( SOURCE )

    Well, this is interesting. Are you Team Sequels or Team Originals for Pixar, ONTD?


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  • 06/29/13--15:41: Jessica Alba out and about
  • Image and video hosting by TinyPic

    Jessica Alba rocks a leather biker jacket in the nearly eighty-degree weather on Thursday (June 27) in Santa Monica, Calif.

    The 32-year-old actress was all smiles as she exited her car and headed into her new office building.

    Later that evening, Jess had a girls night out with some pals, which she documented on her Instagram!

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Jessica Alba keeps it sheer while arriving at her office on Friday (June 28) in Santa Monica, Calif.

    Earlier in the day, the 32-year-old actress dropped by Cedars Sinai Medical Center in West Hollywood.

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Jessica Alba makes a stop at Bel Bambini to grab a gift basket before heading to a baby shower in West Hollywood.

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Image and video hosting by TinyPic

    Source 1
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    Avril Lavigne and Chad Kroeger just rocked down the aisle in the South of France, a source confirms to E! News.

    After getting engaged last August, the 28-year-old pop-punk princess and her 38-year-old Nickleback-singer beau tied the knot in what Lavigne had promised would be a "crazy and colorful" theme-wedding on the continent.

    "We want it to be unique and special and we want it to be a very big event but at the same time it's small and it's just close friends and close family," Lavigne told E! News about the Canadian lovebirds' wedding plans last month at the Billboard Music awards.

    "Of course [Chad] has been really involved," she continued. "He's also been really cool with just letting me kinda taking the wedding in the direction I want to take it in."

    Kroeger, for his part, wisely deferred to his ladylove. "I sit back and I take a lot of the things that are presented to me, and I look at them on paper, and when I'm asked my opinion, I offer it very gently. That's the smartest thing I can possibly do because that big day is not about me. That big day is about her."


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    In further proof that 2013 is the year of the shameless publicity stunt, Jay-Z has spent the last week or so drip-feeding the world lyrics for his upcoming album Magna Carta Holy Grail. He’s released three to date, of which the most fascinating is “Holy Grail,” a somber meditation on fame and love that borrows the chorus from Nirvana’s “Smells Like Teen Spirit.” (The second lyric released from the record, “Heaven,” references R.E.M’s “Losing My Religion” — sadly, however, “Oceans” does not contain any lyrics from Pearl Jam’s “Oceans,” which surely represents a missed opportunity to keep the ’90s alt-rock streak going.)

    There’s been plenty of interest in the idea of Jay-Z using Nirvana lyrics, not least because the ever-voluble Courtney Love has been talking about it (“Frances would freak [if she knew about it]!”) At least one commentator has whacked up some pretty impressive strawman outrage around the idea that “white blog nerds” will be upset about a rapper jacking “their” culture, but really, there’s been very little such anger, perhaps because the rap/rock divide these days is less a chasm and more a modest little fissure over which one can hop back and forth with minimal effort.

    In fact, there’s a fairly long history of hip-hop types referencing Cobain in their lyrics and/or public statements. In one respect, he’s just a convenient reference for suicide — The Game’s “Take me away like a bullet from Kurt Cobain,” for instance, or 2Pac’s 1994 proclamation that he wasn’t going to “blow my brains out like Kurt Cobain.”

    But the connection goes deeper than that — Jay-Z himself has spoken about his admiration for Cobain in the past, and he’s not the only one. (And, from the sublime to the ridiculous, there’s also Tyler, the Creator, who in the process of bitching about having to do a Rolling Stone interview a couple of years back threatened to “do what Kurt did… I’m going,” and later had to get back on Twitter to clarify that he meant “not kill myself, wear a shirt that says ‘Fuck your magazine.’” Good job, Tyler.)

    Really, though, this isn’t just a hip hop phenomenon — it’s a manifestation of an ongoing wider cultural obsession. So why is pop culture still so fascinated with Cobain, nearly 20 years after he shot himself?

    The easy answer is that, well, he’s dead. If he were still alive today, he’d be in his mid-40s, and in god knows what sort of state. Maybe he’d have cleaned up and become some sort of Stipean alt-rock elder statesman, or maybe he’d be as compelling an ongoing drama as his wife has proven. No one will ever know. Instead, he’s forever the tortured, long-haired avatar of the early ’90s, the last great rock star, the poster boy for what risible music writers insist on calling the 27 Club.

    Cobain’s role in culture today is perhaps the best example of the way death also represents a transition from personality into mythology. In death, he has become less a three-dimensional character and more a two-dimensional symbol for any number of aspects of rock ‘n’ roll mythology. He’s a cautionary embodiment of the price of fame, the archetypal romantic tortured artist, the perpetual teenage rebel. In death, he’s become a brand that can be plastered onto a T-shirt or a tote and sold, an image that denotes a certain way of approaching the world, a prepackaged cultural experience.

    One suspects that Cobain would have hated the idea of himself as a rock ‘n’ roll martyr as much as he hated the idea of himself as a global megastar. But that’s beside the point, because he doesn’t have a say in it any more.

    He’s hardly the first dead rock star to be rearticulated back into popular culture as a cardboard cutout of what he was in life, of course — pretty much every other sufficiently famous musician who died young has become a sort of cipher for a certain aspect of rock ‘n’ roll mythology. There’s Jeff Buckley, for instance (unabashed romantic, cheekbones, too tragically sensitive for this world). Or Jim Morrison (Jesus Christ pose, psychedelics, the ’60s, Paris cemetery). Hip hop has its own versions, too — Tupac and Biggie, obviously, but also TLC’s Left Eye, NWA’s Eazy-E, and the immortal Ol’ Dirty Bastard, and sadly far too many others.

    It’s difficult to see any sort of celebrity as an entirely three-dimensional figure, and indeed, the conflict between perception and reality — and the attempts of both the celebrity in question and the public who are essentially consumers of that person’s image to manipulate both sides of the equation — are among the most complicated aspects of our celebrity-obsessed culture. But in life, the celebrity’s actions influence both perception and reality. In death, they’re what T.S. Eliot called “a heap of broken images.”

    All this means that, as a culture, we’re not so much fascinated with the reality of Cobain as we are with the mythology of Cobain. Look at the way Jay-Z references him in “Holy Grail”: “I know… nobody to blame/ Kurt Cobain/ I did it to myself.” He doesn’t even have to say “like Kurt Cobain” — just a simple evocation of the man’s name is enough to provide a whole lot of explanation as to how Jay-Z’s feeling. It’s a triumph of semiotics. If you had no idea who Kurt Cobain was, of course, the line would mean nothing, but that’s the point — everyone knows who Kurt Cobain was.

    And everyone knows what Kurt Cobain means. The question of whether what Kurt Cobain means in death has anything to do with what he meant in life is really only of interest to the minority of people who actually think about such things — music bloggers who have too much time on their hands, academics teaching pop-cultural history, and the people who dictate the fate of his legacy. For everyone else, he’s the gaunt face staring out from behind his lank blond hair, the guy in the white sunglasses sticking his middle finger up at the camera, the forlorn figure with the cardigan on MTV Unplugged. He’s a shared cultural experience. An image. A symbol.


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  • 06/29/13--16:24: Demi's Interview In Cosmo
  • yy
    Talks About:
    -Basically comes out and says she was molested without really saying it :( imo
    -Talks about her new music
    -Her health and being a role model
    -Her 21st Birthday



    Go To Source For Bigger Images To Read The Interview Yourself

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    What do you get the guy who already has everything? "Buy U a Drank" rapper T-Pain is still stumped over what to get pal Kanye West's newborn daughter North West as a baby gift because, as he tells Us Weekly, West is "not couth."

    "Kanye is much richer than me so I'm not even going to try [getting him and Kim Kardashian a gift]," he told Us at the premiere of The Kevin Hart Experience in Los Angeles on Thursday, June 27. "Kanye has no couth when it comes to things like that, so when you bring him something, he'd be like, 'What the f--k is this?'"

    You don't want to be that person because he'll make a big scene about that," he continued. "You don't want that."

    Something the new dad will likely purchase for his little girl, T-Pain joked, are a pair of "some golden shoes, some golden booties."

    About five weeks ahead of schedule, West, 36, and Kardashian, 32, welcomed their first child together on Saturday, June 15, and according to T-Pain, the outspoken Yeezus rapper will be a "great" father.

    "I think it's gonna be good," T-Pain told Us. "I think he's going to be great. If he has the child around enough -- and I don't know how that works with flights and stuff -- but he'll figure it out."

    Sources tell Us that when West launches his world tour this fall, both Kardashian and North will be joining him as he hops from city to city. "Yes, it's true," a source confirmed to Us. "This was always the plan."


    Maybe no gift is best; T-Pain did introduce the annoying autotune trend.
    Poll: Always low-classy to complain about a gift like this or is it ever OK?

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    Another brother is joining the family business!

    Duck Dynasty will welcome the addition of a new cast member when the hit A&E series returns for its fourth season: Alan Robertson, Phil Robertson's eldest son! The 47-year-old Louisiana-based pastor will be quitting his day job to join the family business, duck call manufacturing, as their public relations manager a.k.a. the Beards and Beauty Wrangler, the New York Post reports.

    Also notable? Alan doesn't have a beard! Gasp! "The beards are so iconic," Alan tells the Post, though he reveals he lets his facial hair grow during hunting season. But why did Alan, who has never appeared on the series, decide to join the family business now?

    Alan tells the newspaper that he is joining the show to help spread the word of God. ""What I do for our church—you see, it's a pretty good-sized church—impacts a lot of people, but because of my association with the show, I'll get to minister to a lot more people," he explains. "Any person that's an evangelist, that's what you want to do, so I had to give this up for something possibly bigger."

    In addition to his father Phil, who founded the family company, Alan joins his mother Kay and trouble-making Uncle Si, as well as his three brothers, who have been on the series for all three seasons: Willie, 41, the CEO; Jase, 43, who is in charge of the manufacturing aspect of the business, and Jep, 35, the quiet one who films and edits DVDs of the family hunting. All three of the brothers' wives are also featured on the series. In addition to his reserved wife Lisa, Alan suspects his two daughters will be featured on the show at some point.

    Duck Dynasty has become a breakout hit for A&E: The season three finale brought in 9.6 million viewers, a new record for the network. The episode was also the network's most-watched telecast among all key demos, bringing in 5.6 million adults 25-54, 5.5 million adults 18-49 and 2.6 million adults 18-34. In fact, the finale was watched by so many people that the episode actually topped American Idol in the adults 18-49 rating.

    Alan acknowledges that his life will change forever after he makes his debut on the series. "All this time I've been flying under the radar; I can go to Starbucks and get Mama coffee," he says. "That is about to change."

    Duck Dynasty returns for its fourth season on Aug. 14 on A&E.


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    What does it take transform a dedicated actress like Agnes Bruckner into a larger-than-life sex symbol like Anna Nicole Smith?

    "A lot of glue," Bruckner says with a laugh.

    Lifetime's "Anna Nicole" premieres this weekend, and Zap2it spoke with Bruckner (whose previous TV work includes guest arcs on "Private Practice," "Covert Affairs" and "24") about the physical transformation involved in playing the title role.

    Since Smith's short life was so widely documented, Bruckner says it all starts with looking at what Smith left behind for inspiration. "Luckily there were so many images of Anna all throughout her life online and in magazines and everything," she explains. "We tried to choose some of the more well known images and recreate [her looks] the best we could."

    The actual transformation process involved an elaborate collaboration between hair, makeup, wardrobe and, yes, special effects. "The physical transformation was unbelievable," Bruckner says. "One of the most amazing teams I've ever worked with. We had separate prosthetic boobs which has never been done before. We had cheek prosthetics, neck prosthetics, a fat suit -- there were so many different looks she had."

    In addition to utilizing wigs and weaves, Bruckner bleached her own hair to mimic Smith's platinum blonde locks (patterned after Smith's idol, Marilyn Monroe). But when it comes to Smith's surgically-enhanced chest, Bruckner happily relied on prosthetics.

    "We worked with a special effects team and came up with what size we wanted [the breasts] to be and everything. We didn't want them to be ridiculously large because we wanted people to focus on the story more than just focusing on her boobs."

    She reports getting the chest just right initially took three and a half hours, but that was cut to an hour and a half with time and practice.

    "We probably changed my look three or four times a day on set," Bruckner adds. "Which was really really crazy. But everybody was so passionate about it -- [Anna] was kind of everybody's dream character in the makeup and hair trailer to work on -- it was really a team effort. I still can't believe how amazing it looks."

    Bruckner believes the hard work pays off in laying the foundation for a portrait that's more than just the superficial side of Anna Nicole. "I didn't want to play her as a caricature," Bruckner says. "I didn't want to just show people the hot mess side of Anna Nicole. I never met Anna Nicole, so I don't know how she was behind the camera -- I kind of had to fill in the pieces from the research that I did. But deep down she was human. We make mistakes. We grow up differently. I really wanted to make sure that we made a movie more about that."

    And playing the role had some surprising side effects for Bruckner, a self-confessed tomboy with a bit of social anxiety. "Up until this past year I maybe owned two pairs of high heels because I needed to," Bruckner confesses. "But after working on this and becoming Anna I took a little piece of her away with me. She made me realize it's OK to be girly, to play with [your look].

    "I came back and I was fixing my hair before going out and putting makeup on and everyone was like, 'Who are you?' But it's really fun."

    "Anna Nicole" premieres Saturday, June 29, at 8 p.m. on Lifetime.


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    Disgraced chef Paula Deen needs a job ... and she's a mom ... so the good people who run a MILF-based porn site put 2-and-2 together and have offered her a SIX-FIGURE GIG.

    A website called PureMature.com fired off a letter this week ... offering Paula a place in their company ... in light of her N-word controversy, which has lost her MILLIONS in sponsorships.

    In the letter, PM starts by explaining to Paula she's a MILF -- a hot mom over the age of 65 who men would like to (you know). It continues with the job offer adding, "Full figured of thin, arthritic or diabetic -- you embody our perfect spokesperson."

    As for compensation, PureMature says it's willing to offer her "6 figures for very little work" ... and NO nudity is required. Phew.

    Who knows what years of fried Twinkies has created ...

    only if

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    In 1965, half of the 26 Billboard Hot 100 chart toppers belonged to British acts. This summer, of the top 50 concerts ranked by average price on the secondary market, 34 are for British bands. Welcome to the British invasion 2.0.

    While our parents experienced the first invasion in front of a radio or TV, this summer’s version will take place in arenas around the country. In today’s version, amazingly, many of the same names are at it again: The Rolling Stones, The Who and even Sir Paul McCartney himself. In 2013, though, the old guard is just the warm-up band for the main act: One Direction

    At an average tour price of $674, One Direction Tickets are the most expensive of the summer. One Direction’s ‘Take Me Home’ Tour is a mega-tour with 120 shows across the globe. Three of One Direction’s shows have an average price of over $1,000 and nine have an average price above $750. While these average prices are mortgage-worthy, the good news is that you can see most of these acts for under $50, depending what city you live in.

    To help plan your summer we’ve listed the top 20 tours below, by average price on the secondary market, as well as the top 50 shows, by average price. Of the top six tours this summer, three are British acts and three are from the U.S., with Beyonce tickets being the most expensive for a U.S. act, followed closely by Pink Tickets.

    If you, or someone in your household, is locked into One Direction but you can’t stomach the prices, there’s hope. With the bulk of their U.S. 2013 tour still to come, tickets are already on sale for their 2014 ‘Where Are We’ Tour, which will be their first stadium tour. While no U.S. dates have yet been announced, we assume they’ll be coming soon. At double the capacity of their current arena tour, prices should be cheaper if you can endure the wait. If none of those options work, you can always pre-order a bottle of Our Moment, 1D’s ‘debut fragrance’ which comes out on August 25 and can be purchased for as low as $33 at a retail location near you.


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    Between "The Hunger Games" star's goofy sense of humor and dashing good looks, is there anything not to love about Josh Hutcherson? So we can't say we're surprised that J-Hutch has a new leading lady in his life -- sorry, Katniss! -- who he was spotted taking an adorable stroll with this past weekend.

    Though we know very little about his new romance (besides that she's a co-star from his upcoming movie "Paradise Lost"), we can say one thing with some certainty: Josh Hutcherson is the PERFECT boyfriend.

    In case you need some convincing, here are 15 important reasons why.

    He cares about equality

    He's not too embarrassed to be silly

    He always looks good, no matter his hair color

    Because he has a strong sense of romance

    His overall excitement for life

    more at the source

    this is a qt and not serious post, all shortophobes and haters can see themselves O U T

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    In keeping with the theme that Don West introduced at the top of a murder trial, let's start the discussion of a serious matter with a little game. Ready? Great.

    Raise your hand if you have ever, in your mind, judged someone, or thought yourself better than them based on the color of their skin.

    Keep 'em raised if you have casually, in comfort of your close friends or family called someone a demeaning name based on their race. Be honest, y'all.

    And finally, stand up out of your chair if you would admit to someone who called you a racist that you have judged people based on their skin color.

    I am going to assume you're all sitting.

    Under what circumstance is someone going to go ahead and admit that they are racist? I am going to go with NEVER for $200.

    With news headlines this week ranging from the trial of George Zimmerman’s murder of Trayvon Martin, to Paula Deen’s public demise of fame due to racist remarks, the stage is set to ask a pressing question: exactly when is a racist a racist?

    If the media reports were any indication of what racism was, we would all assume that racism means someone verbally addressed someone of color with the N-word. Devoid of the intent behind the word, devoid of the slave-themed weddings, or the hate spewed “go back to Africas,” or generalized stereotypes, you can only be a racist if you use the N-word oppressively and don’t say sorry.

    That’s if you let them tell it.

    As a woman of color, I will admit that arguments on the usage of the word "Nigger" open up potential for slippery slopes that argue the word was reclaimed by black people; if it isn’t said with hate, it doesn’t matter. Or the all famous line used by N-bomb droppers: “if black people use it, why can’t we?” I am not here to argue about the N-word, as thoughts, actions and words outside of the N-word can also classify as racism.

    But what we seem to be missing is that racism, by definition, is more than just spewing "Nigga" out to a black person, it is a state of mind that is learned, and just like reading left to right, engrained in that person with a prejudiced belief that one race is superior to others.

    That brings me back to the southern cooking queen Paula Deen; I am sorry to break your butter loving hearts, but Ladies and Gents, Paula Deen is what would be considered a racist.

    She claims to only have used the N-word once in her life when a man was trying to rob her with "a gun dancing at her temple," but carries on to say that the only people she hates are thieves and liars, and if anyone is to think that after this traumatic experience she doesn't, with prejudice, identify black men as such, they'd be sadly mistaken.

    She makes jokes about black people, calls them Niggers, admits to wanting to plan weddings with Slave themes, and follows up with apologies that claim “she has a black friend," but yet, stays steadfast to her public facade in which she claims she is not a racist.

    Then what should we call her?

    The odds of Paula Deen risking her millions, her ground built company, and her brand to admitting that she was a racist were slim to none. But did her mouth really need to say it when her actions spoke otherwise?

    If we were back to playing games and telling jokes, I would once again go with NO for $200. In her mind, Paula Deen wasn't a racist, she was just acting on the prejudice that was instilled in her, but if we're calling it, let's call it...Nobody is a racist until their racist tendencies are brought out of the dark, and the stovetop light is shining bright on Paula Deen.

    I know this seems like beating a dead horse, but it's a really good read

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    For a fantasy series it seems like costumes don't get discussed as much as one would expect, so this analysis/close-reading is really interesting bc it seems like Margaery's specific wardrobe choices say a lot about her character

    We meet Margaery Tyrell in season two at a tourney in Storm’s End, wearing a light blue ensemble with a very low cut neckline. This is in stark contrast to Cersei’s tourney outfit in season one, where she has a shapeless shawl, completely covering her. Still, oddly enough, this is the most covered up we’ve ever seen Margaery in the series This is also the only time we have ever seen her in true Tyrell green, given to us by the underscarf she wears beneath her cropped jacket. The baby blue we see Margaery so often wear is to show the softness and delicacy of her character. Using bold colors with these silhouettes would really drive home the “harlot” feel, so the blue works to soften the impact of the low necklines, for example.

    This look is definitely one of the more chaotic ensembles when you dissect each element. Impactful, yes, but bordering on overwrought. This is used to make sure the audience knows that they’ve just been introduced a wealthy girl, and a girl who is so obviously not from the North or King’s Landing. She dons a billowing cape with structured shoulders that give a sense of armor. It is interesting to note the armor-like aspect of most of Margaery’s season two outfits. She spends the majority of the season at Renly’s camp in Storm’s End while the Tyrell/Baratheon forces prepare for war. Without the security of castle walls for protection, perhaps this is her more feminine way of being always armed and on guard for whatever is in store.

    It cannot be denied that in the show, Margaery strategically uses her femininity as a tactic in maneuvering courtly intrigue, but it is funny to note that what might be her most revealing gown is worn to seduce Renly. Even funnier is that she knows that seducing Renly is a long shot, but hopes for the best. Though she only has it on for a few seconds, this gown still echoes the stiff armor-like feel in the bodice. This particular gown is very appealing and I wish we could have spent more time with it. It is simple and not overly designed, yet it is made to be, quite literally, a throw-away gown.

    We witness Margaery’s armor full-on with her infamous “cone-dress”. [lol tbh] She wears this in two scenes, and is speaking with Littlefinger in both. She knows this is a man with whom you must always be on your guard, and this is reflected in the heavy satins and silk embroidery, but she keeps her shoulders exposed just enough to maintain a feminine air. It should be noted, fast forward to Cersei’s “open heart” line in Season 3, Episode 1, that Margaery does indeed keep her heart open very often by way of plunging necklines. Ironically, she wears these necklines in scenes where you know she’s being pragmatic and not 100% open, yet she is completely covered when she tells Littlefinger point-blank that she wants to be THE queen.

    In the season two finale, we see Margaery has made it to King’s Landing wearing a familiar silhouette, but the armor feeling is gone. Here she is in her element , so there is no need for extraneous items like Cersei’s golden breastplate. The staging of the scene is interesting because again, Margaery’s “open heart” is exposed to those she is playing so to speak (Joffrey and Cersei), but she is positively matronly from the viewpoints of Loras and Littlefinger— two people with whom she has spoken freely during the course of the season. Sansa is to her side creating an uncertainty in future interactions. Margaery is neither exposed, nor “exposed” to Sansa. On a side note, I think it is hilariously strategic that they keep her hair swept off of her shoulders. Otherwise, given Margaery’s signature design elements of season two, she might as well have had no costume at all.

    At the beginning of season three, we see Margery make her way, unannounced, to a Flea Bottom orphanage. Here, she is wearing the exact same gown from the season two finale only without sleeves, and she’s swapped her brown underscarf for a more modest, child-friendly blue. This seems to be her way of sartorially severing her ties from Renly and his alleged claim in the eyes of Joffrey. She is willing to wade through the discarded contents of chamber pots in this dress stating, “I have others,” and indeed she does, as this is the last time we see her in this silhouette.

    Her next scene features a light blue gown with side cutouts –– a very modern design element for what is meant to portray a medieval society. This is the first time we see her interacting with Joffrey in an intimate setting—yes, Cersei and Loras are present but 90% of her reason for wearing this particular gown is to see how Joffrey will react, and how much she can use her femininity to manipulate him. He is amusingly oblivious and even offers to fetch her a shawl to keep her from being chilled. The other 10% of her intentions seem to come from an underlying enjoyment in pitting herself against the older and more insecure Cersei. This is also where we get Cersei’s “open heart” line showing that she is clearly not buying what Margaery is selling.

    We see this gown again in a different episode when Margaery is consoling Sansa after the betrothal to Tyrion. It’s as if Margaery thinks she may have lost Sansa’s trust after the plans to marry Sansa to Loras failed. She pulls out the revealing dress not to play Sansa, or seduce her (that’s another essay for the Sangaery shippers), but as her tactic to prove to her that she is open and willing to maintain their relationship as allies and friends.

    Regarding the three main women in King’s Landing, the color scheming for season three is rather blatantly evocative of each character’s persona. Cersei is perpetually in Lannister red, boldly trying to assert her power, Sansa in a muted mauve, blending in with her surroundings in an attempt to remain off of the Lannister radar, and Margaery is in baby blue yet again, giving her an aura of serenity and grace. Aside from Sansa’s wedding gown, we never see these three women diverge from their respective colors.

    Backtracking to when Sansa is first invited to visit with Margaery and Olenna, Margaery is wearing a completely backless blue gown with gold embroidery, but her hair is worn down in a way that it covers her back almost completely. Perhaps she knows that Sansa doesn’t need to be heavily manipulated through skin exposure, but she and Olenna are also feeling Sansa out, so they have no need for persuasive tactics yet.

    She wears the same gown, and same hairstyle, to Joffrey’s chambers, after Sansa lets the truth about him slip. Her sexuality alone won’t control him, so she remains relatively covered, but she knows she can use it in tandem with attempts to appeal to his sadistic side. It should be noted that when he holds her while she is handling the crossbow, her exposed back is pressed to him, furthering her pragmatic approach to skin exposure. She knows when she needs to deploy it.

    She wears this gown yet again when she meets with Sansa to propose a marriage to Loras. In this scene, we see her with her hair pulled back for the first time in the “Lady Margaery wears her hair like that” style. A subtle way of influencing Sansa with the latest trends of the kingdoms, but also showing a bit more skin reading: “I like you and want you to be happy, but my family comes first so I am not above a little manipulation for the greater good.”

    The gown that Margaery wears while exploring the Sept features bold detailing, the boldest being brown structured appliqués on the shoulders. The boldness in the gown may be representative of her audacity in suggesting that she and Joffrey greet the masses outside. The structured shoulders harken back to her Storm’s End armor approach to fashion—- -she believes her influence will make everything okay, but she is still on her guard. Margaery wears this again when she and Sansa are watching Loras spar, evoking Loras’ armor.

    Margaery’s last scenes of season three take place during Sansa’s wedding to Tyrion. She is wearing a gown that is almost a replica of her backless blue and gold gown from earlier, except the gold embroidery is much more prominent and deeper in this version. This is, for one, because it is at a dressier occasion, but also to show that the Tyrell family is a major financial force in King’s Landing, and to remind the Lannisters that the Tyrells are not only paying for half of the upcoming royal wedding, but they are also helping the royal family climb out of the hole they’ve dug themselves into over the past two seasons. Again, Margaery wears her hair in the “Lady Margaery” way— this could be her Highgarden/Reach version of the courtly updos, but it also serves as her armor— her skin is her armor— her attempt to try to show that she is utterly impenetrable to Cersei’s plotting and Joffrey’s psychopathy.

    All in all, Margaery’s outfits have made for deeper discussion and have brought greater attention to the costuming in Game of Thrones, be it positive or negative. She seems to be bringing a kind of fashion Renaissance to a previously heavy and conservatively medieval King’s Landing. Personally, I wish she was outfitted in a less overtly modern way, but I think her costumes definitely bring a great deal of insight into her character, and they are undoubtedly striking, especially when compared to her capital counterparts. Let’s see what the fourth season and an impending wedding bring for us in the way of fashion and character.[yassss]

    Hogan McLaughlin is a fashion designer and artist. He has been profiled by The New York Times, Vogue, and WWD, among others.

    Glad Marg upgraded from her brocade burrito.

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    LA Clippers DeAndre Jordan and Blake Griffin were seen popping bottles and downing shots of ouzo at Psarou Beach in Mykonos, Greece.

    Image and video hosting by TinyPic

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  • 06/29/13--20:30: It's a Miley Mega Post!
  • Miley at her listening party:

    Miley's top almost fell off so they had to readjust it!

    Out with friends in Miami:

    Denika looks good, damn.

    iHeart Music red carpet:



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    Pretty woman.... Twerkin down the street @realdenikab pic.twitter.com/434GrU1mpr

    — Miley Ray Cyrus (@MileyCyrus) June 29, 2013

    Either Miley Cyrus can't stop, or she's just having too much of a good time to take a breather. Either way, we think she might have gone a tad too far last night.

    Cyrus is down in Miami these days as part of the Miami Music Festival and since her new thing is wearing as little clothes in public as possible, she thought it'd be appropriate to channel Julia Roberts' "Pretty Woman" attire for a night on the town.

    That's right -- Julia Roberts' famous hooker dress from the iconic 1990 movie. Maybe Miley doesn't really know what kind of message she's sending since she was born a full two years after the movie came out?!

    Weirdly (or sadly, depending on how many 20-year-old kids you have at home), this isn't the first time Miley donned the skimpy "Pretty Woman" dress. For her 17th birthday, Cyrus dressed as Roberts' hooker character for an 80s party in New York, per the New York Post.

    We're just hoping the tall beverage in your hand is a virgin, Miley. Five more months until you're 21!


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    You better work!

    Come July 9, Ciara will be the latest to grace the cover of Lurve Magazine, the same mag that captured Rihanna's recent bout around Paris, including a visit to the legendary CoCo Chanel's apartment.

    With her latest self-titled album releasing the week before on July 5, the "Body Party" singer is amassing quite the buzz with all of her recent appearances and performances. And she's certainly getting us excited to see more of her upcoming spread and interview with Lurve by giving us little sneak peeks via her Instagram.

    Five days ago, Ciara posted this photo, only telling us that the Lurve cover would be coming soon followed with "#Givenchy."

    As you could imagine, we were immediately intrigued.

    Then, she gifted us with this behind-the-scenes shot, and our interest exponentially grew.

    Wednesday, Ciara shared with the world her cover (top of page), telling us that it'd be out two weeks from now on July 9.

    And just yesterday, Cici posted another shot from her spread looking all sharp and fierce while filling us in on one major detail: it's a "#GivenchySpecial."

    Even though she's been holding back on a lot of the "Goodies" about the upcoming issue, we can't wait to get our hands on it!

    Until then, we'll keep our eyes open for more information to share.



    I'm happy she's semi-blowing up again.

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    Elizabeth Garner is being accused of being a real-life Mrs. Robinson. The former NFL cheerleader was in court Friday, refusing a plea deal on charges of sexual battery and solicitation of a minor for child rape.

    The sexy married blonde — who cheered for the Tennessee Titans for several seasons — is now set for trial in November. Garner, 38, was at a party at the home of a friend in February when she followed the boy into the bathroom. That much everyone agrees on.

    Then she’s alleged to have pulled down his pants, fondled him and offered him oral sex. The boy bolted, told his mother about the incident including that Garner had asked him if “he’d ever been with a woman.”

    Sex crime officers from the Murfreesboro, TN police department followed up and arrested the one-time pin-up girl. According to their report, Garner claimed “that she was drunk that evening and that she got the boy confused with a man that was also at the residence.”

    Said PD spokesman Kyle Evans, “If you can’t tell the difference between a 12-year-old and an adult then there are problems.” Garner had posed in a series of sexy bikini shots during her Titan days, and boasted about what she did to stay in shape.

    She is insisting she’s innocent and is out on bail pending her trial.


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    Ben Stiller has brought a host of unforgettable characters to life over the years: Derek Zoolander, White Goodman from "Dodgeball," his everyman in movies like "There's Something About Mary" and "Meet the Parents."

    And then there's Tony Perkis.

    Perkis, the sociopathic fitness guru, is the villain of "Heavyweights."

    But what happened to all those other kids and and counselors who filled out the movie?


    Aaron Schwartz, who played camper Gerry — and Dave Karp in "The Mighty Ducks" — took 14 years off after "Heavyweights" before he returned to acting. Now he has a recurring role as doorman Vanya on "Gossip Girl."


    Shaun Weiss played Josh, as well as Goldberg the Goalie in "The Mighty Ducks." Since then, he's been in a steady stream of TV shows, including "Freaks and Geeks" and "The King of Queens," and over 30 national TV commercials.


    Lars, the Perkis lieutenant from "Far away!", was played by Tom Hodges, who is actually American. Now, he mainly "farms organic tomatoes and celery in Northern Alaska."


    Camper Roy you might recognize: he was played by Kenan Thompson, current cast member of "Saturday Night Live."


    A little guy named Judd Apatow co-wrote "Heavyweights" with Steven Brill. After his beloved TV shows "Freaks and Geeks" and "Undeclared" were both canceled, he went on to make some movies you might've heard of: "Knocked Up," "The 40-Year-Old Virgin" and "Funny People


    And Ben Stiller is, uh, Ben Stiller. His most recent movie was "Tower Heist," and he has five films in various stages of development.


    Rest Of List At Source

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